INDY Week 4.13.16

raleigh 4|13|16

Raleigh Gets Loud About Downtown Noise Again, p. 8 Big Boss, Brood, and the Adult Soda Craze, p. 20 Downtown Raleigh Has a New Taqueria, p. 23 Get On Up with Boulevards’ Groove!, p. 27

GEek cUlTure:

nOt JusT fOr GeeKs aN ymorE, p. 10

UltImaTe gEekEnd! gEekCraFt ExpO! Oak ciTy ComIcon! EasT cOasT gAme Ng ConFerEncE! ErnEst clIne (rEadY pLayEr One, aRmaDa) ! waRreN sPecTor! You (thE gUilD)!

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2 | 4.13.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH 6 Phil Berger will get his way, Governor.

8 Last year, more than half of Raleigh’s permitted events happened downtown.

10 In Durham and across the nation, the locally founded GeekCraft Expo brings geek Etsy to life.

DEPARTMENTS 6 Triangulator 8 News 23 Food

13 Game-design legend Warren Spector, keynote at the East Coast Game Conference, gives players more than the illusion of choice.

28 What to Do This Week

15 Ready Player One author Ernest Cline whips up another video-game nostalgia frenzy in Armada.

36 Arts/Film Calendar

16 “It’s not rational to think that you can sell six thousand or ten thousand records and make a living.”

VOL. 33, NO. 15

24 Music 31 Music Calendar 41 Soft Return

21 Research suggests that people lose some of their sweet tooth with age.

23 You can make tacos with fried avocados, and they’re delicious.

24 “I would love to know what the Chinese rail workers in California in the 1800s sang while they worked.”

27 Boulevards’ Groove! really does bring the funk.

41 Picking a bathroom when you’re transgender is actually not so easy, folks.

NEXT WEEK: THE SAGA OF SAMMY WALKER

On the cover and this page: ILLUSTRATION BY CHRIS WILLIAMS

Educating Kids Through the Arts This spring, we’re bringing Mike Wiley Productions and EbzB Productions to North Chatham Elementary and Virginia Cross Elementary in Chatham County.

It’s the pilot year of our Chatham Artists-in-Schools Initiative!

WWW. CHATHAMARTSCOUNCIL.ORG IN PARTNERSHIP WITH CHATHAM COUNTY, CHATHAM COUNTY SCHOOLS, AND THE NC ARTS COUNCIL

INDYweek.com | 4.13.16 | 3

Raleigh Cary Durham Chapel Hill PUBLISHER Susan Harper EDITORIAL EDITOR IN CHIEF Jeffrey C. Billman,

CONVERSATION WITH ELLIOTT HUNDLEY Thursday, April 14, 6 PM

Join artist and Greensboro native Elliott Hundley, with Marshall N. Price, curator of A Material Legacy, and Peter Burian, professor emeritus of Classical and Comparative Literature at Duke, for a lively discussion about the artist’s innovative use of materials, working with large-scale collage and his interest in the classical world as inspiration for his creative impulse.

2001 Campus Drive, Durham I nasher.duke.edu/hundley

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jbillman@indyweek.com MANAGING+MUSIC EDITOR Grayson Haver Currin, gcurrin@indyweek.com ARTS & CULTURE EDITOR Brian Howe, bhowe@indyweek.com STAFF WRITERS (DURHAM) Danny Hooley, David Hudnall STAFF WRITERS (RALEIGH) Paul Blest, Jane Porter ASSOCIATE EDITOR Allison Hussey, ahussey@indyweek.com COPY EDITOR David Klein THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS Tina Haver Currin, Curt Fields, Bob Geary, Spencer Griffith, Corbie Hill, Emma Laperruque, Jordan Lawrence, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Patrick Wall, Iza Wojciechowska

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backtalk

Bathroom Breaks

On Thursday, we reported on two employees at Durham’s Guglhupf who walked out after owner Claudia Cooper removed the signs they affixed to the bathrooms proclaiming, “All Gender Identities & Expressions Welcome” in protest of House Bill 2. Some commenters thought we were picking on Cooper, who has said that building codes force her to “maintain separate and gender-specific facilities by laws, irrespective of HB 2.”

Duramite writes: “Of all places to use as a poster child, why Guglhupf? I don’t think you have done your homework! I was the general contractor for the Guglhupf Cafe building when I built the place for them thirteen years ago. … Because of the nuance in the various codes as they exist and relate to the subject, the bathrooms cannot be made unisex.”

Adds Charlie Deal, a managing member of Juju, Jujube, and Dos Perros: “How … are those with multiuse bathrooms supposed to fit this narrowing view of appropriate facilities? Spend the tens of thousands of dollars ripping them out and replacing them with a bunch of single-use rooms— assuming, of course, that there’s enough room to do that and still have enough toilets per total restaurant seats to meet code? Or is it not your job to point out the glaring difficulties with Claudia’s position and just to stir up the poop, publicly shaming someone who is essentially on your side and just trying to figure out what to do?”

“Take your anger about HB 2 to the governor and the General Assembly!” argues starfuryomega. “We have not even had a chance to breathe and understand the scope of this insane and disastrous law, and already people are looking to target local businesses that don’t immediately comply with emotionally charged demands. Claudia was only trying to comply with what she believed the law to be, and there is absolutely no evidence that she had any intentions otherwise.”

But not everyone was so sympathetic to Cooper’s plight: “Sometimes leaders have no time to sort out the intricacies of an issue,” writes Andrew Imlay, “but this law has no relevant intricacies. It is unapologetically vile. This is obvious even to the most casual news consumer. HB 2 invites—demands—civil disobedience. If it applies to me, I defy it. Period. I need no time to consider anything further. … This should have been a no-brainer, and I’m deeply disappointed, having patronized Guglhupf so much over the years that my family gives me and my husband Guglhupf gift certificates as a matter of course. My husband and I will have to find another fine restaurant to commend to my family, which is just a shame.”

Spring Sports

PHOTO BY JEREMY M. LANGE

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

INDYweek.com | 4.13.16 | 5

triangulator +SQUIRREL!

Hey, so you know how House Bill 2 has basically turned North Carolina’s reputation into the smoldering ash of a blue-hot dumpster fire? Governor McCrory would like you to not think about that so much.

In a thinly veiled effort to save his re-election campaign and distract from the ongoing HB 2 debacle, McCrory made a big to-do about his new education “priorities” last week. Standing in front of a couple of bored-looking teens at his alma mater, Ragsdale High School in Jamestown, McCrory called for a 5 percent teacher pay raise, which would increase the average teacher salary to more than $50,000, create a yearly bonus for teachers with more than twenty-four years of experience, and increase college funding.

In the politics biz, this is what you call a race to the center: the states’s tax-cutting, spendthrift Republicans have taken heat for poor teacher pay and per-student spending, which is among the lowest in the nation. So the governor—buffeted by the HB 2 fallout, facing a stiff challenge in November, and desperate to appeal to moderates—would very much like to champion a piece of legislation that is not reactionary.

One small problem: the legislature—especially the very conservative state Senate—probably won’t play along. Indeed, earlier this year, Secretary of Public Instruction June Atkinson, a Democrat, called for a 10 percent raise for teachers. But House Speaker Tim Moore promptly crapped on that idea, calling it “unrealistic” and saying he might go for 2 percent, but that’s about it.

And, for the most part, the General Assembly’s sizeable conservative bloc cares very little what McCrory wants.

“Based on everything we’ve seen in the past, Governor McCrory has very little power as far as the budget is concerned,” says Progress NC communications director Logan Smith. “[Senate President Pro Tempore Phil] Berger is the most powerful person in the state. What he wants is going to happen.”

Berger has a history of getting what he wants. In last year’s budget, the House wanted a 2 percent raise for teachers. The Senate said no. So they ended up bumping rookie teachers from $33,000 to $35,000 and giving state workers a one-time bonus.

“There is a reason educator turnover rates are at historic levels,” N.C. Association of Educators vice president Mark Jewell told the INDY in a statement. “The governor has a track record of signing whatever the legislature sends him, even if it’s a budget that ends up making North Carolina the second worst for teachers in America.”

But at least we’re not talking about HB 2.

+ABOUT THAT DUMPSTER FIRE So let’s talk about HB 2.

It’s safe to say the GOP was blindsided by the backlash, especially PayPal’s decision to pull out of a planned $3.5 million expansion in Charlotte that would have created over four hundred jobs. So they went on the attack: Lieutenant Governor Dan Forest put out a statement saying, “If our action in keeping men out of women’s bathrooms and showers protected the life of just one child or one woman from being molested or assaulted”—it won’t, but OK—“then it was worth it.” Then Senator Phil Berger and House Speaker Tim Moore put out a statement blaming Charlotte mayor Jennifer Roberts and the “far-left Political Correctness Mob” for the mess 6 | 4.13.16 | INDYweek.com

the legislature created. And the state party sought to highlight the “hypocrisy” of PayPal abandoning North Carolina on moral grounds when it does business with Iran and Sudan, even though that wasn’t an issue when PayPal announced its expansion or when the Senate gave incentives to other companies that do business with those very countries.

This isn’t going well for them. And it certainly hasn’t gone well for the state’s brand.

Which is perhaps why the state’s business-minded Republicans have been pretty muted about this slow-motion train wreck. Take the Carolina Journal, an Art Pope mouthpiece; to date, it has run one news story about Senate Democrats walking out over HB 2 and a column from the John Locke Foundation’s Becki Gray, which argued that while “no one should minimize the heartache, struggle, and hardship that people dealing with sexual identity challenges face … the speedily called special session and resulting legislation were necessary to ensure public facility privacy and security, statewide consistency in laws, and protection of rights. It also was necessary to remind local governments that their authority is limited.”

That last part—keeping local governments in check—seemed more important, or more so, than the bathroom thing. So did the provision in HB 2 that eradicated Charlotte’s living-wage ordinance. They’ve got their priorities.

The state Chamber of Commerce, meanwhile, isn’t touching HB 2 with a ten-foot pole.

Asked for comment, Chamber vice president of communications Kate Catlin issued a statement (the same statement given to WRAL on April 4) saying the body was “conducting an analysis” of the law’s ramifications. When the INDY asked if the Chamber’s position had changed since PayPal’s announcement on April 5, we were told to refer to that statement.

+CAN OPENER NO MORE The N.C. Department of Transportation wants to starve 11foot8.com of new content, and it’s spending about $110,000 to do it.

Durhamites already kind of know what this is all about. So do people from all over the U.S. who read The Wall Street Journal and watch NBC News. The website and its subject—what locals call the ““Can Opener Bridge”—are rather famous. (There are T-shirts and everything.)

The site belongs to Duke systems Henn, who has a video analyst Jürgen Henn camera set up to chronicle the mishaps, mostly involving rental trucks, of the low railroad overpass on Gregson Street. With some frequency, tootall trucks fail to heed blinking-light warnings, and truck tops get peeled like sardine cans. It’s quite funny.

It’s not so funny to the NCDOT, though, nor to the Durham Transportation Department. The Can Opener accounted for sixty-six crashes between January 1, 2008, and October 31, 2015. Fortunately, there were only two injuries and no fatalities.

But it’s a big pain in the ass for the city.

In a January Wall Street Journal article about the bridge, Durham transportation

TL;DR engineer Pete Nicholas is quoted as telling Henn: “My goal is to put your website out of business.”

To do that, he wanted to put a height sensor near the Main Street intersection, which would trigger a traffic light to turn red when an over-height truck approached.

“It’s basically a little box,” explains John Sandor, a project manager for the DOT. “It has a partner across the street that it will shoot a laser to. And whenever that [path] is broken, that will send a message that an overheight vehicle has been detected.”

The idea, Sandor says, is that inexperienced truck drivers, when forced to stop, may have time “to digest what’s happening.” With any luck, they’ll turn off Gregson and find an alternate route.

Sandor says the final touches should be finished by the end of April.

The city will need to paint new road markings, and the DOT is waiting for Duke Energy to supply power.

The next step, says Sandor, is to test the system and preview it for frequent travelers at that spot. If everything works, the traffic light will go into full operation a week later.

The state-funded project is currently running a little behind schedule—and under its $120,000 budget. A $150,000 companion project at the lesser-discussed eleven-foot-four bridge on Roxboro Road and Pettigrew Street is expected to be finished a week or two later.

“Our hope is that this will work,” says Sandor. “Or at least cut the problem down to a very small number.”

+PROTECT AND PRESERVE As the clock ticked toward midnight in Raleigh’s city council chambers last Tuesday evening, residents of the Glenwood-Brooklyn

neighborhood—one of downtown’s three original suburbs—were in a celebratory mood.

The city council had just voted 6–2 in favor of applying a Streetside Historic Overlay District to the seventy-seven-acre neighborhood.

Residents had been working on getting protections for GlenwoodBrooklyn since the citywide remapping process began, and this piece alone took more than a year to come together.

Now, changes to the historic properties in Glenwood-Brooklyn have to measure up to standards set by the Raleigh Historic Development Commission. More important, property owners have to wait 365 days before they can tear down buildings in the historic district, a tool the city has used to delay demolitions and prevent developers from flipping historic properties.

Not everyone was happy with the designation, however. Owners of twenty properties on Peace and St. Mary’s streets—eighteen of which are considered historic—argued that they shouldn’t be included. They worried that the historic designation and accompanying restrictions would diminish their property values.

The council split along its usual “pro-neighborhood” and “prodevelopment” lines, with council members Mary-Ann Baldwin, Bonner Gaylord, and Dickie Thompson voting against including those property owners in the historic boundaries.

“The real value of a historic district is not fully realized until we are all dead and gone,” says Bob Fesmire, president of the Glenwood-Brooklyn Neighborhood Association. “Fifty years from now it will be great if people walk around Glenwood-Brooklyn and get a sense of what it’s like to live there in this time, or even in the early part of the twentieth century.

That is not possible without historic preservation.” l triangulator@indyweek.com

THE INDY’S QUALITY-OF-LIFE METER -2

Bruce Springsteen cancels his Greensboro show over HB 2. Bono expresses regret over not being able to do it first.

+3

Chris Sgro, leader of LGBTQ rights group Equality NC, is appointed to serve out the remainder of late state rep Ralph Johnson’s term. This will mark the first occasion on which House Speaker Tim Moore has actually spoken to a gay person.

+1

Duke students end their weeklong occupation of a campus building over alleged racial slurs by executive vice president Tallman Trask III. Trask strenuously denied the charges, saying there is “absolutely no—that’s ‘no’ with a capital-N—truth to these allegations.”

+2

Comedian Joel McHale donates proceeds from his DPAC show to the LGBTQ Center of Durham. “Well, that’s funny queer, not funny ha-ha,” Pat McCrory said, summoning his best (and very bad) Billy Bob Thornton.

-3

North Carolina now has the second-lowest unemployment insurance recipiency rate in the nation, with only one in eight unemployed workers receiving benefits. Conservative pundits expressed disappointment with the statistic after asking, several times, “Are you sure that’s not supposed to be one in eighty?”

-5

DEQ eliminates contracts with nine staff lawyers from Roy Cooper’s office, accusing the attorney general of politicizing cases.

The work will be reassigned to nine large chunks of Duke Energy coal.

+1

Trial begins in Greensboro federal court over the legal challenge to racial gerrymandering in North Carolina’s legislative districts.

Republicans are expected to deploy the rarely used color-blind defense.

+1

Pat McCrory unveils new budget priorities and seeks more money for mental health services. Yes, we could use a little sanity.

This week’s report by Paul Blest, Danny Hooley, and Jane Porter.

PERIPHERAL VISIONS | V.C. ROGERS

This week’s total: -2 Year to date: -20 INDYweek.com | 4.13.16 | 7

indynews

DURHAM

Sun City

HOW CAN DURHAM MAKE SOLAR MORE FEASIBLE?

BY DAVID HUDNALL

The Durham Community Land Trustees has been hip to the sun for about a decade now.

Where it can afford to do so, the nonprofit uses solar hot-water heaters and implements passive solar design in its affordable housing units. But solar photovoltaic panels have always been too expensive.

Last year, the renewable energy organization NC WARN put up $20,000 and raised another $22,000 from solar enthusiasts to purchase and install solar panels on a DCLT property at 811 Carroll Street, in Durham’s West End neighborhood. The four panels— one for each apartment in the building—went live this winter and are expected to bring $1,700 in energy-bill savings every year.

“The panels do eventually pay for themselves, but if you do the math on the Carroll Street property, it’ll take almost twenty-five years,” says Selina Mack, executive director of the DCLT. “We’d love to do panels on our other units, but it would have to be a similar situation where the panels were a gift.

They cost over $10,000 per panel.

I mean, where would that money come from?”

It’s a question that dogs solareager citizens across the state.

Though North Carolina is the fourth-highest solar producer in the nation, you have to travel to rural solar farms to see much evidence of it. For average homeowners, the barriers are high. Thirdparty leasing—a no-upfront-cost scenario wherein a solar provider installs a system on your property and you pay back a set rate over time—is prohibited by state law. And last year, the General Assembly let expire the very tax credit that helped propel North Carolina to become one of the leading solar producers in the United States.

Which raises the inevitable question: What can cities like Durham do to advance solar in spite of the legislature?

That was the backdrop of a resolution proposed to the Durham City Council a few weeks ago by a coalition of clean-energy groups.

Dave Rogers, director of Environment North Carolina, ran down the why-solar list: 250 days of sunshine a year; 72 million metric tons of dirty carbon pollution currently released every year to produce electricity; the potential to create more jobs beyond the current 3,100 in the state. He asked the city to adopt a resolution that sets a goal of

generating 15 percent of Durham’s electricity from solar by 2030. The resolution would also have Durham call on the state to set a goal of seven hundred thousand solar roofs by 2030 and a transition to 100 percent renewable energy by 2050.

The proposed resolution was notably short on specifics of how Durham might accomplish these goals. “We’re not trying to push the city to adopt ideas that may not be right for it,” Rogers says. “We see this as the first step in getting the city to put together a plan of action.”

Still, Rogers says cities can drive down the costs of solar in the state in a variety of ways. Greensboro has an incentive tool that discounts permit costs if developers check enough green boxes.

In Raleigh, solar installation can offset certain landscaping requirements for developers.

For individual homeowners, there are creative financing solutions that could help remove barriers. PACE (Property-Assessed Clean Energy) financing, which has been implemented in other states, allows homeowners to borrow money from their local county to pay for solar panels and repay that loan via their property tax bill. Or, Rogers suggests, the city might partner with an organization like SelfHelp to provide low-interest loans for solar.

“And in terms of taking on state law, it’s a limited situation, but if enough cities speak up together—not just Durham and Chapel Hill, but Greensboro, Charlotte, Winston-Salem, with bipartisan support—I think you will see some momentum,” Rogers says.

“From my point of view, issues like this come down to priority,” says city council member Don Moffitt. “The city has a borrowing cap, and so spending on any new program will lower the priority of another— sidewalks, parks, a new fire station, whatever. That said, I love solar, I think we need to figure out how to make it more feasible in Durham.

But we need more information to guide us in our thinking here.”

The council sent the resolution to city staff to investigate. A report is expected next month. l dhudnall@indyweek.com

“They cost over $10,000 per panel.

