INDY Week 3.15.17

S .C.” MCDANIEL DARRYL “D.M THE COMICS RETURNS TO MUTATE A THAT HELPED OOLKID CATHOLIC SCH OP LEGEND INTO A HIP-H L DS

BY CURT FIE P. 12

R A L E IG H

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MEANWHILE...

KILLING THE POOR P. 10 EATING LIKE A VEGAN P. 19 BREATHING LIGHT P. 25

2 | 3.15.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | DURHAM VOL. 34, NO. 9

6 Pat McCrory thinks the thought police are out to get him.

8 When courts draw legislative districts, they tend to favor Democrats. When independent commissions do it, they favor Republicans.

10 If you can’t afford health care, not having it isn’t a choice.

16 The Nile Project brought a dozen African musicians to an out-of-the-way recording studio in Pittsboro.

19 At Living Kitchen, what’s not in the fridge matters more than what is.

21 The opener on The Zombies’ classic Odessey and Oracle started as a jaunty love song but was deemed too ordinary.

So it became a prison song.

22 Raund Haus, a young group of beat makers, is making a home for electronic music in Durham.

24 Decades after the state’s first pride rally, the Durham County Library’s Love + Liberation exhibit preserves LGBTQ history.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 10 Soapboxer 19 Food

The Nile Project records at Manifold Studios in Pittsboro (see page 16).

21 Music

PHOTO BY BEN MCKEOWN

24 Arts & Culture 26 What to Do This Week 29 Music Calendar

On the cover: PHOTO BY BEN MCKEOWN, DESIGN BY SHAN STUMPF

33 Arts & Culture Calendar

SERVICES GUIDE A GUIDE FOR READERS AS THEY PREPARE FOR SPRING HOME IMPROVEMENT PROJECTS

ISSUE DATE: MARCH 29 RESERVE BY MARCH 24

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backtalk Sad!

Last week’s Triangulator (as well as a blog post a few days earlier) explored the sparsely attended March 4 gathering of Trump supporters on the Halifax Mall. Dean Naujoks believes that it’s a sign of President Trump’s declining popularity: “Three hundred Trump supporters showed up. Pathetic joke! His base is clearly dwindling, and fellow Republicans are becoming exhausted with the daily Trump Drama that he creates. Insane Trump is on a golf outing every week, hiding from his Russian scandal he can’t shake! Answer? Let’s go on a Twitter tirade and attack Obama and Arnold Schwarzenegger like some crazy person we would unfriend on Facebook. But wait, it is our national joke of a president! Talk about sad!”

Commenter SomeCallMe…Tim picks up on a disconnect in our interview with Melinda Earp, who was at the rally.

“Melinda Earp: ‘We need to quit being, you know, divided.’ Melinda Earp: ‘I believe in Christian people’ and ‘those Muslim people are not here to help us.’ We need to quit being divided, but those darn Muslims who aren’t like me must go!

Thank you, Melinda, for being such a fine, fine example of the mental disjunction required to vote for and believe in Trump and the GOP.” Toni Harris says she “lost respect” for our reporter, Megan Howard. “She approached me and my husband. Definitely not the person she portrayed. There will be more of these rallies. We need to be aware of these snakes in the grass!”

And commenter Cyndi argues that the poor attendance might be due to poor promotion. “I really wish this had been advertised. I never heard a word about it. I did hear there would be rallies and even asked our local RNC chapter. They even said they had not heard of any. I surely would have been there, and I’m certain there are others who would have as well.”

In response to last week’s Soapboxer, which argued that Republicans like Richard Burr need to stand up to an increasingly unstable President Trump, Diane Shull of Chapel Hill writes: “My grandkids use Twitter and so does

my president? All the work of my generation seems to be deleted. We were on the streets in the sixties and seventies fighting for human rights, civil rights, clean air and water, etc. I seem to see we have gone back on the victories we had won, and I’m very sad. I’m seventy-six now but still try to stay involved. The other name you mention is Burr. Senator Burr has been inundated with requests to have town meetings, to no avail. This man represents the voters of North Carolina but refuses to hear their views or to share his and to explain his voting record. Either he is a coward, lazy, or just does not give a damn about the people who put him there.”

Finally, there’s … whatever the hell this is, from someone writing as “fallow journalouse P.B. Noseby” (everything sic): “I am writhing now out of cornsyrup for our naysham’s mental wallbeing, which is to say the You Us of Assylumed is not behaving the way our foundering fathers wrote it and the Tromp demonstrafing symdumbs of a malignut nasticist with attackment issues, like an ereptile dysfunksham in Godsilly gone beserk in a Hollowit B movie. We might not take this serially but his is a doctormeanted poisonality disodor choriograffed by antisocialism, peerannoy traits and igorcentric aggrussions, mot to mansion a kneejerk for power, an absess of a conscience, and grammystanding, which bigs the question, ‘Does the 25th amanment of the Constertoosham, stating a Precident can be removed from pubic orifice if certainfiably deranged, apply in this nutcase? He’s crazy as alone but chants are he’s unaweird of it, outloud as Addled Hotlid for his stop gagging, his power grubbing, and his methoughtical unpresidented actions of making warhoop on his own contrary.”

It goes on for a while, but you get the gist.

“Either Burr is a coward, lazy, or just does not give a damn about the people who put him there.”

Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up on Twitter: @indyweek.

INDYweek.com | 3.15.17 | 5

triangulator

GOP’s ele The let the timin action. “I decade r entirely n manner o “What we have said is that under any cir-efforts by cumstance bullying is not acceptable anda county’s would be addressed by the code of conduct.”sets a dan Speed’s supporters have asked that the “Why other party, who has not been named, beother nin subjected to the same ten-day suspensionGreg Ford

+SNOWFLAKES

Guys, why is everyone being so mean to Pat McCrory?

Recently, our erstwhile governor did an interview with an Asheville-based evangelical podcast called WORLD, in which he complained, among other things, that he lost reelection because college students voted illegally, that “most people have no idea what [HB 2] really is,” that the Human Rights Campaign “thought police” is out to get him, and that, consequently, he’s having trouble landing a job because everyone thinks he’s a bigot.

McCrory is still especially bitter at the HRC, which he again argued is more powerful than the NRA because, while the NRA targets politicians, the HRC targets corporations. That’s why HB 2 caused such a stir, he said, and why corporations and sports championships are boycotting the state.

“Heck, it’s even impacted me to this day, even after I left office,” McCrory told his interviewer. “People are reluctant to hire me because, oh, my gosh, he’s a bigot, which is the last thing I am.”

On Monday, McCrory told The News & Observer that he’s been considered for parttime teaching positions, but university leaders are worried about student protests.

“That’s not the way our American system should operate,” he said.

Speaking of sports championships that have fled the state because of HB 2, the NCAA tournament gets underway this week—but not in Greensboro, as originally planned. So on Selection Sunday, state Representative Mark Brody—R-Monroe, slogan: “In God I trust”—posted on his Facebook page that he would file a bill called the Athletic Association Accountability Act, which would seek to determine whether the ACC and NCAA had engaged in political activities over HB 2 in violation of their nonprofit charters.

“I believe the NCAA and the ACC have stepped out of bounds and, to the best of my ability, will never allow the General Assembly to relinquish its legislative authority over the internal affairs of the State or succumb to economic extortion to and from either the NCAA or the ACC,” Brody wrote.

To translate: Brody believes the NCAA and ACC shouldn’t be allowed to exercise 6 | 3.15.17 | INDYweek.com

that Speed received. School officials would not comment on disciplinary actions taken in this case either.

Some (usually liberal) observers, includ-It’s a farm ing the Southern Poverty Law Center,there is a have noted an increase in hate crimes—in That’s t schools and outside them—during the pastBoard of A year, which they trace to the rhetoric sur-regarding rounding Donald Trump’s bid for the WhiteParty Bar House. (Neither of the videos mentions That he Trump.) An accounting of recent Northneighbors Carolina hate crimes wasn’t immediate-who argue ly available; the legislature has mandatedwedding v nine offenses that schools must report tomusic, bri the Department of Public Instruction, but BOA m the Barn hate crimes are not among them.

2015, whe a specialter. It was Members of the Wake County Board ofbounced b Commissioners want their colleagues onty’s plann the county’s legislative delegation to stickfarm und zoning re up for them in a redistricting dispute.

The all-Democratic board sent the delega-has been tion a letter Tuesday, urging the legislatorswas really to return to four-year terms for commis- After lo sioners and to leave district lines where theyBOA agre

+PAR

+INTERNAL AFFAIRS

PHOTO ILLUSTRATION BY SHAN STUMPF

moral judgment or speak out against laws they believe are wrongheaded and meanspirited. (Cough First Amendment cough.)

So weird how people who fall over themselves to make political piñatas out of vulnerable populations demand safe spaces the second they encounter the consequences of their actions.

Tiny violins, everyone!

+HATE CRIMES

Two incidents of racial violence in a week at Leesville Road Middle School and Wake Forest High School—both videotaped and circulated on social media—have Wake County Public Schools administrators seeking ways to stop them from occurring.

“You are noticing, just like we are, that there are two incidents that have occurred,” says spokeswoman Lisa Luten. “That warrants a conversation, and we are having those conversations about, ‘What does it mean? What do we do? What is our

responsibility?’”

The most recent episode shows three white Leesville Road middle schoolers using the N-word and other racist language.

It went viral last Wednesday. “Go back to the fields of Alabama,” says one of the students, who have not been identified. “Go back to the factories in Mississippi. You don’t deserve freedom. KKK!” Luten says the students have been disciplined. Citing federal privacy laws, she didn’t go into specifics.

Days before that, images of an AfricanAmerican Wake Forest High student identified in news accounts as Micah Speed went viral as well. The footage showed him slamming to the ground a white student, who referred to Speed by a racial epithet after the confrontation. That student had been taunting Speed, according to a petition on Change.org that had garnered more than thirty-seven thousand signatures by Friday.

“What Micah alleges is that he was the victim of racial bullying,” Luten says.

are until after the 2020 census. The GOPcontrolled legislature reconfigured the wayPERIPHERA commissioners were elected in 2015, creating two “superdistricts” that were superimposed on the existing seven districts.

The move mirrored the General Assembly’s efforts to change the way the Wake County Board of Education is elected. It also put all the commissioners up for election in 2018, shortening some members’ terms.

After advocacy groups sued, a district court initially upheld the law. But then a federal appeals court overturned it, though that decision came too close to the 2016 elections to make wholesale changes, leaving Commissioner Caroline Sullivan out in the cold. She had decided not to run rather than compete against a fellow Democrat.

Supporters of the legislature’s changes have said they provide better representation for county residents who live outside Raleigh. Opponents have argued that this was a partisan move designed to bolster the

GOP’s electoral fortunes in Wake.

The letter from commissioners criticizes the timing and method of the legislative action. “In Wake’s case, it involved middecade re-redistricting, the creation of entirely new districts, and a change to the manner of elections,” the letter says. “Any efforts by the General Assembly to manage a county’s internal affairs is bad policy and sets a dangerous precedent.”

“Why single out Wake County of the other ninety-nine?” asks Commissioner Greg Ford.

+PARTY (BARN) FOUL

It’s a farm. But not everything that goes on there is a farm activity.

That’s the conclusion the Orange County Board of Adjustment reached Monday night regarding the Barn of Chapel Hill, aka the Party Barn, after a three-hour-plus hearing.

That hearing dealt with a second appeal by neighbors of the Morrow Mill Road project who argue that the ostensible farm is really a wedding venue that will subject them to loud music, bright lights, and impaired drivers.

BOA members have been hearing about the Barn of Chapel Hill since November 2015, when Kara and Chris Brewer sought a special-use permit to open an events center. It was denied. Since then, appeals have bounced back and forth between the county’s planning staff, who say the project is a farm under state law and thus exempt from zoning regulations, and the BOA, which has been skeptical that the Brewers’ farm was really a farm.

After looking at state requirements, the BOA agreed that the Barn of Chapel Hill

PERIPHERAL VISIONS | V.C. ROGERS

Last year, neighbors put up signs to protest the Barn of Chapel Hill. really is a farm. As such, its exemption from zoning regulations allows the Brewers to move forward—despite the specialuse-permit denial—with constructing a $735,000 barn that has been booked for seventeen weddings from May to November.

However, the board was not convinced that the 250-capacity barn’s primary focus was farming, which means the county can enforce zoning rules for some of the barn’s uses, including weddings and other noneducational events. (Board member Matt Hughes cast the sole opposing vote. His comments were met by tongue-clicking

PHOTO BY ALEX BOERNER

and hissing from Party Barn opponents.)

The Brewers could take the board’s decision to court. Should the BOA’s ruling stand, however, the Brewers would need a zoning-compliance permit to host weddings. The only way to get it? A special-use permit. Which means they’ll have to come back before the Board of Adjustment.

It’s unclear how Monday’s decision will affect the already-booked weddings. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Thomas Goldsmith, and Sarah Willets.

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INDYweek.com | 3.15.17 | 7

indynews

ILLUSTRATION BY SHAN STUMPF

Map Quest

CAN REPUBLICAN-SPONSORED REDISTRICTING REFORM SAVE NORTH CAROLINA’S DEMOCRACY?

I

t’s hardly news that North Carolina’s legislative and congressional districts are horribly twisted.

Last year, two separate panels of federal judges ruled that the districts—drawn by Republicans after they claimed power in 2010—were in violation of the Equal Protection Clause, as they unconstitutionally packed minority voters to dilute the power of their vote. In February 2016, a federal court ordered the legislature to redraw congressional districts; new primaries took place in June. Then, in November, a federal court told the General Assembly to take another crack at its legislative districts, too.

The deadline was March 15, and new elections were scheduled for this November. But the Supreme Court intervened, putting the special elections on hold while considering the state’s appeal. For the time being, gerrymandering reform—at least, 8 | 3.15.17 | INDYweek.com

BY SAMMY FELDBLUM the court-mandated variety—has stalled.

But its proponents still see reason for hope. Late last month, four Republican state representatives introduced a bill that goes further than just drawing new maps— a temporary fix subject to the whims of whoever is in power after the 2020 census.

Instead, House Bill 200 would establish an independent redistricting commission, appointed by members of both parties, that would take redistricting mostly out of the lawmakers’ hands.

While proposed by Republicans, the idea has support across the ideological spectrum, from the libertarian John Locke Foundation to the progressive Democracy NC. For an electorate shackled into safe districts guaranteeing Republican majorities—just as they once ensured a Democratic advantage—HB 200 aims to revive the state’s moribund democracy.

But will it? And, with the Republicans who benefit from the current scheme dominating the General Assembly, does it stand any chance of passing?

“The leadership really does not want the bill to move,” says Representative Chuck McGrady, R-Henderson, a bill sponsor. “I think it’ll only occur when Republicans aren’t sure that they’re going to be in charge and Democrats aren’t sure that they’re going to be in charge.”

Not surprisingly, then, the bill has yet to receive a committee hearing. McGrady thinks he’ll have better luck next year, when members are facing reelection.

“We need a way to keep people interested and mobilized in the issue, and we filed the bill to allow that,” he says.

To pressure Republican leaders, the NC Coalition for Lobbying & Government Reform hosted a Citizens Lobby Day on

March 1. The coalition expected maybe 150 people to show up, according to director Jane Pinsky. Six hundred did. Despite the turnout, House leaders declined to meet with the visitors.

“I feel like our politicians are not accountable to the citizens of our state, only the special interests that got them elected,” said Amy Johnson, who came to the lobby day from North Raleigh. “It’s like the politicians are choosing the voters, instead of the voters choosing the politicians.”

Tyler Daye, a student at UNC-Greensboro, grew up in the old House District 12, which snakes tightly along I-85, corralling as many African Americans as possible.

“It’s a famous district—it’s taught in schools as an example of gerrymandering! The [legislature] at the state level and at the federal level does not represent the people,” Daye told the INDY. Indeed, in last year’s

“I don’t think we have a true democracy, because the foundation of a democracy is free and fair elections.” election, Republicans won 53 percent of the total vote for U.S. representatives but secured ten of thirteen seats.

The same pattern holds true in the state legislature. In November, Republicans won 52 percent of the cumulative vote for state representatives but won a veto-proof supermajority of 74 out of 120 seats. Fifty-seven representatives ran unopposed.

In the state senate, 56 percent of the vote granted Republicans thirty-five of fifty seats. To Daye, “something is fundamentally wrong with that.”

While they benefit from the current map, the Republicans who sponsored HB 200 remember injustices suffered under Democratic leadership.

