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The INDY’s

Alternative Wedding Guide Love who you love. Make memories that last.

Be true to yourselves.

THE METHODIST CRACKDOWN, P. 10

CANCEL THE CATERER, P. 14

WHO KILLED MARRIAGE? P. 17

A Comic Opera !

Directed by Derrick Ivey Musical Direction by Jackson Cooper

March 29-31, 2019 THE CAROLINA THEATRE 309 W. Morgan St., Durham, NC TICKETS 919.560.3030 or carolinatheatre.org INFORMATION durhamsavoyards.org

2 | 3.20.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 36, NO. 12

DEPARTMENTS

5 Durham needs to add sixty-two thousand housing units by 2045 to keep up with population growth.

5 News

6 The median age of Raleigh residents is thirty-two.

Five of the city’s seven city council members are over sixty.

8 The Alternative Wedding Guide 24 Food 26 Music

7 Raleigh outgrew its form of government about two decades ago.

29 Arts & Culture 32 What to Do This Week

8 Marriage isn’t what it used to be. Your wedding shouldn’t be either.

34 Music Calendar 37 Arts & Culture Calendar

24 Whole-fish meals can be comforting family fare or gourmet adventures, depending on how you (don’t) slice it.

26 Grammy-nominated Malian musician Fatoumata Diawara translates her experience acting for screen and stage to her stunning concerts.

28 Mary Lattimore and Mac McCaughan almost seem to wink at the famous story of how Brian Eno dreamed up ambient music on New Rain Duets.

30 In Revisor, Kidd Pivot didn’t intend to make a dancetheater show about Trump. It’s just that corruption and incompetence are always in style.

A rainbow flag outside Fairmount UMC, placed in protest of the United Methodists’ crackdown on LGBTQ-affirming churches (see page 10) PHOTO BY BOB KARP

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backtalk

End of the Line, Part 2

Last week, we ran a bunch of comments about our coverage of Duke University’s decision to abandon a cooperative agreement with GoTriangle over the DurhamOrange Light Rail line, likely killing the project. We haven’t emptied out that mailbag just yet.

John Austin takes issue with editor Jeffrey Billman’s assessment that Duke effectively vetoed a project that had popular support: “I was one of many who voted for the idea of a light-rail system back in 2012,” he writes. “So much has changed in the intervening six years that I no longer support this system. The projected cost at the time was $1.4 billion—we are now approaching three times that cost, and Durham’s share has increased. Proponents of light rail cite the development benefits of such a system. However, it is difficult for me to believe that this system, in this area, with this routing, at this cost will create those benefits. The daily ridership numbers are extremely optimistic when compared to other light-rail systems, and GoTriangle has not been forthcoming with how they arrived at those numbers.

“We are on the brink of significant technological advances. Uber is barely six years old and has completely changed how we view taxis. Autonomous vehicles are not far away and will cause significant disruption.

Durham is a progressive and forward-thinking city. Why are we building a nineteenthcentury fixed rail system and not looking towards twenty-first-century solutions?”

“This article is totally irresponsible,” says Guy Whilden. “You come across like an upset child. Help me understand something: Did the people vote on the approval of the light rail? No, they did not. Whether or not [most people knew the transit sales tax hike would fund light rail] is speculation. Sure, it was known by many, but I bet there were plenty of people who actually based their vote on what the words literally said. A small group of people wanted this, and some of them had/have enough pull to get the project much farther than it ever should have.

“My biggest issue is that you felt you needed to try to humiliate Duke instead of being a legitimate journalist. Considering how you came out of left field with a totally unrelated incident involving Tallman Trask III [allegedly using a racial slur at a] parking attendant shows me that you know it wasn’t Duke’s fault. [Editor’s note: Trask suggested running the rail line through a black neighborhood instead of along Erwin Road.] That was also the point at which you completely compromised your integrity as a journalist and the point where the article became propaganda instead of anything resembling a source of news. Whether people support or don’t support the light rail doesn’t matter. What matters is the manner in which you presented your opinions in this article, and that the INDY thought it was appropriate to publish them.”

“Your article was terrific. Great journalism,” writes retired Superior Court Judge Melzer A. Morgan Jr. “I have long been a fan of rail. I did notice an editorial in The Daily Tar Heel recently opposing light rail and suggesting that buses were more flexible. We took a bus from Denver to Boulder several years ago and noticed what a passenger bargain it was and how frequently the buses ran between those two points.”

Patrick Murphy suggests our coverage is responsible for killing the deal: “After all the nastiness toward Duke, it is completely tone-deaf to ask them to come back to the negotiating table. You fools. You haven’t put pressure on them, you simply offended them.

Stop fanning the anti-Duke flames. You are just poisoning the well for the future.”

“Right,” counters Kuanyu Chen. “It is the rhetoric of an independent publisher that caused the schism in this deal, not the decades of delayed decisions and ‘further studies’ and renegotiation (and the eventual backout) that makes the city councils and transit officials not want to work with Duke’s Board of Trustees.”

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.

indynews

A Rock and a Hard Place

DURHAM’S PLAN TO INCREASE DENSITY IS RUNNING INTO OPPOSITION FROM THOSE WHO’D RATHER NOT SEE IT IN THEIR NEIGHBORHOODS BY SARAH WILLETS

A

s Durham’s planning staffers work on a slate of zoning changes designed to increase the city’s housing supply—and help mitigate the affordability crisis—they’re facing the same delicate balancing act that has bedeviled municipalities all over the country: trying to increase neighborhoods’ density without destroying their character; planning for future residents without alienating current ones; working toward the greater good while responding to individual reservations.

The fragility of that balance was on display last week during the Durham Planning Commission’s public hearing on proposals known as the Expanding Housing Choices initiative. Of the thirty-three speakers, few would say whether they were for or against the EHC. Rather, they fell into two camps: one asking for more time so they could understand how the proposals would affect their neighborhoods, the other urging commissioners to reconsider a previous version of the initiative that sought to increase density more aggressively.

In the end, the commission continued the hearing for sixty days, until its May 14 meeting. There, it could either delay a vote for another month or make a recommendation to pass along to the city council and county commissioners, who will have the final say.

The original EHC proposals, released in November, would have allowed the owners of a typical parcel in the urban core’s most common zoning district to build up to seven housing units where one house sits today.

Residents in the high-demand neighborhoods near downtown that planners were eyeing freaked out. They worried about accessory dwelling units towering over their backyards, additional traffic on their streets, and existing homes being replaced by new, more expensive units. They said they wanted evidence that the initiative would actually help Durham’s affordability problem, not make it worse.

Over the next six months, planners tried to work with them without undermining

the initiative’s goal—to allow more housing options for middle-income people as Durham grows. They crafted a new, more modest version of EHC, which was released just three weeks before the hearing. Among other things, it drops the maximum density for that typical lot down to three units.

$10,000 more a year than Durham natives— to snap up housing that would have otherwise been affordable to others.

The EHC initiative doesn’t aim to build affordable housing directly. Instead, the idea is to add to the city’s housing stock and give residents more options, as well as

“Single-family zoning is a cause of racial disparities, wealth disparities. It forecloses opportunities for different housing types.”

Planning director Pat Young says the revised proposal represents an incremental approach, and planners can monitor the results: If it succeeds, they’ll ramp up; if not, they’ll scale back.

Those who favor the original proposal, however, say this isn’t bold enough to change Durham’s housing landscape.

Durham needs to add about sixty-two thousand housing units by 2045 to keep up with population growth, which has outpaced construction for years. This shortage has led newcomers—who on average earn

to reverse the dominance of single-family zoning near downtown, which was put in place in the sixties.

It tries to make accessory dwelling units more attractive by capping their size at eight hundred square feet, rather than the existing limit of 30 percent of the size of the primary house. For people with small houses, this cap can make it impossible to recoup construction costs through rent. (The original version would have allowed ADUs to be built alongside duplexes, but that’s been scrapped.) The initiative would also permit

duplexes to be built by right in 21 percent of the city, up from 10 percent now, and nearly everywhere in the urban core where singlefamily homes currently exist.

“Single-family zoning is a cause of racial disparities, wealth disparities,” Young says.

“It forecloses opportunities for different housing types that are more affordable and to create more mixed-income neighborhoods.”

The proposed changes won’t stop gentrification, and they might give developers an incentive to tear down existing homes, especially in transitioning neighborhoods, planners acknowledge. But the revised proposals lower the maximum development potential, Young says, which might keep developers’ bulldozers at bay.

Still, planners can’t say for sure what’s going to happen when the new zoning rules go into effect, and it’s this kind of uncertainty that makes the EHC package a difficult sell. But as Young told commissioners last week, the only certainty is that doing nothing will lead to higher housing prices and more displacement.

Young says the planning department is trying to address individuals’ concerns about what the added density would mean for their neighborhoods, and will spend the next several weeks answering questions and doing public outreach. Residents should have a say in how their neighborhoods look and feel, he says, but there are some zoning components that need to change for Durham to grow equitably.

“We think there are some pieces of the urban form that are fundamental,” he says.

“If you limit lots to having to have large lot frontages or large sizes, you’re really perpetuating the historical legacy of exclusion and segregation to only people who have very high wealth. Those are the kinds of things we think are fundamental to access and inclusion, and we should not allow neighborhoods to prohibit those. If we do, we are accelerating and suborning our legacy of exclusion.” swillets@indyweek.com INDYweek.com | 3.20.19 | 5

news

Young Guns

RALEIGH IS A YOUNG CITY GOVERNED BY A NOT-SO-YOUNG COUNCIL. A DIVERSE CROP OF CANDIDATES WANTS TO CHANGE THAT. BY LEIGH TAUSS

“R

aleigh politics could use a reset,” Mayor Nancy McFarlane said last week.

In context, she was lamenting the “social disease” of “mean politics” that had “exploded” during her time in public life, which led her not to seek a fifth term.

But her words could be read another way, too: The city’s median age is thirty-two, but McFarlane is sixty-two. Five of her seven colleagues on the city council are over sixty, as well.

council spots currently held by Stephenson and Nicole Stewart. “The decisions they are making are impacting our generation and generations after us, but we’re not represented at all in those decisions.”

“What we’re seeing a lot of right now is just some voices getting through, and those voices are blocking progress for all,” says Saige Martin, a twenty-eight-year-old who announced a campaign Monday against Crowder for the District D seat. “It’s quite easy to say no to something. It’s much harder

better job embracing innovation and alternative transportation.

All of these candidates are younger than Stewart, currently the council’s youngest member at thirty-seven.

David Knight is not. The fifty-year-old director of the state’s Office of Outdoor Recreation Industry is thought to be challenging Mendell in District E, though he says he hasn’t committed to run.

“I think like a young person,” Knight jokes. “I have a lot of experience in and

Left to right: Brian Fitzsimmons, Patrick Buffkin, Robbie Rikard, Zainab Baloch, Saige Martin A diverse crop of young city council candidates hopes to change that dynamic this fall.

They argue that the city is being governed on behalf of a wealthy, aging elite and that the council is shutting the door on younger, lessaffluent residents.

They also believe that the council’s development-skeptical majority—Russ Stephenson, David Cox, Stef Mendell, Kay Crowder, and Dickie Thompson—is more interested in protecting their fiefdoms than representing the city as a whole, and say they’ve failed to craft a long-term vision for the future.

“I think that they are not making choices that are good for all residents, and that is because they are not representative of all residents,” says Zainab Baloch, twenty-seven, who is running for one of two at-large 6 | 3.20.19 | INDYweek.com

to say what you believe. It is much harder to put forward a positive vision for the city.”

Other challengers include Patrick Buffkin, a thirty-five-year-old lawyer hoping to unseat District A’s Dickie Thompson (who did not respond to the INDY’s inquiry about whether he’s seeking re-election), and Brian Fitzsimmons, a thirty-sixyear-old operations analyst and former chairman of the Wake County Democratic Party challenging David Cox in District B. Joining Baloch in the at-large races, thirty-two-year-old James Bledsoe hopes to give a voice to veterans, twenty-nine-yearold Robbie Rikard wants to invest more in transportation and affordable housing, and thirty-three-year-old divorce attorney Jonathan Melton says the city should do a

Three of the candidates—Martin, Melton, and Rikard—are gay. They say historically disenfranchised groups like the LGBTQ community need more visible representation on the city council, which appears to have never before had an openly LGBTQ member.

“It’s not just age, it’s all around,” Martin says. “Our city is not just old, white, straight people. It simply isn’t.”

These candidates aren’t politically uniform, and they’re not running as a slate. But

PHOTOS PROVIDED BY THE CANDIDATES

around government. It’s not a bad thing to have all of that experience.”

They’ll be joined by some familiar candidates, including the libertarian-leaning Olen Watson, forty-seven, and Shelia Alamin-Khashoggi, rumored to be running against incumbent Corey Branch in District C. (She could not be reached Monday.)

At least part of the reason for the council’s generation skew is structural. In so many words: money. Council members are considered part-time and paid $17,412. For wouldbe candidates saddled with student loan debt or who have full-time jobs, that can be a barrier to entry that wealthier people and those of retirement age may not face.

“You should be able to run without having a million dollars,” Baloch says.

they generally align on issues like affordable housing and transportation—or, if not on the exact solutions, at least on the idea that the city council is not treating these issues with the urgency they deserve.

“Raleigh needs to go grow,” Bledsoe says, “and I feel that this current city council is holding back our city and really keeping us from going in the right direction.”

Beyond policy questions, the challengers say the city needs a council that plays nicer together.

“The council is dysfunctional right now, and it’s not about who is right or wrong,” Knight says. “It’s about getting things done.

Things aren’t moving forward on the council, and that’s a problem.” ltauss@indyweek.com

soapboxer

The Case for a Full-Time Mayor RALEIGH’S NOT A SMALL TOWN

N

ancy McFarlane is tired of the bullshit.

Last Wednesday, Raleigh’s mayor announced that she wouldn’t seek a fifth term. The news only came as a surprise because, just a month ago, she was telling friends and advisers that she was still in.

It wasn’t hard to spot the straw that broke the camel’s back. McFarlane telegraphed it in her announcement: “We used to fight together for the things we cared about,” she said. “Now it seems like we just fight with each other. The mean politics of Twitter and social media is painful when it’s about you or someone that you love.”

She was most directly referring to a February 27 News & Observer story in which council member Kay Crowder accused her husband of “physically and verbally” assaulting her—Ron McFarlane reportedly yelled at Crowder, grabbed her by the shoulder, and shook her—during a confrontation after a Dix Park event. Crowder claimed to be “very shaken” by the experience.

McFarlane can take a punch, but she’s very protective of her family—in her mind, they’re absolutely off-limits. So if this was how her opponents were going to play the game, the game was no longer worth the aggravation.

It’s not like she needs it. She’s already secured her legacy with Dix Park and Union Station, not to mention eight years of growth and prosperity. She’ll leave office popular and respected. Besides, she’s never craved the limelight or seen this position as a stepping-stone toward another.

And she certainly doesn’t need the money. With Ron, McFarlane founded, built, and then sold a pharma business worth many millions of dollars.

Her successor will probably be well-off, too. It’s practically a job requirement.

That’s a problem.

The Raleigh mayor’s office pays $23,720 a year for an ostensibly part-time job that isn’t. That alone prevents people from running. Council member Nicole Stewart and

BY JEFFREY C. BILLMAN

former county commissioner John Burns have both said they can’t afford to be mayor because they can’t afford to give up their day jobs. We’ll never know who else might have run—businesspeople, activists, entrepreneurs—or what ideas they could have brought to the table.

And that raises a larger question: Raleigh is approaching a half-million residents.

Why is it still governed like a small town?

Actually, it’s governed like a nonprofit.

The council is the board of directors, which the mayor chairs. They appoint a city manager, the CEO, who runs the day-to-day.

The mayor doesn’t have much power; she’s just one of eight council members.

In Raleigh, that became clear in December 2017. Members of the new council’s ascendant anti-development faction rejected McFarlane’s committee assignments— historically the mayor’s prerogative—and replaced them with their own, a show of dominance. Since then, McFarlane—the city’s highest-profile elected official—has often found herself frustrated in a minority.

This form of government is referred to as council-manager, and it’s most popular among cities with populations of less than 250,000, according to the UNC School of Government—in other words, what Raleigh was in 1995. It’s designed to take politics out of local government. But as cities grow, politics becomes inevitable—and inevitably ugly. And politics will eventually make a job with little power and a lot of hassle unattractive, even if money isn’t an issue, and especially when it is.

Raleigh needs a stronger mayor, someone who can present voters with an agenda, has the authority to put it in place, and then is accountable for the results. That sort of change, though, will require help from the General Assembly, which seems unlikely.

So let’s set a more reasonable goal that Raleigh can achieve of its own volition: Give the full-time mayor a full-time paycheck.

Start making the job worth the bullshit. jbillman@indyweek.com INDYweek.com | 3.20.19 | 7

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his marks the INDY’s third effort at compiling our version of a wedding guide, which in 2017 we imagined as an alternative take on the traditional glossy-mag rendition of the form—the beautiful, petite white lady in a beautiful, flowing white dress as a vehicle to sell ads for ridiculous wedding-day luxuries that, if you spent your money differently, could put your kids through college.

Back then, same-sex marriage was still a new phenomenon—legal in North Carolina for three years, nationwide for two—and often overlooked in weddings guides. We saw an opportunity to explore how same-sex weddings were changing the business. More broadly, we saw an annual wedding issue as a chance to honor and promote the principle that all couples are uniquely beautiful and deserve to be celebrated for who they are, no matter who they are, no matter what kind of wedding they preferred (if they preferred one at all).

For most of us, the so-called issue of same-sex marriage has since receded into the background. Sure, the oddball legislator (i.e., Larry Pittman) will occasionally trot out some screwy bill to circumvent the Supreme Court, but it’s going nowhere, and all it’s good for is an eye-roll and a reminder that changing the law doesn’t stamp out the bigotry in people’s hearts.

Indeed, as Leigh Tauss reports, there’s an ongoing fight for the soul of the United Methodist Church—and several Raleigh congregations are pushing back against the denomination’s recent crackdown on same-sex marriage and LGBTQ-affirming congregations.

As same-sex marriage becomes normalized—as it becomes marriage—there’s a tendency to forget how hard generations of activists worked to get us there, and what access to the institution means to the community. So we asked a handful of local LGBTQ leaders to tell us their relationship stories, and how the right to marriage has empowered them.

Elsewhere in this package, we delve into ways to make your weddings—gay, straight, whatever—your own, whether that means hiring food trucks instead of a caterer (it’s harder than you think) or forgoing a traditional wedding cake for a cake of cheese (not a cheesecake). And Katie Jane Fernelius wraps things up with a look at declining marriage rates and who’s to blame for them (hint: not millennials).

