INDY Week 3.23.16

raleigh 3|23|16

The Potty Protectors Are Back on the Case, p. 10 What Bernie Won by Losing, p. 14 Irish After St. Patrick’s Day, p. 33 The Art of Drawing Explodes at NCMA, p. 34

Learning lessons from those who work to help us drink—and sampling the supply while we're at it

SPring

Farmers’ Markets

Live & Local music & arts series

Hillsborough

Arts & Crafts show

New Hours Begin April 2

Begins april 8

April 16 from 10 am–4 pm

The Carrboro Farmers' Market spring season begins at 7 am on April 2 and Wednesday, April 6 from 3 pm–6 pm. Shop for fruits, vegetables, meats, dairy products, baked goods, flowers, and crafts. Visit the Chapel Hill and Hillsborough markets as well.

On Fridays at The Plaza at 140 West Franklin Street enjoy a variety of events featuring music, dance, games, face painting, and more from 6 pm–9 pm. Start by celebrating the plaza sculpture Exhale’s second birthday with N.C. band Thistledown Tinkers and Studio A Dance Arts.

A juried Arts & Crafts Show sponsored by the Hillsborough Arts Council. Food, beer, wine, ice cream, & music on the lawn of the Orange County Visitors Center, 150 E. King Street, Hillsborough. Call 919-643-2500.

www.orangecountyfarms.org

www.hillsboroughartscouncil.org

www.140westfranklinplaza.com/

THIS PLACE IS ALWAYS HAPPENING

CHAPEL HILL, HILLSBOROUGH & CARRBORO EVENTS

Piedmont Farm Tour

Hillsborough’s

APril 23–24, 2 pm–6 pm

april–September

Tour local, sustainable farms and discover the delicious meat, dairy, fruits, and veggies produced right here in the Piedmont.

Advance tickets for all farms $30/per car.

The 18th season of Last Fridays begins April 29. From 6:30 pm–9:30 pm, artists, food vendors, and craftspeople set up their wares on the sidewalks around the courthouse in downtown. Live music concert on the lawn, historic sites are open and enjoy kids’ activities. Art Walk begins at 6 pm.

www.carolinafarmstewards.org/pft/

Last fridays

www.lastfridays.org

VISITCHAPELHILL.ORG • 888.968.2060 SPONSORED BY THE CHAPEL HILL ORANGE COUNTY VISITORS BUREAU

2 | 3.23.16 | INDYweek.com

Chapel Hill

Spring Garden 30, 10 am–4 pm Tour April May 1, 11 am–4 pm Explore seven unique private Chapel Hill gardens that have evolved over the past century as well as the North Carolina Botanical Garden. Plein air artists, musicians, and select vendors add to the tour. Visit the Chapel Hill Garden Club’s website for tickets. www.chapelhillgardentour.net/ Photo credit: Daphne McLeod

WHAT WE LEARNED THIS WEEK | DURHAM 10 Each day of the legislature’s special session is worth 1,059 elementary school textbooks.

12 Last year, the Durham County jail reported twelve suicide attempts.

DEPARTMENTS 10 Triangulator 12 News

13 It may be too late to save planet Earth.

14 Soapboxer

14 Change will not come as one sweeping revolution but as a thousand smaller ones.

29 Music

22 If you’re a nineteen-year-old with a fraudulent license, you’ve probably perused the Fake ID Subreddit.

33 The Gloaming transforms Irish tradition by adding elements outside of it.

34 Two new NCMA exhibits are worth a look, but only one will eat up your whole day.

36 A 21c Museum Hotel photo show sometimes mistakes objectification for critique.

49 In the end, even on tour for the first time, your friends won’t fail you.

VOL. 33, NO. 12

15 DRINK 34 Arts & Culture 38 What To Do This Week 41 Music Calendar 45 Arts/Film Calendar 49 Soft Return

NEXT WEEK IN A GEORGIA JAIL WITH WILDIN ACOSTA

On the cover: PHOTO BY ALEX BOERNER

This page: a rosemary spritzer made with Fair Game Beverage Company’s scuppernong wine.

PHOTO BY ALEX BOERNER

HAVE AN “EPIC” GETAWAY WEEKEND AT

APRIL 7-17TH GET AWAY TO WINSTON-SALEM, NC AND GET THE RED CARPET TREATMENT AT THE 2016 RIVERRUN FILM FESTIVAL, TICKETS TO REYNOLDA HOUSE MUSEUM OF AMERICAN ART, AND MORE. EXPLORE GROUNDBREAKING FILMS & MEET FILMMAKERS AND FILM INDUSTRY EXPERTS.

Visit riverrunfilm.com/riverrun-getaway-package

INDYweek.com | 3.23.16 | 3

Raleigh Cary Durham Chapel Hill

COMING UP NEXT MAR

APR

TUE

29 An Evening with Garrison Keillor

THU 7

Leif Ove Andsnes, piano Christian Tetzlaff, violin Tabea Zimmermann, viola Clemens Hagen, cello The Brahms Piano Quartets

SAT 9

Gabriel Kahane and Timo Andres

WED 13

FRI & SAT

Bavarian Radio Symphony Orchestra with Mariss Jansons, chief conductor and Leonidas Kavakos, violin Lil Buck @ Chapel Hill

15 & 16 A Jookin’ Jam Session SUN 17 WED 20

FRI & SAT

Abigail Washburn and Friends Les Arts Florissants with William Christie, harpsichord and director Martha Graham

22 & 23 Dance Company

La Verità 27 & 28 Compagnia Finzi Pasca

APR

WED & THU

9

GABRIEL KAHANE AND TIMO ANDRES

“an all-around dazzling performance...This is music with something to say.” - The Los Angeles Times

STAY TUNED! New season Announcement Coming in May!

PUBLISHER Susan Harper EDITORIAL EDITOR IN CHIEF Jeffrey C. Billman,

jbillman@indyweek.com MANAGING+MUSIC EDITOR Grayson Haver Currin, gcurrin@indyweek.com ARTS & CULTURE EDITOR Brian Howe, bhowe@indyweek.com STAFF WRITERS (DURHAM) Danny Hooley, David Hudnall STAFF WRITERS (RALEIGH) Paul Blest, Jane Porter ASSOCIATE EDITOR Allison Hussey, ahussey@indyweek.com COPY EDITOR David Klein THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS Tina Haver Currin, Bob Geary, Spencer Griffith, Corbie Hill, Emma Laperruque, Jordan Lawrence, Craig D. Lindsey, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Patrick Wall, Iza Wojciechowska

ART+DESIGN

PRODUCTION MANAGER

Skillet Gilmore, sgilmore@indyweek.com ART DIRECTOR Maxine Mills, mmills@indyweek.com GRAPHIC DESIGNER Christopher Williams, cwilliams@indyweek.com STAFF PHOTOGRAPHERS Alex Boerner aboerner@indyweek.com, Jeremy M. Lange, jlange@indyweek.com

OPERATIONS

BUSINESS MANAGER Alex Rogers WEB CONTENT MANAGER Reed Benjamin

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Brenna Berry-Stewart DISTRIBUTION Laura Bass, David Cameron, Michael Griswold, JC Lacroix, Richard David Lee, Joseph Lizana, James Maness, Gloria McNair, Jeff Prince, Anne Roux, Timm Shaw, Freddie Simons, Gerald Weeks, Hershel Wiley Ruth Gierisch, rgierisch@indyweek.com SENIOR ACCOUNT EXECUTIVE Dara Shain, dshain@indyweek.com ACCOUNT EXECUTIVES Kellie Allen, kallen@ indyweek.com, Ele Roberts, eroberts@indyweek. com, Sarah Schmader, sschmader@indyweek. com CLASSIFIEDS SALES MANAGER Leslie Land, lland@indyweek.com

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15/16

LIL BUCK @ CHAPEL HIll A Jookin’ Jam session

APR

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27/28

ABIGAIL WASHBURN And Friends

Compagnia FINZI PASCA La Veritá

P.O. Box 1772 • Durham, N.C. 27702 DURHAM 201 W. Main St., Suite 101 | Durham, N.C. 27701 | 919-286-1972 RALEIGH 709 W. Jones St. | Raleigh, N.C. 27605 | 919-832-8774 EMAIL ADDRESSES first initial[no space]last name@ indyweek.com DISPLAY ADVERTISING SALES RALEIGH 919-832-8774 DURHAM 919-286-1972 CLASSIFIEDS ADVERTISING 919-286-6642 CONTENTS COPYRIGHT 2016 INDY WEEK

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backtalk

The Real Racists

On our blog last Thursday, INDY staff writer Danny Hooley reported on a Daily Caller hit on a Durham Central Park School teacher who taught first graders about the Black Lives Matter movement. Not surprisingly, perhaps, this story engendered some comments-section outrage.

“The fact is this,” writes Eugene D. “Six-year-old children were forced to participate in a Black Lives Matter march against the will of some of the parents, who weren’t even asked for consent. The teacher is now using them as a shield, claiming it was ‘all their idea’ and taking no responsibility for the lives and minds she is in charge of. She should be fired, and she should lose her license to teach.”

“Funny how all of the people defending this are trying to say it was the kids’ idea,” adds commenter Forsberg. “You know that nobody is dumb enough to believe that, right? You are trying to say a group of first graders are all about social justice. No, you are trying to indoctrinate them. It’s also not surprising that the people who are trying to push that obvious falsehood are also using all of the typical buzzwords ‘racist,’ ‘xenophobic,’ and, of course, ‘bigoted.’”

Sulla Felix has some thoughts about who the real racists are: “Let me put you liberals at the INDY in your place. The issue is this: it is indoctrinating six-year-olds into issues that they aren’t intellectually capable of understanding. The BLM movement is controversial for one reason only: they will protest to the ends of the earth a white man killing a black one, but don’t show up with a black man kills another black man. That’s racism in a nutshell.”

“I don’t have a problem with kids in elementary school participating,” writes Roy B. “But it shouldn’t be during a school day. There is a difference between studying a contemporary political movement and actively participating in it. Kids should study BLM in schools. They also should study what is going on with Bernie Sanders, the tea party, and Donald Trump, because these are the defining movements of this election cycle. They should not be forced to put on BLM T-shirts (something the INDY left out from the Daily Caller article) and march.”

Andrea Brame has returned to Wavelengths Salon after working several years in DC and Miami. Andrea is extremely creative and talented and would love to do your hair!

B E A U T Y + S U S T A I N A B I L I T Y

CUTS :: COLOR :: CURL EXPERTS :: WEDDING HAIR WAXINGS & FACIALS :: BRAZILIAN BLOWOUTS :: KERATINS 704 Ninth St. • Durham • (919) 416-9705 • wavelengthsalon.biz

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

Cellist Fred Raimi performs on the steps of the Duke Chapel following a rally celebrating the decision of Duke adjunct faculty members to unionize. PHOTO BY ALEX BOERNER

INDYweek.com | 3.23.16 | 7

Fracking Gas, Duke Energy, and Climate Crisis A free, public event on the climate and economic impacts of a massive expansion of natural gas by the nation’s largest electric utility Tuesday, March 29th at 7:00 p.m. | The Friday Center, Chapel Hill Public Empowerment Forum David Hughes Post Carbon Institute

Dr. Robert Howarth Cornell University Leading expert on the role of methane leakage as a driver of global warming

Has exposed persistent exaggeration of reserve estimates and production potential of shale gas by industry and U.S. regulators

Rev. Dr. Rodney Sadler, Jr. NC NAACP

Bill Powers Powers Engineering

Connie Leeper NC WARN

Ordained Baptist minister and Executive Committee member of the North Carolina NAACP

Has 30 years of experience in electric power generation and distributed energy

Organizing Director for NC WARN and a leading voice for climate and energy justice

Co-sponsors: Duke Environmental Law and Policy Clinic, The Climate Times, and NC WARN

Duke Energy is planning to build up to 15 fracking gas power plants in the Carolinas. This would cause electricity rates to soar and accelerate the global climate crisis at the worst possible time.

State politicians and regulators have shielded Duke Energy from debating leading experts and critics.

Experts and civic leaders are speaking out for climate and energy justice, and the corporate influence that’s preventing North Carolina from making an urgently needed shift to clean, affordable energy.

More info: ncwarn.org/methane-events • 919-416-5077 Paid for by NC WARN

8 | 3.23.16 | INDYweek.com

Methane leakage throughout the natural gas industry makes use of gas for power generation “a disastrous strategy” for slowing climate change.

- Dr. Robert Howarth, Cornell University

Building People Power for Climate & Energy Justice

s e s s e n i s u b e h t t r o p ... s Sup u t r o p p who su

! l a c o S hop l

MOUTH-WATERING MIXES WITH FAMILY & FRIENDS visitRaleigh.com has everything locals need to keep visiting company happy with tasty ideas for what and where to drink, like a nightcap at Fox Liquor Bar, where James Beard Awardwinning chef Ashley Christensen has perfected the art of the carefully crafted cocktail.

Learn more at visitRaleigh.com/family

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+YUM, COAL ASH!

Shot: last week, Governor McCrory quietly disbanded the independent commission charged with overseeing the cleanup and closure of unlined coal ash pits across the state. It will now fall under the purview of the Department of Environmental Quality, an agency renowned for its subservience to McCrory’s former employer, Duke Energy.

Chaser: a Winston-Salem Journal report last weekend found that the N.C. Department of Health and Human Services changed the standard used to determine whether water contaminated with elements related to coal ash is safe to drink, overriding its own toxicologists, who warned that the levels of hexavalent chromium in some wells are too high.

Under the new standards, water with “acceptable” levels of hexavalent chromium would give a person a one-in-seven-hundred lifetime risk of getting cancer; formerly the standard was one in a million. DHHS emails showed that scientists warned officials that the new standards were “outdated” and “unacceptable.”

“Rather than fix the problem, the Department of Environmental Quality and the McCrory administration decided, ‘Let’s just raise the water quality standard so we no longer have to tell these families that their water is unsafe to drink,’” says Logan Smith, communications director for Progress NC Action.

Smith says this will make it easier for Duke Energy to cap its coal ash rather than excavate it (a safer but more costly option). It also allows Duke to stop providing bottled water to families in the mostly small, rural communities affected by coal-ash contamination.

All of this, says Frank Holleman, a senior attorney at the Southern Environmental Law Center, could backfire on McCrory come November.

“We’re in the middle of an election year, and the public has made it clear that it wants coal ash moved to dry-lined storage and the sites cleaned up,” Holleman says. “If the governor turns his back on the people, you have to believe he will pay the political price.”

+BLACK POWERBROKER

ILLUSTRATION BY SKILLET GILMORE

10 | 3.23.16 | INDYweek.com

Durham attorney and erstwhile Democratic gubernatorial candidate Ken Spaulding will not go gentle back into private life. Instead, he’s creating a political action committee.

His PAC—as yet unnamed—will coordinate “with African-American newspapers and media, along with local nonpartisan African-American organizations around the state, to provide unity and a unified solid base of support of candidates for statewide office and legislative seats,” according to his announcement.

But his PAC won’t be “so much about raising funds and spending money,” Spaulding tells the INDY. Rather, it will “interview and vet” candidates and then endorse on the basis of issues, not political parties.

“Black voters will no longer be taken for granted by the Democratic Party nor ignored by the Republican Party,” Spaulding says.

The exact contours of his PAC’s activities have yet to be determined.

But Spaulding says the issues that matter to him now—the ones that this new PAC will focus on—are that same ones he raised while sparring with Roy Cooper: living wages, voter suppression, and fracking, to name a few.

Which—given how hard Spaulding went after Cooper for not retrying Randall Kerrick, the Charlotte cop who shot an unarmed black man after a car wreck—prompts the question: Does he rule out an endorsement for his former Democratic rival?

“That’s too far down the road for consideration,” he says.

+HOW TO WASTE $42K

ILLUSTRATION BY CHRIS WILLIAMS

triangulator Fiscal champions Tim Moore, the state House speaker, and Lieutenant Governor Dan Forest will convene a special legislative session on Wednesday—at the cost of $42,000 a day—to override a Charlotte ordinance that, among other things, allows transgender people to use the bathroom of the gender they identify with.

This “radical” provision endangers “young girls and women,” according to a breathless announcement Monday, who thus require the legislature’s valiant “protection,” despite a mountain of evidence that these claims are, well, unadulterated horseshit.

“Think of all of the things the special sessions have been called for—budget crises, serious things,” says state Representative Duane Hall, D-Wake. “This is not a crisis.”

While $42,000—or $84,000, or $126,000— is a tiny percentage of the state’s $21.7 billion budget, it’s still real money. So when Moore and company make a big show out of protecting potties this week, it’s worth remembering that every day lawmakers spend on this manufactured crisis is worth 1,059 elementary-school textbooks.

As of press time, it’s unclear whether the session will focus only on the bathroom provision or go further—attacking all local antidiscrimination measures and living-wage ordinances—as critics fear.

“They tried to run a bill at the end of last session that would’ve removed local authority to do all kinds of things, like fair housing ordinances,” says Wake County commissioner John Burns. “I’m afraid they’re going to try to run that through again, with this bathroom issue to drive public fear.”

“I’m really surprised they did it,” Hall adds, “because I think they’re hurting themselves with the upcoming election. The number one state legislator who was on a mission to take control from his local government was Tim Moffitt, and look what happened to him.”

(Moffitt, a Buncombe County lawmaker, lost his re-election bid in 2014.) “You would think that if, for no other reason, self-preservation would temper that.”

TL;DR: +VOTE EARLY, STAND IN LINE

Responding to reports of numerous voting problems last week, the director of the Durham County Board of Elections respectfully requests that voters take some personal responsibility for knowing when and how to vote.

“This process is important,” says Michael Perry. “Put an equal amount of effort into it that you do in filling out your Final Four brackets. Seriously.”

He’s got a point. Still, not all complaints about the messy March 15 primary in Durham should be summarily dismissed.

As the INDY reported last Wednesday, Democracy NC director Bob Hall singled out Durham for having some of the longest lines in the state.

Meanwhile, state NAACP president William Barber II complained that voters at the Ivy Community Center endured “lines stretching the length of the exterior.”

In an email, voter Jeremy Loftis told the INDY that his polling place in Hope Valley was beset by long lines spurred by

malfunctioning computers and printers.

In response, Perry says the BOE plans to purchase more equipment by November.

Polling places at East Regional Library, South Regional Library, and Forest View Elementary School were still open more than an hour past the closing time, 7:30 p.m., with lines of around two hundred people reported at each site. The last precinct turned in ballots at 1:22 a.m.

Some of that, Perry says, can be attributed to an after-work rush.

This can’t: the BOE failed to inform Precinct 55-49 voters that their polling site at N.C. Central’s Student Union had been moved.

Perry says he doesn’t know how that happened.

But he also says some problems were beyond the BOE’s control.

All year long, for example, the BOE mailed cards to voters, reminding them to keep their registration current. But many people tried to vote at the wrong location.

All that confusion added up to a lot of provisional ballots. As of Friday, Durham’s election board had counted around eighteen hundred such ballots, about 50 percent more

“Put an equal amount of effort into it that you do filling out your Final Four brackets.”

than Durham saw four years ago, Perry says.

On a more positive note, the stringent voter ID law that took effect last year didn’t seem to have a dramatic effect on turnout.

Perry reports that this year’s primary drew thirty-two thousand early voters, compared to twenty-seven thousand one-stop voters in 2012. On primary day, the number of voters was around 45,600, a slight downtick from 46,900 four years ago.

“I don’t think there was anything even measurable related to photo ID,” Perry says.

“Obviously, there were a couple of extra seconds where someone had to look at an ID, whereas in the past, they didn’t have to.”

More (relatively) good news: Perry doesn’t expect long lines for the June 7 congressional primary, which was added after a federal court ordered state lawmakers to redraw the racial gerrymander they enacted in 2011.

Bad news: that’s because those primaries will have extraordinarily low turnout, which means that—thanks to a new GOP-friendly gerrymander that will ensure that November congressional elections aren’t competitive—a handful of voters will get to decide who will represent us for the next two years.

Vive la démocratie, y’all. l triangulator@indyweek.com This week’s report by Paul Blest, Danny Hooley, and Jane Porter.

THE INDY’S QUALITY-OF-LIFE METER -1

The N.C. Republican Executive Committee passes a resolution expressing “no confidence” in party chairman Hasan Harnett, the only African-American to ever hold that post, after the party shut down his email account last week. “He never responded to emails,” a committee member explains.

+4

Riverside High School student Wildin Acosta’s scheduled deportation is delayed pending an appeal. He says if Trump gets elected, he’s leaving anyway.

-2

Immediately after the primary, the Republican Governors Association begins attacking Democratic nominee Roy Cooper.

Behind the scenes, they argue over cupcakes or a big cake for Pat’s going-away party.

-3

Reported cases of syphilis spike by 40 percent in North Carolina, which officials link to dating-app hookups. Local tech bros are inspired to create a new app: Clappr.

+3

Duke’s adjunct faculty votes to unionize.

Some rich lawyer’s kid calls his dad to ask if that’s even legal.

-2

In the right-wing Daily Caller, local artist Robert Mihaly attacks a Durham teacher for leading first graders on a Black Lives Matter march. At least nap time was easy.

-2

A study confirms that, yes, Durham blacks are more likely to be searched following a traffic stop than whites. In other news, the Hindenburg exploded.

+4

Duke and UNC both advance to the Sweet 16. “Next year—that’s our year. Next year, definitely,” says one N.C. State fan, repeating what they’ve all said for the last three decades.

PERIPHERAL VISIONS | V.C. ROGERS

This week’s total: +1 Year to date: -15 INDYweek.com | 3.23.16 | 11

indynews

RALEIGH

Does Kay Crowder Have a Point?

THE CITY COUNCIL MEMBER CAST THE LONE VOTE AGAINST RALEIGH’S BIKE-SHARE PROGRAM LAST WEEK

BY JANE PORTER

Drive around Raleigh on a rainy day and you’ll see people standing at uncovered bus stops, soaking wet. They wouldn’t be out there if they had another way of getting to work, school, or the grocery store. But they don’t.

Juxtapose that image with this: last week, the city council voted to bring a bike-share program to downtown, a proposal that has enjoyed support from many downtown residents and businesses, as well as booster organizations like the Downtown Raleigh Alliance and WakeUp Wake County.

The lone dissenter was council member Kay Crowder, who called her vote opposing the bike share a “value judgment.” The

city, Crowder points out, will spend more than $650,000 a year on operating costs for a program that will serve only 8 percent of the city’s population. She thinks that money would be better spent making upgrades to existing infrastructure—benches and bus shelters, sidewalks and crosswalks—for the people who use the city’s transit system.

“We want to be a city of innovation, and we want to be a city for all the people,” Crowder said at last week’s council meeting. “There are many people in this city who are broken, poor, homeless, downtrodden, children without homes, the elderly. These people need our help also.”

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12 | 3.23.16 | INDYweek.com

There’s a view among proponents of the sharing economy that the city council is “reactionary” on issues like bike share, loosening food truck regulations, and legalizing Airbnb, and that council members need to get ahead of the curve to bolster the city’s cool factor. These folks seem to be getting their way: the city also relaxed its food-truck policy last week, and Mayor Nancy McFarlane has said the Airbnb rules will be in place in a few months.

But there’s also the view that, in simply going along with what downtown advocates want, other residents will be left, quite literally, out in the cold. And the rain.

“Sometimes the city needs to remember that Raleigh is bigger than just downtown and the surrounding ring,” Crowder says.

“We need to do things that help all people in the city of Raleigh, not in just one area.”

What isn’t in dispute are the benefits to cities of having a bike-share program.

“The overwhelming consensus among cities that have bike-share programs is that bike share has been successful,” says Dianna Ward, the executive director of Charlotte’s B-Cycle program and the secretary of the North American Bikeshare Association. Bike shares promote public health, cut down on congestion, and make cities more attractive to new employers seeking a young, hip talent pool.

There are different models for funding these programs. Charlotte’s is paid for through sponsorships. Chattanooga’s uses sponsorships and federal grants. San Antonio made an initial investment in equipment using federal grants, and now its program is operated by a nonprofit. And just last week, after experimenting with a nonprofit-run bike share, Seattle bought its system for $1.4 million. It plans to use sponsorships and advertising to recoup costs down the road.