“When we were in the minority, this bill was something that Republicans generally rallied around, and what I’d say to that is, if it was the right thing then, it is still the right thing now,” McGrady said during the lobby day. “We have to serve the people of North Carolina, and we have to make sure they have full confidence in the integrity and fairness of our elections.”

“Even though we like many of their policies,” added Mitch Kokai, senior political analyst at the John Locke Foundation, “we don’t like this idea of having elected officials choose their voters.”

Other states, including Arizona, Florida, and California, have been able to reform redistricting through referenda or ballot initiatives. Each has done so slightly differently. Six states currently use independent commissions. HB 200 seeks to emulate Iowa’s model, which is unique in that it calls for five nonpartisan legislative staff members to develop maps without access

to political or election data, with the legislature then voting the maps up or down.

Since North Carolina does not offer ballot initiatives or voter referenda, the only real option for reform is for voters to put heat on legislators.

“In the long run,” Pinsky says, “this kind of thing really depends on numbers. The more people speak out, the more folks realize that blocking reform is not a popular position; they say, ‘I want to get reelected, we have to take this up.’”

But even supposedly independent processes can’t guarantee fair elections. That became clear the day after the lobbying event, when Duke’s Sanford School of Public Policy hosted a conference on redistricting reform, connecting lawyers, academics, and activists. Ellen Friedin of Fair Districts Florida explained how, after Floridians voted for constitutional amendments stipulating that maps be drawn to avoid partisan advantage, lawmakers were nonetheless able to weasel partisan interests into the process by planting confederates masquerading as citizens; years of court battles finally exposed the trickery.

And it doesn’t take any nefarious meddling to skew the results, either. Nick Stephanopoulos, an assistant professor of law at the University of Chicago, presented research showing that even supposedly impartial solutions can be biased. Courtdrawn maps have tended to favor Democrats, he said; independent commissions have favored Republicans, though the latter may be due to the geographic distribution of voters. (Democrats tend to cluster in urban areas.)

But proponents argue that the independent commission would be hard-pressed to do a worse job than the legislature has.

Emmet Bondurant, who is suing the state over gerrymandering, told the conference that “North Carolina has taken partisanship to a new low. You have racial gerrymanders at the congressional and state legislative levels. You have racial gerrymanders going down to county school board and county commissioner levels.”

“For democracy, it’s fundamentally no different from breaking into the voting machines and flipping half the Democratic votes,” added Josh Brannon, who unsuccessfully challenged Virginia Foxx in the Fifth Congressional District.

For now, the status quo prevails. And for Daye, the UNC-Greensboro student at the Citizens Lobby Day, that means “I don’t think we have a true democracy, because the foundation of a democracy is free and fair elections. And if we don’t have fair elections, our democracy falls apart.” backtalk@indyweek.com

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soapboxer

The Seven-Year Itch

THE THREE THINGS WE LEARNED FROM THE FIRST WEEK OF THE TRUMPCARE DEBATE

BY JEFFREY C. BILLMAN

INDY Week’s Guide to Dining in the Triangle Deadline to reserve ads:

APRIL 5TH, 2017 On streets:

MAY 10, 2017

10 | 3.15.17 | INDYweek.com

It’s now been six years and fifty-one weeks since President Obama signed the Affordable Care Act. That means it’s been six years and fifty-one weeks of Republican efforts to force its repeal and promises that, if given the reins of power, they would replace it with something better. That also means they’ve had six years and fifty-one weeks to figure out what that something should look like.

So you’d think they’d have come up with something smarter than the American Health Care Act, a plan immediately dismissed as callous by the left, lambasted as untenable by conservative wonks, despised as politically catastrophic by Republican elites, and ridiculed as “Obamacare lite” by the far right. In short, House Speaker Paul Ryan took seven years to develop a bill that pleases no one except President Trump, who is less concerned with policy details than he is desperate for a political victory.

If you’re cynical, you’d say the AHCA was designed to fail, allowing House Republicans to say they tried to repeal Obamacare while absolving them of the responsibility of actual policymaking.

Even if that’s not the strategy, this first week of Republican health care policy has revealed three things to keep in mind over the next four years.

The first is the Trump administration’s continued intentional erosion of trust in public institutions—in this case, a preemptive campaign launched last week to discredit the nonpartisan Congressional Budget Office, which released its analysis of the bill Monday. That analysis predicted that the AHCA will increase the number of uninsured by twenty-four million and generally be terrible for poor and older people.

On Sunday, however, Trump’s director of the Office of Management and Budget dismissed the CBO’s report as an exercise in futility, telling Fox News that “estimating the impact of a bill of this size probably isn’t the best use of [the CBO’s] time.”

That is literally the CBO’s job, and the

CBO does it well. (While not dead-on accurate, the CBO predicted the effects of Obamacare better than other forecasters.)

Trump’s OMB, however, is reportedly planning to release its own, presumably friendlier forecast, thus perpetuating a pattern in the Trump administration: when reality is inconvenient, invent your own facts. Thus Health and Human Services Secretary Tom Price can say with a straight face, “Nobody will be worse off financially.”

Which brings us to our second point:

Under the GOP plan, twenty-four million people will lose health insurance.

Trump, who during the campaign promised to cover everybody for less money, is playing his supporters for suckers. Price, after all, is unequivocally lying. The AHCA swaps out the ACA’s subsidies for less-generous tax credits and derives most of its $337 billion in deficit savings from drastic cuts to Medicaid. Lower-income people are going to pay more or go without insurance—especially rural, blue-collar whites who went strongly for Trump, according to a Wall Street Journal analysis.

A Harvard economist estimates that those who’ve used subsidies to purchase insurance on the health care exchanges will fork over nearly $2,500 more per year. Those between the ages of fifty-five and sixty-four

could pay almost $7,000 more, as the AHCA specifically allows insurers to jack up rates on older Americans. Most of the plan’s benefits, meanwhile, will go toward the highest earners. According to the Tax Policy Center, those in the top 1 percent would receive an average tax cut of $33,000; in the top 0.1 percent, almost $200,000.

Most troubling, perhaps, the last week has afforded us a glimpse of the social-Darwinist prism through which top Republicans apparently view the less affluent. On Sunday, Ryan admitted that his plan would cover fewer people, but he shrugged it off because “we’re not going to make an American do what they don’t want to do.” In other words, people who would no longer be able to afford health insurance would be “choosing” to forgo it, and that’s OK. Then there’s U.S. Representative Jason Chaffetz of Utah, who, like Ryan, believes poor people make poor decisions. “You know what,” he lectured last week, “Americans have choices, and they’ve got to make a choice. And so maybe, rather than getting that new iPhone that they just love and want to go spend hundreds of dollars on, maybe they should invest in their own health care.”

This talk of “freedom” elides a crucial point.

If you can’t afford health care, not having it isn’t a choice. For all its design flaws (e.g., not having a public option or Medicare buy-in)— many exacerbated by Republican sabotage (e.g., nineteen states, including North Carolina, not expanding Medicaid)—the ACA recognized that. So while some premiums have spiked and several insurers have bailed, the subsidies and Medicaid expansion have also brought the uninsured rate to an all-time low.

The Republican replacement isn’t concerned with that stuff. Instead, it’s rooted in the Randian ideas that the poor are lazy or make bad choices and that health care isn’t a right but a privilege—and that privilege comes secondary to the tax burden placed upon the wealthy. jbillman@indyweek.com

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P U S

C M O R E H ER

LPE E H T A TH S C I M O C END G E E H L T P O O R N S T TO A H I P - H U T E R IELS OOLKID IN N A D C C .” M H O L I C S C H .

M .

D “ ELDS DA R RYML U TAT E A C AT I F T R Y CU B

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D

JUSTICE FOR ALL PEOPLE

Justice for All People is a donation-led nonprofit organization that is manned by a team of more than 50 volunteer civil rights lawyers. We are inspired by the indomitable spirit of Martin Luther King, Jr., and aim to emulate his strength and determination. We’ll put our more than 15 years of civil rights experience to work for you as we tackle cases in Chicago, Illinois, and anywhere in the United States.

Darryl "D.M.C." McDaniels PHOTO COURTESY OF D.M.C.

A

conversation with Darryl McDaniels is as fast-paced and layered as a good comic book, and that makes sense.

Most people know McDaniels as the tracksuit-wearing, Adidas-sporting “D.M.C.” half of rap legends Run-D.M.C. But comic book fans know him differently, as a teacher turned superhero in critically acclaimed graphic novels and as the founder of Darryl Makes Comics, the company behind those stories.

This weekend, McDaniels comes to Raleigh for NC Comicon: Oak City at the Raleigh Convention Center, which features two days of comics dealers, panels, cosplay contests, an eighties cartoon-themed gala, and much more, with guests including industry legends such as Larry Hama and Neal Adams. McDaniels will participate in a panel on diversity in the industry, “Black Heroes Matter,” at 1:45 Saturday afternoon with Afua Richardson, Tabitha Stark, and Eddie Newsome. He'll discuss his career at another panel at 1:30 p.m. Sunday.

McDaniels has been an avid comics fan since childhood, and his enthusiasm surges through the phone. Despite his busy sched-

757-977-8435 • www.justice4 all people.net NC COMICON: OAK CITY

Saturday, March 18 & Sunday, March 19, $15–$60 Raleigh Convention Center, Raleigh www.nccomicon.com/oak-city ule—he has an upcoming trip to work on a music video with Canadian metal band Slaves on Dope and Public Enemy’s Chuck D— McDaniels clearly relishes talking comics.

“Every time you go to a comic con you discover something new. That’s where the fun of it is,” he says. “When I first started going, I would see these old issues I had as a kid and be like, ‘Oh man, that’s dope!’ It’s always a great experience to relive whatever you’ve been into since you were first infected by it. It’s nostalgic but it’s really educational for me.”

McDaniels is a true comics geek, not a dabbling dilettante. His conversation darts from the comics of his youth to Marvel’s controversial hip-hop variant covers project and then to characters on today’s pages, noting where diversity is lacking and where it’s present.

“If you grew up in the sixties and seventies, you knew about Black Panther and Falcon,” he says. “But growing up, I loved Peter Parker.

I went to Catholic school my whole life, and the Catholic school kids were always picked on because we had to wear uniforms every day. That’s why I related to Peter Parker. I liked that he was smart. When he got bit by

INDYweek.com | 3.15.17 | 13

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LENNY needs a home. Rescued at 8 weeks from a dire situation in Mexico, Lenny is now a handsome, healthy, active 60 lb mixed breed looking for his forever home. He’s housebroken, neutered, and up to date on all vaccinations. Lenny crossed the border (legally!) in December and just celebrated his first birthday here in NC. He loves walks in the woods, chasing tennis balls, car rides, playing with his four-legged buddies at Green Beagle Lodge, and hanging with his favorite two-legged pals. He’s attending obedience classes and has learned basic commands.

Lenny would love a forever home that has outdoor play space, another doggy playmate, ample cuddle and exercise time with a family or individual that has older (or no) children. His compatibility with cats is unknown.

This pup has a lot of love to give and will only be adopted out for the right family.

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14 | 3.15.17 | INDYweek.com

the spider, that’s when he became a badass.

I was this little Catholic school kid who liked rhyming, and then Run-D.M.C. happened.”

Teaming with Joseph Simmons (Run) and Jason Mizell (Jam Master Jay) may have been the radioactive-spider moment that propelled D.M.C. to rap superhero status, but he was still a shy teen. So he drew upon what he knew best: comics.

“It all came from me pretending to be a DJ or MC. I thought, ‘I’m going to pretend to be the most powerful force in the universe.’ I would hear a beat and say to myself, ‘What would Hulk do on this?’ or ‘What would Spider-Man do?’ I was really getting into Thor when ‘King of Rock’ came along,” he says.

“Thor was the God of Thunder, the son of Odin. I thought about what I would tell Thor if I was fighting him.” His cadence changes, and his volume increases: “‘I’m the King of Rock/ there is none higher,’ and I’d hold the mic up like it was Thor’s hammer.”

He goes on to describe how the lines “Now we crash through walls/cut through floors/bust through ceilings/and knock down doors” is pure comic book imagery.

Then he segues into “Son of Byford”: “I was born son of Byford, brother of Al/Bad as my mama and Run’s my pal/It’s McDaniels, not McDonald’s/These rhymes are Darryl’s, those burgers are Ronald’s.”

“It all came from that comic book imagination, that make-believe,” he says. “I always tell kids, don’t be afraid of imagination and makebelieve. Just look at those words, ‘makebelieve.’ You’ve got to make people believe it and it will come true, like it all came true for me. Reading, drawing, and writing every day gave me an imagination, an edge. That’s why Run wanted me in the group.”

For McDaniels, turning that imagination from comics to hip-hop and back again has been seamless.

“People were getting mad about the Marvel hip-hop covers,” he says of a project that saluted iconic album art but earned criticism from people who said it smacked of cultural appropriation. “What the hell you mad at? It’s not a thing where you had to force diversity down our throats. Hip-hop and comics have always had a relationship.

Look at Wu-Tang Clan.”

Still, some attempts at diversity, whether well-intentioned or blatant efforts at quelling backlash over the lack of it, can come across awkwardly.

“You don’t have to make Thor black,” McDaniels says. “Miles Morales as SpiderMan was great. But why can’t you just make a new hero who’s black or Latin? Why not introduce a new superhero that’s Muslim who all the other heroes respect? Show people that everyone is cool.”

According to McDaniels, diversity already

WANT MORE HIP-HOP COMICS AFTER YOU READ D.M.C.?

HIP-HOP FAMILY TREE Ed Piskor’s Eisner Award-winning multivolume series began in 2013. Piskor, who worked with such underground comics figures as Harvey Pekar, delivers an engrossing history of hip-hop. “What he did is so brilliant,” Darryl “D.M.C.” McDaniels says. “He is doing what people do in film but through the medium of comic books. It’s phenomenal.”

SENTENCES: THE LIFE OF M.F. GRIMM A raw work detailing the life of rapper Percy Carey (aka MF Grimm) drawn

by Ron Wimberly, who worked on the first issue of D.M.C. This 2007 release is worth seeking out.

TWELVE REASONS TO DIE A six-issue companion series that accompanied Ghostface Killah’s 2013 album of the same name. The bloody story captures the music’s pulp feel perfectly.

THE NINE RINGS OF WU-TANG This 1999 comic from Avalon Studios features the entire clan—RZA, Raekwon, Masta Killa, Osiris (ODB), and the rest—in a tale of mystical martial artists battling ancient evil.

EMINEM/THE PUNISHER This 2009 team-up from Marvel has Detroit’s Eminem working with Frank Castle and avoiding a hit man hired by the Parents Music Council. Really. In terms of serious quality, this pales compared with the others on this list, but it’s bizarrely goofy enough to merit a mention.

—Curt Fields exists among the creators of comic books.

“It’s the companies, the creative heads, who need to be more open to giving new, diverse characters an opportunity,” he says. “This is true of all the arts. A lot of times the things that are needed aren’t given an opportunity.”

As such, he’s justifiably proud of the D.M.C. graphic novel, where a variety of comics pros script and illustrate his stories.

“We didn’t want to make just another black hero. We wanted to make another cool-ass hero,” he says. D.M.C.’s “not a rapping superhero. He never meets Run in this world. He’s

“I would hear a beat and say to myself, ‘What would Hulk do on this?’ or ‘What would Spider-Man do?’”

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a graduate from St. John’s and a teacher. You look at his students and there are blacks, Asians, Latin students, whites. Our pop-culture world should be reflective of our audience walking the floor of the comic con.”

In the graphic novel’s first installment, set in 1985 in New York City, D.M.C. is a junior high school English teacher by day and the protector of a disheartened citizenry at night. As the series progresses, McDaniels weaves in characters like LAK6, a thirteenyear-old Puerto Rican graffiti artist. The third issue comes out in April.

The creative process typically begins when McDaniels and his partner in the company, Edgardo Miranda-Rodriguez, sit down with Riggs Morales, a senior editor, to talk out the story. “We talk it all the way through.

Here are the players, here is where we want it to happen,” McDaniels says. Then they bring in the writers and go over it with them, taking their input.

Darryl Makes Comics has attracted some serious talent. Ron Wimberly (creator of the

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mic books. eads, who w, diverse s. “This is the things portunity.” ud of the variety of is stories. ther black r cool-ass ng superworld. He’s

amazing Prince of Cats) was part of the team working on the debut issue. Amy Chu (Poison Ivy, Red Sonja) was part of the secondissue squad.