Marriage isn’t what it used to be. It’s no longer a medieval transaction of property (though, of course, class elements remain), nor is it the point at which women are expected to drop everything and devote their lives to popping out babies (though some men would like to roll that clock back).

Weddings aren’t either. So love who you love. Make memories that last. Above all, be true to yourselves. —Jeffrey C. Billman

INDYweek.com | 3.20.19 | 9

wedding guide

Toxic Theology The United Methodists just cracked down on same-sex marriage.

Local churches are fighting back.

BY LEIGH TAUSS

“Y

ou are God’s beloved, and in you, God is well pleased.”

Jason Butler’s words echoed through the quaint downtown Raleigh chapel, reverberating off its walls. A warm glow radiated through the church’s stainedglass windows. Butler, a Virginia native earning his doctorate at Duke Divinity, is the pastor of the Open Table United Methodist Church on Bloodworth Street, which counts about two hundred members in its congregation. About a hundred were in attendance this Sunday morning in March.

Butler paced the pulpit, nestled between two big-screen televisions perched on the walls. He wore jeans and sneakers. His gray vest was the only nod to traditional clergy style. His message, too, was untraditional, at least to those raised in the socially conservative version of the faith pervasive in the South. He railed against hate in the media and urged his congregants to tune out negative voices.

“You are God’s beloved, and in you, God is well pleased,” he repeated, his voice wavering. He paused, looked over the crowd, then said it again. And again.

“You are God’s beloved, and in you, God is well pleased.”

This is a familiar refrain to most Christians—a tweak of Matthew 3:17, in which God boasts of Jesus, “You are my beloved son, in whom I am well pleased.”

But for Kim Costello, it took on a deeper resonance.

Like many of Open Table’s worshippers that morning, Costello identifies as LGBTQ. Her wife, Michelle Coleman, was seated beside her. Costello slid her arm around Coleman’s shoulders.

“Usually you get stares,” Costello said later. “I didn’t feel those eyes today.”

10 | 3.20.19 | INDYweek.com

Jason Butler, pastor of Open Table United Methodist Church It was their first time at Open Table.

They’d recently left their old church, another local Methodist congregation. They weren’t the only ones here who’d done so.

Over the past few weeks, Butler had seen dozens of new faces, many there for the same reason. Their previous churches were aligned with the global denomination. And the global denomination had just told them they were no longer wanted.

On February 26, the United Methodist Church, the second-largest Protestant (and largest mainline) denomination in the U.S., voted to maintain and strengthen

PHOTO BY BOB KARP

its ban on same-sex marriage and forbid members of the LGBTQ community from serving as clergy. By the narrowest of margins—fifty-four votes out of eight hundred delegates voting on behalf of nine million adherents—conservative delegates to the UMC’s national conference in St. Louis rejected an initiative to allow individual churches to decide whether to wed samesex couples or be led by LGBTQ parishioners. The vote threatens to fracture a denomination that traces its history back to the Wesleyan revival of eighteenth-century England.

Liz Roberts, the pastor of Fairmount United Methodist Church in Raleigh, says she wept as she watched the vote from the convention center’s cheap seats. Around her, fellow Methodists rose and chanted “No” as the votes were counted; the traditionalists sang in victory while reformers stormed the stage and sang out in protest.

“I’ve never seen an image of a broken church,” Roberts says. “There it was.”

The next day, John Suddath, an LGBTQ member of Roberts’s congregation, handed her a letter rescinding his longtime membership at Fairmount.

Rainbow colors adorn the steps to Fairmount UMC in Raleigh.

“At 83,” he wrote, “I now believe that reconciliation with my church is not possible and that the established order will continue for the foreseeable future. I don’t want to hear another endless debate of the ‘issue.’ I am not an issue; I am a person. If the church cannot accept me just as I am, then it has no place for me.”

But some local Methodists aren’t giving up the fight for LGBTQ equality within their church. Roberts planted hundreds of rainbow flags on her church’s grounds, where they stood until congregants took them. She

PHOTO BY BOB KARP

also planned to paint a pulpit in rainbow colors and leave it on the church steps, a sign to those who feel rejected by the mother church that they are welcome in her congregation.

Butler wants to take this local resistance beyond symbolic gestures. Last week, he began circulating a petition protesting the denomination’s decision and already has more than five hundred signatures. He says he’ll deliver it to North Carolina’s Bishop Hope Ward at the end of the month, leading hundreds of demonstrators to the Conference Headquarters in Garner.

Ward says she stands with Butler but is powerless to act. The so-called traditional plan approved by the convention’s delegates is now in the hands of the denomination’s judicial branch, which is expected to either uphold or reject it in April. She believes too much focus has been made on “one dimension of human existence”—sexuality—“to the neglect of other areas of our lives.”

“This hyper-focus is unhealthy,” Ward says. “What [Butler] desires is in harmony with what I desire for our church. He is embodying the best of spiritual traditions, which is to listen to God’s call upon our lives and to follow it, to love expansively, and to serve without reserve.”

This fight isn’t new to Butler, though it’s not the stance he imagined himself taking as a young pastor in Milwaukee in 2006.

He’d grown up evangelical, in an environment that taught that homosexuality was a choice—and a sin. But after he grew close to a same-sex couple in his neighborhood, his views changed, he says. God’s word, he came to believe, was a message of love, not condemnation.

He also saw a schism emerging in the Methodist movement over gay rights— and experienced it firsthand. His evolving views on LGBTQ rights cost him his frock in the Wesleyan Church 2015, after nearly a decade of service. But he didn’t lose his

faith. In 2016, he moved to Raleigh to for a fresh start; he launched Open Table in 2018 as a progressive, LGBTQ-affirming church and became licensed as a local Methodist pastor.

In a year, Open Table’s membership quadrupled from its original fifty. About a fifth of them identify as queer. To these congregants, the church is more than an open door. It’s also a place where LGTBQ members have their own activity group and are encouraged to participate in every aspect of worship, from being ushers to leading prayer to giving communion.

The global conference’s recent decision, however, could present Butler with a choice: Stop all that by next year, or risk losing his ordination. He hopes it won’t come to that; he’s convinced the denomination will figure out something less draconian. But Ward says it’s possible that won’t happen—that the anti-LGBTQ decision delegates made in February will remain church policy.

If so, Butler says, his mind is made up.

He’d rather lose his frock again than give in, he says.

“This stance is toxic,” he says. “Our theology is causing families to break apart and kids to kill themselves. Good theology always brings peace—shalom—flourishing in someone’s life.” ltauss@indyweek.com

INDYweek.com | 3.20.19 | 11

State Re DEB BUT

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Four (and a Half ) Years, Four Stories wedding guide

T S E B LE

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orth Carolina’s first same-sex marriage took place in Wake County on October 10, 2014, the same day a federal judge ruled Amendment 1 unconstitutional and eight months before the U.S. Supreme Court took marriage equality nationwide.

In hindsight, it’s easy to forget how momentous that day was, how hard decades of activists fought to get there, and how unthinkable the occasion might have been just a few years earlier. Yet in the four and a half years since, thousands of same-sex couples have taken the plunge, everyday weddings that have their own unforgettable moments and eternal memories, everyday marriages that have their own peaks and valleys, struggles and triumphs. What was not so long ago a radical notion has become just another thread in our societal tapestry. (And despite the direst warnings of our evangelical friends, the Almighty has yet to smite us. Someone go tell the United Methodists; see page 10.)

That was always the goal, right? For a marriage to be a marriage no matter who is married, almost a quotidian thing. But it’s not really a quotidian thing, not for a community that scratched and clawed to get it, not when there are those trying to roll back rights, not when there are battles for equality still to be waged.

Here, we wanted to take a moment to celebrate marriage equality, to reflect on what it’s meant for so many people. So we asked a few local LGBTQ leaders to share their stories—of marriage, of relationships, of life and death.

Of love. —Jeffrey C. Billman

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s ch I in w ings. Mar some cert validate m Or so I But I how the S Obergefell imminen up on m refresh b sion final my office part and, nedy, the union is m it embodi e dedicated our lives to eachity, devoti other after being together foring a ma two years, but there was no offi-somethin cial commemoration and noth- Having ing legal to ensure that she andhundred I would have legal access to each other ifI can safe needed. I remember when Amendmentthe instit 1 was being passed and how inhuman mysour grap now-wife and I felt. I remember feeling likeing of you the fat girl who no one wanted to play withmunity, a on the playground. I was hurt to the core ofyour love my usually happy-go-lucky soul. I could notthe greate understand how my state, the state I grew As I w up in, the state that I served as a volunteering from in, the state that I was proud to say was myunexpect home, could refuse to recognize my love. Ibecause w could not see that my love for my wife waswith the any different than that of any other person’snot a “frie love for their spouse. I am still wounded Everyo

by Amendment 1 and cringe when I see itJustice K listed in the North Carolina Constitution;union, tw however, I am eternally grateful to the U.S.er than th Supreme Court for validating my love anda love tha validating me as a person.

Truer w My wife and I have been married for five years, going on six, and were together for ten years prior to our marriage. We would have been married much earlier had it not been a problem for some. We were married in Baltimore, Maryland. It was a wonderful weekend of love, fun, and sharing with our family.

Not only is our marriage made and founded on love, but it is also founded on mutual respect and a promise to each other to make our marriage work. We have had our ups and downs, but we always come back to our love for each other and a desire to make our marriage a strong bond.

Top: Ford

State Representative ALLISON DAHLE

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State Representative DEB BUTLER

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s a person who was denied the franchise of marriage for all of my life, I found it very easy to dismiss the institution and to criticize it for what I perceived to be its shortcomings. Marriage wasn’t for me. I didn’t need some certificate or the blessing of anyone to validate my commitment and love for Anni.

Or so I thought.

But I sure was keenly interested in how the Supreme Court would rule in the Obergefell case and, as the ruling became imminent, I had the SCOTUS blog cued up on my office computer and I hit the refresh button pretty often. As the decision finally arrived, I was sitting alone in my office, and I quickly skipped to the last part and, as I read the words of Justice Kennedy, the tears flowed like rain. He said, “No union is more profound than marriage, for it embodies the highest ideals of love, fidelity, devotion, sacrifice, and family. In forming a marital union, two people become something greater than they once were.”

Having married my Anni in 2015 with a hundred friends and family in attendance, I can safely say that my former disdain for the institution was a classic example of sour grapes on my part. To have the blessing of your family, your friends, your community, and your government as you pledge your love and support of another person is the greatest gift of my life.

As I write these words, I am still reeling from the loss of my Annigirl. She died unexpectedly at fifty-two late last year, but because we were married, I was treated with the dignity and respect of a spouse, not a “friend.”

Everyone deserves the right to marry. As Justice Kennedy said, “In forming a marital union, two people become something greater than they once were … marriage embodies a love that can endure even past death.”

Truer words were never spoken.

KENDRA JOHNSON executive director, Equality NC

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ne night, before I even had an inkling that I was queer, I dreamed the most romantic dream of marrying another woman. We were both dressed in long, white-lace dresses, surrounded by friends and family and, in my dream world, overjoyed with our nuptials. My ease and happiness in that dream made me begin to question my own sexuality and, sure enough, just months later, I discovered that I had fallen in love with a woman. In that small way, marriage equality was an integral part of my coming out and my queer identity—even back in 1989.

Fast-forward thirty years, and I lived to see that catalyst dream become a reality for so many in North Carolina and beyond.

While marriage equality is definitely not the end-all-be-all of our work for LGBTQ liberation, watching the Lennies and Pearls have their relationships recognized right here and nationwide feels a lot like justice. Now, even after sixteen years with my partner and two kids later, I haven’t quite made it down the aisle. I don’t need a piece of paper to validate my love or commitment, but I am awfully glad that I now have a choice, rather than merely a romantic dream.

Wake County Commissioner GREG FORD

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ate one afternoon in October several years ago, Anthony Pugliese and I were married at sunset on a high cliff on Maui’s western shore. As I write this, memories rush forward of the warm gusts ruffling the flowers of the leis we each wore while the musician played a ukulele and sang “Over The Rainbow”— one of Anthony’s favorites, and now one of mine, too. It was a deeply personal and moving moment for each of us—officially merging our families, friends, and futures together; a personal, public, spiritual, and legal commitment to one another. It wasn’t a beginning, but rather a new highlight in our ever-widening and deepening love and commitment to one another.

Just like with any other marriage.

Of course, marriage is much more than a Hawaiian sunset. There are sometimes conflicting egos and wonderful surprises.

Joys and disappointments. Celebrations and illnesses. Unparalleled intimacy and shared dreams. Surprising compromises.

Hopes and delightful small moments and worries. Are we saving enough? Did you remember to pack the kids’ snacks? And good lord, when was the last time someone cleaned the little box?! But love and commitment and friendship and forgiveness remain, growing with time and memories, and with large doses of laughter.

Just like with any other marriage.

I think it’s wonderful that we can celebrate five years of “same-sex marriage” in our country—or as I prefer to call it, “marriage.” I hope people in the future will know that many Americans worked tirelessly to add marriage equality to the long, hardwon history of civil rights expansion in our country—and that they will need to protect and defend those rights just as aggressively. And they should know there will always be people working to erode and eliminate those rights. So as with any relationship, we can’t take success for granted, and we must actively work to strengthen our resolve— and each other. There’s still work to be done.

Just like with any other marriage. backtalk@indyweek.com

Top: Ford (left) and Pugliese. Bottom left: Dahle (front, with bouquet). Bottom right: Johnson (far left) with her family.

INDYweek.com | 3.20.19 | 13

wedding guide

Who Needs a Caterer?

Call a food truck (or three) instead. But it won’t be as simple as you think.

BY SARAH WILLETS

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hen my fiancé and I got engaged in August, we came up with a list of things we wanted and didn’t want at our wedding.

Want: Good outdoor area.

Lots of plants. Space to party freely. Lawn games. Good food and beer.

Don’t want: Lots of white. French chateau shit. Formal dinner service.

The idea of a formal wedding causes us both great discomfort and panic. For one, we’ve been together twelve years and have celebrated the milestones we’ve personally found most meaningful—moving in together and starting a life in a city we love. Deciding where to go for date night is, for us, basically a run-through of different combinations of places in Durham to get pizza and beer.

So the thought of waiters plunking down your choice of chicken or salmon in choreographed unison just wasn’t for us. Food trucks were more our speed.

We wouldn’t have to make a seating chart. Our friends and family could mingle and get food at their own pace. We’d get the casual vibe and good food we’re looking for, guests would have more options to choose from, and our wedding would have a touch that’s personal to us, and to the Triangle.

And we’re not alone: Just as the food truck industry has taken off in the last decade—it was an $800 million behemoth in 2017—so too has the notion of food truck weddings.

“A lot of the Triangle eats from food trucks on a weekly basis,” says Rochelle Johnson, one half of the husband-wife team that founded The Cookery, an event space and food business incubator, in 2011.

“We have our regulars, and they have just as much of an emotional connection to us and crave our food and want to share that with other people.”

The Cookery—in addition to hosting weddings—has helped launch some of the 14 | 3.20.19 | INDYweek.com

The Dan Dan Noodles from the Golden Goose food truck PHOTO BY ALEX BOERNER

Triangle’s most popular food trucks, like Chirba Chirba, Pie Pushers, and The Parlour. It also owns Soomsoom Pita Pockets.

Fortunately, there’s no shortage of food truck options in the Triangle, though not all do special events. Roaming Hunger, a national food truck booking service, lists 226 for the Raleigh-Durham area, from standard truck fare to more niche themes like waffles, shaved ice, and stuffed potatoes.

But having a food truck at your wedding isn’t as simple as just calling up your fave and asking them to swing by. There are a few things you’ll need to consider.

First, you need to figure out your budget and make sure your venue will allow you to bring in an outside caterer. You should also ask your venue if it can accommodate food trucks (they need space and possibly access to electricity) and whether it has hosted food trucks before to make sure there’s someplace for them to park and for guests

to wait in line and eat away from the crowd and the noise.

Johnson recommends that people who want food trucks at their wedding consider having their favorite truck cater their wedding, buffet- or family-style, rather than having the actual truck at the reception.

Booking the truck means it loses business elsewhere for that day, she says, and that will be reflected in a service fee. Setting up a self-service buffet may also put food on your guests’ plates and get them back to their tables faster than waiting in line and placing an order.

You could also have a hybrid setup, with an actual food truck doling out quick-tomake dishes like appetizers or desserts, and the main dishes ready for guests to serve themselves—or vice-versa. Or choose a caterer for dinner and surprise your guests by bringing in a truck toward the end of the night to serve desserts or late-night snacks.

Often people envision having “a mini food-truck rodeo” at their wedding, Johnson says, but realize that’s unrealistic as they get into the details. For one, the costs add up—food trucks are often cheaper than a traditional caterer, but probably not if you have a half-dozen—and the trucks themselves take up a lot of space.

That said, if you do want an actual food truck at your wedding, it’s probably a good idea to have more than one. Just imagine some of the lines you’ve waited in to get tacos or dumplings and extrapolate that out to your entire guest list.

From scanning wedding websites, I’ve gathered that you should have one food truck for every seventy-five guests, and depending on what’s on the menu, expect that some guests will go back for seconds.

Johnson suggests talking to your foodtruck operator about how to pare down menu items so that there isn’t as much prep involved, and scheduling a tasting. They’ll need to know when they can arrive to start setting up, when you want food service to begin, and how long it should last (twohours service seems to be standard).

Going without a traditional caterer may also mean you need to source your own plates, napkins, cups, and utensils. (Some food trucks provide these things when catering.) Johnson recommends couples hire a day-of wedding coordinator, and if they’re having more than one hundred guests, staff to help with food service as well.

At the end of the day, though, Johnson says what’s most important is that a couple’s wedding be “a real reflection of who you are”—even if your choices aren’t traditional.

“Everyone around you who loves you is going to appreciate it as well,” she says.

Here’s hoping our guests appreciate beer and pizza. swillets@indyweek.com

INDYweek.com | 3.20.19 | 15

PHOTO BY D.L. ANDERSON

Rose Macarons at Miel Bon Bons, Carrboro

Let Them Eat … Uh, Donuts?

Your wedding cake doesn’t actually have to be a cake

BY ANNA CASSELL

W

edding cakes can be feats of architecture and design—towering tiers! Shiny fondant! Delicate frosting! But, with these elegant creations, taste and texture can sometimes take a backseat to sculptural elements. Luckily, and unsurprisingly, the local food scene offers loads of other dessert options for couples who value flavor over tradition. Or maybe they just prefer ice cream to icing. Nothing wrong with that.

plays for a fee, and it’s happy to give assembly instructions for the budget-conscious.

