INDY Week 4.11.18

RALEIGH 4|11|18

The New Left They hate racists.

They love assault rifles.

Meet Redneck Revolt.

By Jordan Green

WAKE AT WAR, P. 5

HEALTHY INDIAN SWEETS, P. 14

SACRED LIGHT AT NCMA, P. 20

2 | 4.11.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 15

5 In Wake County, when politicos argue, they do it with Hamilton lyrics.

9 In 2016, 84 percent of those the Durham Police Department arrested only for misdemeanor pot or paraphernalia possession were black.

10 “The next time we see each other is going to be in the streets, and we’re both going to be armed.”

14 Mithai Indian Cafe uses unadulterated ingredients to make its special sweets.

DEPARTMENTS 5 News 14 Food 16 Music 20 Arts & Culture 26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

16 On The Invisible Comes to Us, Anna & Elizabeth upend ideas of tradition, songs, and storytelling.

20 The North Carolina Museum of Art’s new You Are Here exhibit encourages visitors not just to experience works of art, but to become a part of them.

22 Roller derby used to be a violent spectacle like pro wrestling, but in the 2000s it has evolved into a real professional sport for women.

On the cover

ExSUZme gets knocked down by an opponent during a Carolina Rollergirls scrimmage (see page 22).

PHOTO BY DANIEL HOSTERMAN

PHOTO BY CAITLIN PENNA

INDYweek.com | 4.11.18 | 3

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indynews Bad Blood

Drop-In Classes

HOW WAKE COMMISSIONERS TORE THEMSELVES APART OVER A FAILED GOLF COURSE

BY JEFFREY C. BILLMAN

T

oward the end of a marathon session of the Wake County Board of Commissioners on November 6, Greg Ford turned to his colleague Matt Calabria and offered some words of gratitude. They would soon be on opposite sides of a contentious 4–3 vote to acquire the defunct Crooked Creek Golf Course in Fuquay-Varina and turn it into a park.

Ford ended up in the minority voting no.

“Regardless of the turnout,” Ford told him, “your persistence and diligence has been beyond admirable, and you’ve been beyond fair in being transparent and sharing with us updates and including us in the process along the way. I really appreciate that.”

What a difference five months makes.

On Friday, Ford joined Chairwoman Jessica Holmes and Commissioner James West in a blistering letter condemning their four fellow commissioners—Calabria, Sig Hutchinson, John Burns, and Erv Portman—over a planned campaign event at the site of the proposed park on April 15, which they claimed “borders on unethical conduct. … Several citizens brought this event to our attention and expressed concerns about the appearance of a ‘payto-play’ arrangement, or at the very least the perception of a legitimate conflict of interest.”

Far from praising Calabria and his colleagues’ fairness, the letter slammed them for “a lack of information shared with us …. This is not in keeping with the values of transparency and good government we have embraced as public servants.”

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You could chalk this up to politicians being politicians, using any hint of impropriety to tarnish their rivals. And in many other places, such a play would be commonplace, especially with the May 8 primaries on the horizon. But this is the Wake County Board of Commissioners, a body entirely controlled by mostly like-minded, mild-mannered Democrats who have, since taking power a little more than three years ago, prided themselves on technocratic policymaking and a pervasive sense of comity.

Portman calls the letter a case of sour grapes. “A good board does its homework and makes its decision and moves on,” he says. “It’s amateur, in my opinion.”

Ford, however, says that’s not it at all. It’s really about transparency. His faction decided to write the letter, he says, after learning that the other faction tried to sneak through a final vote on purchasing the park on the consent agenda, without debate and without anyone realizing what was happening. (This is disputed.) Then, he continues, they learned of this event, where they believed those residents whose property values would benefit most from the park would fête the commissioners who voted for it and lavish them with campaign contributions.

(This, too, is disputed.)

“Even if they don’t think there’s anything wrong,” Ford says, “we’re saying the optics are bad. We’re saying don’t go.”

T

o understand the increasingly bitter fracas over Crooked Creek, you have to understand that it’s about more than just a park. To a large degree, it’s about the very

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question animating this year’s Democratic primaries: Have Wake County commissioners lived up to their campaign promises to adequately fund public schools?

Last year’s budget, critics point out, only granted the Wake school system $21 million of a requested $45 million in new funding, leaving out things like additional school counselors. This amount was $5 million more than the county manager had recommended, but the school system was left with a $24 million hole. The year before, the school board asked for $35 million in new funding but received just $24 million. Only in 2015, the first year after the Democratic takeover, did the commission give the school board nearly everything it wanted.

When the school board unveiled its request in April 2017, Portman complained that it was a “record request,” adding, “The more we fund, it seems like the more the request is.”

That didn’t sit well with school advocates.

It’s no coincidence that the five commissioners who voted for the budget—the four who voted for the Crooked Creek project, plus West—drew primary challengers, while Ford and Holmes didn’t. (Also no coincidence: Ford is a former principal, and

or parents, but for the entire community that has demonstrated, repeatedly, that it values public education,” Campbell wrote, asking the county to find more money for schools. “You were widely supported by progressive groups and voters, who assisted you to be elected, in large part, based on your stated belief in the need to provide adequate funding to public education.” She closed with a line from the musical Hamilton: “History has its eyes on you.”

Burns replied by paraphrasing a Hamilton line of his own: “Winning is easy. Governing is harder.”

To which Campbell retorted: “The point of my earlier email, John, is centered on the current state of the sausage-making in Wake County. … In a county with a lower tax rate than most other metropolitan areas in N.C., we could fund improvements to achieve outstanding public education if the Wake County Commissioners would simply revisit their funding priorities. It’s up to you and your colleagues to make the tradeoffs, navigate the sausage-making, and find a way to make it happen. Since I appreciate the fact that you appear to like one of my favorite musicals, I’ll leave you with one more quote to consider, which is Hamilton’s

was similarly generous: $5,000 to Calabria, $5,000 to Burns, $2,500 to Hutchinson.

This year has been a different story.

Campbell and her husband and Debnam and his wife maxed out to Burns’s opponent, cumulatively accounting for $20,800 of her reported $28,860 in donations as of the latest finance report, filed on February 14.

In February, Campbell solidified her change of heart and formed a political action committee called Women Awake PAC—technically, in state records, Woman Awake PAC, owing to a typo, director Paula Wolf says—to elect progressive women to local office in North Carolina, beginning in Wake County. The PAC—whose board includes Sesha Debnam, Dean’s wife and the manager of Debnam Property Management LLC, alongside longtime educators— promptly endorsed female challengers to Portman, Burns, and Calabria. (Men are running against Hutchinson and West.)

The idea behind the PAC is simple, Campbell says in an email to the INDY: the demographics of the Board of Commissioners—six men, one woman— don’t represent the county’s makeup, and these men in particular “have failed to honor their promises to our teachers, our children,

“We have a great board that is doing good work,” Portman says in an email. “Seventy-six percent of all property tax goes to education, tax increases four years in a row—unprecedented, but not enough for these affluent mega donors. … This is important and way out of bounds.”

In an interview, he adds, “The reality is they’re using the woman card. They’re using that as a guise for another fight,” referring to the school-funding dispute.

“Erv Portman may be feeling threatened, because some of our supporters were formerly supporters of his, when he campaigned in his last election on a platform of supporting public education,” Campbell counters. “In his prior campaign, when he was receiving significant support from some of our donors, he didn’t voice any concerns about any undue influence of donors to his campaign. … Since winning his last election, Erv Portman has been viewed by many supporters of public education as a contentious voice who questioned not only the priorities of the school board, but even at times their motives. … He has, however, been willing to dig up unbudgeted funds for an unplanned park that was requested by local homeowners around a failed golf course.”

“You were widely supported by progressive groups and voters based on your stated belief in the need to provide adequate funding to public education.”

Holmes is an attorney for the N.C. Association of Educators.)

In September, Dean Debnam, the president of the Raleigh-based Public Policy Polling and a big Democratic funder, commissioned a survey that could only be described as a shot across the bow. In it, he pitted an unnamed “woman who supports fully funding the schools” against the male commissioners who didn’t. The unnamed woman trounced her male competitors by about fifty percentage points.

Around the same time, another big Democratic donor, Ann Campbell, the cofounder of Campbell Alliance and a board member of WasteZero in Raleigh, began emailing Hutchinson, Burns, Portman, and Calabria with subject lines such as “Second Chance” and “Third Chance,” according to records obtained by the INDY. “The County Commissioners’ underfunding of the [schools’] budget request has been a major disappointment, not just for the [school board], or teachers, 6 | 4.11.18 | INDYweek.com

advice to Burr when he was trying to be diplomatic, and preferring to ‘wait for it’ versus carrying a banner for courageous causes: ‘If you stand for nothing, Burr, what’ll you fall for?’”

The rift deepened from there.

By November, Campbell was accusing Burns of “intentionally obfuscating and ducking the point in order to burnish ‘fiscal credentials’ for a future run for higher office,” Calabria of “trying to find a compromise on the point to please everyone a little bit but particular local constituents a lot in order to maintain appeal for a future run for higher office,” Portman of “refusing to even focus on the point that’s being raised and insisting on talking about a different point,” and Hutchinson of missing the point.

Campbell backed all of these men when they ran in 2014. She gave $6,000 to Calabria, $3,750 to Hutchinson (a donation matched by her husband, John), $5,000 to Burns, and $2,500 to Portman when he ran in 2016 (also matched by John). Debnam

and our families. … Clearly, we need more progressive women to better reflect the values and priorities of our community on the Wake County Board of Commissioners!”

It’s unclear what kind of support Women Awake will offer its endorsed candidates— Susan Evans, a former school board member challenging Portman; Vickie Adamson, a schools advocate running against Burns; and Lindy Brown, a former county commissioner taking on Calabria. Campbell notes that PACs, like individuals, are limited in the amount of direct contributions they can make to candidates.

But Portman is trying to raise alarms about the prospect of a large independent expenditure “to take out the current county board.” Indeed, the local rumor mill is rife with speculation that this new PAC could inject significant cash into the campaign’s waning days, similar to what Debnam did toward the end of the 2015 Raleigh City Council election with the “DrunkTown” ad campaign.

W

hich brings us back to Crooked Creek.

Just as it seemed that the sore feelings over the school-funding fight had begun to die down, the battle over Crooked Creek poured gasoline on the embers. Everyone agreed that the project had merit. The site is 164 acres, would be home to a much-needed school, is adjacent to protected wetlands, is being backed by nonprofits, and would eventually connect to greenways. Even the project’s critics found things to like.

But it was a question of priorities.

Ahead of the vote in November, Holmes and West pointed out that every dollar spent retrofitting the former golf course— not just the $4.5 million purchase price, but the up to $20 million that might eventually be spent developing it into a park—was a dollar that wouldn’t be spent on schools or affordable housing. The county staff, meanwhile, identified other projects it deemed more urgent and recommended that commissioners vote against the purchase.

But some two hundred park supporters had shown up at that meeting, many clad in green shirts that read “Park Please.” They’d bombarded commissioners with emails in the days before, arguing that this was a oncein-a-lifetime opportunity, and if the county dithered, the land could turn into a residential development.

Led by Calabria—who lives about a mile and half away from the proposed park—a bare majority of commissioners agreed to support what one source says was known among county staff as “Matt’s baby.” Their support didn’t yet come with money. Nine conditions had to be met, and then another vote had to be held, before the county would buy the property.

In a March 31 post on the South Wake Park Project Facebook page, Ron Nawojczyk, a leader of the Crooked Creek park effort, said that he believed the acquisition vote would happen on May 21. That was news to the board’s anti-park faction—and drove suspicion that pro-park commissioners were coordinating with park supporters behind their backs.

Four days later, at an informal agenda meeting with Holmes, Portman, and Hutchinson (the county does not record minutes for these meetings) there was brief talk of placing the Crooked Creek project on the consent agenda because the commission had already voted on it once, but a county attorney quickly rejected that idea.

At least, that’s Hutchinson’s version. Ford tells it differently. He wasn’t there, but he heard about it from Holmes, who declined to comment on the meeting for this story. In Ford’s telling, Hutchinson not only lobbied to get the purchase through on the consent agenda, but tried to do so under a generic title that wouldn’t arouse ire. It was only after Holmes asked questions that it was pulled from the consent agenda.

After that, according to the anti-park side, Hutchinson asked that the county punt on the park until after the primary. According to the pro-park side, however, Hutchinson asked to push back the vote because the conditions hadn’t yet been met. Why take up a touchy issue at a sensitive time if it didn’t really matter?

Or, as Burns puts it, “There’s no need to throw a politically divisive bomb into April if we can’t purchase the property in April.”

T

he truth is, the park probably wouldn’t have been a big deal if the county had given the school board what it wanted last year. It was the comparison of those two decisions that became political fodder: months after telling the school board they couldn’t find funds, here commissioners were signing off on a multimillion-dollar park project.

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED ROUNDABOUT ON MINERAL SPRINGS ROAD (S.R. 1917/1815) AT PLEASANT DRIVE (S.R. 1815) IN DURHAM DURHAM COUNTY TIP PROJECT NO. W-5517 The N.C. Department of Transportation will hold a public meeting regarding the proposed project to construct a roundabout on Mineral Springs Road (S.R. 1917/1815) at Pleasant Drive (S.R. 1815) in Durham. The meeting will take place on Monday, April 23, 2018 from 5 to 7 p.m. at Story Church located at 100 Pleasant Drive in Durham.

The purpose of the public meeting will be to gather input from the public on the conceptual design and their safety concerns at this intersection.

The public may attend at any time during the above mentioned hours. NCDOT representatives will be available to answer questions and listen to comments regarding the project. The opportunity to submit comments will also be provided at the meeting or via phone, email, or mail by May 8. Comments received will be taken into consideration as the project develops. Please note that no formal presentation will be made.

Project information and materials can be viewed as they become available at http://www.ncdot.gov/projects/publicmeetings.

For additional information, contact John H. Grant P.E., NCDOT Capital Region, Regional Traffic Engineer at 1561 Mail Service Center, Raleigh, NC 27699-1561, (919) 814-4952, or jhgrant@ncdot.gov NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting.

Anyone requiring special services should contact Caitlyn Ridge, P.E., Environmental Analysis Unit at ceridge1@ncdot.gov or (919) 707-6091 as early as possible so that arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

INDYweek.com | 4.11.18 | 7

That’s what the primary challengers want to highlight. “Their priorities are just different than mine and what the community’s are,” says Adamson. “[Calabria] believes bailing out Crooked Creek Golf Course is more important than funding the Wake County Public School System for nurses, counselors, or social workers,” Brown wrote in her INDY candidate questionnaire.

Brown, who did not return a phone call, also argues that Calabria should have recused himself because the park will boost his property values.

Friday’s missive from Ford, West, and Holmes poured salt in the wound.

“I’m still trying to wrap my head around it,” Calabria told the INDY a few hours after the letter’s release. “These three commissioners do not appear to have [previously] raised any of the objections they have raised.”

“I was disappointed,” Burns echoed. He bristled at the letter’s insinuations. “I consider my ethical reputation the most important thing I have as an attorney. I cannot, I will not, sacrifice that.”

The four Crooked Creek supporters forcefully pushed back against their opponents’ claims—not just about the campaign event but also about the park and the school-funding vote.

For instance, they argue, it might look bad to say that commissioners only gave the school board half of what it asked for in new funding, but that’s misleading. The new funding only accounts for a small portion of the school system’s total request; factor in the whole thing, and they actually gave the school board 97 percent of what it asked for.

They also note—and the primary challengers don’t argue the point—that the previous Republican-led board left the county behind in education funding, and they’ve spent the last three years trying to catch up.

Indeed, the board has raised property taxes every year since the Democrats took over. The county’s contribution to the school system, Burns points out, has increased by nearly a third in that timeframe, and teacher pay is up 41 percent.

The criticism, then, is that they haven’t caught up quickly enough—but Portman worries that if they raise taxes too high, that could give Republicans a window to make a comeback. Then where would schools be?