In Raleigh, city officials are looking toward a $2 million federal grant to fund the start-

up. The city council will then spend $653,000 a year to pay the salaries of the seven-anda-half positions it will need to fill, as well as capital costs, IT and communications, a call center, fees, marketing, and insurance. The city expects to recover $215,000 of that in user fees and another $220,000 from corporate sponsorships.

The rest—about $220,000 a year—will come from taxpayers. In exchange, they’ll get thirty bike-share stations, with three hundred bikes, across a 6.7-square-mile area around downtown starting in fall 2017.

It’s that part Crowder objects to: Why, she asks, is the city willing to cough up hundreds of thousands of dollars to benefit downtowners when there are so many other pressing needs?

“We have heard from experts time and time again, we need benches and bus shelters, and sidewalks and crosswalks for people to get to them,” she says.

Those upgrades will be especially crucial if Wake County voters pass a transit referendum later this year. After all that happens, Crowder says, a bike share will make more sense.

“I’m not opposed to bike share, [but] though it is exciting, sparkly, and new, it does not help the greater good of my citizenry,” Crowder says. “I would rather spend money helping [bus riders] make better lives for themselves.”

While council members were sympathetic to Crowder’s point, it wasn’t enough to sway them.

“Everyone is aware of our limited resources, and there are many worthy needs that come before us,” Russ Stephenson, usually an ally of Crowder, said at last week’s meeting.

“If we find we are not getting enough sponsors, we will re-evaluate in three years. Or we will find plenty of sponsors and that the program is self-supporting. But we need to take these first steps to see if it will work.” l jporter@indyweek.com

“Sometimes the city needs to remember that Raleigh is bigger than just downtown and the surrounding ring.”

news

HOW TO LET GO OF THE WORLD …

Tuesday, March 29, 7–10 p.m., NCSU Talley Student Center-State Ballroom Auditorium, Raleigh.

Inconvenient Truths

IT MAY BE TOO LATE FOR PLANET EARTH. GASLAND DIRECTOR JOSH FOX HAS SOME THOUGHTS ON HOW TO PROCESS THAT INFORMATION.

BY DAVID HUDNALL

Environmentalists lose a lot. But Josh Fox’s 2010 documentary Gasland, which examined the dangers of the natural-gas drilling technique known as fracking, was a winner. In addition to a host of awards, Fox won the environmental battle in his own backyard: in 2014, Governor Andrew Cuomo banned fracking in New York. The film—particularly the scene in which a homeowner sets fire to the water coming out of his tap—arguably mobilized the antifracking movement more than any newspaper article or nonprofit’s study.

Fox was last in North Carolina in 2013, to screen the follow-up, Gasland 2, at the Carolina Theatre.

He returns this week with his latest film, How to Let Go of the World and Love All the Things Climate Can't Change.

The premise is grim: the disastrous effects of climate change are likely unstoppable. From this, Fox attempts to draw a sort of fatalistic wisdom. As he says, “What is so deep within us that no calamity can take it away?”

We called Fox ahead of this Tuesday’s screening of the film at the N.C. State Talley Student CenterState Ballroom Auditorium in Raleigh.

INDY: Do you see this film as connected to Gasland in any way?

JOSH FOX: Yeah, I see it as kind of a third part of the Gasland trilogy, but about broader subjects. It’s about how late we are in addressing the issue of climate change and how science is telling us in many different ways that it’s too late to stave off some of the worst things we think about when we think about climate change. And how depressing that is, and how it’s easy to get caught in a cycle of denial and despair about that. The film attempts to come out the other side.

What are some of these discouraging facts you refer to?

We’ve already warmed the earth by about one degree Celsius.

That maybe doesn’t sound like much, but think about your freezer at home. One degree is all that separates all the food in there from spoiling and melting. And that’s what’s

That’s very depressing.

It’s extraordinarily depressing.

So the film looks at the cultural and moral values that led us to here. And that’s a society based on greed and competition.

The film highlights the other side of that: people across the globe in dire situations with respect to climate change who never quit. It takes you to the Amazon to work alongside indigenous environmental monitors who go twelve miles into the jungle to check on oil spills nobody is reporting on. And human rights defenders in China who are at risk of being imprisoned. And the Action Center in the Rockaways that rebuilt the Rockaways in New York after Hurricane Sandy.

Did you know Republicans in North Carolina’s legislature recently opened us up to fracking?

Yeah, we did a screening in Durham in 2013, and one of the reasons for the tour was to support local grassroots groups who are fighting these battles.

Obviously, you just won a major battle against offshore drilling on the coast.

But in North Carolina, I think there’s a double whammy. There’s all the toxic effects of opening fracking: air pollution, threats to the water supply—fracking should not be allowed anywhere near drinking water. But also there’s sea-level rise in the coastal areas. And again that’s part of what our goal is for this tour, to talk with local groups about how to deal with the threats of fracking and climate change. Grassroots organizations are the only way to effectively deal with these problems. happening on Earth. With all the methane and CO2 that we continue to put into the atmosphere, we’ve already got another half-degree increase on the way. If the Earth warmed two degrees—and projections vary, but we could get there in the next few decades—that would bring on five to nine meters of sea-level rise. At that point, you’ve got droughts, floods, refugee crises, the Greenland ice sheet melting. Basically, massive global upheaval in the not-so-distant future.

So what’s next?

I think 2016 is really crucial. We’ve got three hundred fracked-gas power plants being proposed in the U.S. That means thirty or forty more years of being dependent on plants that leak methane into the atmosphere. Those absolutely have to be stopped. And that’s a major priority for us—to work on those local battles across America and connect people together. l dhudnall@indyweek.com INDYweek.com | 3.23.16 | 13

soapboxer

What Bernie Won by Losing

THE DEMOCRATIC PRIMARY IS OVER. LET THE REVOLUTION BEGIN. BY JEFFREY C. BILLMAN It’s no secret that I supported Hillary Clinton in the Democratic primary—a choice of pragmatism over populist idealism, of a theory of change oriented around attainable, incremental progress instead of lofty, unrealistic promises. It’s also no secret that much of the INDY’s readership—and some of its staffers—disagreed, oftentimes vehemently.

I understand that. I understand, too, the restive frustration driving Bernie Sanders’s political revolution, especially among the young and disaffected, those burdened by student-loan debt or worried about socioeconomic stagnation. Sanders offers an unvarnished antidote to a center-left politics that’s often more center than left. He’s also done something objectively incredible: an obscure senator challenged a well-funded machine and came closer than anyone predicted to toppling it.

But he didn’t topple it, not quite.

Last week’s primaries—in which Clinton racked up big wins in North Carolina, Florida, and Ohio—effectively sealed the deal.

So Sanders won’t prevail. But his revolution did, both in the short and long terms. In the short term, Sanders won by pushing Clinton to the left, eliciting firmer commitments on things like immigration and free trade and environmental policy than Clinton would have made otherwise. And, though it probably wasn’t his intention, he succeeded in making Clinton a stronger general-election candidate.

Sanders’s long-term victory, however, is much more important. The coalition he built will define leftist politics into the foreseeable future. But it will have to do that without its figurehead. This change will come not as one sweeping revolution but as a thousand smaller ones, on school boards and city councils and party committees, in state

legislatures and activist groups. It will come, bit by bit, as the energy and enthusiasm galvanized by the Sanders campaign morphs into a next generation of political leaders who slowly take hold of the levers of power.

There’s a playbook to emulate. This is, for example, how movement conservatives took over the Republican Party, then pushed it rightward, then pushed local governments rightward, then states, then Congress and court systems, all the while building up a deep bench and, through gerrymandering, cheating their way to dominance. Their success speaks for itself, in robust congressional majorities and outright supremacy in most statehouses. But it didn’t happen overnight.

And it won’t happen on the left without sustained pressure from the Sanders coalition. To win, progressives need to show up—and not just in a presidential election but in the midterms, in county commission races, in congressional primaries, both holding Democrats to account and bolstering the progressive movement at all levels. If Bernie’s people stay engaged, if they keep pressure on from both inside and outside the system, then in time—a few years, a decade—the Democratic Party will think a lot more like they do.

When that happens, the Overton window—meaning the range of acceptable policies—will have shifted, and suddenly, all of Sanders’s lofty, unrealistic promises won’t seem that lofty or unrealistic anymore. And that’s how Bernie really wins. l jbillman@indyweek.com

This change will come not as one sweeping revolution but as a thousand smaller ones.

14 | 3.23.16 | INDYweek.com

INDYweek.com | 3.23.16 | 14

and tip well

Have a If you’re passing the evenings alone at home by forming a mountain of crushed domestic beer cans or polishing off the last little bit of that prized bottle of single-malt Scotch that’s as aged as the Old Testament, you can be as cranky or convivial as you’d like. You’ll only bother the pets, maybe the neighbors.

But drinking in public isn’t such a one-sided deal. There’s the setting to consider, the standards that each place sets for the denizens looking to sip or get soused. There are your fellow revelers or lamenters, looking to blow off some steam or find a

party of their own. And there are, of course, the workers who make it possible for you to escape your own troubles by temporarily absorbing them—the bartenders who serve you, the bouncers who safeguard the space, the managers who coordinate it all.

For the INDY’s inaugural DRINK issue, we opted

Mildmannered mettle YOU’VE PROBABLY SEEN HANK WILLIAMS SITTING BESIDE THE DOOR IN RALEIGH. WHEN IT COMES TO MAINTAINING CIVILITY, HE LIKES TO TAKE IT EASY. AS TOLD TO GRAYSON HAVER CURRIN

T

he first time Hank Williams kicked someone out of the club, the club happened to be his house.

A decade ago, Williams hosted punk and metal shows at The Thrashitorium, a squat little ranch house he rented on Wake Forest Road. Before one concert, while the opening band was away eating dinner, a kid got behind the drums and started causing chaos. He refused to stop until the band member who had stuck around started

Wallets out: Hank Williams PHOTO BY ALEX BOERNER

not to drift through the Triangle’s rapidly multiplying breweries, bars, pubs, and dives, one by one, but instead by considering the multiple sides of a single drink. We meet a Raleigh doorman with a sensitive side, have a night out with three top bartenders, and learn about the trouble with fake IDs through a bar owner. Then we test the goods themselves with a trip to every Triangle distillery, three searches for a perfect cocktail, and a list of the spots you’re most likely to find us.

We’ll see you there soon.

—Grayson Haver Currin pounding him from above. Williams rushed into the room, put them both in headlocks, and ejected them both before kicking the band off the bill.

“That was the first vivid time I could remember handling something,” says Williams, obscured partially by shadows cast by the lateafternoon sun that creeps through the blinds of his ground-floor apartment near downtown Raleigh. “That hit home with me.”

In the years since, Williams has handled a lot more. Behind the scenes, he still books some of the best heavy shows in the Triangle. But in his more public role, Williams, a thirty-three-yearold born in Rex Hospital in 1982, has served as the doorman and bouncer for a long list of Raleigh restaurants, bars, and clubs. These days, he sits in the alcoves of the new dive bar Ruby Deluxe and near the elevated threshold of Capital Club 16, checking IDs and sometimes checking attitudes.

If you’ve been to a bar in downtown Raleigh, you’ve probably seen Williams, tattoos peeking from beneath a black T-shirt and a heavy-metal patch jacket. As he scowls from behind glasses and a mess of bushy brown hair and a beard that aims downward like an arrow, maybe you’ve been intimidated by him.

But Williams isn’t so scary. A lover of professional wrestling with a laugh that practically cackles, he prides himself on being a mild-mannered, patient professional who’s quicker to slap someone on the back and call them “bud” than kick them out.

INDYweek.com | 3.23.16 | 15

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16 | 3.23.16 | INDYweek.com

pparently, I used to say, “Why does Daddy go to work with a boomstick?”

When Jake Wolf from Capital Club 16, my boss, met my dad, the first thing he said to him was that they sleep easy on the weekends when they know I’m there. Before I got to Capital Club, people were trashing that place, ripping shit off the walls. People weren’t treating the space with respect. I feel like my vibe is, if somebody is messing up, someone will say, “Hey, man, if Hank sees you doing that, you’re gonna be in trouble.”

It has worked. That’s awesome: I don’t even have to get up.

A lot of it is hereditary. My dad was a bouncer at the Foxy Lady for twenty years. He wasn’t the door guy; he was the owner’s bodyguard.

At that point, he was working as a mechanic during the day, a bouncer there at night, and a carpenter on the weekend. All he knew was bad-motherfucker status. I remember one of his friends telling me they were scared to death of him. Why? “Because he could beat all of us up, and he’s read more books than all of us combined.”

That’s why I’m laid back, and I’ll deal with people’s shit. I vividly remember growing up and being like, “It has to suck to get that mad all the time.” It wasn’t that weird for my dad to have to go to court when I was about seven. He usually got out of it.

I rode around with him yesterday, and, even after a heart attack and being in his sixties, he’s still just screaming at people in traffic. He’s not wrong; he’s just wound tight.

My mom, on the other hand, was a bikerbar/motel bartender for twenty-five years.

I got a lot of my personality and the ability to deal with other people from her. Also, I wanna throw the party! I got that from her.

One of those things I learned from my mom is that if you can go with the flow of any party, you can make a lot of money.

A lot of people who see me but don’t know me just know I’m the door guy. They probably perceive me as not being as laid back as I actually am. My approach is don’t let anyone get under your skin. Be cool.

Convince these people that they’re dealing with the coolest guy they ever could. That goes a long way when someone is messing up and all of a sudden you’re like, “Hey, cut that out.” It counts because you’re not like that off the bat. It’s like the cool-mom sce-

nario; if the cool mom gets mad, it counts.

I’m not gonna not let somebody in because they’re buzzed, but I’m definitely not gonna let somebody in if they don’t even know how to carry themselves enough to pull their ID out. I’m pretty lax, but I’m there to keep people out if it looks like they’re going to do something. There have been times when people have been smoking weed in front of Capital Club. “Get that outta here!” They look at me and are like, “You’re gonna tell us to stop smoking weed?” I say, “Look, I’m not gonna tell you to not smoke weed. I’m gonna tell you to not smoke weed right there. You’re gonna

ing the situation. With that Capital Club job, you never know who’s wandering around.

There was one night, for example, when me and some friends from Valient Thorr went to a wrestling match. We had a blast. Later, Herbie from Valient Thorr was schmoozing with Jeff Hardy, the wrestler, and some others at another bar. I go to work, and this creep shows up. He’s somebody that used to come to my house shows, and back then I had a lot of women come up to me and say, “That guy sends me really creepy sexual messages on MySpace.”I didn’t kick him out. I just gave him a dose of his own medicine and made him feel really uncomfortable. He left.

Fast-forward a week before the night at Capital Club. The guy walks by me and goes, “Fuck you, you motherfucker,” and he growls. It happened so fast, and it was so many years after the fact, it took a minute for everything to sink in. It was so random.

Post-wrestling, I’m at work. I’m away from the door for two seconds, and I feel like he was around, just waiting for me not to be at the door. I go back to my spot. He walks out, and he’s got a drink in his hand. I’m like, “Hey man, what’s up? Do we need to talk about something?” He said, “What are you talking about?”

So, this is how we are gonna do this?

I said, “So you’re gonna act like you didn’t walk by, flip me off, and curse at me a week ago?” He said, again, “What are you talking about?” I said, “All right, man, well you’re not treating the employees right here. You gotta go.”

I yank the drink out of his hand, and I put my hand on his shoulder: “Dude, you need to start walking that way.” He goes to punch me.

I lock him up, and he’s just squirming. Ten minutes go by, and as this is happening, Jeff Hardy goes by. They’re hanging out, yucking it up. The cops come and they’re basically yelling at me. He finally left. After that, when I put my glasses back on, Jeff Hardy said, “That was a sick front face-lock, bro.”

They came in the restaurant and hung out. It ended up being a really crazy night.

Fights like that haven’t happened a lot, maybe a half-dozen times in four years.

They’ll get to me every now and then, but, for the most part, I know how to talk to people in a civil way that makes them realize they’re messing up. I’ve learned that calling people a bunch of names isn’t going to help you. l gcurrin@indyweek.com PHOTO BY ALEX BOERNER

DAILY FOOD & DRINK SPECIALS! BEST OF THE TRIANGLE 10 YEARS IN A ROW!

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get the restaurant in trouble, and then nobody can come here.” They get that. It works.

I’ve always said that I’m pretty good at knowing the fine line between fun and fucked up. If somebody wants to rip an inanimate object that’s not a part of the building up and go nuts, for your average person, they’d say, “Get that guy out of here. He’s going crazy.” I’d laugh, say I guess he’s not really hurting anything, and let it play out before I react. It crosses the line when it’s real property destruction or affecting the vibe of other people. There doesn’t have to be rules if you know what’s going on, if we all have the common sense we should have by the time we’re ten. There’s also the fine line between someone just blowing off steam and someone bringing their problems into the public.

I know it seems like I’m just standing there not doing anything, but, really, I’m soaking everything in. There are probably fifty people around Raleigh that I wouldn’t even know existed if it wasn’t for my job. I know their quirks. I know who they hang out with. I know if a couple is about to break up two weeks before they do, because I know their body language. I know more about them than I should, because my job is just about observ-

Plenty of Fluids

l Club job, round. , when me rr went to ast. Later, hmoozing some oththis creep d to come I had a lot icture this: you are lead“That guy ing the pack around a ssages on dirt track race in the sixjust gave ties, somewhere near, say, and made Rockingham.

As the dust starts le. He left. to clear from your victory lap, efore the you emerge from your muscle guy walks you moth-car and make your way to the happenedpodium. The woman waiting years afterthere, beaming with your trophy for every-in hand, might look a lot like my ndom. drinking partner for the evening, work. I’mthe bartender Fiona Matthews. o seconds, Matthews stands in front of ound, justCarrboro’s Bowbarr, smoking the door. Ia cigarette. She wears a flouns out, andcy black-and-white checkered d. I’m like,blouse, a pleather black skirt, and we needa pair of white high-heel sneakHe said,ers. She stubs out her smoke and pulls me inside, seating us pole position in front of Louise Calhis? you didn’thoun, who has taken Matthews’s me a weekshift for the evening. I recognize ou talkingCalhoun from Durham’s Alley you’re notTwenty Six and learn that both u gotta go.”she and Matthews work two or and I putthree other jobs. ou need to Bowbarr is a perfectly realized, punch me.unpretentious neighborhood bar. ming. TenI’m annoyed at myself for havening, Jeffing never visited. It’s a narrow out, yuck-shotgun setup with just enough y’re basi-deck out back for the occasional After that,breather. Tucked away on Rosemary Street, eff Hardyit offers a respite from the collegiate frenzy lock, bro.”of Franklin. The Clash’s “Straight to Hell” ung out. Itstreams from the speakers.

I tell Matthews my plan for the evening— ned a lot,to pace myself by only ordering drinks with our years.lots of mixers. The on-duty and off-duty en, but, forbartenders decide I should have a Carrboro people inMule, consisting of whiskey, ginger beer, ze they’resoda water, and lime. Blenheim’s and Maker’s ng peopleMark is a personal favorite, so this variation p you. l feels familiar and welcome. Matthews orders yweek.coma Naraquila, a Bowbarr specialty made with tequila reposado, sweet vermouth, dry cura-

SMILING THROUGH A NIGHT OUT IN CHAPEL HILL AND CARRBORO WITH BOWBARR’S FIONA MATTHEWS BY YORK WILSON

P

Out of Rockville: Fiona Matthews PHOTO BY ALEX BOERNER

cao, sweet orange, and walnut pepper bitters.

She gives me a taste and assumes the role of bar spokesperson.

“Bowbarr has some really great specialty cocktails,” she begins. “They’re seasonal, and they use a lot of local ingredients…”

Fine, fine, I tell her, we’ll get into all that.

First, I want to know her story.

The twenty-seven-year-old bartender with the wide-open brown eyes and laser-

straight bangs grew up in Germantown, Maryland, just outside of D.C. She went to high school in Rockville, the same one R.E.M. urged us not to go back to.

And she didn’t. She came down in 2007 to earn a dual degree at UNC and never went back. As the evening progresses, she becomes more and more adamant about her loyalty to Carrboro and Chapel Hill.

“Carrboro is like a crazy community. I’ve been here nine years, and every year I’m like, ‘I should move,’” she says, “but where?

Everyone here rules.”

Her parents followed Matthews, an only child, to North Carolina before she attended college “so I could get in-state tuition.”

“Sounds like a ploy,” I say.

She laughs, agrees, and insists they have a great relationship.

“Last Sunday a bunch of my friends went to hang out with them … while I worked.”

I would argue that her parents have a lot to do with Matthews's specialty. Her parents married in 1971 and now work together at a Harris Teeter in Burlington.

“My parents always taught me that anyone that comes into a place you work at is like a guest in your home,” she says. “Treat them like that.”

As the night progresses, you can tell she believes this. As we talk, friends and fans won't let her pass without slinging an arm around her and giving her a squeeze. Normally, the journey from Bowbarr to The Cave takes five minutes. When you’re walking with Fiona Matthews, it’s a leisurely, and social, commute.

billiards

board games

dog-friendly

local art specialty cocktails

Zog’s

ART BAR 108 1/2 Henderson St. Chapel Hill :: upstairs ::

INDYweek.com | 3.23.16 | 17

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s the Triangle undergoes convulsions of development above ground, the stucco interior of the subterranean Cave is still monkey-shit brown. The band is still loud as fuck. The drinks are still relatively cheap.

The country singer Sarah Shook is behind the bar, and Matthews hurriedly puts in our drink order. Slingshot Cash has strapped on guitars, and the band doesn’t seem like it will be playing the soft jams. We grab a booth, and Matthews tries to yell the names and ingredients of our drinks over the band. For me, she’s ordered a Gatorade Shot, for herself, something called a Fluffins.

Both are sweet and deceptive, going down too smoothly. The Gatorade Shot is three parts Burnett’s citrus, two parts lemon juice, and one part Sprite. You’d swear you were drinking actual Gatorade. The Fluffins Shot is a concoction of vodka, lemonade, and peach schnapps. I’m glad I scored the Gatorade. We finish our drinks and, after some smiling and shrugging, decide to head to the Nightlight, where we might be able to talk again.

T

he Nightlight’s continued existence is a beautiful thing. The books are long gone, of course, but the Nightlight remains, in my guide’s words, “a safe space for experimental sound.” She started volunteering here about six years ago, was quickly promoted to run the soundboard, worked the door, and settled in as a bartender. It was the perfect place to cut her teeth.

As if to prove this point, the young woman behind the bar tonight has to call over a veteran to make our drinks. It’s her first night.

After conferring with Nathan Taylor, a friend and bartender, Matthews decides I should have a Fresh Start to stay hydrated.

It’s a pint glass of grapefruit LaCroix, with vodka and lime, served with a purple bendy straw. It’s my least favorite drink of the evening, but probably the one that saves me from calling an Uber. Matthews orders a rye Manhattan.

Just as we put bendy straws to our mouths, a very tall man in a monk’s robe and a surgical mask fires up some sequencers and drum machines. Matthews looks back to me and at the door. We head to the benches that line the alleyway.

Her face flushed, Matthews looks around and becomes visibly nostalgic.

18 | 3.23.16 | INDYweek.com

“I just love Carrboro,” she says. “I just feel like with everything going on in Durham, Carrboro gets a little forgotten.”

She tells me how this town embraced her, took her in, supported her transformation from student to conscious adult who wants to buy a home, even run for the board of aldermen. She goes in to say goodbye to friends and grabs some LaCroix for the longest hike of the night—to the Orange County Social Club.

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ho’s your bartending hero around here?” I ask.

Matthews thinks for a minute, then says, “He doesn’t tend bar anymore, but definitely Lee Waters when he was at the OCSC.” I nod.

“He was always so kind and considerate, but strict,” she says. “You didn’t call him sweetie or darling or honey or any of that.

Everyone knew that Lee wouldn’t let shit fly at the bar, so you didn’t do shit.”

As we enter the Social Club, I’m again relieved that some things stay the same.

Some of the paintings have been replaced, but the hammered copper bar still begs to be touched. The dark corridor between the bathrooms and outside deck still suggests sudden make-out sessions. Matthews orders herself a shot of tequila and a glass of Prosecco. I point to the Golden Grove; she agrees that it’s the perfect last drink of the night for me. One sip of the rye mixed with hot Blenheim’s ginger ale and orange bitters, and I’ve got a new favorite.

