INDY Week 3.29.17

A NEW LANDLORD WANTS TO MOVE POOR PEOPLE OUT P. 8 HOW GREEN WAS MY GALLERY P. 36

raleigh

3/29/17

N O I T I D N O L C A C I T CRI , S S E R G N O C IN S N A C LI B U P E R FOR AL E P E R E R A C A M A B O D E IL FA E H T WAS POLITICAL THEATER. RDAN, IO R TA T E R E K LI LS E E H R TA R FO IT’S A MATTER OF LIFE AND DEATH.

BY ERICA HELLERSTEIN

ALSO: HB 2 TURNED ONE. CAN WE KILL IT NOW?

P. 14

P. 6

2 | 3.29.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 11

6 On HB 2’s first birthday, can we all agree to get rid of the damn thing? (And to not replace it with something equally dumb?)

8 More than a quarter of Wake County households are cost-burdened, meaning they spend more than 30 percent of their incomes on housing.

14 “The Congress and president are treating health care as a political game, but for me and the twenty million other people who are covered under the ACA, this is not political. It’s personal.”

21 General Tso’s Chicken—the quintessential American Chinese food—was invented by a Taiwanese chef.

32 Folksinger Jake Xerxes Fussell collects old weird American songs, like the one about a Georgia peach growing on a sweet potato vine.

35 Bringing international artists to local stages is just short of nightmarish. It looks to get harder under Trump.

36 In Lump’s Low Occupancy Gallery, viewers experience art in rarified conditions: one at a time.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 21 Food

Sarah Gamble and her grandson Cameron play T-ball at Fred Smith Company Field (see page 14).

PHOTO BY BEN MCKEOWN

32 Music 36 Arts & Culture 38 What to Do This Week 40 Music Calendar

On the cover:

PHOTO BY ALEX BOERNER

44 Arts & Culture Calendar

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

APRIL 5TH, 2017 On streets:

MAY 10, 2017 INDYweek.com | 3.29.17 | 3

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf NEWS EDITOR Ken Fine STAFF WRITERS Thomas Goldsmith,

Erica Hellerstein, Sarah Willets

MUSIC EDITOR Allison Hussey ASSOCIATE ARTS+COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHERS Alex Boerner, Ben McKeown CHIEF CONTRIBUTORS

Spencer Griffith, Corbie Hill, Laura Jaramillo, Erica Johnson, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Angela Perez, Hannah Pitstick, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Ryan Vu, Patrick Wall, Iza Wojciechowska, Baynard Woods INTERNS Megan Howard, Nijah McKinney, Noah Rawlings

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4 | 3.29.17 | INDYweek.com

backtalk

“Your Citizenship Should Be Revoked” Let’s begin with our new favorite reader, John Paul Bertke, who loved everything in last week’s Immigration Issue and went on about it at some length in our comments section (which we very much appreciated): “The Immigration Issue begins with ‘You Are All Welcome Here,’ printed in seven different languages, setting the tone for an informative, well-coordinated series of well-written essays!

The next page gives us the Emma Lazarus sonnet that is engraved on the base of the Statue of Liberty, those purely patriotic American words, welcoming ‘your tired, your poor, your huddled masses’ to the American Dream. All of us need to read and recite those quintessentially American and undeniably religious words. We need to take the extra time to reflect on the beauty, the color, the music, the culture, the ideas—all of the magical differences that we gain, this opportunity to blend our ethnic diversities into the richest culture on earth.

“And I appreciated your Amanda Abrams piece, ‘Blessed Are the Merciful,’ which makes it clear that Christians have a role to play in this drama. Surely they cannot ignore the New Testament words of Jesus Christ, who was very crystal clear in demanding support for the poor and strangers in our communities. There can be no doubt on what Jesus would expect of them in this contemporary immigration situation.”

And so on. He concludes: “INDY, this was your best issue ever! The staff writers each contributed a gem to the collection, and the sum is greater than its parts. The issue was full of useful information. And I hope that we will find many follow-up stories coming, in order to keep our knowledge current, and keep close track of friends and villains in this fluid situation, in which this unprecedented wave of hate and ignorance is being visited upon our communities right now.”

Thanks, John. And we’re working on it.

Hugh Giblin writes in praise of Erica Hellerstein’s piece on the Montagnards [“The Mountain People”], whom he says are “virtually

unknown in North Carolina and sadly forgotten by the U.S. government, despite their huge army and civilian causalities when fighting for the U.S. against the communists in Vietnam. I can support her comments on the unrelenting religious and economic persecution by the Vietnamese government on the Montagnards, systematically violating their human rights for forty-two years. Despite rhetoric condemning such cruelties, the U.S. government nevertheless conducts a large trade with Vietnam and has never used that leverage to insist they honor human rights. The day after President Obama brought up the human rights issue, the Vietnamese police stopped three activists from meeting with him at a conference. Such was their contempt for human rights and the president’s words.

These are clean-living, hard-working, personable people who deserve much better.

“A bill is now in committee in Congress that would honor the Montagnards’ loyal contributions to the United States and insist that Vietnam respect their basic human rights. I would urge anyone who really cares about this issue to contact their representatives and urge passage of the bill.”

Finally, Baron Gil takes exception to our sidebar on steps undocumented immigrants can take to avoid Immigration and Customs Enforcement authorities: “It’s a darn shame that some people are so liberal that they have lost their common sense. Did you people really espouse, in print, methods by which illegal aliens can avoid federal law enforcement, for the choice that they freely made, to come to the U.S. illegally? Your citizenship should be revoked. Stop and think about what you are doing. Any other laws you want to give advice on how to break?”

“It’s a darn shame that some people are so liberal that they have lost their common sense.”

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

INDYweek.com | 3.29.17 | 5

triangulator

LOCAL GOVERNMENTS CAN PASS NONDISCRIMINATION ORDINANCES— SORT OF

These ordinances could prohibit discrimination in employment and public accommodations for protected classes covered by federal law. Which is to say: a) not gay, lesbian, bisexual, or transgender people, as they’re not covered under federal law; and b) these discrimination claims can already be brought before a federal court, though things are quicker and cheaper in state court.

THE STATE’S BATHROOMS AREN’T BECOMING TRANS-FRIENDLY

Specifically, no local government or state agency is allowed to regulate the use of restroom and changing facilities. And while the proposal would technically repeal HB 2, House Speaker Tim Moore has also pledged that he won’t be “backing off of the privacy issues”—i.e., the imaginary threat of men pretending to be women to assault girls in the restroom—that prompted HB 2 in the first place.

THE “RIGHTS OF CONSCIENCE” CLAUSE IS ANOTHER WAY TO LEGALIZE DISCRIMINATION

Basically, it works like this: if you think a nondiscrimination ordinance or other government action burdens your “natural and unalienable right to worship Almighty God according to the dictates” of your conscience, you can sue the state or one of its political subdivisions. According to the ACLU, this could be a “license to discriminate”— and it’s hard to see how they’re wrong.

LOCAL GOVERNMENTS WILL APPARENTLY BE ABLE TO ENACT LIVING WAGE ORDINANCES

Among other things it did, HB 2 prohibited local governments from enacting living wage ordinances or raising the minimum wage beyond the state level (which is also the federal minimum, $7.25 an hour). HB 2 also prohibited counties and municipalities from regulating contractors’ employment practices. Since the replacement bill seems to be silent on this point, if HB 2 is repealed, these restrictions would be gone.

ADAPTED FROM AN ILLUSTRATION BY SKILLET GILMORE 6 | 3.29.17 | INDYweek.com

+HBD, HB 2.

NOW GO AWAY.

Last Thursday, HB 2 turned one— and the NCAA marked the occasion by threatening that if the General Assembly didn’t repeal it by April 18, it would pull championships from North Carolina through 2022. As further inducement to act, on Monday, the Associated Press reported that over the next dozen years, the discriminatory law would cost the state at least $3.76 billion, probably more, from companies boycotting the state.

So last week, Republicans began discussing their latest repeal-and-replace option, though it hasn’t been filed as of press time. Here’s what you need to know about the new proposal.THE STATE’S BATHROOMS

IF ANY OF THIS IS DECLARED UNCONSTITUTIONAL, HB 2 COMES BACK

The proposal contains what’s known as a severability clause, which means that if a court strikes down any piece of it, the whole thing goes—including the part repealing HB 2. That’s quite plainly meant to deter activist groups from suing, despite the low-hanging legal fruit that is the conscience clause.

The transit referendum, which passed, was a “huge first step” in addressing the county’s population boom, Burns says. But more work is ahead of both the city and county as they strive to keep up with services running the gamut from water and mental health care to transportation and affordable housing.

Still, Burns says, he’d “rather be dealing with this problem than Detroit’s problem.”

Raleigh added

31,585

new Raleigh residents, from 2015–16

“We had a Raleigh city school system and a Wake County system,” Wade Smith, seventy-nine, told the INDY. “We had a Raleigh school board and Wake County school board. As people moved out into the county, the Raleigh city schools were becoming segregated again. And the county, and especially the city leaders, were very concerned about it. And the African-American community was very worried about it.”

Despite the political risk, after discussion with leaders from across the community, representatives Adams, Smith, Ruth Cook, Bill Creech, Bob Farmer, and Joe Johnson Five-time Wake County legislator Joseph went all in. “We put the bill in and Allen Adams, eighty-five, all hell broke loose,” Smith said. received tributes from the likes It passed and the systems of Governor Cooper and former merged, ensuring that city and governor Jim Hunt after his county would get equitable funddeath Saturday. ing and that desegregation meaAdams was hailed—accusures could prevail, for the time rately—as a lifetime progresbeing. Instead of the educationsive and as a lawyer who helped al wasteland that emerged in integrate the Wake County some Southern cities, downtown Bar Association, as well as for Raleigh became home to schools his work, along with five other Wake County state representa- Joseph Allen Adams sought after by students from across the county. Adams was tives, to pass a 1975 bill merging key to that—and to many other the Wake County and Raleigh moments in North Carolina history. school systems. triangulator@indyweek.com On Monday, another of the “Solid Six”

+GODSPEED +GROWTH SPURT

From 2015–16, Raleigh added 31,585 people, making it the fourteenth fastest-growing metro in the United States, according to the U.S. Census Bureau. Perhaps more important, it’s the second-fastest-growing major metro in the U.S., behind only Austin.

None of this is particularly surprising to those who call the City of Oaks home. Of those 31,585 new residents, nearly 22,000 came here from somewhere else, perhaps lured by the city’s place among such Forbes top-ten lists as “Easiest Cities to Find a Job,” “America’s Hottest Spots for Techs,” and “Best Cities for Young Professionals.”

(Thanks for helping make rush hour so

delightful, Forbes.) Simply put, Raleigh has a lot going for it: good jobs, good climate, good culture, good people, good food, good beer.

So more people are on their way—and not just to Raleigh proper, but to its suburbs, as well. Sixty-three more people call Wake County home every day, which in time will put pressure on Wake’s schools and infrastructure. That was a key rationale behind Wake’s transit referendum last November.

“Every municipality but maybe Zebulon” has seen an influx of residents, says Commissioner John Burns. “Growth is at the center of every challenge we’re facing. And it’s something we’re working on all the time, [making sure] we’re thinking thirty and forty years down the road.”

recalled how they brought about the merger, even though Wake County residents had voted against it in a nonbinding resolution.

This week’s report by Jeffrey C. Billman, Ken Fine, Thomas Goldsmith, and Sarah Willets.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 3.29.17 | 7

indynews

Nowhere to Go THE CHAPEL HILL-CARRBORO CHAMBER’S 2015 YOUNG PROFESSIONAL OF THE YEAR REMOVES LOW-INCOME RESIDENTS FROM A SUBSIDIZED APARTMENT COMPLEX

BY THOMAS GOLDSMITH It’s easy to see why a developer would be attracted to the Forest Hills Apartments complex in Garner.

Not far from the heavily trafficked intersection of U.S. 70 and Vandora Springs Road, the apartments are within walking distance of a Food Lion, several restaurants, a church, a dentist, and Garner’s first bottle shop, the Beerded Lady.

Built in 1981 and long operated as federally subsidized housing, Forest Hills, which has about 130 units, has been home to some of the same folks for decades. But on March 15, residents received notice from the Chapel Hill-based Eller Capital Partners, which had bough the complex in February, that they would have to pay market-rate rent that was several times higher than their typical payments for April, then vacate by May 1.

A week after notifying residents via first-class mail, ECP principal Daniel Eller changed his stance on when the residents would have to leave; on Friday, he announced that they could stay put until after the school year ended in mid-June. But the change only occurred after the planned displacement caused a stir from Vandora Springs Road to Chapel Hill, amid increased awareness about the shortage of affordable housing in the Triangle.

“We’ve got people that have been here for thirty-five years,” fifty-nine-year-old Phyllis Williams, who has lived in Forest Hills for seven years, told the INDY. “Where are they planning on going? We cannot afford to be kicked out, because there are no waiting lists for subsidized housing.”

Five days after the notices went out to residents, community activist Octavia Rainey made a fiery speech before the Wake County Board of Commissioners. “There was no human integrity in how they did this,” Rain8 | 3.29.17 | INDYweek.com

ey told the board.

“They won't even talk to us. This is Wake County, and it should be a place for all of us in here.”

The March 15 letter from the landlord read, in part: “In purchasDaniel Eller ing Forest Hills Apartments, ECP has made the business decision to completely renovate and rehabilitate the community and its individual apartment homes; as such, Forest Hills will not be renewing any expired lease agreements, nor continuing month to month terms.”

Board members James West, Jessica Holmes, Greg Ford, and chairman Sig Hutchinson told Rainey and about two dozen Forest Hills residents that Wake County staff would explore their situation and see how they could help.

“Within twenty-four hours of the residents’ even notifying us of this situation at this meeting on Monday, we immediately starting calling all the parties,” Ford told the INDY a few days later. “We want to know, what processes do we need to put into place so that we and residents are properly notified? If there is a policy in place, we want to make sure it’s followed. Regardless, there was not appropriate notice to these residents. Common sense tells me we could be doing better on this.”

On Thursday, before Eller announced the delay, the fast-approaching relocation was all the talk among Forest Hills residents. The imbroglio struck Dominique Perry, a twen-

Forest Hills Apartments

Dominique Perry lives at Forest Hills Apartments in Garner with her daughter.

PHOTO BY BEN MCKEOWN

ty-eight-year-old who lives at Forest Hills with her kindergartener daughter, especially hard. She lost a job that she liked—loading trucks at a nearby Target—because she missed work to attend a meeting about the landlord’s actions, she said. (Target’s corporate office declined to comment.)

Residents there know that society attaches significance to people who get government assistance. But Williams said her subsidized rent allows her to meet other obligations: “With the help the government is giving us, we are able to make it.”

Perry said she was staggered by the news of the rent increase. “They told me I would have to pay seven hundred and fifty-seven

dollars a month,” Perry said. Her current rent is a small fraction of that.

Beyond losing their apartments, residents said they would miss the relationships they’ve built in this community. They also worried that, even if they could find new places to live, the community’s children would have to transfer to new schools midway through their second semester.

Two days after the INDY first reported on the matter last Tuesday, Eller issued a statement explaining ECP’s stance. The company’s Eller Residential Living division does not accept government subsidies for residents, it noted, offering a reason for the residents’ displacement: “Through an extensive

PHOTO BY BEN MCKEOWN

physical due diligence process, the company determined that many years of neglect and disrepair has contributed to unacceptable, substandard living conditions for many residents of the apartment community.”

