INDY Week 3.28.18

RALEIGH 3|28|18

TRAILER PARK BLUES, P. 6

LOST CAUSE LOSES PLOT, P. 8

PB&J BLISS, P. 14

2 | 3.28.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 13

6 When a multibillion-dollar corporation promised jobs, local governments kicked in $2 million in incentives. Then the “Jesus-centered” company evicted a hundred people from their homes.

8 In multiple polls last fall, three-fifths of North Carolinians said they wanted Confederate statues to stay put.

10 “We shouldn’t have to practice not getting shot in school.”

14 On a sandwich or a ham, there are many ways to love Fogwood Farm’s Balsamic Grape Hull Jam. 16 As a deejay, writer, and scholar, Jace Clayton broke frontiers in digital music.

21 In coming to terms with the intersections of transmasculinity and blackness, Daniel B. Coleman Chávez ultimately discovered he needed dance.

DEPARTMENTS 6 News 14 Food 16 Music 21 Arts & Culture 26 What to Do This Week

During the March for Our Lives in downtown Raleigh on Saturday, protesters took a moment of silence for the seventeen students killed in the Parkland mass shooting. PHOTO BY CAITLIN PENNA

29 Music Calendar

On the cover

32 Arts & Culture Calendar

PHOTO BY CAITLIN PENNA

Durham Performing Arts Consumer “Where the audience talks back.”

Bewildered by random price increases or frustrated with scripted and unresponsive communications with the venues your tax dollars and ticket purchases support?

Visit us at durhampac.org and see what your fellow theater-goers are doing about it! durhampac.org is a consumer advocacy organization dedicated to giving citizens an equal place at the table with the vendors who make millions every year in city-financed venues.

We are as diverse as the audiences around you at venues like DPAC and the Carolina Theater.

Join us. BE HEARD Go to durhampac.org to find out what a difference we can make.

INDYweek.com | 3.28.18 | 3

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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backtalk

The True Problem

grounds: “If you have read the North CaroDid you think we were done talking about lina law, you will know that the commisConfederate monuments? We most certainly sion would be in violation of the law if they are not. We’ll begin with commenter move the monuments. The law allows for Codwina, who has some thoughts on the monuments on state property to be moved Durham monument that demonstrators for eminent domain or if they are a hazard. pulled down last year and the judge who These monuments do not qualify on either failed to convict them. account. The law also states that if you move “The true problem,” Codwina writes, “is the monument, if must be moved to site of the flagrant disregard for the vandalism equal or greater prominence that the place of property and the law and the lack of from which it is removed. Where could they the justice system in backing up law possibly be moved? Are we a nation of laws enforcement who handled the situation well. or mob rule? That is the question.”

Instead of supporting the findings of law Donovan Verrill brings up the Sacramento enforcement, it seems the judge is making shooting death of an unarmed black excuses to support their poor behavior. If the man whom police gunned down in his protesters were truly concerned and would grandmother’s backyard last week: “So, in look around Durham and observe what is today’s news, white people are justifying the actually going on, they would realize that we killing of Stephon Clark and others want to don’t need another problem, which they are keep rebel monuments. No, we don’t have a creating, but we need positive solutions for race problem in this country, not at all.” the other problems we face as a city.

Moving on to lighter fare. Rabbi Jonathan “If these protesters are truly concerned Gerard writes in and want to fix things, with a science lesson they need to go to some “No, we don’t have a about Caitlin Sloan’s of the Durham neighborrecent story on the hoods in need of help, race problem in this only century farm in especially the young peocountry, not at all.”

Durham County owned ple of all races, and serve by people of color. as a positive role model “Douglas Daye is quoted as saying, ‘I by providing free tutorial services for those believe there will always be rocks in these children who are below grade level in math fields. … Sometimes I think rocks really grow and reading. Education is what is needed on this place, just like weeds do,’” Gerard to put all on an equal footing, not just in writes. “There is scientific proof for this Durham but in the nation as a whole. They related to why the bottom of a box of crackers could also help to serve as a part of commuor cereal always has smaller crumbs than nity-watch programs to assist in helping law the top—or a jar of pebbles, shaken, will enforcement in the solving or prevention cause the larger pebbles to rise. Actually, of some crimes rather than to vandalize a they don’t. What happens is that, over statue to make a statement. These positive time, gravity pulls pebbles, Cheerios, and behaviors would do more to help end racism popcorn down, filling the spaces between and other issues that spring from it than the these objects. The smaller the item, the more blatant destruction of property. likely it is to fit into the space below it. So “The true crime here to me is that these it’s not that the larger items rise; it’s that the so-called educated protesters are not smaller ones drop, pushing the larger ones addressing the many issues I mentioned, but up. Hence in a garden or on a farm, the more instead they use their education and time to one removes rocks, the more they continue justify needless vandalism and then claim to come to the surface. Just as Mr. Daye says, to be victims of a criminal justice system they seem to grow like weeds.” because it is holding them accountable for useless vandalism and breaking the law.”

Tim Lattimore comments on our story Want to see your name in bold? Email us at about a hearing last week on whether the backtalk@indyweek.com, comment on our N.C. Historical Commission should remove Facebook page or indyweek.com, or hit us up Confederate statues from the Capitol on Twitter: @indyweek.

INDYweek.com | 3.28.18 | 5

indynews Get Out

JUST BECAUSE YOU OWN YOUR MOBILE HOME DOESN’T MEAN YOU WON’T GET EVICTED, AS A LOW-INCOME HISPANIC COMMUNITY IN SILER CITY RECENTLY DISCOVERED

BY SARAH WILLETS

I

n the six years since Ana Heuzo’s mother gave her a mobile home in Siler City—in the hopes that Huezo, her husband, and their four kids would have a place to call home—they have made it their own. The kitchen walls are painted bright turquoise, refreshing even on a rainy Wednesday morning, and covered with family portraits. They’ve added a bedroom for their two youngest—painted lilac—and a small living room.

“We had initially thought we’d be here a long time,” says Huezo.

But they won’t be. Huezo and her family are among more than one hundred people being forced to leave Johnson’s Mobile Home Park after the park’s owner sold the land to Mountaire Farms, which is reviving a shuttered poultry processing plant next door. Residents have known since November that they have to leave, but they’ve banded together to push back their eviction date and demand compensation for the homes they’ll lose. It’s the least the multibillion-dollar corporation—which received millions in local tax incentives and calls itself “Jesus-centered”—can do, residents say.

As they’ve negotiated with Mountaire Farms, they’ve also asked local officials for help. Last week, the Chatham County Board of Commissioners pledged to assist them, but the form that assistance will take is still in the works.

On Monday, after two months of negotiations, Mountaire Farms agreed not to collect rent from residents and to give each household $8,300, provided they move out

by July 31. That’s better than what Montaire had originally offered, but it will still leave many of these families in the lurch.

This sort of upheaval would be tough for any family trying to find affordable housing in the Triangle. But these residents’ situation is unique. While many own their 6 | 3.28.18 | INDYweek.com

Ana Huezo PHOTO BY CAITLIN PENNA homes, they don’t own the land underneath them—which means they either have to spend thousands of dollars to move their houses to another mobile home park or abandon them and lose their investment.

For most at Johnson’s Mobile Home Park, the former isn’t an option: their houses are too old to be moved.

Huezo has better options than others.

She has relatives in the area willing to take in her family. Still, her eight-year-old daughter has been crying in school, and her

son, who normally gets “excellent” grades, recently got in a fight. The situation makes her sad, she says, but that word doesn’t fully sum it up.

“I’m not sure how to explain the feeling,” she says.

J

ohnson’s Mobile Home Park sits just off of U.S. 64, outside of Siler City in an area mostly populated by industry and auto shops. With sixty-two adult residents and fifty-three children, the park is home to

just over 1 percent of the small town’s population. Most are Hispanic, as are about 43 percent of the town’s inhabitants.

The park’s twenty-eight homes, most built in the 1970s and 1980s, are set askew along dirt roads. The gray walls of the chicken plant show through bare trees lining the park’s perimeter. The site used to be the Townsend processing facility, Siler City’s largest employer, which shut down in 2011 after the company went bankrupt, taking with it five hundred jobs.

Mountaire Farms bought the plant in 2016 and pledged to bring hundreds of jobs back.

Siler City and Chatham County officials agreed to give the company more than $2 million in incentives. The state also kicked in $1.5 million for wastewater improvements.

(The chicken-plant property has been at the center of an ethics complaint against House Speaker Tim Moore, the vice president of Southeast Land Holdings LLC, which bought it for $85,000 after the Townsend plant closed and sold it to Mountaire in 2016 for $550,000. In the meantime, according to the complaint filed earlier this month by the Campaign for Accountability, Moore delayed an assessment by the Department of Environmental Quality and “persuaded DEQ not to engage in an enforcement action for violations of state environmental law … allowing him to reap significant financial gain.” Moore has denied any wrongdoing.)

Last Monday, Chatham commissioners said they were unaware when they approved incentives for Mountaire that, a year later, it would purchase Johnson’s Mobile Home Park and evict its residents.

In fact, the previous owner, Jonathan Johnson, told tenants in a May 2017 letter that he had considered selling “due to a drastic increase in cost to maintain and run the park” but decided against it. Instead, he wrote, he would be raising the $170 monthly rent to $210. (A phone number listed for Johnson was disconnected.)

Johnson ended up selling the property to 1206 East Eleventh Street LLC. The LLC’s address in Little Rock, Arkansas, is the address of a Mountaire corporate office.

Under pressure from residents, Mountaire hasn’t collected rent since it took over the mobile home park in November.

“In order to achieve substantial capital investment and job-creating goals in Siler City and within the community of Chatham County, North Carolina, 1206 East Eleventh Street LLC provided a six-month notice to residents that leases in the Johnson Mobile Home Park would not be extended beyond May 7, 2018,” Mountaire Farms said in a statement earlier this month.

“To evict an entire community from their homes—owners or renters—without any thought about the social implications of that is not acceptable,” says Ilana Dubester, executive director of El Vinculo Hispano (or The Hispanic Liaison), a Siler Citybased nonprofit founded to “foster intercultural understanding and to empower Hispanics.” Residents reached out to the organization last summer when they first heard of a potential sale.

First, the group asked Mountaire for $46,000 per household to relocate. Mon-

taire offered $5,000. Negotiations stalled until Monday, when an agreement for $8,300 was announced.

That would be enough for residents to move their homes, but because many of the park’s homes were built before the 1976 implementation of federal safety and construction standards, they either can’t be moved or may be rejected by other parks.

This is a problem that stretches beyond Siler City. As Charles Becker, a Duke economics professor who studies mobile home parks, points out, manufactured homes are an important segment of affordable housing, especially in the South; according to census data, nearly eighteen million Americans live in manufactured housing. Across the country, mobile home

ill-willed. It’s a mobile home park owner that is trying to get the best return for their land, but it often can be unfair for the tenants themselves because getting affordable housing is very difficult.”

K

arina Hernandez and her family have called Siler City home for twelve years; all three of her children were born there. For the past five years, they’ve lived at Johnson’s Mobile Home Park, where her husband has been fixing their home “a little at a time.”

“When we bought it, it was basically in ruins,” she says. Many of her neighbors have also made investments in their homes, spending an average of $11,000, according to El Vinculo Hispano.

The chicken-plant property adjacent to the mobile home park parks, often relegated to the outskirts of town, are aging, Becker says, and new ones don’t open that often.

“Local government tends to be hostile even though this is housing for people of limited means. If you talk about affordable housing, it’s hard to get more affordable than manufactured housing parks,” he says.

In areas attracting growth or industry, there’s economic pressure to convert mobile home parks to more profitable uses.

In neighboring Orange County, residents of two other mobile home parks being sold are facing eviction as well.

“Mobile home park tenants are kind of the third-party victims of this development process,” says Jack Holtzman, a senior attorney with the N.C. Justice Center’s Consumer and Housing Project. “It’s not necessarily a malevolent situation. It’s not

PHOTO BY CAITLIN PENNA

Still, Hernandez says her home can’t be moved because of its age, and her family is struggling to find another place as affordable as the $210 per month they have been paying in lot rent. She isn’t sure where they’ll go next, or if her kids will be able to stay in their schools.

Her story is typical of what Johnson’s residents told Chatham County commissioners last week in a public hearing punctuated by sobs and standing ovations. They described the difficulty of finding affordable housing near Siler City (according to El Vinculo Hispano, residents’ incomes range from $15,000–$20,000) and said they suspect some landlords are inflating their prices, knowing they are desperate.

“Mountaire’s elimination of these homes only deepens the affordability crisis,” Dubester told commissioners.

Chatham County board chairwoman Diana Hales called it a “dire situation” and acknowledged the dearth of suitable affordable housing around Siler City, “where the Housing Authority can’t even find homes that qualify for inspection for Section 8 vouchers—the housing is in that poor condition.”

Commissioners asked staff members to look into what the county can do to assist the families. They are limited by state law from giving money to individuals, but they can give money to a nonprofit like El Vinculo Hispano.

A high school student told commissioners she may have to change school districts and worries her honors credits won’t transfer. A retiree said she and her sick husband have no income with which to start over if they lose the home they worked hard to purchase. A ten-year resident said he doesn’t want to capitulate to Mountaire in front of his kids.

“We have to show them they can’t have their civil rights be walked all over because they’re Hispanic,” he said. “It doesn’t matter how big your rival can be, they can be defeated.”

In a statement, the company says it’s “pleased” a resolution was reached and that it will work with residents to ensure the money is distributed efficiently. While El Vinculo Hispano applauded Mountaire “for listening to the families’ concerns, and, most of all, for doing the right thing for these families,” the company’s payout will hardly put a dent in its bottom line.

