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In a Georgia Jail with Wildin Acosta, p. 12 Great Traditional BBQ? Have a Picnic. p. 22 Tarot Mania Sweeps Durham, p. 39 Phife Dawg Was a Tar Heel, p. 53
APRIL 10
| 3.30.16 | INDYweek.com 2 Indy_March30.indd 1
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WHAT WE LEARNED THIS WEEK | DURHAM VOL. 33, NO. 13 DEPARTMENTS
6 Eleven Democrats voted for House Bill 2. 8 Apple told Charlotte’s mayor that it would only expand into cities with an LGBT antidiscrimination ordinance.
6 Triangulator 33 Food
12 Corrections Corporation of America netted $26 million in 2014 off immigration jails.
34 Music
19 College faculty in the United States went from two-thirds tenured in 1970 to three-fourths nontenured today.
40 What To Do This Week
37 Arts & Culture
22 At Picnic, honoring barbecue tradition is the great innovation.
43 Music Calendar 48 Arts/Film Calendar
33 Don’t want your scones to turn into hockey pucks? Be gentle.
53 Soft Return
36 Let’s be serious: bad musical analysis paved the way for quantum physics. 37 The Triangle’s first Women’s Theatre Festival takes on glaring issues of gender parity. 39 Durham’s burgeoning magic and tarot scene is a safe space for marginalized groups. 53 Phife Dawg wanted to be a Tar Heel.
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ight Kitchen Bakehouse & Cafe opened in November of 2014 rather quietly. “We didn’t have much time or extra cash to have a big to-do,” says owner Helen Pfann, “My Dad brought some wine for a soft opening party, and then we were off.” These days, there’s a lot more buzz about Night Kitchen. European classics such as croissant, scones, and french macarons have received high marks; as well as more American items such as brownies or the bread pudding, a muffin-shaped treat with caramelized sugar on top. The breads at Night Kitchen, however, are the real focus. “I got started as a bread baker,” explains Pfann, “...and though I enjoy pastry work, making bread is what I love most.” Night Kitchen sells Sourdough, 9-Grain, and French bread everyday, and features daily specials. The bakery supplies bread to several local restaurants, including Farina, J Betski’s, and Bad Daddy’s Burger Bar. “I designed the kitchen so we could do wholesale and have room to grow. We’ve just started working with the Produce Box, so folks statewide can try our breads.” The final piece of the pie is the cafe at Night Kitchen. Exchange and fine teas from Tin Roof Teas, it’s a great space to meet a friend or have a small gathering at one of the larger farm tables. A selection of sandwiches, daily soup and quiche specials round out the menu. The breads at Night Kitchen, however, are the real focus. “I got started as a bread baker,” explains Pfann, “...and though I enjoy pastry work, making bread is what I love most.” Night Kitchen sells Sourdough, 9-Grain, and French bread everyday, and features daily specials. The bakery supplies bread to several local restaurants, including Farina, J Betski’s, and Bad Daddy’s Burger Bar. .These days, there’s a lot more buzz about Night Kitchen. European classics such as croissant, scones, and french macarons have received high marks; as well as more American items such as brownies or the bread pudding, a muffin-shaped treat with caramelized sugar on top. ●
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A Massive Scar
As terrible a law as House Bill 2 is, it sure does drive web traffic—and tons and tons of comments. (Uh, thanks, Pat?) Lori Stewart writes: “I get the impression some think this anti-transgender kind of law is constitutional. Not so. This is well-founded law, meaning discrimination ‘based on sex’ has long been found to protect transgender people. It will take only one Title IX or Civil Rights Act complaint to give the Republicans some perspective.” “Pretty much everyone has this wrong,” argues Alan Light. “Transgender people ought to be able to use the facilities they prefer, especially in government buildings. But the rest of the bill was an attack on freedom of association. Business owners ought to be allowed to discriminate against anyone they wish, provided they provide a written notice in a prominent place.” Commenter cleverweist1 says that Governor McCrory “is not an embarrassment to me as a Christian. I just wish Christians would stand up for what they believe and not be bullied. I think it is about time our government got a backbone and just said no. Enough is enough. It is not discrimination. It is anti-Christian bullies trying to push their sick beliefs on the rest of us.” Former INDY staff writer Barry Yeoman’s essay, about the parallels between this legislation and a culture-war battle in Charlotte twenty years ago, elicited this response from Cristel Gutschenritter Orrand: “I sat in the Senate and watched this get passed with prejudice and disdain in twenty minutes. The disregard this legislature has shown to human rights, dignity, taxpayer money, facts, the Constitution, and history will be a slow healing and massive scar upon this state.” Even the INDY’s most stalwart online critic, ProudlyUnaffiliated, had nice words for Yeoman: “When Barry comes out of retirement to write for the INDY, we need to listen to his insight and honesty. Agree with him or not, his integrity is rock solid. But I am not even close, even after reading his article, as to why any of this has any importance in North Carolina or anywhere else. Look, these are bathrooms, for heaven’s sake. We go in to relieve ourselves or wash our hands or comb our hair or splash water on our face or whatever. This is not a civil rights issue.”
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Protesters gather outside the Governor’s Mansion last Thursday.
PHOTO BY ALEX BOERNER
INDYweek.com | 3.30.16 | 5
triangulator +WHAT THE HELL WERE YOU THINKING?
Eleven hours and ten minutes. That’s how long it took to ram through House Bill 2, the most extreme anti-LGBT legislation in the entire country, from the first House committee meeting being gaveled to order last Wednesday morning to Governor McCrory’s signature that night. That’s how long it took the legislature’s Republicans to roll back decades of civil rights progress and make us a national laughingstock.
REPRESENTATIVE LARRY M. BELL, D-Duplin, Sampson, Wayne “It was my understanding that [the ordinance] changed the way people were allowed to use restrooms, and I was not convinced that the present system we use now was broken. I thought men go to men’s bathroom, and ladies go to the ladies’, and I don’t see why Charlotte needed to change that. … “I am African-American, and, to talk about discrimination, I know about that. I could write a book about it, so it’s not anything that deals with a race situation. If you’re born a male or female, I don’t see how that can be discriminatory unless you want to talk to God about it. Males go to the male restrooms; females go to female ones. … “I did not think we should be dealing with that [in a special session] at all, because I didn’t think it was an emergency situation we should have been coming to Raleigh for … . [Republicans] added other things into it—other parts of it—that was discrimination against businesses and so forth.” REPRESENTATIVE WILLIAM D. BRISSON, D-Bladen, Johnston, Sampson Reached by phone Monday, Brisson responded to the INDY’s request for comment with, “Nah, I’m good.”
6 | 3.30.16 | INDYweek.com
But, as McCrory noted in a press release Saturday—posted both by his campaign and the governor’s office and circulated far and wide by state agencies—the Republicans didn’t act alone. Eleven House Democrats joined seventy-one Republicans in this power grab, which not only gutted Charlotte’s antidiscrimination ordinance under the guise of protecting women from imaginary bathroom creeps but also took down LGBT protections and living-wage ordinances all over the state. Which left us wondering: Why were nearly a dozen Dems—all men, almost all from rural areas, and mostly older—willing to give this charade a bipartisan veneer? So we decided to call and offer them a chance to explain their vote. And when they didn’t answer, we called again. And again. And again—until we filled their voice mailboxes. And if that failed, we scoured the Internet to see if they’d made statements to anyone else. Many of them dodged our calls, some rather pathetically—looking at you, William Brisson—but a few provided answers, which we’ve transcribed for you below, edited only for space and clarity.
REPRESENTATIVE ELMER FLOYD, D-Cumberland Floyd did not respond to numerous messages seeking comment. REPRESENTATIVE KEN GOODMAN, D-Hoke, Montgomery, Richmond, Robeson, Scotland “I have a sincerely held belief that bathrooms should be private and that they shouldn’t be shared by people of the opposite sex; that was the only part of the bill I was interested in, and I believe the constituents in my district feel the same way. … “I didn’t get to write the bill, so you don’t get exactly what you want all the time. The only part of the bill I was interested in was the transgender bathroom issue. … I think section three-point-two will need another look, which is the right to sue in state court. That eliminates the state remedy for workers being fired for wrongful termination. I would prefer that not be in the bill. “I have gotten a lot of assumptions made that the vote was bigoted, and I certainly don’t want to discriminate against anybody. … I understand how people feel hurt on the bill, but people have sincere beliefs, and that was my reason for voting.”
REPRESENTATIVE CHARLES GRAHAM, D-Robeson (Editor’s note: this is verbatim.) “Uhhhh … well … uhhhh … HB 2 … uhhhh …. I voted in favor of that, uh, HB 2, because I was concerned about the safety of our citizens in, um, restrooms. Um, I think it, um, certainly opened the door of opportunity for individuals to, uh, of, uh, of the ordinance, um … and, meaning that, you know, predators, and … folks that had, uh … uhmmm … other intentions would have been allowed to take advantage of that ordinance and certainly wanted to, take care of the, my number one concern was taking care of the safety of our children, ummm, and our citizens in, in, in, in … in public restrooms or private, uh, for that matter. Uhhhm. Well … in this case, public. Um. I wanted to, uh … I felt that the constituents that I represent would want me to vote that way, and of course, uhhhh, I’m, uh, um … you know, a representative of the people of Robeson County, and, umm, I certainly had a lot of, um, folks who encouraged me to not support, support that ordinance, because it would, could have had statewide implications. Of course … uh… that’s why, um, I voted the way I did.” REPRESENTATIVE GEORGE GRAHAM, D-Craven, Greene, Lenoir Graham did not respond to numerous messages seeking comment.
REPRESENTATIVE HOWARD HUNTER III, D-Bertie, Gates, Hertford, Pasquotank Hunter did not respond to messages seeking comment, but he told the RoanokeChowan News-Herald, “I had my mind locked in on living up to my morals and values that men have no place in a women’s restroom, no matter if that man alleges he identifies himself as a woman psychologically. … “I understand the gay and lesbian community because I have friends, and some colleagues, who are active members of that lifestyle and I accept them for who they are. It’s the transgender community that I don’t know that much about. The transgender community is not out in the open here in the rural areas of our state as it is in the metro areas. Perhaps I need to do a better job of educating myself about transgender individuals.” REPRESENTATIVE WILLIAM O. RICHARDSON, D-Cumberland Richardson did not respond to numerous messages seeking comment. REPRESENTATIVE GARLAND PIERCE, D-Hoke, Richmond, Robeson, Scotland Pierce did not respond to messages seeking comment, but he told the Associated Press, “I think some of us, particularly myself, did not understand the implications of what it would do. We heard some criticism of it early on but not the level of what we’re hearing today. Still, everybody has the right to privacy in these facilities.” REPRESENTATIVE BRAD SALMON, D-Harnett, Lee The INDY reached Salmon by cellphone last Thursday morning. He said he was busy and asked if he could call us back. He did not call back, nor did he respond to repeated followup messages. REPRESENTATIVE MICHAEL H. WRAY, D-Halifax, Northhampton Wray did not respond to numerous messages seeking comment. triangulator@indyweek.com
TL;DR: THE INDY’S QUALITY-OF-LIFE METER
Raleigh police move Noah Rubin-Blose into a transport van after arresting him Thursday during a protest in opposition to HB 2. Rubin-Blose was one of five protesters who locked themselves together in the middle of Blount Street, in front of the Governor’s Mansion. PHOTO BY ALEX BOERNER
+2
Wake County’s one millionth resident probably arrived in August 2014, according to the Census Bureau. If McCrory gets re-elected, he’ll probably leave in November.
-4
The gap between the performance of low-income students and their peers has grown faster in North Carolina than in any other state. But trans people are the real emergency. Right, guys?
-3
After House Bill 2 passes, San Francisco’s mayor bans city-funded travel to North Carolina. In retaliation, Hardee’s changes the Frisco Thickburger to the “Freedom Patty.”
+4
Roy Cooper says he won’t defend the state against the ACLU’s HB 2 lawsuit. Fair enough, since the bill was scribbled on shreds of the Constitution in about five minutes.
-2
Seventeen Republicans file to run for the newly drawn Second Congressional District. We suggest selecting the winner with a grade school–style science fair. It’s undemocratic, yeah, but it would be funny as hell.
+4
A judge refuses to dismiss state media outlets’ public-records lawsuit against the McCrory administration. “You want to know where everyone goes to the bathroom but won’t tell them how you spend their money,” says the judge, with little smoke wisps curling out of his ears.
-5
Durham’s Nice Price Books announces that it will close in May, and Nancy Olson, founder of Raleigh’s Quail Ridge Books, dies. If bad things come in threes, local book lovers better buy some Kindles.
+3
UNC advances to the Final Four, while Duke falls in the Sweet 16—and it wasn’t even tripped by Grayson Allen.
PERIPHERAL VISIONS | V.C. ROGERS
This week’s total: -1 Year to date: -16 INDYweek.com | 3.30.16 | 7
McCrory, Annotated
FACT-CHECKING THE GOVERNOR’S FACT-CHECK ON HOUSE BILL 2. (SPOILER: HE LIES A LOT.) BY PAUL BLEST
Last Wednesday, the whirlwind special session convened for the purpose of overturning Charlotte’s antidiscrimination ordinance—particularly a provision that allows trans people to use the bathroom that conforms to their gender identity—concluded with Governor McCrory signing a law that did so much more. Ending the ability of cities to create their own nondiscrimination measures, eliminating workplace-discrimination lawsuits, forbidding local governments from raising the minimum wage, and codifying antiLGBT animus into state law: these are all things that made it into House Bill 2, which became law less than twelve hours after it was introduced.
Businesses aren’t limited by the bill, but government buildings, including schools, are—which may put the $4.5 billion the state receives in Title IX funds at risk (see item 11). But, under the law, businesses are free to discriminate against gay and transgender people, with the blessing of state law, and local elected officials can’t do anything about it.
Seventeen local governments have passed various types of antidiscrimination ordinances based on things like race, religion, gender, sexual orientation, and veteran status. Many of them are gone. In their place is a state law that prevents discrimination on the basis of race, religion, color, national origin, or “biological gender,” but not sexual orientation, gender identity, or veteran status. And the idea that the state law is somehow tougher than federal policy is not quite accurate. While federal law doesn’t prohibit LGBT discrimination, federal policy—through the Department of Education’s Title IX interpretation and an executive order—does provide protections to LGBT students and workers.
8 | 3.30.16 | INDYweek.com
The backlash was swift and furious. The NBA made a thinly veiled threat to strip Charlotte of the 2017 NBA All-Star Game. North Carolina companies Red Hat, Biogen, the Charlotte Hornets, and the Carolina Hurricanes all denounced the law, as did Apple, Google, IBM, Salesforce, Bayer, Marriott, American Airlines, PayPal, Lowe’s, Dow, and more. Over the weekend, McCrory’s office dispatched a press release in response to the fallout. Titled “Myths vs. Facts: What New York Times, Huffington Post and other media outlets aren’t saying about common-sense privacy law,” the release, dressed up as an FAQ, paints McCrory
as the victim of the nefarious liberal New York media. The FAQ, posted on both his administration and campaign sites, was promoted on social media and blasted out in emails by state agencies, including the Department of Commerce, Department of Environmental Quality, and the Department of Transportation. Like the law it is defending, the FAQ seems hastily prepared and, well, not entirely thought through. Some items are flat-out false, while others are, at best, half-truths. So, in the spirit of cooperation, we’ve decided to help the governor out. Here’s the press release in full, accompanied by our annotations.
ohibit private w bill limit or pr 1. Does the ne g their own es from adoptin sector compani actices? pr ion policies or nondiscriminat limited by t no e sinesses ar Answer: No. Bu panies and individuals, com this bill. Private ep existing adopt new or ke universities can n policies. nondiscriminatio tions for existing protec ay aw ke ta ll bi 2. Does this this rth Carolina? e in state history, individuals in No , for the first tim ct North fa in In y . lic No po : n er io Answ discriminat tian e id ew at st t’s a vernmen . This law establishes an the federal go th r he ug to is h not different when Carolina whic North Carolina is in w la e th at th also means ty. you go city to ci ill offer ate facilities st iv pr d an es ss 3. Can busine r transgender mmodations fo ance? reasonable acco throoms for inst ba cupancy oc le prevent ng to si g e in lik th , no people and does ws lo al gle ll bi is Th id from prov ing sin Answer: Yes. private facilities or ic bl pu d an businesses, use bathrooms. continue to if they choose, , es ss cker ne si bu e bathroom, lo 4. Can private duals to use th vi , or di ith in w er y tif nd en ge allow trans nder they id ge e th of s ie facilit room or other ? commodations sinesses ac r he ot e provid ative of private bu og er pr e g th is at Th d ly- owne sportin Answer: Yes. ance, if a private st in r e Fo th e w. la us w to under this ne orting events they can. w attendees of sp isex bathrooms, facility wants allo un l al st in or , ce oi ch doing so. restroom of their ohibits them from pr r no s ire qu re The law neither
This is true. But the thing about civil rights—and make no mistake, this is a civil rights issue—is that they are in fact rights, and rights should not be subject to a business owner’s whims.
Ignoring the fact that you never hyphenate two-word phrasal adjectives that begin with an adverb ending in ly, this is correct.
Local governments can set stricter nondiscrimination policies for their employees, but not for their contractors. Due to existing state law, those governments are required to take the “lowest responsible” bid on a project—which means a city could be forced to route tax dollars to a contractor who openly refuses to hire gays and lesbians.
First, not everyone who is transgender wants to undergo gender-affirmation surgery; whether or not one has undergone a costly operation has nothing to do with one’s gender identity. Second, not everyone who wants the surgery can afford it; in fact, transgender people are nearly four times as likely to face extreme poverty as their cisgender peers. Finally: How do you enforce this without requiring everyone to carry around his or her birth certificate?
True, but bullying is still a big problem for trans students. Nationwide, 61 percent of trans people report “significant abuses in an educational setting,” from kindergarten through grad school. Forty-one percent report having attempted suicide, compared to just 1.6 percent of the overall population.
The legislature passed the Persons with Disabilities Protections Act in 1985. However, the new law effectively overrides workplace-discrimination protections, including those on the basis of disability, by eliminating workers’ ability to file discrimination lawsuits in state court.
5. Does this law prohibit towns, cities or counties in North Carolina from setting their own nondiscrimination policies in employment that go beyond state law? Answer: No. Town, cities and cou nties in North Carolina are still allowed to set stricter non-dis crimination policies for their own employees if they choose. 6. Does this bill mean transge nder people will always have to use the restroom of the sex of their birth, even if they have undergone a sex cha nge? Answer: No. This law simply say s people must use the bathroom of the sex listed on thei r birth certificate. Anyone who has undergone a sex change can change their sex on their birth certificate. 7. I’m worried about how this new law affects transgender children or students in North Carolina. Does this bill allow bullying against transge nder children in schools? Answer: Absolutely not. North Car olina law specifically prohibits bullying and harassing behavior against children on the basis of sexual identity. 8. Does this bill affect people with disabilities? Answer: No. Statewide law also bans discrimination based on disability. 9. Why did North Carolina pas s this law in the first place? Answer: The bill was passed afte r the Charlotte City Council voted to impose a regulation requ iring businesses to allow a man into a women’s restroom , shower, or locker room if they choose. This ordinance wou ld have eliminated the basic expectations of privacy people have when using the rest room by allowing people to use the rest room of their choice. This new local regulation brought up serious privacy concerns by parents, businesses and others across the state, as well as safety concerns that this new local rule could be used by people who would take advantage of this to do harm to others. In fact, the Charlotte City Council tried to pass this ordinance before but failed, and passed the same ordinance in February of 2016 despite serious concern s from state officials, business leaders and other concerned citiz ens. 10. What about parents or car egivers bringing children into the restroom? Answer: The law provides excepti ons to young children accompanied by parents or care givers. 11. Will this bill threaten federa l funding for public schools under Title IX? Answer: No, according to a fede ral court which has looked at a similar issue. 12. Will this bill prevent people from receiving medical attention in an emergency. Answer: Absolutely not. Nothing will prevent people from receiving medical attention in pub lic or private accommodations.
This whole thing is based on a falsehood: of the 19 states and 225 cities that have ordinances like Charlotte’s, The Daily Beast reported last week, there have been zero cases where rapists have used the law as a pretext to commit sexual assault. Furthermore, the Charlotte ordinance did not allow a cisgender man into a “women’s restroom, shower, or locker room.” The state law will, however, force trans men to use the women’s facilities, which could prove awkward—and might lead to violence.
Nice of McCrory to take credit for this, since it was Representative Tricia Cotham, D-Mecklenburg, who got this provision inserted into the bill. Cotham, by the way, voted against the final legislation.
Actually, it might. The U.S. Department of Education issued guidelines in 2014 clarifying that transgender students are protected from discrimination under Title IX, and last year the Department of Education reached a settlement with an Illinois school district mandating that the district allow trans students to use the bathroom and locker rooms that conform to their gender identity. McCrory appears to be referring to a Virginia case called Grimm v. Gloucester County School Board, in which a judge denied a sixteenyear-old transgender student a preliminary injunction that would allow him to use the boys’ room. That case has been appealed, and one judge’s verdict is hardly determinative. In that case, the ACLU is claiming the school district’s policy runs afoul of Title IX. The federal lawsuit that the ACLU, Equality NC, and Lambda Legal filed on Monday is based on a similar argument.
The state’s failure to expand Medicaid, on the other hand …
INDYweek.com | 3.30.16 | 9
“Brand matters,” says Wake County commissioner Matt Calabria, who pushed through the county’s livingwage ordinance and protections for its LGBT employees. “When you engage in practices that are discriminatory, companies take that very seriously.” On Facebook last week, Calabria relayed the story of an unnamed Fortune 500 CEO who told him: “We invested a billion dollars in this state. You think we are going to invest another if you don’t fix this?” Indeed, after Indiana’s Religious Freedom Restoration Act passed last year, that state faced widespread recriminations from the business community. The impacts on Indiana— though the law was only in effect for a few days before it was curtailed— were enormous. All told, the city of Indianapolis alone lost at least $60 million and twelve conventions. Earlier this week, to stave off a similar firestorm, Republican Georgia governor Nathan Deal vetoed an antiLGBT bill passed by the legislature.