Since he drew as a kid, we wonder if McDaniels might ever try his hand at illustrating a story. He responds with a laugh, and says, “I’ve got to start brushing up on my skills. Maybe someday.”

Also in the maybe-someday category: a film or Netflix-style series based on D.M.C. “From the first issue we were getting approached,” he says. “I’m so humbled, but it’s scary too. We want to be known for making dope comic books first. I want the executives of the studios to become a fan of my comic book, not just of the character. Besides, we can’t just throw it out there with Marvel and DC. When I come with it, I’ve got to come next-level with it. My vision is, a hundred years from now, when they talk about Marvel, DC, Fred Flintstone, Bugs Bunny, I want all the D.M.C. characters to be iconic like that.” arts@indyweek.com

Casino Party Saturday 3/18 7-10 pm Folks - Please indicate your presence by the weekend for the party on 3/18.

If you are coming please indicate the game you want to play.

Also remember costs are $30 each up to 2 persons and additional folks pay $15 each.

We will have snacks, prizes and lots of fun.

The best prize is 1-way travel to any place in the US except for either Hawaii or Puerto Rico.

Please respond one way or the other

by Saturday this week so I can hire enough dealers for the party.

Thom Nelson 919-818-9875 School for Vegas 1401 Diggs Dr Ste A • Raleigh, NC 27603

DIVERSITY MATTERS AT NC COMICON: OAK CITY Among the cornucopia of exhibits, vendors, cosplay contests, and other events at NC Comicon: Oak City are almost four dozen panels on topics such as “The History of IDW” and “Girls in Gaming.”

Other notable panels include “Black Heroes Matter” and “Down with the King,” both featuring Darryl “D.M.C.” McDaniels; “B Movie Magic” with Ron Fazio from the Toxic Avenger films; “The Past, Present and Future of Female Superheroes;” “Diverse Comics for Kids;” “Science in Games;” and “Love Is Love.”

Matthew Conner, a panel coordinator for NC Comicon, will be on the “Love Is Love” panel. He says that over the past few years, whenever there was a panel that specifically addressed LGBTQ representations in comics, it always met with an enthusiastic response. Unfortunately, some years the topic was bundled in a general diversity discussion, which made it hard to get too complex.

But, Conner says, “last year at the

Durham con we had multiple breakout topics about gender. One about queer issues was packed twenty minutes before it started. We could see there was an audience for it, and with everything going on politically, such as HB 2, it feels like the LGBTQ community is eager to talk about this.”

The panel will be moderated by Cap Blackard of the Nerdy Show Network. Its approach will be broad but Conner says the conversation will likely include some of the panel's favorite queer characters, thoughts about straight creators writing queer characters, and the need for queer creators to have greater opportunities.

Conner will moderate four other panels, including “The Art of Afua Richardson,” a Q and A with the artist (“She always steals the show on any panel she's on so we decided she needed her own,” Conner says) and a Q and A with Jeremy Whitley, who's been making waves writing the new The Unstoppable Wasp series and using it to spotlight women in science. —Curt Fields INDYweek.com | 3.15.17 | 15

Living Waters FOR ITS WEEKLONG TRIANGLE RESIDENCY, THE NILE PROJECT LAYS DOWN SUSTAINABLE SOLUTIONS—AND A NEW RECORD, TOO

BY ALLISON HUSSEY

16 | 3.15.17 | INDYweek.com

P H OTO S BY B E N M C K EOW N

L

ate in the morning on an almost-spring Friday, Pittsboro’s gorgeous, golden brown Manifold Recording studio is buzzing. Two engineers are troubleshooting some patching cables on a massive recording console. Musicians chatter excitedly in multiple languages as they prepare for the day’s work. They’re members of The Nile Project, a collective made up of a dozen musicians from eight of the eleven countries—Egypt, Ethiopia, Kenya, Sudan, South Sudan, Eritrea, Uganda, Tanzania, Rwanda, the Democratic Republic of the Congo, and Burundi—through which the Nile flows.

The group first arrived at Manifold last Thursday, but much of the first day there had been dedicated to setting up gear and microphones. By Friday, the band is ready to lay down pieces of its third album: soaring vocal parts sung in Swahili and Arabic, electric guitar and bass, plus an array of percussive instruments that boom, pop, snap, and rattle in turn.

But how did a group of a dozen musicians from halfway across the globe land in an out-of-the-way, state-of-the-art studio in North Carolina?

The answer lies with NC State LIVE, the university’s performing arts arm. In 2015, the organization signed on to bring the group to Raleigh for a week of programming that includes a concert, a documentary screening, multiple discussions, and a culminating festival at N.C. State’s Stafford Commons. The music, as it turns out, is a bit of a Trojan horse for a larger effort: to highlight issues of water use and sustainability around the globe, not just in the Nile basin. Countries surrounding the Nile have been embroiled in conflict over allocating the river’s waters for decades— there’s not enough water to accommodate the rapidly growing populations of the river's surrounding countries, which currently sit at about 450 million people.

“The solution is to find ways of using this water better,” says Mina Girgis, who cofounded The Nile Project in San Francisco in 2011.

“Find creative ways, innovating in the way we irrigate, innovating in the way we use food, using virtual water ideas to exchange resources between these different countries. That thinking is not going to come from politicians and hydrologists alone.”

That thinking, Girgis says, will come from people who don’t necessarily consider themselves water professionals: engineers, farmers, educators, anthropologists, fishers, journalists, and others.

“In order to get these people to start seeing these connections and seeing their relevance to the water problem, they need to first be curious about each other, be curious about the Nile,” Girgis says.

The ultimate goal of The Nile Project, he says, is to encourage citizens in the Nile basin to collaborate creatively with one another, while inspiring American audiences to turn to similar issues that affect them. States like North Carolina might not struggle specifically with water scarcity, but they often have other water issues that could benefit from the same solution-oriented brainstorming approach.

Girgis and company hope to use their global appeal to spark local action. As Girgis puts it, the most important part of The Nile Project’s concerts is engaging audiences after the show.

“If we don’t give them the opportunity to translate that ephemeral artistic inspiration into intellectual, critical thinking around the water issues, they won’t connect the dots to change their behavior or to engage in a way that’s productive beyond the musical experience,” he says.

Girgis’s day-to-day role with the group is as a producer, managing the scores of moving parts that power The Nile Project. Many of those parts are the musicians themselves, and because The Nile Project’s lineup changes from year to year, Girgis is responsible for

Left Bassist Ahmed Omar records with guitarist Dave Otieno inside Manifold's main room.

INDYweek.com | 3.15.17 | 17

Left to right: Ahmed Omar, Selamnesh Zemene, Michael Bazibu, Ibrahim Fanous, and Asia Madani

Recording engineer Wolfgang Aichholz adjusts Manifold's massive board.

Jonathan Byrd several years ago. recruiting fresh talent. His outreach efforts Ordinarily, a high-tech studio like Maniinclude his personal research and scouting, fold would be well out of The Nile Project’s plus online calls for auditions and word of recording budget. According to the pricing mouth. schedule on the studio’s website, the group’s “It’s not a very simple way to find the musifour-day run, plus two extra sessions schedcians. We have to check so many boxes—cululed for March 18 and April 9, would run close tural representation, languages that they’re to $11,000—a huge chunk of change for any singing in, instruments they play—so that we band, and an even bigger hurdle for a nonhave all the different ranges that we can make profit operation. an ensemble that plays coherent music,” GirBut Michael Tiemann, who owns Manigis says. fold, helped orchestrate a win-win scenario “They’re all traditionally rooted, but also for the group: to help cover the costs of recordopen and flexible to learn other traditions ing at his studio, Tiemann suggested that N.C. and incorporate them into their musical repState help solicit a handful of donors to chip ertoire,” he adds, noting that the ensemble’s in for the band’s studio time, with the reward nonheirarchical format dictates that everybeing the privilege of sitting in at Manifold one has to be a versatile team player. That’s while the group clearly the case records Tana. That with the current THE NILE PROJECT money would help lineup. At ManiWednesday, March 15, 7:30 p.m., $8–$30 cover the band’s fold, they warmly NCSU's Stewart Theatre, Raleigh costs while satisfytease one another, For a full schedule of events, see ing N.C. State affilimuch in the same live.arts.ncsu.edu/the-nile-project-at-nc-state-live ates, and Tiemann way siblings do, gets to show off his and swap pointspace, too. It’ll likely be a long while before ers about their instruments. Between takes, Tana hits store shelves, but with the ensemKenyan percussionist Kasiva Mutua gets tips ble’s brilliant musicianship and Manifold’s on drumming technique from Adel Mekha, technical might, it’ll be well worth the wait. who hails from Egypt and Nubia; later, Mutua Back in the mixing room, the musicians eggs on Ugandan percussionist Michael Bazireconvene after tracking “Fulani,” their first bu as he toys with a guitar. song of the day. Several squeeze together on Though most of their public appearances a long black leather couch and joke around, are in Raleigh, the group’s side venture in and as the music they recorded pours back Pittsboro is to record its third album, titled through the studio monitors, they bob their Tana, after the lake that serves as the source heads along, grinning. Everyone’s pleased for the Blue Nile in Ethiopia. with the combined efforts. There’s still a “We’re hoping that this album would give long road ahead for these musicians—a a better sense of the music that we have. record to finish, plus the rest of a three-andOur music evolves every year because we a-half-month tour across the United States have a collective, and the members change, that stretches for several more weeks. But and the repertoire changes,” Girgis says. They for now, it doesn’t seem as though things can connected with Manifold through Andrew get much better.

Reissiger, The Nile Project’s music program ahussey@indyweek.com director, who worked closely with Carrboro’s

Ugandan drummer Michael Bazibu records his part of Tana's "Naloona Sielewi."

18 | 3.15.17 | INDYweek.com

indyfood

LIVING KITCHEN

555 Fayetteville Street, Suite 100, Raleigh 201 South Elliott Road, Chapel Hill www.livingkitchen.com

Alive and Well

LIVING KITCHEN REINVIGORATES VEGAN FOOD—AND YOU WOULDN’T EVEN KNOW IT

BY EMMA LAPERRUQUE

M

inimalism is having a moment.

“Tiny” is an architectural style (micro-apartments, tiny houses).

“Declutter” is a design aesthetic (white walls, a succulent or two, zero tchotchkes). In the culinary world, what isn’t in your fridge and pantry matters more than what is.

Living Kitchen—a restaurant native to Charlotte, now with two sister locations in Raleigh and Chapel Hill—prides itself on what it doesn’t have. No animal products.

No soy. No GMOs. Almost no gluten. Almost nothing cooked. Yet its menu is massive. The drink list alone lists sixteen smoothies and eleven juices, plus a variety of coffees, teas, wines, and beers.

So when it comes to food, is less really more? Living Kitchen thinks so—and its cashew mascarpone makes quite the argument.

Juliana Luna opened the original location, called Luna’s Living Kitchen, in 2010. She grew up in Colombia and trained in hospitality across Europe before settling in the States.

Just a year into her first venture, Stephen Edwards, a businessman with a background in “health food,” dined at the restaurant and approached Luna about expanding.

Both the Raleigh and Chapel Hill locations are spacious, filled with sunlight and raw wood, big, green plants, and bright, colorful paintings. A second location in Charlotte is slated for this spring.

Which can’t help but make me wonder: Just how many raw, gluten-free vegans are there in North Carolina right now?

A generation ago, a vegetarian identity was just progressive enough for our country.

The legendary, hippie-souled Moosewood Restaurant opened in Ithaca, New York, in 1973, and was named “one of the thirteen most influential restaurants of the twentieth century” by Bon Appétit magazine. Perhaps more than anything else, Moosewood proved that you don’t have to be vegetarian to enjoy, and even seek out, vegetarian food.

It seems that Living Kitchen’s aspiration is to fulfill a similar role, but geared toward

Living Kitchen’s manicotti with zucchini and cashew ricotta PHOTO BY ALEX BOERNER the trendy diets of today. And they do vegan very well—well enough to make you start Googling vegan cookbooks. The cashewcoconut yogurt, layered with buckwheat granola shards, berries, and banana slices, makes your nonfat Greek seem vanilla.

The lemon-berry cheesecake is baby pink and ivory, like a candy striper, with an almost gooey pecan crust. It isn’t cheesecake, in the way an eighty-degree day in February isn’t winter, but we roll with it because it feels good.

Some items never set out to be vegan; they

were just born that way. These are reliable picks. The massaged kale salad, with roasted oyster mushrooms, carrots, radishes, and cabbage, comes with a slightly sweet, very bright orange-ginger dressing. The salad can be ordered as a side, but you’ll want the entrée.

The sunflower seed hummus—apparently non-GMO chickpeas are a rarity—comes in three colors. And if you are seated but not greeted for fifteen minutes, like I was, it’s on the house. The service, overall, is well meaning and well informed if a bit uncoordinated.

That hummus, though: There is lem-

ony parsley, yellow curry, coppery chipotle.

The last, with its rush of spice, will leave you teary-eyed. The accompanying sundried tomato, sesame, and flaxseed crackers should be sold by the bag, like the chocolate chip cookies or cacao granola.

Smoothies and juices will cost as much as your food, if not more ($8.50 and $9.50, respectively, for sixteen ounces). Still, the names are better than nail-polish color labels: El Greengo, Incan Warrior, Purple Porpoise Magic. Get started with the Gateway Green juice, with kale, apple, orange, INDYweek.com | 3.15.17 | 19

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INDY: Ho Columbia and Oracle TOP: Cold-pressed juices BELOW: Living Kitchen’s Chapel Hill location PHOTOS BY ALEX BOERNER ROD ARG have been been for A The Living Bagel, made from almonds, ken up. W lemon, and ginger. For next time, I have my flaxseeds, and zucchini, is less New York thought it eyes on My Daily Salad, with carrot, zucchini, City and more marathon aid station—dark- some grea tomato, cucumber, kale, celery, garlic, lemon, colored, gummy, and dense. I missed the out and it cayenne, and Himalayan pink salt. Or, I could hole, the fluff, and most of all, the crust. But decided to buy The Signature Cleanse, with a day’s worth maybe someone with celiac disease would paths. At of seven juices, for $58. (But I won’t.) feel differently.

Gluten-free is hit or miss. The Tomatico the UK an The raw pad Thai, with spiraled zucchini, He went b Tart is sublime. And its crust is made from sweet potato noodles, and a spicy almond I’ve found sprouted almonds, which are somehow butbutter sauce, had me wondering whether have to rel tery, crumbly, and salty—and all the better inevitable comparisons to more familiar have it and when filled with cashew mascarpone, then foods hurt or help Living Kitchen. piled high with arugula, shiitakes, and cherAl said, On one hand, such comparisons set expec- release it.” ry tomatoes. tations that are impossible to meet. But on “Butcher’s The quinoa-millet burger is best in its the other, Living Kitchen never meant to my favori “Fire & Brimstone” form, with that spicy meet them. It meant to shake them up—to be a single. T hummus and guacamole. It can be served on creative and playful and delicious. And, most “Friends o gluten-free sourdough or wrapped in a colof the time, it is. lard leaf. I opted for multigrain toast, though release, th food@indyweek.com Over a per the patty didn’t quite fill out the bread.

indymusic F

ifty years ago this June, the English rock band the Zombies began recording a lush, Mellotron-tinged masterpiece of melodic, intricate pop called Odessey and Oracle. Though it reflected and refracted its Summer of Love provenance right down to its trippy, unintentionally misspelled title, the album tanked on release. In fact, its eventual acknowledgment as one of the finest LPs of that heady era is largely the result of a particularly inspired A&R man and a Midwestern deejay who truly believed that the record’s third single was the one. Otherwise, the record might well be an obscure relic today.

Happily, late-blooming love for that misbegotten platter has led to a thriving second life for these Zombies. On Monday, the four surviving members, along with longtime musical cohorts, will perform the record in its entirety, from “Care of Cell 44” through that semiposthumous No. 1, “Time of the Season.” In defiance of time, they’ll do all the songs in the original keys. In acknowledgement of time, they won’t play it again after this tour. Rod Argent, the band’s main songwriter, whose keyboard work, along with Colin Blunstone’s dreamy vocals, are the band’s signature, spoke with us about a record like no other.

INDY: How instrumental was [musician/ Columbia A&R man] Al Kooper to Odessey and Oracle?