Between forgiven lot rent and per-household compensation, Mountaire Farms is spending $285,320—about .01 percent of the $2 billion in revenue it amassed in 2015, according to Forbes, and less than half of 1 percent of the total capital investment planned for the processing plant. Per household, that’s just over $10,000, or about as much as some families spent on houses they could ultimately lose.

“We’re not talking about people that are trying to pull a quick one or make an extra buck,” Commissioner Karen Howard said last week. “We’re talking about people who are begging for dignity, that are asking to walk away from this with their heads up and in very difficult circumstances. Everyone in this county knows about the challenge of affordable housing, and to present these families with the option of homelessness because we can’t come up with thousands of dollars more is beneath all of us. I have no doubt that the individuals that make up Mountaire are decent human beings, and I also have no doubt that they can do more.” swillets@indyweek.com INDYweek.com | 3.28.18 | 7

news

The Lost Cause

MOST PEOPLE IN NORTH CAROLINA WANT CONFEDERATE MONUMENTS TO STAY PUT. THEY DON’T KNOW THEIR HISTORY.

BY ERICA HELLERSTEIN

O

n a cloudless day in October 1909, North Carolina governor William W. Kitchin addressed a crowd at the dedication of a granite and bronze Confederate monument in Granville County.

Thousands took part in the day’s festivities, which included a parade and music. As the crowd waited for the statue’s unveiling, “the rebel yell broke against the sky as the band struck the first inspiring notes of Dixie,” according to a contemporaneous account.

Kitchin used the dedication to profess his belief in the supremacy of the white race.

“We have seen the white man come in contact with the brown man of the tropics, and the brown man went down,” he said.

“We have seen him knock at the gates of the yellow man in the East, and they opened at his will. We have seen him face the black man in his native African home, and the black man gave him the path. We have seen him press the red man, and the red man is disappearing from the face of the earth. …

You see what the whole country is beginning to recognize, that it is not in the power of all the armies ever drilled or of all the constitutions ever written to make the white and black races equal.”

The statue, which cost $3,000 and was sponsored by the Granville Grays Chapter of the United Daughters of the Confederacy, was one of dozens of Confederate monuments that popped up around North Carolina from about 1880–1920—a boom time for Confederate monument construction in the state. Among the many statues built during that period were three that today sit on the grounds of the State Capitol: the Confederate Women’s Monument, the Confederate Soldiers Monument, and the Henry Lawson Wyatt Monument, a depiction of the first Confederate soldier to die in battle in the Civil War. For the past six months, those statues have been at the center of a much larger debate about the place of Confederate monuments 8 | 3.28.18 | INDYweek.com

in public spaces. That conversation has been reawakened by deadly acts of violence committed under the banner of white supremacy, including the 2015 massacre at an African-American church in Charleston, South Carolina, and the infamous events in Charlottesville, Virginia, last summer, when a rally led by white nationalists in defense of a statue of Robert E. Lee led to the murder of an antiracist activist. After Charlottesville, activists doubled down on demands to remove statues celebrating the Confederacy, and officials from big cities like Austin, Texas, to smaller towns like Gainesville, Florida, responded. In Baltimore, the city’s Confederate statues were hauled off in the middle of the night.

In North Carolina, calls to remove the state’s 140-plus monuments did not fall on deaf ears, but neither were they met with Baltimore’s decisiveness. Instead, the state has spent more than six months debating the issue. (Except in Durham, where demonstrators tore down a Confederate statue two days after Charlottesville.) That’s because there are legal issues at play, even in liberal urban locales where most residents would like to see the monuments gone.

In 2015, the Republican-controlled General Assembly passed a law preventing local officials from removing any statue from public property without signoff from the N.C. Historical Commission. The law means that a petition filed by Governor Cooper to relocate the three Confederate monuments to a historic battlefield in Johnston County will have to ultimately be approved by the eleven-member commission. Last week, the commission held a public hearing on Cooper’s request, which the vast majority of speakers opposed.

Those speakers may well reflect the will of the state’s population. Multiple polls released last fall showed that about threefifths of North Carolina residents want to keep Confederate monuments in place.

ILLUSTRATION BY STEVE OLIVA

Many of the people who vehemently opposed Cooper’s plan at last week’s hearing expressed concerns that removing or altering the monuments would constitute historical erasure. It’s an argument commonly deployed in the debate over Confederate statues: If we move one statue, what’s next? As one speaker said, “Taking down monuments and flags hasn’t improved life anywhere it has been done. … Only three groups have been successful in taking down monuments: ISIS terrorists, Bolsheviks in 1917, and modern communists in America.”

More than anything, though, the comments revealed just how little their most ardent defenders know about the

history of the monuments at the center of the debate—and the lies they are willing to tell themselves.

Most of the monuments were not erected in the years immediately following the Civil War. Rather, the boom kicked off in the 1880s, as Southern states began enacting Jim Crow laws, and continued through the 1920s, an era that saw a second coming of the Ku Klux Klan.

Indeed, according to W. Fitzhugh Brundage, the William B. Umstead Professor of History at UNC-Chapel Hill, North Carolina erected fewer than thirty Confederate memorials between 1865 and 1890 but dedicated more than 130 over

the next fifty years. From about 1940–80, monument construction slowed down but revved back up in the 1990s. Surprisingly, there have been more monuments to the Confederacy put up since 1990 in North Carolina than at any time since the 1930s.

Today, the Southern Poverty Law Center estimates that there are more than fifteen hundred public symbols to the Confederacy throughout the nation, with the fourthhighest number in North Carolina.

The statues were built not just to celebrate the Confederate veterans of the war but also to glorify the cause of the Confederacy—which, as Brundage notes, “was an armed nation created to defend the institution of slavery.” Indeed, Confederate leaders were forthright about their reasons for secession. Consider, for example, Mississippi’s declaration of secession: “Our position is thoroughly identified with the institution of slavery—the greatest material interest of the world.”

This belief is one of the more insidious accomplishments of the mythologizers of the Confederacy, Brundage argues.

“The idea that somehow the Confederacy was representative of little people who were going to be walked all over by bureaucratic tyranny has lingered on, and now it is a creed for a certain type of person,” he says. “And it’s preposterous. The Confederate mythology provides a clichéd kind of populist smallgovernment-versus-big-government, liberty-versus-tyranny argument that can be wheeled out on a moment’s notice on any issue.”

Perhaps those clinging to this revisionist tale do so because accepting the truth means grappling with the unsavory realities of one’s own history. Some people are ready to do that, which may signal a new willingness to take on the legacy of the Confederacy.

At last week’s hearing, for instance, one woman likened the monuments to a mask,

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“That fight may have been my family’s, but we have all changed.”

Monument supporters could be just as explicit. As Brundage explains, many of the Confederacy’s participants used the monuments as an opportunity to voice their commitment to white supremacy.

“All we have to do,” he says, “is to look at the dedication speeches that were given by the people who erected the monuments and by public officials to see pages after pages of testimonials to the preservation of AngloSaxon civilization and that the Confederacy was a model, the archetype of what whites should do to defend Anglo-Saxons.”

Consider Kitchin’s speech, or this excerpt from Julian Carr in 1913 at the unveiling of the Silent Sam statue at UNCChapel Hill: “The present generation, I am persuaded, scarcely takes note of what the Confederate soldier meant to the welfare of the Anglo-Saxon race during the four years immediately succeeding the war, when the facts are, that their courage and steadfastness saved the very life of the Anglo-Saxon race in the South.” Carr also boasted of horse-whipping “a negro wench until her skirts hung in shreds” for the sin of insulting a white Southern lady.

And yet, it’s not uncommon to hear the narrative that the “War Between the States” was really about “states’ rights” and a rebellion against Northern “tyranny,” and as such, the statues are monuments to liberty.

whitewashing her ancestors’ cowardice and inhumanity. For another, whose ancestor fought for the Confederacy: “That fight may have been my family’s at that time, but we have all changed.”

For many people, too, the monuments signal a hostile and imposing expression of power. Winifred Richardson, whose greatgrandfather, a slave, bought his freedom at age thirteen, says she feels “sick” every time she walks past the Capitol monuments, which she believes were put there to intimidate African Americans.

If the polling is accurate, Richardson and the handful of others who voiced support for moving the monuments don’t speak for most Tar Heels. But it’s worth asking how those numbers would change if more North Carolinians really grappled with why the monuments were created and what exactly they were intended to honor.

Brundage believes few people are truly aware of the statues’ history.

“I think most people don’t know anything about the monuments,” he says.

“I can’t tell you how many people told me that they had never really paid much attention to Silent Sam on the UNC campus until the dedication speech was published. And then they were like, ‘Oh my god, that monument has got to go!’” ehellerstein@indyweek.com INDYweek.com | 3.28.18 | 9

Why We March TEN THOUSAND PEOPLE AMASSED IN DOWNTOWN RALEIGH SATURDAY TO DEMAND CHANGE. THIS IS WHAT WE SAW. INTRO BY CAITLIN SLOAN PHOTO ESSAY BY CAITLIN PENNA

S

aturday morning dawned in downtown Raleigh with biting cold and the sound of shrill whistles as some ten thousand protesters, bundled up against the wind, crowded together on the 400 block of Fayetteville Street. Holding brightly colored signs that declared “Fear Has No Place in School” and “We Deserve Better,” the crowd waited to begin its advance from City Plaza to Halifax Mall, the scheduled site for the rally to follow the Raleigh March for Our Lives.

(A few hours later, several thousand more demonstrators would gather at CCB Plaza in Durham.)

Following the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida, that claimed seventeen lives on Valentine’s Day, Saturday’s protest was one of many that took place across the world, including a massive rally in Washington, D.C., that drew upward of eight hundred thousand people.

Led by its two high school student organizers, Amber Mitchell and Lauren Smith, the Raleigh march wound through nearly a mile downtown with protesters chanting condemnations of gun violence, the NRA, and spineless lawmakers who do the bidding of their gun-lobby masters. (Hey there, Richard Burr and Thom Tillis.)

Mitchell and Smith said they were blown away the response from the Triangle.

“It’s amazing,” Smith said. “I never thought that there would be this many people here, and I just can’t believe it.”

Sophie Flynn, fourteen, is tired of gun violence in schools. “Lawmakers need to open their eyes.”

10 | 3.28.18 | INDYweek.com

A Raleigh marcher holds up a sign with Parkland student Emma González’s rallying cry.

Organizers Lauren Smith and Amber Mitchell are fifteen-year-old Wake County students. “I just want people to know that things may seem big, but if one person just has a goal and gets other people involved, then we can make things happen,” Mitchell says. Smith agrees: “We want [legislators] to know that we’re serious, and if they don’t take us seriously, we will be voting very soon.”

Sarika Bomma, a forty-nine-year-old new to Raleigh, came to show solidarity with the students who organized these rallies. “Kids are raising their voice and they are the future. I want to show them that they’re not alone, so that will motivate them in the future.”

INDYweek.com | 3.28.18 | 11

Six-year-old Ava Brye stands with mother, Shana, a licensed gun owner who is protesting for universal background checks and stricter gun laws.

Abigail, eight, attended with her family. “We shouldn’t have to practice not getting shot in school.”

Joan Schmitt, eighty, sits with Gail Kennedy, sixty-six. Both are former teachers. “We love kids—and hate this,” Kennedy says.

12 | 3.28.18 | INDYweek.com

INDYweek.com | 3.28.18 | 13

indyfood

COOK WITH THIS

Hull Hog

IN A CLASSIC PB&J OR IN A GLAZE FOR A HAM, FOGWOOD FARM’S BALSAMIC GRAPE HULL JAM IS COMPULSIVELY EDIBLE

BY DEBBIE MATTHEWS

14 | 3.28.18 | INDYweek.com

peppercorns. It’s ubiquitous in Chinese cuisine but also pairs perfectly with the salty complexity of ham. The spices in the jam share many of the same notes. And that makes it the perfect sweet element in a glaze.

HOLIDAY HAM WITH FOGWOOD JAM Equipment: Roasting pan, kitchen towel, knife, tongs, pastry brush. Takes approximately 5-8 hours.

Glaze: 3 cups Fogwood Balsamic Grape Hull Jam, warmed then strained 2-3 tablespoons Dijon mustard 1 tablespoon Worcestershire sauce ¼ cup balsamic vinegar 3 bay leaves 1 ¼ teaspoons Chinese five-spice powder ¼ teaspoon fresh cracked pepper Pinch of salt 4 cups chopped, toasted walnuts ½ city ham, shank or butt end Preparation: For glaze, whisk together all ingredients except walnuts and ham. Simmer on low until it’s reduced to a syrup. Cool, then refrigerate.

Preheat oven to 250.

Line roasting pan bottom with towel. Pat ham dry. Cut through skin and fat in diamond pattern. Place ham in pan, cut side down. Insert probe thermometer set to 120 into ham center, away from bone. Cover tightly with foil and bake until temperature is reached.

Remove from oven, discard foil. Turn oven to 325. Remove and discard skin and thicker pieces of fat.

Firmly brush on glaze. Let sit for 10-15 minutes to set.

Press even layer of nuts over ham. Turn probe to 140 and return to oven.

At 140 degrees, remove from oven, and place on platter. Rest, lightly covered, for 30 minutes.

Serve hot or cold.

The jam also makes an easy dressing that works on almost any salad. Just throw a quarter-cup of apple cider vinegar, a tablespoon each of Dijon and Fogwood jam, salt and pepper, and a shallot into blender. While blending, slowly drizzle in three-quarters of a cup of olive oil. Check for seasoning and use immediately.

Even just a tablespoon or two stirred into food imparts a lightly sweet, complex depth of flavor. It superbly enhances dishes like chili, slow-cooked spaghetti sauce, gumbos, and even Brunswick stew.

Fogwood’s Balsamic Grape Hull Jam is gloriously versatile. It’s delicious by itself, but also works and plays well with others. food@indyweek.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

A

s an avowed jelly junky, I know there are as many jewel-toned jars of sweetness as there are tweens at a Justin Bieber concert. There are plenty of imaginative spreads for the carb of your choosing and even more that nobody in their right mind should ever spread on anything. It can be both confusing and intimidating.