As for the park, they defend their votes on the merits, arguing that it will be vital for quality of life in this fast-growing section of southern Wake County.

“This is a great project,” says Hutchinson.

“It’s no more a golf course than the American Tobacco Trail is a railroad.”

Calabria disputes the notion that the Crooked Creek neighbors got special treatment and chafes at the suggestion that he 8 | 4.11.18 | INDYweek.com

should have recused himself. The park won’t directly benefit him, he says, and in any event, it will serve the greater good, which in his view obligates him to vote.

Ashley Manstedt, an administrator on the South Wake Park Project Facebook page, says her group’s interactions with the county bely any notion of favoritism.

“We were met with preconceived notions from some of the commissioners and possibly the staff as well,” she writes in an email.

“It seemed that they were not going to even give this proposal fair consideration because it was not in keeping with their particular focus or priorities …. Only a large, remarkable effort by residents of southern Wake County to consider the future and plan for the rapid growth the area is facing” made the park a reality.

Mandstedt also says the letter was misleading—perhaps intentionally so. The public invitation to the event was posted on the SWPP page, which has thousands of followers, many of whom don’t live in Crooked Creek.

“Therefore, it is provably false that Crooked Creek residents were the targeted recipients of that invite, which was the basis for Commissioners Holmes, Ford, and West’s serious accusations against their colleagues,” she writes.

In addition, “this event was not intended to be a traditional ‘fundraising’ event as was unfortunately miscommunicated. This was an event for the sole purpose of inviting the commissioners who voted for the park out to thank them.”

The four commissioners say there’s nothing unseemly about this event. It’s just politics—meeting with supporters and trying to get them to the polls to support you.

“The candidates have not organized the event,” Burns says, “but we certainly support citizens getting actively engaged and offering political support to people they agree with.”

He adds: “When you are talking about community meet-and-greets, the primary pitch is for volunteers and votes.”

“Every meet-and-greet I’ve went to involves checks,” Ford deadpans.

Mistrust abounds. Tensions that began brewing with the school-funding debate and boiled over with Crooked Creek debate threaten to tear the board asunder.

“I don’t know,” Calabria says when asked if the letter changed things. “I think you’re right that it has been an extremely collegial board up until this point. I would hate for interpersonal things or differences exaggerated by outside political actors to influence the cohesion of the board.”

He pauses.

“But I really don’t know.” jbillman@indyweek.com

news

Policing, in Black and White

THE DPD HAS REDUCED TRAFFIC STOPS AND SEARCHES AND POT ARRESTS, BUT RACIAL DISPARITIES PERSIST

BY SARAH WILLETS

I

n 2013, the FADE Coalition, a collective of Durham organizations and individuals concerned about the way drug enforcement feeds mass incarceration, called out racial profiling in the Durham Police Department.

FADE, which stands for Fostering Alternatives to Drug Enforcement, issued five recommendations with the aim of reducing racial disparities in policing: require officers to get written permission to conduct so-called consent searches, make marijuana the department’s lowest enforcement priority, require periodic reviews of traffic stop data, strengthen the Civilian Police Review Board, and mandate race equity training for the department.

Four and a half years later, with new policies and a new police chief in place, the DPD has significantly reduced traffic stops and searches and marijuana-related arrests, but racial disparities still persist in both areas.

There’s been some progress on all five recommendations, says Nia Wilson, codirector of SpiritHouse and a FADE member.

“But we don’t ever just want to stop with some movement. We always want to do better,” Wilson told the Durham Human Relations Commission last week.

When FADE made its recommendations, tensions were high in the Bull City. Durham police had shot and killed two men— Jose Ocampo and Derek Walker—earlier that year, and that November, according to authorities, seventeen-year-old Jesus Huerta managed to shoot himself in the head while handcuffed in the back of a DPD patrol car. Community outrage over racially disparate policing prompted thenMayor Bill Bell to ask the Human Relations Commission to investigate.

The HRC, building off of FADE’s requests, presented its own list of thirtyfour recommendations to the city council.

Most have been addressed. As for FADE’s recommendations, three have been fully implemented: written consent, traffic records review, and race equity training.

When it comes to making marijuana the agency’s lowest law enforcement priority, the DPD has not exactly followed FADE’s advice, although the number of drug violations issued is down by half since 2015.

Even under former chief Jose Lopez, marijuana wasn’t considered an enforcement priority. In 2016, Chief C.J. Davis reinforced this by directing officers to cite, not detain, people for misdemeanor charges.

The department has also been referring a growing number of marijuana cases to the Misdemeanor Diversion Program to keep them off of offenders’ records.

But there are quite a few exceptions to the citations directive: if the person has previous criminal charges other than nonimpaired traffic offenses, has outstanding warrants, doesn’t have a valid ID with him, or is facing accompanying charges.

In cases where the only charges are for misdemeanor possession of marijuana or paraphernalia, the people being charged are almost all black.

According to city reports, there were 854 charges for misdemeanor possession of marijuana or paraphernalia in 2016, compared with 1,406 in 2013. The reports only break down by race cases in which only those charges were filed. In 2015 and 2016, there were 144 such cases. In 2015, 80 percent of those charged were black. In 2016, it was 84 percent—although research shows no significant racial differences in who uses pot.

Delvin Davis, a research analyst with SelfHelp, told the HRC that, in recent years, these charges have been concentrated in east Durham, a historically black part of the city. According to a 2015 Self-Help report, residents in census tract 10.01—the focus of the city’s Poverty Reduction Initiative— were three times more likely to be charged with misdemeanor marijuana possession than elsewhere in the city.

Self-Help argued that such enforcement is counterproductive to the Poverty Reduction Initiative because a conviction could carry up to $374 in court fines and fees and have collateral consequences for a person’s employment and housing.

Officers are choosing citations over arrests more often for pot offenses. The report for 2017 (expected out this summer) could reveal even more citations in light of Davis’s 2016 policy change.

The number of traffic stops and vehicle searches has fallen drastically since October 2014, when the DPD began requiring written permission for consent searches, in which probable cause or a warrant aren’t required.

According to data presented to the HRC

by Ian Mance, an attorney with the Southern Coalition for Social Justice, which operates OpenDataPolicing.com, the DPD stopped fourteen thousand fewer drivers in 2017 than it did in 2013, and black drivers accounted for about 60 percent of that reduction. Yet black drivers are still being disproportionately stopped and searched by Durham police.

According to Mance, Durham police were executing about one hundred consent searches per month. Since the policy change, that number has dropped to about fifteen.

Over the past five years, black drivers have accounted for about 59 percent of drivers stopped by Durham police, while white drivers have made up about 27 percent and Hispanic drivers about 11 percent. Since 2008, the share of drivers searched who were black has hovered between 75 and 85 percent. About 38 percent of Durham’s population is black.

“One of the animating reasons for the written consent policy was to reduce racial disparities,” Mance says. “It has not had that effect. The disparities remain. That said, I do think the policy has been effective and it’s a good policy.”

Jason Schiess, a DPD data analyst, told council members last week that while traffic stops were down 22 percent from 2016, the demographics of the drivers stopped remains “relatively unchanged,” and black drivers were searched at a rate 2.8 times higher than that of white drivers, though officers find contraband in their cars at the same rate as white drivers.

Council member Charlie Reece asked Davis about that disparity.

“We’d have to look closer at the data to see whether or not we have any other problems or other disparities that would say an officer might have a tendency to search one car more so than another,” Davis replied.

FADE is asking the city to consider prohibiting stops for equipment and regulatory violations.

According to Schiess, these accounted for 26 percent of stops in 2017. According to Mance, 38 percent of black drivers were stopped for these reasons, compared with 25 percent of white drivers. Mance said that, in other jurisdictions, prohibiting such stops was “one of the few things that has made a meaningful difference” in racial disparities. swillets@indyweek.com INDYweek.com | 4.11.18 | 9

The

New Left THEY HATE RACISTS. THEY LOVE ASSAULT RIFLES. MEET REDNECK REVOLT.

BY JORDAN GREEN PHOTOS BY DANIEL HOSTERMAN

T

he gathering, which took place at a picnic shelter along the French Broad River in July 2017 and was billed as “Meet Your Local Redneck,” functioned as a sort of coming-out party.

After months of firearms training and partially successful efforts at community gardening, the Carolina Mountain chapter of Redneck Revolt was ready to unveil its program to allies in Asheville’s far-left activist community.

Wearing uniform red kerchiefs around their necks, sleeveless shirts, tattoos, and looks ranging from shorn-haired punk to bearded mountain man, they mingled easily with their left-wing friends: anticapitalists from Industrial Workers of the World,

10 | 4.11.18 | INDYweek.com

Democratic Socialists of America interested in responsible handgun ownership, a representative of an LGBTQ self-defense outfit called the Pink Pistols, and hardcore communists. They grilled chicken and gathered in a circle with banjos, fiddles, and guitars to sing “Solidarity Forever.”

Redneck Revolt is a national network of antiracist militias founded in July 2016.

Four chapters sprang up in North Carolina in 2017, although only one remains in the national network today. Assault-style rifles in hand, Carolina Mountain, with members from Asheville and Boone, played a key role in responding to the violent white-supremacist Unite the Right rally in Charlottesville on August 12.

The arrival at the July picnic of three members of the Asheville-based farright militia American Pit Vipers didn’t come entirely as a surprise—a couple Redneck members had invited them after encountering them at a July 2 impeachment rally in Asheville. Both sides were wary of each other but eager to talk. Considering the deepening polarization and escalating tension surrounding Donald Trump’s presidency, each worried that they could find themselves on opposite sides of a firefight.

Carolina Mountain’s hospitality set the tone for the impromptu summit. A handful of members leaped to their feet and greeted the right-wing militiamen with handshakes and wide grins. Seated across

the picnic table from each other, three to three, the conversation was friendly but intense, more like a spirited bar chat than a court-ordered mediation. One of the Pit Vipers wore an American flag-patterned do-rag and a black T-shirt with Arabicstyle lettering that read, “Go fuck yourself.”

He flashed a genial smile.

One Carolina Mountain member from Boone broke away from the huddle to provide an elated report.

“It’s going well,” he said. “We probably disagree on ninety-five percent of things, but they’re about community defense and we’re about community defense. The next time we see each other is going to be in the streets, and we’re both going to be armed.”

R

edneck Revolt’s interest in firearms dates back to efforts by the anarchistoriented Kansas Mutual Aid Network to disrupt the 2004 Republican National Convention in New York City, which attracted the attention of the FBI. Organizers, including future Redneck Revolt founder Dave Strano, decided to start training with legal firearms to signal that they wouldn’t be intimidated. Strano hoped his example would encourage friends in far-left activist circles to undertake bolder modes of organizing. For several years, Strano and his associates cultivated the ideas of class struggle, antiracism, and Second Amendment advocacy that would form the basis of Redneck Revolt.

The network’s founders adopted the term redneck in part to open doors in predominantly white communities. But it was also meant as intentional subversion, in much the same way queer has been reclaimed by the LGTBQ community as a term of empowerment. Some chapters have found that the racial connotations of the word redneck impede cross-racial organizing. The Carolina Mountain chapter, for instance, ultimately swapped the “Redneck Revolt” moniker in favor of “John Brown Gun Club”—a reference to

the antislavery zealot who tried to lead an armed slave revolt in 1859—explaining in a public statement that redneck did not reflect its membership and might be “initially off-putting or possibly offensive” to marginalized people they seek as allies.

The emergence of Redneck Revolt in Phoenix in the summer of 2016 coincided with Trump’s acceptance of the Republican nomination, but it also followed years of anti-immigrant hostility in Arizona. Beyond the state’s repressive SB 1070 law—which requires police to determine the legal status of anyone arrested or detained when there is “reasonable suspicion” that he or she is not in the country legally—right-wing militias had been showing up at mosques and harassing migrant border-crossers.

In the twenty-one months since the network’s founding, Redneck Revolt chapters have participated in armed defense actions against white supremacists, engaged in outreach to right-wing militias to discourage extremism, and experimented with projects modeled after the survival programs of the Black Panthers and Young Patriots in the late 1960s.

But the group has also come upon internal difficulties. In fall 2017, a series of posts on an anonymous blog made an allegation—

unsupported by evidence—of misconduct against Strano. In a letter threatening a lawsuit if the allegation was published, Strano denied it. Nonetheless, organizations in the antifascist movement have challenged Redneck Revolt’s handling of the matter, and at least one Redneck Revolt chapter, Rose City in Portland, Oregon, withdrew as a result.

Strano could not be reached for comment.

Displeasure over the INDY’s inquiry into the matter resulted in key members in North Carolina and Arizona withdrawing cooperation for this story.

What most sets Redneck Revolt apart from the traditional left, of course, is its open-carry tactic. Even among leftists who recognize the value of armed self-defense, brandishing assault rifles has been greeted with skepticism—although, after Charlottesville, in which one antifa demonstrator was killed by a white supremacist, some critics have grudgingly conceded that the network’s armed presence provided a bulwark of stability.

Redneck has only open-carried in limited circumstances, while honing competence through target practice and buddy-team drills. But the group’s involvement with firearms has opened a dialogue with right-wing militia groups—and that’s kind of the point.

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Based on a reverence for the Second Amendment and limited government, patriot militias have styled themselves as the contemporary equivalent of the original American revolutionaries. The movement draws heavily from military veterans who are well-versed in handling firearms.

Right-wing militia members frequently espouse a working-class brand of libertarian self-sufficiency that denies the authority of federal agencies. This was on display in April 2014, when patriot militias in southern Nevada engaged in an armed standoff with federal authorities to prevent the impoundment of rancher Cliven Bundy’s cattle. Some patriot militia members are also nostalgic for a time when white Christians held unchallenged dominance in the United States.

While gun ownership is embedded in the cultural fabric of the right, the mainstream left treats gun control as something of a civic religion, and that sensibility has only grown over decades of mass shootings, including the most recent Parkland massacre in February.

But the American left also has a long history of using guns as tools for self-defense or radical action. The most prominent example is the Black Panther Party. Founded in 1966, the Panthers instituted armed community patrols to protect residents from the police in Oakland. The next year, they marched with rifles into the California statehouse.

Even within the Southern civil rights movement, which was grounded in nonviolent resistance, firearms played a role. Most notably, the Deacons for Defense and Justice provided armed security for the March Against Fear across Mississippi in 1966.

Redneck Revolt positions itself as an inheritor of these legacies. But its anarchist streak, combined with its efforts to court rural white people living paycheck to paycheck, brings it closer to right-wing militias than the Panthers or the Deacons would ever be. Redneck Revolt has used this proximity for counter-recruitment, trying to shift potential militia members away from rightwing ideology and conspiracy thinking.

“When we refer to counter-recruitment, what we mean is that we’re working to pull our families and neighbors away from white nationalists and other formations that have threatened our communities,” said an unidentified host during a Redneck Revolt podcast in September.

Carolina Mountain’s engagement with the American Pit Vipers heightened during the four weeks leading up to the Unite the Right rally in Charlottesville. To demonstrate good faith, Carolina Mountain members showed up to support a pro-veterans rally organized by the Pit Vipers’ Tom Horne. The gesture paid off when Chance Allen, another Pit 12 | 4.11.18 | INDYweek.com

Viper, drafted a statement that disavowed the white-supremacist ideology of marquee speakers like Matthew Heimbach and Richard Spencer. “[Unite the Right] does not represent APV, our morals, or our standards,” the statement reads. “APV will not stand in accord with any individual or unit that is in attendance and has openly expressed their support for white nationalists. … APV will stand by and support any community in any state that opposes the appearance or existence of white nationalists among them.”

At a time when liberal commentators are calling for media “conversations” with hardhit working-class folks to better understand Trump’s populist appeal, Redneck Revolt members have done the work face to face.

