INDY Week 4.19.17 by Indy Week

raleigh 4|19|17

BITTER

PILL

THANKS TO A CHANGE IN STATE LAW, WAKE COUNTY IS PAYING MILLIONS TO COVER THE HEALTH CARE COSTS OF ITS JAIL INMATES BY THOMAS GOLDSMITH

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6 Tria

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17 Food

21 Mus

24 Arts

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 14

6 Last year, Colorado collected $200 million in weed taxes. North Carolina has almost twice its population. 8 In 2010, North Carolina had forty-five breweries. Today, there are more than two hundred. 12 Between them, Wake and Mecklenburg counties will have to pay about $10 million over three years to cover jail inmates’ hospital bills. 22 Unlike the lion’s share of indie artists, Oddisee has more than one good idea. 26 In Revival, watching the faces of worshippers in the midst of religious experiences almost feels like voyeurism. 28 Given cinematic treatment, David Grann’s remarkable The Lost City of Z is rendered ordinary. 29 With its wounded bad guys crawling around shouting insults, Free Fire serves up rewarmed Tarantino.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 17 Food 21 Music 24 Arts & Culture 30 What to Do This Week

A bartender pours a beer at Fullsteam (see page 8).

PHOTO BY BEN MCKEOWN

33 Music Calendar 37 Arts & Culture Calendar

On the cover: DESIGN BY SHAN STUMPF

INDYweek.com | 4.19.17 | 3

Raleigh Durham | Chapel Hill

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backtalk Everybody, Pipe Down! In North Carolina, the big political story of the last week was, of course, state Representative Larry Pittman’s ill-advised Facebook commentary on the Civil War and President Lincoln. A quick recap: in a debate over whether the U.S. Supreme Court has the authority to prohibit state bans on same-sex marriage—Pittman, a Carrabus Republican and Presbyterian minister who has proposed public hangings for doctors who perform abortions, thinks not—a commenter told him that the Civil War was over and he should get over it. To which Pittman offered the now-infamous retort: “And if Hitler had won, should the world just get over it? Lincoln was the same sort if [sic] tyrant, and personally responsible for the deaths of over 800,000 Americans in a war that was unnecessary and unconstitutional.” Hoo-boy. Pittman eventually deleted his comment, but screengrabs are forever, and news spread quickly. If there was ever a comment teed up for some Internet backlash, this was it. Take it away, INDY Facebook commenters. Zack Tucker: “Who the fuck voted for these knuckle-dragging mouth-breathers? Every day I’m more embarrassed to call this state my home. We must vote them out!” Ted Gonzalez: “You know how crazy the GOPs have gone when one of them condemns one of their own, also considered as one of the greatest POTUSes ever. Countdown to unemployment for this guy. Hope springs eternal.” Jode Plank: “Hilarious when you consider how many Republicans recently have wanted to point out that they are the Party of Lincoln and therefore somehow incapable or racism.” Peter Andrew De Young: “Remember when you could tell the difference between Reality and The Onion?” Silvanus Slaughter: “Keep it up, N.C. GOP. You’re looking like recycled anchor hair and

shag carpet that’s been drying vomit stains from a 1972 dance party with square music and cheap wine, wondering why the younger, enlightened people from 2017 won’t come visit you. You may want to expand your bubble.” Gina Lowery: “His understanding of history is way too twisted. Hitler called for the extermination of millions of people. Lincoln did not tell the Southern states to vote to leave Union, which ultimately led to the Civil War. Who votes for these ignorant buffoons?” On to another matter. April 22 marks Earth Day, an annual celebration of the one and only planet we’ve got. Letter writer Kevin Egelston thinks it’s also a good time to remind you people to quiet the hell down, because you’re disturbing his peace and quiet. “Since Earth Day’s founding in 1970,” he writes, “the United States has taken action to reduce air and water pollution. However, the country has done very little to protect against another threat to environmental well-being: noise pollution. American citizens are pounded constantly by excessive noise from blasting motorcycles, loud car stereos, leaf blowers, piped-in music, car alarms, sports stadiums, train horns, and car honking. Our country keeps getting louder with significant consequences for public health. Excessive noise is correlated with sleep deprivation, hearing loss, chronic fatigue, aggravated behavior, tinnitus (ringing of the ears), and heart disease. The EPA estimates that around 130 million Americans reside in areas with excessive noise. “I encourage all peace-loving individuals to join Noise Free America: A Coalition to Promote Quiet. Together, we can create a quieter, more peaceful world.”

FINDER THE INDY'S GUIDE TO THE TRIANGLE

on stands

now

“Remember when you could tell the difference between Reality and The Onion?”

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 | 4.19.17 | 5

triangulator SEEING GREEN

In 1977,

the legislature passed a significant reduction in penalties for the possession of marijuana, today placing the state among the twenty-one nationwide that don’t jail people for possessing small amounts of pot. But the Marijuana Policy Project calls the Tar Heel State’s law “one of the weakest decriminalization laws in the nation,” for while possessing less than half an ounce leads to a suspended sentence, that sentence comes with the lasting stigma of a misdemeanor conviction rather than a civil citation. As elsewhere, African Americans bear the brunt of the injustice: while they comprise 22 percent of the state’s population, they account for half of marijuana arrests and citations.

Truth be told, we’re pretty much over 4/20 jokes, especially

with Attorney General Jeff Sessions threatening to reverse the weed-related progress made in the last decade. Still, this pseudo-holiday is as good an opportunity as any to take stock of where North Carolina stacks up in terms of marijuana policy— and what our puritanical political streak could be costing us.

MARIJUANA LAWS, STATE BY STATE KIND

Recreational marijuana is legal

REGS

Medical marijuana is legal

SCHWAG Marijuana is not legal

$2.8m

$472m

$100m

projected taxes in Washington, 2016–17

projected taxes per year in Maine, 2017-18*

projected taxes per year in Massachusetts*

$60.2m

taxes collected in Oregon, 2016

$1b

projected taxes per year in California*

North Carolina

$5m-19m projected taxes per year in Alaska^

$70m

projected taxes per year in Nevada, 2017-18*+

$200m

taxes collected in Colorado, 2016 6 | 4.19.17 | INDYweek.com

In recent years, efforts to introduce a medical marijuana system have been mostly stymied. In 2014, the legislature passed the Epilepsy Alternative Treatment Act, which permits patients with epilepsy to use an extract from a strain of very low-THC marijuana. In 2015, state Representative Kelly M. Alexander Jr., D-Mecklenburg, introduced a bill to legalize medical marijuana, but it died in the House Judiciary Committee. In February, he and three other Democrats introduced similar legislation, HB 185. It has been in the House’s rules committee ever since.

*Voters made marijuana legal in referendums last year. +An exact taxing system hasn’t yet been set up. ^Voters approved recreational marijuana in 2014, but stores only opened last fall. Sources: The Marijuana Policy Project, Maine Office of Fiscal and Program Review, Seattle Times, Willamette Week, CNN, Las Vegas Review-Journal, Anchorage Daily News, Westword, Business Insider.

+JUVENILE INJUSTICE

Last week, North Carolina managed to once again distinguish itself—and once again, not in a particularly good way. (And no, we’re not talking about that state representative who went all Godwin’s Law about Abraham Lincoln. See next item.) The problem this time wasn’t so much what we did but what we haven’t done. On April 10, New York governor Andrew Cuomo signed into law a so-called Raise the Age measure, which will direct most criminal cases involving sixteen- and seventeen-year-olds to juvenile court, rather than the adult criminal justice system. Before Cuomo signed that bill, New York was one of only two states to automatically treat sixteen- and seventeen-year-olds as adults. Guess what the other state is. Why is this bad? For starters, there’s a sprawling body of research documenting the harmful effects of locking up teenagers in adult prisons. It’s estimated that close to 80 percent of young adults released from adult prisons will reoffend or go on to commit even more serious crimes. And it’s not just recidivism that’s an issue. When young people are housed in adult facilities, they’re vulnerable to abuse and psychological despair. In fact, the risk of sexual assault is five times higher in

PERIPHERAL VISIONS | V.C. ROGERS

adult facilities than in juvenile facilities, and young people in adult prisons are thirty-six times more likely to kill themselves than those placed in juvenile centers. There’s an effort afoot to reform the system. A bill filed in March, HB 280, would raise the age of juvenile prosecution in the state so that sixteen- and seventeenyear-olds would no longer automatically be tried as adults. The bill—which only applies to misdemeanors and low-level felonies, not violent or serious felonies—has a bipartisan range of supporters, from Republican U.S. Senator Thom Tillis to Democratic Governor Roy Cooper, as well as N.C. Supreme Court Chief Justice Mark Martin. It was sponsored by three Republicans and one Democrat, Duane Hall of Raleigh. Hall points out that similar legislation previously passed that House but didn’t get a hearing in the Senate. He thinks it will fare better this year. There are some kinks to work out. Most notably, establishing this system will cost the state as much as $20 million in the first year, even though it will save money over the long run. “Most everyone using that as a reason have all said that if we can make sure that it’s funded, they’re in favor of it,” Hall says. But it’s something that has to get done, he argues.

+LOST CAUSE LARRY

How Larry Pittman imagines himself, probably “It’s a dubious honor to say the least that North Carolina is last on another list—and this one is as bad or worse than some of the others,” Hall says. “To say that we are the last state to still treat our children like adults is not something to be proud of.”

It’s been a week since state Representative Larry Pittman of Carrabus County—a Presbyterian minister who wants abortion providers publicly hanged and has sponsored legislation to allow North Carolina to secede—got into a Facebook spat over his effort to prohibit same-sex marriage despite what the Supreme Court says and, after some back-and-forth over states’ rights, called President Lincoln “the same sort [of] tyrant” as Adolf Hitler. In that time, several Republicans have sprinted to put distance between themselves and Lost Cause Larry. Representative Jason Saine of Lincolnton, for instance, told The News & Observer that Pittman’s comments were “incredibly offensive” and that “the folks that are going to go to the polls in 2018 will certainly remember this.” Representative Bill Brawley of Mecklenburg posted a dope Twitter meme that said “I STAND W/ ABE!” and had the hashtag “#NCFORLINCOLN.” And so on. But the N.C. Republican Party has been completely mum. Same goes for House Speaker Tim Moore. This, even though the state GOP hosts Lincoln Day dinners and declares itself the Party of Lincoln— which, in Pittman’s view, is apparently akin to being the Party of Hitler. It’s beyond obvious to point out that, had a Democrat made such an incendiary comparison, the NCGOP outrage machine would have been immediately cranked to eleven, the condemnations coming fast and furious. And rightly so. But Pittman, it seems, gets a pass. In any event, perhaps the strongest Republican repudiation of Pittman came from Brent Woodcox, the General Assembly’s redistricting attorney, who tweeted this: “There is no other Republican Party than the party of Lincoln. If you don’t like it, leave it. And don’t let the door hit you on the way out.” It’s a shame that statement didn’t come from NCGOP executive director Dallas Woodhouse. Maybe he didn’t want to antagonize the Confederate Flag brigade. triangulator@indyweek.com This week’s report by Jeffrey C. Billman and Erica Hellerstein. INDYweek.com | 4.19.17 | 7

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Control

State Eighty-four years after the Twenty-first Amendment, are North Carolina’s alcohol laws ready for the twenty-first century? By Sarah Willets

Photos by Ben McKeown

at Durham’s Fullsteam Brewery, founder Sean Lilly Wilson is pointing to a colorcoded menu, helping three customers on the opposite side of the bar decide what to order. “I’m partial to this one,” he says, recommending the Brumley Forest porter, “because we all went out and foraged these nuts to make this beer.” Fullsteam is packed with young couples, families, and dogs. And that’s just how Wilson, who until recently was president of the N.C. Craft Brewers Guild, wants it. Before opening Fullsteam in 2010, he helped organize the Pop the Cap movement that in 2005 increased the limit on alcohol content in beers brewed and sold in North Carolina from 6 percent to 15 percent, part of a further-reaching effort to make the state’s laws more brewery-friendly in order to foster the kind of community that has grown up around his Rigsbee Avenue business. It’s easy to tell here that North Carolina’s craft beer scene is alive and well. Since Fullsteam opened, the number of breweries in the state has grown from 45 to 204, making North Carolina eleventh in the nation for beer production. Albeit with less clamor, the state’s craft distilling industry has surged as well, from 13 establishments in 2013 to 46 now. Some craft brewers and distillers, though, say the state’s distribution laws are keeping their industries from reaching their full potential. Two bills currently in the General Assembly could change that by putting more leverage in the hands of alcohol producers. HB 500 would increase how much beer breweries can sell without bringing in an outside distributor; SB 155 would give distilleries more opportunities to directly sell liquor to customers. The debate over these bills pits North Carolina’s Bible Belt roots against its more progressive metropolitan centers, entrenched political interests against the conservative cry for small government, and the way things were against the way things can be. “It’s economic development, it’s innovation, it’s tourism—it’s all the things that North Carolina loves to celebrate,” Wilson says. “But at the same time, it comes down to yet another battle between red state, blue city.” Sean Lilly Wilson, founder of Fullsteam brewery

8 | 4.19.17 | INDYweek.com

n 1908, North Carolina became the first state in the South to ban the sale of alcohol, eleven years before the Eighteenth Amendment was ratified, and it didn’t give counties the option to allow liquor sales until two years after Prohibition ended. In fact, when the Twenty-first Amendment came before the states in 1933, North Carolina—along with South Carolina—refused to ratify it. It was out of this post-Prohibition era that our current alcohol-control system originated. And like many octogenarians, it does not take kindly to change. Like most states, North Carolina has a three-tier distribution system for beer sales. Producers and importers are the first tier, distributors the second, and retailers the third. North Carolina breweries that sell fewer than twenty-five thousand barrels of beer per year can get a wholesaler permit and distribute their own product. Once a brewery hits 25,001 barrels, though, it must sell all of its beer through a wholesaler and sign a distribution agreement giving that wholesaler exclusive rights to sell the product in a given territory. HB 500 seeks to raise the cap on self-distribution to two hundred thousand barrels per year, which state representative and bill sponsor Jon Hardister, R-Guilford, says is the middle ground among the fifteen states that allow limited self-distribution. HB 500 marks the ninth attempt to raise the cap since it was set at twentyfive thousand in 2003. (Before that, it was ten thousand barrels.) With the support of a brewer-backed campaign called Craft Freedom and some suds-loving legislators, HB 500 appears to have momentum. The House Alcohol Beverage Control committee was expected to vote on the bill Wednesday morning. When the cap was last raised, there were about twenty breweries and one hundred wholesalers to serve them, says Margo Metzger, executive director of the N.C. Craft Brewers Guild. Today, she estimates, there are about forty independent beer wholesalers that each markets about 980 products. For small breweries, this means competing with larger brands for a wholesaler’s attention, and therefore tap and shelf space. Wilson says the barrel cap is “always on my mind” as he projects his company’s growth. Fullsteam, which is on track to brew about seven thousand barrels of beer this year, self-distributes and uses a wholesaler, both locally and in three other states. “The more successful we are as a self-distribution brewery, the more we’re actually going to need a wholesaler as well.” Wilson says. “Even in our local market, we rely on a wholesaler to penetrate deep because we just

