INDY Week 4.4.18

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TROUBLE IN PARADISE the triangle’s tiki trend is mighty tasty, but its history is harder to swallow by allison hussey, p. 20

DON’T DRINK THE WATER, P. 7

DON’T SMELL THE AIR, P. 10

DON’T DENY SARAH SHOOK, P. 27

7 The ever thou

10 The nuis Brow

12 A les Doc you

20 The histo

28 Hau soci play Leav

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 14

DEPARTMENTS

7 The Environmental Protection Agency has only ever banned nine chemicals. Some eighty-five thousand are used in commerce.

7 News 12 Full Frame

10 The first of as many as twenty-six trials in nuisance cases against pork giant MurphyBrown LLC began in Raleigh on Monday.

20 Food

12 A lesson from this year’s Full Frame Documentary Film Festival: sometimes you have to distort the truth in order to tell it.

30 What to Do This Week

22 Music 28 Arts & Culture 33 Music Calendar 36 Arts & Culture Calendar

20 The popularity of tiki drinks persists, but their history can be hard to swallow.

28 Haunting similarities between our present sociopolitical moment and our past compelled playwright Mike Wiley to pen the new Leaving Eden.

You can find the Zombie at The Outpost in Raleigh (see page 20).

On the cover

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backtalk

Do It for the Children

confronted,” he writes. “A prosecutor has Having moved on (for now) from letters to make difficult decisions every single day. about Confederate monuments, we’ll begin How do you wield your discretion, balancwith a subject definitely known for not ing the community’s safety with a defeninflaming passions: guns. dant’s liberty, the wishes of the victims, and On a story about a man who marched alone the weight of the evidence? Deberry had an for gun reforms in Hillsborough with a sign opportunity to make an easy decision that fit that read, “Keep your rifles and handguns, the evidence: admit to, not deny, the copying no AR-15s,” Rick Miller comments: “LOL. of another’s campaign website and endeavor AR-15s are rifles. People were also dying to win back Durham’s trust. Instead, she from package bombs last month, but are we chose to deny what everyone could see for calling for an end to parcels or going after the themselves was blatant plagiarism. demented and damaged person who used “A district attorney has a special role in them to take lives?” our society—they are responsible for seeking To which AleciaRaw replies: “A flawed justice, not winning cases. Justice Sutherargument. Just like the one gun activists use land said, in a landmark decision on proswhen they say, ‘Cars kill people. Why don’t ecutorial misconduct, a prosecutor is ‘a we get rid of cars then?’ Obviously, one must servant of the law,’ and look at the primary pur‘while [a prosecutor] pose for the item. The may strike hard blows, primary purpose of parhe is not at liberty to cels is not to kill a large “Is this what strike foul ones.’ That’s number of people, it’s to we want?” because ‘the average transfer an item from jury … has confidence one place to another. that these obligations, The primary purpose of which so plainly rest upon the prosecuting cars is for transport of people. The primary attorney, will be faithfully observed.’ purpose of assault rifles is mass murder.”

“In a very real sense, then, a prosecutor’s Zigfried Ost Vind writes of gun-reform greatest asset lies not in their management protesters, “Perhaps if these useful idiots of finite resources, their legal acumen, admonished the liberal news to quit publitheir compassion, or their discretion. Their cizing and promoting the school shooters, it greatest asset is their integrity. If Deberry would help stop the copycats. But no, they failed this easy first test, how can Durham have to promote disarming more victims trust that she will succeed when the (no-gun zones) and violating the rights of decisions become much more difficult?” more law-abiding citizens (gun control).

Durham451 argues that the “People’s AlliTime to allow the teachers the choice of ance should reconsider their endorsement bearing arms to protect their students. Be here. I’m not sold on the incumbent, either, more pro-choice; do it for the children.” but there are three candidates in the race.”

Moving on to news that Satana Deberry, (You can read more about them on page 9.) a candidate for Durham County district Finally, MJKopechne trots out a liberal attorney who won the endorsement of the bogeyman: “Krasner was the far-left canPeople’s Alliance PAC, appears to have didate propelled to victory by $1.7 million plagiarized Larry Krasner, the Philadelphia from uber-progressive billionaire George DA held up as a model by criminal justice Soros. At least give Deberry credit for folreformers. While some of the language lowing some the of best campaign rhetoric on her website was nearly identical to money could buy. Is this what we want for his, Deberry denied copying and pasting, Durham?” though she admitted she did “borrow We’ll find out May 8. heavily” from Krasner.

This explanation wasn’t good enough for Tom Crosby, an assistant district attorney in Want to see your name in bold? Email us at Durham. “I read with worry the recent artibacktalk@indyweek.com, comment on our cle detailing Durham DA candidate DeberFacebook page or indyweek.com, or hit us up ry’s plagiarism and her response to being on Twitter: @indyweek.

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indynews Dirty Water

SCIENTISTS FOUND TRACE LEVELS OF EMERGING CONTAMINANTS IN THE TRIANGLE’S WATER. DOES THE DEQ HAVE THE RESOURCES TO KEEP UP WITH THESE ELUSIVE TOXINS?

BY NICK GALLAGHER

T

he Duke researchers who discovered trace amounts of contaminants in water sources around the Triangle last year think they may be closer to understanding where they’re coming from. The potentially toxic contaminants, known as perfluorinated chemicals, or PFCs, are known to be especially elusive and difficult to track.

But at a forum last month sponsored by the Sierra Club and N.C. Central, Lee Ferguson, an environmental analytical chemist at Duke University, said that his team might have some ideas. In some cases, the chemicals could be coming from sewage that is recycled and used for agriculture.

The repurposed sewage can flow into tributaries of larger bodies of water. And since wastewater treatment plants aren’t accustomed to looking for these little-known compounds, they’re not especially good at removing them from drinking water. In other cases, the chemicals could be carried through rainwater or the air.

Durham’s assistant director of water management, Vicki Westbrook, announced that Durham’s latest tests showed low levels of PFCs in the water. However, Westbrook doesn’t believe that they’re coming from water runoff but rather “some sort of aerosolized deposit that’s floating over when it rains, and it ends up there.”

Ferguson and his colleague, Heather Stapleton, collected water samples from various sources, including their home faucets, last year. Most contained detectable levels of fluorinated organic chemicals referred to as PFOAs and PFOSs, which the Environmental Protection Agency says cause cancer, liver damage, and birth defects, among other possible health issues, at high enough levels. It’s important to note that while Ferguson and Stapleton discovered these chemicals, they did so at levels well below what the EPA considers dangerous.

However, the combined level of a broader range of chemicals collectively known as PFAs, for which the EPA has not yet written a health advisory, was substantially higher in Cary and Jordan Lake. Ferguson says that’s at least cause for further investigation.

Rachel Monschein, a laboratory supervisor for the town of Cary, won’t speculate on the source of the PFAs but says that her team has been in touch with the scientists who discovered them.

A great deal of attention has been paid to GenX, a PFA that was recently discovered along the Cape Fear River.

Created as a supposedly safer alternative to its predecessors, GenX was found emanating from the Fayetteville plant of Chemours, a spinoff of DuPont that manufactures Teflon and other nonstick coatings. The chemicals had likely been discharging as a byproduct since the 1980s. N.C. State is exploring the effects of the contaminant on residents in the Wilmington area, where the chemical has been frequently detected in drinking water.

Chemicals like PFOAs and PFAs are known as emerging contaminants because scientists have only recently developed the tools to identify them in water systems. Additionally, some of the substances are new; they’ve been created by manufacturers for a specific purpose, and it’s difficult to keep track of them all.

There are eighty-five thousand chemicals used in commerce, according to the EPA’s chemical substance inventory.

And that’s not including the multitude of byproducts that they transform into when they escape into the environment.

Meanwhile, only sixty-five pollutants or groups of pollutants have been labeled toxic under the Clean Water Act, and the EPA has only ever banned nine chemicals.

ILLUSTRATION BY STEVE OLIVA

Erin Carey, the coastal programs coordinator of the North Carolina chapter of the Sierra Club, says that disparity proves that there are lots of chemicals that regulatory agencies can’t keep up with.

“The mix of chemicals that we’re ingesting in our drinking water should be of the utmost concern because we have no idea how they interact with each other in the body or in the environment,” Carey says. “In a lot of cases, that [health advisory level] is a shot in the dark, and it is not based on hard evidence. It is not based on longterm studies of humans. Often they are animal studies, and only partially released animal studies, because these companies claim that the information or the data is proprietary.”

One potential problem, environmental advocates say, is that the state Department of Environmental Quality might not have the resources to effectively tackle elusive contamination patterns such as those discovered in Jordan Lake. At a recent tour for state representatives of DEQ labs, DEQ officials insisted that their staff members were working tirelessly to track PFAs and PFOAs across North Carolina, but the lack of state funding was making their job increasingly difficult.

INDYweek.com | 4.4.18 | 7

The DEQ’s evolving responsibilities, including the transfer of certain DEQ sections to other agencies, makes budget figures difficult to analyze. However, in 2009, the legislature appropriated more than $200 million to the DEQ’s predecessor, the Department of Environment and Natural Resources. By 2017, that number had dwindled to just over $77 million.

In a blog post, Robin Smith, a former assistant secretary for the environment at DENR, wrote that those cuts have had lasting effects on the DEQ: about thirty administrative positions have been eliminated since 2015, and since 2009, three entire programs have been slashed.

Although the state House unanimously approved a bill in January to allocate more than $2.3 million to the DEQ for a new mass spectrometer and for several scientists to operate the new equipment, the Senate didn’t take up the matter in a special session.

never happened if North Carolina did not have superior research facilities in which to conduct experiments. But it’s still difficult for scientists to screen for possible contaminants without knowing which chemicals they should be looking for.

Duke researchers say that monitoring equipment along the Rhine River, which serves as a source of drinking water for more than twenty million Europeans, could be a source of inspiration. At the Rhine’s monitoring station, scientists collect data on emerging contaminants every day in order to identify larger trends. Sophisticated alarm systems also notify analysts when the concentration of dangerous chemicals surpasses a particular threshold.

Ferguson hopes to one day set up a similar system in North Carolina that could spot contaminants before they became a significant health issue, as in the case with GenX.

“GenX is one emergent contaminant, but we really should be thinking about this from a much more holistic standpoint.”

Senate Republicans argued that scientific equipment could instead be borrowed from local universities and that research expenditures should fall on the companies responsible for the pollution rather than taxpayers. The bill will likely come up again when the legislature reconvenes next month for the short session.

DEQ officials acknowledge that their recording data could also use improvements. In the short term, they rely on simple plastic buckets to collect rainwater for their research on PFAs. The department plans to improve its accuracy by purchasing eight sophisticated rain collection tools, but each system costs roughly $6,500, and Chemours is only paying for half of them.

The rest will fall on taxpayers.

Ferguson stressed that, compared to other states, North Carolina already has great potential to be a leader in the field of emergent contaminant detection. After all, the discovery of GenX would have 8 | 4.4.18 | INDYweek.com

“GenX is one emergent contaminant, but we really should be thinking about this from a much more holistic standpoint,” Ferguson explained. “So we propose the creation of what we would call the North Carolina Emergent Contaminant Observatory.”

That plan would bring together state, federal, and academic actors to conduct research into how to best remove emergent contaminants from water systems.

Ferguson says his colleagues have already discussed the possibility with state legislators and members of the DEQ and the EPA. So far, they’re all on board, he says.

For now, though, Carey, of the Sierra Club, remains skeptical. “We’ve been disappointed and disheartened, and to a certain degree, people are angry that this seems to be a political vehicle at this point,” she says. “The one agency that has been put in charge of protecting our drinking water has been cut over the last eight years.” backtalk@indyweek.com

news

a did not in which it’s still r possible g which for. onitoring er, which water for ans, could e Rhine’sBY SARAH WILLETS llect data n his bid for a second term, Durry day in ham County District Attorney Roger histicated Echols will face two challengers in sts when chemicalsthe May 8 Democratic primary, including one who snagged an important endorseset up ament from a powerful local political action lina thatcommittee. ore they Last week, Satana Deberry, the execu, as in thetive director of the North Carolina Housing Coalition, won the backing of the People’s Alliance PAC in a close vote in which Deberry’s vision bested Echols’s experience. Criminal defense attorney Daniel Meier will also be on the ballot, though he didn’t get much attention during the PA’s endorsement forum.

According to Tom Miller, a PAC coordinator, speakers were fairly evenly divided between Deberry and Echols. Both sides were concerned about the same issues, but they disagreed over who was best-suited to execute progressive policies once in office: Deberry, whose supporters are excited by her fresh perspective and calls for reform, and Echols, who supporters say is already inant, butinstituting some of those ideas. this from Miller says a lot of attorneys—both Fergusondefense and prosecutors—spoke in support reation ofof Echols. They noted that he took over a Carolina“troubled” office (the previous two DAs had been removed for misconduct) and pointed ory.” her state,to the diversion and amnesty programs conducthe instituted as evidence that he was emergentalready moving in the direction Deberry’s systems.supporters want. e already It’s Echols’s policy to begin with the lightth stateest sentence when negotiating plea deals.

DEQ andSome cases are referred to the Religious d, he says.Coalition for a Nonviolent Durham for he Sierrarestorative justice as part of a defendant’s ’ve beensentence. In partnership with the Durham and to aInnovation Team, the DA’s office implethat thismented an amnesty program that allowed his point,”people to apply by text or email to have their s been puttraffic records wiped clean and get their ing waterdriver’s licenses reinstated.

Recently, representatives from the DA’s ars.” week.comoffice, the county jail, pretrial services, and

m .”

Fits and Starts

HAS DISTRICT ATTORNEY ROGER ECHOLS BEEN ENOUGH OF A REFORMER TO SATISFY DURHAM PROGRESSIVES?

I

But when it comes to bail reform, Echols says there’s not much he can do. Under state law, judges and magistrates set bail based on guidelines written by judges, referred to as a bail schedule. He would support a change to state law eliminating cash bail, as long as the public is not endangered.

“If I could pass that law myself and write the fiscal note and give the money, I would,” he says.

Deberry, however, sees the DA position as central to reform. She pledges to be a Roger Echols the Public Defender’s office began meeting weekly to review who is being held in jail on bail less than $5,000 and negotiate for a lower or unsecured bond. About three weeks ago, that list had been whittled down to zero, although it has fluctuated since, Echols says.

Echols says that, if re-elected, his priorities wouldn’t change. He would seek to strengthen the misdemeanor diversion program (which is only available to teens) Satana Deberry

Daniel Meier and mental health and drug treatment court—“creative ways to dispose of cases to the benefit of all,” as he puts it.

“Experience tells me when and how you can employ them and at the same time look for more creative ways to do that and lessen the impact as much as we can to the effects of crime on victims and defendants,” he says.

more outward-facing, transparent district attorney.

Deberry spent about seven years as a criminal defense attorney but left to help people before they interacted with the courts. She went on to work for the Annie E. Casey Foundation, the state Department of Health and Human Services, and Self-Help.

Black and brown people in Durham have been over-prosecuted and over-incarcerated for decades under different DAs, Deberry says, which to her indicates the need for a new approach.

“I see the systems differently than a career prosecutor. I see the heart of this community. I see all of the impacts overcriminalization has,” she says.

Deberry says she would convene a task force as a liaison to the community and craft a prosecutorial policy grounded in the input it gathers. She’s also stressing diver-

sion for cases rooted in mental illness, poverty, and substance use by making fewer arrests to begin with, and she opposes the current bail schedule.

“I think we arrest too many people for low-level felonies and misdemeanors,” she says. “Most of those people should be able to write themselves out [of jail]. There should be no bond because there’s just no indication that those people are dangerous to the community.”

Deberry’s PA supporters weren’t dissuaded by news that her campaign website closely mirrors that of Philadelphia District Attorney Larry Krasner, who is being lauded for the reforms he’s rolling out. They like Deberry’s platform and think prosecutors should be looking to Krasner as a model, Miller says. (Deberry denies copying and pasting the language in her platform, although some passages are identical.)

“The assertions made on her behalf were more aspirational,” Miller says.

Meier says voters who think Echols hasn’t done enough to reform the system should look to him as an alternative. A defense attorney for sixteen years, Meier says Echols has taken some positive steps, but “it’s time to move forward more dramatically on some changes that better reflect what Durham stands for and what Durham pursues.”

He would expand the misdemeanor diversion program to include more lowlevel, victimless offenses, push for the bail schedule to be revised to recommend unsecured bonds for more offenses, and institute an amnesty program for people with outstanding warrants for failing to appear in court.

“We think that a few days don’t matter, but any time in jail is a lot, especially if you shouldn’t be there,” he says.