Where would that money come from?”

8 | 4.13.16 | INDYweek.com

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GEEKCRAFT EXPO

PRepAre to meEt youR MAkeR GEEKCRAFT EXPO UNITES ARTISANS WHO HAND-CRAFT POP CULTURE PASSIONS WITH THEIR IDEAL AUDIENCES

BY ZACK SMITH

I have a confession: I am a geek. But it's no big deal. In some way, you probably are, too.

You might not guess it just from looking at me. I don't wear geek-themed clothes, and I'm more easily found at art galleries and concert halls than at cosplay contests or video-game tourneys.

Comics and games aren't much of a part of my social world, but they are both important to me. The remarkable thing is that, these days, this is hardly remarkable.

Now, even hipsters and intellectuals are likely to have at least a little geek in them, whether it's a stash of indie comics, a hard drive full of retro games, or a Game of Thrones addiction. Even National Book Award winner Ta-Nehisi Coates just started writing Marvel Comics' Black Panther.. Science fiction and fantasy worlds that were once cloistered niches have spread out, through popular media, to infiltrate all of our lives. Fandom, the term of art for the love of something geeky, has become so universal that geek culture is basically just culture.

The mainstreaming of fandom is particularly evident in the Triangle right now, as a perfect storm of nerdy events decends. There's GeekCraft Expo, where geek Etsy comes to life, joining forces with Oak City Comicon as Ultimate Geekend. There's the East Coast Game Conference, which features gamedesign legend Warren Spector. And there are appearances by everyone from sci-fi author Ernest Cline (Ready Player One, Armada) to web-series comedian Felicia Day (The Guild), ), all of which you'll learn about in the following pages. Unless you're already secretly up to speed on them. It's OK to admit it.

After all, we are all geeks now. —Brian Howe

i

f you’re in the market for a hand-crafted candle, garment, lunchbox, or doll, but would prefer if it were emblazoned with a White Walker or a Pokémon, good news: A new craft fair is bringing such specialties, curated by geek connoisseurs and made by local artisans, to the Durham Armory this Sunday.

GeekCraft Expo is planned to take place in sixteen cities across the U.S. and Canada in 2016 and 2017; the first one was in March in Madison, Wisconsin.

Like a certain section of Etsy come to life, the expo pays crafty tribute to shows like Game of Thrones and Doctor Who, and to countless comic books and movies.

GeekCraft was cofounded by Morrisville’s Daniel Way, known for writing many comics featuring the Marvel Comics character Deadpool; Kim Matsuzaki, formerly of Cary video game company Red Storm; Jenny Valle of the Triangle’s Ultimate Comics; Aaron Haaland, owner of a Florida comic shop and a geekthemed bar; and Amber Frazier-Finkelstein, owner of Morrisville marketing company Retro M. Frazier-Finkelstein says the expo’s purpose is to give crafters who specialize in “geeky, nerdy things like sci-fi, steampunk, comic books, and fantasy” a dedicated space to connect with their niche of the fandom audience.

“Years ago, when geek wasn’t necessarily mainstream—where not everyone was going to see the Deadpool movie—people had to make these things themselves,” Matsuzaki adds.

“Now they have a chance to share them with other people.”

The sample wares on the website range from “Harry Potter Pants” made of newspapers shown in the film series to crocheted dolls of macabre characters billed as “Macabrochet.”

“You can pretty much apply your love of geek to everything,” Matsuzaki says. “At a normal craft fair you can see someone making candles, but we had someone in Madison who made a candle in a Hunger Games style. You can not only enjoy that, but show it to another fan, and they go, ‘Wow, I had no idea you could do a Hunger Games candle.’"

Harry Potter Pants by willow + wither PHOTO COURTESY OF GEEKCRAFT EXPO 10 | 4.13.16 | INDYweek.com

Durham Armory, Durham Sunday, April 17, 10 a.m.–6 p.m., free www.geekcraftexpo.com

Bracelet by Fantastic Folds PHOTO COURTESY OF GEEKCRAFT EXPO

Melissa Browning, who owns the Little Shop of Horror boutique in Durham, plans to attend GeekCraft to sell things like "prayer candles—the kind that usually have Jesus on them, but mine will have Pinhead."

Browning, who sells her wares at conventions around the Triangle, says GeekCraft is a great opportunity to see what local artisans are creating—and to scout out things to sell in her shop—in an environment focused on "handcrafted items versus stuff you can just buy on Amazon."

GeekCraft takes submissions from vendors, but it’s not a free-for-all. The exhibitors are curated with an eye toward specificity, where mass-market characters are translated into hand-crafted objects. Matsuzaki says exhibitors are chosen based on the quality of their work and how they add to the overall variety, ensuring that the show isn’t just islands of T-shirt tables. Instead of rooting through boxes at crowded

flea markets and comics conventions, fans can more easily find the shoes, shirts, jewelry, and tchotchkes that match their obsessions.

Matsuzaki maintains that, while the characters featured on many of the expo's items are not licensed from the companies that own them, these makers are providing a distinct, noncompetitive service.

"The big companies, if someone wants something that's handmade, it would be really expensive and not as readily available as their mass-produced items," she says. "The people on places like Etsy aren't taking away business from the people who own the licenses."

Though the founders of GeekCraft are seeing how the first round of shows plays out before planning for the future, they have a wish list of items they hope might show up one day.

“I’d love a map of Sunnydale from Buffy the Vampire Slayer.

The ones online have so few details and are barely posterquality,” Frazier-Finkelstein says. “So if I could find one that could be mounted, it’d be great.”

Admission to GeekCraft is free, in order to attract casual shoppers as well as collectors, creating a space where you can encounter the person who made the one-of-a-kind thing that made you squeal, instead of an online shopping cart.

“I don’t think it’ll ever get into something like a huge convention,” Frazier-Finkelstein says. “That’s not the culture we want to build. We want people to support other geeky people.

The fact that these items are not mass-produced by some company speaks volumes. It’s not like you can just go into a Target and say, ‘I want a super-awesome Doctor Who crocheted doll.’”

Twitter: @thezacksmith

GEEKCRAFT TEAMS WITH OAK CITY COMICON FOR ULTIMATE GEEKEND Because Daniel Way appears at Oak City Comicon (Saturday, April 16, 10 a.m.–6 p.m., $10, Raleigh Convention Center) the day before GeekCraft Expo, it was only natural to bring the two hardcore shopping ops together as Ultimate Geekend. Though Oak City focuses on comics instead of crafts based on them, “both events share the same cultural and community roots,” as GeekCraft’s Kim Matsuzaki said in a press release. “We’re all nerds!”

Oak City Comicon is a one-day convention produced in Raleigh by the people behind the annual NC Comicon in Durham: Alan Gill, owner of Chapel Hill and Raleigh’s Ultimate Comics shops, and artist Tommy Lee Edwards. The mini-con skimps on size, but not on punching power. The marquee guest is Howard Chaykin, an influential, provocative comics artist and writer since the seventies, when he drew the seminal Marvel Star Wars comics.

Other guests include Jeremy Whitley (Princeless) and Afua Richardson, both of whom have been featured in the INDY for their efforts in bringing diversity to comics. Too bad GeekCraft isn’t the day before so you could upgrade your costume before the cosplay contest at Oak City. It goes without saying there will also be oodles of comics and toy vendors. Get ready to pick up some overtime and empty your wallet. —Brian Howe

Afua Richardson is coming to Oak City Comicon. PHOTO BY CAMRON WILTSHIRE/COURTESY OF AFUA RICHARDSON INDYweek.com | 4.13.16 | 11

STUDY OF COUPLES WHO SMOKE Duke University School of Nursing is looking for couples, married or living as married, in which both persons smoke, for a study on smokers’ beliefs about cigarettes and beliefs about health effects of smoking. Participants must be at least 18 years old.

For more information, and to see if you qualify, call 919-956-5644.

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INDY: You principle What doe put it into WARREN ly. For me to do with other med ing player of a story. ons, wher creates th deciding f those bon resulting s ter wants

EAST COAST GAME CONFERENCE

Infinite LIves

Tuesday, April 19–Thursday, April 21, $25–$425 Raleigh Convention Center, Raleigh www.ecgconf.com

VIDEO GAME DESIGN TITAN WARREN SPECTOR GIVES PLAYERS THE POWER TO CHOOSE IN HIS VIRTUAL WORLDS

BY WILL PARTIN

Research Triangle Park is a stronghold of the video game industry, so it’s apt that Raleigh is home to the East Coast Game Conference, one of the largest industry gatherings on the Eastern Seaboard. Though the top-priced passes, talks, and tutorials, whether they’re master classes on 3-D graphics or primers on starting an indie studio, are geared toward industry professionals, there are also affordable community-day passes (April 19, $25) and individual tickets to events of wider interest—particularly, as the Oculus Rift lands on consumers’ faces, the VR Summit (April 22, $49).

For its keynote speaker in its eighth year, ECGC landed no less a legend than Warren Spector (April 20, 2 p.m.), a pillar—and often, a sharp critic—of game design who is known for artful, choice-rich role-playinggames like Ultima and Deus Ex. Spector, currently the studio director of OtherSide Entertainment, recently told the INDY about the transformation of the industry during his three-decade career and the “unique combination of art and science” that is creating a virtual world countless players can make their own.

INDY: You’ve said that your organizing principle is that player style matters.

What does that mean, and how have you put it into practice in your games?

WARREN SPECTOR: It’s pretty simple, really. For me, there’s almost a moral imperative to do with a medium what it can do that no other medium can do. That means empowering players to “share authorship” in the telling of a story. It’s sort of like Dungeons & Dragons, where there’s a dungeon master who creates the bare bones of a story, with players deciding for themselves how to interact with those bones to put some meat on them. The resulting story isn’t the one the dungeon master wants to tell, and it isn’t the story the play-

the middle—call it “Triple-I,” maybe— I’d like to try.

Oh, and working with the twenty students in Austin reminded me how much you can get done with a small, dedicated, talented team. I don’t see myself running a studio of 200 or more any time soon! Been there, done that, don’t want to do it again.

Spoiling for choice: Warren Spector

ers want to tell; it’s a combination of the two.

The same thing works—and seems essential—in video games. Sadly, in most video games, we provide the illusion that players have some control over the narrative, but it really is an illusion. In my games, I try to make it more than illusory. For example, in Deus Ex, the team created an overarching story, but the minute-tominute belonged to each player. You could fight your way past problems, if you wanted. You could sneak past problems. You could ignore entire missions. Same thing in Disney Epic Mickey: you could get through that game erasing everything in the environment or painting in the missing bits. In both cases, the game took note of what you were doing, and the low-level narrative changed accordingly. Every player ended those games having had a unique experience, unlike any other player's.

You’re the director of the Denius-Sams Gaming Academy at the University of Texas–Austin. How has that changed your

PHOTO COURTESY OF ECGC

approach to making games, if at all?

Teaching has changed my thinking about game development in pretty profound ways.

The most important thing I learned is that the world of games has changed pretty radically in the three years I spent at UT. The students, through their questions, comments, and attitudes, and even through the games they played, made it clear they were going to enter a world radically different than the one I lived in for my thirty years as a developer.

Specifically, today, the importance of data in design is undeniable—knowing what players think and do is critical in a way it never used to be. The whole idea of games as a service, rather than as a “fire and forget” business, is new to me, and I’m really looking forward to exploring that. Digital distribution and social media have changed the way in which developers relate to the audience.

And rising costs on the mainstream big-budget side make indie games look more and more appealing. I hope there’s something in

Do you see game design as creative, technical, a bit of both, or something else entirely?

Video games are a unique combination of art and science. If creativity wasn’t a driving force—maybe the driving force—I wouldn’t be making games. But it’s important to remember that we’re making software. One of the things I love most about making games is how collaborative and interdisciplinary it is. You need designers, artists, programmers, audio folks, testers. And all of those disciplines, which speak different languages and think differently, have to work together like a well-oiled machine.

One theme that runs through almost all of your titles is the idea of choice. What are some ways you’ve explored that over the years?

It’s funny, everyone thinks the games I’ve worked on are about player choice. That’s true, to an extent, but they’re really about something a little different. Choice without consequence is meaningless. The game has to notice and respond to player choices or you’re just spending time and money for nothing. And once the consequences are revealed, there has to be a chance to recover.

In other words, if you go into a situation guns blazing and you don’t like the result of that choice, the game has to allow you to settle things down and avoid a perpetual combat situation. I’m actually going to be speaking about this at ECGC. INDYweek.com | 4.13.16 | 13

“chOicE WIthOut ConSEQueNCe Is MeaNinGleSs.” Both Deus Ex and System Shock were influenced by dystopian ideas. Do you think any of that will wind its way into System Shock 3?

I don’t want to give away too much about the new System Shock game, but I will say I don’t see conspiracy theories playing too big a role. I’m more interested these days in things like corporate power and influence, and the seemingly inevitable singularity—when machines become as smart or smarter than humans. I’m pretty sure we’ll be exploring those things.

You’ve often been a vocal critic of the game industry and the big, loud, stupid, Michael Bay-esque titles that define the medium in the eyes of many. Who do you think is making the most exciting games right now?

Well, I have to confess a real fondness for the stuff Telltale’s making. They may be choose-your-own-adventures with pretty pictures, but I find them really compelling, if not terribly indicative of where I think games should go as an art form.

I really don’t see much that’s new and exciting in the Triple-A space. Most big-budget blockbusters seem like the same old games we’ve been playing for years, just with prettier pictures. Thankfully, there’s all sorts of interesting stuff happening on the indie side of things. I’m hoping Otherside can kind of bridge the gap between Triple-A and indie, and innovate a bit in what might appear to be traditional genres.

Game culture is often rightly derided for sexism and racism. Even so, it has made great strides over the last

thirty years. In what ways do you think it has and hasn’t changed?

I think you have to really stretch the idea of “great strides” to feel really good about where we are, culturally speaking, in game development and in the games themselves. It’s still noteworthy when a game features a female protagonist, or a significant character of color, or someone my age! (I’m sixty.)

And in game development, it’s kind of the same thing. We’ll know we’ve made it when it’s no longer noteworthy that we have a female programmer on a team, or an artist who isn’t a twenty-something white guy. ● Twitter: @william_partin

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If GeekCraft Expo (p. 10), Oak City Comicon (p. 11), the East Coast Game Conference (p. 13), and Ernest Cline (p. 15) aren't enough geek stuff for you—geez, you are very hard to please! But fear not: there is plenty more exciting nerd stuff on deck. Add these five to your calendar and stretch Ultimate Geekend to infinity and beyond.

The Carolina Theatre will screen 1989's THE WIZARD in a double feature with The Bugs Bunny/ Road Runner Movie (Friday, April 15, 7 p.m., $9). Little Fred Savage plays a video-game savant trying to win a tournament while evading his parents and a bounty hunter. Not a great film, it's basically a feature-length commerical for the Nintendo Entertainment System, which is exactly what makes it geek manna. Of particular interest is the film's focus on the Power Glove, the NES peripheral that was touted as revolutionary but then quickly faded away. Will the Oculus Rift—the virtual reality headset just hitting the market—take hold or suffer the same gimmicky fate?

As it happens, you can get some perspective on VR in The Nether, a play running at Manbites Dog Theater through April 23, and at ECGC, which features game designer Warren Spector. But Spector isn't the only tech titan coming to town: AOL FOUNDER STEVE CASE will visit Duke (Tuesday, April 19) and American Underground (Wednesday, April 20) to discuss his book The Third Wave, where he sets forth his conception of the "third wave" of the Internet's life cycle. Visit www.thirdwavebook.com for event details.

What if A Prairie Home Companion's Lake Wobegon and Twin Peaks had a baby, and it was mad for conspiracy theories? That's the question answered by cult-favorite podcast WELCOME TO NIGHT VALE, which returns to the Triangle for a live show at Meymandi Concert Hall (Wednesday, April 20, 8 p.m., $28–$33).

Former N.C. poet laureate FRED CHAPPELL is also a prolific fantasy author? I had no clue until the Regulator Bookshop announced this reading (Tuesday, April 19, 7 p.m., free) from his latest, A Shadow All of Light, which does indeed have a Dungeons & Dragons rogue painted on its cover.

Chappell has won many literary prizes, but who knew such fantastical visions stirred beneath those gentle scenes of rural life? Everybody except me, I guess, since it turns out that Chappell has also won two World Fantasy Awards. I’m coining the genre now: Sword & Prosody.

Looking ahead, I'd be remiss not to mention that FELICIA DAY is coming to Cat's Cradle courtesy of Flyleaf Books (Wednesday, April 27, 6 p.m, $20) for a Q-and-A about You're Never Weird on the Internet (Almost), her new memoir about being the queen of the geeks thanks to her web series about online gamers, The Guild. The ticket price also nets you a copy of the book, and maybe the chance to ask her about also playing Vi on Buffy the Vampire Slayer. —Brian Howe

ERNEST CLINE

LeveL Up

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ERNEST CLINE WROTE TWO FUN NOVELS BASED ON HIS LOVE OF VIDEO GAMES AND EIGHTIES POP CULTURE. THEN SPIELBERG CAME CALLING.

BY ZACK SMITH

Regrettably, Ernest Cline will not be driving his DeLorean when he comes to Flyleaf Books for the paperback release of his 2015 novel, Armada.

But he did take the stainless steel, gull-winged car, immortalized as a time machine in Back to the Future, across the country behind his 2011 debut, Ready Player One. “I put about seven thousand miles on it, and it’s a thirty-year-old car,” he says by phone from his home in Austin, Texas. “There’s only about four DeLorean repair shops left in the country, so I barely made it through my last tour. They look awesome, but they’re not the most practical for long road trips.”

Cline had the grill fitted with a pulsating LED display, à la Knight Rider, and the doors decked with Ghostbusters logos. He added proton packs and neutrino wands to the back, not to mention an oscillation overthruster from The Adventures of Buckaroo Banzai Across the 8th Dimension.

It suffices to say he’s a child of the eighties. And he’s made it pay.

The award-winning Ready Player One might be the single most validating literary work for anyone ever accused by parents of wasting time striving for extra lives in a Nintendo game. In the book’s desolate, overpopulated future, our hero finds his only refuge in the OASIS, the immersive virtual reality where everyone games, works, and goes to school. Its late creator has woven in an elaborate contest based on eighties trivia, and a breakthrough leads to a frantic race to the heart of the game. Necessary skills include surviving a Dungeons & Dragons dungeon and remembering all of Matthew Broderick’s lines in War Games.

“That was the decade when I formed my worldview, saw all my favorite movies, and played all my favorite games,” says Cline, who also cowrote the Star Wars-based caper Fanboys. “It was kind of like a golden age: the birth of arcade culture, the rise of home computers and video game systems. I’m continually shocked that as many people are interested in the things that I’m interested in.”

Armada is another video-games-based adventure story, where a high school student discovers that the online game he’s obsessed with is actually a covert training simulation for defending Earth against a real alien invasion.

“It’s the natural fantasy of everyone who’s ever played a

video game,” Cline says. “What if it had some real-world value? They’ve been doing that since 1982, when the U.S. Army bought Atari’s Battlezone, and now video games are a hugely successful recruiting technique for the military. So it’s a fantasy, but it’s based on things from real life.”

