INDY Week 5.04.16

raleigh 5|4|16

Demanding a Better Chavis Park, p. 8 Art of Cool Busts Out of Jazz, p. 14 A Theatrical Experiment in Civil Society, p. 26 NC Theatre Outwits a Casting Calamity, p. 27

THE MAN

BEHIND THE CURTAIN RUFFIN HALL IS RALEIGH’S MOST POWERFUL PERSON YOU’VE NEVER HEARD OF

by Jane Porter, p. 10

2 | 5.4.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH 6 The General Assembly doesn’t really want you to know if your water is polluted by coal ash.

8 Chavis Park got the largest chunk of Raleigh’s 2014 bond package, but it might not be enough.

10 “In a way, Ruffin Hall was given an unfair chance because he is compared to Russell Allen.”

14 At Art of Cool 2016, the quality is unwavering, the programming of a thoughtful whole.

6 Triangulator 8 News 22 Food 25 Music 26 Arts & Culture 30 What to Do This Week

22 NanaSteak might be better at macaroni and cheese and bread pudding than, well, steak.

33 Music Calendar

23 “It’s the best idea to create stories using beer.”

41 Soft Return

25 Shakori Hills figured out one way to prevent HB 2 boycotts—ask artists nicely.

26 The audience engages in civil debate in dog & pony dc’s Beertown at Raleigh Little Theatre.

27 NC Theatre probably should have hired an understudy, but Wit still sparkles.

29 There are signs of hope as well as despair as Nice Price Books closes in Durham.

VOL. 33, NO. 18

DEPARTMENTS

37 Arts/Film Calendar

NEXT WEEK: IS PROVENANCE THE BEST NEW RESTAURANT IN TOWN? On the cover: ILLUSTRATION BY CHRIS WILLIAMS

The carousel at Chavis Park

PHOTO BY ALEX BOERNER

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Swans at Duke Gardens

Let’s begin, as we always seem to these days, with House Bill 2: “Dear Governor McCrory,” writes Ed Levin of Chapel Hill, “you got me thinking about bathrooms [Soapboxer, April 27]. Admittedly, I have thought about them in the past, often with some sense of urgency. Well, this is urgent, too. Specifically, bringing bathrooms to mind today is what is known as House Bill 2. I am a little uncertain about how this works. I know that birth certificate information is needed to determine which bathroom to use. To whom do I show my birth certificate? Is it before or after I enter? What if I have an urgent need or no one is there or I forget my certificate? If I can’t find it, is it OK to go outside? I think there are other laws about that.”

“In Houston several months back,” adds commenter weshlovrcm, “the militant anti-gay lobby began using a strategy of Bathroom Hysteria to beat a local equal rights ordinance. It worked, and they immediately made plans to use Bathroom Hysteria as a Trojan horse to rescind all legal protections for LGBT Americans throughout the nation. It worked (again) in North Carolina, but fortunately, millions of patriotic Americans have seen what the radical anti-gay lobby is up to. If predatory heterosexual males sneaking into women’s restrooms in NC is really a problem, common sense tells you that you don’t solve it by firing/evicting/refusing to serve gay people and/or banning cities from increasing the minimum wage.”

Finally, a correction: a Triangulator entry last week referred to Mark Marcoplos as an Orange County commissioner. While Marcoplos won the Democratic primary in March, he has not yet taken office.

PHOTO BY ALEX BOERNER

An Urgent Question

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triangulator +HOPE YOU LIKE VANADIUM

Governor McCrory has never shied away from appointing his political funders to top positions. Early cabinet members Art Pope and Aldona Wos can take more credit than most for helping Republicans, including McCrory, seize control to the state government. And now one of McCrory’s three picks for the state Board of Agriculture—all of whom were confirmed by the Senate last week—follows the trend.

Anne Faircloth, the daughter of former hog farmer and U.S. senator Lauch Faircloth, was nominated to serve as a farming representative on the eleven-member board, a body that meets four times a year to set policies regarding agriculture regulations and the State Fair.

Faircloth has been involved in farming for years as a pork producer in Sampson County, like her father before her. She was also recently named Business Person of the Year by the Clinton-Sampson Chamber of Commerce.

But she might be better known in political circles for her extensive donations over the last several years, mostly to Republicans, including McCrory and Senator Brent Jackson, the legislator who formally nominated her for the agriculture board.

Records show that Faircloth has donated to McCrory eight times in his three gubernatorial runs, totaling $18,000; last year, Faircloth twice gave $2,500 to McCrory’s reelection campaign.

Likewise, over the past six years, Faircloth has donated to Jackson’s campaigns eleven times for a total of $10,000. In total, Faircloth has given at least $52,300 to North Carolina candidates since 2003, more than anyone currently serving on the Board of Agriculture.

And now Faircloth will serve on the body that helps set the policies that govern her industry. But there’s no cause for concern, says N.C. Department of Agriculture public affairs director Brian Long: board members must “avoid conflicts of interests and appearance of conflicts of interests” by “refrain[ing] from inappropriate action under that agenda item.” To keep this fresh in their minds, an ethics reminder is read at the beginning of every meeting.

Faircloth did not respond to the INDY’s request for comment.

6 | 5.4.16 | INDYweek.com

ILLUSTRATION BY SKILLET GILMORE

+FRIENDS WITH BENEFITS

Remember when North Carolina’s health department told people their coal ash-contaminated water is now totally fine to drink, because the state changed the standard of what it considers “acceptable” levels of chemicals hexavalent chromium and vanadium?

Yeah, expect more of that.

Last week, lawmakers introduced legislation that would prohibit state and local health departments from issuing public advisories regarding drinking water contamination to well users and people on public water systems, as long as the levels of contamination are below state or federal clean water standards.

This means that if there’s hexavalent chromium, arsenic, or any other toxic chemical building up in your drinking water, you won’t be notified until you unequivocally should not drink it. Before the toxins cross that threshold, you won’t even receive helpful suggestions like “Buy a filtration system” or “Find a different water supply.”

“This is a major intrusion on the authority of state and local health departments, and it’s unprecedented in its impact on them in doing what they feel they need to do in protecting the public health,” says Hope Taylor, the executive director of the nonprofit Clean Water for North Carolina. “It’s being willing to toss the public off a cliff.”

Bill sponsors in the House and Senate, including Senators Trudy Wade, Andrew Brock, and Brent Jackson, as well as Representative Jimmy Dixon, did not respond to the INDY’s INDY messages seeking comment.

“The public counts on state and local health departments to provide accurate information about public health risks,” says Cassie Gavin, the director of government relations for the Sierra Club. “If this proposal becomes law, health authorities could run into the problem of knowing that contamination found in a well presents a health concern and yet be prohibited from providing well users with that information so that they can take steps to protect themselves.”

CENTERS

● Downtown ● City Growrth Centers

● Transit Oriented

Districts (TODs)

● Mixed-Use Centers

+RALEIGH ISN’T RALEIGH At a public meeting last Thursday at the John Chavis Community Center in southeast Raleigh, one resident lamented the ongoing changes to some of the city’s historic neighborhoods, areas where old houses and trees have been cut down to make way for new and bigger homes that don’t always jibe with the rest of the neighborhood.

“The character of the city is changing immensely,” she said. “I know the city has to grow its tax base, but it seems like Raleigh isn’t Raleigh anymore.”

This is a refrain you hear often in meetings like this, one in a series designed to explain the planned updates to the city’s 2030 Comprehensive Plan. These updates were crafted to keep pace with the rapid growth the city has undergone since the original comp plan was passed in 2009.

That growth is only going to intensify, with Raleigh’s population projected to increase by 62 percent between 2010 and 2040.

The comprehensive plan isn’t a binding ordinance but rather a “great vision document about what we want to do with the city,” as city council member Russ Stephenson puts it. After public workshops last March, the city identified ten areas in which the comp plan needed to be amended, including an increased emphasis on more reliable bus routes, affordable housing, and water conservation.

City planner Ken Bowers presented these changes to a crowd of about a dozen at Chavis on Thursday. This was a considerably bigger crowd than the first of these meetings, held last Tuesday night at Carolina Pines Community Center; that meeting had only one attendee. Bowers told the INDY that low attendance suggests public satisfaction.

Perhaps. But the city thought the same last year when only eighteen hundred people

TL;DR: responded to forty-five thousand postcards it mailed out seeking comment on the unified development ordinance. As the angry overflow crowds that packed two public hearings last summer demonstrated, that assumption was mistaken.

It’s no secret that many residents—especially those who’ve lived in Raleigh for decades—view the city’s plans with skepticism, fearing that their neighborhoods’ character might be subsumed by waves of development. And Bowers can only do so much to calm their nerves.

“The comprehensive plan can do a lot of good for the city, but one thing it cannot do is freeze Raleigh in time,” Bowers says. “Powerful demographic and market forces are at play that will impact how people live and work, and it would be foolish to think that Raleigh is immune to these trends.”

The final community meeting is 6:30 p.m.

Thursday at the Millbrook Community Center.

+THE NEW CHIEF SPEAKS Incoming Durham police chief Cerelyn Davis held her first Bull City press conference Monday morning, and she was about as specific as a Bill Belichick post-game interview. Swap “one game at a time” for “establish strong community-police relations,” and

PERIPHERAL VISIONS | V.C. ROGERS

you get the picture.

If you trained your ears, however, there were some faint notes of detail. Despite loud calls to deprioritize marijuana enforcement in Durham (and across the country), Davis didn’t sound like she favored such a nuanced approach.

“When we have marijuana laws on the books in Atlanta, we enforce those marijuana laws,” Davis said. “We don’t ask our officers to deviate from city ordinance. If city ordinance needs to be changed, we look at talking to legislators to make necessary changes. But we don’t put our officers in precarious situations so they can use that level of discretion.”

On meatier topics—body cameras, rising violent crime, and racial bias in traffic stops—Davis’s answers were mostly a gooey stew of bureaucratic gobbledygook. She will “facilitate internal change.” She will “work with community leaders to impact change.”

The department needs to “find alternatives to criminal activity” for young people. Davis is committed to “fighting for what’s right.”

And so on.

And then there’s the matter of her past.

In 2008, Davis was demoted and then fired by the Atlanta Police Department, after an internal investigation found that she instructed detectives not to investigate the husband of an APD sergeant found to possess child porn. A federal grand jury later

indicted the man. Davis appealed the decision to Atlanta’s Citizen Review Board, which overturned her termination on the grounds of “inconsistent testimony” by one of the detectives. She was then reinstated.

Davis was asked about this incident. “The only thing I can do is stand on my reputation at this point,” she said. “I plan to establish strong relationships, be accessible, be transparent.” Asked a follow-up about being fired and rehired by the APD, Davis punted.

“I won’t take a deep dive on that because that information is available to you.”

The INDY asked city manager Tom Bonfield, who hired Davis, if he was concerned about her history.