Because no one from outside of the Democratic Party filed to run for the seat, the winner of the Democratic primary will be the county’s district attorney. swillets@indyweek.com INDYweek.com | 4.4.18 | 9

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THE FIRST NUISANCE TRIAL AGAINST PORK GIANT MURPHY-BROWN BEGINS THIS WEEK To advertise or feature

BY ERICA a petHELLERSTEIN for adoption,

F

please contact or years, neighbors of some North Carolina hog farms have complained advertising@indyweek.com about the nauseating stench of hog waste that they say blankets the air around them. This week, they’ll begin making that case to a jury.

In a federal court in Raleigh, the first trial in a series of groundbreaking lawsuits against Murphy-Brown LLC, the world’s largest pork producer, kicked off on Monday.

The outcome could have major implications for the state’s multibillion-dollar pork industry and could force big changes to the way farms manage excrement.

The twenty-six lawsuits were filed in 2014 by more than five hundred plaintiffs living near industrial hog farms in eastern North Carolina. The plaintiffs argue that the farms’ practice of storing hog waste in open-air cesspools and then liquefying and spraying the remains onto nearby fields has made their lives miserable. other things, To advertise or featureAmong a pet for adoption, they say that theadvertising@indyweek.com odors and mist from the please contact spray drift onto their property; that the hogs attract swarms of flies, buzzards, and gnats; that boxes filled with rotting dead hogs produce an especially pungent stink; and that the stench has limited their ability to go outside.

The lawsuits claim that Murphy-Brown’s parent company, Smithfield Foods—which was purchased by the Chinese corporation WH Group in 2013 for an estimated $4.7 billion—has the financial resources to eliminate the odors but has “failed to do so negligently and improperly.”

The first trial concerns ten plaintiffs who live near Kinlaw Farm in Bladen County, which, according to court records, contains twelve hog buildings and three open-air cesspools. The farm, which contracts with Murphy-Brown to raise the company’s hogs until they are processed, is not the subject of litigation. Even so, industry advocates have argued that these lawsuits are an assault by avaricious attorneys on hardworking family famers.

“North Carolina’s hog farmers are under

a coordinated attack by predatory lawyers, anti-farm activists, and their allies,” Smithfield Foods told the INDY last year. “The lawsuits are about one thing and one thing only: a money grab.”

According to their complaint, these ten plaintiffs “have suffered episodes of noxious and sickening odor, onslaughts of flies and pests, nausea, burning and watery eyes, stress, anger, worry, and loss of property value.”

Plaintiff Delois Lewis, according to the complaint, can no longer hang clothes outside to dry because they will absorb the hogs’ odors. Archie Wright says he can occasionally hear the screams of hogs through the wooded area that separates his home from the farm, and he can no longer open his windows to air out his home. His girlfriend, Teresa Lloyd, “spends much less time outside now than before the Facility was constructed due to the bugs and the odor.”

Although the plaintiffs take issue with the farm’s sprayfield system, Murphy-Brown’s attorneys said in a court filing that jurors should not hear about alternative technologies that farms outside of North Carolina use to dispose of hog waste, because that would imply that such technologies could be implemented at Kinlaw Farm.

The company’s attorneys have also asked the court to exclude references to Smithfield’s Chinese ownership, as well as information about Murphy-Brown’s lobbying and public relations activities, including on legislation such as HB 467, a bill passed last year that limited the amount of money people suing agricultural operations could collect in nuisance lawsuits.

The trial is expected to last about six weeks. The next trial, which involves a new batch of plaintiffs, will be heard two weeks after the first trial ends. After that, trials will be held once a month until all of the cases are decided or a settlement is reached.

Which means we could be doing this for a while. ehellerstein@indyweek.com

INDYweek.com | 4.4.18 | 11

True Detective

For Brother’s Keeper and Paradise Lost director Joe Berlinger, true-crime storytelling matters most when it gets real results

BY ERYK PRUITT

D

True Lies

How docs bend reality to get at its heart

BY BRIAN HOWE

All decent journalists know that you can’t just aim a recording device at reality and expect it to divulge the truth. You have to analyze, interpret, and present the information in such a way that its hidden inner workings and its invisible outer context are made clear, forming a choreography of storytelling in which truths below the surface can be glimpsed.

Documentarians know the same secret. While some argue for the most dispassionate gaze, others aesthetically complicate or inject themselves into the stories they document in pursuit of truth beyond what the eye can see. By and large, these are the people we are highlighting in our preview of the 2018 Full Frame Documentary Film Festival, an annual institution that draws docs and filmmakers from around the world to Durham.

We spoke with Joe Berlinger, the legendary Paradise Lost director and curator of Full Frame’s true-crime program, about his groundbreaking infusion of dramatic-fiction tropes into documentaries that achieved real-world results. We examine how Terrence Malick and Eugene Richards made two films, one fictional and one documentary, from the same footage. And we explore a unique skateboarding documentary in which one person is both director and subject. We also look at Owned: A Tale of Two Americas, a dark screed powered by its director’s personal experiences, and Capturing the Flag, an interesting view from the outside of voter suppression in North Carolina.

This selection only scratches the surface of what’s available at Full Frame—we highly recommend the tribute program to Egyptian-American filmmaker Jehane Noujaim, for example—but it gives an overview of the challenges, opportunities, and stakes for documentarians in an age of untrustworthy news. More than ever, you have to shape the truth to make it true. And more than ever, you have to be careful and responsible in how you do it.

12 | 4.4.18 | INDYweek.com

irector Joe Berlinger knows a thing or two about the power of true-crime storytelling. His award-winning 1992 debut, Brother’s Keeper, about the alleged 1990 murder of William Ward in Munnsville, New York, challenged the way documentaries presented their subjects. He followed it with Paradise Lost, which led to the release of death-row inmate Damien Echols.

In subsequent films, Berlinger has taken on Whitey Bulger, an Ohio serial killer, and the Chevron Corporation. His work delivers him to Durham for this year’s Full Frame Documentary Film Festival, where he curated the festival’s first true-crime documentary program. The selections include three of his own films as well as the likes of In Cold Blood, Scenes of a Crime, The Thin Blue Line, and Frederick Wiseman’s 1967 Titicut Follies, which has only recently been made available in the United States.

We stole a few moments from Berlinger’s hectic schedule to discuss his selections, his influences, and the wide-open future of truecrime storytelling. We also talked about the difference between true-crime entertainment and public service: convictions made or overturned, conversations started, lives changed.

INDY: Is this your first time at Full Frame?

Have you curated many film-festival programs before?

JOE BERLINGER: I’m a veteran. I’ve shown quite a few of my films there. I was thrilled when they asked me to do this. I’m a fan of Full Frame. I appreciate the fact that it’s totally focused on documentaries. The screenings are always packed; there’s always good conversation afterward. I can’t think of many festivals where they ask guest filmmakers to curate a thematic program.

Your work has achieved canon status in the true-crime documentary arena. What was your gateway into this genre? Mine was the book Helter Skelter.

Truman Capote’s In Cold Blood kind of opened my eyes. That book gave birth to the true-crime genre. It was influential in how I wanted to go about making my true-crime films because Capote was kind of inventing a new form of literature called the nonfiction novel. It was the first time that journalistic technique was blended with fictional narrative technique. He was merging the form of the novel with a nonfiction story. I consider what I do the filmic equivalent of what Truman Capote was doing with literature.

Brother’s Keeper was an early expression of that idea—not straightforward documentaries, which are like an illustrated lecture of some subject, but to infuse dramatic narrative qualities in them.

Your work often exposes how different interests attempt to shape narratives to fit their own purposes. How does that— and your overall view of crime and punishment—run throughout the selections that you've chosen for this program?

I tried to pick films that either had a deep influence on me or represent hallmarks in this genre. For example, Errol Morris’s The Thin Blue Line—this was the first time a filmmaker used stylized recreations to tell a nonfiction story. Today, stylized recreations are very common, but Errol was the first to kind of open or redefine the envelope of what a documentary could be. Titicut Follies, which looks at a hospital for the criminally insane, is a hallmark film in cinéma vérité. Brother’s Keeper, my own film, is a landmark in this kind of nonfiction feature film which pushed the envelope with regard to style, with an evocative opening sequence that used an original score. Documentaries before then didn’t use original music because people who made documentaries felt that you were manipulating how the audience should feel instead of being journalistic.

I included one scripted film which is not a documentary, In Cold Blood. It was

shot in 1967, a time when location shooting was not as common. Richard Brooks went to the real town to shoot the feature film.

They shot the killings at the same house where the Clutter family was murdered.

Can you imagine the actors shooting these scenes in the very house where the murders took place a few years earlier? Seven of the twelve jurors in the film were jurors on the actual case. There was such a push for authenticity that I found the film to be very compelling and influential in my development as a filmmaker.

Lately other platforms, especially podcasts, have become ubiquitous methods of truecrime storytelling. What excites you about the future of the genre?

Exactly what you said. I haven’t announced it yet, so I can’t give too many details, but I’m going to try my hand at a true-crime podcast in the fall. There’s such a proliferation of ways of storytelling today. It’s a great time to be a storyteller. People are hungry for content and there’s all sorts of places to put your stuff. It makes me happy because I get lots of stories from people in prison who saw Paradise Lost or one of my TV series who are claiming wrongful conviction or some other abuse of the system, and you can’t make a feature documentary about everybody you get a letter from. But with all the interest in true crime in digital form, in short form, in podcast form, there’s all sorts of ways of telling stories these days.

Recently, you've taken your own shot at the In Cold Blood story.

We did a series called Cold Blooded which looks at the underlying crime itself and focuses more on the victims. One of the prices we’ve paid with this explosion of true crime is that the focus is often the perpetrators of crime. You remember the perpetrators rather than the victims. So, my one criticism of In Cold Blood—both the book and the movie—is that it treats the Clutter family as a side note, and we as a society have kind of celebrated the perpetrators. Perry Smith and Dick Hickock became cultural icons even though they were murderers, and nobody really knew the Clutter family.

How did you choose which of your own works to include?

I felt uncomfortable choosing my own shows, so I gave that task to [Full Frame programming director] Sadie Tillery. Paradise Lost—rarely does a filmmaker have an opportunity to have a direct impact on a case. We made three films over twenty years, which led to the release of the West Memphis Three. And then Gone: The Women of Ohio, I think we pushed the envelope on what a TV investigation could be.

This was a real-time serial-killer investigation because, while it was unfolding, nobody knew who the killer or killers were.

The parents of the victims felt like because their daughters were drug-addicted prostitutes, nobody cared or was paying attention to the crime. The police weren’t taking it seriously. I felt everybody deserves justice.

I’m going to mount my own investigation and do it with cameras rolling. That’s the most out on a limb I’ve ever gone covering a story.

Joe Berlinger PHOTO BY HENNY GARFUNKEL

“I felt everybody deserves justice.

I’m going to mount my own investigation and do it with cameras rolling.

That’s the most out on a limb I’ve ever gone covering a story.”

What do you want people to take away from this program?

That good storytelling can be combined with a social justice aspect and have positive results.

Titicut Follies had a major impact. Despite being banned for twenty-five years, it opened people’s eyes to what goes on inside those institutions. The Thin Blue Line got somebody out of prison. Paradise Lost got somebody out of prison. Liz Gorbus and Jonathan Stack’s The Farm opened people’s eyes to what goes on in prisons. There’s two kinds of true-crime filmmaking. There’s certain shows that wallow in the misery of victims and have no socialjustice component. It’s just storytelling at the expense of the victim, and that’s not the kind of filmmaking I want to do or admire. I admire those true-crime filmmakers who do something to expose an abuse, to reveal wrongful conviction or some other aspect of the criminal justice system that needs to be told.

Is there one you wish you could have included that didn’t make the cut?

It was hard to limit it to eight films. I especially felt guilty that three of them were mine. There’s a million other things: The Staircase, amazing. The Jinx, amazing.

Making a Murderer. There’s a lot of shining examples of the genre, both old and new, that I wish I could have included, but maybe they’ll do a Part Two next year. arts@indyweek.com INDYweek.com | 4.4.18 | 13

True Enough

The same footage, treated as fiction in Terrence Malick’s To the Wonder and as fact in Eugene Richards’s Thy Kingdom Come, forms a complete picture of faith and filmmaking

BY JULIE M. HAMILTON

E

14 | 4.4.18 | INDYweek.com

ugene Richards’s new documentary, Thy Kingdom Come, is one of several films at Full Frame that engage with religious questions. Its origins lie in director Terrence Malick’s To the Wonder, an experimental film that weaves together stories that demonstrate memory’s witness to love—both divine and human—amid rural and urban landscapes.

Drawing on Richards’s background as a photojournalist concerned with poverty and racial issues in the American South, Malick hired him as the videographer for the film. But the director used only a sampling of Richards’s extensive footage from Osage County, Oklahoma. Finding the stories of the people of Bartlesville powerful enough to tell on their own, Richards acquired the rights to the interviews and compiled extended versions of them as a documentary short.

Part of what makes Malick’s storytelling unique is his employment of cinéma vérité, a style of filmmaking that incorporates improvisational camera use and sees the filmmaker as a participant-observer in the reality at hand. Capturing life “as it happens” with partly unedited dialogue enhances verisimilitude. It challenges fictional filmmaking by mixing actors with non-actors and questions the parameters of documentary with scripted elements.

From this vantage, Richards filmed actor Javier Bardem, in character as Father Quintana, having unscripted conversations with people in nursing homes, prisons, and hospitals. Bardem plays a priest who struggles to believe in the very thing that he represents to a local church. Making house calls to his parishioners, he wrestles with his faith amid extensive systemic brokenness—poverty, sickness, depression. Inevitably, he must practice the homilies he preaches: “Love is not only a feeling, it is a duty. You shall love.

It is a command. You feel that it has died?

It is perhaps waiting to be transformed into something higher.”

THY KINGDOM COME

Saturday, April 7, 10 a.m.

The Carolina Theatre, Durham www.fullframefest.org

Malick used Richards’s footage to illustrate Father Quintana’s spiritual evolution, how his vocation is illuminated by the handicapped, the old, the ill, and the impoverished. He is utterly transformed through the stories of strangers, discovering the deeper meaning of loving one’s neighbor.

But Thy Kingdom Come approaches this footage from the perspective of documentary. The film opens with Bardem stating: “Is this a true story? Yes, I would say so. Is the priest a real priest? No. But it’s as if they were waiting for him.”

Instead of the fictional Father Quintana’s conversion, Richards’s film is about the real people the character sought to help: recovering drug addicts, the incarcerated, former Ku Klux Klan leaders. All have experienced hardship and suffering as a normal way of life. The film’s title is taken from a line in the Our Father prayer (“Thy kingdom come, thy work be done on earth as it is in heaven”), which is intrinsically a political statement embodying the compassion and love that transform communities.

Perhaps Richards is proposing that it doesn’t matter if Javier Bardem is a fictional priest, because what he is offering his cinematic parishioners is his undivided attention, listening and affirming their humanity as they are. With To the Wonder, Thy Kingdom Come completes a diptych of fictional and documentary filmmaking.

But ultimately, both films are about the immanence of human presence, the iconic power of the human face. arts@indyweek.com

Sad but True

A dark look at the American suburbs' numbing design and racist underpinnings in Owned: A Tale of Two Americas

BY NEIL MORRIS

“T

it provides security, and if you do it the right way it builds he irony is, I raised money to make this film strong communities. It dictates where you go to school and by flipping two houses,” Giorgio Angelini says, your propensity to move up socioeconomically. But at the chuckling, about Owned: A Tale of Two Americas, same time, if you let capital interests invade this utopian his documentary about the ugly side of the American housideal and run amok, it can quickly become commoditized to ing industry, which has its world premiere at Full Frame. a point that it becomes dangerous for society.”

A native of Houston, Angelini bought his first home Through the stark sights of abandoned construction in Durham when he was playing drums and bass in the projects in sweeping vistas, Angelini posits that the housRaleigh indie rock band The Rosebuds and touring with ing industry is an insatiable beast that subsists on the back Brooklyn band Bishop Allen. But the financial crisis of of an ultimately self-crippling economic culture.

2007 and ’08 had a detrimental impact on the entire economy, including the concert and entertainment industry, and Angelini abandoned his musical pursuits to enroll in architecture school.

“In the middle of the crisis, it was an interesting time to be in architectural school,” Angelini says. “We were coming out of this Dubai period of excess, and the discipline itself was asking, what was the role of design and architecture in this post-recession world? All these ideas were ruminating in my head.”

Angelini received a graduate-school Owned: A Tale of Two Americas PHOTO COURTESY OF THE FILMMAKER grant to research the U.S. housing crisis.

