INDY Week 3.13.19

RALEIGH 3|13|19

FORGIVE & FORGET Thirty years after Linwood Thornton’s license was suspended, a local experiment is giving him a second chance. If the program goes statewide, advocates say, it could help hundreds of thousands of people wronged by the justice system.

BY SARAH WILLETS

SUFFICIENT SUPPRESSION, P. 6

LYING ON THE STAND, P. 9

DEADLY PREY AT COMICON, P. 18

2 | 3.13.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 11

6 North Carolina says that allegedly suppressed evidence didn’t cost Ronnie Long a fair trial because it wouldn’t have changed the jury’s mind.

7 UNC’s medical school has admitted to a collusion agreement that Duke says never existed.

9 A UNC cop testified that Julia Pulawski assaulted a fellow officer during a September 8 protest.

New evidence that surfaced two months after Pulawski’s conviction suggests otherwise.

DEPARTMENTS 6 News 14 Food 16 Music 18 Arts & Culture 24 What to Do This Week 26 Music Calendar 29 Arts & Culture Calendar

10 During her last week as an assistant district attorney, Josephine Kerr Davis dismissed 72,441 cases.

14 Cucciola Osteria forges a culinary connection between Italy, South Korea, and the Triangle.

16 Drummer Sara Romweber kept her cymbals and her profile low to the ground while powering some of North Carolina’s most important rock bands.

18 The wild hand-painted movie posters of Ghana’s underground video clubs come to NC Comicon courtesy of Deadly Prey Gallery.

20 Though they can be strangely beautiful, neuroscience, not the art market, were the context for the drawings of Santiago Ramón y Cajal.

On the cover PHOTO BY ALEX BOERNER

Cucciolo Osteria PHOTO COURTESY OF CUCCIOLO OSTERIA

INDYweek.com | 3.13.19 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE EAST DURHAM RAIL SAFETY PROJECT DURHAM COUNTY TIP PROJECT NO. P-5706 The N.C. Department of Transportation will hold a public meeting regarding the East Durham Rail Safety Project which proposes approximately 2.4 miles of railroad improvements and the construction of new bridges carrying Glover Road and Ellis Road over the North Carolina Railroad. The project also proposes the closure of the Wrenn Road railroad crossing.

The meeting will be held on March 14 at the Hamner Conference CenterDogwood Room located at 15 T.W. Alexander Drive in Durham from 5 7 p.m. The public may attend at any time during the meeting hours.

At the meeting there will be maps of the proposed plans as well as project team members who will be available to answer questions and receive feedback Please note there will be no formal presentation. The opportunity to submit written comments will be provided at the meeting or may be done via phone, email, or mail by March 28. All comments received will be taken into consideration as the project progresses.

As information becomes available, it may be viewed at the NCDOT Public Meeting Webpage: https://www.ncdot.gov/news/public-meetings/.

For additional information please contact Senior Rail Project Development Engineer Undrea Major at (919) 707-4726 or ujmajor@ncdot.gov or Consultant Project Manager Ryan White, P.E. at (919) 865-7374 or ryan.white@stantec.com.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Lauren Putnam at lnputnam1@ncdot.gov or (919) 707-6072 as early as possible, so that arrangements can be made.

Persons who speak do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

Aquellas personas no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494.

4 | 3.13.19 | INDYweek.com

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backtalk

End of the Line

In last week’s paper, editor Jeffrey Billman wrote about Duke’s refusal to reach an agreement with GoTriangle over the proposed light-rail line, likely dooming the project. On Thursday, Duke announced that it didn’t see the point in mediated negotiations—it was out.

“I’m a general contractor, Duke alum, and Durham resident,” writes Andrew Imlay.

“So I carefully read Duke’s explanations of its objections to light rail. After a mere hour on Google, I understood the lay of the land regarding the actual construction risks, their abatement, and research medical centers’ experiences with light rail.

Duke’s objections to rail construction are bogus, and Duke knows it—Duke regularly builds high-risk projects like, say, stateof-the-art hospital additions. They know damn well how to manage unusual risks.

They are therefore using construction risk, a subject I actually know about, to pretend to the public that light rail presents insurmountable difficulties. In fact, Duke only needs to value the public’s well-being a tiny bit more than Duke values its own pettiest conveniences. Duke’s decision shows who matters and who doesn’t to Duke.”

“By leading on the DOLRT planners and giving years of implicit and explicit support before abandoning them at the altar, Duke comes off as an entitled, selfish jerk indifferent to its community,” adds Chris Brodie. “You can’t deny that Duke is an enclave of entitlement, regardless of its merits. Maybe those merits are why the DOLRT decision feels like such a stab in the back, a jilted-at-the-altar, CharlieBrown-kicking-the-football feeling. I want to believe the best of Duke; it’s Durham’s biggest asset, bar none. But this bad-faith action suggests I’ve been fooling myself, that at the highest levels, they don’t much care about Durham at all.”

“Shame on Duke,” writes John Schlep.

“For more than twenty years, Duke has manufactured one excuse after another.

Now, suddenly, nearby research buildings will be harmed. Please. Trains roll past hospitals all over this country. The DC Metro subway rumbles right past the NIH campus research buildings—and they’re the largest funder of biomedical research in the world. One must wonder if Duke is opposed

“Duke’s decision shows who matters to Duke.”

to light rail for the same reason Georgetown University was opposed to Metro rail in the 1970s: University officials didn’t want a connection to the other side of DC.” Jim Doughty, however, argues that the story’s central argument doesn’t hold up: “As an opponent of the Durham-Orange Light Rail plan, I’m grateful to Billman for his acknowledgment that it isn’t a one-sided issue. However, the argument he considers paramount—‘voters approved a sales tax hike to fund light rail’—isn’t that simple. Yes, voters in Durham (2011) and Orange (2012) Counties approved sales tax hikes for transit improvements. I was one of them. Yes, light rail was clearly a focal point of the discussion then. But voters were presented with this picture: The tax would fund both bus and rail improvements. The rail service would be regional, with connections to the Research Triangle Park and Raleigh. Durham County leaders acknowledged the rail commitment shouldn’t happen—and collection of the tax shouldn’t even start—until all three Triangle counties were on board.

“In 2019, we know none of that happened.

In 2011 and 2012, voters did not think they were supporting a single fixed line from one university to another. I have serious objections to the project. Mr. Billman and other serious people find reasons to support it. Let’s keep arguing if the need persists. But a ‘defense of democracy’ does not work in this case to sweep all other questions before it.”

Finally, a few corrections to the print version of the light-rail story: We attributed GoTriangle’s final letter to Duke solely to CEO Jeff Mann, but it was co-authored by Ellen Reckhow. In addition, the General Assembly established deadlines for light rail in 2018, not 2017, and Durham County passed a sales tax hike in 2011, not 2012.

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

INDYweek.com | 3.13.19 | 5

indynews

A Reasonable Probability

AFTER FORTY-THREE YEARS, RONNIE LONG’S FREEDOM MIGHT HINGE ON WHETHER A FEDERAL COURT BELIEVES SUPPRESSED EVIDENCE WOULD HAVE CHANGED A NORTH CAROLINA JURY’S MIND BY COLE VILLENA

F

or the first time in what feels like forever, Ronnie Long has hope—a glimmer of light at the end of what has been a very long, very dark tunnel.

It’s been nearly forty-three years since his conviction and life sentence (later reduced to eighty years) for the rape of a wealthy Concord woman. He’s always maintained his innocence, calling his trial in front of an all-white jury a sham and arguing that the police hid evidence that could have exonerated him. But court after court rejected his appeals, and years behind bars stretched into decades.

On March 20, however, the U.S. Fourth Circuit Court of Appeals in Richmond will hear oral arguments on Long’s claim that the state violated his right to a fair trial by not turning over exculpatory evidence before his trial.

If the court rules in his favor, he could walk out of Albemarle Correctional Institution a free man.

“I’ve never been on this level here before,” the sixty-three-year-old told the INDY last week. “It’s a victory in itself when you’re talking about the federal court system.”

North Carolina’s courts, after all, haven’t been sympathetic to his case. In 2011, the state Supreme Court split 3–3, with one justice abstaining, on whether evidence that wasn’t turned over to Long’s trial lawyers—but was unearthed in 2005 after the UNC Innocence Project took up his case— should invalidate his 1976 conviction.

Without a decision, the Cabarrus County Superior Court’s ruling upholding Long’s verdict stood.

According to a review of the case history included in Long’s appeal to the Fourth Circuit, Long’s defense team learned in 2005 that “certain State Bureau of Investigation 6 | 3.13.19 | INDYweek.com

Protesters demand that North Carolina drop its case against Ronnie Long. PHOTO BY LEIGH TAUSS

forensic reports had been suppressed for 29 years.” These reports showed that a hair found at the crime scene wasn’t Long’s, that Long’s hair wasn’t on the victim’s clothes, that Long’s clothing contained no traces of paint or carpet fibers from the scene, and that partially burned matches recovered from the scene were different from ones found in Long’s car.

In addition, the appeal alleges, a police investigator “created a second summary report of evidence collected in the case [that] excluded information about testing the evidence listed above, with the evident goal of concealing that the items were transported to the SBI Lab and tested.” And while the Concord police had taken biological evidence from the victim in 1976, by 2005, it had disappeared—and with it, any hope of clearing Long through DNA. “I got lynched in a courtroom,” Long says.

“The only thing is, you just didn’t have the tree and the rope. I’ve got an imaginary rope

around my neck. I’ve got imaginary shackles on my hands and feet.”

As the INDY reported last year, Long’s conviction was based primarily on the victim’s eyewitness identification, which happened fifteen days after the crime under unusual circumstances. Detectives asked the victim, who has since died, to come to the courthouse in disguise. They told her she might see her assailant there. Long was in court on a misdemeanor trespassing charge, which was dismissed. When the victim saw Long—she later called his leather jacket “identical” to her attacker’s—she identified him as her assailant, though he had a darker complexion than what she’d described to detectives.

Long’s appeal argues that, while state courts found that identification admissible, it should be viewed in the context of “the favorable evidence that was suppressed. When the proper materiality assessment is done, the identification is underwhelming and unreliable.”

The state’s view is that, even if Long had that evidence before trial, it wouldn’t have changed the jury’s mind, which it asserts is the legal standard for overturning the verdict. And some of the so-called suppressed evidence, according to state filings, was disclosed. The other evidence wasn’t as exculpatory as Long’s attorneys claim, wasn’t sought by his trial lawyers, or “was of so little value that it could not have had a reasonable probability of causing a different result.” What’s more, the state argues, Long’s trial lawyers knew or should have known about the original evidence report, but they never asked for it.

After losing at the state level, Long took his case to the U.S. Middle District Court of North Carolina. He didn’t have better luck there. In May, a Middle District magistrate judge ruled against Long’s claim that the allegedly suppressed evidence cost him a fair trial. In July, a district court judge agreed. Long appealed to the Fourth Circuit.

Last fall, he finally some good news: The appeals court had agreed to hear his case.

(In 2016, the Middle District also rejected a petition from Long focused on new fingerprint evidence, unearthed by the North Carolina Innocence Inquiry Commission, that his attorneys say fails to connect him to the crime scene but that Concord police initially denied having in their custody.

Long appealed that ruling as well, and the Fourth Circuit ordered the Middle District to take another look.)

While the state contends that the legal issue in Long’s appeal is whether there is a “reasonable probability” that the sup-

pressed evidence would have altered the outcome, that’s not so, says his attorney, Jamie T. Lau of the Duke University School of Law’s Wrongful Convictions Clinic.

Instead, Lau argues that the question is whether Long’s trial was “fundamentally unfair.” Had jurors known that the forensic evidence didn’t put Long at the scene and that law enforcement officers “falsely testified and falsified reports to ensure that the test results remained concealed,” Lau writes in the appeal, they might have discounted the victim’s identification.

Long says he’s confident. If nothing else, he wants to see the Fourth Circuit hold the state accountable for its handling of his case.

“The Fourth Circuit wants to see how [the state’s lawyers are] going to respond to these questions that they’re going to ask them,” he says. “Because I know Jamie’s going to [chop] them up. There ain’t no doubt in my mind.”

Long’s wife, Ashleigh—a Durham resident who was born almost a decade after Long went to prison, became interested in his case as a criminology student at the University of North Carolina at Charlotte, and married Long in 2014—wants Attorney General Josh Stein to stop fighting her husband’s appeal.

“I’m not asking [Stein] to break the law,” she says. “Just do what the law says. Don’t fight this shit. Just admit the state did wrong.”

Last Wednesday, she and several dozen students from Winston-Salem State University packed into a conference room in the state Department of Justice office in downtown Raleigh to petition Stein to drop the case. (They saw—and felt blown off by— his chief of staff instead.) From there, they marched to the legislative building, chanting, “Free Ronnie Long.”

“We’re getting old,” said Larry Little, a sixty-nine-year-old civil rights leader and a founding member of the Winston-Salem Black Panther Party, who helped organize the students. “We’re trying to rear a new group of freedom fighters—those who have the unmitigated gall to speak truth to power.”

Ronnie Long is getting old, too. If he doesn’t prevail in court, he’s scheduled for release on April 20, 2056. He’ll be one hundred years old. cvillena@indyweek.com Additional reporting by Leigh Tauss.

Gentlemen’s Agreement

THE DOJ SAYS DUKE CAN’T HIDE BEHIND UNC’S IMMUNITY IN A COLLUSION LAWSUIT

BY RAY GRONBERG

D

uke University’s attempt to fend off an antitrust lawsuit by hiding under UNC’s cloak of governmental immunity looks like one of the few things that can inspire bipartisanship in Washington these days.

On March 7, lawyers for the U.S. Department of Justice filed a “statement of interest” in radiologist Danielle Seaman’s class-action lawsuit against Duke, which alleges that the university’s and UNCChapel Hill’s medical schools colluded to reduce competition for doctors and other key personnel.

While the case hasn’t gone to trial, the Trump administration’s Justice Department said that “if the evidence proves that Duke and [the UNC School of Medicine] entered into a naked no-poach agreement, the court should not hesitate to declare it per se unlawful.”

The filing came little more than a year after the agency affirmed that it would stand behind an Obama-era memo that said even a “gentlemen’s agreement” between rival schools to restrict faculty hiring raids would violate federal antitrust law.

Seaman, formerly an assistant professor in Duke’s School of Medicine, sued in 2015 after she lost out on a comparable position at UNC. Court filings indicate that she wanted to switch jobs not so much for the money but because she thought UNC would be a better fit for her interests and goals.

An administrator at UNC, however, emailed back to say a few-years-old agreement between the deans of the medical schools ruled out “lateral moves” between them. A professor could make the jump if the new job came with a promotion, but a like-for-like switch of, say, an assistant professorship at Duke for an assistant professorship at UNC was out of bounds.

With that email in hand, Seaman sought legal help from a San Francisco law firm that was then in the midst of extracting a $415 million settlement from such Silicon Valley giants as Apple, Google, Adobe, and Intel, which were accused of having similar under-the-table no-poach deals. She sued Duke, then later added UNC to the case.

Under questioning, the then dean of UNC’s

by precedent and risk significant harm to competition, consumers, and workers in North Carolina,” its brief said.