We take our drinks to the back deck, where a raucous table of twelve playing Hot Dice raise their glasses and hail Matthews over.

Everyone scrunches together to make room, and she graciously introduces me to everyone, as she has done everywhere. It’s bartender’s night off, and the crowd loves it.

She’s very animated.

“I don’t know about you guys, but two days before my period, I can drink forever,” she proclaims.

A quick survey suggests her experience is not universal. Loud debate ensues among the women, while sheepish men only smile. Matthews is so happy.

Just before I say goodnight, she tells me again: “I just love Carrboro!” l food@indyweek.com

Social Crawl W

hew!” Tony Ursone hoots. “Take a tap of that.”

I nod, grab the bottle, shake a few drops onto the back of my hand, sniff, and then lick.

Whew, indeed: my eyes widen, and I shake my head. Ursone starts to laugh.

We met ten minutes ago. Later, we’ll realize I cooked him Korean noodles as a line cook a year ago—“I thought I recognized you!” But for now, we are strangers, sitting shoulder to shoulder at the far end of the bar at Bittersweet, a drink-meets-dessert destination in downtown Raleigh. Since it opened in 2014, it has served as Ursone’s second home. If you’ve been, you’ve likely met him.

He’s one of two bartenders here. Tonight, he’s off duty to drink with me.

It is a sleepy Sunday evening, chilly enough to wear a jacket but warm enough to linger outside, smoke a cigarette, and stare at the sky. But at the moment, we are staring at a basket of bitters, which are—well, what again?

Ursone smiles. He has a full, dark brown beard and even darker eyes, which seem to lighten every time he laughs. Like a good teacher, he has the grace to make any “stupid” question seem acceptable. (Also like a teacher, he habitually carries a book in his messenger bag. Currently: The Dead Rabbit Drinks Manual.) Bitters, he explains, are a “tincture of a flavor,” extracted by alcohol or glycerin.

“Like vanilla extract?” I ask.

“Exactly.”

He selects Fee Brothers rhubarb bitters from a basket that also includes rosewater, barrel-aged spicy cherry, long pepper, hibiscus, and acai. He dabs some onto his hand, and I do the same. The rhubarb bitters, turns out, are anything but. They’re syrupy sweet, wildly intense.

Zack Rollins, tonight’s Bittersweet bartender, has another flavor in mind: Crude

"Rizzo" bitters, with rosemary, grapefruit, and black peppercorn. He uses them to make us a gin Old Fashioned, with Durham Distillery’s Conniption Navy Strength gin and raw sugar. As he sets the cocktail down, a curled citrus peel bobs back and forth like a buoy. North Carolina’s first bitters company, Crude launched in 2012 in Raleigh. Last year, Crude won a Good Food Award for “Rizzo,” and I can see why. It is subtle and strong, floral and spicy, like winter, like the end of a weekend, like the start of a night.

Rollins also makes us a Winter Bee, with house-infused lavender vodka, honey, lemon, and an absinthe rinse. I raise my eyebrows at “rinse,” so Ursone explains: Absinthe, a wormwood liquor with an anise flavor, gets swirled around in a glass, then tossed, before the drink is poured. It is a subtle accent, like a pinch of salt. Soon, all that’s left is a lemon slice and a lavender bud.

“So,” I say, “what’s next?”

Y

ou said you wanted to go out on a night with a bartender,” Ursone finally says “so a huge service industry…”

He catches a nearby server’s eye, pauses, and laughs: “Where are you going after work tonight?”

“Ruby Deluxe,” she offers.

Ruby Deluxe is a bar on—underneath, actually—Fayetteville Street. I almost miss the entrance as Ursone turns toward the door. An illustration of a gem leads us inside, to red walls, Dude, Where’s My Car? on the television, and thumping music. The bar is embellished with ukuleles and guitars, which rest beneath the resin-coated surface. When no one is looking, I try to pluck the strings.

Ursone sets a box of cupcakes atop a ukulele. “From BS, to RD,” it reads. I assume he knows the bartender but scratch that thought when they exchange names. I eventually realize that the gesture is just Tony

Order up: Tony Ursone PHOTO BY ALEX BOERNER

LEARNING THROUGH A NIGHT OUT IN RALEIGH WITH BITTERSWEET’S TONY URSONE BY EMMA LAPERRUQUE

being, well, Tony: making friends anywhere and everywhere and, most of all, treating bartenders as brethren.

We take off our coats, and he orders a can of Tecate and a shot of Fernet-Branca.

“If I’m post-work, I drink something like this,” he says. He takes a sip of the deeply brown liquor and slides it toward me. “It goes down quickly.”

Fernet-Branca is an amaro spirit—"bitter," in Italian. Originally formulated as a medicine, it is now lauded as a digestif or hangover cure. For Ursone, it is clarity after a long shift of tasting straw after straw of other people’s cocktails. I eye its dark, ominous appearance and take a gulp. It is herbal, concentrated, maybe mysterious.

“Hipster mouthwash,” he summarizes.

When I ask him to order for me, he laughs and asks for clues. I share my defaults: a dirty gin martini with olives and a twist (“Olives and a twist?”), and a whiskey sour, but not if it’s from a mix.

“OK,” he says, slowly. “Dirty. Like, Christina Aguilera, or Britney Spears?”

“Britney.”

“Pre- or post-breakdown?”

“When she was dating Justin Timberlake,” I decide. “Not shaved-head Britney.”

He lets this sit for a second. Ruby Deluxe, he finally says, is ideal for “call drinks,” like rum and Coke, or whiskey and ginger, not martinis.

“Can she do a Sutler’s and tonic?” he asks. “But a smaller amount of tonic, please?”

Distilled in Winston-Salem, Sutler’s gin boasts lavender, bergamot, and citrus—all my favorite things, as if Ursone knew. I take a sip and smile.

We take our drinks outside, to cold metal furniture in an alley-like patio. As Ursone sits, he looks quickly behind his shoulder, then back at me.

“I’m always conscious of where my doors are,” he says, with a quiet laugh as he takes out a cigarette.

I laugh because I don’t know what to say.

In 2005, on his twenty-second birthday, Ursone returned to the States from his third and final tour of combat with the Marine Corps. He joined the military at seventeen and headed to boot camp shortly after high school graduation.

In retrospect, I know what I should have said: thank you.

INDYweek.com | 3.23.16 | 19

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nother place?” he asks.

We retrace our steps along Fayetteville Street, toward another underground bar: Foundation. A stairway lures us below the sidewalk, toward a glowing orange sign and into a cozy cove.

There are exposed rafters and brick walls and glittering glasses and shimmering bottles and—“A giant jar of peanuts!” I feel safe here.

We take two seats at the bar. Ursone orders the night’s special for himself (a $7 boilermaker, or a shot and a beer, again), a whiskey sour for me, and the world’s most wonderful cup of peanuts. At least according to my notes, written as I breezily embarked upon my fourth cocktail of the night.

Ursone takes a sip of the whiskey sour and nods: “One hell of a cocktail.” It is bright and vivid, with Ezra Brooks bourbon, lemon juice, simple syrup, and egg white. The last ingredient helps create that lush mouthfeel as well as form the rich, foamy head.

We talk more about the drink’s “technical construction,” about shaking versus stirring, about shaking styles, about North Carolina

20 | 3.23.16 | INDYweek.com

liquor laws, about where we would have gone if it weren’t a Sunday (the mezcaleria Gallo Pelón), and where we might go next. Ursone already knows: Flash House.

“We could end the night there,” he says.

“Or, I’m going there either way.”

So we go.

There is more beer and more whiskey and more cold furniture and more cigarettes and more talking, which becomes more and more off topic. Flash House’s bartender is a buddy of Ursone’s—who isn't, I wonder—and he comes outside and joins us. Suddenly, we are deep in conversation about jiu-jitsu. I have a Rye Smash in hand and don’t mind; let’s talk about jiu-jitsu forever. Isn’t that what this is all about, anyway?

Soon enough, another man joins in. He is tall and smoking and wearing a graphic cat T-shirt. I tell him I love it—but come morning, I can’t remember what, exactly, the cats were doing.

Whew, indeed. ● Twitter: @EmmaLaperruque

Historic Blend

A

SEEING DURHAM THROUGH A DAY OUT WITH NANA’S ADRIAN LINDSAY BY PAUL BLEST

t some point during a day of drinking with Adrian Lindsay, I ask the Durham bartender if he studied history in college.

Through the course of the afternoon, Lindsay, a forty-eight-year-old father, speaks fluently about the lineage and geography of various types of alcohol, making offhand remarks about the eighteenth-century Caribbean origins of a particular ingredient. He talks about the rise of the Durham cocktail scene with a history buff’s level of detail and about the city in which he’s lived for more than a decade with the insight of a political scientist. I’m new here, so maybe I’m easily impressed, but, to me, Lindsay is like a living, breathing, drinking lexicon of cocktail-hour small talk. Alas, at Howard University and then at Greensboro College, Lindsay was a pre-med student.

“I like knowing this stuff,” he says, “because it’s a good conversation starter.”

On an unseasonably cold Sunday afternoon, Lindsay and I meet in downtown Durham and head to Pizzeria Toro.

“Killer,” Lindsay exclaims when he sees the man behind the bar. “We worked together at Nana’s.”

Lindsay was a longtime bartender at the fancy Main Street restaurant Revolution. He took a job a year ago as a server and backup bartender at Nana’s, the Durham standby a few miles outside of the city center. The new setting provided another opportunity to learn. He’s now next in line to become the newest bartender at Nana's, but he seems to enjoy the time he has to pick up new knowledge.

“I got this opportunity to come to Nana’s as a server,” he says. “It’s such a great program.”

At Toro, I ask Lindsay about his favorite drink on the menu, and he immediately

points to the Aperol Margarita. “I love tequila, man,” he says, laughing. I’m not a big margarita drinker, but I’m putting my faith in Lindsay today. I’m not disappointed. Made with Sauza tequila, Cointreau, Aperol, lime, and sea salt, it’s a refreshing drink on the rocks, even on this rainy day.

Lindsay, a Winston-Salem native, has seen Durham's evolution both from a distance and from behind a bar, for better and for worse.

“I’ve been here to watch this great transformation take place,” he says. But? “When I first got here, I was recovering from a bike accident and stayed with my brother, and I thought, man, there’s so much diversity here! And I loved that. I love meeting different people. It’s almost like it’s homogenizing now.”

As if looking for evidence of those changes, we exit Pizzeria Toro and head a few blocks away to the new restaurant Lindsay calls “the sexiest place in Durham right now,” NanaSteak.

Located beside the Durham Performing Arts Center, it opened in February as chef Scott Howell’s fourth Durham bar or restaurant, following the success of Nana’s, Nanatacos, and Bar Virgile.

Not long after we arrive, people begin streaming in after a matinee performance of The Lion King, offering evidence of the prime location’s biggest asset. Real tobacco leaves are inlaid into the surface of the tables and bartops. Curtains have been made from tobacco sacks. The Doors drift over the stereo.

Bartender and co-owner Brad Weddington makes us a jalapeño margarita and an Old Fashioned. He explains that the Old Fashioned is made with Luxardo cherries imported from Italy. “They’re basically the most wonderful thing you could ever eat,”

with the distillery’s strongest gin, lime, and simple syrup. Lindsay, naturally, orders an El Diablo margarita, made with reposado tequila, housemade ginger syrup, lime, soda, and crème de cassis.

The gimlet is excellent, even smooth in spite of its 57 percent alcohol content. I’m a little hungry, so I order a bowl of spiced Brazil nuts and some deviled eggs from Alley Twenty Six’s newly expanded food menu.

Here, Lindsay enters historian mode again.

Deviled eggs, he explains, were a staple of his childhood dinners at his grandmother’s house, adding that since he started working in the restaurant industry, he’s learned a lot about where we get our food. He worked at Jim Noble’s first restaurant in High Point, J. Basul Noble, a farm-to-table restaurant that closed years before the term was popularized. Noble now owns multiple restaurants in Charlotte. Lindsay also extols his love of traditional Southern style cooking.

“Food is so personal for me,” he says. “It

wasn’t until I started working in high-end restaurants that I realized my grandmother was using mirepoix in almost everything she cooked. These guys go to professional schools to learn how to use mirepoix, and my grandmother, who has a fifth-grade education, is cooking with this shit… It’s remarkable watching what people carry with them.

It’s what makes soul food soul food—you fucking care about it.”

Before we split, I ask Lindsay, who’s itching to get back behind the bar full-time, why he likes this line of work so much.

“I love drinking,” he says simply.

But it’s not so easy, really.

“I love the food program and what I’ve learned at Nana’s, but I love bartending there,” he continues. “I’m a social person, and at the bar you can discuss politics or whatever, and just meet new people. People don’t really like it when you talk to them about politics while they’re eating.” l pblest@indyweek.com

Seasonal fare: Adrian Lindsay PHOTO BY ALEX BOERNER says Weddington. They’re not cheap, with a four-hundred gram bottle priced above twenty dollars, but they make this drink.

Lindsay begins talking about the Durham cocktail renaissance. He cites the relaxation of liquor laws as a big reason why Durham’s cocktail scene has exploded.

“I have access to so many different types of liquor that you couldn’t get a few years ago,” he adds. “Years ago, I couldn’t get great vermouth on the rocks.”

Lindsay says that cocktail trends are forever changing. He laments the current popularity of frozen drinks.

“My first job had a lot of ice cream drinks,” he says. “People would think it looked good,

and then would get angry when they couldn’t taste the liquor in it.”

He credits Dean James, who helped open Alley Twenty Six in 2012 and spent time at Peccadillo in Carrboro, with helping to power the cocktail scene in Durham. So, after finishing our drinks at NanaSteak, we head to Alley Twenty Six on Chapel Hill Street.

Launched four years ago by Shannon Healy, formerly of Crook’s Corner, Alley Twenty Six prides itself on locally sourced ingredients, including liquors and tonics, syrups and bitters made in-house. In keeping with that theme, I ask the bartender for a drink featuring Durham Distillery’s Conniption gin. One option is the "Navy Strength" gimlet, made INDYweek.com | 3.23.16 | 21

Identity Problems

I

t’s snowing on January 22.

Four women walk into Zog’s, my bar on the college side of Franklin Street. They’re all bundled up with nowhere to go because Math 101 was canceled, and I know what’s coming. I take the first one’s ID. It’s so fake I giggle, but I give her the benefit of the doubt, because, hey, Snow Day. The ID says 1991, so I ask her age.

“Um. I’m, I’m 21,” she says, before hanging her head in mathematical shame. I tell her to work on her memorization and toss the fake into the bar’s victory box of bad Photoshop jobs and bogus addresses.

I knew when I bought Zog’s six years ago that it was out of place. It’s a weird, quirky dive for old people. In downtown Chapel Hill, “old” means above twenty-five, and we’re strictly twenty-oneplus. It’s so close to campus, though, undergrads often try to pass us their fakes. It doesn’t work.

First, kids, your lack of common sense will betray you more quickly than any crinkly laminated forgery. When I ask if you have anything else bearing your name and you stammer “no” while rifling through a wallet overflowing with credit cards with your real name, I just cannot summon much disbelief to suspend. Or, if I ask you what city you’re from, and you say, “Oklahoma,” and I repeat, “CITY,” wishing there were more syllables to over-enunciate, and you stutter, “Oh, just, like, I mean, Oh-Oklahoma,” you cannot come in.

F lash back to November 25, last year. A group of delicate children approached my bartender, presenting their IDs in advance of one thousand hypothetical vodka tonics and badly shot pool games. He rejects them and explains why—the laminate peeling off the papery cards, the line on the Maryland ID that extends too far, the outof-place “R” on the fake Florida job. One kid fancies himself a negotiator.

“We know Jake, the owner. Just give us our IDs back, dude,” he explains.

I’m the owner, and my name’s Mandey. There has never been a Jake at Zog’s.

“Well, at least let us buy the IDs back from you,” he pleads. “We need them.”

The group storms out, yelling that they’re going to tell their friends this place sucks. Please do that, I think aloud. Then we won’t have to bother.

Fake IDs are often produced by secret companies in undisclosed, faraway locations. They’re made in state batches, too, meaning that anyone who orders one during a certain period will likely receive a fake from one 22 | 3.23.16 | INDYweek.com

See yourself?

Mandey Brown’s collection PHOTO BY ALEX BOERNER

past doormen and advice on buying fakes. Remember, kids: your local bartender reads the Internet, too.

D

A FRANKLIN STREET BAR OWNER WILL TAKE YOUR FAKE ID––AND TELL EVERYONE

BY MANDEY BROWN

of four locations in rotation. Lately, it’s been Maryland, Florida, South Carolina, and Connecticut.

There are tricks for decoding each state. For example, a black line bisects all Maryland IDs. On real IDs, the line stops short of the bottom, right around the base of “Restriction.” If the line extends farther, I reject it. On Florida IDs, look at “Expiration.” On fakes, the “R” will be consistent with the font. On real IDs, the leg of the “R” kicks out. It’s the very first thing I look at on a Florida ID, before your name, your picture, and your birthdate.

The dude who prints fakes on his black-market DMV machine in his mom’s basement has, somehow, not figured this out.

And then there’s Photoshop, such a useful program.

Problem is, most people don’t understand it. Bad Photoshopping spans all fakes, and it’s completely obvious. Are you smiling as though you’re not at the DMV, because you weren’t? Does your background look like that dude in the basement used the paint bucket tool to administer a hideous shade of blue without first using the eyedropper on a real ID? Yes, we can tell.

And if you’re a nineteen-year-old with a fraudulent license, you’ve probably perused the Fake ID Subreddit.

This is a wonderful place where kids upload not only their fake IDs but also the valid IDs of their friends for the sake of counterfeit comparison. Users share tips on getting

irectly before the gaggle of young adults who knew “Jake” arrived, I was sitting at my own bar on my day off, minding my business like a customer. The bartender asked a large group for IDs, and a woman in the back stiffened. My bartender couldn’t see her, but I could. She turned to her friend and murmured.

When she handed her ID over, my bartender hesitated and walked away to grab an ID reference book. It contains photos of every state license, which proves useful if the person handing you an ID looks like she was potty-trained last week but talks a good game.

“Oh my God,” she whispered, “this is all gonna be so much easier when I’m twenty-one.”

This time, I heard it. Being busted by the old lady at the bar must be awful. If I had a dollar for every time I listened while underage friends discussed the best tactics for getting past my bartender, I would have retired already. Instead, I just call them out and get called words I don’t even recognize in return. They tell their friends my bar sucks, and that’s fine. I have lots of regulars to protect from shenanigans, anyway, and I’m never going to stop.

I don’t even agree with the twenty-one-plus drinking age. I know plenty of fifty-year-olds who can’t hold their liquor. I grew up in New Orleans, a lawless empire where you can fall face-first into a pile of your own drunken vomit on Bourbon Street at age sixteen as long as you don’t bother anyone.

But North Carolina ALE agents are strict, and by falsifying your way into my neighborhood bar, you are jeopardizing my staff’s livelihoods. The consequences fall on us, not you, almost every time.

That’s why we do not like you— not because you’re twenty, but because you’re selfish.

You don’t care about anything but a future vision of yourself with an underpoured Long Island Iced Tea, grinding on some dude from your Lit class whom you normally avoid. But, hey, you got into that gross club tonight, so who cares if he’s busted and creepy? ● www.facebook.com/zogsbar

Distillation’s in the Details I TOURED A HALF-DOZEN TRIANGLE DISTILLERIES. WE HAVE THOSE NOW, YOU KNOW. BY JEFFREY C. BILLMAN In my experience, most vodka is tasteless, flavorless, odorless, and boring. It’s gin’s less-interesting cousin, a somewhat palatable shot or a fine backdrop for vermouth, Red Bull, or ginger beer.

But TOPO’s vodka is none of those things. An offshoot of Top of the Hill, the restaurant and brewery that’s long been perched above Chapel Hill’s Franklin Street, TOPO produces one of the highest-rated vodkas in the world, at least according to Esteban McMahan, a former finance guy who now takes the title of TOPO’s “spirit guide.”

The spirit of the vodka is complex but mellow, quaffable but viscous. It’s distilled from wheat instead of corn, and it sports a hint of heat on the finish. Sip slowly—and you should sip slowly, at room temperature—and you’ll even get notes of butterscotch.

All the TOPO products are wheat-based, including gin, white whiskey, a young brown whiskey reminiscent of an Irish, and, soon, an oak-aged whiskey that tastes like, but is not, bourbon. With each of these, the pride of craft and of using (mostly) local ingredients to try to make something distinctive shines.

TOPO opened in 2012, and it is the oldest

of the Triangle’s six (legal, mind you) distilleries. Indeed, the state’s craft-spirit industry is nascent, but it is prideful. I spent a week touring the Triangle’s six distilleries and liqueur makers (and two meaderies), sampling every locally made spirit on the market. Some were more to my liking than others, but they all evinced TOPO’s almost-obsessive attention to detail.

At Fair Game Beverage in Pittsboro, there’s a delicious apple brandy made from Henderson County apples and aged for ten months in bourbon barrels. There’s a perfectly spiced rum that’s not really rum because it uses native sorghum instead of foreign cane sugar, and a tobago pepper-infused vodka that recalls a not-spicy habañero pepper.

At Raleigh Rum Company, owned by three old friends from Apex High School, you’ll find a white and an aged dark rum that both hold up to just about any mixer. They stand on their own, too. On the other side of the Triangle, Durham Distillery makes a pair of exquisite gins: one lowSorghum rum has a ring to it, right?

PHOTO BY ALEX BOERNER

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GIVE MEAD A CHANCE You can’t buy the best mead that Durham’s Honeygirl makes, at least not yet. It’s called Bochet, and it’s made from caramelized honey. Owner Diane Currier hasn’t figured out how to scale up production, so she produces it out of her home test kitchen and samples it at Third Friday events and, well, to thirsty journalists. Reminiscent of an old European ale, it’s darker and sweeter and boozier than most wine-style meads.

But Currier, who opened her shop in 2014, has plenty of other offerings. The Apple Cyser—which I preferred to its spiced cousin, which tasted too much like apple pie for an adult beverage—is crisp and dry, like a good white wine. The more traditional Orange Blossom mead is semisweet, complex, and smooth, especially when you score a threeyear-old variety Currier keeps at home. (The less-aged traditional that she sells has a delightful hint of carbonation.) The fruit varieties, made by dumping blueberries or strawberries into the fermenting tank with honey, taste like you walked into a field and took a long, deep breath.

Though Currier has been making mead at home for years, she learned how to upscale her production through the Triangle’s first meadery, Starrlight Mead, based in Pittsboro.

(Next year, Starrlight will become neighbors with Fair Game Beverage, which, along with a cidery, will make this little section of Chatham County quite the drinking district.) Becky and Ben Starr have been in business for five years and making mead for twelve. They’ve developed an impressively wide array of flavors, from dry and semisweet traditional honey wines to meads infused with fruit or herbs like lavender and elderberry.

The many varieties of mead, Becky told me, allow you to broaden your wine-drinking horizons. You just need to give it a chance. Getting people to realize that has been the biggest challenge.

“Try mead,” she says. “It’s not what you expect.” —Jeffrey C. Billman

er-proofed and more subtle with the juniper, the other “navy strength” and loaded with flavorful botanicals. Don’t miss the delectable liqueurs, made with Raleigh’s Videri chocolate or Slingshot’s coffee or both at the same time.

And then there are the actual liqueur makers, two of them, both based in the same warehouse in East Durham. The Brothers Vilgalys, which launched in 2013, boasts a spiced honey liqueur called Krupnikas. It’s a traditional Lithuanian recipe that founder Rimas Vilgalys’s father, a Duke professor, used to make on the stove for holidays. Vilgalys rents out space to Barrister & Brewer, which makes Mystic Bourbon Liqueur, or bourbon infused with wildflower honey. It’s based on an old Scottish recipe and tastes something like an Old Fashioned doused with vanilla and coriander.