Last year, Eller was named one of the Triangle Business Journal’s “40 under 40,” a designation recognizing “outstanding professionals under the age of 40 for their contributions to their organizations and to the community.” He was also named the Chapel Hill-Carrboro Chamber of Commerce’s Young Professional of the Year.

But for Cecilia Ebron, who lives with her mother in Forest Hills, Eller was the man who wanted to hike her dementia-addled mother’s rent from $91 to $655 a month.

“Some people’s checks don’t even amount to the market rent,” Ebron told the INDY the day after the commission meeting.

On Friday, Eller issued another statement, characterizing it as a change in plans, but not a big one. Residents would be able to stay on until June 15 at subsidized rents, he said.

“There is really no notable change in our plans other than that we agreed with several people who raised concerns about residents having to relocate prior to the end of the current school year and the impact this could have on students. It is a valid concern so we addressed it,” Eller wrote. “We have been and will continue to work very closely with the Raleigh and Wake Housing Authorities to coordinate an orderly moving process for the residents.”

Even though the residents of Forest Hills apartments are getting an extra seventy-five days for their housing search, they’re unlikely to find new homes quickly—at least, ones

“Some people’s checks don’t even amount to market rent.” they can afford. Wake County already faces an affordable housing crisis, with more than a quarter of its families identified as costburdened, meaning they spend more than 30 percent of their incomes on housing.

In Wake, one of the nation’s fastest-growing counties, situations such as the one faced by the Forest Hills residents are likely to multiply. The apartments they’re vacating are only about fifteen minutes from the heart of downtown Raleigh, and plenty of people who don’t need subsidized rent will likely fill the former Section 8 slots. They’ll come once Eller’s company completes its refurbishing and renovation.

“Generally, the housing stock in Wake County is particularly limited right now,” says Alicia Arnold, housing and transportation division director for Wake County.

Several residents at Forest Hills have disabilities and are likely to experience trauma as they leave places they’ve called homes for decades, residents say.

“I’m there with my mom because she has dementia,” Ebron says. “She’s going to go down a tailspin. People with dementia have a pattern. If I park on the other side of the street, it confuses her.” tgoldsmith@indyweek.com INDYweek.com | 3.29.17 | 9

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we started money oth Cameron A year Gamble en tives Prog to provide with disa gram free run erran Cameron allowed G ress at Ra eventually an apartm “So thi glancing o of some o their bulld eating Be saying goe And these being able

CRITICAL

C O N D I T I O N For Republicans in Congress, the failed Obamacare repeal was political theater.

For these Tar Heels, it’s a matter of life and death.

BY ERICA HELLERSTEIN

O

n a rare Monday afternoon at home, Sarah Gamble, forty-nine, and her thirteen-year-old grandson, Cameron, banter in the living room as a TV blares in the background. There’s a Judge Judy-type show on, with lots of gesticulation and shouting, but they’re not paying attention.

Gamble, in yoga pants and a T-shirt, grabs a moss green pillow shaped like a tennis ball and pretends to lob it at Cameron, who is clutching a furry Elmo plush toy; he laughs. Their stocky English bulldog waddles into the room, trying to get a piece of the action.

Behind this seemingly normal routine, however, is a

14 | 3.29.17 | INDYweek.com

hard-fought path that Gamble fears is at risk.

Thirteen years ago, Gamble made a decision that changed everything. She took in Cameron after he was born to her daughter, then a freshman at Norfolk State University. Gamble was disappointed when she found out about the pregnancy, but she knew how tough it would be for her daughter to take care of Cameron, who has cerebral palsy and a rare kidney disorder called Bartter syndrome.

Gamble had never finished college, and she wanted to see her daughter graduate.

Before that, she had a steady income and stable life in the Triangle, a nice car and house, and everything more or less under control. But caring for Cameron, who is nonver-

T

ed health of low-inc faces an in The Re care refor would hav reduce th marily fo AHCA die without a current po Gamble’s the near f Ever sin presidenc both recip those pre surable w care unde found the worried t under Pre Since it 2010, the bal and fed through a tube, was a full-time commitment.

Care Act Gamble found herself running around to daily occupational, speech, and physical therapy appointments. Those respon-American sibilities made it impossible for her to work, so she quitleaders. D her job in human resources. Money ran low. In 2004, withRepublica financial burdens mounting, they moved to the projects inrepeal Ob Durham. Gamble got rid of her car, and for about three yearsTrump re they were living just off Cameron’s social security check offor the AC vowed to $377 a month. Once, a bullet pierced their wall.

“Our world changed,” Gamble says. “It really changed our perspective on what was important. It was some of the little things that we took for granted before, like being able to have dinner together, watching some of the smaller things

we started to do because we didn’t have the money otherwise. And we had a big focus on Cameron and his care.”

A year or so after moving to Durham, Gamble enrolled in the Community Alternatives Program, which uses Medicaid funds to provide services for children and adults with disabilities and extra needs. The program freed up enough time for Gamble to run errands and go to appointments; then Cameron started going to school, which allowed Gamble to work part-time as a waitress at Raleigh’s 42nd Street Oyster Bar and eventually save up enough money to move to an apartment in Raleigh.

“So this is our normal,” Gamble says, glancing over at Cameron. She ticks off a list of some of their favorite things to do: taking their bulldog for strolls, going to the movies, eating Ben & Jerry’s. “As the old Southern saying goes, it takes a village to raise a child.

And these benefits are an integral part of us being able to provide for him.”

T

he village Gamble is referring to is the support offered by Medicaid, the state- and federally funded health-insurance program for millions of low-income Americans. Now that village faces an increasingly uncertain fate.

The Republicans’ latest effort at health care reform, the American Health Care Act, would have slashed funding for Medicaid to reduce the deficit and finance tax cuts primarily for wealthy Americans. While the AHCA died in the House of Representatives without a vote Friday afternoon, given the current political climate, it seems likely that Gamble’s village will be threatened again in the near future.

Ever since Donald Trump ascended to the presidency, tens of millions of Americans— both recipients of Medicaid, like Gamble, and those previously uninsured and often uninsurable who have gained access to health care under the Affordable Care Act—have found themselves in a deep state of anxiety, worried that life-changing progress made under President Obama will soon slip away.

Since it was signed into law on March 23, 2010, the Patient Protection and Affordable Care Act has woven itself into the fabric of American life, much to the dismay of GOP leaders. During Obama’s presidency, House Republicans voted more than sixty times to repeal Obamacare. On the campaign trail, Trump reserved a special kind of vitriol for the ACA, labeling it a “disaster” that he vowed to swiftly repeal. His contempt built

off years of Republican complaints that the ACA was driving up premiums and entering a death spiral.

Those “death spiral” claims are largely overblown, but premiums have risen. Premiums for key Obamacare plans increased by an average of 25 percent in 2017, although tax subsidies usually helped soften the blow.

In addition, major insurance companies have pulled out of the health care exchanges because of higher patient costs and lower-than-expected enrollment. For consumers, that means fewer options—and in some cases, only one.

Imperfect as it may be, however, the ACA has been responsible for historic gains in coverage. The uninsured rate is at an alltime low; about twenty million people have gained coverage, about half due to the ACAfinanced Medicaid expansion.

With Trump in office, Republicans had to do more than take symbolic repeal votes and issue jeremiads from the stump; they had to offer an actual replacement. Enter the AHCA, which, according to the Congressional Budget Office, would have left twenty-four million people without health insurance, dramatically increased premiums for older Americans, and dramatically reduced Medicaid funding.

The bill ultimately proved too draconian for the party’s moderate wing and not draconian enough for its hard-line Freedom Caucus. Short of votes, House Speaker Paul Ryan pulled the bill Friday, a humiliating surrender for a speaker who had branded himself as a conservative policy wonk and a president who campaigned as a master dealmaker. And so, for the “foreseeable future,” a forlorn Ryan told reporters Friday, Obamacare will remain “the law of the land.”

Despite that legislative failure, the Trump administration can still chip away at the ACA. For example, Health and Human Services Secretary Tom Price, a longtime opponent of the ACA, could stop enforcing the individual mandate, which would likely result in fewer sign-ups among young, healthy people and thus cause premiums for those still in the individual market to skyrocket, destabilizing the insurance market.

Trump’s stated goal—set forth in a tweet Saturday morning—is to watch the ACA “explode,” thus making a Republican replacement politically palatable: “ObamaCare will explode and we will all get together and piece together a great healthcare plan for THE PEOPLE. Do not worry!”

At the same time, congressional Republi-

Facing page (left to right): Retta Riordan PHOTO BY ALEX BOERNER Cameron Gamble, Michael Greenspan PHOTOS BY BEN MCKEOWN INDYweek.com | 3.29.17 | 15

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Retta Riordan at her home in Apex

PHOTO BY ALEX BOERNER

cans don’t seem willing to give up just yet. As U.S. Representative Bradley Byrne of Alabama told the Huffington Post Friday: “This process doesn’t end just because this one bill’s been taken off the table. It just shows that our first attempt didn’t work. This is not our last attempt.”

T

he only clue about what the next attempt will look like is the one that just failed.

For people utilizing the ACA’s exchanges, the AHCA sought to replace subsidies with less-generous tax credits. In North Carolina, according to the Center on Budget and Policy Priorities, the difference between the Obamacare subsidy and the AHCA tax credit would average $5,360 a year, jeopardizing coverage for a half-million Tar Heels.

The increased costs would have been a deal breaker for people like Raleigh’s Michael Greenspan, a fifty-four-year-old type-2 diabetic who lost his job in 2012 after working in the music industry for more than two decades.

Greenspan needs to see his doctor four times a year to get blood work, but without a job he had limited funds. He obtained a low-level insurance plan that cost more than $400 per month. The plan let him see his doctor just four times a year, the precise number he needed to have his medicine prescribed and blood work completed. That meant that if anything else happened—if he fell ill or got injured—he needed to wait until the doctor’s appointment to address his medical needs.

“A lot of times I just didn’t see the doctor when I was sick because I couldn’t afford to see the doctor outside of the four times

allowed by the plan,” he says.

Things changed in 2014, when Greenspan signed up for a plan under the ACA that placed no limitations on doctor visits. His diabetes soon became more manageable, and he got much-needed hip replacements in 2015, which would have been unthinkable without ACA coverage. He was able to walk comfortably again, started a regular workout routine, and lost more than twenty pounds.

The thought of losing his coverage makes Greenspan nervous, so, with Trump in office, he’s on the hunt for a job that provides steady insurance. “But if I can’t get one, the idea that I might lose my insurance or I might go back to a plan that just doesn’t cover the things is really terrifying for me,” he says.

In a few years, Greenspan will enter a demographic that would also have suffered under the AHCA in North Carolina: those nearing, but not quite at, retirement age.

According to research released last week by the office of U.S. Representative David Price, culled from data compiled by the Kaiser Family Foundation, the AHCA’s proposed changes would have disproportionately affected the state’s older, low-income residents.

North Carolinians would have faced the second-highest premium increase in the country; health care costs would have shot up by an average of $7,500. Those increases would have fallen most heavily on the shoulders of older residents: for a sixty-yearold netting $22,000 a year, premiums would have risen by more than $14,000.

Walt Von Schernfeld is in that age group.

A Durham resident, Von Schernfeld, sixtytwo, lives on less than $20,000 a year and went without health insurance for twenty

years before scoring coverage under Obamacare. “It was a great relief,” he says. “A reduction in stress, knowing that I wouldn’t have any reservations getting medical assistance if something was to happen.”

But Von Schernfeld worries about what will happen if the ACA significantly changes.

“I am afraid that I will no longer be able to afford health care insurance,” he says. “If I did not have a subsidy through the ACA, my health care insurance would be almost eleven hundred dollars a month. How can I afford eleven hundred dollars a month when, at twenty thousand dollars [a year], I still have to scrounge to pay my bills at the end of every month? Listen to the people who need health insurance. It should not be a privilege for the wealthy.”

D

ubbed “the poster child of the ACA” by her physician, Retta Riordan is a sixty-four-year-old small-business owner who lives on a picturesque, tree-lined street in Apex.

In 2012, Riordan injured her knee, but she wasn’t able to have it repaired because she’d lost her out-of-state insurance after moving to North Carolina from New Jersey in 2011 (her insurance had been canceled). Riordan frantically sought insurance in North

Carolina, to no avail. Every company she approached rejected her application.

“I had expected to pay more for my preexisting conditions, expected to have a higher deductible, expected maybe even to have my knee as an exclusion, but I never expected to totally have my insurance rejected and my applications rejected,” she says.

As a result, she spent ten months uninsured. That changed on January 1, 2014, when the Obamacare exchanges went live.

“We all know what happened,” she says. “I got coverage and, at midnight, I let out a big, huge hoopla because I was finally going to get covered.”

The next day she was in the orthopedist’s office; two weeks later, she had her knee surgery. Her knee had deteriorated over the past year, her physician noted, making the path to recovery longer and more difficult.

The consequences of Riordan’s period without insurance were psychological, as well. “I lived in constant fear that I would come down with a catastrophic illness or be in a car accident and end up with tens or hundreds of thousands of dollars of medical bills,” she says.

Riordan’s quality of life and overall health declined, her recovery time increased, and, because her worsened injury meant more

time in physical therapy, the treatment costs increased.

Since then, Riordan says, “the political climate has changed dramatically. With the most vulnerable people being hurt, the wealthy are going to get massive tax cuts.

The Congress and president are treating health care as a political game, but for me and the twenty million other people who are covered under the ACA, this is not political.

It’s personal.”

N

ot only would the GOP’s stillborn replacement for the ACA have slashed the program’s Medicaid expansion—which nineteen states, including North Carolina, declined to take part in, leaving a half-million residents in the cold—it sought to cut Medicaid spending by 25 percent over the next decade and fundamentally reconfigure the program into a block grant system or per-capita cap, which states could choose between as a funding structure, a long-sought goal of many fiscal conservatives.

As far back as 1981, President Reagan argued before a joint session of Congress that Medicaid was not “cost-effective.”

“Right now,” he said, “Washington provides the states with unlimited matching

Sarah Gamble helps her grandson Cameron play T-ball at Fred Smith Company Field in Raleigh.

PHOTO BY BEN MCKEOWN

payments for their expenditures; at the same time, we here in Washington pretty much dictate how the states are going to manage those programs. We want to put a cap on how much the federal government will contribute, but at the same time allow the states much more flexibility.”

Such a reform, however, could take away the support vulnerable North Carolinians receive, says Ciara Zachary, a health policy analyst with the N.C. Justice Center.

“The scary thing with block grants is now, as Medicaid is written, there are mandatory services that have to be given to people based on their eligibility,” Zachary says. “So it creates this base level of health care that people can access no matter what.

And with a block grant, states make different priorities, and maybe they don’t think pregnant women should get health care, or maybe they would put limits on how long a person can get home health care for a condition.”

Considering that Medicaid accounts for about one-fifth of the money North Carolina receives from the federal government, any sort of cap could have a devastating impact.

“There will be a negative ripple effect if there are extensive cuts to the program,” Zachary says. “A lot of lives are at risk. The fact that they’re adding on this entire additional restructure of the basic Medicaid program is very alarming.”