ROD ARGENT: That record would never have been released [in the U.S.] if it hadn’t been for Al. We’d given up on it. We’d broken up. We’d made the album and loved it, thought it was the best we could do. It got some great reviews, but the first single came out and it didn’t get played in the UK, so we decided to break up and move on to other paths. At that time, Al Kooper came over to the UK and picked up two hundred records.

He went back to Clive Davis and said, “Look, I’ve found one exceptional album and we have to release it.” And [Davis] said, “Well, we have it and we’ve passed on it.”

Al said, “You can’t pass on it, you have got to release it.” So he released it, and they released “Butcher’s Tale” [as a single], which is one of my favorite tracks on the album, but never a single. That didn’t do anything, and then “Friends of Mine” didn’t either. As a third release, they released “Time of the Season.”

Over a period of about six months, it gradually

THE ZOMBIES

Monday, March 20, 8 p.m., $33–$190 Carolina Theatre, Durham www.carolinatheatre.org

Resurrected Rapture THE ZOMBIES’ ROD ARGENT REFLECTS ON FIFTY YEARS OF ODESSEY AND ORACLE, THE CLASSIC RECORD THAT ALMOST WASN’T

BY DAVID KLEIN

The surviving original Zombies PHOTO BY PAYLEY PHOTOGRAPHY spread because only one DJ played it, in Boise, Idaho. Six months later it was number one.

In retrospect, isn’t “Time of the Season” the obvious single?

The thing is, things always seem obvious in retrospect. But I was probably the only one

in the band—I remember saying to [bassist/ composer of seven songs on Odessey] Chris White, “You know, this is a hit single,” because it seemed to have some of the qualities I love most about the Zombies. It had that freshness. It had a little bit of a jazz element to it, a little improvisation to it, but also a bass and

drum riff which was integral to the song, just like in “She’s Not There,” the very first thing I ever wrote. It’s a bass and drum riff, really, to go with the opening blues-influenced melody.

And it seemed to capture, in a quite natural way, the things that had given us another number one at the beginning of our career.

“Tell Her No” has that jazz element too.

Those are serious jazz chords.

We’d just been on tour with Dionne Warwick, and she’d been doing some Burt Bacharach material. I’ve always loved his songs and his writing, and I was intrigued by the fact that he was using such jazzy chord sequences and voicings, and I thought, I just want to introduce some of that into a song. It’s a very simple song, but it has these very jazzy majorchord voicings.

Odessey and Oracle is a rare record in so many ways. It opens with “Care of Cell 44,” a tune about a man waiting for his girlfriend to get out of jail.

I got the original germ of an idea of a jaunty little love song. I think, when I started writing, it was a beautiful morning, and a little phrase occurred to me: “Good morning to you/I hope you’re feeling better, baby.” And then I suddenly thought, hang on. It’s a bit ordinary. And I just started to weave the story from there. You know—why would somebody be really excited because someone was coming back after a long time from something that is imposed on them? And it became a prison song.

How gratifying is it to have Odessey and Oracle mentioned as a classic among albums like Pet Sounds, Forever Changes, and Sgt. Pepper's Lonely Hearts Club Band?

It’s extraordinarily gratifying, because it almost didn’t come out. Colin says sometimes, when people go mad about the record, which they do, “Well, where were you when it came out, when we had to break up because nothing was happening?” I said to him, “Look, Colin, how many people whose records failed at the time have never been heard of again? How many people who had hit records at the time never get their records rated or played now?”

It’s extraordinarily satisfying, not only that the album has life, but it still seems to be able to relate to the current generation. dklein@indyweek.com INDYweek.com | 3.15.17 | 21

music

RAUND HAUS PRESENTS ASTRONAUTICA

Saturday, March 18, 10 p.m., $10–$12 Kings, Raleigh www.kingsraleigh.com

Haus on Fire

IN DURHAM, AN AMBITIOUS GROUP OF BEAT MAKERS ARE BUILDING THEIR OWN HOME FOR ELECTRONIC EXPERIMENTATION

BY ERIC TULLIS

L

ast spring, Moogfest’s inaugural takeover of downtown Durham made a strong case that the city could be a burgeoning hub for experimental electronic music. But months before the festival, and on a much smaller scale, a local extended family of instrumental hip-hop and electronic beat makers known as Raund Haus had already launched its own eclectic incubator for a new generation of producers to showcase an assortment of funky head-nod fantasies.

“There were all of these cats in the area who made beats, and we just wanted to provide something that everyone could enjoy and somewhere that the beat heads could call home,” says Randy Maples, the twenty-one-year-old beat artist and Raund Haus cofounder who performs as Trandle. “We didn’t want them to feel like they had to be secluded anymore.”

Initially, he shared this sentiment with Nick “Gappa” Wallhausser, a thirty-twoyear-old Durham native and hip-hop enthusiast, who returned to his hometown after spending six years in Nagoya, Japan. But for the past year, Raund Haus organizers— Maples, Wallhausser, and David Huber, plus producers Daniel del Rosario (Drozy) and Kathryn Liang (awaymsg), and visual artist Blaine Carteaux (Coolboy36)—have provided those spaces for their own core members and affiliates through day parties on the patio of Ninth Street Bakery, a series of bargain-bin sample challenges at Bull City Records, even a limited-edition cassette release, RH-001.

But Raund Haus’s true home is The Shed, a cozy venue nestled just inside the Golden Belt complex on East Main Street.

“The space has always worked best for people who have a specific arts or music agenda rather than people who are just looking to throw a party,” says Daniel Stark, who opened The Shed in late 2014. The venue hosted Raund Haus’s first showcase in February of last year and has continued to welcome the group into its space.

“Raund Haus definitely brought that to the table in terms of having something 22 | 3.15.17 | INDYweek.com

Raund Haus is Daniel del Rosario, Nick Wallhausser, Randy Maples, David Huber, Blaine Carteaux, and Kathryn Liang where it’s really a main attraction kind of show,” Stark says.

He notes that, from what he’s observed, the Raund Haus crew is more focused on their craft than on gaining exposure. Since they don’t have to promise a party to market their shows, they’re free to focus on sharpening their creative output to optimal levels.

Raund Haus may be an organic, Durham-grown effort, but the inspiration for it came from Los Angeles. David Huber, aka Hubbble, grew familiar with L.A.’s weekly beat club, Low End Theory, during two summers he spent interning at the L.A.-based

Alpha Pup Records after graduating from USC. Cofounded by Alpha Pup owner Daddy Kev in 2006, Low End Theory was, in the words of writer Mike Rubin “an often-exhilarating collision between the avant-garde and the dance floor.” It quickly became fertile ground for Madlib and any number of J Dilla aspirants, bass obsessives, jazz heads, and EDM eccentrics. Eventually, Low End Theory would become instrumental in cultivating a globally respected L.A. beat scene known for producing a breakthrough generation of experimental hip-hop beat scientists such as Nosaj Thing, Glitch Mob, Gaslamp Killer,

PHOTO BY ALEX BOERNER

and most notably, Flying Lotus, who’s one of Moogfest’s headliners this year.

Wallhausser admits that it was Huber— an event organizer by trade—who inspired the Raund Haus model. After hearing one too many idle conversations about the thenunnamed collective wanting to plan an event, Huber became the catalyst for launching Raund Haus. Perhaps it was the sense of community that Huber witnessed during his Low End Theory nights that gave him the audacity to believe that a similar scene could be duplicated in a city with only a fraction of the cultural cachet of L.A. Besides, what

would be more reflective of Durham’s newly touted creative and tech-forward scrappiness than a crew of experimental gearheads revitalizing the city’s music scene? Even so, that wasn’t the ensemble’s original mission.

“From the get-go, Raund Haus was just about having a place to play beats and seeing what the fuck happens,” Wallhausser says between sips of a craft beer in his living room. “Then, all of a sudden, all these people started showing up to watch these nerdy musicians play on their laptops or their weapon of choice.”

One such person was Hank Stockard, director of marketing for Redeye Worldwide, the Hillsborough-based music distribution company. After attending a few Raund Haus events and getting to know its core crew, he floated the idea of the crew forming Raund Haus Records under a digital distribution agreement with Redeye.

Months later, the idea came to life.

“It sort of dawned on me that for all these great events going on, there wasn’t really a nucleus, from a record label’s perspective, for all of these artists to put out music,” Stockard says. In his position at Redeye, Stockard’s relationships with new labels had exposed him to a fair share of what he calls “the SoundCloud mentality”—the tendency of artists to finish a song one night and upload it to SoundCloud by the next morning without any forethought to building a cohesive artistic narrative or brand.

Stockard helped guide Raund Haus toward its first official release, Maples’s debut LP as Trandle, hi key low key, which the collective celebrated along with its first anniversary at The Shed last month.

Technically, Maples had already experienced his coming-out moment as the lone Durham artist on last year’s Moogfest bill, but this night may have meant more to the Kenya-born Durhamite. Using a Roland SP-404 sampler during his performance as his treasure box of cuts from his new album, he finessed its knobs and buttons with intense concentration, as if controlling the weather with each transition.

“I like to analyze things when I’m playing,” Maples says. “I was just happy to be up there, and I just like to hope that the people in the audience are making connections with each other and feeding off of each other.”

Huber adds, “This is kind of a weird way to think about it, but people have Super Bowl babies because they were in the same setting together when their team won.

There probably won’t be any Raund Haus babies, because people aren’t necessarily bumpin’ and grindin’. But if cool ideas and interactions happen because of what we’re doing, we’ve done our job.” music@indyweek.com INDYweek.com | 3.15.17 | 23

indypage

Free Love

AS TRUMP TRIES TO ERASE LGBTQ HISTORIES, THE DURHAM COUNTY LIBRARY PUSHES BACK TO PRESERVE THEM

BY SAYAKA MATSUOKA Donald Trump had hardly been sworn into office when the LGBTQ rights page—along with other issues the Obama administration deemed important—vanished from the White House website. At a time when many marginalized communities’ rights and livelihoods are under threat, a Durham County Library online exhibit is strengthening the city’s LGBTQ community by preserving just what the new administration hopes to erase—its history.

Love + Liberation (www.durhamlgbtqhistory.org) showcases oral histories and artifacts from Durham’s LGBTQ community.

Organized by decade, the website features relics ranging from scanned documents and letters to audio clips and old photographs.

The exhibit’s main organizer, Luke Hirst (who uses they/them pronouns), was driven by their own experience as a queer Southerner to start a collection that carved out a space for the LGBTQ community. Hirst, a Florida transplant who has called Durham home for ten years, felt lost and isolated when they arrived in 2004, and says they found comfort in coming-out stories in books at the Durham County Library.

“I didn’t know about any stories of people like me existing before,” Hirst says. “It was very affirming.”

After talking with members of the LGBTQ community in the city and learning about events that cemented the community in Durham, like the early pride marches, Hirst began searching for documents and artifacts that would eventually compose the online exhibit. The project took off after Hirst met Lynn Richardson, then a senior librarian at the Durham County Library, at a documentary studies course at Duke in 2009.

After brainstorming together, they decided that the project would be a perfect fit for the North Carolina Collection, which collects and archives stories from different Durham demographics in the library’s permanent collection. Other collections are dedicated to the civil rights movement and 24 | 3.15.17 | INDYweek.com

the community donated, which resulted in fourteen large document boxes full of pieces of history. Now many of them have been scanned and organized in the online exhibit. Some of the most affecting pieces include the oral histories Hirst and Richardson collected through the Story Room at the Museum of Durham History.

The clips range from a lesbian woman talking about being referred to a psychoanalyst by her pediatrician to a black lesbian woman exploring the ways in which people with multiple marginalized identities face intersecting oppressions. Gay men are also represented widely. The “Greensboro Five” were murdered at an anti-Klan demonstration in 1979, and an anti-gay hate crime at the Little Flyer from Our Day Out, 1981 CREDIT: ALLAN TROXLER PAPERS, LGBTQ River bathing spot in North Durham County COLLECTION, NORTH CAROLINA COLLECTION, DURHAM COUNTY LIBRARY resulted in the death of the history of Durham soul music. a man who was mistakenly perceived as “The LGBTQ people of Durham have gay. According to the exhibition, these two made so many contributions,” says Richevents launched the Durham LGBTQ comardson, who headed the North Carolina munity into more public activism, which Collection for sixteen years. “It’s an activled to the state’s first gay and lesbian pride ist community and it has a history worth march, called Our Day Out, in the city’s telling.” downtown in 1981.

Hirst and Richardson began collecting Joanne Abel, a sixty-seven-year-old lesphysical materials like pamphlets, business bian woman who contributed to the project, cards, and photographs that members of remembers both events vividly and recalls

her experience at the first pride march.

“It was exciting but also a little scary,” remembers Abel. “We wanted to show that we were not going to be intimidated by the things that happened at Little River. It was about the community coming together.”

Abel worked at the Durham County Library at the time, and while she had out to her supportive coworkers, she hadn’t yet done so with her family.

“My family is very Southern Baptist. My parents sort of knew and were supportive privately but not publicly,” says Abel. She remembers that the parade organizers had to ask the merchants on the route if they could march in front of their stores, and even recalls some participants wearing paper bags on their heads for fear of retaliation.

“We didn’t live in fear and most people weren’t afraid, but some felt they could lose their jobs or their kids,” Abel recalls.

Five years later, in 1986, Abel helped put on a public exhibition showcasing LGBTQ history at the library, which met with some opposition from local churches but was backed by then-mayor Wib Gulley. Abel says that this online exhibit serves as a sort of continuation of the work that has taken place in the city for more than six decades.

“I’m glad this rich history is going to be preserved,” Abel says. “It’s a real affirmation that the community feels like it’s important enough to save. This project creates a safe and fun space for us. Everyone’s story is important.”

Those who wish to contribute their stories can do so by recording them at the Story Room in the Museum of Durham History or by calling the N.C. Room at the Durham County Library.

“We need to record our stories while we remember,” Abel says. “The more marginalized a community feels, the less likely they are to preserve stuff, but the library can do it for you. We need to appreciate our history and diversity and stand together and preserve what we can to be safe.” arts@indyweek.com

indyart

PARTICLE FALLS

Friday, March 24–Sunday, April 23, after sundown, free 14 East Hargett Street, Raleigh www.particlefallsral.org

Something in the Air

PARTICLE FALLS, A SPECTACULAR DISPLAY WITH A PRESSING ENVIRONMENTAL MESSAGE, LIGHTS UP DOWNTOWN RALEIGH

BY ERICA JOHNSON On a blustery night last February, twentyfive intangible artworks popped up on the Carrboro-Chapel Hill border. The public exhibit Shimmer: The Art of Light presented light art in myriad forms. Britt Flood roamed with a handheld projector to demonstrate how far one must travel when “Chasing the Muse.”

Meanwhile, Hye-Young Kim projected her boundary-pushing “Intimate Distances” on the wall of St. Paul AME. It showed two people closing their eyes and leaning in close while trying not to touch, emotional bolts reverberating through their faces when they inevitably did.

Soon, Raleigh will get a public light-art show of its own, but one that differs from Shimmer in two key respects. Instead of a single night, it unfolds over a whole month, and it adds a pressing environmental message to the visual appeal of light.

Designed by Andrea Polli, an artist and scientist, Particle Falls comes to 14 East Hargett Street from March 24 to April 23. Each day after sundown, a series of aqua-colored vertical lines suffused with animated fiery specks will light up the Empire Properties Building, across from the Raleigh Times Bar. As you peer up at the lights, the colors will fluctuate based on data collected from an air-quality sensor posted in front of the building, visually representing the particles entering your body with each breath.

Sponsored by a coalition of local organizations such as Clean Air Carolina, Particle Falls primarily aims to draw attention to the polluting effects of vehicle emissions, which North Carolina’s Department of Environmental Quality lists as one of the area’s leading air pollutants.

The project comes to Raleigh after runs in cities around the country, including San Jose, Philadelphia, and, most recently, Charlotte. Downtown Raleigh should give the sensor plenty of data to work with, as the Environmental Protection Agency cites Wake, Orange, and Durham counties as needing special attention to improve the

“Our end goal is really actions.

We hope people will walk or bike or take the bus to reduce emissions.”

Particle Falls PHOTO COURTESY OF CLEAN AIR NORTH CAROLINA

quality of their air.

“Our end goal is really actions,” says Heather Brutz, the Clean Transportation Specialist for the NC Clean Energy Technology Center, another of the exhibit’s Raleigh sponsors.

“We hope that people will do things like walk or bike, take the bus, or use alternative-fuel vehicles to help reduce the amount of transportation-related emissions.”