And it’s guns—and shared gun culture—that have brought people to the picnic table.

locals in the run-up to August 12. Redneck Revolt fell into a camp favoring a more militant response, while Black Lives Matter Charlottesville and Standing Up for Racial Justice, a white antiracist group, were part of a coalition that wanted to take a more moderate tack.

As recalled by an anonymous member of Anarchist People of Color in a CrimethInc. podcast, “A group of us wanted to establish an agreement toward a diversity of tactics that respected different tactics such as opencarry as a deterrent of violence, antifascist blocs, blockading, and basically any tactic that would go toward the goal of defending Charlottesville from fascism. People from SURJ, even people in the newly formed Black Lives Matter chapter, the clergy, liberal groups, progressive groups resisted that idea and that strategy very strongly, with the

Redneck Revolt hosts a “Really, Really Free Market” in Denton, where community members can take or leave goods.

T

he Carolina Mountain and Silver Valley chapters—the latter is composed of members from rural Davidson County, Greensboro, and Durham—from North Carolina provided the backbone of Redneck Revolt’s armed presence in Charlottesville.

Members from Pennsylvania and Michigan, along with the allied Socialist Rifle Association, filled out the ranks. Redneck Revolt members viewed their operation—maintaining a security perimeter around Justice Park— as support for the larger antifascist cause.

Armed with assault rifles, Redneck Revolt transformed Justice Park into a staging area that allowed antifa and other militants to confront white supremacists and then return to safety.

Members of the Redneck Revolt network traveled from North Carolina to Charlottesville for extensive meetings with

feeling that we would get bad press after the fact, that we would be putting people in harm unnecessarily, that people were not consenting to being confrontational.”

Representatives of the less-militant faction, not including Black Lives Matter, spent a day with the Silver Valley chapter of Redneck Revolt discussing tactical differences and visiting a gun range.

Ultimately, SURJ and Black Lives Matter opted to stage their resistance to the altright separately from Redneck Revolt.

Walt Heinecke, who took out the event permit for the counter-demonstration in Justice Park, says he wasn’t notified of Redneck Revolt’s plans to show up with assault rifles. An associate professor at the University of Virginia, Heinecke had hired a local private security firm for the day’s events. The security professionals ended up

coordinating with Redneck Revolt as the Francis threat of violence escalated. militia Am “When I got there, I didn’t know whocast a Fa they were,” Heinecke recalls. “I asked onedirected of my security people. They said they wereBlack Liv an antiracist and pro-Second Amendmentmilitia all militia. They never entered the park. Theywhite nat were on the corner. When I went over to talkposition to them, they seemed like an affable group ofof the ant people. They didn’t cause any problem.”

“We’ve In one of many tense encounters overhas repor the course of that Saturday, Redneck Revoltstance,” M stood down a column of activists associatedFirst Ame with Identity Evropa, a white-supremacistside that group. According to Redneck Revoltholding th members who were present, the Identityfa’s holdin Evropa members hesitated when they sawproviding the armed contingent and then walked backposition in the other direction. ours as f “Justice Park was a safe place,” Matthewing free s Casella, a member of the Internationalviolence.

Socialist Organization, recounted duringintent.” a tearful speech the following day in While Greensboro. “It was under guard by RedneckRevolt’s Revolt, who repeatedly kept the fascistsence and at bay each time they came and marchedpatriot m around the square to intimidate us.” prevented From their vantage point, Rednecklence, th Revolt members warily observed suspectedracist gr white supremacists circling Justice Park inwelcome vehicles. One of the drivers, it turned out,Charlotte was James Alex Fields Jr., who had ralliedalong w with the white-supremacist group Vanguardhood ass America. Shortly after encounteringlocal bu Redneck Revolt, Fields drove his Dodgesuit aga Challenger into a crowd of antiracistRevolt, al marchers three blocks away, killing Heatherlection of Heyer and injuring nineteen others. alist and In a later Facebook post, Dwayne Dixon,groups. T an assistant professor in UNC’s Global Asianes that “p Studies department, boasted of chasingforces tr Fields from Justice Park. Dixon gained localidyllic co notoriety the following Friday when hea virtual c showed up at an antiracist rally in Durham Despite bearing an assault rifle. He was arrested ninedifferenc days later, but the charges against him wereneck Rev dropped in February. Dixon is part of thedemned Redneck faction that declined to cooperatecharging with this story. the “both While overt white supremacists looked forment infa opportunities to attack Justice Park, right-by Presid wing militia members equipped with assault “When rifles roamed the streets of Charlottesvilleto stand d and interposed themselves between theand SRA alt-right gladiators and antiracist counter-the alt-r protesters at Emancipation Park. RedneckCharlotte Revolt maintained radio communicationpage on M with the American Pit Vipers, according toing respo a recent Facebook post by APV membersupremac Chance Allen. the First Whether through APV or other sources,tesville a Redneck Revolt’s plans to show up inneighborh Charlottesville were well known within thelawsuit, a patriot movement days before the event. perpetuat

gesting that leftist groups are just as blameCarolina Mountain has discontinued the battles with the far left after Charlottesville.

Francis Marion, who is active with the worthy as the white supremacists they counter-recruitment work initiated with But Redneck Revolt may have inadvertently militia American Freedom Keepers, broadhelped us defend against.”

American Pit Vipers after concluding that rewritten the rules for future engagements. cast a Facebook Live video on August 9, it required too much time and energy, and “After Charlottesville, the League of directed to Redneck Revolt, antifa, and that ultimately the chapter’s first priority was the South decided we weren’t going to Black Lives Matter, as well as to right-wing hile an independent review by the building strong relationships with marginalparticipate in any further disarmed rallies,” militia allies. Without explicitly disavowing Charlottesville law firm Hunton & ized communities on the left. Members view Brad Griffin, the league’s chief propagandist, white nationalism, Marion staked a neutral Williams concluded that law enforcethe work with the Pit Vipers as valuable in the wrote on his Occidental Dissent website. position while recognizing the legitimacy ment “failed to maintain order and protect context of preparing for Charlottesville, but “We’re always going to be as armed as of the antiracist groups on the left. citizens from harm, injury, and death,” conthe circumstances of the relationship were so Redneck Revolt at all of our future events.”

“We’ve been told that Redneck Revolt tributing to “a deep distrust of government unique that it would be impossible to use as Charlottesville also created repercussions has reported that they are taking the same within this community,” for many on the far a model for future organizing. Chance Allen for Redneck Revolt. The Carolina Mountain stance,” Marion said. “They’re providing left, Redneck Revolt’s stand vindicated miliremains friendly with the Carolina Mountain chapter withdrew from the national netFirst Amendment security for folks on that tant antifascism. members, but Silver Valley—the only North work in January. According to two sources, side that are holding the event, that are By all indications, Charlottesville broke Carolina chapter that has remained with the split arose because of troubling conduct holding their event in the parks. So if antithe momentum of the alt-right. In Knoxville, Redneck Revolt—has picked up the baton by one Redneck Revolt member in Charlotfa’s holding an event and Redneck Revolt is Tennessee, on the day of the second annual to continue the counterproviding security, their recruitment work. position is the same as Since the carnage at ours as far as protectMarjory Stoneman Douging free speech without las High School, the armed violence. And that is our antiracists, molded by intent.” their experience in RedWhile Redneck neck Revolt, have grapRevolt’s armed prespled with the implications ence and dialogue with of the progressive ardor patriot militias likely for gun control. Among prevented further vioboth loyalist and breaklence, the armed antiaway chapters, many racist group was not members resist the idea welcomed by official of disarming while police Charlottesville. The city, violence goes unchecked, along with neighborwhile respecting the agenhood associations and cy of high school students local businesses, filed demanding change. Prosuit against Redneck gun antiracists also argue Revolt, along with a colthat white supremacy lection of white nationand toxic masculinity are alist and patriot militia more proximate causes groups. The suit chargfor gun violence than es that “private military firearms. forces transformed an Redneck Revolt’s sudidyllic college town into den rise coincided with a virtual combat zone.” the election of Donald Despite its tactical Trump, but in the second differences with Redyear of his presidency, its neck Revolt, SURJ coninternal contradictions demned the lawsuit, have raised marked difcharging that it echoes ficulties: What is the centhe “both sides” argu- Music has a strong history in revolutionary movements, and this tradition is carried forward by Redneck Revolt and tral cultural idea for the ment infamously voiced other leftist groups that attended the “Meet Your Local Redneck” event in Asheville. network if many of its

by President Trump. chapters have discarded the moniker redneck “When the city having ordered its police tesville, his treatment of other members, and Women’s March, the avowedly fascist Traas too problematic? And how does an organito stand down, groups like Redneck Revolt ultimately his unwillingness to take responditionalist Worker Party drew only twenty zation that attracts both anarchists and comand SRA were the last line of defense from sibility for his behavior. people, compared to the fourteen thousand munists balance autonomy and cohesion? the alt-right’s planned violence,” SURJ The departed Carolina Mountain and who turned out to protest the Trump adminWhatever Redneck Revolt’s future, even Charlottesville posted on its Facebook Rose City chapters were not outliers: in istration. Meanwhile, celebrity white nationin the #NeverAgain era, its primary legapage on March 20. “Now, instead of takMarch, the Shelby, North Carolina, chapter alist Richard Spencer complained that his cy may well be a demonstration of armed ing responsibility for permitting the white also disassociated from the national netprovocative campus appearances, which community defense against fascism for the supremacists to hide their hate behind work, renaming itself the Carolina Workers’ have faced relentless harassment from antitwenty-first century. the First Amendment, the city of CharlotCollective. In a Facebook post, the Shelby fa, are no longer fun. backtalk@indyweek.com tesville and several local businesses and chapter accused the network of perpetuatThe militant left’s forceful response in neighborhood associations have filed this ing oppression to the detriment of women, Charlottesville raised the stakes for the altlawsuit, attempting to shift the blame and people of color, LGBTQ people, and differright. Notably, the neo-Confederate League This story was produced in partnership perpetuate the ‘both sides’ narrative, sugently abled members. of the South began to shy away from street with Triad City Beat.

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INDYweek.com | 4.11.18 | 13

indyfood

MITHAI INDIAN CAFE

744-F East Chatham Street, Ste. F, Cary 919-948-8475 www.mithaius.com

No Filler

MITHAI INDIAN CAFE BREAKS THE MOLD WITH INDIAN SWEETS AND SNACKS MADE WITH PURE INGREDIENTS

BY LAYLA KHOURY-HANOLD

I

’m sipping chai with Davina Ray, owner and operator of Mithai Indian Cafe, a dessert bar and cafe in Cary’s Chatham Square Shopping Center. While we chat, she has to excuse herself twice. It’s Monday morning, just after the shop’s eleven o’clock opening, and she’s already tended to two customers, a middle-aged Indian woman who buys two boxes of pedha, or milk fudge, to bring to a friend’s house, and a non-Indian gentleman who’s curious about Indian desserts and peruses the pastry case until he settles on a box of pistachio fudge.

Those in the know recognize Mithai for its locally made, artisan Indian confections. It’s an important distinction to make because much of the packaged Indian food, snacks, and sweets in Triangle grocery stores are imported from India, where food safety laws and standards are different.

According to Ray, “There’s a lot of adulteration going on in the [Indian] packaged and prepared foods sector.” The problem, she says, is that the Indian community tends to favor Indian brand names without knowing that many of the well-known ones use non-food-grade ingredients, including slate and chalk as fillers, brick powder as coloring, or toxic aluminum sheets instead of silver foil. Even products imported from New Jersey, New York, and Canada contain fillers, preservatives, emulsifiers, and MSG. With Mithai, a business Ray took over in August 2016, her mission is to uphold the original owner’s vision: to craft and sell Indian confections made the old-school way, with integrity and quality ingredients.

In fact, the former owner refused to sell the business to anyone who wasn’t willing to continue his legacy. He found an eager buyer in Ray, a fellow Bengali who is motivated by both a desire to preserve her heritage and a passion for food quality and ingredient purity, which speaks to her roots in health psychology. The challenge she faces is educating the community about the adulteration in Indian packaged foods and making them more quality-conscious, 14 | 4.11.18 | INDYweek.com

though quality comes at a higher price. (A “fixed price” sign by the cash register means there is a strict no-haggling policy.)

“You see all these boxes here? That’s fifteen hundred dollars [worth of ] nuts,” Ray says. “Pistachio here means pistachio. It doesn’t mean pistachio essence or artificially flavored or a hundred grams of pistachio and green color. That’s how the other brands are selling it; it’s cheaper because it’s half adulterated.”

Another distinguishing factor of Mithai’s confections is that they are all egg-free, and many are vegan, vegetarian, or gluten-free.

Cashew marzipan is a common Indian dessert to which dairy-based fats like ghee, milk, or butter are usually added, but Ray eschews them because cashews already have a high enough fat content.

“It’s two ingredients. A lot of places add saffron to mask the taste of fillers. Simplicity is best, that’s what we think,” she says.

With a claim to being the state’s only truly local Indian confectioner, Ray has created a niche market. But she believes that there is a community to support it, especially among the local Indian population, which is exploding thanks to jobs at Research Triangle Park.

“Sweets in Indian culture, it’s like bringing someone a bottle of wine or chocolates,” says Ray. As a result, the highest volume of sweets is bought by the Indian community, but Ray wants to reach the broader Triangle and hopes that those who are not familiar with Indian sweets will stop in to try them.

Sample at will: it’s why Ray often refers to the cafe as a tasting room. Try the pedha, the oft-requested milk fudge; milk from local Homeland Creamery is boiled with sugar over a low flame for six to seven hours until the mixture caramelizes and reaches a fudge-like consistency. The pedha is then poured into pans, cooled, and cut into squares or pressed into molds. Pista burfi, a slightly denser milk fudge, is another popular pick, which is made by cooking ground pistachios with milk, butter, and cream of wheat, which acts as a binding agent.

Mithai Indian Cafe of Cary makes pista burfi and other Indian sweets in-house.

PHOTO BY CAITLIN PENNA

Laddu are spherical chickpea-flour confections that are common throughout India.

You’ll find several varieties here, including boondi laddu, where batter is poured through a perforated ladle into soy oil and quickly fried to create small pearls, which are rolled together with nutmeg, cardamom, and sugar syrup. There’s also besan laddu, where the batter is mixed with butter, cardamom, and nutmeg and then roasted, yielding a pronounced toasted-cardamom flavor and a crumbly consistency that dissolves on the tongue like powdered sugar.

You’ll also find sandesh, a Bengali dessert whose texture lands somewhere between shortbread and fudge. Boiled milk is cooked with lemon juice and sugar and flavored with mango, strawberry, or chocolate and coffee, to name a few options, and pressed into wooden and clay molds imprinted with floral designs or shaped like butterflies.

“It’s a dying food art that’s incredibly labor intensive and one that not many people are interested in continuing,” Ray says. “Anytime a Bengali person gets married, we get the call, even out of state.”

If your tastes skew savory or you need more sustenance, Mithai’s snack menu includes a destination-worthy samosa and will soon add kati rolls, an Indian street food snack where chapati, or griddled whole-wheat flatbread, is wrapped around fillings like chickpeas, potatoes, and paneer, a fresh cheese.

The flatbread bakery, which will include a dough maker, a tortilla press, and a griddle, will command considerable real estate in the café. Not only does this underscore Ray’s mission to sell fresh, quality Indian food, it sends a clear message that you should know where your food comes from, who’s making it, and exactly what’s going into it. food@indyweek.com

INDYweek.com | 4.11.18 | 15

indymusic

ANNA & ELIZABETH

Nightlight Bar & Club, Chapel Hill Saturday, April 14, 8 p.m., $15 www.nightlightclub.com

Inside Story

ANNA & ELIZABETH PUT A STAGGERING NEW SPIN ON OLD TRADITIONS WITH THE INVISIBLE COMES TO US

BY ALLISON HUSSEY

A

helping to draw out each song’s emotional ginia and one of New England, and just startnna & Elizabeth—the duo of Anna power. They learned how to use the studio as ed putting up the songs,” Roberts-Gevalt says.