“IT COMES DOWN TO YET ANOTHER BATTLE BETWEEN RED STATE, BLUE CITY.”

don’t have those relationships.” For those rallying to raise the cap, HB 500 is a free market issue—breweries should be allowed to decide if and when they want to hire a distributor, not be forced to retool successful business models to make sure the middle tier gets a cut. Indeed, the John Locke Foundation, Americans for Prosperity, and the Civitas Institute have all voiced support for raising the cap, if not eliminating it altogether. Hardister, the House majority whip, argues that there should be no cap at all. “Our laws are outdated,” he says. “Obviously our laws are not completely terrible, because then there would be no growth in the industry. But there is potential to make these businesses more successful, and that involves getting the government out of the way.” Just three breweries in the state—NoDa Brewing Company, Olde Mecklenburg Brewery (both in Charlotte), and Red Oak Brewery in Whitsett—are pushing the current barrel cap. But given the industry’s growth, that likely won’t be the case for long. “All you have to do is look at the curvature and the time it takes to change these different complex laws with a lot of entrenched interests to know that you have to be thinking about the future,” Wilson says.

urham Distillery co-owner Melissa Katrincic is talking excitedly, listing all the things SB 155 would let her do: hire another two or three retail employees, expand business hours, pay off debt twice as INDYweek.com | 4.19.17 | 9

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fast, maybe put money toward an expansion. The bill would allow distilleries to directly sell to customers up to five bottles per person per year. Currently, the limit is one bottle per customer per year. That may not seem like much, but just two years ago, distilleries were barred from selling any bottles directly to customers. As Katrincic explains, SB 155 would allow Durham Distillery to not only expand its production and retail operation, but also experiment more with recipes and receive more feedback from customers. According to Katrincic, about 70 percent of people who tour the distillery take a bottle home with them. Half would buy more than one if it were allowed. “It’s so hard for us to say, ‘You bought that bottle nine months ago. Legally, I can’t sell you another,’” she says. Perhaps more important, SB 155 would subtly chip away at the near-monopoly the state has over liquor sales in North Carolina, one of seventeen control states in the country. Besides the one bottle per year you can buy at a distillery, all booze sales happen at ABC stores run by local governments. “Senate Bill 155 would start to illustrate how restrictive that control state framework is,” says Michael Boyer, managing attorney at Carolina Craft Legal, a firm that specializes in alcoholic beverage law. SB 155 has plenty of cheerleaders outside of the distilling world, too. If it passes, another provision will allow cities and counties to permit restaurants to begin selling alcohol at ten a.m. on Sunday, as opposed to noon. (Groceries stores and other retailers would still have to wait.) The state’s current law on Sunday sales has been in effect since at least 1963, a remnant of so-called blue laws that set aside Sunday as a day of rest and worship. North Carolina briefly enacted a broader Sunday closing law in 1961, but it was struck down by the state Supreme Court the next year. Yet the Sunday alcohol sales law remained. Ideally, says Hardister, who is sponsoring a companion bill in the House, there would be no restrictions on Sunday alcohol sales whatsoever. “People are allowed to make that decision as adults every other day of the week,” he says.

ot everyone agrees. There are two main fronts of opposition to HB 500 and SB 155. Both have an interest in maintaining the status quo. One is biblical, the other financial. For Mark Creech, director of the Raleighbased Christian Action League, HB 500 and SB 155 are very troubling. Sunday alcohol sales are disrespectful to churches, he wrote on the organization’s website, and

HB 500 would undermine a system that ensures checks and balances on a dangerous commodity. Creech spoke against both bills during a committee hearing last week and detailed his opposition in a two-part article on the league’s website titled “The Two Worst Pieces of Alcohol Legislation I’ve Seen in Nearly Twenty Years of Addressing Alcohol Policy.” “Both of these bills are very egregious,” he wrote, “But the worst of the two, I believe, is HB 500. It must die or you can kiss alcohol public safety and health goodbye!” Creech, who was not available for comment, seems to be carrying the torch for religious and public health objections to these bills. During last week’s committee hearing, most comments on either side of the issue dealt with economics and consumer choice, not morality. “There are social conservative forces at work at any kind of alcohol issue that comes before the General Assembly,” says Metzger. “But they don’t hold the sway they used to. The real challenge for changing these laws is they do have an effect on the wholesaler tier, and the wholesaler tier wants to hold on to their piece.” The N.C. Beer & Wine Wholesalers Association has come out against HB 500 for myriad reasons, but they all boil down to wholesalers not wanting to be cut out of a lucrative business: Raising the cap would harm the state’s $1.9 billion distribution industry and the 3,939 employees who rely on it, the association says. It would allow beer industry giants to self-distribute, reduce consumer choices, and inundate an

already-crowded craft beer market. And, the association suggests, many brewers aren’t responsible enough to distribute their own beer. Last week, the association put out a memo arguing that 23 percent of brewers are not compliant on their taxes, so “it makes no sense to expand self-distribution.” At the committee hearing last week, Tim Kent, the wholesalers association’s executive director, invoked an image of an Anheuser-Busch-run brewery self-distributing in North Carolina. He told supporters to “be careful what you ask for.” In a letter to the editor of the Rocky Mount Telegram last month, he argued that HB 500 is unconstitutional because it would “award a special privilege to in-state suppliers at the expense of out-of-state suppliers. … Make no mistake about it—this is a Charlotte-driven legislative initiative designed to squeeze out competition in the Charlotte market. Their legislative initiative is unfair and anti-competitive.” (Kent did not respond to the INDY’s requests for comment.) Wilson has gone toe-to-toe with the wholesalers association before. When he brought up raising the barrel cap during the Pop the Cap debate a decade ago, he was told that was “a no-fly zone.” “The thing I learned during Pop the Cap is that the issue is never the issue,” he says. “It’s about power, it’s about authority, it’s about who controls the messaging, and for many, many years, the wholesalers have been the voice of N.C. beer, and now they’re learning to have to share the stage on that.” swillets@indyweek.com

INDYweek.com | 4.19.17 | 11

BITTER

PILL THANKS TO A CHANGE IN STATE LAW, NORTH CAROLINA COUNTIES HAVE TO SHELL OUT MILLIONS OF DOLLARS TO PAY FOR JAIL INMATES’ HOSPITAL CARE BY THOMAS GOLDSMITH

hese are the bills no one wants to pay. When taxpayers name their priorities, paying millions of dollars for hospital treatment for county jail inmates usually isn’t at the top of the list. But it has to be done, and the bills add up—a jail’s population often includes a high percentage of people with mental illness and substanceabuse problems. Inadequate care can lead to serious health damage or death, which in turn can lead to civil suits or federal civil rights investigations.

12 | 4.19.17 | INDYweek.com

In North Carolina, the cost of those inmates’ care is increasingly falling on the shoulders of county taxpayers. And in Wake County, that’s becoming an expensive problem. “If someone comes into our care that is getting cancer treatment and they are now incarcerated, we are responsible for paying those treatment bills and ensuring that they continue their treatment,” Sara Warren, a budget and management analyst for the Wake County Sheriff ’s Office, recently explained to county commissioners. Myriad factors are at work. Hospitals with already-large charity responsibilities are reluctant to take on more patients for whom they will not be fully compensated. Several county jails, including Durham’s, are contracting with private companies— some with controversial histories—to provide medical care for inmates while saving money. There are also quirks in health care

in Wake and Mecklenburg alone. Wake County commissioners believe it’s an example of the cost-shifting that’s taking place as the legislature seeks more room in its budget to offset another billion-dollar tax cut. They grumbled before agreeing to pay $1.28 million just to catch up with the estimated $1.7 million cost of inmates’ off-site medical care in this year’s budget. And commissioners anticipate another million-dollar-plus fee in the fiscal year that starts July 1. How much larger remains unclear—and that’s a problem, too. Wake County Sheriff Donnie Harrison told commissioners last month that unpredictability is the killer. With any arrest, bank-busting services such as cancer treatment, inpatient substance-abuse treatment, pregnancy care, or dialysis could suddenly become the county’s responsibility. “We can’t anticipate that when we do the

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laws, such as inmates’ loss of Medicaid once they are put in jail. Even the legislature’s decision not to expand Medicaid under the Affordable Care Act plays a role. Perhaps most important was a state law passed in 2013 that made counties pay more for their inmates’ hospital care. That law contained an odd collection of provisions, one on the naming of district court judges and another concerning notaries public. But a third section said that any hospital or other inpatient treatment will be paid for by the county that runs the detention center. Before the law passed, counties were supposed to absorb the costs but often only paid a small fraction of the total amount to the hospitals; the hospitals had to write off the losses. They complained, and the legislature listened. Coupled with North Carolina’s practice of stripping inmates of Medicaid coverage after a few days in jail, the law amounts to a multimillion-dollar invoice to the state’s counties, likely $10 million over three years

budget in July,” Harrison said. The exigencies of the system can even determine who stays in jail and who’s let out. Some inmates being treated at WakeMed are released on their own recognizance, Harrison told commissioners, which “saves us a ton of money.” One suspect with broken legs and other injuries, on the other hand, was transferred to the care of the state Department of Corrections to lower his tab. The majority of inmates in Wake’s two detention centers, which can hold as many as 1,580 people combined, have not been convicted and thus are presumed innocent. And because of an overwhelmed Wake court system, their average time behind bars has nearly doubled in the past fifteen years, from about fifteen days around the turn of the century to about twenty-five now, which means medical costs to taxpayers are escalating as well. As Wake County grows beyond one million residents, the millions of dollars ded-

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14 | 4.19.17 | INDYweek.com

icated to inmate care take a bite out of money available for schools, affordable housing, transportation, and other law enforcement needs. That’s the reason, veteran legislative players say, that legislators should take the long view when adjusting the details of fiscal matters. “You have to be careful any time you pass legislation that impacts who pays for what, because there can be some untended consequences on down the road,” says Mary Bethel, president of the statewide Coalition on Aging, speaking generally and not about any specific situation. “You have to look at all the long-term ramifications.”

Jim Hartmann spelled it out for the board in different terms: “When the hospitals were absorbing it, when WakeMed was absorbing most of this money and nobody was paying for it, they were writing it off as indigent care. You can hang this on the state—the state clarified law to get WakeMed out of that situation. Now it’s pushing the burden over to us.” In addition to taking on new costs, the county interprets the law as meaning that it must provide care for inmates with preexisting conditions, Warren told commissioners. Previously the county had denied care for such inmates, just as many insur-

n North Carolina and nationally, county jail inmates tend to be older and sicker than the general population. Inmates who meet certain conditions—disability, pregnancy, or being older than sixty-five— would qualify for state or federal Medicaid assistance when not in jail. But if they are held for more than a few days, their Medicaid coverage is terminated, according to Elizabeth Scott, Wake County deputy program manager for Medicaid. There’s another catch. Federal and state inmates who have been convicted of crimes are eligible for Medicaid, but those awaiting trial—some for as long as three years—

ake commissioners unanimously granted Harrison’s request for more money, but they weren’t happy about it. “I know the answer to this question, but to state for the record, because of what is essentially a state mandate to the tune of one-point-two-eight million, that will now be at the cost of Wake County citizens, was there any sort of state funding provided to offset this cost to the county?” Commissioner Jessica Holmes asked Warren. “There was not,” Warren replied, noting that the legislation does allow the county to get a discounted hospital rate. For the first couple of years after the law passed, Wake County carried on as usual. In 2014, the county’s cost for inmate hospital care was just $141,381. But then last year, a health care provider raised the issue, pointing out that Wake wasn’t meeting its obligations. Following the law will cost the county nearly ten times as much. Julie Henry, a spokeswoman for the N.C. Hospital Association, which lobbied for the 2013 law, says the amounts of money that counties are paying show how expensive inmate care was for hospitals. “As far as the burden on the hospitals, I don’t have a number on what it was back in 2013 when it was passed,” Henry says. “If the county gets the bill for it, that would be our cost.” Henry and a representative of WakeMed, which performs millions of dollars in uncompensated care each year, argue that the legislation simply clarified what was already in state statute. (State senators Thom Goolsby, Buck Newton, and Jim Davis sponsored the bill. Goolsby has left the legislature and works as a lobbyist, while Newton lost a 2016 race for attorney general. None returned calls seeking comment.) Eddie Caldwell, general counsel to N.C. Sheriffs’ Association, contends that it makes sense for the county to pay for its inmates’ care because the jail is a county institution. But Wake County manager

“ H A N G T H I S O N T H E S TAT E . NOW IT’S PUSHING THE BURDEN OVER TO US.” ance companies did before the Affordable Care Act prohibited that practice. Routine treatment for medical conditions takes place in the jail’s facility, which has a full-time doctor and other staff, but more complicated cases typically wind up at WakeMed or other community providers. “A lot of the overnight stays are connected with inmates who have complications or other medical conditions associated with their substance-abuse treatment,” Warren told commissioners. “We are able to detox them safely, but oftentimes they come in with other medical conditions that require further treatment.” Pregnant women require treatment before, during, and after delivery. And people on dialysis represent another big cost driver. Commissioners asked Harrison, the typically outspoken sheriff, why inmates were spending so much more time in jail, increasing the likelihood that they’ll have health problems on the county’s dime. “I’m going to tell you like it is, the lawyer hasn’t gotten paid and he keeps continuing it until he gets paid,” Harrison responded. “It’s a cycle. You’ve got to remember, the court system in Wake County is really pushed. They’re doing the best they can.”

lose their eligibility. If North Carolina were to expand Medicaid under the Affordable Care Act, many more inmates could qualify under a plan being developed by the N.C. Association of County Commissioners and the state Division of Medical Assistance. Other North Carolina counties have taken different paths to paying for inmate inpatient care, which not only costs large counties millions annually but can also throw a small county’s annual budget into turmoil, given one prisoner with an unusually expensive condition. “It’s been a longstanding issue,” Caldwell says. “For many inmates, they get much better care when they’re in jail than when they’re out. They are not entitled to unlimited medical care. They don’t get cosmetic care done. But if they are having a heart attack, they are entitled to care as a constitutional right.” Mecklenburg County has been paying $1.5 million annually—up from $225,000 in 2014—since receiving a pointed letter from Carolinas HealthCare, citing the state statute. Like several of North Carolina’s other major counties—including Durham and Forsyth—Mecklenburg has adopted a different solution from Wake’s. Instead of paying providers for inmate hospital care,

these counties have contracted with a private company, in this case, the Tennesseebased company Correct Care Solutions. Durham County also pays CCS an annual fee of $3.17 million for jail inmates’ care, including as much as $450,000 in hospital and other inpatient care. “In the old days, we were providing the care through our health department,” says Durham County Commissioner Ellen Reckhow. Under the previous arrangement, “all you need is a few huge medical expenses where people wind up in the hospital, and we pay the full retail rate.” The quality of care provided by CCS has been called into question through numerous lawsuits in states including North Carolina. Inmate Matthew McCain died in Durham County custody on January 19, 2016, and family members complained in media reports that his treatment was inadequate. A Durham Public Health Department investigation concluded that “McCain died as the result of complications from a seizure disorder. However, as a result of this investigation, it is recommended that certain changes be implemented in/by the Medical Unit to ensure the medical care provided continues to local and national standards.” The report goes on to make fourteen recommendations for improving care. Squeezing out more taxpayer dollars, hiring private health care providers, letting inmates leave jail on their own recognizance, and delaying custody for some inmates—all are results of a law passed four years ago that’s just now having its full effect. Marc Stern, a corrections consultant who’s also a faculty member at the School of Public Health at the University of Washington at Seattle, says privatization seems to be increasing, although there’s no conclusive study showing that. But however care is compensated, he says, quality treatment of inmates results in a community that’s healthier and safer, and in the end at lower risk. “Inmates have more hypertension, more diabetes than the average population. Also more HIV and hepatitis B,” Rice says. “We have this very sick population that in a very short time is going to come back into the community.” Wake Commissioner Erv Portman worries that Wake’s cost of operation will keep rising as federal and state governments keep cutting help offered to people with low incomes and bad health. “We need to be aware that when push comes to shove, we are the safety net,” Portman says. tgoldsmith@indyweek.com INDYweek.com | 4.19.17 | 15