“The idea of home had been reduced to the most efficient His project included photographing the Inland Empire capitalistic desires,” Angelini says. “Instead of bushels of region of Southern California. oranges, they decided the best land use was a collection of air“It was five thousand square miles of centerless sprawl, conditioned square feet. There was lack of human intention, basically nothing but suburban development and private where you could almost feel these [markets] printing out this construction,” he remembers. “You had these burned-down landscape of homes.” orange groves sitting alongside these half-built McManOwned is also, as its subtitle says, a tale of two Americas. In sions, a really post-apocalyptic look. I felt that there needed the five years he spent making the film, Angelini expanded his to be a bigger story told.” view into other planned development communities and ran In Owned, the bigger story revolves around a contrarian headlong into how racial and economic segregation is inexinterpretation of the usually unassailable notion that home tricably linked to middle-class suburbia after World War II. ownership is an essential element of the American dream.

“The original idea behind the film was rooted in the rela“What the film is trying to say is that it’s this doubletionship between design and commoditization,” Angelini edged sword,” Angelini says. “Owning a home is great and

OWNED: A TALE OF TWO AMERICAS

Friday, April 6, 10:30 a.m.

The Carolina Theatre, Durham www.fullframefest.org

says. “It became very clear that I couldn’t tell that story without telling the other side.”

The film goes to hollowed-out neighborhoods in Baltimore to locate the contemporary effects of decades of discriminatory housing practices and policies.

“White flight didn’t happen by accident,” Angelini says. “It wasn’t a self-selecting, albeit racist, situation. It was very much encouraged by federal laws that were interpreted on the local level in particularly bad ways.”

Owned is Angelini’s first directorial effort, though he was executive producer of the feature film My Friend Dahmer. The expansive subject matter is packed into a dense eighty-two minutes, with a generous array of archival footage, from news features and vintage advertisements to television programs: Archie Bunker grouses about African-American neighbors on All in the Family; the inequities of “redlining” are discussed on Good Times. Beyond mere entertainment, Angelini says there’s a narrative purpose behind these pop culture snapshots.

“I wanted the feel and pace of the film to be like if the American dream was a place you could inhabit,” he says. “I wanted to create the fever-dream version of that.” arts@indyweek.com INDYweek.com | 4.4.18 | 15

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Food and Drink by: Bull City Cider Works/Starrlight Mead/ Clouds Brewing/Queso Monster and more!

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Children’s Games, Crafts and pony rides!

Live Jousting! Horse-back Archery! Juggling!

Fire-spinning! Aerial Circus! www.festivaloflegends.com The Festival of Legends

Capturing the Flag takes a hard look at the ugly reality of voting in North Carolina

BY JEFFREY C. BILLMAN

C

apturing the Flag, an often infuriating documentary about voting suppression in North Carolina, climaxes in a hotel room in Cumberland County, where three exhausted election volunteers are sprawled on beds watching the 2016 returns come in on the television. Being liberals who

also a weird way to end a movie about voting rights in the Tar Heel state. After all, while Wisconsin’s draconian voter ID law may have helped throw that state to Donald Trump—one analysis found that as many as forty-five thousand people there were deterred from voting in a state Trump

CAPTURING THE FLAG

Sunday, April 8, 2 p.m.

The Carolina Theatre, Durham www.fullframefest.org

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traveled to the state from New York City, they are dismayed by what they’re watching.

One, Steven Miller, is especially losing his shit. “What the fuck are they all voting for?” he yells to no one in particular.

For those of us who lived through that night with similar convulsions of horror and disbelief, watching that scene elicits something like posttraumatic stress. It’s

won by fewer than twenty-three thousand votes—North Carolina’s similarly naked attempts to suppress African-American votes never went into effect The bottom line of 2016 was this: Clinton didn’t excite voters, and Trump, as loathed as he was, hit a royal flush, winning exactly the states he needed to win with the tiniest of margins. And that is

how we got this bungling disaster of a presidency.

But that’s not to say the right to vote isn’t endangered, or that there aren’t active, ongoing efforts to disenfranchise minorities. There are. Straightaway, the film describes these efforts, starting with the Supreme Court’s 2013 Shelby v. Holder decision, which overturned part of the

Voting Rights Act and opened up a Pandora’s box for Republican states that wanted to make it harder for Democrats to vote.

This manifested, among other places, in North Carolina, which restricted Sunday voting and implemented a strict voter ID law under Governor Pat McCrory. That law was later struck down by the courts, but by 2016 these efforts had solidified the state’s reputation for antagonism to voting rights.

That sets the backdrop for Capturing the Flag, which begins a few days before the election. Laverne Berry, a Brooklyn entertainment lawyer, and her friends Miller and Claire Wright are planning to head to the center of the storm, North Carolina, to serve as election monitors for the Democratic Party.

Director Anne de Mare says she first conceived of this story through Berry, who was doing work for one of the film’s pro-

There were shortened voting times and fewer polling stations, which meant longer lines, and lots and lots of conflicting information.

The subtlety with which this kind of suppression happens is significant. It’s not as stark as a poll tax or a literacy test.

It’s a lot of little things that can add up to a big thing.

“Voter suppression looks a lot different than it did in the fifties or sixties,” de Mare says. “It’s neglect, lack of funds, shifting legislation, a sense of confusion.

I by no means think these issues are specific to North Carolina. But North Carolina has had some of the most high-profile instances.”

After the film makes its world premiere at Full Frame on Sunday afternoon, de Mare and Capturing the Flag’s protagonists will sit for a moderated conversation.

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“Voter suppression looks a lot different than it did in the fifties or sixties. It’s neglect, lack of funds, shifting legislation, a sense of confusion.” ducers. Berry mentioned to the producer that she needed to get things wrapped up before the election because she had to do voting-rights work; the producer’s interest was piqued, and she called de Mare, who was intrigued. It wasn’t a deliberate choice to focus on North Carolina, she says. It was just that this was where Berry was headed, and de Mare’s cameras followed.

What they found when they arrived in Fayetteville was a lot of confusion and frustration, less brazenly malicious attempts to block the vote—at least at the precinct level—than a bureaucratic mess that just so happened to disproportionately affect black voters.

There were the three thousand voters whose names were purged from the voting rolls just before the elections, only to have them restored by a federal judge.

There was the voter who was told she didn’t appear on the rolls even though she’d voted in the primary.

There was another voter who was turned away from three different polling stations, and yet another who learned that the DMV lost his paperwork, and yet another who was told to return with an ID even though the voter ID law had been struck down.

That’s the part, de Mare says, that she’s most “looking forward to and a little nervous about. We really need to understand that there is a role for us to play in this process—people asking themselves, how can I participate?”

The answer to that question, she says, is to get involved in pro-democracy organizations.

But she adds that “we need to lead the leaders”—for the politicians on Jones Street, it’s in their interest to make it difficult for minorities to vote. That’s why we see gerrymandering and efforts to enact voter ID laws. At its core, it’s about the consolidation and concentration of power and the fear of what a true democracy would mean for the powerful. So to convince lawmakers to protect voting rights, she argues, we need to organize—to get loud.

“I learned a lot in this process, in a lot of different ways,” de Mare says. “The overwhelming takeaway is that we’ve been really careless with the way we take care of our election process. We really don’t invest in the process of elections to the extent we need to.” jbillman@indyweek.com INDYweek.com | 4.4.18 | 17

True Blood

Skate videos immortalize the physical glory and pain of skateboarding life, leaving docs like Minding the Gap to explain why

BY BRIAN HOWE

I

love skateboarding, both the physical feeling and aspects of the culture, and skate videos are where the physics and culture collide. These days, the tradition of the sponsored group skate video is under siege by unaffiliated prodigies on Instagram.

(The skating arms race has accelerated to the point where little kids rip as hard as the teenage pros of the eighties.) To me, this seems

happens. These are a very particular type of documentary, equal parts visual poem, highlight reel, and advertisement. Real life gets in through the convention of editing bits of spontaneous horseplay between the lines, and tricks are verifiable events in the world.

But they were staged over and over to achieve the desired result, and we usually don’t see the fifty painful tumbles off the rail.

MINDING THE GAP

Saturday, April 7, 4:30 p.m.

The Carolina Theatre, Durham www.fullframefest.org

its develo over the y emerge fr is handso we soon g first, he’s a “Are yo the thing?

“I’ve given tion.” The terribly w ingly tend most trou the mothe fitful atte sliding an has in com Keire, t the only A park. Sw ing emb he finds doesn’t fi with his t tar. But w his friend racial slu decks in discipline “Well, the is about g breaking

scr

SINGL

SUNDAY, SHADOW

Minding the Gap PHOTO COURTESY OF KARTEMQUIN FILMS inevitable but a little sad, because seminal videos form a record of skating’s technical and cultural evolution: the prelapsarian innocence (before Bam Margera and the X Games) of 1987 Bones Brigade classic The Search for Animal Chin; Margera’s nihilistic, violent CKY series a decade later (which gave the world Jackass—you’re welcome?); and the skate mag Transworld’s cool, arty rebuttal, In Bloom.

While some skate videos have stories and expensive production, others are the result of children being turned loose on the streets with cameras and boards to see what 18 | 4.4.18 | INDYweek.com

If skate videos are all about enshrining glory, skate documentaries tend to be much bleaker affairs, illuminating the dark backdrop of the joyous oblivion all pushers seek.

After all, as much as skating is toward pleasure, it is also away from pain. Most skate docs are about great skaters: my favorite is Rising Son: The Legend of Skateboarder Christian Hosoi, which chronicles the rise and fall of the skate artist whose soulful bravado played counterpoint to Tony Hawk’s robotic precision back in the day.

Minding the Gap, showing at Full Frame on Saturday, is something else again: it’s a

Maybe yo the screen Or maybe any numb being trad doc about a group of average skaters. With In any s the glory stripped away, only the question prietors of remains: Why do they abuse their bod- ries, have ies by leaping around sharp bits of con- Frame min Sunday. Bi crete and metal on finicky wheeled boards?

Screening The answer is that it shoots them out of a experimen grim gantlet of child abuse, racism, paren- known for tal neglect, and postindustrial decay. It “Single becomes easy to see why improvised fami- ditional do lies take shape in such an inhospitable void. budget Ho For ten years, the young director Bing Liu the Durha filmed his friends in Rockford, Illinois, a event. “W truly rusty Rust Belt town that they traverse by a small by wooden toy, their simple ollies and shove- … that cha

its developing into solid kickflips and airs over the years. Three main characters soon emerge from the scrum. Zach, the film’s id, is handsome, charismatic, hedonistic, and, we soon gather, inexplicably tortured. But at first, he’s all party.

“Are you going to put me smokin’ weed in the thing?” he asks Liu, breathing out fumes.

“I’ve given you free range. I have no stipulation.” Then he shotguns a PBR. Zach fights terribly with his baby’s mother but is surprisingly tender with the baby. His arc, the film’s most troubling, is about his relationship with the mother (she gets her own arc, too) and his fitful attempts to grow up, frequently backsliding and replicating the cycle of abuse he has in common with all his friends.

Keire, the film’s heart and soul, is almost the only African-American kid at the skate park. Sweet and self-conscious, radiating embarrassedly suppressed delight, he finds a kinship among skaters that he doesn’t find at home, where he stands out with his tie-dyed T-shirt and electric guitar. But we also see his alienation when his friends repeat or laugh at pop-culture racial slurs, and he sometimes destroys decks in anger. When asked how he was disciplined as a child, he explains mildly, “Well, they call it child abuse now.” His arc is about getting over his father’s death and breaking free from Rockford.

screen

Finally, there’s Bing, who, as cameraman and director, is essentially the film’s god or conscience, which are maybe different ways of saying the same thing. Quietly and thoughtfully, he steers the film toward confronting and healing everyone’s wounds, from his own mother’s choices to Zach’s alcoholism and abusiveness. Bing’s moment with Keire near the end (you’ll know it when you see it) is now seared on my heart forever. He doesn’t redeem Zach but doesn’t quite damn him, either, though Zach seems intent on damning himself, as is borne out in his cathartic final speech.

Who is Zach? This is the enigma at the center of the film. “Some people do take their negative experiences and turn them into powerful positive things,” he says. “I just don’t think I’m that type of person.”

But what Liu renders crystal-clear in Minding the Gap is that all his friends— and indeed, many skaters around the world and throughout time—are trying to make up for families and societies that let them down, trying to build adulthood atop childhoods they feel they didn’t have. It’s a hard lesson, but one rendered tolerable, for us and for the film’s subjects, by the frame of skating’s lyric poetry in space, its stubborn grace against all odds. bhowe@indyweek.com

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BRIEF

SINGLE FRAME

SUNDAY, APRIL 8, 6 P.M. SHADOWBOX STUDIO, DURHAM Maybe you can’t afford Full Frame. Maybe all the screenings you want to see are sold out.

Or maybe you have a grudge against it for any number of reasons—being mainstream, being traditional, being elitist, being popular.

In any scenario, the Smyth brothers, proprietors of the Unexposed Microcinema series, have you covered with their new Single Frame mini-fest at Shadowbox Studio on Sunday. Billed as “Durham’s Anti-Full Frame Screening,” the free showing features short experimental docs of the kind the Smyths are known for creating and curating.

“Single Frame aims to shed light on nontraditional documentaries in a time when bigbudget Hollywood documentaries are hitting the Durham scene,” the Smyths wrote of the event. “We respect documentaries created by a small crew of people with huge vision … that challenge our perception of reality by

presenting a new way to see the world.”

But the Smyths told the INDY they aren’t really that mad at Full Frame. “Obviously ‘antithesis’ implies some combative tone, and we keep saying that to draw hype, which is kind of funny to us,” they said. “It’s more of complementary screening to Full Frame, to show Durham that we don’t just show big-budget Hollywood docs to folks from New Jersey who buy all-access passes and fly down for the weekend."

Single Frame seats about fifty, BYOB, though there will be a pony keg from sponsor Ponysaurus and free food in the break between screening blocks. Whether you’re a Full Frame hater or just wanting more film, it's worth checking out: unless you’ve been to an Unexposed screening before, we can virtually promise you’ve never seen docs like this, at Full Frame or anywhere else. —Brian Howe INDYweek.com | 4.4.18 | 19

indyfood

Riki Tiki Tipsy

THE TRIANGLE’S TROPICAL DRINKS ARE MIGHTY TASTY, BUT THEIR HISTORY IS HARDER TO SWALLOW

BY ALLISON HUSSEY

O

n a visit to Atlanta a few weeks ago, two close friends took me to a place I knew only through myth and Warren Zevon’s “Werewolves of London”: a Trader Vic’s. The institution was a leading force in popularizing tiki bars and beverages in the United States, where only two locations now remain. (The chain is flourishing in the Middle East, however.)

Stepping into the bar, which is in the bottom of the downtown Hilton, was like entering a time warp. The walls were covered with Asian newspapers, fishing nets, turtle shells, and at least one how-isthis-legal sawfish bill. I left feeling oddly delighted but full of questions. How did tiki bars ever get to be such a fad? And what kind of place do they have in our culture today?

In the early 1930s, two Polynesianthemed restaurants opened independently in California: Don the Beachcomber in Hollywood, followed shortly by Trader Vic’s in Oakland. Following World War II, service members returning from the Pacific theater engendered an American fascination with the region. In the following years, Americans got James A. Michener’s Pulitzer-winning book Tales of the South Pacific (1947) and a Rodgers & Hammerstein musical version, South Pacific (1949, then a film version in 1958), and Hawaiian statehood (1959).

Elvis Presley’s 1961 movie, Blue Hawaii, continued to fan the flames. Swept up in all this were tiki figures, leis, decorative little lantern lights, thatch roofing, and more.

Conveniently lost in the mix were the facts about destructive Western colonialism in the Pacific, as well as the Marine Corpsbacked coup that overthrew the Kingdom of Hawaii to support American agricultural interests in the late 1800s.

Even when viewed charitably, American tiki culture perpetuates the flattening of various indigenous cultures in Asia and the Pacific Islands. Less charitably, tiki culture 20 | 4.4.18 | INDYweek.com

perpetuates the colonialist idea that white folks can take what we want from a culture, strip sacred objects of meaning, and mash a whole bunch of unrelated signifiers into something “fun.”

But tiki popularity persists, including at a handful of Triangle bars, probably because most folks don’t spend their leisure time deeply researching the cultural histories of niche fruity, high-alcohol beverages that were invented to invite a good time.

Chapel Hill’s Lantern and Durham’s Saint James Seafood and Alley Twenty Six all offer highly refined refreshments that fit the tiki bill. Saint James’s tiki menu is a permanent fixture, Alley Twenty Six trots it out on its weekly “Waikiki Wednesday,” and Lantern’s is a seasonal feature. Typical tiki drinks boast a lengthy list of ingredients to balance several complex flavors, which requires a deft bartender with finely tuned taste buds. On that score, these three spots pass with flying, dizzying colors.

