INDY Week 4.3.19

RALEIGH 4|3|19

American

Visions

Amid its global offerings, the Triangle’s famed documentary festival delves into what it means to live, work, and dream in our country now WHO DEFINES A FAKE REPUBLICAN? P. 9

IS IT HOT IN HERE OR IS IT JUST NELLY? P. 20

CAN A FEMALE MATHEMATICIAN GET HER DUE? P. 23

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 14

6 Durham’s new bail guidelines instruct judges on what to do with defendants who are of “sound mind.” That term isn’t defined.

9 The state Republican Party loathes a Republican congressional candidate so much that it cut him off from party resources. He might sue—and it wouldn’t be the first time.

DEPARTMENTS 6 News 10 Full Frame 20 Music 22 Arts & Culture

10 Full Frame, Durham’s international documentary festival, takes a timely look at American life, labor, and dreams this year.

24 What to Do This Week

20 “Das EFX rocked that Band-Aid ten years before Nelly did!”

29 Arts & Culture Calendar

26 Music Calendar

22 Short-story master Amy Hempel has revolutionized the already-concise form by abbreviating it.

23 Eighteenth-century mathematician Émilie du Châtelet was so much more than Voltaire’s boo.

Hale County This Morning, This Evening director RaMell Ross (see Full Frame coverage, beginning on page 10)

On the cover

PHOTO BY MAYA KRINSKY, COURTESY OF CINEMA GUILD

PHOTOS COURTESY OF FULL FRAME

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backtalk

27th Biannual

Carrboro

Perpetuating Rhetoric Last week, we published a long interview with Raleigh mayoral candidate Mary-Ann Baldwin. Kathleen Lowry writes that she came away “disheartened.”

“It seems she is a shining example of public officials being not just disrespectful but outright contemptuous of her fellow civil servants,” Lowry writes. “No wonder she evokes a visceral response. She seems to believe she can be as disrespectful as she wishes, and then make the claim she is considered polarizing because she is a woman!

“In addition to being outright contemptuous of others, she expresses a complete lack of interest in the concerns of constituents—for example, regarding protecting our neighborhoods. She implies that it has to do with an issue of exclusivity, when I suspect that deep down, she understands how important continuity, identity, and community are for well-being.

We need more predictability in our lives, not less, and change doesn’t help.

“We must assume that people we don’t agree with have good reasons for their opinions. At the very least, a mayor should seek first to understand. Our community and politics are not a game. We are hoping someone who knows how to be adult, respectful, and assertive will step up for the mayor’s job.”

We also interviewed local punk band The Muslims. Singer QADR told us that the band wants “a world where … Palestinians can actually be fucking free, and Israel is actually named as a country that upholds white supremacy.”

Kay Alexander took exception to that statement. “According to The Muslims, Israel exemplifies nothing more than a white supremacist, apartheid state,” she writes. “This popular lie feeds on the denial that Israel is the only Middle Eastern country in which the rights of women, as well as religious and cultural minorities, are constitutionally protected, the only one with a free press, and the only one in which LGBTQ people are not tortured and murdered. This lie also conveniently denies the continuous Jewish presence on that land over more than three thousand years, and, most crucially, that Palestinians cannot ‘reclaim’ something that never existed: the only independent sovereign nations in that region, ever, have all been Jewish.

“ Wake up and smell the bullshit.”

“Worse, this lie morphs into a narrative that deliberately ignores the refusal of Arab Muslim states to assimilate Palestinians.

It ignores the corruption and brutality of Hamas in Gaza and the Palestinian Authority in Judea/Samaria. It ignores the ecocide perpetrated on tens of thousands of acres of farmland and wildlife refuge in southern Israel by incendiary kites. It ignores the rockets aimed from Gaza at Israeli civilians. Most significantly, it ignores the explicit language in the charters of both governing bodies that calls for the destruction of Israel and the deaths of Jews.

“It’s understandable that young, hotheaded musicians would embrace this ignorance and promote these lies. To do so seems cool and revolutionary. But somehow the editorial staff of the INDY, which should know better, has also bought into the fad of Israel-bashing as something hip and progressive. For pity’s sake, wake up and smell the bullshit. Self-proclaimed people of color readily denigrate Jews as ‘white’ perpetrators of white supremacy. Self-proclaimed white supremacists take the opposite approach by denigrating Jews as subhuman.

The only constant is that anybody with a racist ax to grind feels entitled to define Jews according to whatever stereotype they wish. That’s the essence of antisemitism.

“All of these lies have been successfully used, and are still being repeated, as justifications for disenfranchising, expelling, and slaughtering Jews. It’s no different when anyone—including a punk band—says that Israel is practicing ‘supremacy’ and then declares that ‘supremacy’ must be ‘thoroughly eradicated and destroyed.’ They’re not being hip or progressive. They’re not being metaphorical. They’re saying that genocide is an end that justifies noble goals.

It’s appalling that the INDY perpetrates this rhetoric and the lies on which it’s based.”

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INDYweek.com | 4.3.19 | 5

indynews

Of Sound Mind

AN UNUSUAL CLAUSE IN A NEW BAIL POLICY COULD GIVE DURHAM JUDGES ENORMOUS DISCRETION IN WHO STAYS IN JAIL AND WHO GETS RELEASED BY SARAH WILLETS

A

political actors that bonds are only supcare system is underfunded, judges are lot has changed in Durham since posed to ensure court appearances, not already making decisions about whether 2011, the last time the county deter crimes. those appearing before them are of “sound revised its pretrial-release policy.

And then there’s the “sound mind” clause, mind.”

Local leaders have unified around issues embedded in the definitions of two options Reform advocates don’t buy it. of social justice and equity. Voters have become overwhelmingly Democratic, increasingly progressive, and oftentimes activist. Last year, reform-minded challengers overthrew Democratic incumbents in races for county sheriff and district attorney, the latter pledging to curtail the use of cash bail.

Watching this unfold, Superior Court Judge Orlando Hudson decided the pretrialrelease rules could use another rewrite. In February, he and District Court Judge Pat Evans unveiled their update.

But their new policy didn’t elicit cheers from reform advocates. Instead, the day after the new policy was filed, protesters gathered outside of the Durham jail to condemn it.

The problem, they argue, is twofold: First, they say, the policy doesn’t do enough to end or reduce money bail. Second, they worry that language in the policy effectively criminalizes mental health and substance abuse problems.

Superior Court Judge Orlando Hudson and District Court Judge Pat Evans They point to two words on judges have in setting pretrial-release con“I think it just really gives them broad page five of the twelve-page document: ditions: release on a written promise and discretion to find a way not to release “sound mind.” unsecured bond, which only has to be paid if somebody,” says Cristina Becker, a staff Magistrates and judges, they say, could a person doesn’t appear in court. attorney with the state ACLU. reject some pretrial-release options for The policy recommends a written promBoth the new and old policies mirror people they deem to not be of “sound ise release for defendants who are “of sound state law. What’s changed are adjustments mind”—whether that’s due to mental illmind, have strong ties to the state,” and are to suggested bond amounts for different ness, substance abuse, or simply odd charged with a misdemeanor. The recomcrimes, a new checklist that magistrates behavior in the courtroom. mendation for an unsecured bond is similar, must use to make pretrial-release deciHudson and Evans say that’s not the dropping “strong ties to the state.” sions, and the elimination of an introducintent. They deny that the policy goes The phrase originates in Guilford County’s tion describing the purpose of bail, which beyond what’s already in state law, and 2010 bond policy, and has since been adoptHudson says was only there to remind say that, because the state’s mental health 6 | 4.3.19 | INDYweek.com

ed by Forsyth, Cumberland, Rockingham, and now Durham Counties. It’s not unusual for jurisdictions to directly lift language from each other’s bail policies—that preamble to the 2011 policy describing the purpose of bail came from Cumberland, for example. That’s how Hudson says the language ended up in Durham’s policy, by following the lead of a “similarly situated” jurisdiction.

Even so, ACLU attorneys say they’ve never before seen that phrase in a local bail policy. (That civil liberties attorneys were previously unaware of wording in place in a large North Carolina county for nine years might indicate that it hasn’t posed much of a problem, or at least that the phrase itself hasn’t been identified as the problem.) There’s no definition of “sound mind” set out in the policy, or in state statute.

And while those words appear in North Carolina law, they do so in the context of mental health treatment, end-of-life decisions, and wills.

“It certainly doesn’t give [ judges] any guidance as to what they should do if they determine that someone has mental health issues,” Becker says. “Does that mean they continue to incarcerate them? Does that mean they should look for alternatives, like a behavioral health center? Should they send them to a hospital? A lot of the problem is, where do you go from there?”

Hudson says “sound mind” is only intended to refer back to state statute, which says judges must consider “on the basis of available information” factors including a defendant’s mental condition and level of intoxication in choosing a pretrial-release condition. Pointing to a definition in Black’s

Law Dictionary, he disagrees that the phrase would give judges broad discretion to detain people.

But as critics point out, judges and magistrates are not mental health professionals.

While state law says judges should consider a defendant’s mental condition among other factors, it doesn’t require them to make a determination of whether the person is mentally fit, as the language in Durham’s policy would appear to do, Becker says.

Under the policy, defendants who are deemed mentally unsound or dangerously intoxicated would be recommended for supervised custody by another person or organization. Evans says magistrates would ckingham,look at whether their safety is at risk and ot unusu-could either release them with an unsecured languagebond—although, according to the policy, this at pream-is recommended for people of “sound mind”— e purposeor have them involuntarily committed. If they mberland,remain in custody, when their case comes up how Hud-for review, judges would look for caretakers or ended upcase managers to supervise them. by follow- Evans questions how instructing judges larly situ-to weigh mental health could be harmful.

“We know our community,” he says. “We attorneysknow when the same people are coming fore seendown every night, and we see them in court, l bail pol-and they can’t contain themselves.” ies attor- Still, critics worry that mental illness—or unawarethe perception of mental illness—could be a in a largebarrier to pretrial release. y for nine “We know being incarcerated, especially e that itin a jail where there is a dearth of mental of a prob-health services, tends to exacerbate mental he phrasehealth issues,” Becker says. ntified as More broadly, groups like Southerners on s no defi-New Ground, which launched a campaign d” set outin 2018 to end money bail in Durham and te statute.across the South, and the state ACLU say the ds appearnew policy does little to ensure that wealth law, theyisn’t a barrier to release, either. of mental District Attorney Satana Deberry, who nd-of-lifedefeated incumbent Roger Echols last year on a criminal justice reform platform, dissn’t giveagrees. After the policy was released, she nce as toissued a statement applauding it as a step o if theytoward a system “in which detention is no eone haslonger wealth-based.” s,” Beck- While the state statute cited in the polmean theyicy instructs judges to consider a person’s Does thatfinances when considering pretrial-release ives, like aoptions, the policy itself doesn’t tell them to they sendinquire into a defendant’s ability to pay or roblem is,how to go about doing that.

“This is not something that is necessarly intend-ily extremely progressive,” Becker says. te, which“What’s going to determine whether or not e basis ofthis is reform is how it’s going to be executed cluding ain the courtroom. Right now, these are basid level ofcally our state bail policies.” al-release Under the policy, if Durham magistrates in Black’sdetermine that a secured bond is necessary,

they’re directed to a revised bond schedule suggesting what amount to set. Hudson and Evans replaced specific amounts in the old policy with ranges, some starting at $0.

In most instances, the new range is either partly or entirely lower than the old figure, although the policy raises the suggested upper limit for lower-class felonies and no longer recommends a written-promise release for class-two misdemeanors.

“The people that are marching up and down saying we have all these people who can’t afford bonds that are sitting in jail— that’s not so,” says Evans. “We’re looking carefully at everyone over there. You’re not over there because you’re poor. That’s not the case now. It has been, maybe in prior years.”

The population at the Durham County Detention Facility has been declining for years and recently reached a record low of 384 detainees. Still, as recently as 2016, a quarter of the people who passed through the jail were held on bonds of $5,000 or less, as the INDY previously reported.

Hudson says the policy is focused on guiding magistrates, who don’t necessarily have legal training or expertise, as well as giving judges the discretion to weigh each case.

He says the policy does discourage money bail because the checklist magistrates follow doesn’t list cash bonds—which have to be paid in full and in cash—as an option. It does, however, let them set secured bonds, in which a defendant pays a non-refundable fee—usually 10 or 15 percent of the bond amount—to a bail bondsman, who covers the rest.

Hudson concedes that a secured bond could still pose a financial barrier to release, but he says secured bonds are “much fairer” than cash bonds.

But the state ACLU sees both options as part of the same problem. Spokeswoman Molly Rivera says that neither cash bonds nor secured bonds are fair because both tie freedom to wealth, not public safety.

Secured bonds, she says, are “even more egregious” because they often force people to pay a non-refundable fee to a “predatory” bail bonds industry.

Hudson agrees that judicial officials in North Carolina rely too heavily on secured bonds, which, according to state law, are supposed to be a last resort.

“That’s what has to change in the state of North Carolina,” Hudson says. “It’s probably not going to change through legislation.

It has to change through practice. So that’s what we have tried to do with changes in our new bond system. I don’t think we can eliminate, as judges, cash bonds. But we can certainly de-emphasize them.” swillets@indyweek.com INDYweek.com | 4.3.19 | 7

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Man Without a Party

CHRIS ANGLIN IS A REPUBLICAN RUNNING FOR CONGRESS. REPUBLICANS LOATHE HIM. THIS COULD END UP IN COURT—AGAIN. BY LEIGH TAUSS

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hris Anglin arrived at a Charlotte community center just after 11:00 a.m. on March 16. Like other Republican politicians, Anglin, a candidate in the Ninth Congressional District primary, wanted to make his pitch to the MeckGOP County Convention.

But John Steward, who chairs the GOP’s Ninth District Executive Committee, wouldn’t let him in. Anglin was an hour late, Steward told him—and the MeckGOP’s website was clear that doors closed at ten sharp.

They wouldn’t even have allowed Thom Tillis in at this point.

Anglin didn’t buy it. To him, this was just another example of the North Carolina Republican Party locking him out.

“They’ve done everything they can in order to hinder me at every step,” Anglin says.