ENO RIVER MILL SPACE AVAILABLE

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16 | 4.19.17 | INDYweek.com

indyfood

VICEROY

335 West Main Street, Durham www.viceroydurham.com

Empire State of Mind

INDIA REIGNS OVER BRITAIN IN THE COLONIAL FANTASYLAND OF DURHAM’S VICEROY BY EMMA LAPERRUQUE

“O

n a scale from one to six,” the server asks, “how spicy would you like the daal?” Inevitably, this feels like a trick question. In an Indian-British pub—in downtown Durham—do the numbers align with Indian, British, or American standards? And when the server says she’s a six, do you really want to admit that you’re a three? Your companion suggests one or two. “One or two?” you gasp. So you say, “Five!” You meet in the middle at four. But, you’re a three. The achari palak daal arrives in a handled, hammered metal dish that half-shimmers in the room’s low light. The lentils are mustard-hued and very hot, in both senses of words. Temperature and capsaicin exasperate each other like little siblings—“No, you stop!” “No, you!”—so as one becomes loud, the other becomes louder. Luckily, there is plenty of yogurt around—the Barbie-pink beet lassi, for example, and the tart, cucumber-threaded raita. A couple of sips here, a few plops there, and, just like that, the flavors stop screaming. They start to sing. In many ways, it seems, Viceroy is constantly trying to harmonize. The restaurant opened in November. Its concept merges two cuisines that were, historically, forcibly married and have long since divorced. While other British-Indian restaurants have received criticism for recycling a violent history into a restaurant venture—Saffron Colonial in Oregon changed its name to British Overseas Restaurant Corporation a month after it opened—Viceroy’s self-awareness seems one step ahead of such critique. The word translates as “a ruler exercising authority in a colony on behalf of a sovereign.” And while the interior, with dark wooden booths and gold-framed portraits of colonizers, evokes a posh British pub, the menu itself challenges: Who, really, is the ruler here? Some dishes are British classics, like

The murg mykanwala with rice and garlic naan BY ALEX BOERNER sausage rolls with Colman’s mustard; others are a playful British-Indian fusion, like the curried shepherd’s pie with ground lamb and mashed potatoes, and the Queen’s Fries, with slabs of English sausage and thick, spicy curry gravy, which is like a poutine that flew across the pond and got tipsy on the plane. Cadbury kheer, a chocolate rice pudding, sounded like it couldn’t go wrong, but did. More than anything else, though, the food is Indian. And that makes sense, considering that Viceroy was born from an Indian food truck, Tan-Durm. Owner BJ Patel described its fusion concept to The News & Observer in 2016, when the truck was a year and a half old: “We don’t do traditional Indian cuisine,” he said. “We mix cultures.” The chicken naán´me, for instance, is a mash-

up between Indian chicken tikka and a Vietnamese banh mi. The truck’s regular parking spot, beside Bull McCabe’s Irish Pub, foreshadowed what would eventually become its brickand-mortar sequel. Bull McCabe’s owners Malachy Noone and Rhys Botica partnered with Patel to open Viceroy. The gastropub’s cocktails creatively hold their own. A London iced tea takes a typical Pimm’s formula and adds a curry leaf. The Mumbai Rum Punch straddles sweet and savory with pineapple juice and fresh cilantro. A dozen beers are on draft, plus bottles and cans, and a modest selection of moderately priced wines. (And that beet lassi, which I ordered twice.) But I have a feeling that if you go in for a drink, you’ll come back for the food. The menu is divided into smalls, mains, and

tandoor. The last is a style of oven, traditionally clay and cylindrical. Viceroy’s is imported from London. The maharaja— or Indian prince— kebabs include chicken tikka, chicken tangri, lamb seekh, and tandoori shrimp. These are good individually but collectively confused, like a surf-and-turf carried away by the sea. Stick, instead, to one protein: maybe the murg mykanwala, with tender chicken buoys bobbing around in a creamy tomato curry, which you’ll pour on your rice and sop up with blistered, garlicky naan. If you prefer lamb, the kashmiri rogan josh is also a tomato curry, but it’s tangier and more piquant with chilies and yogurt. I say forgo the meat altogether. As Meera Sodha, a British cookbook author, writes in Made in India, “Vegetarian dishes are the star of the show for the majority of Indians in India.” And they are certainly the star at Viceroy. The usual pigeonhole for paneer (a pressed, fresh cheese) in American-Indian restaurants is saag (greens), typically spinach, hopelessly overdosed on cream. Viceroy’s simla mirch lets the paneer speak for itself: spice-crusted blocks, with crispy edges and milky centers, nestled amid peppers and onions, awoken by a squeeze of lime. The dish calls out to that part of all of us that just wants to eat cheese, just cheese, for dinner, and says, “Yes. Yes!” Trust yourINDYweek.com | 4.19.17 | 17

PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

PETof the WEEK

LEMON DROP is a beautiful, petite 1-year-old tuxedo

with luminous yellow eyes. She has gone with us on two recent adoption events and was quite the personality! She is super affectionate and looking for love in return. Visit Lemon Drop’s blog for more information and photos adoptcatsdurham.blogspot.com/2017/03/meet-lemon-drop. html?view=magazine&m=1

If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com

18 | 4.19.17 | INDYweek.com

Bar manager Willie Ennis writes the night’s specials on the big chalkboard at Viceroy. PHOTO BY ALEX BOERNER

self. Follow your damn dreams. The bhaji—crunchy, craggy spinachonion fritters—provide similar excitement. Order them with chaat, a chickpea masala wearing a big, frilly fascinator of yogurt and tomato and onion and cilantro and fried noodle fragments. The service is OK, if you have a server. Wander in on a busy night—most are—with-

out a reservation and you’ll have a long wait, or a seat either at the bar, the “social bar” (essentially, community high-tops), or an open table designated for walk-ins. The only catch with the last three is that you have to order at the bar. But this is a small cost, considering the return. food@indyweek.com

Viceroy.

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com

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week.com

WEDDING GUIDE

The INDY’s guide for whomever, wherever, however saying “I Do” means to you. Highlighting wedding possibilities around the Triangle

ISSUE: 4/26 • RESERVATIONS: 4/21 CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

INDYweek.com | 4.19.17 | 19

H po

CO SL

20 | 4.19.17 | INDYweek.com

indymusic D

avid Holt is bringing the family bones with him to Saxapahaw this weekend. More precisely, he’s bringing these bones back to Alamance County, where his ancestors settled in the early 1700s and opened textile mills. When his great-great grandfather, John Oscar Holt, left North Carolina for Midland, Texas, in 1858, he took the folk instruments with him. Since then, every male descendant has learned to play them. The bones, which are closely related to the spoons, are named literally. They’re the rib bones from a cow, about seven inches long, and they’re an ancient rhythm instrument, says Holt over the phone from his home in Fairview, North Carolina. And because he has them nearby, he demonstrates. Even distorted by an iPhone speaker, the rapid series of sharp, almost snare-like cracks exudes upbeat, celebratory urgency. “You play it with a fiddle tune or something, and it really kicks butt,” Holt says as he finishes his percussive flourish. “These bones are from Alamance County.” History and context are important to Holt, who has been a folklorist, traditional musician, storyteller, and television host in his decades-long career. Holt has worn many hats in that time, and his accolades are just as numerous: he toured for years with the North Carolina music legend Doc Watson and has been awarded four Grammys. More recently, the second season of PBS show David Holt’s State of Music premiered April 9 on the North Carolina Channel. On this program, he’s as taken with traditional approaches—that of Doyle Lawson and Quicksilver or Wilson, North Carolina’s St. John AME Zion Unity Choir—as he is with the genre-forward contributions of young artists like Amythyst Kiah and Mipso. The music is always progressing, he says, and that’s one thing he wants to present. To Holt, who plays the Haw River Ballroom Friday evening with fellow multiinstrumentalist Josh Goforth, no wall separates his TV-host and musician halves. For him, they’re both methods of exploring and engaging the North Carolina mountain music and traditional forms that he adores, and they go hand in hand. “I learned all my music by interviewing people,” Holt says. When he first traveled to western North Carolina in 1969, the old-timers he met

DAVID HOLT & JOSH GOFORTH Friday, April 21, 8 p.m., $20–$22 Haw River Ballroom, Saxapahaw www.hawriverballroom.com

Banjos, Bows, and Bones

WITH SONGS, STORIES, AND A WHOLE LOT OF CURIOSITY, DAVID HOLT MADE A LIFE OUT OF NORTH CAROLINA FOLK BY CORBIE HILL

David Holt and Josh Goforth PHOTO COURTESY OF WILL & DENI MCINTYRE weren’t accustomed to being interviewed. Folk revivalists like the Seegers had been making the rounds, documenting and learning traditional forms, but it was still a novel idea. Holt remembers that the Asheville Citizen-Times ran a full-page story at the time about how unusual it was for this Californian—the Texas-raised Holt had just moved to Asheville from the West Coast—to come

to the mountains and collect music. “That wouldn’t even get a head turn these days,” Holt says. “In those early days, it was really different.” Unlike the Seegers, Holt stayed. He loved the music and the people, and has lived in the Asheville area for forty-eight years, dedicating himself to traditional music. As he interviewed people, he picked up new songs

and instruments. For Holt’s depth of knowledge and ability, he maintains a sort of welcome-to-the-party enthusiasm about folk music, says Joseph Terrell, Mipso’s twentyseven-year-old guitarist. Rather than present North Carolina music and its history as some dead thing, analyzed to maddening minutiae, he shares it in an entertaining way. “He felt like a host, sort of like the tour guide through American roots music,” Terrell says. Mipso is no stranger to press, whether through its new LP, Coming Down the Mountain, or its earlier records, but the band enjoyed being interviewed by someone with Holt’s sheer firsthand folk music knowledge. When he asks questions, Terrell says, it’s obvious he sees their music in its full context. “He really understands history,” Terrell says “He knew Doc Watson for thirty years and played shows with him.” Even in that high-profile setting, playing music and seeking its history went together naturally for Holt. “You know, when I was playing with Doc, part of my job was to pull stories out of him that he hadn’t thought of and that the audience hadn’t heard before,” he notes. The other part of the job is playing, and the folk instruments Holt has picked up along the way tell as vivid a story as the old songs he plays on them. In State of Music’s intro, he’s playing his banjo, yet over the years he’s picked up the slide guitar and the mouth bow, as well as unconventional instruments like the washboard and paper bag. “I try to do those as musical things because they were presented to me musically by guys who were good,” Holt says. “They’re entertaining, but they’re not silly.” And, yes, he’ll bring the Holt family bones with him to Saxapahaw, but he’ll also bring Josh Goforth. In his show and in his music, after all, Holt likes to see where North Carolina music has come from as well as where it’s going. To Holt, the thirty-six-year-old Goforth combines both elements and, most important, is fun to play music with. “He is related to all the old people I learned from, all these old mountain people that were long-dead before he was born,” says Holt. “He genetically has their musical talent, and I know their stories and their repertoire. It’s a wonderful fit.” music@indyweek.com INDYweek.com | 4.19.17 | 21

music

ODDISEE

Friday, April 21, 8 p.m., $20 Kings, Raleigh www.kingsraleigh.com

No Bars Necessary ODDISEE MIGHT NOT BE A MEGASTAR, BUT HE’S A CREATIVE CHAMPION OF INSTRUMENTAL HIP-HOP BY DAVID FORD SMITH

Oddisee PHOTO COURTESY OF THE ARTIST

n a 2013 interview with Red Bull Music Academy, Daddy Kev, cofounder of the Los Angeles electronic club night Low End Theory, was questioned about the future of instrumental hip-hop, which had recently revitalized L.A.’s music underground. His response was hopeful, citing an unprecedented influx of new talent and a constant slew of “interesting, challenging instrumental records” as proof positive of the genre’s health. But he tempered this optimism with a shot of realism. He noted that among the thousands of acts he’s worked with, the lion’s share of indie artists seem to have “one good idea, usually their first album” and “everything they do after that is an attempt to get back to that.” The most promising artists, he said, were those “who can show [they] have more 22 | 4.19.17 | INDYweek.com

than one idea, maybe five, album-length.” One thinks of DJ Shadow, a scene veteran who has famously pursued a smattering of genres, from hazy cloud rap to blown-out American dubstep, and refused to simply re-create the scene-defining sampledelia of his debut record, 1996’s Entroducing, in spite what his fans might expect. Of course, Kev’s claim that indie artists do not create anything new or valuable after their biggest release is reductive. Plenty of examples, particularly in hip-hop production, refute his contention—see Knxwledge, DJ Quik, Prefuse 73. Through the prism of modern music marketing, however, his statement is darkly illuminating. Think about the histrionic attention-at-all-costs PR cycle that comes with every album rollout these days, built on a dynamic where

“decent” records without dramatic stylistic shifts tend to fall between the cracks. Unless an album is hailed as a return to form or has some SEO-friendly element to catch eyes, it runs the risk of being ignored. Thus, fantastic artists fly under the radar simply because they do not slot easily into dominating narratives. A prime exemplar of this situation is Oddisee. Born Amir Mohamed, the Washington, D.C., native has slowly bubbled up over the last decade as one of the underground’s most reliable hip-hop talents. His sprawling, unwieldly discography currently spans some two dozen releases and defies easy categorization. For every gritty, lyrical boom-bap record (2009’s In the Ruff, which he recorded as a member of D.C. rap group Diamond District) there is an instru-

mental project, like 2011’s conceptual Rock Creek Park or last year’s lush, contemplative The Odd Tape. On Odd Renditions Vol. 001, from 2012, he attempted a sort of postmodern remix project that involved grafting original arrangements onto otherwise unadulterated songs by Bon Iver and Metronomy. His batting average has been fantastic, though as a result of his eclecticism he’s never had what you would call a “breakout record.” He’s had champions in the blogosphere throughout his career, but until recently Odd remained an underground curio. Last month, he dropped his latest album, The Iceberg, via Mello Music Group. The record is a slick, punchy collection of soulful live-band hip-hop, with frequent nods to jazz, roller disco, house music, and boombap revivalist rap. This time out, he plumbs his Sudanese heritage for inspiration and continues to covet the intimate and specific. “You Grew Up” weaves a true-life tale of a childhood friend who, due to situational circumstances, grew to hate immigrants and eventually became a cop. Album opener “Digging Deep” is a plea for empathy and active, considered resistance in our bleak political times. Like most of his releases, The Iceberg deftly walks that invisible line between socially conscious and preachy. And like most of his releases, it does surprisingly little to draw attention to itself. It didn’t launch on the back of incendiary interview quotes, despite a fair a bit of press. There were no PR stunts, and almost no guest features. While The Iceberg still isn’t quite a breakout record, several critics have favorably compared Oddisee’s live instrumentation to the pockets that Anderson.Paak and Kendrick Lamar have been working in. This might account for Odd’s increased profile as of late, which is certainly surprising for a thirty-two-year old independent artist in a genre that primarily feeds off youth. Despite continuing to follow the path he always has, one of rap’s most underrated exports appears to have fallen backward into a cultural moment. While the comparison could be seen as backhanded, the man himself seems to take it in stride. As he says on “Rain Dance,” “I ain't jealous or offended/I'm just glad to see reactions to a style that I invented.” music@indyweek.com