“We thoroughly reviewed it,” Bonfield said. “We met with her individually, we had an investigator look into the incident, and I met with her personally and walked through the entire scenario of what happened. She has been very upfront and public about the situation throughout. And I think there is a clear conclusion to be drawn based on what we found that the information [that got Davis fired in 2008] was falsified. She was completely exonerated.”

Davis’s first day is June 6. ● triangulator@indyweek.com This week’s report by Paul Blest, David Hudnall, and Jane Porter.

THE INDY’S QUALITY-OF-LIFE METER +1

The N.C. Republican Party votes to impeach chairman Hasan Harnett, its first AfricanAmerican leader and a tea party favorite.

“Diversity—we tried,” shrugs the N.C. GOP. “Never again.”

+3

A poll finds that a plurality of voters back the repeal of House Bill 2. Governor McCrory, jamming his fingers in his ears and singing “Mary Had a Little Lamb,” has no comment.

-1

Bro-country stars Florida Georgia Line announce that, unlike Pearl Jam and Springsteen, they’ll still be playing North Carolina, because “there are bigger things in the world to be thinking about” than HB 2. “All I wanna do is wear my favorite shades and get stoned,” they said, quoting themselves.

+3

Governor McCrory brags that North Carolina’s tourism industry attracted record visitor spending in 2015. Which is weird, since HB 2 is now in the process of gutting that very same industry.

+2

An N.C. State grad and her mom survive five days in the New Zealand wilderness.

“Not worth it,” they tweet. “Next time we’re renting a cottage on the Outer Banks.”

-3

Senator Richard Burr pledges to block President Obama’s appointment of Patricia Timmons-Goodson to the federal district court, thus extending the longest judicial vacancy in the federal system. Hey, it’s been almost eight years—why start cooperating now?

+2

Voters in Johnston County will decide this fall on whether to permit countywide alcohol sales. If they don’t, how will the county ever produce the next Ava Gardner?

0

Duke University president Richard Brodhead announces he will step down next year.

“Excellent,” hisses Margaret Spellings, steepling her fingers above her CV.

This week’s total: +7 Year to date: -20 INDYweek.com | 5.4.16 | 7

indynews

Parks and Wreck

LONGTIME SOUTHEAST RALEIGH RESIDENTS WANT THE CITY TO FINALLY FIX THE LONG-NEGLECTED CHAVIS PARK

BY JANE PORTER

At ninety-eight, Milly Dunn Veasey is undeniably frail. But speak with her, and it becomes clear that her memory is vivid, her mind still sharp.

Veasey, who served as an army secretary in World War II, was born in a wooden cottage on South East Street bordering John Chavis Memorial Park—the home of her grandparents, who were born slaves.

She’s one of a dwindling handful of born-and-bred southeast Raleigh residents who see the park as part of their legacy. As Raleigh grows and changes, they hope this nearly eightyyear-old park, which has historically served the African-American community and has been mostly neglected for the last four decades, will once again thrive.

“Before we had Chavis, we went to Pullen [Park],” Veasey says. “[African-Americans] weren’t allowed into the pool, but we could take our picnic baskets there. I remember when Chavis opened, and I was pleased that we had a park of our own.”

Clearscapes, the architecture firm the city hired in 2014 to study how to implement planned improvements to Chavis Park, will make recommendations to the city’s parks advisory board later this month. Construction is scheduled to begin in late 2017, using $12.5 million in bond money—part of a $92 million package voters approved in 2014—for a project expected to cost $40 million in total.

It’s not clear how the city will make up that difference.

Today the park is twenty-eight acres of rolling hills anchored by a newly renovated carousel and a community center, pool, sports fields, and playgrounds, all of which could use some love. The park’s neighbors have been pushing for improvements for nearly ten years. They wonder why Pullen Park, just down the road, has been so carefully restored and maintained, while Chavis has fallen by the wayside. In the first half of 2015, just 2,897 people rode the carousel at Chavis, compared to 8 | 5.4.16 | INDYweek.com

The carousel at Chavis Park

PHOTO BY ALEX BOERNER

120,043 who rode a similar carousel at Pullen.

It’s clear the $12.5 million won’t cover all the needed improvements—restrooms, concessions, water fountains, power, and lighting—that will drive traffic to Chavis and make it sustainable. And herein lies the rub: while residents say people pass on Chavis because of its lack of amenities, city planners say the park needs to bring in traffic before these amenities will be feasible.

Many of southeast Raleigh’s longtime residents are elderly; they say it’s time for the city to follow through with what it promised. “I want us to put forth a good effort to try to redo this park as best we can,” resident Vivian Lee told the parks advisory board last month. “We are not going to be here forever, and we need something to leave here for the young people.”

In 2008, residents collected more than one thousand signatures on a petition asking for these improvements. They also sought to replace the park’s historic train and a replica of an airplane that commemorated the service of World War II veterans. In 2012, the city council voted to invest $2

million in the park’s historic carousel and begin work on a long-term master plan.

That plan envisions a central recreational space comprising a community center and gym, including a snack bar, restrooms, fitness room, and lounge; a central plaza with an aquatic center, ice skating rink, and space for concerts, festivals, pop-up markets, and food trucks; and the original carousel building, which may one day house a cafe.

Despite concerns that the city hasn’t been listening to their input, residents have been fairly receptive to the plan. Their focus, though, has been on honoring the park’s history and preserving its historical features.

The park’s most pressing needs, they say, are more bathrooms, water fountains, power, and some kind of food service— food trucks and partnerships with other vendors.

“If I take my grandson down to that park to the playground, there’s no place to go to the bathroom there or to get some ice cream,” says Carol Love, a parks specialist at N.C. State’s College of Natural Resources. “If we go to Lake Johnson to feed the ducks, we can have a soda, we can have a hot dog. A simple concession facility seems to be a reasonable request.”

The city says it has some options for more funding, including applying for a federal grant. It could also reallocate funds to Chavis in the next budget cycle, which comes up later this year.

Though the city earmarked the largest chunk of the 2014 parks bond for Chavis, and while residents understand that Raleigh has lots of parks that need attention, they see restoring Chavis as essential to the city’s history.

“If we could bring back Chavis Park to how it was, it would mean so very much to me,” says Veasey. “Our young people would know something about the history of the black community. It would let them know what happened here.” l jporter@indyweek.com

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The Man Behind the Curtain RUFFIN HALL IS RALEIGH’S MOST POWERFUL PERSON YOU’VE NEVER HEARD OF

BY JANE PORTER

T

PHOTO BY JEREMY M. LANGE

10 | 5.4.16 | INDYweek.com

he key is finding a balance.

That’s the strategy Ruffin Hall, Raleigh’s good-humored city manager, says he’s sought to apply to the thorniest issues he’s faced since starting in November 2013. And he’s faced many of those issues, especially downtown.

“Raleigh is growing and evolving from a big small town to a smaller big city,” Hall says, sitting at a polished wooden table in a conference room inside the city’s municipal building on a warm late-February afternoon.

He’s wearing a brown suit with a red tie and speaks matter-of-factly. “There are plenty of cities across the country that would love to be dealing with the issues that we are currently facing. For us, the question is, how do we balance the interests of an exciting, active, engaging downtown so that everyone can enjoy that experience?”

In the spring of 2013, the city council voted 6–2 to fire Hall’s predecessor, Russell Allen, who had served in that post for twelve years, over a parking scandal and communications issues.

Raleigh Mayor Nancy McFarlane said at the time that Raleigh needed “to go in a different direction”—meaning, she told the INDY recently, that the city needed someone who was able to get ahead of growth and who had a good understanding of how state government works. Hall, then Charlotte’s assistant city manager, seemed a good fit.

His expertise in transit issues was a key selling point.

McFarlane praises Hall as a “visionary,” a talented communicator, and a team builder.

In contrast, Allen had been unable to bridge the communications gap between the city’s

staff and the council, she says.

But Allen—who still lives in Raleigh and declined to comment for this story—nonetheless left big shoes to fill. He guided the city through its early downtown revitalization and helped it remain prosperous during the Great Recession. Staff members adored him, too; after his departure, department heads left en masse, with sixteen out of about fifty retiring or taking new positions.

His termination was, to say the least, contentious. As one former city staffer puts it, “Raleigh was a top-notch, award-winning team, triple-A bond rated, at the top of every best-of list you can think of. It was one of the best-run city governments in the country.

Why fire the coach?”

And since Hall took over, his tenure hasn’t always been smooth sailing.

Last summer, disgruntled residents showed up by the hundreds to two public hearings on the city’s unified development ordinance, which suddenly and dramatically overhauled zoning for a third of properties in the city; the city seemed totally unprepared to field their concerns.

Many people felt that the city’s manner of enforcing new outdoor dining regulations—police and fire department officers raiding bars and restaurants during business hours—was poorly handled,as well. Indeed, after nearly a year of debate, the city still has yet to finalize its new sidewalk dining rules.

Other big projects have lingered in the pipeline—Union Station and the Moore Square master plan, for example—and taken years to get off the ground.

Regardless, McFarlane says she’s pleased with Hall’s work in a turbulent era. “Change was coming fast and furious, and what Ruffin brought to the table was anticipating a lot of those growth issues,” she says.

The boss is happy, but, to the average citizen, Hall is an almost impenetrable figure.

He rarely speaks to residents or the media directly, relying instead on an extensively reconfigured public affairs department. Yet he’s also the most powerful unelected per-

MARKS of GENIUS 100 EXTRAORDINARY DRAWINGS FROM THE MINNEAPOLIS INSTITUTE OF ART

Through June 19, 2016 son in city government. The council almost always acts on his recommendations, which means that what he and his staff do behind the scenes has a very real impact on where the city’s headed.

And right now, critics say, on some of the biggest issues the city faces, especially transit and land use, Raleigh looks to be coasting rather than breaking new ground.

T

he son of educators, Hall, forty-six, grew up in Fayetteville and earned a master’s degree in public administration at UNC-Chapel Hill. He held positions in town and city governments across the state, including Chapel Hill, Durham, and Wilmington, before working for twelve years in Charlotte.

Those who’ve worked with Hall describe him as bright, engaged, and, above all, devoted. Cal Horton, Chapel Hill’s now-retired longtime city manager, calls Hall “a thoughtful and democratic leader.” Pam Syfert, Charlotte’s city manager from 1996–2007, says Hall was instrumental in streamlining the city’s budget process.

“He also worked with citizen groups and business groups to implement projects,” Syfert says. “He can get people to think about the future and how we get there. There are always going to be things that people are going to disagree about in a fast-growing city.

I know he can handle it. He’s not one to walk.”

When Hall came to Raleigh with his wife, Cynthia, a health care administrator, and their three children, he spent the first six months evaluating the city as an organization, meeting with staff members, department heads, and community leaders. After that, he restructured operations, aligning departments under three newly hired assistant city managers and a chief of staff who report to him.