Armada pays homage not only to video games but also to science fiction in general, with influences ranging from The Last Starfighter to classic Robert Heinlein novels like Have Spacesuit, Will Travel.

“In the late seventies and early eighties, there was so much science fiction,” Cline says.

“Space Invaders came out in arcades around the same time Star Wars was in theaters. It was such a part of childhood to build a spaceship out of couch cushions and watch Buck Rogers on TV.” The film rights to Armada sold before the novel was written. Production has already begun on a film version of Ready Player One, directed by no less an eighties titan than Steven Spielberg, with filming scheduled to start in London in late June.

“It turns out he’s a huge fan of the book, and has taken a lot of trouble to bring the adaptation back around to my novel. It’s the most flattering thing that’s ever happened to me in my life,” Cline says. “His films were a huge reason I wrote this book, and are referenced in it, and it’s because of him that they’re able to get the rights to use footage referred to in the book.”

But is there such a thing as too many sequels, homages, and remakes? Cline doesn’t think so. “[The studios] haven’t made as many fun SF adventures since the eighties, and I think that’s why Star Wars: The Force Awakens was such a big hit,” he says. “It kind of harkens back to the action-faring space adventure from that time.

I don’t think there’s any shame in drawing on what’s come before, or building on an existing universe.”

Though it’ll be a few years before one of Cline’s books hits the big screen, you do have a chance to play Phaëton, a formerly fictional eighties-style arcade game featured in Armada, which has now been brought to life as a browser game. If you can set the high score, you can win an Oculus Rift as the grand prize.

It might not be a DeLorean, or a chance to fight real aliens, but the virtual reality visor will move you one level further into the kind of virtual fantasy world Cline writes about, no quarters required. l Twitter: @thezacksmith INDYweek.com | 4.13.16 | 15

NORTH CAROLINA INDIE ROCK ICON AND ARCHERS OF LOAF LEADER ERIC BACHMANN TRIED TO QUIT MAKING MUSIC. INSTEAD, HE MADE THE BEST RECORD OF HIS CAREER.

BY GRAYSON HAVER CURRIN • PHOTOGRAPHS BY JEREMY M. LANGE

Eric Bachmann at the Hi-Lo Lounge, in his current town of Athens, Georgia Eric Bachmann is bounding through the woods behind an elementary school in Athens, Georgia, whooping with delight.

“There you go, baby,” the longtime rock ’n’ roll singer and legend of North Carolina’s indie rock heyday yells in his sandpapered baritone. “Go get ’em, girl.”

With every thudding step he takes on the narrow, leafstrewn path, his broad-shouldered, six-foot-six frame pounds out an imposing rhythm. He’s trailing Lupe, the dog that he and his wife, Liz Durrett, have owned for three years.

As mutts go, Lupe is an especially perplexing chimera: she 16 | 4.13.16 | INDYweek.com

stands about a foot off the ground and weighs fifteen pounds, all of which seems to be held in a single ripple of muscle, taut beneath her short, tan hair. Her face and ears are that of a Chihuahua, her body that of a pit bull uncannily crammed inside a too-small frame.

She has all the energy of a pinball game, so Bachmann sprints behind her, hoping to keep hold of the leash that clips onto her bright pink, steel-studded collar. When they emerge from the woods and reach the wide, open field that’s her favorite place to play, Bachmann bends down, grunting as he

leans low enough to unleash her.

“Go!” he yells.

She’s suddenly off, kicking up pale brown blades of brittle late-winter grass. He stands still, watches her silently for a full minute, and laughs.

“You’re a big hit, Lupe,” he boasts. “Everybody loves Lupe.”

Bachmann, forty-five, has been married for almost four years. He talks often about having a child with Durrett, but, for now, he proudly, compulsively refers to her and Lupe as his family. In the right pocket of his thick gray coat, he carries

ERIC BACHMANN

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a collection of dog treats in much the same way a new parent might clutch a diaper bag.

He scoffs at the veterinarian who says he overfeeds Lupe and boasts that, since she’s a mutt, “she’s going to live for twenty years.”

This is, Bachmann says, as happy as he’s ever been. For his entire life, he’s been perpetually restless, whether transferring schools and switching majors midway through college, moving two dozen times, or jumping from the aggressive indie rock of his emblematic Chapel Hill band Archers of Loaf to the elegant, brooding folk-rock of Crooked Fingers because he’d grown to loathe the former. But right now, he’s hoping to not go anywhere.

“I never wanted to be home. I never wanted to be in one place,” he says. “But now that I have a wife, a home, a dog, I am gone too much. I never really had a place that I enjoyed when I came home. Now I do.”

That sense of relative contentment has resulted in what is arguably the best record of Bachmann’s long career. Released by Merge Records in March, the nine-song set, simply titled Eric Bachmann, is the most direct and daring writing he’s ever done. He defies common wisdom and rejects old traditions, proclaiming, “Kill your idols and your fables” over girl-group harmonies at the start of the album’s masterpiece, “Mercy.” After a five-year recording absence that followed a string of records that felt like half-measures, the album Eric Bachmann is a welcome resurrection for the musician Eric Bachmann.

And it has everything to do with his new life, his wife, and his dog.

Lupe eventually slows down, cycling back to Bachmann and resting at his feet. He scoops her up and holds her close to his face, staring into her eyes. He reaches into his pocket, fishes for a snack, and dangles it in front of her dark, angled snout.

“This is it, girl. This is our last treat,” he says, his voice easing from its normal, nervous rush to a smooth, consoling clip. “We’re going to be so fucked after this.” l l l

Just sixteen hours earlier, Bachmann is in a different state of mind.

The sun is setting outside Normal Bar, a popular, two-sided pub in a thriving, postagesized section of Athens named Normaltown, two miles removed from the University of

Georgia’s downtown bedlam. Bachmann seems to loom over a small square table on the less-crowded side of the bar, even when he kicks his chair back and leans against the wall.

For the last few beers at a different bar, he’s talked about his time in Archers of Loaf and his stint as a saxophone major, how his dad still wonders when he’s going to get a real job, and how he doesn’t care so much about modern indie rock. But here, just as the Georgia sky dims, so does the conversation.

Bachmann begins discussing the limits of making music for a living, which is what he’s done for nearly a quarter-century. For years, Durrett was a touring singer-songwriter herself, making twilit folk that conjured the brambles and woods of her native Georgia. But tomorrow she’ll take her last test of nursing school before beginning her clinical work. He seems inspired by the move—“She got sick of being broke all the damn time, and she had the courage to just drop it,” he says— but doubts he could pull it off.

“It’s not rational to think that you can sell six thousand or ten thousand records and make a living,” he scoffs. “Doing tours and sleeping in a Walmart parking lot so you don’t have to get a hotel room and can come home with four grand, that’s not a good business plan. If I had another way to generate income, I’d probably do it.”

Still, Bachmann acknowledges that a complete career shift, even if possible, would not only leave him unsatisfied but also likely drive him insane. He tried once before, in 2009, when he left his home in Colorado for Pingtung, a city of a few hundred thousand in southern Taiwan, to teach English.

Because of Archers of Loaf’s success, he’d never studied abroad as his peers had, so he decided to leave the United States—maybe forever—and build a new plan. He didn’t take a guitar or computer. For at least a year, he reckoned, he would make no music. He failed miserably as a teacher, though, and, within a month, Bachmann had purchased a cheap, nylon-stringed guitar and started piecing together new tunes.

Otherwise, the world just got to him.

“If you go to sleep, and every time you have the idea you’re going to put a bullet in your head and end it, writing songs is a distraction. I don’t feel suicidal when I’m working on songs,” he says, hands nervously flitting across the table. “If you always have something to do, it keeps you from going there.”

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It’s completely dark outside now. The glasses are empty.

“Why does anybody do anything they do?” he continues. “They’re distracting themselves from the fact all this shit is meaningless.”

Soon enough, Bachmann found his reason to leave Taiwan. Old friends in the band Azure Ray asked him to produce their new record, so he broke his teaching contract and quit the job.

“I could blame teaching children or the fact that I didn’t enjoy it, but the truth was that I felt like I had given up too much of my identity by not writing,” he says. “Actually, I don’t like it, but I always turn back to doing it.

I don’t do it out of joy. It’s therapeutic.” l l l

Bachmann’s compulsion to write songs and share stories is an old one. His parents divorced when he was eight and shuffled him through the Southeast, from central Florida and northern South Carolina to eastern Tennessee and western North Carolina. His dad sold insurance, and his mom worked as a substitute teacher and, later, a low-paid bank teller.

For Bachmann, rejecting that lifestyle and the possible comfort of a cubicle and steady paycheck meant gravitating toward the arts.

He focused on the alto and tenor saxophone, enrolling at Appalachian State University to study them. But he’d started late, and no matter how much he practiced, he couldn’t catch up. In the school’s rehearsal rooms, the piano offered the distraction he’d wanted— the chance to write songs.

Bachmann eventually took his own hint and realized that storytelling, not playing the sax, was his future. He transferred into the University of North Carolina-Chapel Hill’s English literature program and, before long, started building Archers of Loaf.

In many ways, Archers of Loaf was concerned with seeming better and smarter than everyone else in the room, everyone else in indie rock. The sound was raw and jagged, with a savage rhythm section pounding beneath snarling guitars. Bachmann had purchased his first guitar at the age of twenty and soon deconstructed it, restringing it so that it was noisier and meaner.

Above that din, Bachmann took shots at those around him, poking fun at Chapel Hill townies and the music industry at large. “The underground is overcrowded,” he famously reported in “The Greatest of All Time.” “It’s too bad that your music doesn’t matter,” he

offered elsewhere. “I can smell the satisfaction on your breath.”

In some ways, Bachmann admits now, he was playing a character that exhausted him, even as the band’s popularity skyrocketed.

He remembers sitting in a Chicago recording studio while making Archers’ second album, Vee Vee, and laughing at the self-pity and attitude of his own songs.

“I was tired of being a smart-ass, man,” he says. “It was boring. ‘I’m sorry your band didn’t get a good record deal, you spoiled fuck.’

If that’s the problem you have, you’re lucky.”

So Bachmann did what, to this day, he calls the most punk rock thing he could imagine: he put down his electric guitar, picked up an acoustic, and started releasing lavish folkrock records as Crooked Fingers and under his own name.

Just as Archers had struggled under the thumb of Alias Records, the label they signed to in the early nineties, and with the expectations of indie rock in general, Bachmann continued to wrestle with the industry after starting Crooked Fingers. A decade ago, he hired a manager to help boost his prospects and bottom line. It did neither. Instead, long relationships with old partners suffered, and his profits flatlined. That’s when he split for Taiwan and, he thought, from music for good.

“I was just burnt out,” he remembers. “I was coming into my forties. I had broken up with my girlfriend. I needed something else.”

When he came home, he booked a series of solo shows and invited Durrett, whose album he had produced just before leaving, to open. The day of their first show together, her uncle, the Athens singer-songwriter Vic Chesnutt, committed suicide. She canceled.

When Bachmann’s run was over, he went to Athens to check in. They fell for each other hard and fast, each clinging to the other in a particularly unsettled period.

“I was the one person coming into her world that wasn’t from Vic’s world and wasn’t asking her about him. She responded to that,” he says. “It was a horrible time, but it was also a really fun time, too. We were falling in love.”

For much of his life, making music has been Bachmann’s biggest source of selfesteem and assurance. If he needed to say something, he knew he could do it through a song. But now he’s got something else that feels like an accomplishment—a little family of three, a little house in the woods, a preferred playground for Lupe.

“I am not afraid now to tell my mother or

Eric Bachmann and child, Lupe

my father or my grandparents or any family member how I feel, because I have a family of my own. Being with Liz brought that confidence,” he says. “If they want to talk about my faith or something, I’ll tell ’em straight up, ‘That’s a waste of your time.’ Before, I would have been conciliatory. Having my own family gives me the ability to navigate, to say no.”

That ability has empowered Bachmann to write his most direct songs ever, songs that at last tell the truth about himself. In Archers of Loaf, he was screaming at the world. In the early days of Crooked Fingers, he couched social criticisms in metaphors and, as he calls them, “fairy tales for adults.”

But here, you can hear him cycling through his own feelings: he hopes for better things for old friends during the piano jaunt “Modern Drugs” and brilliantly grapples with his own “agoraphobia and anxiety” during “Separation Time.”

“Belong to You” is a slow, poignant remembrance of love, the sigh of pedal steel tracing the arc between the hopeful past and desperate present. Bachmann’s voice lifts to the lip of a falsetto, endearing cracks showing the wear and tear of his croon.

On the other hand, “Carolina”—a tune written by Durrett—is a magnetic, jubilant celebration of what the right person can do for your worldview, how your eyes can be opened to possibilities you’ve always overlooked. When he speaks about Durrett as a songwriter

and singer, Bachmann seems in thrall of her talent.

This song is their standing tribute to each other.

“Those early records were gossip about people,” he says. “But the new ones are autobiographical. I’m trying to see the world as I saw it as a kid and reconcile that with being an adult. There is an intention now to say, ‘What am I dealing with?’” l l l

During the next year, Bachmann and Durrett will have to make several crucial decisions about their future together. This summer, she’ll begin her clinical work in a Georgia hospital, the final step in obtaining her nurse license. That will keep the couple in the state at least another year. The long-term goal, says Bachmann, is for Durrett to become a traveling nurse, meaning they can move among different towns across the country every two months.

And after a few short tours as part of Neko Case’s band this fall, Bachmann will quit that rather lucrative long-term post. He needs to be home more—or at least to be around Durrett and Lupe without adhering to someone else’s schedule.

“What I’m doing is gathering some moss, and what I’m doing in my mind is navigating how to deal with it,” he says. “I’m not going to stop being restless.”

There’s also the question of Archers of Loaf, which

reunited for several strings of good-paying gigs earlier this decade after a thirteen-year break. But that may be over, too. Bachmann has attempted to eke out new material with his old, oddly tuned electric, but it just hasn’t worked.

“It ain’t coming out, man. I’m trying, but it’s not happening. It would be good for my pocketbook,” he confesses. “But I actually feel good about that. It’s just you being honest, you being in tune with what you want.

The new record is what happened when I tried to write Archers songs. I didn’t want to fake it.”

That acceptance seems to be Bachmann’s new mantra. After a lifetime of rejecting one town for the next, one band for the other, one stalled career for a failed one, he seems to have found, if not complete satisfaction, a certain situational serenity.

During the chorus of “Mercy,” he bellows, “Don’t you dare believe them when they try to tell you, ‘Everything happens for a reason.’” It’s a glimpse of that old antagonistic spirit. But standing in the lateafternoon sunlight of the Hi-Lo Tavern, a few hours before the conversation and the sky alike go dark, he leans against a wall, squints, smiles, and offers up his own reassuring cliché.

“You end up wherever you end up,” he says, beer glass in hand. “Well, whatever the fuck that means.” l gcurrin@indyweek.com INDYweek.com | 4.13.16 | 19

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The Not-TooSweet Spot

A POPULAR AREA BEER BREWER AND A LOCAL SODA MAKER EXPLORE THE ADULT PLEASURES OF CARBONATED CONFECTION

BY BRYAN C. REED

On Christmas Eve, my cousin handed me a curious bottle of booze— “Not Your Father’s Root Beer,” read the label. That evening, I became one of many drinkers who propelled Small Town Brewery’s flagship hard soda to more than $75 million in sales last year alone.

Distributed by Pabst Brewing Company, Not Your Father’s Root Beer became one of 2015’s best-selling craft brews, overtaking stalwarts like Samuel Adams Boston Lager and New Belgium’s Fat Tire in sales. This success was especially impressive since Not Your Father’s Root Beer landed on the market in June, giving it just six months to surpass so many favorites.

Competition arrived quickly. Samuel Adams’s parent, Boston Beer Company, launched its own rival hard root beer, Coney Island Hard Root Beer. F.X. Matt Brewing Company, which makes Saranac, countered with Jed’s Hard Soda. MillerCoors jumped in with the Henry’s Hard Soda line, Anheuser-Busch with its Best Damn Root Beer.

The craze is easy to understand: with a mix of savvy, nostalgia-baiting marketing and a taste that summons memories of good ol’ A&W, just with an alcoholic kick of six percent or so, Not Your Father’s Root Beer and its ilk proved novel for beer drinkers and gave people who can’t take beer’s bitterness a sweet-sipping alternative.

Maybe, though, it’s too sweet.

Indeed, finishing that bottle of Not Your Father’s took some work.

The first few drinks delivered a fun throwback, but the syrupy sweetness left me feeling weighed down by the time I'd drained the bottle.

The same holds for most of the other hard sodas I’ve tried since, and it seems I’m not alone in finding most hard sodas—or standard sodas, for that matter—too sweet. One of the area’s most popular breweries has responded to the hard root beer boom with a less cloying brew of its own, while a soda-making Durham artisan wants to cut the sugar and add unexpected flavors to his new concoctions. Some even say this recent wave of craft beverages could eventually break the soda hegemony of major players like Coca-Cola and Pepsi.

Big Boss Brewing Company’s brewmaster, Brad Wynn, thinks he knows why.

“I don’t think my customers like sweet beer,” he says. “I don’t think my customers are drinking Not Your Father’s or the other ones, but they like the idea.”

Brood Soda founder Jon Lehman PHOTO BY JEREMY M. LANGE INDYweek.com | 4.13.16 | 21

“I made a deal with myself that I’m not In response to the craze for hard soda, Big going to follow recipes,” Lehman says. “I can’t Boss recently released a limited Root Beer ignore that I’ve had a lot of ginger ale and cola Stout, an attempt to evoke the same nostaland root beer in my life and so I know these gic flavors sans the sugary overload. When flavors, but my intention was to make a new Big Boss co-owner Geoff Lamb suggested a and different flavor. That ethos is consistent root beer-based beer, Wynn was reluctant, but across the brand. All our flavors are hopefully head brewer Bobby McInerny took the lead. different from anything that is well known.”

“He has a very good palate,” Wynn says. “I And Brood has begun to find a niche among was like, ‘All right, give it a shot. Just don’t consumers who are eager for new flavors and make it eight-and-a-half or nine percent, and handcrafted refreshments—in other words, don’t make it sickly sweet.’” craft-beer drinkers. To wit, some of Brood’s Research suggests that people lose some best customers are breweries looking to add a of their sweet tooth with age. According to a non-alcoholic option to their taproom menus. study from the Monell Chemical Senses Cen“It’s not just an overlap,” says Lehman, who ter, children are, in general, more attracted to estimates his industry is a decade or so behind sweet tastes than adults and are more sensithe craft-beer market. “I’d say it’s pretty direct tive to bitter flavors; coffee and beer aren’t in our sales that the buyer of quality beer is the “adult” beverages simply because of the cafsame buyer—or the same family.” feine or alcohol they contain. In adolescence Still, operations like Brood remain a small and adulthood, we tend to seek out more comniche in a shrinking market. Sales of carbonplex flavors. ated soft drinks have fallen steadily during the Or, as Wynn puts it, “I like beer that tastes past decade, and craft makes up an estimated like beer.”