At Saint James, I wondered how the crème de cacao of the Pago Pago (named for the capital of American Samoa) would fare with green chartreuse and muddled pineapple. It feels wrong to call a cocktail “buttery,” but it went down with almost alarming ease; served in an elegant coupe glass, its presentation is as gorgeous as its flavor. I surprised myself with how quickly I hit the bottom of the tasty Karl’s Retreat, which combined rum with Cointreau, applejack, guava, and lime juice, topped with a Hamilton 151 float.

Up the street, Alley Twenty Six’s Waikiki Wednesday features a strong menu. The Bull City Beach Party is citrusy and served with a mint sprig, while the Suffering Bastard— one of several “traditional” tiki cocktails— has a stronger floral bent. Pineapple and rum flavors dominate the Big Island (no complaints here), which has a significantly more prominent alcohol taste than the

The Hurricane at The Outpost in Raleigh PHOTO BY CAITLIN PENNA

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

The Suffering Bastard at Alley Twenty Six in Durham PHOTO BY CAITLIN PENNA others. It led one friend to declare it “tastes like you want to sit on the beach and get fucked. Up.” Which is the point, I suppose.

You can also ask for a Captain’s Orders, a thematic drink made at the whim of your bartender. You can request modifications according to your tastes—I stipulated only “no fernet” and got something with honey, orgeat, light rum, and bitters that was divine.

At Chapel Hill’s famed Lantern, the biggest winner is the Hurricane Lantern. Light and sweet, it features Flor de Cana four-year rum, pineapple, and locally grown maypop, which is the fruit of a purple passionflower. It feels like the drink equivalent of getting dessert first, especially after chasing it with the salty, gin-based Edgewood. The Junebug—lemon-ginger soda with Pimm’s liqueur and cucumber—is light, fizzy, and refreshing.

In Raleigh, The Outpost cultivates a different kind of atmosphere. Think more along the lines of a rowdy rumrunner getaway than a luxe island lounge. Its cocktails are

all slightly cheaper and a good bit less fussy, which works out just fine. A bourbon-based Kentucky Buck is tart and heavy on strawberry flavor, while The Outpost’s mischievous Hurricane tastes almost exactly like a Fruit Roll-Up. The lone exception to the low-key ambiance is the Zombie, which the bartender finishes off by lighting the drink’s floater shot on fire, shaking cinnamon on top for a few extra sparks. The Outpost’s drinks aren’t as highbrow as the area’s other tiki offerings, but they pack a punch that’ll leave you reeling through downtown Raleigh.

While tiki drinks may not be as popular as they were a generation or two ago, they remain a cultural relic that reflects the issues of appropriation and cultural sensitivity that have become part of the mainstream cultural conversation. It’s something for area bars to consider: just as a rose by any other name would smell as sweet, a tropical cocktail with less problematic branding would be just as tasty. ahussey@indyweek.com

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indymusic

BRICKSIDE MUSIC FESTIVAL Saturday, April 7, 2 p.m., $15–$20 Duke Coffeehouse, Durham www.dukecoffeehouse.org

Xiu In

DOES JAMIE STEWART STILL HATE DURHAM?

BY DUSTIN BRITT

S

even years ago, Jamie Stewart, frontman of the noisy, experimental music project Xiu Xiu (pronounced “shoeshoe”), caused a stir in Durham. In a June 2011 blog post on his website, xiuxiu.org, he called the city a “cigarette burn of a town,” deriding its “fake everything, fake history, fake bass ball, fake irish bars, fake post genocide culture, fake mHusic, fake find your cool, fake weekly newspaper.” A few months later, in January 2012, Stewart published a column on The Huffington Post where he continued to lay out Durham’s flaws, pointing out that the city was the only place he’d been physically threatened and called slurs to his face.

That “fake weekly newspaper”—this one—ran a feature by Grayson Haver Currin in March 2012, which further outlined Stewart’s problems with his temporary hometown. Even if some of Stewart’s points about the city were valid—the hypocrisy of the city’s “Find Your Cool” branding despite his and others’ experiences to the contrary—but locals were rankled by his tone and persistence. Many asked, “If you hate it so much, why don’t you just leave? And so, later that year, he did.

Stewart now lives in Los Angeles, where he’s continued Xiu Xiu’s path as one of this generation’s most intriguing and provocative experimental artists. This weekend, he returns to Durham to play Duke Coffeehouse’s annual spring Brickside Music Festival, alongside Bill Orcutt, Ahleuchatistas, Tashi Dorji and Sarah Louise, and more. We caught up with Stewart about what he’s been up to in the years since he decamped from Durham.

INDY: Did you know that David Lynch was doing a third season of Twin Peaks before you released your tribute album in early 2016?

JAMIE STEWART: Our devotion to Twin Peaks has existed furiously since the beginning of the band. We had initially been commissioned to play two shows of it by the Queensland Gallery of Modern Art in 22 | 4.4.18 | INDYweek.com

Australia. While we were there, the curator of the museum—who had gotten to know David Lynch very well—told us there was going to be a third season.

Across your career, you’ve done some notable covers of women like Tracy Chapman, Björk, and Nina Simone. Why add ZZ Top’s “Sharp Dressed Man” to the list?

The A.V. Club has a series wherein they give bands a list of songs to choose from to cover.

I looked at the list and it was a lot of music that I actively dislike. “Sharp Dressed Man” is a preposterous song, but it’s not a pompous or douchey song. It is redeemable in that it is not trying to be anything other than what it is. They are unapologetic about their obsessions with fucking and cars. They’re not trying to pretend that they’re not. It was really the only honest song on the list, even though it’s far away from my general sphere of interest.

You’re playing in Tennessee, Georgia, and North Carolina, which have always had a contentious political relationship with the queer community.

Oh, yeah. I lived in Durham for four years.

It’s the only place I’ve been called “faggot” to my face.

Do you feel as though touring through those areas is a form of outreach?

I haven’t been in that part of the world since Hitler II was elected to our presidency. I don’t know what it’s fucking like. I have not had a great time in that part of the U.S. I really hated living [in Durham]. On the other hand, I more than likely won’t see anything that bothers me. Most people who go to little underground shows are pretty progressive politically. I don’t have to deal with any of the bullshit there and I get to drive away. Nothing bad will happen but nothing good will happen either.

Do you hope or assume that Durham is different from what it was in 2008?

FILE PHOTO BY JEREMY M. LANGE

It doesn’t make any difference what I hope or assume. I will be there for less than twenty-four hours. I hope that people who come to the show get something out of it. I mean, Durham isn’t my nephew, I don’t have a lot of hopes and dreams for it. I hope that any place on earth is better than it was. And I know that for a lot of people who live there they fucking love it.

Why tour through a town you notoriously hate?

I fucking hate New York, too, and I play there all the time. I’m going there to play a show, I’m not going there to live. It doesn’t make

any fucking difference where it is. I mean, who cares that I didn’t like living there?

Do you think the behavior you experienced while you were in Durham is still reflective of the entire city?

No, obviously not. But does it matter? It doesn’t really make any sort of sense to say “I dislike a percentage of Durham.” The bottom line is I’m going to play a show there and I will dig as deep as I can to have it be a real show for the people that come. When I lived there some shitty things happened to me.

And I rarely think about them. music@indyweek.com

Durham Performing Arts Consumer “Where the audience talks back.”

Concerned about the direction of DPAC? Unhappy with how the vendor is operating OUR Performing Arts Center? Let us hear from you by Saturday, April 7 and we will make sure the city hears your voice!

OR… better yet, join us in person when we appear before the Citizen’s Oversight Committee on DPAC on Monday, April 9 to discuss how DPAC is being operated by the city’s hired vendor.

Join us. BE HEARD Go to durhampac.org to find out what a difference we can make.

INDYweek.com | 4.4.18 | 23

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music

All Their Secrets

YO LA TENGO HAS ISSUED A WHOLE LOT OF MUSIC IN ITS THIRTY YEARS. HERE’S WHAT YOU ABSOLUTELY SHOULDN’T MISS.

BY ANNIE ZALESKI

Y

o La Tengo just keeps getting better and better. The venerable New Jersey indie trio’s fifteenth fulllength album, There’s A Riot Going On, is an expansive collection comprising delicate mood pieces, ambient electronic moments, and vibrant rhythmic excursions. Although these songs certainly echo previous eras of Yo La Tengo, the album emerges as distinctive within their oeuvre.

To promote There’s A Riot Going On, the band is also doing something different on tour: in certain cities, including Carrboro, they’re setting up shop for two nights and performing two concerts. This structure opens up the possibility for catalog deep dives, something of which Yo La Tengo is extraordinarily fond.

To get up to speed, here’s a fifteen-song guide to the band’s essentials songs, as well as underrated tracks and hidden gems.

THE ESSENTIALS “Barnaby, Hardly Working” President Yo La Tengo, 1989

Co-written by guitarist/vocalist Ira Kaplan and percussionist/vocalist Georgia Hubley, “Barnaby, Hardly Working” is the first great Yo La Tengo song. The band’s welldocumented Velvet Underground influence is prominent here—most notably in Kaplan’s wry murmurs and needling guitar precision, and Hubley’s strolling beats.

However, a siren-like loop of scratchy noise lurks beneath it all, like a jagged sonic scar dissecting the nonchalance.

“From A Motel 6” Painful, 1993

Long, monotonous road trips offer plenty of opportunities to magnify interpersonal weirdness and tension. That’s the implication of “From A Motel 6,” which intersperses flashbulb memories of bad hotel room TV with references to romantic frustrations and

Yo La Tengo PHOTO COURTESY OF MATADOR RECORDS

hesitation. Disaffected noise bursts ebb and flow throughout like oceanic tides, adding rough contrast to the song’s breathy vocals.

There, the introspective “Rickety” is a lovely indie-pop ode to a relationship’s vicissitudes. Kaplan and Hubley often sing together in a conspiratorial tone, an approach that works especially on the song’s kicker: “Through it all, we’re on our feet, but rickety.”

“Tom Courtenay” Electr-O-Pura, 1995

Despite its lack of defined chorus hook, “Tom Courtenay” is perhaps Yo La Tengo’s poppiest moment. Chalk that up to the song’s crisp production.

Each individual part—Kaplan’s keening voice, a cushion of distortion that resembles a bed of pine needles, bahbah-bah background vocals—is amplified within the mix. The song’s video also received plenty of love from MTV’s 120 Minutes back in the day, raising the band’s profile considerably.

YO LA TENGO

Tuesday, April 10 & Wednesday, April 11 8:30 p.m., $22–$24 Cat’s Cradle, Carrboro www.catscradle.com

“Autumn Sweater” I Can Hear The Heart Beating As One, 1997

PHOTO COURTESY OF MATADOR RECORDS

Sprawling songs tend to work best when they pair wild-hair improvisation with a sturdy foundation—and this epic boasts both in spades. Clocking in at nearly eleven minutes, the first track from the band’s eleventh fulllength is a magnificent display of scorching guitars, hypnotic krautrock pulses and the occasional distorted vocal interlude.

THE UNDERRATED “Out The Window” May I Sing With Me, 1992

With its throttling guitars and gritty vocals— fronted by Kaplan, with Hubley adding urgent harmonies—“Out The Window” nods to L.A. twang-punks X. Accordingly, the song’s lyrics are cathartic, as a protagonist rocked by a crumbling relationship decides to take charge of their life and channel anger into action.

“The Hour Grows Late” Electr-O-Pura, 1995

“Big Sky” Ride the Tiger, 1986

On its earliest records, Yo La Tengo wore its influences on its sleeve.

That’s not necessarily a bad thing in the case of “Big Sky,” a defiantly retro gem combining Velvet Undergroundesque speak-sing vocals and the kind of burnished guitar jangle favored by sixties psych-rock bands.

“Nowhere Near” Painful, 1993

“Autumn Sweater” is as cozy and comforting as Yo La Tengo gets, thanks to its percolating percussion and undulating organ. Lyrically, things are a different story, as the narrator fixates on the article of clothing to calm frayed nerves.

“Pass The Hatchet, I Think I’m Goodkind” I Am Not Afraid Of You And I Will Beat Your Ass, 2006

THE HIDDEN GEMS

Call this an elegy for a musician—or at least a musician’s pride. “The Hour Grows Late” describes an artist gearing up to play a gig in front of a sparse crowd. Accordingly, the

music is also austere and solemn: funereal organ, a hushed cymbal crash, and mournful, clean guitars create a slow, sad atmosphere.

“Let’s Save Tony Orlando’s House” And Then Nothing Turned Itself Inside-Out, 2000

Yo La Tengo’s subtle humor is often overlooked. Case in point: “Let’s Save Tony Orlando’s House” is a Simpsons reference, and the song itself imagines “a jealous Frankie Valli” burning down the titular entertainer’s Lake Tahoe house. This absurdity unfolds in a completely deadpan manner, bolstered by Hubley’s earnest vocals and a jaunty organ.

“Don’t Have To Be So Sad” Summer Sun, 2003

In general, the meditative Summer Sun is an underrated corner of Yo La Tengo’s catalog.

That’s due to moments such as “Don’t Have To Be So Sad,” an aching rumination on love and the passage of time. Rippling piano, whirring rhythms and subtle bass shading from jazz icon William Parker give the song a moody, gorgeous foundation.

“Rickety” Stuff Like That There, 2015

One of two original songs on Stuff Like That

Loneliness—in the form of both physical distance and someone pining for love that may or may not be within reach—permeates the cinematic “Nowhere Near.” The song, which Hubley composed and sings, is gentle desert twang buoyed by velvet-lined keyboards and evocative guitars.

“Daphnia” I Am Not Afraid Of You And I Will Beat Your Ass, 2006

“Daphnia” sounds like the first spin of a dusty vinyl record unearthed at a garage sale. It’s another epic sprawl, this time centered around prominent ghostly piano and an underbelly speckled with sounds— including guitar drone, as well as pops and hisses that recall a crackling campfire.

“If It’s True” Popular Songs, 2009

The sixties homage “If It’s True” combines spongy soul organ, ebullient strings and a Motown strut, as well as a carefree attitude toward life and love. That best comes through with the lyric, “Let’s make jam when life gives us a peach.”

“Paddle Forward” Fade, 2013

The compact “Paddle Forward” is a glorious throwback to Yo La Tengo’s freewheeling fuzz-pop days. Distortion smoke rings curl around corrugated guitars, whose own grimy chime matches Kaplan and Hubley’s laissez-faire, noise-obscured vocals. music@indyweek.com

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music

SARAH SHOOK & THE DISARMERS Friday, April 6, 9 p.m., $12–$14 Cat’s Cradle, Carrboro www.catscradle.com

O F TH E

Reelin’ in the Years

ON THE FOLLOW-UP TO HER ACCLAIMED SIDELONG, SARAH SHOOK OFFERS ANOTHER UNSTOPPABLE ROUND OF WHISKEY-SOAKED COUNTRY

BY JIM ALLEN

W

hen Sarah Shook & The Disarmers self-released their debut album, Sidelong, in late 2015, it was the first statement from a powerful presence on the regional scene.

Shook and her band struck a balance between fearless, fast-and-loose honky-tonk tunes and professional polish—equal amounts of grit and glory. Last year, the “insurgent country” champions Bloodshot Records wisely reissued Sidelong to a national audience, raising Shook’s profile along with it. The band’s second Bloodshot LP, Years, bears perhaps an even greater impact.

Throughout Years, Shook displays a deadpan, nobullshit vocal delivery that matches her unguarded, straight-from-the-gut songwriting. Dispensing with all affectation, she directs an arrow straight from the core of the songs to your ears.

Not that Shook doesn’t know how to milk a moment for all its worth—for instance, when she lets out her final, despairing line, “I ain’t cut out for it,” at the end of the broken-hearted lament “Heartache in Hell,” her subtlest vocal modulations speak to a whole world of hurt. And when she elongates “years” on the title track to underscore how long it’s been since loving kindness came around, you can feel every day, week, and month of it right along with her.

But even though tracks like “Heartache in Hell” and “The Bottle Never Lets Me Down” embrace the perennial coun-

try theme of submerging your sorrows in something upwards of 80 proof, despair is far from the only emotion in play here.

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Matching their fearless leader’s moves step for step, The Disarmers keep things engagingly unadorned while knowing just went to whip out the perfect terse, twangy riff to punctuate Shook’s statements. The Bakersfield-worthy licks of guitarist Eric Peterson and pedal steel player Phil Sullivan framing the cathartic kissoff song “New Ways to Fail” are a perfect example. And when Shook momentarily abandons her straight-talking style on that song for a mockdiplomatic “If I may speak with perfect candor,” you know it’s simply the setup for a knockdown, introducing a chorus that kicks off with “I need this shit like I need another hole in my head.”