That, in turn, could affect Sarah Gamble’s access to funds. “Would [North Carolina] decide to provide Medicaid, or would it create waiting lists, saying we only have a few spots?” Zachary says. “What if she doesn’t get on that wait list? What is she supposed to do for her child? Would she quit her job and try to take care of her child full-time?”

Gamble knows that’s exactly what she would have to do if those services became unavailable. Caring for Cameron full-time would mean she’d have to quit her job. The limited income would mean they’d have to move, perhaps back to the projects in Durham. Maybe she’d have to get rid of her car, which is big enough to travel with Cameron’s wheelchair. They’d make do, but Gamble imagines that taking away access to trained caregivers would slow down Cameron’s development.

“It would be a lifestyle change for our entire family,” she says. “And it’s going to impact our community as well. I think of other families who are probably in very similar situations as I am, and we kinda just sit back and wait for what’s going to happen.”

The worst didn’t happen—at least not last week. But while this battle may have been won, the war isn’t over yet. ehellerstein@indyweek.com INDYweek.com | 3.29.17 | 17

RECYCLE THIS PAPER

18 | 3.29.17 | INDYweek.com

T THE MOTHERSHIP HAS LANDED

AFTER EMPOWERING THEIR FOUNDERS, MAKERY AND MERCURY ALIGN TO ELEVATE THE EMPOWERMENT OF OTHERS

BY HANNAH PITSTICK

PHOTOS BY ALEX BOE R NE R

he Makery and Mercury Studio have long collaborated and shared a building on Geer Street, with the Makery selling local makers’ wares on one side and Mercury providing a homey coworking space on the other.

Now they’re making it official by merging the businesses into one, the Mothership (www.wearethemothership.com). The founding mothers—the Makery’s Krista Anne Nordgren and Mercury’s Katie DeConto and Megan Jones—aim to mindfully increase membership, foster more public engagement with the coworking community, and combine their strengths in a volatile development climate.

The business owners had long considered merging, but finally decided to do so when faced with an impending move.

When they signed a two-year lease with developer Alex Washburn, who helped them upfit the garage space near Motorco, they knew they would likely have to leave at the end, with plans to redevelop the building already in place.

Now that date is coming, with the lease ending in July and six months rolling notice after that. It will be the second time Mercury Studio has moved after leaving its original North Mangum Street location in 2014, when it came under new ownership.

“Now we’re figuring out how we can get in a position to really put roots down and make a home for what we’re offering,” Jones says. “And the merger is a way for us to establish a stronger foundation and get that set before we move.”

DeConto says it was initially hard to think about letting go of their individual brands, but the more they talked about it, the more they realized it made sense for the two to become one.

“Now more than ever it feels really important that we be successful because of the things we stand for,” DeConto says. “If we went out of business tomorrow, I could deal with that on a personal level. I’d find another job. But I wouldn’t be able to deal with the failure of those values.”

Those values, best summarized as “radical acceptance,” are stamped out in the Mothership’s mission statement, which says in part, “We want to live in Megan Jones, Krista Anne Nordgren, and Katie DeConto at the Mothership reveal party INDYweek.com | 3.29.17 | 19

Top: The Mothership reveals its new logo.

Bottom: Local-maker retail space The Makery will be absorbed in the Mothership. a world where anyone with an idea meant to improve the world can find a place where they are welcomed, heard, supported, and cheered, and where both their successes and their failures are met with congratulations. …

We refuse to accept a world where the worth of an idea, a business, or a person is calculated based on scalability and profit potential.”

The Mothership’s new branding is inspired by retro-futuristic feminism. It features a spotted sphinx woman sitting atop a UFO and a series of “alien mothers”—women from 1950s advertisements crossed with extraterrestrial creatures.

“We really like the aesthetics from the Mad Men era of advertising, and we wanted to reclaim that and use it in a dif20 | 3.29.17 | INDYweek.com

ferent way because that was an era when women weren’t particularly empowered,” DeConto says.

T

he Makery and Mercury Studio were both founded by women operating from a place of daring vulnerability. At a private brand-reveal party for the Mothership recently, Nordgren looked back on how her inexperience proved an unlikely asset when she founded the Makery in 2012.

“I was so naive then, but part of being naive is you are also really brave, because you don’t know what you don’t know yet,” she says.

“Even though it’s really embarrassing, I look at it as this very precious time, and that naiveté is something I hope to cultivate and carry

forward.”

Nordgren was inspired to start a business in college after meeting founders of successful start-ups in California at a holiday party and realizing they weren’t above and beyond her.

“I thought they were going to be crazy superheroes, but they were just regularass humans,” she recalls. “It was inspiring because the only difference between them and me is that they were doing it—and also an engineering degree.” When she returned from that trip, she sat down with her sisters and came up with the idea for the Makery.

DeConto conceived of Mercury Studio while working at an office job she didn’t like.

She wanted to quit and work from home, but she knew she would miss the office atmosphere, so coworking seemed like the answer—except she didn’t want to start a space on her own. When Megan Jones emailed her saying she had a similar desire, the pair immediately jumped into action.

“Coming out of that job, I didn’t feel very valued or respected,” DeConto says. “I came out with a lot of insecurities about my professional abilities—and throw into that being young and a small woman. I just had a hard time believing I could do anything, and I wouldn’t have if it hadn’t been for Megan and if I didn’t have other people to be accountable to.”

The Mothership offers a few different types of membership. Makers can apply to join the store, which advertises itself as both a place to sell your stuff and a laboratory to grow your business. People interested in a coworking membership can choose among seven options ranging from a cafe membership, which allows use of the common areas, to a private office or studio.

At the party, members share similar notes of appreciation for having a community to support them as they pursue whatever their dreams might be. Former INDY photographer Justin Cook recalls walking into Mercury Studio for the first time and sensing that it was a place where he could produce his most uninhibited work.

“I came down and was like, ‘Whoa, it’s kind of messy and rough around the edges,’ and it felt like this creative womb, which is appropriate for the rebrand,” he says. “I was kind of in love with it off the bat.”

For him, the defining moment came when he was working on a documentary photography project that began to gain local and national attention. He decided to sell it in the form of a zine at the Makery, which he thought would reach the kind of locally focused audience he wanted.

“I will never forget how y’all took a little business card and wrote, ‘Made in Durham, staff pick, $15,’” he says with a laugh. “That’s

THE WOMEN LEADING DURHAM’S SUSTAINABLE COMMERCE MOVEMENT POP UP AT LIBERATION THREADS The Makery is a fine showroom for local makers and designers—an Etsy in real space and time. Many people whose work can be found there will be at Liberation Threads, the four-month-old fair-trade women’s fashion boutique in downtown Durham, for the Eco-Style Pop-Up this weekend. Reid Miller Apparel, Don’t Waste Durham, River Takada-Capel (whose indigo-dyed kimonos were featured in the INDY’s Style Issue alongside Liberation Threads last year), and others will be on hand to discuss ethical, sustainable commerce—and, of course, to sell stuff, from eco-friendly soaps to upcycled threads. Though not connected to the Makery, the event’s emphasis of female entrepreneurship strikes the same stylish chord. “Amidst the buzz of Durham’s continued reach for ‘big city’ status, there is a growing movement of sustainability-focused and social-justice-minded women who are building mission-driven businesses and making positive change within the community,” says the press release for the pop-up, which runs through April 9 after this Saturday afternoon launch party. (April 1, 1–4 p.m., Liberation Threads, 405-A East Chapel Hill Street, Durham, www. liberationthreads.com) —Brian Howe

why, if I win a Pulitzer, it wouldn’t matter, because I was staff pick at Mercury Studio, which is worth more than anything.”

The Mothership currently has about sixty coworking members, with a capacity for one hundred, but it’s selling more than space—it’s an idea of community that sticks together as the city rearranges around it.

“It feels so amazing to monetarily support your friends being awesome,” says Mailande Moran, a member. “I paid my membership, and I was like, ‘Yes, take my money!’” arts@indyweek.com

indyfood

THE SEARCH FOR GENERAL TSO

Thursday, March 30, 7 p.m., free FedEx Global Education Center, Chapel Hill www.culnatasia.web.unc.edu

Who Is General Tso? AMERICA INVENTS ITS OWN CHINESE FOOD IN AN ACCLAIMED DOCUMENTARY SCREENING AT UNC

BY MACKENZIE KWOK For filmmaker Ian Cheney, food is “a way to gather people around a table to talk about the ongoing interminglings of our cultures around the world.” His acclaimed documentary film, The Search for General Tso, explores the melding of American and Chinese food traditions through a global search for the origins of America’s beloved dish. It turns out there was a real General Tso, or Zuo Zongtang, who led the Qing Dynasty Army during the Taiping Rebellion. But Cheney is less interested in this than in raising questions about authenticity, exchange, and the idea of culinary nationalism—national identity as expressed through food and human behavior. We spoke with Cheney in advance of the film’s screening at UNC’s Culinary Nationalism in Asia conference on March 30.

INDY: What prompted you to set off on this investigation of General Tso’s chicken?

IAN CHENEY: The film project arose from a very mundane question, really. It was on a cross-country trip probably a dozen years ago when a friend and I were eating our college favorite, General Tso’s chicken, in a small town in Eastern Ohio. There was just something about this little outpost with red booths and neon lights in a town that didn’t have much else going on. It made us wonder: How did this family running this restaurant come here? And who the heck was General Tso? So that launched the idea of making a film where we explored the phenomenon of Chinese food in America. A couple years later we teamed up with Jennifer 8. Lee, who had written a book on the topic and did a ton of amazing research.

What message do you hope this film will convey to American eaters?

There is a story and history behind everything we eat, and sometimes even the simplest foods that we take for granted can yield interesting and important insights into our country’s history and immigration

tic and therefore what is good, and I’m inclined to be a little more inclusive.

Sure, General Tso’s chicken does not resemble what you might be served in a small town in China, but that doesn’t mean that it’s not interesting or that it might not have a kind of authenticity of its own.

How does The Search for General Tso fit into the conversation of Asian culinary nationalism rather than American culinary nationalism?

The Search for General Tso COURTESY OF WICKED DELICATE FILMS I haven’t been able to attend any of the screenings of the film in Asia, so I don’t have a great read on of many people. The film is also a celebrahow people in Taipei, for example, might tion of American Chinese food. As much as have received what Chef Peng, the Taiwanwe may raise our eyebrows at the “authenese creator of General Tso’s chicken, says ticity” of a dish like General Tso’s chicken at the end of the film. Chef Peng gets at this or many of the dishes that are served in sense of what happens when food changes as mom-and-pop American Chinese restauit moves around the world. rants, you could argue that it’s become kind On the one hand, there’s something of a cuisine unto itself. gained when you make something new The flip side is that, even as we celebrate that did not exist before American Chinese quirky dishes like General Tso’s chicken, food, but something can be lost. And I think American consumers will become even Chef Peng is really speaking as a chef there, more curious about Chinese food as it’s preand wishing for a world in which Ameripared in China. I’m hopeful that the kind of cans wouldn’t adapt a foreign cuisine to restaurants that you see popping up in larger fit their culture and twist it in new ways American cities where they’re serving food to make sense in their restaurants and in from more diverse Chinese regions will start their landscapes. Instead, he wishes folks to take hold in a larger form across the rest of accept Chinese food for what it is and leave the country. it unchanged. I’ve only eaten Chinese food in a handful of other countries, like Italy or So how should we be approaching Poland, or France, but in all instances, it’s Chinese food in America, given what something entirely different. you’ve researched?

In other words, the idea that any food can The film is somewhat unabashedly a celtravel to a new land and remain somehow ebration of this weird phenomenon that is unchanged is probably unrealistic.

American Chinese food. Sometimes this food@indyweek.com becomes a debate over what is authen-

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From the Vaults JAKE XERXES FUSSELL UNEARTHS MORE HIDDEN GEMS OF FOLK MUSIC ON HIS EXCELLENT NEW ALBUM

BY JIM ALLEN

“I

f a song is strong, it’s gonna last a long time,” says Jake Xerxes Fussell. He should know. Fussell is a folksinger—not just a ballad crooner with an acoustic guitar, but a sincere champion of traditionally rooted tunes. Fussell, who hails from Columbus, Georgia, but makes his home these days in Durham, comes by his calling honestly. His father, Fred Fussell, is a folklorist who's been documenting traditional songs for decades, and Jake grew up surrounded not only by recordings of that music but also the musicians themselves. It couldn't help but rub off.

Fussell's own take on traditional music manages to mix in everything from preWorld War II jazz tunes to early country singer-songwriters and centuries-old ballads. He's got a knack for digging into the deep well of American roots music history and coming up with something he can add his own spin to, while maintaining a distinct reverence for the source material.

On What in the Natural World, his second album for Carrboro's Paradise of Bachelors label, he finds a fundamental connection with songs from a broad spectrum of sources.

We asked Fussell—who’s recently been busy doing some opening slots for Wilco— to talk about the sources and stories behind each of the tracks on the album, giving us a glimpse into his big bag of songs.

“JUMP FOR JOY” I just learned it straight from a Duke Ellington record from the early forties, with a woman [Ivie Anderson] singing the lead vocal. Not long after I moved to North Carolina, I started playing that song. I just naturally gravitated to it. Even though there’s a full orchestra arrangement on that Duke Ellington recording, I knew that I could try to work up my own little version on the guitar. It’s got some interesting imagery in it; it’s simultaneously evocative and pretty myste-

32 | 3.29.17 | INDYweek.com

rious. I tend to appreciate that in songs—I like an element of mystery in there.

“HAVE YOU EVER SEEN PEACHES GROWING ON A SWEET POTATO VINE?” That one I knew from a recording of this guy Jimmy Lee Williams from Poulan, Georgia, by my friend George Mitchell, who is a folklorist and a blues documentarian.

George and my parents are good friends; I grew up knowing George and was interested in a lot of the music he recorded. I really liked that song as soon as I heard it.

Some of these songs conjure up some specific landscape images—that’s a song from Georgia, and you think about Georgia and peaches. Of course, they grow sweet potatoes in Georgia too. There’s something kind of nonsensical in there that I appreciate as well, and there’s clearly something sexual going on at some level, or at least sensual.

“PINNACLE MOUNTAIN SILVER MINE” I just heard it from this one recording of a woman named Helen Cockram, who was from Hillsville, Virginia. She recorded that song with her bluegrass group The Highlanders in the early eighties. It’s on a compilation of native Virginia ballads. I think she wrote it—there might be some elements in there that are traditional, but I’m pretty sure she was the composer of that song. It’s really beautiful.

“FURNITURE MAN” I started playing that when I was nineteen or twenty years old. I don’t know why I didn’t put it on my first record. I learned that from a recording from 1930 by this guy Lil McClintock, who was from, I think, Clinton, South Carolina. That version sort of stands on its own, but there are other “Furniture Man” songs out there. When I was growing up, I knew these guys, Doug Booth and Joe Berry, and they used to play a version of the song “Cocaine Blues” that

JAKE XERXES FUSSELL Friday, March 31, 8 p.m., $10 Nightlight, Chapel Hill www.nightlightclub.com

some rockabilly records back in the fifties.