But fear not. There’s actually one versatile local jam that makes the best peanut-butter-and-jelly sandwich ever. It comes from a farm in Reidsville called Fogwood. It’s grape, but Welch’s never sold a grape like this. They call it Balsamic Grape Hull Jam. It contains the eponymous balsamic and grape hulls as well as cinnamon, clove, salt and pepper, and Fogwood-grown ginger. It’s sold in the produce section of local Lowes Foods and at the Bulldega Urban Market.

This alchemical concoction is sweet but not crazy sweet.

It’s spicy but not Scoville spicy. It’s more Carmen Miranda spicy. With a stellar supporting cast, it takes a humble PB&J right out of the lunchbox and into the realm of lunchtime legend. Goober Grape on Wonder Bread, when eaten by a responsible adult, seems less charmingly childlike than drunk-frat-bro, but everyone needs a good PB&J sometimes. This elevated version is the answer.

So, we have our jam. Next is really good bread, not just a vehicle to transport filling to mouth. We need a rustic loaf, hearty and handmade by a master baker like La Farm’s Lionel Vatinet. His seasonal buckwheat is perfect: chewy yet tender, spicy but slightly sweet.

Then comes the PB. Big Spoon Roasters, a Durham company that won a 2017 Southern Living Food Award, is a terrific choice. They produce tons of flavors with the finest ingredients, creativity, and a wicked Bull City sense of humor. You don’t even need your spread to be solely of the peanut variety—dealer’s choice. But the peanut-pecan is pretty darn dreamy. Just saying.

But Fogwood’s Balsamic Grape Hull Jam is more versatile than that. If you feel like rolling up your sleeves, well, every holiday, I make a big ham for our family. It’s the culinary centerpiece. I’ve made hundreds of them, which means I have some thoughts on preparing and flavoring what should be a bona fide porcine showstopper.

Chinese five-spice powder should be a legally mandated part of every ham glaze. The zippy seasoning is made of cinnamon, cloves, fennel seed, star anise, and Szechuan

Women’s Health Awareness Day Is April 7 At NCCU FEBRUARY 16, 2018, DURHAM, NC -- The Fourth Annual Women’s Health Awareness Day will be held on Saturday, April, 7, 2018, at the North Carolina Central University Mary Townes Science Building, 1900 Concord Street, Durham, NC 27709. This powerful day-long women’s health conference will feature FREE wellness screenings, health education workshops, healthy living presentations and health resources.

This health conference will be held from 8:00 A.M. until 5:00 P.M. Free registration is required.

Participants may register early by going to the following web site: www.niehs.nih.gov/whad. Onsite registration is available on the day of the event. Early registration ends March 15, 2018, and early registrants will be offered a complimentary lunch sponsored by Duke University Hospital.

Growing in popularity, this women’s wellness conference attracts more than 650 participants annually from the Triangle and surrounding counties. Women join together with public health experts during the conference to educate and empower themselves to take responsibility for more healthy life-style choices and outcomes for themselves, their families and their communities.

The health conference is open to all women, however, it places a special focus on women of color, underserved, uninsured and/or under-insured women. Health disparities exist within our communities across the Triangle and surrounding counties. This conference helps to provide awareness, services and resources in an effort to improve health equality for women and communities of color.

The National Institute of Environmental Health Sciences, Office of Human Research Compliance, Clinical Research Branch is the lead sponsor for the event. The Durham Alumnae Chapter of Delta Sigma Theta Sorority, Inc., Durham Alumnae Delta House, Inc. and the Department of Health Education at North Carolina Central University are co-sponsors.. _________________________________________________________________ Early registration begins Mon. Jan. 1, 2018 and ends Thurs. March 15, 2018.

Register at www.niehs.nih.gov/whad. On-site registration available day of event.

For more information, contact Lynae Thomas at lynae.thomas@nih.gov or 919-541- 9844.

INDYweek.com | 3.28.18 | 15

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W/ TRAVIS MEADOWS (ON THE LINCOLN THEATRE STREET STAGE) 3p CHAD PRATHER 6p YACHT ROCK REVUE 7:30p

6/29 6/30 7/7 INTERSTELLAR OVERDRIVE W/ ABACAB 7:30p

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16 | 3.28.18 | INDYweek.com

indymusic

Theory and Practice

AS A WRITER AND AS DJ/RUPTURE, JACE CLAYTON HAS BEEN BOTH PROPHET AND ARCHITECT OF OUR DIGITAL, GLOBAL, POST-GENRE MUSICAL AGE

BY BRIAN HOWE

“T

hey are resonant objects vibrating at similar frequencies,” Jace Clayton says of the seemingly disparate events in his SOUND~SITE~ECHO series, unfolding next week in Durham and Chapel Hill. The New York City-based musician and writer is currently the UNC-CH/Duke Nannerl Keohane Distinguished Visiting Professor, a position usually reserved for a research scientist. Clayton is as close to being one as a deejay can get. As DJ/rupture, he was a pioneer of the early-internet era of musical deracination, deploying his ideas on the seachanging digital mixtape Gold Teeth Thief in 2001. By the time 2008’s Uproot, a visionary collage of global bass music, came out, it sounded like a distant but inevitable future.

Now that we’re used to music thinking like some giant collective brain, it just sounds like now. More than merely a musical trailblazer, Clayton has bent his practice toward reimagining the local in a global culture and lifting up the voices it leaves out. Among other topics, we spoke with him about how this thread connects his work with cumbia, Indian classical, and the neglected minimalist composer Julius Eastman.

INDY: How do these diverse events come out of your core interests?

JACE CLAYTON: My biggest statement is my book, Uproot: Travels in 21st-Century Music and Digital Culture. We are living in a really dramatic shift from primarily analog ways of making music and communicating and remembering things to a primarily digital one, and it happened really fast. I was working as a deejay throughout this sea change. So I’m interested in critical intimacy—writing as an artist and a critic—but also in this new set of tools, how music is evolving and moving around.

I’m also thinking about expanded ideas of American identity. Discovering the Indian community in Cary was like, wow,

Jace Clayton PHOTO BY MAX LAKNER

this transforms my understanding of what the Triangle is. It was the same thing with cumbia when I was living in a Mexican neighborhood in Brooklyn and discovered this massive cultural movement, completely off the radar of mainstream media. There’s a culture of shadows around cumbia, about recognizing those who can’t be in the place, those back in Mexico. This is using music as a transnational media system to redefine our idea of the local and how technology shapes it.

How voices who don’t have the traditional means of amplification can communicate in culture is the through line, even with Julius Eastman. In 2001, I discovered this black, gay New Yorker who died in 1990 at age

you were also at the forefront of the digitalization and globalization of music, which happened so fast. Can you remember what you thought was going to happen and compare it to how those tools and that culture actually evolved?

I made it, burned it on a CD, sent it to a friend in America [Clayton was living abroad], and was like, can you put this on a website as MP3s so people can download it? I had no idea people would listen to it. I felt like what I was doing was groundbreaking and amazing, but this was deeply unconfirmed.

[Laughs] It really blew people’s minds, and they went out and found every record on the track list. Listening habits being so mag-

music sharing and discovery across the web.

Now, in the middle of this whole FacebookCambridge Analytica scandal, so much of the promise of grassroots empowerment— we see how quickly that environment can be twisted to corporate and political ends.

You have a lot of ways of using sound. Did you ever consider going all in as a scholar or a Pitchfork darling or an art-world figure?

Or do you need this multiplicity of forms to express your ideas? It seems that an album release and promotion cycle wouldn’t allow enough thinking for you.

I do believe in the multiplicity of forms.

Some of my work as an artist is making

“Listening habits being so magpie and singles-based and picky-choosy and post-genre now—that’s a really new development.” forty-nine. He knew John Cage and Morton Feldman, he worked with Arthur Russell, he sang with Meredith Monk. Yet he was almost completely written out of the historical record. His music is stunning, and I thought it was a travesty that I had never heard of him. I knew I needed to do a project engaging with this radical figure who, once people know about it, was going to change our understanding of what minimalism was, what the classical world in New York City looked like in the seventies and eighties.

And we’ve seen critics take up that argument. With 2001’s Gold Teeth Thief,

pie and singles-based and picky-choosy and post-genre now—that’s a really new development. It took a lot of active going against that grain in the late nineties: yes, I listen to rap and country, et cetera.

In today’s terms, you’d say it went viral.

Wire wrote about it, Rolling Stone ended up reviewing it. That eagerness for new sounds, new ways of combining sounds and creating narratives, blew me away. This was all part and parcel of the early blogosphere, way before YouTube and social media. It was a peer-to-peer situation where corporate giants and weird advertising hadn’t fully kicked in yet, an incredible moment for

space for these projects to exist, making connections and creating the context. Working in a more straightforward institutional framework has a stability I’m probably envious of [laughs], but there’s a very specific expectation you have in many of those roles. As a deejay it’s free and amazing and any interest in your work is a godsend. But then it’s publicists and touring mechanisms and your work getting instrumentalized in various ways. In one way, it’s wonderful to engage with that, but ultimately, I find a lot of it to be too far from why I got interested in music in the first place. bhowe@indyweek.com

SOUND~SITE~ECHO EVENTS CUMBIA SONIDERA SALON (Monday, April 2, 6 p.m., El Centro Hispano, Durham) Bilingual discussion and listening event featuring Mexican soundsystem operator Alejandro Aviles (aka Sonido Kumbala), anthropologist Alexandra Lippman, and Jace Clayton.

THE JULIUS EASTMAN MEMORIAL DINNER (Wednesday, April 4, 8 p.m., The Fruit, Durham) Evening-length performance by Jace Clayton, David Friend, Emily Manzo, and Arooj Aftab for grand pianos, electronics, and voice, centered on the composer Julius Eastman.

ART OF THE MOOC: EXPERIMENTS WITH SOUND (Thursday, April 5, 1:30 p.m., Rubenstein Arts Center, Durham) Jace Clayton and Pedro Lasch present the global launch of their interactive massive open online course, in which students can compose, experiment with, and learn about global traditions in sound.

SUFI PLUG INS V. 2 (Sunday, April 8, 3 p.m., Current ArtSpace + Studio, Chapel Hill) Open rehearsal and conversation about Clayton’s music-making software based on non-Western musical concepts, featuring dancer-choreographer Ashwini Ramaswamy and percussionist Rajna Swaminathan.

music

BRIEF

JULIUS EASTMAN: A PRIMER Julius Eastman was a proud, openly gay black composer and performer, active from the late sixties through the mid-eighties. His massive voice could be heard on his Grammywinning perforILLUSTRATION BY STEVE OLIVA mance of Peter Maxwell Davies’ Eight Songs for a Mad King, as a member of the Meredith Monk Ensemble and the S.E.M. Ensemble, as well as booming across the dance floor with Arthur Russell. His performance of John Cage’s Song Books in 1975 was so sexually provocative it led the composer to declare his regret at composing the piece.

By the mid-eighties, however, Eastman’s career was in shambles from drug and alcohol abuse. Eastman was evicted from his apartment with all of his possessions and compositions left behind, and Eastman walked away from his life, enduring several years of on-and-off homelessness before dying anonymously in 1990. This once key member of New York’s downtown scene had become so disconnected that it took eight months for news of his death to reach the world. It is only through the work of scholars and performers like Mary Jane Leach and ACME that Eastman’s music is being resurrected from a forgotten past.

Eastman’s compositions are deeply beautiful and fiercely moving. His music is endlessly restless, expanding from tiny seeds into strong forests of sound, stretching into moments of pure ecstatic awakening. Eastman never shied away from who he was, embedding himself deeply into his own work. The role of provocateur is one he clearly relished, and one reflected in his choice of titles like Evil Nigger and Gay Guerrilla, both of which are being performed by Jace Clayton, Emily Manzano, and David Friend as part of The Julius Eastman Memorial Dinner. Since 2013, Memorial Dinner, for live electronics and two pianos, has been performed around the world and continues to evolve. In Durham, that evolution continues with an April 4 performance at The Fruit. The two Eastman works are interspersed with original material, recasting Eastman’s work for an alternate future.

—David Menestres INDYweek.com | 3.28.18 | 17

18 | 3.28.18 | INDYweek.com

music

Twist and Shout

TOP OF THE WORLD SCHOOLKIDS RECORDS 1/2

A little more than two decades ago, 6 String Drag was Raleigh’s most viable entry in the alt-country sweepstakes, but fate had other ideas in mind. The band split up after their second, Steve Earle-produced record, High Hat, and didn’t release another until their 2015 reunion album, Roots Rock ’N’ Roll. Thankfully, the reunion stuck, and Top of the World feels like the true successor to High Hat (which has just received a twentieth anniversary reissue).

Roots Rock ’N’ Roll undeniably found the band still breathing fire, but as the title implies, it was more overtly old-school and rootsy than what the band had done with High Hat. But Top of the World takes the elements that made 6 String Drag’s nineties incarnation so special and expands on them. This time around, singer and guitarist Kenny Roby, bassist Rob Keller, and recent arrivals Luis Rodriguez (guitar) and Dan Davis (drums) remind us that the band was always as much about alt-rock and powerpop influences as Americana. Roby still sounds like he’s got at least as much Elvis Costello in his DNA as he does Gram Parsons.

Whether 6 String Drag is leaning into the hard-charging autobiographical stomper “Small Town Punks” or pulling back a bit for the poised, reflective title track, it’s clear that this is ultimately a rock ’n’ roll band with some twang leanings, rather than the other way around. Jason Merritt’s production, while unerringly tasteful, makes crafty use of horns and keyboards to give the twin-guitar attack some bonus ballast. And from the handclap-punctuated barroom rocker “Every Time She Walks on By” to the pub-rocking bump and swing of “I Wish You Would,” Top of the World is the sound of a long-postponed promise being definitively fulfilled. —Jim Allen

HORIZONTAL HOLD THE SILENCE POTLUCK 1/2

It’s risky to read into a band’s name, but few feel as apt as Horizontal Hold’s. The Durham quartet shares its handle with a skronky and groovy track by the British experimentalists This Heat, as well as an adjustment control for analog televisions. The name points precisely to the band’s jagged, idiosyncratic mix of noisy pop and analog-era indie rock.