Speaking of dramatic visuals, EARLY BIRD DONUTS owner Sowadi Chea sells a signature giant donut cake. One day in the kitchen, Chea found himself with a glob of extra dough, so he used a big bucket to cut it into a donut shape. He put the resulting mega-donut on display, and, to his surprise, a customer asked to buy it. He now gets regular orders.

DONUTS

FROZEN TREATS

If you’re going cake-free but still want the dramatic visual of a tower of starch, why not try a multitiered cake stand filled with donuts? Or maybe you’ve seen (and coveted) pictures of trendy donut walls, with donuts dangling from pegs. MONUTS can help with your donut decor needs. It will assemble dis16 | 3.20.19 | INDYweek.com

MAPLE VIEW FARMS loves love. Catering manager Allison Nichols says the creamery has catered a handful of weddings of couples who had their first date at one of Maple View’s parlors. Whether or not your love story is ice cream-specific, Maple View is a great full-service choice for a wedding. The

ice cream is local, and the catering services range from single-scoop bowls to a toppingladen banana split bar.

LOCOPOPS also offers a dizzying range of choices. It sells Mexican-style popsicles in about a million flavors, and it can work with you to create something custom. Buy and serve the pops yourself, or have Locopops cater out of either a vintage New York-style street cart or a converted VW bus.

PELICAN’S SNOBALLS is another fun choice. The New-Orleans style sno-ball has finer and fluffier ice than the crunchy snocones you may be used to. And Pelican’s, as a chain, is no stranger to catering. It even sells a wedding cake–flavored sno-ball.

Note: you’re welcome to special order ice cream by the gallon from THE PARLOUR, but the Durham fave is currently taking a break from catering.

PIES

Cake’s homey, earnest cousin has some major champions in the Triangle. EAST DURHAM BAKE SHOP is seasonal produce–conscious and owned by couple Ali Rudel and Ben Filippo. Even during intense pie-making seasons like Thanksgiving, they’ve never made a crust in a food processor. Their pastry is strictly hand-cut, which pays off in tenderness. Rudel and Filippo even made all the pies for their own wedding (peach-bourbon and a savory corntomato pie). Rudel does not recommend the DIY approach, however—in hindsight, too stressful. Let her do the work instead.

Local ingredients and married owners are a theme here: Through their small-time, literally homemade company STRONG ARM BAKING, Julia and Thomas Blaine do make wedding cakes, but they’re also

Who Killed Marriage?

Marriage rates are down, but you can’t blame millennials for everything

BY KATIE JANE FERNELIUS

wedding guide

pie experts. Like Rudel and Filippo, they only work with seasonal produce, but even with a winter wedding, you’ll be in luck— they make silky chocolate tarts year-round.

Julia Blaine says she dreams that someday a wedding client will order her banana pudding—a recipe she’s really proud of.

OTHER

For a vision of variety and bounty, try ordering a pastry platter from ROSE’S NOODLES, DUMPLINGS & SWEETS, complete with dainty cookies, macarons, cream puffs, and tarts. (The gingersnap-miso ice cream cookie sandwiches are also legendary.) Rose’s three pastry chefs can only make so many apple-candied ginger mochi cakes by hand, though, so they only take two weddings per weekend. Book fast.

And if you don’t have a sweet tooth but still want a gorgeous post-dinner display, you could just get a wedding cake made of cheese. Not a cheesecake, but, quite literally, a collection of large cheese wheels stacked in the shape of a wedding cake.

“We call it a cheese tower cake,” says Dani Copeland of BOXCARR HANDMADE CHEESE. “The word ‘tower’ helps.”

Boxcarr will assemble, decorate (with flowers or fruit), and serve the tower or sell you the fixings to stack one yourself.

Keep in mind that with massive cheese wheels, guests may have trouble serving themselves, Copeland says. It’s best to get someone to break down the display into manageable pieces. This also helps keep the remainder of the cheese looking as beautiful as it tastes. backtalk@indyweek.com

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arriage is dead, long live marriage.

Last year, North Carolina registered only 70,000 marriages, a rate of 6.8 percent per 1,000 residents, compared to a high of 8.1 percent in 2000 less than a generation ago.

Given that the media has already convicted millennials of killing department stores, homeownership, diamonds, disposable napkins, and Applebee’s, one would think they’re also the prime suspect in the collapse of matrimony as well. After all, millennials just aren’t getting married at the same rate their parents did. Among younger millennials, only 20 percent of people age eighteen to thirty are hitched, but 40 percent of baby boomers and 32 percent of Gen Xers were married during the same period of their lives.

But here’s the thing: Millennials are simply waiting longer to tie the knot. In 2018, the median age of a first marriage was 29.5 years old for men and 27.4 years old for women, up from 23 years old and 20.8 years old, respectively, in 1970. Back then, marriage was often the first step to adulthood.

For millennials, it can be among the last, a decision made after their careers and their debts are figured.

There is wisdom in waiting: When millennials marry, they divorce less.

The baby boomers, now between their mid-fifties and mid-seventies, made divorce an art form, and they’re still splitting up at astonishing rates. According to a Pew Research report, the divorce rate for those fifty and older has nearly doubled since the 1990s. Most of these divorces occur in second or third marriages, and for marriages shorter than nine years. (For those who stuck it out, divorce is unlikely; marriages of forty years or more are far more likely to end via the unconscious uncoupling of death than in a courtroom.)

But that doesn’t tell us why marriage rates are declining—and with them, the promises of two-and-a-half kids, a house

with a mortgage, and a stable, one-company career.

Someone—or something— must be to blame.

Of course, millennials are having fewer children, too— perhaps because of increased access to birth control or economic precariousness.

They’re not buying homes like their parents did, either. And the very nature of work has shifted and is continuing to shift. (Curse the words “gig economy.”)

All the while, the cost of weddings have soared—from $27,000 to $44,000 just between 2017 and 2018, according to Brides magazine. When the average price of a wedding in a big city like New York City can equal the price of a semester at a respectable university, it’s difficult not to compare what debts might be more useful: a wedding or a degree? (Worth noting: Millennials commonly cite student loan debt as a reason for waiting to get married.)

Maybe we should take a note from Jane Austen: Marriage has always been about class. The poorer you are, the less likely you are to get married. And no matter what class you are, you are most likely to marry someone of a similar educational background and income as you. In fact, many social scientists believe that class-similar marriages are part and parcel of income inequality.

Rich and educated people marry other rich and educated people, and they have rich and educated kids—and then bribe rowing coaches to get them into prestigious colleges, apparently. At that prestigious college, their rich and educated kid meets other rich and educated kids that they may later end up marrying. Their $44,000 wedding likely will be featured in The New York Times’s Style section. Wash, rinse, repeat.

But it’s a little more complicated than that. Second-wave feminism drove more

women into professional spaces previously dominated by men, allowing the intermingling of men and women of similar educational backgrounds, creating more two-income heterosexual marriages. There are fewer spaces where people of different classes can intermingle and meet.

There are also the soft determinants of class. Class may be shaped by income, education, and geography, but it also can inform what movies you find funny, what bars you frequent, and what hobbies you take up—all the kind of things that might inform why we swipe right on a given Tinder profile. Note that this is not a new phenomenon; the idea of marrying across class has always been scandalous (please see: your tenth-grade literature class). But income inequality has grown in the decade since the Great Recession, and with it, so has the social segregation of class.

What does all this portend for the future of marriage? Who knows? Marriage is not an antidote to income inequality and should not be peddled as such. But pretending marriage can only be about love ignores its long, complicated history of negotiating properties—including the bride—between families. Still, it seems overly cynical to throw out a whole enterprise that supplies love, companionship, tax breaks, and disgustingly pleasurable wedding hashtags.

Wringing our hands over marriage rates is a great way to wring our hands over family values, the promise of stability, and America writ large. Though seemingly objective, statistics are convenient conduits for various ideologies. But maybe it’s never been about marriage at all. It’s been about all the different ways that class manifests in our lives: From who we marry to how we marry, it’s about money, not just love. backtalk@indyweek.com

wedding guide

INDYweek.com | 3.20.19 | 17

deep dive

IL PALIO

EAT • DRINK • SHOP • PLAY

CHAPEL HILL

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ocals call it “The Southern Part of Heaven” for a reason. When you mix the perpetually sunny skies with the overwhelming kindness of residents, the ceaseless optimism of students, and the ease of the daily routine, Chapel Hill is quite unlike any other town in the South.

It’s a place where a Nobel laureate might hold the door and ask, “How y’all doing?” A place where the head basketball coach offers you his spot in line when he sees your hands are full. A place where students and townies blend harmoniously in the shade of the oaks, pines, willows, and maples that line the streets. And while most bleed Carolina blue, they’ll happily offer you a seat at their table no matter where you went to school. Unless you’re a Duke fan. In which case, in the words of UNC’s fight song, you can go to hell. —Michael Venutolo-Mantovani

EAT

BABALU TAPAS & TACOS

1800 EAST FRANKLIN STREET, 919-528-8030, EATBABLU.COM Pushing the envelope on traditional Mexican style just enough, Babalu slings small, shareable plates and a fantastic variety of tacos.

18 • SPECIAL ADVERTISING SECTION • 3.20.19

JUJUBE

1201 RALEIGH ROAD, 919-960-0555, JUJUBERESTAURANT.COM Offering a contemporary take on a variety of Eastern cuisines (from Chinese and Vietnamese to Hawaiian), Jujube has one of Chapel Hill’s most daring menus.

LANTERN

BARTACO CHAPEL HILL

610 WEST FRANKLIN STREET, 919-929-7643, CROOKSCORNER.COM Often credited with putting Southern cooking on the gastronomic map, Crook’s Corner blends homestyle with haute. To say the shrimp and grits are world famous would be an understatement.

508 WEST FRANKLIN STREET, 919-968-4671, ITALIANPIZZERIA3.COM One of the few true pizza parlors around— that is, a place where you can walk in, grab a slice and a Coke, hoover it down, and continue on your way.

431 WEST FRANKLIN STREET, 919-425-0760, KIPOSCHAPELHILL.COM Offering an ebullient atmosphere, often with live authentic Greek music and a raucous open kitchen, a dinner at Kipos can stretch into an evening-long undertaking. Order any of the myriad appetizers to share (I recommend the grilled squid), settle in with an entrée (try the Fisherman Stew), and enjoy the slate of fantastic wines (start with the C. Lazaridi “Oenodea”).

516 WEST FRANKLIN STREET, 919-904-7659, ALSBURGERSHACK.COM Al’s makes America’s best burger. That’s not just my opinion (though it is my opinion).

It’s also the opinion of TripAdvisor, which recently bestowed this honor upon the West Franklin Street staple.

CROOK’S CORNER

ITALIAN PIZZERIA III

KIPOS GREEK TAVERNA

AL’S BURGER SHACK

201 SOUTH ESTES DRIVE, 919-807-8226, BARTACO.COM As the name implies, Bartaco focuses on tacos and drinks. Sure, there are “not taco” options on the menu, but why bother?

1505 EAST FRANKLIN STREET, 919-918-2545, ILPALIO.COM Il Palio offers a buttoned-up take on classic Italian plates like the Bucatini All’Amatriciana and the Pappardelle Bolognese, with an attendant wine list as long as Franklin Street.

PHOTO BY CAITLIN PENNA

FLAIR RESTAURANT & WINE BAR

50100 GOVERNORS DRIVE, 919-967-9990, FLAIRFORFOODRESTAURANT.COM With expertly designed interiors and a menu that is both highbrow (Duck A L’orange ) and low (Hangover Burger), Flair is one of Chapel Hill’s can’t-miss spots for a night out.

423 WEST FRANKLIN STREET, 919-969-8846, LANTERNRESTAURANT.COM If there’s one restaurant Chapel Hill is known for, it’s Andrea Reusing’s Lantern. The James Beard-winning chef’s haunt has garnered acclaim for its marriage of classic Asian flavor with local North Carolina ingredients. Ask about the flash-fried cilantro.

LUCHA TIGRE

746 MARTIN LUTHER KING JR. BOULEVARD, 919-904-7326, LUCHATIGRE.COM You won’t find many Mexican/Asian joints featuring tequila/sake bars. Luca Tigre blends two of the most tread-upon culinary forms to create something wholly unique.

MAMA DIP’S

408 WEST ROSEMARY STREET, 919-942-5837, MAMADIPS.COM Since 1976, Mama Dip’s has honed the “dump cooking” method—that is, cooking to taste, rather than from a recipe—for everyone from locals to students to sitting presidents. Proprietor Mildred Council recently passed away, but her Rosemary Street establishment keeps her spirit alive.

MEDITERRANEAN DELI, BAKERY & CATERING

410 WEST FRANKLIN STREET, 919-967-2666, MEDITERRANEANDELI.COM Known as much for the free olive bar as for the hulking falafels, gyros, and shawarmas, Med Deli’s selection of house-made Mediterranean dishes have made this Franklin Street spot a must. Check out the adjacent market.

MERRITT’S GRILL

1009 SOUTH COLUMBIA STREET, 919-942-4897, MERRITSSTOREANDGRILL.COM You can order any of the delicious sandwiches, but why would you, when there’s really only one reason to go to Merritt’s? Well, three reasons: Bacon.

Lettuce. Tomato. The Merritt’s BLT is the stuff of legend. Order it like a townie, on sourdough, with mayo, salt, and pepper.

NORTHSIDE DISTRICT

403 WEST ROSEMARY STREET, 919-319-7044, THENORTHSIDEDISTRICT.COM Come for the drinks, stay for Northside’s amazing take on bar food, which marries low and highbrow, barroom with gourmet. With a kitchen that stays open late, it’s the perfect spot to pile some food on a stomach full of weekend beer. Try the rosemary cheddar mac and cheese.

SUNRISE BISCUIT KITCHEN 1305 EAST FRANKLIN STREET, 919-933-1324, SUNRISEBISCUITS.COM With lines of cars that stretch out the parking lot, this drive-up/walk-up joint serves hulking, flaky biscuits with a myriad of sandwich selections that can serve many purposes, from keeping the kids happy to calming a hungover stomach.

SUP DOGS

host of appetizers, and a full bar, Sup Dogs is comfort food at its most reassuringly basic.

107 EAST FRANKLIN STREET, 919-903-9566, SUPDOGS.COM Often jammed with students, their visiting parents, and townies alike, Sup Dogs’ menu features a dozen specialty dogs (try the Buffalo Dog), classic tater tots, boneless wings, a

TACOS EL NIÑO

102 SOUTH MERRITT MILL ROAD, 919-932-0230 With tacos that rival the best Austin or Los

Angeles has to offer, Tacos El Niño is a white box truck that sits in a dusty parking lot at the end of West Franklin.

Shanghai speakeasy or a New Yorker’s onlyin-the-know spot. It’s Chapel Hill’s best-kept secret, hiding in plain sight.

TIME-OUT GRILL

BEER STUDY

201 EAST FRANKLIN STREET, 919-929-2425, TIMEOUT247.COM Open 24/7, Time-Out should be your last stop before home after the bars kick you out.

VIMALA’S CURRYBLOSSOM CAFE 431 WEST FRANKLIN STREET, #415, 919-929-3833, CURRYBLOSSOM.COM Leaning into the modern ethos of locally sourced, sustainable practices, Vimala’s blends Indian roots with Piedmont sensibilities. Lots of vegan options, too.

DRINK

THE BACK BAR AT LANTERN

PHOTO BY ALEX BOERNER

deep dive

423 WEST FRANKLIN STREET, 919-969-8846, LANTERNRESTAURANT.COM Writers have spilled more than enough ink, about Lantern without mentioning the hushed, urbane sensibility of its back bar, which could easily be confused for a

106 NORTH GRAHAM STREET, 919-240-5423, BEERSTUDY.COM With a floor-to-ceiling rack of craft beer, a short bar with a few local brews on tap, and a small scattering of chairs, tables, and board games, Beer Study is an unassuming cathedral to beer.

BLUE HORN LOUNGE

125 EAST FRANKLIN STREET, 919-929-1511, FACEBOOK.COM/BLUEHORNLOUNGE Surrounded by university T-shirt shops and bookended by cheap eateries is a tiny room with a long, slender bar and not much else.

Blue Horn is the East Franklin rarity that draws more locals than students.

CAFFÉ DRIADE

1215 EAST FRANKLIN STREET, 919-942-2333, CAFFEDRIADE.COM Caffé Driade offers coffee, tea, beer, and wine in a bucolic environment that’ll make you forget the larger environs of the bustling university town.

B E SNGTLE OF

TH E

TRIA

2019

EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 24:

CARY/APEX/MORRISVILLE For advertising opportunities, contact your ad rep or advertising@indyweek.com

TE A N I M O N OW! N E T O AND V Y W E E K.C O M D W W W.IN 3.20.19 • SPECIAL ADVERTISING SECTION • 19

THE CAVE

452 WEST FRANKLIN STREET, 919-968-9308, CAVERNTAVERN.COM After four decades, Franklin Street’s famous subterranean dive closed in 2018.

Fortunately, after a weeklong funeral, a few industrious locals scraped together enough scratch to purchase the bar, spruce it up, and keep the doors open for what will hopefully be another forty years of cheap beers, punk rock, and friendly faces.

PANTANA BOB’S

305 WEST ROSEMARY STREET, 919-942-7575, FACEBOOK.COM/PANTANABOBSCH The most unassuming bar in Chapel Hill, P-Bob’s is the rare college-town watering hole that keeps both students and locals happy. Inside, the lights never dim. Outside, Bob’s patio offers one of the best places in the Triangle to stretch out with a tall, cold beer, catch up with friends, and watch a game. The wings are among the best in town and pair best with an ice-cold draft. Think PBR, not IPA.

TOP OF THE HILL

100 EAST FRANKLIN STREET, 919-929-8676, THETOPOFTHEHILL.COM Topo caters to locals during the day and students into the night. Grab a table on the outdoor patio and try some house-brewed beer.

WEST END WINE BAR

450 WEST FRANKLIN STREET, 919-967-7599, WESTENDWINEBAR.COM Front windows wide open, a jazz trio playing, and a cool fall breeze filling the room is the best way to enjoy a post-dinner glass of red.

ZOGS ART BAR & POOL HALL

PHOTO BY CAITLIN PENNA

THE CRUNKLETON

320 WEST FRANKLIN STREET, 919-969-1125, THECRUNKLETON.COM Chapel Hill’s ode to the cocktail, The Crunkleton’s dark, wood-filled bar gives a sense of drinking in a well-appointed hunting cabin.

HE’S NOT HERE

112 1/2 WEST FRANKLIN STREET, 919-942-7939, HESNOTHERENC.COM The light beer-drenched embodiment of a college town, “He’s Not,” as it’s known, features a sprawling, picnic-table-filled yard that leads upstairs to a frill-free joint whose sole purpose is to get excited college kids drunk.