Vilgalys and Mystic import their booze, which isn’t uncommon among microdistilleries. In the area, only Fair Game and TOPO distill from scratch, says Scott Maitland, TOPO owner and president of the North Carolina Distillers Association. Some purchase a base alcohol and then redistill it. But Mystic provides its distiller with a unique, wheat-heavy mash recipe. Such a mixture delivers higher-proof bourbon that main-

tains smoothness, says co-owner Jonathan Blitz. After a two-year aging process, some of that bourbon is sold straight, under the name Heart of Mystic. It’s some of the best brown liquor to have ever crossed my lips.

By summer, Mystic expects to open its own distillery on a twenty-two-acre farm on the outskirts of Durham, complete with an event space, a tasting room, an heirloom cornfield, and a pick-your-own blueberry path. That’s when the young company will start to do it all itself, from scratch.

It’s an incredibly vibrant moment for local spirits, one that feels, in fact, like a lot of craft brewing ten or fifteen years ago, when it was on the verge of breaking out and going mainstream. (To wit, one of the area’s beer kingpins, Tyler Huntington, is about to get in on the game with his Two Doors Distilling Co.) Remarkably, all of this has emerged within the last four years. Less than a decade ago, North Carolina had no distilleries whatsoever. Now it has fifty-two, the most of any state except Kentucky. Hell, they claimed bluegrass for a while, too. ● jbillman@indyweek.com

DRUNK HUNT SEARCHING FOR TWO CLASSIC

Welcome to Manhattan PHOTO BY ALEX BOERNER

GARLAND:

Though the drinks are not dissimilar, I usually avoid Old Fashioneds because of all the ice. But Garland’s version, the Shift Drink, which includes a single large cube, is a favorite. The Manhattan there is no slouch, either, with dependable Old Overholt rye and Primitivo Quiles vermouth drizzled over the sour cherry. If not up to Alley’s level, it has a smoother, more layered flavor than that of Counting House.

COCKTAILS––AND ONE NOVEL CREATION–– IN THE TRIANGLE’S BEST BARS Whether it’s Bida Manda’s inspired rendition of the piña colada in Raleigh or Lantern’s minimal variation on the Pimm’s Cup in Chapel Hill, a great bar can make you feel like you’re having your favorite cocktail for the first time. Sometimes, the changes are subtle, with one vermouth swapped out for another. Other times, the script seems rewritten altogether, the ingredients deconstructed and reimagined in ways as intoxicating as the drink itself.

We sent two writers in search of favorite takes on old classics, the martini and the Manhattan, while another sought out the most intriguing mix of beer and liquor area bartenders could conjure. No one seemed to mind these spirit quests.

THE MANHATTAN Though my favorite cocktail is named after a city, its character is more botanical than urban. Each of the Manhattan’s four classic ingredients is redolent of flora. It is five parts fermented grain and two parts vegetal sweet vermouth, with a dash of herby Angostura bitters, all stirred in ice and served up with a cherry garnish. It blends musky depth and medicinal clarity in a single martini glass.

The drink has many relatives, including the Rob Roy (with Scotch), the Dry Manhattan (with dry vermouth and a citrus twist), and the Perfect Manhattan (equal parts sweet and dry vermouth). But I wasn’t searching for the Perfect Manhattan, or even the perfect Man-

hattan. Instead, I sought a variety of places and prices for sipping the glamorous suede aura of Old New York.

ALLEY TWENTY SIX: I consis-

tently ordered house Manhattans, or what you’d get without specifying a whiskey. Durham’s Alley Twenty Six featured one of my favorite ryes, Redemption, as its default. Its eleven-dollar Manhattan uses Carpano Antica sweet vermouth, with vanilla notes secreted in its centuries-old recipe, plus two bitters (Angostura and Regans’ Orange Bitters No. 6) and an orange twist. It has an inner roseate glow. The first sip brings a quickening in the jaw, a sourness felt but not tasted.

The saccharine and medicinal notes arrive at once. The mouthfeel is satiny, the aftertaste clean and aromatic. There may be others as good

C. GRACE: At this dim Raleigh cocktail lounge, a jazz combo, including violin and harp, was ginning up a suave, pungent brew. That’s a good description of C. Grace’s pugnacious Manhattan, made with rough-and-ready Jim Beam rye, which brawls with Cocchi di Torino vermouth and a fleshy, house-made cherry.

Syrupy but astringent, it’s a bold, boozy, complex concoction.

in the Triangle, but I bet there’s none better.

COUNTING HOUSE: 21c Museum Hotel’s bar tweaks the classic recipe with solid but less sublime results. The Manhattan can be made with many whiskeys, but the gold standard is rye. Counting House doesn’t have a house rye, so it uses Old Forester, a bourbon made by Brown-Forman, which counts 21c cofounder Laura Lee Brown among its stakeholders. It also uses a grapey French vermouth, Dolin Rouge, instead of a more floral Italian variety. The tonic notes are bracing but fleeting, leaving a little spice on the sides of the tongue. You taste the dark, tart Amarena cherry throughout the drink.

Using liquor heavier on sweet corn than sharp grain leads to a less layered flavor profile.

ORANGE COUNTY SOCIAL CLUB: With a price tag of less than

six dollars, this one isn’t for connoisseurs, nor is it supposed to be. The Evan Williams burns, and the maraschino cherry bleeds sugar. But sometimes I want to quaff a Manhattan without spending New York money, and at half the price, this drink is rather nice.

—Brian Howe

THE MARTINI Essentially a two-ingredient drink, the martini is the epitome of simple. But it’s incredibly easy to get this old-school, booze-forward cocktail wrong. Order a martini, and you should instantly engage in a coded conversation with your bartender—dry or bone dry, clean or dirty, and so on.

INDYweek.com | 3.23.16 | 25

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A mere martini PHOTO BY ALEX BOERNER H.L. Mencken declared that “the martini is the only American invention as perfect as a sonnet.” I’ve had many serviceable ones, but only some reach those poetic heights. After searching the Triangle, I found at least five, all made with gin, as nature intended, and sans olive brine and olives.

WASHINGTON DUKE INN:

With short, vigorous shakes, the bartender blends Beefeater, dry vermouth, and ice. He pours it into a chilled glass prepared by squeezing lemon above it and coats the rim with three more lemon orbits. The move brings out the gin's citrus notes and balances the juniper profile. The glass is cool, the martini refreshing.

TOP OF THE HILL: The quality of the gin is crucial to the minimal martini. You can count the gin offerings here on one hand, but you only need to know one—theirs, TOPO, organically made nearby. It’s assertive, with a bit of grain peeking through. Garnished with a large shaving of lemon, the drink is strong, but martinis are made for savoring. Sip slowly and enjoy.

ACADEMY STREET BISTRO: The bartender in this surprising Cary

di b s .d u ke.edu /brai nwe e k

spot suggested Hendrick’s. The smooth gin is a fine choice, with a rounded flavor that’s less biting than the Beefeater. I ask what vermouth he uses, and he replies, “None.” With the Hendrick's, he explains, all you need is to take “good ice, shaken up really well, let it congeal and then sip away.” In simplicity there is grace, and this drink reaches that rarified state.

THE

BLIND

BARBOUR:

This new Raleigh spot features a lot of gins, including several obscure choices. Let owner and bartender Joey Barbour guide you. His custom creation for me uses Citadelle gin, a spot of dry vermouth, and a spritz of lemon. Clean and smooth, it’s like drinking a springtime rain shower. I’m shocked when I realize my glass is empty after only fifteen minutes.

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BITTERSWEET: When Bittersweet’s Lewis Norton trains new bartenders, he tells them that if someone orders a martini, you need to have a conversation to get it right.

He does both. He suggests TOPO, which he combines with Cocchi Americano vermouth and a few dashes of Crude’s "Bitterless Marriage" (hibiscus, lavender, and oak bitters). With notes of orange and cinnamon, the vermouth is sweeter than what you expect for a dry martini, but he likes how it pairs with the TOPO. There is an unexpected whiskey feel to this drink.

Though it’s darker in tone, it remains dangerously smooth. —Curt Fields

THE BEER COCKTAIL If you find yourself at the bar, waffling between beer and cocktail, there’s a sliver of common ground: beer cocktails. They can be hard to find on many menus, but if you ask nicely, wait patiently, and tip generously, your bartender might be inclined to put together something special.

DASHI: The seasonal Studasaurus combines house-made “stud juice”—ginger syrup— with Ponysaurus’s rye pale ale and Four Roses Yellow Label bourbon. Though light and easy to drink, its faint burn is irresistible; as you sip at it, the ginger and rye nip at you. The rye in the beer and bourbon complement each other, as do the stings of bourbon and ginger.

ALLEY

TWENTY SIX: You won’t find any beer cocktails on the menu of this top Durham spot, but give the bartenders an idea and sit back. Colin Cushman pulled together ginger syrup, gin, and lemongrass shrub with a Devils Backbone cranberry gose. It was sweet, but not cloyingly so, and mild enough that it went down smooth on a warm evening.

THE CRUNKLETON: Like Alley Twenty Six, The Crunkleton doesn’t officially have any beer cocktails. But the off-menu offerings satisfy all the same. Pronounced like a phonetic reading of “champagne,” one combined Miller High Life and St. Germain for a light, easy-to-sip drink that suggested a concentrated shandy. “The Stowaway,” meanwhile, is a twist on a Dark and Stormy, with ginger beer swapped for nonalcoholic ginger ale and a touch of sea salt to temper the sweetness.

PERSON STREET BAR: Person Street Bar does have a beer cocktail on its menu, and the tiny number packs a wallop. Founders Brewing Company’s aptly named Robust Porter gets a jolt from molasses and Gosling’s dark rum. The result is sweet and thick, meant to be nursed. With three tiny marshmallows floating at the top, it’s practically liquid dessert.

—Allison Hussey

Our Well THE BARS KEEP COMING. THESE TEN ARE (SOME) WHERE WE KEEP GOING. It’s no secret that bars have proliferated in most every part of the Triangle. With its row of pubs and dives, Raleigh’s once-silent Fayetteville Street earned the smear-campaign nickname DrunkTown last year. Durham’s Main Street, once almost bar-less, is now surrounded by some of the Triangle’s top spots for tippling. And from Hillsborough to the eastern end of Franklin Street, Orange County includes an abundance of offerings, too.

We asked some of our writers to consider their favorite spots for a top-ten list. Above ground or below, new or old, humble or extravagant, the resulting assortment was, we felt, satisfactorily surprising.

C. GRACE: In a Raleigh full of modern-day speakeasies, C. Grace woos with ease. The understated spot, tucked off the generally not subtle Glenwood South, is at once dark, mysterious, and inviting, a balance of dispositions judiciously achieved.

The staff is warm and passionate, the cocktails classic and seasonal. (Try the Champagne-infused Aperol Spritz.) Vintage chaise longues, a stage for nightly live jazz, and a winding floor plan lend C. Grace an authentic air of romance. While away the hours here, or head upstairs to the Empress Room for some similarly atmospheric imbibing.

(407 Glenwood Ave., Raleigh) CRAFTY BEER SHOP: Hidden away in North Raleigh’s Lafayette Village (the one with the little Eiffel Tower), Crafty Beer Shop offers draft choices that rotate often. Still, they always include a mix of North Carolina beers and more far-flung representatives, like Ommegang’s Game of Thrones Take the Black Stout. Thanks to the open space of its retail end, the room is comfy, not cramped, and the small scale

SKYE TOWER: The Holiday Inn’s beige rotunda, like an old-school film canister, might be the first “modern” fixture of the downtown Raleigh skyline. Ever been inside?

The city’s crow’s nest, the Skye Tower Bar

sparks conversation. One recent visit featured enthusiastic recollections of Hasil Adkins and The Cramps; another afternoon involved petting puppies while talking Sith Lords and Jedi. Crafty has hundreds of bottles and cans for creating your own sixpack, too—when you’re done talking near the Tower. (8450 Honeycutt Road, Raleigh) CRITERION:LocatedintheBullCity’s bull's-eye, Criterion, formerly Whiskey, is a no-holds-barred kind of bar. It’s not as debauched as its adult movie theater namesake, but between any one of the week’s rye specials, cheap Foothills deals, or the smokiest Dark and Stormy in the Triangle, owners Ben Fletcher and Rhys Botica have engineered an environment that pulls the taboo from Dirty Durham. You’ll find revelry with the regulars outside on the sidewalk seating, but if you’re feeling frolicsome after a few Victory double-deuces, crash one of the wooden booths and join some strangers’ Tinder date. (347 W. Main St., Durham) DAIN’S PLACE: During a recent trip to Dain’s, surrounding conversation included a farmer talking about breaking chickens’ necks and a stylish couple speaking French. Such is the charm of Dain’s, arguably Durham’s sturdiest and most welcoming neighborhood bar. The space is meager—fifteen belly-up barstools, five hard booths, a couple of high tables in a room the size of a studio apartment. But the unpretentious appeal is vast, the bar food above average (with lots of tater tots), and the beer list solid. What more do you really need? (754 9th St., Durham)

STATE OF BEER: The constantly cycling tap list at State of Beer—the Triangle bottle shop with the best actual bar—emphasizes, above all, range. Local, national, or international; seasonal or evergreen; low alcohol content or percentages that power into double digits; rather ordinary lagers and ales or extraordinary barleywines and stouts: the state of beer, the place asserts, is infinite so long as you’re willing to explore. Between flipping records on the turntable, the bartenders are happy to guide. Have a few of those upperlimit ABV brews, and soon you’ll stare at the crowler machine, which affixes metal lids to enormous take-home cans of whatever’s on draft, like it's the latest world wonder.

(401-A Hillsborough St., Raleigh)

The Players' Retreat PHOTO BY ALEX BOERNER

THE CAVE: Descend down a set of stairs on the west end of Chapel Hill’s Franklin Street and find yourself in a small, dark, cozy Cave. The décor lives up to the bar’s name, with bumpy, protruding walls and ceilings that have been decorated by Sharpiewielding patrons. It’s a finery-free dive where no-bullshit bartenders sling cheap drinks.

Your cellphone might not work at this depth, but a big stock of booze and a strong slate of shows certainly do. (452 W. Franklin St., Chapel Hill)

THE PLAYERS’ RETREAT: In the Players’ Retreat—the venerable PR—we trust. Like your trusty mitt that you’ve oiled so faithfully over the years, the PR gets better with age. Every community needs a gathering place. In West Raleigh, that’s the PR. It’s good for everything from beer to single-malt Scotch, burgers to steaks, politics to sports. (Go, Wolfpack!) It’s built up so much trust that when you come in, regular or newbie, you’ll be with friends. (105 Oberlin Road, Raleigh)

& Restaurant, sits atop the twentieth floor.

The freshly redesigned lounge is dotted with flat-screen TVs and offers decent cocktails, craft beer, and inoffensive Southern cuisine.

The finest amenity, of course, is the stunning panoramic view of the city, which sparkles beneath the floor-to-ceiling windows. (320 Hillsborough St., Raleigh) THE SPOTTED DOG: What if the bar that feels most like home to you is more of a restaurant? At Carrboro’s Spotted Dog, you can drink wine, local craft beer, decent but excessively ornate house cocktails, and respectable classics. And you can follow it all with tasty vegan-friendly bar food in an upbeat, friendly atmosphere.

That will do. (111 E. Main St., Carrboro)

SURF CLUB: Steps away from the more family-oriented scene at the corner of Geer and Rigsbee, Durham’s Surf Club is the more grown-up offering. Bocce courts, shuffleboard, a pool table, and ample seating inside and out provide many options, even when the place is packed on a warm day.

Decent prices and specials, along with a solid soundtrack, make this a great spot for starting, ending, or spending an entire evening.

(703 Rigsbee Ave., Durham) ● Compiled by: Grayson Haver Currin, Tina Haver Currin, Curt Fields, Bob Geary, Brian Howe, David Hudnall, Allison Hussey, Jane Porter, Eric Tullis, and Chris Williams INDYweek.com | 3.23.16 | 27

SKYLAR GUDASZ

Fri Mar 25

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RALEIGH GETS WEIRD 9p TWIDDLE w/Groove Fetish 8p AUTOLUX w/Eureka The Butcher STICK FIGURE w/Fortunate Youth / Raging Fyah

APRIL

1 START MAKING SENSE

(TALKING HEADS Tribute) w/HMFO (HALL & OATES Tribute) 2 THE MANTRAS w/Psylo Joe/Fonix

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with Wild Fur & Vaughn Aed Friday, April 1 • 8:00pm • Cat’s Cradle Back Room Tickets: In Advance: $8 • At Door: $10

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BIG GIGANTIC w/Louis Futon 7:30 ELLE KING (SOLD OUT) DELTA RAE w/Aubrie Sellers 8p GLOWRAGE 8p AFTON MUSIC SHOWCASE JJ GREY & MOFRO 8p w/ The Record Company

Sa 16 LAST BAND STANDING 7p w/Latenite Performance w/YARN Su 17 DOPAPOD w/The Fritz 8p Th 21 SOMO w/Quinn XCII/Kid Quill 7p Fr 22 BIG SOMETHING

The Infamous Stringdusters Feat: Nicki Bluhm

w/ People’s Blues of Richmond

Sa 23 THE OH HELLOS w/The Collection Tu 26 THE MERSEY BEATLES #1 BEATLES Tribute from The UK

Th 28 STEEL PANTHER Fr 29 COSMIC CHARLIE

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Kings, Raleigh Saturday, March 26, 1 p.m., $28-$35 www.kingsbarcade.com

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MANY THANKS TO ALL OUR VOTERS FOR YOUR CONTINUED SUPPORT. WE DO THIS FOR YOU!

CORY RAYBORN REFLECTS ON SIXTEEN YEARS OF THREE LOBED RECORDINGS, THE BEST NORTH CAROLINA LABEL YOU MIGHT HAVE NEVER HEARD

BY GRAYSON HAVER CURRIN

ure

ril 3

THREE LOBED RECORDINGS SWEET 16 SPECTACULAR

The survival of Three Lobed Recordings—or for that matter, any such small independent label—during the last sixteen years is in and of itself a significant story. Founded, helmed, and operated almost entirely by Cory Rayborn, a business lawyer based in Jamestown, Three Lobed has withstood two decades of sometimes-cataclysmic changes in the music industry.

Those same downward trends have caused many of Rayborn’s peers to founder and, in some cases, shutter.

In that same span, Three Lobed has instead flourished, evolving from a label launched merely to issue albums by Philadelphia psychedelic drifters Bardo Pond into one of the country’s most dependable, adventurous outlets for wayward rock and folk explorations. Just last year, Three Lobed issued two brilliant solo guitar titles (Daniel Bachman’s acoustic River and Tom Carter’s electric Long Time Underground) and a series of five split LPs, titled Parallelogram, shared by the likes of Yo La Tengo, Sonic Youth’s Thurston Moore, Kurt Vile, and Durham singer-songwriter Hiss Golden Messenger. And that was a somewhat thin year for the label.

This weekend, Rayborn throws an all-day Sweet 16 party for Three Lobed, the kid he continues to raise in the big basement of his Jamestown home.

Many of the label’s standbys, including Bardo Pond and brilliant singer-songwriter James Jackson Toth, will be on hand, making somewhat rare appearances in support of the rare label that acts more as a fan than a business.

Taking a break from desk duties, Rayborn spoke with me about that philosophy and how it relates to Three Lobed’s longevity and success.

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Judah and The Lion Cory Rayborn, in green, watches Thurston Moore at Hopscotch. PHOTO BY JEREMY M. LANGE INDY: This is the sixteenth year for Three Lobed, which remains for you very much a side project. To what extent do you run the label as a fan, rather than the owner of a small business?

CORY RAYBORN: I’m trying to put together a way to present a record to the world. Whether finding the right voice to use for an essay or presenting the record to writers for publicity purposes, I’m going to people as a fan of something I’m into, hoping they may be into the same thing. I write all of the copy in my label updates, for instance, and it speaks with a singular voice. I’m trying to interest people and move attention toward things I’m doing that I think are worthwhile or important. That is the fan side. When I have worked on shows, I try to put together things that would be fun to go to if I weren’t doing it myself. I have a vision for how I want to do it.

Has the dynamic of being a lawyer whosometimes works with music by day and being a label owner by night and weekend changed during that span?

The longer I have been a lawyer and the longer I have done a label, I’ve learned more about both sides of that coin and how the two interact. I’m better able to make commentary or parse out language in a contract than I was ten years ago. But it has not changed my approach. I don’t have any contracts with anybody. It’s all verbal. I help people with contract stuff they have, but I never draft my own. Nothing is written down. I only work with people I’m friends with or have a degree of trust in. That’s probably going to bite me one of these days, but the cobbler’s children definitely have no shoes with me.

Three Lobed is interesting in the sense that it operates on two planes: To some extent, you nurture young artists who move on to bigger labels, like Steve Gunn.

But big artists, like Sonic Youth and Yo La Tengo, also come back to you for smaller projects. How is that possible?

All these people know that I’m a fan of what they do first. From looking at the greater

INDYweek.com | 3.23.16 | 29

body of work, they know how I want to do things and how I want to present their work to the world. There are downsides to being a one-man label, but overall I’m only doing things if I think I have something to offer, and if it’s something I’m interested in and really want to do.

I’m very cognizant of where the boundaries are, too. If someone’s got some long-term, multi-record deal but we want to do something, we talk around the outline of what we can and can’t do. That’s usually a pretty easy dance. Some of these folks have technically exclusive deals, but the labels aren’t going to enforce that stuff all the time. That makes it easy to keep a working relationship with folks who I have long, close ties with. I once used to think of this as a hobby, and I don’t anymore. But at the same time, I’m not going to be selling one hundred thousand copies of anything I do. It’s all purposefully lower scale.

That makes it easier to coexist, because I’m not competing. I’m augmenting someone’s larger legacy.

30 | 3.23.16 | INDYweek.com

There’s so much talk about shifts of scale in the music industry and the battle for survival. For a one-person operation that doesn’t depend on the label for income, is it different?

I am insulated to a degree because there aren’t sales quotas to hit. It’s not a situation where, if this one title doesn’t do well, I’m not going to be able to pay the mortgage. But I do feel stresses and pressures from the same factors that are bearing down on the larger music industry. People are less inclined to buy tangible things, which is where I still spend most of my time and what I’m interested in doing. While I don’t need to meet certain sales goals, I still need people to buy records, or I can’t keep doing it at some point.

It’s not going to be a bottomless pit of putting money in one direction and not watching it come out the other. As sales continue to slowly dwindle through types of media, I could see having to be more selective on the types of things I do or the timetable.

At the same time, though, the vinyl market has expanded. Since that’s the primary vehicle for the label, has that offset the larger trend?

There’s an element of that. My stuff is on almost every digital outlet, but most of the digital money flows through to the artists. I am very cognizant of how records and the occasional CD do, because that’s how I measure the label. The increased interest has a good side, because there’s a bigger audience looking for what you’re doing. But there can also be the downside, because that increased demand as a whole can cause some problems. Everyone is bandwagon-hopping and doing more vinyl, and that slows things and creates quality control issues. But I’m still doing things the way I have done them most of the time. I’m not seeing too much indication I need to change my path.

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You’ve mentioned the work you do withThree Lobed being worthwhile or important. In your mind, why is it?

There is a lot you can do as one person if you have the time and the effort and you’re willing to organize and work. I do not mean for that to sound like I do all of this stuff on my own. I’m clearly not a musician. I’m clearly not a graphic artist or designer. But I’m good at putting all those parts together. I do think MOUN there is something to be said for orchestrat- HOW T ing that. It’s not the eighties, and it’s not peo- (Merge R ple calling around setting up tours at VFW halls. But there is still an element of that out there. As one person, you can still do a lot A few we to help cultivate a scene and help voices be desert jus heard who you think more people need to the road’s hear. I’m trying to engineer that. l of my ren gcurrin@indyweek.com beauty o

To hear five essential Three Lobed titles and read a bit about them, visit www.indyweek.com.

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of stars. M take it all whelmed, solitude a entire cel In that to under ah’s Heat meeting h a heavy ing “High third albu have alw answers— the stars forces de McEntire sive attem place in th How to its predec tal as Mo as heartb There are there are guitars an luck to a Moriah as try band.