On its first full-length effort, The Silence, Horizontal Hold builds upon the raw energy of 2014’s This Is Not a Living EP with a more cleanly produced, but irreverent and rangy approach. “Return to Love Canal” rides a steady swell of pensive keyboard and bass, threatening to explode into post-punk furor. “Sexy, Not Dirty” follows a serpentine guitar riff that wouldn’t feel out of place on a Polvo record. The whole album delights in surprising dynamics and referential glimpses, from the surfy guitar riff in “Mayday” to the lumbering bass groove of “Brazilian Butt Lift.”

The quartet—bassist and singer Kim Walker, guitarist Dave Cantwell, drummer Elizabeth Hammond, and synth player and singer Kerry Cantwell—boasts extensive experience in local bands.

Their résumés include stints in Drug Yacht, Cantwell Gomez & Jordan, In the Year of the Pig, Wembley, and The Hem of His Garment, among several others. It’s telling too that those bands share little in common except an apparent affection for experimentation and unconventional songcraft.

Horizontal Hold skillfully employs a cut-and-paste approach of building from small song-fragments and seeing where it leads results in songs with consistently surprising trajectories. The band’s refusal to play within a template extends even to its choice of physical media formats; The Silence is available on CD and digital, as well as T-shirt and scented candle (which come with download codes). But the irreverence is refreshing, and the veteran panache the band applies to its unorthodox indie rock maintains a degree of restraint that keeps the band’s tangents from wandering too far. —Bryan C. Reed

Voted BEST BEER SELECTION

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20 | 3.28.18 | INDYweek.com

indystage

UN-BECOMING AILEY: CONSTRUCTING A CREATIVE AND FEMINIST TRANS*MASCULINITY Friday, March 30 & Saturday, March 31, 8 p.m., $5 suggested donation UNC’s Swain Hall, Chapel Hill www.processseries.unc.edu

Masculinity Revised

IN UN-BECOMING AILEY, DANIEL B. COLEMAN CHÁVEZ UNLEARNS AN OPPRESSIVE PAST IN DANCE AND RECONSTRUCTS IT AS AN EMPOWERED TRANS PERSON

BY BYRON WOODS

A

t age thirty, transgender performance artist Daniel B. Coleman Chávez is still working through injuries sustained during the rigorous, even punishing training he underwent in childhood and adolescence as a female ballet student. In that time, Chávez, who is now a professor of women’s and gender studies at UNC-Greensboro, acquired a professional dancer’s body and performed major repertoire works. But he was also internalizing ballet’s disparagement of the black female body. Warned at puberty about quickly developing gluteus, calf, and thigh muscles, Chávez tried to starve them off, begging his parents to have the bones in his feet cracked and reset to look like those of white ballet dancers.

“There was so much about my female form [my teachers] wanted to erase the strength from so I would be smaller,” Chávez recalls.

He couldn’t truly begin to embrace blackness in performance until Venezuelan choreographer Gonzalo Espinoza, in a work titled Presa (Prey), first unleashed what Chávez now terms “the wild.” It was one of his first experiences with modern dance. That and subsequent experiences gradually revealed the strength of his erotic power. Its gender and racial dynamics were not feminine, a realization would ultimately compel him to leave dance despite being accepted for a summer session at the prestigious Alvin Ailey school in New York.

That decision haunted Chávez for years to follow. But the insight also launched his journey across the continuums of race and gender. Married and divorced at twenty-one, Chávez came into queerness first as a “soft butch lesbian” and then as a nonbinary transmasculine person: one who chooses both male and plural personal pronouns (he, they) but does not identify as a man. Chávez began to explore the contested borders of ethnicity and gender as a member of Guillermo Gomez-Peña’s performance art troupe, La Pocha Nostra, in San Francisco.

Still, in coming to terms with the intersections of transmasculinity and blackness, Chávez ultimately discovered he needed dance. Un-Becoming Ailey, showing in UNC’s Process Series this week, covers the last half-year of Chávez’s efforts to unite these elements in a multimedia performance piece involving photography, video, movement, and poetry.

“There’s so much about blackness, black people, black bodies, that gets ungendered by our history in this country and others,” Chávez says. “Now I come as a more masculine-presenting person in a performance space, but there are still so

many female forms present inside and outside me. Strength, for me, is not gendered because it’s constantly interfacing with my blackness. So the gender gets multiplied. And that’s what I want.”

Daniel B. Coleman Chávez PHOTO COURTESY OF THE PROCESS SERIES Feminism remains a fundamental part of that multiplicity for Chávez. “I don’t exist without feminism,” he says. “As I started to transition, I realized how much I needed the feminist community to feel like a whole person.”

Spending time in a large transfeminist community in Barcelona, Chávez resolved that trans people need to be present in the feminist community, and that transmasculinity presents a golden opportunity “to rewrite masculinity as we know it.”

“Not so long ago, I was a lesbian woman,” he says, acknowledging that many of his relationships are still with lesbian and queer women. “That is my community; never would I embody a masculinity that would distance me from them.”

For the last six months, Chávez’s physical transformation has mostly involved strength-building and stretching, activating the muscles and body parts he once feared would disclose his blackness on stage. That’s changed, to say the least; with a stronger body than ever, queerness and movement are both helping Chávez come into his blackness as never before.

Predicated against the hyper-visibility he has felt, in ballet and as a transgender person, Chávez says he has been rehearsing in a space without mirrors.

“I’m not trying to get my body to look like any certain aesthetic—masculine enough, or this-or-that enough,” he says.

“The choreography I’m working on is very much not about, ‘Does my body fit?’”

Instead, Chávez’s work is invested in “what my body can do, and what it feels like, over the visual.” He knows that audiences will still recognize a highly trained body in his performance.

“That’s fine,” he says. “I have a lust and love for the virtuosity of the trained dancing body.” He pauses, then laughs.

“I just want that without all the rest of it.”

His two public showings are slated to coincide with the Transgender Day of Visibility, which Chávez later realized was problematic.

“Visibility is not the answer” for the communities he navigates and studies, Chávez says. “We are already hypervisible in public space. When trans people walk around, you’re constantly getting clocked as trans. It’s part of the problem, and it endangers us.”

What’s needed instead, Chávez says, is the creation of social space where trans-ness is viewed as normal. UnBecoming Ailey is a chance to convey “being a trans body from a space of joy, eroticism, and the pleasure of moving in space, and to invite others to do the same.”

After all, everyone, not just trans people, lives in a modified body. “From the second we’re born and have food put in us, from our first haircut, lotion product, or anything not coming from a natural source, we’re modified,” he says.

“We’re always transitioning.” arts@indyweek.com INDYweek.com | 3.28.18 | 21

indypage

The Soft Apocalypse

ALEXIS PAULINE GUMBS’S GROUNDBREAKING POETIC TRILOGY ENGAGING WITH BLACK FEMINIST SCHOLARS CONTINUES IN M ARCHIVE: AFTER THE END OF THE WORLD

BY ZAINA ALSOUS

M

Archive: After the End of the World (Duke University Press) is the second book in Durham-based "poet, activist, and queer black troublemaker" Alexis Pauline Gumbs’s groundbreaking poetic trilogy engaging with the work of black feminist scholars. It communes with M. Jacqui Alexander the way 2016’s Spill did with Hortense Spillers and the forthcoming DUB will with Sylvia Wynter. As a “black feminist researcher” and “speculative documentarian,” Gumbs creates an archive of the aftermaths of worlds. But the darkness of the invisible is not something to be feared. Rather, Gumbs imaginatively investigates the bottoms of oceans, the outer linings of horizons, the sonics of breathing, and the soft underground intimations blossoming within, alongside, and ahead of us even in the midst of apocalyptic destruction. Gumbs invites us into a collective practice of preparing for a future where we survive by returning to—and becoming accountable to—the deepest parts of ourselves.

INDY: M Archive is so hard to describe in terms of genre. It feels like part theoretical intervention, part historic revision, part fantasy novel, part allegory, part eco-poetics.

Can you tell me a little about the hopes, intentions, and obsessions that led to M Archive?

ALEXIS PAULINE GUMBS: It’s being marketed as poetry, black feminist theory, and science fiction, and I don’t know if any other book has been marketed in that way. Those are all accountabilities and traditions that are important to me. It’s my obsession with citing black women and my daily practice of allowing myself to go where that work takes me, in a way that I am fugitive from having to explain the work of black feminists or seeking to use it in a project that colonizes it.

There are so many dynamics at work in black feminism. We deserve a depth of engagement that resists ownership, resists slavery, resists capitalism.

22 | 3.28.18 | INDYweek.com

Alexis Pauline Gumbs PHOTO COURTESY OF THE AUTHOR M Archive is deeply in dialogue with M. Jacqui Alexander’s Pedagogies of Crossing: Meditations on Feminism, Sexual Politics, Memory, and the Sacred. You write in the opening pages of M Archive that Alexander’s book is “ancestrally cowritten.” How does engaging a cowritten text change how you enter it?

In the writing process itself, I entered through Jacqui every day: the first thing I did was just rereading the text and pulling out phrases. Those images and questions became a lens for my daily life. What

I realized in this process is that I enter as someone who identifies as a researcher at the end of the world. I am a black feminist researcher, researching these publications that do not exist anymore, people who have died, and here I am after the end of the world and in relation to the worlds they created.

You write that the form you use for M Archive is one of “speculative documentary.” Why did you feel drawn to write toward the speculative?

In Durham, this coalition of black documentarians was starting to coalesce, led by Michelle Lanier, and at one of these meetings the go-around question was, “What documentary work are you currently working on?” I realized, oh, this is documentary work, but speculative documentary work. It’s not evidence of what has happened, but it is a possible interpretation of the evidence we are making now. It might be different than taking a camera and interviewing someone, but it is cowritten with the future survivors of this moment.

Why was it so important for you to work through and with archives?

Archives are really sacred spaces for me.

That has been the case for a very long time.

I remember my first archival encounter. I think I was fifteen. It was the Auburn Avenue library in Atlanta. I had the opportunity to work with the original newspapers of the Black Panthers, and I was like, OK, this is time-travel technology, a form of intergenerational connection that has very much shaped who I am and how I think. In the structure of this book, I am asking the reader to join me as someone who sits and sorts through things. I want to invite more people into that process, where you don’t have all the answers.

There’s a notable emphasis on the “we” and the “us” throughout M Archive: “We became a people by remembering. We remembered by becoming a people … We remembered us.” Why this repeated return to the first-person plural?

colonial mind is that they are dark and that there are possibilities that cannot be controlled. What does it mean to examine those as spaces of possibility? It is a beautiful thing that there are all of these possibilities that cannot be controlled, before all of that fear, that have created everything. What would it mean to honor that? It’s the reason why black feminism is relevant to everyone.

When we are living in such a spectacularly violent time, politically and economically, there are inevitably debates around what the work of poetry can or should be. How do you relate poetic work to the logistics of survival and resistance?

I think what we are witnessing now is a consequence of language. We have been taught that lying to ourselves will help us survive, but that is also a lie. It is so incredibly visible in this particular moment where the lies are more and more flagrant. For me, the purpose of tapping into our dreams and trusting

“I had the opportunity to work with the original newspapers of the Black Panthers, and I was like, OK, this is time-travel technology, a form of intergenerational connection.”

It’s an orientation I feel raised into. It is always about we; it is always about us. Audre Lorde was M. Jacqui Alexander’s teacher and mentor. Jacqui is living in Audre Lorde’s legacy in such a healing and miraculous way.

Because of the influence of Audre Lorde, and the influence of that entire generation, there is this understanding that even the most individual-seeming experiences, even your dreams or subconscious reality, are always connected to a collective possibility. The reason I write the way that I do is to work with a collective, even beyond death, generation, and geography. For me, the point of being an artist is to tap into that connection.

Dark, interior, and unseen feminine energy, a kind of return to nature, and the core physical elements are all prominent in M Archive, which creates an intermingling of inside and outside. Can you tell me more about those tensions?

There is something really important about the destabilization of what colonialism and the forms of enlightenment that enabled colonialism and slavery have said about the deep interior and the exterior. There’s actually a narrative violence that is reproduced that presents both of those as spaces of exile.

What connects those things for the paranoid

our intuition, and for sure the work of poetry, is to say what Audre Lorde has already said: we have to tell ourselves and each other the truth if we are going to survive. This allows us to participate in an un-training and a rededication of our language, and nothing can happen logistically without that.

What do you have coming up now that M Archive is in the world?

The third book in the trilogy is called DUB: Finding Ceremony, in reference to the “W” in Sylvia Wynter’s name and also dub poetry as a Caribbean poetic form and a way of community-building in diaspora—all the things that dub can mean in terms of doubling and sound. It has the structure of coral because I was working through what it means to be an organism that is collective and various, with many openings but one source of resources.

I’m also compiling my writings about Audre Lorde. We have created the Mobile Homecoming Living Library and Trust to honor what “archive” actually means, to honor the books and artifacts and papers that participants have offered as a community resource, but also articulating how the lives of queer black elders are a community resource we should relate to accordingly. arts@indyweek.com INDYweek.com | 3.28.18 | 23

indyscreen

FLOWER 

Opening Friday, March 30

screen

BRIEF

LOVELESS 

OPENING FRIDAY, MARCH 30

PHOTO COURTESY OF SONY PICTURES CLASSICS

Stern to Stem

FLOWER WANTS TO BE AN EDGY SEXPLOITATION FLICK AND A QUIRKY ROMANTIC COMEDY AT ONCE. GUESS HOW WELL THAT WORKS. BY RYAN VU

E

astbound & Down scribe and YA novelist Alex McAulay’s original screenplay for Flower became something of a cult object before it was even produced. American indie coming-ofage dramas don’t tend to center on gangs of teenage girls who seduce older men with blowjobs in order to blackmail them with the video evidence. Nor do such films often play child sexual abuse for laughs.