While Brutz’s organization often informs the public through workshops, campaigns, and brochures, Particle Falls takes a fresh approach, engaging through emotion and aesthetics instead of just data.

“I think that art appeals to people at a different level,” Brutz says. “By trying to get the message out in different ways, you reach different people.”

Of course, viewers can’t be expected to guess that the spectacular display of lights correlates to the quality of the air they are breathing, so most nights, the organizers will station volunteers outside to explain the significance of the display and advise spectators on ways to alleviate their negative impact on air quality. In all, it should make for a stirring public art experience, juxtaposing the pristine beauty of the lights with the invisible toxins they represent. Do yourself a favor and walk or bike to see it, rather than driving. arts@indyweek.com INDYweek.com | 3.15.17 | 25

3.15–3.22

MUSIC

SUNDAY, MARCH 19

MYKKI BLANCO

Explaining the hyper-creative work of Mykki Blanco in a hundred words is like trying to squeeze an elephant into a Volkswagen Beetle, but here’s a shot: Blanco is a deft rapper and hypnotic performance artist whose persona will knock you flat and whose clever, rapid-fire delivery will keep you there. After spending several years touring and releasing a handful of mixtapes and EPs, Blanco issued her first studio full-length, Mykki, last fall. The video for single “Loser” feels like a dispatch from another dimension, with Blanco dancing in elaborate costumes among writhing individuals who are immersed in virtual-reality headsets.

It’s a lot to take in, but your efforts to absorb everything Blanco does are rewarded immediately. Cakes Da Killa, Jooselord Magnus, and Luxe Posh open. —Allison Hussey KINGS, RALEIGH 9 p.m., $15–$17, www.kingsraleigh.com

STAGE

SUNDAY, MARCH 19

SINBAD

Unlike comedians who draw from their painful childhoods, Sinbad, who played high school basketball and later joined the Air Force, didn’t live a life of angst. That came later, after he’d been in the business long enough to go broke.

But the nineties must have been a magical time to be him.

After HBO aired Sinbad: Brain Damaged in 1990, the comedian’s career took off. He had his own sit-com, hosted SNL, starred in the box-office hit Jingle All the Way. And he had respect: a pair of NAACP Image Awards, a USO tour of Bosnia and Herzegovina with First Lady Clinton (and Sheryl Crow!)—classy stuff. So where did it all go wrong?

My guess is February 1999, when he made his first infomercial, for Tae Bo. Maybe not, but by the end of the aughts, he’d been named Worst Comic of All Time by the wags at Maxim magazine and he’d filed for Chapter 7 protection. Still, he’s never gone blue, and having endured being fired by the sitting president on Celebrity Apprentice, he has plenthy of offbeat experiences to draw upon—and that always makes for good comedy.

—David Klein MEYMANDI CONCERT HALL, RALEIGH 8 p.m., $27–$68, www.dukeenergycenterraleigh.com

MUSIC TUESDAY, MARCH 21

POLYORCHARD

Mykki Blanco PHOTO COURTESY OF THE BILLIONS CORPORATION

26 | 3.15.17 | INDYweek.com

Much like taking a dip in a flowing river, you never take in the same Polyorchard show twice. Combining elements of free jazz, classical music, and whatever the hell else they feel like, Polyorchard is a free-form experimental music collective that challenges—and often outright transcends— boundaries of genre and style. The group went on an extended hiatus that began in the spring of 2015, when leader David Menestres decamped for a spell in New Mexico. Menestres has since returned and so, too, has Polyorchard. The group has long relied on a revolving roster of players, and this week’s iteration features Laurent Estoppey and Charles Phanheuf on saxophones, New Music Raleigh cofounder Shawn Galvin, and Menestres on bass. Tuesday night’s gathering is the first in a monthly series at The Carrack that runs through August.

—Allison Hussey THE CARRACK, DURHAM 8 p.m., free, www.thecarrack.org

SUNDAY, MARCH 19 & MONDAY, MARCH 20

KWAME ALEXANDER

FINDER

WHAT TO DO THIS WEEK Kwame Alexander has already scored by combining basketball with life lessons in his 2015 Newbery Medal-winning young readers novel, The Crossover, a tale of two basketball-loving brothers told entirely in verse. His new book, The Playbook: 52 Rules to Aim, Shoot, and Score in This Game Called Life, takes this a step further. Using photos by Thai Neave as illustrations, the book features advice from the likes of Serena Williams, Nelson Mandela, Carli Lloyd, and Michelle Obama, along with Alexander’s own poetic words and stories geared to recent graduates. This could quite possibly become Oh, the Places You’ll Go! for a new generation. Alexander has two local appearances this week, the first Flyleaf-sponsored but taking place at the Chapel Hill Public Library, the second at Quail Ridge Books in Raleigh. —Zack Smith QUAIL RIDGE BOOKS, RALEIGH

Kwame Alexander PHOTO

I

I

now

3 p.m. Sun., free, www.flyleafbooks.com

7 p.m. Mon., free, www.quailridgebooks.com

BY BRIAN LAROSSA

WHAT ELSE SHOULD I DO?

ANIME-MAGIC AT THE CAROLINA THEATRE (P. 36), JEAN MICHEL DISSAKE AT THE SCRAP EXCHANGE (P. 33), MICHAEL HURLEY AT NIGHTLIGHT (P. 31), NAIMA YETUNDE INCE AT SO & SO BOOKS (P. 36), STEPHIN MERRITT & THE MAGNETIC FIELDS AT THE CAROLINA THEATRE (P. 29), NC COMICON: OAK CITY AT THE RALEIGH CONVENTION CENTER (P. 12), WHEN SHE HAD WINGS AT RALEIGH LITTLE THEATRE (P. 35), THE ZOMBIES AT THE CAROLINA THEATRE (P. 21)

THE INDY'S GUIDE TO THE TRIANGLE

CHAPEL HILL PUBLIC LIBRARY, CHAPEL HILL

on stands

INDYweek.com | 3.15.17 | 27

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3.15– 3.22

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CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Annalise Domeghenini (AD), Spencer Griffith (SG), Allison Hussey (AH), David Klein (DK), David Menestres (DM), Charles Morse (CM), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, MAR 15 BLUE NOTE GRILL: The Herded Cats; 8 p.m. • THE CAVE: Floor Model, Secret Boyfriend, Housefire; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The Holland Brothers; 6:30 p.m. • KINGS: Captured By Robots; 8:30 p.m., $13-$15. • MOTORCO: Scythian, Dissimilar South; 8 p.m., $15-$18. • NCSU CAMPUS: STEWART THEATRE: The Nile Project; 7:30 p.m., $8-$30. See page 16. • POUR HOUSE: Consider the Source, Felix Martin, Anamorph; 9 p.m., $10-$12. • RUBY DELUXE: Goth Night with DJ Bela Lugosi’s Dad; 10 p.m. • THE STATION: Saving Space Showcase: Cosmic Punk, Soccer Tees, Fish Dad; 9 p.m., $5.

THU, MAR 16 Earleine, Momma Molasses PLEASING Gentle and PIPES sweet—and occasionally buttressed by bright harmonies—Ashley Wright’s alluring voice makes Earleine stand out in a crowded roots scene, suggesting Norah Jones detouring into pastoral jangles.

Momma Molasses makes a fitting tour mate, matching haunting vocals with mournful folk shuffles as languid as the name suggests. Hank and Brendon join. —SG [THE STATION, $6/8:30 P.M.]

Jeezy TRAP Atlanta’s trap rap ORIGINS O.G., Jeezy, arrives in Raleigh on the heels of last year’s critically acclaimed Trap or Die 3, which found Jeezy going back to his roots with hard-hitting street rhymes and production courtesy of his original producer, Shawty Redd. —CM [THE RITZ, $35/8 P.M.]

Lightning Born SHOCK & Raleigh’s riff-driven AWE Lightning Born

draws its membership from the heaviest of local heavies.

Guitarists Mike Dean and Erik Sugg come from Corrosion of Conformity and Demon Eye, respectively; drummer Doza Hawes plays in Mega Colossus and used to play in Bloody Hammer. The group’s classic-rock swagger comes from singer Breanna Leath, who sang for The Hell No. Backwoods Payback and Gringo open. —PW [SLIM’S $5/9 P.M.]

N’Kogniito SOULFUL Durham’s annual CREW Art of Cool festival tapped RDU crooners N’Kogniito for April’s festivities, and a spin through their admittedly limited online presence indicates why.

The Kog’s sunny brand of lite-R&B teases together the effortless neo-soul sophistication of the Foreign Exchange with a touch of earnest nineties adult-alternative cheese. To keep it honest, on songs like “Normal,” they can scan as a cooler version of Seal—not necessarily a bad thing.

With Ecology and Dirty Dub. —DS [THE PINHOOK, $7–$10/9 P.M.]

Quiles and Cloud INDIE Aesthetically of a FOLK piece with bands like the world-dominating Lumineers, this highly tasteful San Franciscobased trio features a harmonyladen take on folk and country music. The band’s approach is perfect for those who like the idea of roots music but wish it didn’t always sound so old and scratchy.

Honey Magpie and Mountain Lions open. —EB [KINGS, $10/10 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • THE CAVE: Opin; 9 p.m., $5. • DEEP SOUTH: The Corey Hunt Band, Tyler Hatley, Todd Allmon; 8:30 p.m., $8. • IRREGARDLESS: 15-501 Music; 6:30 p.m. • LINCOLN THEATRE:

The Hip Abduction, The Get Right Band; 9 p.m., $12. • PITTSBORO ROADHOUSE: Bill Baucom; 6:30 p.m., free.

FRI, MAR 17 Vanessa Carlton 1000 It’s been fifteen MILES years since Vanessa Carlton tickled the keys and captured our hearts with her sweeping smash hit “A Thousand Miles.” The singer-songwriter has taken considerable strides since then, collaborating with everyone from Third Eye Blind frontman Stephan Jenkins to the immortal Stevie Nicks and swapping effervescent piano pop for artful indie rock. Carlton’s most recent album, 2015’s acclaimed Liberman, completed this stylistic metamorphosis, although her timeless warbled soprano remains. Nashville folkster Tristen opens. —ZC [LINCOLN THEATRE, $20/8 P.M.]

José James JAZZ + José James, a gifted R&B Minneapolis-based bandleader, weds an intuitive feel for slow-burning soul and R&B with his formal training in jazz, creating an appealing hybrid reminiscent, by turns, of Marvin Gaye’s lightly jazz-inflected bloodletting Here, My Dear, and the wondrously affecting featherweight crooning of Chet Baker. Corey King opens. —TB [MOTORCO, $25–$30/9 P.M.]

Robert Earl Keen TEXAS Whether you know FELLA this Lone Star State country and folk troubadour through his collaborations with Lyle Lovett, the covers of his tunes

by Joe Ely, or simply the long string of albums he’s been releasing since the mid-eighties that are consistently filled with sharply penned tunes, he’s become a roots music institution.

Wherever he roams, Keen brings a big, deep bag overflowing with

PHOTO BY MARCELO KRASILCIC

TUESDAY, MARCH 21 & WEDNESDAY, MARCH 22

STEPHIN MERRITT & THE MAGNETIC FIELDS Ultimate artistic freedom doesn’t always lead to ultimate artistic achievement. Sometimes a certain kind of stricture serves paradoxically as a freeing element that unleashes an entire weather system of creativity. Working under the Magnetic Fields moniker, Stephin Merritt has delighted in giving himself a series of challenging songwriting assignments, united by various limiting factors that would surely have had the storied songsmiths for hire at the Brill Building hiding under their desks.

He devoted one record to songs about travel and one to songs that start with the letter “I.” Three Magnetic Fields releases eschewed his beloved synthesizers. His best-known and most ambitious work, 1999’s celebrated 69 Love Songs, could easily have been a mere stunt, and a painful one at that, in the wrong hands.

His latest, 50 Song Memoir, is out this Friday in five-CD or -LP packages, courtesy of the storied Nonesuch Records. Comprising fifty autobiographical songs—one for every year of the now-fifty-one-year-old’s life—it would seem to hold similar potential for artistic overreach.

Fifty. Let that sink in a moment. Paul Simon couldn’t even name fifty ways to leave your lover. But we know that if anyone is up to writing a nonprecious song about being a toddler, it’s the prematurely cranky Stephin

Merritt, who, at age four, grew outraged at Pete Seeger for singing a terrible rhyme in “Little White Duck.” Knowing that about the Merritt persona, it comes as no surprise that in a song that looks at his younger years, “’74 No,” we learn that the singer did away with many of his delusions while still in his single digits.

Music is Merritt’s saving grace, of course.

“How to Play the Synthesizer” is a prime showcase for his skills, a cunning sequence of literal how-to instructions in his inimitable deadpan. Beginning with pulsing, oscillating synths, “’83 Foxx and I,” features a piquant opening couplet that neatly conjures the thrill of creation, the love of gear, and the writer’s naïveté: “Foxx and I have a Roland TB-303/ I should think it will be easy miming on top of the bus.”

Much to Merritt’s chagrin, the record will be downloadable, enabling listeners to pick and choose, or even play on shuffle. He recently told The New York Times, “I live in dread that people are going to download songs out of order, or have favorites.” For two nights in Durham, at least, you can hear all fifty songs live, in their right order, just as nature—or at any rate, Merritt—intended. —David Klein CAROLINA THEATRE, DURHAM 8 p.m., $10–$55, www.carolinatheatre.org INDYweek.com | 3.15.17 | 29

songs that combine satirical wit, eagle-eyed observations, and a touch of poetry. Raleigh’s Jeanne Jolly opens. —JA [CAROLINA THEATRE, $32–$113/8 P.M.]

To Be Heard Booking Launch Party LOUDER Upstart booking NOW agency To Be Heard—founded by The Cave owner Mark Connor, along with fellow local musician Justin Ellis— showcases the majority of its inaugural roster between two stellar, stacked bills of mostly Triangle-based talent. Body Games, Davidians, Al Riggs & The Big Sad, Majestic Vistas, and Ravary are featured Friday at The Cave, followed by Naked Gods, Wild Fur, S.E. Ward, Fluorescence, and Happy Abandon’s Peter Vance on Saturday at Slim’s. —SG [THE CAVE, $5–$7/8 P.M.]

Raleigh Blues Festival VINTAGE If you’re looking for a R&B twelve-bar, woke-upthis-mornin’ blues fix, you won’t

WE 3/15 TH 3/16 FR 3/17 SA 3/18 SU 3/19 TU 3/21

find it here—this evening should probably be called the Raleigh R&B Festival instead. Theodis Ealey channels Clarence Carter, and the rest are mostly old-school soul and R&B purveyors. The exception is Bishop Bullwinkle, whose Church of Nothin’ but Da Truth takes on duplicitous ministers. —GB [MEMORIAL AUDITORIUM, $37–$78/ 8P.M.]

Tortoise SLOW & More than a STEADY quarter-century into its career, renowned experimental rock group Tortoise still follows no internal logic but its own, exploring each of its muses and imbuing its long-form collage pieces and terse impressionistic numbers with punk-rock fearlessness. Its music nods to prog, dub, Krautrock, cool jazz, glam rock, electronica, and minimalism throughout its revered discography, but the resulting sounds have always been distinctly—even stubbornly—Tortoise’s own. After all this time, Tortoise remains largely peerless—risky, yet refined. Tara Jane O’Neil opens. —PW [CAT’S CRADLE, $15–$17/9 P.M.]

JIMI KING TRIO CAROLINA LIGHTNIN’ DUKE STREET DOGS ST. PATRICK’S DAY PARTY: JOE BELL & THE STINGING BLADES SUTTER’S GOLD STREAK ED STEPHENSON TUESDAY BLUES JAM

U4 Ee Ah DEEP Few souls in 1987 ZONES could have fathomed how weirdly populist American dance music would be in 2017. As rapidly commercialized subcultures go, this accessibility can lead to ahistoricism and lazy genre provincialism. But Nightlight’s smorgasboard of acid house, techno, and electro serves as a fine dive into deeper waters.

The lineup features Breniecia Reuben aka Luxe Posh, along with Geo Tracker, Gallimaufry, Magical Body, and more. —DS [NIGHTLIGHT, $7–$20/10 P.M.] ALSO ON FRIDAY 2ND WIND: Skinny Bag of Sugar. • 618 BISTRO: Randy Reed; 7-9:30 p.m. • BEYÙ CAFFÈ: Tre’King Band; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Joe Bell & the Stinging Blades; 9 p.m., $8. Duke Street Dogs; 6-8 p.m., free. • CAT’S CRADLE (BACK ROOM): Dark Water Rising, Orlando Parker Jr., Og Merge; 8 p.m., $8-$10.