Shook comes equipped with the kind of backstory most Americana types would trade their beat-up ballcaps for— growing up, she was homeschooled by hyper-religious parents who outlawed most secular music in the house. At age twenty, she married her first boyfriend, had a child, and and got divorced—all of that has undoubtedly given her plenty to sing about. Shook also isn’t shy about letting it be known she’s also that most singular of anomalies, a queer country singer.

In other words, when you listen to Years, you’re hearing the stories of somebody who’s been through her share of challenges. But it’s the kind of album that allows you to embrace the feeling of falling down followed closely by a dogged determination to get back up and soldier ahead. music@indyweek.com

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LEAVING EDEN

Wednesday, April 4–Sunday, April 22, various times, $15+ PlayMakers Repertory Company, Chapel Hill www.playmakersrep.org

Doomed to Repeat It

LEAVING EDEN, A TALE OF IMMIGRANT RIGHTS, RACIAL TENSION, AND SMALL-TOWN N.C. POLITICS, RESONATES WITH OUR MOMENT AND MANY OTHERS IN HISTORY

BY BYRON WOODS

I

place where African Americans are neither welcome nor the ballot is an ordinance that would make it illegal to rent to t’s usually a good thing when a script reflects the current safe after dark. In both eras, a town built by freed slaves or hire undocumented aliens. The measure is being pushed moment in a culture. But as director Vivienne Benesch, is dominated by a white-owned business: a textile mill

by Roy White, a hometown football hero and used-car dealer songwriter Laurelyn Dossett, and playwright Mike in the 1930s and a meat-processing plant today. As the who’s become the mayoral candidate of the tea-party set.

Wiley can now tell you, it can be positively unnerving when a scenes shift between the new play gets a little ahead of two eras, the contrasts and its time, anticipating events similarities become more before they happen. striking.

The creative team behind After a series of Leaving Eden, a new music interviews with former theater work premiering this textile workers in Siler City week at PlayMakers Reperand conversations with tory Company, encountered his neighbor, the author that uncanny situation sevand activist Paul Cuadros, eral times while working on Wiley realized that “what Wiley and Dossett’s drama we were doing was cyclical. about racial and ethnic tenCommunities, not just in sions in the small-town North Carolina, trying to South. banish a Latinx population Last week, the INDY’s with demonstrations, cover story on Latinx famordinances, or the idea of ilies being uprooted from a wall were just repeating their homes in Siler City past mistakes.” made Benesch say “not “America is doing to again,” thinking of a similar the Latinx population element in the plot. There’s what it did to black folks also a stirring scene in which in the late-1800s and the white vigilantes gather by 1920s and ’30s,” Wiley torchlight to menace their goes on. “They are an black neighbors—a scene unprotected population Wiley added three months in the same sense that before alt-righters carried African Americans were torches through the streets unprotected in the lateof Charlottesville. nineteenth and earlyWiley is reconciled to the Carlos Alcala, Sarita Ocón, Kathryn Hunter-Williams, Samuel Ray Gates, and Alex Givens in Leaving Eden twentieth centuries.” eerie real-world parallels PHOTO BY HUTHPHOTO Dossett, who has written that have accompanied his songs for the Carolina Chocolate Drops and wrote the 2012 When a Trump campaign commercial plays on the radio, latest creation. After all, similar parallels compelled him to protest song “Vote Against Amendment One,” notes that, White tells current mayor David Bigsby, “That’s a fast tell this story to begin with: the haunting similarities between while Wiley has written a contemporary play, the story of movin’ train, and you and me are on it. And the folks that our present sociopolitical moment and several in our past. a people forced to move to find a home for their family is ain’t are gonna get knocked on their asses.”

Leaving Eden “isn’t just a work about where we are now,” ancient.

We soon learn it’s not the first time Marah has faced a Wiley says. “It’s a reflection of where we’ve been, and possibly “There’s only one story in the world, and we keep telling racial impasse. As an enigmatic griot, Selah, unfolds the where we’re going.” it,” she says. plot in narrative and song, we witness a series of events In the script, less than two weeks remain before elections arts@indyweek.com in 1933 that ultimately define Marah as a “sunset town,” a in the small eastern river town of Marah, North Carolina. On 28 | 4.4.18 | INDYweek.com

indyscreen

ISLE OF DOGS 

Opening Friday, April 6

Dogs of War

WES ANDERSON’S ISLE OF DOGS IS AN ALTERNATELY RESPECTFUL AND BAFFLING PARABLE ABOUT JAPAN

BY RYAN VU

the future, the fictional city of Megasaki is modeled on the postwar cinematic Japan of Yasujiro Ozu and Akira Kurosawa; Megasaki’s dense interiors lovingly recall

ILLUSTRATION BY CHRISTOPHER WILLIAMS

B

y now, you know what to expect from a Wes Anderson movie. Even the talking animals and intricate multi-modal animation in Isle of Dogs aren’t novel after Fantastic Mr. Fox. So the controversy surrounding it might seem a bit surprising. Sure, Anderson’s just-so fantasy Japan might be cultural appropriation, but is it really any worse than The Darjeeling Limited’s use of India as a colorful backdrop for a quirky fable about family and friendship?

Yes, actually: behind the kid-friendly story of a few scrappy canines’ quest for social acceptance lurks Anderson’s most dystopian film, and the choice of Japan as its setting is by no means arbitrary.

As a filmmaker, Anderson never directly refers to the real world; he reconstructs it according to his aesthetic taste. His Japan is no exception. Over an opening animation styled after eighteenth-century Japanese woodcut illustrations, a narrator (Courtney B. Vance) relates the legendary history of the “cat-loving Kobayashi clan” and its violent subjugation of dogs.

Flash forward twenty years from the present and the long human-dog truce (the “Age of Obedience”) has broken down due to lingering human prejudice and the spread of “snout fever,” a rabies-like disease that gives Mayor Kobayashi (Kunichi Nomura) an excuse to deport all dogs to an uninhabited island trash heap. The action begins when the mayor’s mistreated orphan ward, Atari (Koyu Rankin), makes an ill-fated attempt to rescue the first doggy deportee, his former guard dog, Spots (Liev Schreiber).

The characters and locations that make up Anderson’s near-future Japan are richly imagined and executed with his characteristic obsessive attention to detail.

Even more than in Mr. Fox, the mix of stopmotion, CGI, and traditional animation produces jaw-dropping effects that bear an artisan’s touch. Though it’s ostensibly set in

the former while Trash Island’s wastes evoke the latter’s samurai westerns. These and many other Japanese cultural references never feel incidental or disrespectful.

The story, however, is where the film runs into problems. In addition to Atari’s A-plot, there’s a B-plot about American student journalist Tracy Walker (Greta Gerwig) and her efforts to blow open the mayor’s antidog conspiracy. Additional subplots stack up to make the narrative both more complicated and less propulsive than that of Fox, especially in the final act. World-building is the point of all these narrative threads, and the world they reveal is a very, very dark one.

At root, Isle of Dogs is a universal fable about the dangers of totalitarianism. (Critics have already compared Kobayashi to Trump.) But as with all things Anderson, the surface matters more than the depths.

While the Japanese dialogue isn’t subtitled, the dogs speak English. Atari is sidelined by the movie’s real stars, a hilarious pack of terriers, all voiced by American actors such as Bryan Cranston, Edward Norton, and Jeff Goldblum. Key features of the dystopia—Megasaki as a play on Nagasaki, mushroom-cloud animations, and, most uncomfortably, the establishment of dog internment camps—refer to historical violence inflicted on the Japanese by the U.S. This symbolic role reversal recalls the anti-Japanese paranoia of the ’70s and ’80s, the period of Anderson’s childhood, when American industrial workers feared being replaced by superior Japanese technology and organization. Killer robot dogs are even introduced as replacement pets. Despite the inevitable reconciliation between man and dog, the film’s affection for the rugged, boyish charm of the exiled dogs and its preference for Tracy’s free-thinking spirit over the sophisticated yet passive Japanese is all too familiar.

In the age of Trump and #MeToo, Anderson’s affection for these tired clichés isn’t as cute as he thinks. His talents have never been more apparent, but it might be time for him to learn some new tricks. arts@indyweek.com

Your week.

Every Wednesday.

INDYWEEK.COM INDYweek.com | 4.4.18 | 29

WHAT TO DO THIS WEEK

SATURDAY, APRIL 7 & SUNDAY, APRIL 8

YOU ARE HERE: LIGHT, COLOR, AND SOUND EXPERIENCES If you combined Gil Scott-Heron, Huey Newton, Tupac, and Kendrick Lamar into one person, the outcome would be political rapper, activist, and poet Boots Riley.

To many, Riley is a legend who, along with his electrifying band, The Coup, put the “conscious” in conscious rap with an added punk flair. The collective has roots in both Detroit and Oakland, and the histories of those cities organically inspire the group’s radical content. The band’s latest record is 2012’s Sorry to Bother You, and those songs haven’t lost any of their edge over the past six years. The record also shares a title with a comedy film that Riley wrote and directed, which is based on his own experiences working as a telemarketer. Sorry to Bother You premiered at Sundance earlier this year, and it’s already floating on plenty of buzz prior to its summertime release. This might be your last chance to catch Riley before he blows up in an entirely new arena. —Kyesha Jennings

We usually know where we stand in relation to art: outside, looking in. You Are Here, a new exhibit at NCMA, asks what it would be like to be inside, looking out—though “asks” is too passive a term for an exhibit that plunges us into large, immersive works in light, sound, video, and mixed media by fifteen contemporary artists, whether as high-tech as Olafur Eliasson or as lo-fi as Mickalene Thomas. The exhibit also highlights a stunning addition to the museum’s collection, an “infinity room” by Yayoi Kusama. This social, immersive show kicks off in fitting fashion with a silent disco featuring performances by ShaLeigh Dance Works, Speed Stick, Philip Snyder, and others. At nine, the headphones go on for dancing to sets by deejays PlayPlay, Gemynii, and Forge. A ticket to the party gets you into the All-Nighter (also ticketed separately) at midnight, with unique programming every two hours until ten in the morning. If you’re not crashing after this museum rager, stay for Rafael Lozano-Hemmer’s artist talk at 1:30 on Sunday afternoon. Also, give us some of what you’re having. —Brian Howe

CURRENT ARTSPACE + STUDIO, CHAPEL HILL 8 p.m., $25, www.carolinaperformingarts.org

NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m. Sat.–10 a.m. Sun., free–$27, www.ncartmuseum.org

SATURDAY, APRIL 7

BOOTS RILEY AND THE COUP

30 | 4.4.18 | INDYweek.com

“1984x1984” by Rafael Lozano-Hemmer in You Are Here PHOTO COURTESY OF NCMA

FRIDAY, APRIL 6–SUNDAY, APRIL 8

MISCAST 2018: WARPED OUTCASTS

Though I was once typecast as Linus in a production of You’re a Good Man, Charlie Brown, please take note: I could belt out “Sweet Transvestite” with the best of them. Still, I had to face it: there was absolutely no danger I would ever be cast as Dr. Frank N. Furter in The Rocky Horror Show. North Raleigh Arts and Creative Theatre’s Tim Locklear realized that many a frustrated actor had unfinished business with a show that got away, so he created Miscast, a comic musical revue and fundraiser calculated to scratch a lot of forbidden theatrical itches. Chris Maxwell and Rose Higgins return to host this year’s installment, in which fresh young faces join veterans like Lauren Bamford, Michael Santangelo, and David Klionsky to pay dubious tributes to A Chorus Line, A Gentleman’s Guide to Murder, and—yikes—The Greatest Showman. Craig Johnson leads the band. —Byron Woods NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH 7:30 p.m. Fri. & Sat./3 p.m. Sun., $25, www.nract.org

25th Biannual SATURDAY, APRIL 7 & SUNDAY, APRIL 8

ESCAPE TO FREEDOM

This interactive, harrowing historical performance is staged each year by MOJOAA Performing Arts on the grounds of one of North Carolina’s largest formerly slave-powered enterprises, the Mordecai Plantation, located less than a mile from the state capitol. Over the course of an hourlong performance, costumed actors “guide and thwart” audiences during a walking—and occasionally, running and hiding—tour of the buildings and grounds of Mordecai Historic Park.

Why? In this show, you’re cast as one of the enslaved people who were forced to work on these lands until the late 1800s, and now you’re trying to escape, especially because historical records indicate that Henry Mordecai “was not kind” to his slaves. In Escape to Freedom, vividly witness and participate in the history behind the plaques, if you can bear it. —Byron Woods MORDECAI HISTORIC PARK, RALEIGH Various times, $15, www.raleighnc.gov

Carrboro

CD & record ShOw Sunday, April 8th • Noon - 6 pm

Carrboro Century Center: Century Hall (2nd floor) 100 North Greensboro St. (intersection of Greensboro Street with Main & Weaver Streets.)

42 tables of new & used CDs, vinyl records and music memorabilia!!!

FREE ADMISSION • EARLY SHOPPING OK

For info: 919.260.0661 or gerrycw51@gmail.com

4.4–4.11 Circuit Des Yeux

PHOTO BY JULIA DRATEL

MONDAY, APRIL 9

CIRCUIT DES YEUX, MARISA ANDERSON

The title of Circuit Des Yeux’s latest record, Reaching for Indigo, reminds me of the devastating prose poetry of Maggie Nelson’s Bluets. Nelson writes of love and loss with stirring poignancy, framed around a love of the color blue. As Circuit Des Yeux, Haley Fohr touches on other moving themes through mysterious, mesmerizing songs. Tracks like “Paper Bag” match electronic dappling with patient rock rhythms. The centerpiece of Fohr’s songs, however, is her deep, resonant voice, which is unlike any other. In the middle of the bill is guitarist Marisa Anderson, whose rapturous compositions feel like hazy instrumental mirages. Her last record, 2016’s Into the Light, was an imagined soundtrack for a fictitious sci-fi western, and her forthcoming Cloud Corner feels like an oasis of rippling calm. The Nathan Bowles Trio opens. —Allison Hussey

Duke Jazz Ensemble directed by John Brown featuring guitarist

Bobby Broom Friday, April 13th • 8pm Baldwin Auditorium Duke University tickets.duke.edu

DUKE COFFEEHOUSE, DURHAM 8:30 p.m., $5, free with Duke ID, www.dukecoffeehouse.org

WHAT ELSE SHOULD I DO?

THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY AT PEACE UNIVERSITY (P. 38), BRICKSIDE FESTIVAL AT DUKE COFFEEHOUSE (P. 22), CAROLINA AFRICAN AMERICAN WRITERS’ COLLECTIVE AT QUAIL RIDGE BOOKS (P. 40), CHANGING WORLDS AT PLEIADES (P. 40), FULL FRAME DOCUMENTARY FILM FESTIVAL AT THE CAROLINA THEATRE (P. 12), LEAVING EDEN AT PLAYMAKERS REPERTORY COMPANY (P. 28), LOPE MAX DIAZ & LUKE MILLER BUCHANAN AT LEE HANSLEY GALLERY (P. 36), SARAH SHOOK & THE DISARMERS AT CAT’S CRADLE (P. 27), YO LA TENGO AT CAT’S CRADLE (P. 24) INDYweek.com | 4.4.18 | 31

RECYCLE THIS PAPER

TU 4/10 & WE 4/11 TWO NIGHTS!

YO LA TENGO FR 4/6

SARAH SHOOK

& THE DISARMERS 4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14)

4/10 AND 4/11 YO LA TENGO ($22/$24) PLAYING 2 SETS EACH NIGHT / 1 SOFT, 1 LOUD!