That’s one of the fun things about doing this—a lot of these songs, they go through so many different channels at different times that, when they get to you, it’s hard to say what type of song they are. But that one was really beautiful, I really loved the story there, and the imagery. And I’ve never done too much Southwestern music before, so I thought that might be interesting.

had a verse about the furniture man. It was part of a family of songs, I think. There’s sort of a defiant quality in that song too, a song about being dispossessed.

“BELLS OF RHYMNEY” That one, I first heard from Pete Seeger’s recording. Somebody started saying, “Oh, I really like that Byrds song,” and I didn’t know the Byrds had done it. And I didn’t know much about the history of the song—I thought it might have been a Dylan Thomas poem or something. But since then I’ve been learning more about the history of the song that I hadn’t known about. [Welsh poet Idris Davies] adapted some of that imagery from older children’s songs, from what I understand, so he was kind of a people’s poet. I didn’t know much about that landscape, about Wales. I didn’t know who wrote it, I just started playing it blindly without much idea about the context. I did find out a little more about the poet and where he came from.

“ST. BRENDAN'S ISLE” That’s another narrative song. Jimmy Driftwood wrote that. I already knew a few Jimmy Driftwood songs just because they’re famous, like “Battle of New Orleans,” which Johnny Horton recorded, and “Tennessee Stud,” which a lot of people recorded, including Doc Watson. I didn’t know a ton of his other songs, and then I started listening to his records from the early sixties and I thought, “Oh, god, there’s so much more going on here.” I heard that one and I thought it might be something I would like to sing. I was attracted to the story. He’s sort of imitating Irish folk music, so it’s like a faux Irish song. There’s sort of a big, colossal mythical element in there, too, that’s kind of fun. It’s funny because not a whole lot of Americans know that song—it seems like more Irish people covered that song.

“BILLY BUTTON” “Billy Button” I learned from my friend Art Rosenbaum, who is a painter and great musician, and also folk music field recordist in Athens, Georgia. Art’s been making field recordings of folk music all over America since the mid-fifties. There’s a woman named Mary Ruth Moore, who works in the art department at the University of Georgia—she knew some older songs from her father in North Georgia who would sit around the house and sing songs. That was one of them. There’s a lot of nonsensical stuff going on in there, kind of comedic imagery. I think some of that comes from nineteenth-century minstrel show stuff. I went back and found different versions of it in songbooks, but I’ve never heard too many recordings of anybody doing it. That’s just a really unusual sort of absurdist song.

“CANYONEERS” I first heard that on a Folkways LP [Folk Songs of the Colorado River] by this woman named Katie Lee, and I thought it was beautiful. The chord progression was really unusual, kind of unsettling to me. In her liner notes, she said the song was written by a guy named Loy Clingman. He’d written some things for Lee Hazlewood, but he was more like a honky-tonker, he made

Jake Xerxes Fussell, brushing up on old songs PHOTO BY BRAD BUNYEA

“LOWE BONNIE” I got it from Jimmy Tarlton. I didn’t learn it from him directly—I never met him—but he was from Phenix City, Alabama, which is right across the river from where I’m from.

He recorded that song around 1930, I think.

He was part of the duo Darby and Tarlton, they were country music pioneers back in the twenties. That’s from a family of songs called “Henry Lee” or “Loving Henry Lee,” some of those jealous murder ballads from long ago, probably the eighteenth century if not older, I think. There’s a million versions of that out there. Dick Justice’s version is the first track on Harry Smith’s Anthology [of American Folk Music], Bob Dylan did a version of “Henry Lee” on his World Gone Wrong record, but that one is unusual.

It’s a creepy-ass song, really. It’s got some powerful stuff going on. I didn’t know if I wanted to put something that dark on this record, but then there was something too good about that one. music@indyweek.com INDYweek.com | 3.29.17 | 33

34 | 3.29.17 | INDYweek.com

music

SOUNDS OF KOLACHI

Friday, March 31, 8 p.m., $10–$20 UNC’s Memorial Hall, Chapel Hill www.carolinaperformingarts.org

All the World’s a Stage

TRAVEL RESTRICTIONS CREATE NEW HEADACHES FOR FOREIGN ARTISTS, U.S. PRESENTERS, AND ORGANIZATIONS LIKE CENTER STAGE

BY ALLISON HUSSEY Sounds of Kolachi PHOTO COURTESY OF CAROLINA PERFORMING ARTS One summer evening at Motorco in 2014, what seemed like a typical midlevel rock show had actually come about through exceptional efforts. The headlining act was Poor Rich Boy, a Pakistani ensemble on its first U.S. tour. The tour was made possible

by Center Stage, a program funded through the State Department’s Bureau of Educational and Cultural Affairs. It helps international artists untangle the web of financial and logistical barriers they must face to tour in the States.

Center Stage is still humming along, and two Pakistani artists in its current season are scheduled to stop in Chapel Hill in the coming weeks: the folk-rock band Sounds of Kolachi, which performs at Memorial Hall this weekend, and Sanam Marvi, who arrives in mid-April.

But the national political climate has changed considerably since Center Stage artists last appeared here. The Trump administration has been aggressively attempting to block citizens of Libya, Iran, Syria, Sudan, Yemen, and Somalia from entering the U.S., and organizations like Center Stage, as well

as regional arts presenters, now face thorny new challenges.

The process for an international artist to gain approval to tour the United States is just short of nightmarish. Even when they spend weeks making sure they have their paperwork in order, it doesn’t guarantee them entry.

“There’s a very involved visa process for international artists coming to the U.S. that is costly, time-consuming, and, at times, capricious,” says Aaron Greenwald, the director of Duke Performances, who worked with Center Stage, in its first Triangle venture, to bring Poor Rich Boy to Music in the Gardens in 2014. “It was complex enough when the former administration was in the White House, and there was not a concerted focus on visitors from majority-Muslim countries.”

Center Stage minimizes those hurdles, removing paperwork roadblocks, securing visas, arranging housing and transportation, developing marketing materials, and setting up per diem funds. This year’s artists hail from Algeria, Tanzania, and Pakistan. But the organization can afford to help only a handful,

leaving many others on their own.

Emil Kang, director of Carolina Performing Arts, accompanied Center Stage representatives on a planning trip to Pakistan in late 2015. Center Stage was developing the programming for its current season, while Kang was assembling the CPA series Sacred/Secular: A Sufi Journey, which is ongoing. It highlights the cultural impact of Islam on Muslim-majority countries outside of the Middle East, challenging preconceived notions about the religion— a mission that aligns with Center Stage’s push for global understanding.

“If nothing else, I’m hoping that we can support this understanding that Islam exists in many ways, primarily outside of the Arab world,” Kang says. The Muslim-majority Pakistan has been excluded from both attempted travel bans, and Sounds of Kolachi’s visas have already been secured, so the band is clear of any immediate border trouble. But both Kang and Greenwald are concerned about the message the bans send to all international artists, even those whose home countries are not blacklisted.

“The more that the federal government increases the degree of difficulty for organizations to present international artists, the fewer that will,” Greenwald says. Kang, meanwhile, says he’s heard from many international artists who are concerned that presenters won’t even bother trying to book them due to the difficulty of the process.

Ultimately, the potential effect of such restrictions on performing arts institutions can’t be measured in empty seats, lost ticket sales, or ruined travel plans. What’s on the line is a vibrant exchange of ideas that transcends political or military interests. It’s not just audiences’ loss. Artists denied the opportunity to tour the U.S. lose worthwhile opportunities, too, as Kang points out. When the musicians of Sounds of Kolachi visit UNC classes on this trip, they’re likely to discover as much about American students as the students learn about Pakistani musicians.

“Our mantra has always been, ‘We bring the world to Chapel Hill,’” Kang says of Carolina Performing Arts. “Being an institution of higher education and actually having our communities with people from other worlds hopefully breeds greater understanding and curiosity and interest in these places and environments.”

In uncertain times, Center Stage isn’t shying from efforts to further cultural diplomacy. It’s already working on booking artists from Egypt and Ukraine for its next season.

“We are not backing away from bringing artists, including artists from countries that are Muslim majority, to the U.S. In fact, we think that to combat conflict and build connections, those relationships are more important than ever,” says Cathy Edwards, director of the New England Foundation for the Arts, which helps facilitate Center Stage’s programming.

Center Stage is currently operating in a “wait and see mode,” Edwards says. But, with no changes to its funding yet, she remains cautiously optimistic about the program’s prospects.

“Paradoxically, it’s often businesspeople and even military people who know firsthand, because of their international work, how important person-to-person connections are,” she explains. “You can’t do business or be involved in military actions unless you have real relationships with people to build on.” ahussey@indyweek.com INDYweek.com | 3.29.17 | 35

indyart

L.O.G.: DEADPAN

Through Saturday, April 1 Lump, Raleigh www.teamlump.org

How Green Was My Gallery

ind

L.O.G., LOCAL ART’S BEST-KEPT SECRET, STEALS OUT OF THE WOODS FOR A SOJOURN IN THE CITY

BY NOAH RAWLINGS

Y

ou don’t expect your foot to sink through the floor when you walk into an art gallery. Yet this is exactly what happened when Maria Britton surveyed the space where she and April Childers would mount their fledgling gallery’s first exhibit in 2015. The old shack, tucked away in the woods of Chapel Hill, was dubbed the Sugar Shack, but it soon became clear that having a roomful of people looking at art there might result in collapsed floors, injuries, lawsuits, and other unsweet stuff.

The solution was making the Sugar Shack a “low-occupancy gallery,” or L.O.G. The experience went something like this: You sat around a campfire at night, surrounded by trees and a handful of people, cheerily eating and drinking. Someone would emerge from a nearby shack, meaning it was your turn.

Alone, you ascended some steps and went inside, where a chunky, supersize foam hat dangled from the ceiling, a green light inside it glowing on the wooden floorboards. Next to the hat were three floral bedsheets, sewn together and hung like curtains, the folds and pleats delicately mirroring those of flowers. You would linger until you felt satisfied, or perhaps transformed, and then leave to make room for the next solitary viewer.

The practical advantage of this almost surreal setup—namely, the avoidance of grievous bodily harm—happened to fit perfectly with Childers and Britton’s curatorial ethos, which is marked by a playful, experimental spirit and shaped by their experiences in the New York art world.

After four shows, the Sugar Shack closed last summer when Britton and Childers moved off the property where it resided.

But, under the flag of L.O.G, they continue to bring their unique curatorial sensibilities elsewhere. Deadpan, L.O.G.’s second in a series of curated shows at Lump gallery, where it is undergoing a long-term residency, closes this weekend. A third is planned 36 | 3.29.17 | INDYweek.com

In this way, Childers and Britton replicate the Sugar Shack’s particular intimacy at Lump while also subverting the traditional gallery mode of brightly lit white walls—the kinds of conventions Britton and Childers wearied of in New York, where their art story, like so many, began.

W

The first installation at the Sugar Shack Maria Britton and April Childers for May. Meanwhile, Britton and Childers are keeping an eye out for a space to replace the Sugar Shack—ideally outdoors.

Despite being in a more traditional urban gallery, and without the low-occupancy restrictions imposed by the Sugar Shack’s dilapidated floorboards, Deadpan reflects Childers and Britton’s distinct style of displaying works. It features only three pieces—Kerry Law's painting, Alex O'Neal's mixed-media piece, and Kirsten Stoltmann's sculpture—in a dimly lit, blackwalled room. One’s gaze is forcibly directed by three beams of light cutting through the darkness, which fall directly upon the three artworks. In fact, they’re pretty much the only things you can see.

hen Britton and Childers each moved to New York around 2010, they were doing what any sensible, career-minded artist should do. It wasn’t until they returned to the South in 2015 that they embarked on their more oblique but arguably more interesting current path.

In the art world, all roads lead to New York—at least, that’s what many artists are compelled to feel, encouraged by the New York cognoscenti. Being in NYC brings inherent benefits and disadvantages, closely entwined.

Every night there is an opening (2015) by to attend, a retrospective to see.

You are surrounded not only by thousands of other artists, but also by people who follow art without making it, much rarer in other parts of the country.

These advantages compelled Britton and Childers—each having finished an MFA (Britton from UNC-Chapel Hill, Childers from the University of Southern Florida) and worked a string of odd jobs—to move to New York, where they met in 2013, when each rented a studio space in the same building.

They soon began collaborating and curating together in Brooklyn, Queens, and Manhattan, and their efforts culminated in the curation of a show at the Brooklyn Academy of Music.

A BAM booking is certainly a mark of achievement, but Britton and Childers were left unsatisfied. “It was a great opportunity, it

was a good show, but I think it made us want to have more control over every aspect of having shows,” Britton says.

“Working with a bigger institution … there were a lot of differences of opinion,” Childers adds.

When the show ended, they decided that their time in New York had likewise ended.

They were frustrated by the lack of autonomy and the frenzied pace. So, in 2015, the two parted ways and headed back south— Britton to Chapel Hill and Childers to her idyllic-sounding hometown of Strawberry Fields, Tennessee.

In Chapel Hill, Britton, who was renting a room in a house, began eyeing an old shack on the wooded property. “I thought, there’s something we have to do there,” she says. She

BY B reached out to Childers to ask if she wanted to help realize the vision of the Sugar Shack.

“I was like, ‘We have a room available, what the hell are you doing at your mom’s house?’’’Ron Lee M she recalls.

Childers took Britton up on the offer, andAttempts the two rapidly began formulating ideas forbegin with not just a show at the shack but also the ongo-they start ing dynamic art gallery that would become Millenn known as L.O.G. Its continuing goal is to pro-phonogra vide an inviting, holistic art-viewing expe-series of rience—to create spaces and events that,record of Britton says, “cater more to the viewer’s expe-Written la rience of engaging with the world.” preserve This notion was embodied in L.O.G’s ini-sense of p tial shows in the evocative, palpable spacefrom othe of the forest-enclosed Sugar Shack, a settingaccident that blended the experience of art with thevoice” wh experience of nature, which the pair hopes tocaptures i get back to in their next space.

The tri “People are turned off by galleries, andMundane feel a little isolated,” Britton says. She andlies in a s Childers believe that an outdoor gallery canso clearly be more welcoming. Still, they’re not mov-Percy Ne ing ahead frantically to start their Next Bigaging sing Thing—they learned that lesson in New York.cleaner b “This feeds our own studio practice, ourof his bes own art, and we have to keep that going andrepair sho not exhaust ourselves,” Britton says. hear the arts@indyweek.comturn son,

H

HOW DUR

indystage

THE MIRACULOUS AND THE MUNDANE HHHH Through Saturday, April 1 Manbites Dog Theater, Durham www.manbitesdogtheater.org

High Fidelity

HOWARD L. CRAFT SETS A SENSITIVE, AUTHENTIC FAMILY DRAMA IN DURHAM IN THE MIRACULOUS AND THE MUNDANE

BY BYRON WOODS Ron Lee McGill and Trevor Johnson in The Miraculous and the Mundane Attempts to record the human voice didn’t begin with RCA Victor and Edison. Instead, they started with the alphabet.

Millennia before the wax cylinder and the phonograph, forgotten artisans fashioned a series of visual symbols to make a lasting record of spoken sounds, and then, words.

Written language developed the capacity to preserve and transmit the sounds and the sense of people, unmet and unremembered, from other cultures, lands, and times. It’s no accident that we still refer to “the writer’s voice” when celebrating a literary work that captures it with fidelity.