• DEEP SOUTH: Lexx Luthor, Dark Design, River of Black, Night Songs; 8:30 p.m., $6. • GARNER PERFORMING ARTS CENTER: What’s Going On: The Marvin Gaye Experience; 7:30 p.m., $20-$23. • KINGS: Antique Hearts, Roman

Spring, Dragmatic; 10 p.m., $5-$7. • LOCAL 506: Matt Phillips & The Back Pocket, Ecology; 9 p.m., $8-$10. • MEYMANDI CONCERT HALL: N.C. Symphony: Steppin Out with Ben Vereen; 8 p.m. • MOSAIC WINE LOUNGE: Sultry: Time to GetOpen; 9 p.m., $5. • MYSTERY BREWING PUBLIC HOUSE: Nee Ningy Band; 8:30 p.m., free. • THE PINHOOK: The Underground Presents: Yo! NC Raps!; 8 p.m., $10. • PITTSBORO ROADHOUSE: Kaylin Roberson; 8 p.m., $5. • PNC ARENA: R. Kelly; $53-$110. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Keith Ganz Quartet; 8 p.m., $10-$20. • SLIM’S: Seconds from Damnation, Undrask, Lemon Sky, The Reticent; 8 p.m., $5. • THE STATION: Boom Unit Brass Band, The Spectacles; 9:30 p.m., $6. • THE SHED JAZZ CLUB: Mark G. Meadows & The Movement, Ft. Rochelle Rice; 8 & 10 p.m., $12 per set.

SAT, MAR 18 Behind the Wheel HORNS Befitting a band led UP by a dude named Bob Keg (who once fronted a band called 12 Oz. Curl), Behind the Wheel plays loud, heavy,

riff-oriented alt-rock that’s built for throwing up the horns and knocking back a tallboy.

Recommended if you like Clutch, White Zombie, stuff influenced by Black Album-era Metallica. The Days Remain and Thundering Herd open. —PW [THE MAYWOOD, $8/8:30 P.M.]

Nails SEE: Nails’ music isn’t for HARD AS the faint of heart. Led by razor-throated frontman Todd Jones (formerly of the seminal Los Angeles hardcore band Terror), the quartet pledges allegiance to sonic chaos in all its fearsome incarnations, condensing hyper-speed punk, d-beat, and death metal into ephemeral barnstormers, which, however acrid, are impossible to resist. Be ready for some of the meanest mosh sessions of the year: Jones is quite the fire-starter onstage, frequently instructing the crowd to form circle pits and walls of death.

Toxic Holocaust and Gatecreeper open. —ZC [MOTORCO, $16–$18/8 P.M.]

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Martin Sexton CHILL Abetted by an FOLKSTER affably high and lonesome vocal style, this longrunning Boston-based singersongwriter has developed a dedicated following of true believers while creating a catalog of laid-back acoustic folk. His stuff is frequently more trenchant, topical, and biting then it might appear at first blush. Brothers McCann open. —TB [CAT’S CRADLE, $25–$28/8 P.M.]

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PAX Pax Green is a local HUMANA transgender hairstylist who needs some expensive surgery in order to live a lot easier. His talented friends—including Karl Kuehn (Museum Mouth), Ursa Rust, JJ Sroniolo, Travis Harrington, Balus, and Heavensend—have come together to help him out through an evening of music, fun, and prizes. —DK [CAT’S CRADLE BACK ROOM, $10–$12/6 P.M.]

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Dara Tucker SUN Dara Tucker’s voice is SONGS clear and light. It sits a little high for jazz, which seems so often to favor altos and contraltos—think of the huskiness of Ella Fitzgerald, who is somehow still the touchstone for female jazz singers. It feels as though it could drift into an R&B song without any trouble. —DR [SHARP NINE GALLERY, $10–$20/8 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Mark Meadows; 7 & 9 p.m., $16.50. • BLUE NOTE GRILL: Sutter’s Gold Streak; 8 p.m., $10. • THE CAVE: Vanessa Silberman, Richard Bacchus and the Luckiest Girls, Chip Robinson; 9 p.m., $5. • FIVE OAKS CLUBHOUSE: Willard McKiver/ Martin Eagle Trio; 7:30 p.m., $15.

• GOATHOUSE REFUGE GALLERY & GARDENS: M.S.G. Acoustic Blues Trio; 12:30 p.m., $17. • IRREGARDLESS: Paul Bomar Duo; 6 p.m. The Second Line Stompers; 9 p.m. • KINGS: Astronautica, Chocolate Rice, Away Msg, Marv Krown; 10 p.m., $10-$12. See page 22. • THE KRAKEN: Canteen, Radar’s Clowns of Sedation. • LINCOLN THEATRE: GlowRage Carnival of Color Tour; 9 p.m., $24. • LOCAL 506: Watermedown, Indio Bravo; 9 p.m., $8.

• MEYMANDI CONCERT HALL: Steppin Out with Ben Vereen; 8 p.m. • MYSTERY BREWING PUBLIC HOUSE: Lois Landry; 8:30 p.m., free. • PITTSBORO ROADHOUSE: The Embers, Craig Woolard; 8 p.m., $13-$15.

• THE RITZ: Tuesday’s Gone: Lynyrd Skynyrd Tribute; 8 p.m. • SLIM’S: To Be Heard Booking Launch Party; 8 p.m., $5-$7. • THE STATION: Well Respected Men: Kinks Tribute; 7:30 p.m., $7. Loose Caboose Dance Party: Jaesunel; 10 p.m., free. Jazz Saturdays; 2 p.m., free. • STEEL STRING BREWERY: Hal Engler Quartet; 5 p.m.

SUN, MAR 19 Anat Cohen Quartet WOODY Jazz clarinet (much WHIZ like jazz violin) seems forever stuck in the 1930s in the popular imagination, permanently locked in the realm of Dixieland and Benny Goodman.

And while Anat Cohen occasionally pays lip service to that past, her approach is entirely contemporary. Along with her quartet, she can surf a groove to unexpected places, spin out a complicated tango, or find the dark corners of a ballad. Her solos

are equally lush, eclectic, and unexpected. —DR [21C MUSEUM HOTEL, $10–$34/5 & 7:30 P.M.]

Stevie Nicks WITCHY The word “icon” is WOMAN tossed around a lot when it comes to classic rock stars, but few actually merit the title. That’s not true for Stevie Nicks. For forty years, she’s cranked out soaring hits with Fleetwood Mac and on her own; her musical influence has touched everyone from the Dixie Chicks (who covered her “Landslide” in 2002) to Destiny’s Child (whose “Bootylicious” sampled the prickly guitar riff of “Edge of Seventeen”).

Fleetwood Mac may be long gone, but Nicks is still an undeniable queen. The Pretenders open.

—AH [PNC ARENA, $45–$146, 7 P.M.]

Rodi Fest FOR Proceeds from this HEALTH festival, held in memory of Rodion Steindl, a Carolina Rollergirl who skated under the name Violent Femme, go to Triangle Survivors of Suicide and Depression and Bipolar Support Alliance. Featured acts run the gamut from dynamic alt-rock to rollicking folk and include YEA(h), Red Dog, KIFF, Joey Panzarella, Muse Rd., Dirty Remnantz, and Modena. —PW [LINCOLN THEATRE, $12–$15/2 P.M.]

MON, MAR 20 Evan Taylor Jones FLORIDA Orlando native Evan SOUL Taylor Jones traffics in a crowd-pleasing mélange of biting R&B, bluesy rock, and Caribbean influences. A musical Swiss Army knife capable of conjuring everything from Strong Persuader-era Robert Cray to the chime and jangle of early Black Crowes to the buoyant soul of Billy Preston, Jones undergirds his skill as a bandleader with a husky, versatile tenor and formidable set of chops on lead guitar. Butter opens. —TB [POUR HOUSE, $5/9 P.M.]

LVL Up LO-FI For good or ill, this INDIE New York-based quartet renders the sort of wordy, vaguely art-damaged nerve-pop that would have felt entirely in place twenty years ago when scene stars like Neutral Milk Hotel and Built to Spill set the agenda for a thousand would-be soundalikes. But even as LVL Up conjures ghosts of the past, an idiosyncratic weirdness colors this quartet’s on-the-dime turns from Procol Harum-like psychedelia to Wire-style intensity. Palm and Young Mammals open. —EB [DUKE COFFEHOUSE, $10, FREE WITH DUKE ID/9 P.M.]

Sad13

HAIL, Sacred Leather is in HAIL no way a progressive, forward-thinking metal band—quite the opposite, in fact.

The Indianapolis quintet takes metal back three decades. Expect a power-metal time capsule full of leather and studs and fake smoke, wheedling guitar solos and riffs that sound better if you’re drunk, and a singer who channels Judas Priest’s Rob Halford. Walpyrgus opens. —PW [SLIM’S, $5/8 P.M.]

OUT OF Late last fall, Speedy THE PARK Ortiz frontwoman Sadie Dupuis stepped up to bat with Slugger, her first LP under her solo moniker Sad13. Taking a pop-oriented, synth-flecked approach, Dupuis sings frankly about sex and sexuality, focusing hard on consent—”I say yes if I want to/If you want to, you’ve got to get a yes,” she sings on “Get a Yes.” It often feels like frothy fun, but Dupuis’s powerful messages make a difference. With Chura.

—AH [THE PINHOOK, $10/8 P.M.]

ALSO ON SUNDAY

ALSO ON MONDAY

Sacred Leather

BLUE NOTE GRILL: Edward Stephenson; 5 p.m., free. • THE CAVE: Astro Zombies; 9 p.m., $5. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: John William Carlson; 6 p.m. • KINGS: Mykki Blanco, Cakes Da Killa, Jooselord Magnus, Luxe Posh; 9 p.m., $15-$17. See page 26. • THE PINHOOK: Plan B, Don’t Start with Me!, Tuck Satterfield, Matt Douglas; 4 p.m., free.

CAROLINA THEATRE: The Zombies; 8 p.m., $35.50-$55. See page 21. • THE CAVE: Your 33 Black Angels, Snow Glass Apples, Poor Pie, Cosmic Punk; 9 p.m., $5.

• NIGHTLIGHT: Michael Hurley, Ezekiel Graves & Co.; 8 p.m., $15. See box, this page. • PITTSBORO ROADHOUSE: Triangle Jazz Orchestra; 7 p.m., $10.

PHOTO BY SARAH TAFT

MONDAY, MARCH 20 & TUESDAY, MARCH 21

MICHAEL HURLEY

With the surreal iconography with which he has consistently adorned his art, the preternatural vibe of his persona and songs, and his own near-mythical status in the underground folk realm, Michael Hurley often seems more like a fictional phenomenon than an actual flesh-and-blood singer-songwriter. But the man who invented alt-folk before most of its contemporary practitioners were born will provide proof of his corporeality (and his idiosyncratic gifts) with a two-night stand at Nightlight this week, with a different set and a different opening act each night.

The Bucks County, Pennsylvania-born troubadour was part of the first wave of folkbased singer-songwriters, releasing his debut album in 1964 via the Folkways label. From the start, there was something strange and brilliant about Hurley’s work. His raw, oldschool approach to songwriting made him sound like he had just leaped off the Harry Smith Anthology of American Folk Music, which documented the “old weird America” of the pre-World War II era and provided the sixties folk revival with so much of its inspiration. But something even weirder was sitting close to the surface of Hurley’s songs.

Hurley’s off-kilter lyrical visions were essential to his music from the beginning, but their importance became more apparent as time went on. A long gap separated his

first and second albums, but by the time he relaunched his recording career in the early seventies, Hurley had gotten his style locked down. He populated his tunes with characters that seemed simultaneously naturalistic and otherworldly, achieving a kind of organic, homegrown version of natural realism. The cartoon covers he drew for his album artwork accurately echoed the universe he conjured, as he sang about werewolves and the “Hog of the Forsaken” with melodies that sounded like they could have been at least a century old.

Hurley’s career earned a lot of traction when he teamed up with fellow folk weirdos Peter Stampfel and Jeffrey Frederick on 1976’s Have Moicy, but with his lo-fi approach to music making conferring upon him a certain “outsider” status, he’s remained strictly a cult phenomenon. Yet the casual genius of the records he released over the ensuing decades never stopped earning him admirers. In the twenty-first century, the rise of indie folk has rendered Hurley a celebrated hero, covered by Cat Power, subsidized by Devendra Banhart, and celebrated by a whole new generation. His odd, timeless vision seems unlikely to ever lose its entrancing power. —Jim Allen NIGHTLIGHT, CHAPEL HILL $15, 8 p.m., www.nightlightclub.com INDYweek.com | 3.15.17 | 31

TUE, MAR 21 Cosmic Punk COSMO- Cosmic Punk are not NAUTS punk, but they are punks—they don’t make aggressive music with lots of quickly-strummed chords, but they’ve got an exciting, unrestrained musical spirit. The song “haha I knew this would happen,” released this past fall, is a good example—it’s an acoustic pop song that’s more interesting for its idiosyncratic, fluid vocal delivery than the simple (but complementary) instrumentation. With Ruth Carp and Andrew Carter. —NR [SLIM’S, $5/9 P.M.]

Jacuzzi Boys WARM Nobody does scuzzy, JETS booze-fueled rock better than Jacuzzi Boys—just ask immortal party animal Iggy Pop, who tapped the trio to open for him at his tour stop in their native Miami last year. “It’s a stupid name,” the legend said of the raucous openers, “but they’ve got a good spirit.” Rather than take part in heavy-lidded jam sessions or noise-ridden tangents, they put a freewheeling, passionate spin on the old garage playbook: hair slicked with sweat, amps dialed up to eleven, swigging beer like water.

If the party machine ain’t broke, don’t fix it. Paint Fumes opens.

—ZC [THE PINHOOK, $10–$12/8:30 P.M.]

The Regrettes

INDY WEEK’S BAR + BEVERAGE MAGAZINE ON STANDS NOW

32 | 3.15.17 | INDYweek.com

FIERCE This L.A.-based GARAGE quartet colors amiably accomplished garage pop with a comical doo-wop fixation and a ferocious feminist edge.

Demonstrating a real aptitude for reimagining fifties tropes in a counterfactual history of female empowerment, the band is at its best on tracks like the ingratiatingly pissed-off “Seashore,” on which frontwoman Lydia Night reappropriates Phil Spector’s signature sound and weaponizes it to ward off would-be oppressors everywhere. Active Bird Community opens. —EB [LOCAL 506, $10/8 P.M.]

George Winston OH SO The music of George WHITE Winston is like an endless department store locked in the year 1989, where everything is painted either glossy pink-brown

or the most soulless shade of white. The building is wrapped in the darkest glass windows. The high contrast renders everything identically faceless. His is the vaguely consumerist sound of drying paint. —DR [FLETCHER OPERA THEATER, $37–$53/8 P.M.] ALSO ON TUESDAY CAROLINA THEATRE: Stephin Merritt & The Magnetic Fields; 8 p.m., $10-$55. See box, page 29. • THE CARRACK: Polyorchard; 8 p.m.

See page 26. • CAT’S CRADLE (BACK ROOM): Powers, Bridgit Mendler; 8 p.m., $16-$18. • DUKE’S BALDWIN AUDITORIUM: Duke Chorale Spring Tour Concert; 8 p.m., free. • IRREGARDLESS: Marilyn Wienand; 6:30 p.m. • NIGHTLIGHT: Michael Hurley, House & Land; 8 p.m., $15. See box, page 31. • PITTSBORO ROADHOUSE: John Westmoreland; 6:30 p.m. • RUBY DELUXE: Experimental Tuesday: Albert Adams; 11 p.m. • SHARP NINE GALLERY: North Carolina Jazz Repertory Orchestra; 8 p.m., $10-$20. • UNC’S PERSON HALL: Christopher Hutton; 7:30 p.m.

WED, MAR 22 The Blue Eyed Bettys THEATRE The Blue Eyed Bettys FOLK pen quirky pop-folk tunes that border on kitsch—particularly given the dramatic vocals often accompanying the ditties, indicative of the NYC-based trio’s background in musicals. Of course, that experience lends itself to entertaining performances highlighted by three-part harmonies and diverse covers ranging from The Beatles to Pharrell. Meanwhile, Kate Rhudy offers more vulnerable and genuine songwriting with an earnest delivery. The Bettys also play Fullsteam brewery on Sunday, March 26. —SG [POUR HOUSE, $8–$10/9 P.M.]