In Hall’s view, the reorganization made the government—which has seventeen departments and more than four thousand employees—more efficient.

“As you get bigger, you have to get more sophisticated,” he says.

The change was pretty dramatic, one former staffer says. Whereas Allen worked with department heads directly, Hall now relies on middlemen. In some cases, staffers weren’t happy reporting to managers who

were junior to them or who lacked expertise in specific areas.

Hall also began working with the mayor and council to develop a strategic plan to guide the city over the next several years.

The plan is organized into six key areas— arts, growth and natural resources, safety and communities, economic development, transportation, and “organizational excellence”— and goals and action items are clearly laid out.

The city has made some headway. The council recently adopted a ten-year plan for the arts in Raleigh that bumps up city funding. The council also approved a new affordable-housing policy last fall. And the city now has a more robust economic development department, which is key to job creation.

While there’s been some movement on transit—bike lanes installed on downtown streets and the adoption of a long-sought bike-share program, for example—the city recently lost out on a $40 million grant from the U.S. Department of Transportation, and progress has stalled in anticipation of the countywide transit referendum that will go before voters this fall.

City staffers have been involved in developing that transit plan, says Karen Rindge, the chair of WakeUp Wake County, which backs the ballot referendum. However, the city doesn’t plan to inform residents about how the transit plan will affect them specifically, says Damien Graham, Raleigh’s public affairs director, and will instead allow the county to take the lead. That may prove unfortunate, Rindge says, as a public information campaign—the city is not allowed to advocate for or against the plan—could be crucial to getting the referendum to pass.

“There are council members communicating about it, but I haven’t seen [the city] do that much to publicize the plan,” says Rindge. “There have been presentations happening at community advisory committees from WakeUp and Wake County. But the city of Raleigh has not been leading on that.”

Graham says he’s “confident the city will participate in [the county’s] outreach.” But with Hall having been hired specifically for his transit background, it’s odd—and a little worrying to transit advocates—that the city isn’t taking a more proactive role.

Put simply, Raleigh can’t afford to see the referendum fail.

Ticketed with American Impressionist: Childe Hassam and the Isles of Shoals ncartmuseum.org or (919) 715-5923

2110 Blue Ridge Road, Raleigh Mequitta Ahuja, Tress IV, 2008, waxy chalk on paper, 96 1/2 × 45 in., Minneapolis Institute of Art, © 2008 Mequitta Ahuja, reproduced with permission of the artist Marks of Genius is organized by the Minneapolis Institute of Art. The exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

INDYweek.com | 5.4.16 | 11

12 | 5.4.16 | INDYweek.com

historic neighborhood.

It was a debacle that the city took months to resolve. The sidewalk-patios debate took on similar contours.

Zack Medford, the owner of several downtown bars and a leader of the Keep Raleigh Vibrant campaign, says the issues his businesses faced last summer with the outdoor dining ordinance also came from a communications breakdown.

“We never had a conversation with Ruffin Hall,” Medford says. “Unfortunately, across the board with the patio stuff, [the assistant city managers] gave a lot more credence to the people screaming the loudest.”

In addition, sources say, city employees grew frustrated with projects started under Allen that took a long time to get off the ground under Hall.

The Moore Square master plan, for example, was adopted in 2011, but construction won’t begin until later this year because the city didn’t secure funding until last summer.

Construction on the long-awaited Union Station began in January, after a premature groundbreaking ceremony last May, almost four years after the council committed $7 million to the project. And construction of the Lenoir Street-South Street two-way conversion project, badly needed to improve accessibility in the southern end of downtown, began just last month. It was originally scheduled for completion in late 2014.

While projects like those have many moving parts—and while many had been affected by the economic downturn—the city manager is responsible for bringing these projects to fruition as quickly as possible. The buck stops with him.

Allen, for example, oversaw and orchestrated downtown’s revitalization, creating incentives to build the PNC tower and lure Red Hat, finding revenue sources to reopen Fayetteville Street, and working with the county to build the convention center.

These were all tremendous, game-changing accomplishments.

All the while, Allen was able to maintain the city’s AAA bond rating and avoided having to lay off employees.

“In a way, Ruffin was given an unfair chance because he is compared to Russell, and Ruffin is not Russell,” says a former city employee. “He has different strengths and weaknesses that he is working on.”

H

“In a way, Ruffin was given an unfair chance because he is compared to Russell Allen, and Ruffin is not Russell.”

ILLUSTRATION BY CHRIS WILLIAMS

T

he mayor’s not the only elected official to sing Hall’s praises.

“I see him as being very collaborative in working with the council, and I see he has a very open communication style,” says council member Mary-Ann Baldwin, who voted against firing Allen. “We didn’t have that before.”

But while the city council, like the mayor, seems content with Hall’s performance— though most did not respond to the INDY’s requests for interviews—several former city employees say that while communication between the manager’s office and the council has improved, it has weakened between the manager and staff members.

In other words, it suits the officeholders but not the bureaucrats.

Staff members’ concerns, they say, are shuffled off to assistant managers who can’t necessarily provide answers. While they didn’t always agree with Allen’s decisions, they say, they could understand the process used to reach them. In the current regime, however, the assistant city managers sometimes don’t even understand the issues involved, they say.

“These were smart people,” a former staffer says, “but they had some ramping up to do.”

Residents haven’t always been happy, either. Communication has been a particular problem, especially with high-profile issues like the unified development ordinance and the sidewalk-patios restrictions.

“There were a lot of people who really didn’t know what was going on with the UDO, so I think the city could have done a better job of informing neighbors and citizens,” says Donna Bailey, a neighborhood activist. “With getting that information out, it has to be a multipronged thing. The UDO was pretty complex to understand, so for people just coming into it late, it was a lot to grasp.”

The city did what it was legally required to do: it mailed out some forty-five thousand postcards to affected residents soliciting comment. When only eighteen hundred residents replied, the city assumed that everyone else was pretty happy. This was not the case, as the throngs who packed into council chambers last summer demonstrated.

Many said they were confused, unaware of what exactly these changes meant, and caught off-guard that the city would now allow a mid-rise apartment building in their

all has risen to the occasion when the city has been tested. Raleigh was able to avoid the kind of riots seen elsewhere after Akiel Denkins was fatally shot by a police officer. And, though it took three weeks, the city eventually followed the lead of other North Carolina municipalities and passed a resolution opposing House Bill 2.

Work on the Dix Park master plan will soon begin. The new UDO is in its early stages, and development is booming again; how the city manages that boom over the next decade will determine the kind of city Raleigh will be for generations to come.

Passing the transit referendum this fall will be crucial to the city’s success, as well— and could be Hall’s crowning achievement as city manager, if the city lifted a finger to help.

But whether Hall is the visionary McFarlane hoped for is yet to be seen. And, beyond providing services efficiently, it’s not altogether clear what McFarlane’s priorities are.

Under Mayor Charles Meeker, Allen recruited top talent and offered the freedom to excel, pushing Raleigh into its position of one of the best-governed cities in the country.

But McFarlane feels more comfortable being in control, making sure services are provided and recruiting people who do that best.

In that respect, Hall was the perfect hire.

He praises the city’s hardworking employees for picking up trash, repairing water leaks, policing, enforcing codes, and responding to emergencies, all the mundane things that keep the city’s gears turning.

His role as manager, he says, is to try to help the mayor and council. “If I have done that, I have been successful,” he says. He benchmarks that success by adhering to the objectives and action items laid out in the city’s strategic plan rather than by chasing after big opportunities.

Asked about her long and short-term goals, McFarlane speaks broadly about transit, improving the arts, economic development, and affordable housing, but she doesn’t get specific. She mentions the strategic plan, too, calling it “long range, really encompassing, really exciting.”

There may be nothing groundbreaking in the strategic plan, but it put the destinations in place, with a schedule that keeps the trains running on time. And under Ruffin Hall, Raleigh keeps chugging along. l jporter@indyweek.com

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INDYweek.com | 5.4.16 | 13

Art of Cool 2016 At a glance, the lineup for the third-annual Art of Cool Festival may seem thin. Compared with Hopscotch, Moogfest, or even the first two iterations of downtown Durham’s jazzand-soul convocation, the quantity of acts is notably limited.

But dig into the artists and sounds themselves, and you’ll soon begin to notice an inquisitive connectedness between many of these artists—in how they use their music to ask tough questions about society, about genre, about divisions between the physical, spiritual, and sonic sides of the music they make. The quality is unwavering, the programming itself of a thoughtful whole.

We approach Art of Cool 2016 by exploring many of the same questions and connections, in interviews and essays that, like Art of Cool itself, ask exactly how jazz in the twenty-first century relates to the wider world around it.

For night-by-night festival guides and daily reviews, visit www.indyweek.com.

Source MATERIAL Art of Cool began by bringing more jazz to downtown Durham. To survive, organizers realized the festival needed something more.

BY ERIC TULLIS

A month after Moogfest unveiled plans to relocate from Asheville to Durham last summer, you could soon sense that the Art of Cool Festival knew it needed to get newly busy. The jazz-andsoul upstart had just completed its second year as Durham’s only major music event and, once again, finished shy of breaking even. As founder Cicely Mitchell began to think about year three, she knew she’d be vying for ticket dollars and attention spans in an unprecedented way.

The projects started to come quickly. Art of Cool launched Caramel City, a monthly series of jazzand-soul concerts in Raleigh with hip-hop producer 9th Wonder. The shows expanded both the festival’s geographical reach and network of allies. And where jazz jams and jazz listening parties were once the crucial components of Art of Cool’s extra-festival programming, the organization soon expanded to all-out dance parties, pizza fundraisers in shopping malls, activism events, art gallery residencies, YouTube announcements, movie screenings, and even collaborative concerts and ticket giveaways with Moogfest and Hopscotch. This sustained promotional scramble seemed engineered to keep Art of Cool’s name in the news, to help it coexist alongside the arrival of a relative Goliath.

14 | 5.4.16 | INDYweek.com

The Art of Cool wasn’t content with this marketing push; though jazz and soul have long served as the festival’s anchors, Mitchell decided at last to open its stylistic borders and incorporate hip-hop much more blatantly. As with those pizza parties and community events, she worked to broaden Art of Cool’s draw and to get new listeners excited about the weekend. She started somewhere obvious—the radio.

“When I booked Anderson .Paak, I assumed he was on the radio because ‘Might Be’ was something that I was hearing on the radio,” Mitchell says.

For Mitchell, the idea of a local commercial station playing a song by an Art of Cool headliner represented promotional pay dirt. With the exception of 2015 headliner Anthony Hamilton, area commercial stations didn’t have a track record of playing the festival’s performers.

Soon, though, 9th Wonder told Mitchell that the “Might Be” she’d heard on the radio wasn’t .Paak’s but instead an uncomfortable facsimile by High Point’s DJ Luke Nasty. Still, last month, Mitchell visited the studio of 97.5-FM for a Sunday afternoon session of “919 Radio.” She used the platform to have the station actually play .Paak’s music and make the distinction and connection clear. A longtime Dr. Dre and 9th Wonder collaborator, .Paak—a singer, song-

writer, rapper, and producer—had the bona fides to speak to hip-hop heads.