RECENTLY ANNOUNCED: Sales, Fantastic Negrito, Sweet Tea Trio, Bali Baby, JUNof 29 @ 8:00Slump PM, Adam EzraWED Group, Temple Void, Sophomore Fest $12/$15 WED JUN 29 @ 8:00 PM, $12/$15 WED 4/4 The Monti StorySLAM: Accidents THU 4/5 The Sol Kitchen presents The Restoration of an American Idol Tour with TAYLOR BENNETT plus Special Guests w//POISON FRI 4/6 BOULEVARDS Zensofly ANTHEM / N’kogniito

RICHIE RICHIE RAMONE RAMONE

RICHARD w/ POISONBACCHUS ANTHEM& THE LUCKIEST GIRLS RICHARD BACCHUS & THE LUCKIEST GIRLS

LOOK HOMEWARD / THE MIDATLANTIC LOOK HOMEWARD / THE MIDATLANTIC Crank It Loud: NOTHING / CULTURE ABUSE Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES WAILIN STORMS / HUNDREDFTFACES FRI 7/8 SolKitchen & The Art of Cool Project: FRI 7/8 SolKitchen & The Art of Cool Project: Art of Noise #Durham W/ZENSOFLY ANDThe N’KOGNIITO The Art of Noise #Durham MON4/7 7/11CHRIS Regulator Bookstore presents SAT KNIGHT MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS THU 7/14 Storymakers: Durham, Community Listening Event THU 7/14 Storymakers: Durham, Community Listening Event SAT4/7 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SAT SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUN JUL 17 SUN JULPM 17 @ 8:00 THE RAGBIRDS PM $12/$15 SUN 4/8 Seconds: Albums and Second Chances: @ 8:00 THE Second RAGBIRDS $12/$15 A Benefit for the Compass Center 7/1 7/1 7/5 7/5

BOULEVARDS

CHRIS KNIGHT THE THE RAGBIRDS RAGBIRDS

MON 4/9

AFTER FUNK

4/15 SABA W/ JOSEPH CHILLIAMS, JEAN DEAUX ($16/$18) 4/16 WOLF ALICE W/ THE BIG PINK ($18/$20)

6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 10/11 APARNA NANCHERLA ($22/$25)

JOHN COWAN JOHN COWAN w/ DARIN & BROOKE ALDRIDGE w/ DARIN & BROOKE ALDRIDGE

Motorco and Cat’s Cradle Present WAXAHATCHEE HURRAY FOR THE RIFF RAFF / Bedouine S O LD O UT THU 4/12 THE WAR & TREATY / Blue Cactus SAT4/137/23JOOSELORD Girls Rock Showcase FRI MAGNUS / 3AM SAT 7/23 Girls Rock Showcase MON Chorus: “Don’t Stop Believing” TUE4/167/26FlashMotorco Comedy Night:by Journey & TUE 7/26“ThisMotorco Must BeWOODHULL TheComedy Place” by/Night: The TalkingCOHEN Heads ANDY ADAM TUE 4/17 WALKER ANDY WOODHULL ADAM COHEN LUKENS / Lord Fess/ fka Professor Toon op Ma tt er s -P FRI 7/29 YOUNG BULL Album Releases"Show WED 4/18 THE NTH POWER tr av el er er s Zoocrü tis/ tic -P op Ma tt e ar FRI su7/29 YOUNG BULL Album Release at s"Show er mm w/ ALIX AFF / DURTY DUB el on av "CTHU 4/19 tr tic tis ar GREAT PEACOCK / The Artisanals at e "C on su mm w/ ALIX AFF / DURTY DUB SAT 4/21JUL17 SUN COMING SOON: JULIETTE SURFER BLOOD / LEWIS, Winter YARN, JARED & THE MILL, SUN JUL17 COMING SOON: JULIETTE YARN, JARED & THE MILL, HAL KETCHUM, NRBQ, LIZLEWIS, VICE, WINDHAND, Doors: 7pm SUN 4/22 THE EAST POINTERS HAL4/23KETCHUM, LIZ VICE, WINDHAND,CIRCLES, BAND OF SKULLS, Doors: 7pm&NRBQ, CODY CANADA THE DEPARTED, Show: 8pm MON Flash Chorus: “Hit Me WithRUSSIAN Your Best Shot” by Pat Benetar and CODY CANADA DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm SISTER SPARROW &The THE DIRTY KING, “Blister& InTHE Sun”

by BIRDS, Violent Femmes $12 ADV 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM SISTER SPARROW& QUICKSILVER, & THE DIRTY BIRDS, KING, DOYLE LAWSON THE RECORD LEGG, $12 ADV 723 RIGSBEE AVE -COMPANY, DURHAM, NCALVVAYS, -ADRIAN MOTORCOMUSIC.COM $15 DAY OF CANN, MAD CLOWN & SAN E, BOB SCHNEIDER, COMING SOON:LAWSON CHANTAE HOPLEGG, ALONG, DOYLE &BAND, QUICKSILVER, THE RECORD COMPANY, ADRIAN REBIRTH BRASS MY BRIGHTEST BONOFF, $15 DAY TOMORROWS BADOF SEEDS, MICHAEL IAN BLACK, DIAMOND, NICK THUNE,KARLA SLAUGHTER TO W PREVAIL, !

O N LE B A REBIRTH BRASS BAND,WAINWRIGHT MY BRIGHTEST DIAMOND, KARLA BONOFF, IL A TALIB KWELI, III FRANKIE ROSE, KIDLOUDON KOALA, HAMMERFALL, RODDY RADIATION (OF THE SPECIALS), UM AVAILABLE NAORWT!H" LB W A NESMITH SHANE &LOUDON THE U SAINTS, POND, MAIMOUNA YOUSSEF, TRACYANNE & TALIB KWELI, WAINWRIGHT III E V H LB M A & THE

S D R I B G S A D R R I B RA G

WTHARMYSTIC OLDTALKING TDREADS, EABORTED, RTH" NE DANNY, DARK EATRANQUILLITY ESHBOWIE’S & HE H "TH723 LD O H S E R RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM H "THE T I R D S. C O M The Threshold & The Hearth THE RAGBIRDS

B 723 RIGSBEERAVE NC - MOTORCOMUSIC.COM A G- DURHAM, OM W W W .T H E A G B I R D S. C W W W .T H E R

The Threshold & The Hearth THE RAGBIRDS

4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) CAT'S CRADLE BACK ROOM

4/4 DYLAN LEBLANC & THE POLLIES W/ THE ARTISANALS ($12) 4/5 THAT 1 GUY ($15) 4/6 GRIFFIN HOUSE 4/7 JPHONO1 AND THE CHEVRONS W/SHELLES, HECTORINA, AND HONEY DUCHESS ($6/ $8) 4/9 KATE RHUDY AND THE BROTHER BROTHERS ($8/$10)

4/30 COMA CINEMA ($12 / $15) 5/4 CAITLIN ROSE W/ THE KERNAL ($10/$12)

FR 4/13 @CAT’S CRADLE BACK ROOM

TYRONE WELLS

5/5 THE COLLECTION W/ THE PINKERTON RAID($12/$14) 5/6 BRONCHO W/ VALEN ($10/$12) 5/9 GIVERS ($15) 5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA 5/11 THE MOTHER HIPS

FR 4/20 @THE ARTSCENTER

4/18 DR DOG W/ KYLE CRAFT ($27.50/ $30) 4/19 LYDIA LOVELESS W/ BRUXES ($15)

4/11 TRAVIS MARVIN WITH JAKE JANDREAU ($20)

4/20 SUSTO W/ THE ROMAN SPRING ($12/$15)

4/12 MO LOWDA & THE HUMBLE W/ ARSON DAILY AND LEFT ON FRANKLIN ($10/ $15 FOR 2 TIX)

6/3 SUNFLOWER BEAN ($12)

4/13 TYRONE WELLS W/ GABE DIXON ($15)

6/7 THE REGRETTES ($10/$12)

4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10)

6/17 MAPS & ATLASES ($15/$17)

7/12 LAKE STREET DIVE (ON SALE 4/6)

6/18 YOUNG WIDOWS W/ NULL

7/28 THE MAVERICKS (ON SALE 4/6)

7/7 QUIET SLANG ($13/$15)

4/21 YUNG GRAVY

SOLD OUT

4/22 JOEY BADA$$ W/ BUDDY AND BOOGIE ($26) 4/24 THE MAINE W/ THE WRECKS, THE TECHNICOLORS ($23/$25) 4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18) 4/28 THE AFGHAN WHIGS AND LD BUILT TO SPILL W/EDHARCOURT SO OUT 5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28)

5/9 PANDA BEAR W/ GEOLOGIST ($22/$25)

WED 4/11

TU 4/24

THE MAINE

4/10 MESSTHETICS W/THE BRONZED CHORUS, ELVIS DIVISION ($10)

5/8 BAHAMAS ($16/$18)

AFTER FUNK

32 | 4.4.18 | INDYweek.com

4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22)

5/7 MELVINS W/ ALL SOULS ($20/$22)

MON 7/18 MAIL THE HORSE MON 7/18 MAIL THE HORSE FRI4/9JUL 22 MON FRI8:00 JULPM 22JOHN COWAN @ W/ (J)ROWDY & THE NIGHTSHIFT @ 8:00 PMJOHN COWAN $25/$30 $25/$30 TUE 4/10 Periodic Tables:Taking Genes to Court

TT HH EE

4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20)

JUKEBOX THE GHOST

WOLF ALICE

6/21 MANCHESTER ORCHESTRA ($23 /$28)

4/7 HILLMATIC 2018 FT. BRAND NUBIAN, RAPPER BIG POOH, DJ FLASH ($20 ADV/ $25 DAY OF)

FRI FRI TUE FRITUE 4/6

MO 4/16

TH 4/12

5/10 WYE OAK W/ PALM ($16/$18) 5/12 NORTH MISSISSIPPI ALLSTARS W/ FIONA SILVER ($20/$23) 5/18DAVID BROMBERG (SEATEDSHOW) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) 5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20) 5/25PETER HOOK & THE LIGHT ($28/$31) 6/3 TYLER CHILDERS ($18/$20) 6/6 PARQUET COURTS W/ GOAT GIRL ($15/ $17) 6/13 TOO MANY ZOOZ ($17/$19)

4/15 SPLIT ENDS - A BAD NEWS MEDIA FILM ($5) 4/17 THANK YOU SCIENTIST ($15) 4/18 CAROLINA WAVES PRESENTS: OPEN MIC NIGHT HOSTED BY K97.5'S MIR.I.AM & DJ WADE BANNER. ($5, 18+ ) 4/19 WEAVES W/ STEF CHURA ($10/$12) 4/20 THE WHOM (LIVE AT LEEDS ERA WHO, MAXIMUM R&R) PLUS... THE SPRESSIALS (SPECIALS TRIBUTE) AND SWEET N SOUR (AMY WINEHOUSE TRIBUTE) ($10) 4/21 STEEL STRING ANNIVERSARY SHOW W/ THE DOGWOODS W/ SPECIAL GUESTS, PLUS THE LAST OF THE GREAT SIDESHOW FREAKS; AFTERPARTY WITH DJ MONTY MORRIS. ($12) 4/22 (AFTERNOON) BE LOUD TEEN SHOW 4/22 REED TURCHI & HIS KUDZU TRIO W/ JB BOXTER ($10/$12) 4/23 DURAND JONES & THE INDICATIONS W/ HOLY GHOST TENT REVIVAL ($13/$15) 4/24 MATTIEL (FREE SHOW) 4/26 PATRICK SWEANY ($12/ $15)

4/27 DEAD HORSES AND FRONT $10 advance / $12 day of COUNTRY ($14) $10 advance / $12 day of

6/19 STEPHEN MALKMUS & THE JICKS W/ LYTHICS ($20/$23)

5/18 PRISCILLA RENEA ($10/ $12 ) 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 )

GREG BROWN NORTH CAROLINA MUSEUM OF ART

5/20 ICEAGE ($14/$16) 6/5 POST ANIMAL ($12/$14) 6/11 BENT KNEE ($10)

6/8 FIRST AID KIT W/ JADE BIRD 6/16 SHOVELS AND ROPE WITH SON VOLT (ON SALE 4/6) 6/23 MANDOLIN ORANGE

7/13 PIERCE PETTIS ($15)

8/1 FATHER JOHN MISTY WITH SPECIAL GUEST JENNY LEWIS (ON SALE 4/6)

7/17 PETAL & CAMP COPE ($13/ $15)

8/3 KISHI BASHI AND JAKE SHIMABUKURO (ON SALE 4/6)

ARTSCENTER (CARRBORO)

8/18 TROMBONE SHORTY'S VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON

4/20 GREG BROWN ($28/$30) LOCAL 506 (CHAPEL HILL)

5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12) DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ FARE THEE WELL TOUR.

RED HAT AMPHITHEATRE (RAL)

5/3 FLEET FOXES

MOTORCO (DUR)

4/11 WAXAHATCHEE AND HURRAY LD FOR THE RIFF RAFF SO OUT 5/3 BOB SCHNEIDER ($20/ $23) 5/5 ALVVAYS W/ FRANKIE ROSE

SOLD OUT

5/7 HOP ALONG W/SAINTSENECA ($15/$17) 6/3 POND W/ FASCINATOR ($15) 6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) ($18/$20) KINGS (RAL)

4/5 THE MESSTHETICS W/ MOTHERFUCKER, PATOIS COUNSELORS ($10/$12)

THE RITZ (RAL)

4/6 RAINBOW KITTEN SURPRISE

SOLD OUT

4/7 RAINBOW KITTEN SURPRISE

SOLD OUT

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKASLD NELSON & PROMISE OF THE REAL SO OUT 5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA

SOLD OUT

6/27 BEACH HOUSE HAW RIVER BALLROOM

4/20 JEFF TWEEDY -- SOLO

SOLD OUT

5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18)

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

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

music 4.4– 4.11

WED, APR 4

CAT’S CRADLE (BACK ROOM): Dylan LeBlanc with The Artisanals; 8 p.m., $12.

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

LOCAL 506: Hate Drugs, Sleep House, Trash Panda; 8 p.m., $7.

POUR HOUSE: John Craigie, Charly Lowry; 7 p.m., $10–$12.

UNC’S MEMORIAL HALL: Dayme Arocena; 7:30 p.m., $20.

THU, APR 5 BLUE NOTE GRILL: Nash Street Ramblers; 7-9 p.m.

THE BULLPEN: Boom Unit Brass Band; 8:30 p.m.

CAT’S CRADLE (BACK ROOM): That 1 Guy; 8 p.m., $15.

CENTER FOR THE STUDY OF THE AMERICAN SOUTH: Music on the Porch: Che Apalache; 5:30 p.m.

LINCOLN THEATRE: Everyone Orchestra, Psylo Joe; 7 p.m.-1 a.m..

LOCAL 506: The Second After, Dear Desolate, Messenger Down; 7 p.m., $10–$20.

MOTORCO: Taylor Bennett; 8 p.m., $20–$50.

NIGHTLIGHT:

Pamela and Her Sons [$7/9 P.M.]

Atlanta multimedia artist Alessandra Hoshor selfdescribes Pamela And Her Sons as “anxiety techno,” which amusingly undersells the project’s otherwise wonderful weirdo pop sensibilities. On last year’s Hurt Plaza, Hoshor smeared and looped tweakedout vocal snippets and synth patches into repetitive, hypnotic slices of catchiness, like listening to the radio on a nightmare-level bad day.

Gudiya, from Raleigh, opens, plus the equally great synthpop of Chapel Hill’s Diaspoura and the deep, impossible-to-peg dance explorations of Carrboro’s Chucha. —David Ford Smith

POUR HOUSE: Local Band Local Beer: Violet Bell, The Band Sorelle, James Walker; 8 p.m., $3–$5.

THE STATION:

Turkish Gold Standard [DONATIONS/8 P.M.]

This show is the debut of a monthly residence for The Station featuring the self-taught engineer Saman Khoujinian, from Carrboro’s Dad & Dad. He’ll be playing everything from pop to improvised experimental tunes. Beauty World and percussionist Joe Westerlund open. The improvisational set up of this show makes it a can’t-miss. —Kat Harding

FRI, APR 6 BEYÙ CAFFÈ:

Africa Unplugged [$18/7 & 9 P.M.]

The label “world music” is a tricky one. In conversations about music, the term is often used as an immediate othering mechanism to broadly apply to any (or all) non-Western music.

But Africa Unplugged, whose members are based in Greensboro and Durham, leverages the term to its advantage. The band’s foundation is West African music, but the band embellishes its music with bits of funk, blues, and more for its own distinct mix.

It’s delightful, danceable stuff driven by powerful percussion. The band celebrates the release of The EP Vol. 2 with a two-set stand at Beyù Caffè; you could try to take a seat, but you won’t stay in it for long. —Allison Hussey BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

CARY ARTS CENTER: The Abraham Jam: Billy Jonas, David LaMotte, and Dawud Wharnsby; 8 p.m., $30.

CAT’S CRADLE: Sarah Shook & the Disarmers, Spider Bags; 9 p.m., $12–$14.

Suzi Analogue performs at Raleigh’s Wicked Witch on Sunday.

PHOTO BY CHELSEY CROUCHER

INDYweek.com | 4.4.18 | 33

CAT’S CRADLE (BACK ROOM): Griffin House; 8 p.m., $20–$22.

THE CAVE: The Old Sioux Summer, Earther, CLINE; 9 p.m., $5.

DUKE’S BALDWIN AUDITORIUM: Rafal Blechacz; 8 p.m., $20–$38.

KINGS:

Deep Cuts with Greg Cartwright [$7–$10/8 P.M.]