UNC isn’t necessarily exempt from antitrust law because it’s participating in the market as an employer, not as a regulator, the department’s lawyers argue.

They added that the U.S. Supreme Court, in a 2015 ruling that roiled North Carolina’s dentistry-regulation system— the court found that, because the state’s licensing board was composed of people active in the profession, it could only claim immunity from antitrust law when it was actively supervised by the state—altered the relevant legal doctrines in ways Duke’s lawyers haven’t grappled with.

Duke’s problem now is that there’s no sign that state legislators, in allowing UNC to manage its affairs, intended to allow it to collude with others to suppress labor-market competition, according to the DOJ brief.

And because of the 2015 Supreme Court case, for any sort of immunity to exist, UNC officials would have to be actively supervising the no-poach deal. But since “Duke denies the agreement occurred, [it] cannot credibly argue that the agreement was actively supervised.”

The Obama-era memo, issued in October 2016, didn’t cite the Duke case but posed a similar hypothetical. A DOJ spokeswoman said in February 2018 that the department still regards that memo as good law.

The head of the DOJ’s antitrust section, Makan Delrahim, has also signaled that his staff will likely file briefs in hiringcollusion cases around the country and perhaps pursue criminal prosecutions.

Duke spokesman Michael Shoenfeld says the university wouldn’t comment on the DOJ’s filing. backtalk@indyweek.com

“If the evidence proves that Duke and UNC entered into a naked no-poach agreement, the court should not hesitate to declare it unlawful.” medical school, Bill Roper—now interim president of the UNC system—admitted to Seaman’s lawyers that he’d warned subordinates about hiring from Duke and that he’d sought a no-raids agreement from Victor Dzau, who was then Duke’s healthaffairs chancellor.

UNC settled, agreeing to cooperate with Seaman’s lawyers, to avoid future hiring collusion, and to train its senior staff on antitrust law. Duke, however, has maintained that there was never any agreement. It has pointed to several examples of professors switching jobs.

But Duke’s primary legal argument— offered in hopes of avoiding a trial—has been that UNC’s governmental immunity shields private-sector actors like itself that cooperate with UNC initiatives and policy.

Not so fast, the DOJ says.

“Duke’s expansive arguments on the ‘state action’ doctrine and indulgent treatment of no-poach agreements are not supported

INDYweek.com | 3.13.19 | 7

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news

The Camera Doesn’t Lie

A UNC STUDENT SAYS A COP GAVE “FALSE TESTIMONY” ABOUT A CHAOTIC POST–SILENT SAM PROTEST

BY JORDAN GREEN

A

UNC-Chapel Hill student arrested during a chaotic September 8 protest at McCorkle Place two weeks after the toppling of Silent Sam has accused a UNC police officer of lying during her January trial.

Sergeant Svetlana Bostelman’s “false testimony” was “the only evidence used to convict” Julia Pulawski on two counts of assaulting an officer, according to a motion filed on March 8 in Orange County by her attorney, Scott Holmes, that seeks to dismiss the charges against her.

During the trial, Bostelman testified that she ran out of Graham Memorial Building during the protest in response to a radio call for assistance and saw Pulawski hitting her colleague, Sergeant Burnett, while Burnett was arresting another protester. Burnett testified that he didn’t feel Pulawski assaulting him.

Bostelman, a nine-year veteran of the campus police department, testified that she pulled Pulawski off Burnett by her torso and “lifted her up, and at that point, she started swinging and swinging her legs, and we went down to the sidewalk.” Pulawski, Bostelman continued, kicked her four or five times while she held her in the air. Bostelman admitted during cross-examination that she did not write a report about the incident, and she said her body camera died before the arrest.

Pulawski told a different story. She said she saw her friend and fellow anti-racism protester Joshua Mascharka get thrown on the ground by a police officer.

“I ran toward them, and then I felt—all of a sudden—felt an arm constrict around my neck, and I was dragged backward and thrown to the ground,” Pulawski testified. “I just remember feeling, like, having dirt on my hair and face.

From the moment I was grabbed in a chokehold, I could not move and didn’t have any control over my body, and I just felt other people on top of me, and then I was just all of the sudden being lifted into the air, carried by all my limbs into Graham Memorial.”

Pulawski testified that she didn’t know who had their hands on her, but she denied kicking any officers or resisting in any way.

Silent Sam, before he fell PHOTO BY JEREMY M. LANGE

Judge Lunsford Long credited Bostelman’s testimony in convicting Pulawski, and called her conduct “reprehensible.” Pulawski is appealing the verdict, but Holmes is now arguing that new evidence should lead to the charges being dismissed outright and Bostelman being sanctioned for lying under oath.

“Video evidence and eyewitness testimony demonstrate that Sgt. Bostelman’s prior testimony is false,” Holmes wrote in the motion filed on Friday.

Video footage, according to the motion, shows that a white male officer, not Bostelman, took Pulawski to the ground. It also contradicts Bostelman’s account that she lifted Pulawski in the air and that Pulawski was swinging her arms and legs.

Bostelman’s testimony that she had an “unobstructed view” of Pulawski assaulting Burnett “as soon as we went out the door” is contradicted by video of the protest published by The News & Observer. The video shows Bostelman in front of Graham Memorial for at least twenty-nine seconds before police begin rushing the protesters. When that happened, the protesters fell back.

With dozens of protesters and officers rushing in the same direction, it’s implausible that Bostelman would have had an unobstructed view of Pulawski. And when Bostel-

man reappears in the video, there are at least two people between her and Pulawski.

A separate video shared on Twitter by Daily Tar Heel reporter Charlie McGee shows Burnett tackling another protester seven seconds before Bostelman appears in the frame grabbing Pulawski around the waist. At no time does the video show Pulawski or any other protesters attempting to interfere in the arrest.

The motion to dismiss includes an affidavit by Phil Hausman, a lawyer and graduate of UNC-Chapel Hill who has attended protests in connection with Silent Sam. In his affidavit, Hausman said he had been getting ready to leave the September 8 protest when a group of police entered the crowd and arrested a protester and dragged him into Graham Memorial Hall. Hausman wrote that “police burst out of the front door” of Graham Memorial, and he retreated with other protesters so they could all leave safely together.

He said he saw police “putting knees on people, piling onto people” as they made arrests. The protesters, he said, “were complying” with police instructions.

“We were watching to make sure the people being arrested were okay and not hurt by the police,” he wrote. At that point, Hausman continued, he saw Pulawski. He said he was standing “right in front of Julia when she was arrested.”

“When the police grabbed Julia, she was kneeling next to Joshua [Mascharka],” Hausman wrote. “She was not touching a police officer. She did not punch or kick any police officer. She was just kneeling there looking at Josh.

When they were arresting her, she was not kicking or throwing punches. They picked her up and took her down, and dragged her away.”

Randy Young, a spokesman for the UNC Department of Public Safety, declined to comment for this story. backtalk@indyweek.com INDYweek.com | 3.13.19 | 9

FORGIVE & FORGET Durham is wiping thousands of traffic cases off its books.

If this experiment works, advocates say it could be a model for righting the justice system’s wrongs throughout North Carolina.

BY SARAH WILLETS

Linwood Thornton 10 | 3.13.19 | INDYweek.com

PHOTO BY ALEX BOERNER

L

inwood Thornton had just accepted that he’d never drive legally again.

His license had been suspended since June 2, 1989. A relative used his identity and got a speeding ticket that January, he says, and he didn’t know about it until he was pulled over that September, after spending three months in prison. Only then did he learn his license had been suspended for missing the court date, which he thinks occurred while he was locked up. (Court and jail records don’t go back far enough to confirm all of his story.)

Thornton went on with his life. He and his wife had five kids, and he started a home improvement business. But the suspension loomed over him. It limited what jobs he could take and what vehicles he could add to his business.

It cost him time spent waiting for rides. And when he had no choice but to drive, he got new tickets for driving with a revoked license, which he couldn’t afford to pay— and three more license suspensions, a cycle that seemed insurmountable.

Eventually, he gave up.

So when he and his wife, Rosa Ann—whose license is also suspended—first heard from his brother’s girlfriend about something called the Durham Expunction and Restoration program, an initiative that began in December to connect people to free legal help with license restoration, he thought it was too good to be true.

“I just thought someone was jiving. I didn’t think it was real,” says Thornton, a tall man with an affable twang. “Me and my baby jumped up and boogied to the courthouse.”

On January 23, they arrived on the sixth floor of the Durham County courthouse, where DEAR shares a space with the county drug court. Five other people were in the waiting room talking about all they’d lost because they couldn’t legally drive.

“All our stories are the same,” Thornton said.

One woman said she spent nearly $100 a week on ridesharing services to get to work at Durham Public Schools. If she had to drive—when she didn’t have the money or couldn’t get a ride—she was too anxious to turn the radio on.

“If you don’t have a license, you don’t really have nothing,” a man added, eliciting knowing nods. “If you don’t have a license, it’s like you don’t exist.”

While other counties provide assistance for those with license suspensions, Durham’s model—a collaboration between the city of Durham, the courts, the NC Justice Center, Legal Aid, the NC Equal Access to Justice Commission, the NC Pro Bono Resource Center, local law schools, and Code for Durham—offers relief on an unprecedented scale, and not just for traffic issues, but for lingering criminal charges as well.

By early March, DEAR had had dismissed more than 70,000 cases (most for traffic charges tied to license suspensions), waived more than $200,000 in unpaid traffic fines and court fees (on average thirteen years old) for more than 1,200 people, and helped more than 120 others start the process of getting their criminal records expunged.

The program isn’t doing anything not already allowed under state law. Instead, its attorneys and partners are

I-Team director Ryan Smith COURTESY BY ALEX BOERNER

using data and court records to maximize access to existing methods of assistance, under the belief that a justice system that disproportionately targets low-income people and communities of color should bear responsibility for correcting those disparities.

Other counties are watching to see how Durham’s experiment with mass relief works out. The program’s advocates think it could be a model that’s eventually rolled out across the state. If there’s enough political will—and enough resources—they say, hundreds of thousands of residents could be given second chances.

“It is a second chance, but the law gives this second chance to everyone, so everyone should have the opportunity to get it,” says District Court Judge Amanda Maris. “If you want to take it deeper, you have to ask the question—for some, were you given a first chance?”

T

he DEAR program began years before it had a name or a spot on the courthouse directory.

Its license restoration work grew out of an effort by the Durham Innovation Team and the District Attorney’s Office to help suspended drivers. Backed by a $1.2 million Bloomberg Philanthropies grant and tasked with looking at how to reduce economic barriers for justiceinvolved people, the I-Team found that more than fifty-four thousand Durham residents had their licenses suspended for either failing to appear in court for traffic offenses—like speeding or lapsed registration—or for not paying court fees and fines related to traffic violations. These cases go back to 1987. Most involve people of color.

In North Carolina, licenses are suspended indefinitely for failure to appear or failure to pay. That’s left about 1.2 million North Carolinians unable to drive legally, according to

an analysis by the Legal Aid Justice Center—about 15 percent of the state’s driving-age population. The suspension happens automatically, regardless of the person’s ability to pay—which prompted civil rights groups to sue the state last year, alleging that the law violated due process and equal protection rights. The suspension isn’t reversed until the underlying reason is resolved—in other words, when the person comes to court or pays their debt. And even this doesn’t automatically restore driving privileges; people still need to take a driving test, get insurance, and pay up to $115 in fees to have their licenses restored.

When the I-Team and the DA’s Office held a driver amnesty program in 2017, about five hundred people got their outstanding charges dismissed. But almost as many ended up not being eligible.

“We just had to do something again because so many people were saying they needed help,” says Superior Court Judge Josephine Kerr Davis, who led the program as an assistant district attorney.

Around the same time, Maris, a former public defender, was trying to bring together organizations that help with expunctions, or court orders that scrub old charges and convictions from criminal records.

Maris saw an opportunity to reach more people. A 2017 state law had expanded who was eligible: It shortened mandatory waiting periods to expunge convictions and, significantly, eliminated a once-in-a-lifetime limit on expunging charges that resulted in a dismissal or not-guilty finding. Yet Durham residents filed only 383 expungement petitions that year. In the previous five years, eighty-seven thousand charges had been dismissed or ended with a notguilty verdict in the county.

The I-Team suggested bringing license restoration and expunction under the same umbrella. The Durham Expunction and Restoration Clinic, or DEAR, was born.

Both sides of the initiative seek to solve cyclical problems: License suspensions lead to more tickets, which lead to more suspensions, “especially if you live in a community where the police are very prevalent,” says District Attorney Satana Deberry. These suspensions can not only keep people from getting around, but they can also disqualify people from jobs and even lead to jail time over unpaid debt. They often far outlast whatever punishment a court would have handed down for the underlying offense.

In the same way, a criminal record is often a barrier to employment and housing after people have completed their sentences. With limited options, they’re more likely to re-offend.

To get an expunction or a license restored, people need lawyers, but most people who need them don’t have the means to hire one. The result is a huge gap between the number of people who are eligible to get help and those who actually do.

“The justice system breaks down when we don’t have full access,” says Maris. “[DEAR] is about expanding access to relief that already exists but isn’t equally being doled out.”

INDYweek.com | 3.13.19 | 11

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few months in, the R part of DEAR—restoration—is further along than expunction. The I-Team already had license suspension data and experience from the amnesty program. Restoration is also easier to tackle on a large scale. While a person has to file a petition to have a record expunged, that’s not the case with restorations: District attorneys can dismiss charges (including those tied to license suspensions) and judges can waive fines and fees without the suspended driver doing a thing.

Learning from the 2017 amnesty program, DEAR’s partners decided to set broad eligibility criteria—cases must be at least two years old, and “high-risk” violations such as driving while impaired and trying to elude arrest are eliminated—proactively identify people who qualify, and dismiss the underlying charge or ask a judge to cancel the unpaid debt.

Other Triangle jurisdictions were already addressing suspended licenses before Durham developed DEAR. Wake County, for instance, has been doing license-restoration clinics for years, and it’s now creating a court session for judges to forgive unpaid traffic debts. Likewise, the Orange County DA’s Office has asked its Board of Commissioners for an additional position to help process license suspensions.

The difference: These are done on a case-by-case basis.

That approach is safer, holds people accountable, and is fairer to people who resolved their traffic cases, argues Orange County assistant district attorney Jeff Neiman.

“We just don’t think it’s necessarily the best message to send to the public that we went in and just dismissed seventy thousand tickets,” Neiman says “That’s incredibly efficient, but inevitably, you run the risk of being less fair. Are you dismissing charges for someone who is a repeat traffic offender, and the public would expect there should be some more accountability?”

Deberry and assistant district attorney Dale Morrill, the main Durham prosecutor working with the DEAR program, say everyone benefitting from DEAR has been held accountable by, at minimum, having their license suspended for two years—and dangerous drivers are screened out. And everyone else benefits by having them legally licensed.

According to the American Association of Motor Vehicle Administrators, three-fourths of people with suspended licenses drive anyway. They just do so without insurance or passing driving exams. Given that there were nearly fourteen thousand vehicle accidents in Durham County in 2017, the third highest number in the state, this isn’t a small consideration.