THE KRAKEN

2823 N.C. HIGHWAY 54 WEST, FACEBOOK.COM/ KRAKENBARCHAPELHILL One part roadside dive, one part local hang, one part rock ’n’ roll clubhouse, The Kraken’s rough-and-tumble exterior belies a sweet and welcoming bar staff ready to offer up their corner of the Triangle to you for a sudssoaked, rock-filled evening.

20 • SPECIAL ADVERTISING SECTION • 3.20.19

here is a must, if only to visit the home base of the man who made the argyle pattern synonymous with Tar Heel basketball and designed the Charlotte Hornets’ early uniforms.

RUMORS

106 NORTH GRAHAM STREET, 919-942-2335, SHOPATRUMORS.COM With an ever-rotating selection, Rumors requires regular visits, as the racks boast entirely new wares every time. Sandwiched between The Baxter and Beer Study, you can follow up an afternoon of day drinking with a stumble over to Rumors to grab that ridiculous/amazing Fleetwood Mac all-overprint tank-top.

SCHOOLKIDS RECORDS

405 WEST FRANKLIN STREET, SUITE C, 919-960-9272, SCHOOLKIDSRECORDS.COM Always in the conversation for the Triangle’s best record store, Schoolkids purchased longtime Chapel Hill record haunt CD Alley in 2016, reestablishing a Franklin Street beachhead eight years after its original Franklin Street digs closed. As before, Schoolkids is a haven for vinyl geeks and music lovers of all sorts.

SUTTON’S DRUG STORE

108 HENDERSON STREET, 919-240-5598, FACEBOOK.COM/ZOGSBAR Zogs is part pool hall, part art gallery, part seafood joint, and all parts a strange and bizarre dive. Replete with pool tables, SkeeBall, and dozens of board games, it’s easy to lose an entire day in this dark second-floor haunt.

159 EAST FRANKLIN STREET, 919-9425161, SUTTONSDRUGSTORE.COM The proprietors of Chapel Hill’s other best cheeseburger, Sutton’s Drug Store is worth the visit for the candy and soda selection alone. This Franklin Street mainstay—now five years shy of its hundredth birthday—will sate both your sweet tooth and your sugarinduced nostalgia.

SHOP

ULTIMATE COMICS

FLYLEAF BOOKS

752 MARTIN LUTHER KING JR. BOULEVARD, 919-942-7373, FLYLEAFBOOKS.COM Like any great independent shop, Flyleaf is more cultural hub than mere bookshop. Sure, there are stacks of great literature and tables overflowing with the newest books, but where Flyleaf shines is in its packed schedule of readings and appearances by authors both local and world-renowned.

JULIAN’S

135 EAST FRANKLIN STREET, 919-942-4563, JULIANSTYLE.COM Born and raised in Chapel Hill, Alexander Julian is a renowned fashion designer who has made his mark on both the fashion and sports worlds. Even if you don’t fancy pocket squares and tailored pants, a stop

6120 FARRINGTON ROAD, DURHAM, 919806-8282, ULTIMATECOMICS.COM Whether in search of the new issue of Spiderman, a boutique-print graphic novel, the latest action figures, or a meetup for weekly RPG games, Ultimate Comics is a haven for area nerds.

PLAY

ACKLAND ART MUSEUM

101 SOUTH COLUMBIA STREET, 919-966-5736, ACKLAND.ORG A world-class art museum on UNC’s campus, the Ackland is small enough for a quick breeze through yet dense enough to spend an entire day. With pieces ranging from contemporary to ancient, the Ackland covers a wide swath of art history while always feeling focused and engaging. Head

across the street to the museum store for a selection of coffee-table books, household trinkets and gadgets, and gifts.

THE BAXTER

108 NORTH GRAHAM STREET, 919-869-7486, BAXTERARCADE.COM It serves beer, wine, and liquor, but you don’t need to drink to have a good time here. With classic arcade games lining the walls and display cases full of old-school toys, The Baxter is what you always dreamed of having when you were a kid. Under-twenty-ones are allowed on weekends from noon to five.

CAROLINA PERFORMING ARTS

114 EAST CAMERON AVENUE, 919-843-3333, CAROLINAPERFORMINGARTS.ORG Neko Case, Buddy Guy, Wynton Marsalis, Bela Fleck—those are just a few of the names featured on this season’s slate at Carolina Performing Arts.

THE CHELSEA THEATER

1129 WEAVER DAIRY ROAD, 919-968-3005, THECHELSEATHEATER.COM Where better to get your arthouse movie fix than at an actual arthouse? For nearly three decades, the Chelsea has brought challenging, evocative, and fiercely independent cinema to Chapel Hill. Now a member-run nonprofit, it’s the best place to catch movies that won’t end up at Silverspot.

FRANK GALLERY

109 EAST FRANKLIN STREET, 919-636-4135, FRANKISART.COM Tucked inside of University Mall, The FRANK Gallery offers current and contemporary arts. With a full slate of events, classes, and workshops, it’s not just for perusing.

LOCAL 506

506 WEST FRANKLIN STREET, 919-942-5506, LOCAL506.COM A step above a local dive and a step below a major venue, Local 506 is the ideal place to see a band on their way up. Featuring one of the best-sounding rooms in America, the 506 has long been a lynchpin in the touring itinerary of national acts, though it still hosts locals regularly.

MOREHEAD PLANETARIUM AND SCIENCE CENTER

250 EAST FRANKLIN STREET, 919-962-1236, MOREHEADPLANETARIUM.ORG Known as the place where NASA astronauts trained from the mid-fifties to the seventies, UNC’s Morehead Planetarium and Science

Center is one of America’s oldest and largest planetariums. Hosting celestial presentations, social and educational events, and exhibits, it’s a prime destination for the celestially curious.

NIGHTLIGHT BAR & CLUB

405 1/2 WEST ROSEMARY STREET, 919-960-6101, NIGHTLIGHTCLUB.COM If The Cave is your jovial friend who went to a liberal arts school, got a gig DJing at the local radio station, and started a band, Nightlight is her uber-hip cousin, the fine arts major who is really into Jandek, experimental poetry, and performance art. The Triangle’s premier outpost for art that challenges while entertaining, Nightlight trades in music that readily steps outside the bounds of popular form.

NORTH CAROLINA BOTANICAL GARDEN & COKER ARBORETUM

100 OLD MASON FARM ROAD, AND 399 EAST CAMERON AVENUE, 919-962-0522, NCBG.UNC.EDU For a healthy dose of serenity, Chapel Hill’s two arboretums shouldn’t be missed.

Barely two miles apart, the North Carolina Botanical Garden and the on-campus Coker Arboretum—the former manages the latter—are suburban oases. Once in their dreamy environs, the sounds of passing cars and energized undergrads give way to the swoosh of wind through the trees, the chirps of crickets, and the crunch of leaves beneath your feet.

PLAYMAKERS REPERTORY COMPANY 120 COUNTRY CLUB ROAD, 919-962-7529, PLAYMAKERSREP.ORG UNC’s professional theater company in residence, PlayMakers is celebrating its centennial during the 2018–19 season.

SILVERSPOT CINEMA

201 SOUTH ESTES DRIVE, #100, 919-357-9887, SILVERSPOT.NET With comfy, cushioned armchairs, a full bar, and restaurant-quality food delivered straight toyour seat (which is reserved before the movie starts), Silverspot is a high-end theater in experience only, as ticket prices are commensurate with any other chain.

THE UNC BASKETBALL MUSEUM

450 SKIPPER BOWLES DRIVE, 919-962-6000 UNC’s men’s basketball program is as inextricable from Chapel Hill as August’s crushing humidity or the genteel nature of its denizens. It’s also one of the most successful in the history of college basketball, so it would make sense to have a memorial worthy of the team’s history. Step inside to see ephemera and artifacts covering the entire history of the Tar Heel hoops, from a variety of warmups, game-worn jerseys, and vintage programs going back nearly a century to—my personal favorite—a note from coach Dean Smith to a young Michael Jordan explaining what he needed to work on during the summer before his sophomore year. But don’t forget to look down, where spots on the simulated hardwood floor are marked to indicate where and when some of the most famous Tar Heel shots were taken. Even if the Tar Heels aren’t your squad, it’s hard not to take a slow lap through the museum, mouth agape at the history. If the Tar Heels are your squad, have some tissues handy.

VARSITY THEATRE

123 EAST FRANKLIN STREET, 919-967-8665, VARSITYONFRANKLIN.COM With only a few screens and a $7 adult ticket, the Varsity has been a staple on Franklin Street for nearly half a century, regularly blending new blockbusters with just-left-the-theater movies, indie films, and special events.

MORE FROM OUR ADVERTISERS CAPP’S PIZZERIA & TRATTORIA

79 FALLING SPRINGS DRIVE; 919-240-4104; CAPPSPIZZERIA.COM Traditional Italian cuisine including house made pastas, wood-fired Neo-Neoplitan style pizzas, salads, sandwiches and desserts using seasonal ingredients sourced from the local landscape.

PHOTO BY JUSTIN COOK

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indyfood

Sharing Is Herring

LOCAL WHOLE-FISH DISHES CATER TO FAMILY-STYLE DINERS AND ADVENTUROUS GOURMANDS ALIKE BY NICK WILLIAMS With a subtle flourish from the server, the mojarra arrives, a black sea bass fried to a bristling shatter, coyly dressed in lime slices and red onion. At first, it’s unclear exactly how to crack its seasoned carapace, but there’s no choice but to dive in, forks scraping and fingers prying every morsel from its armature of bones. Is that a fin?

Eat it in one bite, tiny bones dissolving in sweet fish juice. At El Restaurante Ixtapa, a tiny Mexican joint tucked away next to the Eno River in Hillsborough, mojarra is one of dozens of whole-fish dishes—head and tail often intact—being served at restaurants across the Triangle in an affirmation of the joys of bones-and-all seafood.

Depending on the setting, eating whole fish can be a lavish and rococo act of precision gourmandize. It can be celebratory, an embodiment of the primal spectacle of an entire animal lovingly prepared and displayed for consumption. But eating a whole animal can also come with a pleasant, even quotidian sense of abandon, the same urge for indulgence often satisfied by a shrimp boil or pig pickin’. It’s a messy, hands-on enterprise, and the skeletonized remains can present pleasantly gory evidence of a job well done. And while they can certainly be a feast for one, whole fish are an exemplar of the current rage for eating family-style, often serving as the centerpiece around which gather a caucus of shareable plates.

“It represents abundance … and completion,” says David Yu, owner of Carrboro’s Gourmet Kingdom, explaining why whole fish is ubiquitous on tables across China during Chinese New Year. “In Mandarin, the word for ‘fish’ and the word for ‘abundance’ have the same pronunciation.”

Gourmet Kingdom usually has about ten whole-fish dishes on the menu, most of them tilapia. Yu, after thoughtfully checking on my spice tolerance, unabashedly recommends the crispy whole fish in Szechuan bean sauce. Draped in a fiery cloak of chili and fermented black bean, it’s an exercise in maximalism, especially 24 | 3.20.19 | INDYweek.com

Top: Fried croaker plate at Saltbox Seafood Joint PHOTO COURTESY OF SALTBOX Left: Mojarra at El Restaurante Ixtapa PHOTO BY NICK WILLIAMS

compared to Ixtapa’s relatively unadorned version.

A whole fish hitting the table is an event in any setting, but it’s particularly showstopping at Gocciolina, Aaron Benjamin’s beloved Italian restaurant in Durham. In fact, Gocciolina’s whole grilled fish, in its mesmerizing broth of lime and Calabrian chili, served as initial inspiration for this story. It’s a perfect dish for collaboration. Excising every morsel from the skeleton becomes a party game in which the currents of food karma dictate that one shares the best bits—the belly, the cheek, the muscle behind the eye—with grateful tablemates.

Until recently, Gocciolina used branzino for its whole fish. Branzino is sustainably farmed in the Northern Atlantic and is prized in East Coast restaurants for its meaty flavor and satisfying texture. But Benjamin has begun using wild-caught fish like vermillion snapper for his whole grilled fish, and he expanded the

restaurant’s selection to include occasional preparations of sea mullet, spot, and perch.

Whole-fish dishes, while visually striking and labor-intensive to eat, don’t always have to be special-occasion food. North Carolina’s rich culinary history is a litany of whole-fish preparations, most of them aimed squarely at the humble family table. No local chef advocates for the everyday pleasures of whole fish like Ricky Moore, coastal North Carolina native and owner of Durham’s Saltbox Seafood Joint. Moore, however, prefers the more descriptive term “bone fish.”

“I’m a bone-fish evangelist,” says Moore.

“For people who don’t usually eat fish with the bone in it, ‘whole’ is more palatable. And customers have been conditioned to receive that—they’re not used to seeing croaker on the menu.”

Croaker—a hearty little fellow maxing out at about one-and-a-half pounds—is one of many abundant species that congregate in coastal waters. Moore wants to see more of these small, relatively common fish on

menus, and not just because they taste great when fried up whole.

Mild-tasting, white-fleshed fish like snapper and flounder are extremely popular and often delicious, but overfishing has led to reduced seasonal stocks and strict catchlimits. This results in expensive and environmentally unsustainable fish, not a great pick for the unfussy meals Moore serves in his restaurants.

“The sustainable fish you can eat right now—croaker, spot, pigfish, butterfish, sea mullet, et cetera—these are best served as whole, bone-in fish,” Moore says.

A few bites of Saltbox’s bone-in croaker are delectably convincing. They come three to an order, enough to share or to sate a solitary craving. The preparation is similar to Ixtapa’s, but the seasoning—subtly piquant and complex—is evocatively Southern, serving only to enhance the natural flavor of the flesh. It tastes like the fish jumped into the net pre-seasoned, happily ready for the fryer.

And yes, it comes with a hell of a lot of bones. Fortunately, many of them are edible.

“The joy in eating whole bone-in fish as I grew up eating it, you got to cook it to a level that I call ‘fried hard,’” Moore says. “Extra crispy, crunchy. You wouldn’t cook a snapper to that degree of doneness.”

Moore briefly ponders a public tutorial on how to best enjoy these little suckers.

“The idea is, when you fry it hard, all those bones that may be a bit cumbersome, you can eat ’em! Eat the fin, eat the tail. Almost like a fish cracker.” food@indyweek.com

food

SUSHI MON

E AT T H I S

105 Friendly Drive, Raleigh 919-322-0002

Take Stock

MISO SOUP SHOULD BE SO MUCH MORE THAN LUNCHTIME FILLER, AND SUSHI MON’S IS WORTHY OF ITS SOLO BILLING

BY AMY SENTEMENTES

Sushi Mon’s Mother Miso Soup PHOTO COURTESY OF @SUSFOODNEWS

A

fter our server places a gray ceramic bowl on the table, I barely give the cloudy broth a second glance before continuing to chat with my friends.

As with most miso soups I’ve had at sushi restaurants, I had mentally written it off as mere filler on Sushi Mon’s lunch menu. I’ve certainly never considered it a dish that I’d waste precious stomach space on before my luxurious truffle tuna roll arrived.

Yet another glimpse reveals a cloudier broth than in versions I’ve slurped in the past. As I dip the porcelain soup spoon below the surface, the opaque broth yields the typical scallions, and, to my surprise, generous

pieces of fish. With inspiration from his own family kitchen, chef Tom Sung adds fish—as well as two kinds of miso—to a rich stock to craft Sushi Mon’s Mother Miso Soup. It’s a far cry from the powdered mixes we’ve come to accept as miso soup. Instead, it’s a dish worthy of its solo billing on the menu.

Miso—a mixture of fermented soybeans, salt, and grains such as rice or barley—serves as an integral component in Japanese cooking and is used not only in soup, but also in braises, marinades, and sauces. Japanese for “fermented beans,” miso packs a hefty nutritional punch as a result of the probiotics that develop after the koji, the starter culture, is

left to consume the other ingredients. Hundreds of varied styles exist across regions and Asian cultures, all of which enjoy starting the day with a bowl of miso soup to stimulate digestion.

However, the popularity of this gut-friendly addition to our repertoire of probiotic-rich foods has resulted in the mass-produced miso and miso-soup packets that have replaced homemade varieties in most circumstances, both in the U.S. and abroad.

Before mastering the art of Japanese sushi during stints at Kabuto in Las Vegas and Michelin-star restaurants Manresa and Bird Dog in California, Sung, who is Korean, learned how to create an unctuous miso soup from watching his mother incorporate fish remnants into a savory stock full of kombu, dried mushrooms, and bonito flakes.

It serves as the base for the Mother’s Miso Soup at Sushi Mon, which he and his business partner, Chris Lee, opened near N.C. State University in late 2018.

Not only does this separate Sung’s homemade miso broth from its immemorable competitors, it also allows him to minimize food waste. The soup contains pieces of salmon, yellowtail, amberjack, and sea bream leftover from sushi that otherwise would have been discarded. The vibrant fish amps up the aesthetics of the dish and adds a buttery depth to the broth, while slivers of tender cabbage and spongy slices of mushrooms provide a surprising texture contrast.

Sweet, rice-based white miso combines with the umami-rich red variety that acquires its color and flavor from a higher concentration of soybeans and a longer fermentation period.

Before I knew it, I’d polished off the last spoonful of the broth. Though I was happy to know that I could order a full portion on my next visit, I found myself wondering if Sushi Mon would consider extending its hours. I’d gladly order this miso soup for breakfast. food@indyweek.com

GLOSSY S N O I T A C I L B PU nk

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indymusic

FATOUMATA DIAWARA Tuesday, Mar. 26, 8 p.m., $25 Motorco Music Hall. Durham www.dukeperformances.com

The World Stage

with mys because I any friend and come lonely per am on sta myself to And it’s th normal fo rock, or po

How does your mus Acting inf started to was ready on stage, but it’s still a big fight. There are many women who sing, I was four but you can only have 100 percent freedom when you know shy then, about an instrument. It’s not enough to be a great shy girl. I singer, because people will write music for you, and big impac sometimes you don’t like it, and you just have to there’s no follow. To be able to get towards freedom, I go on stag

FROM MALI TO FRANCE TO ITALY, FROM ACTING TO MUSIC, FATOUMATA DIAWARA LEADS HER OWN WAY

BY JOSEPHINE MCROBBIE

T

he Malian singer, songwriter, and guitarist Fatoumata Diawara feels at home anywhere. Whether in West Africa, where she’s from; in Paris, where she made a name for herself as a theater and film actor; or in Italy, where she lives now with her husband and son; Diawara feels that we have a birthright to travel and explore.

“Human beings are just spirit,” she says. “And spirit likes to connect with different things, all the time.” Recently, Diawara connected with the audience at the Grammy Awards, where Fenfo, her second solo album, was nominated in the best world music album category. She also received a nomination for best dance recording with the electronic duo Disclosure.