Greg Cartwright built his name as the éminence grise in the still-thriving garage-rock revival as frontman for legendary outfits The Oblivians and Reigning Sound. Neither band has released any music in a while, but Cartwright stays on garage rock’s bleeding edge as the host of Deep Cuts on Asheville’s WSFM-FM. Tonight, he spins vintage rock, soul and R&B forty-fives. The Dynamite Brothers and Dim Delights perform; DJ Craig Layabout spins some, too. —Patrick Wall LINCOLN THEATRE: Runaway Gin; 8 p.m.

LOCAL 506:

POUR HOUSE: Ellis Dyson & The Shambles, James Olin Oden; 8 p.m., $10–$12.

Hillmatic Night 1 [$10–$12/8 P.M.]

Now in its third year, the Hillmatic hip-hop music festival returns to Chapel Hill, this time with two nights of packed lineups at two different venues. The event is organized by Kevin “Kaze” Thomas, one of the Triangle’s prominent marshals of hiphop culture, and it puts the area’s most gifted rising talent next to legendary headliners.

Night one at Local 506 features Lord Fess (the artist formerly known as Professor Toon) and Facts About Bob, among others. Night two, in the Cat’s Cradle Back Room, is headlined by the paradigmatic rap group Brand Nubian as well local legend Rapper Big Pooh. Bishop Omega hosts both shows.

—Charles Morse THE MAYWOOD: Nevermind, The Styrofoam Turtles; 9 p.m., $10–$12.

MOTORCO: Boulevards, Zensofly, N’kognito; 9 p.m., $13–$15.

THE RITZ: Rainbow Kitten Surprise, CAAMP; 8 p.m.

SAT, APR 7 BEYÙ CAFFÈ: Bassel & the Supernaturals; 7 & 9 p.m., $14.

BOWBARR: DJ Ras J, DJ Jaesunel, DJ Uno Dose; 10 p.m.

BROUGHTON HIGH SCHOOL: The Raleigh Concert Band: Legacies; 7-9 p.m., $5–$10, 12 and under free.

THE BULLPEN: Russ Varnell & His Too Country Band; 8:30 p.m.

CAT’S CRADLE: Hillmatic: Brand Nubian, Rapper Big Pooh, Danny Blaze, Mindsone, DJ Flash; 9 p.m., $20–$25.

CAT’S CRADLE (BACK ROOM):

Jphono1 & the Chevrons [$8/8:15 P.M.]

After several years and a handful of records exploring the inner workings of the inner space as Jphono1, Triangle indie rock pillar John Harrison rounded

out his cosmic musings by conscripting The Chevrons, a wily group of fellow music scene vets, to give an earthy grounding to his nebula-walking voyages. Meadow Magic Hour, Harrison’s second record with The Chevrons, is lush and serpentine, riffs intertwining into a helical latticework and arcing in parabolic trajectories. More to the point, though, it’s worn-in and comfortable, like a circle of friends jamming around a twilit bonfire. With Shelles, Hectorina, and Honey Duchess.

—Patrick Wall DUKE’S BALDWIN AUDITORIUM: Maria Schneider Orchestra; 8 p.m., $20–$38.

DUKE COFFEEHOUSE: Brickside Music Festival: Laurel Halo, Xiu Xiu, Bill Orcutt, Ahleuchatistas, Professor Toon, Tashi Dorji & Sarah Louise, Treee City, De Fontaine; 2 p.m.-2 a.m., $20. See page 22.

LINCOLN THEATRE: David Allan Coe; 7 p.m.

LOCAL 506: People of Earth, Local Flora; 9 p.m., $7.

THE MAYWOOD: Eclipse; 8:30 p.m., $10–$12.

Jphono1 performs Saturday in Carrboro.

PHOTO BY KEVIN CLARK

MONKEY BOTTOM COLLABORATIVE: Disqo Volante; 7 p.m., free.

MOTORCO: Chris Knight; 9 p.m., $20–$35.

PHOENIX EVENT CENTER: James Brown Tribute Concert; 7 p.m., $20.

THE PINHOOK:

Phil Cook & the Guitarheels [$12–$15/9 P.M.]

It might seem as though Durham’s Phil Cook has been quiet over the last year

or so, but that couldn’t be further from the truth . He’s stayed busy on the road with Hiss Golden Messenger, and has popped up in a handful of one-off side excursions.

He’s also been writing and recording the follow-up album to 2015’s heartfelt Southland Mission. That next LP is out this summer, so expect to hear him previewing a few of those tunes at The Pinhook.

Powerhouse vocalist Tamisha Waden opens. —Allison Hussey POUR HOUSE: Kevin Daniels, Carswell Band; 1-5:30 p.m., $7–$10.

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POUR HOUSE:

Zo! with Carmen Rodgers [$12–$15/8 P.M.]

Multi-instrumentalist and producer Lorenzo Ferguson, also known as Zo!, is bringing his talents back to Raleigh.

Known for his blend of live instrumentation mixed with hip-hop and neo-soul, Zo!’s production credits most notably includes Little Brother, Ty Dolla $ign, Slum Village, and The Foreign Exchange. His most recent project, Skybreak, is filled with up-tempo soulful tracks that’ll have you twostepping in no time. perfect two-step. Singer-songwriter Carmen Rodgers joins the band at The Pour House, and Zoocrü opens. —Kyesha Jennings THE RITZ: Rainbow Kitten Surprise, CAAMP; 8 p.m.

THE STATION: Charles Latham, Simone Finally; 8:30 p.m., $7.

SUN, APR 8 THE ARTSCENTER: Mallarmé Series Concert #4: Bird’s Eye String Trio; 3 p.m., $25.

Greg Cartwright plays records at Kings Friday.

PHOTO COURTESY OF PANACHE BOOKING

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adventurous musical appetite and a clear obsession with the gritty details of physical hardware—not just for techno!

No, her music is an unmappable amalgam of glitch-pop, jungle, Afrobeat and a dozen other genre bits that all cohere into a singular and futurist style.

A frequent collaborator with fellow experimenter DJ Earl, she has recently taken up larger art world opportunities, including soundtrack work for Chromat’s 2018 New York Fashion Week runway show. This is a rare North Carolina appearance and a must-see for dance heads.

Local weirdo experimental club greats Sand Pact open, plus Raleigh’s Sunset Palette.

—David Ford Smith

MON, APR 9

CAT’S CRADLE (BACK ROOM): Kate Rhudy, The Brother Brothers; 8:30 p.m., $8–$10.

CAT’S CRADLE: Yo La Tengo; 8 p.m., $22–$24. See page 24.

CAT’S CRADLE (BACK ROOM): Travis Marvin, Jake Jandreau; 8 p.m., $20.

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

[$20–$52/8 P.M.]

POUR HOUSE: Wonky Tonk, Icarus Airline; 8 p.m., $6–$8.

LOCAL 506: Imaginary Tricks, The Lonely Biscuits; 8 p.m., $8–$10.

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

MEYMANDI CONCERT HALL: NC Master Chorale: Motus Missæ; 3 p.m., $24-32.

TUE, APR 10

MOTORCO: After Funk; 8 p.m., $10–$12. Flash Chorus; 7 p.m., $7–$10.

MOTORCO: Seconds: Second Albums Second Chances; 3 p.m., $8–$10.

CAT’S CRADLE: Yo La Tengo; 8 p.m., $22–$24. See page 24.

POUR HOUSE: The Backsliders, Maldora, Pinto; 1 p.m., $5. Jimmie’s Chicken Shack, Doco; 8 p.m., $12–$15.

ST LUKE’S EPISCOPAL CHURCH: The Heart’s Awakening; 3 p.m.

CAT’S CRADLE (BACK ROOM):

Miami-via-Virginia deejay Suzi Analogue does it all herself.

She’s one of the brighter talents among the recent American dance music underground, and her music radiates an

WED, APR 11

IMBIBE: Grewen and Griffin; 7-10 p.m., free.

FORTY ACRES: The ROAMies; 4 p.m., $15–$20.

[$10–$15/8 P.M.]

POUR HOUSE: Frenship, Yoke Lore; 7:30 p.m., $15–$18.

DUKE CHAPEL:

LOCAL 506: Jim White, Sylvie Simmons, John Howie Jr.; 7:30 p.m., $13–$15.

Suzi Analogue

LOCAL 506: Madball, Cruel Hand; 6 p.m., $15.

DUKE COFFEEHOUSE: Circuit Des Yeux, Marisa Anderson, Nathan Bowles Trio; 9 p.m., $5, free with Duke ID. See page 31.

DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3.

DUKE’S BALDWIN AUDITORIUM: Duke New Music Ensemble; 8 p.m., free.

THE WICKED WITCH:

wallop locked into instinctive grooves and grounded the band’s propulsive momentum.

As Messthetics, the players reimagine and reinvigorate the power trio, their pummeling workouts mixing frantic fretwork with deep grooves and nuanced hooks. The Bronzed Chorus and Elvis Division open. —Patrick Wall

Messthetics [$10/8 P.M.]

Anthony Pirog is a guitarist who draws from a vast array of experimental guitarists; one can hear traces of Bill Frisell and Sonny Sharrock in his thoughtful and versatile playing. Joe Lally and Brendan Canty, most famously, constituted the rhythm section of seminal U.S. punk band Fugazi. Lally’s stout bass lines and Canty’s sinewy

The Tallis Scholars: War and Peace The mass is one of the most difficult and rewarding of musical forms. Each section has its own challenges, from the text-heavy Gloria and Credo to the profound simplicity of the Agnus Dei. Over the centuries, it has consistently elicited composers’ greatest writing. For this concert, the Tallis Scholars construct a mass that spans nearly a millennium to remember the hundredth anniversary of the end of World War I. Alongside newer works

by Arvo Pärt and John Tavener and the ageless tune L’Homme armé, they arrange mass movements by Josquin, Victoria, Palestrina, and Guerrero to evoke suffering, death, resilience, and liberation. —Dan Ruccia HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

MOTORCO: Waxahatchee, Hurray For The Riff Raff, Bedouine; 8 p.m., $20–$22.

INDYweek.com | 4.4.18 | 35

art

4.4 – 4.11

OPENING

ONGOING

Abstract View: Mixed media by Susan Peters. Fri, Apr 6, 6-9:30 p.m. Local Color Gallery, Raleigh. www.localcoloraleigh.com.

After Golden Leaf: One of Durham’s many contradictions is that even though half the buildings have “tobacco” in the name, you can’t smoke anywhere. In After Golden Leaf, his thesis exhibit for Duke’s graduate program in experimental and documentary arts, photojournalist and documentarian Jeremy M. Lange turns his incisive lens and striking compositions on the shades of tobacco-industry history as they linger in an increasingly technologized and smoke-free city. The photos in the series sweep up the history of tobacco farming, the forging and dispersal of the communities that grew around it, the evolving landscape of North Carolina after big tobacco, and broader issues of discloation and memory in the post-industrial U.S. Thru May 4. SPECTRE Arts, Durham. www. spectrearts.org. —Brian Howe

Changing Worlds: Pleiades artists respond to the beauty of the environment and our need to protect it. Also featuring New Orleans environmental artist Ana Berta Hernandez. Apr 5-29.

Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Entanglements: New paintings

by Elizabeth Bradford. Fri, Apr 6, 6-9 p.m. The Mahler Fine Art, Raleigh. themahlerfineart.com.

Faith in Color: A Photographic Exploration of Race, Religion, and America in Tribute to C. Eric Lincoln: Documentary photography exhibit by Evan Nicole Bell. Apr 4-May 1. Duke Campus: Duke Chapel, Durham.

Nat Lazakis: Pencil drawings.

Wed, Apr 4. Southwest Regional Library, Durham. www.durhamcountylibrary.org.

Jim Lee: Images from DSLR cameras, flatbed scanners, cyanotypes, and other alternative processes. Apr 8-29.

Horace Williams House, Chapel Hill. chapelhillpreservation.com.

The Art of War: Art about contemporary military experience by Trish Brownlee, Alicia Dietz, and Folleh Tamba. Thru May 12.

Artspace, Raleigh. www.artspacenc.org.

Mentor/Mentee: Lope Max Diaz & Luke Miller Buchanan: Wed, Apr 11–Sun, May 27. Lee Hansley, Raleigh. leehansleygallery.com.

Art to Live By: Paintings by Michael Banks. Thru Apr 22.

Alexander Dickson House, Hillsborough. www.historichillsborough.org.

Segue: A final First Friday as we bid a fond farewell to the Warehouse District this month.

Fri, Apr 6, 6-9 p.m. & Sat, Apr 7, noon-4 p.m. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com.

Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection: We’re in more of an “emperor wears no clothes” age than one of enlightenment, but the feminine gender is being dissected more forcefully than ever. Visitors will surely take this into consideration when viewing exquisite works from the Horvitz Collection of eighteenth-century French art. Most are by well-known male artists such as Boucher and Fragonard. But several talented female artists are also represented, though they were relegated to the gentle medium of pastel instead of oils. Antoine Vestier’s “Allegory

Spring Corridor Exhibition: Anna Vaughn Creech, King Nobuyoshi Godwin, Constance Pappalardo, and Sandra Wimbish. Apr 6-28. Artspace, Raleigh. www.artspacenc.org.

You, Me, And The Elephant Makes Three: Raku sculpture by Margaret Griffin, paintings and photography by Rebecca Toy. Fri, Apr 6, 6-9:30 p.m. Local Color Gallery, Raleigh. www.localcoloraleigh.com.

36 | 4.4.18 | INDYweek.com

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posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

SUNDAY, APRIL 8

MENTOR/MENTEE: LOPE MAX DIAZ/LUKE MILLER BUCHANAN

artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works include motorized mechanisms that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might think you glimpse them moving in the corner of your eye. Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu. edu. —Brian Howe SPECIAL Elizabeth Bradford: EVENT Paintings. Thru Jul 31. Reception: Wed, Apr 4, 6-8 p.m. Umstead Hotel & Spa, Cary. www.theumstead.com.

Earth Consciousness and Cultural Revelations: Mixed media artist Alyssa Hinton.

Thru Apr 29. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

“Detroit No. 1” by Luke Miller Buchanan PHOTO COURTESY OF LEE HANSLEY GALLERY Lee Hansley Gallery celebrates its twenty-five-year history in a Raleigh with, appropriately enough, an exhibit celebrating lineage. Luke Miller Buchanan studied with Lope Max Diaz at N.C. State’s College of Design. Putting their paintings side by side shows how the elder’s striking geometric designs influenced but found softer, more sinuous expression in the canvases of the younger artist. At this opening reception, the Russian pianist and composer Yaroslav Borisov will premiere two keyboard works inspired by the paintings, and largescale serigraphs by Washington, D.C. artist Charlotte Robinson will be given to some guests as door prizes. If you haven’t visited Hansley’s new, more contemporary space at Dock 1053, now’s the time. The exhibit runs through May 27. —Brian Howe

LEE HANSLEY GALLERY, RALEIGH

2–5 p.m., free, www.leehansleygallery.com of the Arts” (1788) is a marker of changing times, a lovely portrait of the artist’s daughter sitting at a desk and drawing a sculpture. She is an active subject, not a passive object, and scholars believe that she painted her own drawing on the canvas. Several works show the duplicitous demands placed on women: to be a saint, but also an embodiment of sexual desire; to be in a

profession, but only a socially acceptable one; to be both strong and weak. Thru Apr 8.

Ackland Art Museum, Chapel Hill. www.ackland.org. —Liz Hull Between Dirt and Sky: North Carolina sculptor Thomas Sayre (you might have caught his exhibit White Gold at CAM Raleigh in 2016) is nationally renowned for his large-scale outdoor sculptures, but you can get a more intimate look in this

small gallery show, featuring mixed-media works inspired by the cotton fields and farm buildings of the rural South as well as Sayre’s iconic earthcasts.

Thru Apr 21. Craven Allen Gallery, Durham. cravenallengallery.com.

—Brian Howe Business as Usual: This is big all around—the largest exhibit ever mounted of large-scale sculptures by a large-looming North Carolina

The Found Object Collection: Collages by Sam Lasris and works on paper by Hendrika Vande Kemp. Thru Apr 14. The Scrap Exchange, Durham. www.scrapexchange.org.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

The Long Goodbye: MFA thesis work by Xinyao Zheng. Thru Apr 14. Power Plant Gallery, Durham.

Low Relief | Sensitive Situation: There’s been a changing of the guard at Lump, Raleigh’s best gallery for weird art, with Kelly McChesney handing over the directorship to April Childers. To get a sense of the perspective Childers will bring to the gallery, you could hardly do better than to check out her show (which was booked by McChesney before the leadership change), Sensitive Situation. Childers’s work integrates objects and images from pop culture and her personal life to shatter and rebuild the context of the everyday. Her show opens alongside one by Maria Britton, Childers’s partner in the itinerant LOG (Low Occupancy Gallery) project; Britton’s work in Low Relief blends painting, sewing, and sculpture to probe “femininity and feminism, high and low forms of art making, and dreams and disasters.”