If a few people who simply skipped court catch a break along with the others, that’s worth it, proponents say.

“A person that typically gets a license revoked, they can’t pay,” says Morrill, who has prosecuted traffic cases in Durham for nearly fifteen years. “It started out typically with no operator’s license, or an inspection, or registration, and 12 | 3.13.19 | INDYweek.com

Josephine Kerr Davis PHOTO COURTESY OF RYAN SMITH

it just completely, not even snowballed, it fell off the cliff.

License revoked, license revoked, license revoked, license revoked. What if we could put a license in their hand? That’s the question. If we’re able to do that and get them driving, that opens up a world of opportunity.”

F

or cases in which people had their licenses suspended for missing court, DEAR has taken advantage of a state program designed to efficiently eliminate backlogs of old charges. Through the Administrative Office of the Courts’ Data Integrity Program, Kerr Davis—during her last week as an assistant district attorney in December—dismissed 72,441 cases. Among them was the speeding case that led to Linwood Thornton’s first and longest license suspension, though Thornton didn’t find out until months later. (The other suspensions remain on his record.)

First, Kerr Davis and outgoing District Attorney Roger Echols chose which categories of offenses and what timeframe to target. The AOC returned a massive spreadsheet of cases in Durham County, and Kerr Davis spent several days individually signing about seven thousand pages of printouts to authorize their dismissal. About fifty thousand cases dealt with traffic matters; the others were nonviolent criminal cases too old to prosecute.

The Data Integrity Program hadn’t been used in this way before. The cases Kerr Davis dismissed accounted for about a third of what the state program had processed by the end of January.

DEAR also identified eleven thousand people with failureto-pay cases that met its eligibility criteria. Because of how long it takes to prepare each case, they were divided up into

dozens of dockets. Beginning in December, the District Attorney’s Office began asking judges to forgive the outstanding debt, most of which is court costs rather than actual traffic fines. It’s unlikely this debt would have been paid; data from the AOC shows that collections drop off a cliff after two years.

But while DEAR has helped tens of thousands of people, many of those people—like Thornton—don’t know they’ve been helped. Left with decadesold addresses, DEAR has been unable to reach them. To remedy that, DEAR launched a website—SecondChanceDriving.org—so people can check if they’ve had an old charge dismissed or traffic ticket waived. The program is also hiring community organizers to spread the word about the website.

“If we think it’s the right thing to do and we want the most people to benefit from expunction or license restoration, we need to design it in a way that’s going to reach as many people as possible,” says I-Team director Ryan Smith.

DEAR hoped to waive debts for two hundred people every week and make its way through the backlog in a year, but that proved to be too burdensome for the

clerk’s office.

It takes two people about four hours to prepare forty cases for court, then another forty-five minutes to create and check a docket for the court session. The process doesn’t include the time it takes a judge to look at and sign the motions in each case, or the time it takes the courtroom clerks to pair those documents with the original files or put all those files back on the shelf. So the process has been scaled back to three hundred cases every other week.

(Staffers in the clerk’s office say switching to electronic records—instead of the current analog system—would cut the time they spend preparing DEAR cases in half. But while the state AOC plans to revamp its technology, it won’t do so in the near future.)

On the expunction side, DEAR’s court referral program sends people to the DEAR office as soon as they are found not guilty or their charges are dismissed to file a petition or be referred to a network of providers. Filing an expunction petition takes about forty-five minutes; it takes the courts and the State Bureau of Investigation another four to six months to review it. (DEAR also helps with certificates of relief, which alleviate some of the consequences of a conviction for cases that don’t qualify for an expunction.)

Dionne Gonder, a DEAR advisory board member and N.C. Central law professor who has done expunction work for about a decade, says people often don’t realize the need to expunge charges from their records until the charges show up on a background check when they’re applying for a job.

They also don’t realize that serious charges that have been dismissed can prove more problematic on background checks than lower-level convictions, says Daniel Bowes,

an attorney with the NC Justice Center working with the DEAR program. Employers, he says, might not notice that the charges were dismissed, or they might judge the person anyway.

E

ventually, DEAR wants to put a kiosk in the courthouse lobby to walk people through the process of expunging dismissed charges and not-guilty findings on their own, freeing up attorneys to work on expunging convictions, which are more complicated. From there, the goal is to turn that kiosk into an app that anyone in the state can use.

That’s just one way DEAR—which is funded through October, though Smith, the I-Team director, says he hopes to secure funding to keep it going in some form after that—is being built as a model. Other North Carolina counties could use a version of the court-referral process for expunctions, use the state’s Data Integrity Program to drop old charges en masse, or be incorporated into the DEAR website so that people can see if they’ve had charges or debt erased.

But for other counties to adopt the model, they’ll need to commit resources—and they’ll need to see the value in extending relief to as many people with as few barriers as possible. DEAR is figuring out how to do that efficiently in real time, and whether other counties follow suit could hinge on the results.

“We don’t just want people talking to each other—although that’s incredibly helpful in any system, particularly the justice system. We want results,” says Jennifer Lechner, a DEAR advisory board member and executive director of the NC Equal Access to Justice Commission. “I think that’s what DEAR is going to show us. How many licenses can we restore in a given population when everyone is working toward the same goal? How many expungements can we do? How many people can we put back to work and back to having reliable transportation? Those are ultimately the impacts on clients’ lives that we’re looking for.”

Not only is DEAR dealing with these cases on a larger scale than other counties have, but the amount of resources being put into the program marks a change in approach.

The program, which became fully staffed in February, has

four attorneys based in the courthouse—two full-time on loan from the city attorney’s office and two part-time—as well as a paralegal. The city is also contributing $250,000 from the $400,000 it set aside to match the Bloomberg grant. Even if they do like the mass-relief approach, other counties may not have the budget to make it work.

“If we’re serious about shared prosperity, we’ve got to include everybody,” says Durham Mayor Steve Schewel.

“For eighty percent of us, we’re doing great in Durham.

These people are among the twenty percent; can we remove some of the very small but important barriers that would make it possible for them to share in our new prosperity?”

DEAR’s partners say license restoration requires a regional, if not statewide, approach—people often cross county lines and have suspensions in multiple jurisdictions.

Some counties—including Forsyth, New Hanover, Guilford, and Mecklenburg—have contacted DEAR about following its model, and Lechner says the Equal Access Justice Commission plans to use a grant to spur similar work in three other places in the state.

“I think a lot of jurisdictions will come at this based just on a human toll, but there’s many reasons to come at this,” says Bowes, who lobbies the state on criminal justice reform. “It truly is just a picture of a broken system.”

There appears to be bipartisan interest in fixing some aspects of that broken system. Durham Democrats Floyd McKissick and Marcia Morey have filed bills in the state Senate and House, respectively, to make expungements automatic following dismissals or not-guilty verdicts.

McKissick’s Senate Bill 82 is co-sponsored by the two Republicans who co-chair the Senate’s judiciary committee, which bodes well for its chances.

But there isn’t as much interest in license suspensions.

“I just don’t know that there was the same recognition of these court costs leading to these severe collateral consequences that would forever sentence somebody to a life of not driving legally,” says Bowes. The extent of licenses suspensions in North Carolina wasn’t widely known until data—including the analysis by the Legal Aid Justice Center—came out in 2017, he adds.

Like North Carolina, most states suspend licenses

DEAR attorneys and volunteers with Mayor Steve Schewel PHOTO COURTESY OF DEAR over unpaid court debt, but over the past two years, five states, including California and Mississippi, as well as Washington, D.C., have ended or limited the practice, and bills to do so are pending in three more.

“We rarely talk about California and Mississippi together in any kind of reform context, and I think that really goes to show that there’s understanding on the left and the right that this is just bad policy,” says Joanna Weiss, co-director of the Fines and Fees Justice Center, an advocacy group.

Over the past two decades, court costs have gone up 400 percent in North Carolina. Lawmakers have also tried to dissuade judges from waiving them by requiring that they first provide notice to any agency that would lose out on revenue and by ordering annual reports that detail how often individual judges let people not pay. (A bipartisan bill was recently filed in the House to undo both requirements.)

McKissick says he’s not sure there’s an appetite at the General Assembly to reduce fines and fees, and Durham’s efforts may not be “favorably received in the current political environment.” These costs are a revenue source—fines go to public schools, and fees go to police, courts, the state treasurer, and the general fund—and suspending someone’s license is one mechanism to try to collect that money.

Thornton says he’s not angry with the system that caused him to go without a license for three decades. He’s still trying to get out from under some of his suspensions; after that, he’ll need to take a test and get insured to get his license restored. But he knows what he’ll do once that happens.

Instead of scraping by with the home improvement business he started because he couldn’t get other work, he’d find a job that would let him save up for retirement.

“I could tell you a million times: If I had my license I would leave my house in the morning and go find me a job driving buses or something,” he says. “I’m a very good driver.” swillets@indyweek.com DEAR attorneys will hold a Facebook Live event on the city’s page at noon on March 14. Learn more about the program at deardurham.org.

INDYweek.com | 3.13.19 | 13

indyfood

AMUSEBOUCHE

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An assortment of pastas and small plates at Cucciolo Osteria PHOTOS COURTESY OF CUCCIOLO OSTERIA

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urham’s newest Italian joint, Cucciolo Osteria, is technically a franchise, but don’t look for them popping up on I-40’s frontage road. The sister location in Seoul was founded in 2015 by Julian Kim as one piece of a mini-empire of popular Italian eateries in South Korea’s capital. Julian’s cousin, Jimmy Kim, a Duke grad and local restaurateur, suggested opening a second location in Durham’s West Village. With Julian’s blueprint and blessing, Jimmy took on the duties of owner and executive chef, opening the Durham outpost of Cucciolo Osteria last summer. Inspired by simple Roman cooking, Cucciolo’s menu tends toward the elegantly unfussy, a recital of hearty, comforting dishes in which one or two ingredients are given the spotlight.

Vibe: West Village restaurants often stray toward a 2007 version of Durham chic—lots of brick, snaking ductwork, and electrical conduits. Cucciolo is no different, but the rawness of the space works with the restaurant’s minimalist decor. The deep, narrow dining room is dominated by an inviting bar, with intimate two- and four-tops in lockstep along the opposite wall. The fixtures and fur-

nishings are spare, but the stylishly warm dimness of the lighting makes the space feel cozy and romantic. Service can be slightly inconsistent, but the staff’s genuine warmth smooths out any rough edges.

Menu: If Cucciolo is intended to feel like a night out in a Roman piazza, it’s got the menu down pat. Stalwart categories steer the course of the evening: Enticing small bites such as bruschetta kick things off, then small, shareable antipasti, such as carpaccio and pâté precede primi—in this case, a large and inviting list of pastas. Finally, secondi, shareable large plates of meat, poultry, and North Carolina-caught fish, and traditional desserts, such as tiramisu, close out the night.

What to order: The pro move at Cucciolo is loading up on a table-creaking assortment of small plates and pastas. An order of bruschetta, particularly when topped with burrata and roasted hazelnuts, is an excellent (and vegetarian) starting point. Carnivores: don’t sleep on the filet mignon beef carpaccio. That old standby may be decades removed from its big sexy moment, but Cucciolo’s expert version argues for a carpaccio

renaissance. Shaved diaphanously thin, raw beef is dolloped with a brilliant, lemony aioli and an earthy truffle paste, then drizzled with olive oil. From there, move on to the pastas, which are generously portioned. The linguine all’Amatriciana is a sauce-heavy take on the classic, and its assertive interplay between salty guanciale and anchovy-kissed tomato sauce is deeply satisfying. The seasonal truffle tajarin—tiny noodles bound in a heady paste of black truffles—make the evening feel like an occasion. Get it while it lasts.

Cucciolo also has the makings of a great bar program. My cocktail, a note-perfect take on the classic Vieux Carré, was complex and appetizing, its subtle bitterness an excellent intro to a huge Italian meal. When it comes to wine, a little hunting reveals some decent options among the list’s lower-priced bottles. As a former wine industry pro, I’d like to see Cucciolo move away from point-driven “prestige” wines in favor of smaller producers and more rustic wines that reflect and enhance the graceful simplicity of its cooking.

Price: Small bites and antipasti range from $7 to $13, the carpaccio is $17. Pastas are $13 to $20. Large plates are $19 to $30.

Perfect for: A casual date night, a leisurely dinner with old friends, or a solo good-bookand-pasta-fix at the bar. food@indyweek.com

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INDYweek.com | 3.13.19 | 15

indymusic

Precision and Power

REMEMBERING DRUMMER SARA ROMWEBER, WHO SHIRKED THE SPOTLIGHT WHILE SHAPING SOME OF NORTH CAROLINA’S MOST IMPORTANT BANDS BY DAVID MENCONI

I

n 1992, Chapel Hill’s Snatches of Pink released a quietly moody, mostly acoustic album called Bent with Pray. You might expect the accompanying shows to have mirrored the record’s more subdued dynamics, but drummer Sara Romweber was having none of that. I remember the first performance I saw of that album’s material, and Romweber’s hammer-of-the-gods drumming was so intense it seemed like she was wielding cannons, not drumsticks. It was incredible, but not in a showy way.

“That’s just how she was, a small person playing really, really powerfully,” says her Snatches bandmate, bassist Andy McMillan. “My big regret in Snatches was that, most of the time, I had my back to her. She was so much fun to watch. Sara was every bit of that.”

Romweber passed away the evening of Monday, March 4, at UNC Hospital, due to complications of the aggressive brain cancer Glioblastoma. She was just fifty-five years old, with a pedigree including some of North Carolina’s most important bands, including Snatches, Let’s Active, and the Dex Romweber Duo. Her death occasioned an incredible outpouring from friends and peers across social media. Fellow North Carolina drummers Jon Wurster and John Howie Jr. were among those paying tribute, noting her personal kindness as well as her inspirational musical influence.

Growing up in Carrboro, Romweber lived in a musical household that produced bands including The Kamikazes, UV Prom, The Remainz, and, eventually, her brother Dexter’s Flat Duo Jets. Young Sara started playing drums years before actually having a drum kit, using whatever household items were at hand. Her sister, Monica, remembers their mother coming home from work to make dinner only to discover all the pots and pans missing from the kitchen.

“I’d use pots and pans for cymbals,” Romweber told me in a 2015 interview. “And the sewing-machine case was slanted, so that was the snare.”

16 | 3.13.19 | INDYweek.com

Sara Romweber PHOTO COURTESY OF EDAZARIAN/CC BY-SA 4.0 Even after Romweber got an actual drum kit, her distinctive onstage setup was as idiosyncratic as her playing style.

“Not many drummers set up their cymbals perfectly level to the ground,” says guitarist/producer Eric “Roscoe” Ambel, who first saw Romweber with Let’s Active in the mid-eighties. “Especially back in the eight-

ies, a lot of drummers would put them up high because it looked like a big thing when they’d hit them, but not her. She used a very unfussy, distinctive, almost minimal setup.

And if you watch the videos, with all her bands, whoever was singing had her undivided attention. She had that radar and was a really good striker.”