“I thought that was an excellent way to tell people who he is,” she says. “He’s the guy that Luke Nasty pretty much ripped off.”

That wasn’t Mitchell’s only move toward the middle, either: in order to embrace hip-hop and recruit new fans, Mitchell booked the multi-DJ Art of Turntables party featuring the likes of Pete Rock, Maseo, Rich Medina, and DJ Skillz. In doing so, she broke one of the festival’s unwritten rules—“liveinstrumentation only.” The concession makes Art of Cool more inclusive by exploiting a musical loophole, extending the idea that “jazz is all about conversations,” as DJ Spooky once said.

“People may not know Kamasi Washington, so, it was about how to expand an audience’s point of reference from someone like Miles Davis or, recently, Kendrick Lamar,” says Mitchell. “But I started thinking, ‘We also love old school hip-hop. And the thing that’s great about old-school hip hop is that it samples from jazz and old soul cuts.’”

The kinship between jazz and turntablism isn’t new. From Herbie Hancock and Grandmixer D.ST’s legendary 1983 “Rockit” fusion jam to Branford Marsalis’s mid-nineties Buckshot LeFonque project, plen-

the improvisational element out of it. The whole point is to expose live improvisation to a younger audience that is so used to hearing beats on a beat machine. They have no concept of what real trumpet sounds like.”

Indeed, jazz still remains the central tenet of Art of Cool’s mission. This year, the festival reunited with the Beyù Caffè, Durham’s go-to jazz dive, after a one-year split. It was a strange temporary divorce, with two institutions sharing the same mission of putting more music in downtown Durham seemingly divided on how to do it. (Those shows will be moved, though, due to ongoing construction.)

The Art of Cool’s choice to reintegrate Beyù—and make it the festival’s free music stop throughout the weekend—speaks to the organization’s commitment to jazz, even as Art of Cool looks to move forward by moving beyond its programming past. ● Twitter: @erictullis

“The whole point is to expose live improvisation to a younger audience that is so used to hearing beats on a beat machine.”

RAPSODY BY ALEX BOERNER /.PAAK COURTESY OF THE ARTIST

Rappers on the roster: Anderson .Paak (left), and Rapsody (right)

ty of conventional jazz-oriented spaces have embraced turntables.

“In many ways, turntablism and jazz are natural partners,” writes UNC-Chapel Hill professor Mark Katz in Groove Music: The Art and Culture of the Hip-Hop DJ. “The turntable is an extremely versatile instrument in terms of the timbres, textures, and rhythms it can play, and a good turntablist can groove beautifully with a jazz soloist or combo.”

For Mitchell, that musical connection is crucial.

“We didn’t try to go at it as a direct link, like, ‘Here’s hip-hop. You should be a part of it,’” she says. “It’s more novel, where we have these turntablists who sample from jazz and make hip-hop. This now goes with some of the audience. Hopefully that makes it a little cooler with K97.5 listeners.”

For now, Art of Turntables is as far as Mitchell is willing to stretch her programming philosophy. Even Raleigh emcee Rapsody, the year’s only other obvious hip-hop performer, will be backed by her band, The Storm Troopers.

“I’m not willing to go and get a hip-hop artist that will just get up there with a turntable and tracks,” says Mitchell. “It takes

INDYweek.com | 5.4.16 | 15

Democracy Now KAMASI WASHINGTON AND ANDERSON .PAAK HAVE USED HIP-HOP TO UPDATE ONE OF JAZZ’S GREAT IDEALS

J

azz, the critic Stanley Crouch wrote in 1995, “is democracy in sound.”

It is, he continued, “the highest American musical form because it is the most comprehensive, possessing an epic frame of emotional and intellectual reference, sensual clarity and spiritual radiance.”

Essentially, Crouch was suggesting that, through jazz, we witness a few or many people doing a few or many things at once, clashing and combatting with one another in pursuit of a single goal—to make compelling music. The process suggests a political protest or a congressional session or even the “American experiment” at large, an energized mess with a unifying mission.

But all this talk of jazznocracy, of how brass horns and upright acoustic basses reflect the national struggle, can seem pretty weak in 2016. When there are epidemics of police brutality, legislated transphobia, and economic disparity, and when a red-faced hatemonger leads presidential polls, what exactly does jazz have to say about now?

Actually, quite a lot, at least according to the brilliantly polyglot booking of this year’s Art of Cool. Yes, the programming upholds jazz traditions, further democratizing them without ever preaching “purity.” Then it counters and complicates jazz, occasionally almost kicking it aside altogether.

In doing so, it reinvigorates jazz and makes it vital again, even if it doesn’t sound like Monk or Bird. No two artists better illustrate this concept and process than Kamasi Washington and Anderson .Paak—together, jazz impurity incarnate.

Washington is a trippy, traditionalist bebop maximalist and Kendrick Lamar collaborator. .Paak is a slow-jamming, soft-focus, jazz-rap fusionist and Lamar disciple. Hip-hop— that other great and inarguably American art form—informs them both. In fact, hip-hop has become a regenerative force in and outlet of jazz. In their works, you find the pros and cons of democracy in its sloppy glory, perfect for a country that feels so close to the edge. .Paak made a name for himself last year on Dr. Dre’s comeback, Compton. He also spent time as a drummer for Haley Reinhart of American Idol and a producer for the gimmicky 16 | 5.4.16 | INDYweek.com

BY BRANDON SODERBERG The Mighty: Kamasi Washington PHOTO COURTESY OF THE ARTIST

rapper Watsky. His heartening 2016 album, Malibu, is a grand arrival, shaded by mellow moods and populated by many moving parts. That is the American dream, right? Grind and grind and do a lot of not exactly noble work until you get your chance in the spotlight?

He takes that opportunity, too, cramming so many ideas and sounds into Malibu. The album feels distracted because it’s excited, with .Paak just figuring it all out as he goes along.

He sees what sticks and abandons some threads on a whim.

Jazz gives the album its broad scope. The smoothed-out sounds of the seventies and eighties swirl back through a filter of jazz fusion and into the unpredictable moment when jazz bopped, then ran free. You even hear the blues on Malibu’s smoky opener, “The Bird,” as .Paak howls, “My uncles had to pay the cost/My sister used to sing to Whitney/My mama caught the gambling bug/We came up in a lonely castle/My papa was behind them bars.” And during “Dreamer,” he sings, “I’m a product of the tube and the free lunch/ Living room, watching old reruns/And who cares your daddy couldn’t be here?/ Mama always kept the cable on.” He’s simultaneously boasting of and bemoaning his troubled start. .Paak is the logical extension of mainstream rap’s recent insular turn, represented by Drake, Kevin Gates, and, most sharply, Lamar. He processes trauma, delivers the anthem

of the Black Lives Matter movement, and serves as a pop star all at once. .Paak isn’t at that level, but on Malibu you hear him embody the same distinctly American, hardheaded drive.

Paak moves inward even as his record cycles through more ideas. Washington, on the other hand, inhales everything he sees and hears and howls it back out into the world, his music a kind of evacuative force intent on expressing multitudes. Last year’s The Epic is a three-hourlong race through Coltrane, space jazz, movie music, weary optimism, and swing-for-thefences ambition. There’s the howling, almost in-the-red wailer “The Next Step” and the sentimental “Henrietta Our Hero,” an almost spiritual ode to his grandmother. For three hours, Washington refuses to be anything other than restless.

The Epic’s penultimate track, “Malcolm’s Theme,” ends with a roar of voices, guitar riffs, bass plucks, and horn honks, all around a sample of Malcolm X clarifying his devotion to Islam. Back in 1965, John Coltrane subtly (debatably, even) morphed the ostensible hook of his classic album, A Love Supreme, into “Allah supreme.” Here, on “Malcolm’s Theme,” we find praise for Allah that doesn’t need to be smuggled. Washington basically gets hip-hop here; after all, rap’s most longstanding tradition has been to do away with delicacy and just say what’s on its mind, with no room left for misunderstanding. .Paak and Washington’s works represent the ideals of American democracy, just as jazz intended—so many ideas, so many thoughts, so many things happening all at once, as though it’s about to careen into oblivion. But on Malibu and The Epic, you also hear music that’s overly confident, big and blustery, maximalist, powered by a lack of concern for consequences. That’s American, too. And that’s jazz. And hiphop. With Washington and .Paak, it’s delightfully hard to tell where one of those knotty institutions ends and the next one begins. ● Twitter: @notrivia

Heavier Things

I N D Y : The E-Collective’s

music is often heavier than the jazz for which you’re known. How did this band take shape?

T E R E N C E B L A N C H A R D :

It was supposed to be a group that we had put together to have fun playing some groovebased music. It was initially conceived with the drummer Oscar Seaton and myself years ago when we were doing a film session for Spike Lee’s Inside Man. We were having a lot of fun, and we kept saying, “Man, we should put together a group.” It took us eight years.

Once we got to it, we were in Europe, and we noticed that there was a lot of stuff going on back in the States—a lot of crazy stories about violence with African-American youth and law enforcement. We took note, and all of the meanings of the songs started to change. That became the basis of the album.

How does groove relate to Eric Garner, Michael Brown, and police brutality at large? Does it allow you to tackle those topics in a way that jazz-based music didn’t?

On Breathless, trumpeter Terence Blanchard gets aggressive with meter and message BY DAN RUCCIA Terence Blanchard isn’t afraid of injecting politics into his music. In addition to writing the soundtrack to every Spike Lee film since Jungle Fever, the trumpeter has recorded albums about Malcolm X and Hurricane Katrina.

His latest album, Breathless, takes Eric Garner’s last words as a musical call to action, giving Blanchard a chance to get loud and aggressive over the heavy grooves of his new quintet, the E-Collective. A far cry from Blanchard’s 2001 album of romantic ballads, Let’s Get Lost, or much of his more gentle jazz output, the music of Breathless can feel weighty and claustrophobic, as uncomfortable and urgent as the state of American society he’s exploring.

I caught Blanchard before his rehearsal for an allstar performance at the White House—a “smorgasbord” of jazz greats, he called it. He talked about the meaning of groove, police violence, and community building through music.

The two things kind of came together at the same time.

We just so happened to be working on that music when all of those events were happening. Even if I had a jazz band, I probably would have done the same thing. But while we were doing this groove-based music, along with trying to inspire some young kids who want to play music but don’t necessarily want to play jazz, we wanted to send a message about how we felt.

You’ve been playing this music for a few years now.

Have the statements you’re trying to make—and your relationship to those statements—changed?