The triumph of The Miraculous and the Mundane, Howard L. Craft’s new drama, lies in a script that records so many voices so clearly: the no-nonsense critical cant of Percy Nelson, a Vietnam veteran and an aging single parent who owns a Durham dry cleaner business, and the downhome gibes of his best friend, Bone, who has an autorepair shop down the way. In time, we also hear the tense admissions of Percy’s taciturn son, Junior, a Durham police officer,

INDY Week’s Guide to Dining in the Triangle

PHOTO BY ED HUNT

and the taut revelations of his struggling daughter, Chloe.

Even if Craft’s characters didn’t namecheck a familiar restaurant and neighborhoods in the Bull City, they’d still be overtly local voices, unapologetically Southern in their preferences and idioms.

After spitting out a mouthful of unsweetened tea, Percy chides Junior, “If it don’t taste like diabetes in the first sip, it ain’t right!” When Bone’s shop is broken into, he broods, “Somebody know who got my shit.

Durham is small like that. Somebody got damn know.”

In turn, the success of this premiere workshop production at Manbites Dog Theater rises from a quartet of actors and a director that know and respect the rhythms of such voices, in conflict and at play. Under Joseph Megel’s direction, there’s solid chemistry between actor Irving W. Truitt Jr. as Bone and the seldom-seen Trevor Johnson as Percy—two aging men squabbling over the day’s discontents.

Lakeisha Coffey captures the tensions in

a daughter who suspects her father is exhibiting early symptoms of Alzheimer’s disease while grappling with a failing marriage.

But after two weeks’ preparation for this workshop production, Ron Lee McGill is still assaying the pressures surrounding his tightly wound character, Junior.

Though some scenes seem too brief or artificially extended to work theatrically, Craft resists many of the temptations of scripts that follow a medically induced story arc. Each character also faces other challenges, none of which are held too conveniently in abeyance when Percy’s condition slips.

Throughout this promising work, the clear voices of four people—on the printed page and in these vivid performances—reinforce the palpable sense of family that we witness.

Miraculous? Not quite, not yet; there’s more fine-tuning to be done. But, trust me, what’s here right now is anything but mundane. bwoods@indyweek.com

Deadline to reserve ads:

APRIL 5TH, 2017 On streets:

MAY 10, 2017

INDYweek.com | 3.29.17 | 37

3.29–4.5

WHAT TO DO THIS WEEK

Six Organs of Admittance’s Ben Chasny PHOTO

MUSIC

COURTESY OF THE BILLIONS CORPORATION

SATURDAY, APRIL 1

BRICKSIDE FESTIVAL

Before Art of Cool kicks music-festival season into high gear in a few weeks, Duke Coffeehouse’s annual Brickside Festival offers a full day warm-up with a wide-ranging swath of music. Early in the day, the lineup skips around from the grimy rock flailings of Paint Fumes to the heady electronica of Via App; the intricate acoustic guitar wonders of Sarah Louise yield to the slow, pummeling blows of metal trio MAKE. There’s noise from Just the Right Height, a heavy metal reprisal with Ævangelist, and Open Mike Eagle’s dense, easygoing hip-hop, and it all closes with a dance party led by beatbox and looping wizard Shlomo. Brickside might technically be the product of a Duke student-run organization, but this eclectic, exciting bill is open to all, even UNC fans. —Allison Hussey DUKE COFFEEHOUSE, DURHAM 2 p.m., $15–$20, www.dukecoffeehouse.org

MUSIC

THURSDAY, MARCH 30

SIX ORGANS OF ADMITTANCE

For his last two records as Six Organs of Admittance, 2015’s Hexadic and Hexadic II, guitarist Ben Chasny developed a methodological approach to playing his instrument, helping him transcend self-imposed constraints he’d learned in years of playing. Chasny’s latest LP, Burning the Threshold, released on Drag City in February, doesn’t have its own specific mission statement, but it’s no less marvelous. There, he offers understated, detailed songs, most of which are acoustic—but even when a synth and drums come in on “Taken by Ascent,” they work to highlight Chasny’s bewitching playing rather than obscure it. Nathan Bowles opens, plus a one-off duo of Tashi Dorji and Frank Meadows.

—Allison Hussey KINGS, RALEIGH 8 p.m., $10–$12, www.kingsraleigh.com

ART

FRIDAY, MARCH 31 & SATURDAY, APRIL 1

IGNITE CREATIVITY SUMMIT

Since 1980, Raleigh’s Visual Art Exchange has provided gallery and work space, education, and a community hub for local artists both established and emerging. Its mission to incubate creativity is focused in its annual Ignite summits, which bring artists together and encourage them to think big. With “equity” as this year’s watchword, the summit emphasizes ways that creativity can link up with socialjustice goals to foster a more inclusive world. Friday night features a cocktail reception and, at seven, a free, public keynote address by Imani Jacqueline Brown, discussing her work with Blights Out (NOLA), which unites artists, architects, and activists to revitalize neglected neighborhoods. The main event, all day Saturday, includes a live recording of the local visual-art podcast Don’t You Lie to Me, the surreal delights of Paperhand Puppet Intervention, panels, creative problem-solving, and a concluding happyhour event at Whiskey Kitchen. —David Klein VISUAL ART EXCHANGE, RALEIGH Various times, $35–$50, www.vaeraleigh.com

38 | 3.29.17 | INDYweek.com

STAGE

FRIDAY, MARCH 31–THURSDAY, APRIL 6

SEVEN: A DOCUMENTARY PLAY

“I did not know that I had been taught nothing about the world,” says activist Mukhtar Mai, recalling her childhood in Pakistan. Then she corrects herself. “I was taught something—all girls were; I was taught silence, I was taught fear. … But time caught me, it gave me a lesson.” In Seven: A Documentary Play, playwrights interviewed her and six other activists, from Russia, Cambodia, Guatemala, Afghanistan, Nigeria, and Northern Ireland, about their efforts to elevate the condition of women in their parts of the world. Sean Wellington directs this first outing from Sotto Voce Theatre in Durham and Raleigh this week. The staged reading’s cast includes Hazel Edmond, Ra’chel Fowler, and Julya Mirro.

—Byron Woods LIVING ARTS COLLECTIVE, DURHAM 7:30 p.m. Fri.–Sun., $12–$15, www.livingartscollective.com

23rd Biannual

Carrboro

CD & record ShOw Sunday, April 2nd • Noon - 6 pm

Carrboro Century Center: Century Hall (2nd floor) 100 North Greensboro St. (intersection of Greensboro Street with Main & Weaver Streets.)

40 tables of new & used CDs, vinyl records and music memorabilia!!!

FREE ADMISSION

For info: 919.260.0661 or gerrycw51@gmail.com

SONOROUS ROAD THEATRE, RALEIGH 7:30 p.m. Tues.–Thurs., $12–$15, www.sonorousroadtheatre.com

STAGE

THURSDAY, MARCH 30

AQUILA THEATRE: THE TROJAN WAR

New York’s Aquila Theatre has attempted to bridge ancient and contemporary wars in a series of projects over the past two decades. In 1999, its take on the Trojan War placed it on the beaches of Normandy during World War II. Subsequent stagings of the first book of the Iliad and A Female Philoctetes sought to connect the words of Homer and Sophocles to the war narratives of modern-day veterans. At N.C. State on Thursday, The Trojan War goes even further. It incorporates a “warrior chorus” of real-life combat veterans into what should be a more authentic staging than most, interrogating the facts of battle and the nature of democracy. —Byron Woods STEWART THEATRE, RALEIGH | 8 p.m., $6–$30, www.live.arts.ncsu.edu

Aquila Theatre: Our Trojan War

PHOTO COURTESY OF NC STATE LIVE

WHAT ELSE SHOULD I DO?

ARNOLD DREYBLATT AT KINGS (P. 43), ECO-STYLE POP-UP AT LIBERATION THREADS (P. 20), JAKE XERXES FUSSELL AT NIGHTLIGHT (P. 32), KILLING THE BLACK SNAKE AT THE PINHOOK (P. 48), LAMBCHOP AT CAT’S CRADLE (P. 41), L.O.G. AT LUMP (P. 36), MATERIA AT VARIOUS VENUES (P. 44), THE MIRACULOUS AND THE MUNDANE AT MANBITES DOG THEATER (P. 37), REVIVAL AT WARD THEATRE (P. 47), THE SEARCH FOR GENERAL TSO AT UNC (P. 21), SOUNDS OF KOLACHI AT UNC’S MEMORIAL HALL (P. 35), JESSAMYN STANLEY AT MOTORCO (P. 48) INDYweek.com | 3.29.17 | 39

3/29 COREY SMITH W/ JACOB POWELL ($20)

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PREMIERE OF 'THANK YOU FRIENDS, BIG STAR’S THIRD LIVE… AND MORE' W/ LIVE PANEL

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

**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 40 | 3.29.17 | INDYweek.com

3.29– 4.5

FOR OUR COMPLETE COMMUNITY CALENDAR

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CONTRIBUTORS: Amanda Black (AB), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Spencer Griffith (SG), Allison Hussey (AH), David Klein (DK), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

LAMBCHOP

MARY CHAPIN CARPENTER AND INDIGO GIRLS AMY RAY SOLD & EMILY SALIERS OUT 6/13 KALEO

5/13 GREG HUMPHREYS TRIO ($12/$15)

music

THE BULLPEN: Harvey Dalton Arnold Trio; 8:30 p.m., free. • CAT’S CRADLE: Corey Smith, Jacob Powell; 8 p.m., $20-$25. CAT’S CRADLE (BACK ROOM): Cherry Glazerr, LALA LALA, Ian Sweet; 8 p.m., $13$15. • THE CAVE: Floor Model: Sponge Bath; 9 p.m., $5. • KINGS: John 5 and the Creatures, Extinction Level Event; 8 p.m., $15. • LINCOLN THEATRE: Blue October, Matthew Mayfield; 8 p.m., $27. • LOCAL 506: Miles Nielsen & The Rusted Hearts; 9 p.m., $8. • MEYMANDI CONCERT HALL: Choral Concert: Raleigh Fine Arts; 7 p.m. • NEPTUNES PARLOUR: The Old Paints, Come Clean; 10 p.m., $5-$8. • NIGHTLIGHT: 919Noise Showcase; 8:30 p.m., $5. • THE PINHOOK: Treee City, Tide Eyes, Dildo of God; 9 p.m., $7. • POUR HOUSE: John Corabi; 9 p.m., $15-$20. • RUBY DELUXE: Bary Center, Kendall Cahan, Mall Prowler, Housefire, Chucha; 9 p.m.

THU, MAR 30

“Tomorrow Never Knows” in concert. Currently more rigorously spirited than actually compelling, Left on Franklin’s apparent thirst for crowd-pleasing stands the band in good stead. Little Bird and Micah Gaugh open. —TB [SLIM’S, $5/9 P.M.]

Local Band Local Beer: White Cascade WATERY Strip away some of RUSH the fuzz from My Bloody Valentine, and you’d probably get something remotely close to Raleigh’s White Cascade.

The trio of Matts (guitarist Guess, bassist Bush, drummer Robbins) deploys distended and distorted guitar jangle and washes of tape echo to create a droning dream pop. The precise math rock of Durham’s Maple Stave and the psychedelic post-punk of Raleigh’s Night Battles provide excellent counterpoints on this Local Band Local Beer bill. —PW [POUR HOUSE, $3–$5/9:30 P.M.]

Caleb Caudle

Los Redd

STRUM & Over six LPs, TWANG Winston-Salem’s Caleb Caudle has infused country twang with singer-songwriter ruminations and streaks of visceral Americana while sharing stages with folks like Jason Isbell and Margo Price. His most recent LP, Carolina Ghost, is his most pure-country-sounding effort yet, with pedal steel aplenty. The title track is both a road trip through the home state he recently returned to and a tribute to burgeoning love, and it moves along like the subtle thump of tires on highway asphalt. Kate Rhudy opens. —DK [THE PINHOOK, $7/8 P.M.]

EN Central American ESPAÑOL rock en español hits Durham courtesy of Los Redd, which started as a punk cover band in the early nineties. In the years since, the group has gained an international reputation as one of the main ambassadors of Salvadoran youth culture.

Winston-Salem’s Los Acoustic Guys open. —AB [MOTORCO, $12–$17/8 P.M.]

Left on Franklin HILL This Chapel PEOPLE Hill-based six-piece is equally capable of rendering tasteful ballads in the studio and forcefully administering their pleasingly ramshackle approach to rock classics like “Gloria” and

Kirk Ridge Band RETRO That’s Kimmie, not ROCK Kim, Wilson sounding like Wanda Jackson belting out an unholy union of rockabilly and doo-wop with the Kirk Ridge Band on the tune “Wop Doo.” When not with his band, guitarist Kirk Ridge hosts the weekly Pass the Hat radio show on Hillsborough’s WHUP 104.7 FM. Individually Twisted opens.

—GB [BLUE NOTE GRILL, FREE/7 P.M.]

The Suitcase Junket ONE MAN As Suitcase Junket’s BAND sole member, Matt Lorenz conjures swampy blues far more forceful than expected from one man’s collection of found instruments. Lorenz’s raw rasp blasts over distorted snarls of slide guitar and junkyard percussion, though he also sneaks delicate, sensitive songwriting into his instrumental roar. The Dupont Brothers open, plus Reese McHenry. —SG [CAT’S CRADLE, $10–$12/8 P.M.] ALSO ON THURSDAY THE CAVE: Real Dad, Discotono, DJ PlayPlay (Synth Set), Trandle; 9 p.m., $5. • DEEP SOUTH: Hank Murphy, Kid Politics; 8:30 p.m. • LINCOLN THEATRE: The Travelin’ McCourys, The Jeff Austin Band; 8:30 p.m., $16.

• LOCAL 506: Sam Burchfield, Grant Cowan; 9 p.m., $10-$12. • MEYMANDI CONCERT HALL: Choral Concert: Raleigh Fine Arts; 7 p.m. • NEPTUNES PARLOUR: Beauty World, First Persons; 10 p.m., $5. • SCHOOLKIDS RECORDS (RALEIGH): Gaffer Project, The Grandfather, No Devil Lived On; 7 p.m.

• THE STATION: Stuyedeyed, Drag Sounds; 8:30 p.m., $8-$10. • UNC’S HILL HALL: 360 Jazz Initiative; 7:30 p.m.

FRI, MAR 31 Benefit for Bill Ladd CANCER Bill Ladd has SUX endured chemo treatments and major surgery in recent months, but his overall prognosis looks good. The bands on tonight’s bill, including The Connells, The Roman Spring (an all-star grouping of Triangle-area stalwarts), and Arrow Beach have come together to help their friend pay some bills. —DK [CAT’S CRADLE, $10/8 P.M.]

Benefit for Southerners on New Ground SING A SONG

Southerners on New Ground describes

itself as a “regional queer liberation organization” and has fought for LGBTQ rights around these parts for several decades. This Appalachian Mountain Brewerysponsored benefit for the nonprofit features rapper Kaze, plus folk rock polymaths Hardworker and Evel Arc. —DS [THE STATION, $10/8:30 P.M.]

NITY CALENDAR

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The Flaming Lips

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DO YOU Amid the many oddiREALIZE? ties of recent times, perhaps none is more peculiar than the evolution of Oklahoma’s Flaming Lips from regionally based psych-rock freaks into nationally treasured family fare. Founded in 1983 as glam-addled juvenile jokesters with an avant-garde bent, Wayne Coyne and company discovered larger audiences and deeper emotional resonances beginning with 1999’s beloved mindfuck treatise The Soft Bulletin.