She played with precision as well as power across a wide range of styles. During Let’s Active’s key period—the 1983 Afoot EP and 1984’s Cypress LP—she held Mitch Easter’s intricate pop arrangements together with just-right rhythmic flourishes and punctuation, bearing down hard when it served the songs. Snatches, which she joined in 1985, called for more raw power, and that was something she had in spades. And with Dexter, the former Flat Duo Jets bandleader, she deftly balanced runaway-train propulsion with a sense of swing. She probably could have stepped right into Buck Owens’s Buckaroos or James Brown’s Famous Flames and held her own.

“Sara had amazing quickness in her wrists,” says McMillan. “She’d play these little snare rolls from one part to another, and it was her signature transition. From verse to chorus to verse, she was always so dynamic with just the right thing.”

According to Monica, Romweber’s final time on stage in the Triangle was at Cat’s Cradle for the 2014 Be Loud! Sophie charity show.

She was back behind the drums with Let’s Active, playing a one-time-only reunion show with Game Theory bassist Suzi Ziegler filling in for the late Faye Hunter (who had taken her own life the year before, at age fifty-nine).

Intensely private, Romweber became more reclusive after her cancer diagnosis.

Few people beyond her husband, Billy Stewart, and other immediate family members saw her during the last few weeks of her life.

“People kept asking to see her and talk to her,” says Monica. “But she said no, because she really couldn’t respond in the way she wanted to be able to, because of all the horrible stuff that goes along with cancer. But she was a trooper from beginning to end, strong the whole way, and very much independent up to the last two weeks. All the tributes have been incredible. Knowing Sara, they would be hard to deal with if they were in front of her.

That was Sara, behind the drums. She was uncomfortable with attention and fussing.” music@indyweek.com

indymusic

ERNEST TURNER: MY AMERICANA HHHH Self-released; Mar. 1 MAR C H

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O

ne of the best moments on pianist Ernest Turner’s debut studio album as a bandleader comes halfway through his solo on the opener, “Return of Thanos.” The main theme is a clipped dialogue between his right and left hand, the phrasing jagged, the hands interrupting each other at will. Drummer Jon Curry and bassist Lance Scott egg them on with complex, propulsive rhythmic patterns. After a minute of pointed conversation, everything clears out, and everyone falls into a loose, swinging groove. Turner’s right hand starts rolling between two chords while his left ruminates on some open fifths. They start sliding around, leaving the key behind, headed towards the outermost reaches of the harmony. And just when they can’t go out any further, everything locks back into that groove. The whole build is totally delightful.

Turner has been a fixture of Durham’s jazz scene for a decade now, playing in saxophonist Brian Horton’s band and running a weekly jam session at The Shed for the entirety of the venue’s existence. His knowledge of jazz history is deep, both intellectually (he has given lectures on jazz piano at Sharp Nine Gallery) and in his fingers. His sessions at The Shed were known for their freewheeling openness, the sense that any kind of song could appear at any time. Turner uses that knowledge throughout the three originals and six covers on My Americana to argue for a particular kind of Black musicality, one rooted in understatement and reinvention.

That sense of reinvention is on full display in his take on Fats Waller’s stride classic

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“Ain’t Misbehavin’.” The chords are probably in there somewhere, albeit drastically reconfigured and revoiced with a twenty-first-century slipperiness. And if you listen closely, you can find fragments of the melody’s original contour, but the proportions are entirely off. Turner, Scott, and Curry transform the

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song into something completely their own and imbue it with contemporary sensibility.

But Waller still hovers, inescapable, in the background. Every note they play contains a certain quantum of ambiguity which invokes the characteristically exaggerated arches of his eyebrows.

Throughout the album, Turner’s piano playing has a subtle sense of reserve. He’ll often sit on a couple of simple ideas, letting them iterate and evolve until he’s suddenly changed the color of the lighting. His solos and melodies have plenty of space to breathe, even on tongue twisters like the Thelonious Monk classic “Monk’s Dream” or Turner’s own “In and Out” and “Circles.” On ballads such as Kenny Kirkland’s “Dienda” or Stevie Wonder’s “If It’s Magic,” that economy allows the band to truly sing. And when Turner goes to church for a suitably ecclesiastic take on “Precious Lord,” the effect is ecstatic. music@indyweek.com

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Every Wednesday. indyweek.com

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BROTHERSHIP 6:30p DA BABY W/ STUNNA 4 VEGAS 7p TECH N9NE 6:30p THE RECORD COMPANY 7p GREENSKY BLUEGRASS

AT KOKA BOOTH AMPHITHEATRE 5:30p

7/20 LONG BEACH DUB ALLSTARS

W/ AGGROLITES / MIKE PINTO 7:30p

ALSO PRESENTING AT STATE THEATRE IN GREENVILLE

3/16 JOE HERO (FOO FIGHTERS TRIB.) 3/23 SECOND HELPING - THE LYNYRD SKYNYRD SHOW

ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com INDYweek.com | 3.13.19 | 17

indyart

NC COMICON

Friday, Mar. 15–Sunday, Mar. 17, $25–$90 Raleigh Convention Center, Raleigh www.nccomiconraleigh.com

Popcorn Art

DEADLY PREY BRINGS THE WONDROUS MOVIE POSTERS OF GHANA'S UNDERGROUND VIDEO CLUBS TO NC COMICON

BY ZACK SMITH

B

y and large, modern movie posters are boring. They’re usually just a still showcasing a few characters and special effects, or the lead actors’ faces blown up to a massive size that makes it impossible to tell what the film is about.

But necessity is the mother of invention, a truism that, in Ghana, resulted in some of the most inventive movie posters ever. Staring in the 1980s, in remote Ghanaian villages, films circulated through underground video clubs with a VCR and an electric generator. These screenings were promoted with posters painted on flour sacks by artists who sometimes had only the VHS box art for reference. The result was a bounty of massive, colorful, often surreal posters that have become cherished by collectors and spawned a market for new commissions. This weekend, a renowned collection of them is heading for NC Comicon at the Raleigh Convention Center, as part of a slate of collaborative programming with Alamo Drafthouse.

Brian Chankin, the owner of Odd Obsession Movies, a cult-video store in Chicago’s Wicker Park, turned his fascination with Ghanaian movie posters into a second business with his sister, Heidi Anne.

Deadly Prey Gallery specializes in vintage original posters as well as commissions from artists in Ghana, including some of the underground luminaries from the video clubs’ nineties heyday. In advance of Deadly Prey’s trip to NC Comicon, we spoke with Chankin about his passion for movie memorabilia, the culture behind the posters, and how a no-budget cult action film gave his gallery its name.

INDY: How did you discover Ghanaian movie posters?

BRIAN CHANKIN: A friend of mine brought in a book of the posters, and I freaked out.

I thought, “This is the coolest thing I’ve ever seen!” I think it helped that people know I like weird movies and collecting weird movie stuff. From there, I just started researching and collecting.

18 | 3.13.19 | INDYweek.com

When were these posters just made for video clubs, and at what point did commissions become a thing?

The video clubs started in the early eighties.

By 1986, the first posters were being painted by artists like Joe Mensah and Leonardo.

The last traveling posters I’ve seen are from around 2007, but by 2000, many poster artists were already making the posters as art alone, and also taking commission projects.

I think commissions have been a thing since the beginning. It’s just that in the eighties and nineties, it was video clubs commissioning the posters and paying the artists.

When it comes to the vintage posters, are the artists who created them known today?

There were probably more than seventy-five artists making these posters in their heyday. We work with seven of the artists from the nineties, and there’s maybe eight more who run their own business. Many of the artists sell their work to dealers and traders in Ghana these days, for good prices, after years of being taken advantage of. The prices for commissioned and new work have gone up steadily, I’m happy to say. Unfortunately, many of the past artists are difficult to get ahold of. After 2000, many of them simply moved on from making posters because of the drop in business. Many of those same works, however, are not for sale. They are in my permanent collection of posters that will someday find themselves back in Ghana to be archived.

Do you have any famous clients you can talk about?

I can tell you that there are some actors, like Stallone and Schwarzenegger, who bought a lot of these. Not from me. [Laughs] Arnold, I know, bought a lot of the super, super old and expensive ones from Ernie Wolfe III, who did the book Extreme Canvas about the Ghana posters. There’s an interview where Stallone is talking about how he has a Cliffhanger poster from Ghana from the nineties. A lot of my own clients have been people in the tat-

Ghost Dog: The Way of the Samurai poster by Heavy Jay

PHOTO BY BRIAN CHANKIN

too community. Action Bronson’s bought a number over the years, and he found out it about it through other people in the tattoo community. It’s been a surprising variety of clients.

A lot of artists do movieposter prints of different films out of fandom, but these came out of necessity.

Right. I’d say, over time, it came to be both: fandom and necessity. Some of these artists have painted so many of these titles over the years that they’re very familiar with certain films, despite having only seen parts of the film or the VHS art. If twenty different people ask someone to do a poster of Big Trouble in Little China, even if they’ve done it many times before, you’re still going to get twenty different posters, and all of them are going to be amazing.

One of the most popular titles people ask me for is Star Wars, and of course, you can commission one. But if you want to find an old one, you can’t—there were almost no VHS tapes of the original movies in Ghana, because they had copy protection and were almost impossible to bootleg. Things like that dictate which movies would become popular in Ghana. It’s directly responsible for how I got the name Deadly Prey.

That film was popular … anywhere?

Deadly Prey is obviously a cool movie and has its own fan base in the bad-movie realm, but in Ghana, I feel it can stand side by side with The Matrix and Robocop and The Terminator as this kind of sublime American action movie that is thought of as part of the larger popular culture.

You also have some posters for films made in Africa.

A lot of those are horror films, often with a religious bent. The main character is usually a pastor, and the bad guy is usually the devil.

Mrs. Doubtfire poster by Leonardo PHOTO BY CHRIS STRONG

There aren’t as many posters for films that are dramas, because they aren’t as sensational.

What are some elements that contribute to a memorable Ghanaian film poster?

It actually helps if the title can be interpreted in different ways. We did a commissioned poster for Ghost Dog: The Way of the Samurai recently, and the artist drew Forest Whitaker fighting a bunch of dog ghosts with a samurai sword.

What all will you bring to NC Comicon?

We’ll have around two hundred and fifty originals, the most we’ve ever brought to a show, and if you’re interested in getting a commission from an artist in Ghana, we can talk to you about costs and setting things up.

How do you acquire these posters?

Well, I’ve been collecting them for about eight years now, and doing Deadly Prey for the last five years. I was doing commissions and stuff just on my own, which I set up with my partner in Ghana. I mostly work through people I’ve networked with over there. I am planning to go, however, right after NC Comicon.

My partner in Ghana, Kofi Gharety, whom I’ve been dealing with for the whole eight years—we’ve talked on the phone, emailed, texted, but we’ve never met in person. So that’s going to be amazing, getting to see him for the first time. I can’t wait for that day. arts@indyweek.com

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art

THE BEAUTIFUL BRAIN: THE DRAWINGS OF SANTIAGO RAMÓN Y CAJAL Through Sunday, Apr. 7 Ackland Museum of Art, Chapel Hill www.ackland.org

See Yourself Think

ART UNLOCKS THE MYSTERIES OF SCIENCE IN THE DRAWINGS OF SANTIAGO RAMÓN Y CAJAL

BY JULIE M. HAMILTON

E

ighty turn-of-the-century drawings by the Spanish neuroscientist Santiago Ramón y Cajal are currently on display at the Ackland, offering a unique vantage into the intersecting fields of art and science. His drawings are a form of neurological cartography—an atlas of the human brain—which poetically captures how beauty can make scientific discoveries more legible to a large audience. In the second part of the exhibition, microscopic slides from the UNC Neuroscience Center are juxtaposed with Cajal’s delicate ink renderings of analyzed data, putting the work in conversation with contemporary academic research.

Initially organized by a group of neuroscientists from the University of Minnesota in conjunction with the Instituto Cajal, a distinctive aspect of The Beautiful Brain is that it was arranged by scientists, not museum curators. Consequently, the exhibit is less concerned with the method and materials of Cajal’s drawings or their context in art history than it is with the importance of the work to his award-winning research on the structure of the nervous system, for which Cajal received a 1906 Nobel Prize. Specifically, his research was concerned with how diseases like Parkinson’s and Alzheimer’s damage the anatomic form of a healthy brain.

Cajal made major contributions to the science of neuroanatomy, particularly regarding how neuronal circuits transmit information. His intricate pen lines mimic flora and fauna, acting as a kind of topographical map of the constellations of the brain.

“Like the entomologist in search of colorful butterflies,” Cajal wrote in his autobiography, Recollections of My Life, “my attention has chased the grey gardens of matter, cells with delicate and elegant shapes, the mysterious butterflies of the soul, whose beating of wings may one day reveal to us the secrets of the mind.” The work calls to mind later Spanish surrealists, like Joan Miró, whose experiments with automatism allowed the subconscious to generate dreamlike, biomorphic forms. As Cajal’s illustrated diagrams were widely published in his time, it is even possible that Miró had seen his drawings and been affected by them.

The most striking contrasts in the exhibit are between the drawings of healthy cerebral cortices and injured neurons. Structural shape, pattern, contour, and shadow all reveal the internal health of the organs. In his drawings of injured neurons, viewers can observe, and even diagnose, the cell’s communication issues, whether they stem from scar tissue, nerve damage, tumor cells, or paralysis.

Even if one is unable to understand the biological severity of cellular trauma in the image, the darkness of the shapes and fractured lines convey an emotional gravitas and provide 20 | 3.13.19 | INDYweek.com

Drawing of the glial cells of a mouse's spinal cord by Santiago Ramón y Cajal a visual foil to the other sketches.

In the second half of the exhibition, “Contemporary Images: Seeing the Beautiful Brain Today,” Mark Zylka, director of the UNC Neuroscience Center, organized a range of digital and multimedia images that echo Cajal’s micrographs, offering a kind of high-resolution counterpart to Cajal’s drawing.

By employing twenty-first-century technology, the pairing demonstrates Cajal’s uncanny accuracy a hundred years ago, as well as the continued importance of his work to the scientific and medical communities. Often, these digital images employ color manipulation, presenting a more aesthetic version of the research to the viewer. “Mother and Child,” a 2015

PHOTO COURTESY OF THE ACKLAND

MRI scan by Rebecca Saxe, which shows her holding her two-month-old child, even acts as a kind of contemporary Madonna silhouette.

The Beautiful Brain suggests that the Cajal’s images are a visual language that can speak to viewers, even if the scientific ramifications are beyond them. They not only demonstrate the aesthetic intricacies of the brain itself, but also champion art as a way for the public to better understand neurological complexities that might otherwise be inaccessible. arts@indyweek.com

art

ART+ARCHITECTURE OPENING RECEPTION

CALVIN BRETT: GENERAL LABOR

Friday, March 15, 6–8 p.m.

Perkins+Will, Durham www.perkinswill.com

Though Saturday, Mar. 16 Lump, Raleigh www.lumpprojects.org

Waste Not

THOUGH THE SUBTRACTIVE ACT OF PICKING UP TRASH, CALVIN BRETT ADDS BEAUTY TO DURHAM NEIGHBORHOODS AND GALLERIES

T

he exhibit closing Saturday at Lump, General Labor, is garbage.