The heavily reworked finished product tries to preserve the script’s transgressive charge without taking its disturbing themes seriously enough to challenge the audience.

The queasy result is a sexploitation premise shoehorned into a cutesy romantic fable about growing up. Still, competent direction by Max Winkler (Ceremony), a revised script by Winkler and Matt Spicer (Ingrid Goes West), and a charismatic lead performance by Zoey Deutch combine to make the obscene somewhat palatable.

Seventeen-year-old Erica Vandross (Deutch) patrols her California suburb with a couple of amoral friends (Dylan Galula and Maya Eshet), coercing men out of their money to pay her deadbeat dad’s bail. Their 24 | 3.28.18 | INDYweek.com

Dylan Galula, Maya Eshet, and Zoey Deutch in Flower PHOTO COURTESY OF THE ORCHARD first target is a cop. Caught zipping up his pants like a deer in headlights by the girls’ iPhone camera, he yells, “This is entrapment!” Their reply: “We’re not taking you to court, we’re just taking your money!”

This opening scene’s sitcom-ready comic timing and bright, Instagrammed look nullifies any revulsion we might have felt, setting the tone for the rest of the film. But is that really a good thing? Other recent dark comedies about delinquent teens, such as The Bling Ring, Spring Breakers, and American Honey, at least tried to put their characters’ actions in the context of larger social forces.

But in Flower, working-class family dysfunction is supposed to explain everything.

Poisoned by unresolved daddy issues, Erica’s troubled relationship with her mom (Kathryn Hahn) comes to a head when her nice-guy boyfriend (Tim Heidecker, playing against type for no clear reason) moves in with his teen son, Luke (Joey Morgan), an overweight recovering opioid addict with crippling shyness.

As the quirk factor mounts, so do the plot contrivances. Luke’s drug habit stems from a traumatic molestation episode that

inspires Erica and crew to stalk the alleged pervert in the name of justice, whether Luke wants them to or not (he doesn’t). The target is his former middle school teacher, Will (Adam Scott), aka “Hot Older Guy,” whom they just happen to recognize from the bowling alley.

The film plays with the ambiguities of Luke’s attraction to Erica, her attraction to Will, and the questionable details of Luke’s accusation in a way that’s compelling enough but resolves in an unsatisfyingly glib affirmation of Erica and Luke’s fundamental goodness.

Flower’s promotional interviews play up its “feminist” bona fides, with Winkler explaining how he relied on his female cast and production team members to “get it right” and “eliminate the male gaze as much as I could.”

It’s true that neither the camera nor the script is as objectifying as might be expected. But politically correct disclaimers are no substitute for courage, and it doesn’t take long for the film’s sunny insouciance to feel a little sociopathic. arts@indyweek.com

Loveless, a Russian drama that won the Jury Prize at Cannes last year, is a hard, bleak film that leaves a knot in the stomach and a chill in the blood. It’s late in the autumn of 2012, and Muscovites Boris and Zhenya are riding out a brutal divorce. Twelveyear-old Alexey is caught in the middle.

One terrible night, he overhears his parents arguing and discovers that neither of them wants custody of him. There’s talk of boarding school, maybe the army. Director Andrey Zvyagintsev (Leviathan) captures one of the most devastating images I’ve ever seen in a film: loveless Alexey, hiding behind a door, his face a silent scream of despair.

Alexey disappears from the apartment the next morning, although his mom and dad, who are sleeping over with their respective new lovers, don't notice until the school calls two days later. What follows is a grim procedural in which volunteer search teams scramble to find the missing boy in the urban wilds of Moscow.

Zvyagintsev financed his film with international money; his previous commentaries on corruption have left him out of favor with Russia’s government and elites. Loveless is another angry indictment of the state. It’s impossible to miss the sociopolitical allegory underlying the domestic tragedy. Boris and Zhenya are more concerned with status and selfies (people in the film are constantly looking at their phones) than their missing child.

We observe no pity, no empathy.

In the unsettling final image, Zhenya looks directly into the camera, the word “Russia” stitched into her track hoodie.

A desperate question hangs between her eyes and ours: What’s happening to us?

What have we become? Zvyagintsev is talking to his home country, but it’s a question for us all. —Glenn McDonald

INDYweek.com | 3.28.18 | 25

WHAT TO DO THIS WEEK

For the th inventive encourage weeks ago bands. Th youth em Girls Rock to win ten coffers. It fearless y

MOTORCO 6 p.m., $10

Daymé Arocena PHOTO COURTESY OF MONTUNO

3.28–4.4

GIRLS

THURSDAY, MARCH 29

JOHN AKOMFRAH: PRECARITY

Unless you’re a student of jazz, you’ve probably never heard of one of its key prototypes, Charles Joseph “Buddy” Bolden, a powerhouse cornetist known as a pioneer of New Orleans ragtime by modern academics and as the leader of one of the hottest bands in town by his contemporaries. His celebrated but brief career ended in 1907, when “King Bolden” was laid low by schizophrenia and institutionalized for the rest of his life. Much of what we know of him today comes from oral history mingled liberally with mythology. This is rich terrain for John Akomfrah, a British artist and filmmaker of Ghanaian descent who is internationally renowned for his work on postcolonial ethics, memory, and identity. Precarity, Akomfrah’s new three-channel video installation at the Nasher, is “as much a ghost story as it is a portrait of a historical figure,” writes curator Trevor Schoonmaker; it’s also a portrait of a city that knows a thing or two about achievement and erasure. Part film essay, part historical documentary, and part something else, Precarity runs at the Nasher through August 26; Akomfrah gives the annual Rothschild Lecture on April 19. —Brian Howe THE NASHER MUSEUM OF ART, DURHAM 10 a.m.–9 p.m., free www.nasher.duke.edu

26 | 3.28.18 | INDYweek.com

WEDNESDAY, APRIL 4

DAYMÉ AROCENA

Described as the world’s next jazz phenomenon by Vibe, Daymé Arocena, still in her twenties, is already mentioned alongside musical greats like Aretha Franklin, Celia Cruz, and Nina Simone. She made her stateside debut as a singer and bandleader in 2016, following her first album, Nueva Era. Now she returns on the heels of the release of her second, Cubafonia, which NPR hailed as “a major statement on the progress of Daymé Arocena as an artist for the ages.” The Afro-Cuban musician’s work illuminates the expansiveness of Cuban identity as she draws from influences as wide-ranging as New Orleans jazz fusion to Yoruba santería ceremonies. It’s a testament to her Havana upbringing, where she grew up in a house where, as she once put it, “every available surface was scuffed from the rumba rhythms which had been played out on them.”

—Katie Jane Fernelius UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $20, www.carolinaperformingarts.org

Kevin Har

KEVIN

The seriou of open-m the curren another b the indepe road for w Without a newfound scandals. makes him pain will m

PNC AREN 7 p.m., $35

AT M TRU

SATURDAY, MARCH 31

GIRLS ROCK NC ROCK ROULETTE

For the third year in a row, Girls Rock NC is hosting its Rock Roulette showcase, an inventive effort meant to both spark creativity and raise money for its efforts to encourage female and nonbinary kids to learn both music and self-esteem. About ten weeks ago, a handful of folks signed up to be randomly assigned to form ten new, one-off bands. They’ve been working up sets ever since and will strut their stuff in the name of youth empowerment. In addition to paying the modest $10 cover and donating directly to Girls Rock NC, you can also use your money to vote for your favorite Rock Roulette band to win ten hours of recording time. Those “votes” also go straight into the Girls Rock coffers. It’s a can’t-lose good time, with the biggest winners being the next generation of fearless young musicians. —Allison Hussey MOTORCO MUSIC HALL, DURHAM 6 p.m., $10, www.motorcomusic.com

April 6 & 7, 2018 at STARworks 100 Russell Drive, Star, NC 27356 A celebration of art created with fire!

Fiery finales, demonstrations, iron pour, hands-on activities, live music, food trucks, beer garden and more. $5 daily pass Children 12 & younger admitted free

www.STARworksNC.org

Kevin Hart

PHOTO COURTESY OF THE IRRESPONSIBLE TOUR

SUNDAY, APRIL 1

KEVIN HART

The seriously funny comedian Kevin Hart has been hard at work. Ever since his early days of open-mike comedy, you can find him in a plethora of star-studded movies—including the current hit remake of Jumanji—voice-acting in animated films, and now gearing up for another buddy-cop comedy with Ice Cube in the Ride Along series. He also established the independent comedy network Laugh Out Loud. All of this has led him back to the road for what brought him to Hollywood mogul status in the first place: stand-up.

Without a doubt, Hart’s Irresponsible Tour will be packed with material from his newfound experience of fatherhood, his celebrity interactions, and of course, his scandals. Hart’s relentless ability to make even his darkest moments shine on stage makes him one of the top comedians in the field. His willingness to make us laugh at his pain will mark this night in Raleigh as one to remember. —Kevin J. Rowsey II PNC ARENA, RALEIGH 7 p.m., $35+, www.thepncarena.com

WHAT ELSE SHOULD I DO?

JACE CLAYTON AT VARIOUS VENUES (P. 16), JEREMY M. LANGE AT SPECTRE ARTS (P. 32), JONATHAN MILES AT QUAIL RIDGE BOOKS (P. 36), MURDER, MY SWEET & GUN CRAZY AT THE CAROLINA THEATRE (P. 36), TRUTH AGAINST THE WORLD AT KENNEDY-MCILWEE STUDIO THEATRE (P. 34), UN-BECOMING AILEY AT UNC (P. 21)

INDYweek.com | 3.28.18 | 27

TU 4/3

FR 3/30

3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30 CIGARETTES AFTER SEX ($20/$23) 3/31 WXYC 2000'S DANCE ($5 UNC STUDENTS/ $8 GA) 4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER W/ ELM STREET 4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE W/ DEAR BOY($17/$20) 4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14) 4/7 HILLMATIC 2018 FT. BRAND NUBIAN, RAPPER BIG POOH, DJ FLASH ($20 ADV/ $25 DAY OF) 4/10 AND 4/11 YO LA TENGO ($22/$24)

CIGARETTES AFTER SEX 3/28 MOVEMENTS W/CAN’T SWIM, LD SUPER WHATEVR, GLEEMER SO OUT 3/29 THE BLUEGRASS EXPERIENCE ($10) 3/30 DISSSIMILAR SOUTH W/ KARA ELIZA AND MKR (SOLO) ($8/ $9) 3/31 STOP LIGHT OBSERVATIONS W/ RARE CREATURES ($10/$12) 4/1 nothing, nowhere. W/ SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15) 4/4 DYLAN LEBLANC & THE POLLIES W/ THE ARTISANALS ($10/$12) 4/5 THAT 1 GUY ($15) 4/6 GRIFFIN HOUSE

4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20) 4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22)

4/9 KATE RHUDY AND THE BROTHER BROTHERS ($8/$10)

4/15 SABA W/ JOSEPH CHILLIAMS, JEAN DEAUX ($16/$18)

4/10 MESSTHETICS W/THE BRONZED CHORUS, ELVIS DIVISION ($10)

4/16 WOLF ALICE W/ THE BIG PINK ($18/$20)

4/11 TRAVIS MARVIN WITH JAKE JANDREAU ($20)

4/18 DR DOG W/ KYLE CRAFT ($27.50/ $30)

4/12 MO LOWDA & THE HUMBLE W/ ARSON DAILY AND LEFT ON FRANKLIN ($10/ $15 FOR 2 TIX)

4/20 SUSTO ($12/$15) 4/21 YUNG GRAVY

SOLD OUT

4/22 JOEY BADA$$ W/ BUDDY AND BOOGIE ($26) 4/24 THE MAINE W/ THE WRECKS, THE TECHNICOLORS ($23/$25) 4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18) 4/28 THE AFGHAN WHIGS AND LD BUILT TO SPILL W/EDHARCOURT SO OUT 5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28) 5/7 MELVINS W/ ALL SOULS ($20/$22) 5/8 BAHAMAS ($16/$18) 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25) 5/10 WYE OAK ($16/$18) 5/12 NORTH MISSISSIPPI ALLSTARS ($20/$23)

4/13 TYRONE WELLS W/ GABE DIXON ($15) 4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10) 4/15 SPLIT ENDS - A BAD NEWS MEDIA FILM ($5) 4/17 THANK YOU SCIENTIST ($15) 4/19 WEAVES W/ STEF CHURA ($10/$12)

4/22 REED TURCHI & HIS KUDZU TRIO W/ JB BOXTER ($10/$12) 4/23 DURAND JONES & THE INDICATIONS W/ HOLY GHOST TENT REVIVAL ($13/$15) 4/26 PATRICK SWEANY ($12/ $15)

4/30 COMA CINEMA ($12 / $15) 5/4 CAITLIN ROSE W/ THE KERNAL ($10/$12)

6/3 TYLER CHILDERS ($18/$20)

5/5 THE COLLECTION W/ THE PINKERTON RAID($12/$14)

6/6 PARQUET COURTS W/ GOAT GIRL ($15/ $17)

5/6 BRONCHO ($10/$12)

6/21 MANCHESTER ORCHESTRA ($23 /$28) 6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 10/11 APARNA NANCHERLA ($22/$25)

7/13 PIERCE PETTIS ($15) 7/17 PETAL & CAMP COPE ($13/ $15) MOTORCO (DUR) 4/2 TWIN PEAKS W/ THE DISTRICTS, NUDE PARTY 4/11 WAXAHATCHEE AND HURRAY LD FOR THE RIFF RAFF SO OUT 5/3 BOB SCHNEIDER ($20/ $23) 5/5 ALVVAYS W/ FRANKIE ROSE

SOLD OUT

5/9 GIVERS ($15) 5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA 5/11 THE MOTHER HIPS 5/18 PRISCILLA RENEA ($10/ $12 ) 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) 5/20 ICEAGE ($14/$16) 6/3 SUNFLOWER BEAN ($12)

TH F O

E

e l g n t r i a 2018

6/3 POND W/ FASCINATOR ($15) 6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) ($18/$20) ARTSCENTER (CARRBORO) 4/20 GREG BROWN ($28/$30) LOCAL 506 (CHAPEL HILL) 5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12) THE RITZ (RAL) 4/6 RAINBOW KITTEN SURPRISE SOLD OUT

OUT

5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA

SOLD OUT

6/27 BEACH HOUSE KINGS (RAL) 3/30 SORORITY NOISESOLD W/ REMO DRIVE, JELANI SEI OUT 4/5 THE MESSTHETICS W/ MOTHERFUCKER, PATOIS COUNSELORS ($10/$12) RED HAT AMPHITHEATRE (RAL) 5/3 FLEET

FOXES

HAW RIVER BALLROOM SOLD 4/20 JEFF TWEEDY -- SOLO OUT 5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18) NORTH CAROLINA MUSEUM OF ART 6/8 FIRST AID KIT W/ JADE BIRD 6/23 MANDOLIN ORANGE 8/18 TROMBONE SHORTY'S VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ FARE THEE WELL TOUR.