Thru Apr 28. Lump, Raleigh. lumpprojects.org. —Brian Howe No One Left Behind: MFA thesis work by Theresa Scott. Thru Apr 14. Power Plant Gallery, Durham.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com.

The Shape of Fashion: Dress trends from 1800s to 1900s.

Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Raleigh Makers Market: First Saturdays, 10 a.m.-2 p.m.

Benelux Cafe, Raleigh. www.beneluxcafe.com.

Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. www.gallerya-nc.com.

Red Summer: Wendell A. White’s large-scale prints combining contemporary landscape portraits and historic newspaper accounts. Thru Jun 2. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Redress Papers: Mixed-media on paper about unresolved issues of civil rights by Tyler Starr. Thru Apr 14. Artspace, Raleigh. www.artspacenc.org.

Rock, Paper, Scissors: Jewelry

by Arianna Bara, fiber art by Ali Givens, and sculpture by Lynn Wartski. Thru Apr 22.

Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Sentience: Paintings and drawings by Adam Cohen.

Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing.

They range from mid-twentiethcentury Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit.

Thru Jul 15. Nasher Museum of Art, Durham. nasher.duke.edu.

—Brian Howe Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

Ackland Art Museum, Chapel Hill. www.ackland.org.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others.

Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

LAST The Vertigo of CHANCE Time: MFA|EDA thesis exhibition by Phyllis B. Dooney. Thru Apr 8. The Carrack Modern Art, Durham. www.thecarrack.org.

The Wild: Leah Sobsey, Joy Meyer, and Jeff Whetstone videos in downtown Raleigh’s Market Plaza. Thru Jun 27.

BLOCK2 Video Series, Raleigh.

Tenth Annual Small Treasures Juried Exhibit: Juried by Bob Rankin. Thru Apr 21. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/library/ carrboro.

Us & Them: Portrait paintings

by William Paul Thomas. Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12.

ERUUF Art Gallery, Durham. www.eruuf.org.

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David Henderson in The Absolute Brightness of Leonard Pelkey PHOTO COURTESY OF HONEST PINT FRIDAY, APRIL 6–SATURDAY, APRIL 21

THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY Nine characters, one performer. That’s the challenge actor David Henderson and director Susannah Hough face in James Lecesne’s one-act solo show. If you recognize the names of these regional theater veterans, the artistic principals of Raleigh’s Honest Pint Theatre Co., you’re already betting they’re up for it. The Wes Anderson-meets-Raymond-Chandler tale concerns the disappearance of a gay fourteen-year-old after he changes the lives of a group of small-town Jersey shore denizens, from a barracuda of a hair stylist and her awkward teenage daughter to a mob widow and a hard-boiled detective—all played by the same performer. Lecesne debuted the work to off-Broadway accolades after his Oscar-winning 1995 short, Trevor, spawned The Trevor Project, the country’s first national LGBTQ crisisintervention hotline. Given the magic of Lecesne’s script, if Henderson and Hough get this regional premiere right, you should leave the theater with a clear picture of the one character that never appears. —Byron Woods

PEACE UNIVERSITY’S LEGGETT THEATRE, RALEIGH Various times, $15–$20, www.honestpinttheatre.org

38 | 4.4.18 | INDYweek.com

OPENING

Collaborative, Durham. www.thisismettlesome.com.

The Absolute Brightness of Leonard Pelkey: Play by James Lecesne. Presented by Honest Pint Theatre Co. $15-$25. Fri, Apr 6-Sat, Apr 21. William Peace University: Leggett Theatre, Raleigh. theatre.peace.edu.

Leaving Eden: Play with music

by Mike Wiley and Laurelyn Dossett. $15+. Thru Apr 23.

PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

FatMouth Improv Presents April Show-ers: Comedy with special guest Room 101. $12. Sat, Apr 7, 8 p.m. The ArtsCenter, Carrboro.

Galumpha: Acrobatics, visual effects, physical comedy, and choreography. $10. Wed, Apr 11, 7 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Golden Age: Gabriel David: Conversation and comedy with improvisers and guest musician Gabriel David. Produced by Mettlesome. $5. Fri, Apr 6, 9 p.m. Monkey Bottom

NC Opera 2018-19 Season Reveal: North Carolina Opera announces its 2018-19 season featuring live vocal music.

Thu, Apr 5, 6 p.m. Whitaker & Atlantic, Raleigh.

RSVP to 919-792-3856.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Eyes Up Here Comedy Showcase: Female comedians from North Carolina. Hosted by

Erin Terry. $5. First Fridays, 7 p.m. Neptunes Parlour, Raleigh. www.neptunesparlour.com.

The Harry Show: Ages 18+.

Potentially risque games improv games with audience volunteers. $10. Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Hush Hush: Audience confession comedy show. Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. www. thisismettlesome.com.

Improv @ The Varsity: Sketch, improv, and stand-up. $6. Thursdays, 7:30 p.m. & Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

The Monti StorySlam: Accidents: Live storytelling. $12.

Wed, Apr 4, 7:30 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

food Chatham Mill’s Farmers Market Opening Day: Every Saturday morning through January 2019. Sat, Apr 7, 8 a.m.-noon. Chatham Mills Farmers Market, Pittsboro. chathammillsfarmersmarket. com.

Fifth Annual Artini: Final night of Becoming a Woman in the Age of Enlightenment. Local cocktails and appetizers inspired by boundary-breaking women.

Featuring DJ Sarah Carrier.

Sat, Apr 7, 7-9 p.m. Ackland Art Museum, Chapel Hill. www. ackland.org.

6-9 p.m. Whitaker & Atlantic, Raleigh.

NC Beer Festivities at Fearrington: Celebrate NC Beer Month at Fearrington’s first Beer Festival. $25-$45. Sun, Apr 8, 2-6 p.m. Fearrington Village, Pittsboro. www.fearrington.com.

Spring Wine Show: Spring Wine Sale tastings, hors-d’oeuvres, raffle, live music. Proceeds go to the Cooperative Community Fund. $10. Sat, Apr 7, 1-5 p.m.

Weaver Street Market, Carrboro. www.weaverstreetmarket.coop.

Red Bull Launch Event: New Red Bull product. With pitmaster Sam Jones, The Cocktail Bandits, and local musicians. Tue, Apr 10,

Sushi Apocalypse: Networking event with sushi. $20-$25. Thu, Apr 5, 6-8 p.m. Spring Rolls Parkside, Raleigh.

Leslie Pietrzyk: Discussing novel Silver Girl with Krista Bremer.

Thu, Apr 5, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

rights issues in the Amazon region of Brazil. Featuring Chief Afukaka Kuikuro and Michael Heckenberger (The Lost City of Z). Thu, Apr 5, 9 a.m.-6:30 p.m. & Fri, Apr 6, 9 a.m.-6:30 p.m.

Duke Campus: Richard White Auditorium, Durham.

page READINGS & SIGNINGS Boozy Poetry Night: Local poets. Second Mondays, 8:30 p.m. The Stag’s Head, Raleigh.

Elaine Neil Orr: Novel Swimming Between Worlds. Sat, Apr 7, 11 a.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

Wed, Apr 11, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Susan Harlan: Object Lessons.

Wed, Apr 4, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Lisa See: Novel The Tea Girl of Hummingbird Lane. Sat, Apr 7, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

LECTURES ETC. Amazon Frontiers: Global Brazil Conference: Interdisciplinary conference with indigenous leaders, filmmakers, and environmentalists on environmental and human-

Art with the Experts: Solidary & Solitary: Nasher curator Marshall N. Price discussion and slide lecture on Solidary & Solitary: The Joyner/ Giuffrida Collection. Mon, Apr 9, 7 p.m. Stanford L Warren Branch Library, Durham. durhamcountylibrary.org.

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 18:

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page

CONT’D SUNDAY, APRIL 8

Reserve in Mato Grosso, Brazil) and Michael J. Heckenberger (associate professor of anthropology at the University of Florida). Fri, Apr 6. Duke Campus: Richard White Auditorium, Durham.

Gladys Hall Coates University History Lecture: Kenneth Joel Zogry: Viewing and lecture by author of Print News and Raise Hell: The Daily Tar Heel and the Evolution of a Modern University about exhibition The Truth in Eight-Point Type: the Daily Tar Heel Marks 125 Years of Editorial Freedom. Tue, Apr 10, 5 p.m.

UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/wilson.

O Lost! UNC-Chapel Hill, Thomas Wolfe and The Great Influenza Pandemic of 1918: Opening event for the symposium Going Viral: Impact and Implications of the 1918 Influenza Pandemic.

Moderated by Robert A. Blouin. Wed, Apr 4, 6 p.m.

UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/wilson.

History of the Xingu Valley and the Place of the Kuikuro People in the Global Village: Afukaka Kuikuro (Paramount Chief of the Kuikuro Nation in the Alto Xingu Indigenous

screen

CAROLINA AFRICAN AMERICAN WRITERS’ COLLECTIVE Last year, the Carolina African American Writers’ collective published One Window’s Light: A Collection of Haiku on Unicorn Press. Hailed as a “literal and metaphorical groundbreaker” by Journal of Foreign Languages and Cultures coeditor Lauri Ramey, the book, edited by collective founder Lenard D. Moore and featuring contributions from its members, adapts the ancient Japanese form to black life in the American South. It’s the first published anthology of haiku by African Americans. Moore, L. Teresa Church, Crystal Simone Smith, Sheila Smith McKoy, and Gideon Young read from the collection at Quail Ridge Books. —Brian Howe

QUAIL RIDGE BOOKS, RALEIGH

2 p.m., free, www.quailridgebooks.com

SPECIAL SHOWINGS Bending the Arc: Documentary.

Wed, Apr 4, 6 p.m. NCSU Campus: Park Shops Bldg, Raleigh.

Microcinema: Films by current and graduating students MFA|EDA students. Wed, Apr 11, 6-9 p.m. Full Frame Theater, Durham.

Spiritual Cinema: Religion at the Movies: International film series. Mon, Apr 9, 7p.m.

James B. Hunt Jr. Library, Raleigh.

OPENING Beirut—Jon Hamm plays a diplomat in this epionage thriller set in 1980s Beirut.

Rated R.

SATURDAY, APRIL 7

CHANGING WORLDS This Earth Month exhibit at Pleiades gallery, on view through April 29, is poised on the grassblade-edge between appreciating the beauty of the natural world and sounding the alarm about its dire endangerment by human recklessness and bad policy. Carin Walsh and Jenny Blazing have a multimedia installation; New Orleans artist Ana Berta Hernandez is also featured. Beyond the art, there is a variety of community programming around the exhibit, starting with this film screening and talk on Saturday featuring animated shorts such as Eri Yokoyama’s “Tokio,” Kunio Kato’s “The House of Small Cubes,” and Jaclyn Bowie’s “Geij.”

There’s also an artist talk on Saturday, April 14, a Third Friday reception on Friday, April 20, and Earth Day activities on Sunday, April 22. —Brian Howe

PLEIADES, DURHAM | 7:30 p.m., free, www.pleiadesartdurham.com 40 | 4.4.18 | INDYweek.com

Blockers—In this ensemble comedy, parents try to thwart their daughters’ plot to lose their viginity on prom night.

Rated R.  Isle of Dogs—Reviewed on p. 29. Rated PG-13.

Pandas 3D—IMAX documentary about Pandas.

Rated G. A Quiet Place—John Krasinski directs and stars in this horror film about a family on the run from sound-sensitive creatures.

Rated PG-13.

The Miracle Season—Helen Hunt headlines this sports biopic about an Iowan high school volleyball team navigating the death of its leader. Rated PG.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13.  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  Flower—A sexploitation premise shoved in a comingof-age romantic indie with dubious results. Rated R.  I, Tonya—This kinetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need a lot

of nineties nostalgia to see this reboot as anything but a generic jungle adventure.

Rated PG-13.  Loveless—This chilling Russian film centers on a child caught between warring, nihilistic parents.

Rated R.  Oh Lucy!—Dark comedy and weird tragedy mingle as a Japanese woman takes on a curious new American identity.

Unrated. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press.

Rated PG-13.  The Shape of Water— Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic.

Rated R.  A Wrinkle in Time— Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds.

Rated PG.

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DURHAM COUNTY BOARD OF ELECTIONS NOTICE OF PRIMARY FOR PARTISAN CONTESTS AND ELECTION FOR BOARD OF EDUCATION Tuesday, May 8, 2018 The above election will be held in Durham County, NC on 5/8/2018. All polling places will be open from 6:30 a.m. until 7:30 p.m. on Election Day. 17 year old voters who are registered and will be 18 years old on or before 11/6/2018 may vote in primary contests.

Party primaries will be open to voters registered to that respective party, and to unaffiliated voters as allowed by the party.

CONTESTS U.S. House of Representatives District 4 (Democratic Primary) U.S. House of Representatives District 4 (Democratic Primary) District Attorney (Democratic Primary) Durham County Sheriff (Democratic Primary) Board of Education Districts 1, 2, 3, and 4 (Final election)

NC Central University Turner Law Building, 620 Nelson St., DurhamSCHEDULE FOR ALL EARLY VOTING SITES: Thursday, 4/19 through Saturday, 5/5/2018: Weekdays and Saturdays 4/21 and 4/28/2018: 9:00 a.m. to 6:00 p.m.

Sundays: Noon to 4:00 p.m.

Saturday, 5/5/2018: 9:00 a.m. to 1:00 p.m.

LOCATIONS Board of Elections office, 201 N. Roxboro St., Durham South Regional Library, 4505 South Alston Ave., Durham

ADVANCE VOTER REGISTRATION DEADLINE AND LAST OPPORTUNITY FOR REGISTERED VOTERS TO CHANGE PARTY AFFIILIATION: Friday, 4/13/2018. Voters that miss the registration deadline may register and vote during early voting.

SAME-DAY REGISTRATION DURING EARLY VOTING: Voters are allowed to register and vote during early voting. It is quicker and easier to register in advance, but if you have not registered in advance, you can do so during early voting with proper identification. This same-day registration is not allowed at polling places on Election Day. Information regarding registration, polling locations, absentee voting, or other election details may be obtained by contacting the Durham County Board of Elections or visiting its website.

East Regional Library, 211 Lick Creek Ln., Durham North Regional Library, 221 Milton Rd., Durham Duke University Brodhead Center, 402 Chapel Dr., Durham

Website: www.dconc.gov/elect Email: elections@dconc.gov Phone: 919-560-0700 PAID FOR BY DURHAM COUNTY BOARD OF ELECTIONS

ONE-STOP (EARLY VOTING)

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INDYweek.com | 4.4.18 | 41

crossword

POLLS now OFOR NOMINATIONS PEN

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

best

OF

4 2 march 5 - april 8 5 3 1 indyweek.com 6 4Vote 9 for your 8 3FAVORITE 5 LOCAL BUSINESSES ONLY THE TOP FOUR FINALISTS IN 2 EACH CATEGORY WILL APPEAR ON THE 1 2FINAL 6 BALLOT APRIL 23 - MAY 20 3 9Winners announced 2 in our June 6th issue 9 6 7 8 9

TH E

triangle 2 018

WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com

adve

# 42

su | do | ku

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

this week’s puzzle level:

© Puzzles by Pappocom

3 6 9 1

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

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

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

3

1

6 7 7 4 3

2 9 5 9

5 2

6

3 5 9

4 3

9 4 9 5

2 5

# 44

9 8

9

1 6 7

8 1 8 4

8 6

To a plea

2 5 1

MEDIUM 1 6 8 9 2 4 7 3 5

9 2 3 5 7 6 4 8 1

7 5 4 1 3 8 2 6 9

To a

# 44

4 7 2 5 9 6 3 8 1

1 8 9 7 4 3 2 5 6

3 5 6 2 1 8 9 4 7

6 9 5 8 7 4 1 2 3

#2 2 4 3 9 5 1 6 7 8

7 1 8 6 3 2 5 9 4

5 3 4 1 2 7 8 6 9

8 2 1 4 6 9 7 3 5

9 6 7 3 8 5 4 1 2

solution to last week’s puzzle

9 7 5

If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions”.

Best of luck, and have fun! www.sudoku.com

30/10/2005

42 | 4.4.18 | INDYweek.com

6 5

6

8

7

4.4.18

6 1

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

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

CLASSY AT INDYWEEK DOT COM Book your ad • Email kim: classy@indywEEk.com

advertise on this page!

reserve this space for $100! classy@indyweek.com

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

last week's puzzle

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

pet tact com

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

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

INDYweek.com | 4.4.18 | 43

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ArtsCenter, Carrboro. Private lessons also available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

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SPECIAL TREATS

in Timberlyne Center, FB: specialtreatschapelhill.

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