1 percent of it.

And Big Boss’s new stout does. It earns both But Lehman sees potential. More craft soda elements of its root beer label. A rich sodamakers are popping up, and the big players fountain aroma greets your nose, but it drinks are scrambling to catch up. Pepsi has introlike a semisweet, well-balanced stout. There duced “Throwback” lines, using real sugar are vanilla and chocolate notes on the finish, instead of corn syrup in Pepsi and Mountain but the root beer taste and sweetness never Dew, and it recently launched Stubborn Soda, overwhelm the malt. At 6.75 percent, it packs with flavors like lemon berry acai and orange more wallop than most hard sodas, but it balhibiscus, and 1893, a vintage-style cola line. ances that alcohol content with a smooth texCoca-Cola has acquired brands like Hansen’s ture and complex taste. and Blue Sky. “We didn’t want to make a heavy stout. We Not so stout on sugar: Big Boss’s new root beer brew PHOTO BY JEREMY M. LANGE If craft soda can continue to find a foothold, wanted to make one that finished easy,” Wynn the trend can fundamentally alter the indussays. “One thing we want you to do is drink try, much like craft beer. Today, anywhere you one more.” are less sweet for several years, and business is bubbling up. go to eat, whether McDonald’s or a high-dollar restaurant, the For Big Boss, this experiment may only be the start, as When Lehman moved to Durham in 2012 after leaving his soft-drink menu is likely to feature Coke or Pepsi.

Wynn wants to expand into non-alcoholic sodas, too. The job as a real estate lawyer in Florida, he soon started working “There’s no reason for that. If you’re looking at higher-qualbrewery has tested small batches of old-fashioned root beer on what would become Brood Soda. Like Wynn, Lehman had ity food, there has to be a higher-quality beverage,” he says. “A before, and Wynn’s background in crafting soda goes deep. brewed his own soda as a hobby, making alternatives to the lot of restaurants are realizing that.”

Back in Pennsylvania, Wynn’s father and grandfather would sugar-stocked standards.

Finding a balance between novelty and nostalgia may brew their own root beer in hard and soft varieties.

“My criticism of the well-known colas—Coke, Pepsi, RC, prove challenging, however. Where Brood mostly eschews “I want to be a beverage company,” Wynn says, “not just a anything off the shelf—is they were too sweet,” he says. “That the word “soda” for “carbonated greatness” and names its beer company.” was my entry into soda making myself: to make something flavors ambiguously in an effort to encourage experimentaIf Big Boss enters the soft-drink business in earnest, it that’s enjoyable and not so overkill.” tion, hard sodas are marketed on vintage appeal. A Jed’s label will be the latest in a line of breweries, like Saranac and the Eventually the hobby turned into a vocation. Lehman still promises to “capture the essence of days past.” Appealing to Pennsylvania-based Appalachian Brewing Company, to turn taste-tests each batch of Brood, which he makes using allmemory, Wynn says, is a fail-safe strategy, but not for Lehmits expertise in craft beer into vintage-style sodas—root beers, natural ingredients. He assists in a bottling process that's an, whose success depends on those changing taste buds of ginger ales, and the like. But, Wynn promises, these versions still done mostly by hand, too. This attention to craft extends adults—not too sweet and not too ordinary. won’t be syrupy. into the flavoring. Unlike mass-market sodas, which Lehman “New and different is as important as vintage,” he says.

“There’s a more grown-up way to look at this stuff,” he says. says often make up for missing flavor with more sugar and “There’s an enormous place for creative and different prod“I want it to be consumed straight, as an alternative to a really chemical sweeteners, Brood delights in unusual combinaucts.” l sweet soda. My root beer’s not going to be sickly sweet; it’ll tions. “Ram” fuses peppermint and white grape, for instance, probably have half the sugar.”

Twitter: @BryanCReed while “Spicy” incorporates the heat of Thai chilis and ginger.

In Durham, Jon Lehman has been making craft sodas that 22 | 4.13.16 | INDYweek.com

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For two years, Jon Seelbinder has been transforming a two-story space in downtown Raleigh piecemeal, first with The Level Up kitchen and arcade upstairs, followed by Linus & Pepper’s sandwich shop down below. The newest undertaking for his hospitality group, Local Icon, is Virgil’s, a cozy downstairs taqueria that opened in early April.

At the shoebox kitchen’s helm is Andrew Klamar, a thirty-one-year-old chef who arrived in Raleigh in September Avocado’s good for you when fried, right? PHOTO BY JEREMY M. LANGE to run Local Icon’s regime. He worked for Southern food poster child Sean Brock at McCrady’s in Charleston before ready.” He cuts each avocado in half, pops out the pit, and divides the running the culinary program at Nashville’s Hermitage Hotel. flesh into twelve skin-on segments that look like large lime wedges.

But that didn’t prepare him for Mexican cooking.

When the order arrives, the skin comes off and the wedge goes for a “I knew I liked tacos, but that was about it,” he confesses. “I started buttermilk bath and cornmeal dredge. The avocado is dunked in the going to the library and getting books, studying and learning to put fryer for two minutes and placed atop a scoop of velvety refried beans. together my own palette.”

The result is crunchy and creamy, salty and sour.

Klamar devoted much of the last year to learning traditional MexiThe tacos are dressed with thinly sliced cabbage, lime juice, onion, can cuisine. He practiced through a matrix—first by cooking proand cilantro and topped with a zippy chili-lime crema, based on the teins, then sauces and pickles and toppings. Each sauce is made from thick and tangy crema oaxaqueña—“sour cream to the next power,” scratch the “real-deal Mexican way,” he says, and involves the noonKlamar calls it. to-night preparation of dried chilies, roasted vegetables, and toasted After just two weeks of service, Virgil’s kitchen is going through spices. about one hundred pounds of tortillas a day, or roughly a full, standard Klamar keeps Virgil’s menu compact, with no slapdash or steamshopping cart. If he keeps frying avocadoes like this, he’s going to need table offerings. Once he mastered the basics, he combined techniques a bigger buggy. ● and ingredients to create traditional flavors with a twist. His fried Twitter: @tinacurrin avocado taco might be that approach’s pinnacle.

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At nearly $100 each, tickets for Standard Foods’ latest extravaganza certainly aren’t cheap, but with the imminent departure of cofounding chef Scott Crawford, this might be worth asking a favor of the piggy bank. What’s more, this four-course meal, which starts in the garden outdoors before shifting back inside, features Sean Lilly Wilson of Durham’s Fullsteam and Diane Flynt of the great Virginia cider maker Foggy Ridge. The meal starts at 6:30 p.m., Monday, April 18.

If you’re looking for something a bit more affordable, Glenwood Faire, which allows you to sample the fare of bars and restaurants in and around Glenwood Avenue, convenes at Babylon Sunday, April 17, at 1 p.m. For $10–$15, you can sample Dos Taquitos Xoco, Plates, and more. Or, on Saturday, April 16, you can gather at the street party in front of The Pit in downtown Raleigh for the eighthannual ‘Cuegrass Festival. A Lincoln gets you in and in line for barbecue. www.standard-foods.com, www. gsnc.raleighdla.com, & www.cuegrass.com

AROUND THE WORLD

Looking to have international and local food experiences in the same day in the same region, all for free? Start with Saturday’s East Meets West Food Festival on Morrisville’s Town Hall Drive, where you can browse and sample a diverse lot of restaurants (and scout vendors) before making your selections from eleven a.m. to four p.m. Then, make your way to the Durham Co-op Market’s one-year-anniversary fête, where a good set of bands (including D-Town Brass) and cheap beer accompany tastes from a panoply of local artisans. www.eastmeetswestmorrisville.org, www.durham.coop

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ABIGAIL WASHBURN AND FRIENDS UNC’s Memorial Hall, Chapel Hill Sunday, April 17, 2 p.m., $29–$79 www.carolinaperformingarts.org

Lengths of Strings

WITH ONE EYE TOWARD CHINA, BANJO STAR ABIGAIL WASHBURN WILL PLUNDER AMERICA’S FOLK ARCHIVES AT UNC

BY ALLISON HUSSEY

With a banjo on her knee, Abigail Washburn has long been busting up conceptions of folk music. The thirty-eight-year-old songwriter and picker draws inspiration from the sounds of the South and Appalachia, but she also links them with unlikely inspirations from China. Nearly two decades ago, Washburn was studying law in China when she realized she wanted to commit to music, instead. She continued to explore Eastern ideas and lessons, though, incorporating them into records that find common ground between disconnected traditions.

Washburn has visited Chapel Hill numerous times with The Sparrow Quartet, The Wu-Force, and as a duo with her husband, Béla Fleck. She recently earned a coveted fellowship with UNC’s Southern Folklife Collection. She will spend the week before a Sunday night performance digging through its archives for new-to-her material to ponder as she spends this year focused on writing.

From a grassy spot on campus on a pleasant early spring day, Washburn discussed her Southern Folklife fellowship and the international fellowship she’s found through music rooted in different continents.

INDY: What did your pitch to the Southern Folklife Collection entail?

ABIGAIL WASHBURN: It’s a creative year of writing for me, and being able to hear these old recordings and see the things they have would certainly lead to more material that I’d perform onstage.

Mike Seeger took a lot of notes around each field recording he had. I wouldn’t be able to access those unless I was here. I might hear that field recording out in the world somewhere, but I wouldn’t know where Mike got it. There are stories around the music that can be mined in the archive that I wouldn’t have known otherwise. And stories around songs are an important part of what I do and an important part of my performance. I’ve always been really attracted to academic archiving. That often is the way that we have recall of all this material.

I had a son almost three years ago now. And since then, it’s been really rare that I listen to the old recordings that I used to listen to all the time for inspiration, partly because I don’t make time for it. I’d rather be with my son when I’m not 24 | 4.13.16 | INDYweek.com

In the direction of inspiration: Abigail Washburn PHOTO COURTESY OF THE ARTIST

onstage. The stuff we want to listen to together isn’t necessarily the old scratchy stuff. My time by myself really listening to this stuff and thinking about how it fits with who I am as an artist and how I want to carry on the oral folk tradition is a really important time for me. I haven’t put that time aside for a long time, and now I am.

You mentioned Mike Seeger as one area of exploration.

With an archive as vast as the Southern Folklife Collection, how did you pick a direction?

Well, I’m not very sure yet. There’s a few things I’m coming in looking for. I love African-American gospel music, so I’m definitely going to look into that heavily.

I had a wonderful conversation today with [SFC curator] Steve Weiss and Phil Vandermeer, the head of the musicology library. I’ve got one very specific query, and they’re going to help me figure it out. I would love to know what the Chinese rail workers in California in the 1800s sang while they worked. What did they sing while they were building the railroad? That is pre-recordings, so we have to do a real academic search and try to find references to songs they might have sung. How long did those people live? Are there oral histories of what their experience working on the railroad was like out west? That’s a piece of what I’m looking for, too.

What about Mike Seeger’s work attracted you?

It’s the personal friendship. He took an interest in me when I started playing music.

The whole idea of archiving and doing field recordings is a really interesting one about identity and culture, and an awareness that culture is something special. Recording it is helpful to the preservation of culture.

I fell in love with China, so I had this whole sense of identity and being an insider or an outsider and wanting to learn. I had a similar experience with being an American who’s not from the Southeast, not from Appalachia, that feels so at home in this music. People hear you sing and play, and, in general, these people have been incredibly warm and inviting to me in the scene of Appalachian music.

But with China, it’s a much, much larger hurdle, and I think a lot about that sense of identity as an outsider in China. In America, we say you can become an American no matter who you are. In China, you’ll never become Chinese. I go to China, and I am always going to be a foreigner, even if I’d spent my whole life there and were a perfect speaker of Chinese. It’s a heavily guarded, monolithic cultural machine. As a result, I’ve chosen to try to make it mine as an artist, to become Chinese in ways that fit within my artistic schema as a thinker and as a human. Whenever I feel like I’m an outsider, I just try to pull it inside and make it a part of me.

What’s the biggest lesson you’ve learned with that experience?

It’s brought up so many questions. In America, we value the individual, and in China, they value the place of the person within the community, not the individual. I feel like the overall mental health in both of our cultures could really benefit so much from taking a dose of medicine from the other. l ahussey@indyweek.com

www.lincolntheatre.com APRIL

Fr 15 JJ GREY & MOFRO

8p SOLD OUT w/ The Record Company

Sa 16 BAND TOGETHER’S LAST BAND STANDING

Yarn

Sat Apr 16

7p

Rebekah Todd & The Odyssey Bryan Elijah Smith & The Wild Hearts Dr. Bacon w/Latenite Performance w/YARN Su 17 DOPAPOD w/The Fritz 8p

We 20 STYLES & COMPLETE

w/Devious / Gifted 6 / Ronin / Eight Bit Disaster 8p Th 21 SOMO w/Quinn XCII/Kid Quill 7p

Sun Apr 17

Dopadod Fri April 22

Fr 22 BIG SOMETHING

w/ People’s Blues of Richmond 8p

Sa 23 THE OH HELLOS w/The Collection Tu 26 THE MERSEY BEATLES #1 BEATLES Tribute from The UK

Th 28 STEEL PANTHER w/Wilson 7p Fr 29 COSMIC CHARLIE Sa 30 PULSE: ELeCtRoniC dAncE PArTy

Big Something Thu April 21

MAY

We 4 BUNNY WAILER F r 6 KIEFER SUTHERLAND Sa 7 BLAKE KEARNEY BAND

w/Jonathan Parker Band /Kaylin

Th 12 THE HIP ABDUCTION Fr 13 BUCKETHEAD Sa 14 FLATBUSH ZOMBIES

w/A$AP 12vy / Remy Banks

Th 19 ALLEN STONE

7p

w/ Jared & The Mill

Sa 21 TAB BENOIT

SOMO Thu April 28

J

w/ Mel Melton & the Wicked Mojos

Su 22 HARDWORKING AMERICANS w/Town Mountain 7p JUNE

T h 9 B.O.B. w/Scotty ATL/London Joe Fr 10 CRAIG XEN w/Lil Peep/

Killstation/Refe/Oak City Slums/ HU$$EL Mo 13 LA DISPUTE w/Des Ark/Gates

Sa 18 JERRY JOSEPH & THE JACKMORMONS / BLOODKIN We 22 THE UNITY EXPERIENCE

Steel Panther

Presented by Oak City Entertainment

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w/ The Harmony House Singers

8 - 3 DIGI TOUR SPRING BREAK ‘16 11-17 STICK FIGURE Advance Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus St. 919-821-4111

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THE PARTY STARTS WITH BOULEVARDS’ FUNK REVIVAL AND FLOATS AWAY WITH SPONGE BATH’S HOUSE ZEN BOULEVARDS GROOVE!

limit him to the realm of indie funk charmer.

Rashad may be a bit too late and safe for these times, anyway. Compared with the Adderall nausea and molly gagging currently running the charts, “Weekend Love”—with its talk of juicy booties and “pussy fiddle,” the most explicit cut on Groove!—sounds positively tame. Whether or not there’s still an opportunity for this unbridled joy amid the booby-trapped tropical house and soulful sin dominating radio remains unclear. But you gotta believe in something, and Boulevards’ Groove! is at least good enough to pull some new congregants into funk’s fold. —Gary Suarez

(Captured Tracks) With the possible exception of Scientology, funk is the most important religion to emerge from the twentieth century. The faith’s founding mothers and fathers, those bold souls of the late sixties and seventies, provided the musical and ideological tenets for a new Greatest Story Ever Told, a mix of Afrocentric attitudes and eruptive rapture. Funk delivered a full body experience, one that provided a mix of agony and ecstasy meant to convey the black experience in America. Devotees listened out of necessity and constancy.

After a considerable waning in the size of funk’s congregation, a new set of purveyors has taken up the genre’s lessons, though none of them seem particularly pious or inclined to tithe. You’ll recognize some of their names—Bruno Mars, Pharrell Williams, Mark Ronson. These stars have taken a turn from what Dam-Funk and other funk revivalists and purists had already offered. They are plunderers of a sacred sound, modern-day raiders clicking and dragging from the scriptures of Parliament and The Gap Band with aims of topping the Billboard charts.

That comparatively commercial approach holds, too, for the rising Boulevards. Less a reaction to hits like “Uptown Funk” or “Treasure” than their logical extension, the impeccably peppy music of Raleigh’s Jamil Rashad exists comfortably between retro fetishism and modern pop. As mainstream music has drawn so extensively from funk, boogie, and disco in recent years, it seems only right that a proper funk parishioner try to get in on the hit-making action, particularly one as sincere as Rashad.

Rashad reaches forward more than he leans backward on the emphatically titled Groove!, his full-length debut for the polyamorous Brooklyn label Captured Tracks. A far cry from the salacious dangers of classic Prince or Rick James and far more grounded than George Clinton’s imaginative space operas, the album plays up our familiarity with funk in order to make it feel comfortable and compelling.

Boulevards satisfies those who’ve wanted more funk infiltration in their pop. Spare yet infectious, “Move and Shout” is the sort of track that one expected to hear dozens of times, yet somehow never did, after Daft Punk’s “Get Lucky” exploded internationally. He’s as tidy as a Timberlake on “Tender,” while “Running” suggests he has more in common with The

SPONGE BATH GOLDEN LIGHT (Tone Log Jr.)

Weeknd’s Michael Jackson worship than any throwback boogie revivalism might suggest.

From the delightfully inoffensive groove of “The Spot” to the palatable pop borne of springy G-funk idolatry on “Talk to Me,” Groove! never succumbs to the schmaltz of Chromeo.

And by keeping the kitsch in check, Rashad’s integrity and genuine love of this stuff shine, making him a credible funk missionary at a moment when false prophets often profit from far less. With its winking Grandmaster Flash callback, “Cold Call” employs the same methodology as “Uptown Funk” without ever seeming hacky or gross. That restraint works both ways, of course; it means Groove! is never really too conservative or cloying, but Rashad’s lack of mainstream pandering and unwillingness to be exploitative may forever

During the last year, the phenomenon of Autonomous Sensory Meridian Response, or ASMR, has grown from a curiosity of fringe artists and binaural beat shut-ins to an online subculture. Described by the ASMR Research and Support website as “a physical sensation characterized by a pleasurable tingling,” ASMR usually stems from specific sounds, particularly whispering. A series of YouTube videos, for instance, attempts to invoke that feeling by combining the sounds of whispered words and crunched potato chips. Surreal? Of course, though the goal is not to entertain but to elicit an unconscious physical or psychological response.

While not intended as an ASMR prompt, the lambent new age sounds of Sponge Bath’s vinyl debut, Golden Light, possess similar qualities. The project of Carrboro’s Nathan Taylor, Sponge Bath has long trafficked in luminous, physical house music. On a recent tour split with Patrick Gallagher, Night, Taylor leapt from dark ambient stuff to Driven By the Night springy acid house and back again. Here, though, he settles in, incorporating new levels of depth and humanity into his sound, now ready-made for close listens and goose pimples.