INDYweek.com | 4.19.17 | 23

indyart Mind in the Gutter THE DRAIN ON MAIN IS ONLY FOR THE RAIN BY DAVID KLEIN

Candy Carver's painting in front of Viceroy on West Main PHOTO BY ALEX BOERNER

few weeks ago, along an active stretch of Durham’s West Main Street in front of Viceroy restaurant, Candy Carver set up some orange cones to cordon off her workspace. She readied cans of paint, a box of brushes, rags, a tarp, and a dustpan brush, and then set to her task. These were fairly challenging conditions for Carver, who had painted on canvas, wood, and even a wall in her house—but never on a concrete curb. There were passersby and large moving vehicles to consider, like the Bull City Connector, which rumbles by regularly, bringing with it a heavy leaf- and pollen-laden breeze that’s not ideal for wet paint—hence the dustpan brush. Carver was there at the behest of the City of Durham, which had hired her to create visual imagery for the street and curb surrounding a West Main Street storm drain to coincide with Creek Week, a series of nature-themed events put on by a partnership of city and 24 | 4.19.17 | INDYweek.com

county organizations that’s designed to raise awareness about the role of local streams in our ecosystem. Although the weather didn’t cooperate, Carver completed the work shortly thereafter. It’s mostly vibrantly colored, undulating, interlocking shapes, outlined in black, but five words are emphasized: “Rain only down the drain.” Laura Smith, who handles outreach for Durham’s Stormwater & GIS Services, started Creek Week seven years ago. This year she noticed an uptick of litter making its way into the stormwater system and decided to use the event to draw attention to the storm drains that run alongside our streets—what they are for, and what they are not for. Mostly what they are not for. The storm drain system carries rainwater that empties into creeks and lakes, yet people dump cigarette butts, animal waste, motor oil, and all

manner of litter into the system, perhaps in the belief that the subterranean waters flow through to a treatment center. But Durham and its environs have two separate systems, one for waste and one for stormwater. So that bag of dog waste you toss into one of these drains doesn’t just disappear. “Most of the litter comes through the storm drainage system and gets into the creeks, and then it sometimes gets clogged up along the way,” says Smith. “Or sometimes it makes it all the way to Falls Lake or Jordan Lake. And plastic pollution in the ocean actually comes from urban areas through the storm drainage system.” Smith figures perhaps half of the local populace is unaware of how the system works. This owes to various factors. She notes that in the Northeast and on the West Coast, where many Triangle transplants arrive from, the norm is a combined sewer system, where

the stormwater does get treated. There’s also what might be called the legibility issue. “They have signage on most of the new storm drains, especially downtown, about how what we put down the drains goes into the creeks and whatnot,” says Carver, “but it’s the same color as the storm drains. It doesn’t really pop. You don’t really notice it.” Carver was a good choice for the project, perhaps better than Smith realized. She was born in Durham to parents with firm connections to the city but who relocated to Indiana during her infancy, to a small town that never felt like home. “I always felt different,” she says, “I never really felt like I fit in. But somehow even as a child I was really comfortable with who I was, and I sort of brushed it off. That was just what life was gonna be.” Still, Carver returned to North Carolina during summers to see family, and by her early teens she knew she would move back after college. She made good on that in 2007. “All the things that were different, or weren’t appreciated, or didn’t necessarily gain me any friends or fans were totally embraced when I moved here,” she says. “That’s really important to me. Everybody is comfortable with everybody, for the most part.” She wanted to infuse her work with that feeling via bright, sharp colors, along with a certain energy she tapped into just by working on a busy Durham street. “That was part of the reward,” says Carver. “I talked to hundreds of people, lots of kids, so it wasn’t just something that was left there. It had an impact during the creation of the artwork itself.” Smith says she has increasingly made connections in the local arts community. In the past two years she’s seen more artists wanting to get involved with Creek Week and showing up at meetings. Pleiades Gallery organized its March opening around the theme of water to coincide with Creek Week. Smith prizes these connections, knowing that raising awareness is a gradual process and much work remains. “Ultimately the stormwater that flows through our streets is becoming our drinking water, because it makes its way to the regional drinking-water lakes,” Smith says. “The more we’re aware of the entire cycle, the better for ourselves and our future, and all the aquatic life as well.” arts@indyweek.com

INDYweek.com | 4.19.17 | 25

indystage I

t’s generally good advice for a theater critic to review the performers and not the audience. But REVIVAL, the quirky, atmospheric new work from Ward Theatre Company, renders that counsel null and void. As in last summer’s I Wish You a Boat, director Wendy Ward and her company have transformed their modest studio into an evocative place—one far removed, in time and space, from its mundane office park surroundings. After that earlier production placed us in steerage aboard a doomed ocean liner, now a doorway veiled in floor-length pieces of sturdy, creamcolored canvas takes us into an old-time tent bedecked with strings of clear and colored lights hanging overhead. At one end of the space, the following is written in large, red capital letters: “He will make your paths straight. Fear the Lord and turn away from evil.” As crickets chirp in the distance, Mae (Alexandra Petkus), a young woman in a plain gray fifties housedress, sits on the mourner’s bench, wilted from the day’s exertions. She beckons the tent’s other occupant, a teacher named Ephraim (Evit Emerson), to stop putting up chairs and tell her, again, of the religious vision he had. In this visitation, the deity doesn’t split the skies or raise the dead. Instead, he helps Ephraim straighten up his bedroom, do the laundry, and grade some papers, which prompts Ephraim to marvel, “And the marks were fair and just!” It’s a quiet, telling moment amid an annual tent revival—multiday summertime church camp gatherings that have been a social and spiritual high point in Appalachian Christianity for well over a century. Dramaturgical research, another Ward Theatre hallmark, is in evidence in the compiled text for this self-styled “collage.” In one of the excerpted sermons, I recognized passages from Alan Lomax’s Appalachian field recordings for the Library of Congress. But the production takes an unexpected twist during the dramatized sermons: the preacher, Pastor Ralph Hewitt (Brandon Cooke), is never seen. When only his voice resonates through loudspeakers, all that’s left for us to focus on is his audience—the congregation. We face them straight on and watch the 26 | 4.19.17 | INDYweek.com

REVIVAL

THE ROYALE

HHHH

Through Sunday, May 7 Ward Theatre Company, Durham www.wardtheatrecompany.com

Through Sunday, April 23 Burning Coal Theatre Company, Raleigh www.burningcoal.org

Box with God

HOLY ROLLERS GET THEIR CLOSE-UPS IN REVIVAL, PUGILISM BECOMES POLITICAL IN THE ROYALE BY BYRON WOODS

Sheldon Mba, Philip Bernard Smith, and Preston Campbell in The Royale different ways they respond—or don’t—to the down-home appeals and cautions of the reverend. Some have clearly brought their troubles with them to this separate, sacred place. Dwight (Chadwick Thompson), who occasionally pulls from a flask, lost his wife two weeks earlier. Margery Rinaldi’s Artie, tasked with the camp cooking, is at odds with her taciturn husband, Spark (Rick Skarbez). The rousing songs and liturgical dances that punctuate these proceedings are borrowed from contemporary R&B, blues, rap, and gospel music, but their fervor is not far removed from the Pentecostal expressions of faith this work is based on. Faith is also made manifest as the congregants eagerly

PHOTO COURTESY OF THE RIGHT IMAGE PHOTOGRAPHY INC.

interact, vocally and physically, with the preacher. Hands are lifted in supplication as a spiritual point hits home; wounded souls nod earnestly as they seek comfort and confirmation in the pastor’s words. Ward’s strategic focus verges on voyeurism as we explore the faces of people having religious experiences of varying intensity. As Evelyn (Dominique Barnes) leads soulful renditions of “Trying to Make Heaven My Home” and “Angels in Heaven,” Elsie (a striking Kara Phelps) grapples with the spirit moving among the congregants, and Artie physically surrenders to the moment. I must observe that a sequence depicting schisms among the group in rap form is less effective, and certain gestures begin to lose

their impact when the same actors repeat them too often. Still, an eerie water ceremony at the close overcomes many earlier doubts. At this distance, I’m still not certain if I was moved in places by something holy, or by the naked needs of the humans before me—needs that were met in some cases and not in others. Perhaps they’re one and the same, in the end. Still, I can report, without doubt, that I was moved.

here’s a magic moment when a gifted boxer whaling on a speedbag—a weighted, teardrop-shaped leather sack about the size of a human head, suspended from an overhead stand—transcends calisthenics and enters the realm

of music. Slowly at first, and then faster, the taped fists tap out paradiddles with the moving bag. A change of attack alters the barrage from sixteenth notes to triplets; a glancing blow to the side introduces syncopation. A chain of unexpected change-ups invokes a drum solo worthy of Billy Cobham, Bill Bruford, or John Bonham. There’s a reason, then, when prizefighter Jay “The Sport” Jackson (Preston Campbell) says he’s playing “just a little jazz” in the ring during his opening bout with Purley “Fresh Fish” Hawkins (Sheldon Mba) in the 2015 drama THE ROYALE, now showing at Burning Coal. When the newcomer gives the champ a run for his money, Jackson exults, “We makin’ music, boy!” A play about boxing should be markedly physicalized. In this rewarding production, guest director Avis HatcherPuzzo establishes the facts of human percussion and its impact on the body from the outset, when Campbell and Mba, dressed in boxing shorts and gloves, stomp out a pattern across designer Trevor Carrier’s old wooden ringside set. When these and other actors face off in a match, HatcherPuzzo has them reinforce the landing of their scripted blows with the same percussive footwork in a theatrical coup de grace. In his fictionalized version of the “Fight of the Century,” the first interracial match for the world heavyweight boxing championship, held during the Jim Crow era, in 1910, playwright Marco Ramirez focuses on the psychology of boxing, from the “inside game” of a fighter’s thoughts during a match to the life events that drive him into the ring in the first place. Yes, Jackson (the stand-in for real-world fighter Jack Johnson), trainer Wynton (a robust Philip Bernard Smith), and manager Max (a vacillating Alex DeVirgilis) are all aware that this bout will permanently change racial relationships in the United States. Jackson’s long-estranged, apprehensive sister, Nina (a strong Danielle Long) predicts a violent backlash as she upbraids him for the single-mindedness of his pursuit. “I know you’re ready to win,” she chides. “I just don’t think the rest of us are.” Smith’s vivid monologue about Wynton’s coming-of-age as a boxer is a stand-out moment in The Royale’s second act, and the staging of the championship bout will raise eyebrows as it uncovers who and what Jackson’s really fighting, and why he has chosen a career that ultimately amounts to “get[ting] punched in the face for a living.” Campbell’s authoritative performance makes this inquiry into the mind of a prizefighter a hard-hitting show. Strongly recommended. bwoods@indyweek.com

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indyscreen

Stumble in the Jungle THE EXTRAORDINARY BECOMES ORDINARY IN THE LOST CITY OF Z, WHILE FREE FIRE FEELS DISTINCTLY DATED BY BRIAN HOWE & RYAN VU

s a huge fan of David Grann’s book about Amazonian exploration in the last days of the British empire, I was worried. Would they CGI a magic mummy into the movie? But it quickly becomes clear that director James Gray— with Grann’s collusion as screenwriter—has gone the other way. As a stoically competent, almost resignedly conventional drama, THE LOST CITY OF Z has no hope of matching the blazing vitality of the book. In fact, Gray seems to make a show of not trying to, reducing the story’s folkloric proportions with stiff period costumes, somber conversations, and dreary colors. In 1905, a child watches in awe as his father, Major Percy Fawcett, hunts with his hounds. Fawcett promises he’ll take the boy hunting one day. Grann’s readers know that he will, and for something much greater than venison. In his book, the New Yorker staff writer traced the path of Fawcett, a prodigious explorer who vanished, with his son, Jack, in 1924, while searching for the remnants of a pre-European civilization he becomes convinced once existed in the Amazon. He calls it Zed. The film finds a tidy three-act structure in Fawcett’s three expeditions, and a tidy moral in his progressive idea, which upturned the day’s scientific condescension toward indigenous peoples. But it doesn’t find a way to dramatize a historical figure with outsize charisma at the center of a rich historical fabric. It feels more like Indiana Jones taking itself seriously, which makes its heroic colonialism, drawn with such critical nuance in Grann’s book, unappealing. In a time when men’s mustaches were very droopy and women’s hat brims were very round, Fawcett moves through a courtly milieu, but his access hangs on his personal valor, not his pedigree. “He’s been 28 | 4.19.17 | INDYweek.com

rather unfortunate in his choice of ancestors,” one snooty tux snips to another. When the British army orders Fawcett to the border of Bolivia and Brazil, with the mission of charting the Rio Verde and the insinuation that doing so will redeem his family name, he leaves his actual family and embarks by boat, train, maybe yak—I zoned out until the requisite but stirring recitation from Kipling’s “The Explorer.” Fawcett’s companions on the river are Henry Costin (Robert Pattinson), a few ethnically varied arrow-catchers, and an indigenous guide whom Gray reverently films while he says “Nan-ay ooh-ah oohah” and points at things. After Fawcett finds some pottery shards in the jungle, this staunch champion of civilization overturns his mainstream Eurocentric views in an instant. When he starts making high-minded speeches at Royal Geographical Society meetings, he is jeered for giving “savages,” whom he now calls “natives,” too much credit. Other than Murray, the grandstanding dilettante who causes so much trouble on the second expedition, much of the film’s conflict involves the party being chased on and off its raft. Slow scenes of meetings with local rubber barons and men mumbling almost inaudibly by firelight are punctuated by hectic little conflicts. The natives are shooting arrows again! But Manley charms them with his concertina and Fawcett wrangles a dinner invitation. But they’re cannibals! But Fawcett doesn’t really mind. Before the fateful third trip to the jungle, when Jack rather abruptly becomes a proper character, Fawcett has a traumatic stint in World War I. The trenches are filmed as antiseptically as the jungle, which should be a living, all-encompassing antagonist (arrow attacks are easier to photo-