That much is true. Indeed, the party’s been quite open about it. NCGOP officials believe Anglin’s a fraud—a fake Republican making a mockery of their party. So they cut off his access to Republican events, voter rolls, and other party resources.

Now, Anglin says he might sue.

“I think what they are doing is illegal in the sense that I’m a member of the organization and they are not following their party rules,” Anglin says. “So I could bring a court action against them. I’m considering it right now.

That’s not an empty threat.”

It wouldn’t be the first time he took GOP officials to court.

Last year, the Raleigh attorney switched his party registration from Democrat to Republican just weeks before filing to run for the state Supreme Court. Republicans viewed his candidacy as an attempt to siphon votes from incumbent Republican Barbara Jackson and hand the election to Democrat Anita Earls.

The General Assembly had recently made Supreme Court races partisan and canceled judicial primaries; whoever got the most votes in November would win. With two Republicans on the ballot, that would almost certainly be Earls.

Republicans quickly passed a law to force Anglin to run with no party affiliation. He sued, arguing that it was unconstitutional to change the rules during an election—and he prevailed. Earls finished just shy of an outright majority, with 49.6 percent of the vote; Anglin received 16 percent.

Republicans weren’t about to forgive and forget.

After the State Board of Elections ordered new elections in the Ninth Congressional District in February—following a razorclose race last year tainted by allegations of election fraud—Anglin announced that he would join a crowded field of ten Republicans vying to challenge Democrat Dan McCready this fall.

The state party wasn’t about to roll out the red carpet for him. And nothing in state law says it had to, says Dallas Woodhouse, the executive director of the NCGOP. “The Republican Party doesn’t have to explain to anybody its rules and how it deals with candidates,” Woodhouse says.

“We’re not a public organization. We’re a private nonprofit entity, and in the state, anybody can put themselves on a ballot as a Republican, but that doesn’t mean the Republicans have to provide them resources that are raised for privately and funded privately.”

But Anglin—who calls himself a constitutional conservative and says he’s running to stand up for the rule of law, and against President Trump, if need be—points to the NCGOP’s 2018 Plan of Organization, which prohibits any party official from “utilizing the powers and dignity of his or her office or position in any Republican Primary for public office at any level.”

In short, Anglin says he’s entitled to participate in the primary, and party officials aren’t allowed to put their thumbs on the scale. If they keep it up, he might seek a restraining order to stop them.

Woodhouse says Anglin’s not entitled to anything. While there’s not a “particular

Chris Anglin

PHOTO COURTESY OF ANGLIN FOR CONGRESS

section for stooges” in the party bylaws, Woodhouse says, the rules grant party chairman Robin Hayes—who was indicted Monday on wire fraud charges as part of a federal corruption probe, and announced he wouldn’t seek reelection to his post— “general supervision” of party affairs.

It was Hayes’s call to banish Anglin, Woodhouse says.

Under state law, the GOP “can exclude anyone they want,” says Gerry Cohen, a longtime state Board of Elections special counsel. “Unless [Anglin’s] lawsuit was based on party rules, the likelihood of succeeding is zero.”

Even a case based on party rules faces a steep legal climb, says Bob Orr, a Republican former state Supreme Court justice.

(Orr, a Trump critic, is also regarded as a black sheep in NCGOP circles.)

“I don’t know whether there’s anything in those bylaws that [Anglin] might say they are violating,” Orr says “The courts look for nice, clean-cut answers. I don’t know that that provides [anything] clean-cut.”

Even though the party appears to be on solid legal footing, Orr says the NCGOP made a mistake picking a fight with Anglin. It’s giving attention to a candidate who otherwise wouldn’t have mattered— and who probably didn’t stand a chance among the Ninth District’s conservative Republican primary voters.

“Just like they did in the Barbara Jackson race,” Orr says. “The more the GOP stirs it up, the better they help Chris. If you don’t have any money, you’re looking for free publicity.” ltauss@indyweek.com INDYweek.com | 4.3.19 | 9

American Visions

Full Frame delves into what it means to live, work, and dream in our country now

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BY BRIAN HOWE

et’s be clear: The Full Frame Documentary Film Festival, as locals know well after all these decades, is not devoted to American films. To the contrary, it’s about bringing docs to Durham from around the world. This is important because, as Hale County This Morning, This Evening director RaMell Ross points out in our interview (see page 11), American filmmakers have a certain way of looking at things, thanks to the shape of the culture and industry they inhabit. And documentaries are about nothing if not different ways of looking.

Still, among the major films at Full Frame this year, there are many American docs in prominent slots, and the special programming has a distinct emphasis on films whose subjects and perspectives are, in one way or another, distinctly American. This is to say they’re about borders and boundaries—the ones within ourselves, which seem so hard to pin down, and the ones in the world, which seem so hard to break through.

To start, we had a great conversation with Ross, whose Oscar-nominated Hale County looks at life, dreams, opportunity, and the lack thereof in rural Alabama through a lens more tuned to poetry than polemic, and whose selections as curator of this year’s thematic program follow suit.

Then we spoke with Julia Reichert and Steven Bognar, many of whose films, which form a hymn to American-heartland industry and workers, screen in the festival’s tribute program. We watched a number of docs whose subjects fall within North Carolina’s own restive borders, from a folk-music legend to low-income residents of Edgecombe County, and found a broad-ranging study of oppression and resilience in our state.

We also review two films that deal explicitly with borders: the local one that once segregated Ferguson, Missouri, from its sister city, and the national one that is keeping a grandmother stranded in a Greensboro church. These American visions are not always easy to look at, but they will challenge you with vital perspectives, console you with empathy, and maybe even change you. And besides ways of looking, documentaries are about nothing if not the possibility of change.

films that are simpler than the medium allows you to be. The medium is so open, and yet we still make the same kinds of films around the same kinds of issues or structures. A lot of the best-of lists we see are replete with films from the U.S., and cinema is a global thing. We’re not the center of the world.

I’m interested in making films that register on different levels with different audiences and don’t do what a lot of films, specifically American films, do, which is to reduce everything to a feigned total understanding, where the person is supposed to walk away having seen and understood everything. It’s more about having an experience of a place with people that is authentic and mysterious and makes a person wonder and want to return and do the work of understanding.

Seeing Is Believing

RaMell Ross trusts reality to captivate without plot tricks

BY SARAH EDWARDS

RaMell Ross PHOTO BY PHOTO BY MAYA KRINSKY

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aMell Ross is the curator of Full Frame’s annual thematic program, in which prominent filmmakers explore themes that inevitably reflect their own work. Ross’s seven-film program, “Some Other Lives of Time,” explores poetic approaches to storytelling and temporality— the sort that earned Ross a 2019 Oscar nomination for Hale County This Morning, This Evening, after it won the Grand Jury Prize at Full Frame last year.

Before he became an acclaimed filmmaker, Ross started his career as a photographer.

In 2009, he moved to a rural African-American community in Hale County, Alabama, for what was supposed to be a two-week teaching gig. Instead, he stuck around.

While teaching photography and coaching basketball, he developed a friendship with two young men, Quincy Bryant and Daniel Collins, and began to film their lives with his small DSLR camera, accumulating thirteen hundred hours of footage over the course of five years.

The resulting eighty-minute film consists of impressionistic shots loosely linked by bits of sensory logic—slants of light, acoustics, sweat dripping onto the ground

transposed with rain—and a series of silentmovie-style title cards that offer, in Ross’s idiosyncratic voice, questions such as, “What is the orbit of our dreaming?” and “How do we not frame someone?”

Ross’s visionary ideas about narrative gently capsize the documentary tradition. As an intimate yet panoramic view of a community, Hale County feels radical in its formal imagination, and because it does something rare in cinema, which is to centralize the African-American experience without painting it with totalizing brushstrokes. When drama bubbles up—a family tragedy, Daniel’s desire to play pro basketball—Ross’s steady camera bears witness to these moments without trying to spin them into a conventional narrative arc. The result is an experimental film that feels both communal and diaristic, written in a language that collapses the distance between subject and documentarian.

We recently spoke with Ross about why there are so few American directors on his thematic program, how he came around to using title cards in Hale County, and how his first career as a photographer shaped his second one as a filmmaker.

INDY: Does Full Frame come up with the theme for the curated program, or did you brainstorm it together?

RAMELL ROSS: Sadie Tillery had some ideas about what she was interested in, and I joined in with my voice, and it shifted a bit. It became a broader concept. Credit is always shared at Full Frame, there’s no single author.

The films you selected are almost all by directors who aren’t American.

Hallelujah, you know? Like, Jesus!

What do you think non-American filmmakers do differently, in terms of your ideas about non-linear storytelling and constructing notions of time?

For me, what’s interesting about films are the mystery of them, the ability to embody something and put it into something that’s not written language. By no means is this all American films, but there’s something about filmmakers that are not in the same capitalist—god, I hate sounding like a Marxist on the phone, it’s the worst… There is something about filmmakers outside of this system that rewards you for making

Both Hale County and Koyaanisqatsi seem to require a certain measure of capitulation.

Had you seen it before making Hale County?

The whole “Qatsi” trilogy was a huge influence on Hale County, probably the biggest influence. I watched it many, many years ago.

After coming back to it, I started researching who this guy was that made this left-field, phenomenal piece. [Godfrey Reggio] had said something like, language can no longer address the complexity of the human being in society. And that stuck with me, specifically as a person of color. The dialogues that we have about race, and the way we talk and think about things, is so partisan. It’s difficult to get around the potholes that are embedded in the way we are doing it or saying it. How do you apply this sort of logic to race, or to other things?

Araya uses these poetic, omnipresent voiceovers, and I wondered if there was a relationship between that and your use of title cards in Hale County.

It allows you a certain amount of control. In Araya, he repeats the same phrases over and over, and there’s a repetition in the gestures and the activity of the people inside the film.

So, there’s a parallel there, but then, the form of the film begins to embody the activity itself. Voiceover and title cards, when done right, can do things that are magical. They can reshape the piece to be as idiosyncratic as the content itself, if it’s as nuanced.

Because voiceover is so common, and title cards are historically common, they fall into easy modes of narration. But, depending on how you use them, they can truly shape the piece in an interesting way.

How far into the editing process of Hale County did you introduce them? Or did you know from the beginning that you were going to use title cards?

INDYweek.com | 4.3.19 | 11

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Oh, I was completely against them! I was against a couple of things. Hale County was born out of very specific rules on how to speak in a very specific language that forces you to engage in a very specific way. I edited the film, but I had an editing team, with Joslyn Barnes and Maya Krinsky and Rob Moss, and after I made an edit, we would try to figure out what stuff was working. And we realized, really late in the game—I’d probably say the last two, three months, maybe even last month, because we were on a Sundance deadline—that the film was working, but something will leave a trace in your mind, and if you move on to something else, you’re still dealing with what happened a second ago.

We realized that was happening a bunch, and some of the images needed space.

We needed to allow it to be cumulative. Joslyn and Maya thought that the writing I do should be included in the film, but I didn’t want that because I wanted it to be all visuals.

But, because we were thinking this was going to be an issue, we decided to look at the silent film structure, because we had recently put in Bert Williams clip. Then we were like, silent films have title cards, and what if we put some in?

When you say writing, were these notes you were taking along the process?

I do a bunch of poetry and prose and random note-taking. I guess most photographers are failed writers, they say.

Le Quattro Volte director Michelangelo Frammartino was also a photographer before he became a filmmaker, and I wonder how this shapes his work, and yours.

The photographic cinematic is a way to increase complexity and invite more poetic logic, instead of strictly serving narrative and neutering the images. Watching Le Quattro Volte, you realize there’s a certain type of patience someone has. It makes so much sense that he was a photographer. It’s a sensibility, a style of looking, an ability to see narrative in a more nuanced and symbolic and expansive way. Not just something where there’s a clear beginning and end, not

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to infer narrative—I think that’s a photographic thing.

I watched your new short, Easter Snap, yesterday. Was that also shot in Hale County?

Yeah. There are so many rules in Hale County, and one of them was, no scenes, just one shot and be done. I break every rule, just by default of trying to make the best film possible, but that was one day in 2014 or 2015, and it was so crazy and rollercoaster-y that I couldn’t just take one shot out of it to put in Hale County.

Hale County This Morning, This Evening Knowing that a film is a documentary can prepare us to receive it as objective or truthful, which can often be a flawed framework.

Do nonlinear films help to shift notions of objectivity?

I think being predisposed to encounter something as a truth is a wonderful thing.

I think the problem is more that the audience is not educated to know that the truth that they’re getting is a wildly subjective truth. I think that most audience members watch something and don’t realize that the films are built the same way that, you know, box office films are built, which is having a whole lot of people think about and situate every scene and every cut to hit an emotion and to do all these things that undermine the way in which a person is encountering it. I don’t think that anything should necessarily change, but I think that we should be more honest about the propaganda nature of the things we’re putting forth, and still be able to acknowledge that this is a singular instance of truth, as opposed to something that is beyond the individual’s capacity. arts@indyweek.com

Built to Last

Julia Reichert and Steven Bognar film poignant hymns to American labor

BY KATIE JANE FERNELIUS

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ulia Reichert and Steven Bognar weren’t present when the last GM truck was built at the Moraine Assembly factory in Ohio, but you could be forgiven for thinking they were. Their Oscarnominated film about the plant’s closure, The Last Truck: The Closing of a GM Factory, captures the dramatic scene in detail: the welding of the steel frame, the placing of the windshield, the careful installation of the engine. As the vehicle floats down the line, factory workers sign the hood.

Because they weren’t granted permission to film inside the factory, Reichert and Bognar gave flip cameras to factory workers, who smuggled them inside to get the shots.

The film’s interviews mostly take place just outside the factory, in the parking lot, where workers sit in their vehicles, choking up over the loss of the factory, and the identity and community connected to it.

Reichert and Bognar, the subjects of this year’s tribute program at Full Frame, have been making films together for several decades. Their large body of work about the American working class, which will be showcased across the four days of the festival, includes Reichert’s standout early film Union Maids (1976), an oral history of three female union organizers during the Great Depression; Seeing Red: Stories of American Communists (1983), a look at the people who made up the mid-twentieth-century American Communist party; and Raises Not Roses, a work-in-progress about secretarial labor movements.