On “Golden Light (Club Mix),” a calming spoken-word sample floats above Taylor’s lush atmospherics and rigid bass runs, playing shaman to his divination. The dilated voice urges the listener to imagine Zen-like scenes, such as “walking on a spiral staircase, filled with golden light.” A spare, buried synth keeps time. Taylor splits the sources into their constituent halves for “Spoken Mix” and “Dub Mix,” but when they rendezvous, Taylor pulls off the necessary trick for so many great house tracks—being visceral and gorgeous at the same time. —David Ford Smith INDYweek.com | 4.13.16 | 27

FINAL VOTING PHASE

April 25 – May 15 Winners announced in June 8th issue

04.13–04.20 WEDNESDAY, APRIL 20

ESPERANZA SPALDING

Esperanza Spalding may be forever blessed and cursed to be the musician who, in 2011, bested the likes of Justin Bieber and Drake to become the first jazz artist in history to win the Grammy’s best new artist honor. Since that victory, Spalding has not rested on the trophy or the laurels that surrounded her earliest records. In fact, this year’s Emily’s D+Evolution may be one the decade’s most challenging and captivating records from any artist. Beneath the bulbous pop of her electric bass tone, Spalding races through a radical future-pop framework that brings to mind Joni Mitchell and The Dirty Projectors, Erykah Badu and Mike Patton. These songs are defiant and delightful, with Spalding hanging out wonderful hooks only to warp them in equally wondrous ways. Spalding bested stars who have continued to rise in 2011; on Emily’s D+Evolution, she outfoxes them all. —Grayson Haver Currin CAROLINA THEATRE, DURHAM 8 p.m., $40–$108, www.carolinatheatre.org

PHOTO BY HOLLY ANDREWS

SATURDAY, APRIL 16

EVERETT RAND’S MINESHAFT COVER ART BY MARY FLEENER

ZINE MACHINE

28 | 4.13.16 | INDYweek.com

As its subtitle lets on, there’s more than the Tumblr ancestors called zines to be found at Zine Machine: Durham Printed Matter Festival. In addition to little self-published magazines on wildly diverse topics, you’ll also find comics, posters, art prints, chapbooks, and more. The common binding is less the printed word than the art of printing itself, from Xerox to letterpress—and the self-sufficient, idiosyncratic alt-media perspective that goes with it. Zine Machine, a production of local print mavens Bill Fick, Bill Brown, and Everett Rand, debuted at the Durham Armory last year, drawing a reported 500 people to buy from and trade with 150 printed-matter makers from far and wide.

Just as many share their wares this year, including underground comics legends like Mary Fleener and Pat Moriarity and local leaders like Internationalist Books and Duke zine librarian Kelly Wooten. It’s a sign of the ongoing renaissance, in an age of homogenous online self-expression, of what the festival’s caretakers call “small-batch, selfpublished, personal, non-corporate, handmade printed matter of all kinds.” —Brian Howe DURHAM ARMORY, DURHAM 11 a.m.–7 p.m., free, www.zinemachinefest.com

WHAT TO DO THIS WEEK For the last decade, the New England guitarist Glenn Jones has used a series of quiet, fetching records to share the trials, tribulations, and triumphs of his life without so much as a word. Jones is a brilliant and innovative instrumentalist, having taken the lessons of John Fahey, on whom he is a leading authority, and updated them through novel approaches. Much more than a mere technician, though, Jones makes poignant albums that gather intricate, intimate portrayals of moments sad or sweet, hopeful or harangued—and so offers a very human connection for a sometimes obtuse subgenre. Jones’s music makes you feel like his confidant and friend and, the longer you listen, vice versa, as if these rippling songs for six or five strings come to reflect your own tales. With banjo in hand, Nathan Bowles, a longtime favorite but a recent arrival to Durham, does something similar with lyric-less songs that share sentiments behind the scenes.

—Grayson Haver Currin NIGHTLIGHT, CHAPEL HILL 8:30 p.m., $10, www.facebook.com/nightlightclub

FRIDAY, APRIL 15–SATURDAY, APRIL 16

LIL BUCK @ CHAPEL HILL: A JOOKIN’ JAM SESSION

Lil Buck hasn’t merely been called “the Baryshnikov of Jookin’,” the Memphis street dance style marked by intricate, swaggering footwork. Last year, for a Fashion Week video in New York, Lil Buck taught the Russian ballet superstar the liquid dance moves that propelled the Memphis native to marquee gigs with Yo-Yo Ma, Wynton Marsalis, Madonna, and the New York City Ballet. His high school ballet teacher first challenged him to connect hip-hop-based street dance with classical; since then, he’s also plugged in jazz and international folk-music forms. This accounts for the tabla player and Galician bagpiper in his touring band, which also includes Brooklyn Rider violinist Johnny Gandelsman.

—Byron Woods UNC’S MEMORIAL HALL, CHAPEL HILL 8 p.m., $10–$49, www.carolinaperformingarts.com

THURSDAY, APRIL 14–SUNDAY, APRIL 17

MACBETH

Though opera has repeatedly immortalized Macbeth, ballet has only recently approached Shakespeare’s bloodiest monarch. Vladimir Vasiliev’s 1980 Bolshoi Ballet version improbably rendered the witches three who prophesy Macbeth’s rise and fall as Zulu warriors and “lively yaks.” In 2013, Nashville Ballet’s atmospheric take fused modern and classical techniques, before last month’s multimedia treatment by Chicago Repertory Ballet. Now, in his first new evening-length work in eight years, Carolina Ballet artistic director Robert Weiss teams up with frequent collaborator J. Mark Scearce, who has composed new music for Weiss’s balletic rendition of the Scottish play. The Chamber Orchestra of the Triangle performs in this world premiere in Raleigh; the production comes to DPAC starting April 30. —Byron Woods

PHOTO BY DANIEL JACKSON/COURTESY OF CAROLINA PERFORMING ARTS

THURSDAY, APRIL 14

GLENN JONES & NATHAN BOWLES

MEMORIAL AUDITORIUM, RALEIGH 8 p.m. Thurs.–Sat./2 p.m. Sat.–Sun., $30–$73 www.carolinaballet.com

SATURDAY, APRIL 16 ACOUSTIC AFRICA In its fourth edition, Acoustic Africa pairs South Africa’s Vusi Mahlasela and Mali’s Habib Koité, two of the continent’s most popular singersongwriters and guitarists. Though Koité grew up influenced by both Malian music and the pyrotechnics of Jimi Hendrix, his style of opentuned guitar actually favors flamenco and jazz. He complements that largely placid playing with smooth, trilingual vocals. The better-known Mahlasela—at least on this side of the ocean, thanks to collaborations with Dave Matthews, Warren Haynes, and Taj Mahal—has rightfully earned his moniker as “The Voice of South Africa” for his artistic contributions that helped inspire anti-apartheid activists and for his impassioned singing. His nimble guitar work folds contemporary pop and folk into African traditions. —Spencer Griffith N.C. STATE’S STEWART THEATRE, RALEIGH 8 p.m., $8–$35, live.arts.ncsu.edu

TMD TREATMENT STUDY The UNC Center for Pain Research and Innovation seeks research volunteers to evaluate a possible treatment for temporomandibular disorder (TMD).

STUDY DESCRIPTION: • Random assignment to either study drug (FDA-approved for other health conditions) or placebo • 6 clinic visits (each from 1-4 hours) over 12-15 weeks REQUIREMENTS: • Be between 18 and 65 years old • Have a diagnosis of TMD, or • Have experienced facial pain for at least 3 months Participants who complete all study activities receive $360; parking costs are covered by the study.

WHAT ELSE SHOULD I DO? ERIC BACHMANN AT CAT’S CRADLE (P. 16), ERNEST CLINE AT FLYLEAF BOOKS (P. 15), EAST COAST GAME CONFERENCE AT THE RALEIGH CONVENTION CENTER (P. 13), GEEKCRAFT EXPO AT THE DURHAM ARMORY (P. 10), PEARL JAM AT PNC ARENA (P. 35), RECORD STORE DAY ACROSS THE TRIANGLE (INDYWEEK.COM), S.P.I.T.T.L.E. FEST AT THE POUR HOUSE (P. 31), ABIGAIL WASHBURN AT UNC’S MEMORIAL HALL (P. 24), COLSON WHITEHEAD AT THE NASHER MUSEUM OF ART (P. 39)

For more information, contact: Sonya K. Capps, Study Coordinator 919-537-3617 skcapps@email.unc.edu This study is approved as UNC IRB #14-2526

INDYweek.com | 4.13.16 | 29

614 N.WEST ST | RALEIGH | 919-821-0023 SA 4/16

YO MAMA’S BIG FAT BOOTY BAND

TH 4/14 @ CAT’S CRADLE BACK ROOM

RUN RIVER NORTH

TRAVERS BROTHERSHIP

MO 4/18

THAO & THE GET DOWN STAY DOWN

SA 4/16 @ CAT’S CRADLE BACK ROOM

ERIC BACHMANN

BOOK YOUR PRIVATE PARTY HERE!

WE 4/20

MURDER BY DEATH

southlandballroom.com

FR 4/15 @ CAT’S CRADLE BACK ROOM

ELEANOR FRIEDBERGER

WE 4/13 IRATION W/ HIRIE, THE EXPANDERS ($20) SA 4/16 ABBEY ROAD LIVE! ( 2 SHOWS, 4 PM, 9 PM!)

SU 5/15 BLOC PARTY W/ THE VACCINES ($29.50/$32)

MO 4/18 THAO & THE GET

WE 5/18 ROGUE WAVE W/ HEY MARSEILLES ($16/$18)

W/ LITTLE SCREAM ($15/$17)

TH 5/19 SAY ANYTHING W/ MEWITHOUTYOU, TEEN SUICIDE, MUSEUM MOUTH ($19.50/$23)

DOWN STAY DOWN

WE 4/20 MURDER BY DEATH W/ KEVIN DEVINE & THE GODDAMN BAND ** ($15/$17) TH 4/21 EUGENE MIRMAN

FR 5/27 CARAVAN PALACE $20/$23

& ROBYN HITCHCOCK

SA 5/28 !!! (CHK CHK CHK!) W/ STEREOLAD ($15)

FR 4/22 TRIBAL SEEDS W/ FEAR NUTTIN BAND, E.N. YOUNG ($17/$20)

SA 6/11 RAINBOW KITTEN SURPRISE ($10/$12)

($25; SEATED SHOW)

SA 4/23 JOHNNYSWIM W/ JOHNNY P ($20) MO 4/25 THE JOY FORMIDABLE W/ THE HELIO SEQUENCE ($16/ $18) TU 4/26 HOUNDMOUTH W/ LUCY DACUS ($18/$20) WE 4/27 FELICIA DAY ($20/ BOOK INCLUDED) TH 4/28 POLICAW/ MOTHXR ($16/$18) SA 4/30 THE RESIDENTS PRESENT: SHADOWLAND ($30/$35) MO 5/2 CITIZEN COPE (AN INTIMATE SOLO / ACOUSTIC LISTENING PERFORMANCE ) ($31/$34)

WE 5/4 CHELSEA WOLFE W/ A DEAD FOREST INDEX **($18/$20) TH 5/5 PARACHUTE W/ JON MCLAUGHLIN** FR 5/6 STICKY FINGERS ($13/$15) SU 5/8 OLD 97S AND HEARTLESS BASTARDS W/ BJ BARHAM (OF AMERICAN AQUARIUM) ($25)

TH 5/12 SCYTHIAN ($15/$17) W/ KAIRA BA FR 5/13 PARQUET COURTS W/ B BOYS, FLESH WOUNDS ($13/ $15) SA 5/14 THE FRONT BOTTOMS W/ BRICK & MORTAR, DIET CIG

SOLD OUT

30 | 4.13.16 | INDYweek.com

TH 4/21

EUGENE MIRMAN & ROBYN HITCHCOCK

WE 6/15 OH WONDER W/ LANY **($15/$17) SA 6/18 HGMN 21ST

ANNIVERSARY SHOW

-- BOTH ROOMS:MANTRAS, GROOVE FETISH, FAT CHEEK CAT, BIG DADDY LOVE, URBAN SOIL, GET RIGHT BAND ($17 ADV/ $20 DAY OF SHOW) TU 6/21 THE JAYHAWKS (ON SALE 4/15) FR 6/24 BLACK MOUNTAIN ($15/$17) SA 6/25 NEIL HAMBURGER & TIM HEIDECKER W/ JENN SNYDER ($25) WE 6/29 AESOP ROCK W/ ROB SONIC, DJ ZONE ($20) TH 6/30 MODERN BASEBALL W/JOYCE MANOR ($19/$23) FR 7/15 THE STRUTS (ON SALE 4/15) TU 7/26 SWANS W/ OKKYUNG LEE ($20/$24) FR 11/5 ANIMAL COLLECTIVE ($30/$33) TU 11/22 PETER HOOK & THE LIGHT ($25)

MO 5/2

CITIZEN COPE CAT'S CRADLE BACK ROOM

4/13: MINDFLIP RECORDS PRESENTS THE MINDFLIP TOUR (EROTHYME, STRATOSPERE, SPACESHIP EARTH, & MORE...)

4/14 RUN RIVER NORTH W/ THE LIGHTHOUSE AND THE WHALER ($12/$14) 4/15 ELEANOR FRIEDBERGER W/ ICEWATER, NAKED GODS ($14/$16) 4/16 ERIC BACHMANN W/ ANDREW ST JAMES ($12/$15) 4/20: NICK MOSS BAND W/ DARK WATER RISING ($8/$10) 4/21: BAKED GOODS W/ VEGABONDS, LEFT ON FRANKLIN ($10/$12) 4/22 THE OLD CEREMONY PLAYS THE OLD CEREMONY ($10/$12) 4/24 JENNIFER CURTIS THE ROAD FROM TRANSYLVANIA HOME 4/25 BOOGARINS W / BIRDS OF AVALON, LACY JAGS ($10/$12) 4/27 TROUT STEAK REVIVAL W/ FIRESIDE COLLECTIVE ($8/$10) 4/29 KAWEHI W/THE WEEKEND RIOT ($13/$15) 4/30 TIM BARRY W/ RED CLAY RIVER ($10/$12) 5/1 VETIVER ($15) 5/4: KIM RICHEY ($18/$20) 5/5 STEPHEN KELLOGG W/ BRIAN DUNNE ($17/$20) 5/6 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) 5/8: BENT SHAPES 5/9: PEACH KELLI POP 5/10 THE DESLONDES ($10)

5/12 PHANTOM POP W/ JROWDY AND THE NIGHTSHIFT AND OUTSIDE SOUL ($8/$10) 5/14 LYDIA LOVELESS DOCUMENTARY SCREENING & SOLO ACOUSTIC PERFORMANCE ($12/$16) 5/15 ARBOR LABOR UNION ($10) 5/18 JOE PUG AND HORSE FEATHERS ($17/$20) 5/20 YOU WON'T 5/24 THE AMERICANA ALLSTARS FEATURING TOKYO ROSENTHAL, DAVID CHILDERS, AND THE STRING BEINGS ($10) 6/1 HACKENSAW BOYS 6/4 JONATHAN BYRD ( $15/$18) 6/10 KRIS ALLEN W/ SEAN MCCONNELL ($15/$18) 6/15 SO SO GLOS ($10/$12) 6/18: BIG DADDY LOVE, URBAN SOIL, GET RIGHT BAND 6/19: JOHN DOE ($17/$20) 6/21 THE STAVES ($12) 7/2 THE HOTELIER ($12/$14) 7/5: JESSY LANZA (ON SALE 4/15) 7/11 DAVID BAZAN ($15) 8/6: OH PEP! ($10/$12) 8/27: MILEMARKER ($12) ARTSCENTER (CARRBORO)

5/5 GREG BROWN W/ BO RAMSEY ($28/$30) 5/6 JOSHUA DAVIS ($15/$18) MOTORCO (DURHAM)

5/3 WILD BELLE W/JAMES SUPERCAVE ($14/$16) 5/12 BLACK LIPS W/ SAVOY MOTEL($14/$16) 5/16 AGAINST ME! ($18/$20) PINHOOK (DURHAM)

6/15 DYLAN LEBLANC ($12) MEYMANDI (RALEIGH)

4/20 WELCOME TO NIGHT VALE NC MUSEUM OF ART (RAL)

5/1 SNARKY PUPPY 5/27 EDWARD SHARPE AND THE MAGNETIC ZEROS ($32-$45) 6/10 LAKE STREET DIVE 8/13 IRON AND WINE HAW RIVER BALLROOM

4/29 M WARD W/ NAF ($23/$25) 5/6 THE SONICS, THE WOGGLES, BARRENCE WHITFIELD & THE SAVAGES 5/12 FRIGHTENED RABBIT W/ CAVEMAN ($20/$23) 8/12 PIEBALD

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

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

music WED, APR 13

CAT’S CRADLE: Iration, Hirie, The Expanders; 8 p.m., $20–$95.

• CAT’S CRADLE (BACK ROOM): Erothyme, Stratosphere, Spaceship Earth, Shanti, Sacral Crown, Infinite Geometry; 8 p.m., $8. • THE CAVE: Heliophonic, Maximino, Axtonfrick, Emceein’ Eye, 1970s Film Stock, Leavves; 8 p.m., $5. • KINGS: Ladies First: An All Women Music Showcase; 8 p.m., $13. • MOTORCO: David Wax Museum, Darlingside, Haroula Rose; 8 p.m., $12–$15. • NEPTUNES PARLOUR: Slang, Hotline, Ghostt Bllonde; 9:30 p.m., $6.

• THE PINHOOK: Beverly Tender; Oh, Rose; 100-Watt Horse, Fish Dad; 8 p.m., $7. • POUR HOUSE: Sierra Leone’s Refugee All Stars, Mamoudou Balde; 9 p.m., $15–$18. • UNC’S MEMORIAL HALL: Bavarian Radio Symphony Orchestra with Leonidas Kavakos; 7:30 p.m., $10–$109.

THU, APR 14 Death to False Hope Family Reunion Weekend LOCAL Once the ambitious LABEL <3 Death to False Hope Fest, this year’s newly christened DTFH Family Reunion Weekend pares down the scope, not the impact. The two-day bill of punchy pop-punk, jagged emo, and ragged alt-country hews closely to the namesake label’s digital-only output. Highlights include sets from the ferocious hardcore band Dogs Eyes, pop-punk savant Mikey Erg, restless Americana songwriter JKutchma, and, naturally, a Jawbreaker tribute. VIP ticket holders score an extra day of music on Sunday afternoon, including punk rock karaoke.

—BCR [MOTORCO, $18–$45/5 P.M.]

Grandma Sparrow PLAYGrab a carpet TIME! square, children, for Grandma’s here to visit.

Megafaun drummer Joe Westerlund has created a bizarre and delightful character in Grandma Sparrow, which he

04.13–04.20 uses for a wild musical journey with help from a few other characters. Grandma Sparrow and his Piddletractor Orchestra just passed its second birthday, so might there be new fun on deck this spring evening?

Wham City Comedy, a Baltimore collective that shares Grandma Sparrow’s penchant for colorful absurdity, headlines.

With Cricket Arrison. —AH [THE STATION, $5/7:30 P.M.]