It hasn’t changed, because we haven’t seen major changes in our country. We haven’t seen major changes in the attitudes of law enforcement toward ordinary citizens. When those things change, when people feel the change, all of that music will be something that was a reflection of a point in time of our history. But until then, it’s a reflection of what’s going on now. It’s really unfortunate because, with all of the things that are going on and the amount of attention that it’s been getting, you would think that things would change immediately. That tells you how entrenched these attitude systems are.

PHOTO COURTESY OF THE ART OF COOL

Does this groove-based structure change the way you think about soloing or composition?

Stylistically, there are things that happen that you’re not even conscious of that have to do with rhythm and harmony.

For me, groove is groove, no matter whether it’s swing or jazz.

I’m always trying to find my space, where I fit. It doesn’t matter what kind of music I’m playing—Latin music, jazz, groovebased music, it’s all the same. It’s trying to find that moment in time where what it is you’re trying to say can stick with what’s going on underneath you.

Has this approach opened up any different audiences for you?

Definitely. You see a lot of different people, younger people coming to the shows. At the end of the show we just played in New Orleans, at Jazz Fest, we played this tune “Cosmic Warrior.” A ton of kids stormed the stage and started bobbing their heads; that’s never happened before at a jazz show.

Do you see this as a way of community building?

Part of what we’re trying to do is reach some other kids, to let them know if they want to play an instrument there’s a way to do it at a high level that can be very rewarding. It’s all about trying to bring people together, trying to show people other options.

We’re still figuring it out yet. We don’t have a total definition of what it is that we’re doing. We’re trying new things all the time. I just brought in a new tune for the band that’s in 7/4 but really funky. And then we actually just started playing a ballad that I had written for my jazz band, but it works with this band extremely well.

Sometimes, when people come and see this band, especially when they see us on a big stage, they’re shocked at how the band can have a dramatic presence, because they’re thinking we’re just a jazz quintet. But this band is something totally different. ● Twitter: @danruccia

THE ART OF COOL FESTIVAL Various Venues, Downtown Durham Friday, May 6–Sunday May 8, $50–$285 www.aocfestival.org

INDYweek.com | 5.4.16 | 17

The Internet, IRL PHOTO COURTESY OF THE BAND

I

n the past, The Art of Cool has been more about Birth of the Cool than The Cool Kids. But festival organizers have smartly changed that by adding rappers, DJs, and neosoul singers at unprecedented levels, blending elements of old and new, jazz and hip-hop in two days of programming.

Few young working groups are more emblematic of such a mix than The Internet, a Los Angeles-based, Grammy-nominated R&B/soul band that counts jazz musicians like Kamasi Washington among its biggest inspirations and rappers like Tyler, The Creator and Mac Miller among its closest collaborators.

At The Internet’s helm is Syd tha Kyd, a twentyfour-year-old emcee who projects a calm, effortless cool. Her airy vocals thread between The Internet’s songs, though the band’s five other musical members are every bit as integral. Together they build tunes forged from a shared musical appreciation, as in love with the power of hip-hop as with the sophistication of jazz.

We spoke to Syd about cross-genre collaboration, the rise of musicianship in hip-hop, and actually enjoying what’s on the radio.

Given how instrumentation has moved back to the fore, does that make you excited for where music is going?

Worldwide Webs

THE INTERNET IS PART OF A CADRE OF MUSICIANS MAKING BAND LIFE COOL AGAIN BY RYAN COCCA

INDY: How does The Internet manage collaboration across genres?

SYD THA KID: It usually comes natu-

rally. For Ego Death, everybody that ended up on it was genuinely a friend of ours.

Janelle [Monáe] goes way back with Matt [“Martians” Martin] and his family in Atlanta. Kaytranada we just met at a couple festivals. He came to my house and played us his album.

18 | 5.4.16 | INDYweek.com

The Internet, Kamasi Washington, Thundercat: You’re all playing Art of Cool, and it feels like you’re part of a wave bringing musicality to the forefront again by making it cool to be in a band. Does it seem that way from the inside?

If you go back even to when I was in high school and built a studio in my room, next thing I know, everybody had tried to build a studio but was doing it terribly wrong. It goes way back to that. Us starting a band, at the time nobody else around us was really doing that, except for Thundercat, which is why we look up to him so much—not just him but that realm of L.A. musicians. They didn’t start getting praise in a big way until Kendrick Lamar put them on. It sucks it had to happen that way, but at the same time, I’m grateful for people like Kendrick, people who really appreciate musicianship and want to put it on the forefront again.

Kendrick and Tyler, the Creator are rappers who are really popular and have an appreciation for all kinds of music. It seems they’ve made the typical hip-hop listener more receptive to, say, an Internet album.

I feel like Tyler doesn’t get enough credit for that. Maybe that’s because he prides himself on doing a lot of his stuff himself, or maybe that’s because a lot of people don’t expect that because they’re so used to the Tyler, The Creator the media pushes.

Yonkers?

Exactly. They definitely can take credit for it. Even Kanye—Kanye is the curator of the century. Even Drake. With some of the stuff people like to bash him for, it’s really just a collaborative effort. I’ve always been a very collaborative person when it comes to my music. It makes me feel better for collaborating,

Everything is cyclical.

Music is going to have its cycles. There’s going to be times when we think it sucks, and some people think it’s awesome.

There’s been times when I’ve been DJing, and someone came in and requested music I hate. It all comes down to opinion. We just have to be understanding of that.

Personally I’m loving where music is right now.

I listen to the radio just driving around, because my car is real old and it doesn’t have an “AUX” cord. I like more and more of what I’m hearing on the radio. Maybe it’s me becoming more openminded now that I’m older, or maybe it’s just that, you know, it’s good

You’ve said you prefer to express yourself through music on social and political topics rather than tweeting about it. How does that translate into the choice between explicitly stating an opinion in a lyric rather than injecting that feeling into the music?

I prefer to put that feeling into the music, if I can. I personally don’t like to dwell on, like, negative things. I’ve been depressed before, and I don’t like listening to sad music. But Kendrick’s untitled unmastered and other artists have really inspired me to want to say real things and get deeper.

I never really write a song that’s just like, “Ehhh, this is just whatever,” but what I’ve been listening to lately has inspired me to dive deeper, get even more honest. I might have to get more explicit. ● Twitter: @superemptyblog

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The INDY’s Guide to Dining in the Triangle

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NANASTEAK TRIES TO REWRITE THE RULES OF THE OLD STEAKHOUSE

BY ANGELA PEREZ

PHOTO BY JEREMY M. LANGE

The INDY’s guide to Triangle Dining ON THE STREETS NOW!

A confession: sometimes, I grow weary of sharing small plates, of assembling a big meal from little dishes at cool restaurants. Now and again, I long for the self-indulgent luxury of dinner on the scale of, say, a Thanksgiving fête at Julia Child’s house. I want to be pampered, overfed, stuffed.

Durham chef and restaurateur Scott Howell channels the idea of such a decadent feast with his fourth and latest venture, NanaSteak.

Nestled between the grand, soft-seated Durham Performing Arts Center and Aloft, Durham’s other boutique hotel, NanaSteak is an attempt to reinvent a tired old institution—the steakhouse—for an increasingly experimental culinary landscape. If every theater district demands a grand steakhouse, NanaSteak aims not just to deliver it but to remake it in the city’s audacious modern image.

But do today’s diners have room in their bellies for such a thing, an inclination in their ravenous souls for glistening charred meat paired with butter- and cheese-laden starches and veggies? Sure, from time to time, many of us still announce, “You know, I could really go for a good steak,” only to wheel out the grill, take our chances with a chewy cut from Golden Corral, or blow the month’s light bill with old standards like Angus Barn and Sullivan’s or newfangled favorites like Death & Taxes and The Durham, cool places that serve big slabs of beef without calling themselves a steakhouse. Unabashed, though, NanaSteak puts the claim right there in the name.

In mid-February, hungry for comfort food, I rushed to NanaSteak the first week it opened. I enjoyed the imperfect experience enough to return two months later— and, once again, to ravage my diet.

It takes but one look to know that this is a new style of steakhouse: the inviting, bright interior is a far cry from the stereotypical dark-wood, low-light den where wealthy men consume red meat and red wine and make shady business deals. Amid the barn wood, burlap, and metal, servers in black and white don’t peddle trollies of carved meats but instead tote wicker baskets laden with caramelized onion-and-rosemary focaccia and moist cornbread madeleines.

The focaccia is buttery and rich, a por-

tent of intense indulgences to come. On my first trip, guajillo chilis overwhelmed the cornbread; thankfully, NanaSteak now omits such frippery, one of several welcome fixes still being made.

Both times, I sampled the foie gras with wild elderberry sauce and cipollini onions and fried oysters with pork belly and roasted peppers. The palm-size, seared foie gras tantalized, its crunch dissolving into sudden tenderness. Nestled over tiny pale onions, the delicate liver arrived in a tart splash of exotically purple elderberry jus. When the restaurant opened, the foie gras was listed on the menu as an appetizer; two months later, according to our server, so few people had ordered it that it slipped into the inferior realm of “special.”

Let’s hope it doesn’t fall any further.

The oysters were less rewarding. While the breading was textured and light, neither

the mollusks nor the light puddle of broth in which they floated boasted much flavor. If not for the perfectly prepared pork belly and peppers, the appetizer would have been bereft of taste altogether. As it was, the oysters lacked even a touch of salt, and both salt and pepper shakers had been left off the table, a sure sign that you’re supposed to have complete faith in the chef.

Howell and his team did regain my bruised trust soon. Hell-bent on culinary excess, my companion and I added a double pasta course—lobster carbonara, accompanied by campanelle with ramp pesto and meatballs. We marveled over the indecently creamy, golden sauce of the carbonara; it clung to the frilly pasta and the sweet lobster meat in perverse, sinful glory. And in a brilliant gesture of Southern cucina povera, the beef meatballs, made tender with the

NANASTEAK

EAT THIS

addition of leftover focaccia, nearly collapsed in a pungent, garlicky sauce made from the humble ramp. It was peppery and strong, the flavor lasting longer than date night at DPAC. At last, the time arrived for the raison d’être, the source of NanaSteak’s simple portmanteau—the rib eye. Grilled to a perfect medium rare, with smoky juices seeping from the sides, the steak somehow failed to wow. It was tender, yes, but it didn’t deliver the flavor you’d expect from this popular cut or the twenty-eight dollar price tag. As if anticipating these shortcomings, several sauces are available for an upcharge—béarnaise, chimichurri, a cracked pepper hollandaise with foie gras. These condiments are delicious, but they’re forced to do more work than they should on such a pricey cut.

Elsewhere, there is veal porterhouse and short rib, prime rib and steaks of salmon and tuna. But I opted for a relative rarity—duck, cooked on a rotisserie. It was surprisingly unsatisfying, its glistening fattiness marred by a limpid, barely browned skin that only teased with a suggestion of crispness. Rotisserie duck is a much more exotic and alluring option than the ubiquitous rotisserie chicken. But for NanaSteak to capitalize on the offering, the duck will need to fall off the bone, while the skin needs to be handled with more expertise, until it caramelizes into a perfect coating.