In subsequent years, the Lips have maintained their signature wit and weirdness, even turning an unlikely 2015 Miley Cyrus collaboration into a druggy fantasia. —EB [THE RITZ, $42–$96/8 P.M.]

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PHOTO BY ELISE TYLER

SUNDAY, APRIL 2

LAMBCHOP On last year’s FLOTUS, Lambchop’s Kurt Wagner made a sharp turn from his signature sound—an unclassifiable amalgam built from Nashville, indie rock, and other elements—and crossed into the realm of effects-laden, AutoTuned sounds associated with up-tothe-minute pop-song aesthetics. In doing so, Wagner seemed sure to test the devotion of the musical purists in his fan base. One morning a few months ago, when a d.j. on free-form heavyweight radio station WFMU named Mary Wing played the record’s opening track, “In Care of 8675309,” her response to my complimentary post on the station’s message board confirmed my suspicions.

“I love Lambchop,” she wrote. “But the auto-tuned voice is creeping me out. Why was this necessary? His voice is unique, why tamper with it so obviously to make it sound more “normal” or whatever he’s trying to achieve?” One Lambchop-loving listener added, “I’m dismayed. I tried to be open to it. But it’s just awful, to me.”

Wagner was already well versed in people’s antipathy toward Auto-Tune, and has admitted to having once felt that way himself when it first emerged as a tool to “fix” recorded vocals. But seeing the many creative uses to which it has been put in the ensuing decades, he set out to play with the sound of his voice. In September, ahead of the release of FLOTUS, Wagner wasn’t worried about whether the new

direction might lose him some fans. He instead laughed and said, “I really have no idea about that. I’m just responding to the world around me. For a long time, that type of music that we’re talking about had been in my world, be it next door, or what my wife listens to, or what I hear when I go out on the town. It is part of the world and I’m trying to move around in it.”

The songs that bookend FLOTUS reflect Wagner’s gradual learning process. “The Hustle,” which closes the record and is a full eighteen minutes long, shows off Wagner’s clearest enunciation on a record on which his voice is pixelated and obfuscated in slews of painterly ways.

That’s because it was the first song he and his musicians recorded, and he was still searching for the right tools to get the sound he wanted. “In Care of,” the last song they recorded, unfolds over twelve intoxicating minutes and boasts the most organic blend of vocal manipulation spliced with Lambchop’s undeniable sense of soul and poignancy.

“Once I’d gotten into the actual manipulation and processing the voice, the whole thing just kicked wide open, and led us down the lotus path, so to speak,” he said. That path might not be for everyone, but for others, it’s plenty intoxicating.

—David Klein CAT’S CRADLE, CARRBORO 8 p.m., $15, www.catscradle.com

Necrocosm DEATH Within a statewide METAL metal microcosm known primarily for its sludge, Raleigh trio Necrocosm dares to push deeper into the darkness, infusing thrashy grooves with the sweeping lightning strikes of Norwegian black metal. The group’s Bandcamp bio extends a grim offer to serve as “your shadow in the darkness,” a spirit of morbid generosity that carries over to an unflinching, in-your-face live show. Edge of Humanity and Pathogenesis open. —ZC [THE MAYWOOD, $8/9:30 P.M.]

Songs from the Circle 7

BY AND Celebrating The Nitty BY Gritty Dirt Band’s sprawling, all-star country-rock classic Will the Circle Be Unbroken—which turns forty-five this year—Triangle guitarist Danny Gotham spearheads Songs from the Circle 7. Gotham will be joined by more than a dozen local notables—like Joe Newberry, Tommy Edwards, Clyde Edgerton, Nancy Middleton, Jim Watson, FJ Ventre, and Rebecca Newton— who’ll sprinkle in a few originals between Circle’s now iconic cuts.

—SG [THE ARTSCENTER, $12–$15/8 P.M.].

Billy Strings SPEEDY With a name like PICKER Billy Strings, it’s hard to believe that this young man would choose anything but a career as a musician. Barely in his mid-twenties, Strings can flatpick an acoustic guitar at warp speed and barely bat an eyelash, while singing with a squarely complimentary twang. He’s easily one of the most interesting and exciting young forces in bluegrass right now. —AH [FLETCHER OPERA THEATER, $22–$29/8 P.M.]

Transportation

8:30 p.m., $12-$15. • LINCOLN THEATRE: PULSE: Electronic Dance Party; 9 p.m. • LOCAL 506: Youth League, Cuzco, Outbound; 9 p.m., $7. • NIGHTLIGHT: Jake Xerxes Fussell, Sarah Louise; 8 p.m. See page 33. • POUR HOUSE: Zack Mexico, The Veldt; 11:30 p.m., $7-$10. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Baron Tymas Quartet; 8 p.m., $10-$15. • SLIM’S: Naked Naps, Sinai Vessel; 9 p.m., $5. • UNC’S MEMORIAL HALL: Sounds of Kolachi; 8 p.m.

See page 35. • UNC’S PERSON RECITAL HALL: WSN Series: Performing Commemoration: Musical Reenactment and the Politics of Trauma; 7:30 p.m., $15.

SAT, APR 1

ROCK Chapel Hill rock trio MOVES Transportation has come a long way since its first show in a cramped trailer—so starved for space that it had to dismantle the stove to accommodate all of its gear—nearly twenty years ago; it’s one of the main draws on local label Demonbeach, with a touring résumé that includes stints alongside the likes of Neil Diamond All Stars and Ted Leo. While the band’s primary musical MO lies in the indie rock wheelhouse, it occasionally nods to blues, R&B, and funk. Bat Fangs and Sunnyslopes round out the bill. —ZC [CAT’S CRADLE BACK ROOM, $8/10 P.M.]

TOUR What more could GUIDE possibly be said about Beethoven? What mysteries or insights remain that haven’t already been found over two hundred years of obsessive study and performance? Musical tour guide Gerard McBurney will attempt to do just that, joining the Ciompi Quartet to explore the mysteries of Beethoven’s magisterial op. 131 string quartet.

—DR [DUKE’S BALDWIN AUDITORIUM, $10–$25/8 P.M.]

Daniil Trifonov

Andrew Combs

FULL At age twenty-five, PIANO Russian pianist Daniil Trifonov is taking the classical music world by storm, garnering high praise nearly everywhere he goes for both his powerful chops and his wondrous tone. Both will be on display in this concert of Schumann miniatures, Stravinsky, and a few of Shostakovich’s stately preludes and fugues. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$48/8 P.M.]

MOPEY Nashville-based MAN singer-songwriter Andrew Combs renders his love-lorn acoustic ballads with a fluttering falsetto, the better to convey the heart-on-sleeve emotionalism of his treacly, Kristofferson-lite repertoire.

However unfailingly mopey the material, there is little in Combs’s fussy and mannered self-presentation to suggest a budding writer of significant depth. Erin Rae opens. —TB [LOCAL 506, $10/9 P.M.]

ALSO ON FRIDAY ARCANA: DJ PlayPlay: Ladies of the 90s Dance Party; 9 p.m., $5. • BEYU CAFFE: Rissi Palmer; 7 & 9 p.m., $13.

• BLUE NOTE GRILL: My Three Sons Trio; 9 p.m., $10. Duke Street Dogs; 6-8 p.m., free. • THE CAVE: The Unlucky Sevens, Texoma, The Forgotten Man; 9 p.m., $5. • DEEP SOUTH: Poinsettia, Phononova, Empires of Age, Planet Creep; 8:30 p.m., $5. • DUKE COFFEEHOUSE: David Dondero, Tashi Dorji, Will Csorba; 9 p.m., $5. • IRREGARDLESS: Small House; 6:30 p.m. • KINGS: Hank, Pattie and the Current, Blue Cactus;

Ciompi Quartet with Gerard McBurney

Dinosaur Jr. NEWER Famous for soaring CLASSIC hooks, sad-sack ennui, and sadistic levels of volume, Dinosaur Jr. arrived seemingly fully formed in the mid-eighties, melding a Crazy Horse fixation and an impressive knack for insinuating melodies into an uncanny brew on instant classics like You’re Living All Over Me. Following an acrimonious split, band principals J. Mascis and INDYweek.com | 3.29.17 | 41

Lou Barlow regrouped in 2005 and have subsequently rendered four handsomely rendered albums replete with their signature thunder-struck folk-rock. Easy Action opens. —TB [CAT’S CRADLE, $28/8:30 P.M.]

UK-guitarist Burnt Paw purveys intricate fingerpicking strewn with ragged scraps of psychedelia and blues. Triangle duo Hank and Brendan explore intersections of alt-rock and folk. —SG [SCHOOLKIDS RECORDS, FREE/7 P.M.]

Earth, Wind & Fire

The Mountain Goats

SHINING The supremely funky, STARS intricate, joyful hits of Earth, Wind & Fire defined R&B in the seventies, were a crucial influence on hip-hop in subsequent decades, and have conferred national-treasure status on the band. Following the death last year of founding visionary Maurice White, the group carries on with three original members, including lead falsetto king Philip Bailey. —DK [DURHAM PERFORMING ARTS CENTER, $65–$315/8 P.M.]

HAIL If you’re on the GLUTEN eastern side of the Triangle—and of legal drinking age—it’s hard to beat sipping a few beers outside with The Mountain Goats at Cary’s Bond Brothers Beer Company. Unlike the title of the Mountain Goats’ forthcoming LP, Goths, this springtime throwdown is decidedly not-goth, but should make for a fun day of food, fun, and drink anyway. The festival kicks off at noon, and the band takes center stage at five p.m.

—AH [DOWNTOWN CARY, FREE/NOON]

Lebo Jenkins

The Flaming Lips perform in Raleigh Friday night.

PHOTO BY GEORGE SALISBURY

NEOThe odd, experimenFOLK tal old-time tunes of Atlanta’s Lebo Jenkins find haunted Appalachian acoustic music embellished with bits of ambient noise. Reared on American Primitive, Durham-via

FR 3/31 WE 3/29 TH 3/30 FR 3/31 SA 4/1 SU 4/2 TU 4/4

BLUE WED: CLARK STERN CHUCK COTTON + HORNS KIRK RIDGE BAND INDIVIDUALLY TWISTED DUKE STREET DOGS MY THREE SONS TRIO ERIC GALES TBS 1ST SUNDAY JAM WITH THE BELL HORNETS TUESDAY BLUES JAM

8PM 7PM 6-8PM 9PM $10 8PM $20 6-9:30PM 7:30PM

LIVE MUSIC • OPEN TUESDAY—SUNDAY THEBLUENOTEGRILL.COM 709 WASHINGTON STREET • DURHAM

TU 4/4

HARDWORKER, EVEL ARC FR 3/31 KAZE, 8PM, $10 DONATION, 21+

PAUPER PLAYERS PRESENTS:

SA 4/15 TU 4/18 SA 4/22 SA 4/22 SU 4/23

JOSHUA LOZOFF: LIFE IS MAGIC POPUP CHORUS NO SHAME THEATER – CARRBORO TRANSACTORS IMPROV DENGUE FEVER W/ BEAUTY WORLD THE MONTI STORYSLAM GRANDSLAM PETER MAWANGA & THE AMARAVI MOVEMENT BOMBADIL W/ CLAIRE HITCHENS

SOLID GOLD LGBTQ+ DANCE PARTY

W/ LUXE POSH 11PM-2AM, 21+

JAZZ SATURDAY

W/ TIM SMITH TRIO 2PM, FREE, ALL AGES SA 4/1 BLUES & BARBECUE W/ LUXURIANT SEDANS, HARVEY DALTON ARNOLD 7PM, $6/$8, 21+*

CARRBORO FOOLS BALL DANCE PARTY 10PM, FREE, 21+

*ADVANCE TICKETS AVAILABLE ON OUR WEBSITE

42 | 3.29.17 | INDYweek.com

SA 5/13 SA 5/20

PRETTY Patrick Watson’s FOLK ethereal vocals morph into a falsetto in his moody, atmospheric brand of indie folk.

While often gorgeous, the consistently subdued, melancholic tone of his songs tends to blur them together. Trevor Sensor is hardly the next Dylan, but his gravelly, nasal voice is similarly an acquired taste and one that proves the existence of tons of songwriting talent behind his melodic, ramshackle roots. With Trevor Sensor. —SG [HAW RIVER BALLROOM, $20–$22/8:30 P.M.]

VAIN” & JAMES TAYLOR “YOU’VE GOT A FRIEND”)

4/74/10

SA 5/6

Patrick Watson

SONGS FROM THE CIRCLE 7 POPUP CHORUS (CARLY SIMON “YOU’RE SO THE ALWAYS INSPIRING GALA

SU 4/30

BENEFIT CONCERT & DANCE PARTY FOR SOUTHERNERS ON NEW GROUND (SONG):

DARK Good news for those ROARS who prefer their amps revved up to eleven: Revered Raleigh punk label Primitive Ways

SA 4/8

SA 4/29

TH 3/30 STUYEDEYED W/ COSMIC PUNK 8PM, $8/$10, 21+*

Shadows

has assembled a monstrous, diverse bill for this Saturday showcase at Maywood.

Headlining the evening’s savage proceedings are Shadows, a nostalgia-steeped skater-punk duo that sounds like a Southern version of Suicidal Tendencies.

Charlotte sludge punk outfit October, Richmond thrashers Murdersome, and self-described “paranoid punks” Life Alert will take the stage as well— you better bring earplugs. —ZC [THE MAYWOOD, $7/8:30 P.M.]

IN THE HEIGHTS

WE 3/29

(PRESENTED BY CAT’S CRADLE)

PETE SEEGER: THE STORM KING (LIVE MULTIMEDIA PERFORMANCE)

ASLEEP AT THE WHEEL Find out More at

ArtsCenterLive.org

300-G East Main St. • Carrboro, NC Find us on Social Media

@ArtsCenterLive

TH 3/30 FR 3/31

MILES NIELSEN & THE RUSTED HEARTS w/ Delta Son SAM BURCHFIELD w/ Grant Cowan YOUTH LEAGUE w/ Cuzco, Outbound

SA 4/1

SA 4/1

ANDREW COMBS W/ ERIN RAE SU 4/2 TH 4/6

NO ICE w/ The Regrets, Michael Venutolo-Mantovani SUGAR DIRT AND SAND

FR 4/7

w/ Will Overman, Justin Trawick DRISKILL w/ Mike Blair

SA 4/8

SOUND

OF CULTURE PRESENTS THE SECOND ANNUAL HILLMATIC FEATURING CAMP LO AND A$AP TY

(Producer A$AP ROCKY x A$AP MOB) COMING SOON:

THE OCTOPUS PROJECT, BROADWAY TWISTED: AN EVENING OF GENDER-SWAPPED SHOWTUNES, SOCCER TEES & GEOMETERS

www.LOCAL506.com

ALSO ON SATURDAY ARCANA: Fools and Fairies Springtime Soiree; 7 p.m., $30. • BEYU CAFFE: Africa Unplugged; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Eric Gales; 8 p.m., $20. • CAT’S CRADLE: Strike a Chord with Musical Empowerment; 7:30 p.m., $10. • THE CAVE: Coyote vs Acme, Zoltar’s Fortune, Radar’s Clowns of Sedation; 9 p.m., $5. • DEEP SOUTH: Heart for Hire, Over at Ten, Seven Letter; 9 p.m., $10. • DUKE COFFEEHOUSE: Brickside 2017; 2 p.m., $15-$20. See page 38. • LINCOLN THEATRE: Runaway Gin; 9 p.m., $12.• NIGHTLIGHT: TOUCH Samadhi; 9 p.m., $10. • THE PINHOOK: Prince Lives; 10 p.m., $5. • POUR HOUSE: 7th Annual Cypher University Showcase; 9:30 p.m., $10. • THE RITZ: Rumours; 9 p.m. • RUBY DELUXE: DJ Luxeposh; 10 p.m. • SHARP NINE GALLERY: Virginia Schenck-Aminata Moseka; 8 p.m., $10-$20. • SLIM’S: Mic Harrison, Maldora; 9 p.m., $7. • THE STATION: Blues and Barbecue: Luxuriant Sedans and Harvey Dalton Arnold; 8 p.m., $6-$8. Carrboro Fool’s Ball Dance Party; 10 p.m. Jazz Saturdays; 2 p.m., free.