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music

MOUNT MORIAH

Cat’s Cradle, Carrboro Saturday, March 26, 9 p.m., $12 www.catscradle.com

SAT, APR 2 | 8PM

(Almost) All the Stars

MEYMANDI CONCERT HALL, RALEIGH

FROM DIFFERENT ORBITS, MOUNT MORIAH AND BODY GAMES PLAY WITH HEARTS MOUNT MORIAH HOW TO DANCE (Merge Records)

A few weeks ago, I drove into a west Texas desert just before midnight and pulled onto the road’s shoulder. I leaned back on the hood of my rented car and looked up at the beauty of hundreds of thousands of stars. My head spun as I tried to take it all in, and I soon became overwhelmed, suddenly oppressed by my solitude and insignificance amid the entire celestial scheme.

In that moment, it became easy to understand why Mount Moriah’s Heather McEntire sings about meeting her maker and begging “for a heavy lesson” in the desert during “Higher Mind,” from her band’s third album, How to Dance. Humans have always looked heavenward for answers—from God, from gods, from the stars themselves. Those cosmic forces deeply inform How to Dance, McEntire’s most capable and incisive attempt yet at reckoning with her place in the universe.

How to Dance sounds distinct from its predecessors. It’s not as elemental as Mount Moriah’s self-titled debut, nor as heartbroken as 2013’s Miracle Temple.

There are still twang flourishes aplenty, but there are also scorched, almost-psychedelic guitars and clarion background horns. Good luck to anyone who still thinks of Mount Moriah as merely another folk-rock or country band.

The spirit of How to Dance doesn’t just sound defiant; it feels that way, too, as if McEntire needs these ten chances to say, “I have wrestled with my demons, and they will not bring me down.” At the outset of “Chiron (God in the Brier),” she steps forward with the lines, “Light came knockin’ knockin’ on my door/And I got no need for you no more.”

Keyboards clink and sparkle in the mix, and

you’re inclined to follow her light. There’s an assured strength to McEntire’s clenched voice, even on this unsteady ground.

A comet named for a centaur in Greek mythology, Chiron is an important figure on How to Dance, appearing back to back in “Chiron (God in the Brier)” and “Cardinal Cross.” Chiron is an astronomical anomaly: its orbit is erratic, and it’s classified as

strongly in the earth. You may recognize several North Carolina landmarks: Jacksonville, Calvander, Jones Ferry Road in Carrboro.

As McEntire names these spots and nods to the memories attached, she creates a rich tapestry of place through fleeting moments.

Passing glimpses of Interstate 95, Okefenokee, peaks, beaches, and Davis Square feel like watching the world from the passenger seat, McEntire narrating from behind the wheel.

Navigating across sky and dirt, How to Dance becomes a map for the lonely, the weary, the sad, and the scared.

With Mount Moriah as a vehicle, McEntire is Chiron’s wounded healer. She lays out how, even when your heart is heavy, you can find yourself turned toward the light. Conquer your troubles, and keep conquering them, even when you think they’re not there anymore. If you ever get stuck, you can always try looking up at the stars for a spell. —Allison Hussey

BODY GAMES DAMAGER (self-released)

a minor planet with rings and a comet. In astrology, this comet’s appearance in one’s birth chart represents a “wounded healer.”

These healers draw strength from their own perils to help others grapple with theirs.

McEntire never details her own wounds, but you hear them in her voice. As she hits the extended higher notes of “Calvander,” she’s pushing out pain as she sings. Two tracks later, she adds a tender undercurrent of yearning to “Baby Blue.” Even when McEntire doesn’t sing directly about these ideas, How to Dance suggests welcome calm after one hell of a storm.

Many of McEntire’s lyrics are built from star stuff, but she roots her songs just as

Five for Fighting

At least at first, you will likely not notice just how pained and painful Damager, the long-awaited and entrancing debut album from Carrboro electronic wonders Body Games, can be.

Perhaps it’s the pitch-shifted and beaming Ladysmith Black Mambazo sample that opens the record. Perhaps it’s the floating harmonies and ebulliently snapping beat that end the finale, “Perfume,” an ostensibly hopeful number about the strength of friendship despite a geographic distance. Or perhaps it’s the woozy splendor of “Matchstick,” the trunk-rattling pizzazz of Well$’s guest verse during “WMN,” or any of the other dozen charms loaded inside Damager’s nine tracks.

Either way, unless you lean in closely and

Singer-songwriter John Ondrasik joins the Symphony to perform fan favorites like “Superman (It’s Not Easy),” “The Riddle” and “100 Years.”

Beethoven’s Triple & Brahms Double THUR, APR 14 | 7:30PM MEMORIAL HALL, UNC-CHAPEL HILL

FRI/SAT, APR 15-16 | 8PM MEYMANDI CONCERT HALL, RALEIGH Grant Llewellyn, conductor Philippe Quint, violin Zuill Bailey, cello Awadagin Pratt, piano

Classical Mystery Tour

FRI/SAT, APR 22-23 | 8PM

MEYMANDI CONCERT HALL, RALEIGH Martin Herman, conductor The “Fab Four” are back with some of the greatest Beatles tunes ever.

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To advertise or feature a pet for adoption, please contact rgierisch@indyweek.com

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scrutinize the honeyed hooks of Kate Thompson or drifting verses of Dax Beaton rather than hum along with them, you are bound to miss the extreme emotional turmoil of these songs. You’ll be too distracted by the sheer prettiness and pull of it all to notice the shrine of hurt feelings, the panoply of bruised characters. It’s there, though, in every singsong chorus and stuttering rhythm. Sex scars and friendship disappoints. Lust begets domination and memories cause confusion. Trouble simmers deceptively beneath the surface, waiting patiently to burst through each of Damager’s soft stylistic seams. When, at last, it does, it’s hard to look away from Damager.

Subtlety may seem a surprising trait for an act whose existence, so far, has consisted of sporadic SoundCloud streams, a beguiling covers EP, and very occasional concerts.

But the musical nuance at work throughout Damager is clear from the first listen, long before you have time to slip beneath its cool emotional veneer.

Each of these nine songs extends at least one clear, magnetic hook, the kind of moments likely to drive a concert crowd wild or that you hear in your own head even when Damager is done playing. There’s the Mambazo-backed drop of “Sunny Day” and the synths that spiral out of it. There’s Beaton’s heart-clutching crooning during “Outdone,” where he sings “You can be my god/You can lead me home” like Phil Collins in balladeer mode. And there’s the high-pitched, robotic lines of the title track, which feels at first like a love song for space travel.

But these songs are broader and smarter than those mere moments. Listen, for instance, for the granular attentiveness of “WMN,” where Thompson’s voice curls 32 | 3.23.16 | INDYweek.com

inside a restless cycle of effects—refracted, scrambled, slowed, drugged. Well$ chases himself through his verse, manipulations of his voice pursuing him through his own bars like a thought bubble. “Silent Movie,” on the other hand, softens the boundaries between field recordings and samples, between the drums and the synthesizers, between Thompson and Beaton. And “Gossip,” one of only two obviously foreboding songs here, resurrects the ashen ghosts of Salem, adding coruscant bells and lullaby voices to scowling, blown-out bass. Pop and electroclash, industrial and hip-hop, ambient and house: Body Games links or nests all of these forms in turn but gives them enough space that these songs don’t slink into pastiche or patchwork.

Back to those feelings, though: They are the core of Damager, the stable foundations on which the rest of this material is built.

The pleasure of these songs stems from the way they pour out of pain, creating tension even as the sounds work to dissolve it. Beaton seems let down by his own prurience during “Matchstick,” so he slowly, blissfully sings a song about it. By sampling a voice mail from someone’s wounded ex-lover instead of faking it, “Special,” the album’s brilliant centerpiece and challenging duet, reminds us that dealing with such conflict is why we exist or make art—to sort through it all, to make some sense of both bad and good.

Music this deeply conflicted and instantly accessible is rare. At least at first, you will love these songs. And in the long run, you will be bothered by them, as haunted by what they have to tell you about the world as the people singing them seem to be.

—Grayson Haver Currin

music

THE GLOAMING

Duke’s Baldwin Auditorium, Durham Saturday, March 26, 8 p.m., $10–$42 www.dukeperformances.duke.edu

Profound Lore

THE GLOAMING RECONSIDERS THE ROLE AND ROAD OF IRISH MUSIC

refracted, l$ chases pulations

BY DAN RUCCIA h his own From the Irish wilds, partly, The Gloaming PHOTO COURTESY OF DUKE PERFORMANCES nt Movie,” boundar- The story of the Irish music supergroup settled on an approach of shared spontaneity. samples, The Gloaming begins at an early rehearsal, Bartlett and Ó Raghallaigh are The Gloamthesizers, with an anthology of folk songs turned raning’s surprise weapons, in part because they And “Gos- domly to page 44. Were The Gloaming a gesture outside of this Irish world. Bartlett oreboding traditional Irish folk act, the song would ceradmits he doesn’t know the first thing about ghosts of tainly unfold in a hurry, with flute, tin whisthe stylistic conventions of Celtic music, nd lullaby tle, fiddle, and accordion racing through the which gives him the freedom to color outside s. Pop and melody's twists and turns. the lines. He’s largely an accompanist in The op, ambi- Instead, “Song 44,” as The Gloaming calls Gloaming, but his choices with chord voicings r nests all the tune that came from that serendipity, and rhythms dramatically recontextualize the m enough opens with a muted piano, plunking out a source. He’s the musical free agent here. into pas- spare, enigmatic line. A tenor that sounds Ó Raghallaigh’s Hardanger fiddle, mean-

like Jeff Buckley singing in Gaelic joins. The They are sustained strings are translucent. Only after undations two minutes does something that resembles al is built. a reel arrive, played at the bottom of the fidfrom the dle’s range at half-speed. The mood is twilit, ng tension submerged—a gloaming, if you will. it. Beaton In 2011, fiddler extraordinaire Martin nce during Hayes wanted to form a band. He booked a lly sings a concert hall for the group—and promptly mail from sold it out—before it had even rehearsed. The ad of fak- friends, at least, happened to be world-class nt center- musicians: Chicago-based guitarist and longds us that time collaborator Dennis Cahill; singer Iarla we exist or Ó Lionáird, a master of antiquated sean-nós make some singing and main instigator of the Afro Celt

Sound System; fiddler Caoimhín Ó Raghald instant- laigh, a master of the Norwegian Hardanger first, you fiddle; and New York pianist Thomas Bartlett, long run, or Doveman, known for his work with The as haunt- National, Sam Amidon, and Antony and the about the Johnsons. Hayes wanted an act with a lot eem to be. of musical empathy; appropriately, the group

On view through June 26, 2016

2001 Campus Drive, Durham I nasher.duke.edu Christian Marclay, Actions: Flopppp Sllurp Spaloosh Whoomph (No. 3) (detail), 2013. Screenprint and acrylic on canvas, 61 1⁄2 x 102 1⁄2 inches (156.2 x 260.4 cm). Collection of Nancy A. Nasher and David J. Haemisegger. Image courtesy of the artist and Paula Cooper Gallery, New York, New York. © Christian Marclay. Photo by Steven Probert.

while, thickens the sound. In addition to the four strings of a typical violin, six strings run beneath the Hardanger’s fingerboard. The sound is mellower and more resonant than a violin. When Hayes and Ó Raghallaigh play together, you can almost hear the tin whistle seeping through their instruments.

The Gloaming is known for slow-motion, cinematic takes on Irish music, but the group is not above its old-fashioned sources. “Opening Set,” the centerpiece of the group’s 2013 debut, is a seventeen-minute medley that evolves from stately ballad into flying reel. After Ó Lionáird sings, Hayes and Ó Raghallaigh’s lines spin and intertwine. Bartlett adds bizarre chords that seem to respond to the mood. If “Song 44” is a statement of contrast with the past, “Opening Set” is a link to it. In between, The Gloaming points to one way tradition might be transformed. l Twitter: @danruccia INDYweek.com | 3.23.16 | 33

indyart

MARK

North C Through www.nc

Drawing the Line

MARKS OF GENIUS AND CHILDE HASSAM BURST FORTH AT NCMA

BY BRIAN HOWE

Last Saturday, the North Carolina Museum of Art opened a very small but charming free show, Island Boy, featuring Barbara Cooney’s illustrations for her children’s book of the same name, a self-described “hymn to Maine.”

A delightful all-ages confection, it's also a secret hinge between two larger exhibits, ticketed together, which opened on the same day, combining the drawing of Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art with the setting of American Impressionist: Childe Hassam and the Isles of Shoals.

Otherwise, the two exhibits could hardly be more different. One features a hundred drawings by almost as many artists; the other features dozens of paintings by a single artist. One is full of sketches and drafts, the other of finished works. One displays a dazzling variety of subjects, techniques, and cultural perspectives, spanning the Middle Ages and the twenty-first century; the other is limited to paintings of a single New England island around the turn of the twentieth century. And while both shows are worth a look, only one demands a substantial amount of your time.

As curator Dennis Weller said at a media preview, the only common denominators of Marks of Genius are paper and drawing, “the basis of all of the other arts.” This allows the exhibit to send tendrils into varied and remote corners of the art world, from medieval illuminated manuscripts and expressive Baroque portraiture to Abstract Expressionist zings and Pop Art punches. There are drawings in every kind of ink, gouache, tempera, chalk, charcoal, graphite, watercolor, and pastel, made with pen, crayon, brush, and stylus. The exhibit is exciting not only for its depth and breadth, but also for its viewer-friendly flexibility.

If you want it to be, it’s a master class in drawing. The wall texts are copious, and the catalog, with its glossy acres of prefatory essays, footnotes, and critical exegeses, is a bookshelf-keeper—a remarkably thorough compendium of drawing’s cultural history and technical practices. The sheer number of items borrowed from Minneapolis makes room for surprising, chancy choices to crop up in an exhaustive anatomy of a form.

If that sounds like a lot of work, you can just home in on the big names. A few of their contributions don’t measure up to their status: It may well be that the graphite line in a small drawing of a reclining woman moves with “a luxurious quality that shows you the genius of Picasso,” but it’s still just a master’s doodle. But plenty of marquee artists have meaningful contributions; I found emotional resonance in a similarly simple sketch by Matisse, whose quote in the catalog—“My line drawing is the purest and most direct trans34 | 3.23.16 | INDYweek.com

lation of my emotion”—underscores the impetus to reveal the intimate, vulnerable artist’s hand behind familiar styles.

There are many portraits, including a darkly ethereal one

by Edgar Degas, who has a second fine offering in the intoxicating pastel-covered monotype “Winding River.” There are still lifes, architectural plans, and studies for works in other mediums, including a luminous figure for a fresco by Gustav Klimt, a lively red chalk sketch that screams ToulouseLautrec, and a Conté crayon study for a painting by Matisse.

There are documentary slices of life (Winslow Homer shows us conch-shell divers in the West Indies); magazine illustrations (Romare Bearden portrays black factory workers for Fortune magazine); and transliterations of busts (Modigliani) and cubist sculpture (Otto Dix).

One result of looking at so much drawing is discovering a strong sense of continuity, as though it were all one ongoing line, passed from hand to hand down the ages. See how a late-sixteenth-century ink drawing of Christ’s resurrection by little-known Flemish artist Joos van Winghe looks startlingly like a fantasy comic book, with soldiers composed in a dynamic scatter around a hovering wizard-like figure.

Sometimes, the drawings reveal dimensions of familiar artists we might have forgotten about. Does the name “Mondrian” summon only geometric color blocks? Check out his stylized but realistic pastel and crayon landscape.

This could be my predilection for modern and postmodern art speaking, but those are areas in which the exhibit seems very strong, bookended by Egon Schiele’s “Standing Girl” on a long brown sheet of wrapping paper (1910) and two other strikingly large works, Jim Dine’s gloriously abraded “San Marco with Meissen Figure and the Buddha” (1988) and Mequitta Ahuja’s root-like system of dreadlocks, “Tress IV” (2008), my favorite new discovery in the show.

The humming color of Abstract Expressionist Richard Pousette-Dart’s pen-and-paint abstraction will stop you in your tracks. It resonates with Philip Guston’s color-block etude and de Kooning’s phantasmagoric oil-on-newspaper figure. The riches just keep coming: Magritte at his most talismanic in “The Sixteenth of September,” a Lichtenstein comic-book panel in graphite, a Warhol drawing of a dollar bill, a dark monolith of a numeral two by Jasper Johns, a meticulous study from Brice Marden’s monochromatic days, a scripted “L’Amour” by Ed Ruscha, and a Cy Twombly enigma that adventurous musicians could use as gestural notation. You can ferret out the whole history of Western art—or you can simply wander and marvel at the explosion of techniques and subjects, the infinite textural and emotional varieties of lines pressed into paper, parchment,

ABOVE

Egon Schiele: "Standing Girl"

COURTESY OF THE MINNEAPOLIS INSTITUTE OF ART/NCMA RIGHT

Childe Hassam: "Poppies, Isles of Shoals"

COURTESY OF THE NATIONAL GALLERY OF ART/NCMA

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MARKS OF GENIUS & AMERICAN IMPRESSIONIST North Carolina Museum of Art, Raleigh Through June 19, $6–$12 (members and children free) www.ncartmuseum.org

newsprint, or vellum.

If the other exhibit, American Impressionist, tells a narrower story about art, it is still a fairly rich one. Childe Hassam, Bostonborn and Paris-trained, is about as canonical as a non-French Impressionist (he disliked the term, though it’s what he was) can be.

Over the course of three decades in the latenineteenth and early-twentieth centuries, he spent many summers on Appledore Island, a resort popular with bohemian artists— including the poet Celia Thaxter, who ran the hotel that became Hassam’s second home— in the Isles of Shoals in the Gulf of Maine. Its terrain became the defining subject of Hassam’s career.

In Hassam’s early years on Appledore, he mostly painted near the hotel, especially Thaxter’s garden. But after she died, he started venturing out into the wilder parts of the island, painting the minutely varied confluences of its rocky coasts and placid surf.

Curator John Coffey has installed thirtynine paintings so as to give the viewer a sense of this widening gyre, as Hassam escapes the humanity that, on a teeming resort island, he had already excised from his paintings, before coming at last to the outer limits of his ninety-acre world.

Hassam’s style is beautiful, like a slightly more fastidious Monet. His oils and watercolors of flowery fields, lonesome shoals, rock formations, and downy skies display a poised brushstroke, a weighty sense of proportion and mass, and a deceptively rigorous way with color that, as photos of the sites reveal, was actually quite free, capturing the feel of the place instead of its perfect likeness.

There is no faulting the paintings' quality, but except for serious students of Impressionism, their repetitious subject wears thin.

To be fair, I might have lingered longer had the museum not chosen to pipe in distracting, superfluous seagull sounds. They might be contemplative on a windy shoal, but indoors, they are shrill—not to mention kind of tacky, as if NCMA were a small-town natural history museum. I half-expected to find a stuffed egret in a replica of its natural habitat around each corner. Plus, as Coffey noted of Appledore, "a who’s-who in Boston and New York came out for the healthful summer breezes.” As fine as Hassam's craft is, I couldn’t quite shake the fact that I was essentially looking at a well-heeled person’s pretty vacation paintings, however masterfully executed and art-historically ratified. l bhowe@indyweek.com

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April 24 – May 15

art

21c Museum Hotel, Durham Thursday, March 24, 6 p.m., free www.21cmuseumhotels.com/durham

Glamour Shots

SOME SUBJECTS BECOME OBJECTS IN A NEW PHOTO SHOW AT 21C

Winners announced in June 8th issue

A society rehearses its behavior through its rituals. They might be as public as a hockey crowd venting anger and joy, as private as the intimacies exchanged in a bed, or as contradictory as the ambivalence of voters during a volatile political transition.

Off-Spring: New Generations, which runs through the fall at Durham’s 21c Museum Hotel after an opening event with artist Angela Ellsworth on Thursday, is thinly held together as a survey of artists’ investigations of ritual. While some artists expose rituals' inner dynamics, others simply rehash gestures from big-box postmodernism.

This is mostly a photography show with a few sculptures, drawings, and videos. It's basically a lot of pictures of people, many of them children. Some perform rituals, but many more are merely costumed in cinematic scenes and portraits. “Off-Spring of Cindy Sherman” might have been a better title.

If the show is about any overarching ritual, it’s how photography changes its subject and the power relationship the photographer creates. Some of the artists engage their subject as a unique and present individual, capturing a communication between the selves on either side of the camera. Their images cri36 | 3.23.16 | INDYweek.com

BY CHRIS VITIELLO Laetitia Soulier: "The Matryoshka Dolls 2" (chromogenic print, 2015) PHOTO COURTESY OF 21C MUSEUM HOTEL & THE ARTIST

FINAL VOTING PHASE

OFF-SPRING: NEW GENERATIONS

tique reality rather than a false condition or stereotype the artist has imposed.

But other artists replace reality with seamless photo collage, creating fantastic, exaggerated scenes that exempt artificial subjects from purely conditional critiques. Still others objectify their subjects in order to point out their objectification. No matter how beautifully made, these are bad pictures.

Typically, sheer size tries to distract from ethcial faults. Portraits of children costumed as adults—a stiff girl in a red prom dress, a pallid boy in a Victorian ruff—by artists including Nathalia Edenmont, Gottfried Helnwein, and Adriana Duque dwarf the viewer. Colorful and slightly surreal, they give a quick "whoa" reaction—and then, nothing. Instead of implicating the warping effect of contradictory social pressures to be youthful and grown-up at once, they seem to target the children themselves. Proofs retrieved from a Glamour Shots dumpster would offer sounder cultural criticism.

And yet, in a similar format, Dutch artist Hendrik Kerstens delivers a rattling critique.

An androgynous child in a bathing cap stares out from a bathtub. The viewer returns that stare in a futile effort to make a definitive emotional reading. Kerstens hasn’t mistak-

en the costume for the ritual; his objective approach lets the child show vulnerability and powerlessness realer than our fantasies.

Off-Spring does contain plenty of powerful artwork. Anthony Goicolea and Ellen Kooi stitch together composites that depict possible endpoints of real social conditions. Kooi’s work plumbs the complexity of the relationship between safety, anticipation, and human rights in the current context of global terrorism. At least ten feet off the ground, people are wrapped around the trunks of trees overlooking a suburban landscape. Are they staying clear of political violence or are they the aggressors, waiting for their bomb to go off?

Goicolea’s "Fireside" shows a row of seated figures in red hoodies, split by a standing man in a suit, watching two moonlit bonfires.