I don’t mean that figuratively, but literally. Durham-based artist Calvin Brett has made a collection of sculptures, sculptural paintings, and video installations with and about trash. He has cut pieces of cardboard into floral shapes, attached them to “canvases” (also made of cardboard), and painted them pink and green. He has assembled scraps of Styrofoam, spray-painted them gold and silver, and hung them on gallery walls, like abstract paintings-cum-collages. He has made a tapestry of cardboard boxes, a curtain of plastic bags. He has piled trash, sorted according to color and material, on shipping pallets spaced evenly around the gallery.

This all makes for quite a multisensory experience. It’s rare that one is struck simultaneously by the sight and the smell of an artwork’s material. Given the diverse shapes and textures with which Brett works, the show even endows sight with a weird tactility. In one abstract assemblage, rows of spikes, honeycomb-like scraps, smooth rectangular blocks, and radiating circles—all Styrofoam—are dizzyingly juxtaposed. One longs to touch it, the sense synesthetically activated through vision.

As interesting and startling as these forms are, Brett’s exhibit is not only or even primarily about the final products on display, but the sequence of steps that led to their creation. We get a view into each stage of the process. There are videos showing him walking along roads, looking for his raw materials. There are the piles of sorted trash, which reflect a necessary organizational step before the final act of arranging the sculptures and paintings.

This is not the same kind of processoriented art familiar from the paintings of Jackson Pollock, the music of Alvin Lucier, or the films of Dziga Vertov, where allusions to artistic creation or revelations of method result in art about art. Rather, the art is the byproduct, the supplement or derivative, of

BY NOAH RAWLINGS Calvin Brett at Lump PHOTO COURTESY OF LUMP

a less culturally elevated act. Brett walked around neighborhoods in Durham where he noticed an abundance of trash. Over the course of many trips, he cleaned parts of these neighborhoods up, sometimes video-

recording himself doing so. Though a subtractive act, he added beauty to both the neighborhoods and to Lump. You can also catch the results of Brett’s striking entwinement of service and art in a site-specific

installation in Durham architecture firm Perkins+Will’s new Art+Architecture series, with an opening reception this Third Friday. arts@indyweek.com INDYweek.com | 3.13.19 | 21

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stage

Infinite Quest

A COUPLE PURSUES LOVE THROUGHOUT THE MULTIVERSE IN CONSTELLATIONS

BY BYRON WOODS

Emily Rieder and Jon Parker Douglas in Constellations PHOTO BY AREON MOBASHER

S

tage directions are usually the least interesting part of a script, but the one at the start of Nick Payne’s thought experiment, Constellations, grabs your attention. It says that each line between passages of dialogue “indicates a change in universe.”

That’s because Payne’s pensive drama about the sum of a series of relationships between two people—rough-edged beekeeper Roland (Jon Parker Douglas) and young Cambridge scientist Marianne (Emily Rieder)—illustrates a facet of quantum mechanics, which Marianne studies.

String theory posits that each choice we make necessitates iterations of all the other possible choices in a potentially infinite set of parallel universes called the multiverse. Thus, Marianne’s decision to awkwardly chat up a random stranger at a party grounds out, not once but repeatedly, in the cosmic resets indicated by designer Stevan Dupor’s lackluster portable lights. In sequential alternative worlds, Roland is not interested, because he’s just left a relation-

ship, or he’s seeing someone, or he’s waiting for his wife to bring back a beer. But during these universal do-overs, subtle variations in Marianne’s body language, the ways she tells the same joke, and Roland’s demeanor imply that she’s not exactly the same woman, expressing interest while cracking wise, and

CONSTELLATIONS ½

Through Sunday, Mar. 24 Northgate Stadium 10, Durham www.bartletttheater.org

he’s not the same man who finally accepts her offer.

After their first date ends in outcomes that range from sensual to endearingly awkward to abusive, the relationship deepens as Payne and director Chris Woodworth keep flipping—sometimes, too briskly—through the quantum Rolodex. The episodic scenes that carry the action forward, backward, and sideways aren’t always long enough for

director and actors to fully convey the differences among the couple’s various realities.

Plus, there’s the problem of focus. After producing The Flick at Northgate’s movie theater last fall, Bartlett Theater returned to that venue for Constellations only after a lastminute logistics snag kept them from staging it at UNC’s Morehead Planetarium.

At Northgate, the actors are placed on an empty stage, without set pieces or props, beneath a large movie screen on which digitally animated pre-show credits and mid-show graphics appear.

These distract and dislodge us from the world of the performance instead of reinforcing it.

Still, the nimble actors and Payne’s script move us, in verbal and non-verbal passages, as a relationship that begins with an infinite set of possibilities narrows to a small and poignant handful of outcomes. As it does, a postmodern multiverse articulates one of the oldest human regrets in a longer look down all those roads not taken. arts@indyweek.com

BRIEF

AN EVENING OF BERNSTEIN AND ROBBINS ½

Through Sunday, Mar. 24 Fletcher Opera Theater, Raleigh www.carolinaballet.com We’d anticipate broad artistic and emotional bandwidth in a night devoted to Jerome Robbins and Leonard Bernstein, and Carolina Ballet doesn’t disappoint with this imaginative quartet of works. The show contrasts the brash, broad-shouldered Fancy Free—which presaged the principals’ Broadway premiere in On the Town—with Robbins’s introspective Afternoon of a Faun, a lucid dream enveloping two dancers’ encounter in a rehearsal studio in Debussy’s Impressionism.

Between these, Zalman Raffael, the coartistic director of Carolina Ballet, animates two early Bernstein chamber-music works.

The trio in A Graceful, Lighthearted Sonata exhibits a freeness and bonhomie reminiscent of Paul Taylor, while in the more ambiguous Metaphorical Heart, three pairs of dancers chart divergent levels of alienation and engagement against a background of well-sculpted choral formations. A witty show-and-tell sequence asks how obvious we have to be to communicate, interpersonally and in dance.

In Afternoon, Robbins places us behind an unconventional fourth wall: a mirror in a ballet studio. There’s an air of inquiry as soloist Sam Ainley contemplates the mirror between him and us, as he scans his articulate form for all it discloses. That air intensifies as Lily Wills enters in her own reverie, before the two delicately probe the possibilities between them.

As three fun-loving, sarcastic, competitive—and often short-fused—sailor boys on shore leave, Kiefer Curtis, Maxmilian Isaacson, and Yevgeny Shlapko keep each other, and us, perpetually off-balance in 1944’s Fancy Free. After being amusingly schooled by Courtney Schenberger’s confident metropolitan woman, these playful rubes, not quite ready for the big city, kick heels and cartwheel into a Manhattan dive, where one meets a potential paramour in a passionate pas de deux. But when a comic brawl breaks out to Bernstein’s jagged, jazzy polyrhythms, lust’s labors are lost.

Time to haul anchor, boys.

—Byron Woods INDYweek.com | 3.13.19 | 23

3.13– 3.20 WHAT TO DO THIS WEEK

FRIDAY, MARCH 15– SUNDAY, MARCH 31

BONNIE AND CLYDE SUNDAY, MARCH 17

DIASPOURA

March 17 at The Pinhook is “Ain’t Patrick’s Day,” where you’ll hear four hip-hop and electronic acts, all trans, nonbinary, and/or queer people of color.

Headlining is South Carolina producer, singer, and new-media artist Anjali Naik, aka Diaspoura, whose just-released Traumaporn EP is a gem of intelligent Dirty South down-tempo. The supporting acts are local fave ZenSoFly, Atlanta producer/drag queen/community organizer Taylor Alxndr, and Durham dancer and emcee Asa, a member of the Vivica C. Coxx drag family. Diaspoura, currently based in the Triangle, was a lead organizer of the Carolina Youth Action Project, formerly Girls Rock Charleston, which works to build power among girls, trans youth, and gendernonconforming youth. Anjali’s activism carries through to Diaspoura, a platform for healing and systemic change. Their Southeast tour, with Asa along as dancer, heads to the West Coast next month; catch them now. —Todd Morman THE PINHOOK, DURHAM 9 p.m., $7–$15, www.thepinhook.com 24 | 3.13.19 | INDYweek.com

The Dirty Thirties was a time for antiheroes. By the Great Depression’s height in 1933, more than quarter of the population couldn’t find jobs, and millions of citizens had been wiped out financially after the stock market crashed and a third of all financial institutions in the United States failed.

Sudden, unexpected poverty forced many into homelessness and shantytowns; even more people regularly sought food in breadlines and soup kitchens to avoid starvation. In a world where so many were robbed of hope and simple agency, it’s not surprising that Bonnie Parker and Clyde Barrow, two self-styled gangsters from West Texas, were regarded as folk heroes for robbing banks. In 2009, composer Frank Wildhorn (Jekyll & Hyde, The Scarlet Pimpernel) and playwright Ivan Menchell (The Cemetery Club) penned a musical steeped in bluegrass, blues, gospel, and rockabilly to immortalize the couple’s three-year run from the law. Jeri Lynn Schulke directs Reanna Kicinski and Ty Myatt in the title roles. —Byron Woods NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH Fri.–Sat. 8 p.m./Sun. 3 p.m., $15+, www.nract.org

FRIDAY, MARCH 15

PORTRAITS OF DURHAM

Durham was incorporated in 1869, and to celebrate the sesquicentennial, the city, with partners such as Discover Durham and the Museum of Durham History, is rolling out a yearlong series of “Durham 150” events to honor the people who shaped this place before us, those who are driving its future today, and— particularly in this Durham Arts Council exhibit, which runs through May 2 after this Third Friday opening reception—everyone in between.

Portraits of Durham features work by sixty-four local artists, from high schoolers to celebrated pros, who were chosen from among a bounty of respondents to a community call for art on the prompt, “Who or what represents Durham to you?” Given the subject matter and number of artists involved, expect a lively Third Friday at the DAC, and a kaleidoscopic survey of what Durham looks like today. —Brian Howe DURHAM ARTS COUNCIL, DURHAM 6–9 p.m., free, www.durhamarts.org

Above: Diaspoura PHOTO COURTESY OF THE ARTIST

Right: Charles Lloyd & the Marvels with Lucinda Williams PHOTO BY D DARR

7/24-7/27 MERGE RECORDS 30 YEAR CELEBRATION

WHAT ELSE SHOULD I DO?

THE BEAUTIFUL BRAIN AT THE ACKLAND (P. 20), BRAINSTORM AT THE VARSITY (P. 32), CALVIN BRETT AT LUMP AND PERKINS+WILL (P. 21), MARTHA CLIPPINGER AT HORACE WILLIAMS HOUSE (P. 29), CONSTELLATIONS AT NORTHGATE STADIUM 10 (P. 23), AN EVENING OF BERNSTEIN AND ROBBINS AT FLETCHER OPERA THEATER (P. 23), THE KING AND I AT RALEIGH MEMORIAL AUDITORIUM (P. 31), ADA LIMÓN AT TALLEY STUDENT UNION (P. 30), NC COMICON AT THE RALEIGH CONVENTION CENTER (P. 18), TEENAGE FANCLUB AT HAW RIVER BALLROOM (P. 26)

8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS TU 3/19

TH 3/21

TREVOR ANDREA GIBSON HALL 3/19 TREVOR HALL W/ DIRTWIRE, WILL EVANS ($22/$25) 3/21 ANDREA GIBSON W/ ASHLEE HAZE ($20/$22) 3/22NOVO AMOR W/GIAMARGARET 3/23 COSMIC CHARLIE -- HIGH ENERGY GRATEFUL DEAD FROM ATHENS GA

Outside of Mike Epps’s hilarious supporting role as the asshat manchild Day-Day in Next Friday, you’d be hardpressed to find any memorable setuppunch jokes in the Indianapolis native’s quarter-century run as a stand-up comedian. Instead, he’s built a fine career on the mainstream urban comedy circuit by shirking conventional joke-writing techniques and building most of his seemingly freestyle sets around roasting audience members, ranting and raunching, and generally wilding out. Unfortunately, this offhand style has hatched newer comedians such as Wild ‘N Out cast member DC Young Fly—the youngest act on Epps’s Funny as Ish tour—and gave him the idea that it’s OK to fill his routines with juvenile “You so ugly” bits. Expect him to be laughing at his own jokes, because, let’s face it, you probably won’t be, until seasoned laugh artists Earthquake, Lavell Crawford, and Sommore hit the stage and show us how to finesse the funny. —Eric Tullis PNC ARENA, RALEIGH 8 p.m., $52+, www.thepncarena.com

THE CAROLINA THEATRE, DURHAM 8 p.m., $55+, www.carolinatheatre.org

FRIDAY, MARCH 15

MIKE EPPS

3/15 THE GONE GHOSTS EP RELEASE SHOW W/THE ANTIQUE

TEENAGE FANCLUB MERGE RECORDS 30-YEAR KICKOFF! 5/21 SHAME ($14) 5/23 MARTI JONES & DON

DIXON

5/31 THE SH-BOOMS ($12) 6/2 THE MYSTERY LIGHTS W/ FUTURE PUNX ($12/$14)

HEARTS, OWEN FITZGERALD ($7/$8)

6/8 MATT ANDERSON

3/16 NO9TO5 MUSIC/ BLACKSPACE

6/12 EARTH W/HELMS ALEE ($15)

3/29 SLUGWIFE TAKEOVER TOUR ($20/$25)

3/21 FIRESIDE COLLECTIVE W/ HONEY MAGPIE ($12/$14)

3/30 CARBON LEAF W/ CAROLINA STORY($20/$25)

3/23 LOCAL FLORA W/ MAJ DEEKA

4/5 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY FT THE TAN & SOBER GENTLEMEN AND CRYSTAL BRIGHT & THE SILVER HANDS ($12/$15)

Courtesy of Duke Performances, Lucinda Williams takes the stage with jazz legends Charles Lloyd & the Marvels to perform music from Vanished Gardens, her 2018 collaborative album with the band. Although their sounds— bluesy country ballads and energetic jazz, respectively—have taken them on different paths throughout their storied careers, Williams and Lloyd share influences as well as roots in the deep South (Lloyd, an NEA Jazz Master, was born in Memphis, Tennessee; Williams in Louisiana), which makes the partnership feel both surprising and organic. The album features Williams on five tracks, including three of her reprised songs and a cover of Jimi Hendrix’s “Angel.” The meditative, textured ease of The Marvels’ playing, which often evokes ambient bayou sounds, is a compelling compatriot for Williams’s gravelly vocals. Her signature emotional range is highlighted in tracks that poetically trawl the distance between full-bodied feelings: sadness alloyed with dissatisfaction, the blues compromised by happiness.