PHOTO COURTESY OF THE ARTIST

SUN, APR 2

WEDNESDAY, APRIL 5

Carrie Elkin

ARNOLD DREYBLATT A solo show by Arnold Dreyblatt is a relatively rare occurrence. Most of the time, his music calls for a larger ensemble with him and his bass at the center. Most of the time, that group is the Orchestra of Excited Strings, an ever-changing band of assorted string instruments and percussion, but sometimes he plays with other groups. His 2012 collaboration with Megafaun, Appalachian Excitation, was a particularly memorable change of pace, imbuing his minimalist practice with a bit of the trio’s lilting Southern rock.

Dreyblatt’s music is essentially an exploration of the overtone series, the fundamental mathematical underpinnings of all pitched sound. When you pluck a string or blow into a pipe, you not only get a sound at the basic frequency of the string, but you also get bits of the pitches that are multiples of that fundamental pitch, which are called overtones. You can’t always hear the overtones directly, but their relative volume determines the difference in sound between, say, a violin, a clarinet, and a piano. The properties of the overtone series have guided Western music for millennia. What Dreyblatt did was devise a different way of getting to those overtones.

At some point in the late seventies, he discovered that if he strung his bass with piano strings and smacked them sharply

with his bow at carefully chosen places, he could pull out all kinds of wild overtones.

After the initial ping of bow hitting the wire, the ghostly ring of a much higher pitch floats up, an unruly penumbra that sits halfway between the sound of throat singing and a mouth harp. The approach is percussive and aggressive, and it felt right at home in the flexible sonic environment of the early-eighties New York City avantgarde. In the Orchestra of Excited Strings, Dreyblatt combined rock music and minimalism in a slightly more acoustic version of what Glenn Branca and Rhys Chatham were already doing with their guitar orchestras.

Solo, Dreyblatt has been content to let the overtones do most of the talking, teasing out gossamer landscapes and then gamboling through them. On this show, he’ll alternate between his trademarked rhythmic smacking and bowed drone.

And, in an intriguing twist, he’ll present a relatively recent work based on recordings from an MRI machine played like an instrument. It’s unclear what to expect from a stringless Dreyblatt piece, but chances are it will be equally engulfing.

With Joe Westerlund and Tylake.

—Dan Ruccia KINGS, RALEIGH 9 p.m., $12–$15, www.kingsraleigh.com

EVEN Capable of sounding KEELED pretty without being precious, languid, or lugubrious, Elkins is a gifted singer, songwriter, and instrumentalist whose years-long itinerant journey throughout America informs her wide swath of folk and country influences. Elkin has recently put down roots in Austin, a fine fit for her lovingly idiosyncratic roots music. Danny Schmidt opens.

—EB [CAT’S CRADLE BACK ROOM, $12–$15/8 P.M.]

Half Waif NEW Half Waif is the NEW AGE musical moniker of Brooklyn multi-instrumentalist and producer Nandi Rose Plunkett.

Her ornate bricolage knows no musical or aesthetic boundaries; last year’s Probable Deaths culls everything from synth pop and new age, rendering the arcane downright affable. It’s mysticism that makes sense, otherworldly and yet accessible. —ZC [KINGS, $10–$12/9 P.M.]

No Ice NINETIES Whether evoking the INDIE soul-revue reveries of the Asbury Jukes, the blown-out stomp of the Jesus and Mary Chain, or the irreverent glam of Mott the Hoople, Brooklyn’s amiably maximalist No Ice wrings gales of winsome fun from their kitchen-sink symphonies. On its recent full-length, Come On Feel the No Ice, the band broadens its purview, proving equally adept at rendering the ugly hangover following the epic throwdown on tracks like the woozy, regretful closer “Five Beers.” The Regrets and Michael Venutolo-Mantovani open. —TB [LOCAL 506, $7/9 P.M.] ALSO ON SUNDAY CAT’S CRADLE: Lambchop, Xylouris White; 8 p.m., $15. See box, page 41. • THE CAVE: Candy Ambulance; 9 p.m., $5. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • DUKE CHAPEL: Robert Parkins: Organ Recital; 5 p.m. • LINCOLN THEATRE: Super Duper Kyle, Cousin Stizz; 8 p.m., $17. • POUR HOUSE: Attalus, Robertson, Leander; 7:30 p.m., $8-$10. • RED HAT AMPHITHEATER: Cracker; 11 a.m., free. • SLIM’S: Thick Modine, North

By North, Tangible Dream; 8 p.m., $5.

• STEEL STRING BREWERY: June Star; 4 p.m., free.

MON, APR 3 Candy Ambulance ROWDY Sounding something GARAGE like the MC5 being treated for sex addiction, this cheerfully degenerate Sarasota Springs garage rock four-piece weds a thoroughgoing fixation on cheap carnality to an appropriately bare-bones Stooges-style assault.

Toe-tappers include the “The Mudwife,” “Lips/Dick” and the future American Songbook-standard “Titty Farts.” Slime opens.

—EB [SLIM’S, $5/9 P.M.] ALSO ON MONDAY RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, APR 4 Shawnthony Calypso GENERIC Kentucky’s Shawnthony Calypso specializes in stoner country rock and is reminiscent of

a lovable co-worker’s boring garage band. You know the kind—imagine an occasionally good, mostly thrown-together rock project that can’t decide whether to be smoked-out psych, or singer-songwriter country, or Burger Records cassette punk.

—DS [NEPTUNES PARLOUR, $5/10 P.M.] ALSO ON TUESDAY IRREGARDLESS: Stevan Jackson; 6:30 p.m. • POUR HOUSE: Leav/e/ arth, Kiss the Curse, Through All This Time; 9 p.m. • RUBY DELUXE: Experimental Tuesday: Michael Garritano; 11 p.m.

WED, APR 5 Saving Space Showcase: Pie Face Girls SAFE The twice-monthly SPACES Saving Space showcase aims to promote the visibility and inclusion of women, queer people, people of color, and nonbinary musicians in the Triangle’s music scene; its guests feature acts with at least one non-straight cis white dude.

Tonight’s bill has three great ones: coarse, crass, and aggressively assertive political punks Pie Face Girls, whose new Formative Years is great; pan-indie rock quartet See Gulls; and witchy Greensboro duo Wahyas. —PW [SLIM’S, $7/8 P.M.]

Trandle COOL Bull City producer BEATS Trandle dropped hi key low key, an addictive, sonically eclectic collection of fuzzed-out hip-hop instrumentals earlier this month. If you dug the album, you can catch him do his thing live, complete with a stacked crew of fellow Durhamites in tow. DJ Playplay, Real Dad, and the slow-mo disco stylings of Discotoño all sweeten the deal.

—DS [THE PINHOOK, $5/9 P.M.] ALSO ON WEDNESDAY THE BULLPEN: Harvey Dalton Arnold Trio; 8:30 p.m., free. • CAT’S CRADLE (BACK ROOM): Lorelei, Antenora, & Anamorph; 9:30 p.m., $7. • NEPTUNES PARLOUR: Arnold Dreyblatt, Joe Westerlund, Tylake; 9 p.m., $12-$15. See box, this page. • THE PINHOOK: Trandle, PlayPlay, Real Dad, Discotono; 9 p.m., $5. • POUR HOUSE: A Benefit for Refugee and Immigrant Relief, Support, and Awareness; 2:30-6 p.m.

INDYweek.com | 3.29.17 | 43

art

3.29 – 4.5 Chapel Hill. www.lib.unc.edu/ davis.

SPECIAL Starting Over…

EVENT Pictures and Poems of Resilience, Renewal and Sources of Strength: Mixed media textiles by Marla Hawkins. Apr 1-10. Reception: Apr 1, 5-8 p.m. The Carrack Modern Art, Durham. www. thecarrack.org.

SPECIAL Stilled Life: EVENT Photography by Karen Bell. Mar 31-Apr 30.

Reception: Apr 1, 2-4 p.m. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

OPENING

SPECIAL 49th Annual Spring EVENT Pottery and Glass Festival: Demonstrations by local and visiting artists, kiln openings and live raku firings, glass blowing, bead pulling, copper sculpting, and more.

Fri, Mar 31 & Sun, Apr 9, 10 a.m.-6 p.m. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

SPECIAL 2017 Small EVENT Treasures Juried Show: Mar 30-Apr 22.

Reception: Mar 31, 6-9 p.m.

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

SPECIAL Art in Bloom: Floral EVENT design. Mar 30-Apr 2. Reception: Mar 30, 7-9 p.m. NC Museum of Art, Raleigh. www.ncartmuseum. org.

SPECIAL Extraordinary EVENT Artists: Multimedia art. Apr 5-30.

Reception: Apr. 5, 6:30 p.m.

Duke Campus: Reynolds Industries Theater, Durham.

SPECIAL More than One EVENT Story | Mas de una historia: Photography. Mar 29-Feb 1. Reception and talk: Mar 29, 5-7 p.m. UNC Campus: Davis Library,

Thrown Together on the Table: Functional porcelain, stoneware and earthenware pottery by Allison McGowan Hermans, Jennifer Mecca, Ron Philbeck, Amy Sanders and Julie Wiggins. Mar 31-Apr 30. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

ONGOING ALCHEMY: Multimedia art by Heather Gordon, Elijah Leed, Tom Spleth, Tom Shields, Leigh Suggs, Phil Szotak, and Stacy Lynn Waddell. free. Thru Apr 23. Light Art + Design, Chapel Hill. www. lightartdesign.com.

Wayne Marcelli: “Reliquarium” (detail) PHOTO COURTESY OF ELIN O’HARA SLAVICK

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FRIDAY, MARCH 31 & SATURDAY, APRIL 1

MATERIA: A TEMPORAL COLLABORATION AT THREE ATYPICAL SITES

We don’t even pretend to know what the hell is going on with this MFA exhibition for UNC professor elin o’Hara slavick’s graduate seminar, and that’s why we’re intrigued. The title says it all: it’s a mystery parceled out with peculiar specificity in time and space. From six to eight Friday evening and from two to five Sunday afternoon, three groups of five students each will display linked exhibits, all concerned with different kinds of materiality, at three different venues that will require more than a little sleuthing to find. (Start at the Guest Room Project Space website below.) Guest Room, at 106 Glass House Lane in Carrboro, presents Dystopia/ Dematerialization, in which five artists deconstruct their practices and mediums. The Old Shed, on Gary Road in Carrboro, presents Heterotopia/Materialization, which focuses on place and site. And Utopia/Rematerialization, an installation comprising many spoons, comes to a space with the charmingly ad hoc name of Apartment Gallery, which is in Chapel Hill’s Strafford Apartments. Exactly what kind of experiences will you find there, if you find the places at all? It’s immaterial. Looking and discovering should be half the fun. —Brian Howe VARIOUS VENUES, CARRBORO & CHAPEL HILL 6–8 p.m. Fri./2–5 p.m. Sun., free, www.guestroomprojectspace.wordpress.com

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

Ansel Adams: Masterworks: An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’ll make an exception. Adams called this “the Museum Set,” the ultimate expression of his legacy. These fortyeight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, speak to Adams’s monumental purity of vision. Thru May 7. NC Museum of Art, Raleigh. www. ncartmuseum.org. —David Klein

LAST Beyond Bollywood: CHANCE Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated and contributed to American life— musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. Thru Apr 2. City of Raleigh Museum, Raleigh. — David Klein Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham. durhamconventioncenter.com.

Cecil Sharp’s Appalachian Photographs: Rare photography by the renowned folklorist. Thru Apr 18. The Murphey School at the Shared Visions Retreat Center, Durham. www.sharedvisions. org.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery.

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

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

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

LAST The Color of Light: CHANCE Landscapes by Lyudmila Tomova and Vinita Jain. Thru Mar 29. Village Art Circle, Cary. villageartcircle. com.

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

Eno River Unitarian Universalist Fellowship, Durham. eruuf.org.

Cuba Now: Photography by Elizabeth Matheson. Ongoing.

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

LAST Deadpan: Kerry CHANCE Law, Alex O’Neal, and Kirsten Stoltmann. Thru Apr 1. Reception: Friday, Mar

3, 6-9 p.m. Lump, Raleigh. www.teamlump.org. See story, p. 36.

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

LAST Exposed: Nudes in CHANCE Art: Juried show featuring work by twenty-five artists. Thru Mar 30. Litmus Gallery, Raleigh. www. litmusgallery.com.

Eyes Wide Open: Photography

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

Fever Within: The Art of Ronald Lockett: Self-taught artists also teach one another. Starting in the 1980s, Alabama produced a remarkable crop of AfricanAmerican ones who entered the canon as it slowly grew less homogenous. Scavenger sculptor Lonnie Holley has had a retrospective at the Birmingham Museum of Art; assemblage master Thornton Dial has been collected by MOMA, the Whitney, and the Met. Little known but primed for reconsideration is Dial’s cousin, Ronald Lockett, who explored the panoramic violence and racial strife of the twentieth century in richly textured, starkly totemic paintings on discarded materials, wrought with wire and nails, twigs and leaves.

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

—Brian Howe Filaments of the Imagination: Group show by Threads, a textile study collective. Thru May 13. Durham Arts Council, Durham. www.durhamarts. org.

Flora and Fauna: Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www.ackland.org.

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

Holding On: Ceramics, collage, and photography by essica Dupuis, Karen Hillier, and Sarah Malakoff. Thru Apr

15. Artspace, Raleigh. www. artspacenc.org.

In Conditions of Fresh Water: The term “environmental racism” has existed since the eighties, and the problem has existed for much longer. But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized communities are routinely subjected to inferior, often dangerous environmental conditions. Even in 2017, basic services such as clean water and wastewater treatment are still lacking in places like Alamance County, imperiling both the health of residents and the security of the land itself. This collaborative exhibit by Torkwase Dyson, a Duke visiting artist, and Danielle Purifoy, an attorney/ environmental scientist, explores this phenomenon in depth through interviews with residents of two rural, historically black Southern counties, including Alamance, that have been victimized by this insidious form of institutional neglect for decades. Thru Jun 3.