“When you study the history of working people, you learn, gosh, I mean, how do we get the weekend? How do we get the eight-hour day? How do we get the end of child labor?” Reichert says. “I want people

to realize, ‘I’m not just some nobody from a small town. I have a role to play in our history as a working class.’”

Reichert and Bognar’s most recent film, American Factory (2019), headlines Full Frame’s opening night. It picks up in Moraine, where The Last Truck left off, with a Chinese billionaire purchasing the shuttered GM plant and converting it into a glass factory. The film, which premiered at Sundance earlier this year, travels between Ohio and China as it examines the opportunities, challenges, and cultural clashes that come with the opening of a new factory.

In 2010, Reichert and Bognar curated Full Frame’s thematic program, “Films on Work and Labor.” In an interview with the INDY that year, Bognar said that they shaped the program by thinking about what had changed the nature of work itself.

“We asked ourselves a question, ‘What has impacted work—or labor the most—in the last hundred years?’ And we at least came up with two answers: One was the labor movement, and the other was globalization.”

Their home state of Ohio is the setting of many of their recent documentaries, including A Lion in the House (2006), which follows families struggling with pediatric cancer in Cincinnati.

“One big reason we both stayed in Ohio is because our neighbors are high school teachers, nurses, and those who work at the Air Force,” Reichert says. “We live there because of the stories we have access to, and to be reminded of who we are creating these stories for.”

Even in the duo’s films that are not explicitly about labor, through lines about working-class identity emerge. In Personal Belongings (1996), Bognar documented

AMERICAN FACTORY

Thursday, Apr. 4, 7:30 p.m.

The Carolina Theatre, Durham www.fullframefest.org

Steven Bognar and Julia Reichert

PHOTO BY ERYN MONTGOMERY

the journey of his immigrant father from his suburban home in America, back to his home country of Hungary, where he fought in the Hungarian Revolution decades ago.

It’s an intimate examination of the way that a revolutionary struggle can chafe against national identity, family, and purpose.

“The gift of the documentary is that it’s like having dinner with someone who is really far away, and you have a four-hour dinner with them and dive deep into life and questions. You don't get to do that every day,” Bognar says. “Film is so intimate and intense.”

Bognar and Reichert have been working together since the eighties. Even when they

don’t co-produce a film, they still look to each other for advice.

“Steven has the magic eye,” Reichert says.

“He will spend an hour getting a shot.”

“Julia is so brave,” Bognar says. “You know, someone has to be courageous when making a documentary, and it’s usually Julia. I’ve come to really trust her instinct for stories.”

It’s this spirit of mutual trust that drives their collaboration, which celebrates working relationships, whether they are between doctors and patients in a pediatric oncology unit, between factory laborers, and between fathers and sons. arts@indyweek.com INDYweek.com | 4.3.19 | 13

YOU GAVE ME A SONG: THE LIFE AND MUSIC OF ALICE GERRARD Sunday, Apr. 7, 2 p.m.

The Carolina Theatre, Durham www.fullframefest.org

New Again

Old-time musician Alice Gerrard tells the tale of the folk-music revival she participated in and documented BY JOSEPHINE MCROBBIE

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album—the Grammy-nominated Follow Gave Me a Song more than a biographical hen we first meet old-time the Music, which featured contributions film. Instead, Melzer says, it’s “about that musician Alice Gerrard in the from more youthful folkies like M.C. Taylor larger community.” Not only is Gerrard still new, locally produced docuand Phil Cook—because it strayed from around to tell the story, she’s still evolving mentary You Gave Me a Song, which screens tradition. and changing as an artist. in Full Frame on Sunday, she’s giving us a tour of her crowded home office in Durham. She gently winds a strip of images into a photo-negative scanner next to a MacBook and an external hard drive.

“For years, I just taped everybody and took photographs, and just carried this stuff around with me,” she says. The singer, guitarist, fiddle player, and banjoist began playing music in the midst of the 1960s folk revival. In the decades to come, she built a catalog as a solo artist, in partnership with the activist and musician Hazel Dickens, and in collaboration with everyone from banjo player Matokie Slaughter to multi-instrumentalist Mike Seeger. She chronicled these exploits diligently and often shared her knowledge in The Old-Time Herald, a publication she founded, which has documented old-time music in the Southeastern United States for more than thirty years.

“It was pretty clear that this amazing archive from the main Alice Gerrard in You Gave Me a Song PHOTO COURTESY OF THE FILMMAKERS character of the film was part Dalsheimer didn’t know Gerrard’s music Gerrard is a “walking encyclopedia of of the story as well,” says director Kenny well, nor did he know that they lived around tradition, but also an octogenarian who Dalsheimer. He built much of the film around the corner from each other in Durham. welcomes collaboration with young Gerrard’s collection of photos, recordings, But over a couple of coffees, she agreed to artists,” Dalsheimer says. “She doesn’t stay and ephemera, which are archived at the participate. in one moment in time with her music.”

Southern Folklife Collection at UNC, where You Gave Me A Song includes contemIt was this complexity that drew the Dalsheimer also dove deep into the Southporary band practices with the Piedmont director, who had previously made ern Folk Cultural Revival Project collection.

Melody Makers; interviews with the game, documentaries about creative minds like It documents concert tours that, starting in thoughtful Gerrard and her family; and intienvironmental artist Patrick Dougherty, to the 1960s, featured black and white musimate photographs—some of the loveliest of Gerrard’s story. In early 2015, Dalsheimer cians performing together, in which Dickens which were taken by John Cohen and Betsy was at a birthday party, speculating about and Gerrard both participated.

Siggins—that show the everyday life of the potential subjects, and someone suggested Producer Ashley Melzer says Gerrard’s musicians and music fans who have surGerrard. He was especially intrigued when interest in documenting the many personrounded Gerrard over the decades. We meet a musician said he didn’t like her latest alities and players around her made You 14 | 4.3.19 | INDYweek.com

a who’s-who of the rowdy D.C. folk-revival scene of the 1960s and learn of Gerrard’s deep creative partnership with Dickens and its difficult end. Melzer particularly loves the scenes that show Gerrard’s introduction to folk music in school at Antioch College.

“This particular group’s view of traditional music was very grounded, and it’s not about the shine and sheen of the folk revival,” she says.

“I love all the pictures of Marge Marash and Alice smoking cigarettes and playing Carter Family songs. This music is not dead, it’s not cheesy, and it’s very much alive for these young people. And I think that's something that a lot of people can identify with, that moment when you discover this old music and it feels like a lightning bolt.”

While the film has many sweet moments of youth, it’s also marked

by Gerrard’s struggles. One particularly painful period was around 1964, when her first husband, Jeremy Foster, died in a car accident, leaving Gerrard to raise four children with some serious support from her community. We learn about the deepest scars and hardships not from Gerrard, but from her children and brother.

“Alice, in our interviews, wasn’t super emotional,” says Dalsheimer. “Others picked up on those parts of the story.” This ability to stay buoyant might be the survival strategy of a woman who has persevered throughout her life.

“I think the thing that has surprised me, in hindsight, is how much this film is about resilience,” Melzer says. “Alice is someone who, whenever faced with challenges, she met them, she dove into them, she sometimes even avoided them completely, but she is incredibly resilient.” arts@indyweek.com

State Secrets

Issues of class and privelege pervade Full Frame's North Carolina-focused fare

BY NEIL MORRIS

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s each Full Frame festival is a window to the world at large, the docs lk-revival set in North Carolina or produced by Gerrard’sN.C. filmmakers are equally revealing about ckens andour region. This year’s collection of N.C.-conarly lovesnected films conveys an interest in historical, roductionendemic issues of race, gender, class, poverty, t Antiochage, and illness. While these docs explicate the injustices wrought by these marginaliz’s view ofing factors, they do so through stories of pery ground-sonal inspiration and uplift: a young man and shine andhis parents facing down death, a homeowner she says.defiant in the face of corporate cruelty, a of Margelegendary photographer toiling to preserve king ciga-African-American heritage, everyday peoer Familyple swimming against the stream of institudead, it’stional racism and rural decline, and a young much alivewoman seeking to unearth her family’s disnd I thinkplaced history. ot of peo- Born in Raleigh and reared in Dunn, Burk t momentUzzle left North Carolina at age twentyold musicthree to become the youngest photographer g bolt.” LIFE magazine had ever hired. He built a any sweetcareer producing some of the sixties’ most o markedindelible images: of the Vietnam War and ne partic-Woodstock, of Robert F. Kennedy’s funeral as aroundand Klan rallies in Appalachia. Today, as the band, Jer-eighty-year-old Uzzle continues to travel the accident,byways photographing Americana, he works four chil-out of his cavernous studio—a hundreds supportyear-old warehouse—in downtown Wilson, We learnwhere he documents the African-American and hard-community of eastern North Carolina, but fromfrom church singers and dancing troupes to sports coaches and gang members. Even n’t superwhen Uzzle laments the unfulfilled promise ers pickedof America, he celebrates its history and s ability tohumanity. His past and present in pictures l strategyis chronicled in F/11 and Be There (Thursday, hroughoutApr. 4, 10:10 a.m.), which filmmaker Jethro Waters completed while he was living in prised me,Asheville. m is about A stone’s throw away from Wilson, you’ll someonefind the setting for Edgecombe (Thursday, nges, sheApr. 4, 4:30 p.m.), a fifteen-minute short he some-film shot in Edgecombe County, North ly, but sheCarolina. It spotlights three denizens spanning three generations: Shaka Jackson yweek.comis on probation and living under house arrest,

splitting his workdays between the tobacco fields and Applebee’s just so he can pay his court debts. Doris Stith left Tarboro for the big city as a young woman, and although she eventually returned home to uplift her town and church, she’s still haunted by the plantations where her ancestors once toiled.

And while Deacon Joyner lived through Jim Crow, its memory still lingers and stings. This microcosm stands for many rural Southern communities where there are three types of people: the aging, the disaffected, and those who manage to move away.

You’re scarcely prepared for the emotional impact of Exit Music (Friday, Apr. 5, 10:20 a.m.), by director Cameron Mullenneaux, an independent filmmaker based in San Francisco who graduated from Warren Wilson College in Asheville—with a self-designed major in death and dying studies—and later earned an MFA in documentary film from Wake Forest University. Her Full Frame entry is a study of twenty-eight-year-old Ethan Rice, a lifelong sufferer of cystic fibrosis. Mullenneaux got raw, unflinching access as Ethan and his family struggled to keep him alive, which inevitably transitions into a fight to determine how he’ll die. In a life unsuited to long-term goals, Ethan focuses on more modest aims, like the stop-motion animation he creates, inspired by the war stories of his devoted dad, Ed, a Vietnam veteran and PTSD-sufferer. Music figures prominently in Ethan’s world, from the guitar riffs he composes (heard throughout the film) to the syncopated rhythms Ed taps out while helping Ethan dislodge the mucus from his lungs.

Thus does Ethan score the soundtrack of his own life, in proximity to death.

The town of Mossville, Louisiana, was founded by freed slaves during Reconstruction and persevered through Jim Crow. But, like most fenceline communities, it suffered from the environmental racism that goes hand in hand with modern industrialism.

The arrival of the South African Sasol petrochemical company, founded as an Apartheid-era means of energy independence, brings jobs but also toxins seeping into the

air, soil, and water.

Mossville’s residents either succumb to cancer or move away via “voluntary” land buyouts. A few stalwarts remain, including Stacey Ryan, who refuses to leave his eighth of an acre: a rectangular patch of green, cut off from utilities, encircled by a polluted industrial wasteland. As Stacey’s body wastes away, he becomes a metaphor for his dying town, embodying Dylan Thomas’s call to “rage, rage against the dying of the light.” Directed

by Alexander John Glustrom, with assistance from the Southern Documentary Fund, Mossville: When Great Trees Fall (Saturday, Apr. 6, 1:20 p.m.) will leave you From top: Edgecombe, Exit Music, F11 and Be There anguished and PHOTOS COURTESY OF FULL FRAME angry. Executive producer Michelle Lanier is the director of the N.C. Division of history, chiefly about her grandfather, a State Historic Sites and a professor at Duke’s sailor from Estonia. Indeed, Taalman’s Center for Documentary Studies, while provoiceover narration admits her words ducer Catherine Rierson graduated from may “sound confusing.” But her approach UNC-Chapel Hill. mirrors the jagged memories she’s trying A patchwork of disquieting landscapes to piece together. Taalman, a Duke alumna, and fragmented history, Kolmas Punkt made her film with the assistance of the (Saturday, Apr. 6, 10 a.m.) has an inaugural Cassilhaus Travel Fellowship inscrutable quality, as filmmaker Alina grant and CDS. Taalman’s develops her family’s forgotten arts@indyweek.com INDYweek.com | 4.3.19 | 15

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On the Fence

Borders and barriers redraw human lives in two powerful Full Frame films

BY RYAN VU AND JULIE M. HAMILTON WHERE THE PAVEMENT ENDS Thursday, Apr. 4, 4:30 p.m.

The Carolina Theatre, Durham www.fullframefest.org

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here the Pavement Ends opens with an overture of sorts. The voices of interview and archival subjects are woven into a chorus in which the past and present of Ferguson, Missouri, and Kinloch, its lesser-known sister city, converge. One pivotal voiceover repeats: “Alas, I have been daydreaming.” It’s from a letter written in April 1968 by a resident of the predominantly African-American city

narrative emerges gradually. The troubled relationship between Kinloch and Ferguson serves as a microcosm of segregation’s long tail. Director Jane Gillooly, who grew up in Ferguson, speaks with current and former residents of both cities. The blockade and the racial divide it represented were unquestioned facts of life throughout their childhoods. After the physical barrier finally came down in the late seventies, Kinloch was practically dismantled, first by redistricting, then by a mass buyout of most of its homes by the city of St. Louis, as part of a noiseabatement program for a nearby airport that was never completed. Kinloch became a

REVIEWS one Kinloch resident says about segregation’s aftermath.