“Transgender identity is a complex issue, and is best handled with reason and compassion at the local level”—Pat McCrory, in November, when North Carolina joined other conservative states in opposing a Virginia transgender student’s lawsuit over bathroom access.
create or rth Carolina’s ability to 13. Will this bill affect No recruit jobs? affect companies in North Answer: This bill does not do s one of the top states to Carolina. North Carolina wa and , sed pas s wa ore this law business in the country bef into om ordinance from going hro bat s tte’ arlo Ch preventing nge that. effect on April 1 won’t cha at it ing cities and towns wh 14. Why is the state tell elected the nce ina ord an ealing can and can’t do by rep ? sed e City Council pas members of the Charlott like is one of at least 37 states na roli Answer: North Ca ulations reg or s rule s pas not towns can sing Virginia where cities and pas In given to them by the state. ity that exceed the authority hor aut its ing Charlotte was exceed the bathroom ordinance, of y Cit the ond ramifications bey and setting rules that had safety ed to address privacy and act ture isla leg Charlotte. The on ct was allowed to go into effe concerns if this ordinance April 1. cities, tions in North Carolina 15. Do any other regula was e ott arl Ch at wh to se clo towns or counties come recommending? hing are aware of. Therefore, not Answer: No. Not that we luding inc s, ntie cou and ns cities, tow tions changes in North Carolina tec pro crimination practices and in Charlotte, regarding dis sed. now that this law has pas vote for this bill? 16. Did only Republicans N.C. ts voted for this bill in the Answer: No. 11 Democra voted rs ato Sen and no Democratic House of Representatives id avo to out d lke wa tic Senators e for against it. In fact, Democra vot to ng goi re we ny ma because voting on the issue at all w their division. it and they did not want sho to re call a special session 17. Why did the Legislatu ? inance e overturn the bathroom ord ordinance, which would hav tte arlo Ch new The er: Answ and s icie pol m change their restroo required all businesses to en using of privacy people have wh n atio ect take away the exp no action if 1 ril Ap on ct effe to go into the restroom, was going was taken. comes to a disadvantage when it 18. Is North Carolina at s like nce ina ord e hav t no it does recruiting jobs because posing? the one Charlotte was pro inance last 3 years without an ord the in Answer: No. In fact the in s job st mo 6th created the like this, North Carolina has mples exa no of w kno We s. new job country – over 260,00 0 net e hav t ed to North Carolina tha of companies being recruit tte was inance like the one Charlo ord asked if the state has an proposing.
While seventeen North Carolina municipalities have nondiscrimination ordinances that may now be nullified, Charlotte did go further in extending these protections to all businesses that offer private accommodations, not just contractors and employees.
Indeed, eleven House Democrats voted for the bill. But of the fifteen members of the Democratic Senate Caucus who walked out, plus former senator Josh Stein, who resigned last Monday to focus on his run for attorney general, twelve have made public statements opposing HB 2. This special session cost taxpayers $42,000—and a whole lot of mockery from the rest of the country.
False. Apple told Charlotte’s mayor that it would only expand into cities with an LGBT nondiscrimination ordinance. Siemens, AT&T, Microsoft, and Bank of America all urged Charlotte to pass the ordinance. “The part we can’t quantify is, of this long list of companies, how could we know how many companies might decide to not expand or even never come here?” asks Representative Duane Hall, D-Wake. “It almost irreparably harms our reputation. I bet you, four years from now, legislators will stand up and say, ‘Not a single company pulled out of here.’ You see how many companies are saying that this is bad, but look at the flip side: How many companies have come out and said, ‘Thank you for doing this’? Zero.”
pblest@indyweek.com
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ILLUSTRATION BY CHRIS WILLIAMS
Trapped in the
Machine
WILDIN ACOSTA AND THE UGLY MAZE OF AMERICAN IMMIGRATION POLICY BY DAVID HUDNALL
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CCA cleared $26 million in taxpayer money in 2014 operating immigration jails like the Stewart Detention Center. PHOTO BY DAVID HUDNALL
I
t was one of those rooms you see in the movies: dully lit, white concrete walls, a phone hanging next to a window. I expected to see Wildin David Guillen Acosta seated on the other side of the window, wearing an orange jumpsuit. Instead, he was standing before me, on my side of the window, in scrubs, hands uncuffed. He was skinny, with a faint mustache on his lip. His knee bounced. He seemed nervous, gentle—no trace of the hardened exterior common to men who find themselves in rooms like this one. “You’re David?” he asked in choppy English. “I’m David, too.” At the Stewart Detention Center, in Lumpkin, Georgia, detainees are color-coordinated. Blue scrubs means low security risk; orange and red inmates are higher risk. Acosta, a nineteen-year-old with no criminal record, wore blue. Most of the detainees at Stewart wear blue. And most of them will eventually be deported. I first heard about Acosta in late January, when the news broke that several teens in North Carolina—sometimes referred to as the “NC6”—had been targeted by Immigrations Customs and Enforcement agents and taken away for deportation. They came for Acosta on a Thursday morning, while he was on his way to class at Riverside High School. He lay on the cold
ground outside his southeast Durham home as agents handcuffed him. His father, also an undocumented immigrant, watched in fear from the kitchen window as his son was hauled off. Acosta was first sent to the Wake County jail, then a jail in South Carolina, where he was able to call his parents three days after being apprehended. The next day, he was transferred to Stewart. Almost everybody picked up by ICE in the southeast ends up at Stewart. It’s the last stop before they send you back to whatever country you came from. At first, Acosta’s story seemed like a clearcut injustice: he’d left Olancho, Honduras, a bloody place of civil unrest, to reunite with his family in the United States. He enrolled in a Durham high school. He wanted to be an engineer. He wasn’t a criminal. Soon after his arrest, the community rallied around him: there were vigils and press conferences and denunciations from political leaders. Questioning why ICE had targeted a high school student, they pitched his detention as part of a Manichean struggle between a callous government and a helpless teenager. The reality, however, is more complicated. In recent years, there’s been a surge of unaccompanied minors coming from Central America. An estimated sixty-eight thousand youths from Guatemala, Honduras, and El Salvador showed up at the border in 2014, INDYweek.com | 3.30.16 | 13
Scenes from downtown Lumpkin, Georgia. PHOTO BY DAVID HUDNALL
the year Acosta made his trek. Many of them left their homes under the impression that they’d be allowed to stay and access public benefits. The Obama administration funded a public relations effort to dispel this notion. For a time, it seemed to be working. But the flow of Central American children to the U.S. border has picked up again. Since October 2015, twenty thousand more Central American minors have been caught at the border. The White House appears to be slowly coming around to the view that this wave of immigrants represents a refugee crisis. In January, it expanded a program to allow Central American migrants to apply for refugee status before coming to the United States. Obama also authorized an additional $70 million for refugee assistance. But that doesn’t address the hundred thousand or so who are already here. If Acosta had been an adult when he arrived, he would have been turned away then and there. But he was only seventeen. Federal law grants minors a date in front of a U.S. immigration judge—and, in the meantime, the opportunity to reside with family members. That’s how Acosta ended up in Durham. But Acosta skipped his court date, and a judge issued a deportation order in March 2015. ICE came ten months later.
And so the more I learned about Acosta’s story, the less it sounded like a travesty than the unfortunate but logical outcome of America’s immigration machinery. Whether the hulking, amorphous apparatus that had ensnared him was just, however, was an entirely separate question. More information was required. In early March, I made the eight-hour trip from Durham to Southwest Georgia to get a closer look at the system that had uprooted Acosta— and that had stirred so much outrage in his adopted hometown. l l l
In a mix of Spanish and English, Acosta told me about Olancho, one of the most violent regions in a country with one of the highest murder rates in the world. His father had immigrated to the United States in 2005, back when Honduras was more peaceful. By the time his sister and mother fled to the United States, in 2013, gang members— “sicarios,” Acosta called them—ruled the
LOW RISK, HIGH REWARD In 1850, Stewart County was one of the most populous
counties in Georgia. It was also one of the state’s largest cotton producers. Both of these facts were the direct result of slave labor: roughly half of the county’s residents were slaves. Today, Stewart County is one of the least populous counties in Georgia—a little over six thousand people. But its tradition of profiting off individuals with restricted rights lives on. These days, the money comes from a private prison. Those being exploited tend to be Hispanic, rather than black. They make $4 per day working eight-hour kitchen shifts. No county in the entire United States had a higher increase in its Hispanic population between 2000 and 2010. Seventy-nine Hispanics in 2000 turned into over fourteen hundred by 2010, a jump from 1.5 percent of the population to 24 percent. The 14 | 3.30.16 | INDYweek.com
streets. Acosta said the sicarios killed his uncle. He feared he’d be next. So in 2014, Acosta made his way to the Texas border, traveling by car and on foot. He was apprehended and then sent to live with his parents in Durham until his court date. In Durham, he worked off the books at a restaurant, where he made about $300 every two weeks. He played soccer. He had a girlfriend. “I really miss my girlfriend,” he told me. He missed his mother, too. He talked to her daily, but he didn’t want her to see him in here. The conditions inside Stewart, a for-profit facility (see sidebar), are notoriously poor. A 2012 report by the ACLU found evidence of irregular meals, inadequate medical staffing, and the sky-high prices for phone calls and commissary food common to private prisons. In 2009, a detainee named Roberto Medina-Martinez died of what his family subsequently claimed in a lawsuit was a treatable heart infection. (The lawsuit was settled out of court.) Like most detainees at
Stewart Detention Center, which can house as many as two thousand people, accounts for nearly every single one of those new residents. Most often, they live in the jail until they are deported. Quite literally a jail built in search of prisoners, Stewart Detention Center sat empty for two years after it was built. In 2006, ICE came to the rescue. A deal was struck between ICE, Stewart County, and Corrections Corporation of America whereby ICE pays the county about $60 per day per prisoner. The county in turn passes along all of that money to CCA to operate the facility, minus its cut—$0.85 per day per prisoner. This ends up being just enough to keep Stewart County solvent. CCA, the largest for-profit prison corporation in the United States, enjoys considerably fatter margins. Off revenues of $1.6 billion in 2014, CCA earned profits of $195 million. In 2014, CCA cleared approximately $26 million operating immigration
Stewart, Medina-Martinez had no criminal record. He was arrested in Charlotte in January 2009 for driving without a license and speeding. A few weeks later, he was transferred to Stewart. By March, he was dead. “Our focus right now is to shut [Stewart] down,” Azadeh Shahshahani, the legal and advocacy director of the Atlanta-based organization Project South, told me. “That’s the motto these past two years. There was a hunger strike last fall in response to the inhumane conditions. In the summer before last, there was also a hunger strike over reports of maggots in the food.” I asked Acosta about his treatment at Stewart. He said the food was “horrible, man,” and said it’s difficult to sleep because it’s loud (so many bunks in the same room) and bright (they don’t dim the lights). “People in here, they just want to get out,” he said. “They’re happy when they leave.” l l l
Out in the eerily still parking lot, past the fences with the curling spiked wire on top, I spoke with Bryan Cox, a communications director for ICE. Cox is no rumpled bureaucrat; he’s slick, a mix between TV anchor (he used to run a Fox station in South Carolina) and FBI agent: aviators, crisp suit, confidence. As an arm of the Department of Homeland Security, he explained, ICE follows civil
jails. With the possible exception of the Geo Group, its only competitor for ICE contracts, no organization has benefited more from the rise of immigrant detention in America. And quite a rise that has been. In 1995, there were fewer than seventy-five hundred immigration detention beds in the United States. Today, federal law mandates that thirty-four thousand beds be filled by immigration detainees daily. This quota, passed by Congress in 2010, was designed to ensure that immigration officials were aggressively pursuing unauthorized immigrants. It ended up being a gift to private prisons. The number of immigration detention beds operated by for-profit prison companies jumped 13 percent in the five years following the law’s passage. And no wonder: the quota means guaranteed revenues. In America, locking up immigrants is a low-risk, high-reward business.
DUKE P ERFORMANCES 2015/16 S E A S O N | E S S E N T I A L C L A S S I C S I N D U R H A M enforcement priorities set by the DHS. Secretary Jeh Johnson revised these priorities in November 2014, in response to a surge of immigrants from Central America. Acosta met two of these new criteria, making him a more eligible target for deportation: he was apprehended at the border, and an immigration judge ordered him removed from the country after January 1, 2014—a date that roughly coincides with the beginning of the Central American refugee crisis. But ICE doesn’t apprehend everybody who meets these priorities. The agency has discretion. Cox described this as a “case-bycase examination of the totality of a person’s circumstances.” So why Acosta? Cox would only say that Acosta met the DHS’s enforcement priorities. He kept repeating the phrase “totality of the situation.” He went no further. I asked whether Acosta drew an unlucky number in the ICE lottery. “We would push back against that characterization,” Cox replied. One way to interpret ICE’s targeting of the NC6 (and the 336 other Central Americans apprehended since January) is that the government is sending a message to wouldbe border crossers. ICE doesn’t have the resources to pursue each of the roughly ten thousand unaccompanied minors who’ve been ordered out of the country since July 2014. But neither can it give the impression that there are no consequences to illegally crossing the border. After Acosta’s arrest, teachers at Riverside reported that attendance dropped; students and families were afraid ICE would come for them, too. Cox told me these fears are unfounded: “One, we don’t conduct enforcement at schools. We have a policy of no enforcement at sensitive locations, which means, schools, hospitals, or
churches. Two, our priorities are not a secret. They’re on the website. If you’re worried, read the priorities. Do you meet those priorities? If you do, then, yes, you may be taken into custody. If you don’t, then no, you won’t. “It’s a political issue, and I get that,” Cox continued. “It’s complex, and people see it in different ways. But I think it’s important to remember, as far as ICE goes, that a judge made this decision [about Acosta]. A judge listened to the facts and made a determination that he should be deported.” l l l
Except that’s not exactly what happened. Acosta attended his first court date but skipped subsequent ones on the advice of an attorney who told him he didn’t stand a chance, his mother says. Though Acosta’s advocates have declined to identify that attorney, he or she probably had a point. North Carolina immigration judges granted only 16 percent of asylum requests in 2014, well below the national average of 49 percent. In 2014, judges at Stewart—the jail has its own court— granted only 6 percent of asylum cases. A few blocks off the square in Lumpkin, there’s a large sign on a patch of grass that says “Matemu Law Office: Deportation Defence.” The 800 number routes you to Japeth Matemu, who, it turns out, is based in Raleigh. With a few exceptions, he told me, immigration judges in North Carolina and Georgia are “very hostile” to immigrants. “The thing to understand is that immigration law is a totally separate track than what we think of when we think of the American justice system,” he said. “You have very few constitutional protections. You only qualify for a couple types of defenses. And to top it all off, whether you are granted relief or not is determined entire-
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ICE doesn’t apprehend everybody who meets these priorities. So why Acosta?
On view through June 26, 2016
2001 Campus Drive, Durham I nasher.duke.edu Christian Marclay, Actions: Flopppp Sllurp Spaloosh Whoomph (No. 3) (detail), 2013. Screenprint and acrylic on canvas, 61 1⁄2 x 102 1⁄2 inches (156.2 x 260.4 cm). Collection of Nancy A. Nasher and David J. Haemisegger. Image courtesy of the artist and Paula Cooper Gallery, New York, New York. © Christian Marclay. Photo by Steven Probert.
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Viridiana Martinez, coordinator for Alerta Migratoria NC. PHOTO BY DAVID HUDNALL
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ly at the discretion of a judge. You can say, ‘I have a wife, children, I’ve been here fifteen years,’ and the judge can still deny you if he wants, and there’s very little you can do.” The next step after a deportation order is the Board of Immigration Appeals, though the terrain doesn’t get any friendlier there. “The BIA will tell you that it can’t modify the immigration judge’s ruling unless it’s an egregious or obvious miscarriage of justice,” Matemu said. “You basically have to prove the judge is off his rocker.” The mountainous backlog of immigration cases in the system—474,000 nationally and over 5,000 in North Carolina—also stacks the deck against immigrants. Sometimes people are deported before their appeals can be filed. Others sit in miserable jails waiting indefinitely for their day in court. Though ICE says the average length of stay at Stewart is around thirty days, stories of those kept there much longer are not hard to come by. Acosta told me his bunkmate had been there for over a year. A typical removal defense will last anywhere from four to six months, says Julio Moreno, an Atlanta immigration attorney who practices in North Carolina and Georgia. “And if the judge denies the case and the person decides to file an appeal, you’re looking at another four to six months of detention while the appeal is decided,” Moreno told me. The remote location of the jail in Lumpkin poses another obstacle. “Psychologically and emotionally, this is tough on the detainees, who are very far from family or witnesses who can help them fight their immigration cases,” Moreno said. Moreover, obtaining a bond at Stewart is “harder than any other court I’ve ever practiced in,” which means immigrants most often end up having to fight their case while detained. Faced with these long odds—not to mention the harsh conditions inside ICE jails— most detainees simply fold. “They end up accepting final removal orders rather than
attempting to fight,” Moreno said. l l l
There’s no doubt Acosta broke the law: he entered the country illegally, hadn’t applied for refugee status, was an adult, and had skipped his court date. In other words, he checked all of the boxes you need to check to arouse ICE’s attention. Based on the reaction in Durham, though, you’d think ICE had done something pernicious and extraordinary. A week after he was taken into custody, the Durham Human Relations Commission drafted and ratified a statement of support for Acosta. The following week the Durham City Council endorsed that statement. An attempt to send Acosta’s homework to Stewart yielded another round of news reports. And when Riverside teachers began speaking out about attendance plummeting, the national media took notice. In short, activists elevated Acosta to something of a cause célèbre. Then, on Thursday, March 17, they sent out a press release announcing that he was going to be deported three days later, on Sunday. That evening, Viridiana Martinez, the coordinator for the group Alerta Migratoria NC, which has been working on Acosta’s behalf, told me that Acosta’s new lawyer, Evelyn Smallwood, had filed a motion to reopen Acosta’s case on the grounds of ineffective counsel. “If ICE deports him on Sunday with this motion pending, that’s a violation of his due process,” she said. Over the next few days, though, it looked as if that was exactly what was going to happen. After U.S. Representative David Price publicly questioned the detention of the NC6 in a House Appropriations Committee meeting, activists called for the same from Representative G.K. Butterfield. On that Friday afternoon, seventy-five of them stalked around outside his Durham office. At one point Martinez demanded that one of Butterfield’s aides go tell the congressman to tell President Obama to halt Acosta’s
N O R T H
Wildin Acosta deportation. Instead, what the protesters got was a statement assuring them that Butterfield had placed calls to the DHS and ICE asking them to delay Acosta’s deportation. But while the protest was happening, Acosta’s motion was denied in Charlotte. Later that evening, ICE director Sarah Saldaña said ICE would be moving forward with his deportation. And that seemed to be that. Sunday morning, though, saw another statement from Butterfield: he and Representative Zoe Lofgren of California, the ranking Democrat on an immigration subcommittee, had pressured Saldaña into delaying Acosta’s deportation a few days until he could file an appeal with the BIA. On Monday, another victory for Acosta: the BIA granted Acosta a stay, which prevented ICE from deporting him while the BIA is reviewing his case. That is likely to take a few months. And if Acosta is released from Stewart—as his advocates are now demanding— it would likely be one or two years before his case is heard. (That decision is left to ICE.) I asked Butterfield why he thought Acosta should be granted an exception to the immigration rules. Was it just because of the protesters and TV cameras? Through a spokesperson, Butterfield admitted that “public interest and pressure certainly played a valuable role.” He added that he’s hopeful that “with his current legal counsel and an opportunity for his case to be decided based on its merits, Wildin will eventually be granted asylum.”
who enjoy standing around, chanting, and holding signs. Oscar Hernandez, an El Salvadorean picked up in Charlotte during the same round of ICE raids, did not fare so well. He was sent to Stewart and then quickly put on a plane. Same with Edwin Alvarez of Cary, who’s now back in Honduras. On my last day in Georgia, I interviewed a twenty-six-year-old man who had just been released from Stewart after seventeen months. We spoke on a park bench overlooking the Chattahoochee River, in downtown Columbus, forty miles north of Lumpkin. It was a beautiful day: sixty-five degrees and sunny, the whitewater river current jagged and shiny like a cracked mirror. He had burn scars on both hands, the result of a scalding-hot-water accident sustained while working a kitchen shift at Stewart. He wouldn’t give his name. “If I had a green card, my name is no problem,” he said. “But I have nothing. ICE is very powerful.” Unlike Acosta, he had no advocates in his corner. His home country was not in the Western Hemisphere, and his English was too poor for him to articulate the circumstances that had led to him languishing inside Stewart for a year and a half. But it seemed likely that both of these facts contributed to the length of his stay. He had no voice, his case was buried somewhere in the haystack of immigrationcourt dockets, and he was being detained by a private company that made money every day he was stuck inside its jail. It seemed almost a miracle he was let out at all. For whatever reason, though, he had been released. A family member was driving from a faraway state to come get him. He didn’t want to say where he was going. Like Acosta, he just wanted to get out of Georgia as fast as he could. dhudnall@indyweek.com
Faced with these long odds and harsh conditions, most detainees simply fold.