Krigsgrav, Giant of the Mountain BLACKEN- Tour mates from ED PROG Texas, Krigsgrav and Giant of the Mountain add extreme metal elements to prog-metal foundations.

Krigsgrav goes spacious and expansive, crafting long-form tracks that churn. Giant of the Mountain uses old-school death metal to ground its detours.

Raleigh’s Chateau opens. —BCR [LOCAL 506, $7/9 P.M.]

Local Band Local Beer: The Beast, Zoocrü CRITTER Before the CRAFT Triangle’s glut of music festivals and before Durham’s jazz-based renaissance, the Pierce Freelon-led fusion act, The Beast, advocated for area music lovers to stretch their tastes beyond genres. And while this fight has inarguably created the pathways for younger jazz-slinging bands like Zoocrü, who open, writing The Beast off as unsung heroes implies they’re done innovating.

With an upcoming album rumored to deviate from their usual sound, The Beast is back on the prowl, beginning with this fun shared bill with progeny.

With Temple5. —ET [POUR HOUSE, FREE/9:30 P.M.]

Erin McKeown FINE & Dabbling in folk, FOLK-LIKE rock, swing, and jazz, Erin McKeown is a competent singer-songwriter who handles each of these areas with ease. Her voice is even-keeled and lovely, even

CONTRIBUTORS: Jim Allen (JA), Amanda Black (AB), Grayson Haver Currin (GC), Spencer Griffith (SG), Allison Hussey (AH), Maura Johnston (MJ), David Klein (DK), Bryan C. Reed (BCR), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)

SATURDAY, APRIL 16

STEPH STEWART

S.P.I.T.T.L.E. FEST

If you’re not into acronyms, S.P.I.T.T.L.E. Fest is the “Southern Plunge Into Trailer Trash Leisure & Entertainment Festival.” A few decades ago, the event slotted local alt-country institutions Whiskeytown, 6 String Drag, The Backsliders, and Two Dollar Pistols alongside rising national stars such as The Bottle Rockets and DriveBy Truckers. It all happened in the appropriately dingy digs of The Brewery.

Resurrected in 2013 and now a one-night event at The Pour House, S.P.I.T.T.L.E Fest focuses on local acts these days, with members of the old guard mixed with new blood for a roots-oriented bill. Two Dollar Pistols principal John Howie Jr. supplies some honky-tonk with The Rosewood Bluff, while Hank Sinatra fuses hardcore country with soaring, radio-friendly hooks. The band’s leader, Jeff Holshouser, performed with Big Dixie during the fest’s initial run and served an instrumental role PHOTO BY ALEX BOERNER in the event’s revival.

Known as much for his extensive studio credits as for his work in the Del-Lords and the Yayhoos, Eric “Roscoe” Ambel is a New York-based guitarist and producer who has worked with lots of festival alumni. He brings his own rowdy bar stuff this time. Frequent Raleigh visitors Saint Luke’s Drifters make the trip with some Tennessee cowpunk.

Look out for the younger locals, though: led by sensational Triangle songwriters, Sarah Shook & the Disarmers and Steph Stewart & the Boyfriends have outstanding recent releases and are both capable of stealing the spotlight.

Get a preview with performances by Ambel, Howie, and Hank Sinatra at Schoolkids’ Record Store Day party and pregame at The Pour House as Tiny Townsend slings plates of barbecue.

—Spencer Griffith THE POUR HOUSE, RALEIGH 6 p.m., $10–$12, www.the-pour-house.com when it isn’t employed to the most interesting ends.

MaryLeigh Roohan opens with songs of soul-flecked Americana. —AH [THE PINHOOK, $10–$12/8 P.M.]

N.C. Symphony: Beethoven’s Triple and Brahms’s Double LOTS OF The multi-soloist SOLOISTS concerto is rare.

Typically as much about collective dialogue as individual

virtuosity, they create a different kind of musical texture.

Beethoven’s Triple Concerto for violin, cello, and piano and Brahms’s Double Concerto for violin and cello present lots of opportunities for cross talk.

—DR [UNC’S MEMORIAL HALL, $10-75/7:30 P.M.]

occasionally folksy peers. “Run or Hide,” from the new Drinking from a Salt Pond, attempts aggression but comes up feeling flat. With The Lighthouse & The Whaler. —AH [CAT’S CRADLE BACK ROOM, $12–$14/8:30 P.M.]

Run River North

THE CAVE: Drag Sounds, Joe Cat, Texoma; 9 p.m., $5. • DEEP SOUTH: Modena, Nikol, In Waves, Ambits; 8:30 p.m., $5–$8. • NIGHTLIGHT: Glenn Jones, Nathan Bowles; 8:30 p.m., $10.

See page 29.

LAZY Musically, the San RIVER Fernando Valley sextet Run River North is more or less indistinguishable from many such middling indie pop,

ALSO ON THURSDAY

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

FRI, APR 15 A/S/L PDX CLUB Portland, Oregon isn’t especially known for electronic music, but a new generation of producers has revitalized the city’s dance music scene. Consider PDX club producer Gangsigns, who flips the script with his tropical-trap spin on Baltimore club. His numerous remixes are shrewd, with a lovable Jersey-style reworking of ASAP Ferg’s “Work” among his best. Mighty Mouze, Yen, and Gifted 6 open.

—DS [KINGS, $10–$12/10 P.M.]

D-Town Brass, Diali Cissokho & Kaira Ba FORKED Here’s a fun Friday TONGUES night bill. With Kaira Ba, Senegalese griot Diali Cissokho adds invigorating vocals to an ecstatic, imaginative band that straddles two continents by blending the energy of rock with the power of Cissokho’s own native stuff.

D-Town Brass doesn’t have quite the transoceanic backstory, but their music is polylingual, too, as informed by obscure film scores, free jazz, and international exotica as it is by the famous brass of New Orleans. —GC [THE PINHOOK, $10/9 P.M.]

R’Mone Entonio SOULLast year, STICE Greensboro vocalist R’mone Entonio’s Unorthodox Soul Vol. 1 made a splash in soul, landing somewhere between Eric Roberson and Anthony David’s R&B shtick and the kind of contemporary jazz you may hear at a cookout. On the recent “All That I Want,” he picks up the pace, triple-layering smooth vocals until they levitate into a poppy fit. You may find Entonio’s songwriting unreliable, but the writing of this show’s opener, Triangle poet Dasan Ahanu, is anything but. Hosted

by Tish Martin. —ET [SOUTHLAND BALLROOM, $10/8 P.M.] INDYweek.com | 4.13.16 | 31

PAUPER PLAYERS PRESENTS: 919.821.1120 • 224 S. Blount St WE 4/13 SIERRA LEONE’S REFUGEE ALL STARS MAMOUDOU “LE NOMAD” BALDE LOCAL BAND LOCAL BEER THE BEAST / ZOOCRU / TEMPLE5

TH 4/14

BETTER OFF DEAD (GRATEFUL DEAD TRIBUTE)

FR 4/15

BRUTEUS S.P.I.T.T.L.E. FEST FEATURING

SA 4/16

4/154/18

MOJOAA PRESENTS:

SA 4/16

ERIC “ROSCOE” AMBEL / HANK SINATRA

SU 4/17 MO 4/18

TU 4/19 WE 4/20

JOHN HOWIE JR & THE ROSEWOOD BLUFF SARAH SHOOK & THE DISARMERS /SAINT LUKE’S DRIFTERS / STEPH STEWART & THE BOYFRIENDS JOHNNY SWANK COAST 2 COAST LIVE INTERACTIVE SHOWCASE THE POUR HOUSE & PRIMITIVE WAYS PRESENT:

“SUPER SECRET HEADLINER”

C/L/PSE / BRASSIOUS MONK / ELI CASH LOCAL BAND LOCAL BEER SOME ARMY / WILD FUR / DOC AQUATIC

TH 4/21

NAPPY ROOTS

FR 4/22 SA 4/23

SU 4/24 TU 4/26

4/224/24

EYEHATEGOD

FIGHT AMP / OCCULTIST / ETIOLATED EYES EAT SUNS / SUMMER WARS THE FINAL INPUT ELECTRONIC MUSIC SERIES

TUSCON / LAZARUS / DEFACTO THEZPIAN JOE HERO (90’S & FOO FIGHTERS TRIBUTE) AMUSE (MUSE TRIBUTE) MCLOVINS / BLUE HEALER SIGNAL FIRE / SENSAMOTION

facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com

11 7 W MAIN STREET • DURHAM

TU 4.19

TACOCAT 4.14 4.15 4.16 4.18 4.19 4.21 4.22 4/23 4.24 4.25 4.26

BEVERLY TENDER OH, ROSE / 100 WATT-HORSE / FISH DAD ERIN MCKEOWN / MARYLEIGH ROOHAN D-TOWN BRASS / KARIA BA CHRIS PUREKA / CRYS MATTHEWS (EARLY SHOW) PARTY ILLEGAL THAT’S THE JOINT! MONDAY NIGHT TALENT SHOWCASE TACOCAT / BOYFRIENDS DEFACTO THEZPIAN KRAZE / WRECK-N- CREW / ALEX AFF SCHOONER / GOLD LIGHT / SOME ARMY E. / JOHN DAVIS AND THE CICADAS SHAKORI HILLS PRESENTS:

DR. BACON / ENO MOUNTAIN BOYS THAT’S THE JOINT! MONDAY NIGHT TALENT SHOWCASE TUE NIGHT TRIVIA: WIN A $50 BAR TAB/TIX

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Faster Detail

MAKE, Crowhurst

NEW In The Station’s TRAINS previous incarnation as a hub for open mics or free shows by roots acts, rock bands, and singer-songwriters, a jarring quadruple bill of electronic pulses and digital scrambles like this would have seemed like a fluke. There’s the omnivorous abstraction (and metal sojourns) of Tegucigalpan and the playfully abstruse atmospheres of Chula. Durian builds blissful house, with pillow-top beats bejeweled by florid keyboard dreams. In the headlining slot, Faster Detail puts it all together, with rhythms splitting open to reveal fragments of cracked pop songcraft hiding inside. This is part of a bold new approach for an old favorite. —GC [THE STATION, $5/9 P.M.]

METAL This show launches PLUS the joint tour of two perfectly paired bands, Chapel Hill’s MAKE and Los Angeles’s Crowhurst. Both bands start with a base of metal—grand, arching doom in the case of MAKE, and bitter, twisted black metal with occasionally slower impasses in the case of Crowhurst. Both immediately branch out, though, incorporating strains of far-flung psychedelia and harsh noise. In both instances, the variety is involving and alluring, the bait sticking proudly from a swirling center. With Shallows. —GC [NIGHTLIGHT, $8/9:30 P.M.]

Eleanor Friedberger GONE Singing and playing SISTER guitar in The Fiery Furnaces in the early aughts, Eleanor Friedberger added an alluring human element to her brother Matthew’s tonguetwisting lyrics. In the three assured, lived-in LPs she’s released under her own name, Friedberger has taken flight. “I’m moping in a tree museum/that’s my new hobby,” she sings on the bittersweet “Open Season” from this year’s New View. It’s a sly reference to Joni Mitchell’s “Big Yellow Taxi” in a song that delivers Neil Young-grade catharsis. Elsewhere, on “Never Is a Long Time,” she finds a zone of a quiet, shuddering beauty.

With Naked Gods. —DK [CAT’S CRADLE BACK ROOM, $14–$16/8:30 P.M.]

JJ Grey & Mofro ROCK OF Southern rock never AGES died, really; it was just resting until acts like JJ Grey & Mofro came along. With their sweaty, swampy blend of blues, rock, country, and soul, this crew from Jacksonville, Florida, gets gritty enough to make you think they will slug you if you call them a “jam band.” The Record Company opens. —JA [LINCOLN THEATRE, $25/8 P.M.]

ALSO ON FRIDAY DEEP SOUTH: Jon Stickley Trio, Christiane & The Strays; 8:30 p.m., $8–$10. • LOCAL 506: Sages, Matt Phillips, Durty Dub; 9 p.m., $7. • THE MAYWOOD: Paper Dolls, Bobby Bryson & the Company; 9:30 p.m., $8. • MEYMANDI CONCERT HALL: N.C. Symphony: Beethoven’s Triple & Brahms’ Double; 8 p.m., $18–$75. See April 14 listing. • MOTORCO: Death To False Hope Family Reunion. See April 14 listing. • POUR HOUSE: Better off Dead, Bruteus; 9 p.m., $7–$10.

SAT, APR 16 Celtic Woman EMERALD Despite personnel STYLE changes that rival those of Menudo, Celtic Woman, a people-pleasing celebration of Celtic and Irish musical traditions, turns ten this year. This is a victory lap. Built around three young women with stunning vocal abilities and one dancing fiddler, the show continues to dazzle with its skillful mix of traditional and modern sounds. —DK [DURHAM PERFORMING ARTS CENTER, $53–$113/7:30 P.M]

Ciompi Concert No. 4 Featuring Edgar Meyer BIG BASS Edgar Meyer’s delightful string quintet sits at the crossroads of classical and bluegrass. The

opening movement is an abstract set of variations on a folk-like melody, rooted by Meyer’s thrumming low end.

The rest of the work is even looser, occasionally feeling more like a jam session than a composition. Meyer sticks around for Dvořák’s second string quintet, a prim evocation of Bohemia and Moravia. Finally, to celebrate fifty years at Duke, the Ciompi Quartet has invited many alumni back for a performance of Bach’s ubiquitous Brandenburg Concerto No. 3. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$25/8 P.M.]

Jon Dee Graham AMERI- Roots-rocking CAN GRIT journeyman Jon Dee Graham has played with everybody from Ry Cooder to John Doe, making guitar, lap steel, or anything else with strings sing. But when he is on his own, Graham’s greasy, gritty sound can convince you that there’s more to Americana than bros with flannel shirts stomping and clapping. You know you’re cool when you’ve been name-checked in a Ray Wylie Hubbard song. —JA [SLIM’S, $15/7 P.M.]

Charlie Hunter & Scott Amendola FUSION Innovative SYNERGY seven-string guitarist Charlie Hunter has worked with fellow visionaries like D’Angelo, Les Claypool, and Snarky Puppy and cofounded progressive jazz-funk outfit Garage A Trois. But it’s alongside drummer and longtime collaborator Scott Amendola that the virtuosic improviser seems most comfortable. The open-minded duo, which first played together in Grammy-nominated fusion act T.J. Kirk, followed a pair of LPs with a quartet of 2014 EPs that interpreted the music of Duke Ellington, Hank Williams, Cole Porter, and The Cars in terrific fashion. —SG [BEYÙ CAFFÈ, $18–$22/8 & 10 P.M.]

fr 4/15

KRIGSGRAV / GIANT OF THE MOUNTAIN / CHATEAU 9pm $7 “BBLYN” ALBUM RELEASE SHOW:

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Last Band Standing WINNER Every year, Band WINNER Together NC hosts a battle of local acts as a fund-raising effort for a local nonprofit. This year’s competitors include Dr. Bacon, Rebekah Todd & the Odyssey, and Bryan Elijah Smith & the Wild Hearts, with a late-night headlining set from Americana outfit Yarn. The winner gets an opening slot at Band Together’s big May 14 show at Red Hat Amphitheater with Trampled by Turtles. —AH [LINCOLN THEATRE, $14–$75/7:30 P.M.]

Made of Oak OAKIE Months after DOPE Durham producer and composer Made of Oak released the “silent rap video” for the single “Side Rides” with Professor Toon and Well$, the Sylvan Esso beat maestro has finally issued a vocal mix of the song, which now features the two area rappers discussing bottom-line ethics. You’ll be treated to some of that and the rest of the arresting sound journey from his Penumbra EP during this Raleigh stop of an eleven-day tour. —ET [KINGS, $15/9 P.M.]

Old Codger FASTER, Local grind veterans LOUDER Old Codger hold the headlining slot here, while a pair of upstarts add their own brutal blitzes. Philly’s Die Choking combines old-school hardcore and feral grindcore (like Rotten Sound covering Agnostic Front).

Shouts cut through a flurry of riffs and percussion. New Jersey’s Organ Dealer offers a clinic in grindcore fundamentals, funneling scathing guitar riffs and harsh growls through blast beats.

—BCR [SLIM’S, $5/10 P.M.]

Chris Pureka ACTIVE Chris Pureka and LISTEN The Pinhook are simpatico. As a club, The Pinhook has an activist mission to be a platform for underrepresented voices. Though Pureka’s work isn’t political per se, she uses her platform to support and create space for gender-

queer artists. And her careful craft will definitely keep your attention. —AH [THE PINHOOK, $14–$16/7:30 P.M.]

Roots Rock Raleigh OH, AND Year two of Roots REGGAE Rock Raleigh features another packed slate of in-state, island-infused rockers, plus the pop-leaning jams of Myrtle Beach’s TreeHouse! and an unexpected blues influx from St. Louis’s Aaron Kamm and the One Drops. Elusive Groove, Down by Five, Elephant Convoy, and Inner Prolific summon typical genre hybrids, while Sound System Seven spikes the mix with ska. —SG [THE MAYWOOD, $15/4:30 P.M.] ALSO ON SATURDAY CAT’S CRADLE (BACK ROOM): Eric Bachmann, Andrew St. James; 9 p.m., $12–$15. See page 16. • THE CAVE: Chaosmic, Irata, Datura; 9:30 p.m., $5. • DEEP SOUTH: N.C. Local Music Benefit for InterAct; 7:15 p.m., $15. • LOCAL 506: Parallel Lives, Castle Wild, Lairs; 9 p.m., $8–$10. • MEYMANDI CONCERT HALL: N.C. Symphony: Beethoven’s Triple & Brahms’ Double; 8 p.m., $18–$75. See April 14 listing. • MOTORCO: Death To False Hope Family Reunion. See April 14 listing. • NCSU’S STEWART THEATRE: Acoustic Africa; 8 p.m., $8–$35. See page 29. • THE PINHOOK: Party Illegal; 10 p.m., $5–$8. • POUR HOUSE: S.P.I.T.T.L.E. Fest; 6 p.m., $10–$12. See box, page 31. • SCHOOLKIDS RECORDS (RALEIGH): Eric “Roscoe” Ambel, Tonk, Made of Oak, Temperance League, John Howie Jr., Hank Sinatra; 1 p.m., free. • SCHOOLKIDS RECORDS (DURHAM): Skylar Gudasz, Eric Bachmann, Dex Romweber, Shirlette Ammons; 1:30 p.m., free. • SOUTHLAND BALLROOM: Yo Mama’s Big Fat Booty Band; 9 p.m., $12.