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

—David Klein Judy Keene: Color Search: This is the first significant showcase of Durham-based painter Judy Keene’s work, but it’s undergirded by her long background in museums and galleries. Primarily working in oil on linen canvases, Keene brushes and knifes opaque and transparent forms of varying thicknesses into earthily textured, evanescent crags, mingling the influence of abstract impressionist colorfield painters with a cool, Old Masterly precision. Keene’s abstractions abut the real; her Canyon Series harks back to her travels through the American West as a child in the 1950s, when her father’s work as a prospector fed an abiding geological interest. Thru May 6.

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

—Brian Howe LAST Life in the City: CHANCE Kanchan Gharpurey. Thru Mar 31.

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

Material of Invention: Ceramic and mixed media by

Mark Gordon. Thru Apr 15.

Claymakers, Durham. www. claymakers.com.

LAST My Precious: An CHANCE Exploration of Materiality on Contemporary Jewelry: Various artists curated by Betty McKim and Kathryn Osgood Thru Apr 1.

Pullen Arts Center, Raleigh.

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

Thru May 7. Historic Oak View County Park, Raleigh. www.wakegov.com/parks/ oakview.

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

Particle Falls: Designed by Andrea Polli, an artist and scientist, this light installation after sundown on the Empire Properties Building changes according to data captured by an air-quality sensor, visually representing the particles of pollution entering your lungs with each breath. Do your conscience a favor and walk or bike to see it. Thru Apr 23.

The Raleigh Times Bar, Raleigh. www.particlefallsral.org. —Erica Johnson Peace of Mind: Art Quilts: Fiber art by Christine HagerBraun. Thru May 12. Durham Arts Council, Durham. www. durhamarts.org.

Project Reject Is Underway: Site-specific installation by Jeff Bell and Megan Sullivan.

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

Pleasant Places: Digital paintings by Quayola. Thru Aug 13. NC Museum of Art, Raleigh. www.ncartmuseum. org.

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

A Sense Of...: Photography.

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

Stories from the Heartland: Paintings by Rachel Campbell Thru May 25. Durham Arts Council, Durham. www. durhamarts.org.

LAST Submerged: We CHANCE often hear about “emerging” artists—but whence do they emerge?

INDYweek.com | 3.29.17 | 45

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From somewhere below the vast, shifting surface of the gallery world, a fact that Mahler Fine Art manager Jillian Ohl keys in on in this group exhibit. Submerged features a dozen artists who are either new to the Raleigh/ Durham area or just beginning to show their work, although some of the names, such as Davis Choun, might already be familiar to those who frequent Raleigh art havens such as Artspace and Visual Art Exchange. Others include Austin Caskie, Conner Calhoun, Dare Coulter, and Britt Flood; all are postundergraduate but younger

stage OPENING Chad Daniels: Stand-up comedy. Mar 30-Apr 2. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org.

Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

playmakersrep.org.

The Real Housewives of Windsor: Play. $12-$20. Mar 30-Apr 5, 7:15 p.m. NCSU Campus: Thompson Hall, Raleigh.

Ghashee w Mashee: Play.

Sat, Apr 1, 8 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

Something Rotten: Apr 4-9.

Durham Performing Arts Center, Durham. www.dpacnc.com.

Gabriel Iglesias: Stand-up comedy. Fri, Mar 31, 8 pm.

Durham Performing Arts Center, Durham. www.dpacnc.com.

[STARS TK] The Miraculous and the Mundane: New play by Howard L. Craft, reviewed on p.

37. $6-$15. Thru Apr 1. Manbites Dog Theater, Durham. www. manbitesdogtheater.org.

The Mousetrap: Play. $17-$20.

Mar 31-Apr 2 & Apr 9. Cary Arts Center. www.townofcary.org.

My Fair Lady: Play presented

by PlayMakers Repertory Company. $10-$57. Apr 5-30. UNC Campus: Paul Green Theatre, Chapel Hill.

City Barbeque Grand Opening: Ten percent of all sales from Grand Opening Day will go to Miracle League of the Triangle. Sat, Apr 1, 11 a.m.-4 p.m. City Barbeque, Raleigh.

World Beer Festival: $45$55. Sat, Apr 1, 12-4 & 6-10 p.m. North Carolina State Fairgrounds, Raleigh

REVI

A Fractured Mirror: Stories on Mental Health: Storytelling $5. Sun, Mar 26, 7 p.m. Kings, Raleigh. www.kingsraleigh.com.

The Harry Show: Ages 18+.

Potentially risque improv games, with audience volunteers brought onstage to join in. $10.

Fri & Sat, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx. com.

food

SUNDA

Seven: A Documentary Play: Play by seven award-winning playwrights. See blurb, p. 38.

Sonorous Road Theatre, Raleigh. www.sonorousroad.com.

The Grand Duke: Musical. Mar 30-Apr 2, 8-10 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

46 | 3.29.17 | INDYweek.com

than thirty, working in mediums from experimental sculpture to abstract figure painting. Thru Mar 31. The Mahler Fine Art, Raleigh. www. themahlerfineart.com.

—Brian Howe

Theatre Cafe: The Neverending Story: Memories and moments of nostalgia adapted into modern and relevant theatrical performances. Tue, Apr 4, 7-9 pm. The Cary Theater, Cary.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Best Friends For Now: Interactive storytelling. $12.

Wed, Apr 5, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Cherrywood: Play. $8-$15. Every other day, 7-9:30 p.m. Longleaf School of the Arts, Raleigh.

Eyes Up Here Comedy: Standup comedy with Mimi Benfield, Brett Williams, Kaleigh Cutright, Catherine Collison, Shari Diaz, Gretchen McNeely. $5. Wed, Apr 5, 8:30 p.m. Kings, Raleigh. www.kingsraleigh.com.

No Shame Theatre: Audiencecreated pieces. $5. Sat, Mar 25, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

LAST When She Had CHANCE Wings: Playwright Suzan Zeder has already proven that children’s theater doesn’t have to be childish. Her memorable Mother Hicks, which Raleigh Little Theatre produced in 2002, explored the lives of three social outcasts in a Mississippi River valley during the Great Depression. This present-day tale premiered during last year’s Women’s Voices Theater Festival in Washington, D.C. In it, Beatrix is troubled by upcoming changes as she’s about to turn ten.

Obsessed with aviation, she spends her free time in a treehouse turned cockpit in her backyard. She has reasons; the freedom and weightlessness of flight counters her father’s overprotection and her mom’s growing concerns about her weight. Then, one day, Beatrix finds someone waiting for her in her plane: an ally who may or may not be Amelia Earhart.

Artistic director Patrick Torres directs. Thru April 2. $10–$14.

Various times. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. —Byron Woods The Wolf: Play Thru Apr 2.

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

Annual c nacle of “and par and less in Ward musical tent revi gospel so

screen SPECIAL SHOWINGS

Last Train Home: Presented by Dr. Donna Gabaccia. Fri, Mar 31, 7:30 p.m. NCSU Campus: Withers Hall, Raleigh.

Be Connected: The Southern Documentary Fund Presents For Us/By Us: JIG SHOW: Leon Claxton’s Harlem in Havana Tue, Apr 4, 7 p.m.

Beyu Caffe, Durham.

Shane: Mon, Apr 3, 8 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

The Modern School of Film: Film Studies for All: Thu, Mar 30, 7 p.m. Shadowbox Studio, Durham. www. shadowboxstudio.org.

The Common Link: Documentary. Wed, Apr 5, 7 p.m. James B. Hunt Jr. Library, Raleigh.

SUNDAY, APRIL 2–SUNDAY, MAY 7

REVIVAL

Annual camp meetings and tent revivals were “the spiritual pinnacle of the year” in Appalachia, writes scholar Michael Ferber, “and participants [worshipped] with both greater enthusiasm and less restraint than in their home churches.” That’s the case in Ward Theatre Company’s new theatrical work, a “cultural and musical collage” in which the jubilance and fervor of a mountain tent revival in 1959 is flipped into rap, rhythm and blues, and gospel songs to explore what director Wendy Ward calls the pas-

sion that comes through movement and music. “It’s a very fresh piece,” Ward says, “with a fresh perspective.” For a truly immersive experience, choose the opening matinee fundraiser, which comes with a Southern picnic dinner with the cast after the show.

—Byron Woods

Gamera and the Science of Flying Space Turtles: Turtlethemed science stations, beer, and food. Gamera screening starts at 7pm. $5. Fri, Mar 31, 5:30 p.m. NC Museum of Natural Sciences, Raleigh. www.naturalsciences.org.

OPENING

Killing the Black Snake: Behind the Scenes of the #NODAPL Struggle: Documentary. Sun, Apr 2, 7 p.m. The Pinhook, Durham. www.thepinhook. com. See box, next page.

Ghost in the Shell—This liveaction remake of a 1995 anime classic arrives at a resonant moment, as its subject is cyberterrorism.

Rated PG-13.

WARD THEATRE, DURHAM I Various times, $25 ($50 for fundraiser), www.wardtheatrecompany.com

The Boss Baby—Alec Baldwin voices a briefcase-toting baby, and that’s about all you need to know about Dreamworks Animation’s latest. Rated PG.

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page TUESDAY, APRIL 4

JESSAMYN STANLEY: EVERY BODY YOGA

In The Boss Baby, opening Friday, Alec Baldwin voices a baby. Who is a boss.

PHOTO COURTESY OF DREAMWORKS ANIMATION

The Zookeeper’s Wife— Jessica Chastain stars in this wartime drama, based on Diane Ackerman’s nonfiction book, about the Warsaw zookeepers who helped save hundreds of Jewish people during Germany’s occupation of Poland. Rated PG-13.

The Red Turtle—This wordless Dutch-Japanese animated fable follows the relationship of a shipwrecked man and the titular sea creature. Rated PG.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin family movie. Rated PG.  Beauty and the Beast— This live-action remake is an effective piece of fan service but certainly won’t replace the animated classic. Rated PG.

½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years.

Rated R. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. ½ John Wick: Chapter 2—This smartly made return for the reluctant hit man character that resuscitated Keanu Reeves’s career runs on muscle cars and muscle memories. Rated R. ½ Kong: Skull Island— Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse

Now meets Starship Troopers.

Rated PG-13.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.

H½ The Last Word—To

be more than treacle, this story about a retired businessperson (a radiant Shirley MacLaine) trying to manipulate her obituary desperately needed a more inspired filmmaker than Mark Pellington. Rated R.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this superhero-laden sequel to The Lego Movie blends over-the-top laughs aimed at youngsters with countless gags for adults.

Rated PG.

SUNDAY, APRIL 2

KILLING THE BLACK SNAKE

The protests at Standing Rock Indian Reservation over the construction of the Dakota Access Pipeline reached an awful pitch at the end of 2016. The attendant images of protesters being doused by water cannons in freezing weather suggested a horrific update of civil rights protesters suffering the blasts of firehoses in the sixties. Yet with the daily barrage of election-related bombshells and the remoteness of the action itself, and in absence of a definitive account of the events, who can say with precision what happened there? The documentary Killing the Black Snake: Behind the Scenes of the NDPAL# Struggle, from anarchist media-production group subMedia, investigates this from a radical perspective. Assembled by anarchists who took part in the protests, the documentary provides inside details about the internecine conflicts among the protesters over tactical matters along with an analysis of the forces behind the rise of resistance groups in an America where, increasingly, people believe their rights are under attack. —David Klein THE PINHOOK, DURHAM I 7 p.m., $5 suggested donation, www.thepinhook.com

48 | 3.29.17 | INDYweek.com

The very real physical and spiritual health benefits of yoga have been much touted in the past few decades, but as practiced in America, yoga hasn’t been especially welcoming to those with larger bodies. And in America, that’s a lot of people. The challenging postures are intimidating, and so is the prevalence of whippet-thin, white lululemon-wearing women who have come to embody U.S. yoga. Jessamyn Stanley broke new ground a few years ago when she began teaching classes in Durham and Hillsborough. As a plus-size black woman, she was pretty much the opposite of who yoga practitioners were conditioned to see at the head of the class leading sun salutations, and she was determined to change that. Her approach has earned her national media and legions of followers. In Every Body Yoga, she offers practical advice in the form of basic, approachable postures that anyone can do, along with eloquent thoughts about letting go of fear and nurturing self-acceptance. —David Klein MOTORCO MUSIC HALL, DURHAM I 7 p.m., free, www.motorcomusic.com

READINGS & SIGNINGS

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

Tony Bartelme: A Surgeon in the Village: An American Doctor Teaches Brain Surgery in Africa.

Thu, Mar 30, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. — Wed, Apr 5, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Amy C. Spaulding: Bears in the Streets: Three Journeys Across a Changing Russia Fri, Mar 31, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

McKay Jenkins: Food Fight: GMOs and the Future of the American Diet. Thu, Mar 30, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. — Thu, Mar 30, 4:30 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Ann Millett-Gallant: Re-Membering. Sat, Apr 1, 6:30 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

William Geroux: The Matthews Men: Seven Brothers and the War Against Hitler’s U-Boats.

Sat, Apr 1, 11 am. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

Stuart Gibbs: Panda-Monium Tue, Apr 4, 4:30 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Elena Passarello: Animals Strike Curious Poses. Sun, Apr 2, 2 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Leonard Rogoff: Gertrude Weil: Jewish Progressive in the New

Jessamyn Stanley: Every Body Yoga: Let Go of Fear, Get on the Mat, Love your Body. Tue, Apr 4, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic. com. See box, this page.

LITERARY R E L AT E D African American Literary Tea: Sun, Apr 2, 2 p.m.

Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Duke-UNC Rotary Peace Center Conference: “Bridging Divides”: Rotary Peace Fellows present their research, sharing examples of hope, peace-making, and positive change. $20, free for students.

Sat, Apr 1, 8:30 am-4 p.m.

UNC Campus: FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

Dr. Donna Gabaccia: Where are the Nations of Immigrants?

An Historian Talks to the 21st Century. Sat, Apr 1, 10 am. NCSU Campus: Withers Hall, Raleigh.

Kiese Laymon: Heavy: An American Memoir. Mon, Apr 3, 7-8 p.m. Hayti Heritage Center, Durham. www.hayti.org.

Lecture Series in Musicology: Popularising the ‘Popular,’ c.

1800: Katherine Hambridge, Durham University, UK. Fri, Mar 31, 4 p.m. Duke Campus: Biddle Music Building, Durham. music.duke.edu.

Grant Llewellyn: Musical Commemoration of WWI: Mon, Apr 3, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Scott Olsen: “The Golden Section & the Roots of Theosophy”: $10. Sun, Apr 2, 1:30 p.m. Bond Park Community Center, Cary. www.townofcary.org.

Marilyn Shannon: In Just One Afternoon: Listening Into the Hearts of Men. With music by Chris Royce. Sat, Apr 1, 2-5 p.m. Cary Gallery of Artists, Cary. www.carygalleryofartists. org.

The Socio-Politics of Black Futures: From Martin Delany to Derrick Bell to Now: Derrell D. Stover. Mon, Apr 3, 7 p.m.

Stanford L Warren Branch Library, Durham. www. durhamcountylibrary.org.

Sybil Sylvester: Floral Arrangements from Fresh.

Wed, Mar 29, 11 am. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

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INDYweek.com | 3.29.17 | 49

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3.29.17

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3 2 6 9 7 4 1 8 5

30/10/2005

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WEDDING GUIDE

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last week's puzzle

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WEDDING GUIDE

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Dating Made Easy

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INDYweek.com | 3.29.17 | 51

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