l l l
That may well happen. If it does, it will be because Acosta had the good fortune of being in Durham, a liberal city with an unusually high percentage of people
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THE
HAVE-NOTS UNDERPAID AND TREATED AS DISPOSABLE, DUKE UNIVERSITY’S ADJUNCT FACULTY FIGHTS BACK BY BOB GEARY
Duke University’s adjunct faculty members celebrate a vote to join the SEIU last Monday. PHOTO BY ALEX BOERNER
The culmination of the months-long campaign to organize a faculty union at Duke University came far from the campus, in the nondescript offices of the National Labor Relations Board in Winston-Salem. It was, for anyone who cares about the state of American universities, a sobering scene. This was the counting of mailed-in ballots to determine if 296 nontenured, nonrank faculty members at Duke had chosen to join the Service Employees International Union. As the two sides huddled around a hearing room table— a half-dozen Duke officials and their lawyers on one end, a dozen faculty members, their lawyers, and organizers from the union on the other—NLRB officer Ingrid Jenkins directed the tedious process: first, determine whether each envelope received was from an eligible person; second, open and insert the ballot into a cardboard box to preserve anonymity; third, read each ballot aloud. Yes. No. Yes. Yes. In the two hours it took to complete this task, it was clear that this wasn’t Duke and a part of its faculty tilting amicably. Rather, it was “the company” and “the union”—Jenkins’s
terms—staring across a great divide. The outcome, on March 18, was a lopsided win for the union, 179–24, with thirteen ballots set aside because of contested eligibility. Why did I find the clash so jarring? Because it burst my ideal of what university governance should be, with faculty at the center and the administration supporting them. For that matter, it was jarring to realize that an eclectic group of scholars, individualists for whom the uniformity of a union seemed an odd fit, wanted the SEIU nonetheless. But there it was. The modern university isn’t governed by its faculty, though in my memory administrators were drawn from the faculty, and they respected the tradition that a university was its faculty and students. Its tenured faculty, anyway. But then, most faculty members had tenure. Today, though, universities are run like a business—they’ve been “corporatized,” critics say, and chase the almighty buck—while a majority of faculty members lack the protection of tenure or any hope of getting it. Instead, their employ-
ment is “contingent,” dependent on fixed-term contracts that are typically one to three years long but may be semester to semester—and are often part-time. Those without tenure are constrained in their ability to challenge university policy. They’re treated as workers who may or may not be retained. Rann Bar-On is a Duke mathematics instructor with a contract. “We are workers,” Bar-On told me after the votes were counted. “Especially those of us who focus on teaching, as I do.” As opposed to doing research, he meant. “I do not consider myself as any different from workers in other industries,” Bar-On added. “Because the university does not.” Across the country, contingent faculty workers are banding together: according to The Wall Street Journal, union drives have succeeded at seventy colleges and universities in the last three years. Duke stands out, however, as a first in the South and, according to the Journal, “the first new private sector faculty union in a right-to-work state in decades.” The question ahead is whether unions can help stem the impacts of corporatization and reassert the centrality of INDYweek.com | 3.30.16 | 19
teaching, learning, and inquiry on American campuses. Will unions play the role that tenured faculty once did to safeguard academic freedom? And, in North Carolina, will Duke’s union spark an uprising on other campuses, in particular across a University of North Carolina system under threat from forces corporate and political? l l l
When I started following the Duke campaign and the related SEIU-led Faculty Forward efforts on other North Carolina campuses, I thought I’d be meeting adjuncts—people who teach a course or two, often as a sideline to their day jobs, and supRann Bar-On raises his hand during a rally. PHOTO BY ALEX BOERNER plement the regular faculty. lets to describe all the aides to deans who manage the grants— But adjunct has little meaning in the context of jumped 240 percent. the irregular faculty who bear such titles as fellow, lecturing Duke may not be the worst offender, though, as a private fellow, visiting scholar, or, my favorite, professor of the pracuniversity, it keeps details about faculty and administratice—all invented to disguise the fact that they are hired help tive pay to itself. We do know, from surveys by the Chronicle with little job security. of Higher Education and data distributed by the SEIU, that A primer: college faculty in the United States went from Duke president Richard Brodhead pulled down $1.2 million two-thirds tenured in 1970 to three-fourths nontenured in 2013, the latest year available. We also know that tenured today. According to the American Association of University and tenure-track faculty at Duke still outnumber the nontenProfessors, half of nontenured faculty members teach partured ranks three to two. time. It’s common for all of them to be paid by the course. But the trend is going the other way. According to a 2015 Average payment: $2,800, usually with no benefits. Duke report circulated by the union, just 11 percent of faculty Do the math and you’ll find that a college instructor teachhired in the last decade were on the tenure track. ing four classes per semester—three is usually considered a If Duke is bad, however, UNC-Chapel Hill is worse, accordfull load—would earn just $22,400 a year. Throw in a summer ing to geography professor Altha Cravey, a leader of the Facjob, and it’s still far short of the $35,000 starting pay for K–12 ulty Forward campaign there. Cravey was shocked when she public school teachers in North Carolina, a state that ranks discovered that, from 2003–2013, the percentage of UNC near the bottom in teacher pay. faculty not granted tenure or on a tenure track—the so-called At a forum in Durham a few months ago, someone said NTTs—grew fivefold, from 12 percent to 59 percent. that, as poorly paid as school teachers are, the worst-paid So who are these have-nots? teachers work in our colleges and community colleges, most after earning a master’s or Ph.D. l l l That comment stuck with me, as did the observation by state AFL-CIO leader MaryBe McMillan that these underEverything is relative, and the dozen or so nontenure-track paid professionals are victims of the “gig economy,” in which faculty members I’ve interviewed aren’t poor, though one or jobs that used to be secure and well paid are being replaced by two verged on poor. But remember, these were the best and lower-paid contract workers. brightest students in their schools, the graduate students who “Workers in all types of jobs are working longer and harder earned advanced degrees and thought that their success and for less and less, and meanwhile the divide between the haves knowledge would be valued by an information-age society. and the have-nots gets wider and wider,” McMillan told the By that standard, the universities are failing them—and forum. failing their students. Who are the haves in higher education? First, the adminChris Shreve, for example, is employed full-time at Duke as istrators, whose pay is on the rise. The chase is on for grant a lab instructor in a molecular biology class. He’s been teachfunds, and many come from corporations for product-related ing at Duke for thirteen years. He has a master’s degree but no research. Also, universities are pushing their prices higher— Ph.D, because he’s not “research driven.” at Duke, to $63,273 this year for tuition and living costs. Last year, Shreve received a 20 percent raise, after multiple The Fall of the Faculty: The Rise of the All-Administrative years of none. His base pay now: $33,000 a year. He suppleUniversity and Why It Matters, a 2011 book by political sciments that by teaching extra courses in summer school and entist Benjamin Ginsberg, examined the data. Between 1985 working as the assistant wedding director at Duke Chapel. and 2005, student enrollments increased 56 percent, and facMolecular biology is an intensive, competitive course ulty by half. But the number of administrators increased 85 that’s a prerequisite for students going to medical school, percent and attendant staff—Ginsberg coined the term dean20 | 3.30.16 | INDYweek.com
Shreve says. “They can succeed, and they do phenomenally well once they have the background,” he says. “One of the reasons I’ve joined this union effort is that there’s a certain underclass of faculty who are not research driven, who are teaching driven, and who have seen the importance of teaching diminish at [Duke].” Eileen Anderson does have a doctorate degree from UNC-CH. At Duke, she’s a lecturing fellow in Spanish—a full-time teacher on a three-year contract with one year to go. She’s been at Duke five years, after an earlier stint at N.C. State. She makes $45,000 a year, with benefits, for teaching six classes a year. That equates to $7,500 per class, the standard Duke stipend for an NTT. Anderson started with a series of one-year contracts at Duke. Every year, by second semester, she was nervous. Is it better on a three-year deal? “Once you get in the system,” she says, “you think, well, they’ll probably renew me.” So she’s OK? “I’m always nervous,” she laughs. Shreve, Anderson, and other Duke “contingents” I spoke with said they love their jobs and want to keep them but are frustrated by Duke’s unpredictable approach to pay, retention, and promotion. In general, these things are up to department heads; department heads, in turn, are under pressure from administrators to cut their budgets—but cuts never hit the tenured staff, only the NTTs. Which leaves the latter in perpetual anxiety. That’s a big reason they voted for the union, hoping a negotiated contract will clarify how hiring and pay are determined—and ensure that NTTs are given a chance at promotion when better positions open up. “The big word is transparency and making the career path clear for people,” Anderson says. “We want to figure out how we can do things more fairly.” Jen Bowles, also a lecturing fellow, teaches in Duke’s vaunted Thompson Writing Program, which trains freshmen to apply critical-thinking skills. Bowles has a law degree and a Ph.D in anthropology, and she hopes to find a tenure-track job. But she finished her doctorate during the Great Recession, when jobs were scarce. She’s paid $42,000 a year for fulltime work, about what she made as a public-interest lawyer in Washington ten years ago. Bowles calls the Thompson program “super sexy,” lauding its purpose and the quality of the faculty who teach it. “Duke’s getting top talent cheap,” she says. But their stress levels are high: the Thompson jobs only last three years, with the possibility of a two-year extension. Which keeps her constantly on the lookout for that next job, constantly needing to keep up her research in anthropology, though it earns her no money. “Every day, you’re stressed looking for openings, networking, putting time into research. And if you’re not doing it today, you’re stressed about not having done it,” she says.
Her contingent status doesn’t affect her in the classroom, Bowles says. But it does limit the time she can spend with students outside of class, in all the informal settings where they talk about what matters, discover new interests, and reflect on how the world really works. What her students may be considering instead, however, when they see how many of their teachers are contingent, is that they’re heading into a world of diminishing opportunities for the intellectually adventurous. Better put those critical skills aside and train for a slot they can fill—maybe a banker? The irony of the Duke-SEIU vote should not be missed. Duke’s contingent faculty is the best paid in the state by a lot. But then, Duke is also the wealthiest university in the state, with an endowment of $7.3 billion and an operating surplus in 2013 of $403 million. Duke should set the bar high in terms of paying and extending tenure to its teachers— higher than it does. The fact that it doesn’t may be why the UNC system can go so low with its contingent faculty. One example: Kelly Jones, who taught in the writing program at Appalachian State and now lives in Durham. Jones has a master’s degree. She usually taught two classes per semester, for between $3,800 and $4,300 each; her gross income was never more than $17,000 a year. That’s why she had a part-time job in the public library, which boosted her as high as $25,000. “I do miss teaching,” Jones says, but she’s doubtful she’ll return to it or pursue a doctorate, given the paucity of tenured jobs. Or take Chris Reali. He earned his Ph.D in music history after working as a roadie for rock bands. His specialty: the music industry. This semester, he’s teaching two courses at N.C. State and one at N.C. Central, plus a fourth at Campbell University’s RTP campus. His pay: $4,000 per class at State, $3,500 at Central, and $2,700 at Campbell. All more than the $1,500 he was paid for a class he taught last year at Wake Tech. “I’m looking for a full-time job, but for now I’m making ends meet,” he says. Fingers crossed: he’s a finalist for a fulltime job in South Carolina, at USC Upstate. l l l
At Duke, the new SEIU unit is preparing for negotiations and eyeing possible expansion to organize an additional 150 nontenured faculty, who were excluded from the March 18 vote because Duke considered them supervisory and thus ineligible. Bar-
On, the math instructor, fell into this category. After leading the organizing efforts, he couldn’t vote and can’t join the union unless his supervisory tag is dropped. On UNC campuses, meanwhile, faculty are covered under the state law banning collective bargaining by public employees, so any union activity—if the Faculty Forward campaigns spawn unions—would be limited to advocacy. Still, advocacy by the faculty in Chapel Hill is in short supply, Altha Cravey argues. A tenured professor for twenty-one years, she worries that the core mission of the university system is under attack by the board of governors and its newly installed president, Margaret Stallings. But contingent faculty members, lacking tenure, are afraid to push back. And tenured faculty are complacent. What’s the core mission? It should be to create informed citizens with the critical-thinking skills to be self-governing, Cravey answers. But that mission is at war with an opposing view, held by businessminded Republicans and some Democrats, that there are cheaper ways to “deliver content” than teacher-student interactions, and too many students are taking courses that, to paraphrase Governor McCrory’s boorish comment, don’t put their butts into jobs. Cravey’s geography courses, which McCrory no doubt would disdain, are designed to help students make connections between the physical things they can see and the power relationships hidden from view. “Learning to see the things around us from a new perspective of how are things related to each other at a human, intermediate, and global scale”—that’s what geography is about, she says. That’s what all of higher education should be about. Ideally, the college experience is a blend. It’s scholarship that dives deep into the human experience using the tools of a discipline taught by faculty who are scholars themselves. It’s training for a lifetime of occupations that will benefit from sharp analytical skills. It’s preparing to participate in the community and democracy. But, increasingly, our corporatized universities are about money, not ideas, and fund-raising more than raising minds and improving humanity—the core mission. A tenured faculty used to safeguard that mission. That was the point of tenure: to put the faculty in charge and preserve freedom of thought. Now it takes a union. l rjgeary@mac.com
SPRING 2016 SERIES:
Constitution in Crisis Join us for four evenings of lectures in April as UNC-Chapel Hill scholars share insights on important legal and cultural aspects of the US Constitution. The program will provide a forum for faculty in law, government, journalism, and other disciplines to share their ideas and engage the audience in thoughtful discussions of these compelling topics.
Thursdays, April 7, 14, 21, and 28, 7–8:30 pm, at the Friday Center. Fees: $10 per session or the entire series for $30. Free admission with UNC-Chapel Hill student ID. To register, call 919-962-2643 or 800-845-8640, or visit
fridaycenter.unc.edu/wbi INDYweek.com | 3.30.16 | 21
PICNIC
1647 Cole Mill Road, Durham www.picnicdurham.com
AT DURHAM’S GREAT NEW BARBECUE JOINT, PICNIC, TRADITION IS THE REAL INNOVATION
22 | 3.30.16 | INDYweek.com
LEFT
Wyatt Dickson, pouring before he pulls RIGHT Picnic's enviable fried chicken
O
n top of each table at Picnic, Durham’s new craft barbecue joint, a bottle of sauce—or “dip,” if your allegiances lean toward Lexington—claims to offer the perfect compromise between North Carolina’s two vernacular regions of smoked pig. But Picnic’s true place in the state’s great barbecue debate is not at the midpoint along the Down East and Piedmont continuum but instead on a vertical axis that extends in a new direction, from the very best of our indigenous food traditions. This food seeks no hiding places behind artifice or distraction; the entire menu is blatantly straightforward, highlighting the inherent goodness of the ingredients, prepared to honor the traditions they represent. The judicious use of adjectives on the menu showcases this understated excellence. Picnic does nearly everything very well and with great intention, balancing the wholly authentic and thoroughly unpretentious. Wyatt Dickson’s commitment to barbecue orthodoxy is complete, yielding pitchperfect pork sourced from Bahama’s Green Button Farm, a dozen miles up the road. The quality reflects Dickson’s emphasis on honoring North Carolina’s most revered (and contentious) cuisine by slow cooking over hardwood coals. The irregular percussion of meat cleavers that fills many barbecue places is conspicuously absent here, evidencing Dickson’s dogmatic insistence on classic practices. The pork is not sliced or chopped but rather pulled from the pig’s carcass just before it’s served. The tail-to-snout attention of the preparation follows through to the literal last minute. The meat is smoky and succulent, with the occasional cracklin for crunch. It arrives unsauced and unadorned, concealing nothing and revealing the quality and complexity that come from eighteen hours amid wood smoke. Not unlike a perfectly played pedal steel guitar, Picnic’s barbecue has the ethereal ability to pick you up from where you are and carry you someplace a little bit better. The side dishes of chef Ben Adams live up to the considerable task of belonging on the same plate. They are clean in flavor and
BY LEE QUINN
purpose, providing the main ingredients the necessary spotlight. The Brunswick stew, for instance, tastes exactly as it should, with a touch of sweetness from the fresh corn and tomatoes balancing the sturdiness of the meat and lima beans. A friend said Picnic’s Brunswick stew “tastes like your best memories at the county fair.” Though we come from different counties, I nodded. As with much else at Picnic, the stew manages the complex trick of being improvedupon and true to tradition. The constituent ingredients in the dill potato salad, baked beans, and collards maintain their integrity and foremost place in the bowl. The herbs in the potato salad, the molasses and bits of meat in the beans, and the bacon in the greens offer harmony, not distraction. The
cucumber pickles maintain just the right bite, with the brine complemented by red pepper and rosemary. The pimento cheese, featured in the mac and cheese and as a stand-alone, manages to taste like actual pimentos and bona fide cheese, not orange spackle mixed with mayo. Speaking of appearances, some Southerners will recognize the sweet potatoes as “Senator Russell Potatoes,” with a smattering of crushed pecans atop pureed tubers. But this version lacks the brain-numbing, teethrotting sweetness of the one named for the Georgia segregationist; a light texture and seasoning make stars of the sweet potatoes. While evidently made of high-quality corn meal, the skinny, near-shoestring hush puppies came out cool and a few hours old.
PHOTOS BY ALEX BOERNER
Farm to Pork
Surely, pups fresh from the fryer would be a more fitting side for a plate of barbecue or blackened catfish of this caliber. Picnic is a barbecue joint, a fact that makes the strength of its fried chicken unfair for competitors. The chicken, on offer as a sandwich or as a quarter chicken plate, could occupy center stage at a restaurant of its own. The bird is smoked and fried, with a breading that’s almost impossibly light and crispy. A honey-and-chile hot sauce, which may well have a second life as a country digestif, arrives on top. (Picnic should also consider selling its potlikker by the shot.) It’s easy to make bad fried chicken, so it’s a praiseworthy feat to make it light and delicious enough to give diners a moment of understandable indecision when choosing
between pig or fowl. The dessert offerings are surprising neither in quality nor content. The customary finale for a pig pickin’, banana pudding, is obviously homemade, with strong flavors of vanilla and custard. A slightly salty caramel sauce accentuates the chocolate chess pie, which finds the spot between delicacy and density. Some barbecue traditionalists and Tar Heel natives might balk at the elevated prices—$13.95 for a pulled pork plate, $12.95 for a quarter chicken. But these costs reflect the excellence of the ingredients themselves, the depth of preparation, and the all-important taste. Based on the crowds at Picnic every time I’ve visited, customers seem to
recognize that paying more for local products cooked skillfully is, indeed, worth it. Put another way, this food costs what it should cost. For those of us who grew up in North Carolina, Picnic is akin to lived nostalgia, where your most beloved memories are realized on the plate. The best food is nourishing not only because of how it tastes, but also for how it can connect us to a sense of rootedness and belonging. Picnic understands this geographical genealogy. Dickson and Adams honor those traditions by innovating—at least insofar as focusing on the very best ingredients can be considered innovation. l Twitter: @leejquinn
MASTER SMOKE TALKING THE REVIVAL OF TRADITIONAL BARBECUE WITH ITS AUTHORITY, JOHN SHELTON REED
M
y first encounter with John Shelton Reed came during my final semester in college, when I was his student during his final semester teaching at UNC-Chapel Hill. His course on the sociology of the South challenged students to see it as a region that, while by no means homogenous, has an identity as distinctive as it is debated. My family had been in the South since the days of Jamestown, so the issues Reed raised felt especially relevant. I have grappled with them ever since. Since his retirement, Reed has become widely known as a barbecue expert and spokesman of a particular sort; rather than aligning himself with the parochialism that marks much of the discussion surrounding regional barbecue styles, he has come to champion the authentic expression of each variety as something worth preserving. His 2009 book, Holy Smoke: The Big Book of North Carolina Barbecue, helped cement his status as an authoritative barbecue voice. And in his role as the cofounder of The Campaign for Real Barbecue, he uses his scholarly credibility and erudition to preserve the practice of smoking meat in traditional Tar Heel fashion. A few weeks ago, Reed released his latest book, simply titled Barbecue, through UNC INDYweek.com | 3.30.16 | 23
Press’s Savor the South series. An introductory essay outlines his philosophy and his methodology for compiling the barbecue recipes from across the South that shape the book. Nearly two decades after Reed commanded me to think more about the region I’ve always called home, I called him on the phone for an afternoon talk about barbecue.
There’s a return to orthodoxy that indicates a real respect for these traditions and the regions they represent.
contentious. How did you go about finding authoritative recipes for this book? JOHN SHELTON REED: I’ve been eating barbecue for a long time. I have a sister in Memphis, and my daughter and son-in-law live in Austin. I taught for a bit in South Carolina and have been traveling around and writing about and talking about the South since 1969. The book’s recipes are a mix—from people I know, friends of friends, directly from restaurants (though some were predictably reticent to share). I wrote authors of some cookbooks I consider authoritative. I even did some reverse engineering for several sauces and rubs. I’d get a dozen Kansas City sauce recipes, put them in a spreadsheet, see what was universal and what was idiosyncratic, then devise and test recipes based on that. In your view, what’s behind the traditional barbecue resurgence? Lots of the barbecue chains that are now coming along are placeless. You get the same menu in St. Louis as you do in Chicago as you do anywhere else in the country. It can taste good, but I’m not happy about people thinking this is true barbecue. I like to call places like
ILLUSTRATION BY CHRIS WILLIAMS
INDY: Barbecue can be
that “The International House of BBQ.” As far as a resurgence of what I’ll call “craft barbecue”—cooking the barbecue over wood, with organic, pasture-raised hogs and beef— it is parallel to the rise in people caring where their food comes from. That’s one reason why a barbecue sandwich costs more now, but it’s very much worth it. There is plainly a strong tie to those ideas and to the slow-food movement. The newer generation of barbecue cooks and pitmasters are self-conscious in a way the old barbecue guys weren’t. There is a dogmatism or even fundamentalism in their devotion to cooking over wood coals, pulling the pork, etcetera.
You mentioned that dogmatism over what is considered barbecue or not is relatively recent. What accounts for that? The tie to geography, particularly in North Carolina, overlays rivalries between the east and the Piedmont. Differing economies, settlement patterns, plantation systems (or the lack thereof ), and differences in the European and African migrations to areas of the state all play a role in these identities. In some ways, arguing about what makes barbecue barbecue stands in as a proxy for fighting about other things. The Texas-North Carolina smoked meat rivalry indicates this on a regional level. The reason for the relatively recent bubbling up of these arguments might be due to the increasing homogenization of other aspects of American cultural life. Barbecue—at least good barbecue that pays homage to local traditions—can still stand for a place. You’ve said elsewhere that, for some decades now, the rest of the U.S. is becoming more like the South. How much do you think the spread of our food traditions is an indicator of that? What seems to happen is that, when we export things from the South, people eventually tend to then think of them no longer as Southern, but American. Whether that’s a good thing or not is a matter of interpretation. On the other hand, I’m seeing grits showing up on the Amtrak from Chicago to San Francisco, and they were really well done, so I can’t complain.
w ne sale 24 | 3.30.16 | INDYweek.com
What appears or claims to be “Southern barbecue” is popping up lots of places with a Southern provenance, but all the things that are popping up outside the South aren’t necessarily representative of any particular tradition at all. For example, I’ve had Memphis barbecue on Haight Street, and it was pretty good. In a place like San Francisco, or Salt Lake City, or wherever else where there are no defining local barbecue traditions, people are entitled to do that, even if it sometimes is the International House of BBQ. That’s OK, because they’re doing it well. As far as Southern food traditions go, I’ll leave it up to you whether or not you consider Kansas City to be in the South, but that style seems to be taking over. It is what much of the country outside of the South considers to be “Southern barbecue.” One reason for this takeover is that they are the major sponsor of barbecue competitions. If you’re going to compete, you do it by their rules. You have to cook pork, chicken, ribs, and brisket, and you have to use their sauce in order to win. That sauce is a very thick, sweet concoction that has little to do with the culinary traditions of the South. Kansas City came late to the party, but it’s becoming what people elsewhere think of when they think of barbecue, whether or not they are Southern. You have a recipe in the book for “ barbecue hash,” which was new to me. It does point to a favorite of mine— liver mush, an item I grew up having at home and at barbecue restaurants for breakfast. That particular item is pretty safely confined to the North Carolina Piedmont and foothills. I don’t think you’ll run into liver mush at the International House of BBQ any time soon. —Lee Quinn
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INVITED PROGRAM This showcase features 23 exceptional films screened outside of competition. All These Sleepless Nights Michal Marczak Over the course of a summer, two Polish university students revel in and reel from the boundless possibilities of youth. Author: The JT LeRoy Story Jeff Feuerzeig The twisting, riveting tale of a gender-fluid author with a troubled past, who went on to become a literary sensation. Behemoth Zhao Liang Dante’s Inferno meets industrialization in a cinematic allegory that explores the environmental ravages and human costs of coal mining in China. By Sidney Lumet Nancy Buirski Weaving an interview with the renowned director together with rich selections from his oeuvre, this film highlights Lumet’s career and life through his own recollections. (Dis)Honesty – The Truth About Lies Yael Melamede Personal stories of dishonesty are combined with insights by behavioral economics expert Dan Ariely, exploring the human tendency to lie. Presented by PNC Don’t Blink – Robert Frank Laura Israel This energetic portrait of the acclaimed photographer and filmmaker captures Frank’s extraordinary images and bears witness to his creative process. The Fear of 13 David Sington This gripping film allows a convicted murderer who spent two decades on death row to tell his own story—leaving the truth open to interpretation. The Illinois Parables Deborah Stratman This visionary compilation unpacks the state in eleven chapters, spanning different histories to explore social attachments to religion, violence, and the land itself. Iris Albert Maysles The late, legendary director documents 93-year-old fashion icon Iris Apfel in this charming celebration of style and wit. Presented by PNC The Jazz Loft According to W. Eugene Smith Sara Fishko From 1957 to 1965, an obsessive photographer documented the jazz musicians who stopped by his Manhattan loft to play all night.