Our server admitted the chef had been working on the duck and altering the approach, but because it wasn’t selling, it may end up being cut from the menu. I’m not so sure the blame goes with the customer, and I hope I get the chance to try it again.

Where the entrées failed, though, the sides—contemporary, often decidely Southern turns on classic steakhouse staples—succeeded. NanaSteak’s take on creamed spinach includes Swiss chard. The bitter greens weren’t overcooked, so they maintained some bite beneath a drizzle of slightly sweet cream.

And in a region where every new restaurant offers some variation on macaroni and cheese, NanaSteak’s is noteworthy. Brown on top, the piping hot Grand Cru Gruyere and béchamel beneath stay smooth, complementing rather than overpowering the pasta.

The sweet potato gratin is moan-inducing, too, with tender golden sweet potatoes bathed in a ricotta sauce that conceals a bed of dulcet prunes. Moist and singing with sage, the savory mushroom bread pudding stole the second meal by evoking and updating fuzzy Thanksgiving memories.

At last, dessert pushed holiday-like satiety into inability-to-breathe territory, but it was worth it. The salted butterscotch pots de crème, served with homemade ginger snaps, requires a deep dive down to the cup’s bottom.

The Bananas Foster omits the tired tableside pan of flaming bananas and is instead constructed as a silky wonder in a glass.

In paying homage to the classic steakhouse, NanaSteak is best when it breaks with tradition, rewriting the rules of the most standard ostentatious fare. That presents some challenges, with some big misses mixed among major hits. NanaSteak has worked on the problems, though it hasn’t perfected them.

Still, when I pushed away from the table, I’d finished the feast I’d sought. ● Twitter: @DoYouMuuMuu

FOOD TO GO: THE TRIANGLE’S BEST FOOD EVENTS WEEKEND BRUNCH

In late April, Weekend—the aptly named, seasonal coffee shop that the cold-brew magnates of Slingshot run from their downtown Raleigh headquarters—announced it wouldn’t open this year. Jenny and Jonathan Bonchak have continued to ramp up production for their bottled-and-boxed goods, meaning that weekends of pour-overs and fresh pastries no longer seemed sustainable.

Still, Weekend won’t be entirely silent this year. On Saturday, May 7, Slingshot will partner with Centro for an on-site, ticketed brunch at ten a.m. It’s a fundraiser for The Beehive Collective, which funds several nonprofit projects each year. The menu features all of Weekend’s offerings, sweet-and-savory corn pancakes, and sausage chilaquiles. Centro and Slingshot will collaborate for a horchata concoction, too. If you don’t get a $25 ticket, Slingshot will offer its drinks beginning at nine a.m., anyway. Who knows the next time you’ll get a Weekend? (www. slingshotcoffeecompany.com) For more, see www.indyweek.com.

MYSTERY BREWING COMPANY www.mysterybrewing.com

Fuzzy Math

MYSTERY’S FIRST FOUR-PACK DELIVERS A DIZZYING JOURNEY THROUGH BELGIAN BEER

BY GRAYSON HAVER CURRIN

PHOTO BY JEREMY M. LANGE

345 Blackwell St., Durham www.nanasteak.com

Erik Myers had a storytelling problem.

Since 2012, his Hillsborough brewery, the preternaturally idiosyncratic Mystery, had struggled to put a variety pack into retail outlets. Each season, Mystery rotates its beers, offering a fleet of four new flagships every three months. Though that philosophy has quickly made Mystery one of the state’s most quixotic and interesting breweries, it hasn’t lent itself to a beer variety pack. Not only do those sell well, Myers says, but they allow a business to share its narrative and outlook.

Finally, as the brewery’s fourth birthday approached, Myers figured it out: Mystery could package four Belgian beers of increasing strength and sweetness in 16-ounce cans—a “singel,” dubbel, tripel, and newfangled quadrupel, all made with yeast sourced from Belgium’s Westmalle Abbey. Together, they would show the place’s versatility, edge, and comfort with classics. And with gorgeous labels drawn by Durham artist Jamie B. Wolcott, illustrating the literary characters that lend many Mystery beers their names, the set also showcased the brewer’s artistic bent.

“It’s the best idea to create stories using beer,” says Myers. “Being able to tell the story of the brewery through the beers, the art, the

references—it was a confluence of too many cool things. We couldn’t pass it up.”

And neither should the beer enthusiast: The Novella Series, as it’s called, stretches across the brewery’s history; the tripel, or Mousqueton, came from the eighth batch of beer Mystery made with its current system. The beers sprawl across the ABV range, with the biscuity and crisp Sancho starting the series at 4.9 percent and slow-sipping Eurydice topping out at 11.4. You can move through the pack in a straight, inebriating line or skip between styles, so as to consider how the length of the process enhances or distorts certain elements of flavor. The Eurydice boasts the full profile of a barleywine, while the dubbel nimbly navigates a balance of power and pleasantry.

By nature, Mystery is a restless brewery, a restless concept. The Novella Series helps string four years of scenes together.

“I really like the ability to give someone a little journey with a four-pack. I’d love to explore it in different ways—four different hops in the same beer, or the same recipe with four different years,” Myers says. “If we can get people to try all those things at once, it’s really exciting.” gcurrin@indyweek.com INDYweek.com | 5.4.16 | 23

Wed May 4

www.lincolntheatre.com MAY

Bunny Wailer

We 4 BUNNY WAILER w/Crucial Fiya F r 6 KIEFER SUTHERLAND 7p

Fri May 6

w/Austin Plaine

Sa 7 BLAKE KEARNEY BAND

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Th 12 THE HIP ABDUCTION

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Fr 13 BUCKETHEAD 8p Sa 14 FLATBUSH ZOMBIES

7p

w/ Down By Five

w/A$AP 12vy / Remy Banks We 18 CRUIS’N USA TOUR Feat

CURREN$Y 7:30p Th 19 ALLEN STONE 7p w/ Jared & The Mill

Fr 20 GFW & SOGNAR PRESENTS NEVER SAY DIE TOUR Sa 21 TAB BENOIT 7p

Kiefer Sutherland

w/ Mel Melton & the Wicked Mojos

Su 22 HARDWORKING AMERICANS w/Town Mountain 7p

Fr 27 PULSE: Electronic Dance Party 9p Sa 28 BERNSTOCK 2p JUNE

We 1 Sa 4 Th 9 Fr 10 Sa 11 Mo 13 Sa 18

OTM/LEK & UPTOWN MIKE & DIO’S METAL SHOW B.O.B. w/Scotty ATL/London Joe CRAIG XEN w/Lil Peep/ + LACUNA COIL w/Stitched up + LA DISPUTE w/Des Ark/Gates JERRY JOSEPH & THE JACKMORMONS / BLOODKIN We 22 THE UNITY EXPERIENCE Fr 24 WHO’S BAD 7-10 7-14 8 - 3 8 - 4 11-17

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Thu May 12 Advance Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus St. 919-821-4111 24 | 5.4.16 | INDYweek.com

Allen Stone

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indymusic

SHAKORI HILLS GRASSROOTS FESTIVAL 1439 Henderson Tanyard Road, Pittsboro Thursday, May 5–Sunday, May 8 www.shakorihillsgrassroots.org

Come On Down

To read our top picks for this spring’s Shakori Hills, visit www.indyweek.com.

TO PREVENT HB 2-BASED CANCELATIONS, SHAKORI HILLS MADE A SIMPLE PLEA

BY GRAYSON HAVER CURRIN

already decided to play? Ultimately, she did send it, doubled down on the festival’s opposition, and closed with that polite, subtle plea to make the date.

“I didn’t want to start a direct conversation that was, ‘Are you going to come, or are you not going to come?’” says Waters.

“We wanted to encourage them to come but also say that, if you’re going to back out, you should probably do it now.”

No one did cancel. In fact, the only strong reactions to Waters’s email came from Brett Dennen, who had earned the festival’s second-highest billing despite being a late addition to the roster. Dennen is a peripatetic, charming pop singer, his sunlit songs suggestive of his California childhood. But he’s also worked as an activist, entrenched in the nonprofit world through a youth education program.

Dennen soon issued a statement of his own, emphatically confirming that he would not cancel but instead would donate a cut of his pay and stage time to area groups supporting transgender rights. Part of the reason, he explained, was how he felt about

Still coming to Carolina: Brett Dennen

PHOTO BY JIMMY FONTAINE

In early April, the organizers of the Shakori Hills GrassRoots Festival ended a short section of an email with an electronic wink. “We can’t wait to see you here!” wrote co-coordinator Sara Waters in a message to the fivedozen acts scheduled to play the biannual Chatham County roots festival, then just a month away.

Her exclamation ended a bit about House Bill 2, the sweepingly discriminatory legislation that the North Carolina General Assembly had pushed through in a short special session two weeks earlier. In the days since the inadequately labeled “bathroom bill” went into effect, Waters—like most concert promoters in the state—had anxiously waited to see if artists would follow the lead of businesses in launching a North Carolina boycott. On the afternoon of Friday, April 8, it started, when Bruce Springsteen became the first major artist to scrap a large N.C. show at the last minute.

A day later, Shakori Hills issued a statement that disavowed HB 2 by restating the festival’s purpose. “At the festival,” it read, “we seek to build up the community, to love everyone in it, because everyone has a part to play and every person’s life effects everyone else’s.”

Waters worried about dispatching the message to the bands she was expecting.

Would it make them fret unnecessarily, she wondered, or give them pause after they’d

community-oriented festivals like Shakori Hills, which he’d played once, and the impact they can have on kids. He was speaking from experience. As a teenager, Dennen estimates he went to the Strawberry Music Festival in Yosemite—“in the heart of the Sierra Nevadas, gorgeous”—ten times. He later volunteered and worked for the festival.

“It was very similar—family-oriented, a little bit hippie because of the nature of the people there, open-minded, down-home,” says Den-

nen. He’s in Mexico now, rehearsing with a new band ahead of the release of Por Favor.

“The festival is its own little microcosm of a perfect world,” he says. “Knowing what a festival like that means to its community, I feel the need to stay true to it.”

The reaction hasn’t been uniformly positive.

Since Dennen made his proclamation, he says, friends have approached him about his choice, confused as to how he can justify entertaining a state now infamous for draconian laws.

“People believe that a firm line has to be drawn. When it comes to politics and religion and morality, people walk a hard line.

They don’t open themselves up to other possibilities,” he says. “And then I have to explain my choice.”

Dennen didn’t consider scrapping his Shakori Hills show, but he admits he did worry for several days about the best way to use it as an opportunity. He didn’t want the organization’s nonprofit mission to suffer the bill’s consequences more than necessary, but he did want to take a stand. The email from Shakori Hills made up his mind—to play and help.