—Sarah Edwards

CAT'S CRADLE BACK ROOM 3/14 UPSTATE W/JARROD DICKENSEN

PRESENT: (J) ROWDY & THE NIGHTSHIFT, THE AFRONAUTS, LORD FESS ($5/$10)

4/4 BETTER OBLIVION LD COMMUNITY CENTER SO OUT

CHARLES LLOYD & THE MARVELS WITH LUCINDA WILLIAMS

10/6 BUILT TO SPILL - KEEP IT LIKE A SECRET TOUR ($28/$32)

3/25 ADHOC PRESENTS: HOMESHAKE W/ YVES JARVIS

3/31 THE MIDNIGHT W/VIOLET DAYS ($20/$22)

MONDAY, MARCH 18

8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50)

MO 3/18 @HAW RIVER BALLROOM

3/24 CLAUDINE LANGILLE & THE LADS ($15) 3/26 EMILY SCOTT ROBINSON W/ TATIANA HARGREAVES, SIMONE FINALLY ($8/$10) 3/27 IMANI PRESSLEY, RYXOC, CALLI WOOD ($5/$7) 3/28 MAX FROST($15/$17)

6/13 DYLAN LEBLANC ($12/$15) 6/14 EILEN JEWELL KOKA BOOTH AMPHITHEATRE (CARY) 9/21 MANDOLIN ORANGE W/ MOUNTAIN MAN CAROLINA THEATRE (DUR)

9/26 JOSH RITTER & THE

ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES DPAC (DUR)

11/22 AND 11/23 (TWO NIGHTS) SYLVAN ESSO "WITH" /

3/29 PARKER MILSAP ($15/$18)

PLUS MOLLY SARLE (OF MOUNTAIN MAN)

4/8 RIVAL SONS W/ SHEEPDOGS

3/30 SPIRAL STAIRS W/ HAMISH KILGORE FROM THE CLEAN

4/9 of MONTREAL W/ YIP DECEIVER ($17)

4/2 OLD SEA BRIGADE W/JON BRYANT

3/24 ALL THEM WITCHES

4/11 RUBBLEBUCKET W/ MIKAELA DAVIS

4/3 AARON LEE TASJAN W/ ROREY CARROLL

4/13DURAND JONES & THE INDICATIONS W/DIVINONINO ($15)

4/4 JUICE W/RELIABLY BAD AND DYLAN DUNLAP

4/14 PHOSPHORESCENT

4/5 TRAVERS BROTHERSHIP,

4/15 BLACK LIPS W/QUINTRON & MISS PUSSYCAT ($15/$17) 4/16 AND 4/17 MITSKI LD W/ JAY SOM SO OUT 4/18 TOM ODELL W/ LUCIE SILVAS 4/19 THE CHURCH ($25/$28) 4/20 THE DRIVER ERA W/ PUBLIC ($20/$23) 4/25 LAURA JANE GRACE & THE DEVOURING MOTHERS W/ MERCY UNION AND CONTROL TOP ($20 / $23)

JULIA

4/6 TOWN MOUNTAIN ($12/$15) 4/9 LULA WILES ($10)

MOTORCO (DUR) ($15)

5/4 JOHN PAUL WHITE W/ERIN RAE ($25)

5/14 THANK YOU

SCIENTIST W/KINDO AND IN THE PRESENCE OF WOLVES ($16.50/ $20) 6/12 REMO

DRIVE WERE PROMISED JETPACKS ‘THESE FOUR WALLS’ 10TH ANNIVERSARY

7/29 WE

($16/$18)

4/10 CHARLIE HUNTER & LUCY WOODWARD ($20/$23)

FLETCHER OPERA THEATER (RAL)

4/11 FLOCK OF DIMES W/ NICK SANBORN ($15)

NORTH CAROLINA MUSEUM OF ART

4/13 CASE SENSITIVE, MUSEUM MOUTH, S.E. WARD ($8/$10)

6/14 STEEP CANYON

4/15 BAYONNE W/PALM DAZE ($12/$14) 4/16 THIS WILD LIFE ($16/$18)

4/3 GRAHAM NASH 5/17 DAWES

RANGERS WITH CHATHAM RABBITS

6/22 TRAMPLED BY

TURTLES WITH DEER TICK 8/31 MIPSO

4/27 SARAH SHOOK & THE DISARMERS ($15)

4/17 THE WILD REEDS ($14/$16)

5/2 FOXING & NOW, NOW W/ DADDY ISSUES ($18/$20)

4/18 TELEKINESIS W/ SONTALK ($13/$15)

5/3 JUMP, LITTLE CHILDREN

4/20 CARSIE BLANTON 7 PM SHOW

4/27 RAINBOW KITTEN

5/5 JAPANESE BREAKFAST W/ EX HEX AND ETERNAL SUMMERS ($23/$25)

4/20 SEEPEOPLES W/ TRACKSUIT 10PM SHOW

6/7 LAKE STREET DIVE/ THE

RED HAT AMPHITHEATER (RAL)

SURPRISE

WOOD BROTHERS

5/6 RIVERSIDE ($20/$25)

4/21 VALLEY MAKER W/ TOMBERLIN ($12)

5/7ELI "PAPERBOY" REED($15/$18)

4/22 KOLARS ($12/$15)

5/12 ALY AND AJ ($25/$28)

4/24 THE BROOK & THE BLUFF

5/13 THE DRUMS W/ TANUKICHAN ($18/$20)

4/25 ACID MOTHERS TEMPLE W/ YAMANTAKA, SONIC TITAN

5/14 PUP W/ RATBOYS ($18/$20)

5/1 STEVE GUNN ($15/$17)

6/10 LOCAL NATIVES W/ MIDDLE KIDS

5/18 CITIZEN / KNUCKLE PUCK W/ HUNNY AND OSO OSO

5/2 JULIA JACKLIN W/ BLACK BELT EAGLE SCOUT ($14/$16)

5/24 THE JAPANESE HOUSE ($18/$20)

3/18 TEENAGE FANCLUB

5/4 MARY LATTIMORE &

6/2 THE DISTILLERS W/ STARCRAWLER

5/6 PEDRO THE LION W/JOHN VANDERSLICE ($20)

6/7 FRENSHIP W/GLADES ($15/$17)

5/7 MURS W/ LOCKSMITH ($15/$17)

6/9 THE LEMONHEADS, TOMMY STINSON ($25/$28) 6/18 SEBADOH ($18/$20) 6/27 PARACHUTE W/ BILLY RAFFOUL ($20/$23) 7/16 BILL CALLAHAN ($22/$25; ON SALE 3/15)

MAC MCCAUGHAN

5/14 DEAF HAVANA $12/$15) 5/15 THE SUITCASE JUNKET ($10) 5/16 HENRY JAMISON 5/18 PILE W/ CHEW 5/19 FILTHY FRIENDS W/ DRESSY BESSY

THE RITZ (RAL) (PRESENTED IN ASSOCIATION W/ LIVENATION)

5/11 SHAKEY GRAVES W/ ILLITERATE LIGHT AND KATE RHUDY (RESCHEDULED FROM

SEPTEMBER 15; ALL TICKETS STILL VALID )

HAW RIVER BALLROOM W/ ERIC BACHMANN AND THE LOVE LANGUAGE ($25/$28)

3/31 PATTY GRIFFIN W/ SCOTT MILLER ($35)

4/6 NICK LOWE’S QUALITY ROCK & ROLL REVUE STARRING LOS STRAITJACKETS

5/3 THE JAYHAWKS 5/9 SON VOLT ($25/$28) 11/8 BIG THIEF W/ PALEHOUND ($20/$23)

CATSCRADLE.COM  919.967.9053  300 E. MAIN STREET  CARRBORO INDYweek.com | 3.13.19 | 25

music 3.13–3.20 FRIDAY, MARCH 8

TEENAGE FANCLUB Merge Records and stalwart Scottish power-pop band Teenage Fanclub both turn thirty this year.

And though the band’s association with the label stretches back for only fourteen of those thirty years, the records Teenage Fanclub has released on the label rival anything it put out on a major— including 1991’s Bandwagonesque, a flannel-andfeedback masterpiece that Spin infamously chose as the best album of that year over Nirvana’s generational rallying cry, Nevermind. Teenage Fanclub’s three Merge records—2005’s Man-Made, 2010’s Shadows, and 2016’s Here—are flush with concise, tuneful indie-pop songs that are by turns expertly crafted and insouciantly unfussy. Having long since left grunge behind, the band has cemented its place as a Gen X analog of The Byrds and Big Star—the power-pop band against which all others are judged. Founding bassist and songwriter Gerard Love amicably left the band last year; Belle and Sebastian bassist Dave McGowan fills his spot. With Merge mates Eric Bachmann and The Love Language. —Patrick Wall

HAW RIVER BALLROOM, SAXAPAHAW 7:30 p.m., $25–$28, www.hawriverballroom.com

Teenage Fanclub

PHOTO BY DONALD MILNE

WED, MAR 13 THE CAVE TAVERN: The Basic Unit; 8 p.m.

LINCOLN THEATRE: The Hip Abduction, Little Stranger; $12. 8 p.m.

LOCAL 506: Josh A & Jake Hill; $12-$15. 7:30 p.m.

NEPTUNES PARLOUR: Writhing Squares, Enemy Waves, 300 Dog Night; $8. 10 p.m.

THE PINHOOK: Lavender Country, Paisley Fields, Severed Fingers; $12.

7 p.m.

SLIM’S DOWNTOWN: NeverFall, Malediction, Morose Vitality; $7 suggested. 9 p.m.

THU, MAR 14

CAT’S CRADLE BACK ROOM: Upstate; $10-$12. 8 p.m.

26 | 3.13.19 | INDYweek.com

THE CAVE: Dan Melchior Band, Server; 9 p.m.

LOCAL 506: The Fontanelles, Sadie Rock and the Mad Ryans, Mr. Darcy; $8. 9 p.m.

MEMORIAL AUDITORIUM: Experience Hendrix Tour; 8 p.m.

POUR HOUSE: Local Band Local Beer: Totally Slow, Echonest Thick Modine; $5. 9 p.m.

SLIM’S: Thirsty Curses, The Outside Voices, Betting for Benson; $15. 9 p.m.

FRI, MAR 15 BLUE NOTE GRILL: 8-Track Minds; $8. 9 p.m.

THE CARY THEATER: Jonathan Byrd & the Pickup Cowboys; $15-$25.

8 p.m.

CAT’S CRADLE BACK ROOM: The Gone Ghosts, The Antique Hearts,

Owen Fitzgerald; $7-$8. 8 p.m.

THE CAVE: Bengt and the Walkers, Mystery Ranch, Waking Up Moe; 9 p.m.

KINGS: Bring Back the Scene: Emo Night; $5+. 10 p.m.

LINCOLN THEATRE:

Adrian Belew, Saul Zonana [$25-$35/8:30 P.M.]

Guitars didn’t always sound like wild beasts on a strange rock savannah, but then Adrian Belew came along.

After starting out with Zappa, Belew ricocheted among influential artists including Bowie and Talking Heads before giving eighties-era King Crimson his unique je ne sais quoi. He’s turned his power trio into a quartet with opener Saul Zonana on

keyboards and guitar, bassist Julie Slick, and drummer Jordan Perlson, as he releases POP-SIDED, his first album in ten years. —Byron Woods THE MAYWOOD: Tuesday’s Gone, Idlewild South; $10-$12. 8:30 p.m.

MEMORIAL AUDITORIUM: Lauren Daigle; 7:30 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony: Chopin & Mozart; 8 p.m.

MOTORCO: Chris Knight, Clovis Draper; $20-$25. 9 p.m.

NIGHTLIGHT: Horizontal Hold, Sweatpants, Henbrain; 9 p.m.

POUR HOUSE: Tropidelic, Roots of a Rebellion; $12-$15. 9 p.m.

THE RITZ: Grits & Biscuits; 9 p.m.

SHARP NINE GALLERY: Aaron Matson Nonet; 8 p.m. $20.

SLIM’S: Smoke from All That Friction, Who I Are, Xiden; $5. 9 p.m.

SAT, MAR 16 CAT’S CRADLE BACK ROOM:

The Final Exam: (J) Rowdy & The NightShift, The Afronauts, Lord Fess. [$5-$10/8 P.M.]

Readers might recognize Josh Rowsey as an occasional contributor to the INDY, but he’s also an accomplished freestyle rapper known as (J)Rowdy. He founded the Chapel Hill chapter of Cypher University and is a founding member of the national hip-hop collective No9to5

Music, which is presenting The Final Exam, a showcase of performances by (J) Rowdy & The NightShift, The Afronauts, and Lord Fess.

—Howard Hardee THE CAVE: Kudu Stooge, People Of Earth, Bended Light; 9 p.m.

GIBSON GIRL VINTAGE: Streak of Tigers; 7–9 p.m.

KINGS: Saturday Night Live: Kash Addison, Craig Leonidas, Kelly Kale, AB Hill, Bull City Kartel, Vinnie Dangerous, Lvitto; $8-$12. 8 p.m.

THE KRAKEN: The Gravy Boys; 8 p.m.

LINCOLN THEATRE: Weekend Excursion; $10-$20. 8 p.m.

LOCAL 506: He Is Legend, Wax Imperials, Velvet Devils; $15. 8 p.m.

THE MAYWOOD: Lexx Luthor, BAT, Cerebus; $10. 9 p.m.

MEMORIAL AUDITORIUM:

Hozier [8 P.M.]

The Irish singer-songwriter Hozier sounds like he’s trying to be a few things at once. In some songs, he sounds like a melancholy coffeehouse crooner; in others, he’s more like a young Bono, albeit one lacking in the intensity that characterized early U2.

What’s most notable is his potential: He has a big voice and even bigger ambitions, but he hasn’t yet figured out how to live up to either.

—Elizabeth Szypulski MEYMANDI CONCERT HALL: N.C. Symphony: Chopin & Mozart; 8 p.m.

put themselves to the same test. Sugar Honey Iced Tea, Stay Home Club, and The Moon Rocks are a few of the makeshift bands performing for the first time. —Josephine McRobbie POUR HOUSE: Cody Dickinson & Friends; $17-$20. 9 p.m.

SHARP NINE GALLERY: Threeplustwo; $20. 8 p.m.

SLIM’S: Dead Casual, Some Are Travelers, Juxton Roy; $5. 9 p.m.

THE STATION: Tracksuit, Stevie Murtaugh; 8 p.m.

SUN, MAR 17 ARCANA: Pippa Hoover, Elizabeth Avalie, Mandy Mears; 8 p.m.

Once upon a time, these guys were the kings of the

THE STATION: The Spectacles, Tim Smith Band; 8 p.m.

[$10+/7 P.M.]

GIBSON GIRL VINTAGE: Streak of Tigers; 7–9 p.m.

MEYMANDI CONCERT HALL: Triangle Youth Brass Band; 4 p.m.

THE PINHOOK: Ain’t Patrick’s Day: Diaspoura, Taylor Alxndr, ZenSoFly, Asa; $7-$15. 9 p.m.

PNC ARENA:

Mumford & Sons

3/28

THE DEVIL AND MARK TWAIN FAMILY-FRIENDLY TRANSACTORS IMPROV: THE NATURE SHOW WILLIAM FITZSIMMONS

3/29

LA PATRONAL

4/11

POPUP BROADWAY

4/12

TRANSACTORS IMPROV

4/13

THE GOLD RUSH LIVE SCORE BY TIM CARLESS

4/26

CHE APALACHE

3/15-24

RECENTLY ANNOUNCED: Remo Drive, Mystery Skulls, Warbringer, The Secret Sisters, Tobe Nwigwe (2nd show) THU

3/14 FRI

3/15 SAT

3/16

FRI

3/22

[$7-$10/8 P.M.]