Diawara’s style is strongly influenced

by Wassoulou music, a West African genre that helped inspire American blues, but on Fenfo, she moves away from the intimate sound of her debut, Fatou, and toward bold, tension-building songs that have a funky, sizzling backbone. What hasn’t changed is her social consciousness: Her new songs deal with immigration policy, domestic abuse, and cultural assimilation.

Before she performs in Duke Performances’ Black Atlantic festival this week (see sidebar), we reached her in Italy via Skype to discuss how her acting background informs her musical performances and how she balances thorny topics with gorgeous songs.

INDY: What was your path to becoming a musician?

FATOUMATA DIAWARA: As you know, it’s still very difficult for a woman to be a leader. It may look easy when you see somebody playing 26 | 3.20.19 | INDYweek.com

needed to be able to compose everything.

Then, when I need somebody, they Your mus can bring something, but only on top time, goe of what I’ve been doing already. do you a these pain Guitar is everything to me.

sta

You recently performed your song “Negue Negue” at the Grammys, fronting an enormous band and playing lead guitar in a setting where women are still underrepresented as instrumen- Duke Perfo talists. What did you in classica want to get across in organizatio this performance? ing on to a This performance the “In the gave a lot of hope to Howeve many young artists ing diversi in my country. And second ou I had very good feed- is that it d back coming from peo- force conn ple who couldn’t believe together to them defin how important it was for None of them to see a female art- potential f ist there. There have been jazz vocali many, many artists coming Fellow and from Mali, but they were all of Cuban a men. It was Ali Farka Touré; it transmute was Toumani Diabaté. It was a guitar-like big honor to me to perform as an translates African woman, keeping her origin only be ca Campbell and being herself.

DIVE D

rock. Once You have worked with artists who are all leaves us a

Fatoumata Diawara PHOTO BY AIDA MULUNEH

over the map, genre-wise, from Blur’s Damon Albarn to The Roots to Ethiopian jazz master Mulatu Astatke. How do you keep your core self intact while also collaborating with others?

It’s very easy for me to connect with myself. I always have this little voice in my mind, where I can be with people, but I’m always

with myself. This is very strong within me because I grew up alone. I didn’t grow up with any friends. I was supposed to go to school and come back and work for my aunt. I am a lonely person, but at the same time, when I am on stage, I can open my heart. I can adapt myself to any situation. I’m lucky for that.

And it’s the same with the music. It’s totally normal for me to sing on electronic music, or rock, or pop. It’s all music.

How does your work as an actor influence your music?

Acting influenced my music in that, when I started to go on stage with my own songs, I was ready. I was feeling good. I started when I was fourteen years old, and I was a little bit shy then, but I generally have never been a shy girl. I’m very curious. And acting had a big impact on my presence on stage because there’s no fear. I don’t think too much when I go on stage, I just go. I’m excited all the time.

Your music is beautiful and, at the same time, goes into difficult social topics. How do you approach writing music that has these painful or sensitive qualities?

stage

I always want to talk about important subjects, but with hope. Music is supposed to heal people. For me, the aim of music, in the beginning, was to make people happy. I want to connect with my audience through my voice, and because of that, all my melodies are positive. They’re things you can remember, things you can sing even if you don’t speak the language. And the subject, it’s like a second spirit of the music, to say, “This is what Fatoumata Diawara thinks about this subject,” like migration. It’s my opinion. It’s like a conversation between the audience and me. Or, when I'm affected by a subject, the song is often about the questions asked by the voiceless of the world, who most of the time are children and women.

MAR C H

TH 21 FAILURE & SWERVEDRIVER

FR 3/22 • 7:30P

TODD SNIDER SA 23

LYRICAL LEMONADE PRESENTS:

LIL MOSEY NORTHSBEST TOUR 7p

TU 26 GETTER PRESENTS VISCERAL 7p WE 27 SHALLOU & SLOW MAGIC: INTO THE WILD TOUR 7p

What do you do during your time off on tour? What will you do in North Carolina?

I like to connect with nature because, in Mali, we’re still in touch with the Earth. I’ve been to North Carolina, and I know there are many places where nature is very strong, and it’s green everywhere. I love North Carolina. music@indyweek.com

TH 28 BLACK UHURU 7:30p FR 29 RECKLESS KELLY & PAUL THORN 7:30p

SA 30 BOULEVARDS W/ KOOLEY HIGH/ ZACK MEXICO 7:30p

AP R I L

MO 1 BUCKETHEAD 7p TH 4 VEGABONDS 7p FR 5 BARCODE SILENT HEADPHONE PARTY 9p

SA 6 ABBEY ROAD “SGT. PEPPER’S MYSTERY TOUR” 8p

BRIEF

DIVE DEEP IN THE MUSIC OF THE AFRICAN DIASPORA Duke Performances doesn’t often repeat itself. To be sure, it has some recurring series, primarily in classical music, and individual performers often return with their latest projects. But when the organization finds a big idea or intriguing musical grouping, it explores it thoroughly before moving on to another, equally fascinating cluster. Take 2017’s Thelonious Monk centennial festival or the “In the Jazz Tradition” festival of female jazz singers last December.

However, one six-day festival was never going to be enough to do justice to the overwhelming diversity of music from Africa and the African diaspora, and so the Black Atlantic Festival’s second outing is a fantastic opportunity to dig ever deeper. What makes this series so effective is that it doesn’t predetermine what music counts as being part of the diaspora, nor does it try to force connections. Instead, following Duke Performances’ general tendencies, the festival brings together top-notch performers to illuminate particular corners of this musical language and lets them define their commonalities and interrelations themselves.

None of the seven groups in the festival work cleanly in a single musical space, increasing the potential for connections. Cuban singer Daymé Arocena uses her irrepressible energy to merge jazz vocalizations, Cuban rhythms, Santería chants, and more into an explosive whole. MacArthur Fellow and recent Grammy winner Dafnis Prieto brings his big band to synthesize the threads of Cuban and U.S. jazz from the past half-century. Noura Mint Seymali and Fatoumata Diawara transmute the sounds of the western Sahara, Seymali by infusing it with hypnotic, psychedelic guitar-like tones and Diawara by way of Western R&B. South African guitarist Derek Gripper translates the intricacies of kora music to classical guitar, and Danilo Brito makes what can only be called Brazilian bluegrass on his bandolim, a Brazilian version of the mandolin. And The Campbell Brothers’ take on sacred steel mixes the ecstatic potential of gospel with the energy of rock. Once again, it just scratches the surface of what music of the Black Atlantic could be, which leaves us already hoping for year three. —Dan Ruccia

BLACK ATLANTIC FESTIVAL Monday, Mar. 25–Saturday, Mar. 30 Various venues, Durham www.dukeperformances.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 24:

CARY/APEX/ MORRISVILLE For advertising opportunities, contact your ad rep or advertising@indyweek.com

SU 7 TAB BENOIT 7p WE 10 ROBERT EARL KEEN 7p TH 11 BAD SUNS 7p FR 12 BARCODE SOCIAL EVENTS PRESENTS: “WALK IT TALK IT” A SOUL TRAIN INSPIRED HIP-HOP PARTY 7p

SA 13 EPIK HIGH 7p SU 14 WEEDEATER & ASG W/ TOKE 7p TH 18 THE BAND OF HEATHENS W/ BLUE CACTUS 7p

FR 19 PIECE OF TIME – IRON MAIDEN SA 20 WE 24 FR 26 MO 29

TRIBUTE W/ METALLIDETH (METALLICA/MEGADETH TRIBUTE) 8p 420 REGGAE FEST FT. TREEHOUSE & SONS OF PARADISE AND MORE 7p BLUE OCTOBER 7p DAVID ALLAN COE W/ BIGGINS / AARON HAMM & BIG RIVER BAND 7p JOHNNY MARR 7p

CO M I N G S O O N

5/3 5/7 5/9 5/10

CRAVIN MELON 7p CIRCLES AROUND THE SUN 7p CRIS JACOBS BAND 7p DOUGLAS ELEMENTARY FOUNDATION FUNDRAISER FEATURING THE SHAKEDOWN 7p

5/11 THE MANTRAS & TRAVERS 5/12 5/23 6/13 6/19 7/19

BROTHERSHIP 6:30p DA BABY W/ STUNNA 4 VEGAS 7p A NIGHT OF SONGWRITERS 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

3/23 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 | 3.20.19 | 27

music Eno River

MARY LATTIMORE AND MAC MCCAUGHAN MAKE IT RAIN, MATT SOUTHERN SOAKS IN THE SUN MARY LATTIMORE AND MAC MCCAUGHAN NEW RAIN DUETS 

Three Lobed Recordings; Mar. 22

In 1975, Brian Eno was confined to bed, recovering from a near-fatal car accident. A visiting friend had left a record of eighteenth-century harp music on the turntable, but at a very quiet volume. Too weak to change the level of the amplifier, Eno had to make do with hearing only bits and pieces of instrumentation over the sound of rain falling outside.

Mac McCaughan and Mary Lattimore

PHOTO BY PJ SYKES

“I suddenly thought of making music that didn’t impose itself on your space, but created a sort of landscape that you could belong to,” he said. It was a profound experience that led to his album Discreet Music, a founding document of the modern ambient genre, which inspired soundscapes by generations of artists to follow.

28 | 3.20.19 | INDYweek.com

The title of New Rain Duets, the supremely skilled experimental harpist Mary Lattimore’s collaborative album with Mac McCaughan, might well be a nod to this juicy bit of ambient lore. If not, it’s a sweet bit of serendipity, as is the pairing of these two artists.

For years, Lattimore has honed her craft on a prolific series of recordings. The harp has an elegant reputation, but her technique has teeth. She often plays through effects pedals, exploring both harshness and beauty.

McCaughan, meanwhile, is best known as the high-energy front man of Superchunk and the cofounder of Merge Records. But whether performing solo or with his side project, Portastatic, he has gravitated toward using guitar feedback and keyboards as textural sounds.

This interest in texture comes to the fore on his dreamy analog synthesizer score for the 2016 film Paint It Black, and dreamy analog synths, not guitars or vocals, are also what he contributes to Lattimore’s effects-laden harp arrangements here.

While the pairing might initially seem puzzling, both artists have a depth that allows them to create something that feels holistic.

On New Rain Duets, recorded at the McColl Center for Art + Innovation in Charlotte, the two play off one other lithely. The sonics gel while still maintaining distinctions. The harp is often thought of as a celestial instrument, associated with cherubs and the heavens and the spiritual jazz albums of Alice Coltrane. But on New Rain Duets, the instrument sounds wonderfully earthy, plucked and manipulated and petted with curious fingers, like a piece of sewing. It’s grounded, while

McCaughan’s synth sounds freely warp and expand, bleep and whirl, infiltrate and hover. Through the four soaring pieces that compose the record, Lattimore and McCaughan play with their contrasting roles to express tension and release. They showcase the potency of partnership to create emotional music, even when the music, as Eno said, doesn’t impose itself. —Josephine McRobbie

MATT SOUTHERN & LOST GOLD MATT SOUTHERN & LOST GOLD ½

Potluck Foundation; Mar. 29

Could there be a more fitting name for a Raleigh folk-rock band than Matt Southern & Lost Gold? Even putting aside the “Southern,” “lost gold” sounds torn from a Faulkner simile about the sunset. Even if the name didn’t so strongly suggest the hazy light and melancholy beauty of a Southern summer, the music would definitely get the job done. Opener “Gilles Garnier” begins with a ramshackle yet satisfyingly assertive drumbeat. Just before a sweet, rattling acoustic guitar joins in, you can hear its wood body creaking and imagine yourself floating down the Eno River on some June day. This image is reinforced by Southern’s sleepy, drifting vocals, which have the natural echo and warmth of someone singing in a kitchen—undoubtedly a deliberate production choice, like leaving the guitar creak in the mix. “Oh, the heat is rising off slowly now, the day is lost,” Southern sighs, evoking the slow fade of summer.

But later on the song, when he sings, “Hear them march, and hunt for me,” I was reminded that the title refers to the story of a sixteenth-century French hermit who, after killing and eating six children, was convicted of being a werewolf and burned at the stake. This is indicative of the disconnect between the straightforward good vibes of the music and the sometimes-dark subject matter. This incongruity lends the album’s otherwise standard folk fare a dynamic feel. “Seven Rungs” speeds off with dexterous guitar work reminiscent of Malian pop artists like Sidi Touré. “Hands” has the bandstand bounce of 1960s surf-rock and features springy electric guitar parts like those found in Congolese soukous music (or bands called Vampire Weekend).

These elements, unusual to roots rock, are what make this record so surprising at times. More conventional songs like “Homesick” and “Small Steps” are nice and cozy enough. But when Matt Southern and his band spread their roots, truly exciting music ensues. —Noah Rawlings

indyscreen

WOMAN AT WAR HHHHH Now playing

Fight Songs

BATTLING BIG ENERGY WITH BOW AND ARROW IN THE WEIRD, WONDERFUL ICELANDIC FILM WOMAN AT WAR

BY GLENN MCDONALD

I

n its strange, beautiful way, the Icelandic import Woman at War is a perfect little jewel of a film. It’s the story of a fierce environmental activist who wages a one-woman war against the forces of heavy industry and corporate greed in rural Iceland. But it’s told with humor and grace—a fable-like folk whimsy that evokes the spirit of Loki, that rascally trickster god of the North.

Halldóra Geirharðsdóttir plays Halla, a community choir director who moonlights as a badass eco-activist and saboteur. The opening sequence shows her using a bow and arrow—and some crafty know-how regarding electrostatic physics—to take out the massive power pylons despoiling her beloved landscape. The inventive screenplay suggests Halla is channeling the spirit of the land to drive off Iceland’s latest and most lethal invaders: ruthless multinational energy companies. When Halla needs help

evading authorities, nature provides a mossy furrow to hide in, an icy stream to mask her scent, or a sheep carcass to foil thermal imaging drones. It gets weird.

It gets even weirder when director Benedikt Erlingsson playfully scrambles the film’s diegetic sounds. The musical score is provided by a trio of Icelandic folk musicians who start popping up in the background, puckishly refusing to stay off-screen. Later, they’re joined by a second trio of Ukrainian singers.

It seems like a gimmick, at first, but then the musicians start to interact with Halla and other foreground elements. Are they there?

Are they not? Are they spirits?

The phantom musicians introduce a strain of magical realism known as slipstream fiction, deliberately blurring the film’s genre boundaries. Additional narrative flourishes suggest that there are ancient powers at work in Halla’s fate. Mythological shapes start to form around random details regarding

Halldóra Geirharðsdóttir in Woman at War PHOTO COURTESY OF MAGNOLIA PICTURES Viking gods, Indian ashrams, Mother Earth, and even Tolkien jokes. Meanwhile, the story spins on, folding in more crazy variables: a Ukrainian war orphan, a twin sister, a hapless bicycle tourist. There’s even a satisfying twist at the end.

In the interest of full disclosure: I’ve fallen madly in love with this movie and am currently in that slaphappy, smitten phase when just thinking about it makes me unreasonably happy. This is a film that takes on serious, maybe even existential crises facing our civilization, but does so in such a strange and disarming way that it’s almost dizzying. It feels like someone knocked me on the head and popped something out of my ear. Then I looked down, and it was a little blob of hope. arts@indyweek.com

art

BRIEF

MEET THE NEXT WAVE OF MFA-BRED ARTISTS WITHOUT SETTING FOOT ON CAMPUS UNC’s art MFA and Duke’s MFA|EDA, which couples experimental visual and documentary practices, reliably restock the local art landscape. Starting this week, when both programs begin their 2019 thesis exhibits, you can discover the next wave of local artists while hardly venturing into remote, inaccessible campus galleries.

On the Duke side, Power Plant Gallery on the American Tobacco Campus has a double reception on March 22 for Jinyu Liu’s The Factory, a photo-and-film exhibit about state-owned factories in Luoyang, and Jacob Moss’s One Arm Dove Hunt, about people with Ectodermal Dysplasia.

Full Frame Theater on the ATC is also a site of much action. On March 22, Hannah Faye Waleh premieres Baba, a documentary combining Persian children’s games, animations, and interviews. On March 23, Sarah Riazati premieres monumental, a documentary about Southern history and monuments in Durham. On March 24, Tamar Rachkovsky premieres Home in E Major, about friendships formed after moving from Jerusalem to Durham, while March 29 brings the premiere of Dani Smith’s West from Ruby to Rose, partly inspired by Mark Twain’s Roughing It. On March 30, David L. D'Agostino premieres Dixie Garden Drive, a feature-length documentary in which an encounter with a landlord on the rural edge of Chapel Hill leads to a surprising confession.

March 31 at the Rubenstein Arts Center brings the reception for Felicity E. Palma’s Fra la Medusa e l’Abisso (Between Medusa and the Abyss), a reflection on memory turning on a feminist critique of Freud. And you can handle one campus visit, to Jameson Gallery on March 28, for the reception for Lishan Guo’s Space Tells, a photo project about frames in the world.

UNC didn’t just get off campus—they got clear out of Chapel Hill, where art spaces have sadly become in short supply.

This year’s artists are Jonh Blanco, Sarah Elizabeth Cornejo, John DeKemper, Peter Hoffman, Michael Keaveney, Jasper Lee, Laura Little, Reuben Mabry, and Chieko Murasugi, and you can catch them all in Under the Rug, their group exhibit at The Fruit in Durham. After the opening reception on March 23, the exhibit runs until its April 6 closing reception. —Brian Howe INDYweek.com | 3.20.19 | 29

indystage

Pain in the Farce

CRYSTAL PITE CARVES AN INTENSE VISION OF CONTEMPORARY CORRUPTION OUT OF A NINETEENTH-CENTURY SATIRE BY BYRON WOODS

W

T S E B LE TH E F O

TRIANG2019

TE N O M I NEA N O W !

T A N D V OY W E E K . C O M D W W W.I N 30 | 3.20.19 | INDYweek.com

orking with Crystal Pite is intense. By now, that may not come as much of a surprise to Triangle audiences, whom the Canadian choreographer has repeatedly chilled and challenged with her unsettling visions of contemporary life and loss.

When Nederlands Dans Theatre performed The Second Person at UNC in 2011, a wooden puppet behind a mike stand narrated an uncanny tale in which characters depicted as families, friends, and lovers of the grammatical second person—you—were being swallowed up in an impersonal, blacksuited city crowd. Three years later, stark mobile searchlights surrounded Cedar Lake Contemporary Ballet’s dancers in Ten Duets on a Theme of Rescue at the American Dance Festival.