Roberts-Gevalt and Elizabeth an instrument—editing the sounds of a stroll The two also drew images from the balLaPrelle—got their start as a folkthrough a dry forest into “Woman Is Walklads and put on their own “weird pageants” focused duo that offered clear-eyed, thoughting” and making a chopped-up, nonlinear about them, according to Roberts-Gevalt. ful interpretations of traditional ballads and old-time tunes. Their efforts were pleasantly straightforward, as on their 2015 self-titled LP. But to make The Invisible Comes to Us, which Smithsonian Folkways released at the end of March, Anna & Elizabeth dove headfirst into the challenge of making something bigger and braver, adding percussion, drones, and gentle horns to their mix. The result is one of the year’s most immersive and inventive records yet.

When it came time to start working on a follow-up album to Anna & Elizabeth, Roberts-Gevalt realized that she wanted to explore music that was more closely connected to her home region of New England; previously, most of her and LaPrelle’s work had Southern origins. (LaPrelle, a celebrated ballad singer with deep roots in traditional music, hails from Virginia.) So she spent the better part of a month exploring the Helen Hartness Flanders Ballad Collection at Vermont’s Middlebury College, which contains some four Elizabeth LaPrelle and Anna Roberts-Gevalt PHOTO BY BRETT WINTER LEMON thousand field recordings of New Engstory about a woman who sings her way out Most musicians don’t have such a multimelanders singing their traditional tunes for of a kidnapping in “By the Shore.” dia approach, but for LaPrelle and RobertsFlanders.

“I feel like the first records in some way Gevalt, those extra creative explorations help After the discovery process, Robertsare our desire to execute the things that we them to better collaborate within and inhabit Gevalt and LaPrelle benefited from back-tohad admired and loved,” says Roberts-Gevalt, their craft. back artist residencies at the Virginia Center adding that she and LaPrelle wanted to pri“In our Venn diagram, a lot of the things for the Creative Arts near Lynchburg, Viroritize drawing listeners into the stories over that we share have to do with visuals and ginia, and at the MacDowell Colony in Peterall else on their new record. “Laurie Andertheater backgrounds and being kind of Engborough, New Hampshire. The women had son, to me, is a storyteller the way that a ballish-major nerds about the texts and stories,” armed themselves with a boatload of archilad singer is—someone who puts story ahead Roberts-Gevalt says. “Being able to talk in val material, and the residencies gave them of anything else, and you go different sonic lots of different languages together about the the time and space to dig as deep as they directions depending on what the story tells songs is, in a way, trying to embed the songs wanted with their newest inspirations. you to do. Like, this song is about the ocean, into us.”

“We came to the residency with all of these what sounds feel right to convey that?”

With their songs sorted out, the duo’s next scanned documents, a lot of sound files, a lot To achieve those ends, LaPrelle and feat was padding out their guitar- and fidof photos of ballad singers. We made giant Roberts-Gevalt turned not to other folk dle-based music with broader arrangements, maps on the walls of our studio, one of Vir16 | 4.11.18 | INDYweek.com

musicians but to those whose talents could help them tell stories, regardless of background. That included people like Jim White, a drummer who’s worked with Cat Power, PJ Harvey, and Bill Callahan, and co-leads his own duo, Xylouris White.

It also included Susan Alcorn, the Baltimore-based pedal steel player who makes otherworldly appearances on “Farewell to Erin,” “Virginia Rambler,” and “By the Shore.”

“She was really important to me as someone who introduced me to various forms of experimental music and improvisation,” says Roberts-Gevalt.

“She has a background in playing honkytonk music in Houston and then kind of found experimental music, but she has both in her abilities and her interests.”

The Invisible Comes to Us is distinct not only in its arrangements, but also in its organization. Despite their varying origins, many of the songs share themes of heartbreak and seafaring.

Strung together, they lightly sketch out a singular story about lost love. Indeed, Roberts-Gevalt says that LaPrelle floated the idea that the songs work together like characters in a novel. The record opens with the stirring “Jeano” and ends with a field recording of a woman named Margaret Shipman singing part of the song; the haunting refrain of “Woman Is Walking” reappears in “By the Shore.”

For Roberts-Gevalt, these echoes also allow her to savor the time she gets to spend with these songs.

“Connecting songs to another is kind of a way of extending the length of a ballad, imagining them each as episodes in a larger story,” she says.

As far as the Anna & Elizabeth story goes, The Invisible Comes to Us makes for a thrilling entry, one that upends ideas of tradition and the limitations of “folk” music. The pair’s ability to connect the past and the present spells a fascinating future for them. ahussey@indyweek.com

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18 | 4.11.18 | INDYweek.com

BY SPENCER GRIFFITH

hough Wolf Alice had a humble start as an acoustic duo in 2010, it didn’t take long for the band to find success after plugging in and adding a rhythm section. Now a quartet, the guitar-forward London outfit incorporates a spectrum of alt-rock sounds, from shoegaze grandeur and gauzy dream pop to snarling grunge and electro-infused folk.

The band’s power lies in the earworm melodies of frontwoman Ellie Roswell, as well as her lyrics that are both scathing and introspective. In the wake of September’s Visions of a Life and tour stints with Queens of the Stone Age, the band is poised to break onto bigger stages stateside. Before the band returns home for another round of gigs with Foo Fighters and Liam Gallagher, we caught up with Rowsell to get her take on navigating the band’s new level of success.

INDY: What are the biggest differences you’ve noticed with touring the U.K. versus touring the U.S.?

ELLIE ROWSELL: When we first started coming over, the main difference was going back to playing really small pubs and clubs. Now that we’ve toured here quite a bit, the main thing is that every place is so different; we’ll be playing to two hundred people in one end of the country and then we’ll play to two thousand people in New York. That can all happen within two days, so it’s quite a hard thing to get your head around if you go from such a huge gig to such a small gig in a matter of days. It’s not quite to that extreme anywhere else for us. It should be a bit deflating to go from a massive show to a tiny one, but sometimes it’s really nice. It shakes things up a bit and it varies the intimacy, so it’s quite nice, in a way. I also find the audiences are a lot more vocal, or vocally enthusiastic, over in America.

Wolf Alice PHOTO BY LAURA ALLARD FLEISCHL When you’re writing lyrics, are you mindful of which styles will flavor each particular song or does that come more into play when the rest of the band gets involved?

Most of the time, I go into songwriting without thinking about genre or style at all.

Sometimes I’ll go “I really want to make a hardcore song or a sugary pop song,” and then I’ll kind of rely on the fact that the four of us, who have been playing together forever, will bring a Wolf Alice sound to it

and it won’t, stylistically, be too far removed from anything else we’ve done.

In terms of writing in different styles and genres, I’m kind of writing for no one but myself. If I really want to do something, I won’t not do it because I’m worried that it won’t fit. I’ll cross that bridge when it comes. I think we still have some work to do in terms of making an album sound like it flows well together, but it’s fun to have the freedom to write whatever you want. I wouldn’t want to be confined to one style.

Now that you’ve reached this level of success, how does it feel to know you may be inspiring aspiring musicians in a similar way that bands like Nirvana and Pixies influenced you?

You don’t really have to get to a Nirvana level of success to inspire people. When I was younger, I was inspired by tiny, tiny bands that are no longer bands now. I don’t limit inspiration to how successful you get, but reaching a bigger audience is scary. People are watching what you do outside of just your music and that’s quite scary, but it’s also amazing to know that people are interested in what you have to say and what you have to offer.

You’ve gotten pretty vocal in U.K. politics, both leading up to the 2017 general election and, a bit before that, forming Band 4 Refugees. Why did you decide to use your platform for political change in those particular cases?

I guess just getting to grips with the fact I have a platform. Sometimes it’s so alien that people are interested in what I think and because I didn’t really think about that. It didn’t take a lot of courage for me to do anything about it, I just carried on with what I was doing but made it public. I look towards people other than politicians to help build my knowledge and opinions on things, so if I do that, then other people might look towards me.

When I become vaguely sure of something—which, for something like the migrant crisis, was being portrayed so horrifically in global news—it’s not too hard for me. I didn’t feel like it was a gray area. It was a black and white [issue]; this is wrong and people are portraying in a fucked-up kind of light. I was looking towards my favorite musicians and artists to help clarify what was going on, because it wasn’t being portrayed clearly in the news. music@indyweek.com

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Speaking of that, did you have any hesitation about still writing such personal lyrics on Visions of a Life considering how big the band’s audience has grown since the debut?

I thought I’d become less apprehensive, but the more time goes on, I realize that I’ve actually become more apprehensive about that kind of thing. The bigger you get, the more open you are to criticism. There’s more people that might not enjoy it or think it’s weird, so it is quite scary. But the beautiful part is that no one knows what’s fiction and what’s not, so I can write a song that’s loosely based on myself or completely not about me at all and I’m the only one that knows. No one can really tell whether it’s actually about myself. I can always lie. [laughs]

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FRIDAY April 20, 2018 With performances by

Django Haskins of the Old Ceremony and Skylar Gudasz Tickets: $65 for Individuals / $120 for Pairs Info & Tickets: musicformefine.com Me Fine Foundation provides financial assistance and emotional support to critically ill children & their families at Duke, UNC, and WakeMed Children’s Hospitals.

You can make a difference: mefinefoundation.org

INDYweek.com | 4.11.18 | 19

indyart

Step into the Light

YOU ARE HERE: LIGHT, COLOR, AND SOUND EXPERIENCES Through Sunday, July 22 North Carolina Museum of Art, Raleigh www.ncartmuseum.org

YOU ARE HERE, NCMA’S IMMERSIVE EXPERIENCE IN RADIANCE AND SOUND, TEMPERS ITS WILD EXTRAVAGANCE WITH THEMES OF SACRED, SHARED HUMANITY

BY NIKI MCNEILL

Yayoi Kusama’s “Light of Life” (2018) PHOTO COURTESY OF NCMA 20 | 4.11.18 | INDYweek.com

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s NCMA director Larry Wheeler said at the press preview for You Are Here, on average, a visitor spends a mere sixty seconds experiencing a work of art that might have taken years to create. But this exhibit challenges visitors to the North Carolina Museum of Art not only to invest more time into the experience but also to become a part of the works. Using light, color, and sound, an incredible collection of world-renowned artists takes over an entire floor of galleries as well as Museum Park. The multisensory experience dazzles with themes of identity, nostalgia, technology, and more.

Some of the environments created throughout this vast collection feel almost sacred. Anila Quayyum Agha evokes the majesty of worship centers with her iconic piece, “Intersections.” Using lasercut wood, lacquer paint, and a single light bulb, Agha transforms an ordinary room into a jaw-dropping display of pattern that twinkles across every surface. The simplicity of materials is remarkable, given the dramatic effect they achieve on such a large space. Agha is inspired by traditional Islamic motifs and uses the transmission of light through an elaborate cube to create an emotional environment. The motivation to create emotional moments ties the diverse body of work in this exhibit together.

For example, Janet Cardiff recreates the grandeur of a traditional cathedral choir in “Forty Part Motet.” Visitors enter a stripped-down room with forty speakers arranged in a circle. Each speaker projects the pitch of a different voice to create a harmony that evokes a deep sense of unity. Whether religious or not, one cannot help but be moved by the cohesive blend of human voices. The simultaneous low rumble of the people with you in the space creates a beautiful juxtaposition of organized musical production and the ambient tone of our shared presence. Our passive connection is another thread that runs through the exhibit, explored from both a positive and a negative viewpoint.

Rafael Lozano-Hemmer takes on “big brother” in his high-tech installation “1984x1984.” Guests become the subject of the piece as they draw near a screen filled with colorful house-address numbers from Google Maps images. At first glance, these numbers seem like a random collection, but as the viewer stands before this largerthan-life piece, they will recognize their own shape and movements mirrored before their eyes. Lozano-Hemmer illuminates the deterioration of privacy as we leave

more and more digital footprints in our daily lives.

Mickalene Thomas, whose “Three Graces: Les Trois Femmes Noires” is included in the museum’s permanent collection, is known for multimedia pieces depicting black women, and the work that she created for this exhibition takes her signature style to the next level.

Her installation Do I Look Like a Lady? is a two-channel video surrounded by soft, vibrantly upholstered seating and several large, wall-mounted wood-panel pieces.

Upon entering the installation, one notices a strategically placed collection of books.

Thomas told the INDY many of them were books that made an impression on her as a child. Other books further the narrative of the video projected across the room, which features multiple generations of black female singers, actresses, and comedians from the mid-twentieth century. Thomas said that many of them were not recognized for their talent while working in the U.S. It wasn’t until they left the States and gained acclaim in Europe that they were celebrated at home.

Thomas said

that it’s important for her to highlight how much black women’s identities have been defined by watching the rise and fall of these iconic entertainers.

As for the seating, it continues the storytelling with allusions to the black American quilting tradition. Using fabric from her personal collection, new African print fabrics, and collected vintage work smocks, Thomas takes visitors on a journey through black female identity by simply having a seat.

It is important to note that You Are Here is Wheeler’s last exhibition as director of the museum. He has championed the inclusion of contemporary art at NCMA for his entire twenty-four-year tenure. You Are Here exemplifies his legacy of curating the best of what can be presented to North Carolina art lovers. In this exhibit, the museum also reveals its latest permanent acquisition, a highly sought-after “infinity room” by Yayoi Kusama. Perhaps we can consider it Wheeler’s parting gift.

Each piece in this exhibition is layered with sentiment, innovation, and individuality. Set aside an afternoon to engulf yourself, even though it will not take long to discover that, among all this greatness, you are indeed here. arts@indyweek.com

Mickalene Thomas’s “Diahann Carroll” from the installation Do I Look Like a Lady? (2016) PHOTO COURTESY OF NCMA INDYweek.com | 4.11.18 | 21

indysports

On the Right Track

CAROLINA ROLLERGIRLS Saturday, April 14, 5 p.m., $5–$10 Dorton Arena, Raleigh www.carolinarollerderby.com

The derby they have that it doe living. As all, she is e “Every in,” Clobb STORY BY KAIA FINDLAY PHOTOS BY CAITLIN PENNA lives for th Derby i n the few moments before the starting even thos whistle shrieks, Ginger Clobbers has its curren words running through her head. They 2018 look fuel the intensity of her mission in the conago, when test of skill and power that’s about to begin.

The Ro All she thinks is: kill, kill, kill.

Merica, w The thirty-six-year-old positions herself roller derb on an oval track laid out in red tape on the remembe concrete floor. The tape separates her from to the fac the rest of the cavernous exhibit hall in the choreogra Raleigh Convention Center, a third of which more like is filled with people ranging from tattooed, al, compet vibrant-haired young folks to plaid-shirted The cu parents and their kids. Some sit at the edge cle power of the track, putting their cups of local craft points ins beer at risk should a body come careening teams of across floor. By the bathrooms, drag queens Eight are b are teasing the tangles out of curly brown are jamm wigs and preparing for their moment of lipClobber syncing fame at halftime. helmet co Clobbers focuses on four women directly to break th ahead of her. When the game begins, they score poin will press shoulders to shoulders, hips to simply ba hips, and kneepads to kneepads, locked in a the length grueling effort to keep Clobbers from breakagain, ear ing through their ranks and finding the freeopposite t dom to go zooming around the oval’s curve.