Gillooly initially conceived of Where the Pavement Ends as an experimental short, but then extended it after Michael Brown’s death at the hands of Ferguson police. The connection is a bit tenuous, and the uneasy balance between narrative issue-based documentary and impressionist essay film creates the expectation for more direct causality. Still, the contradictions at the heart of America’s race problem are made crystal clear: Simply tearing down borders doesn’t make them go away, and the longer we refuse to do the real work of building a humane society, the more attractive they can seem. —Ryan Vu

SANTUARIO

Friday, Apr. 5, 4:20 p.m.

The Carolina Theatre, Durham www.fullframefest.org

S Where the Pavement Ends

COURTESY OF THE FILMMAKERS

of Kinloch. The letter was sent to a Lutheran church in conjunction with a march protesting the barricade that still separated Kinloch from the whites-only suburbs of Ferguson, four years after the passing of the Civil Rights Act. The letter also marks the assassination of Martin Luther King Jr., and footage from his “I Have a Dream” speech appears for a few seconds as the line is read again. The tragic irony of the juxtaposition is compounded as the film cuts to the flames of protest in downtown Ferguson, which followed the 2014 shooting death of Michael Brown.

The rest of the film is similarly nonlinear, circling back over key historical motifs again and again, so the full scope of the

ghost town, losing more than 75 percent of its population by the turn of the millennium.

Some of the most affecting scenes follow residents down wooded footpaths as they describe the commercial districts that used to be there.

Gillooly excels at showing the emotional realities behind the official narrative of integration, as well as bringing to light the little-known history of a city that has come to represent the persistence of institutional racism in the U.S. Strikingly, both white and African-American residents of Ferguson and Kinloch reveal a certain nostalgia for segregation and the sense of community it offered, however compromised. “We got what we wanted ... but we lost what we had,”

antuario is a documentary short following the story of Juana Luz Tobar Ortega, an undocumented Guatemalan grandmother who sought sanctuary in a North Carolina church when threatened with deportation. After fleeing turbulence in her home country in the early nineties, Ortega received a limited permit to work in the United States, but she was not granted political asylum. Years later, her family was able to join her here—her husband has residency, two of her children are American citizens, and two are DACA recipients. But in 2017, after annual check-ins with U.S. Immigration and Customs Enforcement (ICE), Ortega abruptly received a deportation order.

Santuario was co-directed by Christine Delp, a North Carolina native, and Pilar Timpane, a Duke Divinity School graduate who also served as the primary language translator with the Ortega family. The directors realized the vital implications the story could have for church congregations

and legislators. The film is an attempt to reach audiences of various political persuasions by framing the conversation about compassionate immigration reform through a portrait of peaceful matriarch threatened with separation from her family.

Reaching back to the Middle Ages, and even to the temples of Greco-Roman times, the sanctuary—from sanctus, “a holy place”— has historically been a liminal space on the periphery of legal jurisdiction, providing asylum for the vulnerable. Stressing that the ecclesial community is called to bear witness to the state’s unjust laws through solidarity with those who cannot advocate for themselves, Reverend Randall Keeney explains that his tiny Greensboro parish offered hospitality to Ortega as a Christian imperative.

Living in sanctuary is a daily act of bravery for Ortega—not a luxury, but a form of incarcerated exile. Her cramped cinderblock accommodations and humble furnishings are a far cry from the comforts of home.

The heavy ankle bracelet ICE requires her to wear monitors her like a criminal, or even an animal. But Ortega holds onto her faith in the midst of perpetual uncertainty.

Despite her family’s continued pleas for the government to grant Ortega an exemption to return to her home in North Carolina after almost two years, her predicament hasn’t changed. Post-production, the filmmakers continue to advocate for Ortega, petitioning state representatives to act on her behalf and utilizing film-festival screenings across the country to bring awareness to the sanctuary movement.

Santuario demonstrates how radical action is possible by unlikely activists; the humble congregation of Saint Barnabas Episcopal Church certainly demonstrates that wealth isn’t necessary to sustain someone in peril. Rather, they meekly practice the law of love by keeping a family together in the midst of political opposition.

—Julie M. Hamilton arts@indyweek.com INDYweek.com | 4.3.19 | 17

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Dinner Theater

CATERER GIORGIOS BAKATSIAS’S CANVAS PAVILION MIGHT BE THE HEART OF FULL FRAME. IT’S DEFINITELY THE STOMACH. BY DEBBIE MATTHEWS

“L

ast year, I’m pretty sure more filmmakers thanked George than Full Frame in their acceptance speeches,” says Michelle Benham, the documentary film festival’s marketing director.

She’s talking about restaurateur and Durham resident Giorgios Bakatsias, who is behind some of the Triangle’s most wellknown eateries, including Parizade, Vin Rouge, and Bin 54. He has also been a Full Frame mainstay for twenty-two years, concocting not just yearly menus, but a vision for how he wants the festival participants eating his food to feel.

A big part of that vision is a large canvas pavilion—one of the first things you encounter, in fact, upon entering the festival—erected in the courtyard between The Carolina Theatre and Durham Convention Center.

Here, filmmakers, attendees, Full Frame staff, and volunteers alike gather to eat.

Bakatsias envisions it as a piazza or central square, like the ones in small Mediterranean towns where people can buy ingredients for dinner, catch up on local gossip, enjoy an afternoon snack, and even fall in love.

Dan Partridge, Full Frame production codirector, refers to the tent as the “heart of the festival, where everybody gathers when they’re not in the films.” Giorgio’s Hospitality Group also caters the opening-night soiree and the closing-day barbecue held at the awards banquet.

“We love setting up the food tent as a place where [people] can connect and discuss the various films,” Bakatsias says. “They are hungry for film and honest food. We have history that allows us to see the patterns, and we are always ready for growth through the years.”

Both the festival and the Bull City were very different in 1998, when Nancy Buirski, a Pulitzer Prize-winning photo editor at The New York Times and documentary filmmaker, founded Full Frame. Durham was on the cusp of explosive growth, and of becoming one of the top food cities in the South. Downtown was not yet the vibrant destination it would become.

In those first years, as the festival was building its reputation, the list of possible catering partners was limited. It was during this time that a small cadre of local purveyors of food and drink joined with Full Frame to provide the festival with food, beverages, and, when needed, venues for off-site entertaining. In addition to Bakatsias, other original members include Gugelhupf, Counter

Culture, Fullsteam Brewery, and Saladelia.

Two decades later, they are all still working with Full Frame, and as newer businesses like Loaf, Geer Street Garden, and Wine Authority have opened, they have also begun a particularly Durham-centric symbiotic partnership with the festival.

Although the festival occurs during four days in April, the work goes on yearround. The business of putting together a world-class documentary event includes educational programs, screenings, and fundraisers. As former production codirector Ted Mott describes, “It’s like being a wedding planner, but all the weddings for the whole year are on the same day.”

Since day one, Bakatsias and his famous grills for on-site cooking have attended the entire Full Frame four-day run. He serves a menu with an “abundance of variety, vegetarian, seafood, and meat,” including the crowd favorites of fresh grilled chicken souvlaki, grilled fish and salad, and the handmade phyllo spanakopita. This year, he will be debuting slow-cooked local lamb. While he has employees he could send in his stead, his desire to be a presence springs from his beliefs about the relationship between art, community, and food.

“I love the engagement and interaction of locals and internationals to view the craftsmanship that people pour their hearts into,” he says. “Meeting so many people who have become great and lifelong friends. There are also so many great messages that come through people expressing their truth, and that’s sacred.”

One of those festival friends is filmmaker Martin Scorsese.

“Scorsese stayed overnight for dinner at Parizade,” Bakatsias says. “It was not a celebrity moment, but rather, a moment of truthful, heartfelt reverie.”

But Bakatsias’s favorite Full Frame memory brought him full circle in his profession and with his role models.

“When I was nineteen, I got a reservation alone at Le Cirque in New York City,” he recalls. “It was an exquisite moment when the owner was working the room in a theatrical way, like someone commanding an orchestra. Years later, he comes to Durham to do a short film on the family business. It was a surprising moment, because here we are, sitting together years later at Vin Rouge during Full Frame discussing our backgrounds. It truly brought to light the similarities and experiences of a soul journey.” food@indyweek.com

Giorgios Bakatsias PHOTO COURTESY OF THE SUBJECT INDYweek.com | 4.3.19 | 19

indymusic

DREAMVILLE FESTIVAL Saturday, Apr. 6, $119 Dorothea Dix Park, Raleigh www.dreamvillefest.com

Don't Sleep

DREAMVILLE FESTIVAL IS A TEST CASE FOR J. COLE’S CLOUT, DIX PARK AS A MAJOR EVENT VENUE, AND RALEIGH AS A HIP-HOP CITY BY BRIAN HOWE

I

f you look at the flyer for Dreamville, the N.C.-bred rap icon J. Cole’s new oneday hip-hop festival at Dix Park, and a few names scream out while the rest make you scratch your head, don’t worry: You’re not necessarily out of touch. Rather than going for pure star power, this fest has a subtler agenda. Let’s chop it up.

former psychiatric hospital in early spring?

Das EFX may have rocked that Band-Aid ten years before Nelly did (quoth Sage Francis), but he’s the one rocking it in the end. Good for him. It’ll be fun.

The Ringers: This is where Dreamville is making its play for your money. For us, the headline is, SZA’s back, after a flood of media reports last May said her voice was permanently damaged, before a flood of media reports in June said no, it wasn’t.

The big font also features Atlanta mumble-trap menace 21 Savage, platinum rapper and lifelong label tourist Big Sean, and Grammy-nominated R&B singer 6lack.

Also check for Teyana Taylor, whose fine GOOD Music album, K.T.S.E., got overshadowed by strong Pusha T, weak Nas, and weird Kanye last year.

The Given: “Dreamville festival founder J. Cole is headlining the Dreamville festival” is the least surprising sentence ever.

But you know, for a star, J. Cole is kind of reclusive. J. Cole does not like to do a lot of media, so we don’t know how he feels about any of this. We’re only certain he lives in Raleigh because he was photographed there by GQ recently. If we J. Cole PHOTO BY ANTHONY SUPREME were getting asked to put on high-waisted culottes and pose with a lynx, we probably The Dreamville Label Showcase: Now we’re wouldn’t talk to any local media about our down to the nut. Half the artists here are hometown festival either. Sincerely, we get signed to J. Cole’s label, which, in a dead it. It’s fine. We’re fine. giveaway, is called Dreamville Records. The signees reflect the founder’s sensibilities— The Nelly: Most stuff in the Dreamville conscious, classic, authentic, regionally lineup fits into some kind of niche, even rooted but globally minded—though none of if it’s as small as local artists (Rapsody, them are as well-known as him. It’s a way to Mez, Charlotte-based rapper Lute) or round out the ringers with readily available international connections (Davido, Bas). But talent that obviously reflects Cole’s tastes, what is Nelly doing here? Nelly, who seems and to put his label vision to the test. As a to mainly be doing reality TV since his last primer, check out “Backseat,” by Washingalbum, six years ago? How hot in here will it ton, D.C., singer Ari Lennox and South Cenbe possible to get on the sylvan grounds of a 20 | 4.3.19 | INDYweek.com

tral LA rapper Cozz, and “Never” by Atlanta’s J.I.D.; both are cosigned to Dreamville and Interscope. And try “Up,” by EarthGang, a young duo that comes from the same Spillage Village collective J.I.D. came from.

Dreamville is the first big event at Dix Park, and the City of Raleigh is anticipating thirty-five thousand people. The Williams Field and the Big Field are closed to the public through April 9, while the entire park is closed for the festival from 6:00 p.m. the day before to 2:00 p.m. the day after. You’ve no doubt heard some wag in your set making Fyre Festival jokes of the type any new hip-hop festival in 2019 would attract. God knows what went on behind the late lineup announcement, just two weeks before the festival, which was rescheduled from a Hurricane Florence–canceled date in September. And there are bound to be some hitches in the debut multi-stage event in a large outdoor venue. But even if Dreamville goes off the rails, it’s not going to be social media influencers garroting each other for tents.

Maybe the promised mini-golf course won’t appear or will run out of balls.

In addition to being a test for J. Cole’s music-business vision and for Dix Park, Dreamville is a test for Raleigh as a hiphop city. Durham has Beats ‘n’ Bars and Art of Cool, but Raleigh just has hip-hop in a festival setting at Hopscotch, and it’s not the dominant key.

Some portion of Dreamville proceeds will go to hurricane victims across the state, the Dorothea Dix Park Conservancy, and the Dreamville Foundation, which serves urban youth in Fayetteville. Whether you’re a fan of his throwback style of hip-hop or not, J. Cole cultivates a diverse musical world and has built a lot of giving back into his success. If Dix Park turns into Lord of the Flies, we’ll be there to tell you about it until we have to barter our phone chargers for water and bread.

That would be kind of funny. But it would be more fun if it went well. We’re here for it. bhowe@indyweek.com

music

BRIEF

HIP HOP AND HIGHER EDUCATION SYMPOSIUM

Thursday, Apr. 4 & Friday, Apr. 5, $10 William Peace University, Raleigh www.hiphopedwpu.com Following in the tradition of longstanding festivals like SXSW and A3C, the Dreamville Festival is including an educational component in its first—hopefully, annual—outing.

On April 4 and 5, William Peace University, in partnership with Dreamville, will host The Hip Hop and Higher Education Symposium (#HipHopEdWPU). The two-day event features more than twelve panels, led by both regional and national scholars and artists, who will consider the relationship between hip-hop and a variety of disciplines, such as politics, social justice, art, race, and economics.

In addition to offering critically engaged discussions on hip-hop’s place in academic and social-justice spaces, the symposium centers hip-hop entrepreneurship and its importance. Ogden Payne, founder of For the Students, a company whose mission is to bring top-tier industry professionals to universities, will moderate a conversation between Ibrahim Hamad (manager of J. Cole and president of Dreamville) and Sascha Stone Guttfreund (president of Scoremore Shows).

The exchange between the three hip-hop aficionados will, as Payne says, “expand the scope of what [careers are] possible in hip-hop.” Payne wants to convey to people that they “don’t have to be the talent … there are twenty other positions available.” With a bubbling hip-hop scene in the Triangle area, this panel—and the symposium in general—is like a gift from the hip-hop gods. Check registration options at the symposium's website.