THE LOST CITY OF Z HH ½ Opening Friday, April 21

Free Fire

The Lost City of Z

PHOTO BY AIDAN MONAGHAN/COURTESY OF AMAZON STUDIOS AND BLEECKER STREET

graph than Amazonian super-maggots). Instead, the jungle is trapped in narrow, leafy frames that might as well be officepark woods, with the wide shots of the river often neutralized by a dusty yellow filter. Ultimately, we’re just not given enough reason to believe in or care about these bland, didactic characters. In the book, it was easy to see why Grann and many others have followed Fawcett into the unknown: he was magnetic, a polymath of incredible contradictions and energies—like the bright flare of a bulb just before it burned out, as the Western map closed over the whole world. But actor Charlie Hunnam is not larger than life; his Fawcett is monotonously pious. “We’ve been so arrogant, so contemptuous,” he remarks upon finding crops growing in the jungle. “Well, that’s what you’ve been saying,” Costin replies. It sure is. Fawcett’s ethnographic awakening and his love for his family, established in a flawlessly generic happy-family vignette, are all he ever wants to talk about. The film toys with the idea of his drive as a destructive obsession but clearly admires

him for it. The contributions of his wife, Nina (Sienna Miller), are barely portrayed, until she takes on Fawcett’s obsession after he vanishes with her son. Nina kept searching for them until her death in 1954, as others would after her, lured by the mythic stride of Fawcett and the mystery of Z. It’s not that a film can’t capture this madly inspired, dangerously lush milieu— Werner Herzog, who receives a brief operain-the-jungle nod, did. But filmmaking this staid and characterizations this schematic can’t. The shallowness of the arc makes the movie seem overawed by one white man’s budding consciousness. Even Fawcett falls prey to Hollywood’s knack for rendering ordinary stories remarkable and remarkable stories ordinary. —Brian Howe

ith a top-shelf cast, Martin Scorsese as a producer, and U.S. distribution from A24 (Moonlight, The Room), FREE FIRE is UK director Ben Wheatley’s most high-profile film yet. Like his idiosyncratic earlier work, it was made in collaboration with screenwriter

FREE FIRE

HH ½ Opening Friday, April 21

PHOTO BY KERRY BROWN/COURTESY OF A24

and editor Amy Jump, his wife. But fans of the hilarious Sightseers or the enigmatic, terrifying Kill List may be disappointed by what sometimes resembles a nineties-Tarantino knockoff. Set in a single Boston warehouse in the late seventies, Free Fire zeroes in on an international arms deal as petty grievances and macho stupidity turn it into a bloodbath. The minimal setup promises a tense, funny countdown to total mayhem, and for the first twenty minutes, the quirky mix of characters—a dandified arms dealer from Rhodesia (now South Africa), a couple of IRA soldiers, and their American intermediaries—prove to be amusing foils. Armie Hammer delivers an unexpectedly jaunty comic turn as the middleman whose arch nihilism allows him to tease both buyer and seller like an older brother. The problems ramp up along with the action. Built on Looney Tunes-style pratfalls and a steady accumulation of minor injuries, the juxtaposition of slapstick and visceral carnage has potential, but it’s squandered on by-the-numbers choreography and disorienting camerawork. The plot stalls out early and the few plot twists are telegraphed. The introduction of a third party to the shootout leads nowhere, and the comedy itself gets stale quickly. Sharl-

to Copley, as the lead gunrunner, and Cillian Murphy, as the point man for the IRA, aren't given much to do beyond self-parody, and Brie Larson, as the mature "straight woman," ends up harnessed to standard genre tropes. Even if you're tickled by the idea of incompetent assholes shooting one another’s legs and then crawling around hollering insults, it gets old in the absence of any real surprises. It doesn't help that Tarantino himself just made The Hateful Eight, a vastly more ambitious film that shares Free Fire’s seventies-exploitation-cinema roots and its core idea: bad guys get stuck together and resolve their differences with violence. The premise suggests a connection between these childish, transatlantic Anglo-American criminals and contemporary geopolitics, but it’s only a suggestion. More often, the campy retro aesthetic just seems like a tired affectation. There are hints that Wheatley knows this: “Annie’s Song” recurs as an incongruous leitmotif, the promise of a John Denver joke continually deferred. It’s as if to say, “This reference feels ironic—do you actually need more reason to laugh?” Maybe you do, maybe you don’t. But I hope Wheatley’s next project is a better match for his talents. —Ryan Vu arts@indyweek.com INDYweek.com | 4.19.17 | 29

4.19–4.26

Carolina Ballet: Rhapsody in Blue

WHAT TO DO THIS WEEK PHOTO COURTESY OF ARMES PHOTOGRAPHY

STAGE SATURDAY, APRIL 22

FORUM THEATRE: EXPRESS

Augusto Boal was a visionary artist who developed ways to merge political activism with live theater in his native Brazil in the sixties. In Forum Theatre, members of a community affected by a particular social issue—actors, nonactors, advocates, concerned citizens—come together to devise a script that articulates and dramatizes their concerns. At show time, the company performs its text. Then they repeat the performance, but this time the audience is allowed to intervene, stopping the show at any point to deliberate and suggest changes. After that, the cast performs the show yet again, incorporating the changes introduced by the audience. Express, to be created during a two-day Forum Theatre workshop (see the Justice Theater Project website for details), will address JTP’s yearlong theme of economic justice. Saturday night, the public gets to weigh in on, change, and complete the work in real time. —Byron Woods UMSTEAD PARK UCC, RALEIGH 8 p.m., $10, www.thejusticetheaterproject.org

30 | 4.19.17 | INDYweek.com

MUSIC

SATURDAY, APRIL 22

RECORD STORE DAY

Ten years ago, a passel of independent record store owners in Baltimore launched Record Store Day to proclaim the uniqueness of their venues—and of course, to increase foot traffic. They succeeded beyond their wildest dreams. Independent record stores have emerged victorious over chains, and the day has become an institution. And as with all institutions comes a predictability and commodification. Offerings this year run the gamut from the unimpeachable (twelve-inch singles by Prince) to repackaged scraps (a pair of unreleased demos by the Smiths) to selfcongratulatory gestures, like the vinyl release of Marcy Playground’s debut album in commemoration of its twentieth anniversary. Never mind the Nick Cave action figures available online. But the point of RSD that will always be worth celebrating is that it’s a chance to support your local record stores, many of which depend on it for their best payday of the year. And really, what would the Triangle be without them? Visit the Record Store Day website for a list of participating shops. —David Klein VARIOUS VENUES AND TIMES www.recordstoreday.com

STAGE THURSDAY, APRIL 20– SUNDAY, APRIL 23

CAROLINA BALLET: RHAPSODY IN BLUE

Funny, I’d never thought of the solo clarinet’s chromatic arc at the start of Rhapsody in Blue as a yawn before. But in Zalman Raffael’s 2013 ballet adaptation, the lead ballerina illustrated the famous beginning of George Gershwin’s suite with a bird-like flutter of elbows from the floor, followed by what appeared to be a long, luxurious morning stretch. At first, jazz and ballet may seem an odd mix, but Gershwin’s strict classical structure complements the crispness of Raffael’s vision. After placing it on students at East Carolina University last year, Carolina Ballet’s choreographer-in-residence has reimagined the work—and resized it for Progress Energy Center’s largest stage. —Byron Woods RALEIGH MEMORIAL AUDITORIUM, RALEIGH 8 p.m. Thurs.–Sat./2 p.m. Sun., $31–$84, www.carolinaballet.com

MUSIC + FILM

STAGE

FRIDAY, APRIL 21

THANK YOU FRIENDS: BIG STAR’S THIRD LIVE… AND MORE

Dubbed “your favorite comedian’s favorite comedian” by Entertainment Weekly, Brian Regan boasts a stellar reputation in comedy circles—though “boast” is hardly a term one would immediately associate with a comic known for his self-deprecating style, where he’s the butt of the joke as much as anything else. Remarkably, he has become successful while doing “clean” comedy in a field where funny is now virtually synonymous with profane. Observe the oddity for yourself while you still can as Regan hits DPAC with a show that includes special monitors to help those further back get a clearer view. Regan might be the next comedian, like Louis C.K., to blow up after decades of stand-up simply by virtue of hard work and quality performances. We know; we’re very confused, too. —Zack Smith

In 2010, the dBs’ Chris Stamey led a Chapel Hill tribute concert honoring the legacy of power-pop cult heroes Big Star’s legendary album Third, with a band that included Mitch Easter (Let’s Active), lone Big Star survivor Jody Stephens, and many others. That one-off event launched a string of international appearances by the ensemble, celebrating a band that never got its due the first time around. Fast-forward to April 2016, when Stamey, Stephens, Easter, Mike Mills, Wilco’s Jeff Tweedy, Robyn Hitchcock, and more mounted another all-star tribute to Big Star’s most bewitching album in L.A. Now, the film that captured that West Coast concert is bringing things full circle with a North Carolina premiere, which coincides with the release of the DVD and CD. After the screening, tribute participants Stephens, Stamey, Django Haskins, Skylar Gudasz, and Jeff Crawford will participate in a Q and A session, followed by a live performance. It’s a great way to keep the legacy of an utterly sui generis album alive. —Jim Allen CAROLINA THEATRE, DURHAM 8 p.m., $16, www.carolinatheatre.org

SATURDAY, APRIL 22

BRIAN REGAN

DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $53, www.dpacnc.com

Brian Regan

PHOTO COURTESY OF BRIAN REGAN

WHAT ELSE SHOULD I DO?

ART IN THE HEART OF HILLSBOROUGH AT THE ORANGE COUNTY VISITORS CENTER (P. 37), TORDICK HALL AT FLETCHER OPERA THEATER (P. 38), DAVID HOLT & JOSH GOFORTH AT HAW RIVER BALLROOM (P. 21), THE FIGGS AT THE CAVE (P. 34), STEVE MARTIN & STEEP CANYON RANGERS AT DPAC (P. 33), N.C. POETRY SOCIETY AT MCINTYRE’S BOOKS (P. 40), ODDISEE AT KINGS (P. 22), THE ROYALE AT BURNING COAL (P. 26), REVIVAL AT WARD THEATRE (P. 26), SURF NAZIS MUST DIE AT KINGS (P. 39)

INDYweek.com | 4.19.17 | 31

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5/12 STRUTTER: A TRIBUTE TO KISS

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5/7 LETTERS FROM THE FIRE W/ KALEIDO ($12/$14)

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5/3 CLAP YOUR HANDS SAY YEAH W/ LAURA GIBSON ($16) 5/5 MELODIME W/ MATT HIRES, ANTIQUE HEARTS ($10/$12)

4/26 DOPAPOD W/ GROOVE FETISH ($13/$15)

5/7 CREED BRATTON ($15)

FR 4/21

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W/ MOTEL RADIO, LOVE AND VALOR ($10)

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TEGAN AND SARA 5/2 SWEET CRUDE

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RECYCLE THIS PAPER

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4/20, 21

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CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, APR 19 THE BULLPEN: Harvey Dalton Arnold Trio; 8:30 p.m., free. • CAT’S CRADLE (BACK ROOM): Acid Mothers Temple, Babylon; 9 p.m., $10– $12. • THE CAVE: Cameron Stenger, Dan Rico; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: Nixon, Blevins, & Gage; 6:30 p.m. • KINGS: Tiny Hazard, S.E. Ward, Truly; 9 p.m., $12. • LINCOLN THEATRE: Devious, Eight Bit Disaster, Gifted6, Mr. Monopoly; 10 p.m., $10. • LOCAL 506: Blair Crimmins & The Hookers, The Midatlantic; 9 p.m., $8. • MOTORCO: Wild Adriatic, Leopold and His Fiction; 8 p.m., $10–$12. • THE PINHOOK: Saving Space Showcase; 9 p.m., $7. • POUR HOUSE: Of Good Nature, Crane + Elusive Groove; 9 p.m., $7–$10. • RUBY DELUXE: Goth Night; 10 p.m. • SLIM’S: Thundering Herd, Hexxus, Crow Hollar; 9 p.m., $5.

THU, APR 20 420-Fest CANNA- Look at your BLISS ankles—are they cozy in a pair of weed-leaf tube socks? Take that hat off your head—is it a flat-brim affair embossed with a lil cannabis sprig? Or maybe a bad pun like “high life”? If so, Deep South’s 420-Fest is calling your name, rife with EDM and beats and good music to smoke to, bro, dude, man. —NR [DEEP SOUTH, $10/9 P.M.]

Design a World Without ALS Benefit Concert DREAM IT ALS is an incurable disease with a particularly cruel trajectory. It touched the life of Grammy-nominated jazz vocalist Nnenna Freelon last year when her husband, Phil, was diagnosed with it. For this benefit, she gathers musical friends to raise $250,000 for ALS research and to celebrate Phil’s life and work. —DK [CAROLINA THEATRE, $51/7 P.M.]

The Dinwiddies WEEDY The high holiday DIN rolls around once again, which means that The Dinwiddies are holding court at Neptunes. Expect rowdy songs about weed and Dinwiddie, Virginia, as well as alarming (and matching!) Reno 911-style short short cop costumes. Albert Adams, Deep Sleeper, and Royal Nites open. —AH [NEPTUNES PARLOUR, $7/10 P.M.]

Faults NOT SO Carrboro’s Faults GROSS pulls musicians from notable Triangle acts—Dad & Dad, Human Eyes, The Love Language—into the orbit of Gross Ghost’s Mike Dillon (who’s not to be confused with the punk rock vibraphonist of the same name). Like Gross Ghost, Faults balances pop thrills and nuanced curios, but this ensemble revs its engine a little harder. With Honey Radar (think: Guided By Voices via Kiwi pop) and No One Mind. —PW [LOCAL 506, $6–$8/9 P.M.]

Jordan and the Sphinx FOLK-POP Durham’s Jordan PARTY Dupree, with Adrienne Christina and Robert Cantrell, is an amped-up folk-rock band built from energetic acoustic guitar strumming, tip-tapped cymbals, and captivating harmonies. With both gentle ditties and loud, bone-shaking jams, the band promises a mix of Americana rock mixed with sweet Southern ballads. T.V. Mike and the Scarecrowes open. —KH [THE CAVE, $5/9 P.M.]

The Shins AUGHTS A quintessentially INDIE inward-looking band that experienced enormous outside interest following 2001’s Oh, Inverted World, The Shins have survived mainstream attention and evolved into a reliably formidable pop confectionery, pitched someplace between

Harry Nilsson and XTC. As the group has divested members and evolved into essentially a solo vehicle for singer-songwriter James Mercer, the songs have remained sturdy, but something of the ingratiating manic energy of the earlier work has been lost. —EB [THE RITZ, $35/8 P.M.]

Sinkane WARM We’re still a few WEATHER weeks away from summer, but Sinkane has already released the most fitting record for the season with February’s Life & Livin’ It. It delivers a warm blend of reggae, funk, soul, and rock without succumbing to any overwrought tropes or stereotypes. With its breezy, carefree aura, “Favorite Song” will have you dancing like one of those inflatables in a car dealership parking lot. Dr. Dog’s Eric Slick opens with a solo set. —AH [KINGS, $12–$15/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • ARCANA: Mamis & The Papis; 7 p.m., free. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • CAT’S CRADLE: Foxygen, Gabriella Cohen; 9 p.m., $18– $20. • CAT’S CRADLE (BACK ROOM): Scott Miller, Daniel Miller; 8:30 p.m., $12–$14. • FLETCHER OPERA THEATER: Todrick Hall; 8 p.m. • IRREGARDLESS: Honey Magpie; 6:30 p.m. • MEYMANDI CONCERT HALL: Beethoven’s Ninth; Apr 20, 7:30 p.m., 8 p.m. • MOTORCO: Ryan Montbleau, Cris Jacobs; 8 p.m., $12–$14. • POUR HOUSE: Local Band Local Beer: See Gulls, North Elementary, Hectorina; 9:30 p.m., $5. • RUBY DELUXE: Rhizome Drum N Bass Night with DJs PlayPlay, Treeecity, Big Spider’s Back; 10 p.m. • SLIM’S: Troll Foot Frass, Spookstina, Bryce Eiman, Man; 8 p.m., $5. • THE STATION: Jo Gore; 8 p.m., $8. • UNC MEMORIAL HALL: UNC Symphony Orchestra, Carolina Choir, Chamber Singers, Men’s and Women’s Glee Clubs; 7:30 p.m., $5–$10.