The sense of ritual is palpable but ambiguous. This could be a cult or a high school track team. Goicolea makes you scour for details, adding them up into your own deductive narrative. If you just stroll through while waiting for a table at Counting House, Off-Spring might seem more like an Instagram feed with a big budget. Try resisting the show’s offer to just look, and actually stop to think. l Twitter: @ChrisVitiello

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03.23–03.30 FRIDAY, MARCH 25

DIDA: DANCE PARTY

If you follow local dance, then you’ve watched Durham Independent Dance Artists perform. Now you can dance with them. Well into its second season of supporting local modern dance, DIDA is throwing its first fund-raiser, “Dance Party,” with a modest price and worthy goals: hiring a videographer and buying a mobile dance floor for its third season. The former will document performances, which is essential for artists seeking grants or tours; the latter will enhance their ability to present in unusual venues, a DIDA staple. At the Vault, the event space under The Palace International, brief performances by DIDA artists including Leah Wilks, Renay Aumiller, Killian Manning, and Ginger Wagg unfold between 8 and 10 p.m., followed by a participatory dance party with DJ PlayPlay. As for dancing with people who do it onstage? Start toning up now; your ironic take on the Swim isn’t going to cut it. —Brian Howe

FRIDAY, MARCH 25

THE VAULT, DURHAM 8 p.m.–midnight, $12–$15, www.didaseason.com

ERIK LARSON

TUESDAY, MARCH 29

GARRISON KEILLOR & RICH DWORSKY It’s hard to figure out what Garrison Keillor means for America, especially when the woolly gray sedative of his voice is pooling in your ears, but he definitely means something. Is the A Prairie Home Companion host a whitewasher of small-town life, a liberal in Lutheran’s clothing, both—or is he, by now, just a folksy murmur we know by heart? Keillor’s variety show was oldfashioned when it began more than forty years ago, yet it has somehow survived the digital revolution without changing much, persistently milking 1930s radio plays and bebop-a-reebop sponsor jingles. It’s been in my life for as long as I can remember. There are times when I can’t stand to hear it and times when there’s nothing I’d like better than to hear—sentimental, I think, not for Keillor’s retrograde America, but for the vanished kingdom of my childhood, when the world seemed as secure and unchanging as Lake Wobegon. Now, before modernity comes to the program at last (mandolin monster Chris Thile becomes the host when Keillor retires this fall), the seasoned storyteller visits Memorial Hall with longtime Prairie Home pianist Rich Dworsky, courtesy of Carolina Performing Arts. It’s an autobiographical victory lap for an American institution. —Brian Howe UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $10–$89, www.carolinaperformingarts.org 38 | 3.23.16 | INDYweek.com

TUESDAY, MARCH 29

CHANCE THE RAPPER

When Chance the Rapper proclaimed himself to be “Tubman Chance of the underground” on Kanye the Rapper PHOTO COURTESY West’s “Ultralight Beam,” the words OF LIVE NATION may have rung at first like hollow hip-hop egotism. But the line aptly reflected a twenty-two-year-old potentially shaping the future of music, and certainly hip-hop, by consciously giving all of his music away. In a 2013 Rolling Stone interview that followed his widely acclaimed mixtape Acid Rap, he said: “I might never drop a for-sale project.” More than two years later, even as his popularity has ballooned with festival headlining dates and stops on television’s late-night circuit, he still has yet to sell a piece of music. He remains unsigned. Not long ago, his buddy West tweeted, “I was thinking about not making CDs ever again,” subsequently stating that the release of Yeezus in 2013 was an “open casket to CDs.” Sorry ‘Ye, but another Chicago emcee already put the nail in that coffin. It’s not just his lack of a physical discography that stands out from the crowd. It’s also his cross-country tour with a live band, composed of friends from his hometown of Chicago, his deeply personal and positive songs, and his commitment to doing it all without the economic engine that supposedly makes all things possible. Chance is seemingly shattering music industry norms at every turn. —Ryan Cocca THE RITZ, RALEIGH 8 p.m., $39.50, www.ritzraleigh.com

Journalist Erik Larson finds thrillers in real-world history in his novelistic nonfiction. Award-winning best-seller The Devil in the White City reported on America’s first serial killer against the backdrop of the 1893 World’s Fair, while In the Garden of Beasts portrayed the intrigue surrounding America’s last ambassador to Germany before World War II. Larson’s most recent book, Dead Wake: The Last Crossing of the Lusitania, goes back to the first World War, exploring both sides—hunter and prey— of the famed torpedoing of the British ocean liner by a German U-boat in 1915.

At Jones Chapel, courtesy of Quail Ridge Books and Meredith College Friends of the Library, Larson reads and signs Dead Wake; admission is $5, though you have to buy a copy of the book to get into the signing line. —Zack Smith MEREDITH COLLEGE’S JONES CHAPEL, RALEIGH 7 p.m., $5–$28, www.quailridgebooks.com

SATURDAY, MARCH 26

THE SOUTH CAROLINA BROADCASTERS, KATHARINE WHALEN

This Saturday double bill delivers varied approaches to distinctly American music. The South Carolina Broadcasters—headliners who are, in fact, from North Carolina—recall the earliest days of bluegrass. As they pick and sing in delightful harmony around a single microphone, you’ll hear plenty of familiar favorites from the Carter Family and more among the band’s originals.

Opener Katharine Whalen threw back to hot jazz of the twenties and thirties as a founding member of the Squirrel Nut

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Zippers, but she’s spent the past few years developing a solo foothold based in atavistic rock ‘n’ roll. She offers an intriguing contrast to the Broadcasters’ staunch traditionalism, a welcome break from bills that stack artists that are too likeminded. —Allison Hussey

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PHOTO BY ALEX BOERNER

WHAT TO DO THIS WEEK

THE ARTSCENTER, CARRBORO 8 p.m., $12–$17, www.artscenterlive.org

FRIDAY, MARCH 25

HANZ & HOUSEFIRE

As the counter dips below two months to go until Moogfest, the organizational transplant continues to connect its tendrils to elements of the local cultural scene, hoping to move everyone toward its massive fold. This joint production with Duke’s WXDU-FM delivers a strong, diverse bill from area electronic explorers. There’s headliner Hanz, whose 2015 TriAngle Records debut seemed to seek comfort in dystopian soundscapes of fragmented samples and flaring dissonance. Like Moogfest itself, Housefire is a recent arrival from Asheville; her frantic productions weld together harsh noise and heaving beats, a chimera that she wrestles with steely-eyed aplomb.

Matt Stevenson’s minimal techno suggests a color field of graded grays, with flashes of neon peeking through the periphery. GNØER is the real point of departure here; formerly the keyboard-rock trio known as Goner, the band now deploys sequencers and synthesizers to support its anthems of high obstacles and long odds. —Grayson Haver Currin DUKE COFFEEHOUSE, DURHAM 8:30 p.m., $5, www.dukecoffeehouse.org

WHAT ELSE SHOULD I DO?

A MESS OF FEESH AT THE CARRACK MODERN ART (P. 45), DURAN DURAN AT DPAC (P. 42), THE GLOAMING AT DUKE (P. 33), MOUNT MORIAH AT CAT’S CRADLE (P. 31), OFF-SPRING: NEW GENERATIONS AT 21C MUSEUM HOTEL (P. 36), THE PROCLIVITIES AT THE POUR HOUSE (P. 41), DAN SODER AT GOODNIGHTS COMEDY CLUB (P. 46), THREE LOBED RECORDINGS AT KINGS (P. 29)

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ANGEL OLSEN 4/24 JENNIFER CURTIS THE ROAD FROM TRANSYLVANIA HOME 4/25 BOOGARINS ($10/$12) 4/27 TROUT STEAK REVIVAL W/ FIRESIDE COLLECTIVE ($8/$10) 4/29 KAWEHI ($13/$15) 4/30 TIM BARRY W/ RED CLAY RIVER ($10/$12) 5/1 VETIVER ($15) 5/5 STEPHEN KELLOGG ($17/$20) 5/6 MATTHEW LOGAN VASQUEZ ( OF DELTA SPIRIT) 5/10 THE DESLONDES ($10) 5/12 PHANTOM POP W/ JROWDY AND THE NIGHTSHIFT AND OUTSIDE SOUL ( $8/$10) 5/18 JOE PUG AND HORSE FEATHERS ($17/$20) 5/20 YOU WON'T 5/24 THE AMERICANA ALLSTARS FEATURING TOKYO ROSENTHAL, DAVID CHILDERS, AND THE STRING BEINGS ($10) 6/1 HACKENSAW BOYS 6/4 JONATHAN BYRD ( $15/$18) 6/10 KRIS ALLEN W/ SEAN MCCONNELL ($15/$18) 6/21 THE STAVES ($12) 7/2 THE HOTELIER ($12/$14) ARTSCENTER (CARRBORO)

5/5 GREG BROWN ($28/$30) MOTORCO (DURHAM)

4/12 INTO IT. OVER IT. AND TWIABP... W/ THE SIDEKICKS, PINEGROVE ($15/$17) 5/3 WILD BELLE ($14/$16) 5/12 BLACK LIPS W/ SAVOY MOTEL($14/$16) NC MUSEUM OF ART (RAL) 5/1 SNARKY PUPPY 5/27 EDWARD SHARPE AND THE MAGNETIC ZEROS ($32-$45) 6/10 LAKE STREET DIVE HAW RIVER BALLROOM 3/30-3/31 (TWO SHOWS!) DR DOG W/ WILD CHILD($22/$25) 4/2 LANGHORNE SLIM & THE LAW W/ RIVER WHYLESS ($16/$18) 4/3 ANGEL OLSEN W/ THE TILLS ($17/$20) 4/9 PHIL COOK & THE GUITARHEELS W/ THE BRANCHETTES 4/29 M WARD W/ NAF ($23/$25) 5/6 LITTLE STEVEN'S UNDERGROUND GARAGE TOUR FEATURING THE SONICS, THE WOGGLES, BARRENCE WHITFIELD & THE SAVAGES 5/12 FRIGHTENED RABBIT

THE CAVE: Clementine, Barren Graves, Catblanket; 9 p.m., $5. • KINGS: Palm, Gnarwhal; 8:30 p.m., $8. • LOCAL 506: Forever Came Calling; 6:30 p.m., $10–$12. • MEYMANDI CONCERT HALL: N.C. Symphony: Vivaldi’s Four Seasons; 7:30 p.m., $18–$75. • NEPTUNES PARLOUR: R. Ring, Flesh Wounds; 9:30 p.m., $8. • POUR HOUSE: Wayland, Laurenicole; 8 p.m., $8–$10.

• SLIM’S: Pie Face Girls, Big Quiet, Band & The Beat; 9 p.m., $5. • SOUTHLAND BALLROOM: Jeff Austin Band; 8 p.m., $15–$20.

THU, MAR 24 Astronauts, etc.

SPACE Toro Y Moi PLACE sideman Anthony Ferraro started making dreamy, insular synthpop tunes under the name Astronauts, etc. in his bedroom. As Ferraro has taken the songs from the bedroom to the stage, they’ve expanded into lush pop numbers that graft hazy melodies onto R&B grooves. —PW [MOTORCO, $8–$10/9 P.M.]

Bleak TRUTH IN The Syracuse ADS quartet Bleak offers little information about itself.

“We are volume worship,” claims one bio. “The only thing we hate more than ourselves is you.” At least the grim self-description matches the band’s scathing noise-rock and metal. Across three splits and a self-titled EP, Bleak marries death metal’s labored lurch to hardcore’s feral intensity.

Low-end riffs churn a seasick pulse. Chapel Hill’s blackened death metal outfit Lesser Life offers an apt complement.

—BCR [LOCAL 506, $5/9 P.M.]

DJ Wade Banner STATIC Pulse 102.5-FM’s RAP purple-haired personality, Domo, and K97.5-FM’s DJ Wade Banner work for two of the Triangle’s most repugnant commercial

radio stations. They also share the absurd status of self-inflated local celebrities, whose lowbrow music tastes lead to showcases of substandard rappers like Pooh Bear, Skinny P, and Jayway Sosa.

Oh, well: at least you won’t have to spend one of your weekend nights on this one. —ET [KINGS, $12/9 P.M.]

Durty Dub PARTY Durham trio Durty FUEL Dub cuts its party-friendly mix of covers, where Tears For Fears and Nirvana rub shoulders with Katy Perry and Outkast, with an occasional original in the same spirit.

At home in academic settings or a club, Africa Unplugged updates the sounds of the African diaspora, combining traditional instrumentation like djembe and kora with the influences of contemporary jazz and funk. DJ Petey Greene joins.

—SG [PINHOOK, $6–$8/9 P.M.]

Local Band, Local Beer: Jon Lindsay, Debonzo Brothers HOOK An abiding faith in HANGERS melody unites this triple bill. Headliner Jon Lindsay, who writes exuberant pop songs, will showcase offerings from the forthcoming Cities and Schools. The Debonzo Brothers’ righteous tunes have echoes of Drive-By Truckers, but they aren’t averse to a Taylor Swift cover. The Feeds deliver chunky power pop with brio. —DK [THE POUR HOUSE, FREE/9:30 P.M.]

The Moody Blues MINOR With principal ROYALTY composers John Lodge and Justin Hayward and co-founding drummer Graeme Edge onboard, you still get mostly The Moody Blues on tour. They haven’t announced a farewell just yet, but with three core band members in their seventies, the runs don’t seem infinite. Get your shout-out list ready before you go for maximum nostalgia action; “Nights in White Satin” has only shown up once on a set list this

FRIDAY, MARCH 25

guitars and lowlife bar-regulars animate the songs of MSRP. With Electric Grandmother and Cat Scan. —DK [SLIMS, $5, 9 P.M.]

THE PROCLIVITIES & FRIENDS A Triangle mainstay a decade ago, Raleigh’s The Proclivities fizzled out as its members pursued new musical directions. The band’s personnel has since been spotted onstage with the likes of Jeanne Jolly, Freeman, Hiss Golden Messenger, Bon Iver, and the Mountain Goats, plus in the broad-minded jazz trio The Hot at Nights. This weekend, The Proclivities reunite for a one-off benefit for the Community Music School.

Matt Douglas, who helmed The Proclivities during that bygone heyday, coordinates programming at the Community Music School, part of a network allied with the Berklee College of Music. Douglas helps manage some of the Berklee-connected programming.

The school offers low-income students music education they might not otherwise receive or be able to afford. All of that requires money. After seeing the school struggle to fill past benefits, Douglas stepped in to offer his help in booking this year’s edition, which will be at The Pour House instead of the larger Lincoln Theatre.

“They’ve had some good people on the bill, but not necessarily people that would put more folks into a bigger venue,” Douglas says. “It just wasn’t working.”

He offered up his own former band—Chris Boerner, Matt McCaughan, and himself, with new bassist Zach Hickman—to perform. He knew The Proclivities could pull in a respectable crowd and that he could enlist a few friends to help. Jeanne Jolly, Hiss Golden Messenger’s Mike Taylor, Whiskeytown alumna and Tres Chicas singer Caitlin Cary, and the Mountain Goats’ John Darnielle will join. By scaling down to a smaller room like The Pour House, Douglas says, the Community Music School actually stands to win. That’s due, in part, to some helpful area sponsors.

“Even if the goals are smaller,” he says, “I feel really confident that we’ll already make more money for the school than they have in the last few years with this particular concert.” —Allison Hussey

PANIC II

BY ALEX BOERNER

WED, MAR 23

03.23–03.30

Matt Douglas PHOTO

music

CONTRIBUTORS: Grant Britt (GB), Grayson Haver Currin (GC), Tina Haver Currin (TC), Spencer Griffith (SG), Allison Hussey (AH), FOR OUR COMPLETE COMMUNITY CALENDAR Maura Johnston (MJ), David Klein (DK), Jeff Klingman (JK), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), Dan Ruccia (DR), WWW.INDYWEEK.COM Gary Suarez (GS), Eric Tullis (ET), Chris Vitiello (CV), Patrick Wall (PW)

THE POUR HOUSE, RALEIGH 9 p.m., $12–$15, www.the-pour-house.com year. —GB [DURHAM PERFORMING ARTS CENTER, $50–$100/8 P.M.] ALSO ON THURSDAY. THE CAVE: The Landing; 8 p.m., $5.

• DEEP SOUTH: Cesar Comanche, JustKP, Kid Infamous; 9 p.m., $8. • SLIM’S: The 4onthefloor; 9 p.m., $3.

FRI, MAR 25 Chet Baker Tribute TRUMPET Whether he was RECALL blowing bright lines in front of his own band or

adding breathy bliss to bossa nova, Chet Baker made the trumpet sound smooth. Jim Ketch channels Baker in a tribute to the legendary musician in a pair of Friday night shows. —CV [BEYÙ CAFFÈ, $6/8 P.M. & 10 P.M.]

Aaron Carter RADIO You might DISNEY remember Aaron Carter as the little blonde hop-along who toured with the Backstreet Boys in the late nineties. Today, the former child star makes more headlines for his Twitter account than for his

music; last week, Carter endorsed Donald Trump for president. Seems a strange way to drum up support for an upcoming album called LØVË, his first in fourteen years. —TC [CAT’S CRADLE, $15-$17/9 P.M.]

The Everymen BORN 2 Governor Chris ROCK Christie hasn’t done the Garden State any favors lately, but The Everymen—a Jersey band that draws from St. Bruce, punk, and melodrama—are a now Triangle-based Garden State export we can live with. Buzzing

FREE Writers will knock FORMS out copy on typewriters and laptops, their thoughts projected for musicians who respond to the text through their music, which feeds back into writers. Listen and read in order to tease out the patterns of effect and equilibrium for this radically interdisciplinary event.

(Disclosure: Participants include INDY freelancers Chris Vitiello and Dan Ruccia.) —GC [THE CARRACK, FREE/8 P.M.]

Chip Shearin’s Birthday Bash & Celebrity Jam BASS Join area jazz stars MASTER Laura Reed, Al Strong, Tamisha Waden, and others to sing “Happy Birthday” to Durham native Chip Shearin, the bass player who’s ostensibly worked with everyone. Shearin notably took a teenage turn thumping out the bass to the Sugar Hill Gang’s “Rapper’s Delight,” but this guy’s also played behind Gladys Knight, Grandmaster Flash, Janet Jackson, and Dizzy Gillespie.

Blow out those candles. —CV [MOTORCO, $10–$14/9 P.M.]

Superduperkyle MC-EAZY The company you keep can speak more to who you are as a rapper than your own bars. So if you’re on tracks with G-Eazy and on tours with Hoodie Allen, you’ve pretty much defined your target demographic. Even as he managed to land the critically adored Chance The Rapper on a recent single, Kyle is less likely to woo that circle with his bubblegum, beginner brand of hip-pop. —GS [LINCOLN THEATRE, $15/8 P.M.]

INDYweek.com | 3.23.16 | 41

MONDAY, MARCH 28

Sweatcore: A Queer Dance Party WILD 4 Just as the BOOKS organizers of the fund-raiser Sweatcore are intentional about its “queer dance party” tag, they are also committed to handing over proceeds to Durham Prison Books Collective to send books to people in North Carolina’s jails and correctional facilities. If you choose to sweat the small stuff, sweat it out here and helped these party activists handle bigger responsibilities.

With DJs PlayPlay, Bitchcraft, and Dudefemme. —ET [PINHOOK, $5–$7/10 P.M.]

Conrad Tao U.S. At the age of PIANO twenty-one, pianist and composer Conrad Tao has apparently already shed the “wunderkind” label. For this recital, he focuses largely on American composers. Frederic Rzewski’s set of North American Ballads includes discursive settings of old Union tunes, including an awesome depiction of the sounds of a cotton mill.

Aaron Copland’s Piano Sonata was nearly lost when his only copy was stolen in 1941. We also get a new work by Pulitzer Prize winner David Lang, and Schumann’s kaleidoscopic Carnaval. And on March 24, Tao will read new works by composers from Duke’s Music Department. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$34/8 P.M.]

WinterJam PRAISIN’ This Christian & RAISIN’ music smorgasbord includes emcees, bombastic rockers, preachers and two headliners. The Nashville duo King & Country practice a blend of vague uplift and theatrical gestures that could fit into an adult-contemporary station’s playlist or be remixed into an EDM banger.

Matthew West’s more upbeat music is waiting-room-friendly, although it includes more rock-inspired oomph. Jordan Smith, whose sturdy-voiced versions of hymns classic 42 | 3.23.16 | INDYweek.com

At its best, Duran Duran specialized in maximizing new wave’s already-present excesses—calmly displayed extravagance, creeping technological paranoia, keepsake love songs.

Simon Le Bon forced vowels into elaborate calisthenics, his “eeeuhhhs” and “owww-uhhs” becoming one of the MTV era’s most signature vocal tics. They made even his most inscrutable lyrics worthy of sing-alongs. Nick Rhodes’s keyboard lines could be sumptuous or spiky. And John Taylor remains one of pop music’s most underrated bassists. The pogoing energy of “The Reflex” was only amplified when Chic’s Nile Rodgers reworked it in a way that lopped off a minute and electrified Taylor’s strident low-end strut. Duran Duran’s MTV-based fame led to the band’s lightweight reputation, but holding the big hits up to closer scrutiny reveals a band that often had a canny idea of where pop was going.

Unfortunately, Paper Gods, the band’s 2015 album, too often falls victim to the specter of EDM, rendering the tools wielded by Rhodes and Taylor (and, when guest vocalists take over, Le Bon, too) not just ineffective but absent. In a way, it’s understandable: Duran Duran is now in its third decade, and simply rehashing the oldies approach seems artistically dissatisfying. The best moments come when Duran Duran reaches the intersection of the new and old. “Pressure Off” features Janelle Monáe and Rodgers, and places Taylor’s nimble bass playing near the front. The taut motivational anthem “Butterfly Girl” adds zip-lining synth and squealing guitar to funk-pop splendor. This live go-round will feature not just those tracks, but Duran Duran’s hidden-in-plain-sight pop weaponry, too. With Shamir. —Maura Johnston

PHOTO BY STEPHANIE PISTEL

DURAN DURAN

DURHAM PERFORMING ARTS CENTER, DURHAM 8 P.M., $70-$255, WWW.DPACNC.COM

(“Great Is Thy Faithfulness”) and not (“Hallelujah”) won the recent Voice, is this stop’s special guest. —MJ [PNC ARENA, $10/7P.M.] ALSO ON FRIDAY THE CARY THEATER: Richard Leigh; 8 p.m., $20. • CAT’S CRADLE (BACK ROOM): Laura Reed, Bella, S.E. Ward; 9 p.m., $10–$12 • THE CAVE: Eric Strickland and the B-Sides; 9 p.m., $5. • DEEP SOUTH: Apples And Airplanes; 9 p.m., $7. • DUKE COFFEEHOUSE: Hanz, Housefire, Matt Stevenson, GNØER; 8:30 p.m., $5, free with Duke ID. See page 39. • THE MAYWOOD: MechaBull, Soapbox Arson, Motrendus; 9 p.m., $10. • NIGHTLIGHT: Neuron Husky, Horus, Bloodwing; 10 p.m., $8.

• POUR HOUSE: The Proclivities & Friends; 9 p.m., $12–$15. See box, page 41.• SHARP NINE GALLERY: Mike Ode Quartet; 8 p.m., $10–$15.

• SOUTHLAND BALLROOM: Maradeen, Strange Lady; 8 p.m., $10.

• THE SHED JAZZ CLUB: Shaquim Muldrow Quintet; 8 p.m., $5–$10.

SAT, MAR 26 Caramel City: Masego JAZZ After a two-month DABBING detour into soul, this month’s Caramel City series gets back to the experimental jazz zone with “trap house jazz”

artist Masego. While the Jamaican-born, Newport News-based saxophonist describes his sound as “future jazz” with outbursts of “trap scatting,” it’s really just a more youthful version of what the big, room-busting, electro-soul artist GRiZ also does with a saxophone. Masego’s style is prone to have jazz architects turning over in their graves, but we’ll all be too busy dancing to hear the shifting. —ET [POUR HOUSE, $10–$15/9 P.M.]

Diali Cissokho & Kaira Ba AFRICAN Durham’s African FUSION Rhythms Meetup presents this double bill of talented area outfits extending African traditions. Crossing rock with West African dance music, Diali Cissokho and his band, Kaira Ba, weave nimble kora notes between lively rhythms propelled by Senegalese and western instrumentation. After relocating from Congo, Muningu reimagines jazz as born across the Atlantic. Skilled instrumental work and joyous vocals make it clear why the band borrows its name from the Lari word for melody. —SG [MOTORCO, $10–$12/9 P.M.]

Danger Danger BAD BAD The proudly horny BOYS dudes of Danger

Elephant Micah, Dex Romweber; 9 p.m., $12. See page 33. • CAT’S CRADLE (BACK ROOM): Happy Abandon, Cool Party, Lairs; 9 p.m., $5–$7. • THE CAVE: Drat the Luck, Silver Dollar Switchblade, The 8:59’s; 9 p.m., $5. • DUKE’S BALDWIN AUDITORIUM: The Gloaming; 8 p.m., $10–$42. See page 33. • KINGS: Three Lobed Recordings Sweet 16 Spectacular; 1 p.m., $28–$35. See page 29. • LINCOLN THEATRE: Raleigh Gets Weird; 9 p.m., $15. • SHARP NINE GALLERY: Ariel Pocock, James Suter, and Kobie Watkins; 8 p.m., $10–$15. • THE SHED JAZZ CLUB: Rodney Wright; 9 p.m.

SUN, MAR 27 ForeverAtLast

Danger once took early-eighties aesthetics (massive choruses, thick synths), late-eighties styling (big hair, Spandex), and easy-to-remember titles (“Naughty Naughty,” “Bang Bang”) to minor Dial MTV notoriety. Frontman Ted Poley, drummer Steve West, and bassist Bruno Ravel remain from the band’s glory days, and the most recent album, 2011’s Revolve, is a fairly satisfying throwback. With Kickin Valentina, Hayvin, and Running with Scissors. —MJ [SOUTHLAND BALLROOM, $25–$49.50/8 P.M.]

Popunkapalooza!