Then, Pite’s own company, Kidd Pivot, shocked ADF audiences in 2017 with her and playwright Jonathon Young’s Betroffenheit, a carnival ride through a glitzy underworld of grief that suggested a David Lynch–directed version of Bob Fosse’s All That Jazz. And last year, Nederlands Dans Theatre executed Pite and Young’s subsequent tale of ruthless executive-suite reckoning, The Statement.

This week, Carolina Performing Arts presents the U.S. premiere of their latest work.

In a change-up, Revisor, which CPA cocommissioned, is a farce based on Nikolai Gogol’s 1836 satire, The Government Inspector. According to press the new work has already received, laughs are abundant as a crafty civil servant gleefully hoodwinks the corrupt provincial government leaders who have mistaken him for a state auditor.

Still, the creation of work, according to Eric Beauchesne, Kidd Pivot’s associate artistic director, has been consuming.

“There’s a lot of information to process and deal with,” Beauchesne says. “[Pite] is a fast worker, so the whole team has to pick up the pace and make sure they’re on the same train as her.”

Then comes the challenge of performing Pite’s choreography. Beauchesne recalls

Kidd Pivot

PHOTO BY MICHAEL SLOBODIAN

being wiped out by the end of performances, not only by the physical demands, but by the emotional content.

“It’s never just a ‘soft and release’ kind of approach,” he says. “She loves physicality, the result of physical effort, and I would say the same thing for the emotional angle. It’s exhilarating because we go so far … but it’s also exhausting.”

Still, Pite’s background as a dancer and her knowledge of anatomy have enabled her to create organic movement that allows dancers to enter demanding territory in a healthy way. Since her work is so well constructed, Beauchesne notes, “Even though it can push you really, really far, usually it feels quite good to dance.”

Beauchesne came late to dance himself: After seeing his first dance at age sixteen, he started ballet lessons two years later. But following a meteoric rise, the award-winning performer worked with professional

ballet companies in Canada and Germany before joining Kidd Pivot fifteen years ago.

As the group’s associate artistic director, Beauchesne now reconstructs Pite’s repertoire on major companies around the world.

He’s witnessed the three-time winner of the Olivier Award, England’s version of the Tony, integrate an increasing array of art forms into her work over the years. Since dance and theater have different strengths, Pite “likes to gather and work with as many tools as possible to say what she wants to say,” Beauchesne says. “Crystal is first and foremost a communicator. She wants to tell a story; whether it’s a narrative or figurative story, she’s a storyteller.”

And she’s using a broad range of genres and approaches to tell them. In Revisor, after succinctly staging Gogol’s actual farce theatrically, with performers lip-syncing the prerecorded dialogue of vocal actors, the work then “deconstructs and reinspects it,”

KIDD PIVOT: REVISOR Thursday, Mar. 21 & Friday, Mar. 22 UNC’s Memorial Hall, Chapel Hill 7:30 p.m. Thu./8 p.m. Fri., $37, www.carolinaperformingarts.org

Beauchesne says. As in Betroffenheit, the initial setting, costumes, and most of the dialogue are gradually excised, leaving the central movements and motifs unanchored in a specific situation, context, or world.

“It’s a different mirror,” Beauchesne says. “If we use different ways to approach the same material, people will relate to the work differently, and see themselves differently in the work. It will reveal something different from the staged farce to the deconstructed farce.”

Though some have connected Revisor and The Statement to Donald Trump, both projects were begun before his presidency, which points to the timelessness of certain iniquitous character types.

stage

“It’s not about him. It’s about human foibles and human corruption,” says Beauchesne, who nevertheless acknowledges that Pite’s work has become more politically engaged over the years. In The Statement, a crisismanagement team is tweaking a disaster in another country for its own benefit, and 2017’s Flight Pattern dealt with the global refugee crisis.

“I don’t think we’re talking about an artist who had an epiphany and decided to become a political artist,” Beauchesne says. “The work has just evolved that way. Of course it’s timely to talk about corruption and imposture. It’s always been timely. That’s why Gogol wrote the play in 1836. Classics are classic for a reason.” arts@indyweek.com

BRIEF

BONNIE & CLYDE 

Through Sunday, Mar. 31 North Raleigh Arts and Creative Theatre, Raleigh www.nract.org I had a big pulp-fiction phase as a teen, devouring Maxwell Grant’s thrilling, formulaic novels about 1930s vigilante The Shadow. So I mean it as a simple description, not a put-down, that Bonnie & Clyde is a dime-store novel of a musical. As Frank Wildhorn’s score meanders through ragtime and Americana, Ivan Menchell’s book punches up and simplifies the life-of-crime story of Bonnie Parker (Reanna Kicinski) and Clyde Barrow (Ty Myatt), paring down the criminal gang to Clyde's brother, Buck (Daryl Ray Carliles). It also erases the seamier facts behind the stylish, sexy, and self-documenting young couple who were celebrated as folk heroes for robbing banks during the Great Depression, then reviled for the indiscriminate murders they committed.

With a predominantly young cast, including student actors, achieving varying levels of characterization and believability, the ensemble scenes don’t always coalesce under Jeri Lynn Schulke’s direction. Overall, the women fare best, from Kicinski’s show-stopping torch song “How ‘Bout a Dance” to Lauren Tompkins’s luminous “That’s What You Call a Dream” as Buck’s wife, Blanche.

Tompkins also helms a comic gospel rave-up in which she and three beauty-shop sibyls inform a slack-jawed Buck, “You’re Going Back to Jail.” Myatt began pretty cold on opening night, but his and Kicinski’s conviction ultimately sold the poverty critique “What Was Good Enough for You.” Double-cast, Ryan Madanick amused as a gangster groupie before turning into a Texas Ranger.

There’s poignancy in the small-town dreams of Clyde, who plans on “wearing Sunday clothes on a Tuesday” and driving a race car with a top speed of sixty-five. A starstruck Bonnie marvels that, in Hollywood, “Big stars make thirty dollars a week!” But the Depression offered scant shelter, food, or money, let alone riches or fame, and we sense the tragedy coming when the only way two impatient twenty-somethings can find agency is with their guns. —Byron Woods INDYweek.com | 3.20.19 | 31

RECENTLY ANNOUNCED: Aaron West & The Roaring 20’s, Dan Baird & Homemade Sin, Summer Salt

3.20–3.27

WHAT TO DO THIS WEEK

SATURDAY, MARCH 23

FRI

3/22

SOUTHERN CULTURE ON THE SKIDS Jphono1 & The Chevrons

SOUTHERN CULTURE ON THE SKIDS w/ Jphono1 & The Chevrons

SAT

3/23

JARED & THE MILL The High Divers

JARED & THE MILL w/ The High Divers

SUN

3/24 MON

3/25 TUE

3/26 WED

3/27 THU

3/28 FRI

3/29 SAT

3/30

SUN

3/31

TUE

4/2

Cat’s Cradle Presents ALL THEMVendor WITCHES / Plague Vendor w/ Plague Presented by Cat’s Cradle 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 10pm: Widespread Panic After Party with Marvelous Funkshun 12pm: School of Rock Cary 8pm Best of NC Standup Showcase with Mike Mello, Will Purpura, Brian Piccolo, Tori Chaffee and Tank Smith.

Hosted by Austin Howard TOBE NWIGWE (Second Show Added!)

TOBE NWIGWE TOBE NWIGWE SECOND SHOW ADDED T OU LD SO WED

4/3

SAT

4/6

SUN

4/7

RHETT MILLER RHETT MILLER / Joshua Ray Walker w/ Joshua Ray Walker DEE WHITE

COMING SOON: Strand Of Oaks, The Secret Sisters, 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, Remo Drive, The Crystal Method, Cavetown, Mystery Skulls, The Rock*A*Teens, Escape-ism, We Were Promised Jetpacks. Sophomore Slump Fest, Warbringer, Sonata Artica, Nile Also co-presenting at Cat’s Cradle: Japanese Breakfast, Ex Hex and Eternal Summers (on May 5th)

32 | 3.20.19 | INDYweek.com

SETH MEYERS

It’s a testament to the times that former Saturday Night Live head writer turned late-night talk-show host Seth Meyers is one of the top sources around for trenchant analysis of current events. While it’s arguable if that’s a good thing, there’s no debating that his perceptive takes on the absurdity of everything from collegeadmissions scandals to Donald Trump— especially Donald Trump—are hilarious when he delivers them with a megawatt smile and a snarkishly self-aware sparkle in his eyes. Though often political, he’s also adept at mining the quirks of personal relationships and domestic life for humorous tales. When freed from the confines of his chat-show desk, he’s known for delivering a brisk stand-up set punctuated with a variety of accents, impressions, and goofy pantomimes. He never actually winks at you, but thanks to a style honed hosting SNL’s Weekend Update segment for years, you’ll often feel like he is. —Curt Fields THE CAROLINA THEATRE, DURHAM 7 & 9:30 p.m., $50–$60, www.carolinatheatre.org

SATURDAY, MARCH 23

THEY DO NOT KNOW HARLEM: IN COMMUNION WITH JAMES BALDWIN Folks won’t want to miss Tristan Andre Parks’s They Do Not Know Harlem: In Communion with James Baldwin. Produced in collaboration with Young, Gifted, & Broke, the new performanceart piece will debut in a workshop version this Saturday at Durham’s inclusive, innovative NorthStar Church of the Arts. Parks’s piece is timely, as we’re still basking in Barry Jenkins’s powerful adaptation of Baldwin’s 1974 novel, If Beale Street Could Talk. Baldwin’s words transcend time and are especially resonant for Black and queer folks who are determined to thrive. I’m reminded of Baldwin’s affirmation, “Our crown has already been bought and paid for. All we have to do is wear it.” After They Do Not Know Harlem, Parks will be in residence at Thomas DeFrantz’s Slippage Lab at Duke University, which offers “strategies for rethinking past lives, and imaging forward, together.” Parks’s performance promises as much with its exploration of Black, queer, transatlantic identity through gospel and dance. —Jameela F. Dallis

NORTHSTAR CHURCH OF THE ARTS, DURHAM 6:30 p.m., $10–$20, www.northstardurham.com

WEDNESDAY, MARCH 27

MITSUKO UCHIDA AND MAHLER CHAMBER ORCHESTRA

Watching the pianist Mitsuko Uchida perform is like watching a storm ebb and flow. In one moment, she is restrained, letting the supporting orchestra fill in the spaces between her notes.

In the next moment, the orchestra recedes, and she’s a whirlwind of exhilarating intensity. Next week, for Carolina Performing Arts, she leads the Mahler Chamber Orchestra from behind the piano. Uchida, who is considered one of the best contemporary interpreters of Mozart, will be performing two of his concertos: the bright, graceful Piano Concerto No. 19 in F major and the Piano Concerto No. 20 in D minor, which she’s called one of her favorites. There’s something tumultuous about the piece, especially in Uchida’s deft hands; placid stretches are punctuated by dark rushes of sound and feeling. It’s a beautiful fit for her expressive style. Concertmaster Matthew Truscott leads the string orchestra with three pieces from Berg’s Lyric Suite between the two concertos.

—Elizabeth Szypulski UNC’S MEMORIAL HALL, CHAPEL HILL | 7:30 p.m., $82+, www.carolinaperformingarts.org

WHAT ELSE SHOULD I DO?

WILTON BARNHARDT AT QUAIL RIDGE BOOKS (P. 38), BONNIE & CLYDE AT NRACT (P. 31), FATOUMATA DIAWARA AT THE CAROLINA THEATRE (P. 26), NILS FRAHM AT THE CAROLINA THEATRE (P. 34), GLORIA BELL AT THE CAROLINA THEATRE (P. 40), KIDD PIVOT AT UNC’S MEMORIAL HALL (P. 30), MFA|EDA THESIS EXHIBIT AT POWER PLANT GALLERY (P. 29), TEDD ANDERSON AND LOGAN BRITT AT THE CARRACK (P. 37), UNDER THE RUG AT THE FRUIT (P. 29), IN A WORD AT THE FRUIT (P. 39)

3/22-24 3/28 3/29

THURSDAY, MARCH 21

SOUTHERN SURREAL: MASTERPIECE FURNITURE BY TILDEN STONE

SATURDAY, MARCH 23

MEEK MILL

Graduating from a mere Twitter hashtag, Free Meek is the title of an upcoming six-part Amazon docuseries that will highlight Philadelphia rapper Meek Mill’s battle for exoneration in the criminal justice system, specifically addressing longterm probation’s impact on the black community. “Sons and daughters grow up with their parents in and out of prison, and then become far more likely to become tied up in the arrest-jail-probation cycle,” wrote the thirty-one-year-old Maybach Music artist in a November 2018 New York Times op-ed, following the Pennsylvania Supreme Court’s decision to grant him bail after a judge sentenced him to two to four years for a probation violation. That same month, Meek released his fourth LP, Championships, a reclamation coup stocked with detonating anthems, prison-industrial-complex indictments, trap-cuckoo glory, Drake, and Jay-Z. —Eric Tullis THE RITZ, RALEIGH 8 p.m., sold out, www.ritzraleigh.com

Who hasn’t fantasized about a cabinet that, when the right lever is pulled, turns into a working piano? The surreal work of furniture maker Tilden Stone is full of false compartments and plot twists, and his autobiography is nearly as fantastical. Born in 1874 in Thomasville, North Carolina, Stone was orphaned as a child and ran away to New York City, where a furniture maker took him under his wing and taught him his craft, which sounds like a great premise for a children’s book. Following this apprenticeship, Stone took to the seas, where he served for thirty years in the Merchant Marine. Upon retiring, he began to take furniture design more seriously, integrating many of the puzzlemaking tricks he’d learned while abroad (his dreams of the sea were not entirely put to rest, however; he designed his house in the shape of a tramp steamer). Despite his colorful history and even more colorful designs, Stone, described by the Gregg as “North Carolina’s greatest unsung master maker,” is still largely unknown. This changes with a new exhibit at the Gregg, which runs until fall after this opening reception.

—Sarah Edwards

4/11 4/13 4/13 4/26

THE DEVIL AND MARK TWAIN WILLIAM FITZSIMMONS LA PATRONAL

FREE PERUVIAN DANCE WORKSHOP 6:30PM, CONCERT 8PM

POPUP BROADWAY (WICKED & FROZEN) THE GOLD RUSH LIVE SCORE BY TIM CARLESS NO SHAME THEATRE – CARRBORO CHE APALACHE

Get tickets at artscenterlive.org

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

RECYCLE THIS PAPER

THE GREGG MUSEUM OF ART & DESIGN, RALEIGH 6 p.m., free, www.gregg.arts.ncsu.edu

SUNDAY, MARCH 24

THA ALKAHOLIKS

The year 1993 may have been the most significant cultural touchstone ever for hip-hop music. On the East Coast, both A Tribe Called Quest and De La Soul dropped their third, critically acclaimed LPs, while Wu-Tang Clan, The Roots, Black Moon, The Beatnuts, Fat Joe, and Mobb Deep all made their debuts. The west was a treasure trove of releases, ending the year with Snoop Dogg’s behemoth Doggystyle before 2Pac, Souls of Mischief, Cypress Hill, and The Coup all warmed up the left-coast vanguard with classic projects of their own. And yet somehow, three soused shit-spitters from Los Angeles (Tash, J-Ro, and E-Swift), aptly named The Alkaholiks, dropped the year’s most amusing album: the trio’s debut, 21 & Over, introduced producer E-Swift as one to sway from pungent (“Only When I’m Drunk”) to pugilistic (“Make Room”) at the pop of a cork. More spectacular, however, was Tash’s underrated and unending ability to maintain his battle-ready bars, keeping the crew lyrically viable even in moments of utter ignorance such as “I never drink and drive ‘cause I might spill my drink.” Twenty-five years and a few hundred more similar beer-toast rhymes later, we’re still chanting “It’s Tha Liks, baby. It’s Tha Liks!” Tuscon, Lazarus, and C. Shreve open. —Eric Tullis THE POUR HOUSE, RALEIGH | 9 p.m., $15–$20, www.thepourhousemusichall.com

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Member Admission Price (Not Valid for Special Events, expires 01-20)

919-6-TEASER for directions and information

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Above: “Music Chest” by Tilden Stone

156 Ramseur St. Durham, NC

PHOTO COURTESY OF THE GREGG MUSEUM

Left: Meek Mill PHOTO

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INDYweek.com | 3.20.19 | 33

music 3.20–3.27 WED, MAR 20 CAROLINA THEATRE: Big Bad Voodoo Daddy; $30-$50. 8 p.m.

SATURDAY, MARCH 23

THE CAVE: Shira, Yotam Ben Horin; 8 p.m.

AN EVENING WITH NILS FRAHM

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

What’s the difference between a concert and an evening? Maybe ten bucks. But, this being his first world tour in several years, German composer and pianist Nils Frahm has earned a bit of pomp. The excellent album he’s showcasing is called All Melody, and while it has plenty of that, “all” sells Frahm’s approach to the piano short. Texture, timbre, and technique play roles as important as tunes: On Felt, he draped cloth over his strings, while Screws was written around a broken thumb; his piano is sometimes processed with electronics or patched with field recordings. Performing on an array of acoustic and electronic keyboard instruments, he strains severe post-minimal influences through a sentimental Neoromantic filter. Though All Melody just came out last year, Frahm has already freshened it up with a pair of EPs. Encores 1 recasts some of the pieces for solo piano and harmonium, while Encores 2 is an ambient version, beautifully streaked and scratched, like a reel of dusty filmstrip. If that sounds commonplace, fear not: Of course it was recorded in an amplified stone well on the island of Mallorca. —Brian Howe

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

THE PINHOOK: SINNER SONGWRITER SHOWCASE: John Howie Jr., Anne-Claire, Sarah Bell, The Monologue Bombs; $5.

8 p.m.

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

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

8:30 p.m.

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

THE CAROLINA THEATRE, DURHAM 8 p.m., $30–$40, www.carolinatheatre.org

THE WICKED WITCH: Black Surfer, Trandle, Kid Advay, Sonic Afternoon; $10. 8:30 p.m.

THU, MAR 21 BLUE NOTE GRILL: Carolina Lightnin’; 7 p.m.

Nils Frahm

CAROLINA THEATRE:

PHOTO COURTESY OF NILS FRAHM

Anoushka Shankar [$35–$60, 8 P.M.]

Anoushka Shankar is the daughter of the late sitar legend Ravi Shankar, but she’s become an important figure in her own right. She uses her mastery of the sitar to create something wholly her own, mixing her classical roots with electronic and cross-cultural influences.

The result? Music that’s alternately chaotic and serene, challenging and soothing, but always sublime.

—Elizabeth Szypulski CAT’S CRADLE: Andrea Gibson, Ashlee Haze; $20-$25. 8 p.m.