SUN, APR 17 Dopapod QUIRKDopapod tries ATHON setting itself apart from jam-band peers with very eccentric cover choices, including the Donkey Kong

SAGES / MATT PHILLIPS / DIRTY DUB 9pm $7

(PROCEEDS BENEFIT UNC’S MUSICAL EMPOWERMENT): PARALLEL LIVES / CASTLE WILD / LAIRS LIGHTWORKS / OZYMANDIAS 9pm $8-$10 su 4/17 3@3: AL RIGGS / CASEY WILLIAMS / JOE ROMEO 3pm FREE mo 4/18 MONDAY NIGHT OPEN MIC 8:30pm FREE

Country theme, and funky synths meant to spice up electro-heavy prog noodling. But the Brooklyn-based quartet pushes its luck when stretching studio cuts to more than twice their already lengthy running times. Asheville’s The Fritz opens. —SG [LINCOLN THEATRE, $14/9 P.M.]

we 4/20 TV GIRL / M IS WE / REAL DAD 9pm $10 th 4/21

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DANE PAGE BAND / CONNELLY CROWE / RAVARY 8:30pm $10 su 4/24 3@3: SHAKORI HILLS SHOWCASE: SPECIAL GUESTS TBD 3pm FREE COMING SOON: VOIDWARD, MOBLEY, MIKE MAINS AND THE BRANCHES, GREG HOLDEN, FS, BEAR GIRL, SKYBLEW, JAY NASH, PEELANDER-Z

www.LOCAL506.com

Journalism OLD Brooklyn’s NEWS Journalism isn’t the first group of white dudes to mine quotidian anxiety and angst. Their brooding post-punk is at least hypnotic and hooky.

With Jenny Besetzt and Shell.

—PW [NEPTUNES, $5/9 P.M.]

Paint Fumes, Wahyas GARAGE Both Paint Fumes DWELLER and Wahyas have built sturdy followings on simple garage rock stomps. But where Greensboro’s Wahyas offer a comparatively spartan duo setup, Charlotte’s Paint Fumes stack psych rock noise and punk fury atop relatively simple foundations. —BCR [SLIM’S, $5/8 P.M.]

Xenia Rubinos HELLA If you’ve ever SOUL daydreamed about St. Vincent fronting Battles, look no further than the bizarre, beautiful pop of Brooklyn’s Xenia Rubinos. Her soulful croon is a clever smokescreen. On first listen, she scans ready-made for jazz standards and straightahead R&B, at least until frenzied polyrhythms and jarring keyboards burst through, like bats let loose in church. With Calapse and Luxe Posh. —DS [DUKE COFFEEHOUSE, $5/9 P.M.] ALSO ON SUNDAY LOCAL 506: Hectorina, Mike Mains and the Branches; 9 p.m., $8. 3@3: Al Riggs, Casey Williams, Joe Romeo; 3 p.m., free. • MOTORCO: Death To False Hope Family Reunion. See April 14 listing.; Cashd Out; 8 p.m., $13–$15.

• UNC’S MEMORIAL HALL: Abigail Washburn and Friends; 2 p.m., $10–$119. See page 24.

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34 | 4.13.16 | INDYweek.com

MON, APR 18

TUE, APR 19

Little Green Cars

The Black Dahlia Murder

GREEN & With earnest songs GOOD bolstered by big choruses, Dublin’s Little Green Cars should seem trite. But the band injects enough intrigue through lyrics and sharp melodies that songs like “Harper Lee” and “Easier Day” feel more powerful than precious. John Mark Nelson opens. —AH [MOTORCO, $12–$14/8 P.M.]

No Eyes, Drag Sounds PSYCH Break out the lava OUT lamp projector: Raleigh’s No Eyes and Greensboro’s Drag Sounds reach back to early psych rock, the former flexing garage rock muscle and the latter brimming with a Stones-like swagger. With hooks divined from crisp riffs, both bands feel at once retro and contemporary. —PW [SLIM’S, $5/9 P.M.]

Thao & the Get Down Stay Down WARPED A Man Alive, the FOLK fourth album from the now-San Francisco-based Thao, has strong pop instincts made just off-center by producer Merrill Garbus, of tUnE-yArDs. The warped hurdy-gurdy vibe of “Slash/ Burn” makes it feel like a lucid dream set in a carnival, while “Guts” places Thao’s plea for reconciliation among instruments that sound pillow-topped, perhaps as a pre-emptive strike against disappointment. The band is encouraging donations to Southerners on New Ground as a protest against HB 2. With new Merge Records signees Little Scream. —MJ [CAT’S CRADLE, $15–$17/7:30 P.M.] ALSO ON MONDAY POUR HOUSE: Eyehategod, Fight Amp, Occultist, Etiolated; 9 p.m., $20–$25.

(here’s looking at you, Trump), the refreshing, danceable, politically powerful music should bring some pep to the Latin Triangle’s step. Led by the smooth singer Marisol “La Marisoul” Hernández, La Santa Cecilia is a delight. —AB [MOTORCO, $24–$28/8 P.M.]

DEATH Long the standardMETTLE bearers of At the Gates-worshipping melodic death metal, Detroit’s The Black Dahlia Murder arrive in support of last year’s Abysmal. True to form, it’s full of all the familiar squealing solos and pummeling riffs. But with veteran panache, the band shows how it became a heavy metal headliner, accustomed to playing much larger rooms than the mid-size Local 506. —BCR [LOCAL 506, $20/7:30 P.M.]

Tacocat FEMME Seattle foursome THEMES Tacocat raced into the hearts of pop-punk-loving ladies with “Crimson Wave,” an ode to Aunt Flo’s monthly visits.

Lost Time, Tacocat’s third full-length, takes on mansplainers, phone-gazing zombies, and weekend warriors with casually caustic lyrics bouncing off party-ready riffs. With Boyfriends. —MJ [THE PINHOOK, $10/9 P.M.]

Steve Hackett PROG As the more GOD fleet-fingered of two guitarists in vintage-era Genesis, Steve Hackett brocaded Peter Gabriel’s visions of giant hogweeds with intricate, celestial lines, which he preferred to play seated. In concert, standing as convention dictates, Hackett alternates between those fog-enshrouded epics and selections from his astonishing thirty solo albums.

—DK [CAROLINA THEATRE, $47–$156, 8 P.M.]

Hatchers DARK If Dennis Cooper’s SQUALL 1991 sadism opus Frisk needed a soundtrack, Philly experimental duo Hatchers would be fine candidates. Using a pared-down drum kit and a variety of homemade instruments and noisemakers, they scrape the darker depths of the human psyche with torrents of polluted feedback and percussive noise. —DS [NIGHTLIGHT, $7/9 P.M.]

La Santa Cecilia LATINO From Los Angeles, POWER Latin Grammywinning La Santa Cecilia mixes everything from klezmer to bolero in order to promote pride in Mexican roots. At a time when Mexican-ness is even more demonized than normal

ALSO ON TUESDAY PHOTO BY DANNY CLINCH

WEDNESDAY, APRIL 20

PEARL JAM I didn’t marry any of my high school girlfriends, and I don’t listen to Pearl Jam much anymore, but damn if I don’t owe a debt of awkward gratitude to both. I was like any teenager, falling hard for my first loves. Pearl Jam was my first and most severe band crush. I had it bad, too. Not only did I own every album and all the singles, but I had them memorized. I picked up the guitar so I could play along. Again, bad.

It was the mid nineties, and I was a frustrated junior high school kid in the boondocks of Eastern North Carolina, one of a handful of flannel-clad longhairs in Pamlico County. I found an escape through music, particularly Pearl Jam. I was drawn to the mix of softened hardcore, crunchy seventies rock, and mournful country- or blues-derived laments—a mélange established as early as Vs. and expanded on and after No Code.

When Yield came out in 1998, it spoke to me as the optimistic capstone to grunge’s long slog. I remember staying up half the night to hear the promised debut of “Given to Fly” on the local rock station. I actually jumped with joy.

With Vedder’s lyrics as vague as horoscopes, I could copy and paste whatever my situation was onto the words and pretend he was singing to me. It helped me zero in on what I wanted from life—in this case, from music.

Two weeks before seeing them for the first time in a dozen years, though, there’s a question I can’t seem to answer: Will seeing them play be any different from me friend-requesting an ex-girlfriend I haven’t seen in seventeen years? And when I see other thirty- and forty-somethings singing along to “Corduroy” or “Brain of J,” are they desperately seeking to rekindle the fires of puppy love? Or is it just rock ’n’ roll? —Corbie Hill PNC ARENA, RALEIGH 8 p.m., $68, www.thepncarena.com

KINGS: Luxe Posh, Chocolate Rice, Speedating; 7 p.m., free. • MEMORIAL AUDITORIUM: Puscifer; 7:30 p.m., $28–$61 • NEPTUNES PARLOUR: Old Sea Brigade; 9:30 p.m., $5. • POUR HOUSE: Eyes Eat Suns, Summer Wars; 9 p.m., $8–$10.

WED, APR 20 Input Electronic Music Series R.I.P. All good things INPUT must end, and so it goes for Pour House’s Input series, which has acted as a reliable, well-curated fixture for local and touring electronic talent. It’s a bittersweet goodbye, but this last blast packs in a grip of local talent.

Juke producer Oak City Slums returns, as do R&B experimentalist Brassious Monk and ambient IDM producer Calapse.

There’s also newcomer Eli Cash, who bangs out lo-fi house akin to what’s currently happening on labels like Vancouver’s 1080p. Input is teasing a special guest, so be sure to not miss this exit. —DS [POUR HOUSE, $5/8 P.M.]

Les Arts Florissants FRENCH Les Arts Florrisants BAROQUE previously connected a bunch of airs by French Baroque composer Michel Lambert into a suitably over-the-top tale of marriage.

Now they are adapting another set of airs by Lambert, Charpentier, and others into the story of an acting troupe. The ensemble— five singers, two violins, viola da gamba, theorbo, and the great William Christie on harpsichord— mix music, drama, and comedy with ease. —DR [UNC’S MEMORIAL HALL, $10–$99/7:30 P.M.]

Murder by Death EMO One of the few acts ADDED that could release consecutive albums on Vagrant and Bloodshot and make it work, Murder By Death is equally inspired by Midwestern emo and alt-country. Last year’s Big Dark Love tones down the tempestuous and temperamental charges reminiscent of former tour mates Cursive, sprinkling in bright, piano-driven pop like “I Shot An Arrow.” Kevin Devine similarly straddles the line between emo and folk. —SG [LINCOLN THEATRE, $15–$17/8 P.M.]

TV Girl CHILL, Who Really Cares, MAN from tongue-incheek California duo TV Girl, doesn’t stray from the group’s modus operandi: chill, lounge-like pop set to early nineties hip-hop beats and flush with samples. The bitter breakup lyrics might sound overwrought with an otherwise straightforward indie pop record, but here, Brad Petering delivers them with sardonic, postmodern detachment. —PW [LOCAL 506, $10/9 P.M.] ALSO ON WEDNESDAY CAROLINA THEATRE: Esperanza Spalding; 8 p.m., $40–$108. See page 28. • CAT’S CRADLE (BACK ROOM): Nick Moss Band; 9 p.m., $8–$10. • LINCOLN THEATRE: Styles & Complete, Devious; 9 p.m., $15. • NIGHTLIGHT: Northgate Syndicate, Jenifer Gelineau; 9 p.m., $7.

• PNC ARENA: Pearl Jam; 8 p.m., $68. See box, this page.

INDYweek.com | 4.13.16 | 35

art OPENING

Altered Land: Works by Damian Stamer and Greg Lindquist: Paintings. Apr 16-Sep 11. NC Museum of Art, Raleigh. www. ncartmuseum.org.

American Art from the Nasher Museum: Lecture by Marshall N. Price. Mon, Apr 18, 7 p.m.

Durham Main Library, Durham. www.durhamcountylibrary.org.

Burk Uzzle: American Chronicle: Photography. Apr 16-Sep 25. NC Museum of Art, Raleigh. www. ncartmuseum.org.

DIY Fest: Carnival. Sat, Apr 16, 11 a.m.-5 p.m. The Scrap Exchange, Durham. www. scrapexchange.org.

Beth Lipman: Discussing her glass art. Sun, Apr 17, 2 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

SCS Fest: Work by students from the School for Creative Studies. Thu, Apr 14, 6 p.m.

Reality Center, Durham. www. realityministriesinc.org.

Whispers From the Past: Photography display and discussion by Scott Garlock. Tue, Apr 19, 7:30 p.m. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org.

Debra Wulger: Watercolor portraits. Fri, Apr 15, 5:30-9 p.m.

Mercury Studio, Durham.

ONGOING Albee/Carland/Hauser/Oleson: Becca Albee, Tammy Rae Carland, EJ Hauser, and Jeanine Oleson. Thru Apr 30. Lump, Raleigh. www.teamlump.org.

LAST The Amalgamation CHANCE Project: Tom Spleth.

Thru Apr 16. Light Art + Design, Chapel Hill. www. lightartdesign.com.

American Impressionist: Childe Hassam and the Isle of

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

04.13–04.20 Shoals: In the late-nineteenth and early-twentieth centuries, American impressionist Childe Hassam spent decades painting Appledore Island, a resort in the Gulf of Maine. He began near the hotel before venturing to the outer limits of his ninetyacre world, painting the varied confluences of rocky coasts and placid surf. His style is beautiful and refined, like a slightly more fastidious Monet, but the subject is repetitious, and oddly, NCMA has chosen to pipe in distracting seagull sounds, like a small-town natural history museum. It’s hard to forget these are essentially a wellheeled person’s pretty vacation paintings. Thru Jun 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe

Durham and the Rise of the Baseball Card: Exploring Durham’s role in popularizing baseball cards. Thru Sep 5. Durham History Hub, Durham. www. museumofdurhamhistory.org.

Dust & Smoke: Greg Lindquist and Damian Stamer. Thru Apr 30. Flanders Gallery, Raleigh. www.flandersartgallery.com.

Another Point of View: Paintings

by Amanda Charest. Thru May 1. Nature Art Gallery, Raleigh. www.naturalsciences.org.

The Ease of Fiction: This exhibit features paintings, drawings, and sculptures by four young, U.S.-based African artists who intimately navigate the facts, official narratives, and myths of two nations that see each other in different ways. For example, in “kindred,” Nigeria’s ruby onyinyechi amanze layers photo transfers and drawings in a luminous scene of wading birds, braided hair, and a leopard-headed gentleman of a distinctly colonial mien. $5. Thru Jun 19. CAM Raleigh, Raleigh. camraleigh.org. —Brian Howe

Artspace Teaching Artists Showcase: Thru May 14.

Artspace, Raleigh. www. artspacenc.org.

Failure of the American Dream: Phil America installation. $5.

Thru May 8. CAM Raleigh, Raleigh. camraleigh.org.

Peg Bachenheimer, Jenny Eggleston, Brett Morris, Leslie Pruneau, and Susan Quint: Thru May 28. Artspace, Raleigh. www.artspacenc.org.

Fine Arts League of Cary’s 21st Annual Juried Exhibition: Thru Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Best of North Carolina 2016: Paintings, prints, and more surveying the history of North Carolina. Thru May 31. Gallery C, Raleigh. www.galleryc.net.

Flowers Will Return: Hopeful Paintings by Bob Hart: Thru May 19. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Canned Heat: The Art of Encaustic Painting: Dianne T. Rodwell. Thru May 23.

Cary Town Hall, Cary. www. townofcary.org.

Fooling Around: Rebecca Toy and Kim Ballentine. Thru Apr 30. Local Color Gallery, Raleigh. www.localcoloraleigh.com.

Claybody: The Human Form in Ceramic Art: Group show. Thru May 13. Claymakers, Durham. www.claymakers.com.

Martha Clippinger: Mixed media on wood. Thru Apr 30. Artspace, Raleigh. www. artspacenc.org.

Coming Soon, Dot-to-Dot: Selections from the Gregg Museum of Art & Design. Thru Apr 23. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Fresh Views: Barbara Burlingame.

Thru Apr 30. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

From Frock Coats to FlipFlops: 100 Years of Fashion at Carolina: Thru Jun 5. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/wilson.

Home in a New Place: Photography by Katy Clune of an immigrant community in Morganton, N.C. Thru Apr 27. Center for the Study of the American South, Chapel Hill. www.uncsouth.org.

LAST I Want Candy: Stacy CHANCE Crabill. Thru Apr 14. Durham Convention Center. durhamconventioncenter.com.

Mary Kircher: Thru Jun 25.

Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com.

La Sombra y el Espiritu IV - The Work of Stefanie Jackson: Thru May 13. UNC’s Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

Los Jets: Playing for the American Dream: Thru Oct 2.

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

Luminous: Jewelry by Arianna Bara and paintings

by Eduardo Lapetina. Thru Apr 24. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

Made Especially for You by Willie Kay: Dresses by the Raleigh designer. Thru Sep 5.

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

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art: This outstanding exhibit of one hundred drawings from the Minneapolis Institute of Art can be experienced in many ways: As a master class in drawing, a chance to see the hands of big names (including Picasso, Matisse, Degas, Klimt, Mondrian, de Kooning, Magritte, Lichtenstein, Warhol, and Ruscha, just to name a few), or as a dazzling technical display. The exhibit ranges from fifteenth-century illuminated manuscripts and expressive Baroque portraits to Abstract Expressionism and Pop Art (areas of particular strength).

It’s a thorough anatomy of a form. Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. —Brian Howe Master Works of Haitian Art: Pieces from the collection of Norvel and Isabelita Burns.

Thru Apr 30. Gallery C, Raleigh. www.galleryc.net.

Members’ Spotlight Exhibition: Thru May 8. FRANK Gallery, Chapel Hill. www.frankisart.com.

My Mother Took the Ming Rose out of the Cradle: Ceramics by Alice Ballard. Thru Apr 24. Eno Gallery, Hillsborough. www. enogallery.net.

The Nature of Wilderness: Michelle Podgorski. Thru May 8.

Durham Arts Council, Durham. www.durhamarts.org.

Nest: Leatha Koefler, Brenda Brokke. Thru May 22. Cary Arts Center, Cary. townofcary.org.

The New Galleries: A Collection Come to Light: Thru Sep 18. Nasher Museum of Art, Durham. nasher.duke.edu.

North Carolina’s Favorite Son: Billy Graham and His Remarkable Journey of Faith: Thru Jul 10. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Notes from the Garden: Susan Woodson and Carol Nix. Thru Apr 30. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

OFF-SPRING: New Generations: This exhibit, mostly photography, makes “ritual” its theme, and the offerings are alternately revelatory and rehashed from big-box postmodernism. “Off-Spring of Cindy Sherman” might have been a better title. Stagey oversize portraits of children in adult dress give a momentary “whoa” reaction and nothing more; proofs from a Glamour Shots dumpster would offer sounder cultural criticism. The better pictures admit complex reality, not just seamless artifice.

Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham/. —Chris Vitiello On the Wild Side: Paintings by Nancy Smith. Thru Apr 24. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Other Toy Story: Sculpture installation by Joyce Dallal.

Thru Apr 28. Visual Art Exchange, Raleigh. www. visualartexchange.org.

Constance Pappalardo: Paintings. Thru Apr 30.

Umstead Hotel & Spa, Cary. www.theumstead.com.

The Process of Seeing: Paintings

by Lisa Creed and William Paul Thomas. Thru Sep 30. American Tobacco Campus, Durham. www. americantobaccohistoricdistrict. com.

Roatán Gems: Linda Eddins.

Thru Apr 30. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

Rebecca Rousseau: Abstract paintings. Thru Apr 30. Pullen Arts Center, Raleigh.

Senior Exhibition: Thru May 1. Meredith College: Weems Gallery, Raleigh. www.meredith. edu/the-arts.