“It was very convincing,” he says. “I knew I could take that spirit into my own show.” l gcurrin@indyweek.com

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BEERTOWN

Raleigh Little Theatre, Raleigh May 6–22, 8 p.m. Thurs.–Sat./3 p.m. Sun., $13–$22 www.raleighlittletheatre.org

BEERTOWN, A THEATRICAL EXPERIMENT IN CIVIL SOCIETY, MAKES ITS AUDIENCE ACT Mugging for the lens: dog & pony dc in Beertown

through May 15

At first glance, the thirteen items on the table in Gaddy-Goodwin Teaching Theatre suggest a yard sale in its final hour. A rusted license plate, an ancient film projector, a gray pie tin, and two cloudy old jars look like the picked-through scraps left over after the good stuff’s gone. But then you notice the cotton gloves an archivist wears as she carefully handles the items, and the improbable container they’ve been lifted from: a pony keg engineered into a time capsule, with a hatch and latches soldered on its side.

Then it clicks: Everyday objects can represent things far greater than themselves, capturing the essential history and values of a community. Two twists turn Beertown, which opens Friday at Raleigh Little Theatre, into a fascinating theatrical variation on the classic “lifeboat” group exercise. In the first, citizens are empowered to open the capsule and decide which items from the past the present still values. They can propose additions to reflect recent developments, but each new artifact displaces an older one.

The second twist is that Beertown’s citizens are also its audience members and can fully participate in the debate.

26 | 5.4.16 | INDYweek.com

“You’re actually in the show,” says director Rachel Grossman, cofounder of dog & pony dc, the devised theater group that has previously produced Beertown in Washington, D.C., New York, Cincinnati, and Omaha. “The content and the themes of the show are shaped by everybody in the room.”

Early on, the trappings of a hokey civic ceremony are amusing, as officious officials (including Wyckham Avery as the mayor and Greg Guiliano as the wonky town manager) preside over kitschy small-town musical tributes that wouldn’t be out of place in Waiting for Guffman. One details the settlers' search for water pure enough for the beloved brew that gave the town its name.

But then the artifacts, some of them derived from the company’s local research, start illuminating different facets of our area's own history and culture. A belted family bible evokes both the fictive town founders’ genealogy and the long influence of one religion upon our region. Different artifacts are swapped in and out of each show; in one preview, a Native American arrowhead spoke to North Carolina’s original inhabitants and “old-time values,” while a

PHOTO COURTESY OF DANIEL R. WINTERS PHOTOGRAPHY

BY BYRON WOODS

large glass lens symbolized science—and “the closer look we need at issues we’re ignoring now,” as one character says.

Audience members at each performance must deliberate on which elements of their own culture and history matter most to them.

As the editor of the Beertown Bugle (Jon Reynolds) says at one point, “It’s not enough to remember the past. We have to interrogate it in order to learn and move forward.”

Grossman says that as the group debates, about forty-five minutes of the evening’s content will be produced by those attending. Prompts from various characters give attendees the chance to contribute, challenge, and defend artifacts. Then the group votes on what goes in the capsule, collaborating on a spontaneous snapshot of social change and contrasting values.

“There is a live quality that is missing from most live theater,” Grossman observes, “but when you provide the audience with the agency to shape the dramatic content, it deepens the potential for emotional and intellectual investment, by the artists and the audience, in ways no one expects.”

Twitter: @ByronWoods

stage

WIT Fletcher Opera Theater, Raleigh Through May 8, $24–$75 www.nctheatre.com

At Wit’s End

SOMEHOW, NC THEATRE PULLS A STRONG SHOW OUT OF A LAST-MINUTE CASTING CALAMITY

? y d n i e h t e v o L

port us... p u s o h w s businesse e h t t r o p Sup

! l a c o l S hop

BY BYRON WOODS

NC Theatre had two reasons to be apprehensive last Thursday. Lead actor Judy McLane quit its production of Wit the day before opening (“personal reasons,” according to a press release; “vocal problems” was the word on stage Saturday night), and she had no understudy. Making matters worse, the company had already invited Pulitzer Prize-winning playwright Margaret Edson—an erudite, sharply analytical viewer of her own work—to speak about the local production after Saturday night’s performance.

Yes, this all could have ended very poorly.

Fortunately, the company was able to find Kate Goehring, a Connecticutbased actor who played the lead in Triad Stage’s production in Greensboro last year.

Goehring managed to arrange a leave from her day job, fly down, run lines, and assume the role of Vivian Bearing, cancer patient and English scholar—all on roughly twentyfour hours’ notice. But any concept that acclaimed guest director Kate Galvin might have developed about Bearing, who speaks nine-tenths of the play’s lines, had to be largely jettisoned as cast and crew struggled to reblock the show in the course of a single day. The ensemble's chemistry and rhythm also had to be rebuilt from scratch.

Still, an intrepid Goehring gave a crisp and nuanced portrait of a self-aggrandizing academic on Saturday night. Briefing us on her advanced ovarian cancer in a manner befitting a senior lecturer before a group of undependable undergraduates, Bearing calmly states, “I know all about life and death.

I am, after all, a scholar of Donne’s Holy Sonnets, which explore mortality in greater depth than any other body of work in the English language.”

Edson tests that thesis—actually, rips it to shreds—over the next ninety minutes.

The intellectual and emotional barricades Bearing has hidden behind all her life are

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LEYLA MCCALLA Bearing up under it: Kate Goehring took on the title role in Wit at the zero hour.

PHOTO BY CURTIS BROWN PHOTOGRAPHY

disassembled, gradually or abruptly, by the spread of her cancer and her interactions with nurse Susie Monahan (a strong, empathetic Daisy Eagan) and a former mentor played with compassion by Jo Ann Cunningham.

When Bearing finally experiences human contact through the touch of the nurse, Goehring clearly registers it as a revelation.

We’d quibble with Logan James Hall’s one-note take on Posner, a clinician more interested in medical research than the people it might benefit. And the climactic physical conflict between Monahan and Posner and an emergency team mistakenly sent to resuscitate Bearing was less than convincing.

But in all, the performance’s strengths were able to mask the chaos behind the curtain. Had an understudy been employed, would the work have been even stronger?

It’s a question worth considering for future productions that meet unexpected obstacles, at NC Theatre and elsewhere. l Twitter: @ByronWoods

WEDNESDAY, JUNE 15

SKYLAR GUDASZ SPECIAL CO-PRESENTATION WITH ADF MONDAY, JUNE 20 & TUESDAY, JUNE 21 AN EVENING WITH

SAVION GLOVER & JACK DEJOHNETTE AT PAGE AUDITORIUM WEDNESDAY, JUNE 29

MOUNT MORIAH WEDNESDAY, JULY 6

SIERRA HULL

WEDNESDAY, JULY 13

WILLIAM TYLER & JAKE XERXES FUSSELL WEDNESDAY, JULY 20

JONATHAN BYRD & THE PICKUP COWBOYS WEDNESDAY, JULY 27

BLACK TWIG PICKERS VOTE DUKE PERFORMANCES BEST OF THE TRIANGLE: BEST PLACE TO SEE OUTDOOR MUSIC BEST PLACE TO HEAR WORLD MUSIC G ET T I C K ET S : D U K E P E R F O R M A N C E S . O RG • 9 1 9 - 6 8 4 - 4 4 4 4

INDYweek.com | 5.4.16 | 27

Three Masters of North Carolina Roots Music Take the Stage

Funk Icon Maceo Parker | Marc Pruett with Balsam Range | Mountain Balladeer Sheila Kay Adams

North Carolina Heritage Awards Concert and Ceremony The ceremony also honors Harkers Island boat builders, the Lewis family, and Montagnard-Dega weavers, H Ju Nie and H Ngach Rahlan.

8 p.m., May 25, Duke Energy Center for the Performing Arts, Raleigh Tickets are available at

(919) 664-8302

Part of PineCone’s Down Home Concert series

28 | 5.4.16 | INDYweek.com

NCArts.org

indypage

Stage

Priceless

AS NICE PRICE GIVES WAY TO CORPORATE PIZZA, A HISTORY WALK DOWN THE HOMEO PATH

I’m sad because my bar is closing down. It’s not the place I drink—I’m talking about Nice Price Books in Durham, which y Adams just shuttered for good. I'm a regular there. I browse lightly, but mostly I talk with Barry Blanchette, who owns the store wis hlan. with Cindy Kamoroff. Our conversation ranges widely, from igh light rail to autograph hounds, and it’s seldom about books.

Every now and then, though, he proffers me one, just like a bartender, and says, “You’ll like s.org this book!” (And he charges me his ridiculously nice price.) He’s always right. I like it.

There are many reasons to lament the end of Nice Price— good, cheap vinyl albums, for one—but for me the grief has personal history. Decades ago, I worked in the building at 811 Broad Street, when it was an ice cream shop called Rossini’s.

Scooping there was my first job.

I made minimum wage: $3.35 an hour. I deposited some of my earnings and bounced my first checks at the CCB branch at Broad and Club, which is now a Studio One salon. The rest I spent at Revco, where Watts Grocery is now, first on candy and soda, then on my first packs of cigarettes and condoms (sorry, Mom).

In other words, I grew up on Broad Street and watched it change. Over time, what I call the Homeo Path was settled: acupuncture, massage, therapy, rolfing. Rossini’s was sold and replaced by another sweets shop, this one with the comically awful name Chocolate Smiles. Then it was a New York-style deli, then a Greek restaurant, from whose owners Barry bought the building about fifteen years ago. They owed so much that their creditors took everything they could remove from the building, including the light fixtures.

Nice Price was one of the last old-school

BY ADAM SOBSEY Closing the book: Nice Price frees up some shelf space at last.

PHOTO BY JEREMY M. LANGE

mony

survivors on the Homeo Path, though Bull City Sound is still there, with Russ soldering away. The Green Room has crossed the street, but only to get to the other side. It thrives under Mike, always costumed in his long beard and winter hat, no matter the season.

Soon the building at 811 Broad will become a Papa John’s, which is moving into bigger digs from its little hut at Main and Watts, across from the new Residence Inn where, for weeks after it opened, I jogged past Latino workers protesting unpaid wages. They soon disappeared, but they’re not forgotten.

This all sucks, to be blunt: the Papa John’s franchise expanding its bad politics (and pizza) and worse economics; the Marriott empire blighting the block by the King’s Daughters Inn; Nice Price gone. That this chain-business takeover is concurrent with HB 2 seems related and ominous.

After all, HB 2 is corporate legislation. Its ultimate goals—which include, like Papa John's, suppressing the minimum wage— are to concentrate power in big business, homogenize daily life, and weaken individual freedoms: our political agency, our personal solvency, our spectrum of choices. All this, far more than the red-cape incitement of toilet policing, is why HB 2 is un-American.