As a bl These women are roller derby players. It’s player, us Saturday, February 17, game day for the Carojammer b lina Rollergirls. mate, thro Before play starts, Clobbers may not seem in two-mi too intimidating. She stands near the average jam ends, derby height of 5’4”, wearing her game-day A histo ExSUZme circles the track with opponent Mayhem West during the Carolina Rollergirls scrimmage on Sunday, April 8, in Apex. game pla black pants and black-and-red jersey, spicing up the look with a red kerchief around her tion appa up, hit the after-party, and then show up thebers. Sinc this season opener, a double-header against Derby drew in Clobbers because it was neck. Her helmet covers braided hair, also next morning at nine for practice. It’s drain-Women’s the Greensboro Roller Derby, at eleven in one of the few competitive sports for adult red, and short bangs. ing. It’s a time suck. And when it’s time to pay2004, spe the morning. In the six hours before the women, offering a group of teammates that Before derby, Clobbers says, she was shy the $55 monthly dues and purchase gear, it’spenalty ru whistle, they transform a hall three times its players describe as a family or a sorority— and self-conscious, often too timid to even not a cheap one. larger than their usual practice space into even, sometimes, as a cult. But what makes pull the cord for her stop while riding the bus. current ga But all around the world, in twentyers has al an arena with a track taped on the floor and derby special is that it is a sport for skaters, Now in her ninth season of roller derby, countries on five different continents,lists 422 d chairs for at least six hundred fans. They by skaters.

Clobbers was voted the “most terrifying women are making roller derby happen.339 of wh do each other’s makeup—a touch of red lipteammate” by her fellow skaters. She’s one Their sport is an outlet for teams, fans,requireme stick, maybe some eyeshadow—take team lobbers and the Rollergirls, a group of the most senior members of the league, announcers, deejays, and referees to engage,March, th pictures, warm up, skate their hardest for of about twenty-five women, most in which includes A-team the All Stars and be aggressive, and act loud and bold and free.107 in the two hours, end play at nine at night, pack their twenties and thirties, had arrived for B-team the Bootleggers.

ROLLER DERBY EVOLVED FROM A VIOLENT SPECTACLE INTO A COMPETITIVE SPORT AND SAFE SPACE FOR WOMEN, EXPLODING IN POPULARITY IN NORTH CAROLINA AND AROUND THE WORLD

I

C

22 | 4.11.18 | INDYweek.com

The derby community accepts the fact that they have stomachs, thighs, and butts, and that it doesn’t matter what a skater does for a living. As long as she can show the world her all, she is enough.

“Every time I step away, it pulls me back in,” Clobbers says. “Derby has changed our lives for the better.”

Derby is an unfamiliar sport to some, and even those who know it may not understand its current form. The roller derby game of 2018 looks different than it did thirty years ago, when many of its current fans were kids.

The Rollergirls’ Mirtha Barner, or Miss Merica, was one of those kids. She watched roller derby on TV in the early nineties and remembers the grudge matches, the elbows to the face, the flipping over rails, and other choreographed antics that made it much more like pro wrestling than the professional, competitive sport it became in the 2000s.

The current version deals more in muscle power and tactics, hitting hard to score points instead of making a spectacle. Two teams of five women face off on the track.

Eight are blockers, the main defense, and two are jammers, the main offense.

Clobbers is a jammer. She wears a black helmet cover with a red star, and it is her job to break through the other team’s blockers to score points. After she dodges, sidesteps, or simply barrels through the group, she skates the length of the track and enters the fray again, earning a point for each member of the opposite team she passes.

As a blocker, Barner, a third-year derby player, uses her body to stop the opposing jammer but also to get Clobbers, her teammate, through the other pack. Play proceeds in two-minute sessions called jams. When a jam ends, five fresh players come on.

A history of rule changes has altered the game play to its current form, an evolution apparent to veteran players like Clobbers. Since the formation of the skater-led Women’s Flat Track Derby Association in 2004, speed of play, training strategy, and penalty rules have been altered, shaping the current game dynamics. The number of skaters has also skyrocketed. WFTDA currently lists 422 domestic and international leagues, 339 of which have teams that meet WFTDA requirements to compete for rankings. In March, the Rollergirls jumped from 123 to 107 in the WFTDA rankings.

Uniscorn battles Crash Catch 'Em during the Carolina Rollergirls scrimmage.

“Every time I step away, it pulls me back in.

Derby has changed our lives for the better.”

Renee McHugh, a tall referee with a shock of purple-blue hair that matches her name, Elektra Q Tion, joined the team nine years ago. Like Clobbers, she saw changes come and go in WFTDA and in her own team.

Though she continues to be involved with the Rollergirls, the forty-eight-year-old quit skating two years ago. The team is different—younger, less intense—and she no longer feels she belongs the way she used to.

“They’ve got their own thing going on,” she says, pulling on her black-and-white striped jersey.

I

n the game against Greensboro, the leadership, drive, and experience of skaters like Clobbers shapes the play, but the explosive energy of younger players learning to be a team shines through.

After the whistle, Greensboro initially leads the charge. Their jammer breaks free of the Rollergirls for the first, second, and third jams. But in the fourth jam, Clobbers, keeping her body low and using her shoulders to drive through the pack, blasts past the Greensboro players and picks up three points.

She sets the tone for the rest of the game. Mayhem West, a tall, blonde jammer with a strong build and short shorts who joined the team in 2017, becomes the crowd favorite by racking up points, scoring up to fourteen in every jam she skates in.

The blockers thrust hips and butts into oncoming jammers, their skates honking as they brake in Greensboro’s path. At times, it looks like a mess of bodies and confusion, inevitable when a game starts in a ten-foot space. But the beauty of derby comes through in the moments of clarity when a jammer emerges from the crush, tucks her body, and sets off, skates gliding over the smooth floor, the crowd breathing with her until she crashes back into the smash of bodies.

These relatively tranquil moments are a quick respite between the excitement of the rest of the game, as hard hits and takeouts keep the fans gasping and cheering.

In the second bout, Barner hip-checks a fellow jammer as they speed around the track and sends her sliding into the “suicide seating.” It doesn’t bother the fans—in fact, getting close to the players is one of the reasons they come to bouts.

“We’ve been to hockey games and stuff, but you’re always separate,” says Frank Menius, a red-bearded, blue-haired man sitting next to his three kids. “[In derby,] you can get really close … it’s exciting.”

Menius’s kids, along with fans of all ages, run up to give high fives to the players as they skate around the perimeter at the end of the game. The Rollergirls celebrate a win of 264-138.

This Saturday, April 14, the Rollergirls return to Dorton Arena, their home track from 2006 to 2016. The Bootleggers will take on the Ring City Rollergirls from Kinston, North Carolina, at seven, after the All Stars play the Rouge Rollergirls of Fayetteville at five. Announcer Rippi Longstocking will commentate during the game. The forty-six-year-old English professor says she got involved with derby because of the incredible power, intelligence, and determination of the players.

“There’s a lot of effort,” she said. “Nothing makes me happier.” backtalk@indyweek.com INDYweek.com | 4.11.18 | 23

indystage

LEAVING EDEN ½ Through Sunday, April 22 PlayMakers Repertory Company, Chapel Hill www.playmakersrep.org

In the Loop

AN EARLY-TWENTIETH-CENTURY COTTON MILL AND A MODERN PORK-PROCESSING PLANT ARE THE AXLES OF RACIALLY VIOLENT CYCLES IN LEAVING EDEN

stage

BRIEF

THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY 

Through Saturday, April 21 Peace University’s Leggett Theater, Raleigh www.thehonestpint.com

BY BYRON WOODS

PHOTO COURTESY OF HONEST PINT

Sarita Ocón as Maria in PlayMakers Repertory Company’s Leaving Eden PHOTO BY HUTHPHOTO

I

t’s not wise to travel on a river when the water’s deeply troubled by a storm and the night is far from over.

But as the enigmatic, soulful griot Selah informed the audience on opening night of the new music-theater work Leaving Eden, sometimes people do not have any other choice.

It is a heavy crossing indeed that playwright Mike Wiley takes us through in this drama about the cyclical history of racial and ethnic violence in the American South. The elemental lyrics of folk songwriter Laurelyn Dossett lead us up the brackish backwater between the Black River and Cape Fear in southeastern North Carolina. Eventually, we reach our very own heart of darkness, or one of them, at any rate: a fictional town in which an early-twentieth-century cotton mill and a present-day pork-processing plant have imposed different forms of economic servitude on generations of poor, 24 | 4.11.18 | INDYweek.com

undereducated minorities and a rising tide of undocumented laborers.

The biggest irony is that this town was built, as Selah (a potent Tangela Large) notes, by freed former slaves. By the time we get there, it has fully earned its portentous name, Marah, which means “bitter” in Hebrew. Small wonder that Gabriel (Ray Dooley), the curmudgeonly proprietor of a Main Street junk emporium, calls the town “the ass crack of the state.”

But just as Roy White (Jeffrey Blair Cornell), a tea party candidate promising “countywide immigration reform” puts a measure on the ballet to banish undocumented aliens from Marah, one woman’s connection to the two troubled eras Eden explores presents a new possibility for social justice. Reports of a coming hurricane stir up the addled memories of an earlier storm in the mind of Ms. Maggie (Rebecca Guy), a 101-year-old woman at the end of her life. The flood of ’33 killed most of the

town’s black population. Though she’s long since buried the memory, Ms. Maggie is the only one still alive who knows they didn’t die from the storm.

Wiley’s characters bear witness to the cycles of racial violence. When Rev. Jackson (Trevor Johnson) says of the mark around his throat, “I got it walking Edmund Pettus in ’65,” Selah echoes, “I got it being lynched in Wilmington in 1898 … Got it being chained in the hull of La Amistad in 1839.”

Wiley’s meticulous research and director Vivienne Benesch’s vivid staging resurrects the Red Shirts—North Carolina’s own racial storm troopers, who terrorized black voters across the state in the elections of 1898 and 1900—set to Dossett’s grim song “The Riot of the Bitter Few.” But if it only takes a few to stir up ancient fears, Leaving Eden shows, it sometimes only takes a few to begin stilling troubled waters. arts@indyweek.com

For most of us, the prospect of spending an hour or so on stage, alone, before an audience of paying strangers—with no plan B and no chance of rescue from another actor—is the stuff of nightmares. But for others, the scenario poses an irresistible theatrical dare.

Such a solo show takes more than acting chops and courage. It also requires a savvy director to mind the blind spots an actor can’t while performing. But on opening night, both actor and director in this Honest Pint production still had work left to do.

By now, David Henderson’s acting achievements hardly need repeating.

Under Susannah Hough’s direction, we buy his rough-edged Detective DeSantis, who walks us through the story of the title character, a gay teenager who suddenly disappears in a small New Jersey coastal town. Henderson also finds the humanity in a widowed mob wife and an aging European watch repairman, both touched by the missing boy.

Elsewhere among the play’s nine characters, however, Henderson’s acting seems conspicuously mannered, riddled with choices that draw more attention to the performer than the characters. Leonard’s adult guardian, a hard-bitten beautician named Ellen, comes off as little more than a caricature, as does a fey Brit expatriate who runs the local drama and dance school.

And Henderson conveys the reticence of geeky teen Phoebe, but little of the courage another character attributes to her.

Rough transitions further mar this gallery of characters, some of whom are finely crafted while others still seem sketched in.

—Byron Woods

indyscreen

Dance with Death

WHAT HAPPENS TO A SOCIETY WHEN IT CONSIDERS ITSELF TO BE UNDER SIEGE FOR GENERATIONS?

BY LAURA JARAMILLO

S

amuel Maoz’s gorgeous and tragic Foxtrot poses the question, what happens to a society when it considers itself to be under siege for generations?

The film introduces us to Michael (Lior Ashkenazi) and Dafna (Sarah Adler), an affluent Israeli couple who have just been informed by the military that their son, Jonathan (Yonaton Shiray), has been killed in the line of duty. The film starts slow, taking in every painful detail of the family coping with Jonathan’s death, from Michael’s secret

of its subalterns. Officers sit interminably around a checkpoint, waiting for Palestinian passports to check. As a succession of both terrified and annoyed Palestinians drive through the blockade, nothing ever seems to happen, but Jonathan’s fellow officers are wracked by paranoia and sadism.

Bejach’s camera is particularly effective in these scenes, painstakingly gliding over the soldiers’ living quarters in close-up crane shots until the boredom and filth they live in starts to feel claustrophobic and unbearable.

FOXTROT

½ Opening Friday, April 13 PHOTO COURTESY OF SONY PICTURES CLASSICS

cruelty to a pet dog to the inept military personnel who arrive at the door, treating their son’s death like a bureaucratic problem at worst, a heroic act of martyrdom at best.

The film is masterfully if elliptically narrated and exquisitely shot by Giora Bejach. It sweeps quietly through the structuring paradoxes of contemporary Israel. For example, in the account of Michael’s cool relationship to his Holocaust-survivor mother, who is looked after by an African migrant at an elder-care facility, we sharply sense both the insistent memory of historical trauma and the desire to forget the suffering of those who lived it.

Jonathan’s time in the desert is the most affecting illustration of these troubling paradoxes in a country that has deprived Palestinians of freedom of movement and basic livelihood yet abides in all-consuming fear

When a lone car and its hapless passengers are flooded with the light of the checkpoint in the middle of the pitch-black desert, as if they were under a spotlight on a stage, the absurdity of the scenario is heightened.

In a time when many films seem to be overwhelmed by the basic task of telling a story, Foxtrot exemplifies style, pacing, and, most important, depth of feeling. As Michael, Ashkenazi is by turns wounded, cruel, loving, and wry. As Dafna, Adler is steely and tender.

Together they struggle with Michael’s mistakes and his inherited trauma. They mourn not only for their son and for themselves, but for history and the bodies left in its wake.

It’s a critique of war and occupation as resounding and elegiac as we could ask of commercial cinema. arts@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 18:

Cary/Apex/Morrisville

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 4.11.18 | 25

SLIM’S

If Slim’s, t it would b Slim’s has spot to ge bar in the ranging fro Raleigh’s R staples—N from its sm not happy

SLIM’S, RA

600 Highwaymen

PHOTO BY MARIA BARANOVA

WEDNESDAY, APRIL 11–SUNDAY, APRIL 15

600 HIGHWAYMEN: THE FEVER

It was an effective public service advertisement. I can still hear it now, some three decades later. Instead of demanding our money or time, Jimmy Stewart’s prairie voice, soliciting for the American Red Cross, simply asked a gentle but conscience-pricking question: “Where do you fit in, neighbor?” New York theater company 600 Highwaymen poses a similar query in The Fever, its latest experiment in citizen performance—a theatrical form devoted to exploring the boundaries of audience participation. The company placed its adult-themed 2014 music-theater drama Employee of the Year on five untrained nine- and ten-year-olds. Here, the group enlists audience members seated in a rectangle around the stage to pose and perform simple tasks as they stand in for various characters. It’s a work of “ritualistic communal storytelling” (Chicago Tribune) that “seeks to break down those unseen walls we all put up around us” (The New York Times). —Byron Woods

BRIGHT

Don’t let t after they’ What rem CURRENT ARTSPACE + STUDIO, CHAPEL HILL | Various times, $10–$20, www.currentunc.org playwrigh based mu for You and project: ro THURSDAY, APRIL 12–SUNDAY, APRIL 29 FRIDAY, APRIL 13 World Wa Asheville, KING CHARLES III JOOSELORD MAGNUS, 3AM Britons beware. Should the scenario in Mike Bartlett’s “future history” play, King Charles III, Friday the thirteenth might be a superstitious occasion for some, but it’s going to be a good to make o months on hold water, the political and civil upheaval awaiting the scepter’d isle after the death of its day for two of Durham’s most polished hip-hop artists, who have teamed up for a double current leader could well place America’s current divisiveness in deep shade. At the outset album release show. JooseLord Magnus’s S.K.U.L.L. is one of the Triangle’s most anticipated here, close of the Olivier-Award-winning 2014 script, Queen Elizabeth II is dead and the new monarch, new hip-hop albums. His hardcore aesthetic is reminiscent of the delivery of Onyx, M.O.P., MEMORIA Charles, the current Prince of Wales, faces a threat to his rule after Parliament passes a bill DMX, and Ol’ Dirty Bastard, but he merges it with conscious content. 3AM delivers a sharp 7:30 p.m. n limiting freedom of the press in the wake of an incident similar to the phone-hacking sonic disparity in comparison to JooseLord, offering melodic trap vibes layered over heavy scandal that sank London’s News of the World in 2011. Charles signals his intent to be more 808s. The two have perfected their onstage presence by creating genuine high-energy than a ceremonial king when he refuses to sign the bill, a move that triggers a governmental moments that quickly get their audiences shouting along with the lyrics. With showdown. The twist? Bartlett tells this Shakespearean tale of royal leadership, conscience, Brassiousmonk, Snyp Luciano, Konvo The Mutant, and Brill. —Kyesha Jennings THE A and intrigue conspicuously in the Stratford bard’s style: in blank verse, with soliloquies, MOTORCO MUSIC HALL, DURHAM extended metaphors, and all the trimmings. —Byron Woods $7–$10, 9 p.m., www.motorcomusic.com BURNING COAL THEATRE, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $15–$25, www.burningcoal.org

CHARLES

W 26 | 4.11.18 | INDYweek.com

SATURDAY, APRIL 14

SLIM’S NINETEENTH ANNIVERSARY SHOWDOWN

If Slim’s, the “premier music hallway” of downtown Raleigh, were an actual nineteen-year-old, it would be a scrappy, rowdy punk kid with a heart of gold. For the better part of two decades, Slim’s has been an essential incubator for local bands getting their start as well as a prime spot to get soused with a bunch of colorful, loveable rapscallions. Van Alston, who opened the bar in the late nineties, has been a positive force in local music for decades, for reasons ranging from small loans that help bands make ends meet to helping open new spaces like Raleigh’s Ruby Deluxe. To celebrate all things Slim’s, three of the venue’s contemporary staples—Nest Egg, Naked Naps, Drag Sounds, and Royal Nites—will sling raucous rock sets from its small stage. The bar’s tongue-in-cheek motto may be “We’re not happy until you’re not happy,” but we’ll be happy as long as Slim’s sticks around. —Allison Hussey SLIM’S, RALEIGH | 9 p.m., $7, www.slimsraleigh.com

4.11–4.18 A PBR and a Cheerwine shot at Slim’s FILE PHOTO BY JEREMY M. LANGE TUESDAY, APRIL 17–SUNDAY, APRIL 22

BRIGHT STAR

Don’t let the supposed simplicity of old-time music fool you; its composers only get there after they’ve carefully whittled away absolutely everything inessential to the story or the song.