SPECIAL Site-Specific EVENT Installation: Antoine Williams. Thru Jun 25. Panel discussion: “Art, Race, and Class,” Thu, Apr 14, 6 p.m.

Artspace, Raleigh. www. artspacenc.org.

Skin Dive 2016: Photographic water portraits by Barbara Tyroler. Thru Apr 24. Horace Williams House, Chapel Hill. www.chapelhillpreservation.com.

Sky Touching Earth: Silk scarves by Deborah Younglau and oil still life paintings by Elizabeth Lee. Thru Apr 27.

Village Art Circle, Cary. www. villageartcircle.com.

Small Treasures: Small works of art by North Carolina artists. Thru Apr 23. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

Strangers in Paradise: Carolyn Janssen and Jillian Mayer. Thru May 7. Artspace, Raleigh. www. artspacenc.org.

Sweeping Green Blue Air: Jessica Singerman. Thru May 8.

Durham Arts Council, Durham. www.durhamarts.org.

Tarot Dreamscapes: Cade Carlson, Kelly Knapp, and Darius Quarles. Thru May 19. Arcana, Durham. www. arcanadurham.com.

Treasures of Carolina: Stories from the State Archives: public records and private archival materials from the state archives. Thru Jun 19. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

submit! Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent. DEADLINE: Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

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Visible Spectrum: Portraits from the World of Autism: Photographs by Mary Berridge.

Thru May 8. FRANK Gallery, Chapel Hill. www.frankisart.com.

Walls of Color: The Murals of Hans Hofmann: The Abstract Expressionist Hans Hofmann took a commission for a mural project in Chimbote, Peru, in 1950. Though never realized, the seven-foot-tall oil studies for it in this exhibit offer a look under the hood of abstraction.

The studies demonstrate Hofmann’s “push/pull theory” of abstraction, by which adjacent colors and forms create synthetic depth and implied movement, a template that one can use on almost any twentieth-century abstract work. Thru Apr 22. Ackland Art Museum, Chapel Hill. www. ackland.org. —Chris Vitiello Watermedia Abstractions: Watercolors by Sterling Edwards. Thru Apr 30. 311 Gallery, Raleigh.

Dan Woodruff: Thru Jun 25.

HQ Raleigh, Raleigh.

stage OPENING

H.M.S. Pinafore: Musical presented by The Durham Savoyards. $15–$30. Apr 14-17.

Carolina Theatre, Durham. www.carolinatheatre.org.

Bruce Bruce: Stand-up comedy. $25–$33. Apr 14-17. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Cabaret: Musical. $30–$115. Apr 19-24. Durham Performing Arts Center, Durham. dpacnc.com.

Charlotte’s Web: $10–$14.

Apr 13-15. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

Gender Bender Dance Party & Drag Show: $5–$15. Sat, Apr 16, 8:30 p.m. The Station, Carrboro. stationcarrboro.com.

The Honeysuckle Funnychuckle Comedy Showcase: Fri, Apr 15, 7 p.m. Honeysuckle Tea House, Chapel Hill. www. honeysuckleteahouse.com.

MADELEINE PABIS EMCEES THE PIANO HAS BEEN DRINKING PHOTO BY ALEX MANESS/COURTESY OF LITTLE GREEN PIG

SATURDAY, APRIL 16 & FRIDAY, APRIL 22

THE PIANO HAS BEEN DRINKING: A TOM WAITS CABARET Tom Waits is a Skid Row poet laureate, a self-styled town crier for the Raymond Chandler set, whose whiskey-soaked waltzes, carny come-ons, and film-noir spoken-word pieces painted a vivid urban underworld in the seventies and early eighties. But the Rock and Roll Hall of Famer transformed into a junkyard shaman after his gravelly roar shredded his vocal cords to fine-grit sandpaper. He’s long been a muse to the people of Little Green Pig Theatrical Concern, who pay him cabaret tribute at their fund-raisers in Hillsborough and Durham. More than a dozen local theater stalwarts will perform, including Germain Choffart, Dana Marks, and Jaybird O’Berski. Madeleine Pabis hosts. —Byron Woods MYSTERY BREWING CO., HILLSBOROUGH, APRIL 16/ ARCANA BAR & LOUNGE, DURHAM, APRIL 22 8 p.m., $20 suggested donation, www.littlegreenpig.com Kings Spelling Bee: $5. Thu, Apr 14, 9 p.m. Kings, Raleigh. www.kingsbarcade.com.

Lil Buck: $10–$49. Apr 15 -16, 8 p.m. UNC’s Memorial Hall, Chapel Hill. www.carolinaperformingarts. org. See p. 29.

Macbeth: Ballet. Apr 14-17.

Memorial Auditorium, Raleigh. www.carolinaballet.com. See p. 29.

“Master Harold”...and the boys: Presented by Mortall Coile Theatre Company. $16–$18.

Apr 14-24. Sonorous Road Productions, Raleigh. www. sonorousroad.com.

"This stunning play still has power to astonish."

- New York Times

NCSSM Community Dance Concert: Sat, Apr 16, 7 p.m.

NC School of Science & Math, Durham. www.ncssm.edu.

PACKING: Arms in America: Plays presented by Triangle Playwrights. $5. Sun, Apr 17, 3 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

The Realish Housewives of Raleigh: A Parody: $32.

Apr 19-24. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

Snap Back: A Cautionary Tale: Play for youth about cyberbullying. $10. Sat, Apr 16, 11 a.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

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The Tale of the Allergist’s Wife: Play. $12–$17. Apr 15-24. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

Welcome to Night Vale: Podcast taping. $28–$33. Wed, Apr 20, 8 p.m. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com.

Maronzio Vance: Stand-up comedy. $15–$23. Wed, Apr 20, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Wham City Comedy: Cricket Arrison, Grandma Sparrow. $5. Thu, Apr 14, 8:30 p.m.

The Station, Carrboro. stationcarrboro.com.

The Wizard of Oz: $18–$20. Apr 15-24. Cary Arts Center, Cary. www.townofcary.org.

ONGOING LAST BOB: Comedic play.

CHANCE $5–$10. Thru Apr 17. Duke Campus: Sheafer Lab Theater, Durham.

The Elephant Man: The title role in this historical drama is as challenging physically as it is emotionally. An actor must embody the form that earned Joseph Merrick notoriety in an 1880s London freak show, and made walking, standing, speaking, and sleeping difficult.

Bernard Pomerance’s script locates the true deformity in society’s treatment of the differently abled. Ira David Wood III directs his son in the title role. $18–$24. Thru Apr 24. Theatre In The Park, Raleigh. theatreinthepark. com. —Byron Woods

LAST  ½ Jacuzzi: CHANCE Ward Theatre’s strongly acted and directed debut is a taut psychological thriller. $25. Thru Apr 17. Ward Theatre, Durham. wardtheatrecompany. com. —Byron Woods The Nether: Jennifer Haley’s unnerving psychological drama asks just how virtuous virtual reality will be if humans are able to explore their darkest impulses in full-fidelity sight, sound, smell, and touch. The answers might have you looking at that Oculus Rift differently. $5–$25. Thru Apr 23. Manbites Dog Theater, Durham. www.manbitesdogtheater. org. —Byron Woods  ½ Sweeney Todd: The second recent regional production of Sweeney Todd (following Raleigh Little Theatre’s) distinguishes itself with marquee leads: Broadway’s David St. Louis and TV’s Annie Golden (Orange Is the New Black). PlayMakers’ design excels, but a musical needs uniformly strong singing.

On opening night, St. Louis was mellifluous, but Golden had problems keeping up in the fast parts. $15–$44. Thru Apr 23. www.playmakersrep.org. Paul Green Theatre, Chapel Hill. www. playmakersrep.org. —Byron Woods Spoonface Steinberg: Local celebrities perform what originally was a one-person BBC radio play about a girl with autism by Billy Elliot screenwriter Lee Hall. Soprano Julianna Tauschinger-Dempsey performs songs associated with Maria Callas. $15–$25. Thru Apr 24.

Murphey School, Raleigh. www. burningcoal.org. —Byron Woods

HELLO MY NAME IS DORIS DEMOLITION EYE IN THE SKY

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page

SPECIAL SHOWINGS

READINGS & SIGNINGS

Color Correction: Documentary about DNA testing and racial identity. Wed, Apr 20, 6 p.m.

Full Frame Theater, Durham.

Fred Chappell: Fantasy novel A Shadow All of Light. Tue, Apr 19, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Consider the Conversation 2: Stories about Cure, Relief, and Comfort: Sat, Apr 16, 3 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Eyes of Fire: Tue, Apr 19, 7 p.m.

Nightlight, Chapel Hill. www. nightlightclub.com.

Pather Panchali (Song of the Little Road): $5-$7. Fri, Apr 15, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

The Peanuts Movie: $5. Thu, Apr 14, 6 p.m. Halle Cultural Arts Center, Apex. www. thehalle.org.

Ice Brought Down From the High Mountain: Four short 16mm films chart the evolution of Alex Cunningham. Sun, Apr 17, 7 p.m.

Carpentry Shop, Durham.

Son of Saul: Tue, Apr 19, 6 p.m.

Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

Western Disturbances: Sat, Apr 16, 5 p.m. Full Frame Theater, Durham.

OPENING BARBERSHOP: THE NEXT CUT—Calvin’s Barbershop, first seen in the 2002 comedy

VISIT WWW.INDYWEEK.COM ON FRIDAY FOR OUR REVIEW OF THE JUNGLE BOOK PHOTO COURTESY OF WALT DISNEY STUDIOS Barbershop, is in trouble, and the community must rally to save it. Rated PG-13.

CRIMINAL—Ryan Reynolds and Kevin Costner star in this thriller about a CIA agent’s skills and memories being implanted into the mind of a dangerous convict. Rated R. THE JUNGLE BOOK—Disney’s animated classic gets a CGIheavy update that features the voices of Bill Murray, Idris Elba, Ben Kingsley, and others.

Rated PG.

A L S O P L AY I N G See our reviews of these films at www.indyweek.com.  ½ 10 CLOVERFIELD LANE—The spiritual successor of Cloverfield has wit and suspense, not just mysterious marketing. Rated R.  BATMAN V SUPERMAN: DAWN OF JUSTICE—D.C. Comics’ two most iconic heroes clash in an overstuffed slog littered with great moments. Rated PG-13.

 ½ CITY OF GOLD— This documentary follows Los Angeles Times writer Jonathan Gold, who shook up the fancy world of food writing. Rated R.  ½ DEADPOOL—Marvel’s smartass semi-hero (Ryan Reynolds) revels in excesses of quips and gore. Rated R.  THE DIVERGENT SERIES: ALLEGIANT—The YA dystopian franchise turns away from sociological sci-fi.

Rated PG-13.  LONDON HAS FALLEN— Gerard Butler stars in this xenophobic, jingoistic terror-porn sequel to 2013’s Olympus Has Fallen. Rated R.  MIRACLES FROM HEAVEN—This Christian film is admirably frank about American families’ unsexy financial challenges. Rated PG.  STAR WARS: THE FORCE AWAKENS—J.J. Abrams successfully remixes Star Wars mythology for a new generation. Rated PG-13.

Ernest Cline: Novel Armada.

Tue, Apr 19, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. See story, p. 15.

Michael McFee: Poetry. Sun, Apr 17, 3 p.m. St Matthews Episcopal Church, Hillsborough. www. stmatthewshillsborough.org.

Lee Smith: Memoir Dimestore: A Writer’s Life. Thu, Apr 14, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Sam Trull: Photo book Slothlove.

Wed, Apr 20, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

LITERARY R E L AT E D Danielle Allen: “Difference without Domination: Reconciling Free Speech and Social Equality on College Campuses.” Thu, Apr 14, 5:30 p.m. UNC Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

Stephen Anderson: “Topics in Jazz: Miles Davis and Beyond.” $5–$10. Tue, Apr 19, 7 p.m.

Sharp Nine Gallery, Durham. www.durhamjazzworkshop.org.

TUESDAY, APRIL 19

AN EVENING WITH COLSON WHITEHEAD In 1999, when Colson Whitehead earned acclaim for his debut novel The Intuitionist, John Updike’s faint-praise description of him as “the young African-American writer to watch” was de rigueur. In the ensuing years, critical and commercial recognition of Whitehead’s fiction and nonfiction have become less qualified. In his novels, he’s drawn a bead on race, consumer culture, and the life of cities through such baroque means as a reimagined life of mythic John Henry, the Band-Aid industry, and zombies; Whitehead’s literary facility knows few bounds. “Once your subject finds you,” he told The Times, “it’s like falling in love.” On Tuesday he’ll talk about his long-awaited new novel, The Underground Railroad, as well as the endlessly discussable, oddly elusive topic of the art of fiction writing. Duke’s Nancy Armstrong and Mark Anthony Neal are along to steer the conversation. —David Klein NASHER MUSEUM OF ART, DURHAM 5:30 p.m., free, www.nasher.duke.edu

MONDAY, APRIL 18

SONGS OF MY SELFIE At twenty-four years old, I am—for better or worse—a millennial.

The truth is, though, that I find pro-millennial propaganda as exhausting as the curmudgeonly Baby Boomer think pieces that call my generation coddled garbage. Songs of My Selfie, a new collection of stories by young writers, seems to fall in the former category. The writers reckon with the well-documented plights of millennials, including unpaid internships, loan debt, and navigating a national economy that was flushed down the toilet right before we became able to participate in it. As with the Whitman poem that the book’s title cribs, there’s the whole self-discovery thing, too: we millennials are allegedly a very emotional, sensitive bunch who love a good round of navel-gazing and bellyaching.

Only two contributors, Xingyue Sarah He and Jared Shaffer, will represent the book at Flyleaf. As for the rest, you can probably find them on Snapchat. Or Vine. Or Twitter. Or Instagram … —Allison Hussey FLYLEAF BOOKS, CHAPEL HILL 7 p.m., free, www.flyleafbooks.com

Genealogy Workshop: Finding Your African American Ancestors: Librarians discuss materials from the North Carolina Government and Heritage Library. Sat, Apr 16, 11 am. Historic Stagville, Durham. www.stagville.org.

14, 6:30 p.m. South Regional Library, Durham. www. durhamcountylibrary.org.

Apr 20, 6 p.m. Top of the Hill Restaurant & Brewery, Chapel Hill. www.thetopofthehill.com.

Lean In, Women in Science: Panel discussion featuring female scientists, followed by a Q&A. Fri, Apr 15, 5 p.m. NC School of Science & Math, Durham. www.ncssm.edu.

Rick Minor: “From N.C. to the EU and Back.” Mon, Apr 18, 5:30 p.m. UNC FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

Doug Porter: “Slavery and Emancipation on ‘the Moses Mordecai Place’ in Raleigh.” $11–$16. Thu, Apr 14, 7 p.m. Joel Lane Museum House, Raleigh. www.joellane.org.

A Tale of Two Trailblazers: Eva M. Clayton, the first African American to represent N.C. in Congress since 1898, and Harvey Gantt, the first black mayor of Charlotte. Thu, Apr 14, 4 p.m. UNC FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

Let’s Talk About It: Jazz Series: Billy Yeargin Jr. and Tess Mangum Ocaña. Thu, Apr

John D. Stephens: “Is Bernie (Really) A Socialist? European Social Democracy’s Impact on American Politics.” Wed,

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rent/ elsewhere FAIR HOUSING ACT NOTICE All real estate advertised herein is subject to the Federal Fair Housing Act, which makes it illegal to advertise ìany preference, limitation, or discrimination because of race, color, religion, sex, handicap, familial status, or national origin, or intention to make any such preference, limitation, or discrimination.î We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity.

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40 | 4.13.16 | INDYweek.com

MANUSCRIPT READER The Sun, an independent, adfree magazine, is looking for a part-time manuscript reader to evaluate fiction, nonfiction, and poetry submissions and determine their suitability for the magazine. If you live in the Chapel Hill area, are able to work 15 to 20 hours a week at home or in the office, and can make at least a two-year commitment, visit thesunmagazine. org for details. (No e-mails, phone calls, faxes, or surprise visits, please.)

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last week's puzzle

NEAR MOORE SQUARE 2BR/2BA upstairs apartment. Available January 1.

On-site parking. Approx.

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Toil et Trouble All of the sudden, my eyes widened. The incident I had worried about had arrived—a bowel movement, that rumble in your tummy that says you have to go right now.

Problem was, I was on UNC–Chapel Hill’s campus, and though I’m a woman, my birth certificate lists my sex as male. And under North Carolina’s new House Bill 2, it is illegal for me to use the women’s bathroom at public entities like the one I was in, no matter what I look like.

I had done everything possible to avoid this situation. I made sure to go to the bathroom as soon as I woke up and just before leaving for UNC. I paid attention to what I had for breakfast, taking care to not eat anything that might upset my stomach. During lunch on campus, I took similar care. Alas, biological processes beyond my control came calling.

As far as I could tell, there were no single-stall or gender-neutral bathrooms in the building. That left me with options for men or women only. I told the folks I had come to meet—and who knew I was transgender—that I was ILLUSTRATION BY CHRIS WILLIAMS going to the bathroom, the women’s bathroom. I knew I was breaking the law, but I couldn’t force myself anywhere else.

I’m pretty lucky in that I “pass” incredibly well. From looking at me, you wouldn’t guess I had been born with a penis, which makes things like using the women’s bathroom far less risky. And if someone who knew my history saw me and, goodness, reported me, at least I don’t have a penis anymore. (The law isn’t nuanced enough to recognize that, once you get that surgery, your birth certificate isn’t automatically updated.)

Others aren’t so fortunate. Perhaps transgender people who work for UNC don’t want to risk their jobs. Some students may not pass easily in their time attending school, making it hard to use the correct bathroom stealthily. Depending on the state, a few may not meet the legal requirements, like needing certain surgeries, to alter their birth certificates because they can’t afford those procedures or simply don’t want them. Changing your birth certificate is rather arduous. What is one to do in the meantime?

Although I had dreaded this bathroom dilemma, I’m glad it happened early. I’m a rising graduate student at UNC. I start classes this August, and I now know that, law or no law, I won’t hesitate again to use the women’s bathroom.

I’m a woman, after all. As much as the North Carolina General Assembly or Pat McCrory might try, they can’t ban that part of me.

—Lily Carollo Twitter: @alittlelilypad

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What’s Required?

• One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60

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• Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both)

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If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS).

MEDIUM

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Stavros Garantziotis, M.D. National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

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Lead Researcher

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.

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If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects ofIf black being conducted National Institute of Environmental Health Sciences take black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? an important study on the health effects of black cohosh being conducted • Only one visit to donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National Institute Environmental Sciences (NIEHS).

• Blood sample will be drawn at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina What’s Required?

Who Can Participate?

Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding Volunteers compensated upthe to $50 For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate?

National Institute of Environmental Healthy women, aged 18 years and older Health Sciences Research Triangle Park, North Carolina Not pregnant or breastfeeding

For more information about the Black Cohosh Study, call 919-316-4976

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The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control.

For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

30/10/2005

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COMING UP NEXT AT MEMORIAL HALL APR

17

Sunday 2 PM Matinee

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