Kate Plays Christine Robert Greene Actress Kate Lyn Sheil relocates to Sarasota, Florida, to research her role as Christine Chubbuck, the news reporter who committed suicide on air in 1974. Lo and Behold: Reveries of the Connected World Werner Herzog Werner Herzog’s heady, playful treatise on technology in the modern age takes us from the inception of the Internet to the future of artificial intelligence. Maya Angelou: And Still I Rise Bob Hercules, Rita Coburn Whack Through interviews with friends and family, and a wealth of archival footage, this luminous biography traces the influence of the poet, performer, and activist. The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble Morgan Neville Traversing continents and cultures, the cellist and his international music group demonstrate the power of artistic collaboration through performances and personal stories. Norman Lear: Just Another Version of You Heidi Ewing, Rachel Grady The legendary king of 1970s sitcoms reflects on his life, his work, and the profound shift in national consciousness fomented by his groundbreaking shows. Presented by PNC Presenting Princess Shaw Ido Haar Video blogger and aspiring singer Samantha Montgomery is unaware she has a follower and fan in the form of an enigmatic Israeli composer, whose unforgettable YouTube mashups might just help Samantha achieve her dreams. Raising Bertie Margaret Byrne In this portrait of coming of age, three young men in rural North Carolina persevere against poverty, discrimination, and unemployment. World Premiere Rebel Citizen Pamela Yates The late cinematographer and director Haskell Wexler looks back on his body of work to talk about key moments from his powerful films and their lasting political, and personal, impact. Sherpa Jennifer Peedom In 2014, an avalanche on Mt. Everest took the lives of 16 Sherpas. With stunning visuals, this on-the-ground film reveals the complex forces leading up to the tragic accident and the tumultuous negotiations that follow.
Tony Robbins: I Am Not Your Guru Joe Berlinger A riveting behind-the-scenes look at the well-known business strategist’s once-a-year seminar “Date With Destiny,” where some 2,500 attendees prepare to change their lives.
Unlocking the Cage Chris Hegedus, DA Pennebaker Attorney Steven Wise and his colleagues at the Nonhuman Rights Project launch a history-making lawsuit arguing for captive chimpanzees’ right to personhood.
Two Trains Runnin’ Sam Pollard Featuring animation and performances by Gary Clark Jr. and Lucinda Williams, this story of the search for two forgotten blues singers takes us to Mississippi during the civil rights movement. World Premiere
Weiner Josh Kriegman, Elyse Steinberg With unparalleled access to the candidate, Weiner follows disgraced congressman Anthony Weiner’s 2013 campaign for mayor of New York City and intensely navigates new political scandal as it unfolds.
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The Ballad of Fred Hersch Charlotte Lagarde, Carrie Lozano This portrait of one of today’s greatest jazz pianists illuminates the creative process of a musical genius and the challenges of life as an AIDS survivor. World Premiere
Forever, Chinatown James Q. Chan Artist Frank Wong’s detailed dioramas of the Chinatown of his childhood serve as portals to the past in a changing San Francisco. World Premiere
Battles Isabelle Tollenaere An essay in four chapters, this mysterious exploration of the footprints of war reveals European landscapes in which military past and peaceful present converge. US Premiere
Gleason Clay Tweel Within weeks of being diagnosed with ALS, former NFL defensive back Steve Gleason finds out that he and his wife are expecting their first child. Gleason follows his decision to live, for his family and others fighting the disease.
The Black Belt Margaret Brown In 2015, Alabama closed 31 DMVs, wiping out access to identification cards. This short follows a mobile unit traveling county to county to help register voters.
God Knows Where I Am Todd Wider, Jedd Wider This absorbing feature unravels the mystery surrounding a woman found dead in a vacant New Hampshire farmhouse.
Call Me Marianna Karolina Bielawska As she embarks on a quest to become herself, Polish transgender woman Marianna must summon inner strength and make immeasurable sacrifices.
Golden Age Maija Blåfield This enigmatic short recollects and reimagines over 116 hours of footage the filmmaker shot over several decades.
City of Trees Brandon Kramer A stimulus-funded “green jobs” training program in Washington, D.C., throws racial tensions and the messiness of nonprofit work into sharp focus. Clínica de Migrantes: life, liberty and the pursuit of happiness Maxim Pozdorovkin This moving short focuses on the work of a volunteer-run clinic that provides medical services to the uninsured Latino community of South Philadelphia. World Premiere Dancing for You Erlend E. Mo Twelve-year-old Vilde wants to be the first female champion of Halling, a Norwegian folk dance traditionally reserved for men. North American Premiere
NEW DOCS Fifty titles—32 features and 18 shorts— screen in Full Frame’s competitive program. The short films in NEW DOCS will also screen as five separate shorts programs. 100 Years Show Alison Klayman The 99-year old artist Carmen Herrera and her geometric, primary-colored paintings are portrayed with cinematic vigor.
Audrie & Daisy Bonni Cohen, Jon Shenk Through the stories of two teenage girls, this film examines the intersections of sexual assault and social media.
The Art of Flying Jan van Ijken In this wordless short, thousands of starlings flock together in gyroscopic unison.
The Bad Kids Keith Fulton, Lou Pepe At a Mojave Desert high school, intrepid educators work to connect with at-risk students. Can their commitment help break the shattering effects of poverty and abuse?
At Home in the World Andreas Koefoed In Denmark, a dedicated teacher helps refugee children withstand the hardships of adapting to a new country. North American Premiere
Dixie Land Roman Bondarchuk Four members of a Ukrainian youth brass band learn American tunes—and dream big dreams—in a post-Soviet landscape. World Premiere Figure Katarzyna Gondek This dreamlike meditation follows the creation of a massive sculpture from fabrication to transportation. Following Seas Tyler J. Kelley, Araby Williams This vivid firsthand account of years on the open seas brings a sailing family’s adventures to life through their own 16mm footage. World Premiere
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The Ground We Won Christopher Pryor In a tiny New Zealand farming town, a community rugby squad vows to come back from a losing season. Heavy Fog Tonight Nathan Reich The chief engineer of a steam-driven power plant creates installations that whistle and mist. As he grapples with retirement, a celebratory show takes place. Hooligan Sparrow Nanfu Wang Nanfu Wang documents Chinese activist Ye Haiyan (aka Sparrow) as she protests against a principal’s sexual abuse of young girls. Horizons Eileen Hofer Three Cuban ballerinas from different generations take center stage in this mesmerizing celebration of dance and discipline. A House Without Snakes Daniel Koehler In Botswana, two young men must wrestle with the choice between honoring ancestral traditions or following modern possibilities. World Premiere I, Destini Nicholas Pilarski, Destini Riley This animated short takes us inside the experiences of a young woman as she confronts the wrenching impact incarceration has had on her family. World Premiere In Pursuit of Silence Patrick Shen Challenging Western society’s most basic preconceptions about the nature of silence, this film conjures up innovative ways to help us hear what we’ve been missing.
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CHEESE WITH A BREAKFAST SWEETTo advertise or feature a pet for adoption, please contact rgierisch@indyweek.com BY GRAYSON HAVER CURRIN When I first told Ari Berenbaum I wanted to talk about the Asiago scone he’d just unveiled at the downtown Durham institution Ninth Street Bakery, he balked. “Why?” the unassuming and soft-spoken baker wondered over the phone. “Chefs are doing scones with yuzu, all kinds of complicated things. This is just a savory scone. It’s simple.” Berenbaum had answered his own question: Ninth Street’s latest test product, sold from its counter for only the last two weeks, is simply perfect, perfectly simple. The sweetness of the scone, made from much the same recipe as its chocolate-walnut brethren, is like a pillowy platform for the tang of the shredded cheese, cut into the biscuitlike, buttermilk-based dough by hand by Ninth Street veteran Maria Rivera. She is gentle with the mix, kneading it gingerly so that little pockets of air rise through the scone when her husband, Jose Cortez, bakes them overnight. “If you bang all the ingredients, you’re going to end up with a hockey puck,” Berenbaum explains. “You can see all the butter bits on top. If you squish it down and hit it too hard with a rolling pin, it squashes out all the nice tenderness we worked so hard to create. So you slowly thin it out.” The result resembles an oversize yellow arrowhead, as if it were meant to be weaponized by some mythical warrior. But the scone’s size belies an To advertise or feature a pet for adoption, enviable delicacy. It’s fluffy like a well-formed biscuit, with crisp, almost please contact rgierisch@indyweek.com chewy edges concealing the moist matrix inside. That look foreshadows the taste, which suggests a piece of cheesy cornbread wrapped in parmesan crisps, or a cheese sandwich chased with sugar cookies. Not long after I tell Berenbaum this, he finally admits, with a sheepTo advertise or feature a pet Ninth Street Bakery’s Asiago scone PHOTO BY ALEX BOERNER ish grin, that nearly every batch of these fluffy wonders has sold out. for adoption, please contact Rivera slides the next tray into the cooler. ● rgierisch@indyweek.com gcurrin@indyweek.com
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FOOD TO GO: THE TRIANGLE’S BEST FOOD EVENTS TIME FOR BEER
For the fourth year, N.C. Beer Month will use April to celebrate the state’s craft beer explosion. Expect a busy month of brew-based events. On Friday, at two p.m., Crank Arm taps the first of twenty rare casks from Tar Heel favorites, including Wicked Weed’s Pu-er Saison. And on Saturday, the World Beer Festival returns to the State Fairgrounds for two four-hour sessions, sure to induce Ferris wheel-sized hangovers. Lonerider hosts its brews-and-bands showdown Saturday, too, while Bond Brothers in Cary throws its long-awaited grand opening. Tour de Brew comes to the capital city to raise money for Water for Good, and the third-annual Brewers Olympics kicks off Saturday at two p.m. at Raleigh Brewing Company. And in time for UNC’s first Final Four appearance since 2009, Top of the Hill unveils its seasonal wonder, Blueberry Wheat, April 1. Just take it easy on opening weekend of N.C. Beer Month, as you’ve got four more to go. www.ncbeermonth.com
NO MONTH FOR MEAT
If you want to balance all that beer with a slightly healthier choice, or if you just want to have your mind expanded by the possibilities of vegan cuisine, the Bull City Vegan Challenge returns to Durham for the fourth time throughout April, coinciding with Earth Month. A record-setting fifteen restaurants will participate, from the rather fancy (Gocciolina, for instance) to the more modest (The Federal and Geer Street Garden). This year’s theme, planet protein, means these dishes should be more filling than a simple salad. So far, Ricky Moore’s smoked oyster mushroom chowder at Saltbox sounds especially promising, as does an exquisite blueberry cheesecake of cashews and coconuts at Beyù Caffè. www.trianglemm.com
Historic Five Points 1813 Glenwood Ave. 919-833-0226 Downtown Durham 810 W. Peabody St. 919-797-2554
www.lillyspizza.com INDYweek.com | 3.30.16 | 33
indymusic
Skylar Gudasz Friday, April 1, 8:30 p.m., $8–$10 Cat’s Cradle Back Room, Carrboro www.catscradle.com
Slow Growth
THE HARD LESSONS SKYLAR GUDASZ HAD TO LEARN TO FINISH OLEANDER, ONE OF THE YEAR’S BEST RECORDS BY ALLISON HUSSEY
Skylar Gudasz didn’t give up when record labels didn’t respond to her songs. Instead, she used the extra time to make them better, to finish one of the most exquisite local records in recent memory. In the summer of 2013, the renowned producer Chris Stamey, with whom Gudasz had worked on another songwriter’s project, approached her while she was working at Chapel Hill’s Caffé Driade. Though Gudasz had been involved in other projects aplenty, including her own Spooky Woods and the Stamey-helmed tribute to Big Star’s Third, she’d never put out a full-length album under her own name. Stamey wanted to fix that. They recorded the songs and waited for a response. As Gudasz looked for a home for her album, she found herself returning to the tunes with Stamey, adding literal strings and other metaphorical bells and whistles to once-bare arrangements. At last, Gudasz released the result, Oleander, in February through Daniel 13. It is a stunning and deeply emotional collection. Anchored by piano, guitar, and Gudasz’s captivating voice, the songs are spacious and rich. The flower for which Oleander is named is poisonous, but Gudasz’s ruminations are a remarkable mix of pleasure and pain. On a balmy spring morning, Gudasz discussed songwriting, Oleander’s slow arc, and why she once took umbrage with the notion that she writes love songs.
INDY: What made you want to return to
the songs on Oleander and keep adding to them? SKYLAR GUDASZ: In my original conversation with Chris Stamey, we did talk about a few string arrangements. Thinking back to it, that was definitely part of the initial idea— piano, voice, some small orchestral arrangements. For the most part, that is still what happened. It’s just that there were a lot of other small things that were added along the way, too, over time, which comes from working with Chris. He is such a perfectionist and so interested in so many different things. 34 | 3.30.16 | INDYweek.com
Fuel to burn, roads to drive: Skylar Gudasz PHOTO BY ROXANNE TURPEN He’s making potions, or something—“Let’s put a little of this here, and this here.” He was always searching, always asking me about the lyrics and what they meant. He wanted to make sure that what I was feeling about the song was getting communicated in the actual arrangements. There’s not a start-to-finish narrative to the record, but these songs have an arc. Between “Just Friends,” “I Want to Be with You in the Darkness,” and “I’m So Happy I Could Die,” you have all of the pieces to a relationship. Was that intentional?
There’s a lot of songs about relationships on the record. I remember sending it to someone early on, and they were like, “Oh, it’s love songs.” And I was like “Love songs? What the fuck does that mean?” I guess some of them are about love, sort of. In sequencing the record, there wasn’t a specific emotional arc. It was, “This feels like it should come next”—starting it off sunnier, then going into the darker places. Certain songs felt more like day songs, and other ones more like night songs. That translates also to arcs of how you feel about somebody at any given moment, even if that arc is twenty-five minutes.
There are gray areas in what we consider love songs. During “I Want to Be with You in the Darkness,” you sing that you don’t want to say you’ll be together forever, because that’s not true. Where did that come from? I was talking to my friend yesterday about writing songs and how do you know when a song is done. We arrived at the idea that maybe you know a song is done when you believe everything you’re saying in the song, when you can actually believe the stuff you’re saying. If I ever start to write a song that feels too happy or one-dimensional or even one-dimensional sad, it’s not quite
www.lincolntheatre.com To read the INDY’s four-and-a-half-star review of Oleander, visit www.indyweek.com. honest. Humans feel so many different things that, all the time, you can be having so many different conflicting emotions. There is no love that makes everything perfect forever and you ride away and are happy and are completely fulfilled forever, and it’s super easy. There’s an honesty in acknowledging that. Did you necessarily set out to write mostly about relationships? No, because I still feel like they’re not really about relationships. But maybe I’m not seeing something. Most of the relationships that they’re about aren’t necessarily romantic relationships. Some of them are friends or family, and my relationship to myself. A lot of the songs, I wrote to myself, maybe. Writing about your relationship with yourself seems difficult, because we’re really good at getting in the way of our own feelings. How do you approach writing that? We’re never going to get away from ourselves. When I was little, I used to be afraid of things. We had this downstairs, and we lived in the woods. It was really dark, and I’d be afraid to go to those places. If I was ever afraid, I would sing to myself to scare away “whoever was there.” I suppose maybe it comes from that. Sitting down to write a song, no one else is in the room with you sometimes. Like writing in a journal, you’re saying things that you need to say to yourself, to commit outside of your brain. That’s where the making sure you don’t say too many nice things part comes from, because when you are being honest with yourself, you do have to give yourself both sides of that coin. You can’t let yourself off the hook.
How did you feel you got in your own way in making Oleander? Finishing writing songs. Being afraid to ask for what I want, or being afraid to acknowledge what it is that I want. I feel like I didn’t know what to do in a lot of ways. I probably wrung my hands about it a fair bit and was very lucky that Chris helped talk me out of that feeling. I can just do things. It doesn’t have to be perfect. It doesn’t have to be what anybody else would want. It can just be what I want to do. That’s hard, as women especially. You’re conditioned to put other people’s needs first. Was there anything in particular you did to help overcome that struggle? I don’t think I’ve necessarily overcome that struggle, by any means, but I definitely tried and am still trying. I got better acquainted with knowing, “Oh, OK, this is how it feels. I’m going to feel like that, and I have to ask for it, anyway,” and recognize that that’s part of the process. It’s not necessarily easy, but that’s OK that you can fight against that in yourself—knowing what it feels like, practicing, and getting better at it.
Sitting down to write a song ... you’re saying things that you need to say to yourself, to commit outside of your brain.
In this whole process of putting out Oleander, what was biggest lesson you’ve learned? I’ve learned to be patient. Well, I don’t know if I’ve learned that, but I’ve gotten some good practice at being patient. I learned the different ways to make a record and all the different ways it can go. And like you said, oftentimes, we are the people who get in our own way. I was totally in my own way about recording these songs for a lot of different reasons. I took myself out of the equation and said, “I can just put it down, and it’s as important and nonimportant as anything.” That’s freeing. ahussey@indyweek.com l
Stick Figure Thu Mar 31
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Sat Apr 2
We 30 AUTOLUX w/Eureka The Butcher 7p Th 31 STICK FIGURE w/Fortunate Youth / Raging Fyah 7p
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Sa 2 Su 3
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(TALKING HEADS Tribute) w/HMFO (HALL & OATES Tribute) THE MANTRAS w/Psylo Joe/Fonix THE INFAMOUS feat: NICKI STRINGDUSTERS BLUHM w/Paper Bird 7p BIG GIGANTIC w/Louis Futon 7:30 ELLE KING (SOLD OUT) DELTA RAE w/Aubrie Sellers 8p
Tu 5 Th 7 Fr 8 Sa 9 GLOWRAGE 8p Su 10 AFTON MUSIC SHOWCASE Fr 15 JJ GREY & MOFRO 8p w/ The Record Company
Sa 16 LAST BAND STANDING 7p w/Latenite Performance w/YARN Su 17 DOPAPOD w/The Fritz 8p Th 21 SOMO w/Quinn XCII/Kid Quill 7p Fr 22 BIG SOMETHING
w/ People’s Blues of Richmond 8p Sa 23 THE OH HELLOS w/The Collection
The Mantras Sun April 3
The Infamous Stringdusters Feat: Nicki Bluhm
Tu 26 THE MERSEY BEATLES
#1 BEATLES Tribute from The UK
Th 28 STEEL PANTHER 7p Fr 29 COSMIC CHARLIE Sa 30 PULSE: ELeCtRoniC dAncE PArTy MAY
We 4 Fr 6 Th 12 Fr 13 Sa 14
BUNNY WAILER KIEFER SUTHERLAND THE HIP ABDUCTION BUCKETHEAD FLATBUSH ZOMBIES
JJ Grey & Mofro Fri April 15
w/A$AP 12vy / Remy Banks
Th 19 ALLEN STONE 7p Sa 21 TAB BENOIT Su 22 HARDWORKING AMERICANS
Sun Apr 17
w/Town Mountain 7p JUNE
T h 9 B.O.B. w/Scotty ATL/London Joe Mo 13 LA DISPUTE w/Des Ark/Gates Sa 18 JERRY JOSEPH & THE JACKMORMONS / BLOODKIN We 22 THE UNITY EXPERIENCE 8 - 3 DIGI TOUR SPRING BREAK ‘16 Advance Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus St. 919-821-4111
Dopadod Wed May 4
Bunny Wailer INDYweek.com | 3.30.16 | 35
music INDY WEEK’S
VOLUNTEER GUIDE IS COMING APRIL 20!