[7:30 P.M.]

THE CAVE: St. Patrick’s Day Party: Ceol Cara; 8 p.m.

Girls Rock NC is best known for its summer camp program, where girls and nonbinary kids start bands, learn instruments they’ve often never played, and perform a concert. The nonprofit also hosts a yearly fundraiser where brave adults

POUR HOUSE:

Clint Roberts, Drunken Prayer, Dane Page Born and raised in the Blue Ridge Mountains, Clint Roberts has craggy pipes suited for rugged, loping roots tunes that use fictional characters to reflect on life, love, and loss. Drunken Prayer adds garage-borne Southern Gothic rave-ups, and Dane Page brings a dynamic batch of Americana anthems and ballads— “Cupid” draws on doo-wop.

Roberts also plays Durham Beer & Banjos on Monday at The Pit. —Spencer Griffith

MOTORCO:

Rock Roulette: A Benefit for Girls Rock NC

clap-and-stomp neo-folk hill. Their latest album finds them turning away from the strummy whoa-ho-ho sound in favor of something more electric and atmospheric.

But they still have a penchant for grand gestures and a sweeping sense of momentum, winding up somewhere halfway between U2 and Coldplay. — Jim Allen

The Monti StorySLAM: Neighbors CHRIS KNIGHT Clovis Draper

CHRIS KNIGHT w/ Clovis Draper

Fourth Annual Rock Roulette: A Benefit for Girls Rock

3/16

Get tickets at artscenterlive.org

Follow us: @artscenterlive • 300-G East Main St., Carrboro, NC

SOUTHERN CULTURE ON THE SKIDS Jphono1 & The Chevrons

SOUTHERN CULTURE ON THE SKIDS w/ Jphono1 & The Chevrons

SAT

3/23

SUN

3/24 MON

3/25 TUE

3/26 WED

3/27 THU

3/28 FRI

3/29 SAT

3/30

JARED & THE MILL The High Divers

JARED & THE MILL

w/ The High Divers Cat’s Cradle Presents ALL THEM WITCHES / Plague Vendor Duke Performances Presents Black Atlantic DEREK GRIPPER & AFRICA STRINGS Duke Performances Presents Black Atlantic FATOUMATA DIAWARA Duke Performances Presents Black Atlantic NOURA MINT SEYMALI Duke Performances Presents Black Atlantic DAYMÉ AFROCENA Duke Performances Presents Black Atlantic THE CAMPBELL BROTHERS 8pm: Duke Performances Presents Black Atlantic DANILO BRITO 11pm: Widespread Panic After Party with Marvelous Funkshun

COMING SOON: Tobe Nwigwe, Rhett Miller, Strand Of Oaks, The Accidentals, Okilly Dokilly, Family of the Year, Wicca Phase Springs Eternal, Girlpool, Gangstagrass, Hot Snakes, The Murlocs, John Paul White, Xiu Xiu, PJ Morton, Tim Heidecker & Gregg Turkington, Bear’s Den, Thank You Scientist, Hush Kids, Flotsam and Jetsam, Superorganism, Hot Mulligan, Mono, Mark Farina, The Crystal Method, Cavetown, The Rock*A*Teens, Escape-ism, We Were Promised Jetpacks, Sophomore Slump Fest, Sonata Artica, Nile Also co-presenting at Cat’s Cradle: Japanese Breakfast, Ex Hex and Eternal Summers (on May 5th)

Present this coupon for

Member Admission Price (Not Valid for Special Events, expires 01-19)

919-6-TEASER for directions and information

www.teasersmensclub.com 156 Ramseur St. Durham, NC

Clint Roberts

PHOTO COURTESY OF THE ARTIST

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

TeasersMensClub

@TeasersDurham

An Adult Nightclub Open 7 Days/week • Hours 7pm - 2am INDYweek.com | 3.13.19 | 27

Mansionair

MON, MAR 18 CAROLINA THEATRE: Charles Lloyd & The Marvels with Lucinda Williams; $55-$75. 8 p.m.

THE CAVE: Dexter Romweber; 9 p.m.

DURHAM PERFORMING ARTS CENTER: Joe Bonamassa; 8 p.m.

KINGS: Atomic Rhythm All Stars; $5. 8 p.m.

LOCAL 506:

Broadway Twisted [$12-$15/8 P.M.]

At this annual PlayMakers Repertory Company fundraiser for Broadway Cares/Equity Fights AIDS and the North Carolina AIDS Action Network, singers and actors dig into some of Broadway’s most famous roles. The “twist” is that the iconic performances are gender-swapped or otherwise 28 | 3.13.19 | INDYweek.com

undone, leading to new interpretations of characters from Sally Bowles to Pippin.

—Josephine McRobbie

a challenging, layered composition that’s alternately urgent and lyrical. —Elizabeth Szypulski

POUR HOUSE: Spring Fling Showcase & Mixer: Mir.I.Am, DJ Wade Banner; $10-$30. 9 p.m.

TUE, MAR 19

SLIM’S: Antenora, Gutted Christ, Enigmatic Path; $7 suggested. 9 p.m.

CAT’S CRADLE: Trevor Hall, Dirtwire, Will Evans; $23-$25. 7:15 p.m.

UNC’S HILL HALL:

THE CAVE: Stray Fossa, Agangi; 9 p.m.

[$37/7:30 P.M.]

DUKE COFFEEHOUSE:

Scharoun Ensemble The Scharoun Ensemble of Berlin is made up of a small group of members from the Berlin Philharmonic.

They know each other well and bring that connection and chemistry to their performances. For their performance in Chapel Hill, they’re performing a mix of old and new works, with pieces by Mozart and Schubert, as well as Sean Shepherd’s 2008 Octet,

Bellows, Another Michael, Moon Racer [$5/8 P.M.]

On The Rose Gardener, released last month, Bellows managed to make bedroom pop sound positively majestic, despite it being written “in a period of intense frustration with the world of music and the dumb infighting that dominates it.”

Another Michael charms with endearing lyricism and lush arrangements, while Casio twinkles drive Moon Racer’s lo-fi melancholy.

—Spencer Griffith DUKE’S BALDWIN AUDITORIUM: Duke Chorale; Free.

8 p.m.

KINGS:

Mansionair, Beacon [$13-$15/8 P.M.]

This slow-burn pop gig features two great acts from the antisocial backroom of the contemporary neo-R&B pipeline. Grammy-nominated Mansionair morphs U2’s longing and arena-ready stomp into muted late night broadcasts, all suggestive shadows and corners. Ghostly International’s Beacon is steepe in the IDM dalliances of that label, buoyed by cavernous bass and singer Thomas Mullarney’s sparse,

achingly romantic vocals. Just don’t call it chillstep. —David Ford Smith LOCAL 506: Milkk; $12. 8 p.m.

RUBY DELUXE: LANNDS, Sunset Palette; $5. 8 p.m.

WED, MAR 20

PHOTO COURTESY OF KINGS

were feeling good, and they wanted to dance. Now people are feeling bad, and they still want to dance. This’ll do. —Patrick Wall THE CAVE: Shira, Yotam Ben Horin; 9 p.m.

LOCAL 506: The Holdup, Dylan Reese; $15. 8 p.m.

CAROLINA THEATRE:

NEPTUNES PARLOUR: David D’Angelo, David Scott, Innerspace Journeys; $7-$10. 10 p.m.

[$30-$50/8 P.M.]

THE PINHOOK: Sinner Songwriter Showcase: John Howie Jr., Anne-Claire, Sarah Bell, The Monologue Bombs; $5.

8 p.m.

Big Bad Voodoo Daddy Back in 1996, the movie Swingers ushered in the swing revival—which was mercifully short-lived—and brought Big Bad Voodoo Daddy, the Southern California swing band that served as the movie’s house act, along with it. In the rearview mirror, it all looks pretty clunky: the movie, the revival, that band name.

But hey, it was the late nineties, grunge was on its way out, Bill Clinton was still in office. People

POUR HOUSE: Morning Bells, BREV, DL Zene; $6-$8. 8:30 p.m.

RUBY DELUXE: Earther, Hit Like a Girl, Coping Skills, The Muslims; $7.

8 p.m.

SLIM’S: Stray Fossa, Shinji, Family Vision; $5. 9 p.m.

THE WICKED WITCH: Black Surfer, Trandle, Kid Advay, Sonic Afternoon; 9 p.m.

PHOTO COURTESY OF THE ARTIST

Art by Martha Clippinger from Interwoven

art 3.13–3.20

SUNDAY, MARCH 17

MARTHA CLIPPINGER: INTERWOVEN Not all art is “about.” Or rather, art doesn’t have to be about—it can also just be. Martha Clippinger’s solo show at the Horace Williams House, which is on view for the rest of March after this Sunday afternoon reception, consists of colorful geometric shapes and patterns in fabric, fiber, or wood that offer sheer optical pleasure. Clippinger has an uncanny ability to create color relationships that are both contrasting and complementary. The shapes she chooses and the constructions into which she assembles them vary widely, but they’re always absolutely balanced and complete without feeling closed or overworked. Bridging worlds of art and craft, she makes collages and assemblages as well as practical objects like quilts and rugs. Whether you look at Clippinger’s work effortlessly or with analytical rigor, you feel drawn in. This is a space where everything different from everything else coexists and makes sense. Huh. Maybe that’s what it’s about. —Chris Vitiello

HORACE WILLIAMS HOUSE, CHAPEL HILL | 2–4 p.m., free, www.preservationchapelhill.org

OPENING

p.m. Mar 15-May 2. Durham Arts Council, Durham.

Judy Keene: Numinous: Paintings. Reception: Mar 16, 5-7 p.m. Mar 16-May 4.

Craven Allen Gallery, Durham.

Ashley Swindoll: Embodiment: Mixed media. Reception: Mar 15, 6-9 p.m. Mar 15-Apr 14.

The Scrap Exchange, Durham. scrapexchange.org.

My Lai Memorial Exhibit: 40+ panels, video, interactive art-making, and space for contemplation and reflection.

Mar 14-16. Church of Reconciliation, Chapel Hill. mylaimemorial.org.

Portraits of Durham: 64 local artists. Reception: Mar 15, 6-8

ONGOING Abstract Matters: Juried art show winners. Thru Mar 31. 311 Gallery & Studios, Raleigh.

All the Pop: Thru Jun 2. Nasher Museum of Art, Durham.

nasher.duke.edu.

Tedd Anderson & Logan Britt: Light Bag/Slight Baggage: Drawings. Thru Mar 24.

Artist talk: Mar 19, 7-9 p.m.

Receptions: Mar 15, 6-9 p.m. and Mar 23, 7-9 p.m. The Carrack Modern Art, Durham. thecarrack.org.

The Beautiful Brain: The Drawings of Santiago Ramón y Cajal: Thru Apr 7. Ackland Art Museum, Chapel Hill. ackland.org.

Jasmine Best: Screened

In: Sculptural elements constructed with textiles, fabric, and sewing notions.

Thru May 12. CAM Raleigh, Raleigh. camraleigh.org.

ncartmuseum.org.

Beyond Despair: An Environmental Call for Art: Work from 33 artists about, including, and referencing the environment. Thru Jun 22.

National Humanities Center, Durham.vaeraleigh.org.

Eric Legge: Off the Grid: Thru Mar 15. Alexander Dickson House, Hillsborough.

Calvin Brett: General Labor: Trash agglomerations. Thru Mar 16. Artist’s talk: Mar 9, 3 p.m.

Lump, Raleigh. lumpprojects.org.

Pierce Boshelly: Confessions of a Concentration Camp Guard: Paintings and sculptures. Thru Mar 21. Litmus Gallery, Raleigh. litmusgallery.com.

Carrboro Town Hall Group Exhibition: Paintings, mixed media, and glass mosaics from local artists Chrystal Hardt, Robert Votta, and Kim Campbell. Thru March.

Carrboro Town Hall, Carrboro. townofcarrboro.org.

Dorrie Casey: I He(art) Art: End date TBA. The Chatham Arts Council, Pittsboro. chathamartscouncil.org.

Color and Light: Susan Filley, Sasha Bakaric, Sudie Rakusin, and Peg Bachenheimer. Thru Apr 6. FRANK Gallery, Chapel Hill. frankisart.com.

Kristen DeGree: Screenprints.

Thru March. Carrboro Century Center, Carrboro. kristendegree.com.

Carrie Fonder: Mixed media.

Thru Apr 6. Reception: Apr 5.

VAE Raleigh, Raleigh. vaeraleigh. org.

Stephen Hayes: Legacy, Legacy, Legacy: Mixed media.

Thru May 19. CAM Raleigh, Raleigh.

I AM A MAN: Civil Rights Photographs, 1960-1970: Thru May 31. Center for the Study of the American South, Chapel Hill. south.unc.edu.

John James Audubon: The Birds of America: Ornithological engravings.

Thru Dec 2020. NC Museum of Art, Raleigh.

Left-Handed Liberty: Multiple artists. Thu Jun 23. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Roxanne Lorch: Faces of Durham: Paintings. Thru Mar 23. Bull City Art & Frame Co., Durham. bullcityartandframecompany. com.

Brett Morris: Monoliths: Thru Mar 30. Artspace, Raleigh. www.artspacenc.org.

National Print Invitational: Curated by Bill Fick and Judy Jones. Thru Apr 6. Artspace, Raleigh.

No Citation Needed: Jessica Burke, Melinda Fine, Rene Galvan, Denise Holland, Bridget Leslie, and Cara Smelter. Thru Mar 23. VAE Raleigh, Raleigh. vaeraleigh.org.

Other Dimensions: Hillsborough Gallery of Arts members.

Thru Mar 24. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border.

Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Paintings from the Estate of Wladimir de (Wlodzimierz) Terlikowski: Thru Mar 27.

Gallery C, Raleigh. galleryc.net.

Hobson Pittman and His Contemporaries: End date TBA. Lee Hansley, Raleigh.

Pop América, 1965-1975: Latin American pop art. Thru Jul 21. Nasher Museum of Art, Durham. nasher.duke.edu.

Portraying Power and Identity: A Global Perspective: Thru Mar 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com. reNautilus: Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

submit! Got something

for our calendar?

Submit the details at: https://indyweek.com/ submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

Morris: Their World Is Not Our World: Video installation.

Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org.

The Secret Ingredient: Thru Mar 31. Pleiades Gallery, Durham.

SENTINELS [l]: INFILTRATE: Amy Sacksteder, Christopher Martin, Eli Gfell, Emily Swanberg, Everything Is Collective, Marc Mitchell, Prerna, and Rebecca Steele. Thru Mar 16. Lump, Raleigh. lumpprojects.org.

Susie Silver: Paintings. Thru Apr 15. Aloft Hotel, Chapel Hill. vaeraleigh.org.

Some Twilight Land: Laura Charlton, Harrison Haynes, and Louis Watts Various media. Thru Apr 6. Oneoneone, Chapel Hill. oneoneone.gallery.

Mariam Stephan: In the Arches, We Cave: Paintings. Thru Apr 6.

Artspace, Raleigh.

SuperGraphic Print Lab: Thru Apr 6. Artspace, Raleigh. artspacenc.org.