Dude York GIMME Power pop gives you HOOKS the most in the least amount of time. The risk is that it gives you everything up front and then rehashes its hooks and major-chord changes for two or three minutes, thus losing the power of the pop. Dude York foils this foible through the dynamism of its song structures. The melodies are easily understood, but the verses, bridges, and choruses move energetically and potently among one another, so

the hooks are never rehashed to the point of mundanity. With PAWS. —NR [THE PINHOOK, $10/9 P.M.]

Rising Appalachia WORLD At the intersection of FOLK new age and old world is Rising Appalachia, a musical collective spearheaded by sisters Leah (also known as solo artist Leah Song) and Chloe Smith.

Mixing spoken word, folk traditions, and instruments from all over the world, the sisters position themselves as modernday musical nomads with a “deep reverence for folk music and a passion for justice,” as their website claims. It all comes off a little try-hard, but they mean well.

—AD [LINCOLN THEATRE, $20/ 8 P.M.]

Roedelius KRAUT Hans-Joachim STARTER Roedelius, a living legend, is playing his first show ever in Raleigh. Founding member of Harmonia and Cluster (or is it Kluster or Qluster?), Roedelius is one of the progenerators of what is commonly referred to as Krautrock. He’s released nearly a hundred records in his nearly fifty-year career and has collaborated with a massive list of influential musicians, including Brian Eno. Expect hard driving, minimalist grooves that lead to ecstatic highs. —DM [KINGS, $15–$18/8 P.M.] ALSO ON WEDNESDAY THE ARCHITECT BAR & SOCIAL HOUSE: Chris Overstreet; 9 p.m. Matt Bowen; 9 p.m. • BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • CAROLINA THEATRE: Stephin Merritt & The Magnetic Fields; 8 p.m., $10-$55. See box, page 29. • CAT’S CRADLE (BACK ROOM): The Japanese House, Blaise Moore; 9 p.m., $18. • THE CAVE: Floor Model: Ginger Wagg, Mike Geary; 9 p.m., $5. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Mysti Mayhem; 6:30 p.m. • LOCAL 506: Cosmonauts, The Molochs, S. E. Ward; 9 p.m., $10. • RUBY DELUXE: Matt Stevenson, CALAPSE, Lady Fingers, DJ Chocolate Rice; 9 p.m., $5.

art OPENING

Cecil Sharp’s Appalachian Photographs: Rare photography by the renowned folklorist.

Mar 21-Apr 18. The Murphey School at the Shared Visions Retreat Center, Durham. www. sharedvisions.org.

C.T. Weekends Spring Fashion Show: $25. Thu, Mar 16, noon.

Saint-Jacques, Raleigh. www. saintjacquesfrenchcuisine.com.

Peace of Mind: Art Quilts: Fiber art. Mar 17-May 12. Reception: Mar 17, 5-7 p.m. Durham Arts Council, Durham. www.durhamarts.org.

Donna Slade: “Colored Pencil Techniques and How to Approach a Gallery.” Sat, Mar 18, 10 a.m.-noon. North Carolina Botanical Garden, Chapel Hill. www.ncbg.unc.edu.

Smarts and Arts Student Show: North Carolina Public Allies youth enrichment program. Fri, Mar 17. Reception March 17, 6-8 p.m. Durham Arts Council, Durham. www.durhamarts.org.

3.15 – 3.22 ONGOING

2-Dimensional Art Show: Group show. Thru Mar 22. Carrboro Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro.

Animal Spirits: Visionary Folk Art: Group show. Thru Apr 6. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Ansel Adams: Masterworks: An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’ll make an exception. Adams called this “the Museum Set,” the ultimate expression of his legacy. These forty-eight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, speak to Adams’s monumental purity of vision.

Thru May 7. NC Museum of Art, Raleigh. www.ncartmuseum.org.

—David Klein Art of the Children of Abraham: Mixed media. Thru Mar 27.

West Raleigh Presbyterian Church, Raleigh. www.wrpc.org.

Artspace Corridor Exhibition: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, & Don Mertz. Thru Mar 27. Artspace, Raleigh. www. artspacenc.org.

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Beyond Bollywood: Indian Americans Shape the Nation”: Thru Apr 2, 9 a.m.-4 p.m. City of Raleigh Museum, Raleigh.

Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham. www.durhamconventioncenter. com.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery.

Thru May 29. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham/.

Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www.ackland.org.

FRIDAY, MARCH 17

JEAN MICHEL DISSAKE: CAMEROUN: L’ÉLAN VITAL

Cultural politics are tricky in the arts.

Organizing exhibits in the U.S., it’s hard not to slip into the white manifest destiny that claimed the width of the continent from native peoples. To address this, the arts have begun to acknowledge the country’s continuing colonial history under the banner of “Decolonize This Place,” extending that address past physical spaces and into organizations—and even the imagination.

The Scrap Exchange offers a fascinating opportunity to consider decolonization with a show by Cameroonian artist Jean Michel Dissake, who works in a medium that ignores the points of differentiation between painting and sculpture. Local artist Anne Gregory met Dissake in 2015 while working on a multimedia project with young women orphaned by HIV/AIDS. Because he uses found objects and materials throughout his work, she thought he would be a perfect match for ScrapEx’s creative reuse mission. After this opening reception, Dissake, whose work looks simultaneously contemporary and ancient, shows through April 15 and creates a sitespecific sculpture during a brief residency here. —Chris Vitiello THE SCRAP EXCHANGE, DURHAM 6–9 p.m., free, www.scrapexchange.org

The Color of Light: Landscapes

by Lyudmila Tomova and Vinita Jain. Thru Mar 29. Village Art Circle, Cary. www.villageartcircle. com.

Art by Jean Michel Dissake PHOTO COURTESY OF THE SCRAP EXCHANGE

Ryan Cummings: Thru Mar 25. more. Raleigh. www. jmrkitchens.com/.

Come Closer: Ceramics by Holly Fischer. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org.

Darning Memory: Fabric works

by Leatha Koefler, Mary Starke, and Ely Urbanski. Thru Mar 24.

Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

Connections: Paintings by Ellie Edwards-Smith. Thru Mar 30.

Eno Gallery, Hillsborough. www.enogallery.net.

Deadpan: Kerry Law, Alex O’Neal, and Kirsten Stoltmann.

Thru Apr 1. Lump, Raleigh. www. teamlump.org.

Corridor Exhibitions: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, and Don Mertz. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org.

Discover Your Governors: Thru Aug 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Cuba Now: Photography by Elizabeth Matheson. Ongoing.

Craven Allen Gallery, Durham. www.cravenallengallery.com.

Exposed: Nudes in Art: Juried show featuring work by twentyfive artists. Thru Mar 30.

Litmus Gallery, Raleigh. www. litmusgallery.com.

Eyes Wide Open: Photography

by Elizabeth Galecke. Free. Thru Apr 30. Tiny Gallery at the Ackland Museum Store, Chapel Hill.

Fever Within: The Art of Ronald Lockett: Self-taught artists also teach one another. Starting in the 1980s, Alabama produced a remarkable crop of AfricanAmerican ones who entered the canon as it slowly grew less homogenous. Scavenger sculptor Lonnie Holley has had a retrospective at the Birmingham Museum of Art; assemblage master Thornton Dial has been collected by MOMA, the Whitney, and the Met. Little known but primed for reconsideration is Dial’s cousin, Ronald Lockett, who explored the panoramic

violence and racial strife of the twentieth century in richly textured, starkly totemic paintings on discarded materials, wrought with wire and nails, twigs and leaves.

He made some four hundred works before his death from complications of HIV/AIDS at age thirty-two in 1998. See fifty of them in the first solo exhibition of his work. Thru Apr 9. Ackland Art Museum, Chapel Hill. www.ackland.org. —Brian Howe Flora and Fauna: Mixed media.

Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org.

From Duke Gardens to Giverny: Paintings by David Gellatly. Thru May 3. Duke University Hospital Art & Health Galleries, Durham.

INDYweek.com | 3.15.17 | 33

Glory of Venice: Renaissance Paintings 1470–1520: Thru Jun 18. NC Museum of Art, Raleigh. www.ncartmuseum.org.

History and Mystery: This is the first time in decades that NCMA has curated an exhibit from its British holdings of Old Master painting and sculpture. Thru Mar 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Holding On: Ceramics, collage, and photography by Jessica Dupuis, Karen Hillier, and Sarah Malakoff. Thru Apr 15. Artspace, Raleigh. www.artspacenc.org.

Howard Murry Rediscovered: Charlotte native Howard Murry painted in the resort town of Valle Crucis, near Boone. Murry was interested in rural North Carolina, from farming methods to religious practices, and his watercolor landscapes depict a slightly idealized past, free of utility lines and automobiles, taking subtle modernist liberties.

The first exhibit of his work in twenty-five years consists of forty watercolors that his grandson has owned since Murry’s death in 1968. Thru Mar 25. Lee Hansley Gallery, Raleigh. www.leehansleygallery. com. —David Klein Illuminations: Intimate Portraits of Mother Nature: Photography

by Richard Mathis. Thru Mar 26. Nature Art Gallery, Raleigh. www.naturalsciences.org.

In Conditions of Fresh Water: Mixed media by Torkwase Dyson and Danielle Purifoy.

Thru Jun 3. Duke’s Center for Documentary Studies, Durham. www.cdsporch.org.

Illuminations: Intimate Portraits of Mother Nature: Photography

by Richard Mathis Thru Mar 26. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

It’s All About the Story, Volume 5: John Claude Bemis: Various artist interpretations.

Thru Mar 26. publicity@ hillsboroughgallery.com, www.

HillsboroughGallery.com.

Judy Keene: Color Search: This is the first significant showcase of Durham-based painter Judy Keene’s work, but it’s undergirded by her long background in museums and galleries and her basis in art history. Primarily working in oil on linen canvases, Keene brushes and knifes opaque and transparent forms of varying 34 | 3.15.17 | INDYweek.com

thicknesses into earthily textured, evanescent crags.

Keene mingles the influence of abstract impressionist color-field painters—some of whom, like Keene, studied with Shirley Blum, including Mark Rothko and Ellsworth Kelly—with a cool patina of Old Masterly precision. Keene’s abstractions abut the border of the real; her Canyon Series (pictured) harks back to her travels through the American West as a child in the 1950s, with her mother and father, whose work as a prospector fed an abiding geological interest.

After this opening reception, the exhibit runs through the sixth of May. free. 5-7 p.m. Craven Allen Gallery, Durham. www. cravenallengallery.com. —Brian Howe Life in the City: Kanchan Gharpurey. Thru Mar 31.

Carrboro Century Center, Carrboro. carrboro.com/ centurycenter.html.

27. Artspace, Raleigh. www. artspacenc.org.

Raleigh Fine Arts Society: Thru Apr 27. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com.

Rob Priester: Sculpture installation. Ongoing. Whole Foods Market, Cary. www. wholefoodsmarket.com.

Rock, Paper, Water: Paintings and paper filigree. Eng Pua, Barbara Procter Smith, and Diane Starbling. Thru Mar 28.

Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

Seasonal Prints: Screen prints

by Vidabeth Bensen Thru Apr 1. North Carolina Crafts Gallery, Carrboro.

A Sense Of...: Photography.

Ongoing. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

Some Semblance: Photography

by Stephen Fletcher. Ongoing.

The Framers Corner, Carrboro.

Location Known: Gail Biederman, Chad Erpelding, and Travis Head. Thru Mar 18. Artist Talk: Mar 16, 7-9 p.m. Artspace, Raleigh. www.artspacenc.org.

Stories from the Heartland: Paintings by Rachel Campbell Thru May 25. Reception Mar. 17, 6-8 p.m. Durham Arts Council, Durham. www.durhamarts.org.

M.A.D | Motorcycle. Art. Design: Multimedia. Thru Jun 8. Greenhill, Greensboro. www. greenhillnc.org.

Submerged: We often hear about “emerging” artists—but whence do they emerge? From somewhere below the vast, shifting surface of the gallery world, a fact that Mahler Fine Art manager Jillian Ohl keys in on in the title of the group exhibit she curated at the Raleigh gallery. Submerged features a dozen artists who are either new to the Raleigh/ Durham area or just beginning to show their work, although some of the names, such as Davis Choun, might already be familiar to those who frequent Raleigh art havens such as Artspace and Visual Art Exchange. Others include Austin Caskie, Conner Calhoun, Dare Coulter, and Britt Flood; all are post-undergraduate but younger than thirty, working in mediums from experimental sculpture to abstract figure painting. “As an artist myself, I’ve noticed my friends and peers creating amazing work that gets little recognition in the local art community,” Ohl says. “Taking the initiative, I collected what I believe to be the best of the next generation of artists. This all came from my belief that young artists have to support each other rather than be competitive.” After this opening reception, Submerged keeps

My Precious: An Exploration of Materiality on Contemporary Jewelry: Various artists curated

by Betty McKim and Kathryn Osgood Thru Apr 1. Artist Reception Mar 24, 5-7 P.M. Pullen Arts Center, Raleigh.

New Oils: Paintings by Bert Beirne Thru Mar 22. Gallery C, Raleigh. www.galleryc.net.

Nuestras Historias, Nuestros Sueños/Our Stories, Our Dreams: Documenting the experiences of Latino farmworkers in the Carolinas.

Thru May 7, 1-5 p.m. Historic Oak View County Park, Raleigh. www.wakegov.com/parks/ oakview.

Orange County Artists Guild Members Exhibit: Group show. Thru March 21 Carrboro Branch Library, Carrboro. www.co.orange.nc.us/library/ carrboro.

Laura Park and Connie Winters: Paintings. Thru Apr 7. ArtSource Fine Art, Raleigh. www.artsource-raleigh.com.

Project Reject Is Underway: Sitespecific installation by Jeff Bell and Megan Sullivan. Thru May

bubbling up through the month of March. Free. Thru Mar 31, 6-9 p.m. The Mahler Fine Art, Raleigh. www.themahlerfineart. com. —Brian Howe Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org.

This Is Mine: Photography by Sarah Elizabeth Borst Thru Mar 15. Power Plant Gallery, Durham.

Allison Tierney: Thru Mar 25.

HQ Raleigh, Raleigh.

Total Life Center Exhibition: Artwork created in collaboration with artist Deb Withey and Total Life Center. Thru Mar 25. Artspace, Raleigh. www. artspacenc.org.

Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15.

Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Unwoven Testaments: Textile art by Laurie Wohl that explores the relationships between Christianity, Islam, and Judaism.

Thru Mar 26. Meredith College, Raleigh. www.meredith.edu.

stage OPENING

& Creative Theatre, Raleigh. www.nract.org. —Byron Woods

Anne of Green Gables: Play $13-$18. Thu, Mar 16-Sun, Mar 19. Wake Forest Renaissance Center, Wake Forest. www. wakeforestnc/renaissancecentre.aspx.

A Midsummer Night’s Dream: Play $10-$15. Thru Mar 19.

Kennedy Theater, Raleigh. www.dukeenergycenterraleigh. com/venue/kennedy-theatre

Cinderella: $5-$10. Thu, Mar 16-Sun, Mar 19, 2:30 p.m.

Carrboro High School Theater, Carrboro.

Comedy Night at The Cary: Fri, Mar 17, 8 p.m. The Cary Theater, Cary.

Martin Luther King, An Interpretation: Play. $10. Sat, Mar 18, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org.

Multiple Choices for the Children Jazz Show: $16. Fri, Mar 17, 7:30 p.m., Sat, Mar 18, 7:30 p.m.& Sun, Mar 19, 3 p.m.

Duke’s Reynolds Industries Theater, Durham.

Rodney Perry: Standup comedy. Mar 16-18.

Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Sinbad: Stand-up comedy.

Sun, Mar 19, 8 p.m. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com.

When She Had Wings: Mar 17-Apr 3. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

ONGOING

food

Cooks & Books: Adrian Miller: Cookbook: President’s Kitchen Cabinet. $110. Thu, Mar 16, 6 p.m. The Fearrington Granary, Pittsboro. www.fearrington. com.

Come to the Table Conference: “Bridging Divides: Cultivating Food & Faith Connections.” Thu, Mar 16, 8 am. Durham Convention Center, Durham. www. durhamconventioncenter. com.

Tema Flanagan and Nancie McDermott: Corn and Fruit.

Fri, Mar 17, noon. The Root Cellar, Chapel Hill.