What remains is spare, direct, distilled, its emotional impact magnified as a result. Comedian, playwright, and banjo picker Steve Martin and songwriter Edie Brickell’s 2016 Appalachianbased musical, Bright Star, stemmed from their two albums of new folk music, Love Has Come for You and So Familiar. It would be hard to imagine source material less likely for a Broadway project: roots-based ballads, reels, and anything-but-showtunes wrapped around a small-town World War II vet’s dreams of literary achievement, his move to the (comparatively) big city of Asheville, and the impact it ultimately has on a prominent editor. New York didn’t know what to make of it; despite a favorable review from The New York Times, the show closed after four months on Broadway. The touring production deserves—and will likely get—a better reception here, closer to the sources of its improbable tale. —Byron Woods MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m. nightly/2 p.m. Sat. & Sun., $21–$45, www.dukeenergycenterraleigh.com

WHAT ELSE SHOULD I DO?

THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY AT PEACE UNIVERSITY (P. 24), ANNA & ELIZABETH AT NIGHTLIGHT (P. 16), CAROLINA ROLLERGIRLS AT DORTON ARENA (P. 22), DISTANT SKY AT THE CHELSEA THEATER (P. 36), CHARLES FRAZIER AT QUAIL RIDGE BOOKS (P. 36), LEAVING EDEN AT PLAYMAKERS (P. 24), MURAL DURHAM: SATELLITE PARK AT DUKE ARTS ANNEX (P. 32), TOBACCO ROAD DANCE: IN CONCERT AT PSI THEATRE (P. 34), WOLF ALICE AT CAT’S CRADLE (P. 18), YOU ARE HERE AT NCMA (P. 20) INDYweek.com | 4.11.18 | 27

GALUMPHA BEAUSOLEIL SA 4/14 NO SHAME THEATRE – CARRBORO SA 4/21 TRANSACTORS IMPROV: PAST PRESENT TH 4/26 POPUP BROADWAY: WEST SIDE STORY FR 4/27 JAYME STONE’S FOLKLIFE SA 4/28 THE ALWAYS INSPIRING GALA SA 4/28 THE MONTI 5/15-19 THE SACRED ART OF THE SAND MANDALA FR 5/18 JOHN MCCUTCHEON SA 5/26 MARY LATTIMORE W/ AL RIGGS WE 6/6 KARLA BONOFF WE 4/11 FR 4/13

TH 4/12

JUKEBOX THE GHOST SA 4/14

DUMBFOUNDED

Find out More at

THE YIKES! TOUR

300-G East Main St., Carrboro, NC Find us on Social Media: @ArtsCenterLive

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

ArtsCenterLive.org

SU 4/15

SABA

4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20) 4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22) 4/15 SABA W/ JOSEPH CHILLIAMS, JEAN DEAUX ($16/$18) 4/16 WOLF ALICE W/ THE BIG PINK ($18/$20) WED 4/11 THU 4/12

FRI FRI

RECENTLY ANNOUNCED: Get Up Kids, Cold Cave WED JUN 29 @ 8:00 PM, $12/$15 Motorco andWED Cat’s Cradle JUNPresent 29 @WAXAHATCHEE 8:00 PM, $12/$15 S O LD O UT HURRAY FOR THE RIFF RAFF / Bedouine THE WAR & TREATY / Blue Cactus

RICHIE RICHIE RAMONE RAMONE

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

7/1 LOOK HOMEWARD / THE MIDATLANTIC 7/1 LOOK HOMEWARD / THE MIDATLANTIC

THU TUE4/12 7/5 Crank It Loud: NOTHING / CULTURE ABUSE

THE WAR & TREATY

TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES WAILIN STORMS / HUNDREDFTFACES W/FRIBLUE CACTUS 7/8 SolKitchen & The Art of Cool Project: FRI4/13 7/8 SolKitchen & The Art of Cool Project: The Art ofMAGNUS Noise #Durham FRI JOOSELORD / 3AM The Art of Noise #Durham SAT 4/14 Party with theBookstore Shakori Hills presents GrassRoots Vinyl Lounge MON 7/11Paella Regulator MON MON4/167/11FlashHEATHER Regulator Bookstore presents Chorus: “Don’t Stop Believing”

by Polly Journey HAVRILESKY: Ask Live& Ask Polly Live “ThisHEATHER Must Be TheHAVRILESKY: Place” by The Talking Heads TUE4/177/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE WALKER LUKENS / Lord Fess fka Professor Toon TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS WED THU4/187/14THE Storymakers: Durham, Community Listening Event NTH POWER / Zoocrü THU 7/14 Storymakers: Durham, Community Listening Event SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUN JUL 17 SUN JULPM 17 @ 8:00 THE RAGBIRDS @ 8:00 PM $12/$15 THE RAGBIRDS $12/$15 WED 4/18

THE NTH POWER THE THE RAGBIRDS RAGBIRDS

W/ ZOOCRÜ

GREAT PEACOCK / The Artisanals FRI 4/207/18DukeMAIL MON HORSE InternalTHE Medicine Residency Annual Charity Auction MON 7/18 MAIL THE HORSE SAT 4/21 SURFER BLOOD / Winter FRI JUL 22

THU 4/19

FRI JULPM 22JOHN COWAN @ 8:00 @ 8:00 PMJOHN COWAN $25/$30 $25/$30

JOHN COWAN JOHN COWAN w/ DARIN & BROOKE ALDRIDGE SURFER BLOOD W/ WINTER w/ DARIN & BROOKE ALDRIDGE SAT 7/23THE Girls Rock Showcase EAST POINTERS SAT 4/21

S D R I B G S A D R R I E B TT HH E RAG SUN 4/22

SAT4/237/23FlashGirls Showcase MON Chorus:Rock “Hit Me With Your Best Shot” by Pat Benetar and

TUE 7/26 Motorco Comedy Night: In The Sun”

by Violent Femmes TUE 7/26“Blister Motorco Comedy ANDY WOODHULL /Night: ADAM COHEN WED 4/25 National DNAWOODHULL Day ANDY / ADAM COHEN er s -P op Ma tt FRI4/267/29SWEET YOUNG BULL Album Release Show THU av el er s" TEAar TRIO / tic Julie Williams tr tt er s Ma tis op -P e FRI 7/29 YOUNG BULL Album Release Show w/ ALIX AFF / DURTY DUB el er s" su mm at on4/27 "CFRI tr av Crank LISTER / Beans on Toast tis ticSKINNY arpresents atIteLoud "C on su mm w/ ALIX AFF / DURTY DUB SAT 4/28JUL17 The SolJULIETTE EmpoweredLEWIS, Tour featuring CHANTAE SUN COMING SOON: YARN, JARED & THECANN MILL,

with Special LauraWINDHAND, Reed.

SUN JUL17 COMING SOON: JULIETTE YARN,Music JAREDby&DJTHERem.e MILL, HAL KETCHUM, NRBQ,Guest, LIZLEWIS, VICE, Doors: 7pm SUN HAL4/29KETCHUM, NRBQ, LIZ VICE, WINDHAND, Doors: 7pm&EZRA ADAM CODY CANADA THEGROUP DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm MON 4/30CANADA CODY & THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm Take Back Night Durham SISTER SPARROW &theTHE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM SISTER SPARROW & THE AND DIRTYSANBIRDS, KING, DOYLE LAWSON QUICKSILVER, THE RECORD $12 ADV 723 AVE -COMPANY, DURHAM,ALVVAYS, NC -ADRIAN MOTORCOMUSIC.COM COMING SOON: MAD E,RIGSBEE BOB SCHNEIDER, BALILEGG, BABY, $15 DAY OF &CLOWN HOPREBIRTH ALONG, TOMORROWS BADBRIGHTEST SEEDS, MICHAEL IANKARLA BLACK,ADRIAN NICK LEGG, THUNE, DOYLE LAWSON QUICKSILVER, THE RECORD COMPANY, BRASS BAND, MY DIAMOND, BONOFF, $15 DAY OF &PREVAIL, !

W O SLAUGHTER TO FRANKIE ROSE, KID KOALA, HAMMERFALL, N LE B& THEBONOFF, REBIRTH BRASS BAND, MY BRIGHTEST ILA ADIAMOND, TALIB KWELI, LOUDON ! H" AVIII RODDY RADIATION (OF THE SPECIALS), SHANE SMITH KARLA SAINTS, M ORWTPOND, UWAINWRIGHT N LB LE ALOUDON B WYOUSSEF, A IL NEKWELI, A A MAIMOUNA TRACYANNE & DANNY, ABORTED, MYSTIC BOWIE’S TALKING TALIB WAINWRIGHT III E V H A E M H U T & LB A H" LD W T DREADS, FANTASTIC NEGRITO, TEMPLE OF VOID, DARK TRANQUILLITY, SALES E THRESHO NE THE HEAR "TH723 OLDNC&- MOTORCOMUSIC.COM H S E R RIGSBEE AVE DURHAM, H T "THE B I R D S. C O M The Threshold & The Hearth THE RAGBIRDS

The Threshold & The Hearth

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

THE RAGBIRDS

28 | 4.11.18 | INDYweek.com

4/18 DR DOG W/ KYLE CRAFT ($27.50/ $30) 4/19 LYDIA LOVELESS W/ BRUXES ($15) 4/20 SUSTO W/ THE ROMAN SPRING ($12/$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)

TH 4/19

MO 4/16

WOLF ALICE

LYDIA LOVELESS 5/5 THE COLLECTION W/ THE PINKERTON RAID($12/$14) 5/6 BRONCHO W/ VALEN ($10/$12)

CAT'S CRADLE BACK ROOM

5/9 GIVERS ($15)

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

5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA

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

5/18 PRISCILLA RENEA ($10/ $12 )

4/13 TYRONE WELLS W/ GABE DIXON ($15) 4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10)

5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) 5/20 ICEAGE W/ EMPATH ($14/$16) 6/3 SUNFLOWER BEAN ($12)

4/17 THANK YOU SCIENTIST W/ CONSOLE COMMAND ($15)

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

5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28)

4/18 CAROLINA WAVES PRESENTS: OPEN MIC NIGHT HOSTED BY K97.5'S MIR.I.AM & DJ WADE BANNER. ($5, 18+ )

6/11 BENT KNEE ($10) 6/17 MAPS & ATLASES ($15/$17)

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

4/19 WEAVES W/ STEF CHURA ($10/$12)

6/18 YOUNG WIDOWS W/ NULL, WAILIN STORMS

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)

6/23 DESSA W/ MONAKR ($20)

4/28 THE AFGHAN WHIGS AND LD BUILT TO SPILL W/EDHARCOURT SO OUT

5/8 BAHAMAS ($16/$18) 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25) 5/10 WYE OAK W/ PALM ($16/$18) 5/12 NORTH MISSISSIPPI ALLSTARS W/ FIONA SILVER ($20/$23) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29)

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)

5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20)

4/22 (AFTERNOON) BE LOUD TEEN SHOW

5/18DAVID BROMBERG (SEATEDSHOW)

TYRONE WELLS

5/11 THE MOTHER HIPS

4/15 SPLIT ENDS - A BAD NEWS MEDIA FILM ($5)

4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18)

FR 4/13 @CAT’S CRADLE BACK ROOM

6/5 POST ANIMAL ($12/$14) 6/10 WAND ($12)

TU 4/17 @CATS CRADLE BACK ROOM

THANK YOU SCIENTIST NORTH CAROLINA MUSEUM OF ART

7/7 QUIET SLANG ($13/$15) 7/13 PIERCE PETTIS ($15) 7/17 PETAL & CAMP COPE ($13/ $15) ARTSCENTER (CARRBORO)

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

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

6/8 FIRST AID KIT W/ JADE BIRD 6/16 SHOVELS AND ROPE WITH SON VOLT 6/23 MANDOLIN ORANGE 7/12 LAKE STREET DIVE 7/28 THE MAVERICKS 8/1 FATHER JOHN MISTY WITH SPECIAL GUEST JENNY LEWIS 8/3 KISHI BASHI AND JAKE SHIMABUKURO 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

4/22 REED TURCHI & HIS KUDZU TRIO W/ JB BOXTER ($10/$12)

9/29 JOAN BAEZ FARE THEE WELL TOUR.

6/6 PARQUET COURTS W/ GOAT GIRL ($15/ $17)

4/23 DURAND JONES & THE INDICATIONS W/ HOLY GHOST TENT REVIVAL ($13/$15)

4/11 WAXAHATCHEE AND HURRAY LD FOR THE RIFF RAFF SO OUT

5/3 FLEET FOXES

6/13 TOO MANY ZOOZ ($17/$19)

4/24 MATTIEL (FREE SHOW)

5/3 BOB SCHNEIDER ($20/ $23)

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKASLD NELSON & PROMISE OF THE REAL SO OUT

5/25PETER HOOK & THE LIGHT ($28/$31) 6/3 TYLER CHILDERS ($18/$20)

6/19 STEPHEN MALKMUS & THE JICKS W/ LYTHICS ($20/$23) 6/21 MANCHESTER ORCHESTRA ($23 /$28) 6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 10/11 APARNA NANCHERLA ($22/$25)

4/26 PATRICK SWEANY ($12/ $15) 4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) 4/29 CONCERT IN MEMORY OF ANTHONY LENER 4/30 COMA CINEMA ($12 / $15)

5/4 CAITLIN ROSE W/ THE KERNAL $10 advance / $12 day of $10 advance / $12 day of ($10/$12)

RED HAT AMPHITHEATRE (RAL)

MOTORCO (DUR)

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) 7/17 THE GET UP KIDS W/RACQUET CLUB AND AGEIST ($22/ $26)

THE RITZ (RAL)

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 LD W/ SWEET CRUDE SO OUT

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 4.11– 4.18

Titus Andronicus performs Thursday at Pinhook.