CAT’S CRADLE BACK ROOM: Fireside Collective, Honey Magpie; $12-$14. 8 p.m.

34 | 3.20.19 | INDYweek.com

THE CAVE:

Sophie Auster with Katharine Whalen [$10, 9 P.M.]

Sophie Auster spent her New York City adolescence dabbling in Strasberg acting lessons, performing in theater productions, and performing jazz standards in small nightclubs around the city. As a performer, she draws from these stomping grounds with a campy, emotive presentation, and a musical style heavy with big band and cabaret influences.

The evening also features Katharine Whalen’s Swedish Wood Patrol. —Josephine McRobbie

KINGS: Bernie Petteway Trio, My Three Sons; $10-$12. 8 p.m.

LINCOLN THEATRE:

Failure, Swervedriver [$28/8:30 P.M.]

Compared with alt-rock heavyweights like Nirvana and Soundgarden, Failure was more a sleeper success during its original run from 1990 to 1997. The L.A.based band’s richly textured 1996 opus, Fantastic Planet, became something of a cult classic, and they reformed in 2014 to release The Heart is a Monster, its first album in nineteen years. Failure is joined on tour by fellow ’90s alt-rockers Swervedriver.

—Howard Hardee

MAGNOLIA ROOTS MUSIC LOUNGE

Kyle Petty [$12–$20, 7 P.M.]

Some still remember Kyle Petty best for his days as a NASCAR driver, but he’s been a singer/ songwriter for a good long while.

He and fellow troubadour David Childers will be taking the stage together in an acoustic setting, sharing tales and tunes that bear folk and country influences.

—Jim Allen POUR HOUSE:

Local Band Local Beer: Bruxes [$5, 9 P.M.]

Rachel Hirsh puts her deeply

personal Bruxes project to bed by splitting its final set between shimmering, atmospheric full-band tunes and sparse solo songs supported by loop pedal.

Hirsh won’t stop making music, but make sure to catch Bruxes’s last stand.

Philly’s Grandchildren and Durham’s Coco Amino each add eccentric pop-rock dosed with bits of electronics and twang, respectively.

—Spencer Griffith SLIM’S: Multicult, Microwaves, Maple Stave; $7 suggested. 9 p.m.

THE WICKED WITCH: Noisem, No/Más, Cammo, Culling; $10.

8:30 p.m.

FRI, MAR 22 ARCANA: Ann; 9 p.m.

BLUE NOTE GRILL: Armand & Bluesology; $10. 9 p.m.

CAT’S CRADLE: Novo Amor, Gia Margaret; $15+. 8 p.m.

THE CAVE TAVERN: Smoke From all the Friction, Them Damn Bruners, Hank & Brendan; $5 suggested. 9 p.m.

CITY LIMITS SALOON: Ryan Hurd, Ryan Beaver; $10-$15. 9 p.m.

DUKE COFFEEHOUSE: Jerusalem in My Heart, Ben Shemie; 8 p.m.

THE KRAKEN: Orange County All Stars; 8 p.m.

LINCOLN THEATRE: Todd Snider, Reed Foehl; $18-$28. 8:30 p.m.

5/7 MURS W/ LOCKSMITH ($15/$17) 5/14 DEAF HAVANA $12/$15) 5/15 THE SUITCASE JUNKET ($10)

SU 3/24 @MOTORCO

ALL THEM WITCHES FR 3/22

NOVO AMOR

SU 3/31

THE MIDNIGHT

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 3/25 ADHOC PRESENTS: HOMESHAKE W/ YVES JARVIS 3/29 SLUGWIFE TAKEOVER TOUR: BROKEN NOTE, KURSA, SEPPA, CHEE, HOUMAN ($20/$25) 3/30 CARBON LEAF W/ CAROLINA STORY($20/$25) 3/31 THE MIDNIGHT W/VIOLET DAYS ($20/$22) 4/4 BETTER OBLIVION LD COMMUNITY CENTER SO OUT 4/5 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY FT THE TAN & SOBER GENTLEMEN AND CRYSTAL BRIGHT & THE SILVER HANDS ($12/$15) 4/8 RIVAL SONS W/ SHEEPDOGS

Katharine Whalen

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

PHOTO BY CAITLIN PENNA

MOTORCO:

Southern Culture on the Skids [$15–$28, 9P.M.]

These veteran roots rockers have been at it since the ‘80s, and they show no signs whatsoever of letting up.

SCotS embraces the down and dirty, deliciously seamy side of American roots music, filtering it through the band’s own ragged-but-right rock-and-roll blender and coming out with a concoction that’s way more fun than the proverbial barrel full of monkeys, because really, how much fun are a bunch of barreled-up monkeys anyway. —Jim Allen PNC ARENA: Winter Jam 2019; $15 suggested. 7 p.m.

POUR HOUSE: Arson Daily Album Fundraiser, Rare Creatures; $7-$10. 8 p.m.

PROOF: Between2Clouds: Hip Hop Celebration (Tre’ Mars, NunAfterHours, Jovi Mo$coni, Jooselord, Dawud Salim & Saint James, Ronnie Flash); $15+. 8 p.m.

SHARP NINE GALLERY: Dave Finucane Sextet; $20. 8 p.m.

SLIM’S: Petyty Crimes, Wild Fur; $5. 7 p.m.

THE STATION: The Wormholes, People of Earth; Free. 8 p.m.

SAT, MAR 23 ARCANA: Mac McLaughlin; 9 p.m.

BLUE NOTE GRILL: Coco Montoya & Tinsley Ellis; $25. 8 p.m.

BROUGHTON HIGH SCHOOL: Maintain Your Brain Battle of the Bands; $5-$15. 1 p.m.

CAT’S CRADLE: Cosmic Charlie (The Grateful Dead Tribute); $12-$15.

9 p.m.

CAT’S CRADLE BACK ROOM: Local Flora, Maj Deeka; $8.

9 p.m.

THE CAVE: Blood Red River, Aqualads; $5 suggested. 9 p.m.

DUKE’S BALDWIN AUDITORIUM:

Elias String Quartet [$25, 8 P.M.]

Robert Schumann wrote his three string quartets in a twomonth explosion in summer 1842 and presented them as a gift to his wife Clara for her 23rd birthday. Here, the Elias Quartet will perform the first of the set, a heartfelt and anguished recollection of his emotions while she was away on an extended concert tour. Next to this is a newly commissioned work by British composer Sally Beamish. Over nine fragmentary movements, her piece “tilt[s] a broken mirror towards a particular

passage in the Schumann,” reflecting it in unexpected ways. Schubert’s “Rosamunde” quartet rounds out the program. —Dan Ruccia DURHAM PERFORMING ARTS CENTER: Celtic Woman; $43+. 7 p.m.

FIRST BAPTIST CHURCH: The Raleigh Boychoir: High Lonesome Bluegrass Mass; 3 p.m.

THE KRAKEN: Mel Melton & the Wicked Mojos; 8 p.m.

LINCOLN THEATRE: Lil Mosey, Polo G, C Glizzy, Bandkids; $26-$100.

8 p.m.

LOCAL 506: Slaughter Beach, Dog, The Sidekicks; $13-$15. 8 p.m.

THE MAYWOOD:

The Maywood’s 6-Year Anniversary Bash [$5, 9P.M.]

It sometimes seems that rock-and-roll clubs—and those that lean toward hard rock, especially—aren’t built for longevity, especially in cities that are changing as rapidly as Raleigh is. So kudos to The Maywood for keeping the scene alive, as it were, and giving riff-worshippers a place to throw the horns. Thunderlip, The Hell No, and SlowEnd perform in celebration.

—Patrick Wall

4/11 RUBBLEBUCKET W/ MIKAELA DAVIS 4/13DURAND JONES & THE INDICATIONS W/DIVINONINO ($15) 4/14 PHOSPHORESCENT 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) 4/27 SARAH SHOOK & THE DISARMERS ($15) 5/2 FOXING & NOW, NOW W/ DADDY ISSUES ($18/$20) 5/3 JUMP, LITTLE CHILDREN 5/5 JAPANESE BREAKFAST W/ EX HEX AND ETERNAL SUMMERS ($23/$25) 5/6 RIVERSIDE ($20/$25)

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

5/16 HENRY JAMISON 5/18 PILE W/ CHEW ($12/$15) 5/19 FILTHY FRIENDS W/ DRESSY BESSY 5/21 SHAME ($14)

8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS

5/23 MARTI JONES & DON

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

5/31 THE SH-BOOMS ($12)

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

DIXON

6/2 THE MYSTERY LIGHTS W/ FUTURE PUNX ($12/$14) 6/8 MATT ANDERSON 6/12 EARTH W/HELMS ALEE ($15)

CAT'S CRADLE BACK ROOM 3/21 FIRESIDE COLLECTIVE W/ HONEY MAGPIE ($12/$14) 3/22 DRAG QUEENS ARE COMING! ($10)

6/13 DYLAN LEBLANC ($12/$15) 6/14 EILEN JEWELL 10/9 ELDER ISLAND (TIX ON SALE 3/22) KOKA BOOTH AMPHITHEATRE (CARY)

3/23 LOCAL FLORA W/ MAJ DEEKA

9/21 MANDOLIN ORANGE W/

3/24 CLAUDINE LANGILLE & THE LADS ($15)

CAROLINA THEATRE (DUR)

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 W/ UPSAHL ($15/$17) 3/29 PARKER MILSAP ($15/$18)

MOUNTAIN MAN

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" /

PLUS MOLLY SARLE (OF MOUNTAIN MAN) MOTORCO (DUR)

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

3/24 ALL THEM WITCHES W/

4/2 OLD SEA BRIGADE W/JON BRYANT

5/4 JOHN PAUL WHITE

4/3 AARON LEE TASJAN W/ ROREY CARROLL

5/14 THANK YOU

4/4 JUICE W/RELIABLY BAD AND DYLAN DUNLAP 4/5 TRAVERS BROTHERSHIP, JULIA ($8/$10) 4/6 TOWN MOUNTAIN ($12/$15) 4/9 LULA WILES ($10) 4/10 CHARLIE HUNTER & LUCY WOODWARD ($20/$23) 4/11 FLOCK OF DIMES W/ NICK SANBORN ($15) 4/12 ENO MOUNTAIN BOYS, OLD HEAVY HANDS, JOSH KING, VELVET DEVILS 4/13 CASE SENSITIVE, MUSEUM MOUTH, S.E. WARD ($8/$10) 4/15 BAYONNE W/PALM DAZE ($12/$14) 4/16 THIS WILD LIFE W/ HOLD CLOSE ($16/$18) 4/17 THE WILD REEDS W/ VALLEY QUEEN ($14/$16)

PLAGUE VENDOR ($15) W/ERIN RAE ($25)

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)

FLETCHER OPERA THEATER (RAL)

4/3 GRAHAM NASH

NORTH CAROLINA MUSEUM OF ART 5/17 AN EVENING WITH DAWES

6/14 STEEP CANYON RANGERS WITH CHATHAM RABBITS

6/22 TRAMPLED BY

TURTLES WITH DEER TICK 8/31 MIPSO RED HAT AMPHITHEATER (RAL)

4/27 RAINBOW KITTEN

SURPRISE

6/7 LAKE STREET DIVE/ THE

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

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

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

4/20 CARSIE BLANTON 7 PM SHOW

THE RITZ (RAL)

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

4/20 SEEPEOPLES W/ TRACKSUIT 10PM SHOW

(PRESENTED IN ASSOCIATION W/ LIVENATION)

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

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

5/18 CITIZEN / KNUCKLE PUCK W/ HUNNY AND OSO OSO 5/24 THE JAPANESE HOUSE ($18/$20) 6/2 THE DISTILLERS W/ STARCRAWLER 6/7 FRENSHIP W/GLADES ($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)

4/22 KOLARS ($12/$15) 4/24 THE BROOK & THE BLUFF 4/25 ACID MOTHERS TEMPLE W/ YAMANTAKA, SONIC TITAN 4/26 BETA RADIO 5/1 STEVE GUNN ($15/$17) 5/2 JULIA JACKLIN W/ BLACK BELT EAGLE SCOUT ($14/$16) 5/4 MARY LATTIMORE &

MAC MCCAUGHAN

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

WOOD BROTHERS

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

SEPTEMBER 15; ALL TICKETS STILL VALID )

6/10 LOCAL NATIVES W/ MIDDLE KIDS HAW RIVER BALLROOM

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 | 3.20.19 | 35

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM NIGHTLIGHT: Natterers, No Love, Mind Dweller, Desert Secretary; 9 p.m.

THE PEOPLE’S IMPROV THEATER:

Nathan Evans Fox, Heather Styka, Magnolia Project at DB&B [FREE, 7 P.M.]

Elias String Quartet

PHOTO COURTESY OF ELIAS STRING QUARTET

MOTORCO: Jared & The Mill, The High Divers; $12-$25. 9 p.m.

NIGHTLIGHT: Volume 29.5: Heart Pressure, Chucha, Marv, Karina Soni; $10. 10 p.m.

THE PINHOOK: Night Battles, Potion 200; $8. 9 p.m.

POUR HOUSE: Ghost-Note; $15$20. 9 p.m.

THE RITZ: Meek Mill, Lil Durk, Kash Doll, Melii; Sold out. 8 p.m.

SHARP NINE GALLERY: Versace/Ganz/Smith Trio; $30. 7 p.m.

THE STATION: Wake Moody Album Release; 9 p.m.

SUN, MAR 24

in local-music micro-history.

We’re making a thing of it because Roehrig’s not: On the invite for this Arcana show with Doug Edwards and Rachel Kiel, he simply says, “We’re going to take turns playing some songs.” —Brian Howe BLUE NOTE GRILL: Mysti Mayhem; 5 p.m.

CAROLINA THEATRE: Chamber Orchestra of the Triangle; $30. 3 p.m.

CAT’S CRADLE BACK ROOM: Claudine Langille & the Lads; $15+. 7 p.m.

FIRST BAPTIST CHURCH: The Raleigh Boychoir: High Lonesome Bluegrass Mass; 11 a.m.

ARCANA:

LIVING ARTS COLLECTIVE: Orquesta GarDel; 3 p.m.

[FREE, 8 P.M.]

LOCAL 506: James Supercave; $12$15. 9 p.m.

Erie Choir For those of us who came onto the scene just after the nineties heyday of Chapel Hill indie rock, Fin Fang Foom was our Polvo, The White Octave our Superchunk, and Sorry About Dresden our Archers of Loaf. As Archers’ wheezy rock anthems begat Eric Bachmann’s shadowy folk music as Crooked Fingers, so did Dresden beget Eric Roehrig’s shadowy folk project, Erie Choir, in the aughts. And this concludes today’s lesson 36 | 3.20.19 | INDYweek.com

MOTORCO:

All Them Witches [$15, 8 P.M.]

Borrowing both from seventies psych rock and modern stoner metal, slow-burning Nashville power trio All Them Witches uses muscular grooves and moody arrangements to lull listeners into a trance-like state before being bludgeoning them with fuzzy, monolithic riffs that explode from a druggy haze. California quartet

Plague Vendor’s dark, nervy post-punk has recently taken a psychedelic turn as well.

—Spencer Griffith POUR HOUSE: Tha Alkaholiks; $15-$20. 9 p.m.

RUBY DELUXE: Morning Eyes, Petrov, Exit Mice; $7. 7 p.m.

ST. MATTHEW’S EPISCOPAL CHURCH: mahaloJazz; $10. 3 p.m.

MON, MAR 25 CAT’S CRADLE:

Homeshake [$15–$18, 8 P.M.]

On Helium, his fourth record under the Homeshake nom de guerre, singer-songwriter Mac DeMarco acolyte Peter Sagar claims influences that outstrip his languid, inchoate bedroom pop.

He cites inspiration from ambient texturalists Visible Cloaks and generational footwork musician Jlin, but the tepid New Jack Swing drum machine beats and marcescent synth pads don’t hint toward either; the stale, stoned shower thought lyrics don’t reflect his purported Murakami binge. He shoots for DJ Rashad, but lands much, much closer to warmed-over Toro Y Moi.

If that’s your vibe, though, Sagar won’t kill it.

—Patrick Wall THE CAVE: Dexter Romweber; 9 p.m.

DUKE COFFEEHOUSE:

Oren Ambarchi and Pita [$5, 8:30 P.M.]

This deep-pedigreed bill is a great get for Duke Coffeehouse, and for area out-music fans looking to blow their minds. Australian experimental guitarist and percussionist Oren Ambarchi has decades of rich, tense compositions, visceral improvisations, and impressive collaborations (Fennesz, Sunn O))), John Zorn, and Merzbow all feature in his CV) behind him. Pita is the project of Peter Rehbeg, founder of the towering experimental electronic label Editions Mego, who draws on prodigious practice and curation in interwebbed worlds of noise, industrial, dance, and drone. —Brian Howe KINGS: Atomic Rhythm All Stars; $5. 8 p.m.

MOTORCO: Black Atlantic: Derek Gripper & Africa Strings; $25. 8 p.m.

NEPTUNES PARLOUR: Nakatani, Crowmeat, Menestres Trio, Aleatorics; $10. 8 p.m.

Magnolia Project is Meg Hamilton (washboard) and Sarah Dunsmore (guitar/ mandolin), two ebullient bluegrass players and singers who also happen to be a couple. Since meeting cute at a jam, they’ve nurtured Magnolia Project as a loose collective with plentiful guest musicians.

Opening for the group will be a duo performance by the songwriters Nathan Evans Fox and Heather Styka. The event is part of the Durham Beer and Banjos weekly music series.

—Josephine McRobbie

LOCAL 506: Mom Jeans, Mover Shaker, Pool Kids; $15-$18. 7 p.m.

MEYMANDI CONCERT HALL: Raleigh Fine Arts: Choral Concert; 7 p.m.

MOTORCO: Black Atlantic: Fatoumata Diawara; $25. 8 p.m.

THE PEOPLE’S IMPROV THEATER:

Please Kill Me [$10, 8 P.M.]

“The spirit of punk is urgently needed now,” says Will Purpura, who’s curating Little Green Pig Theatrical Concern’s one-night fast-forward through the blank generation’s greatest hits. Four bands (count ‘em!) channel The Ramones, Patti Smith, the New York Dolls, and a dozen other definitive groups from the era of caustic, cathartic rock. (No word yet if Iggy and the Stooges’ infamous, endurance-art version of “Louie Louie” is included in the mix.) —Jim Allen

SLIM’S:

SHARP NINE GALLERY: N.C. Jazz Repertory Orchestra; $20. 8 p.m.

[$7, 9 P.M.]