13 The Musical: Evan, the central character in this Jason Robert Brown musical, knows it’s just a phase he’s going through. “One day I’ll be thirty/ One day I’ll be fine/ One day I’ll make fun of this dramatic life of mine,” he sings. But right now, turning thirteen looks to him like a disaster. Everything’s changing; his mom’s divorcing his dad, and he’s moved with her from New York to a small Indiana town. That means making friends out of strangers and navigating the cliques at a new school. Plus his bar mitzvah’s coming up— another life transition—in this witty, warm, and surprisingly sophisticated coming-of-age musical. Joel Rainey directs a cast including Bryan Bunch and Averi Zimmerman. $12-$20.

Thru Mar 26. North Raleigh Arts

Bulltown Comedy Series: Free. Third Tuesdays, 9 p.m. https://www.facebook.com/ BulltownComedySeries.

Fullsteam, Durham. www. fullsteam.ag.

The Chuckle & Chortle Comedy Show: Local stand-up comics. $7. Third Saturdays, 8:30 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org.

The Dangling Loafer: $5.

Third Fridays, 8-9:30 p.m. https://www.facebook.com/ TheDanglingLoafer. Kings, Raleigh. www.kingsraleigh. com.

The Harry Show: Ages 18+.

Improv host leads late-night revelers through potentially risque games, with audience volunteers brought onstage to join in. $10. Fridays, 10 p.m.& Saturdays, 10 p.m.

ComedyWorx Theatre, Raleigh. comedyworx.com.

Horrible People: Confessional stand-up comedy. $12. Wed, Mar 15, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. ½ Twelfth Night: It’s no accident that the publicity shots for PlayMakers Rep’s upcoming production of Twelfth Night look like outtakes from a tony fashion magazine. When associate artistic director Jerry Ruiz decided to set one of Shakespeare’s most frequently produced works in the Mediterranean in the 1950s, designer Anne Kennedy zeroed in on the work of Slim Aarons, a mid-century glamour photographer who shot what he called “attractive people doing attractive things in attractive places” for society magazines, Town & Country, Holiday, and Life. Thus, a shipwrecked Viola crashes among—and becomes hired help for—the beautiful people, as jet-set socialites Duke Orsino and Lady Olivia

take their ease in a coastal resort town. Thru Mar 19. UNC Campus: Paul Green Theatre, Chapel Hill. www.playmakersrep.org.

—Bryon Woods Two Months In: An Original Sketch Comedy Revue: This weekend (and again on March 17 and 18), a team of local comedians, writers, and actors try to mend broken funnybones with this Second City-style revue, promising topical satire and jocular jabs at our “Tweeter in Chief” from diverse perspectives. The show is directed

by Jack Reitz, who has a history of addressing social issues—from the stigma of stuttering to sexual assault in the military—as an actor and educator with Interactive Theater Carolina and Catharsis Productions in Chicago. The revue features Caitlin Wells, Amy Hallett, Marcus Zollicoffer, Shane Smith, Rishan Dhamija, and Josh Rowsey (disclosure: Rowsey is an account executive in the INDY’s advertising department). Two months into our preposterous president’s reign of terror against truth, dignity, and other quaint American pastimes, you almost have to laugh. $10-$12.

Thru Mar 18, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

—Brian Howe

Vivaldi’s Four Seasons: The retro pedigree is obvious from the title.

When Vivaldi wrote this suite of violin concerti, there were only four seasons in a year, not the endless barometric cavalcade we’ve encountered over the last two months. When Carolina Ballet’s artistic director, Robert Weiss, set his new choreography on the famous quartet in 2014, critics praised its chromatic takes, abetted

by Jennifer Aiello and Sydney de Briel’s costumes and Ross Kolman’s lights. Three years ago, the INDY praised the joyfulness in Vivaldi and Weiss’s close contrasts of climates: the sprightly choreography of Spring, the sultry heat and sudden thunderstorms of Summer, the courtly dance of descending leaves in Fall, and the pristine, bracing chill of Winter. Of course, our emotions about the similar show unfolding outdoors these days remain more ambiguous. $30-$89. Various times. www.carolinaballet.com. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

—Byron Woods

FRIDAY, MARCH 17– SUNDAY, APRIL 2

WHEN SHE HAD WINGS

Playwright Suzan Zeder has already proven that children’s theater doesn’t have to be childish. Her memorable Mother Hicks, which Raleigh Little Theatre produced in 2002, explored the lives of three social outcasts in a Mississippi River valley during the Great Depression. This present-day tale premiered during last year’s Women’s Voices Theater Festival in Washington, D.C. In it, Beatrice is troubled by upcoming changes as she’s about to turn ten. Obsessed with aviation, she spends her free time in a treehouse turned cockpit in her backyard. She has reasons; the freedom and weightlessness of flight counters her father’s overprotection and her mom’s growing concerns about her weight. Then, one day, Beatrice finds someone waiting for her in her plane: an ally who may or may not be Amelia Earhart. Artistic director Patrick Torres directs. —Byron Woods

T

er

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RALEIGH LITTLE THEATRE, RALEIGH Various times, $10–$14, www.raleighlittletheatre.org

Rhonda Brocki in When She Had Wings PHOTO BY PATRICK TORRES

BILL BURTON ATTORNEY AT LAW

Un c o n t e s t e d Di vo rc e SEPARATION Mu s i c Bu s i n e AGREEMENTS ss Law UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e rMUSIC s h i pBUSINESS LAW Wi l lINCORPORATION/LLC s C o l l e c t i o n s WILLS

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READINGS & SIGNINGS

FRIDAY, MARCH 17–SUNDAY, MARCH 19

ANIME-MAGIC FILM SERIES

Wonders—and, occasionally, traumas—descend on the Carolina Theatre via this celebration of international animated features. Fans of the Japanese animation that gives the series its name will be rewarded with a plethora of productions from the legendary Studio Ghibli, including five classics by Hayao Miyazaki himself, including Howl’s Moving Castle and Spirited Away. You can’t go wrong with any of them, though My Neighbor Totoro is best for the kids and Castle in the Sky is the one I most often use to introduce people to Ghibli’s balance of action and meditative moments. Other offerings include sci-fi adventure Cowboy Bebop: The Movie and the haunting World War II tragedy Grave of the Fireflies, which has a dual reputation as one of the greatest movies ever made and a movie that will make you want to play in traffic afterward. The festival is not limited to Japan, either: there’s the 1970 French film Fantastic Planet, a memorably weird little number, and the 1978 adaptation of Watership Down—one of the first films I remember seeing on television, and one of the first to leave me deeply, deeply traumatized at the sight of those poor rabbits, in search of a new home, being mauled by dogs, shot at by humans, and having visions of fields full of blood. For the love of all that is holy, do not automatically take your children to what looks like “The Cute Bunny Movie.”—Zack Smith THE CAROLINA THEATRE, DURHAM Various times, $9 per screening, www.carolinatheatre.org

SPECIAL SHOWINGS BANFF Mountain Film Festival World Tour: $15. Sun, Mar 19, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre.org.

The Kneeling Goddess (La diosa arrodillada): Fri, Mar 17, 8 p.m.

NC Museum of Art, Raleigh. www.ncartmuseum.org.

Ties That Bind: Thu, Mar 16, 7 p.m. Emerson Waldorf School, Chapel Hill. www. emersonwaldorf.org.

OPENING

CHIPS—Michael Peña and Dax Shephard star as two motorcycle police officers in the California Highway Patrol in this update of the hit series from the late seventies and early eighties. Rated R. The Last Word—A domineering businesswoman (Shirley MacLaine) forms an unexpected friendship with the journalist helping her do the job (Amanda Seyfried).

Rated PG-13.

Life—Six astronauts make the groundbreaking discovery of life on Mars—but is it worth the risk to bring it home to Earth? Rated R. Power Rangers—The nineties mega-franchise about teens 36 | 3.15.17 | INDYweek.com

with super powers gets an action-heavy reboot treatment. Rated PG-13.

Wilson—A grumpy middleaged man (Woody Harrelson) reunites with his estranged wife (Laura Dern) and meets his teenage daughter for the first time. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin family movie. Rated PG. ½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years. Rated R. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. ½ I Am Not Your Negro— Raoul Peck’s filmmaking

doesn’t always serve the material, but his James Baldwin doc must be seen for the undimmed power of its subject’s words and presence.

Rated PG-13. ½ John Wick: Chapter 2—This smartly made return for the reluctant hit man character that resuscitated Keanu Reeves’s career runs on muscle cars and muscle memories. Rated R. ½ Kong: Skull Island— Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse Now meets Starship Troopers. Rated PG-13.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults. Rated PG.

H½ Table 19—This comedy about the unpopular table at a wedding is a feast of cringes and winces. Rated PG-13.

Kwame Alexander: Playbook.

Mon, Mar 20, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Robert Beatty: Serafina and the Splintered Heart. Sun, Mar 19, 2 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Rob Dunn: Never Out of Season: How Having the Food We Want When We Want It Threatens Our Food Supply and Our Future.

Free. Thu, Mar 16, 7 p.m. James B. Hunt Jr. Library, Raleigh.

Ricky Garni: Poetry from Divisive Potatoes. Tue, Mar 21, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Tim Gautreaux: Signals: New and Selected Stories. Wed, Mar 15, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Elinor Lipman: On Turpentine Lane. Wed, Mar 15, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

John Scalzi: The Collapsing Empire. Wed, Mar 22, 7 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Michael Farris Smith: Desperation Road. Thu, Mar 16, 1 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. — Thu, Mar 16, 7 p.m.

Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Haider J. Warraich: Modern Death: How Medicine Changed the End of Life. Thu, Mar 16, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Lisa Yarger: Lovie: The Story of a Southern Midwife and an Unlikely Friendship. Wed, Mar 22, 6 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

— Sun, Mar 19. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

LITERARY R E L AT E D A Chance in the World: Children’s Home Society experts discuss Steve Pemberton’s memoir Sat,

FRIDAY, MARCH 17

NAIMA YETUNDE INCE: GHOST LOAD Naima Yetunde Ince has moved from stage to page in her new poetry collection, Ghost Load, and she swiftly returns to the performance sphere in this book launch at So & So. Ince, a transplant from Brooklyn, has previously thrived in spoken-word and drama settings (she studied theater at SUNY Purchase).

She wrote, directed, and starred in the oneact play Men Always Leave at the Women’s Theatre Festival last summer; she is also the coauthor, with Cecelia Adams, of the “poetic graphic novel” I Hate Men. Ghost Load is her first book of poetry, but followers of her drama and spoken-word pieces will immediately recognize the flexible, evocative, emotive voice it contains. At So & So, Ince is joined by Garner’s Celestine Hinnant, who also bridges poetry and drama (she has worked with the Justice Theater Project and MOJOAA Performing Arts Company), and Peter-charles Rainmaker Seaton, a Nuyorican slam poetry veteran.—Brian Howe

SO & SO BOOKS, RALEIGH I 7 p.m., free, www.soandsomag.org

Mar 18, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Be Connected: Blackspace March Youth Poetry Slam: Free. Tue, Mar 21, 6:15 p.m.

Beyu Caffe, Durham.

The F-Word: Black Feminist Futures: Afrofuturist Series: Dr. Alexis Pauline Gumbs discusses authors Octavia Butler, Toni Cade Bambara, more. Sat, Mar 18, 1 p.m. Hayti Heritage Center, Durham. www.hayti.org.

Dr. Marc Edwards: Gerald H. Elkan Distinguished Lecture in Science and Society: Truth Seeking by the Lights of Perverted Science: Exposing the Flint Water Disaster. Free. Tue, Mar 21, 5:30-6:30 p.m. James B. Hunt Jr. Library, Raleigh.

Paul Lerner: Consuming Temples: German Jews and Consumer Culture on Both Sides of the Atlantic. Dey Hall Toy Lounge. Mon, Mar 20, 5:30 p.m. UNC’s Dey Hall, Chapel Hill.

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ESTATE NO. 15-E-1175 ALL PERSONS, FIRMS AND CORPORATIONS HAVING CLAIMS AGAINST ANDREW N. MERCIER, JR. deceased, of Wake County, North Carolina, are notified to present their claims to Mary B. Peterson, ADMINISTRATOR, at 305 Amacord Way, Holly Springs, NC 27540 on or before May 24, 2017 or this notice will plead in bar of their recovery. Debtors of the Decedent are requested to make immediate payment to EXECUTOR/ADMINISTRATOR ABOVE. This is the 22nd day of February, 2017.

- Mary B. Peterson, Administrator of the Estate of Andrew N. Mercier, Jr.

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INDYweek.com | 3.15.17 | 37

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• EMAIL

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INDYweek.com | 3.15.17 | 39

SUPPORT ORANGE COUNTY LIVING WAGE EMPLOYERS

Join Orange County Living Wage in celebrating 114 employers in Hillsborough, Carrboro, and Chapel Hill who voluntarily pay their workers a living wage.

The living wage lifts thousands of hardworking families out of poverty, creates a more stable workforce, and puts millions of dollars back into the local economy.

Living wage employers are for-profit and nonprofit businesses and municipalities who pay each regular full- and part-time employee an hourly wage of at least $13.15 ($11.65, with health insurance).

See orangecountylivingwage.org for our constantly updated living wage employer list.

Living wages work. Bring these employers your business and your thanks!

Architects GGA Architects Szostak Design

Stuckey & Boyd Financial Services TC Koziara TEAM Wealth Investments

Grocery / Drug Stores Hillsborough Pharmacy and Nutrition Weaver Street Market

Automotive Auto Logic F & F Automotive

Industrial / Manufacturing Entex Technologies Morinaga America Foods

Childcare / Education Chapel Hill Cooperative Preschool CHICLE Kehillah Jewish Preschool Participate Preschool at Binkley Baptist Church Preschool at Chapel of the Cross Weaver Dairy Community Preschool

Food / Beverage / Restaurants Beer Study Glasshalfull Gray Squirrel Coffee Hot Tin Roof Joe Van Gogh Mystery Brewing Company Orange County ABC Richpenny Rise Biscuits and Donuts Snap Pea Steel String Brewery Vimala’s Curryblossom Cafe

Healthcare / Wellness Carolina Bright Smiles Carrboro Community Acupuncture Carrboro Pediatrics and Internal Medicine Chapel Hill Doctors Healthcare Center Chapel Hill Eyecare & Optometry Chapel Hill Ophthalmology Chapel Hill Periodontics & Implants Chapel Hill Primary Care Dennis Ellis, DDS, PA Ellis Family Dentistry Frederick G. Lehmann, DDS, PA Grace Physical Therapy and Pelvic Health Haven Medical Kennedy Dental Group Planned Parenthood Chapel Hill Health Center Sockwell Smiles Susanne Jackson, DDS Synergy Flow Arts Wagoner Dental

Faith / Spirituality Binkley Baptist Church Chapel Hill Friends Meeting Chapel of the Cross Church of Reconciliation Ethical Humanist Society of the Triangle Kehillah Synagogue The Community Church of Chapel Hill Unitarian Universalist United Church of Chapel Hill Financial Services Coastal Federal Credit Union Latino Community Credit Union Carrboro

Government / Utilities Chapel Hill-Carrboro City Schools Orange County Government Orange County Schools OWASA Town of Carrboro Town of Chapel Hill Town of Hillsborough

Home Improvement / Construction BellaDomus Residential Design Bonneville Renovation & Repair Carrboro Plumbing

Dynamic Electrical Solutions E & W Electrical Marcoplos Construction Mongoven Builders PlumbV Space Builders Stoneline Design

Inter-Faith Council for Social Service Orange County Literacy Council Orange County Living Wage Orange County Rape Crisis Center Refugee Community Partnership TABLE Volunteers for Youth

Kennels Doggie Spa & Day Care

Real Estate Coulter Property Management Eller Residential Greenbridge UOA Lundy Group Lundy Management Group Mill House Properties Weaver Street Realty

Nonprofit Art Therapy Institute Behavioral Insights Boomerang Youth Cedar Grove Institute Chapel Hill-Carrboro Public School Foundation Chapel Hill-Carrboro Meals on Wheels Chapel Hill Downtown Partnership Community Empowerment Fund Community Home Trust Compass Center for Women and Families Counter Tools Dispute Settlement Center El Centro Hispano Carrboro EmPOWERment Habitat for Humanity of Orange County Hillsborough Arts Council Historic Hillsborough Commission

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TO A DV E R T I S E O N T H E B AC K PAG E : C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M