WED, APR 11 2ND WIND: Yeaux Katz; 7-9 p.m., free.

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

DUKE CHAPEL: The Tallis Scholars: War and Peace; 8 p.m., $20–$52.

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.

LOCAL 506: Jess Nolan, Anne-Claire; 8 p.m., $8–$10.

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

LINCOLN THEATRE: Slim Wednesday, Kalu, The Electric Joint; 7 p.m.

THE PINHOOK: Tubafresh, Sundrop; 7:30 p.m., $7.

LOCAL 506: Starbenders, Flashback Flash; 9 p.m., $8–$10.

THU, APR 12

THE MAYWOOD: The Convalescence, Your Chance To Die, Fear the Indifference; 8:30 p.m., $10.

CAT’S CRADLE: Jukebox the Ghost, The Greeting Committee; 8 p.m., $17–$20.

The War & Treaty

CAT’S CRADLE (BACK ROOM): Mo Lowda & the Humble, Left on Franklin, Arson Daily; 8:30 p.m., $10.

CENTER FOR THE STUDY OF THE AMERICAN SOUTH: Music on the Porch: Whyte Laundry Company honoring W.C. Handy; 5:30 p.m.

DUKE’S BALDWIN AUDITORIUM: Duke University Wind Symphony with Boston Brass: Sounds of Cinema; 8 p.m., free.

MOTORCO:

[$12–$25/8 P.M.]

Touring in celebration of their latest EP, Down to the River, The War & Treaty will showcase their roosty, country-soul sounds at Motorco. Musical duo and married couple Michael Trotter, Jr., a soldier who won “Military Idol,” and Tanya Blount make a vintage blend of gospel, twang, and blues bound to get your toes

tapping. Blount’s voice is powerful and gritty, tempered

by Trotter’s relaxed and smooth vocals. Chapel Hill’s Blue Cactus opens.

—Kat Harding THE PINHOOK:

Titus Andronicus [$15/8 P.M.]

Like any good Garden Stater, Patrick Stickles tithes at the church of Bruce Springsteen.

Stickles formed Titus Andronicus in 2005 and has spent the past decade and a half pushing the band from its rabble-rousing, shout-along punk roots to expansive, swaggering bar-rock concept albums. A Productive Cough, released on Merge in March, is the record on which Stickles owes his greatest debt to The

Boss. Stripped bare of punk bangers, it relies on a Greek chorus of horns, keyboards, cello, and massed vocals to give its ramshackle barroom folk its swaying, boisterous stomp. Rick Maguire— otherwise known as Rick from Pile, the chaotic Boston indie rock band—opens.

—Patrick Wall POUR HOUSE:

Local Band Local Beer: Totally Slow [$3–$5/9 P.M.]

Greensboro’s Totally Slow specializes in measured and rhythmic punk with ferocious guitar playing and steady drums. Highly relatable lyrics make for an easy emotional connection to their songs. The band released their latest EP,

PHOTO BY RAY CONCEPCION

Imperium, in mid-March, and it’s six short and ferocious tracks that barely reach the thirteen-minute mark in total.

Cuzco, from Charlotte, and Raleigh’s Gold Coast open.

—Kat Harding

FRI, APR 13 THE ARTSCENTER:

BeauSoleil [$30/8 P.M.]

BeauSoleil’s leader Michael Doucet has long been revered and awarded for his folk music in the Cajun tradition. But he’s always maintained that the labeling folks got it wrong, that “Traditional Music Sung in a Foreign Language West of the Mississippi River” would be more appropriate. He contends INDYweek.com | 4.11.18 | 29

that traditional music isn’t meant to be a dusty museum exhibit, but a reflection of what’s happening today with yesterday’s roots showing.

He incorporates rock, blues, country, and bluegrass into his distinct sound. —Grant Britt BEYÙ CAFFÈ: Durty Dub with Phil Cook; 7 & 9 p.m., $15.

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: John Dee Holeman, Mel Melton & The Wicked Mojos; 8:30 p.m.

CAROLINA THEATRE: Durham Savoyards: Gilbert & Sullivan’s Ruddigore; 8 p.m., $22–$32.

CAT’S CRADLE (BACK ROOM): Tyrone Wells, Gabe Dixon; 8 p.m., $15–$17.

DEEP SOUTH: Bat, Loud Night, Suppressive Fire; 8 p.m., $8–$10.

DUKE’S BALDWIN AUDITORIUM: Duke Jazz Ensemble with Bobby Broom; 8 p.m., $5–$10, students and youth 17 & under free.

Nap Eyes play at The Pinhook Friday night.

PHOTO BY MATTHEW PARRI THOMAS

PRF SOUTH • 7pm April 13th • 7pm

Duke Coffeehouse April 14th/15th 1pm-late

the pinhook

Present this coupon for

Member Admission Price (Not Valid for Special Events, expires 01-19)

WE 4/11 TH 4/12 FR 4/13

THE NOMADS NASH STREET RAMBLERS DUKE STREET DOGS FFAF: LEE GILDERSLEEVE & THE BAD DOGS

SA 4/14

JANIVA MAGNESS

SU 4/15

RUTH WYAND & THE TRIBE OF ONE TUESDAY BLUES JAM WITH CLARK STERN

TU 4/17

8P 7:30P 6-8P 9P

919-6-TEASER for directions and information

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

7P $22.50 SEATED/ $17 STANDING 5-7P 7:30P

An Adult Nightclub Open 7 Days/week • Hours 7pm - 2am

TeasersMensClub 30 | 4.11.18 | INDYweek.com

@TeasersDurham

1970’s Film Stock • AM Nice • Bon Air The Bronzed ChorUs • The Columbines Conan Neutron and the secret Friends Drug Yacht • Ebon Shrike • Fatesealer Five Eight • Ghost & Goat • Horizontal Hold karaoke underground • Knife the Symphony Lacy Jags • Maple Stave • Motherfucker Night Battles • Powertakeoff • Practice Wife spider bags • Stomatopod • Three Body Problem Today’s Forecast • Totally Slow • Vincas Wailin Storms • Woodvamp plus food and raffle prizes $15/day • $20/three day pass

DUKE COFFEEHOUSE:

PRF South: Night One [$15–$20/8:30 P.M.]

A Southern offshoot of a larger collective of punk- and foodthemed festivals with origins on the infamous Electrical Audio message boards, PRF South is, per its Facebook event page, a “weekend of bands, friends, food, and hugs in Durham.” Of bands, there are certainly plenty. Friday’s Duke Coffeehouse lineup leans heavily on angular takes on indie-rock (Greensboro’s Totally Slow and Ebon Shrike; Durham’s Horizontal Hold and Drug Yacht). The weekend lineups at The Pinhook run the gamut of the larger indie-rock umbrella—among many others, there’s doomy post-punk from Wailin Storms, wily garage rock from Spider Bags and tension-ratcheting math-rock from Maple Stave on Saturday; widescreen experimental guitarscapes

from 1970s Film Stock, jangly psych from Lacy Jags and hypermelodic math-rock from The Bronzed Chorus on Sunday. (Disclosure: Christopher Williams, the INDY’s production manager, co-organized the festival.) —Patrick Wall LOCAL 506: Just Like Heaven: A New Wave Dance Party; 9 p.m., $5.

THE MAYWOOD: Casualty, Tubefreeks, Black River Township; 9:30 p.m., $8.

THE PINHOOK:

Nap Eyes [$12/8 P.M.]

Nap Eyes’ I’m Bad Now, released on Carrboro’s Paradise of Bachelors in early March, is an easygoing, straight-ahead indie rock record. Led by Nigel Chapman, the Canadian quartet delivers a mellow mix that feels like it floats freely in time. The band wears its sixties influences plainly, but I’m Bad Now’s rougher edgges firmly plant it in the present, too. SheDevils and Al Riggs open.

—Allison Hussey POUR HOUSE: Toubab Krewe, Emma’s Lounge, Africa Unplugged; 8 p.m., $12–$15.

SAT, APR 14 BERKELEY CAFÉ: Clap Monkey, Richard Bacchus; 7:30 p.m., free.

BEYÙ CAFFÈ: The Queen’s Guard; 7 & 9 p.m., $14.

BLUE NOTE GRILL:

Janiva Magness [$17–$23/8 P.M.]

Janiva Magness started as a blues belter, but on her latest album, Love Is An Army, she transforms into a soul diva.

Blending Mavis Staples’ husky gospel soul with Bettye LaVette’s raw, old-school R&B, Magness celebrates her Memphis and Muscle Shoals roots. Her cover of Paul Thorn’s “What Could I Do” with Delbert McClinton is churchy soul that crosses over so thoroughly that you don’t know whether to drop to your knees and pray or down a bottle of something strong to drown your heartache.

—Grant Britt THE BULLPEN: Cool John Ferguson; 8:30 p.m.

CAROLINA THEATRE: Durham Savoyards: Gilbert & Sullivan’s Ruddigore; 7 p.m. $22–$32.

Giddens before she becomes a Lin Manuel-Miranda-size megastar. —Allison Hussey

CAT’S CRADLE:

NIGHTLIGHT: Anna & Elizabeth, Jake Xerxes Fussell; 8 p.m., $15.

[$18–$22/8 P.M.]

THE PINHOOK: PRF South: Knife the Symphony, Spider Bags, Maple Stave, Stomatopod, Wailin’ Storms, Karaoke Underground; 1 p.m., $20. See April 13 blurb at Duke Coffeehouse.

Dumbfoundead Rappers who go the route of making a name for themselves in the battle circuit can rarely transfer their skills to making a sustainable career, but Dumbfoundead broke the mold, establishing himself as a battle legend, then moving on to making fantastic music.

Born in Argentina to South Korean immigrant parents who smuggled him to Koreatown in Los Angeles by way of Mexico, the rappers lyrics reflect his diverse background, tackling the #OscarsSoWhite movement and his status as an outsider of hip-hop and American culture. His “Yikes!

Tour” features an all AsianAmerican roster, including hometown powerhouse G Yamazawa. With Year of the Ox, Nafla, and DJ Zo. —Charles Morse CAT’S CRADLE (BACK ROOM): Hardworker, Run Come See, Rachel Kiel; 9 p.m., $8–$10.

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

HALLE CULTURAL ARTS CENTER: Lenore Raphael & Friends; 7:30 p.m., $15.

LOCAL 506: Judas Bullethead, Kiff, Biggy Stardust; 9 p.m., $10.

MEMORIAL AUDITORIUM:

Rihannon Giddens [$32–$47/8 P.M.]

Rihannon Giddens’ appearances in the Triangle aren’t exactly rare, but for many, that just means extra opportunities to see one of this generation’s most talented folk artists. She’s a talented banjo player and an utterly staggering vocalist, which makes her live shows even more compelling. Last year, she won a prestigious MacArthur Fellowship, and she’s currently working on a musical about the oftenforgotten racist insurrection in Wilmington, North Carolina, in 1898. The Huffington Post called that project “the next Hamilton,” so this could be one more chance to see

POUR HOUSE: Castle Wild, Curtis Smith and the Silver Lining; 1 p.m., $12.

The Vegabonds, The Trongone Band; 8 p.m., $10.

SUN, APR 15 CAROLINA THEATRE: Durham Savoyards: Gilbert & Sullivan’s Ruddigore; 2 p.m., $22–$32.

CAT’S CRADLE:

The War & Treaty performs Thursday at Motorco.

PHOTO COURTESY OF WINGMAN MANAGEMENT

Saba

[$16–$18/9 P.M.] In 2013, Saba gained recognition for his feature on Chance the Rapper’s Acid Rap. Since then, he’s continued to release notable projects of his own, along with blessing Chance’s Grammy-winning Coloring Book on the track “Angels.” Saba’s new Care For Me is described as an “introspective journey haunted by trauma and deflated with social anxiety.” Joseph Chilliams and Jean Deaux open.

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

THE PINHOOK: PRF South: Bronzed Chorus, Lacy Jags, 1970s Film Stock, Conan Neutron and the Secret Friends, Five Eight; 1 p.m., $20. See April 13 blurb at Duke Coffeehouse.

POUR HOUSE: Jeff Austin Band; 7 p.m., $12–$15.

THE WICKED WITCH:

Davidians [$8/9 P.M.]

This Sunday night gig is the last one for Raleigh’s Davidians.

During their run, the quartet was one of the Triangle’s most inventive post-punk bands, if not the most inventive. City Trends, from 2016, remains their high-water mark and an apogee for Triangle punk. Smart, dense, and original, it didn’t so much reference various strands of punk’s decades-long thread— the velocity of SST hardcore; the nervy tics of British post-punk; the pulse and ballast of noise-

rock titans The Jesus Lizard and The Birthday Party; the brooding atmospheres of goth—as it did twirl them together to create a sound that was familiar but nonetheless a universe unto itself. —Patrick Wall

MON, APR 16 CAT’S CRADLE: Wolf Alice, The Big Pink; 8 p.m., $18–$20. See page 18.

MOTORCO: Flash Chorus; 7 p.m., $7–$10.

PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10.

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

TUE, APR 17

CAT’S CRADLE (BACK ROOM): Thank You Scientist; 8 p.m., $15.

DUKE’S NELSON MUSIC ROOM: Chamber Music Concert; 7 p.m., free.

in January—reinforces the riff lord’s reputation as a prolific, eclectic songwriter with a penchant for both psychedelic solos and scuzzy hooks.

Backed by The Freedom Band, which features fellow garage dweller Mikal Cronin, Segall swings wildly from gentle folk to glammy disco and funk.

Freedom’s Goblin is a patchwork quilt of styles unified by his knack for the ultra-melodic.

In the opening slot, The Dead Bedrooms’ fuzzy jangles suggest Segall disciples with an occasional retro obsession; the Raleigh quartet’s “Another Good Day” suggests Sixties pop-rock by borrowing both doo-wop harmonies and reverb-soaked surf guitars.

—Spencer Griffith LOCAL 506: Punchline, The Stolen; 7:30 p.m., $12–$15.

MOTORCO: Walker Lukens; 8 p.m., $10–$12.

THE CAVE:

SOON A.D. [$6–$8/8 P.M.]

It’s easy to reduce SOON A.D. to its seemingly diametric components: Frontman Stuart Lamb and drummer Thomas Simpson form the nexus of indie-pop institution The Love Language; bassist Rob Walsh and guitarist Mark Connor come from riff-worshipping Raleigh heavies Bitter Resolve and Grohg, respectively. But what seem like SOON A.D.’s contradictions form the band’s strength: an unlikely pairing of heaviness and harmony that shades the quartet’s slow dredges with sun-kissed psychedelic textures and mercurial melodies.

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

LINCOLN THEATRE:

WED, APR 18

[$23–$25/8 P.M.]

BLUE NOTE GRILL: The Herded Cats; 8 p.m.

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

Freedom’s Goblin—the sprawling double album Ty Segall dropped

CAT’S CRADLE: Dr. Dog, Kyle Craft; 8 p.m., $28–$30.

MOTORCO: The Nth Power, ZooCrü; 8 p.m., $12–$25.

Ty Segall

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art

4.11 – 4.18

OPENING Artist Studios at Fearrington Village Open Studio Tour 2018: Visit the studios of eighteen painters, sculptors, screen printers, jewelers, woodworkers, and fiber artists. Sat, Apr 14, 10 a.m.-5 p.m. & Sun, Apr 15, noon-5 p.m. Fearrington Village, Pittsboro. www.fearrington.com.

ClydeFEST: Family-friendly event celebrating local folk artist Clyde Jones. $5-$9. Sat, Apr 14, 11 a.m.-4 p.m. Bynum Ball Park, Pittsboro.

Little Art Gallery Celebrates Fifty Years in Raleigh: Contemporary and traditional artwork by local, regional, and national artists. Sat, Apr 14, 2-6 p.m. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

Off the Wall Fundraising Gala: Emceed by Daniel Wallace. $150-$500. Sat, Apr 14, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

Tactical Urbanism: Transportation planner Mary Elbech and landscape architect John Hykes on communityled street design. Fri, Apr 13, 6-9 p.m. Carrboro Town Hall, Carrboro. townofcarrboro.org.