Want to be listed in our guide to volunteering for area nonprofits? Call Leslie Land at 919-286-6642 or email Leslie@indyweek.com Fill out the questionnaire at indyweek.com Listings are $125
TMD TREATMENT STUDY The UNC Center for Pain Research and Innovation seeks research volunteers to evaluate a possible treatment for temporomandibular disorder (TMD). STUDY DESCRIPTION: • Random assignment to either study drug (FDA-approved for other health conditions) or placebo • 6 clinic visits (each from 1-4 hours) over 12-15 weeks REQUIREMENTS: • Be between 18 and 65 years old • Have a diagnosis of TMD, or • Have experienced facial pain for at least 3 months Participants who complete all study activities receive $360; parking costs are covered by the study. For more information, contact: Sonya K. Capps, Study Coordinator 919-537-3617 skcapps@email.unc.edu This study is approved as UNC IRB #14-2526
36 | 3.30.16 | INDYweek.com
FESTIVAL ON THE HILL: MUSIC, SCIENCE, & NATURE UNC’s Person Recital Hall and McCorkle Place, Chapel Hill Friday, April 1–Sunday, April 3, Free www.music.unc.edu/foth
Acoustic Research
A FESTIVAL PLUNDERS THE SOUNDS OF SCIENCE AND VICE VERSA In 1893, physicist and amateur musician Max Planck, who would go on to pioneer quantum physics, made his first and only foray into musical analysis. In a paper, he argued that a chord progression in Heinrich Schütz’s choral work So far ich hin zu Jesu Christ went out of tune because of subtle, unconscious changes by singers attempting to make it sound “better.” He devised an experiment to test this, but the results didn’t confirm his theory. This incident, as told by the interdisciplinary researcher Peter Pesic, made Planck more attuned to empirical reality. It nudged him from absolute adherence to abstract principles and paved the way for his discovery of quantum physics, the theory that changed our understanding of the universe. This weekend’s Festival on the Hill, which stretches through the weekend at UNCChapel Hill, grapples with these interesting, unexpected interactions between music and science. Launched in 2002 by the UNC-Chapel Hill Department of Music, this biennial festival fosters discussion between scholars, composers, and performers around a given theme, from Black Mountain College to “Revisions and Rethinkings,” which looked at music that exists in multiple versions by the same composer. This year’s theme, “Music, Science, & Nature,” stems from the work of UNC composition professor Lee Weisert. “I’ve had a long interest in composers whose music has walked this line, as well as using scientific and natural concepts in my own music,” says Weisert, who has experimented with cutting-edge motion analysis and the sound of ice thawing in his own music. “And that’s where the idea for the festival came from.” The theme’s breadth will allow for a wide range of topics for lectures, concerts, panel discussions, sound installations, and scientific demonstrations. On the scholarly side, Pesic will deliver a keynote titled “Music and the Making of Modern Science.” In other presen-
BY DAN RUCCIA
Composer, professor, curator, de facto scientist: Lee Weisert PHOTO BY ALEX BOERNER
tations, composers will discuss the use of algorithms in music, scientists will discuss sound perception, and musicologists will analyze the racial politics of UNC’s sonic environments. The anchor, though, is a Sunday afternoon performance of John Luther Adams’s massive Sila: The Breath of the World. Written in 2014, Sila is the latest in the Pulitzer Prize winner’s string of works meant to be performed outside. “The challenge,” Adams has said, “is finding the music of the piece within the larger, never-ending music of the place.” The piece is incredibly open; there are five separate scores—one for strings, woodwinds, brass, percussion, and vocalists—that can be played in any combination or any order, simultaneously or sequentially, in one space or many. The players pace their sounds by the length of a long exhalation, with silences being the length of an inhalation. Members of the UNC Symphony Orchestra, the Wind Ensemble, and Carolina Chamber Singers will scatter about McCorkle Place, the open grove near Franklin Street, to create clouds of musical color. As an audience member, you control your experience by walking among the players, finding the timbres that speak to you. The sounds of nature and the Chapel Hill surroundings will seep in unpredictably. During the premiere at Lincoln Cen-
ter in New York City, a police siren blended perfectly with billowing chords. The other concerts will be relatively more traditional but intriguing nevertheless. After Friday’s keynote, a group of mostly pianists will offer impressionist views of nature. Debussy’s and Ravel’s hallucinatory visions of water bump into Olivier Messiaen’s ecstatic birdsongs. On Sunday evening, the UNC Faculty Jazz Ensemble will play jazz tunes about science and nature— Charlie Parker’s “Ornithology,” Charles Mingus’s “Pithecanthropus Erectus,” Wayne Shorter’s “Black Nile.” Saturday’s concert gets literal with the science-and-sound connection through a series of works built on field recordings or demonstrations of physical properties. Using different interpretations of the overtone series “Spectra for Harry Partch,” written by Weisert’s late mentor, James Tenney, results in a wall of drones with a string quintet. An Alvin Lucier piece routes “Strawberry Fields Forever” through a teapot to demonstrate acoustic principles. For Cricket Voice, Hildegard Westerkamp recorded one especially vocal cricket in northern Mexico and manipulated the results. And The Audible Phylogeny of Lemurs is an immersive work for eight-channel electronics, which parses the complex vocalizations of the animals at the Duke Lemur Center. “Some of the pieces are probably more provocative than any kind of noisy, hyperaggressive, screeching piece,” Weisert says. “There’s a humanist, expressive quality to aggressive, abrasive, in-your-face music, but people can find it more troubling if you find out someone’s rolling dice to write the pitches. John Cage is a great example. For the Etudes Australes [part of Saturday night’s concert], he put a star chart on some staff paper and put dots where the stars are. What does that mean?” l Twitter: @danruccia
indystage
Role Reversal
TIRED OF WAITING FOR GENDER PARITY, LOCAL THEATER ARTISTS LAUNCH THE WOMEN'S THEATRE FESTIVAL BY BYRON WOODS
The roles of women in theater have come under increasing scrutiny in recent years. A landmark Princeton study in 2009 found widespread discrimination against female playwrights: Theater professionals across the country judged identical manuscripts to be significantly worse when they were submitted under women's names rather than men's. Works featuring women were much less likely to be produced. And further research elsewhere found that nearly three-fourths of technical and design workers in professional theaters were men. Because the U.S. Department of Labor designates fields where less than a quarter of employees are female as untraditional for women, “that means playwriting, directing, set design, lighting design, sound design, choreography, composing, and lyric writing are all untraditional occupations for women,” Ashley Popio notes drily. The Raleigh-based stage artist, producer, and community organizer got tired of waiting for that to change. So, on March 5, she took to Facebook to announce her intention to put on the Women’s Theatre Festival—the first of its kind in the Triangle—in August. Regional research indicates disparities similar to those we find nationally. Among the local productions dramaturge and director Jules Odendahl-James tracked between 2012 and 2014, just 15–25 percent of the playwrights were women, and women directed only about a third of the shows. Popio had read about the national responses to these trends: the “50/50 in 2020” initiative for gender parity, launched in 2010, and the work of The Kilroys, a Los Angeles-based group that began releasing annual lists of underproduced works by women and transgender playwrights in 2014. Momentum surged in 2015, when Philadelphia and Washington, D.C. staged major women’s theater festivals.
WTF FTW: Ashley Popio pitches the Women's Theatre Festival at Sonorous Road in Raleigh. PHOTO BY ALEX BOERNER
“One of the reasons that the D.C. festival was so groundbreaking was that it picked up on the idea that we can do more together as women,” says Michele Weathers, former managing director at PlayMakers Repertory Company. Popio concluded that it was time one took place here. The Women’s Theatre Festival is to present four or five full-length works written and directed by women, with women composing at least half of the casts. Popio called for submissions of premieres by women playwrights, a day of one-woman shows, and women’s classes in technical theater and design. Within hours of her Facebook post, word had spread across the regional theater community. Two weeks later, sixty women—who were already gleefully abbreviating the project WTF—met at Raleigh’s Sonorous Road Productions to begin making the festival a reality.
“I was surprised and impressed by their diversity,” Popio says. “Women of all ages, from college through retirement, representing many racial backgrounds, with levels of experience from just starting out to forty-year careers.” Some had come from as far away as Greensboro and Charlotte. By the time of the second meeting, last Thursday, 176 women and six men—or “allies,” in the group’s term— had joined the emerging enterprise. “Equality for women is long overdue in the theater,” says longtime regional director Sue Scarborough, who helmed Seed Art Share’s 2015 production of A Midsummer Night’s Dream. Benji Taylor Jones, who costarred in Bare Theatre’s Macbeth last year, observes, “Seeing this number of women gathered together is indicative of the abundance we have that we’re not tapping into.” Several dynamics exacerbate the local gender-based bottleneck. Because community
theater has more auditioning actresses than actors, “ladies are already competing among themselves more than men are,” according to Scarborough. Jerome Davis, artistic director at Burning Coal Theatre Company, agrees. At his auditions, women regularly outnumber the men three-to-one. “It’s frustrating,” he says. “There are a lot of women in the community who are well-trained and have a lot of experience working in the theater, and there is very little outlet for their talent.” That has to do with the narrow bandwidth of the roles available. When Aliana Ramos recently looked for shows to audition for, she recoiled. “Ingénue, sweet girl, crazy woman,” she says. “They’re just not appealing; I have to start auditioning for male roles if I want something interesting, with some depth. You wonder, how do you even change that—what the directors pick, what they choose to do?” By last Thursday’s meeting, the group had already achieved a surprising level of buy-in. Four theater groups—Burning Coal, The Justice Theater Project, North Raleigh Arts & Creative Theatre, and Sonorous Road—have offered their venues for festival productions, classes, or panels; negotiations with other prominent area venues are underway. And professionals are already volunteering to lead workshops on everything from set, costume, and lighting design to stage combat for women. Riding the wave of enthusiasm, the women in the overheated room at Thursday's meeting deliberated on organization and committee structures, timelines and logistics, before taking a welcome break to hear pitches for potential shows. It’s the unglamorous work that must happen for a festival to take shape. But when it comes to gender parity in theater, these women are tired of simply asking, “WTF?” With WTF, it’s time to find some answers. l Twitter: @ByronWoods INDYweek.com | 3.30.16 | 37
stage
DUNCAN TRUSSELL Cat’s Cradle, Chapel Hill Friday, April 1, 8 p.m., $20 www.catscradle.com
Stand-Up Shaman TRIPPING OUT WITH DUNCAN TRUSSELL BY CRAIG D. LINDSEY
The Durham Savoyards Ltd. present
H.M .
Gil
E OR
PINAF . S bert & Sullivan’s
s THAT LOVED A Sa s a L ilor April 14-17 2016 The PREVIEW, One Night Only Thursday/ALL SEATS $15 Friday and Saturday at 8pm, Sunday at 2pm $30 Premium Seating, $20 Standard Seating ($27 Friends and groups of 8 or more, $15 children 11 and under)
The Carolina Theatre • 309 W. Morgan Street, Durham NC Tickets: 919.560.3030 or carolinatheatre.org / Information: durhamsavoyards.org 38 | 3.30.16 | INDYweek.com
PHOTO COURTESY OF DUNCAN TRUSSELL
Duncan Trussell is an out-there kind of guy. Anyone who’s familiar with the Ashevilleborn, Los Angeles-based comedian, whether on his The Duncan Trussell Family Hour podcast or as the cohost of Syfy’s short-lived Joe Rogan Questions Everything, knows that he can go off on some trippy, stream-of-consciousness riffs that make you wonder if he took too many mushrooms at some point. Indeed, while his stand-up rarely surfaces online—Trussell says he’s “old-fashioned” about putting his material out there—one bit that did, from Comedy Central’s This Is Not Happening, finds him talking about the time he dropped acid in the parking lot of a Grateful Dead concert in Charlotte. But when you speak with Trussell by phone, you meet a grounded fourteen-year veteran of the stage who knows what he’s talking about, especially when it comes to comedy. “One of my favorite Bill Hicks quotes is that your jokes are safety parachutes for when your riffing isn’t working,” says Trussell. “A really good show, to me, is one where you can tell that the performer isn’t afraid to veer away from the material. It’s an art form that happens in the present moment. It has to be. So it’s rather depressing when you realize a come-
dian is doing some kind of animatronic act.” Still, as someone who’s preparing to record a new stand-up special this summer, Trussell knows that planning is an important part of showmanship, too. “It’s also kind of depressing when you see a comedian who is just rambling away with no punch lines,” he says. “So I think a really good show is a fusion of those two modes of performing.” Trussell is returning to his home state on his There Are No Drugs on This Bus Tour, which pulls into Cat’s Cradle Friday night. While Trussell promises “a classic stand-up comedy show,” don’t be surprised if he has some things to say about the drugs he claims aren’t on his bus. “One thing that I have become known for, to some degree, is that I am an advocate for psychedelic plant medicines, as they’re called these days,” he says. “I think it’s a sad thing that we’re at a point in human history where that even seems scintillating. Because, if you ask me, it’s a pretty basic observation—if you take psychedelics in the right circumstances, then you will generally improve your life.” Like we said: an out-there kind of guy! l Twitter: @unclecrizzle
indyetc
Do You Believe in Magic?
DURHAM’S MYSTICAL COMMUNITY COMES OUT OF THE BROOM CLOSET If you’ve ever knocked on wood or thrown salt over your shoulder to ward off bad luck, you’ve practiced a little magic without realizing it. Many still fear the word because of the history of persecution against people who identify as witches (or have that identification made for them), but in recent times Durham has been steadily coming out of the broom closet. Perhaps it started last year, when the artist collective Slow Holler raised more than $50,000 from almost nine hundred backers on Kickstarter to create a tarot deck illustrated by people with queer identities and Southern ties. The trend picked up steam with the opening of Arcana, a bar behind Beyù Caffè, in December. Tarot infuses the lounge's décor, a mélange of Art Nouveau and New Orleans. Its second art exhibit, Tarot Dreamscapes, opened last week, featuring local artists’ paintings and collages of tarot images. The bar frequently hosts tarot readers, whom you’ll also find at Ginger Wagg’s April 2 Carrack fund-raiser for an upcoming dance work. And then there’s Everyday Magic, a store that sells magical items from around the world. At the grand opening on March 19, owner Bakara Wintner was overwhelmed by the support for her new business. In a bright, spacious corner on Parrish Street, more than thirty patrons filled the store, which carries everything from crystals and tarot decks to oils and books on magic. “I wanted to open up a space that was a culmination of the physical objects I was recommending to my clients already,” Wintner says. “I want Everyday Magic to be a one-stop shop for the mind, body, and spirit.” Wintner, who has been reading tarot professionally for several years, moved to North Carolina in 2013. Using magic to heal what
she calls her “chaotic past,” she believes in a connection between healing work and sacred spaces. She hopes that her shop can be one for the local magic scene. “There are a lot of people who practice magic, but there aren’t a lot of communal spaces,” she says. “Practicing magic alone is hard, if not impossible, and I wanted to combat the notion that magic is just for one type of person.” The weeks leading up to the opening were not without challenges. Shortly after Wintner launched Everyday Magic’s online store and Facebook page, several people (none of whom would comment for this story) accused Wintner of cultural appropriation for things like selling Native American dream catchers by Christian Berry, an artist who appears white but claims Native American heritage. Wintner identifies as a “white witch,” referring to a type of magic, not race. But race and privilege are at the heart of the issue, with commenters worrying that Everyday Magic is a place for wealthy white people to purchase other people’s spiritual practices. Though small in scale, the conflict hooks into large questions of who owns a certain culture—and who owns Durham, a city undergoing rapid gentrification. In an open letter on Everyday Magic’s Facebook page, Wintner acknowledged that she has never experienced poverty and benefits from white privilege, but also does “not believe these objects have to be a part of my culture for me to showcase them with intention and integrity, raise up the people who made them, and share them with others.” Whatever Wintner’s intentions, there are valid questions about the commercial representation of a subculture by those who can afford a storefront—just as there are valid
Even Urban Outfitters is selling books on Wicca, tarot decks, and something called “crystal cactus mystic moon oil.”
questions about who gets to draw the line between honoring and appropriating something as culturally diverse as magic. Access is another issue in the mainstreaming of magic, which goes far beyond Durham. Even Urban Outfitters is now selling books on Wicca, tarot decks, and something called “crystal cactus mystic moon oil.” Jameela Dallis of Chapel Hill, who has read tarot for more than fifteen years, worries that trendy commercialization can drive up costs and harm more dedicated practitioners. “It can hinder access to folks who need it,” says Dallis. “And that can be stifling. People feel powerless in the face of unexplainable bad things that are happening. Magic can help people connect with higher sources outside of or within themselves.” Wintner says the concerns she's heard on social media are valid, but she stands by her shop and her vision. “I’ve done everything I can to integrate into this community and be mindful of how I operate my store,” she explains. She says she buys items ethically and notes each one’s origin and cultural history in the store. She plans to offer affordable workshops taught by people of diverse backgrounds. Mostly, she’s driven by carving out a safe space for herself and others like her, and she’s not alone. Amanda Morris, of the Triangle Area Pagan Alliance, is dedicated to networking and creating safe public spaces for pagans. As a neo-Wiccan, Morris focuses on selfknowledge and the divine. She uses crystals, makes her own oil blends, and creates offerings for a wide range of deities. “There’s a really big community of pagans in the Triangle,” says Morris, noting the Pagan Pride Day held each September at Raleigh’s fairgrounds.
ILLUSTRATION BY CHRIS WILLIAMS
BY SAYAKA MATSUOKA
Lindsey Andrews and Erin Karcher, the co-owners of Arcana, say that social media has created a new platform for practices that have existed more covertly for a long time, allowing people to share their beliefs and find others like themselves. “People are searching for guidance, answers, and community along different avenues, and tarot is one channel for that,” they said by email. “It creates an instant intimacy that allows people to connect and think about things that are otherwise hard to broach.” Given the continual legislative assault on the legal rights of the LGBTQ community in North Carolina, perhaps it’s not surprising that magic has an especially strong currency among marginalized groups who are searching for different routes to safety and healing. While some gather in churches to pray, others bless crystals under the full moon. Either way, Dallis is optimistic about the future of magic. “People have been practicing magic for eons,” she says. “We’re not going anywhere and we’re not going to be silent. We’re not going to practice in the dark; we’re going to practice in the light.” l Twitter: @whatsaysaid INDYweek.com | 3.30.16 | 39
03.30–04.06 PHOTO COURTESY OF THE ARTIST
FINAL VOTING PHASE
April 24 – May 15
Kassé Mady Diabaté
Winners announced in June 8th issue
FRIDAY, APRIL 1
KASSÉ MADY DIABATÉ
In America, musicians and musicologists search for and analyze songs that date to our New World origins, sometimes even tracing them back piecemeal to their transoceanic starts. Born in a small Malian village in 1949, Kassé Mady Diabaté taps a much more ancient lineage—the griot tradition, which dates back the better part of a millennium. Diabaté never turned his back on those roots, but many of his records during the last decade did bear a certain pop veneer, as if to position himself for the crossover status of many of his peers. But last year’s muted, acoustic Kiriké, in which his tree trunk of a voice stands proudly in the spotlight, might be the most profoundly beautiful work of his career. When he sings in his sweet, rich baritone, the whole ensemble around him seems to quiver, the instruments in thrall to the tradition and tales that pull them along. Ahead of his performance Friday night, Diabaté speaks with Duke professor Laurent Dubois at Duke’s Forum for Scholars and Publics at noon. —Grayson Haver Currin
the opera or that, sixty-five years later, Bugs Bunny’s “Rabbit of Seville” is still hilarious. And the opera itself is just as funny, drawing on the same set of earlier plays as Mozart’s Marriage of Figaro. Both revolve around Figaro—in this case, he is the titular barber— and share many of the same characters. Rossini’s opera is a tangle of love, class, and money, with disguises, confused identities, a well timed shave, and, ultimately, marriage, all in the service of a good musical time. Most of these singers are N.C. Opera veterans: baritone Troy Cook (Figaro) sang in La Boheme in 2014, while mezzo-soprano Cecelia Hall (Rosina) appeared in Così fan Tutte in 2013. This fully staged performance should be a riot. —Dan Ruccia MEMORIAL AUDITORIUM, RALEIGH Friday, 8 p.m.; Sunday, 3 p.m.; $25–$71; www.ncopera.org
+ SATURDAY, APRIL 2
RUNAWAY GRAND OPENING
DUKE’S BALDWIN AUDITORIUM, DURHAM 8 p.m., $10–$34, www.dukeperformances.duke.edu
WEDNESDAY, MARCH 30– SATURDAY, APRIL 23
SWEENEY TODD
No, you’re not experiencing déjà vu: March’s second local production of Sondheim’s bloody masterpiece opens this week at PlayMakers Rep, three weeks after the other closed at Raleigh Little Theatre. (It’s one of those times when one wishes local theater companies would consult with one another more.) On this outing, Broadway actor David St. Louis (Side Show, Harlem Song) plays the barber with that cutthroat way of doing business, and Annie Golden (who plays Norma Romano on Orange Is the New Black) is his accomplice in cannibalistic cuisine, Mrs. Lovett. With Mark 40 | 3.30.16 | INDYweek.com
Hartman leading the orchestra, the music should be strong in guest director Jen Wineman’s PlayMakers debut. —Byron Woods PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL Various times, $15–$59, www.playmakersrep.org
FRIDAY, APRIL 1 & SUNDAY, APRIL 3
N.C. OPERA’S THE BARBER OF SEVILLE
If you know anything about Rossini’s The Barber of Seville, it’s bound to be that the overture has nothing to do with the rest of
Come June, the Durham Bulls will host “DURM Night” during a midseason game against the Norfolk Tides, in which the locals will don uniforms designed by the Durham-based clothing company RUNAWAY. Pegged as a “celebration of the city,” the collaboration will recognize the Bull City’s evolution from a former tobacco town whose primary identifier was the logo of its minor league baseball team to a place where a hip start-up brand like RUNAWAY can remodel the city’s iconography by printing four simple letters on a T-shirt, selling them online and at area
WHAT TO DO THIS WEEK
MONDAY, APRIL 4
Marc Ribot
In discussing the guitarist Marc Ribot, it’s more efficient to wonder what he hasn’t done then to list what he has actually accomplished. Across four decades, Ribot’s career has spanned smooth soul and gnarled blues, blaring no wave and elegant film scores, solo composer roles and Tom Waits supporting work; that’s only a sliver of his prolificacy. Heading back from a series of sets at Knoxville’s experimental bastion, Big Ears, Ribot stops for a night alone. Though his solo range is only slightly less boundless than his overall discography, he favors quiet, intricate improvisations around standards that you will recognize in flashes but will rarely sound repetitive of their sources. Ribot is a master of timing, tone, and taste, with a bank of experiences so vast and varied he can navigate his way through any song or situation with panache. Consider this visit a master lesson. —Grayson Haver Currin
PHOTO COURTESY OF THE ARTIST
MARC RIBOT
CAT’S CRADLE BACK ROOM, CARRBORO 7:30 p.m., $18–$20, www.catscradle.com
events, and creating a new look for Durham pride. Finally, the five-year grind has earned RUNAWAY a brick-and-mortar flagship in the heart of downtown Durham. Now it’s time for the community to christen the retail space with some light partying and heavy buying. Raund Haus beat heads Trandle, Oak City Slums, Calapse, and Treee City provide the sounds. —Eric Tullis RUNAWAY STORE & GALLERY 11 a.m., free, www.runawayclothes.com
THURSDAY, MARCH 31–SATURDAY, APRIL 9
KAFKA’S MONKEY In Colin Teevan’s stage adaptation of Kafka’s disquieting short story “A Report to an Academy,” an immaculately dressed lecturer addresses a group of scientists about his greatest achievement: transforming himself, out of direst necessity, from an ape to a human being less than five years earlier. Now a public entertainer at the peak of his career, Red Peter has a few things to say about the culture in which he’s been forced to assimilate. He might also have a score or two to settle. Dale
Wolf’s remarkable physical acting and his long career in mime should ably bring out the beast. Dana Marks directs. —Byron Woods COMMON GROUND THEATRE, DURHAM 8 p.m. Thurs.–Sat./3 p.m. Sun., $10–$15, www.cgtheatre.com
WHAT ELSE SHOULD I DO?
AUGUSTEN BURROUGHS AT MURPHEY SCHOOL AUDITORIUM (P. 51), DANCE SWAP AT ARTS TOGETHER (P. 49), FESTIVAL ON THE HILL AT UNC (P. 36), SKYLAR GUDASZ AT CAT’S CRADLE (P. 34), DUNCAN TRUSSELL AT CAT’S CRADLE (P. 38), VALIENT THORR & FRIENDS AT THE RITZ (P. 47) INDYweek.com | 3.30.16 | 41
WE 3/30 TH 3/31 FR 4/1 SA 4/2 SU 4/3
TAD WALTERS WITH CHUCK COTTON & CLARK STERN MICHELLE BELANGER & THE MYSTERY HILLBILLIES DUKE STREET DOGS HARVEY DALTON ARNOLD & DARRELL YOUNG THE LIDS FUNDRAISER FOR THE AMERICAN DIABETES ASSN.