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

28 | 3.28.18 | INDYweek.com

t s be

5/7 HOP ALONG W/SAINTSENECA ($15/$17)

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKAS SOLD NELSON & PROMISE OF THE REAL OUT

4/28 LOMA W/ JESS WILLIAMSON ($12/ $14)

6/13 TOO MANY ZOOZ ($17/$19)

6/11 BENT KNEE ($10) 6/18 YOUNG WIDOWS W/ NULL

4/21 STEEL STRING ANNIVERSARY SHOW W/ THE DOGWOODS W/ SPECIAL GUESTS, PLUS THE LAST OF THE GREAT SIDESHOW FREAKS; AFTERPARTY WITH DJ MONTY MORRIS. ($12)

5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29)

6/19 STEPHEN MALKMUS & THE JICKS W/ LYTHICS ($20/$23)

6/5 POST ANIMAL ($12/$14) 6/7 THE REGRETTES ($10/$12)

4/7 RAINBOW KITTEN SURPRISE SOLD

5/18DAVID BROMBERG (SEATEDSHOW)

5/25PETER HOOK & THE LIGHT ($28/$31)

FR 4/6

SARAH SHOOK & THE DISARMERS

4/20 THE WHOM AND THE SPRESSIALS ($10)

4/27 DEAD HORSES AND FRONT COUNTRY ($14)

5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20)

PERFORMING ASLEEP AT HEAVEN'S GATE

CAT'S CRADLE BACK ROOM

4/7 JPHONO1 AND THE CHEVRONS W/SHELLES, HECTORINA, AND HONEY DUCHESS ($6/ $8)

4/19 LYDIA LOVELESS W/ BRUXES ($15)

ROGUE WAVE

POLLS now OPEN FOR NOMINATIONS march 5 - april 8 INDYWEEK.COM

Vote for your FAVORITE LOCAL BUSINESSES ONLY THE TOP FOUR FINALISTS IN EACH CATEGORY WILL APPEAR ON THE FINAL BALLOT, APRIL 23 - MAY 20 WINNERS ANNOUNCED IN OUR JUNE 6TH ISSUE WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com

music 3.28– 4.4 WED, MAR 28

FRI, MAR 30

2ND WIND: Yeaux Katz; 7-9 p.m., free.

618 BISTRO: Randy Reed; 7-9:30 p.m.

BLUE NOTE GRILL: Blue Wednesday; 8 p.m.

CAT’S CRADLE: Our Last Night, I the Mighty, Don Broco, Jule Vera; 6:30 p.m., $16–$20.

CAT’S CRADLE (BACK ROOM): Movements, Can’t Swim, Gleemer, Super Whatevr; 7 p.m., sold out.

THE CAVE: Reese McHenry Residency; 8 p.m., $5–$7.

HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

BEYÙ CAFFÈ: Calvin Edwards; 7 & 9 p.m., $10.

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: Dwight and Nicole, Lockdown; 8:30 p.m.

CAT’S CRADLE: Cigarettes After Sex; 8 p.m., $20–$23.

CAT’S CRADLE (BACK ROOM): Dissimilar South; 8 p.m., $9.

DEEP SOUTH: Steve Hartsoe & The Beacon Souls; 8:30 p.m., $5.

KINGS: Sorority Noise, Remo Drive, Jelani Sai; 8 p.m., sold out.

MOTORCO: Black Atlantic: Betsayda Machado y La Parranda El Clavo; 8 p.m., $20.

LINCOLN THEATRE: The Breakfast Club, Night Shift; 8 p.m.

THE PINHOOK: Free Improvised Music: James Gilmore, Chris Robinson, Chris Sharp, Kassem Williams; 8:30 p.m., donations.

Caroline Rose

POUR HOUSE: Eyehategod, Cro Mags, Buzzoven, Witchtit; 8 p.m., $20–$25.

THE LYNK: Smoke From All The Friction, Vaughn, Disqo Volante; 8 p.m., free.

THU, MAR 29 2ND WIND: 2 fer; 7:30-9 p.m.

ARCANA: The Birdhorse, Emily Musolino; 8 p.m.

BERKELEY CAFÉ: Redleg Husky; 8 p.m.

CAT’S CRADLE (BACK ROOM): Tommy Edwards & the Bluegrass Experience; 8 p.m., $10.

CENTER FOR THE STUDY OF THE AMERICAN SOUTH: Music on the Porch: Orquesta GarDel; 5:30 p.m.

LINCOLN THEATRE: JGBCB (Jerry Garcia Band Cover Band); 7:30 p.m.

LOCAL 506: Sam Burchfield, Justin Trawick; 8 p.m., $10.

LOVE HOUSE AND HUTCHINS FORUM: Music on the Porch: Orquestra GarDel; 5:30 p.m.

MOTORCO: Black Atlantic: Trio da Kali; 8 p.m., $20.

POUR HOUSE: Local Band Local Beer: Pie Face Girls, Tre’Mars, ZenSoFly; 8 p.m., $3–$5.

LOCAL 506:

[$10–$12/8 P.M.]

The cover of Caroline Rose’s Loner, her second record, features her wearing a red track suit, a towel draped around her neck and a sweat band keeping her hair at bay. Her eyes are affixed in a blank thousand-yard stare; her mouth is stuffed with about twenty cigarettes, and she’s lighting them with one hand. Loner’s hazy rock songs are steeped in that same heavy-but-funny “fuck this” attitude, making for a record that’s pleasantly groovy with a delightfully sharp bite. WASI opens. —Allison Hussey MEMORIAL AUDITORIUM:

Victor Wooten Trio [$40–$60/8 P.M.]

Ever since he started strutting his stuff with Bela Fleck & The Flecktones some three decades ago, Victor Wooten has earned a mighty rep as the Michael Jordan of bass players, able to accomplish what mere mortals never could. But for nearly as long, he’s also been stepping out on his own when he wasn’t busy with Bela. Wooten’s still touring in support of Trypnotyx, his 2017 album with his trio,

Caroline Rose performs at Local 506 Friday night.

PHOTO COURTESY OF HIGH ROAD TOURING

INDYweek.com | 3.28.18 | 29

bringing his fertile fusion of funk, jazz, and rock influences to the fore, and unleashing a dizzying torrent of deathdefying bass licks along the way. —Jim Allen MOTORCO: Black Atlantic: Aurelio; 8 p.m., $20.

MYSTERY BREWING PUBLIC HOUSE: The LL Orchestra & Soundsystem; 8 p.m., free.

NIGHTLIGHT:

Heart of the Ghost [$7/8:30 P.M.]

Since 2016, Washington, D.C., and Baltimore have been haunted by saxophonist Jarrett Gilgore, bassist Luke Stewart, and drummer Ian McColm.

Their collective conversations meander through and beyond all tropes of free jazz and free improvisation.

All three simmer and rage, at times channeling the fire of late-sixties skronk-fests.

But the group can also pull out something much more melodic and sweet, with the storm forever there in the background, barely contained.

Their new, self-titled

cassette is a master class in finely honed explosions, with bleating saxophones, pointillistic drumming, and ranging bass lines. Crowmeat Bob will join them for the set.

—Dan Ruccia POUR HOUSE: Brent Cobb & Them, Savannah Conley; 8 p.m., $12–$15.

THE RITZ:

El Gran Combo de Puerto Rico [$35/9 P.M.]

El Gran Combo de Puerto Rico is one of the oldest and most notable salsa orchestras of San Juan. Their prolific output of over fifty albums since their inception in 1962 has made them a household name throughout Latin America.

Affectionately called “La Universidad de la Salsa,” the orchestra has nurtured the careers of many salsa greats like Andy Montañez and Celia Cruz. Led by original band leader Rafael Ithier and pianist Willie Sotelo, the band continues to put on raucous, joyful concerts around the world. —Katie Jane Fernelius

Twin Peaks performs at Motorco Monday.

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numbers powered by loose guitar riffs. Look no further than “Wanted You,” from 2016’s Down in Heaven, which feels like a slacker version of a Rolling Stones song. The Districts and The Nude Party open. —Allison Hussey POUR HOUSE: The Titos, The Dapper Conspiracy; 8 p.m., $6–$8.

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, APR 3 CAT’S CRADLE:

Rogue Wave [$17–$20/8 P.M.]

Victor Wooten Trio performs at Memorial Auditorium Thursday.

THE STATION:

Disqo Volante [$8/9 P.M.]

Carrboro’s Disqo Volante is a curious operation. It’s the artistic effort of Matthew Booth, a multi-instrumentalist who pulls together a lot of different influences—a lot of them—for boisterous dance music. It’s rooted in house music, but Booth adds eighties pop adornments, arena-rock guitar riffs, EDM bounce, chiptune blips, and splashes of saxophone. The blend is a little perplexing, but he makes it work just fine. Booth takes over The Station to celebrate the release of his new record, Yellow Fervor. Indigo DeSouza and Real Dad open.

—Allison Hussey

SAT, MAR 31 BEYÙ CAFFÈ:

Rhonda Thomas [$16/7 & 9 P.M.]

Rhonda Thomas’s voice is thick, smooth, and expressive over a huge range, always backed by some kind of funky beat. It makes sense, then, that she was a featured vocalist and

background for Isaac Hayes for more than a decade. Hayes had nothing but good things to say about her. While she was born in New York, she’s made her name as a solo artist coming up through the Atlanta soul scene. —Dan Ruccia THE BULLPEN: People’s Blues of Richmond; 8:30 p.m., free.

CAROLINA THEATRE: Black Atlantic: Diego El Cigala; 8 p.m., $30–$45.

CAT’S CRADLE: WXYC 2000’s Dance; 9 p.m., $5–$8.

CAT’S CRADLE (BACK ROOM): Stop Light Observations, Rare Creatures; 8 p.m., $10–$12.

THE CAVE: Poinsettia, Trash Room, Phononova; 9 p.m., $5.

CITY TAP: Dmitri Resnik & Bootleg Beat; 8:30 p.m.

DUKE COFFEEHOUSE:

Loamlands

[$5, FREE WITH DUKE ID/8 P.M.] In late 2016, Durham’s Loamlands issued Sweet High Rise, its first LP. The title was inspired, in part, by the construction of a new high-rise building directly across the street from The Pinhook, the club that Loamlands leader Kym Register runs. That high

PHOTO COURTESY OF THE ARTIST

rise is now nearing completion, casting a literal shadow on downtown Durham.

Loamlands, too, has continued to grow, but the band’s earthy, heartfelt folk-rock songs offer light and affirmation instead.

At Duke Coffeehouse, they’ll put that sensitive power front and center. Nana Grizol opens.

—Allison Hussey

DEEP SOUTH: Death to BackDrops; 9 p.m., $10.

DURTY BULL BREWING COMPANY: Redleg Husky; 3 p.m.

MON, APR 2

FLIPSIDE: Redleg Husky; 9 p.m.

LINCOLN THEATRE: Delta Rae, Sawyer; 7 p.m.

LOCAL 506: Ryan Caraveo, Bazanji; 9 p.m., $12–$14.

THE MAYWOOD: Lightning Born, Wailin Storms, Helm, Vacant Company; 8 p.m., $8.

MOTORCO: Third Annual Rock Roulette: A Benefit for Girls Rock NC; 6 p.m., $10. See page 27.

POUR HOUSE: Casey Abrams; 2 p.m., $15–$20. Sol Kitchen & Mad Skillz Present: The Music of Timbaland & The Neptunes; 9 p.m., $10–$15.

SUN, APR 1 CAT’S CRADLE (BACK ROOM): Nothing,nowhere.; Shinigami; Lil Lotus; Jay Vee; 8 p.m., $15.

LOCAL 506: Good Tiger, Icarus the Owl, Megosh; 7 p.m., $13–$15.

POUR HOUSE: Sunday Funday: Strongman & Co; 1 p.m., $5. Marbin, Waker; 7:30 p.m., $10–$12.

WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

CAT’S CRADLE: UDO Dirkschneider, Elm Street; 8 p.m., $28.

Rogue Wave’s third album Asleep at Heaven’s Gate, which was recently reissued as a double LP for its tenth anniversary, marked a sea change for Oakland band. A move from Sub Pop to the patronage of Jack Johnson’s vanity imprint Brushfire Records gave Rogue Wave the time and resources to sand down the burrs of their lo-fi origins and let their arenarock tendencies run wild. It wasn’t the commercial or critical home run the band was likely hoping for, but it at least carved the band a foothold in the firm middle of indie-pop’s hierarchy, a few rungs below The Shins and Nada Surf. Dear Boy opens.