POP Durham’s Eyes Eat POW! Suns headline this six-band mini-fest with a polished, punchy sound that brims with pop-punk nostalgia.

The band’s 2015 EP, POW!, bursts with broad hooks, earnest melody, and palm-muted power chords. Expect to remember Yellowcard and New Found Glory. With Magnolia, The Water Between, Six Shots Later, The Second After, and The Great Fall. —BCR [DEEP SOUTH, $10/8 P.M.]

Old Quarter FAR OUT Old Quarter COUNTRY employs forlorn country themes as the anchor for cosmic country exploration,

psychedelic textures radiating from the hard truth like heat from a stretch of fresh blacktop.

South Carolina’s Say Brother makes delightfully ramshackle roots rock, suggesting The Avett Brothers had they dug their heels into the dives of yore. Plus OxenFree. —GC [SLIM’S, $5/9 P.M.]

Texoma, The Affectionates POWER Chapel Hill’s FOLK Texoma celebrates the release of its debut full-length, The Prospect. The record is loaded with lasting hooks and a dynamic range wider than its self-described genre of “dust rock” might suggest. At points, Texoma even borders on power pop. Durham ensemble The Affectionates will also deliver a new release this spring. The band’s ambitious indie pop matches leader Jeremy Blair’s ebullient songs with charming harmonies and kaleidoscopic instrumentation.

Magnolia Collective opens with its reserved take on twang, which pairs Daniel Snyder’s dour writing with accomplished area players. —SG [LOCAL 506, $5–$7/9 P.M.] ALSO ON SATURDAY THE ARTSCENTER: South Carolina Broadcasters, Katharine Whalen; 8 p.m., $12–$17. See page 39.

• CAT’S CRADLE: Mount Moriah,

PYRRHIC We’re far enough VICTORY from the midaughts now that anyone appropriating the popular sounds of the day can be considered a throwback. The W years weren’t much to love, and neither, really, were their angsty pop-hardcore. Indianapolis’s ForeverAtLast fits with Victory Records in 2016 just like it would have in 2006. The band reproduces Hawthorne Heights’ faceless verse-chorus-verse stuff to a tee, except with a female singer. —PW [MOTORCO, $8–$10, 6 P.M.]

Greater Pyrenees SORTA For more than a SHINS decade, Sean Kirkpatrick played in the Mississippi rock outfit Colour Revolt. Four years after that group split, Kirkpatrick has his own project, Greater Pyrenees.

The band’s “Homemade Blood,” from a forthcoming self-titled debut, ties the moderate indie rock of the last decade to occasional acoustic inclinations, recalling The Shins. Colin Sneed of Unwed Teenage Mothers opens, while Jake Xerxes Fussell presents thoughtful roots ruminations in the bill’s middle.

—AH [THE PINHOOK, $5/8 P.M.]

Hellrad SLUDGE Philadelphia POWER five-piece Hellrad plays slow but wastes little time

we 3/23 CRANK IT LOUD PRESENTS

FOREVER CAME CALLING MAJOR LEAGUE SUDDEN SUSPENSION / ZESTRAH SUMMER WARS 6:30pm $10 / $12

th 3 /24 fr 3 /25

BLEAK

LESSER LIFE / TRUDGE / JUNIOR IN HIS PRIME 9pm $5 WXYC 2000’S DANCE 10PM $5 UNC STUDENTS / $7 GA

sa 3 /26 TEXOMA MAGNOLIA COLLECTIVE 9pm $5 / $7 su 3 /27 3@3: JUNCTION MEDIAS KATE RHUDY / HANK & BRENDAN 3pm FREE mo 3/28 MONDAY NIGHT OPEN MIC 8:30pm FREE we 3/30 CRANK IT LOUD PRESENTS THE SMITH STREET BAND HARD GIRLS / WORRIERS 7:30pm $12 th 3/31 ALBUM RELEASE SHOW: HUDSON & HAW BROTHERS EGG 9PM $10 fr 4/1 WXYC PRESENTS DANIEL BACHMAN NATHAN BOWLES / CANTWELL / GOMEZ AND JORDAN 9pm $7 sa 4/2 CRANK IT LOUD PRESENTS

HEADFIRST FOR HALOS

DEAR DESOLATE / EYES EAT SUNS / FEAR THE UNITED REFUSE THE CONFORMITY 6:30pm $10-$40 tu 4/5

THE LEAGUE OF EXTRAORDINARY BELLYDANCERS: GAME OF THRONES-INSPIRED BELLYDANCE, BURLESQUE, AND MORE 8:30pm $10 / $12

sa 4/9

INTER ARMA

FR 3/25

SA 3/26

FEATURING JOHN DARNIELLE, M.C. TAYLOR, JEANNE JOLLY, CAITLIN CARY & MORE! 9TH WONDER, ART OF COOL & THE POUR HOUSE PRESENT

BLEUBIRD / WEERD SCIENCE / EARLY ADOPTED TRACY LAMONT 9pm $10 / $12 tu 4/12 WRECKLESS ERIC / KENNY ROBY 9pm $10 th 4/14 KRIGSGRAV GIANT OF THE MOUNTAIN 9pm $7 sa 4/16 DAVID BOWIE COVER NIGHT (PROCEEDS BENEFIT UNC’S MUSICAL EMPOWERMENT):

PARALLEL LIVES

COMING SOON:

THE BLACK DAHLIA MURDER, MAGRUDERGRIND, TV GIRL, GREG HOLDEN, FS, BEAR GIRL, PEELANDER-Z

www.LOCAL506.com

TU 3/29 WE 3/30 TH 3/31

FR 4/1

SA 4/2

Constitution in Crisis

RAINBOW KITTEN SURPRISE JENNY BESETZT

SU 4/3 SU 4/3 TU 4/5

SCHOOL OF ROCK 1PM TRAP-A-LONG TRAP MUSIC KARAOKE PARTY 8PM DOBY / THE NTH POWER facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com

THU 3.31

NAKED NAPS FRIENDSHIP / ECHO COURTS

3.24 3.25 3.26 3.27 3.28 3.29 3.31

fridaycenter.unc.edu/wbi

THE YAWPERS / BUT YOU CAN CALL ME JOHN JAHMAN BRAHMAN / TREEHOUSE LOCAL BAND LOCAL BEER ZACK MEXICO / DEEP SLEEPER / LACY JAGS FREE! SPONSORED BY TROPHY BREWING FOOTHILLS FREE FIRST FRIDAY FEATURING: FAT CHEEK KAT (CD RELEASE PARTY) DALE & THE DUBS / FUNK SANDWICH

11 7 W MAIN STREET • DURHAM

Join us for four evenings of lectures in April as UNC-Chapel Hill scholars share insights on important legal and cultural aspects of the US Constitution. The program will provide a forum for faculty in law, government, journalism, and other disciplines to share their ideas and engage the audience in thoughtful discussions of these compelling topics.

To register, call 919-962-2643 or 800-845-8640, or visit

iSTANDARD PRODUCER SHOWCASE BLACKFOOT GYPSIES

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Fees: $10 per session or the entire series for $30. Free admission with UNC-Chapel Hill student ID.

CARAMEL CITY FEATURING: MASEGO / JONATHAN SCALES FOURCHESTRA HEATHER VICTORIA

CASTLE WILD / LAIRS / LIGHTWORKS / OZYMANDIAS 9pm $8 / $10

Thursdays, April 7, 14, 21, and 28, 7–8:30 pm, at the Friday Center.

THE PROCLIVITIES & FRIENDS

MO 3/28

BITTER RESOLVE / IRATA 9pm $10

SADISTIK

WAYLAND/ LAURENICOLE

LOCAL BAND LOCAL BEER JON LINDSAY DEBONZO BROTHERS / THE FEEDS FREE! SPONSORED BY TROPHY BREWING A CONCERT TO BENEFIT COMMUNITY MUSIC SCHOOL

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SLINGSHOT DAKOTA

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Coming April 6th To reserve your ad space contact your ad rep or rgierisch@indyweek.com

COMING SOON:

RINGO DEATHSTAR • OBN III • MARISA ANDERSON CHRIS PUREKA • TACOCAT • ERIN MCKEOWN • HARDWORKER

INDYweek.com | 3.23.16 | 43

with its noise-blasted sludge.

Last year’s Things Never Change EP is remarkably dynamic, as the band lunges from torturously slow doom to charged crust-punk bursts. —BCR [SLIM’S, $5/9 P.M.]

Sunburned Hand of the Man RISKY The last time I saw RABBLE Sunburned Hand of the Man, who were headlining an intense bill in Chapel Hill, they turned in a disappointing set that seemed juvenile and haphazard. On this return trip, the wild, open-eyed psychedelic collective again headlines an exhaustive Chapel Hill bill. But with Sunburned, risk begets reward, so this set could be a shrieking span of ecstatic beauty that’s completely absorbing and perhaps even transforming. Or, hey, it could feel like a joke with no apparent punch line. It remains a chance worth taking, especially with the powerful Snakehole in tow and the great Housefire opening. —GC [NIGHTLIGHT, $8/8 P.M.] ALSO ON SUNDAY THE CAVE: Chamomile & Whiskey, Patrick Turner; 9 p.m., $5. • LOCAL 506: 3@3: Junction Medias, Kate Rhudy, Hank & Brendan; 3 p.m., free.

MON, MAR 28 Basia Bulat CANADA Mentions of CLEAR Canadian

singer-songwriter Basia Bulat all paint her as a manic pixie dream songstress and home in on her penchant for “quirky instrument choices”—the autoharp, or the charango, a small, ten-string Andean lute—and quixotic lyricism. But don’t skip Bulat’s biggest boon: her robust, dynamic voice, which can suggest Stevie Nicks, Enya, and a powerhouse doo-wop group.

—PW [KINGS, $12–$14, 8 P.M.]

Crown Larks WINDY Space-cadet CHAOS quartet Crown Larks exists at the intersection of the post-rock, jazz, and free-improv scenes that are integral to its hometown, Chicago.

Whispered psychedelia explodes into feverish free chaos. Tangled polyryhthms buttonhook into deconstructed drones. —PW [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9:30 P.M.]

House & Land OLD-TIME Two low-key DRONE Appalachian forces come together as the new House & Land. Black Twig Pickers fiddler Sally Anne Morgan joins Asheville guitarist Sarah Louise for compelling, contemporary ruminations on old-time tunes. Both approach the genre with an open mind, so that they lean deep into the otherworldly oddities of old-time. Their shared talents and passions make this show a must-see. —AH [NIGHTLIGHT, $10/8:30 P.M.]

Junior Boys

Twiddle

SLEEK In 2004, dabbling ELDERS in skewed R&B, synth minimalism, and pop-loving longing amid indie circles still seemed risky. It might have stranded Ontario romantics Jeremy Greenspan and Matt Didemus as outliers.

Now that the landscape’s shifted, they seem like minor prophets deserving of greater due. Junior Boys’ fifth album, Big Black Coat, successfully disrupts the smooth glide into which the pair’s last few had settled, with the default pop sheen now scuffed by dark, muscular techno. —JK [CAT’S CRADLE, $15–$17/8:30 P.M.]

PATCHY When Twiddle JAM resists the urge to turn a tune into a twenty-plus minute workout, the Vermontbased foursome is reminiscent of nineties rockers; the band has even been known to work Bush into a cover medley that includes Phish, Old Crow Medicine Show, and Bob Marley. While the energy level rarely drops, even during overextended solos, Twiddle’s best work comes when those breaks stay succinct and the focus remains on surrealist songwriting. Groove Fetish opens. —SG [LINCOLN THEATRE, $12/9 P.M.]

ALSO ON MONDAY

ALSO ON TUESDAY

THE CAVE: Kev-O, Esh & Arc, Eastrn Suns, BiggBrad; 9 DURHAM PERFORMING ARTS CENTER: Duran Duran; 8 p.m., $70–$255. See box, page 42.

CARY ARTS CENTER: Scotty McCreery; 7 p.m., $15–$25. • POUR HOUSE: Blackfoot Gypsies, The Yawpers, But You Can Call Me John; 9 p.m., $5. • THE RITZ: Chance the Rapper; 8 p.m., $39.50. See page 38.

TUE, MAR 29 Nora Jane Struthers & The Party Line CUTTING When Nora Jean GRASS Struthers sings “I ain’t holding back” on her 2015 album Wake, you have to admire her new, harder edge. A direct, driving sound has taken over the bluegrass acoustics of her earlier work. The teacherturned-bandleader sounds tougher now, a little like a female Hayes Carll. —KM [CAT’S CRADLE BACK ROOM, $12–$14/8 P.M.]

WED, MAR 30 Autolux CALI Los Angeles trio GREEN Autolux has a slim, slaved-over catalog, with just two records of brooding space rock in sixteen years. Future Perfect, from 2004, was well-received neo-shoegaze, big on dark guitars that sounded expensive if not expansive. But 2010’s Transit Transit provided too little development for such a long wait. It took Autolux another six years to follow that

one up, but at least it’s something new. The questionably titled Pussy’s Dead, a collaboration with Run the Jewels and Beyoncé producer Boots, steers the band toward a twitchy trip-hop. —JK [LINCOLN THEATRE, $10–$12/9 P.M.]

Jahman reward patient listeners with an underwhelming payoff, thanks to a tendency to stretch instrumental passages until they meander aimlessly. Myrtle Beach trio TreeHouse! delivers the expected reggae-rock hybrid in the opening slot. —SG [THE POUR HOUSE, $7–$10/9 P.M.]

Dr. Dog

The Wonder Years

LATER A tortoise in the DAZE hare sprint of 2000s blog rock, Philly’s Dr. Dog never owned a moment, but the band still exists, packing big rooms long after contemporaries have ceased to be or, in some cases, reunited already.

Dr. Dog has done unchallenging, breezy bar-rock from their start, twisting a studio knob marked “mildly psychedelic” up or down a few clicks depending on the record. The band’s latest, actually titled The Psychedelic Swamp, turns that baby about as far to the right as it’ll go. Still, its fleshed-out versions of discarded songs from fifteen years back will likely freak out no one. The band performs again Thursday night. —JK [HAW RIVER BALLROOM, $22–$25/8 P.M.]

AGED On last year’s No EMO Closer to Heaven, Dan Campbell sidestepped the rote subjects of emo—personal angst, suburban ennui, girls—for bigger themes. Death and guilt mark Heaven’s pop-punk anthems, and Campbell sings with earnestness that isn’t overt sentimentality. (It’s a welcome change from his usual approach.) Behind him, his band reinforces his ferocity through crunchy riffs that balance out the sugar. Pop-punk usually doesn’t age well, but The Wonder Years show it can be done. With letlive., Tiny Moving Parts, and Microwave. —PW [CAT’S CRADLE, $20–$23, 7 P.M.]

Jahman Brahman DUDE The name Jahman GROOVES Brahman might conjure some laid-back, reggae-fueled troubadour. No fear: this Asheville outfit’s grooves still summon clouds of ganja smoke, simply with lightly funky guitar lines and synthesizer squiggles. The jammers of

ALSO ON WEDNESDAY CAROLINA THEATRE: Bedroom Community; 8 p.m., $28–$79. • CAT’S CRADLE (BACK ROOM): Konrad Küchenmeister, Steefan Danziger, B Hill and Kendra Warren, Frankie Goodrich, JANXX, Stephan Danziger; 8:30 p.m., $6–$14. • THE CAVE: Young Mister, The High Divers; 9 p.m., $5. • DEEP SOUTH: The Vegabonds, Britton Buchanan; 6:45 p.m., $5. • LOCAL 506: The Smith Street Band, Hard Girls, Worriers; 7:30 p.m., $12.

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SPECIAL OFF-SPRING: New EVENT Generations: Mar 24-Sep 30. Reception: Thu, March 24, 6-8 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. See story, p. 36.

SPECIAL Sky Touching Earth: EVENT Silk scarves by Deborah Younglau, still life oils

by Elizabeth Lee. Mar 25-Apr 27. Reception: Fri, March 25, 6-9 p.m. Village Art Circle, Cary. www.villageartcircle.com.

Small Treasures: Small works

by N.C. artists. Mar 25-Apr 23.

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

ONGOING The Amalgamation Project: Tom Spleth. Thru Apr 16. Light Art + Design, Chapel Hill. www. lightartdesign.com.

American Impressionist: Childe Hassam and the Isle of Shoals: Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. See story, p. 34.

LAST Americana: Textile CHANCE & History as Muse: Robert Otto Epstein, Margi Weir, and David Curcio. Thru Mar 26. Artspace, Raleigh. www.artspacenc.org.

Peg Bachenheimer, Jenny Eggleston, Brett Morris, Leslie Pruneau, and Susan Quint: Thru May 28. Artspace, Raleigh. www.artspacenc.org.

Best of North Carolina 2016: Paintings, prints, and more surveying the history of North Carolina. Thru May 31. Gallery C, Raleigh. www.galleryc.net.

Claybody: The Human Form in Ceramic Art: Cynthia Aldrich, Peter Anderson, Gina Barrantes, Cindy Biles, Razi Bradley, Charlie Evergreen, Trish Lauer, Judy Maier, Liz Paley, Caroly Van Duyn, and Bonnie Wright. Thru

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

03.23–03.30 May 13. Claymakers, Durham. www.claymakers.com.

Clothesline Musings: Art Inspired By the Clothesline: Thru Apr 3. Cary Arts Center, Cary. www.townofcary.org.

Coming Soon, Dot-to-Dot: Selections from the Gregg Museum of Art & Design. Thru Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

LAST Janet Cooling: New CHANCE paintings. Thru Mar 27. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

Nileena Pani Dash: Mosaics.

Thru Apr 5. Carrboro Century Center, Carrboro. carrboro.com/ centurycenter.html.

LAST Divided by DecadesCHANCE Bound by Tradition: Art Alumae Exhibition: Oil and graphite by Janet Link and Sherry di Filippo. Thru Mar 24. Meredith College: Cate Center, Raleigh.

Duke University Advanced Painting Students: Thru Apr 9.

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

The Ease of Fiction: This exhibit extends the homeland introspection of CAM Raleigh show Failure of the American Dream, a video installation by Phil America that was filmed in a tent city in the shadow of Silicon Valley. The Ease of Fiction features paintings, drawings, and sculptures by four young, U.S.-based African artists who intimately navigate the facts, official narratives, and myths of two nations that see each other in different ways.

In “kindred,” Nigeria’s ruby onyinyechi amanze layers photo transfers and drawings in a luminous scene of wading birds, braided hair, and a leopardheaded gentleman of a colonial mien. A similarly dreamlike mingling of the drawing room and the savanna can be seen in large-scale scenes by Botswanan painter Meleko Mokgosi. Rwanda’s Duhirwe Rushemeza’s sculptural paintings mimic deteriorating walls, while Egypt’s Sherin Guirguis offers intricate hand-

cut paper patterns that unite the ancient Middle East with California modernism. $5. Thru Jun 19. CAM Raleigh, Raleigh. camraleigh.org. —Brian Howe LAST Elements: North CHANCE Carolina nature photography by Mike Basher.

Thru Mar 27. Nature Art Gallery, Raleigh. www. naturalsciences.org.

LAST Everyone’s Gone to CHANCE the Movies!: Kevin Peddicord. Thru Mar 28. Busy Bee, Raleigh. www. busybeeraleigh.com.

Failure of the American Dream: Phil America installation. $5.

Thru May 8. CAM Raleigh, Raleigh. camraleigh.org.

Fine Arts League of Cary’s 21st Annual Juried Exhibition: Thru Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Flowers Will Return: Hopeful Paintings by Bob Hart: Thru May 19. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

From Frock Coats to FlipFlops: 100 Years of Fashion at Carolina: Thru Jun 5. UNC Wilson Special Collections Library, Chapel Hill. www.lib. unc.edu/wilson.

LAST Gristle Sausage: CHANCE Sculpture by Michael A. Salter. Thru Mar 26. Lump, Raleigh. www.teamlump.org.

Cinc Hayes: Mixed media. Thru Apr 30. Bond Park Community Center, Cary. www.townofcary.org.

Heralding the Way to a New World: Exploring women in science and medicine. Thru Apr 1. Duke Perkins Library, Durham.

Home in a New Place: Photography by Katy Clune, depicting an immigrant community in Morganton, N.C. Thru Apr 27. Center for the Study of the American South, Chapel Hill. www.uncsouth.org.

I Want Candy: Stacy Crabill.

Thru Apr 14. Durham Convention Center, Durham. www. durhamconventioncenter.com.

La Sombra y el Espiritu IV - The Work of Stefanie Jackson: Thru

PHOTO BY DAN SMITH

art

SATURDAY, MARCH 26

DAN SMITH: A MESS OF FEESH While pursuing a graduate degree in experimental and documentary arts at Duke, Dan Smith spent thirteen months working alongside Eddie Willis, a fourthgeneration fisherman in the Outer Banks enclave called Harkers Island, and his wife, Alison Willis, a member of the N.C. Marine Fisheries Commission. Smith’s photos and videos of the experience compose his Carrack installation, A Mess of Feesh, part of an ongoing exploration of North Carolina’s seafood industry and its relation to both local culture—particularly for people so isolated from nearby landlubbers they have their own dialect—and the tumultuous global economy.

“Since before there was a North Carolina, generations have lived off the waters of the Core Sound,” Smith writes. “Now, awash in globalized seafood, amidst shifting political and economic landscapes, fishermen with one foot in the past are charting a new course for their future.” After this opening reception, you can trawl the depths of this complex seascape through April 2. —Brian Howe THE CARRACK MODERN ART, DURHAM 6–8 p.m., free, www.thecarrack.org

May 13. UNC Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

LAST Lawyers Without CHANCE Rights: Jewish Lawyers in Germany under the Third Reich: Thru Mar 25. UNC School of Law, Chapel Hill.

NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Listening to Patience: Paintings

by Onicas Gaddis. Thru Mar 31.

Joyful Jewel, Pittsboro. www. joyfuljewel.com.

SPECIAL Luminous: Jewelry EVENT by Arianna Bara and paintings by Eduardo Lapetina.

Thru Apr 24. Reception: Fri, March 25, 6-9 p.m.

Hillsborough Gallery of Arts. www.hillsboroughgallery.com.

Modern Nature: Nature paintings by Becky Denmark and Ben Knight. Thru Apr 9.

ArtSource Fine Art, Raleigh. www.artsource-raleigh.com.

Made Especially for You by Willie Kay: Dresses by the Raleigh designer. Thru Sep 5.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art: Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. See story, p. 34.

Naked: A visual celebration of the human form. Thru Apr 3.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

New Death, Old Growth: Installation by Erin Oliver. Thru Apr 5. Golden Belt, Durham. www.goldenbeltarts.com.

The New Galleries: A Collection

Come to Light: Thru Sep 18. Nasher Museum of Art, Durham. www.nasher.duke.edu.

North Carolina’s Favorite Son: Billy Graham and His Remarkable Journey of Faith: Thru Jul 10. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

On the Wild Side: Paintings by Nancy Smith. Thru Apr 24. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Constance Pappalardo: Paintings. Thru Apr 30.

Umstead Hotel & Spa, Cary. www.theumstead.com.

LAST Prismatic Atoms: CHANCE Glass sculpture installation by Gretchen Cobb.

Thru Mar 30. The Qi Garden,

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INDYweek.com | 3.23.16 | 45

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Hillsborough. www.the-qigarden.com.

The Process of Seeing: Paintings, Lisa Creed, William Paul Thomas.

Thru Sep 30. American Tobacco Campus, Durham. www. americantobaccohistoricdistrict.com.

LAST PULL: If last year’s CHANCE excellent Nasher show of prints is still on your mind, then check out this exhibit of modern printmakers.

Curated by Supergraphic’s Bill Fick and UNC art professor Beth Grabowski, it features twentythree international artists who work in everything from screenprinting to 3-D printing.

Lynne Allen etches her Lakota Sioux family history on wood and deerskin, while Fick offers a grotesquely blemished face that might have sprung from a Charles Burns comic. Thru Mar 27. Meredith College Weems Gallery, Raleigh. www.meredith. edu/the-arts. —Brian Howe A Show of Hands: Teddy Devereaux. Thru Apr 3. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

LAST Southern Comforter: CHANCE Forty two abstract images of a down comforter by Victoria Powers. Thru Mar 30.