Steve Martin & Steep Canyon Rangers

PHOTO BY SANDLIN GAITHER

THURSDAY, APRIL 20 & FRIDAY, APRIL 21

STEVE MARTIN, MARTIN SHORT, AND STEEP CANYON RANGERS Bluegrass is a serious business. Representing high and lonesome requires technical prowess as well as upholding some of the traditional values woven into the fabric of the music. Bluegrass icons are often patriarchs, worshiped as deities by scores of fans. So how does a guy who used to perform on banjo with a fake arrow piercing his head get to be an elder statesman of bluegrass? Practice, talent, and a great sense of humor have propelled Steve Martin to bluegrass royalty. He won a Grammy for Best Country Instrumental Performance in 2002 with banjo god Earl Scruggs and another in 2009 for Best Bluegrass Album for The Crow: New Songs For the 5-String Banjo. Martin has also been instrumental in giving a hand up to North Carolina’s Steep Canyon Rangers, touring and recording with them as his backing band. “We knew Steve’s wife, Ann, before they ever met,” Rangers mandolinist Mike Guggino says, speaking from the Rangers’ tour bus. “When we would go to New York and play shows, we used to crash on the floor in her apartment. She started dating Steve Martin, brought him to N.C. and eventually they were getting married. We ended up playing music with him in N.C., and inviting him to one of our shows in NYC when he put out The Crow. He was

ready to tour, needed a band, and we just happened to be the only band he knew. Luck of the draw.” But last year, Martin added another dimension to the collective’s fifty-show tour with the addition of comedian/actor Martin Short. “Used to be, when we were touring with Steve, it was Steve and the Rangers and it was a music show,” Guggino says. “Then we added Edie Brickell, and it was still a music show, but there was still a lot of comedy. Now, it’s a comedy show with a little bit of music.” Guggino says that despite Martin dropping his bluegrass version of “King Tut” and “Atheists Don’t Have No Songs” from the show, Short’s characters, including uber-nerd Ed Grimley appear, with Martin and Short trading comedy licks and solo songs. Martin will also perform some songs with the Rangers for the two-hour show. Funny as it all is, Guggino says Martin’s dedication to the music shines through. “He loves playing the banjo and writing songs. That’s about his favorite thing in the world.” —Grant Britt DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $85–$250, www.dpacnc.com INDYweek.com | 4.19.17 | 33

WEDNESDAY, APRIL 26

THE FIGGS

These days, any band that makes it to thirty years together has both tales of glory and tales of woe to tell. After three decades of existence, The Figgs can look back on a career marked by a bit of both. Originating as a four-piece in Saratoga Springs, New York, in 1987, they were at it for seven years before they issued a proper debut, 1994’s Low-Fi at Society High. The record was rife with short, sharp blasts of power pop, with titles like “Cherry Blow Pop,” but not quite in step with what was selling at the height of the grunge era. After its record company died a sudden death and the more ambitious follow-up flummoxed its new label, the band found itself without a contract and went back to the small Absolute-a-Go-Go label that released its first cassettes. Good thing that the band’s cover of a harrowing song by Graham Parker caught the ear of the acerbic English songwriter, who acerbically opined that the Figgs cover was the only thing he liked on a tribute LP to himself. Eventually, Parker asked The Figgs to join him on tour. The Figgs were not only fans of Parker, with a set list that included one of his tunes, they had also endured enough record industry woes to compete with Parker himself, whose protracted battles with labels were the stuff of legend. Parker had turned to The Figgs precisely because they weren’t seasoned pros, but rather guys who played because they loved it. At this late date, they certainly are seasoned pros, but the love of what they do remains unabated. That’s surely what made a fan of Tommy Stinson of the Replacements, who tapped them as both tour mates and backing band during the aughts. The band’s earlier work will put you in mind of Sloan, Velvet Crush, and even Weezer. In the course of thirteen LPs, the band has continued to draw upon the power pop template, emphasizing strong melodic hooks, tight riffs, and soaring harmonies, but on its most recent LP, last year’s On the Slide, the band stretches out, incorporating roots and soul elements while never losing the spring in its step. —David Klein THE CAVE, CHAPEL HILL

8 p.m., $10–$13, www.caverntavern.com

PHOTO COURTESY OF THE ARTIST

FRI, APR 21 Arson Daily GET Arson Daily’s pun IT???? was probably funnier back when Carson Daly was still an MTV v.j., and its limpid indie blues-rock probably hasn’t been novel since well before Daly was a KROQ d.j. Even so, the Boone band delivers no-frills tunes with reasonable aplomb. (Just tell the drummer to ease up on those bass hits, eh?) With The Remarks and Secretary Pool. —PW [CAT’S CRADLE BACK ROOM, $6/9 P.M.]

Ase Manual FLUID Ase Manual is an DANCIN’ electronic musicmaker with a penchant for warm synth pads and ethereal bleep-bloops juxtaposed with busy percussion. His tracks meander without building to any clear crescendos or drops.This lack of linear direction is sometimes dull, sometimes pleasant in its fluidity. With James Bangura, [GRRL], and PlayPlay. —NR [THE PINHOOK, $10/10 P.M.] 34 | 4.19.17 | INDYweek.com

Shemekia Copeland

Sarah Jarosz

Benjamin Mauch

FIERY Shemekia Copeland SOUL is an outspoken ambassador for the blues. Singing with the soul and power of Aretha Franklin, incorporating soul, R&B, rock, gospel, and funk into her music, Copeland reaches out to grab your heart, and she’s not afraid to use every ounce of her talent: “I could be limited in my title, but I’m not limited in my mind. I know what I can do,” she’s said. —GB [UNC’S MEMORIAL HALL, $10–$49/8 P.M.]

SWIM IN Sarah Jarosz’s THE DEEP Undercurrent netted her the Best Folk Album Grammy back in February, and for good reason: It’s a gorgeous, simmering record that puts the twenty-fiveyear-old singer-songwriter’s voice at the center of enrapturing acoustic arrangements. She’ll shine even brighter in a room like Fletcher Opera Theater. —AH [FLETCHER OPERA THEATER, $27–$34/8 P.M.]

CINEMA A soundtrack, like SCOPE Brian Eno’s description of ambient music, is “something you can slip in and out of. You could pay attention or you could not.” It’s only fitting, then, that the latest piece by ambient auteur Benjamin Mauch was composed for a made-up film titled The Men on the Moon. It can function as a backdrop for your imagination, or the foreground in which you’re immersed. With Honeybrandy. —NR [DUKE COFFEEHOUSE, $5/8 P.M.]

The Fritz

HOW Jump, Little Children HIGH? formed at the North Carolina School of the Arts in Winston-Salem in 1991, but didn’t really get going until its move to Charleston, South Carolina, and took a hard left turn from ragged Celtic-influenced indie-folk to sweeping, ornate pop-rock. Since reuniting in 2015 following a nine-year hiatus, the band’s slipped comfortably back into its second act, its songs—undeniably well-constructed and -intentioned but overstuffed and overserious— still polished to the same sheen. —PW [CAT’S CRADLE, SOLD OUT/7:30 P.M.]

FUNK Asheville-based WORSHIP six-piece The Fritz veers with casual ease from Funkadelic-style psychedelic grooves to JB’s-like horn stomps to long-form reggae-tinged jams. Charismatic frontman Jamar Woods possesses some of George Clinton’s shamanistic flair, persistently exhorting his charges to push their formidable groove to ever higher planes of intensity. Trae Pierce & The T-Stones open. —TB [POUR HOUSE, $8–$10/9 P.M.]

Jump, Little Children

Phatlynx PORK Durham’s Phatlynx PUNK loves two things: legendary North Carolina rock ‘n’ roll rebel Link Wray and food (pork, in particular). The quartet pays homage to both simultaneously on this year’s cheeky and corybantic “Huevosaurus” b/w “Ham Biscuit” seven-inch, which is belly-full of belt-loosening rude rock and greasy grooves. Gasoline Stove opens. —PW [THE STATION, $7/8:30 P.M.]

ALSO ON FRIDAY ARCANA: Darcana Goth Night; 9 p.m., $5. • BEYÙ CAFFÈ: Arun Luthra; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Bill Lyerly Band; 9 p.m., $10. • THE BULLPEN: Thomas Rhyant; 8:30 p.m., free. • CARY ARTS CENTER: Balsam Range; 7:30 p.m. • THE CAVE: Sportsmanship; 9 p.m., $5. • DEEP SOUTH: The Sunday Special, XOXOK, Autumn Brand; 8:30 p.m., $7. • HAW RIVER BALLROOM: David Holt, Josh Goforth; 8 p.m., $20–$22. See page 21.• IRREGARDLESS: Elmer Gibson; 6:30 p.m. • LINCOLN THEATRE: Jonny Lang, Quinn Sullivan; 8:30 p.m., $32.50–$45. • LOCAL 506: Maybird; 9 p.m., $8. • THE MAYWOOD: Modena, Echo the Aftermath, Pivot; 9 p.m., $8. • MEYMANDI CONCERT HALL: Beethoven’s Ninth; 8 p.m. • NC MUSEUM OF ART: The Hey Brothers; 5:30 p.m., free. • NIGHTLIGHT: Toward a New Party Party; 10 p.m., $5–$15. • THE RITZ: Steel Panther; 8 p.m. • RUBY DELUXE: Timelapzzz with En-Decay; 9 p.m. • SLIM’S: Invoking the Abstract, Anamorph, Extinction Level Event; 9 p.m., $7. • THE PLAZA AT 140 W FRANKLIN ST: Live & Local Music and Arts Series; 6 p.m. • UNC’S KENAN REHEARSAL HALL: Carolina Bluegrass Band; 8 p.m., free.

SAT, APR 22 Junior Brown STEEL Junior Brown calls his HEART sound free-range country, performing sleight of hand on his original double-necked electric six-string and lap steel fusion contraption he calls a guit-steel. He made a name for himself extolling the virtues of highway cowboys in “Highway Patrol” from his 1993 record, Guit With It. Lester Coalbanks and the Seven Sorrows open. —GB [CAT’S CRADLE, $22–$25/8 P.M.]

Greaver SAY Screamo is a ADIOS famously tempestuous genre rooted in emotional passion and ephemeral chaos, so it’s only natural that its purveyors often live out ephemeral artistic existences. Such is the case for Durham’s Greaver, a five-piece deeply mired in post-hardcore’s amorous trenches. Less than a year after releasing its debut album The Faun, the band takes a curtain call on its own turf. Chew and Youth League open. —ZC [THE CAVE, $5/9 P.M.]

The Lids

Seratones

FOR A This gig is a CURE fundraiser for the American Diabetes Foundation Tour de Cure cycling event, featuring Durham cover band the Lids taking on rock classics including Ray Charles’s “Unchain My Heart,” Robert Palmer’s “Bad Case of Loving You” and a rollicking cover of the Romantics’ “What I Like About You.” —GB [BLUE NOTE GRILL, $10/7:30 P.M.]

GET With last year’s Get GOING Gone, Shreveport, Louisiana’s Seratones delivered a fiery debut LP. Mixing surf and garage rock, the quartet inflects its raucous, rough-around-the-edges songs with the slightest edge of Southern spirit. Frontwoman AJ Haynes is a mighty powerful vocalist—she steps up Seratones from being all right to irresistible. Vanguard Party opens. —AH [THE PINHOOK, $12/9 P.M.]

Livingstone College Jazz Ensemble

Sorority Noise

HBCU Livingstone College is JAZZ a private, historically black college in Salisbury, North Carolina. This show, featuring its jazz ensemble and the Sumthin 4 tha People Band, takes the form of a scholarship fundraiser. The school’s jazz program may not have the renown of NCCU’s, but chances are this will still swing pretty hard. —DR [FLETCHER OPERA THEATER, $25–$30/6 P.M.]

MUSIC TO Depression and pain CRY TO ruthlessly stalk Cameron Boucher, the restless driving force behind Connecticut emo outfit Sorority Noise. But Boucher claims them as his own as he weds tales of misery, suicide, and drug abuse to syrupy, shout-along hooks. He never asked to be a Saint Sebastian for the millennial set—depression is largely chemical, after all—but he welcomes the role nonetheless, shaping the band’s new album, You’re Not As _____ As You Think, as an infectious rallying cry for the downtrodden, brimming with

tuneful optimism. Sinai Vessel and The Obsessives open. —ZC [CAT’S CRADLE BACK ROOM, $13–$15/7:30 P.M.]

XOXOK INTERKeenan Jenkins PLAY knows how to shred on his guitar, but he doesn’t let it get in the way of his voice. Rather, XOXOK’s brand of stripped-down soul strikes a careful balance between quick guitar licks and sweet, smooth vocal swoops; these two elements tag-team and leave ample space for each other—and it’s lovely. —NR [LOCAL 506, $8–$10/8:30 P.M.]

Zack Mexico, Lonnie Walker, Naked Gods ROWDY As far as local rock ROCK band bills go, this one’s hard to beat. Headliners Zack Mexico offer slack psych rock, while Boone’s Naked Gods, in the opening slot, offer moderate, shuffling tunes. In the middle of the bill sits Lonnie Walker, a longtime Triangle favorite that’s recently emerged from an extended hibernation. —AH [NIGHTLIGHT, $7/9:30 P.M.]

ALSO ON SATURDAY ARCANA: Raundhaus; 10 p.m., $5. • BEYÙ CAFFÈ: Becca Stevens; 7 & 9 p.m. • CLAYTON CENTER: Rock Legends; 8 p.m., $25. • DEEP SOUTH: Magnolia, But You Can Call Me John, The Second After, The Ivory, Atlantic Lungs; 9 p.m., $5. • HUGH CHAPIN AUDITORIUM, GALLOWAY RIDGE: NC Jazz Repertory Orchestra; 7 p.m., $45. • IRREGARDLESS: John Palowitch Trio; 6 p.m. Jo Gore; 9 p.m. • LINCOLN THEATRE: Y&T; 9 p.m., $20. • THE MAYWOOD: Roots Rock Raleigh III; 4 p.m., $15. • MEYMANDI CONCERT HALL: Beethoven’s Ninth; 8 p.m. • POUR HOUSE: King Baby, Ozone Squeeze; 9 p.m., $12–$15. • THE RITZ: Night Moves Series Feat: Adventure Club; 7 p.m. • RUBY DELUXE: DJ Gemynii; 10 p.m. • SLIM’S: Mega Colossus Hot Sauce Release Party; 9 p.m., $5. • THE STATION: Big Money Coming Through: D. Starport, DJKB; 10 p.m., free. Jazz Saturdays; 2 p.m., free. • STEEL STRING BREWERY: Hal Engler Quartet; 5 p.m.