William Paul Thomas: Disrupting Homogeny: Portraits.

End date TBA. Artist’s talk: Mar 7, 6 p.m. 21c Museum Hotel, Durham. 21cmuseumhotels. com/durham.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s: Photos. End date TBA. UNC Campus: Wilson Special Collections Library, Chapel Hill.

Jan-Ru Wan: The Noise We Make and the Shadow We Create: Mixed media.

Thru Mar 24. Cary Arts Center, Cary. janruwan.com.

Where We Find Ourselves: The Photographs of Hugh Mangum, 1897-1922: Thru May 19. Nasher Museum of Art, Durham. nasher.duke.edu.

Tom Willis: Journey: Paintings.

Thru Apr 12. Durham Convention Center, Durham. durhamarts.org.

Within the Frame: Photos. Thru Jul 21. NC Museum of Art, Raleigh. ncartmuseum.org.

Susannah Sayler and Edward INDYweek.com | 3.13.19 | 29

page

READINGS & SIGNINGS

Jeffery Beam: Spectral Pegasus / Dark Movements. Mon, Mar 18, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

ADA LIMÓN

One particular poem of Ada Limón’s, “The Leash,” has always stuck with me. In it, the author is walking her dog, who begins chasing a truck: “Because she thinks she loves them / because she’s sure, without a doubt / that the loud roaring things will love her back.” It’s hard to imagine a contemporary poet better than Ada Limón Limón at making such deft emoPHOTO BY LUCAS MARQUARDT tional shifts. In her work, ordinary encounters—taking out the trash, getting a drink with a friend—spawn meditations on love, self-destruction, and mortality, so raw they practically bleed off the page. Less-skilled poets might make these astral leaps and lose credibility, but Limón’s poems always have one foot attentively on the ground. She is the author of five collections of poetry, including last year’s The Carrying, and 2015’s Bright Dead Things, which was a finalist for the National Book Award. She’s also a lively, engaging reader, capable of holding a room captive with a poem about dog-walking. Also at this event: the N.C. State Poetry Contest awards ceremony. —Sarah Edwards

TALLEY STUDENT UNION, RALEIGH | 7:30 p.m., free, english.chass.ncsu.edu

3.14

Open Discussion Project: A Nation of Nations: A Great Immigration Story by Tom Gjelten 7pm The Trial of Lizzie Borden by Cara Robertson 7pm

3.17

Revenge of Magic by James Riley 7pm Special Under the Tree Storytime featuring Camille Andros 10:30am Stories on Sunday 10:30am

3.18

The Island of Sea Women by Lisa See 7pm

3.20

Dido Dodo, Future Spy: Recipe for Disaster

by Tom Angleberger 7pm

3.15 3.16

www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR NEW PODCAST: BOOKIN’ w/Jason Jefferies

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30 | 3.13.19 | INDYweek.com

Michael Mewshaw: The Lost Prince: A Search for Pat Conroy.

Wed, Mar 13, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Tom Angleberger: Children’s book Didi Dodo, Future Spy: Recipe for Disaster. Wed, Mar 20, 6 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

WEDNESDAY, MARCH 20

3.13

Regulator Bookshop, Durham. regulatorbookshop.com.

RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE

THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS

PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER

Carla Buckley: The Liar’s Child.

Hosted by Lee Child. Sat, Mar 16, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Ariel Burger: Biography Witness. Light refreshments.

Thu, Mar 14, 7 p.m. The Levin Jewish Community Center, Durham abigwigproduction. brownpapertickets.com.

Jenna Glass: The Women’s War. Tue, Mar 19, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Scott Huler: Travel narrative A Delicious Country. Sat, Mar 16, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

George Lakey: How We Win: A Guide to Nonviolent Direct Action Campaigning. Thu, Mar 14, 7 p.m.

Lucia Peel Powe: You Can Take It With You. Tue, Mar 19, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

James Riley: Children’s book Revenge of Magic. Fri, Mar 15, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Cara Robertson: The Trial of Lizzie Borden. Thu, Mar 14, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Lisa See: The Island of Sea Women. Mon, Mar 18, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

LECTURES ETC. Exploring the Frontiers of Science and Human Potential: Astronaut Mae Jemison. $30-$15. Wed, Mar 13, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Jenna Glass: The Women’s War. Tue, Mar 19, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Improving Your NCAA Bracket with Statistics: With inventor and computer scientist Tom Adams. Wed, Mar 20, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Stories that Matter: Humanities Leadership and the South: Jon Parrish Peede (National Endowment for the Humanities), William R. Ferris (Center for the Study of the American South, UNC-Chapel Hill). Free. Tue, Mar 19, 4 p.m. Center for the Study of the American South, Chapel Hill. south.unc.edu.

Voices from the Archives: The 1969 UNC Food Workers’ Strike: The Gladys Hall Coates University History Lecture. Wed, Mar 20. Reception: 4:30 p.m.

Performance: 5:30 p.m. UNC’s Wilson Special Collections Library, Chapel Hill. lib.unc.edu/wilson.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

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stage OPENING Bonnie and Clyde: Play. Mar 15-31. North Raleigh Arts & Creative Theatre, Raleigh. nract.org The Devil and Mark Twain: Play. Mar 15-24. The ArtsCenter, Carrboro. artscenterlive.org.

The Dollop: American history comedy podcast with Dave Anthony and Gareth Reynolds. $28$53. Sat, Mar 16, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Mike Epps: Funny As Ish Comedy Tour: Sommore, Lavell Crawford, DC Young Fly, and Earthquake. Fri, Mar 15, 8 p.m. PNC Arena, Raleigh. thepncarena.com.

Luenell: Comedy. Mar 14-17. Goodnights, Raleigh. goodnightscomedy.com.

Adam Mamawala: $10. Tue, Mar 19, 8 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Chrissie Mayr: $10. Mon, Mar 18, 8 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Atsuko Okatsuka: $15. Sun, Mar 17, 8 and 9:30 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Rob Schneider: Comedy. $35-$40. Fri, Mar 15, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Erica Spera & Blaire Postman: Comedy. $10+.

Sat, Mar 16, 8 p.m. The Cary Theater, Cary. thecarytheater.com.

Tap Dogs: Dance. Mar 19-20. Durham Performing Arts Center, Durham. dpacnc.com.

ONGOING 462 Stand Up Comedy Show: Rene Luna, David Goolsby, Alex Garrettson, JD Etheridge, David Decareaux, Dusty Cagle, and host Caroline Smith.

Sat, Mar 16, 9 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Bob Marley’s Three Little Birds: Musical play. $12-$18.

Thru Mar 24. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

TUESDAY, MARCH 19–SUNDAY, MARCH 24

THE KING AND I

At their best, the musicals of Richard Rodgers and Oscar Hammerstein II “still transport us out of this world while encouraging us to study it more closely,” critic Elyse Gardner notes. She was writing about Bartlett Sher’s 2015 Broadway revival of The King and I. There was significant skepticism about reviving a work long associated with uncritical colonialism and yellowface casting. But the closely scrutinized update refocused the 1951 musical into a more nuanced examination of the East/West cultural divide, an exploration of deepseated racial and sexual prejudices, and an inquiry into early feminist resistance in the eighteen sixties. The revival ran for more than a year on Broadway and won four Tony Awards, sparking a West End production in London. NC Theatre hosts the professional touring version, on the road since November 2016, in its second regional appearance this week. —Byron Woods

RALEIGH MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m. nightly/2 p.m. Sat. and Sun., $23+, www.nctheatre.com

Angela Baumgardner in The King and I PHOTO BY MATTHEW MURPHY

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 3.13.19 | 31

screen SPECIAL SHOWINGS Anaconda: Mon, Mar 18, 8 a.m. Alamo Drafthouse, Raleigh. drafthouse.com.

The Apple: $7. Wed, Mar 20, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

The Best of Enemies Premiere: Sold out. Tue, Mar 19, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Blood Of The Mummy Premiere: Sat, Mar 16, 2 p.m. The Cary Theater, Cary. thecarytheater.com.

Capernaum: Tue, Mar 19, 6 p.m. NCSU Campus Cinema, Raleigh.

Chopping Mall & Return of the Swamp Thing: Sat, Mar 16, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com.

The Exiles: Drama. Thu, Mar 14, 7 p.m. Shadowbox Studio, Durham. shadowboxstudio.org.

Faster, Pussycat! Kill!

Kill!: Wed, Mar 20, 8 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com.

High Plains Drifter: Fri, Mar 15, 2 p.m. Carolina Theatre, Durham. carolinatheatre. org.

Jawbreaker: Wed, Mar 13, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com.

The Last Movie: Mon, Mar 18, 7 p.m. Rubenstein Arts Center - Film Theater, Durham. ami.duke.edu.

PBS Kids at the Alamo: Valentine’s Mix: Sat, Mar 16. Alamo Drafthouse, Raleigh. drafthouse.com.

Rear Window & North by Northwest: Fri, Mar 15, 7 p.m. Carolina Theatre, Durham. carolinatheatre. org.

Talladega Nights: Mon, Mar 18, 7 p.m. Schoolkids Records (Raleigh), Raleigh. schoolkidsrecords.com.

The Wizard of Oz: $5.

Mon, Mar 18, 7 p.m. Rialto Theatre, Raleigh. newsite. ambassadorcinemas.com.

32 | 3.13.19 | INDYweek.com

Brainstorm

TUESDAY, MARCH 19

BRAINSTORM Gene Siskel once proposed that a film’s quality could be judged by whether it would be more interesting to watch a documentary about the actors having lunch. The 1983 film Brainstorm, filmed partially in the Research Triangle, has long been overshadowed by what may or may not have gone down with the actors off-camera—specifically, costar Natalie Wood’s death in a boating accident, which remains controversial to this day. But the film itself, directed by 2001: A Space Odyssey special-effects maestro Douglas Trumbull, has been reevaluated in recent years on the merit of its technical innovations and its early look at what would come to be called virtual reality. Christopher Walken stars as a scientist devising a means of recording a person’s memories to tape—this was before flash drives—and things get very freaky very quickly, partly because of Trumbull’s experiments with film speed and aspect ratios during the memory sequences (which were intended to be even more experimental before the studio squelched the idea).

This screening in the Ackland Film Forum’s “Fantastic Voyage: Cinematic Journeys into the Brain” series, in conjunction with exhibit The Beautiful Brain (see page 20), features introductions from George Smart, the executive director of North Carolina Modernist Houses, about the film’s modernist architecture, and Jorge Rodriguez-Romaguera of UNC’s Stauber Lab about the portrayal of neuroscience. —Zack Smith

VARSITY THEATRE, CHAPEL HILL | 7 p.m., $7, www.ackland.org

Woman at War: Fri, Mar 15, 2 p.m. Carolina Theatre, Durham. carolinatheatre.org.

OPENING Birds of Passage—This epic traces the rise of the Colombian drug trade. Unrated.

Captive State—The windy city is beset by an extraterresterial force in this thriller. Rated PG-13.

Climax—Gaspar Noé directs the story of a dance troupe whose partying goes terribly wrong. Rated R.

Nancy Drew and the Hidden Staircase—The spunky teenage sleuth is back, and something looks funky at the Twin Elms mansion. Rated PG. Wonder Park—A young girl uses her imaginative to make an amusement park come alive. Rated PG.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ Aquaman—This ludicrous DC Comics film runs on

seawater and flop sweat. Rated PG-13.  Arctic—This slowbuilding story of Arctic survival provokes tension and thought without words. Rated PG-13.  Captain Marvel— Brie Larson plays Vers, an intergalactic fighter who begins questioning who she is. Rated PG-13.  The Favourite—Yorgos Lanthimos (The Lobster) infuses this lurid period melodrama with his unmistakable sensibility of cruelty and absurdity.

Rated R.

½ Glass—In the conclusion of Shyamalan’s sort-of superhero trilogy, the big reveal is that there was never much to reveal at all. Rated PG-13. ½ The Lego Movie 2: The Second Part—Though there’s a live-action subplot, the little plastic people and their incessant pop-culture references remain the heart and soul of the franchise. Rated PG.  Mary Poppins Returns— While charming, the new version of the beloved Disney film apes the original so much

that it’s hard to see the point.

Rated PG. ½ Never Look Away—Loosely based on the biography of German painter Gerhard Richter, who condemned it, Florian Henckel von Donnersmarck’s film discards truth for sensationalism. Rated R ½ Spider-Man: Into the Spider-Verse—Not only is it a good Spider-Man story, this animated film introduces welcome diversity to the tale of Peter Parker. Rated PG.

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notices CIVIL ACTION NOTICE Clinton Durham & Rebekah Durham, Petitioner, has brought a civil action (Petition number 19-02153) against you to obtain guardianship of your Child(ren): Minor Female, DOB. 6/9/13. If you do not file an answer with the Court and send a copy to the Petitioner’s Attorney ( or to the Petitioner if unrepresented) at the following address 1398 Taraila Rd. Hartly De, 19953, within 20 days after publication of this notice, exclusive of the date of publication, as required by statute, this action will be heard without further notice at Family Court.

Date : 3/6/2019 IF YOU WISH TO BE REPRESENTED BY AN ATTORNEY IN THIS MATTER BUT CANNOT AFFORD ONE, YOU MAY BE ENTITLED TO HAVE THE COURT APPOINT AN ATTORNEY TO REPRESENT YOU FOR FREE. FOR MORE INFORMATION, PLEASE CONTACT THE CONFIDENTIAL CLERK AT FAMILY COURT (302) 672-1001

NOTICE - ROWLAND M. SHELLEY All persons firms and corporations having claims against the Estate of Rowland M Shelley, deceased of Wake County NC are notified to exhibit the same to the undersigned on or before June 15, 2019. Debtors of the decedent are asked to make immediate payment.

This 15 day of March 2019.

Lourdes Shelley, Executor, 3708 Tree Side Ct. Raleigh NC 27607.

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classy at indyweek dot com INDYweek.com | 3.13.19 | 33

1 4 9 5 3 6 7 2 8

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

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this week’s puzzle level:

© Puzzles by Pappocom

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4 3 8 1 5 and click “puzzle “Puzzle Pages.”

1 8 2 9 6 5 4 3 7 Best of luck, 5 9 and 7 3 have 2 1 6 fun!

8 4 8 6 1 7 9 4 2 5 3 www.sudoku.com 3 2 4 6 5 8 1 7 9

5 3Page 7 of 25 4 6 7 3 2

solution to last week’s puzzle

34 | 3.13.19 | INDYweek.com

3.13.19

1

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CLASSY AT INDYWEEK DOT COM 4 30/10/2005 1 2 6 3 1 9 7 8

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3

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INDYweek.com | 3.13.19 | 35

SNUGGLEMATES

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back page Weekly deadline 4pm Monday classy@indyweek.com

*On March 15, 1941, the General Assembly chose blossom of dogwood tree as the official state flower. The dogwood is also the state flower and tree of Virginia and the state tree of Missouri. *Durham lawyer, banker, and philanthropist John Sprunt Hill was born on March 17, 1865. He founded the Home Savings Bank, forerunner of Central Carolina Bank, and was an early leader in the rural credit union movement in Durham County.

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