—Kyesha Jennings

april 13, 2019

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AMY HEMPEL: SING TO IT: NEW STORIES Monday, Apr. 8, 7 p.m., free Quail Ridge Books, Raleigh www.quailridgebooks.com

Abbreviation Nation

EACH PARAGRAPH IS A PECULIAR, FUNNY, HEARTBREAKING WORLD WITH SHORT STORY MASTER AMY HEMPEL

BY JOHN STEEN

S

Physical harm isn’t out of the question— ince her first collection of darkly take one story’s awkward, friendly phone humorous fiction, Reasons to call between a woman and the wife of her Live, was released in 1985, the attacker, for example—but these stories Chicago-born writer Amy Hempel has more frequently are about characters toybeen changing the short-story form— ing with stability, in flight and in pursuit of often, by abbreviating it. Like Lydia Davis and other masters of the microfiction sub-genre, Hempel can fit a fully realized narrative into a single paragraph. On April 8, Hempel brings her new collection, Sing to It, to Quail Ridge Books in Raleigh. As if speaking directly to a North Carolina audience, one of the fifteen stories, “The Doll Tornado,” is set in Greensboro. It features an out-of-town narrator’s ode to the thrift-store-turnedmuseum Elsewhere’s beloved art installation. After thirty years exploring a world as peculiar as it is heart-rending, Hempel hasn’t changed course with Sing To It so much as sharpened her knives.

The title of the collection comes from an Arabic proverb that a character quotes while comforting a dying friend: “When danger approaches, sing to it.”

In these stories, danger is quiet: intimacy and isolation pose the greatest threats to the safety that Hempel’s characters long for. In “Moonbow,” when a bear wanders Amy Hempel PHOTO BY VICKI TOPAZ into the backyard of an unnamed narrator, it appears to be a threat, it at once. One woman dreams of planting at first blush, but then begins to play with “windbreak, woods, a forest, a glen” right the toys of her late dog and suddenly, it outside the dark apartment in Fort Bedd seems to be her reincarnated pet. Instead that she shares with a man she doesn’t of disaster, a sort of interspecies intimacy bother to introduce. She can be wry: “The takes hold: “I tell him what has happened second ‘d’ is silent. We agreed on that, if since I lost him … I tell him that the not on much else.” But she’s also leading a deli has gone up for sale, that another life of quiet desperation: “If we were going antiques store has opened, that I hate my to get through this, I would need trees.” haircut, that I have not thrown anything As in so many Hempel sentences, a trapaway.” Danger, spoken to, is temporarily door in ordinary language opens and, as transformed into a source of unlikely Emily Dickinson wrote, we “drop down, communion.

22 | 4.3.19 | INDYweek.com

and down.” When she says “get through,” we know she’s at once referencing the relationship and life itself.

All of Hempel’s stories stay close to this spot where the everyday, once probed, betrays a secret about the past that has

shaped it. Sometimes the danger is the fact that the past doesn’t rest on the surface. In “The Second Seating,” a table of three has finished a meal but won’t give up their seats in a crowded restaurant.

The elderflower-and-basil vodka fizz they drink seems to tell us everything we need to know about them, and we’re ready to call them jerks and move on. Then, Hempel drops a revelation: “Bob, dying, had made us promise we would have dinner there without him.” This fulfills one of fiction’s

great aims: It surprises the reader and makes them momentarily complicit.

The two longest stories of the collection deserve special mention, as they anchor the collection and highlight the two themes, animals and aging, that distinguish Hempel as one of America’s foremost chroniclers of otherwise unrecognized lives. “A Full-Service Shelter” depicts a shelter volunteer from the dogs’ perspective, as they witness her devotion, fear, and love for the forgotten animals she tries to comfort them in their final days. Crucially, Hempel’s animal stories don’t merely use animals to illustrate human personalities: Instead, they live and establish relationships during the brief period of time—the length of a story, perhaps—that they have left before dying or, like the bear in “Moonbow,” “tear[ing] off through the woods.”

The final story in Sing to It, “Cloudland,” is the collection’s masterpiece, as it finally satisfies our desire for an extended portrait of a Hempel protagonist. Taking after Alice Munro in its willingness to put chronology aside in the service of revelation, the story emerges as if from stone.

It’s to Hempel’s credit that the plot points—a teenage pregnancy and adoption, a mid-life career change— barely touch the surface of a story in which the past, like intimacy, threatens to reach out. The main character is wise in the Socratic sense: She knows that she doesn’t know and doesn’t let it stop her from moving through life. She even offers a word of wisdom on the state of uncertainty in which so many of us live. “There must be a word for the state of going about your business without knowing something key, and with someone else knowing it, and knowing too that there could come a time when you will know it. I think the name of this state is The Way We Live Now.” arts@indyweek.com

indystage

Business Business spotlight spotlight BUSINESS PROFILES WRITTEN BY

Do the Limbo

AN EIGHTEENTH-CENTURY MATHEMATICIAN TAKES CHARGE OF HER AFTERLIFE IN ÉMILIE BY KATY KOOP

S

onorous Road Repertory Company breathes new life into an oftenoverlooked eighteenth-century scientific genius in Émilie: La Marquise Du Châtelet Defends Her Life Tonight, by Lauren Gunderson. Émilie du Châtelet, played by the sharp Michelle Murray Wells, was a mathematician and physicist notable for her French translation of and commentary on Newton’s Principia. As the play begins, she wakes up in an absurdist limbo between death and the void, trapped on stage until she can suss out the meaning of her life. Filled with equation-scrawled chalkboards and period furnishings, Nicholas Lease’s set strands du Châtelet on the island of her own life story. Rachel McCay’s avantgarde, period French fashion is just as postmodern, with deconstructed costuming revealing swinging hoop skirts, bloomers, and thigh-highs.

Save for Wells’s blue gown and Voltaire’s matching cravat, the ensemble is stripped of color, turned into white porcelain stand-ins for the variables of du Châtelet’s life. Unable to directly touch others, du Châtelet often resorts to directing the ensemble, including Sterling Hurst as Voltaire, to perform moments in her life, full of comedy as well as tragedy. In particular, A.C. Donohue provides levity and horror as she plays goofy maids, tittering court gossips, and the haunting specter of du Châtelet’s mother.

And with scene-stealing sneers, Hurst embodies the bad-for-you boyfriend perfectly. With characters summarizing scenes as they enter them and betraying an awareness of the audience, the staging is an extraordinary vessel for a story that, while

historical, is all too familiar. As du Châtelet experiences love and loss while pursuing her experiments on the nature of fire, her experience strikes us as thoroughly modern.

Like any women hustling to have it all, she works harder than everyone else and still has to fight for everything she gets.

YOU!

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Émilie PHOTO BY JENNIFER KIDD PHOTOGRAPHY While the costumes and set immerse us in Émilie’s purgatory, the lighting and sound do not match the aesthetic, doing little stylistically to fully realize this world.

In addition, the movement and framing of the scenes often lack clarity, creating dissonance between the design and performance.

Despite this, under Egla Birmingham Hassan’s direction, the production provides a glimpse into a historical life worth honoring.

The absurdist reality that the physicist is placed in reflects the alienation that filled the days of someone who sent a daughter away and published theories in direct opposition to her lovers. But, in limbo, the only person that can truly guide du Châtelet through her life is herself, as only she needs to be satisfied with its sum. For those like her today, this act of self-forgiveness is a lesson well worth heeding. arts@indyweek.com

ÉMILIE: LA MARQUISE DU CHÂTELET DEFENDS HER LIFE TONIGHT ½

Through Sunday, Apr. 14 | Sonorous Road Theatre, Raleigh | www.sonorousroadrep.org

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PHOTO COURTESY OF HAW RIVER BALLROOM

Nick Lowe and Los Straitjackets

WHAT TO DO THIS WEEK 4.3–4.10

SATURDAY, APRIL 6

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

CARRIE MAE WEEMS: PAST TENSE

OF MONTREAL

Though Nick Lowe first entered our hearts as a powerpop prince during the heyday of punk, the last few decades have found him shifting into a low-key crooner mode. In an unexpected but happy turn of events, however, Lowe—who just turned seventy—has more recently been returning to his rocking roots with the help of the instrumental rock outfit, Los Straitjackets. Who could have guessed that a Nashville surf-rock band known for donning Mexican wrestling masks onstage would be the ones to aid the British pub-rock vet in revving up his rock and roll engine? Probably, no one.

Last June, Nick Lowe and Los Straitjackets released their Tokyo Bay EP; this May, they’re slated to release another EP, Love Starvation/Trombone. At this Haw River Ballroom concert, you can also expect to hear plenty of classic cuts from the Lowe song bag that’s only been getting deeper and richer over time. Singer-songwriter Dawn Landes leads the evening off. —Jim Allen

For as long as Antigone lives, she defines resistance.

It’s the inevitable result of the impossible conditions society places upon her: caught in a triple-bind; subject to contradicting directives from her family, her faith, and the law; with the highest penalty for disobedience to any of them. Photographer, multi-media artist, and provocateur Carrie Mae Weems knows that this also explains why, in one of the longest cases of deserved survivor guilt on record, over two millennia later, we still cannot let go of Antigone: our culture continues to create the circumstance in which she must resist and die. In Past Tense, the MacArthur Foundation award winner combines stark still and moving images, dance, set design, music, and narrative to view contemporary confrontations between citizens like Alton Sterling, Laquan McDonald, Philando Castile, and a state supposedly established to serve and protect them.

Then comes the moment when Weems asks permission to bury the dead. —Byron Woods

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CATS CRADLE, CARRBORO 8:30 p.m., $17, www.catscradle.com

WEDNESDAY, APRIL 10

WHAT ELSE SHOULD I DO?

TUESDAY, APRIL 9 It’s impossible to predict what of Montreal is going to do next. Kevin Barnes’s long-running pop band has cycled through a number of guises over the years—psychedelia and vaudeville in its early Elephant 6 years, surreal seventies-indebted glitter pop in the early aughts, heavy and baroque psych-rock around the turn of the decade (see: Hissing Fauna, Are You the Destroyer?), glammy sexfunk in 2008 with Skeletal Lamping, roots-rock posturing on 2013’s Lousy with Sylvanbriar, New York punk (Aureate Gloom), and, finally, eighties dance pop, with last year’s White Is Relic/Irrealis Mood. Where will Barnes lead his band of merrymakers tonight? Who knows. of Montreal keeps you guessing, and that commitment to following Barnes’s muse down whatever rabbit hole—as much as the sonic and conceptual ingenuity it exerts in doing so— is what makes the band consistently alluring. Its maximalism is mesmerizing, and it sets its variegated vernaculars and timbres in the service of unadulterated self-expression. —Patrick Wall

BETTER OBLIVION COMMUNITY CENTER AT CAT’S CRADLE (P. 26), DOROTHY CHAN AT DUKE COFFEEHOUSE (P. 30), DREAMVILLE FESTIVAL AT DOROTHEA DIX PARK (P. 20), ÉMILIE: LA MARQUISE DU CHATELET DEFENDS HER LIFE TONIGHT AT SONOROUS ROAD THEATRE (P. 23), FULL FRAME DOCUMENTARY FESTIVAL AT THE CAROLINA THEATRE (P. 10), AMY HEMPEL AT QUAIL RIDGE BOOKS (P. 22), HOW I LEARNED TO DRIVE AT PLAYMAKERS (P. 31), LUMP SUM AT LUMP (P. 29), SINGLE FRAME AT SHADOWBOX STUDIO (P. 32) 24 | 4.3.19 | INDYweek.com

THURSDAY, APRIL 4

HABIBI

Habibi frontwoman Rahill Jamalifard’s parents immigrated from Iran near the end of the 1970s, shortly before the Iranian Revolution, bringing with them a household devotion to both Middle Eastern psychedelic music and traditional Iranian music. Habibi, which means “with love” in Farsi, debuted as a quintet in Brooklyn in 2013 with a self-titled EP that drew together fuzzy guitar riffs, Motown vibes, and plush surf punk. Last year’s follow-up, Cardamom Garden, develops their style of garage rock tempered by some band members’ roots in Detroit and textured with girl group harmonies. This week, the band’s residency in Duke Performances Building Bridges: Muslims in America series is capped with a show at The Pinhook. —Sarah Edwards THE PINHOOK, DURHAM 8 p.m., $15, www.thepinhook.com

Eat & Drink Almanac Habibi PHOTO

COURTESY OF THE ARTISTS

THURSDAY, APRIL 4

SAMUEL R. DELANY

Science fiction master Samuel R. Delany has long been at the forefront of radical sex in literature, pushing boundaries with what he calls his “gay smut” novels (The Tides of Lust, Hogg) and the outsider history of his memoir, Times Square Red, Times Square Blue. But, oh, his science fiction and fantasy—the sword-and-sorcery of Neveryon, the interstellar linguistics of Babel-17, the space opera of Nova, the realitybending mythic wonderland of Dhalgren, and four decades of endlessly studied short stories all speak for themselves. If you fail to pick up our paper on its publication date of Wednesday, April 3, and see that the legend has a reading at The Regulator that night, maybe you can still catch him the next night, when he will be in coversation about sexual futures in the annual Queer Theory Lecture at Duke.

—Samuel Montgomery-Blinn DUKE’S NELSON MUSIC ROOM, DURHAM 5:30 p.m., free, www.dukeperformances.duke.edu

The INDY’s Ultimate Guide to food and drink in the Triangle

April 24, 2019

INDYweek.com | 4.3.19 | 25

music 4.3–4.10

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

chorus and earnest lyrics.

Live, expect jammy covers of everything from Daft Punk to The Cure. —Josephine McRobbie KINGS: Bit Brigade: Megaman III with Double Ferrari; $12-$15. 9 p.m.

LINCOLN THEATRE: Vegabonds, Stop Light Observations; $8-$10. 8 p.m.

LOCAL 506: Dissimilar South, Five Letter Word; $10-$12. 9 p.m.

NEPTUNES PARLOUR: Sunset Palette, Aloes, Midcentury Modular; $7. 10 p.m.