—Patrick Wall FLETCHER OPERA THEATER:

IMBIBE: Grewen and Griffin; 7-10 p.m., free.

Rosanne Cash

MOTORCO:

Rosanne Cash was born to be in the music business— her father was none other than Johnny Cash. She’s spent her entire life building up a formidable catalog that’s touched on country, Americana, pop, and more; in 2015, she finally joined the Nashville Songwriters Hall of Fame. In addition to carrying on with her music career,

Twin Peaks [$16–$18/8 P.M.]

That fuzzy early-2010s rock music you like is going to come back in style—but did it ever fully go away in the first place?

Twin Peaks, the band from Denver, Colorado, has been around since 2010, well before the late-2014 announcement of the cult TV series revival that materialized last year. The band’s offerings require far less scrutiny than David Lynch’s labyrinths; its songs are all fairly straightforward, mellow

[$52–$73/8 P.M.]

Cash has been an outspoken advocate for gun control for two decades now. In October, she penned a powerful oped for the New York Times calling on her country music comrades to reconsider their relationships with the National Rifle Association’s “NRA Country” arm. Cash is a mighty and insightful presence, and ths intimate evening with her in Raleigh ought to be a treat.

—Allison Hussey MOTORCO: Japanese Breakfast, Art School Jocks; 8 p.m., $13–$15.

POUR HOUSE: The Mammoths, Pierce Edens; 8 p.m., $5.

WED, APR 4 2ND WIND: Yeaux Katz; 7-9 p.m., free.

CAT’S CRADLE BACK ROOM:

Dylan LeBlanc [$12/8 P.M.]

Dylan LeBlanc’s musical roots run deep. As a child, he’d often visit his father, a country songwriter, at the acclaimed Muscle Shoals Sound Studio where everyone from the Rolling Stones to Aretha Franklin once recorded.

After two critically-acclaimed releases, LeBlanc returned to the town of Muscle Shoals to re-evaluate and restore balance in his life. LeBlanc’s latest effort, 2016’s Cautionary Tale, hints at his previous battles with drugs and alcohol without sounding trite. This latest batch of songs, which have been compared to Neil Young’s, are earnest and heartfelt and enveloped in a familiar, yet distinct country twang. —Nick Gallagher HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

POUR HOUSE: John Craigie, Charly Lowry; 7 p.m., $10–$12.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM INDYweek.com | 3.28.18 | 31

art

3.28 – 4.4

OPENING

ONGOING

SPECIAL After Goldenleaf: EVENT MFA|EDA thesis exhibition by Jeremy M. Lange.

Mar 29-Apr 20. Reception: Thu, Mar 29, 6-9 p.m.

SPECTRE Arts, Durham. www.spectrearts.org.

SPECIAL Elizabeth Bradford: EVENT Paintings. Apr 1-Jul 31. Reception: Wed, Apr 4, 6-8 p.m. Umstead Hotel & Spa, Cary. www.theumstead.com.

LAST American Red CHANCE Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Drawings and Prints Show: Thomas Stevens. Fri, Mar 30, 6-9 p.m. Thomas Stevens Gallery, Hillsborough.

Faith in Color: A Photographic Exploration of Race, Religion, and America in Tribute to C. Eric Lincoln: Documentary photography exhibit by Evan Nicole Bell. Apr 4-May 1.

Duke Campus: Duke Chapel, Durham.

How Bluebirds are Born: MFA|EDA thesis exhibition by Lexi Bass. Fri, Mar 30, 5:30-8:30 p.m. Full Frame Theater, Durham.

Nat Lazakis: Pencil drawings.

Wed, Apr 4. Southwest Regional Library, Durham. www.durhamcountylibrary.org.

Low Hanging Fruit: MFA|EDA thesis exhibition by Kaley Clements. Sat, Mar 31, 5-7:30 p.m. Full Frame Theater, Durham.

Poem of H.O.M.E.: MFA|EDA thesis exhibition by Summer Dunsmore. Sat, Mar 31, 8:3011:30 p.m. & Sun, Apr 1, 5:307:30 p.m. Shadowbox Studio, Durham. shadowboxstudio.org.

SPECIAL Tenth Annual Small EVENT Treasures Juried Exhibit: Juried by Bob Rankin.

Mar 30-Apr 21. Reception: Fri, Mar 30, 6-9 p.m. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

SPECIAL The Vertigo of Time: EVENT MFA|EDA thesis exhibition by Phyllis B. Dooney.

Mar 29-Apr 8. Reception: Thu, Mar 29, 6-9 p.m. The Carrack Modern Art, Durham. www.thecarrack.org.

32 | 3.28.18 | INDYweek.com

submit! Got something for our calendar? Submit the details at:

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

The Art of War: Art about contemporary military experience by Trish Brownlee, Alicia Dietz, and Folleh Tamba. Thru May 12.

Artspace, Raleigh. www.artspacenc.org.

Art to Live By: Paintings by Michael Banks. Thru Apr 22.

Alexander Dickson House, Hillsborough. www.historichillsborough.org.

LAST As·sem·blage: CHANCE Ceramic sculpture

by Raleigh artist Rosalie Midyette. Thru Mar 31.

Claymakers, Durham. www.claymakers.com.

LAST Awakening: CHANCE Paintings by local artists Stephen Moore and Susan Hecht. Thru Mar 31.

ArtSource Fine Art, Raleigh. www.artsourcefineart.com.

Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection: We’re in more of an “emperor wears no clothes” age than one of enlightenment, but the feminine gender is being dissected more forcefully than ever. Visitors will surely take this into consideration when viewing exquisite works from the Horvitz Collection of eighteenth-century French art. Most are by well-known male artists such as Boucher and Fragonard. But several talented female artists are also represented, though they were relegated to the gentle medium of pastel instead of oils. Antoine Vestier’s “Allegory of the Arts” (1788) is a marker of changing times, a lovely portrait of the artist’s daughter sitting at a desk and drawing a sculpture. She is an active subject, not a passive object, and scholars believe that she painted her own drawing on the canvas. Several works show

“Hand Cropping #1, Vick Family Farms. Wilson, NC, 2016” PHOTO BY JEREMY M. LANGE

THURSDAY, MARCH 29

JEREMY M. LANGE: AFTER GOLDEN LEAF

One of Durham’s many contradictions is that even though half the buildings have “tobacco” in the name, you can’t smoke anywhere. In After Golden Leaf, his thesis exhibit for Duke’s graduate program in experimental and documentary arts, photojournalist and documentarian (and former INDY photographer) Jeremy M. Lange turns his incisive lens and striking compositions on the shades of tobacco-industry history as they linger in an increasingly technologized and smoke-free city. The photos in the series sweep up the history of tobacco farming, the forging and dispersal of the communities that grew around it, the evolving landscape of North Carolina after big tobacco, and broader issues of discloation and memory in the postindustrial U.S. After this opening reception, there’s another on April 20 for Third Friday, and the exhibit runs through May 4.

—Brian Howe

SPECTRE ARTS, DURHAM | 6–9 p.m., free, www.spectrearts.org the duplicitous demands placed on women: to be a saint, but also an embodiment of sexual desire; to be in a profession, but only a socially acceptable one; to be both strong and weak. Thru Apr 8. Ackland Art Museum, Chapel Hill. www.ackland.org. —Liz Hull

Between Dirt and Sky: North Carolina sculptor Thomas Sayre (you might have caught his exhibit White Gold at CAM Raleigh in 2016) is nationally renowned for his large-scale outdoor sculptures, but you can get a more intimate look in this small gallery show, featuring

mixed-media works inspired by the cotton fields and farm buildings of the rural South as well as Sayre’s iconic earthcasts.

Thru Apr 21. Craven Allen Gallery, Durham. cravenallengallery.com.

—Brian Howe Business as Usual: This is big all around—the largest exhibit

ever mounted of large-scale sculptures by a large-looming North Carolina artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works

include motorized mechanisms that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might think you glimpse them moving in the corner of your eye. Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg. arts.ncsu.edu. —Brian Howe LAST C o a s t s c a p e s: CHANCE Coastal landscape paintings by Nancy Hughes Miller. Thru Apr 2. Liquid State, Raleigh. liquidstateraleigh.com.

LAST Austin Caskie: CHANCE Artspace satellite exhibition. 3-D models.

Thru Mar 31. HQ Raleigh, Raleigh.

LAST Dream of Angels: CHANCE MFA thesis work by Nadia Stevens.

Thru Mar 29. Rubenstein Arts Center, Durham.

Earth Consciousness and Cultural Revelations: Mixed media artist Alyssa Hinton.

Thru Apr 29. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

LAST Electric Avenue: CHANCE Pleiades artists.

Thru Mar 31. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

LAST Exposed: Nudes in CHANCE Art 2018: Nudes by twenty-five artists. Thru Mar 29. Litmus Gallery, Raleigh. www.litmusgallery.com.

LAST Eyecentennial: Nate CHANCE Shaeffer. Thru Mar 31. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

SPECIAL Model Home: MFA EVENT thesis exhibition by Sara Farrington. Thru Mar 30.

Reception: Thu, Mar 29, 5-7 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

The Found Object Collection: Collages by Sam Lasris and works on paper by Hendrika Vande Kemp. Thru Apr 14.

The Scrap Exchange, Durham. www.scrapexchange.org.

LAST Girl Wrestle: MFA CHANCE thesis work by Rachel Jessen. Thru Apr 4.

Duke Campus: Fredric Jameson Gallery (Friedl Building), Durham.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe I was a kid: Paintings by Marcela Slade. Mon, Apr 2, 6-9 p.m.

Golden Belt, Durham. www.goldenbeltarts.com.

LAST In Other Words: CHANCE Portraits of local non-gender-conforming people

by Libby O’Daniel. Thru Mar 31.

Artspace, Raleigh. artspacenc.org.

The Long Goodbye: MFA thesis work by Xinyao Zheng. Thru Apr 14. Power Plant Gallery, Durham.

Low Relief | Sensitive Situation: There’s been a changing of the guard at Lump, Raleigh’s best gallery for weird art, with Kelly McChesney handing over the directorship to April Childers. To get a sense of the perspective Childers will bring to the gallery, you could hardly do better than to check out her show (which was booked by McChesney before the leadership change), Sensitive Situation. Childers’s work integrates objects and images from pop culture and her personal life to shatter and rebuild the context of the everyday. Her show opens alongside one by Maria Britton, Childers’s partner in the itinerant LOG (Low Occupancy Gallery) project; Britton’s work in Low Relief blends painting, sewing, and sculpture to probe “femininity and feminism, high and low forms of art making, and dreams and disasters.”

Thru Apr 28. Lump, Raleigh. lumpprojects.org. —Brian Howe

No One Left Behind: MFA thesis work by Theresa Scott. Thru Apr 14. Power Plant Gallery, Durham.

LAST On Press: Woodcuts CHANCE by Ann Conner. Thru Mar 31. The Mahler Fine Art, Raleigh. themahlerfineart.com.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com.

Red Summer: Wendell A. White’s large-scale prints combining contemporary landscape portraits and historic newspaper accounts. Thru Jun 2. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Redress Papers: Mixed-media on paper about unresolved issues of civil rights by Tyler Starr. Thru Apr 14. Artspace, Raleigh. www.artspacenc.org.

Sentience: Paintings and drawings by Adam Cohen.

Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org.

The Shape of Fashion: Dress trends from 1800s to 1900s.

Thru May 6.

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

Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. www.gallerya-nc.com.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing.

They range from mid-twentiethcentury Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit.

Thru Jul 15. Nasher Museum of Art, Durham. nasher.duke.edu. — Brian Howe

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art

CONT’D

Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

Ackland Art Museum, Chapel Hill. www.ackland.org.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams

of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Us & Them: Portrait paintings

by William Paul Thomas. Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

The Wild: Leah Sobsey, Joy Meyer, and Jeff Whetstone videos in downtown Raleigh’s Market Plaza. Thru Jun 27.

BLOCK2 Video Series, Raleigh.

LAST William Goodson CHANCE Mangum: Painter: Paintings. Thru Mar 30. Lee Hansley Gallery, Raleigh. www.leehansleygallery.com.

LAST The Woman Who CHANCE Made Snow: Photography by Anna Exum Snow. Thru Mar 31. Durham History Hub, Durham. museumofdurhamhistory.org.

Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/library/ carrboro.

Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12.

ERUUF Art Gallery, Durham. www.eruuf.org.

stage MONDAY, APRIL 2 & TUESDAY, APRIL 3

TRUTH AGAINST THE WORLD

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 18:

Cary/Apex/Morrisville For advertising opportunities, contact your ad rep or advertising@indyweek.com 34 | 3.28.18 | INDYweek.com

In 1932, architect Frank Lloyd Wright’s career was on the ropes. His Prairie School of design had made his name and fortune, but Prairie was passé, and mismanaged affairs—financial and romantic—at his famous home studio, Taliesin, ruined him financially. Then the Great Depression hit. Commissions dried up, and Wright, tainted by scandal and branded a has-been, sought lecturing, consulting, and publishing gigs. In Christine Toy Johnson’s Truth Against the World, Wright is giving a press conference to announce an autobiography that will set the record straight. He’s also about to build a startling new vision of suburban life, as the last, most fruitful part of his career begins. Theatre Raleigh cofounder Alan Campbell stars in the premiere of this solo show, directed by the playwright.