8PM 8PM
WE/TH 3/30-3/31 @ HAW RIVER BALLROOM
6-8PM 9PM
7:30PM $10 TRIANGLE BLUES SOCIETY FIRST SUNDAY BLUES JAM 6 PM
LIVE MUSIC • OPEN TUESDAY—SUNDAY THEBLUENOTEGRILL.COM 709 WAHSINGTON STREET • DURHAM
DR. DOG
WE 3/30 THE WONDER YEARS W/ LETLIVE, MOOSE BLOOD, MICROWAVE TH 3/31 G LOVE AND
ANGEL OLSEN
SPECIAL SAUCE
THE BONES OF JR JONES**($25 / $30) FR 4/1 DUNCAN TRUSSELL ($20)
MO 4/4 @ CAT’S CRADLE BACK ROOM
SA 4/2 DAUGHTER W/ WILSEN
SOLD OUT
TU 4/5 SEAN WATKINS W/ PETRA HADEN & JESSE HARRIS ($12/$15)
FR 4/1
SA 4/9 AN EVENING WITH THEY
SOLD OUT
MIGHT BE GIANTS SU 4/10 THE MOWGLI'S
W/ JULIA NUNES & REBEL LIGHT ($15/$17)
CAT'S CRADLE BACK ROOM
FR 4/1 @ CAT’S CRADLE BACK ROOM
SKYLAR GUDASZ ALBUM RELEASE SHOW!
WE 4/13 IRATION W/ HIRIE ($20) SA 4/16 ABBEY ROAD LIVE! ( 2 SHOWS, 4 PM, 9 PM!) MO 4/18 THAO & THE GET
DOWN STAY DOWN
SA 4/2 @ CAT’S CRADLE BACK ROOM
W/ LITTLE SCREAM ($15/$17)
LOWLAND HUM
WE 4/20 MURDER BY DEATH W/ KEVIN DEVINE & THE GODDAMN BAND ** ($15/$17)
TH 5/12 SCYTHIAN ($15/$17) W/ KAIRA BA
TH 4/21 EUGENE MIRMAN
FR 5/13 PARQUET COURTS W/ B BOYS, FLESH WOUNDS ($13/ $15)
& ROBYN HITCHCOCK ($25; SEATED SHOW)
FR 4/22 TRIBAL SEEDS W/ FEAR NUTTIN BAND, E.N. YOUNG ($17/$20) SA 4/23 JOHNNYSWIM ($20) MO 4/25 THE JOY FORMIDABLE W/ THE HELIO SEQUENCE ($16/ $18) TU 4/26 HOUNDMOUTH W/ LUCY DACUS ($18/$20) WE 4/27 FELICIA DAY ($20/ BOOK INCLUDED) TH 4/28 POLICAW/ MOTHXR ($16/$18) SA 4/30 THE RESIDENTS PRESENT: SHADOWLAND ($30/$35) MO 5/2 CITIZEN COPE
SA 5/14 THE FRONT BOTTOMS W/ BRICK & MORTAR, DIET CIG
SOLD OUT
SU 15 BLOC PARTY W/ THE VACCINES ($29.50/$32) WE 5/18 ROGUE WAVE W/ HEY MARSEILLES ($16/$18) TH 5/19 SAY ANYTHING W/ MEWITHOUTYOU, TEEN SUICIDE, MUSEUM MOUTH ($19.50/$23) FR 5/27 CARAVAN PALACE $20/$23 SA 5/28 !!! (CHK CHK CHK!) W/ STEREOLAD ($15) WE 6/15 OH WONDER**($15/$17) FR 6/24 BLACK MOUNTAIN ($15/$17)
(AN INTIMATE SOLO / ACOUSTIC LISTENING PERFORMANCE ) ($31/$34)
WE 6/29 AESOP ROCK W/ ROB SONIC, DJ ZONE ($20)
WE 5/4 CHELSEA WOLFE W/ A DEAD FOREST INDEX **($18/$20)
TH 6/30 MODERN BASEBALL W/JOYCE MANOR ($19/$23)
TH 5/5 PARACHUTE W/ JON MCLAUGHLIN**
FRI 11/5 ANIMAL COLLECTIVE ($30/$33) TU 11/22 PETER HOOK & THE LIGHT ($25)
FR 5/6 STICKY FINGERS ($13/$15) SA 5/7 BOYCE AVENUE ($25) SU 5/8 OLD 97S AND HEARTLESS BASTARDS W/ BJ BARHAM (OF AMERICAN AQUARIUM) ($25)
MARC RIBOT
DUNCAN TRUSSELL
FR 4/8 MAGIC MAN & THE GRISWOLDS W/PANAMA WEDDING ( $20)
42 | 3.30.16 | INDYweek.com
SU 4/3 @ HAW RIVER BALLROOM
3/30 KONRAD KÜCHENMEISTER, STEPHAN DANZIGER & MORE ($12/ $14) 4/1 SKYLAR GUDASZ "OLEANDER" RELEASE PARTY W/ WILD FUR, VAUGHAN AED 4/2 LOWLAND HUM W/ MICHAEL RANK ($10/ $12) 4/4 MARC RIBOT (7:30PM SHOW; $18/$20) SOLD T OU 4/5 CHON W/POLYPHIA AND STRAWBERRY GIRLS 4/6 POUND HOUSE LIVE FT. DJ DOUGGPOUND & BRENT WEINBACH DSI PRESENTS.. VERSUS ($20) 4/7 THE CACTUS BLOSSOMS ($12) 4/8 SOME ARMY / JPHONO1 JOINT ALBUM RELEASE PARTY W/ NO EYES ($7/$10) 4/9 ACID MOTHERS TEMPLE W/ MOUNDS MINDFLIP RECORDS PRESENTS THE MINDFLIP TOUR (EROTHYME, STRATOSPERE, SPACESHIP EARTH, & MORE...) 4/14 RUN RIVER NORTH W/ THE LIGHTHOUSE AND THE WHALER ($12/$14) 4/15 ELEANOR FRIEDBERGER W/ ICEWATER, NAKED GODS ($14/$16) 4/16 ERIC BACHMANN W/ ANDREW ST JAMES ($12/$15) 4/22 THE OLD CEREMONY PLAYS THE OLD CEREMONY ($10/$12) 4/24 JENNIFER CURTIS THE ROAD FROM TRANSYLVANIA HOME 4/25 BOOGARINS ($10/$12) 4/27 TROUT STEAK REVIVAL W/ FIRESIDE COLLECTIVE ($8/$10) 4/29 KAWEHI ($13/$15) 4/30 TIM BARRY W/ RED CLAY RIVER ($10/$12)
CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO
**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club
5/1 VETIVER ($15) 5/5 STEPHEN KELLOGG ($17/$20) 5/6 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) 5/10 THE DESLONDES ($10) 5/12 PHANTOM POP W/ JROWDY AND THE NIGHTSHIFT AND OUTSIDE SOUL ( $8/$10) 5/14 LYDIA LOVELESS OCUMENTARY SCREENING & SOLO ACOUSTIC PERFORMANCE ($12/$16) 5/15 ARBOR LABOR UNION ($10) 5/18 JOE PUG AND HORSE FEATHERS ($17/$20) 5/20 YOU WON'T 5/24 THE AMERICANA ALLSTARS FEATURING TOKYO ROSENTHAL, DAVID CHILDERS, AND THE STRING BEINGS ($10) 6/1 HACKENSAW BOYS 6/4 JONATHAN BYRD ( $15/$18) 6/10 KRIS ALLEN W/ SEAN MCCONNELL ($15/$18) 6/15 SO SO GLOS ($10/$12: ON SALE 4/1) 6/21 THE STAVES ($12) 7/2 THE HOTELIER ($12/$14) 7/11 DAVID BAZAN ($15) ARTSCENTER (CARRBORO)
5/5 GREG BROWN ($28/$30) MOTORCO (DURHAM)
4/12 INTO IT. OVER IT. AND TWIABP... W/ THE SIDEKICKS, PINEGROVE ($15/$17) 5/3 WILD BELLE ($14/$16) 5/12 BLACK LIPS W/ SAVOY MOTEL($14/$16) 5/16 AGAINST ME! ($18/$20) MEYMANDI (RALEIGH)
4/20 WELCOME TO NIGHT VALE NC MUSEUM OF ART (RAL)
5/1 SNARKY PUPPY 5/27 EDWARD SHARPE AND THE MAGNETIC ZEROS ($32-$45) 6/10 LAKE STREET DIVE 8/13 IRON AND WINE HAW RIVER BALLROOM
3/30-3/31 (TWO SHOWS!) DR DOG W/ WILD CHILD($22/$25) 4/2 LANGHORNE SLIM & THE LAW W/ RIVER WHYLESS ($16/$18) 4/3 ANGEL OLSEN W/ THE TILLS ($17/$20) 4/9 PHIL COOK & THE GUITARHEELS W/ THE BRANCHETTES 4/29 M WARD W/ NAF ($23/$25) 5/6 LITTLE STEVEN'S UNDERGROUND GARAGE TOUR FEATURING THE SONICS, THE WOGGLES, BARRENCE WHITFIELD & THE SAVAGES 5/12 FRIGHTENED RABBIT W/ CAVEMAN ($20/$23)
WED, MAR 30
The Vegabonds NEW Nashville sextet SOUTH The Vegabonds label their music “New South Rock,” which is somewhat true. Their songs rest comfortably on classic Southern rock tropes, falling somewhere between The Black Crowes and the seventies magic of The Allman Brothers. What makes it remotely modern is the bearded bros’ slick polish and their penchant for neo-Americana sing-alongs. Yes, new, but mostly in the sense that it’s being produced right now. —PW [DEEP SOUTH, $5/6:45 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE: The Wonder Years; 7 p.m., $20–$23. • THE CAVE: Young Mister, The High Divers; 9 p.m., $5. • HAW RIVER BALLROOM: Dr. Dog, Wild Child; 8 p.m., $22–$25. • LINCOLN THEATRE: Autolux, Eureka The Butcher; 8 p.m., $15. • LOCAL 506: The Smith Street Band, Hard Girls, Worriers; 7:30 p.m., $12. • POUR HOUSE: Jahman Brahman, Treehouse!; 9 p.m., $7–$10.
THU, MAR 31 Blackbird Blackbird THICK As Blackbird ELECTRO Blackbird, Mikey Maramag shapes dense, decadent electronic landscapes. But they’re not suffocating; Maramag employs a light touch that seems to make these songs sparkle. They’re too bright-eyed to slouch like chillwave, but barely too mellow to warrant much dancing. It’s a challenging middle ground that might make for an interesting live show. —AH [MOTORCO, $11–$13/8 P.M.]
Hudson & Haw HUDSON Chapel Hill trio & HOOTIE Hudson & Haw throws its hat into the ring of local Americana outfits. But where some cling closely to the Avetts and Old Crow Medicine Show, Hudson & Haw’s approach seems more informed
03.30–04.06
CONTRIBUTORS: Jim Allen (JA), Grayson Haver Currin (GC), Allison Hussey (AH), Maura Johnston (MJ), David Klein (DK), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)
by Darius Rucker and Dave Matthews, at least for tunes such as “Hello St. Louis” and “Hudson.” —AH [LOCAL 506, $10/9 P.M.]
Local Band Local Beer: Zack Mexico PSYCH The songs on Zack POP PLUS Mexico’s Get Rich and Live Forever are as far-reaching and ambitious as the album’s title suggests. The Outer Banks-based outfit slings rock laced with pop jubilation and psychedelic oddity. The driving new Lacy Jags open, with Deep Sleeper taking the middle slot. —AH [POUR HOUSE, FREE/9:30 P.M.]
Naked Naps SPRY Raleigh’s Catie MATH Yerkes has been kicking out delicate, math-influenced indie jams for a few years as half of Naked Naps. Lyrically, her songs draw much of their punch from growing up in North Carolina, with pop culture detritus thrown in. What sets the band apart is their technical skills, with springy riffs and drumming that bests many comparable bands. —DS [THE PINHOOK, $5–$8/9 P.M.] ALSO ON THURSDAY CAROLINA THEATRE: Stewart Copeland.; 8 p.m., $27–$158. • CAT’S CRADLE: G. Love & Special Sauce; 8 p.m., $25–$99. • THE CAVE: Breadfoot; 9 p.m., $5. • DEEP SOUTH: Snatch the Snail, Matty Begs, Chrome Scene; 9 p.m., $5. • HAW RIVER BALLROOM: Dr. Dog, Wild Child; 8 p.m., $22–$25. • LINCOLN THEATRE: Stick Figure, Fortunate Youth, Raging Fyah; 7 p.m., $14. • NEPTUNES PARLOUR: Benoît Pioulard; 9:30 p.m., $8. See indyweek.com.
FRI, APR 1 Daniel Bachman FREAK & Built by WXYC-FM, FOLK this strange and wonderful bill either makes little or total sense. Headliner Daniel Bachman (and current Durham native) is one of the brightest
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WWW.INDYWEEK.COM familiar with her lovable indie-folk stylings. —DS [KINGS, $10–$12/9 P.M.]
PHOTO COURTESY OF THE N.C. SYMPHONY
music
SATURDAY, APRIL 2
FIVE FOR FIGHTING & THE N.C. SYMPHONY Last Wednesday, the North Carolina Symphony finished its fifth public rendition of Seeing Is Believing, Nico Muhly’s lambent and restless concerto for violin and a small sliver of the orchestra itself. For the performance, the symphony’s assistant concertmaster and the piece’s soloist, Karen Strittmatter Galvin, had learned a new instrument—a phantasmagorical sixstring electric violin, connected by wires to a looping station that allowed her to render more than one line at once. It was certainly an audacious selection for the Southern symphony, a certain head-scratcher for its silver-haired audience. To mitigate consternation, the symphony paired the piece with Vivaldi’s Four Seasons, a genuine greatest-hits classical cut, and played it above halcyon clips from North Carolina’s state parks. They performed the program five times, even dipping to Southern Pines and Wilmington for the well-attended show. During the pause between the Muhly and the Vivaldi Wednesday, though, when the run was nearly over, conductor Grant Llewellyn poked at Muhly and Galvin, saying the orchestra had added an extra show because this strange new music and instrument had proven so popular. He was talking about the Vivaldi, of course—in essence, apologizing for the unsettled, unfamiliar new work by upholding the tired old one. Amid the N.C. Symphony’s most daring season to date, it’s easy to detect some of that same apologetic sense in the symphony’s choice to book a collaboration with Five for Fighting, an adult-contemporary piano man best known for (frankly, if remembered at all) decade-old singles such as “100 Years” and “Superman (It’s Not Easy).” Though singer John Ondrasik has a pleasing pop voice, which cracks at just the right points in his range, his pleasant albums are paragons of pabulum. He’s more Don McLean than (former symphony guest) Randy Newman, more Hallmark greeting card writer than provocative composer. In the last few years, we’ve watched the state’s symphony tease out, in real time, what kind of organization it hopes to be. This, like Llewellyn’s embarrassing onstage rhetoric, is a vapid concession in a string of successes. —Grayson Haver Currin MEYMANDI CONCERT HALL, RALEIGH 8 p.m., $38–$75, www.ncsymphony.org young solo guitarists in the land, with songs that are slid, picked, or plucked to reflect emotional multitudes, mining a deep vein of geographical nostalgia. The solo work of banjoist Nathan Bowles, who doubles as a Black Twig Picker and a member of Steve Gunn’s band, reflects the same inherited sweetness. If you only expect acoustic peace and quiet, keep in mind that
Cantwell, Gomez & Jordan remains the Triangle’s musical bull in a china shop, with shrieking, slamming songs that zig, zag, and destroy. —GC [LOCAL 506, $7/9 P.M.]
Laura Gibson DUST BOWL
The brooding songs of Portland
singer-songwriter Laura Gibson will sneak up on you. Eschewing vocal theatrics or ghostly reverb, she satisfactorily takes the classic coffee-shop route. Gibson creates spare, frequently beautiful confessionals from personal dissatisfaction, like Feist stripped of her orchestral apparatus. With a new record, Empire Builder, out on Barsuk today, this is a good time to get
The Infamous Sugar SWEET & Tonight, David SPICY Simmons, or The Infamous Sugar, promises to push his alter ego’s irreverent punk-soul act to rarely seen proportions. This full-band gig expands The Infamous Sugar beyond the usual setup of keyboard, drum machine, and vocals and gives Simmons’ cheeky tunes a brash boost. Infectious hooks and greasy R&B grooves abound, propelling the cunning and crude sense of humor that makes the lascivious boasts and come-ons of “They Call Me Sugar” and the innuendo of “Hot, Hot, Diggity Dog” feel more playful than offensive. The Infamous Sugar shares DNA with Blowfly and The Dead Milkmen, but as he bounces from a spartan disco beat to dirty rock, self-awareness and pop smarts save the day. —BCR [THE MAYWOOD, $8/9:30 P.M.]
Songs from the Circle SPIN THE The Nitty Gritty Dirt CIRCLE Band’s Will the Circle Be Unbroken is a crossover icon. The wide, sweeping recording folded bluegrass, folk, and country legends into the group’s amalgamation of those forms and audaciously repackaged standards for a young, eager audience. For the fifth year, a group of local singers, pickers, and players pay homage to that moment with a musical tribute that, like the album itself, folds new material in with the old. Ringleader Danny Gotham welcomes a coterie of guests, including area staples Rebecca Newton and Jim Watson and relative newcomer Hank Smith. —GC [THE ARTSCENTER, $10–$15/8 P.M.]
Zoocrü NEW Alan Thompson, LEGACY frontman of the Durham-based jazz-knocking INDYweek.com | 3.30.16 | 43
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outfit Zoocrü, has gradually assumed the position of soul-rock leader. The comingout party may have happened last month when the group headlined the Off the Hook benefit at The Pinhook, transforming the space into an otherworldly sound realm. The next stop comes a block or so away in Beyù’s cozy confines, where, ahead of releasing the debut album, Lücid, Zoocrü will demand serious consideration as the most debonair band— jazz or otherwise—in the Triangle. —ET [BEYÙ CAFFÈ $7–$9/8 & 10 P.M.]
STRANGE NEW WORLDS FILM SERIES:
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SONGS FROM THE CIRCLE 5
THE SHAKEDOWN PERFORMS: THE MUSIC OF ROD STEWART SUNNY LEDFURD / JUJUGURU PYRRHON
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BENOIT PIOULARD LAURA GIBSON
MICHAEL NAU (OF COTTON JONES) SA 4/2 MO 4/4 TU 4/5 WE 4/6 TH 4/7
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CAROLINA THEATRE: Ryan Keberle & Catharsis; 8 p.m., $22. • CAT’S CRADLE (BACK ROOM): Skylar Gudasz; 8:30 p.m., $8–$10. See page 34. • THE CAVE: Revolutionary Sweethearts; 9 p.m., $5. • DEEP SOUTH: The Corey Hunt Band; 9 p.m., $8. • DUKE’S BALDWIN AUDITORIUM: Kassé Mady Diabaté; 8 p.m., $10–$34. See page 40. • DURHAM PERFORMING ARTS CENTER: Get the Led Out; 8 p.m., $27.50– $42.50. • LINCOLN THEATRE: Start Making Sense; 9 p.m., $12. • MEMORIAL AUDITORIUM: N.C. Opera; 8 p.m., $25–$71. See page 40. • THE PINHOOK: Loamlands, The Future Kings of Nowhere, Blanko Basnet; 8 p.m., free. • POUR HOUSE: Fat Cheek Kat; 7 p.m., free. • SOUTHLAND BALLROOM: The Soul Psychedelique Orchestra; 8 p.m., $10.
SAT, APR 2 Against Their Will BLUNT Now in its tenth FORCE year, Wilson’s Against Their Will feels every bit the hard rock veteran band. Its mix of mettle and melody takes cues from Metallica and Corrosion of Conformity at their commercial peaks to land in the neighborhood of Drowning Pool or latter-day In Flames. —BCR [THE MAYWOOD, $10/8:30 P.M.]
Daughter SWIRL IN British indie-folk SPACE trio Daughter is on the rise: January’s Not to Disappear brought in five-star
PHOTO BY ADAM DAVID KISSICK
FR 4/1
SUNDAY, APRIL 3
LOCALS ONLY: VALIENT THORR At the end of February, The Ritz—the Triangle’s biggest functional rock club—passed the one-year mark as the region’s newest Live Nation venue. Despite an enormous investment from the big owner, work remains; in fact, the club will close for two months this summer for more upgrades. (Let’s hope crews focus on the abysmal parking lot and the not-quite-there sound system.) But in most respects, after some initial security and organizational issues, The Ritz’s first year qualifies as a spectator success. With Live Nation’s megalithic purchasing power, the venue presented shows that would have either skipped the area previously (especially major rap tours, which have become the house specialty) or would have been cramped in rooms that were much too small. To date, Live Nation seems interested in maintaining The Ritz’s reputation as a Latino music destination, too, though that booking has slowed in recent months. One of the most surprising aspects of The Ritz’s time under Live Nation has been its interest in local music. Bluegrass favorites Chatham County Line played a benefit there, and a set of pop-rock bands helped launch a series of shows called “Locals Only.” Today, that idea does some heavy lifting with an excellent clutch of hard rock and metal bands. There’s the astral outlandishness of headliners Valient Thorr, the protodoom of Demon Eye, and the psychedelic punishment of Bitter Resolve. In the first two slots, Wailin Storms and Grohg mix and match a love of theatrics with, respectively, punk and black metal. Live Nation has a history of buying and absorbing local culture; it’s a welcome sight for The Ritz to pay to give it a big stage and us a good time on a Sunday afternoon. —Grayson Haver Currin THE RITZ, RALEIGH 4 p.m., $10, www.ritzraleigh.com raves from rags on both sides of the Atlantic, and most of its American tour dates have been to packed rooms. (This one’s sold-out, too.) And with reason: its songs split the difference between Slowdive’s cool and Coldplay’s accessibility. Wilsen opens. —PW [CAT’S CRADLE, $16–$18/8:30 P.M.]
Driftwood IN HAR- On last summer’s MONY Live at Grassroots 2014, Driftwood expertly paired earthy harmonies with acoustic guitars borrowed from the jam-band world and fiddle arrangements. High school pals Dan Forsyth and Joe Kollar share vocal duties with Claire Byrne,
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producing a theatrical take on Americana. After playing a string of shows with The Travelin’ McCourys earlier this year, Driftwood pairs up with folky opener (and fellow Binghamton, New Yorkers) Milkweed. —KM [MOTORCO, $10–$12/9 P.M.]
Emerson String Quartet FINE The Emerson String DETAILS Quartet needs no introduction. The members bring an unusual combination of exacting precision and expressive flexibility to everything they touch. This concert opens with Haydn’s “Emperor” quartet, so named for its set of variations on an anthem for Emperor Francis II. Next is Bartók’s fourth string quartet, perhaps the most furious (and glorious) in his ouevre. Emerson closes with Schubert’s massive String Quartet No. 15, which bursts with endless song-like melodies. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$48/8 P.M.]
Ace Henderson HOOD VI- In reaction to the BRATION recent police shooting of southeast Raleigh resident Akiel Denkins, rising rapper Ace Henderson released “Vibrate.” He confesses, “I’m ungrateful, because the enemy is into me.” This pondering isn’t much of a departure from his customary introspective songwriting, and it illustrates that he’s way more than an eclectic stage personality with star potential. —ET [KINGS, $10/10 P.M.]