WED, MAR 27

Chained to the Bottom of the Ocean Boone’s irreverent stonermetal crew Darth Kannabyss will likely bring a vital bit of levity following a set from Massachusetts doom crew Chained to the Bottom of the Ocean. Like the song

by Lousiana’s vicious Thou, which gives the band its name, Chained to the Bottom of the Ocean fuses oppressive distortion and seething vocals to make a grueling, but utterly compelling mix of doom and crust punk. Deadly Edibles open. —Bryan Reed

TUE, MAR 26

CAT’S CRADLE BACK ROOM: Emily Scott Robinson Album Release Party: Tatiana Hargreaves, Simone Finally; $8+. 8 p.m.

THE CAVE: David Dondero; 9 p.m.

DURHAM PERFORMING ARTS CENTER: Chicago; 7 p.m.

LINCOLN THEATRE: Visceral; $20-$22. 8 p.m.

CAT’S CRADLE: Imani Pressley, RYXOG, Calli Wood, Kae Soul, Aja Marie, DJ K-Vass (Back Room); $5+.

8 p.m.

THE CAVE: Almost Sober, Greenwich, Trike; 9 p.m.

DUKE’S RUBENSTEIN LIBRARY: Ciompi Quartet; Free.

12 p.m.

KINGS: Tiny Moving Parts, Free Throw, World’s Greatest Dad; $16+.

7 p.m.

LINCOLN THEATRE: Shallou, Slow Magic; $18. 8 p.m.

LOCAL 506: Cherry Pools, tiLLie; $12-$15. 8 p.m.

MEYMANDI CONCERT HALL: Raleigh Fine Arts: Choral Concert; 7 p.m.

MOTORCO: Black Atlantic: Noura Mint Seymali; $25. 8 p.m.

THE PINHOOK: Kyle Hamlett Uno, Whisperer, Nathan Golub; $8. 7 p.m.

SLIM’S: Gash, Cocordiona; $5. 9 p.m.

UNC’S MEMORIAL HALL: Mitsuko Uchida and Mahler Chamber Orchestra; $82+. 7 p.m.

art 3.20–3.27 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.

OPENING Amanda Barr: Group Hoarder Face Time: Performance art.

Mar 22-Apr 27. Lump, Raleigh. lumpprojects.org.

Christian Marclay: Surround Sounds: Synchronized silent video installation. Mar 21-Sep 3. Nasher Museum of Art, Durham. nasher.duke.edu.

Spring Art Show: More than twenty local artists.

Mar 23-24. 123 Art Studios, Pittsboro. 123artstudios.com.

Tilden Stone: Southern Surreal: Furniture. Mar 21-Sep 8.

Reception: Mar 21, 6-8 p.m.

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

Under The Rug: UNC MFA Thesis Art Exhibition: Jonh Blanco, Sarah Elizabeth Cornejo, John DeKemper, Peter Hoffman, Michael Keaveney, Jasper Lee, Laura Little, Reuben Mabry, Chieko Murasugi. Mar 23-Apr 6.

Reception: Mar 23, 5-8 p.m.

Durham Fruit Company, Durham.

Whispers & Echoes: Eduardo Lapetina, Arianna Bara, and Michael Salemi. Mar 25-Apr 21. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

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.

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.

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.

Jenny Blazing: Worlds in Process: Various media. Thru Apr 1. Pleiades Gallery, Durham. pleiadesartsdurham.com.

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.

Dust of the Zulu: Sound, photography, and video. Open house: Mar 20, 6-9 p.m. Thru Apr 15. Rubenstein Arts Center at Duke University, Durham. artscenter.duke.edu.

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. ncartmuseum.org.

Judy Keene: Numinous: Paintings. Thru May 4. Craven Allen Gallery, Durham.

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

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

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. 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.

SATURDAY, MARCH 23

TEDD ANDERSON & LOGAN BRITT: LIGHT BAG/SLIGHT BAGGAGE Anxiety may or may not love company. Either way, it should camp out in The Carrack between facing walls of drawings by Tedd Anderson and Logan Britt, who quit their day jobs and hit the road for half of 2018 (to “battle complacency in our daily lives,” says Anderson) with just a single backpack each. These small, intense drawings—often impossibly intricate, as if the artists were dipping a hair in ink to make the thinnest possible marks—show both the real and psychic scenes that wanderers move through. Drunk women overshare in bars.

Bat-faced creatures lounge in blossoms. Various selves comfort each other in the multiplane.

Disembodied hands give the finger to the eye sockets of a skull. As you peer into these tense, fascinating frames, you feel like you’re looking through your front door’s peephole at the embodiments of anxiety and curiosity banging on the door in the middle of the night. Will you let them in? Find out at this closing reception featuring live music. —Chris Vitiello

THE CARRACK MODERN ART, DURHAM | 7–9 p.m., free, www.thecarrack.org

“Portrait of Woman” by Logan Britt PHOTO COURTESY OF THE ARTIST INDYweek.com | 3.20.19 | 37

art

CONT’D

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. Discussion with Esther Gabara: Mar 22, noon.

Nasher Museum of Art, Durham. nasher.duke.edu.

Portraits of Durham: 64 local artists. Thru May 2. Durham Arts Council, Durham.

Portraying Power and Identity: A Global Perspective: Thru Jan 2020.

21c Museum Hotel, Durham.

21cmuseumhotels.com.

3.20 3.21

reNautilus: Thru Jul. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Susannah Sayler and Edward 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.

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 Mar 23. 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.

Ashley Swindoll: Embodiment: Mixed media. Thru Apr 14.

The Scrap Exchange, Durham. scrapexchange.org.

Dido Dodo, Future Spy: Recipe for Disaster

by Tom Angleberger 6:30pm Wilton Barnhardt Every True Pleasure: LGBTQ Tales of North Carolina 7pm

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NC Poets: Dorianne Laux and Gibbons Ruark

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William Paul Thomas: Disrupting Homogeny: Portraits. Thru Jul. 21c Museum Hotel, Durham.

21cmuseumhotels.com/ durham.

page

THURSDAY, MARCH 21

WILTON BARNHARDT: EVERY TRUE PLEASURE: LGBTQ TALES OF NORTH CAROLINA In Every True Pleasure: LGBTQ Tales of North Carolina, a new literary anthology from UNC Press, novelist and N.C. State professor Wilton Barnhardt curates a tight group of stories by North Carolina–associated LGBTQ writers and allies. Contributors range from household humorist David Sedaris to recent N.C. State MFA graduate and speculative fiction writer Alyssa Wong.

Garrard Conley, Zelda Lockhart, Kelly Link, Toni Newman, Brian Blanchfield, and others join the mix to elucidate the regional nuances of love, belonging, identity, violence, and family for queer and trans people in the state. On his decision to include pieces by straight allies, Barnhardt notes the ever-expanding breadth of queer and trans identities, and asks astutely, “Just who is issuing membership cards these days?” In part, perhaps, anthologies like this one. Triangle-based contributors Randall Kenan, Minrose Gwin, and Allan Gurganus will also read at the release.

—Coco Wilder

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

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

Thru Mar 21. 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 7. NC Museum of Art, Raleigh. ncartmuseum.org.

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM

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READINGS & SIGNINGS William Andrews: Slavery and Class in the American South, Tue, Mar 26, 6 p.m. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

Tom Angleberger: Children’s book Didi Dodo, Future Spy: Recipe for Disaster. Wed, Mar 20, 6:30 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Bill Ferris: Film and recording archive Voices of Mississippi. Sat, Mar 23, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Alice Bingham Gorman: Novel Valeria Vose. With author Lee Smith. Wed, Mar 27, 6 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Bryant Holsenbeck: The Last Straw: A Continuing Quest for Life without Disposable Plastic. Thu, Mar 21, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Dorianne Laux & Gibbons Ruark: Poetry reading. Sun, Mar 24, 2 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Francis Mayes: See You In The Piazza. Sat, Mar 23, 11 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Anna Jean Mayhew: Novel Tomorrow’s Bread. Tue, Mar 26, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Tony Reevy: The Railroad Photography of Lucius Beebe and Charles Clegg. Tue, Mar 26, 7 p.m. Regulator Bookshop, Durham. regulatorbookshop.com.

William Sturkey: Hattiesburg: An American City in Black and White. Author William Sturkey in conversation with

author and activist Timothy Tyson. Thu, Mar 21, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Wendall Thomas: Drowned Under: A Cyd Redondo Novel. Sat, Mar 23, 4 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Joy Yascone Elms: Astrological guide The Power of Divine Timing. Sun, Mar 24, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

LECTURES ETC. Derek Gripper: Black Atlantic keynote speaker. Free. Mon, Mar 25, noon. The Pinhook, Durham. thepinhook.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.

The Sound of a Broken Chain and the Role of Fútbol in Times of Latin American Political Upheaval: Author JD Cortese in conversation with professor and author Joshua Nadel. Tue, Mar 26, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Talking about Race and Healing: With four Ashoka Fellows. Wed, Mar 20, 6 p.m. Duke’s Fuqua School of Business, Durham. fuqua.duke.edu.

Voices from the Archives: The 1969 UNC Food Workers’ Strike: The Gladys Hall Coates University History Lecture.

Wed, Mar 20. 4:30 p.m. UNC’s Wilson Special Collections Library, Chapel Hill. lib.unc.edu/wilson.

stage OPENING Drag Queens are Coming!: With Stormie Daie, Dustin Reams, Tifa Wine, Vivica C. Coxx, DJ Yammy, and host Naomi Dix. $10. Fri, Mar 22, 10 p.m. Cat’s Cradle Back Room, Carrboro. catscradle.com.

Heather McDonald: Comedy.

Mar 22-23. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Heather McDonald: Juicy Scoop Live: Live podcast recording. $20-$50. Thu, Mar 21, 8 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Kidd Pivot: Revisor: Dance. $37.

Mar 21-22. UNC Campus: Memorial Hall, Chapel Hill. carolinaperformingarts.org.

Lightwire Theater: The Ugly Duckling: $12. Sun, Mar 24, 3 p.m. NCSU Campus: Stewart Theatre, Raleigh. live.arts.ncsu.edu.

LITE 2019: Cary Playwrights’ Forum. One-act plays. $10.

Mar 22-23. 7 p.m. The Cary Theater, Cary. thecarytheater.com.

Tap Dogs: Dance. Mar 19-20.

Durham Performing Arts Center, Durham. dpacnc.com.

Where Words Once Were: Mar 22-Apr 7.

Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com.

ONGOING

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

Bob Marley’s Three Little Birds: Musical play. $12-$18. Thru Mar 31. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org Bonnie and Clyde: Play. Thru Mar 31. North Raleigh Arts & Creative Theatre, Raleigh. nract.org CONSTELLATIONS: Play. $15$25. Thru Mar 24. Northgate Stadium 10, Durham. bartletttheater.org.

The Devil and Mark Twain: Play.

Thru Mar 24. The ArtsCenter, Carrboro. artscenterlive.org.

An Evening of Bernstein and Robbins: Carolina Ballet. Thru Mar 24. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Fabulous Fakes Las Vegas Review: Tribute performers. $15-$25. Thru Mar 30. 7 p.m.

Legends, Raleigh. legends-club.com.

The King and I: $23+ Thru Mar 24. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

In a Word PHOTO BY TIM WALTER THURSDAY, MARCH 21–SUNDAY, APRIL 7

IN A WORD

Tristan is a perfectly precocious seven-year-old boy, in the way that only a child who’s been missing for twenty-four months can be. As his presence recedes, his mom, Fiona, edits and rewrites the past more and more aggressively, picking more and more forbidden words to place in a glass jar that whispers—at first—in Lauren Yee’s surreal, metaphorical play. Now if only Fiona’s memories (and her husband, Guy) didn’t keep challenging her historical revisionism. And if only the dwindling words that form the lone bridge remaining between the couple didn’t keep failing, shifting, moving, and morphing. Jules Odendahl-James directs Thaddaeus Edwards, Matthew Hager, and a rare appearance by Amber Wood in this language-obsessed Bulldog Ensemble Theater production. —Byron Woods

THE FRUIT, DURHAM 7:30 p.m. Thu./8 p.m. Fri. & Sat./2 p.m. Sun., $10–$20, www.bulldogdurham.org INDYweek.com | 3.20.19 | 39

screen SPECIAL SHOWINGS After Life: Ackland Film Forum. $7. Tue, Mar 26, 7 p.m. Varsity Theatre, Chapel Hill. varsityonfranklin.com.

Animation Show of Shows: Foreign short films. Showtimes online. $3-$5. Mar 21-29. The Cary Theater, Cary. thecarytheater.com.

Banff Centre Mountain Film and Book Festival: Short films and documentaries about mountain culture, sports, and the environment $16. Mon, Mar 25, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Duke MFA in Experimental and Documentary Arts Thesis Exhibition: Full schedule of events online. Mar 22-Apr 14.

Durham. MFAEDA2019.org.

OPENING FRIDAY, MARCH 22

GLORIA BELL

Gloria Bell (Julianne Moore) is a divorced mother of two adult children (Michael Cera and Caren Pistorius) who has just rejoined the dating scene and is starting a passionate, complicated romance with Arnold (John Turturro). Gloria loves pop music, and the songs she sings along with are both an escape and an emotional release from a world that constantly undermines middle-aged women.

Sebastián Lelio, the first Chilean director to win an Academy Award with a long feature (A Fantastic Woman, 2017), has mentioned (paraphrasing Roger Ebert) that he sees film as a machine for empathy, and Gloria Bell’s intimate honesty is undeniable proof of that. This is Lelio’s American remake of his successful Chilean film Gloria (2013), which brought the director international acclaim.

While the film is faithful to the original, Moore’s exceptional performance gives a unique slant to the English-speaking version of this endearing, thought-provoking comedy. —Marta Nuñez Pouzols

THE CAROLINA THEATRE, DURHAM | Various times, $8–$10, www.carolinatheatre.org

Fruits Basket: Wed, Mar 27, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com.

OPENING

Les rendez-vous d’Anna: Mon, Mar 25, 7 p.m.

Rubenstein Arts Center Film Theater, Durham. ami.duke.edu.

Hotel Mumbai—Dev Patel and Armie Hammer star in this thriller about the 2008 attacks at the Taj Mahal Palace Hotel in Mumbai. Rated R.

Matilda: Sat, Mar 23, 10 a.m. Alamo Drafthouse, Raleigh. drafthouse.com.

Office Space & South Park: Bigger, Longer, and Uncut: $10. Fri, Mar 22, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

One Flew Over the Cuckoo’s Nest: Mon, Mar 25, 7 p.m.

Schoolkids Records, Raleigh. schoolkidsrecords.com.

Pick of the Litter: Mon, Mar 25, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com.

40 | 3.20.19 | INDYweek.com

Scott Pilgrim vs. The World: Wed, Mar 27, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com.

Texas Chainsaw Massacre 2 & Evil Dead II: The Raleigh Gore Club. Free. Thu, Mar 21, 7 p.m. The Maywood, Raleigh. themaywoodraleigh.com.

Tre Maison Dasan: Q&A with experts on criminal justice to follow. Benefit for Our Children’s Place. $11. Tue, Mar 26, 6 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Us—Director Jordan Peele follows his hit Get Out with another psychological horror film, in which Winston Duke and Lupita Nyong’o meet some evil strangers who look just ... like ... them. Rated R.

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

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.  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 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.  Woman at War— Reviewed on p. 29. Unrated.

food & drink Build a Beer: Homebrewing.

Scythe & Sparrow membership required. Wed, Mar 20. Wed, Mar 20, 6 p.m. Fullsteam, Durham. fullsteam.ag.

Bull City Food & Beer Experience: Over 30 restaurants paired with breweries, live music, and food trucks. $81. Sun, Mar 24, 4 p.m. Durham Performing Arts Center, Durham. bullcityexperience.com.

Farmhouse Cider & Wine Tasting: Saturdays, Sundays, 2-6 p.m. Botanist & Barrel, Cedar Grove. botanistandbarrel.com.

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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.

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The INDY’s monthly neighborhood guide to all things Triangle

Coming April 24:

CARY/APEX/MORRISVILLE

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 3.20.19 | 41

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.

2

5 4 9 9 3

7 9 76 4 3 8 5 2 9 1 1 8 2 8 6 6 73 27 6 9 2 19 8 9 4 6 5 5 7 3 6 9

4 3

4 2

6

8

5

8 2 63 7 su |MEDIUM do | HARD

7 6

3 2 86 9 3 7 8 1 1 3 9 4 9 6 2 3 5 4 58 8 9 1 8 36 7 4 5 24 4 1 7 2 8 8 3 5 5 1 7 4 76 5 9 2 7

# 57

ku

this week’s puzzle level:

76

HARD

# 58

# 25

MEDIUM

# 26

© Puzzles by Pappocom

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

5 3 6 7 4 3 5 86 4

4

1

2

9 3 6

6

3 1

4 1 2 6 3 1 9 57 83 8 37 1 4 2

1 8

2

2 9 2 1 7 79 5 81 9 6 5 7 29 9 6 8 3 5 3 8 2 2 4 6 7 2

HARD

# 57

1 9 3 7 5 8 4 6 2

5 6 7 4 2 9 8 1 3

2 8 4 3 6 1 5 7 9

8 1 5 9 3 6 7 2 4

7 8 3 4 59 1 28 7 3 9 6 7 9 7 4 2 3 89 6 4 35 2

# 59

MEDIUM

1

HARD

# 27 3 4 2 1 7 5 6 9 8

6 7 9 8 4 2 3 5 1

4 3 1 6 9 7 2 8 5

9 2 6 5 8 4 1 3 7

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solution to last week’s puzzle

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• Email amanda: classy@indywEEk.com

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back page CONTACT AMANDA: CLASSY@INDYWEEK.COM last week’s puzzle

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

INDYweek.com | 3.20.19 | 43

LOVEPACK

Men’s nude Yoga, Triangle + Triad, NC http://www.meetup.com/Skyclad-Yoga-of-the-Triangle/

DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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NANA’S RESTAURANT REOPENING:

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Now pouring ten taps of dankness. We buy records @hunkydorydurham

CECI N’EST PAS UNE PUBLICITÉ!

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Contact Amanda: classy@indyweek.com

HISTORY TRIVIA: *The Raleigh and Gaston Railroad, NC’s first self-propelled railroad line, was completed on March 21, 1840. The milestone was celebrated in June, 1840 in a joint celebration of the new railroad and State Capitol. *George E. Davis, primary organizer and fundraiser for the Rosenwald School movement in NC, was born on March 24, 1862 in Wilmington. NC had the most Rosenwald Schools of any state.

Courtesy of the Museum of Durham History

Durham’s Leading Art Supply Store & Classes Formerly known as HappymessART artpostnc.com 718 Iredell St. 919.286.9763

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back page Weekly deadline 4pm Monday classy@indyweek.com contact amanda for ads!

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Illustration by Amanda Blanchard