HagerSmith Design Gallery, Raleigh. www.hagersmith.com.

Spring Fever: Oils and acrylics

by Bekah Haslett and Margo White. Thru Mar 31. Local Color Gallery, Raleigh. www. localcoloraleigh.com.

LAST Stitch Chat: Mixed CHANCE media by Pati Reis.

Thru Mar 26. Artspace, Raleigh. www.artspacenc.org.

Strangers in Paradise: Carolyn Janssen and Jillian Mayer. Thru May 7. Artspace, Raleigh. www. artspacenc.org.

Swing into Spring: Thru Apr 1.

Durham Arts Council, Durham. www.durhamarts.org.

46 | 3.23.16 | INDYweek.com

Tarot Dreamscapes: Cade Carlson, Kelly Knapp, and Darius Quarles. Thru May 19. Arcana, Durham. www. arcanadurham.com.

SPECIAL The Ties That Bind: EVENT Beverly McIver is a painter, originally from Greensboro, whose guardianship of a sister with disabilities was the subject of the HBO documentary Raising Renee. McIver exposes

THURSDAY, MARCH 24–SATURDAY, MARCH 26

DAN SODER PHOTO COURTESY OF DANSODER.COM

Batman vs. Superman • Hello, My Name is Doris

Though Dan Soder spent his formative years in Denver, Colorado, he was born in Connecticut and is based in Queens, and his cranky, cynical style of comedy is quintessentially East Coast. He associates himself with some of New York’s crabbiest comics, often appearing on Opie with Jim Norton, SiriusXM’s daily haven for Big Apple funnymen looking for somewhere to vent, and You Know What Dude, professional kvetcher Robert Kelly’s podcast. Last year, Soder got his own radio show, cohosting Comedy Central Radio’s The Bonfire with fellow East Coast bad boy Big Jay Oakerson, and taped his first standup special for Comedy Central, slated to air early this year. Here’s hoping he spends his set at Goodnights going off on hipsters (or, as he calls them, “the human version of bedbugs”), a frequent target of his stand-up. —Craig D. Lindsey GOODNIGHTS COMEDY CLUB, RALEIGH 8 p.m. Thurs./7:30 & 10 p.m. Fri., $15–$31, www.goodnightscomedy.com

another thread of her complex family life in these oil portraits of her father, whom she has gotten to know over the last decade. “I believe that I have fallen in love with my dad,” McIver writes. In her vibrant portraits of him, perhaps you will, too. Thru Apr 9.

Painting Demo: Thu, March 31, 7 p.m. Craven Allen Gallery, Durham. www.cravenallengallery. com. —Brian Howe Time Travels in NineteenthCentury Landscapes: There was once an established hierarchy of painting genres: Religious allegories at the top, still-life works at the bottom. It broke down in the nineteenth century, when landscapes were reinvented by artists with nostalgic idealism about the time before industrialization.

Painters like J.M.W. Turner toed the line between fantasy and reality, as can be seen in this exhibit. Thru Apr 3. Ackland Art Museum, Chapel Hill. www. ackland.org. —Sayaka Matsuoka

stage OPENING

Blayr Nias, Melissa Douty: Stand-up comedy. $10. Thu, Mar 24, 6:30 p.m. Raleighwood Cinema Grill, Raleigh. www. raleighwoodmovies.com.

Sweeney Todd: The Demon Barber of Fleet Street: Presented by PlayMakers Repertory Company. $15–$44.

Wed, Mar 30-Sat, Apr 23. UNC Paul Green Theatre, Chapel Hill. www.playmakersrep.org.

Caleb Synan: Stand-up comedy. $10. Mon, Mar 28, 8 p.m.

Motorco Music Hall, Durham. www.motorcomusic.com.

Erin Terry, Deborah Aronin, Grant Sheffield, Purdy Holsom, Lauren Faber, Ngozi, Corey Freeman: Stand-up comedy. $5.

Thu, Mar 24, 7:30 p.m. Deep

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We Are the Champions: Stand-up comedy by Ryan Davis, Lauren Faber, and Joe Perrow. $7. Sat, Mar 26, 8 p.m.

Moonlight Stage Company, Raleigh.

ONGOING LAST Miss Nelson is CHANCE Missing: Children’s theater. $11–$17. Thu, Mar 24 & Fri, Mar 25, 7:30 p.m. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

THURSDAY, MARCH 24

LAURENT DUBOIS Poor ol’ banjo. It gets a bad rap—perhaps more than any other instrument—for its associations with sinister Deliverancestyle hill people and cloying, huckster country tunes. Despite the commonplace misunderstanding of the banjo as a twangy troublemaker wielded by white folks, it has roots in Africa, its early incarnations built with gourds for bodies and wooden necks.

As the public perception of it might suggest, the instrument has a long, complicated relationship with race, too. Laurent DuBois, a scholar of history at Duke, uncovers the transatlantic history of those five strings in The Banjo: America’s African Instrument, the latest volume in an eclectic but social justicefocused bibliography that also encompasses Haitian history and the World Cup. —Allison Hussey THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

page

emon : kers $15–$44. pr 23. UNC R E A D I N G S & Chapel Hill. S I G N I N G S org.

Tom Angleberger: Middle grade

up comedy. novel Rocket and Groot. Thu, Mar 24, 6 p.m. Flyleaf Books, Chapel p.m.

Durham. Hill. www.flyleafbooks.com. com.

William Brettmann: War Poets

of the Western Front 1914-1918.

Aronin, dy Holsom, Wed, Mar 23, 4 p.m. McIntyre’s Books, Pittsboro. www.

Corey omedy. $5. mcintyresbooks.com. m. Deep

SATURDAY, MARCH 26

FAN APPRECIATION DAY What rough beast, its hour come round at last, slouches toward Bethlehem to be born, I cannot say. As for the webfooted, lagoon-dwelling gill-man wetly clomping toward the Carolina Theatre, I do have some intel. Kicking off a trio of free fan-appreciation screenings is The Creature From the Black Lagoon—in 35mm, in 3-D!—the creature feature so seminal that even Ingmar Bergman made a tradition of watching it every year on his birthday. The night ends with a later horror classic, John Carpenter’s 1982 chiller The Thing, where the monster comes from the skies instead of the deeps.

Undercutting the thematic unity all but completely is the Reagan-era familial weepfest On Golden Pond, whose only monster is a cantankerous Henry Fonda. Then again, monster movies deal in existential dread, and what is On Golden Pond but a treatise on learning to let go, watch the loons in flight, and not get hung up about our mortality?

—David Klein CAROLINA THEATRE, DURHAM 2 p.m. (Creature From the Black Lagoon), 4 p.m. (On Golden Pond), 7 p.m. (The Thing), free, www.carolinatheatre.org

Susan Higginbotham: Historical novel Hanging Mary. Wed, Mar 30, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Michael Muhammad Knight: Why I am a Salafi. Wed, Mar 30, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Erik Larson: Dead Wake: The Last Crossing of the Lusitania.

Sat, Mar 26, 11 am. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. See p. 39.

Jason Miller: Origins of the Dream. Tue, Mar 29, 7 p.m.

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

Henry Petroski: The Road Taken: The History and Future of America’s Infrastructure.

Wed, Mar 23, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Fanny Slater: Cookbook Orange, Lavender & Figs. Fri, Mar 25, 7 p.m. Barnes & Noble, Cary. www.barnesandnoble.com.

Lindsay Stark: Novel Noah’s Wife. Sat, Mar 26, 2 p.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

LITERARY R E L AT E D Andrew Hemingway: “British Landscape Painting in the

Age of Revolution.” Mon, Mar 28-Sat, Apr 2. UNC Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/ wilson.

Hip-Hop & Social Justice: Shirlette Ammons, Pierce Freelon, Josh Rowsey, and Perry Hall. Wed, Mar 30, 7 p.m. UNC Campus: Gerrard Hall, Chapel Hill.

Konrad Jarausch: “Jewish Lawyers in Germany, 18481938: The Disintegration of a Profession.” Wed, Mar 23, 6 p.m. UNC School of Law, Chapel Hill.

Taigen Dan Leighton: Dharma talk followed by a signing of Just This is It, Donghan and the

screen

 ANOMALISA—Charlie Kaufman returns with a singular stop-motion fable about consumer capitalism and the male ego. Rated R.

Inside Out: Mon, Mar 28, 6:30 p.m. Love Auditorium, Durham.

 CREATIVE CONTROL— Benjamin Dickinson’s squirmy indie is a cautionary tale about virtual reality. Rated R.

SPECIAL SHOWINGS

Shore Stories: Wed, Mar 30, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

OPENING BATMAN V SUPERMAN: DAWN OF JUSTICE—D.C. Comics’ two most iconic heroes clash. Rated PG-13.

HELLO, MY NAME IS DORIS—A woman in her sixties (Sally Field) romances a much younger coworker (Max Greenfield) in Michael Showalter’s film. Rated R. THE LAST MAN ON THE MOON—Documentary on astronaut Eugene Cernan.

Unrated.

MY BIG FAT GREEK WEDDING 2—In this sequel to 2002’s rom-com hit, a big Greek family throws a wedding—again! Rated PG-13.

A L S O P L AY I N G See our reviews of these films at www.indyweek.com.  ½ 10 CLOVERFIELD LANE—The spiritual successor of Cloverfield has wit and suspense, not just mysterious marketing. Rated R.

Practice of Suchness. Sun, Mar 27, 10:30 am. Chapel Hill Zen Center, Chapel Hill. www.chzc. org.

Garrison Keillor: Storytelling from the host of A Prairie Home Companion. $10-$99. Tue, Mar 29, 7:30 p.m. UNC Campus: Memorial Hall, Chapel Hill. www.carolinaperformingarts. org. See p. 38.

Jodi Magness: “Samson in Stone: New Discoveries in the Ancient Synagogue at Huqoq in Israel’s Galilee.” free. Tue, Mar 29, 7:30 p.m. UNC Campus: Genome Sciences Building, Chapel Hill.

 ½ DEADPOOL—Marvel’s smartass semi-hero (Ryan Reynolds) revels in excesses of quips and gore. Rated R.  THE DIVERGENT SERIES: ALLEGIANT—The YA dystopian franchise turns away from sociological sci-fi.

Rated PG-13.  LONDON HAS FALLEN— Gerrard Butler stars in this xenophobic, jingoistic terror-porn sequel to 2013’s Olympus Has Fallen. Rated R.  MIRACLES FROM HEAVEN—This Christian film is admirably frank about American families’ unsexy financial challenges. Rated PG.  ½ THE REVENANT— Leo DiCaprio plays a historical fur trapper left for dead after a bear attack. Rated R.  STAR WARS: THE FORCE AWAKENS—J.J. Abrams successfully remixes Star Wars mythology for a new generation. Rated PG-13.  ½ THE WITCH—Arthorror director Robert Eggers conjures the demon-haunted world of early English settlers from real accounts. Rated R.

Women of Science and Philosophy Wikipedia Editathon: Learn how to edit Wikipedia articles about the history of women in science and philosophy. Tue, Mar 29, 6-9 p.m. Duke Campus: Bostock Library, Durham.

Women’s Forum: Celebrating Women’s History Month: Haiyan Gao (Duke University), Phyllis D. Coley (Spectacular Magazine), Jesica Averhart (American Underground), and Heather Beard (EarthShare North Carolina. Thu, Mar 24, 6 p.m. Durham City Hall, Durham. www.durhamnc.gov.

INDYweek.com | 3.23.16 | 47

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What’s your next move? If you want to buy, sell or both, call Liz Dean, Realtor, GREEN, GRI, SRES. 919.451.3696. lizdean@ pscp.com Peak Swirles & Cavallito Properties. www. pscp.com

own/ elsewhere MOUNTAIN CABIN near Asheville, NC. $154,900 2 bed/2 bath cabin on 1.68 acres w/stone fpl, lg. deck, mtn views, loft. 828-286-1666 broker.

(NCPA)

rent/wake co.

NEAR MOORE SQUARE 2BR/2BA upstairs apartment. Available January 1.

On-site parking. Approx.

1150 sqft. No Pets or smoking. Washer/Dryer. $1400 per month. 919-215-3559

All real estate advertised herein is subject to the Federal Fair Housing Act, which makes it illegal to advertise ìany preference, limitation, or discrimination because of race, color, religion, sex, handicap, familial status, or national origin, or intention to make any such preference, limitation, or discrimination.î We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity.

For more information or assistance, contact Legal Aid of North Carolina’s Fair Housing Project at (855) 797-3247 or visit www. fairhousingnc.org.

share/ elsewhere ALL AREAS ROOMMATES. COM. Lonely? Bored? Broke? Find the perfect roommate to complement your personality and lifestyle at Roommates.com! (AAN CAN)

STUDIO EFFICIENCY APARTMENT 1BA/KITCHENETTE (325 SQFT.) in desirable Glenwood South area of Raleigh on Boylan Ave. Local transit available, lots of choices for food and entertainment.

Full Refrigerator/Microwave, Apt sized Stove/Oven, Freshly painted. $750.00 includes all utilities/basic cable, and washer/dryer use. No Smoking. No Pets.

Email: legionblockade@gmail.com

48 | 3.23.16 | INDYweek.com

Traditional art of meditative movement for health, energy, relaxation, self-defense.

Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936 or www.magictortoise.com

massage MARK KINSEY/LMBT Feel comfy again.

919-619-NERD (6373). Durham, on Broad Street. NC Lic. #6072.

misc.

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STRUGGLING WITH DRUGS OR ALCOHOL?

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Miss Sadie

ACORN STAIRLIFTS The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800291-2712 for FREE DVD and brochure.(NCPA)

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XARELTO IF YOU USED THE BLOOD THINNER Xarelto and suffered internal bleeding, hemorrhaging, required hospitalization or a loved one died while taking Xarelto between 2011 and the present time, you may be entitled to compensation. Call Attorney Charles H. Johnson 1-800-535-5727.

THIS PAPER

body • mind • spirit

SIR CHARLES

RECYCLE

housing

critters

needs a new castle and kingdom! He is 6 years old, neutered, vaccinated, micro-chipped and house broken! He’ll do best either as an only pet (he doesn’t realize it’s not okay to chase smaller animals) or with a companion dog around his size or bigger with an experienced owner. He has lots of energy and loves to play, but his bounciness might be a bit much for some dogs to handle. He’s very sweet and loves to cuddle. Charles should NOT live with small children because he thinks they’re puppies!

To meet Charles, contact Noelle: 919-815-8956 or paullnoelle@hotmail.com

last week's puzzle

Addicted to PILLS? Talk to someone who cares. Call The Addiction Hope & Help Line for a free assessment.

800-978-6674(AAN CAN)

XARELTO USERS have you had complications due to internal bleeding (after January 2012)? If so, you MAY be due financial compensation. If you don’t have an attorney, CALL Injuryfone today!

1-800-419-8268. (NCPA)

919-416-0675

www.harmonygate.com

CLASSES FORMING NOW

Programs in Massage Therapy, Medical Assisting, and Medical Office. Call Today!

THE MEDICAL ARTS SCHOOL

Raleigh: 919-872-6386 • www.medicalartsschool.com

BOOK YOUR AD • CALL LESLIE AT 919-286-6642 • EMAIL

CLASSY@INDYWEEK.COM

soft return

crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions” at the bottom of our webpage.

I was onstage in Madison, Wisconsin, wanting to double over between breaths. Something I had eaten didn’t agree with me, and I felt like I was deteriorating in the moment, in front of an audience.

As I sang a song about the pains of a past relationship, I noted the humor of this momentary pain and smiled. No, I didn’t feel good, but I was having the best time.

My band, Maple Stave, had talked for a while about going on an extended tour, but in thirteen years, we’d never done it. In twenty years of making music, I hadn’t played more than a couple days in a row, so I was eager. Once I agreed, the anxiety started. Sadness would come with being away from my son, and I worried about being without my everyday routines. Would going away for a couple of weeks cripple me?

Our drummer, Evan, and a friend named Steve assured me that touring was “the best thing ever.” It might even be like a vacation, or my version of vacation. I could work enough everyday to stay grounded, and then I’d get to play. I know how to unload a van and set up my equipment, how to play the songs, how to do it in reverse. I would be with my friends, too; they wouldn’t let me fail. A week before tour, reality set in, and I settled down.

Once we left, we worked as a unit. When our other guitarist, Andy, came down with the flu, we tended to him. When our gear broke, we collectively sighed at having to visit the chain guitar store. When UNC played, we found a bar. When we came across friends we rarely see, or when we made new friends, we stayed up late, exchanging stories and telling jokes. Then, for about thirty-five minutes each night, I stood on stage with my friends and got to do this thing I love, playing the songs we’ve worked on for years, the ones of which we’re proudest. After the drinks, a brief sleep, and a long drive, I got to do it again and again.

I don’t think much of myself, but, on tour, I stopped caring about that. I saw friends from far away. Bands that, just weeks before, I had never encountered exceeded any expectations I could have formed. It pushed away the defeat and loneliness, even when I saw that the room was less than full or when I learned the PA was less than grounded. I finally felt like I was doing something good. —Chris Williams cwilliams@indyweek.com

ILLUSTRATION BY CHRIS WILLIAMS

It’ll Be Cool

Book your ad • CALL LesLie at 919-286-6642 • EMAIL

cLassy@indyweek.com

INDYweek.com| |3.23.16 3.23.16| |49 49 INDYweek.com

music

employment employment AIRLINE CAREERS begin here - Get started by training as FAA certified Aviation Technician. Financial aid for qualified students.

Job placement assistance.

Call Aviation Institute of Maintenance 800-725-1563 (AAN CAN)

9 3

6 2

FTCC-

6 4 1 8

7 2

Fayetteville Technical Community College is now accepting applications for the following positions: Assistant Director of Student Financial Aid Services. Director of Customized & Industry Training. Director of Financial Aid. Mail Distribution ClerkPlant Operations. Programmer/ Analyst I. Senior Network Communications Technician.

For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/.

Human Resources Office.

Phone: (910) 678-8378 Internet: http://www.faytechcc.edu. An Equal Opportunity Employer.

(NCPA)

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MANUSCRIPT READER

BOOKSELLER

The Sun, an independent, adfree magazine, is looking for a part-time manuscript reader to evaluate fiction, nonfiction, and poetry submissions and determine their suitability for the magazine. If you live in the Chapel Hill area, are able to work 15 to 20 hours a week at home or in the office, and can make at least a two-year commitment, visit thesunmagazine. org for details. (No e-mails, phone calls, faxes, or surprise visits, please.)

Energetic, self-motivated, computer-savvy person with strong interpersonal skills and a knowledge of books. Prior bookstore experience a huge plus. Permanent part-time; start immediately. Resumes to The Bookshop, 400 W. Franklin St., Chapel Hill 27516 or MAIL@ bookshopofchapelhill.com

ASSOCIATE EDITOR The Sun, a nonprofit, ad-free magazine, needs an associate editor to edit text for publication, solicit new writing, evaluate submissions, and work with authors to develop and revise their work. Visit thesunmagazine.org for details.

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

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auto 4 2MEDICAL BILLING TRAINEES NEEDED! 7Doctors & Hospitals 5 3need auto Medical Office Staff! NO DONATE YOUR CAR EXPERIENCED 6 NEEDED! 1 Online A-1 5 CANCER! FOR BREAST Training gets you job ready!

Help United Breast Foundation HS Diploma/GED & Computer prevention, 9 Careertechnical.edu/ 2 5education, 4 & supneeded. port programs. FAST FREE nc. 1-888-512-7122(NCPA) - 24 HR RESPONSE 1 7PICKUP 6 855-403- TAX DEDUCTION biz opps 0215 (AAN CAN) PAID IN ADVANCE! 3 4CASH FOR CARS: 2 Make $1000 A Week Mailing Any Car/Truck 2000-2015, Brochures From Home!

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SELL YOUR CAR FAST!

CAN)

su | do | ku

Do You Use Black C oho sh?

See the teaching page of: www.griffanzo.com Adult beginners welcome.

919-636-2461 or griffanzo1@gmail.com

employment 4 assistance

Start Immediately! www.

# 49

lessons

You give us $20, we’ll run a 20 word ad with a color photo for 4 weeks. Call 919-286-6642 or emailclassy@indyweek.com

this week’s puzzle level:

If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects ofIf black being conducted National Institute of Environmental Health Sciences take black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? an important study on the health effects of black cohosh being conducted • Only one visit to donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National Institute Environmental Sciences (NIEHS).

• Blood sample will be drawn at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina What’s Required?

Who Can Participate?

Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding Volunteers compensated upthe to $50 For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate?

National Institute of Environmental Healthy women, aged 18 years and older Health Sciences Research Triangle Park, North Carolina Not pregnant or breastfeeding

· · · · ·

For more information about the Black Cohosh Study, call 919-316-4976

© Puzzles by Pappocom

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MEDIUM 9 4 7 8 3 5 1 6 2

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Stavros Garantziotis, M.D. National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

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7 8 4 7 6 5 6 National Institutes of Health • U.S. Department of Heath and Human Services 2 8 6 If you are a man or 7 woman,818-552years3 old, living in the Raleigh5 1 8 34 Durham-Chapel Hill area, and smoke cigarettes or use an electronic 3 5 4 7 6 7 please 1 join an important study nicotine delivery system (e-cigarette), 7 4 on smokers being conducted by the National Institute of Environmental 7 5 (NIEHS).

3 8 1 Health1Sciences 8 6 1 4 What’s Required?

2 3 29 7 1 • One visit to donate blood, urine, and saliva samples • Samples be collected 8will 9 5 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina 5 7 • Volunteers will be compensated up to $60 7 2 4 5 9 Who Can Participate?

• Healthy men and women aged 18-55 1 6 4 8 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) 6 1 4 7 8 The definition of healthy for this9study means 6 that you feel well and can perform normal activities. If you have 7 # 51

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MEDIUM

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# 51

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6 7 5 3 4 8 2 1 9 2 1can’t 8 7 wait, 9 5 3check 4 6 If you just 3 4 9 week’s 1 6 2 answer 8 5 7 out the current 7 9 2 8 3 1 5 6 4 key at www.indyweek.com, 3 4 9 5 6 7 2 1 and click 85“Diversions”.

6 1 4 2 7 9 8 3 1 5 and 3 6 8 9 4 fun!

7 2 Best of luck, have 4 2 7 5 1 3 6 9 8 www.sudoku.com 9 8 6 2 7 4 1 3 5

solution to last week’s puzzle

Page 13 of 25

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National Institutes of Health • U.S. Department of Heath and Human Services

Lead Researcher

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

5

National Institutes of Health • U.S. Department of Heath and Human Services

2

50 | 3.23.16 | INDYweek.com

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a chronic condition, such as high blood#pressure, healthy can also mean that you are being treated and the 18 condition is under control.

For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

30/10/2005

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7 Book your ad • CALL LesLie at 919-286-6642 • EMAIL cLassy@indyweek.com 3 9 1 1 9 6

services misc. tech services GOT A MAC? Need Support? Let AppleBuddy help you. Call 919.740.2604 or log onto www.applebuddy.com

financial services FEELING TAXED? Need a convenient CPA? H. Lee Miller, CPA, CMA, MBA. 919376-5584 lee@hleemillercpa. com www.hleemillercpa.com

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professional services

entertainment

Durham

Chapel Hill

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FIND REAL GAY MEN NEAR YOU Raleigh:

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INDYweek.com | 3.23.16 | 51

INCOME TAXES. I-40 TRAFFIC.

At least I can make one of these less stressful.

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RACE FORWARD 5K RUN FOR SOCIAL JUSTICE SAT. APRIL 9 8:30-12:30

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919.286.6642

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Durham, on Broad Street. NC Lic. #6072.

back page

Weekly deadline 4pm Monday • classy@indyweek.com HIRE THE BEST!

Find the best candidates for your job opening in the INDY! Employment ads start at 70 cents/ word/week. Call INDY Classifieds: 919-286-6642 or email classy@indyweek.com

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Profits support Pleasant Drive Animal Rescue. 919-904-9025 ACHfixit@gmail.com

ROWDY SQUARE DANCE!

9PM Saturday April 2. THE KRAKEN. Chapel Hill. thekrakenbar.com FREE. Aaron Ratcliffe caller, w/ Five Points Rounders.

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