High-Functioning Flesh EBM Dear eighties NIGHT industrial lover: At last, cop that Revolting Cocks tour shirt you’ve had bookmarked after you circle this blurb three times. Los Angeles’s High-Functioning Flesh recalls the uncompromising dance throb of EBM greats like Front 242, complete with repetitious spoken-word samples, synth
plucks falling from the sky, and more arpeggiated bass then you can snap a riding crop at. High-Functioning Flesh doesn’t really incorporate any new ideas, but you’ll be dancing too hard to care. —DS [NIGHTLIGHT, $7/10 P.M.]
Langhorne Slim ABOVE Pennsylvania-born FOLK troubadour Langhorne Slim takes his bluesysounding stage name from the town of his birth. His music has a rough, rootsy core, but his recent albums are just as likely to offer up strings and horn sections as folkie strum-fests. Add in a dash of melodic indie pop, and you’ve got a fine cross-section of twenty-firstcentury Americana influences, bottled by one fedora-sporting songsmith. —JA [HAW RIVER BALLROOM, $16–$18/9 P.M.]
N.C. Music and All That Jazz AMERICA Suffused with the TUNES! fresh air of the season, this bill features two vibrant imaginings of simpler times. “Simple Gifts” from Aaron Copland’s Appalachian Spring is based on a Shaker song that celebrates the beauty of life in its unadorned state. Appalachian Lament is by Raleigh-based composer-teacher Terry Mizesko. The evening also include a tribute to the masterful composer and arranger (and former Hillsborough resident) Billy Strayhorn, and the folk-Americana sounds of Steph Stewart and the Boyfriends. —DK [CAROLINA THEATRE, $15–$35/8 P.M.]
Rebirth Brass Band BRASS The joyous music APPEAL of New Orleans has no finer emissaries than the Rebirth Brass Band. Led by the brothers Frazier and rising from humble origins, the Grammywinning group brings crack skills and rollicking spontaneity to the classics and originals alike. The nonet has incorporated hip-hop
and funk into its quintessentially New Orleans palette. The allegiance to tradition is sincere, but the group is not bound by it. —DK [THE ARTSCENTER, $18–$25/8 P.M.]
SA 4/2 FR 4/8 SA 4/9
ALIEN8 / THE MEDUSA
BUDDY BLACK / TORNADO BLUES BAND NC ROSE OF TRALEE SELECTION, MUSIC BY:
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Thirsty: A Queer Dance Party
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QUEER, Operating under NO FEAR the cosmic guise of “Xxxtra queerterestrial,” Durham DJs PlayPlay and Bitchcraft have given this month’s queer dance partygoers a “dancefloor alien8ted from str8 presence.” It’s somewhat of an exclusionary decree for something as simple and fun as a dance party (especially following the recent passing of the anti-LGBTQ bill, NC-HB 2), but at least straight folks won’t be breaking the law if they go. —ET [PINHOOK, $5/10 P.M.] ALSO ON SATURDAY CAT’S CRADLE (BACK ROOM): Lowland Hum; 8 p.m., $10– $12. • THE CAVE: Michael Martin Band, Hardworker; 9 p.m., $5. • DEEP SOUTH: Siren, Thunderstruck; 9 p.m., $7. • LINCOLN THEATRE: The Mantras, Psylo Joe, Fonix; 9 p.m., $12.50. • LOCAL 506: Headfirst for Halos; 6:30 p.m., $10–$40. • MEYMANDI CONCERT HALL: N.C. Symphony with Five for Fighting; 8 p.m., $38–$75. See box, page 43. • POUR HOUSE: Rainbow Kitten Surprise, Jenny Besetzt; 9:30 p.m., $7. • SOUTHLAND BALLROOM: Alien8, Kinghitter; 8:30 p.m., $10.
THE SOUL PSYCHEDELIQUE ORCHESTRA KINGHITTER
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’GRASS Despite a shifting GENTS lineup, The Infamous Stringdusters have delivered a steady output of increasingly expansive bluegrass-minded records. The band’s new Ladies & Gentlemen features a clutch of women on vocals. Many of them, like Lee Ann Womack, Sara Watkins, and Nicki Bluhm, already share the Stringdusters’ affinity for folk music, but “Have a Little Faith” takes an intriguingly soulful turn with Joss Stone. However, of all
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INDYweek.com | 3.30.16 | 45
22nd Biannual
Carrboro
CD & record ShOw Sunday, April 3rd • 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!!!
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For info: 919.260.0661 or gerrycw51@gmail.com
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Tea 46 | 3.30.16 | INDYweek.com
these collaborators, only Bluhm has joined the band for this tour, so you’ll have to see how these songs translate live with key components missing. —AH [LINCOLN THEATRE, $20/8 P.M.]
Walker Lukens RATTLED Austin-based ROCK songwriter and bandleader Walker Lukens embraces the shaggy pop vibe that gave Dr. Dog a career, but there’s a caffeinated intensity to his songs, too, as though the thought of singing about his sentiments makes his anxious. Beneath the fuzzy production and above the hard-strummed guitars, he croons like a veteran balladeer with sudden indie rock ambitions. If you appreciated the lost edge of Blitzen Trapper’s Wild Mountain Nation, you may rediscover some of it in Lukens. —GC [MOTORCO, $8–$9/8 P.M.]
Angel Olsen SINGER’S The music of SPELL top-tier singersongwriter Angel Olsen depends on an uncanny bait-and-switch. Her voice is graceful, smooth, and curved, its high notes suggesting the shape of a fine luxury automobile; you’re drawn close to it, trusting in it, guided by the help of her strummed guitar. But the songs themselves are riddled with sharp invective, wounded characters, and bad situations, wonderfully rendered in incisive lines. During the last few years, on increasingly ambitious records, Olsen has summoned
the help of a band, only strengthening the traps she perfectly sets. —GC [HAW RIVER BALLROOM, $17–$20/8 P.M.]
Yanni CHILL & Listening to the SENSUAL crisp swing of “Desert Soul,” from Yanni’s 2016 album Sensuous Chill, made me wonder if the perpetual nineties punch line (and recent headliner at the Egyptian pyramids!) had come around to pop’s cooler side, or vice versa. Stripped of identifying info, like Yanni’s name, the music’s psychedelic swirl and strutting beats would be catnip for a content outpost in search of a weekday pickup. —MJ [DURHAM PERFORMING ARTS CENTER, $45–$85/7:30 P.M.]
urgency to twitchy indie folk numbers. On last year’s Perpetual Motion People, brass and baroque instrumentation rubbed shoulders with absurdist lyrics. Openers Sleepy Kitty abide where “grimy meets shiny.” —DK [THE PINHOOK, $10/9 P.M.]
Jaill PUNCH & After releasing two JANGLE albums on Sub Pop that never generated much buzz, Milwaukee’s Jaill is back on Burger Records. The band is also back to banging out polished jangle-pop that channels The Violent Femmes just as well as it slots with Burger’s grimy power-pop roster. —PW [NEPTUNES PARLOUR, $7/9 P.M.]
ALSO ON SUNDAY
ALSO ON MONDAY
MEMORIAL AUDITORIUM: N.C. Opera; 3 p.m., $25–$71. See page 40. • THE RITZ: Valient Thorr, Wailin Storms; 4 p.m., $7. See box, page 44.
THE ARTSCENTER: Bob Schneider, Graham Wilkinson; 8 p.m., $22–$25. • CAT’S CRADLE (BACK ROOM): Marc Ribot; 7:30 p.m., $18–$20. See page 41.
MON, APR 4
TUE, APR 5
Ezra Furman FEMMES Since 2013, FANS Chicago’s restless Ezra Furman has released three solo records of packed songs that showcase a voice suggesting the pained croon of Rufus Wainwright, the half-spoken cadence of Dan Bejar, and the pinched hyperactivity of Jay Reatard. Furman can also summon an abraded tonality that adds
Big Gigantic NIGHT Big Gigantic wants RIDERS to soundtrack your day—well, the back half of it, at least. The Colorado EDM duo folds bright techno flourishes, smooth-jazz sax, savage dubstep drops, and booming hip-hop beats into an electronic Goliath. But the pair’s suave, jam-enlightened slow songs are built for those last waking
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moments when you’re just ready to crawl into bed. —PW [LINCOLN THEATRE, $23/8:30 P.M.]
Frankie Cosmos, Eskimeaux TWEE AS As K Records’ CAN BE recent financial woes have made clear, the esteemed label hasn’t continued to shepherd the international pop underground like it once did. We now have East Coast lo-fi upstarts like Frankie Cosmos and Eskimeaux to carry the torch of sentimental, wide-eyed bedroom pop. Depending on the audience, the band’s quiet performance style doesn’t always work, but if you’ve never heard a band play a MIDI bird sound solo on synth, this could be formative. —DS [KINGS, $12–$14/8:30 P.M.]
The Nth Power AFRONikki Glaspie, a FUNK powerhouse drummer who’s backed Aaron Neville and Dumpstaphunk and was part of Beyoncé’s all-female band during her 2007 tour, powers this smooth soul-funk ensemble. It’s rooted in the New Orleans’ second-line traditions but tempered by jam-circuit proclivities. The grooves are hard, inventive, and afforded a unique vibe via the unusual rhythmic structures of djembe player Weedie Braimah. This, especially, distinguishes Nth Power from its peers. —PW [POUR HOUSE, $10–$12/9 P.M.]
Slingshot Dakota STILL Years of breakneck SLINGIN’ road-running can make or break a partnership, musical or otherwise. Emo duo Slingshot Dakota’s Carly Comando and Tom Patterson tied the knot prior to recording Break, their fourth LP, but little besides their marital status has changed. Comando still delivers profound pangs and glittering keyboard melodies, while Patterson still bashes out barreling backbeats. —PW [LOCAL 506, $8/9 P.M.]
longest-crawling purveyors of sludgy New Orleans metal. There’s been membership attrition and occasional shifts toward a less barbaric, more produced product, but Crowbar remains—at the core, at least—a misanthropic blues band with big amplifiers and powerful drums. In a shotgun club like Local 506, these dudes should sound even mightier than their image. —GC [LOCAL 506, $13–$15/7:30 P.M.]
Tørsö
WED, APR 6
HXC On the surface, NUANCE there’s little on Tørsö’s searing December LP, Sono Pronta a Morire, that won’t be familiar to hardcore fans. The drums hit a sprinting D-beat charge. The guitars churn and squeal between frantic riffs. The singer howls scathing social commentary. But listen again and hear what attracted the rarely complacent local punk label Sorry State to the band; Tørsö’s hardcore is a tightly wound, volatile mix of subgenre hallmarks. Behind a wall of crust spring bass lines that would sound at home on a Marked Men record. Between redline blitzes are patient, almost restrained breakdowns. The record’s familiarity belies a welcome depth. —BCR [KINGS, $8/9:30 P.M.]
Crowbar
ALSO ON WEDNESDAY
Sean Watkins NOTHING In his post-Nickel TO FEAR Creek years, guitarist Sean Watkins has put out a handful of albums under his own name. His picking prowess remains strong, but his songwriting has felt a tad obvious. Watkins’s new What to Fear isn’t bad, just more of the same. —AH [CAT’S CRADLE, $12–$15/8 P.M.] ALSO ON TUESDAY CAROLINA THEATRE: Black Violin; 8 p.m., $28–$80. • CAT’S CRADLE (BACK ROOM): Chon, Polyphia, Strawberry Girls; 8 p.m., $15.
SLUDGE & For a quarter SIN century, Kirk Windstein has been the bearded, brooding, bellowing leader of Crowbar, one of the
POUR HOUSE: Fredfin Wallaby, Richard Bacchus & The Luckiest Girls, Absent Lovers; 9 p.m., free.
BILL BURTON ATTORNEY AT LAW Un c o n t e s t eAgreements d Di vo rc e Separation Mu s i c Bu s i n edivorce ss Law Uncontested InMusic c o r p obusiness r a t i o n / Llaw LC / Pa r t n e r s h i p Incorporation/LLC Wi lls Wills C o l l967-6159 ections (919)
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bill.burton.lawyer@gmail.com INDYweek.com | 3.30.16 | 47
OPENING
SPECIAL Albee/Carland/ EVENT Hauser/Oleson: Becca Albee, Tammy Rae Carland, EJ Hauser, and Jeanine Oleson. Apr 1-30. Reception: Fri, Apr 1, 6-9 p.m. Lump, Raleigh. www.teamlump.org. SPECIAL Another Point of EVENT View: Paintings by Amanda Charest. Apr 1-May 1. Reception: Fri, April 1, 6-8 p.m. Nature Art Gallery, Raleigh. www.naturalsciences.org. SPECIAL Apex High School & EVENT Friendship High School Exhibition: Apr 1-May 7. Reception: Fri, Apr 1, 6-8 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org. SPECIAL The Art of the EVENT Female: Group show. Apr 3-30. Reception: Sun, Apr 3, 1-3 p.m. Joyful Jewel, Pittsboro. www. joyfuljewel.com. Artspace Teaching Artists Showcase: Apr 1-May 14. Reception: Fri, Apr 1, 6-10 p.m. Artspace, Raleigh. www. artspacenc.org. SPECIAL Fooling Around: EVENT Rebecca Toy and Kim Ballentine. Apr 1-30. Reception: Fri, April 1, 6-9 p.m. Local Color Gallery, Raleigh. www.localcoloraleigh.com. SPECIAL Fresh Views: Barbara EVENT Burlingame. Apr 2-30. Reception: Sat, Apr 2, 3-5 p.m. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com. Mary Kircher: Apr 1-Jun 25. Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com. Los Jets: Playing for the American Dream: Apr 1-Oct 2. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.
FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM
03.30–04.06 SPECIAL Master Works of EVENT Haitian Art: From the collection of Norvel and Isabelita Burns. Apr 1-30. Reception: Fri, Apr 1, 6-9 p.m. Gallery C, Raleigh. www.galleryc.net. SPECIAL Members’ Spotlight EVENT Exhibition: Apr 5-May 8. Reception: Fri, Apr 8, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com. SPECIAL Notes from the EVENT Garden: Susan Woodson and Carol Nix. Apr 1-30. Reception: Fri, April 1, 6-9 p.m. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com. SPECIAL Preview in the Barn: EVENT Preview of the Fearrington Village Open Studio Tour. Sun, Apr 3, 7 p.m. Fearrington Barn, Pittsboro. www.fearrington.com. SPECIAL Roatán Gems: Linda EVENT Eddins. Apr 1-30. Reception: Fri, April 1, 6-9 p.m. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com. SPECIAL Site-Specific EVENT Installation: Antoine Williams. Apr 1-Jun 25. Reception: Fri, Apr 1, 6-10 p.m. Artspace, Raleigh. www. artspacenc.org. SPECIAL Skin Dive 2016: EVENT Water portraits by Barbara Tyroler. Apr 3-24. Reception: Sun, April 3, 2-4 p.m. Horace Williams House, Chapel Hill. www.chapelhillpreservation.com. SPECIAL Swing Into Spring EVENT 2016: Fundraiser for the Durham Art Guild. $25-$50. Fri, Apr 1, 6:30-10 p.m. Durham Art Guild, Durham. www.durhamartguild.org. SPECIAL Visible Spectrum: EVENT Portraits from the World of Autism: Photographs by Mary Berridge. Apr 5-May 8. Reception: Fri, Apr 8, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com. Watermedia Abstractions: Watercolors by Sterling Edwards. Mar 31-Apr 30. 311 Gallery, Raleigh. Dan Woodruff: Apr 1-Jun 25. HQ Raleigh, Raleigh.
ONGOING SPECIAL A Mess of Feesh: EVENT Dan Smith photographs. Thru Apr 2. Reception and Artist Talk: Wed, Mar 30, 6-8 p.m. The Carrack Modern Art, Durham. www.thecarrack.org. The Amalgamation Project: Tom Spleth. Thru Apr 16. Light Art + Design, Chapel Hill. www. lightartdesign.com. American Impressionist: Childe Hassam and the Isle of Shoals: In the late-nineteenth and early-twentieth centuries, American impressionist Childe Hassam spent decades painting Appledore Island, a resort in the Gulf of Maine. He began near the hotel before venturing to the outer limits of his ninetyacre world, painting the varied confluences of rocky coasts and placid surf. His style is beautiful and refined, like a slightly more fastidious Monet, but the subject is repetitious, and oddly, NCMA has chosen to pipe in distracting seagull sounds, like a small-town natural history museum. It’s hard to forget these are essentially a wellheeled person’s pretty vacation paintings. Thru Jun 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Beyond Walls: Designs for Twentieth-Century American Murals: James Henry Daugherty, Ben Shahn, and Charles Alston. Thru Apr 10. Ackland Art Museum, Chapel Hill. www.ackland.org. Claybody: The Human Form in Ceramic Art: Group show. Thru May 13. Claymakers, Durham. www.claymakers.com. SPECIAL Martha Clippinger: EVENT Mixed media on wood. Thru Apr 30. Reception: Fri, Apr 1, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org. LAST Clothesline CHANCE Musings: Art Inspired By the Clothesline: Thru Apr 3. Cary Arts Center, Cary. www.townofcary.org. Coming Soon, Dot-to-Dot: Selections from the Gregg Museum of Art & Design. Thru
PHOTO © MICHAELA O’BRIEN
art
“RONNIE”
SUNDAY, APRIL 3
MICHAELA O’BRIEN: LOVE VALLEY The class of 2016 in Duke’s experimental and documentary arts graduate program currently has its thesis exhibition at Durham’s Power Plant Gallery (through April 24). Several artists in it also have solo shows at other local galleries, including Dan Smith (A Mess of Feesh at the Carrack through April 2); Kyle Grant Wilkinson (middle town at SPECTRE Arts through April 24); and now, Michaela O’Brien, who opens Love Valley, a preview of which can be seen at Power Plant, at Cassilhaus in Chapel Hill with a public reception on Sunday. Love Valley, a tiny town in Iredell County, was established in the mid-twentieth century as a Christian community modeled on the Old West as seen in Hollywood films. O’Brien takes viewers on a tour of Love Valley today though contemporary and archival moving images, photos, texts, and artifacts. In a place built on a deceased man’s boyhood cowboy dreams, “current residents must shape and reshape the township to keep their founder’s utopian aspiration alive,” O’Brien writes. But what does it mean to live in a reenactment? You can explore this unique slice of Americana at Cassilhaus until April 20. —Brian Howe CASSILHAUS, CHAPEL HILL 4–8 p.m., free, www.cassilhaus.com
Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org. LAST Nileena Pani Dash: CHANCE Mosaics. Thru Apr 5. Carrboro Century Center, Carrboro. www.carrboro.com. The Ease of Fiction: This exhibit features paintings, drawings, and sculptures by four young, U.S.-based African artists who intimately navigate the facts, official narratives, and myths of two nations that see each other in different ways. For example, in “kindred,” Nigeria’s ruby onyinyechi amanze layers photo transfers and drawings in a luminous scene of wading birds, braided hair, and a leopard-headed gentleman of a distinctly colonial mien. $5. Thru Jun 19. CAM Raleigh, Raleigh.
camraleigh.org. —Brian Howe Failure of the American Dream: Phil America installation. $5. Thru May 8. CAM Raleigh, Raleigh. camraleigh.org. Fine Arts League of Cary’s 21st Annual Juried Exhibition: Thru Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org. Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art: This outstanding exhibit of one hundred drawings from the Minneapolis Institute of Art can be experienced in many ways: As a master class in drawing, a chance to see the hands of big names (including Picasso, Matisse, Degas, Klimt, Mondrian, de Kooning,
Magritte, Lichtenstein, Warhol, and Ruscha, just to name a few), or as a dazzling technical display. The exhibit ranges from fifteenth-century illuminated manuscripts and expressive Baroque portraits to Abstract Expressionism and Pop Art (areas of particular strength). It’s a thorough anatomy of a form. Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. —Brian Howe My Mother Took the Ming Rose out of the Cradle: Ceramics by Alice Ballard. Thru Apr 24. Eno Gallery, Hillsborough. www. enogallery.net. LAST Naked: A visual CHANCE celebration of the human form. Thru Apr 3. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. LAST New Death, Old CHANCE Growth: Installation by Erin Oliver. Thru Apr 5. Golden Belt, Durham. www. goldenbeltarts.com. The New Galleries: A Collection Come to Light: Thru Sep 18. Nasher Museum of Art, Durham. nasher.duke.edu. OFF-SPRING: New Generations: This exhibit, mostly photography, makes “ritual” its theme, and the offerings are alternately revelatory and rehashed from big-box postmodernism. “Off-Spring of Cindy Sherman” might have been a better title. Stagey oversize portraits of children in adult dress give a momentary “whoa” reaction and nothing more; proofs from a Glamour Shots dumpster would offer sounder cultural criticism. The better pictures admit complex reality, not just seamless artifice. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Chris Vitiello Recycling Is for the Birds: Birdhouses by Jefferson Garvey. Thru Apr 9. The Scrap Exchange, Durham. www. scrapexchange.org. Strangers in Paradise: Carolyn Janssen and Jillian Mayer. Thru May 7. Artspace, Raleigh. www. artspacenc.org.
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RAMYA KAPADIA
Tarot Dreamscapes: Cade Carlson, Kelly Knapp, and Darius Quarles. Thru May 19. Arcana, Durham. www. arcanadurham.com. SPECIAL The Ties That Bind: EVENT Beverly McIver is a painter, originally from Greensboro, whose guardianship of a sister with developmental disabilities was the subject of the HBO documentary Raising Renee. McIver exposes another thread of her complex family life in these oil portraits of her father, whom she has gotten to know over the last decade. “I believe that I have fallen in love with my dad,” McIver writes. In her vibrant portraits of him, perhaps you will, too. Thru Apr 9. Painting Demo: Thu, March 31, 7 p.m. Craven Allen Gallery, Durham. www.cravenallengallery. com. —Brian Howe LAST Time Travels in CHANCE Nineteenth-Century Landscapes: In the nineteenth century, landscapes were reinvented by artists with nostalgic idealism about the time before industrialization. Painters like J.M.W. Turner created landscapes that toe the line between fantasy and reality, here and there, past and present, as can be seen in this exhibit. Thru Apr 3. Ackland Art Museum, Chapel Hill. www. ackland.org.—Sayaka Matsuoka Walls of Color: The Murals of Hans Hofmann: The Abstract Expressionist Hans Hofmann took a commission for a mural project in Chimbote, Peru, in 1950. Though never realized, the seven-foot-tall oil studies for it in this exhibit offer a look under the hood of abstraction. The studies demonstrate Hofmann’s “push/pull theory” of abstraction, by which adjacent colors and forms create synthetic depth and implied movement, a template that one can use on almost any twentieth-century abstract work. Thru Apr 22. Ackland Art Museum, Chapel Hill. www. ackland.org. —Chris Vitiello
PHOTO BY SIVARAM KAUSHIK
Study for Portrait VI: Francis Bacon. Thru Apr 10. Ackland Art Museum, Chapel Hill. www. ackland.org.