SUN, APR 23 Bee Positive Bash GO The Leukemia and TEAM! Lymphoma Society supports therapies for blood and other cancers that save thousands of lives every day while offering hope to countless others. This benefit serves to raise funds for the organization’s Man or Woman of the Year campaign, specifically Team Doug, which represents Doug Walter, who is battling acute myeloid leukemia and vying for that honor through fundraising efforts like this one. On hand will be Johnny Folsom’s 4’s soulful evocation of Johnny Cash, The Backsliders, and others. —DK [KINGS, $40/3:30 P.M.]

Cary Music and Arts Festival GLOW OF Let’s be perfectly YOUTH honest: most of the time, you don’t go to a youth symphony orchestra concert to hear perfection. You go because it’s a chance to hear performers’ first contact with repertoire, with all the bumps and scratches that

entails. You go for the exuberance and humanity of youth and, just maybe, the chance to hear something special. This festival, now in its fourth year, features ensembles of all shapes and sizes from Cary high schools. —DR [KOKA BOOTH AMPHITHEATRE, $5/4:30P.M.]

Dengue Fever PSYCH This long-running ROCK Los Angeles-based psych rock band takes its cues from the traditional folk music of Southeast Asia with a specific emphasis on lead singer Chhom Nimol’s native Cambodia. With its mixture of sixties surf and garage tones combined with Nimol’s bracing vocals and lyrics performed in the Khmer language, Dengue Fever creates sounds which are by turns hauntingly alien and oddly familiar, suggesting something like the Ventures on an avant-garde bender. Beauty World opens. —EB [THE ARTSCENTER, $25/7 P.M.]

Shana Falana DRY SIGHS

Like almost every other guitar band

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from Brooklyn, Shana Falana’s vocals might be described as “reverb-drenched,” or its delay-inflected guitars called “sun-soaked.” Contrary to what these pleasant, ubiquitous descriptors intuitively suggest, Shana Falana’s music in fact feels pretty dry. With Aunt Sis and Flash Car. —NR [LOCAL 506, $8/9 P.M.].

The Steeldrivers GRASSY Comprising some of GRIT Nashville’s best session players, The Steeldrivers occasionally step out of the recording studio and onto the stage with gritty but fantastic bluegrass musicianship. But the band doesn’t stop there: it weaves in bits of slinky Muscle Shoals soul, deep, twangy vocals, and some of the fiercest fiddle around. The skill of these players cannot be understated, which seems to be a consensus—they won the 2016 Grammy for Best Bluegrass Album. Hank, Pattie and The Current open. —KH [CAT’S CRADLE, $28–$35/8 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: Edward Stephenson; 5-7 p.m., free. • THE CAVE: Benny Basset, The New Hillbillies, Darrin Bradbury; 9 p.m., $5. • DEEP SOUTH: Must Be The Holy Ghost, Bear Girl; 8:30 p.m., $6. Live & Loud Weekly; 9 p.m., $3. • DUKE ENERGY CENTER FOR THE PERFORMING ARTS: Triangle Brass Band; 3 p.m., $5–$10. • DURHAM PERFORMING ARTS CENTER: Brit Floyd; 7:30 p.m., $35. • ERUUF: Brother Sun; 7:30 p.m., $20–$25. • FLETCHER OPERA THEATER: The Red Machine: Triangle Youth Brass Band; 3 p.m. • IRREGARDLESS: John William Carlson; 6 p.m. • MEYMANDI CONCERT HALL: UNC Wind Ensemble, Triangle Wind Ensemble; 3 p.m., $5–$15. • NC MUSEUM OF ART: Sights and Sounds on Sundays; 3 p.m. • POUR HOUSE: Lord Nelson; 9 p.m. • RUBY DELUXE: White Belt: An Indie Jams and Gems Dance Party; 10 p.m. • STEEL STRING BREWERY: John Pardue; 4 p.m. • UNC CAMPUS: HILL HALL: University Band; 7 p.m. • UNC’S PERSON RECITAL HALL: UNC Guitar Ensemble; 2 p.m., free. • WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, APR 24 CAT’S CRADLE: An Evening with Noah and Abby Gundersen, David Ramirez; 8 p.m., $16–$18. • NEPTUNES PARLOUR: Adios Ghost, Shy Layers, Indoor Cats; 9 p.m., $5–$10 donation. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

Marilyn Weinan; 6:30 p.m. • NEPTUNES PARLOUR: The Lark and the Loon; 9 p.m., $5. • THE PINHOOK: Matthew Logan Vasquez, LUD; 9 p.m., $14. • RUBY DELUXE: Experimental Tuesday: Morology Bacchus; 11 p.m. • UNC’S MEMORIAL HALL: UNC Wind Ensemble, Symphony Band; 7:30 p.m., $5–$10.

TUE, APR 25

WED, APR 26

In Via

Dave Rempis’s Lattice

MN MEDI- On meditations, the TATION two-part solo debut from In Via, Minneapolis’s Nona Marie offers a slow, enrapturing pair of pieces. Her gentle vocals unfurl over mellow, reverberating synth and piano parts; the overall effect feels like swimming in a calm, cool ocean. Joes and Toll—a trio of Joe Westerlund, Elephant Micah’s Joseph McConnell, and Casey Toll—makes for a compelling opener. —AH [THE SHED, $6/8 P.M.]

Parachute BUSTED This commercially RIP CORD ascendant pop outfit from Charlottesville, Virginia, is so rigorously bland and inoffensive in turning out its soft-soap acoustic pabulum that it’s tempting to laud them for the sheer discipline of the enterprise. Tracks like the sad sack Lady Antebellum co-write “Kiss Me Slowly” and the icky schmaltz of “She Is Love” all revert to the same tedious formula of paint-by-numbers come-ons, tasteful tempos, and the characterless croon of pout-lipped frontman Will Anderson. Kris Allen opens. —EB [CAT’S CRADLE, $18–$21/8 P.M.]

Matthew Logan Vasquez SPIRITED Delta Spirit’s AWAY Matthew Logan Vasquez moved from Brooklyn to Austin, Texas, in 2015, striking out on his own and creating a new gritty, psych rock sound. Last year’s Solicitor Returns features upbeat synths buried under his signature folksy voice, mixing electronic and rock music in a fresh way. Lud opens. —KH [THE PINHOOK, $14/9 P.M.] ALSO ON TUESDAY THE CAVE: Underhill Family Orchestra, The Holler and Shout; 10 p.m., $5. • IRREGARDLESS:

SAX Dave Rempis is a SWELLS Chicago-based saxophonist who has just embarked on a huge solo tour of the U.S., collaborating with local musicians in each city he plays. His improvisational approach reveals a technical mastery of his instrument and an affinity for formlessness, which may be off-putting for those looking for melodic meat, but delightful for free-form connoisseurs. —NR [NEPTUNES, $8–$10/10 P.M.]

Richard Thompson ENGLISH The legendary LEGEND English-born singer-songwriter and guitarist who served an apprenticeship in Fairport Convention before striking out on a storied solo career, Richard Thompson is justifiably fetishized both for his extraordinarily innovative playing style and remarkable catalog of songs, which range from soaring devotionals to pitch black meditations on love gone very wrong. The Lowhills open. —TB [CAROLINA THEATRE, $27.50–$98/8 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • CAT’S CRADLE: Dopapod, Groove Fetish; 9 p.m., $13–$15. • CAT’S CRADLE (BACK ROOM): Thriftworks, Flamingosis; 8:30 p.m., $15–$17. • THE CAVE: An Evening with The Figgs; 8 p.m., $10–$13. See box, page 34. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Magnolia Still; 6:30 p.m. • LOCAL 506: affiance, Sirens and Sailors, Dear Desolate; 9 p.m., $12–$14. • POUR HOUSE: The Heavy Pets & Backup Planet; 9 p.m., $7–$10. • RUBY DELUXE: Mystery Dance Moms Theatre 3000; 8:30 p.m. • UNC’S PERSON RECITAL HALL: The University Chamber Players; 7:30 p.m., free.

art

4.19 – 4.26

OPENING

SATURDAY, APRIL 22

Durham Public Schools Student Art Show: Apr 21-May 25. Northgate Mall, Durham. www.northgatemall.com. Fluid: Paintings by MyLoan Dinh. Apr 24-Oct 15. Durham Convention Center, Durham. www.durhamconventioncenter. com. SPECIAL Food Isn’t Just for EVENT Eating: Paintings by Sharon Barnes. Apr 20-May 6. Reception: Friday, April 21, 6-9 p.m. Bulldega Urban Market, Durham. SPECIAL Friends & Family EVENT Show: Apr 21-May 14. Reception: Friday, April 21, 6-9 p.m. The Scrap Exchange, Durham. www.scrapexchange. org. SPECIAL Locomotion: The EVENT Railroad and Subway in Art, 1870-1950: Original prints. Apr 22-May 19. Reception: Saturday, April 22, 6-9 p.m. Adam Cave Fine Art, Raleigh. www.adamcavefineart. com. Hoopla: Party in the Park: Celebration of new sculptures. Fri, Apr 21, 5 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

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ART IN THE HEART OF HILLSBOROUGH You don’t have to stay in the city or indoors if you’d like to take in some art this weekend. Art in the Heart of Hillsborough, the town’s ninth-annual arts and crafts show, will be sprawled out on the lawn of the Hillsborough Visitors Center all day Saturday. It’s a great chance to soak up some rays while you imbibe your weekly culture allotment and support local creators. In addition to food, beer, wine, ice cream, and live music, the main attraction is a juried show featuring dozens of vendors hawking paintings, jewelry, pottery, textiles, and more. The centerpiece is an installation inside the center entitled “Hillsborough Living Room.” Created by Stacey Green, it’s made entirely of pieces, all for sale, by local artists. Though the festival is one day only, “Hillsborough Living Room” stays up through April 28 and plays host to a variety of locally sponsored events. —Brian Howe ALEXANDER DICKSON HOUSE, HILLSBOROUGH 10 a.m.–4 p.m., free, www.hillsboroughartscouncil.org

Jewelry by Cindy Snow PHOTO COURTESY OF ART IN THE HEART OF HILLSBOROUGH SPECIAL Ninth Annual Refugee and EVENT Immigrant Art Therapy Show: Artwork from over 200 women and children living in Orange and Durham counties. Friday, April 21, 6-8:30 p.m. Art Therapy Institute, Carrboro. www. ncati.org. Off the Wall Gala: $50-$450. Sat, Apr 22, 6 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

ONGOING LAST 2017 Small Treasures Juried CHANCE Show: Thru Apr 22. Cary Gallery of Artists, Cary. www. carygalleryofartists.org. LAST ALCHEMY: Multimedia art by CHANCE Heather Gordon, Elijah Leed, Tom Spleth, Tom Shields, Leigh Suggs, Phil Szotak, and Stacy Lynn Waddell. Thru Apr 23. Light Art + Design, Chapel Hill. www.lightartdesign.com. SPECIAL Ansel Adams: Masterworks: EVENT An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffeetable book, we’ll make an exception. Adams called this “the Museum Set,” the ultimate expression of his legacy. These forty-eight masterworks, taken in locations like Glacier National Park,

Yosemite, and Monument Valley, speak to Adams’s monumental purity of vision. Special event: The American West in Virtual Reality: Ansel Adams exhibit and chance to experience virtual reality devices; talk from Derek Row. $30-$35. Fri, Apr 21, 7 p.m. Thru May 7. NC Museum of Art, Raleigh. www. ncartmuseum.org. —David Klein John Beerman and Conrad Weiser: Oil paintings and raku. Thru May 17. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com. LAST Bottled Light: Works by CHANCE Catherine Edgerton. See story at www.indyweek.com. Thru Apr 24. The Carrack Modern Art, Durham. www. thecarrack.org. But if the Crime is Beautiful...: Gilded sculpture, images, and photographs by Lauren Kalman. Thru May 14. Artspace, Raleigh. www.artspacenc.org. Collecting Carolina: 100 Years of Jugtown Pottery: Pottery. Thru May 29. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/durham. Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www. ackland.org.

Cuba Now: Photography by Elizabeth Matheson. Ongoing. Craven Allen Gallery, Durham. www.cravenallengallery.com.

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

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

Will Grossman Memorial Photo Competition Show: Photography by winners of the competition and selected submissions. Thru May 14. Through This Lens, Durham. www.throughthislens.com.

Extraordinary Artists: Multimedia art. Thru Apr 30. Duke Campus: Reynolds Industries Theater, Durham. Eyes Wide Open: Photography by Elizabeth Galecke. Thru Apr 30. Tiny Gallery at the Ackland Museum Store, Chapel Hill. SPECIAL Figure it Out: Wood and EVENT mixed media sculptures by Erik Wolken. Thru Apr 30. Reception: April 21, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Filaments of the Imagination: Group show by Threads, a textile study collective. Thru May 13. Durham Arts Council, Durham. www.durhamarts.org. Flora and Fauna: Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www.ackland.org. The Focus....Converging: Photography by a collaborative group. Thru May 1. Litmus Gallery, Raleigh. www.litmusgallery.com. From Duke Gardens to Giverny: Paintings by David Gellatly. Thru May 3. Duke University Hospital- Art & Health Galleries, Durham.