Whoop Dee Doo: Residency and interactive performance by New York-based art collective Whoop Dee Doo. Fri, Apr 13, 8 p.m. Durham School of the Arts, Durham. www.dsa.dpsnc.net.

ONGOING 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 32 | 4.11.18 | INDYweek.com

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

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SATURDAY, APRIL 14

SATELLITE PARK FESTIVAL

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.

Art to Live By: Paintings

by Michael Banks. Thru Apr 22. Alexander Dickson House, Hillsborough. historichillsborough.org.

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 Elizabeth Bradford: Paintings.

Thru Jul 31. Umstead Hotel & Spa, Cary. www.theumstead.com.

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

Jim Lee: Images from DSLR cameras, flatbed scanners, cyanotypes, and other alternative processes. Thru Apr 29. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

LAST The Long Goodbye: CHANCE MFA thesis work by Xinyao Zheng. Thru Apr 14.

Power Plant Gallery, Durham.

The soon-to-be-painted satellites PHOTO COURTESY OF MURAL DURHAM If you’re an artist or you’re friends with them on Facebook, you probably caught wind of some discontent about the fact that the City of Durham hired an out-of-town art collective, Public Ground Studio, to paint a mural on the new downtown parking garage when it opens next year. Don’t we have artists who know the city (and could use the money) right here in the Triangle? Sure we do, as this new Mural Durham project attests. At this launch event, eight artists selected from a local call for proposals will be painting their visions on eight decommissioned satellite dishes surrounding a TV tower on a Duke Arts Annex lawn (at 404 Gattis Street) to create a vibrant new community park. There will also be screen-printing with DukeCreate, hands-on painting activities, student performances, local food, and music

by DJ Shazhad. —Brian Howe

DUKE ARTS ANNEX, DURHAM | 1-4 p.m., free, www.muraldurham.com

Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu. —Brian Howe Changing Worlds: Pleiades artists respond to the beauty of the environment and our need to protect it. Also featured is New Orleans environmental artist Ana Berta Hernandez.

Thru Apr 29. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

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

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

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

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

LAST The Found Object CHANCE 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

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

SPECIAL Man From Iota: EVENT MFA|EDA thesis exhibition by Laurids Andersen Sonne. Thru Apr 13.

Reception: Fri, Apr 13, 5:30 p.m./premiere screening 7 p.m. Rubenstin Arts Center Film Theater, Durham.

The Marriage of Paint and Collage: Mixed media by Bernice Koff. Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

Mentor/Mentee: Lope Max Diaz & Luke Miller Buchanan: Lee Hansley Gallery celebrates twenty-five years 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. Thru May 27. Lee Hansley, Raleigh. leehansleygallery.com. — Brian Howe

SPECIAL Multivalence of EVENT Materiality: MFA thesis exhibit by Brittany Anderson. Thru Apr 13.

Reception: Thu, Apr 12, 5-7 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

LAST No One Left Behind: CHANCE MFA thesis work by Theresa Scott. Thru Apr 14.

Power Plant Gallery, Durham.

LAST Painted Medicine: A CHANCE Ceremony of Color: Ashley Spero. Thru Apr 12.

Durham Convention Center, Durham. durhamconventioncenter.com.

Patchwork Market: Small batch and one-of-a-kind goods by more than sixty makers and food vendors. Sun, Apr 15, noon5 p.m. Durham Armory, Durham.

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.

LAST Redress Papers: CHANCE 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.

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

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

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

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 Spring Corridor Exhibition: Anna Vaughn Creech, King Nobuyoshi Godwin, Constance Pappalardo, and Sandra Wimbish. Thru Apr 28.

Artspace, Raleigh. www.artspacenc.org.

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

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

Us & Them: Portrait paintings

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

Emily Eve Weinstein: Oil paintings and monoprints on handmade paper of scenes from Penland School of Crafts. Thru Apr 30. North Carolina Crafts Gallery, Carrboro.

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

BLOCK2 Video Series, Raleigh.

Youth in Focus: Photographic quilts by the Corner Teen Center.

Thru May 15. Carrboro Branch Library, Carrboro. co.orange.nc.us/library/carrboro.

LAST Jinxiu Alice Zhao: CHANCE Chinese brush paintings. Thru Apr 12. ERUUF Art Gallery, Durham. www.eruuf.org.

INDYweek.com | 4.11.18 | 33

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Caitlin Swett PHOTO COURTESY OF TOBACCO ROAD FRIDAY, APRIL 13 & SATURDAY, APRIL 14

TOBACCO ROAD DANCE PRODUCTIONS: IN CONCERT A changing of the guard is underway at Tobacco Road. For four years, the innovative dance organization has nurtured a growing number of emerging choreographers through a ninemonth mentorship program with seasoned dance makers, leading to a concert of new works in the springtime. After the eight choreographers in the class of 2018—Tobacco Road’s largest cohort to date—present their latest works, founders Stephanie Woodbeck and William Commander will hand over the reins to Jess Shell and Lindsay Winthrop. Before that, we’ll see rising Durham choreographer Caitlin Swett (following her notable March showing with DIDA) and newcomer Kristin Clotfelter’s Versus, a meditation on seven feminine archetypes.

Raina Lucas’s for what is right/I can no longer be still keys into our predilection to place blame—and do little else—in the wake of human tragedy, while Ashley Walls White probes postpartum depression in A Knot in My Stitching. The showcase also features new works by Shell, Allie Pfeiffer and Alyssa Noble, and Johanna Berliner. —Byron Woods

PSI THEATRE, DURHAM

7 p.m. nightly/2 p.m. Sat., $13–$15, www.tobaccoroaddance.org

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

Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com.

Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. www.fullsteam.ag.

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.

Tangela Large as Selah in PlayMakers’ production of Leaving Eden. Read our review on p. 24. PHOTO BY HUTHPHOTO

OPENING Adventure Road: A Story of Huck and Tom: Original adaptation of Mark Twain’s book with audience participation and original music. $10$15. Thru Apr 30. Kennedy Theater, Raleigh. www. dukeenergycenterraleigh.com/ venue/kennedy-theatre.

Bright Star: Musical by Steve Martin and Edie Brickell. $20-$44. April 17-22.

Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

Chicago: Musical presented

by Hoof ‘n’ Horn. $10-$15. Apr 13-22. Rubenstein Arts Center von der Heyden Studio Theater, Durham.

ChoreoLab 2018: Duke Dance Program spring concert featuring ballet, modern, African dance, and dance theater by faculty, students, and alumni. $7-$17. Apr 13 & 14, 7:30 p.m. Duke Campus: Reynolds Industries Theater, Durham.

Dreaming: Little Nemo In Slumberland Revisited: Puppet theater based on Winsor McCay’s classic comic strip by Torry Bend and Howard Craft.

Workshop with students. Apr 13 & 14, 8 p.m. & Apr 15, 2 p.m.

Duke Campus: Sheafer Lab Theater, Durham.

Cameron Esposito’s Top Secret Public Experiment: Los Angelesbased comedian, actor, and writer. $10. Mon, Apr 16,

7:30 & 9 p.m. & Tue, Apr 17, 9 p.m. The Pinhook, Durham. www.thepinhook.com.

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

Harvey: Pulitzer-winning comedy by Elwood Dowd. $23.

Apr 12-22. NCSU Campus: Titmus Theatre, Raleigh. theatre. arts.ncsu.edu.

L.A. Theatre Works: The Mountaintop: Play by Katori Hall about Martin Luther King Jr. $7-$31. Apr 17, 8 p.m. NCSU Campus: Stewart Theatre, Raleigh. live.arts.ncsu.edu.

LadyBits Open Mic: Five-minute comedy sets by women every second Saturday. 5:30 p.m. The Pinhook, Durham. www.thepinhook.com.

Marie Antoinette: Play by David Adjmi. Presented by Meredith College Theatre. $5-$10. Apr 17-22. Meredith College: Studio Theatre, Raleigh. meredith.edu.

Wet Hot American Summer: The Musical (Sort Of): Final encore performances. $15. Apr 13 & 14, 8 p.m. Kings, Raleigh. www.kingsraleigh.com.

ONGOING  The Absolute Brightness of Leonard Pelkey: Reviewed on p. 24. $15-$25. Thru Apr 21. William Peace University: Leggett Theatre, Raleigh. theatre.peace.edu.

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Improv at the Varsity: Standup, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. www.improvatthevarsity.com. ½ Leaving Eden: Reviewed on p. 24. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

Under The Bridge Comedy Night Open Mic: Second Thursdays. London Bridge Pub, Raleigh. thelondonbridgepub.com.

food Spring Wine Show: Try all the wines from the Spring Wine Sale. Hors-d’oeuvres, raffle, live music. All proceeds go to the Cooperative Community Fund. $10. Sat, Apr 14, 1-5 p.m. Weaver Street Market, Carrboro. weaverstreetmarket.coop.

CHHS Annual Cheese Tasting: French cheeses, French music, and other French foods. $3-$5.

Wed, Apr 11, 6-8 p.m. Chapel Hill High School, Chapel Hill.

Not Your Grandma’s Pressure Cooker: Electric pressure cooker tutorial by Kathy Hester (The Ultimate Vegan Cookbook for Your Instant Pot). Sun, Apr 15, 3 p.m. North Regional Library, Durham.

The Wine Feed’s Grand Opening Celebration: Wine tastings, food trucks, live music, movies, wine classes, and more.

Fri, Apr 13, 4-9:30 p.m., Sat, Apr 14, 12-10 p.m. & Sun, Apr 15, 12-7 p.m. The Wine Feed, Durham.

INDYweek.com | 4.11.18 | 35

page READINGS & SIGNINGS Charles Frazier: Novel Varina.

Wed, Apr 18, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Dan Kois: Discussing his oral history The World Only Spins Forward: The Ascent of Angels in America. In conversation with Flyleaf’s Erica Eisdorfer. Sun, Apr 15, 3 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Bren McClain: Novel One Good Mama Bone. Sat, Apr 14, 11 a.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

TUESDAY, APRIL 17

CHARLES FRAZIER: VARINA

Cecile Richards: Make Trouble: Standing Up, Speaking Out, and Finding the Courage to Lead–My Life Story. In conversation with Michele Tracy Berger. $30. Sun, Apr 15, 2 p.m. Fearrington Barn, Pittsboro. www.fearrington.com.

North Carolina native Charles Frazier comes home for a book signing to promote the release of his new novel, Varina. Frazier earned widespread acclaim after winning a National Book Award for Cold Mountain. The historical novel, later adapted into an Oscar-winning film and an opera, chronicled a Confederate soldier’s desertion toward the end of the Civil War and his journey to reunite with the love of his life. Quail Ridge Books holds a special place in Frazier’s career. It was an early supporter of the former N.C. State English professor’s work, even before he became a well-known writer. It’s been twenty years since the release of Cold Mountain, yet Frazier’s novels haven’t veered far from home. Varina views the Civil War from the perspective of Varina Howell, who marries Jefferson Davis as a teenager. Davis’s life veers unexpectedly into politics, and he eventually takes on the Confederacy’s central role, as president. As her marriage disintegrates and the war comes to a turbulent conclusion, Howell flees Richmond with her children. —Nick Gallagher

LECTURES ETC. History Weekend 2018: Heather Thompson, Professor of History at the University of Michigan, on mass incarceration.

Sat, Apr 14, 9:30 a.m.-noon.

NCSU Campus: Withers Hall, Raleigh.

Elaine Neil Orr: Novel Swimming Between Worlds.

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

QUAIL RIDGE BOOKS, RALEIGH

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

screen SPECIAL SHOWINGS MFA|EDA 2018 Thesis Exhibitions: Encore Screenings: Selected re-screenings from MFA|EDA 2018, followed by closing party at SPECTRE Arts at 6 p.m.

Sat, Apr 14, 2 p.m. Full Frame Theater, Durham.

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

Distant Sky PHOTO COURTESY OF THE FILMMAKERS THURSDAY, APRIL 12

DISTANT SKY The closest I’ve come to seeing a Nick Cave and the Bad Seeds show was in Wim Wenders’s film Wings of Desire. Bruno Ganz, playing a guardian angel who safeguards the secrets of partitioned Berlin, wanders into a Bad Seeds concert as they launch into “From Her to Eternity.” Wearing red silk, Cave bends his baritone with a theatrical grimace and strains toward the chandeliers. The camera loves him. So does the transfixed punk crowd; this is a band that just looks and sounds good on film. Distant Sky is less a live concert film than nimbly edited footage from the band’s 2017 tour stop in Copenhagen. The set list draws from Skeleton Tree, the group’s latest, and selections from its long career. You can “be there” at the Chelsea, which recently reopened as a nonprofit (and which promises more special screenings in the months to come). —Michaela Dwyer

THE CHELSEA THEATER, CHAPEL HILL | 9 p.m., $10, www.thechelseatheater.org 36 | 4.11.18 | INDYweek.com

Split Ends: Premiere of Bad News Media’s new film with other local short films, episodes of Judge a Blank by its Blank, and stand-up comedy

by Britt Spruill, Kathleen McDonald, and Gretchen McNeely. $5. Sun, Apr 15, 6 p.m. Cat’s Cradle, Carrboro. www.catscradle.com.

OPENING Blumhouse’s Truth or Dare—A game of truth or dare turns deadly in this supernatural horror film from the producer of Get Out. Rated PG-13.

½ Foxtrot—Reviewed on p. 25. Rated R.

baffling in its treatment of Japan. Rated PG-13.

Rampage—Well, as retrovideo-game adaptations go, it makes more sense than Battleship. Starring Dwayne Johnson. Rated PG-13.

 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.

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.  Isle of Dogs—Wes Anderson’s animated fable is alternately respectful and

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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RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER notices RECYCLE THIS PAPER NC Central University Turner DURHAM COUNTY BOARD RECYCLE THIS PAPER Law Building, 620 Nelson OF ELECTIONS St., DurhamSCHEDULE FOR NOTICE OF PRIMARY FOR RECYCLE THIS PAPER ALL EARLY VOTING SITES: PARTISAN CONTESTS AND Thursday, 4/19 through ELECTION FOR BOARD OF RECYCLE THIS Saturday, PAPER 5/5/2018: 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)

Weekdays and Saturdays 4/21 and 4/28/2018: 9:00 a.m. to 6:00 p.m.

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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

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INDYweek.com | 4.11.18 | 37

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crossword 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.

3 5WEDDING 8 1 GUIDE 9 1 Highlighting wedding 1 4 6possibilities around the The INDY’s guide for whomever, wherever, Triangle 4 6 however 3 saying “I Do” means to you. 3 9 8 ISSUE: 4/25 Highlighting wedding possibilities around the Triangle RESERVATIONS: 4/20 7 2 4 ISSUE: 4/25 • RESERVATIONS: 4/20 CONTACT YOUR AD REP OR 5 7ADVERTISING@INDYWEEK.COM 2 CONTACT YOUR AD REP OR ADVERTISING@INDYWEEK.COM 9 6 3 8 4 9 8 5 9 2 1 8 6 1 2 6 1

8 6 9 2 8

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WEDDING GUIDE

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ISSUE: 4/25

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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.

2 3 5

RESERVATIONS: 4/20

CONTACT YOUR AD REP OR

9 7 5

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WEDDING GUIDE

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WEDDING GUIDE

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38 | 4.11.18 | INDYweek.com

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WEDDING GUIDE

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Highlighting wedding possibilities around the Triangle

ISSUE: 4/25 • RESERVATIONS: 4/20

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WEDDING GUIDE

deep dive Highlighting wedding possibilities around the Triangle

EAT • DRINK • SHOP • PLAY

ISSUE: 4/25

The INDY’s monthly neighborhood guide to all things Triangle

Coming April 18: 4/20 RESERVATIONS:

Cary/Apex/Morrisville

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