SUNDAY, APRIL 3
NC DANCE ALLIANCE DANCE SWAP Seeking secondhand clothes and bargain household tchotchkes? Look elsewhere. When dancers from across the state get together for a dance swap, they exchange techniques and insights in morning master classes and in-progress performances in an afternoon showing. Audrey Baran’s opening seminar deals with contemporary and modern dance, and Eric Mullis uses Rudolf von Laban and William Forsythe’s “embodied geometry” to generate new moves. Then Tara Mullins teaches dance conditioning, and Ramya Kapadia unfolds the mysteries of classical Indian Bharatanatyam dance. The 1 p.m. showing features new works in the making from Baran, Mullis, Kapadia, and Sarah Council, winner of the 2016 NCDA New Works Award. —Byron Woods ARTS TOGETHER, RALEIGH 10 a.m.–3 p.m., $5 (showing)/$12–$15 (classes), www.ncdancealliance.org
stage
Durham. www.thecarrack.org.
OPENING
DJ Douggpound, Brent Weinbach: Stand-up comedy. $20. Wed, Apr 6, 8:30 p.m. Cat’s Cradle Back Room, Carrboro. www.catscradle.com.
AndAlwaysWhy: Ginger Wagg preview and fund-raiser with live music, a silent auction and more. $5–$20. Sat, Apr 2, 8 p.m. The Carrack Modern Art,
Etchings in Stone: Play about the Vietnam Veterans Memorial. Free. Apr 1-3. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. INDYweek.com | 3.30.16 | 49
Men are from Mars, Women are from Venus: Musical. $52. Fri, Apr 1, 8 p.m. & Sat, Apr 2, 4 & 8 p.m. Fletcher Opera Theater, Raleigh. www.dukeenergycenterraleigh.com. Merrily We Roll Along: Meredith Ensemble Theatre. $5–$10. Apr 6-10. Meredith College: Jones Auditorium, Raleigh. www.meredith.edu. Million Dollar Quartet: Musical. $20–$135. Tue, Apr 5-Wed, Apr 6, 7:30 p.m. Durham Performing Arts Center, Durham. www. dpacnc.com.
Sweeney Todd: The Demon Barber of Fleet Street: Musical at PlayMakers. $15–$44. Tues-Sun thru April 23, 7:30 p.m.. www. playmakersrep.org. UNC Campus: Paul Green Theatre, Chapel Hill. playmakersrep.org. The Thrill: Improv comedy by Amy Allen, Vinny Valdivia, and Kori Robins. $10. Fri, Apr 1, 7 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater. com. Versus: Hip-hop improv. Free. Sat, Apr 2, 10 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater.com.
Miscast Cabaret 2016: Twisted Characters: Cabaret. $25. Apr 1-2, 7:30 p.m. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.
Ron White: Stand-up comedy. $45–$75. Sat, Apr 2, 7 & 10 p.m. Durham Performing Arts Center, Durham. www.dpacnc. com.
Jessimae Peluso: Standup comedy. $17–$31. Mar 31-Apr 2. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.
ONGOING
PlaySlam!: Three-minute play contest. $10–$12. Sat, Apr 2, 7:30 p.m. The Cary Theater, Cary. Antoine Scott: Stand-up comedy. $10. Fri, Apr 1, 9 p.m. TJ’s Night Life, Raleigh. www. tjsnightlife.com. Stranger Danger: Improv comedy about bad dates. $10. Sat, Apr 2, 8:30 p.m.
SUNDAY, APRIL 3
PHOTO COURTESY OF EVAN KIDD
Ladies’ Night: Stand-up comedy by Rose Werth, Amy Allen, Chloe Tuck, and Blanca Casusol. $10. Fri, Apr 1, 7 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater.com.
DSI Comedy Theater, Chapel Hill. www. dsicomedytheater.com.
½ Jacuzzi: Ward Theatre’s strongly acted and directed debut production, a taut psychological thriller, is the hottest show in town. $25. Thru Apr 17. Ward Theatre, Durham. wardtheatrecompany. com. —Byron Woods The Real Americans: Play. $15–$45. TuesdaysSundays, 7:30 p.m.; Thru May 1. UNC Campus: Kenan Theatre, Chapel Hill. www. playmakersrep.org.
SON OF CLOWNS
In an Interrogative Mood: Devised theater. Free. Thu, Mar 31, Fri, Apr 1 & Sat, Apr 2. UNC Campus: Swain Hall, Chapel Hill.
screen SPECIAL SHOWINGS
Dear President Obama: Tue, Apr 5, 7 p.m. Fullsteam, Durham. www.fullsteam.ag. Durham Cinematheque: Photographs and Motion Pictures: Excerpts from The Lost Colony Film, The Biography of the Motion Picture Camera, and other North Carolina selections. $5. Fri, Apr 1, 8 p.m. The Carrack Modern Art, Durham. www.thecarrack.org. Los Jets: Fri, Apr 1, 7 p.m. NC Museum of History, Raleigh.
STUDY OF COUPLES WHO SMOKE
EYE IN THE SKY I SAW THE LIGHT HELLO MY NAME IS DORIS
Duke University School of Nursing is looking for couples, married or living as married, in which both persons smoke, for a study on smokers’ beliefs about cigarettes and beliefs about health effects of smoking. Participants must be at least 18 years old. For more information, and to see if you qualify, call 919-956-5644.
Pro00065000
50 | 3.30.16 | INDYweek.com
SON OF CLOWNS
Minor television star Hudson Cash has returned from Los Angeles to his native North Carolina after the cancellation of his show, regrouping and trying to figure out his next career move. His family operates a failing backyard circus, and Cash reckons with that failure and his own while developing a relationship with a clerk at the local balloon shop. That’s the premise of the new full-length “microbudget” feature by Raleigh writer and director Evan Kidd of RockSet Productions, whom you may know from recent shorts like Displacement Welcomed. Set in Raleigh, the film was shot in the Triangle, the Triad, and Wilmington in ten production days, with local cast and crew, and all local musicians (T0W3RS, Zack Mexico, Jackson Honeycutt) on the soundtrack. Can a “son of clowns” ever escape the festive futility of his birthright? Find out in this homegrown premiere at the Cary Theater. —Brian Howe THE CARY THEATER, CARY 7 p.m., $5, www.thecarytheater.com
www.ncmuseumofhistory.org.
of quips and gore. Rated R.
middle town: Sat, Apr 2, 6 p.m. SPECTRE Arts, Durham. www. spectrearts.org.
THE DIVERGENT SERIES: ALLEGIANT—The YA dystopian franchise turns away from sociological sci-fi. Rated PG-13.
Troll 2: Fri, Apr 1, 7 p.m. NC Museum of Natural Sciences, Raleigh. www.naturalsciences.org.
OPENING EYE IN THE SKY—This thriller, starring Helen Mirren, Aaron Paul, and Alan Rickman, deals with hot-button issues of drone warfare. Rated R. I SAW THE LIGHT—Tom Hiddleston is Hank Williams in this biopic. Rated R. MEET THE BLACKS—A Chicago family seeks greener pastures in Beverly Hills just as the city starts its annual twelve hours of lawlessness. Rated R.
A L S O P L AY I N G See our reviews of these films at www.indyweek.com. ½ 10 CLOVERFIELD LANE—The spiritual successor of Cloverfield has wit and suspense, not just mysterious marketing. Rated R. BATMAN V SUPERMAN: DAWN OF JUSTICE—D.C. Comics’ two most iconic heroes clash in an overstuffed slog littered with great moments. Rated PG-13. CREATIVE CONTROL— Benjamin Dickinson’s squirmy indie is a cautionary tale about virtual reality. Rated R. ½ DEADPOOL—Marvel’s smartass semi-hero (Ryan Reynolds) revels in excesses
LONDON HAS FALLEN— Gerard Butler stars in this xenophobic, jingoistic terror-porn sequel to 2013’s Olympus Has Fallen. Rated R. MIRACLES FROM HEAVEN—This Christian film is admirably frank about American families’ unsexy financial challenges. Rated PG. STAR WARS: THE FORCE AWAKENS—J.J. Abrams successfully remixes Star Wars mythology for a new generation. Rated PG-13. ½ THE WITCH—Arthorror director Robert Eggers conjures the demon-haunted world of early English settlers from real accounts. Rated R.
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READINGS & SIGNINGS Darnell Arnoult: Poetry collection Galaxie Wagon. Thu, Mar 31. Regulator Bookshop, Durham. www. regulatorbookshop.com. Robin Conley: Confronting the Death Penalty: How Language Influences Jurors in Capital Cases. Sun, Apr 3, 4:30 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.
ated R.
T —The ise turns cal sci-fi.
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Kurt Gray: The Mind Club: Who Thinks, What Feels and Why it Matters. Tue, Apr 5, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Matthew Griffin: Novel Hide. Fri, Apr 1, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Jaimee Hills, Jennifer Whitaker: Poetry. Fri, Apr 1, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.
OM stian nk about James S. House: Beyond unsexy Obamacare: Life, Death, and Rated PG. Social Policy. Wed, Apr 6, 7 p.m. Regulator Bookshop, Durham. S: THE www.regulatorbookshop.com. —J.J. y remixes Steve Jurovics: Thu, Mar 31, 7 y for a p.m. Quail Ridge Books, Raleigh. ed PG-13. www.quailridgebooks.com. H—Art- Valerie Nieman and Judy rt Eggers Hogan: Sun, Apr 3, 3 p.m. -haunted Joyful Jewel, Pittsboro. www. h settlers joyfuljewel.com. Rated R. Ann Packer: Novel The Children’s Crusade. Wed, Apr 6, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.
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nting the Language apital 30 p.m. Durham. hop.com.
John Shelton Reed: BBQ: A Savor the South Cookbook. Sat, Apr 2, 11 am. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.
William J. Barber II and Jonathan Wilson-Hartgrove: The Third Reconstruction: Moral Mondays, Fusion Politics, and the Rise of a New Justice Movement. Tue, Apr 5, 5 p.m. Franklin Humanities Institute Garage, Durham. fhi.duke.edu.
LITERARY R E L AT E D Suzanne Adair: “Ladies of Crime: Detective Dames and Femmes Fatales.” Thu, Mar 31, 7 p.m. South Regional Library, Durham. www. durhamcountylibrary.org. Akinbode Akinbiyi: Discussing his work and urban sprawl. Tue, Apr 5, 5 p.m. UNC Hanes Art Center, Chapel Hill. art.unc.edu. The Dakota Apartments, NYC: An Architectural Adventure: A multimedia presentation on the world’s most famous apartment building. $15. Fri, Apr 1, 7-9 p.m. Levin Jewish Community Center, Durham. www.levinjcc.org. Duke Symposium on Scaling Innovations in Global Health: Fri, Apr 1, 2-5:30 p.m. Duke Trent Semans Center, Durham. Andrew Hemingway: “British Landscape Painting in the Age of Revolution.” Thu, Mar 31, 5:30 p.m. & Sat, Apr 2, 11 am. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/wilson. Making Faces: At the Intersection of Art & Neuroscience: Thu, Mar 31, 5 p.m. Nasher Museum of Art, Durham. nasher.duke.edu.
Omar H. Ali: “The Many Faces of Islam: Beyond the Headlines.” Thu, Mar 31, 6:30-8 p.m. www. chathamlibraries.org. Chatham Community Library, Pittsboro. www.chathamlibraries.org. Poetry and Identity: Reading and Discussion: Al Maginnes, Maria Rouphail, Andrea Selch, and Crystal Simone Smith. Thu, Mar 31, 6 p.m. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library. Bryant Simon: “The Hamlet Fire: Business, Politics, and Eating in the Age of Reagan” Tue, Apr 5, 4:30 p.m. UNC Campus: Hyde Hall, Chapel Hill. James Simpson: Discussing the mass relocation of refugees into the U.S. $10. Tue, Apr 5, 7 p.m. Extraordinary Ventures, Chapel Hill. www. extraordinaryventures.org. Speaking Power: Transforming Sacred Space: Poetry, perfomance, and sermon slam celebrating Pauli Murray. Fri, Apr 1, 5 p.m. The Vault at The Palace International, Durham. Storytelling Festival: Sat, Apr 2, 10 a.m.-1 p.m. Durham Main Library, Durham. www. durhamcountylibrary.org. Swann v. CharlotteMecklenburg, 45 Years Later: Sat, Apr 2, 10 a.m. UNC School of Law, Chapel Hill. Writers for Readers: Daniel Wallace, Sandra Brown, Tim Johnston, and Julia Dahl to benefit Orange Literacy. $20$125. Tue, Apr 5, 6 p.m. UNC Friday Center, Chapel Hill. www. fridaycenter.unc.edu.
FRIDAY, APRIL 1
AUGUSTEN BURROUGHS Augusten Burroughs made his mark with his 2002 memoir, Running With Scissors, an unflinching chronicle of his unsettling childhood, which became a New York Times bestseller and a film starring Annette Bening and Brian Cox. Since then, the Pittsburgh native has continued to explore autobiographical subjects. His latest, Lust & Wonder: A Memoir, trains its eye on relationships that played out against the backdrop of a sexually assertive metropolis where even, to quote Interpol’s indelible phrase, “the subway is a porno.” Indeed, the Big Apple has long nurtured world-class prurience as well as a high-minded vision of urban romance. The combination of Burroughs’s droll, self-deprecating, observational style with the subject matter sounds like a match made in heaven, or at least Hell’s Kitchen. Burroughs has charisma to spare, and his signings generate genuine excitement. Quail Ridge Books presents him at Burning Coal Theatre Company’s home base, the Murphey School Auditorium. —David Klein MURPHEY SCHOOL AUDITORIUM, RALEIGH 7 p.m., $5, www.quailridgebooks.com INDYweek.com | 3.30.16 | 51
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IT’S TIME TO MOVE!! What’s your next move? If you want to buy, sell or both, contact Cindy Kamoroff, Realtor: 919-491-6137 or ckamoroff@ pscp.com. Peak Swirles and Cavallito Properties.
REALTORS Get your listing in 35,000 copies of the INDY! Run a 30 word ad with color photo for just $29/ week. Call Leslie at 919-286-6642 or email classy@indyweek.com
rent/ elsewhere FAIR HOUSING ACT NOTICE All real estate advertised herein is subject to the Federal Fair Housing Act, which makes it illegal to advertise ìany preference, limitation, or discrimination because of race, color, religion, sex, handicap, familial status, or national origin, or intention to make any such preference, limitation, or discrimination.î We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity. For more information or assistance, contact Legal Aid of North Carolina’s Fair Housing Project at (855) 797-3247 or visit www.fairhousingnc.org.
52 | 3.30.16 | INDYweek.com
rent/ orange co. HOUSE FOR RENT Modern, bright 1500sf home, minutes to CH/Carrboro and Durham, yet secluded and safe. Tile floors, carpeting, cathedral ceilings, BR on second floor. Many unusual features, washer/dryer, gas stove, balcony, private parking area, $1250. Contact bhaddad@ mindspring.com or 919-932-9700.
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last week's puzzle
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To reserve your ad space contact your ad rep or rgierisch@indyweek.com
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soft return
crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions” at the bottom of our webpage.
Phife Dawg, Tar Heel
ILLUSTRATION BY CHRIS WILLIAMS
Phife Dawg was not supposed to come to my class. I was teaching “The Art and Culture of the DJ,” but Phife, a member of one of the all-time great hip-hop groups, A Tribe Called Quest, was an emcee. Despite no obvious connections to Chapel Hill, though, Phife was a die-hard Carolina basketball fan, with a whole room in his house devoted to Tar Heel memorabilia. When he heard that his friend and manager, DJ Rasta Root, was to visit UNC, he wanted to tag along. I couldn’t imagine a more welcome uninvited guest. The day Phife and Roots visited was the most exhilarating class session I have ever experienced. Word had gotten out, so the class doubled in size. Local DJs showed up. B-boys sat on the floor. Academics from nearby universities visited. An entire hip-hop crew rolled in. We opened up the mics and decks, and the class turned into a community jam. When Phife took the microphone, I figured he’d just say hello. When Roots started playing some Tribe tracks, though, Phife couldn’t help himself. Everyone crowded around. Students rhymed along with him, shouting out the hooks with glee. I was taken aback; the students were barely older than the songs. But that’s the power of Tribe—the group’s music serves as a soundtrack for multiple generations. This was 2013, and Phife and Roots returned a year later. Now in a bigger room, the class became an indoor block party. We had food. People brought their kids. A visiting dance crew from Houston performed. An eager freshman, Atticus Reynolds, swore he could play every Tribe instrumental, so he showed up with a drum kit, though he wasn’t enrolled in the class. Phife seemed skeptical until the kid flawlessly played “Find a Way.” Then he joined in. For Atticus, and for so many others, these class sessions were the experiences of a lifetime. Phife’s visits weren’t limited to the classroom. I took him to the Carolina Basketball Museum and to his first game in the Dean Dome. He met Chancellor Carol Folt and Rameses, the team mascot. He loved every second of his time here. He was also sick. A diabetic with a borrowed kidney, he had to schedule dialysis treatments during his stay. We had talked about a third trip in 2015, but he wasn’t up for it. I had hoped for a long series of annual appearances, and I wanted to help him fulfill his wish of meeting Roy Williams. But Phife is gone now. I am deeply grateful for every moment that he shared with me, my students, and all the other uninvited guests. —Mark Katz Twitter: @iah_unc
Book your ad • CALL LesLie at 919-286-6642 • EMAIL
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INDYweek.com| |3.30.16 3.30.16| |53 53 INDYweek.com
employment
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AKAI HANA
MEDICAL BILLING TRAINEES NEEDED!
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ASSOCIATE EDITOR The Sun, a nonprofit, ad-free magazine, needs an associate editor to edit text for publication, solicit new writing, evaluate submissions, and work with authors to develop and revise their work. Visit thesunmagazine.org for details.
5 MANUSCRIPT READER The Sun, an independent, 2 7 adfree magazine, is looking for a 2
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this week’s puzzle level:# 49
There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.
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MEDIUM
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# 19
# 49
9 7 2 6 4 8 3 5 1
3 6 8 7 5 1 2 9 4
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solution to last week’s puzzle www.sudoku.com 8 1 9 2 3 5 6 7 4 5 6 3 9 4 7 2 1 8 7 4 6 | 1INDYweek.com 8 3 9 5 54 |23.30.16 6 2 1 4 8 3 9 5 7 9 4 8 7 5 2 1 3 6 7 3 5 1 6 9 8 4 2 4 9 6 8 7 1 5 2 3
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# 19 4 7 1 3 2 8 6 5 9 If you just 6 9 5can’t 4 1 7wait, 8 2 3check out the 2current 8 3 9 week’s 6 5 4 7answer 1 4 7 1 5 3 9 6 2 key at 8 www.indyweek.com, 9 5 2 6 7 4 3 1 and click “Diversions”. 8 3 1 6 2 8 9 5 4 7 2 9 5and 3 6 have 1 8 4fun! Best of7 luck, 1 6 4 8 9 2 7 3 5 www.sudoku.com 5 3 8 7 4 1 2 9 6
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# 18
# 50
National Institutes of Health • U.S. Department of Heath and Human Services
Lead Researcher
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MEDIUM
# 51 4 9 3 8 1 5 7 2 6
2 1 5
Black Cohosh Study, call # 50 919-316-4976
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MEDIUM # 17
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Stavros Garantziotis, M.D. National Institute of Environmental Health Sciences Research Triangle Park, North Carolina
7 9 1
8 9 3 6 6 National Institutes of Health • U.S. Department of Heath and Human Services 6 2 If you3are a man or2woman, 18-551years9old, living in the RaleighDurham-Chapel 4 2 Hill area, and smoke cigarettes or use an electronic 1nicotine delivery 3 system (e-cigarette), please join an important study 9 8 1on smokers being conducted by the National Institute of Environmental 8 8 55 Health Sciences 67 (NIEHS). What’s Required? 4 2 58 6 7 6 • One visit to donate blood, urine, and saliva samples 8 4 3 7 • Samples 5 will be collected at4the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina
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# 18
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· ·9 6 National Institutes of Health • U.S. Department of Heath and Human Services 8 For more information about the
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# 17
© Puzzles by Pappocom
1 97
If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects black being conducted National Institute of Environmental Health Sciences 6 ofIftake black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? study on the health effects of black cohosh being conducted 7 8 an2 important 3 one visit • Only donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National to Institute Environmental Sciences (NIEHS). • Blood 7sample 1 will be drawn at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina What’s Required? Who Can Participate? Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding compensated upthe to $50 3 Volunteers For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit 9 5 in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate? National Institute of Environmental Healthy women, aged 18 years and older Health Sciences Research Triangle Park, North Carolina Not pregnant or breastfeeding
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DECLUTTERING? WE’LL BUY YOUR BOOKS
8 2 5 9 5 2 17 5 7 31 3 9 1 8 5 4 3 8 23 6 21 7 7 2 7 8
Do You Use Black C oho sh?
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1 5 97 51 9 3 84 1 2 44 7 9 7
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| do | su MEDIUM
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ABSOLUTE AUCTION-
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• Volunteers will be compensated up to $60
Who Can Participate? • Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both)
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The definition of healthy for this study means that you feel well and can perform normal activities. If you have # 52 a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the 9 2 6 3 1 5 8 4 7 condition is under control.
3 7 5 2 4 8 6 9 1 4 1 8 7 9 6 2 For 5 3 more information about this study, call 919-316-4976 5 8 7 6 2 4 3 1 9 Lead 6 4 Researcher 1 9 7 3 5 2 8 2 3 9Garantziotis, 5 8 1 4 7M.D. 6 • National Institute of Environmental Health Sciences Stavros 1 9 3 8 5 2 7 6 4 Research 7 6 2 Triangle 4 3 9 1Park, 8 5North Carolina 8 5 4 1 6 7 9 3 2
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# 52 2 1 9 3 4 6 8Book 5 7 your ad • 5 6 4 7 2 1 9 8 3 4 7 2
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INDYweek.com | 3.30.16 | 55
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RACE FORWARD 5K RUN FOR SOCIAL JUSTICE SAT. APRIL 9 8:30-12:30
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back page
Weekly deadline 4pm Monday • classy@indyweek.com INTRO TO IMPROVISATION
HOME REPAIR SPECIAL
IS IT HARD TO IMAGINE LIFE WITHOUT WEED?
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COMING UP NEXT AT MEMORIAL HALL APR
9
Gabriel Kahane And Timo Andres
“an all-around dazzling performance... This is music with something to say.” - The Los Angeles Times
Live at UNC’s Memorial Hall
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