THE PINHOOK: Habibi, Stevie; $15. 8 p.m.

POUR HOUSE:

Local Band Local Beer: Moon Tooth, Grohg, Mo’ynoq [$5, 9 P.M.]

THURSDAY, APRIL 4

BETTER OBLIVION COMMUNITY CENTER Better Oblivion Community Center is mid-aughts emo mainstay Conor Oberst and indie rock’s new platinumhaired queen, Phoebe Bridgers. The name is also, loosely, a concept: Released this winter, their self-titled album is framed around a dystopian wellness center, like something plucked from a George Saunders short story. The idea might be a wink to the dark topics both musicians are drawn to (fittingly, the glimmering top track is called “Dylan Thomas”), but the music is all earnest, interior soft rock threaded with plaintive, involved melodies and a desire to get better. Both Oberst and Bridgers have a knack for supergroups: Oberst’s storied history includes collaborations with everyone from Emmylou to Alt-J (also, remember Monsters of Folk?); Bridgers, meanwhile, teamed up last year with the songstresses Lucy Dacus and Julien Baker for their widely-lauded project, boygenius. Can a fictional wellness center heal you? Maybe not, but after several committed months of listening to the album’s sterling harmonies, one truth I can assert is that the music itself gets better upon each successive listen. —Sarah Edwards

CAT’S CRADLE, CARRBORO | 8 p.m., sold out, www.catscradle.com

Better Oblivion Community Center

WED, APR 3

CAT’S CRADLE BACK ROOM: Aaron Lee Tasjan, Rorey Carroll; $15. 8 p.m.

THE CAVE: Palehorse; $5 suggested. 9 p.m.

FLETCHER OPERA THEATER: Graham Nash; $58-$96.

7:30 p.m.

MOTORCO: Tobe Nwigwe; sold out. 8 p.m.

NEPTUNES PARLOUR: Mike Mains & the Branches; $10. 10 p.m.

NIGHTLIGHT: Ironing, Liquid Asset, Ancestor Piratas, DJ Karl Raymar; $7.

9:30 p.m.

26 | 4.3.19 | INDYweek.com

SLIM’S: Yuckmouf., Wormtooth, Shadows; $7. 9 p.m.

THU, APR 4 CAM RALEIGH:

Hunter Hayes [FREE, 7 P.M.]

After starting strong with his platinum self-titled debut in 2011, Hunter Hayes was on track to be an established popcountry star, earning Grammy nods and CMA wins. But after a few years of albums and

tours, he took a few years off to regroup. Now he’s getting back in the game with his first official single in three years, “Heartbreak,” a formulaic but satisfying breakup bouncer, and he’s launching his national tour with a free Powered by Pandora concert at CAM Raleigh, which is of course the perfect place to see a popcountry show. —Brian Howe CAT’S CRADLE BACK ROOM: Juice, Reliably Bad, Dylan Dunlap; $12-$15. 8:30 p.m.

THE CAVE: Andrea and Mud, Dexter Romweber, Charles Latham; $5 suggested. 9 p.m.

THE RITZ: Adventure Club, Armnhmr, Wooli, William Black; $20$25. 6 p.m.

SLIM’S: Hardworker, A Box of Stars, Jake McKelvie; $5. 9 p.m.

UNITY CENTER OF PEACE: Rumi by Candlelight; 7 p.m.

PHOTO COURTESY OF THE ARTISTS

POUR HOUSE: UN!TY, Tanajah; $8-$10. 9 p.m.

Inclusion of the New York band Moon Tooth certainly stretches the purview of “Local Band Local Beer,” but—despite the strength of the collision of riff-driven rock and progressive metal on the band’s brand-new album, Crux—the locals are still the draw here.

Grohg merges black metal and hardcore for stirring and bombastic anthems.

Mo’ynoq likewise mines black metal for influence, but digs deeper into the genre’s bleak canvas for dynamic and expansive outings. — Bryan C. Reed

DUKE CHAPEL: Robert Parkins Organ Recital; free.

8 p.m.

HAW RIVER BALLROOM:

The Infamous Stringdusters [$25–$27, 8 P.M.]

On their ninth album, Rise Sun, The Infamous Stringdusters continue to experiment around the edges of their nimble bluegrass instrumentation. On the first single “Truth and Love,” the track begins with prolonged, proggy atmospherics before descending into a poppy

FRI, APR 5 BLUE NOTE GRILL: Bill Toms, Hard Rain; $10. 9 p.m.

THE CARY THEATER: Chuck Brodsky; $20-$25. 8 p.m.

DUKE’S BALDWIN AUDITORIUM: Duke Rare Music Ensemble; Vocal and Instrumental Laments; free. 8 p.m.

DURHAM PERFORMING ARTS CENTER: Nashville Songwriters; $24+. 8 p.m.

KINGS: Unicron Album Release with Valleys, Dear Desolate, Infirma; $10.

9 p.m.

THE KRAKEN: Boom Unit Brass Band, TripleWide; free. 8:30 p.m.

LOCAL 506:

Robert Ellis [$15–$20, 9 P.M.]

Aside from being the name of his latest album, “Texas Piano Man” is a truism for songwriter Robert Ellis: He lives in Austin, he plays piano, and, as evidenced by the use of the masculine pronoun, he is a dude. But the moniker is also an idea, an abstract character he inhabits, playing off of outsized Texan tropes and flamboyant pianists (most especially Elton John and Liberace) in equal wisecracking measure.

—Patrick Wall THE MAYWOOD: Veronica V, The Geb, DB FREQ; $10. 9 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony: Don Quixote; 8 p.m.

NIGHTLIGHT:

North Elementary, Dinner Rabbits, Salt Palace [FREE, 8 P.M.]

Lou Takes, North Elementary’s ninth LP, vindicates the veterans’ vitality; the band’s egalitarian approach expands the record’s breadth, but the emphasis on fizzy, fuzzy indie rock—of the old-school Versus, the new-school Swearin’—remains essential to the ensemble’s energy. Salt Palace headlines; Charlotte psych-punk weirdos Dinner Rabbits hold the middle slot.

—Patrick Wall

CAT’S CRADLE: Ellis Dyson & the Shambles Album Release Party: The Tan & Sober Gentlemen, Crystal Bright & the Silver Hands; $12-$15. 8:15 p.m.

CAT’S CRADLE BACK ROOM: Travers Brothership, JULIA.; $8-$10. 8 p.m.

POUR HOUSE: Consider the Source, Echonest; $10-$12. 9 p.m.

THE CAVE: Born Again Heathens, Orphan Riot, TC Costello; $5 suggested.

9 p.m.

DUKE COFFEEHOUSE: Will Csorba, Thayer Sarrano, Ross Hammond; $5. 8:30 p.m.

SLIMS:

RHYTHMS LIVE: Jesse Kinch; $25. 8 p.m.

SHARP NINE GALLERY: Andrew Berinson Album Release; $20.

8 p.m.

S.E. Ward [$7, 9 P.M.]

S.E. Ward casts her haunted vocals in varying roles for

4/4-7 4/11

RECENTLY ANNOUNCED: Hop Along, She Wants Revenge, Damien Jurado

4/12 4/13 4/13 4/26

SAT

4/6

RHETT MILLER RHETT MILLER / Joshua Ray Walker w/ Joshua Ray Walker

4/27 5/17-19

MAMMA MIA PRESENTED BY PAUPER PLAYERS POPUP BROADWAY (WICKED & FROZEN) TRANSACTORS IMPROV: WORK AND WAFFLES THE GOLD RUSH LIVE SCORE BY TIM CARLESS NO SHAME THEATRE – CARRBORO CHE APALACHE THE 4TH ANNUAL ALWAYS INSPIRING GALA VAUDEVILLE VARIETIES PRESENTED BY METTLESOME

Get tickets at artscenterlive.org

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

SUN

4/7

DEE WHITE

DEE WHITE

w/ Thomas Strayhorn THU

4/11

FRI

4/12

Museum of Life & Science Presents Tinkering & Drinkering

WUNC Music presents STRAND OF presents OAKS / Tyler Ramsey WUNC Music

STRAND OF OAKS

MON

4/15 TUE

4/16

S.E. Ward

PHOTO COURTESY OF THE ARTIST

each song, as shape-shifting guitars change the mood from nervy indie rock to shimmering shoegaze. Jenny Besetzt, meanwhile, pulses and throbs, its dancy post-punk somehow simultaneously dreamy and dark. Gown makes a rare appearance with orchestral doom and furious, feminist punk, while Dear Blanca’s ragged, emotional vocals threaten to tear their own power-pop songs apart at their frayed, folksy seams.

—Spencer Griffith THE STATION: Natural Born Leaders; free. 11 p.m.

UNC’S MEMORIAL HALL:

Gil Shaham and Akira Eguchi [$42+, 8 P.M.]

Violinist Gil Shaham and pianist Akira Eguchi have been performing together for over twenty years, and it shows.

Shaham throws himself into each piece joyfully, and Eguchi deftly picks up the thread, rounding out the

performance into a cohesive whole. Together, they take on a wide-ranging program, including Avner Dorman’s 2013 “Nigunim,” which Shaham commissioned. Based on motifs found in Jewish folk music, the intense piece is a showcase for Shaham’s considerable technical skills.

—Elizabeth Szypulski WAKE FOREST LISTENING ROOM:

H.C. McEntire [$18, 7 P.M.]

Whether with Mount Moriah or her sparse, countrified solo project, Heather McEntire’s voice is among the most captivating around, and she’s got the songwriting power to match her striking pipes. Last year’s Lionheart found McEntire wearing her heart fully on her sleeve as she shared heartache and ruminated on her identity as a queer Southerner. Prepare to be stunned in this intimate listening room setting.

—Spencer Griffith

WED

4/17

SAT, APR 6 ARCANA: Tea Cup Gin; 9 p.m.

BLUE NOTE GRILL:

Cool John Ferguson Band [$12, 8 P.M.]

When talking about Cool John Ferguson, it is customary to quote the blues musician, Taj Mahal: “[He] is among the five greatest guitarists in the world.

He is a force to be reckoned with.” Though he spent much of his career as a sideman, his tone is always clean, fluid, and glistening, and his timing just right. In addition to his infinitely flexible guitar playing, he has been the Director of Creative Development at the Music Maker Relief Foundation since the early nineties, helping bring attention to overlooked blues artists.

—Dan Ruccia

THU

4/18

w/ Tyler Ramsey Flash Chorus sings “Don’t You Want Me”

by Human League and “Abducted” by The Cults Periodic Tables: Coal Ash, Lead, and Aging Infrastructure: Stories of North Carolina Drinking Water THE SECRET SISTERS Brian Dunne THE ACCIDENTALS Nantahala

COMING SOON: Family of the Year, Wicca Phase Springs Eternal, Girlpool, Gangstagrass, Hot Snakes, The Murlocs, John Paul White, Xiu Xiu, PJ Morton, Tim Heidecker & Gregg Turkington, Bear’s Den, Thank You Scientist, Hush Kids, Flotsam and Jetsam, Superorganism, Hot Mulligan, THAD, Slum Village, Mono, The Connells, Aaron West & The Roaring 20’s, Deicide, Origin, Mark Farina, Remo Drive, The Crystal Method, Remember Jones, Cavetown, Mystery Skulls, Summer Salt, Dan Baird & Homemade Sin, The Rock*A*Teens, Escape-ism, We Were Promised Jetpacks.

Sophomore Slump Fest, Warbringer, Sonata Artica, Nile Also co-presenting at Cat’s Cradle: Japanese Breakfast, Ex Hex and Eternal Summers (on May 5th)

Present this coupon for

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

919-6-TEASER for directions and information

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

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CAT’S CRADLE BACK ROOM: Town Mountain; $12-$15.

8 p.m.

INDYweek.com | 4.3.19 | 27

THE CAVE: Gemini Love, Rock n’ Roll Hi Fives, Shortcuts; $5 suggested.

9 p.m.

DUKE’S BALDWIN AUDITORIUM: Piotr Anderszewski; $25. 8 p.m.

FLETCHER OPERA THEATER: Livingstone College Jazz Ensemble; 7 p.m.

HAW RIVER BALLROOM: Nick Lowe’s Quality Rock & Roll Revue: Los Straitjackets, Dawn Landes; $32-$35. 8 p.m.

HAYES BARTON UNITED METHODIST CHURCH: Choral Society of Durham Chamber Choir & Raleigh Boychoir; 3 p.m.

KINGS: Ava Mendoza, John Dikeman; $7. 8 p.m.

THE KRAKEN: Doug Prescott Band, Imaginary Friend; free. 8 p.m.

LINCOLN THEATRE: Abbey Road: Sgt. Pepper’s Mystery Tour; $15-$25. 9 p.m.

LOCAL 506: Rachel Despard, Justin Hackeling; $7. 9 p.m.

THE MAYWOOD: Blunderbuss, Dr. Mudd and the Alamo; $10. 8 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony; Don Quixote; 8 p.m.

MOTORCO:

Rhett Miller [$20–$25, 9 P.M.]

Not quite as raucous as his long-running roots rock outfit, the Old 97’s, this acoustic tour is ideal for Rhett Miller’s brutally honest, contemplative solo material like “Total Disaster”—the first track off his latest LP—in which he builds a hook around the self-aware confession, “The truth is, I’m a total disaster,” and sets it to an upbeat jangle. Joshua Ray Walker opens with sparse, tortured tunes interspersed with the occasional honky tonk scorcher. —Spencer Griffith

THE PINHOOK: Womxn Putting Out: LonelyGirl, Spooky B., Maille Fille, Queen Plz; $10. 10 p.m.

PNC ARENA:

KISS

[$64+, 7:30 P.M.] KISS has long promised its army of fans the best show around, and though they may have some competition for their claim as hottest band in the world, they’re promising that this multiyear tour will indeed be their final run. Expect almost two dozen of the legendary rock outfit’s greatest hits bolstered by over-the-top production, including new costumes for co-founders Paul Stanley and Gene Simmons, who are joined by veteran replacements Tommy Thayer and Eric Singer.