—Byron Woods

KENNEDY-MCILWEE STUDIO THEATRE, RALEIGH 7:30 p.m., $6–$23, theatre.arts.ncsu.edu

Alan Campbell PHOTO COURTESY OF UNIVERSITY THEATRE

OPEN

Dramatic R Dramatic L of the third Festival. Sa Meredith C Concert Ha www.mere

Kevin Hart Tour: Stand Sun, Apr 1, Raleigh. ww

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OPENING Dramatic Reading/Lectura Dramatic La Decima Musa: Part of the third-annual El Quixote Festival. Sat, Mar 31, 6:30 p.m.

Meredith College: Carswell Concert Hall, Raleigh. www.meredith.edu.

Kevin Hart: Irresponsible Tour: Stand-up comedy. $37+.

Sun, Apr 1, 7 p.m. PNC Arena, Raleigh. www.thepncarena.com.

Leaving Eden: Play with music by Mike Wiley and Laurelyn Dossett. $15+. Apr 3-23. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

Marc Bamuthi Joseph: By now, our region’s college sports fans are acutely aware of the ethical complexities of rooting for their favorite team: the tinge of neocolonial exploitation that taints an endeavor in which everyone gets paid except the players, a generation-long academic scandal and cover-up, and the convenient myopia of supposed regulatory groups.

Marc Bamuthi Joseph knows our pain. In /peh-LO-tah/ (the pronunciation of the Spanish word for “ball”), the nationally renowned Haitian-American writer, dancer, and performer Marc Bamuthi Joseph probes his complicated lifelong love affair with soccer, the process of aging, the experience of immigrants, and being black in America. $7-$31. Wed, Mar 28, 8 p.m. NCSU Campus: Stewart Theatre, Raleigh. live.arts.ncsu.edu.

—Byron Woods

The Monti StorySlam: Accidents: Live storytelling. $12.

Wed, Apr 4, 7:30 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

Eyes Up Here Comedy Showcase: Comedy by local women. $5. First Wednesdays, 8-10:30 p.m. Neptunes Parlour, Raleigh. neptunesparlour.com.

Nederlands Dans Theater: Last summer, dance theater shocker Betroffenheit—choreographer Crystal Pite and playwright Jonathon Young’s dark, carnivalesque ride through the underworld of loss—left audiences at the American Dance Festival buzzing. Its show-biz protagonist kept unbearable grief at bay with cirque moves, ruthless stage management, and a little Vegas-style razzle-dazzle.

This week, we’ll see what Pite and Young have been up to since. Nederlands Dans Theater, the dazzling contemporary troupe that first brought Pite to our attention, presents The Statement at Carolina Performing Arts. It’s a psychodrama whose characters’ Machiavellian maneuvers around a corporate boardroom table prove that business is simply warfare pursued by other means. We’ll also see resident choreographers Sol León and Paul Lightfoot’s Shoot the Moon and Singulière Odyssée. $15-$39.

Mar 28 & 29, 7:30 p.m. UNC Campus: Memorial Hall, Chapel Hill. —Byron Woods

Frivolous Artist: Live performance installation by Ginger Wagg & Wild Actions. $15-$20. March 29-31, 7:30 p.m. The Fruit, Durham.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m.

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

Group Scene: Open stage for improv teams. First Tuesdays, 8-10 p.m. Thru Jun 5. Imbibe, Chapel Hill.

The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Hush Hush: Audience confession comedy show.

Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. www. fullsteam.ag.

Improv @ The Varsity: Sketch, improv, and stand-up. $6. Thursdays, 7:30 p.m. & Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

food The Glass Jug Grand Opening Party: Releasing its first five beers on draft. With live music from the Bull City Brakemen & Friends. $5 per beer. Sat, Mar 31, 10 a.m.-10 p.m.

The Glass Jug, Durham.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

t s be TH F O

E

e l g n t r i a 2018

POLLS now OPEN FOR NOMINATIONS march 5 - april 8 INDYWEEK.COM

Vote for your FAVORITE LOCAL BUSINESSES ONLY THE TOP FOUR FINALISTS IN EACH CATEGORY WILL APPEAR ON THE FINAL BALLOT, APRIL 23 - MAY 20 WINNERS ANNOUNCED IN OUR JUNE 6TH ISSUE WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com INDYweek.com | 3.28.18 | 35

page READINGS & SIGNINGS

Lyons. Wed, Mar 28, 5 p.m.

UNC Campus: Manning Hall, Chapel Hill.

Susan Harlan: Object Lessons.

Wed, Apr 4, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Making as a Transformative Act: How the Act of Making Makes Us Better People: Betsy Greer. Tue, Apr 3, 5 p.m.

UNC Campus: Venable Hall, Chapel Hill.

Sarah McBride: Memoir Tomorrow Will Be Different: Love, Loss, and the Fight for Trans Equality. Sat, Mar 31, 2 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Marianne Williamson: Love America Tour: Spiritual teacher and author. $50-$65. Sat, Mar 31, 7 p.m. NCSU Campus: Stewart Theatre, Raleigh.

LECTURES ETC. Diversity in Children’s Literature: With Kelly Starling

JONATHAN MILES Miracles happen, but part of what makes them miracles is that we don’t know how or why. Our concepts of faith, religion, or a just and balanced universe may help us deal with uncertainty, but they also say something about how we see ourselves. In Jonathan Miles’s new, Dave-Eggerspraised novel, Anatomy of a Miracle: A Novel*, these themes are explored in a fictional story presented as a journalistic report (hence the asterisk in the title) of a paraplegic man who suddenly, inexplicably rises from his wheelchair. Whether this was the result of divine intervention or scientific breakthrough prompts international controversy and weighs upon the man himself, who goes from person to symbol overnight. Miles will read from and discuss the book with Duke professor Tom Rankin, exploring the questions raised by his story—and whether there are any actual answers.

—Zack Smith

O Lost! UNC-Chapel Hill, Thomas Wolfe and The Great Influenza Pandemic of 1918: Opening event for the symposium Going Viral: Impact and Implications of the 1918 Influenza Pandemic.

Moderated by Robert A. Blouin. Wed, Apr 4, 6 p.m.

UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/wilson.

screen MURDER, MY SWEET & GUN CRAZY

QUAIL RIDGE BOOKS, RALEIGH

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

SPECIAL SHOWINGS Bending the Arc: Documentary.

Wed, Apr 4, 6 p.m. NCSU Campus: Park Shops Bldg, Raleigh.

FRIDAY, MARCH 30

These are two of the most hardboiled American films of the post-World-War-II era. In Murder, My Sweet, Dick Powell stars as Raymond Chandler’s private eye, Philip Marlowe, at the center of a mystery that, like most of Chandler’s, isn’t particularly easy to follow but has tons of atmosphere and witty rejoinders. Though not the most famous cinematic adaptation of Chandler, it’s considered by some fans to be closest to his original work. Gun Crazy, a 1950 film, predated Bonnie and Clyde in its depiction of two lovers on the run, as turned on by violence as they are by each other.

Cowritten by a pseudonymous, blacklisted Dalton Trumbo, it features a number of forward-looking sequences, including an extended single-take scene of a bank robbery seemingly shot entirely from the backseat of a sedan. Despite its B-movie background, Gun Crazy gained an A-list reputation among critics and filmmakers, and the title is still sadly relevant today.

—Zack Smith

THE CAROLINA THEATRE, DURHAM 7 p.m., $10, www.carolinatheatre.org 36 | 3.28.18 | INDYweek.com

THURSDAY, MARCH 29

The Quality of Life Project: Short film followed by a panel discussion moderated by Frank Stasio, with representatives from Self Help, Habitat for Humanity, DCLT, and community members Mayme Webb-Bledsoe and Alisa Johnson. Wed, Mar 28, 6:30 p.m. Durham Co-op Market, Durham. durham.coop.

Full Frame Preview Party: Info on documentary film festival, raffles, announcements. Wed, Mar 28, 5-7 p.m. Ponysaurus Brewing Co. Durham. ponysaurusbrewing.com.

OPENING  Flower—Reviewed on p. 24. Rated R.  Loveless—Reviewed on p. 24. Rated R. Ready Player One—Ernest Cline’s love letter to retro video games and modern virtual reality gets the Spielberg treatment. Rated PG-13.

Tyler Perry’s Acrimony—A long-suffering wife (Taraji P. Henson) has it up to here with her lying husband in this psychological thriller. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ A Fantastic Woman—In Sebastián Lelio’s superb Oscar winner, a bereaved transgender woman in Chile fights for her right to mourn with dignity. Rated R.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13.  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  I, Tonya—This kinetic biopic of a disgraced figure

skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need a lot of nineties nostalgia to see this reboot as anything but a generic jungle adventure.

Rated PG-13.  Oh Lucy!—Dark comedy and weird tragedy mingle as a Japanese woman takes on a curious new American identity.

Unrated. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press.

Rated PG-13.  The Shape of Water— Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R.  A Wrinkle in Time— Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds. Rated PG.

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FTCC Fayetteville Technical Community College is now accepting applications for the following positions: Criminal Justice Instructor, Dean of Corporate and Industry Training & Instructional Lab Technicial-Culinary Arts. For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/ Human Resources Office Phone:(910)678-7342 Internet: http://www.faytechcc.edu An Equal Opportunity Employer

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Beyond Fences seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.

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100’S OF HOT URBAN SINGLES

The above election will be held in Durham County, NC on 5/8/2018. All polling places will be open from 6:30 a.m. until 7:30 p.m. on Election Day. 17 year old voters who are registered and will be 18 years old on or before 11/6/2018 may vote in primary contests.

Party primaries will be open to voters registered to that respective party, and to unaffiliated voters as allowed by the party.

CONTESTS U.S. House of Representatives District 4 (Democratic Primary) U.S. House of Representatives District 4 (Democratic Primary) District Attorney (Democratic Primary) Durham County Sheriff (Democratic Primary) Board of Education Districts 1, 2, 3, and 4 (Final election)

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PUBLIC AUCTION Saturday, April 7th @ 9am. 1916 Sulphur Springs Rd. Shelby, NC (2) Honda 4 Wheelers, 2012 Raised Golf Cart, Horse Buggy, Forklift, SkyJack, Quantity of Tools. See Website 704-791-8825 ncaf5479 www.

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LOCATIONS Board of Elections office, 201 N. Roxboro St., Durham South Regional Library, 4505 South Alston Ave., Durham East Regional Library, 211 Lick Creek Ln., Durham North Regional Library, 221 Milton Rd., Durham Duke University Brodhead Center, 402 Chapel Dr., Durham

Website: www.dconc.gov/elect Email: elections@dconc.gov Phone: 919-560-0700 PAID FOR BY DURHAM COUNTY BOARD OF ELECTIONS

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LUNG CANCER? AND AGE 60+?

NC Central University Turner Law Building, 620 Nelson St., DurhamSCHEDULE FOR ALL EARLY VOTING SITES: Thursday, 4/19 through Saturday, 5/5/2018: Weekdays and Saturdays 4/21 and 4/28/2018: 9:00 a.m. to 6:00 p.m.

Sundays: Noon to 4:00 p.m.

Saturday, 5/5/2018: 9:00 a.m. to 1:00 p.m.

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ADVANCE VOTER REGISTRATION DEADLINE AND LAST OPPORTUNITY FOR REGISTERED VOTERS TO CHANGE PARTY AFFIILIATION: Friday, 4/13/2018. Voters that miss the registration deadline may register and vote during early voting.

SAME-DAY REGISTRATION DURING EARLY VOTING: Voters are allowed to register and vote during early voting. It is quicker and easier to register in advance, but if you have not registered in advance, you can do so during early voting with proper identification. This same-day registration is not allowed at polling places on Election Day. Information regarding registration, polling locations, absentee voting, or other election details may be obtained by contacting the Durham County Board of Elections or visiting its website.

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FOR SALE? FOR RENT? FOR HIRE? We’ve got you! 70 cents per word. 35,000+ readers.

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INDYweek.com | 3.28.18 | 37

POLLS now OFOR NOMINATIONS PEN 3

2

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.

best

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9 53-7april march 6 18 4 5 indyweek.com Vote for your6 6 FAVORITE LOCAL BUSINESSES ONLY THE TOP FOUR 2 84 FINALISTS IN EACH CATEGORY WILL APPEAR 8 ON THE FINAL BALLOT 6 APRIL 23 - MAY 20 1 5 9 6 43 9 8 9 1 5 su |MEDIUM do | ku this week’s puzzle level: # 42

WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com

Winners announced in our June 6th issue

MEDIUM

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MEDIUM

#2

© Puzzles by Pappocom

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.

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solution to last week’s puzzle

# 43 www.sudoku.com 2 3 4 5 6 8 1 9 7 9 1 8 |3INDYweek.com 4 7 6 2 5 38 | 3.28.18 6 5 7 9 2 1 8 3 4 7 2 6 8 3 4 9 5 1 8 4 5 6 1 9 2 7 3 3 9 1 7 5 2 4 6 8

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2 9 1 5 3 8 7 6 4

CLASSY AT INDYWEEK DOT COM 30/10/2005

Book your ad • Email kim: classy@indywEEk.com

please contact advertising@indyweek.com

Bolinwood Condominiums To advertise or feature a pet for adoption, please contact advertising@indyweek.com

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

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

last week's puzzle

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM Book your ad • Email kim: classy@indywEEk.com

INDYweek.com | 3.28.18 | 39

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Weekly deadline 4pm Monday • classy@indyweek.com

For Sale 1007 N Roxboro St. Durham, NC 27701 MLS#2174539 Ian Kipp, Listing Agent Berkshire Hathaway HomeServices 919-229-3533 Broker’s Open House Thursday 3/29/2018 from 1-3PM General Public Open House Easter Sunday 4/1/2018 from 2-4PM

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H I E R R ING ’ E W

Inside Sales Rep Position (Classifieds) available immediately. Position is part-time with flexible hours in a relaxed work environment. Candidate must be goal-oriented, self-motivated, MS Office proficient, and an excellent communicator (both written and verbal).

College degree preferred.

Email letter of interest and resume to Stephanie Miller, smiller@indyweek.com