Half the Sky: Sculptures by Jan-Ru Wan. Thru Jun 1. Sertoma Arts Center, Raleigh. parks.raleighnc.gov. Images of Sound: Photographs by Rodney Boles and Frank Myers. Thru May 19. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts. In Conditions of Fresh Water: The term “environmental racism” has existed since the eighties, and the problem has existed for much longer. But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized communities are routinely subjected to inferior, often dangerous environmental conditions. Even in 2017, basic services such as clean water and wastewater treatment are still lacking in places like Alamance County, imperiling both the health of residents and the security of the land itself. This exhibit is a collaborative project by Torkwase Dyson, a Duke visiting artist, and Danielle Purifoy, an attorney/environmental scientist, that INDYweek.com | 4.19.17 | 37

explores this phenomenon in depth through interviews with residents of two rural, historically black Southern counties, including Alamance, that have been victimized by this insidious form of institutional neglect for decades. It adds up to a powerful exhibit comprising photographs, paintings, and prose that speak to human resilience in the face of injustice. Thru Jun 3. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. —David Klein Judy Keene: Color Search: This is the first significant showcase of Durham-based painter Judy Keene’s work, but it’s undergirded by her long background in museums and art history. Primarily working in oil on linen canvases, Keene brushes and knifes opaque and transparent forms of varying thicknesses into earthily textured, evanescent crags. Keene mingles the influence of abstract impressionist color-field painters—some of whom, like Keene, studied with Shirley Blum, including Mark Rothko and Ellsworth Kelly—with a cool patina of Old Masterly precision. Keene’s abstractions abut the border of the real; her Canyon Series harks back to her travels through the American West as a child in the 1950s, when her father’s work as a prospector fed an abiding geological interest. Thru May 6. Craven Allen Gallery, Durham. www. cravenallengallery.com. —Brian Howe Looking South: Photography by Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org. More than One Story | Mas de una historia: Photography. Thru Feb 1, 2018. UNC Campus: Davis Library, Chapel Hill. www. lib.unc.edu/davis. Nuestras Historias, Nuestros Sueños/Our Stories, Our Dreams: Documenting the experiences of Latino farmworkers in the Carolinas. Thru May 7. Historic Oak View County Park, Raleigh. www. wakegov.com/parks/oakview. Particle Falls: Designed by Andrea Polli, an artist and scientist, this light installation after sundown on the side of the Empire Properties 38 | 4.19.17 | INDYweek.com

Building changes according to data captured by an airquality sensor nearby, visually representing the particles of pollution entering your lungs with each breath. Do yourself a favor and walk or bike to see it. Thru Apr 23. 7-9:30 p.m. The Raleigh Times Bar, Raleigh. www.particlefallsral.org. —Erica Johnson

stage

Peace of Mind: Art Quilts: Fiber art by Christine HagerBraun. Thru May 12. Durham Arts Council, Durham. www. durhamarts.org. Project Reject Is Underway: Site-specific installation by Jeff Bell and Megan Sullivan. Thru May 27. Artspace, Raleigh. www.artspacenc.org. Pleasant Places: Digital paintings by Quayola. Thru Aug 13. NC Museum of Art, Raleigh. www.ncartmuseum.org. Raleigh Fine Arts Society: Thru Apr 27. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com. Sensation: Abstract paintings by Linda Ruth Dickinson. Thru Apr 30. Artspace, Raleigh. www.artspacenc.org. A Sense Of...: Photography. Ongoing. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com. Some Semblance: Photography by Stephen Fletcher. Ongoing. The Framers Corner, Carrboro. Stilled Life: Photography by Karen Bell. Thru Apr 30. NC Museum of Natural Sciences, Raleigh. www.naturalsciences. org. Stories from the Heartland: Paintings by Rachel Campbell Thru May 25. Durham Arts Council, Durham. www. durhamarts.org. Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org. Untold: Paintings by Jane Filer. Thru May 21. Tyndall Galleries, Chapel Hill. www. tyndallgalleries.com. You + Me: Photographs from various artists. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Todrick Hall STAGE

PHOTO COURTESY OF THE ARTIST

THURSDAY, APRIL 20

TODRICK HALL: STRAIGHT OUTTA OZ

Head south from Berserkeley, hang a left once you hit Hollyweird, and there it is: Oz Angeles. So says Todrick Hall, who parlayed a 2009 washout on American Idol and a multimillion-subscriber YouTube channel filled with sophisticated, self-produced musical theater and pop satires into an MTV series, a stint as a judge on RuPaul’s Drag Race, and a five-month stand on Broadway in Kinky Boots. Last summer, Hall released Straight Outta Oz, a stunning hour-long video album that superimposed his rise to fame upon the classic film The Wizard of Oz. The stage version began touring after the album rose to No. 2 on the iTunes pop charts. Raleigh sees the show after a supersized “deluxe edition” of the video debuted last month.—Byron Woods FLETCHER OPERA THEATER, RALEIGH 8 p.m., $33, www.dukeenergycenterraleigh.com

OPENING Jay Chandrasekhar: Stand-up comedy. Thu, Apr 20-Sat, Apr 22. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com. Love, Loss, and What I Wore: Play. $17. Fri, Apr 21-Sun, Apr 30. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. Steve Martin & Martin Short with Steep Canyon Rangers: Comedy and bluegrass music. Thu, Apr 20 & Fri, Apr 21, 8 p.m. Durham Performing Arts Center, Durham. www.dpacnc.com. Brian Regan: Stand-up comedy. Sat, Apr 22, 8 p.m. Durham Performing Arts Center, Durham. www.dpacnc.com. See p. 31. Rhapsody in Blue: Presented by Carolina Ballet. Apr 20-23. Raleigh Memorial Auditorium, Raleigh. See p. 30.

ONGOING Anything Goes Late Show: Comedy. Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com. The Dangling Loafer: Stand-up comedy with Blayr Nias, Shane Smith, Brian

Deans, Matt White, Lew Morgante, Brett Williams, and Jason Zaremba. $5. Fri, Apr 21, 8 p.m. Neptunes Parlour, Raleigh. www. neptunesparlour.com. My Fair Lady: Play presented by PlayMakers Repertory Company. $10-$57. Thru Apr 29. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org. On Golden Pond: Play. Thru Apr 23. Theatre In The Park, Raleigh. www.theatreinthepark. com. Funny Business Live: Pro comedy series. $5-8. Third Fridays, 9 p.m. The Thrill at Hector’s, Chapel Hill. www. funnybusinesslive.com. The Harry Show: Improv host leads late-night revelers through potentially risque games with audience volunteers. $10. Fridays & Saturdays, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx.com. Improv Percolator: Featuring Danny Canoe, Wait, What?, and Wild Mind Improv students. $12. Fri, Apr 21, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org.

No Shame Theatre: Storytelling. $5. Sat, Apr 22, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.  Revival: Reviewed on p. 26. $25. Thru May 7. Ward Theatre, Durham. wardtheatrecompany.com. LAST  The Royale: Reviewed CHANCE on p. 26. $15-$25. Thru Apr 23. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org. She’s Single Again: A Drag Dinner Benefit for N.E.W. Backpack Buddies, presented by Magnolias & Duct Tape. $10. Sun, Apr 23, 8-11 p.m. Tir Na Nog Irish Pub, Raleigh. Transactors Improv: Nowhere, USA: Improv comedy. $10-$15. Sat, Apr 22, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org. Wham Bam Glitter Glam: Burlesque with Kendra Greaves, Evelyn Devere, Porcelain, Tiger Bay. $10. Sat, Apr 22, 10 p.m. Kings, Raleigh. www.kingsraleigh.com.

food 22nd Annual Piedmont Farm Tour: More than 35 scenic and sustainable farms in Orange, Chatham, Alamance, and Person counties. $10$35. Sat, Apr 22 & Sun, Apr 23, 2-6 p.m. Weaver Street Market, Carrboro. www. weaverstreetmarket.coop. Great Grapes Wine & Food Festival: Wine, food, live music. $20-$55. Sat, Apr 22, 11 a.m.-7 p.m. Koka Booth Amphitheatre,

Cary. www.boothamphitheatre. com. Jewish Food Festival: Ashkenazi, Sephardic, and New York Deli specialties are all represented. Community volunteers participate in preparing and serving family favorites. Free. Sun, Apr 23, 11 a.m.-3 p.m. Levin Jewish Community Center, Durham. www.levinjcc.org. Nancie McDermott: Fruit: A

Savor the South Cookbook. Sat, Apr 22, 11 a.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Spring Wine Show (Hillsborough): Wine tasting, hors-d’oeuvres, raffle, and live music. All proceeds go to the Cooperative Community Fund. $10. Sat, Apr 22, 1-5 p.m. Weaver Street Market, Hillsborough. www. weaverstreetmarket.coop.

screen

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WEDNESDAY, APRIL 26

SURF NAZIS MUST DIE They just don’t make exploitation films like they used to. In a world where every thought and impulse can be uploaded in a matter of moments, how could cinema capture that thrill of transgression, or even evoke the thought, “They made a movie about this?” Witness the fruits of a bygone age in the 1987 Troma release Surf Nazis Must Die, which is about a postapocalyptic California coast ruled by gangs and the gun-wielding elderly woman who goes after the Nazis who killed her son. (They have names like Adolf and Eva and, in one case, a metal claw for a hand.) It’s difficult to recommend this film by most standards of quality, but those who enjoy awkward dialogue, random violence and nudity, and a plot whose logic proportionately increases as you imbibe alcohol may sit back and let nostalgia for movies like this wash over them like the chill waters of a California tide, red with the blood of racist surfer gangs. —Zack Smith

BILL BURTON ATTORNEY AT LAW

KINGS, RALEIGH 9 p.m., free, www.kingsraleigh.com

S PEC IAL S H OW I NGS Bolin Creek Unpaved: Earth Day Screening: $5. Sat, Apr 22, 12:45 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org. King of Jazz: $5-$7. Fri, Apr 21, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum. org. Thank You Friends, Big Star’s Third Live...And More: Documentary, recorded live

performances. $17. Fri, Apr 21, 8 p.m. Carolina Theatre, Durham. www.carolinatheatre.org. See p. 31.

OP E NI NG Born in China—Two words on this Disney nature doc: Cute! Pandas! Rated G. ½ Free Fire—Reviewed on p. 29. Rated R. ½ The Lost City of Z— Reviewed on p. 28. Rated PG-13.

The Promise—The waning days of the Ottomon Empire become a painted backdrop for a love story. Proceed with caution. Rated PG-13. Unforgettable—Tessa (Katherine Heigl) torments Julia (Rosario Dawson) over a wayward husband. Rated R. Your Name—A rural girl and a city boy swap bodies in this Japanese animated drama. Rated PG.

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bill.burton.lawyer@gmail.com INDYweek.com | 4.19.17 | 39

AL S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin family movie. Rated PG.  Beauty and the Beast— This live-action remake is an effective piece of fan service but certainly won’t replace the animated classic. Rated PG. ½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years. Rated R. ½ Gifted—Marc Webb’s story of a child math prodigy caught in a custody battle isn’t a particularly original film, but it’s heartfelt and accomplished—a

Read our review of The Lost City of Z on page 28. PHOTO BY AIDAN MONAGHAN/COURTESY OF AMAZON STUDIOS AND BLEECKER STREET

very good story, very well told. Rated PG-13.  Going in Style—This “comedy” from “filmmaker” Zach Braff feels familiar: three old friends, played by actors in their golden years, reunite for one last bank heist. The jokes are tame (and lame) and the film hinges on the accumulated good will of Morgan Freeman, Alan Arkin, and Michael Caine. Rated PG-13. ½ Hidden Figures—This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. ½ Kong: Skull Island—Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse Now meets Starship Troopers. Rated PG-13.

page READINGS & SIGNINGS Jennifer Ackerman: The Genius of Birds. Tue, Apr 25, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Edward J. Balleisen: Fraud: An American History from Barnum to Madoff. Mon, Apr 24, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Kristen Radtke: Imagine Wanting Only This. Fri, Apr 21, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Bonnie Rochman: The Gene Machine. Sun, Apr 23, 4 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Mike Scalise: The Brand New Catastrophe. Wed, Apr 19, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Lisa Feldman Barrett: The Secret Life of the Brain. Thu, Apr 20, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Marcus Sedgwick: Saint Death. Wed, Apr 26, 4 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Jay Chandrasekhar: Mustache Shenanigans. Sat, Apr 22, noon. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Lee Smith: Dimestore. Sun, Apr 23, 2 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Ann Cleeves: Cold Earth. Wed, Apr 26, 6:30 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

Michael Stone: Border Child: A Novel. Wed, Apr 26, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

Tim Crothers: The Queen of Katwe, One Girl’s Triumphant Path to Becoming a Chess Champion. Thu, Apr 20, 4 p.m. Chapel Hill. chapelhillpubliclibrary.org.

Brigid Washington: Coconut. Ginger. Shrimp. Rum. Sat, Apr 22, 3 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Paul Hawken: Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming. Wed, Apr 26, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Benjamin Waterhouse: Land of Enterprise: A Business History of the United States. Thu, Apr 20, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

40 | 4.19.17 | INDYweek.com

LECTURES, ETC. Aboriginal Virtuoso: From Woodstock to the Jazz Loft Scene: Juma Sultan. Mon, Apr 24, 7 p.m. Stanford L. Warren Branch Library, Durham. www. durhamcountylibrary.org. Between Heaven and Hell: Raleigh and the End of the Civil War: Ernest Dollar. Free. Wed, Apr 19, noon. City of Raleigh Museum, Raleigh. David Blevins: North Carolina’s Barrier Islands. Sat, Apr 22, 2 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com. Sister Cities; Understanding Russia-U.S.A. Relations: Dr. Jack Matlock. Sat, Apr 22, 3 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org. Trees Over Durham Forum: Create a vision for Durham’s trees. Keynote speaker Dave Cable. Tue, Apr 25, 2:30-8 p.m. Durham Arts Council, Durham. www.durhamarts.org.

SUNDAY, APRIL 23

N.C. POETRY SOCIETY READING What are women of a certain age writing about? The question bears asking because the answers may surprise: eco-feminist themes, absence and abandonment, the depths of the psyche and the depths of place, the end of life and life’s beginning. More answers will come when Katherine Soniat reads from her recent debut collection, Bright Stranger, along with Sandra Ann Winters and Kathryn Kirkpatrick. Colleagues insofar as they hold or have held positions at North Carolina universities and share a poetic vocation, these writers’ works are distinguished by the different voices, experiences, and power that each gives to words. From Soniat’s lyrical arcs between intimate locales and philosophical, historical landscapes to Winters’s reflections on the personal and the communal in rural Ireland and on through Kirkpatrick’s straightforward narratives, which chase deep wonderings with natural and feminist language, there will be answers at this reading—but probably, delightfully, also more questions to ask. —Kendra Langdon Juskus MCINTYRE’S BOOKS, PITTSBORO 2 p.m., free, www.fearrington.com

 La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults. Rated PG. ½ The Red Turtle—As the first non-Japanese film produced by the famed Studio Ghibli, this Dutch animated fable is wordless, mysterious, and breathtaking. Its reveries, bathed in themes so thick and thorough they can only be felt, wowed Cannes audiences in 2016. Truly, no words do it justice. Rated PG-13.

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MASSAGE BY MARK KINSEY Ten years helping clients feel at home in their bodies. Swedish & deep tissue massage for stress relief. Near Duke. MassageByMarkKinsey.com. NCLMBT#6072. 919-619-6373.

products 48 PILLS + 4 FREE! VIAGRA 100MG/ CIALIS 20MG Free Pills! No hassle, Discreet Shipping. Save Now. Call Today 1-877-621-7013 (AAN CAN)

ACORN STAIRLIFTS The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800-291-2712 for FREE DVD and brochure. (NCPA)

GOT KNEE PAIN? BACK PAIN? SHOULDER PAIN? Get a pain-relieving brace at little or NO cost to you. Medicare Patients Call Health Hotline Now! 1- 800-591-5582

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Sam

DECLUTTERING? WE’LL BUY YOUR BOOKS We’ll bring a truck and crew *and pay cash* for your books and other media. 919-872-3399 or MiniCityMedia.com.

TAI CHI

getaways Upscale Spa. private outdoor hot tubs, 26 massage therapists, overnight accommodations, sauna and more. Starting at $42. Shojiretreats.com 828-299-0999

home improvement ALL THINGS BASEMENTY!

Basement Systems Inc. Call us for all of your basement needs! Waterproofing, Finishing, Structural Repairs, Humidity and Mold Control. FREE ESTIMATES! Call 1-800-698-9217(NCPA)

financial services

919-416-0675

www.harmonygate.com Book your ad • CALL Sarah at 919-286-6642 • EMAIL

INDY WEEK’S BAR + BEVERAGE MAGAZINE ON STANDS NOW

claSSy@indyweek.com

ALL AREAS FREE ROOMMATE SERVICE @ RENTMATES.COM. Find the perfect roommate to complement your personality and lifestyle at RentMates.com! (AAN CAN)

lessons ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

services COMING TO ASHEVILLE?

share/ durham co.

music