—Spencer Griffith POUR HOUSE: Beggars Banquet (Rolling Stones Tribute), Funk Sandwich; $8-$10. 9 p.m.

SHARP NINE GALLERY: Autumn Rainey Quartet; $20. 8 p.m.

SLIM’S: Thirsty Curses, Nathan Arizona and the New Mexicans, Pterodactyl, Car Crash Star; $5. 8 p.m.

THE STATION: Mellow Swellz; 8 p.m.

WAKE FOREST LISTENING ROOM: Malcolm Holcombe; $15.

7 p.m.

THE WICKED WITCH: Electromancy Dance Party; $7. 10 p.m.

SUN, APR 7 ARCANA:

Jay Hammond and Andy Stack [FREE, 8 P.M.]

Jay Hammond and Andy Stack are two ace sidemen and collaborators: Hammond, a Durham ambient country singer-songwriter under the name Trippers and Askers, has played in Chris Schlarb’s far-reaching Psychic Temple ensemble; multiinstrumentalist Stack, who has a record coming out on Merge under the nom de plume Joyero, forms the backbone of Wye Oak and has worked with Lambchop, Helado Negro, and Thor Harris. Tonight, they get weird with wires, strings, and gadgets. —Patrick Wall THE CAVE: James Plunkett, Rickolus; $5 suggested. 9 p.m.

DUKE CHAPEL: Choral Society of Durham Chamber Choir & Raleigh Boychoir; 5 p.m.

GREY STONE BAPTIST CHURCH: The Magic of Music; 3 p.m.

KINGS:

YOB

[$25-$30] Diverticulitis is a nasty disease (seriously, don’t Google it). It nearly felled Yob frontman Mike Scheidt in early 2017, a few months after he played two fantastic shows at Hopscotch in 2016.

Understandably, the disease changed him and his music.

Yob’s first album since his recovery, Our Raw Heart, is maybe the most joyous doom metal album you’ll come across. As usual, everything happens in exquisite slow motion, but Scheidt’s guitar tone is now warmer and more enveloping, his vocals a strangely affirming wail.

Metal has always been about the overwhelmingly sensuous experience of being alive; Yob is now making that subtext into text. —Dan Ruccia LINCOLN THEATRE: Tab Benoit, Eric McFadden; $20-$30. 8 p.m.

MOTORCO: Dee White; $10-$12.

8 p.m.

NEPTUNES PARLOUR: Don Telling’s Island Mysteries, Dreamless; $8. 9 p.m.

THE PINHOOK: Thelma & The Sleaze, Gown; $10-$12. 8 p.m.

POUR HOUSE: Bret Bollinger & The Bad Habits, Resinated; $17-$20.

9 p.m.

MON, APR 8 THE CAROLINA THEATRE:

Angélique Kidjo [$35+, 8 P.M.]

Angélique Kidjo appears as a vision in the music video for “Once in a Lifetime.”

Specifically, she appears on the smartphones of a bored set of cubicle workers, singing with contagious energy in front of a trippy background of

graphics. It’s a sly nod to the original music video for the Talking Heads’ hit song, and a preview of Kidjo’s studied, expansive take on the band.

At this concert, the Beninese musician will perform the entirety of her interpretation of 1980’s Remain in Light.

—Josephine McRobbie CAT’S CRADLE: Rival Sons, The Sheepdogs; $25-$28. 8 p.m.

THE CAVE: Dexter Romweber; $5 suggested. 9 p.m.

POUR HOUSE: Lydia Loveless, Almost People, But You Can Call Me John, Magician Michael Casey; $5+.

9 p.m.

THE PIT:

Hoot and Holler [FREE, 7 P.M.]

The Asheville duo Hoot and Holler takes the basic elements of acoustic guitar, fiddle, and vocals (and sometimes banjo) and weaves a tapestry that takes in a heap of American musical traditions, including folk, blues, country, string-band music, bluegrass, and more.

And they do it in an utterly honest-sounding way, with nary a wink or nudge, so that all the styles the pair serves up go down easier. —Jim Allen

TUE, APR 9 ARCANA: Tacoma Park, Nite Beast; 8 p.m.

CAROLINA THEATRE: Boney James; 8 p.m.

CAT’S CRADLE: of Montreal, Yip Deceiver; $17. 8:30 p.m.

CAT’S CRADLE BACK ROOM: Lula Wiles; $10. 8 p.m.

LOCAL 506:

Eyehategod [$20–$25, 7 P.M.]

Hailed by none other than Rolling Stone as “one of America’s great live bands,” the New Orleans sludgelords of Eyehategod have certainly worked tenaciously to earn the accolade. Since forming in the late eighties, the band has become a seminal influence for legions of noisy and down-tuned bruisers, though few, if any, have captured EHG’s vicious mix of tar-pit blues riffs and feral hardcore. Tonight, they’ll share the stage with doom-metal originals The Obsessed and punk-rock veterans, Antiseen. Green Fiend opens. —Bryan C. Reed NIGHTLIGHT: Tropical Trash, Dan Melchior Band, Das Drip; 9 p.m.

SHARP NINE GALLERY: Allison Miller, Jeff Lederer Big Band; 7 p.m.

SLIM’S: Night Battles, Late Bloomer, Alright, Bangzz; $5. 8 p.m.

WED, APR 10 THE CAROLINA THEATRE:

The Gloaming [$25+, 8 P.M.]

Pushing traditional music into modern frontier is hardly a new approach, these days, but experimental transatlantic quintet The Gloaming craftily pushes the envelope when producer and pianist Thomas Bartlett— known for his work with St. Vincent and Sufjan Stevens— elevates the Irish bona fides of his virtuosic collaborators, including All-Ireland fiddle champion Martin Hayes and atmospheric Hardanger fiddler, Caoimhín Ó Raghallaigh. —Spencer Griffith CAT’S CRADLE BACK ROOM: Charlie Hunter & Lucy Woodward; $20-$23. 8 p.m.

THE CAVE: The Basic Unit; $5 suggested. 8 p.m.

DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra, Bryan Tong; free. 8 p.m.

LINCOLN THEATRE: Robert Earl Keen, Darrin Bradbury; $28. 8 p.m.

POUR HOUSE: Frank Solivan & Dirty Kitchen, The Plate Scrapers; $10-$12. 8:30 p.m.

Anqélique Kidjo

PHOTO COURTESY OF DUKE PERFORMANCES

28 | 4.3.19 | INDYweek.com

art

4.3–4.10

submit! Got something for our calendar? Submit the details at:

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

OPENING Keith Allen, Ben Hamburger, Kaidy Lewis, Carolyn Rugen: Apr 9-Jun 8. FRANK Gallery, Chapel Hill.

Annual Photography Show: Apr 6-Jun 2. Reception: Apr 6, 2:304:30 p.m. West Point on the Eno, Durham. apm.activecommunities.com.

Artventure: Group show. Art gallery, live creation, body paint, and DJ performance. $5-$10.

Apr 6, 8 p.m. The Outpost, Raleigh. between2clouds.ticketbud.com.

Linda Ruth Dickinson: Resonant: Paintings. Apr 5-May 24. Reception: Apr 6, 6-8:30 p.m. The Mahler Fine Art, Raleigh. themahlerfineart.com.

Great and Small: Apr 5-27.

Reception: Apr 5, 6-9 p.m. V L Rees Gallery, Raleigh. vlrees.com.

FRIDAY, APRIL 5

LUMP SUM At Lump’s first-ever fundraising benefit, there’s plenty of fun to be had without spending a dime. There will be musical performances by Crowmeat Bob, Dan Melchior, and Jasmyn Milan and a “memory-capturing installation” by Mollie Earls. The debut issue of enticing new art publication Blount Force Magazine will be on hand, and Charlie Hearon will deejay. But if you have any cash to spare to support Raleigh’s vital, storied artist-run gallery, you should, as you can get something unique in the silent auction, whether it’s original artwork by dozens of artists—including Amanda Barr (whose exhibit, Group Hoarder Face Time, is currently on view), Jeff Bell, Jaclyn Bowie, Harrison Haynes, and Harriet Hoover—an elaborate dinner by Victor Lytvinenko, or a private performance by Ginger Wagg. And it’s not like Lump’s trying to build an atrium or something; the fundraiser is for paying rent, supporting programming, and angling toward eventually creating paid positions for the volunteer staff. Let’s help keep Lump weird for twenty-some more years. —Brian Howe

LUMP, RALEIGH | 6–9 p.m., free, www.lumpprojects.org

“Facts” by Corey Escoto PHOTO COURTESY OF LUMP

Harriet Hoover: Attic Breeze Tests: Sculptures. Apr 7-28.

Reception: Apr 7, 2-4 p.m.

Horace Williams House, Chapel Hill.

Richard Lund: DREAM-LAND: Paintings. Apr 5-27. Reception: Apr 5, 6-10 p.m. Artspace, Raleigh. artspacenc.org.

PLANET eARTh: Apr 4-28.

Pleiades Gallery, Durham. [re]ACTION: Artistic renditions inspired by scientific images.

Apr 7-Jun 23. Warehouse Artist Studios @ Golden Belt, Durham.

Natacha Sochat: Between Presence and Absence: Mixed media. Apr 5-21. Reception: Apr 7, 1-3 p.m. The Carrack Modern Art, Durham. thecarrack.org.

ONGOING All the Pop: Thru Jun 2. Nasher Museum of Art, Durham. nasher.duke.edu.

Amanda Barr: Group Hoarder Face Time: Performance art.

Thru Apr 27. Lump, Raleigh. lumpprojects.org.

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

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

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

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

Sean Livingstone & Erica Gimson: From Here to Their: Paintings and cyanotype prints.

Thru May 4. Horse & Buggy Press and Friends, Durham. mailchi.mp.

Best of North Carolina 2019: Various artists and media. Thru May 14. Gallery C, Raleigh. galleryc.net.

Christian Marclay: Surround Sounds: Synchronized silent video installation. Thru Sep 8. Nasher Museum of Art, Durham. nasher.duke.edu.

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

National Humanities Center, Durham.vaeraleigh.org.

Sophie Chunn: HagerSmith: Thru Apr 30. Reception: Apr 5, 6-9 p.m. VAE Raleigh, Raleigh. vaeraleigh.org.

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

Dust of the Zulu: Sound, photography, and video. Thru Apr 15. Rubenstein Arts Center at Duke University, Durham. artscenter.duke.edu.

Carrie Fonder: Mixed media.

Thru Apr 6. VAE Raleigh, Raleigh. vaeraleigh.org.

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

Thru May 19. CAM Raleigh, Raleigh.

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

John James Audubon: The Birds of America: Ornithological engravings. Thru Dec 2020.

NC Museum of Art, Raleigh. ncartmuseum.org.

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

Chris Musina: Paradise: Paintings. Thru Jun 2.

Oneoneone, Chapel Hill. oneoneone.gallery.

National Print Invitational: Curated by Bill Fick and Judy Jones. Thru Apr 6. Reception: Apr 5, 6 p.m. Artspace, Raleigh.

N.C. Artists Exhibition: Juried group show. Thru Jun 9. CAM Raleigh, Raleigh. ralfinearts.org.

Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border. Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

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

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

Portraying Power and Identity: A Global Perspective: Thru Jan 2020. 21c Museum Hotel, Durham.

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

21cmuseumhotels.com.

Susannah Sayler and Edward Morris: Their World Is Not Our World: Video installation.

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

INDYweek.com | 4.3.19 | 29

art

CONT’D

Cher Shaffer: Art from the Holler: Folk art. Thru May 31.

Alexander Dickson House, Hillsborough.

Durham. 21cmuseumhotels. com/durham.

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

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

Small Treasures: Juried exhibit.

Thru Apr 19. Cary Gallery of Artists, Cary. carygalleryofartists.org.

Under The Rug: UNC MFA Thesis Art Exhibition: Group show. Thru Apr 6. Durham Fruit Company, Durham.

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

Artspace, Raleigh.

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

Tilden Stone: Southern Surreal: Furniture. Thru Sep 8. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

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

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

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

The Scrap Exchange, Durham. scrapexchange.org.

Tom Willis: Journey: Paintings.

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

William Paul Thomas: Disrupting Homogeny: Portraits.

Thru Jul. 21c Museum Hotel,

Within the Frame: Photos.

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

4.3 4.4 4.7

page

Amy Hempel: Sing To It: New Stories 7pm

4.10

Open Discussion Project, discussing The Future of Capitalism: Facing the New Anxieties

by Paul Collier

Georgann Eubanks: Food book The Month of Their Ripening.

Mon, Apr 8, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

“Food, sex, survival, and surveillance,” Dorothy Chan writes, listing the basics in her poem “Triple Sonnet, Because Let’s Record Ourselves Eat and Make Love.” Chan, whose newest full-length collection, Revenge of the Asian Woman was released in March of this year, makes for a fitting closer this year’s Little Corner Poetry Series themed on “Excess Women.” Her poems delight in the pleasure of their own cut, often setting out an elaborate feast only to drop the knife on the reader’s gaze.

They are also impossibly soft: “I feel a million petals forming in my stomach and heart and brain, / and out of this world into a painting.” Also reading are the poets Joanna Penn Cooper, Destiny Hemphill, and Ria Aubry Taylor. —Coco Wilder

Donna Everhart & Anna Jean Mayhew: Novels The Forgiving Kind and Tomorrow’s Bread. Tue, Apr 9, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

N.C. Poet Laureate Jaki Shelton Green: Poetry reading. Sat, Apr 6, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Frank Harmon: Native Places: Drawing as a Way to See. Wed, Apr 10, 6 p.m. Cameron Village Regional Library, Raleigh. blueplatepr.org.

DUKE COFFEEHOUSE, DURHAM | 8 p.m., free, www.dukecoffeehouse.org

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

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Jerry Eidenier & Dee Stribling: Poetry reading. Sun, Apr 7, 3 p.m. St. Matthews Episcopal Church, Hillsborough. stmatthewshillsborough.org.

LITTLE CORNER READING SERIES: DOROTHY CHAN

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

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Linda Ashman: Children’s Story Time: Fri, Apr 5, 10 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

SATURDAY, APRIL 6

Ann Ross, Miss Julia Takes the Wheel 3pm Ruth Reichl, Save Me the Plums 7pm Amor Towles, A Gentleman in Moscow, 1pm Veronica Roth, Fates Divided 7pm (ticketed, in conversation with Brendan Reichs) Barbara Brown Taylor, Holy Envy: Finding God in the Faith of Others 2pm

4.8

READINGS & SIGNINGS

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stage

&

Amy Hempel: Short story collection Sing to It. Wed, Apr 10, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks. com. — Mon, Apr 8, 7 p.m.

Stribling: Quail Ridge Books, Raleigh.

Apr 7, 3 quailridgebooks.com. iscopal Frances Mayes: See You in the .

Piazza: New Places to Discover ugh.org. in Italy. Tue, Apr 9, 7 p.m.

Food book Regulator Bookshop, Durham. pening. regulatorbookshop.com. yleaf Anna Jean Mayhew: Novel

ren’s , 10 a.m. tsboro.

Tomorrow’s Bread. Sat, Apr 6, 2 p.m. McIntyre’s Books, Pittsboro. nna Jean mcintyresbooks.com.

Forgiving Ann Ross: Novel Miss Julia Takes Bread. Tue, the Wheel. Wed, Apr 3, 3 p.m.

Books, Quail Ridge Books, Raleigh. oks.com. quailridgebooks.com. aki Shelton Samia Serageldin & Lee Smith: g. Sat, Apr Essay collection Mothers and Books, Strangers. Thu, Apr 4, 7 p.m. ooks.com. Flyleaf Books, Chapel Hill. e Places: flyleafbooks.com.

See. Wed, Barbara Brown Taylor: Spiritual on Village living book Holy Envy. Sun, Apr 7, 2 p.m. Quail Ridge Books, igh.

Raleigh. quailridgebooks.com.

Amor Towles: Novel A Gentleman in Moscow. Thu, Apr 4, 1 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

LECTURES ETC.

Samuel R. Delany: An Evening of Science Fiction and Conversation:Wed, Apr 3, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Environmental Imagery: Effective Messaging with Artistic Media: Enviro-Art Gallery creator and curator Cameron Oglesby. Thu, Apr 4, noon. Ruby Lounge at Rubenstein Arts Center, Durham. artscenter.duke.edu.

Puppetry and the Healing Arts: Marina Tsaplina, co-director of Duke’s Reimagining Medicine.

Fri, Apr 5, noon. Ruby Lounge at Rubenstein Arts Center, Durham. artscenter.duke.edu.

Rahill Jamilifard & Lenny Lynch: Habibi band members in conversation with Duke’s Negar Mottahedeh. Refreshments.

Wed, Apr 3, noon. The Pinhook, Durham. thepinhook.com.

School Vouchers and Accountability: Does a Lack of Standards Fail Our Students?: Free. Tue, Apr 9, noon. Chapel Hill Public Library, Chapel Hill. lwvodc.org.

OPENING Bad Roads: Duke Theater Studies. Documentary theater from Ukraine. $10-$15. Apr 4-14. 8 p.m. Duke’s Bryan Center, Durham. tickets.duke.edu.

Boston Marriage: Meredith Ensemble Theatre. Play.

Apr 3-7. Meredith’s Studio Theatre, Raleigh. meredith.edu.

Daniel Tiger’s Neighborhood Live: $25+. Sat, Apr 6, 2 and 5:30 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

Group Therapy: Comedy. $10. Thu, Apr 4, 8 p.m.

The Maywood, Raleigh. themaywoodraleigh.com.

James Hodge: Comedy. $10. Wed, Apr 10, 8 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Lightning Thief: The Percy Jackson Musical: Apr 9-10. Durham Performing Arts Center, Durham. dpacnc.com.

Joe Machi: Comedy. Apr 4-6.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Mamma Mia!: Pauper Players. Musical. $10. Apr 4-7.

The ArtsCenter, Carrboro. artscenterlive.org.

Miscast: Everything Taboo: North Raleigh Arts & Creative Theatre. $25. Apr 5-7. North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

Real Women Have Curves: The Justice Theater Project. Play. Apr 5-14.

Umstead Park United Church of Christ, Raleigh. thejusticetheaterproject.org.

Rooming House: Lucky Plush Productions. Sat, Apr 6, 8 p.m. NCSU’s Stewart Theatre, Raleigh. live.arts.ncsu.edu.

The Royal Family: Play. Apr 4-14. NCSU’s Titmus Theatre, Raleigh. theatre.arts.ncsu.edu.

WEDNESDAY, APRIL 3–SUNDAY, APRIL 21

A Sight to See: Variety show.

Mike Mello, QMEDIAN, The Verdict Podcast, and more. $20+. Wed, Apr 3, 8 p.m.

Kings, Raleigh. kingsraleigh.com.

Tassels & Tabletop: D&D Bellydance & Burlesque: Sun, Apr 7, 7 p.m. The Wicked Witch, Raleigh. wickedwitchraleigh.com.

HOW I LEARNED TO DRIVE ONGOING Emilie: Mar 29-Apr 14.

Sonorous Road Theatre, Raleigh. sonorousroad.com.

In A Word: Bulldog Ensemble Theater. $10-$20. Thru Apr 7. Durham Fruit Company, Durham. bulldogdurham.org.

Top Secret Stand-Up Confidential: One-off comedy show featuring a surprise guest from the national comedy scene. $15-$23. Wed, Apr 3, 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Racket: Mettlesome.

Improv comedy. Fri, Apr 5, 9 p.m. Monkey Bottom Collaborative, Durham. thisismettlesome.com.

Tosca: N.C. Opera. Apr 5 & 7. Memorial Auditorium, Raleigh. ncopera.org.

The Talk: Play. $5-$15. Thu, Apr 4, 7 p.m. Enloe High School, Raleigh. enloehs.wcpss.net.

Carrie Mae Weems: Past Tense: Play. $27. Wed, Apr 10, 7 p.m. UNC’s Memorial Hall, Chapel Hill. carolinaperformingarts.org.

The Sunday Show: Comedy.

Free. Sun, Apr 7, 7 p.m. King Street Bar, Hillsborough.

Where Words Once Were: Thru Apr 7.

Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com.

Though more than two decades have passed since How I Learned To Drive, Paula Vogel’s careful, clear-eyed chronicle of an adolescent sexual abuse survivor, won the Pulitzer prize for Drama, the #MeToo era has only reinforced its timeliness and turned the drama into “a live grenade onstage,” according to Washington Post critic Nelson Pressley. But where a seemingly endless cascade of revelations—locally and nationally—has focused on well-known artists, politicians, and entertainment moguls, Vogel’s candid work uncovers the seeds of sexual predation at home, scattered throughout the generations of a dysfunctional family in rural Maryland. It analyzes the conflicted drives, emotions and social expectations that lead to abuse, as a woman struggles to claim her story and set the record straight. In 2017, American Theatre praised guest director Lee Sunday Evans’s “remarkable physical precision and highly attuned emotional and human sensitivity.” She directs an ensemble lead by Julia Gibson and Jeffrey Blair Cornell.—Byron Woods

PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL Various times, $15+, www.playmakersrep.org

How I Learned To Drive PHOTO BY HUTHPHOTO

INDYweek.com | 4.3.19 | 31

screen SPECIAL SHOWINGS At Eternity’s Gate: Drama. $3-$5. Thu, Apr 4, 9 p.m.

The Cary Theater, Cary. thecarytheater.com.

Bending the Arc: Global Film Series. Documentary. Tue, Apr 9, 6 p.m. NCSU Campus Cinema, Raleigh.

Blood of the Mummy: Q&A with cast and crew to follow. Sat, Apr 6, 1 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Duke MFA in Experimental and Documentary Arts Thesis Exhibition: Thru Apr 14.

Power Plant Gallery, Durham.

MFAEDA2019.org.

Eco Film Series: Documentaries. Apr 3-5.

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

Empire Records: Mon, Apr 8, 7 p.m. Schoolkids Records, Raleigh. schoolkidsrecords.com.

Full Frame Documentary Film Festival: Full schedule online.

Apr 4-7. Carolina Theatre, Durham. fullframefest.org.

It is Fine! Everything is Fine.: Q&A with director Crispin Glover to follow. Mon, Apr 8, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Madvo Collection Commissioning Project, Part 2: Liaison of Independent Filmmakers of Toronto Mon, Apr 8, 7 p.m. Rubenstein Arts Center Film Theater, Durham.

My Neighbor Totoro: Dubbed and subtitled screenings available. Sun, Apr 7, Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Royal Opera House: Don Quixote: Mon, Apr 8, 6 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

32 | 4.3.19 | INDYweek.com

Spirited Away: Dubbed and subtitled screenings available. Wed, Apr 10, Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

What Is It?: Q&A with director Crispin Glover to follow. Sun, Apr 7, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

OPENING The Aftermath—James Kent directs Keira Knightley in a rather creaky WWII picture.

Rated R. The Best of Enemies—Taraji P. Henson portrays Durham activist Ann Atwater and her unexpected relationship with a KKK member. Rated PG-13.

Shazam!—The DC Extended Universe keeps lightening up with this film about a teenage boy who turns into a Supermanlike hero. Rated PG-13.

Pet Sematary—Stephen King’s early classic about zombie pets get a second shot at the silver screen. Rated R.

N OW P L AY I N G

SUNDAY, APRIL 7

SINGLE FRAME Every reputable festival must sprout its indie para-fest for the lonesome folks who didn’t secure tickets to the main event, whether it was because they were too late, too strapped for cash, or too cool for school. For the second year in a row, Single Frame does the duty for Full Frame, providing an experimental alternative, or maybe, riposte, to the institutional powerhouse. A showcase of local and international experimental doc shorts curated by the Smyth brothers, whom locals know from their UNEXPOSED screening series, it’s hosted at Shadowbox and sponsored by Ponysaurus, and it comes at the tail end of Full Frame, so you don’t really have to choose. Screening blocks are at 5:30 and 8:30 p.m., with Magic Tuber Stringband performing in between, and there are promises of something tasty on a grill to wash down a hundred Ponysaurus pints. Show up early to claim one of the fifty seats and immerse yourself in ways of looking at the world that not even Full Frame’s broad scope encompasses. —Brian Howe

SHADOWBOX STUDIO, DURHAM | 5:30 and 8:30 p.m., free, www.shadowboxstudio.org

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

“Take It Down” by Sabine Gruffat screens in Single Frame.

½ Aquaman—This ludicrous DC film runs on seawater and flop sweat. Rated PG-13.  Captain Marvel—Brie Larson is an intergalactic fighter who begins questioning who she is. Rated PG-13.

½ The Lego Movie 2: The Second Part—Though there’s a live-action subplot, the little plastic people and their incessant pop-culture references remain the heart and soul of the franchise. Rated PG.

 The Favourite—Yorgos Lanthimos (The Lobster) infuses this lurid period melodrama with his unmistakable sensibility of cruelty and absurdity.

Rated R.

½ Spider-Man: Into the Spider-Verse—Not only is it a good Spider-Man story, this animated film introduces welcome diversity to the tale of Peter Parker. Rated PG.

½ Glass—In the conclusion of Shyamalan’s sort-of superhero trilogy, the big reveal is that there was never much to reveal at all. Rated PG-13.

 Us—Jordan Peele’s Get Out follow-up pairs a haunting atmosphere with humor and a chilling call to action. Rated R.

PHOTO COURTESY OF THE FILMMAKER

food & drink Beer & Bacon Fest: Beer, mac and cheese, bacon, and more. $20-$75. Sat, Apr 6. noon.

Koka Booth Amphitheatre, Cary. boothamphitheatre.com.

Cookie Bake-Off: Benefitting the Durham Crisis Response Center. $10 suggested donation. Sun, Apr 7. 1 p.m.

Ponysaurus Brewing Co., Durham. ponysaurusbrewing.com.

Downright Rotten! Omakase Dinner: House-made miso, koji, black garlic, natto, and freshly shaved katsuobushi.

Tue, Apr 9. 5 p.m. Dashi, Durham. dashiramen.com.

Drink the Seven Kingdoms: Medieval-themed food menu, Game of Thrones-inspired drinks, and activities. Bull City Streetfood, Brewery Ommegang, and The Glass

Jug Beer Lab. $20. Sat, Apr 6.

2 p.m. The Glass Jug, Durham.

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

Holly Springs Farmers Market: Sat, Apr 6. 9 a.m.

Holly Springs Cultural Center, Holly Springs.

HSFarmersMarket.com.

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 24:

CARY/APEX/MORRISVILLE

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 4.3.19 | 33

4 3 1 6 9 7 2 8 5

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

2

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# 27

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7 4 5 2 3 8 | 34 64.3.19 1 9 4 5 3 9 7 6 1 8 2

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# 28 1 8 9 3 6 2 Page 15 of 25 4 7 6 5 9 1 | INDYweek.com 5 3 2 7 4 8 8 1 7 9 2 6 2 4 3 8 1 5 9 6 5 4 3 7

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# 60

4 6 9 1 8 3 7 5 2

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CLASSY AT INDYWEEK DOT COM 30/10/2005

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

DANCE CLASSES IN LINDY HOP, SWING, BLUES

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At Carrboro ArtsCenter. Private lessons available.

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SMOKY MOUNTAIN WHISKEY CRACKERS ®

Publication Date: April 17

available at: Saxapahaw General Store Southern Season New Hope Market Special Treats

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WWW.EASILYCREATIVE.COM

THE TRIANGLE YARN CRAWL IS APRIL 4-7!

Visit Freeman’s Creative in Durham for yarn, fabric, and more. www.freemanscreative.com

LOVE YOUR VOICE!

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

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HISTORY TRIVIA:

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April 17

*Herbert Hutchinson Brimley, the original curator and first director of the NC Museum of Natural Sciences, died on April 4, 1946. Brimley and his brother Clement emigrated from England to Raleigh in 1880 and quickly established reputations as the South’s leading naturalists.

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*Fantasy and horror writer Manly Wade Wellman died on April 5, 1986 in Chapel Hill. He is best remembered for his horror stories derived from Appalachian or Native American folklore and set in the Appalachian Mountains.

Courtesy of the Museum of Durham History

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