Yet there is active local resistance to these forces—people taking stands and making choices. Although the original Nice Price, in Carrboro, closed in 2013, the Raleigh branch carries on under Barry's former employees, who bought it from him that same year. Nor was the Durham store strictly run out of business, despite Amazon's mega-corporate damage. Barry was ready to retire—aging parents, occupational fatigue—and he might have passed down the Durham location, too,

but he couldn't find a buyer.

Perhaps that's partly because the likeliest candidates have already set up their own shops.

Independent record stores have popped up all over central Durham in recent years: “a whole bunch of people chasing the same small pile,” as Barry said to the INDY in March.

But this means there’s healthy competition over that small pile, not just in the big-box chains.

When the closure of Nice Price was announced, the first stock to be scooped up was the vinyl and the classic literature— that and the old cool-dude neon sign, which Barry restored after rescuing it from Poindexter Records, the great, long-defunct shop on the Ninth Street of my youth. In Durham, the old stuff endures, recirculates.

Not my bar, though. I’ll miss the haven of warm, easy neighborliness that chains, by nature, destroy. One day in late April, I dropped by Nice Price to commiserate with Barry as he was cleaning up. The remaining stock, including the shelves, was headed for the Scrap Exchange.

He sold me a book, pressing it ardently into my hands (“You’ll like this!”), and then he told me, mostly joking, that he was ready to put on his bow tie and join me behind another bar: the one where I work, selling actual drinks.

I said he should come in as a customer instead and I’d buy him one. I’ll introduce him to my old boss from Rossini’s, who’s now a regular of mine. Then I want to talk with him about the future of Durham, starting with what we’d like to see reoccupy the old Papa John’s hut on Main. l Twitter: @sobsey INDYweek.com | 5.4.16 | 29

05.04–05.11 +

STARTING SATURDAY, MAY 7

SHAKESPEARE: FIRST FOLIO

In May at the museum of history, a key tome of Shakespeare is on display. It was published in 1623, and it includes the Bard’s most famous play, Macbeth, as well as thirty-five more scripts that might have been lost to the sands of time had two of Shakesy’s pals not had the wit to bind them in a book, far past his prime. Alas, when the First Folio hit the stalls, he’d been interred seven years ere the date, and didn’t get to reap any windfalls (but publishers to this day still do great). See this, a rare, real-deal Shakespeare copy, on tour thanks to the Folger Library. —Brian Howe

SATURDAY, MAY 7

N.C. MUSEUM OF HISTORY, RALEIGH 9 a.m.–5 p.m., free, www.ncmuseumofhistory.org

Shakespeare’s First Folio

PHOTO COURTESY OF

Visions of an Island by Sky Hopinka

PHOTO COURTESY OF UNEXPOSED

THE FOLGER SHAKESPEARE LIBRARY

+

SATURDAY, MAY 7

UNXFEST 1.1

Unexposed is practically the only game in Durham when it comes to the regular presentation of current experimental cinema. But judging from how hard Brendan and Jeremy Smyth work, you’d think they were awash in competition.

After putting down roots in a space near Golden Belt and upping their programming from monthly to more-thanweekly in 2016, they’re now debuting the first of three one-day film festivals this year. UNXFEST 1.1 includes a 16mm workshop with Erica Titkemeyer, live music from Curtis Eller’s American Circus and Tescon Pol, catering from The Pit Authentic Barbecue and beer from Bull City Burger and Brewery, and two blocks of screenings of global experimental films, juried from a competitive pool. They include the premiere of Visions of an Island by Sky Hopinka, a Ho-Chunk Nation member descended from the Pechanga Band of Luiseño Indians. After these films screen at Unexposed, they’ll be sent on DVD to other microcinemas around the world, carrying on the Smyths’ ambassadorship for their medium.

The festival returns in September and December. —Brian Howe UNEXPOSED MICROCINEMA, DURHAM Noon–midnight, $15, www.unexposedmicrocinema.com

TAB-ONE & SINOPSIS

With the departure of Rapsody, the Raleigh rap crew Kooley High effectively became a two-emcee group. Now Tab-One balances out the unfettered Charlie Smarts as the group’s deliberate, measured rapper.

Tab has his fun, though, even if the married man and new father is less likely to express it through tales of sexual exploits. On his new album with K-High producer Sinopsis, Sincerely, Tab, he stays true to the themes that have become his trademark, though he serves them through new stories—his marriage, his time in Brooklyn, his childhood.

For his part, Sinopsis provides beautifully layered backdrops and unexpected change-ups, forming a strong foundation for an album with fewer members than the typical Kooley project but the same good time. Fellow Raleigh collaborators NANCE and Napoleon Wright II open. —Ryan Cocca THE POUR HOUSE, RALEIGH 9 p.m., $10–$12, www.the-pour-house.com

SATURDAY, MAY 7

HAW RIVER FESTIVAL

Saturdays in Saxapahaw, one of the Triangle’s most treasured annual series, gets off to a cracking start with a festival that stretches through the late afternoon. Durham’s Luis Del Rio headlines with gently acoustic bilingual tunes. The Village Band of Chapel Hill opens ahead of ZamBamBooGee, which offers loose, boogie-friendly jams. Local favorite Diali Cissokho then takes the stage with the energetic Kaira Ba, a band that slings emphatic Senegalese tunes with a rock backbone.

The day’s festivities also include a puppet parade, food trucks, kayak rides for children, and a silent auction. While this family-friendly affair is free, consider opening your wallet wide, as all donations support the Haw River Assembly, which protects the river that rolls through Saxapahaw. Free music, open-ended fun, environmental conservation— what’s not to like? —Allison Hussey SAXAPAHAW RIVERMILL, SAXAPAHAW 4 p.m., free, www.hawriver.org/events/haw-river-festival

SATURDAY, MAY 7

TRUST THE BUS

Culture Mill revs up its second season of “Trust the Bus” performances with a collaboration between cofounders Tommy Noonan and Murielle Elizéon and Durham’s Little Green Pig Theatrical Concern. What is it?

We don’t know, and that’s the point. The series is about boarding Culture Mill’s biodiesel bus, being driven to an undisclosed location, and giving yourself over to whatever experience the Saxapahaw arts organization decides to concoct for the next hour or two. Noonan, Elizéon, Jennifer Curtis, and Direwolf’s debut show last summer was one of the most memorable performance experiences I had in 2015. It turned a forest path, a cloistered courtyard, and a pond into a natural stage for a dance theater work full of stark drama and enchanting tableaux (read about it at www.bit.ly/1O04UE4). The trustworthy series continues in June (with Australian dance company The Farm) and August (with New York City artist Simon Lee). —Brian Howe SAXAPAHAW GENERAL STORE, SAXAPAHAW 8:15 p.m., $5–$15 suggested donation, www.culturemill.org

30 | 5.4.16 | INDYweek.com

Marisa Anderson

PHOTO BY JODI DARBY

WHAT TO DO THIS WEEK

MONDAY, MAY 9

MARISA ANDERSON & TASHI DORJI

With apologies to the matriarch of it all, Elizabeth Cotten, the world of solo instrumental guitars is one dominated, both historically and presently, by white men. Perhaps the pattern stems from the form’s customary influences, like country and folk and classical, or maybe it’s a mere extension of adolescent guitar-god fantasies. Last year, though, the new label Footfalls Records delivered a deliberate shot across that institutional bow with a humble, gorgeous seven-song split between electric Portland picker Marisa Anderson and Bhutan-born, Asheville-based improviser Tashi Dorji. Together, Anderson and Dorji showed that this realm could look and sound diverse. Dorji jumps and dances along the strings, pushing together tufts of notes only to pull them back apart. His songs percolate with ideas and enthusiasms, crammed into small spaces at an elevated pace. Anderson, however, leans back, patiently indulging a theme or a mood as if there is no rush in the world, nothing else to do at all but contemplate the musical shapes her guitar can make. Her new record, Into the Light, seems to glimmer from a distance, beckoning like a candle’s dim flame. —Grayson Haver Currin THE PINHOOK, DURHAM 8 p.m., $8, www.thepinhook.com

WHAT ELSE SHOULD I DO?

ARISE! BALD MAN! KING OF HAIR PEOPLE! AT LUMP (P. 37), THE ART OF COOL FESTIVAL AT DOWNTOWN DURHAM (P. 14), BEERTOWN AT RALEIGH LITTLE THEATRE (P. 26), COMEDY BANG! BANG! AT THE CAROLINA THEATRE (P. 38), THE DAMNED MOVIE AT THE PINHOOK (P. 33), EIKO OTAKE AT THE DURHAM PUBLIC LIBRARY (P. 39), SHAKORI HILLS AT SILK HOPE (P. 25)

INDYweek.com | 5.4.16 | 31

FR 5/6 @ CAT’S CRADLE BACK ROOM

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HEARTLESS BASTARDS

PARACHUTE

W/ BJ BARHAM (OF AMERICAN AQUARIUM) ($25)

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STICKY FINGERS

SU 5/15 BLOC PARTY W/ THE VACCINES ($29.50/$32) WE 5/18 ROGUE WAVE W/ HEY MARSEILLES ($16/$18) TH 5/19 SAY ANYTHING W/ MEWITHOUTYOU, TEEN SUICIDE, MUSEUM MOUTH ($19.50/$23) FR 5/27 CARAVAN PALACE $20/$23 SA 5/28 !!! (CHK CHK CHK!) W/ STEREOLAD ($15)

SU 5/8

FR 5/13

PARQUET COURTS WE 6/29 AESOP ROCK W/ ROB SONIC, DJ ZONE ($20)

SA 6/11 RAINBOW KITTEN SURPRISE

TH 6/30 MODERN BASEBALL W/JOYCE MANOR

WE 6/15 OH WONDER W/ LANY **($15/$17)

SU 7/24 DIGABLE PLANETS W/ CAMP LO

SA 6/18 HGMN 21ST

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BOTH ROOMS: MANTRAS, GROOVE FETISH, FAT CHEEK CAT, BIG DADDY LOVE, URBAN SOIL, GET RIGHT BAND ($17 ADV/ $20 DAY OF SHOW) TU 6/21 THE JAYHAWKS W/ FOLK LIKE TH 6/23 PERE UBU 'COED JAIL!'` TOUR... SONGS FROM 1975-'82 FR 6/24 BLACK MOUNTAIN ($15/$17) SA 6/25 NEIL HAMBURGER & TIM HEIDECKER W/ JENN SNYDER ($25)

5/12 PHANTOM POP W/ (J)ROWDY AND THE NIGHTSHIFT AND OUTSIDE SOUL ($8/$10) 5/13: ARC IRIS 5/14 LYDIA LOVELESS DOCUMENTARY SCREENING & SOLO ACOUSTIC PERFORMANCE ($12/$16)

OLD 97S/ HEARTLESS BASTARDS 5/15 ARBOR LABOR UNION ($10)

TH 6/9 TWO DOOR CINEMA CLUB W/ BAYONNE ($30; ON SALE 5/6) ($10/$12)

5/5 STEPHEN KELLOGG W/ BRIAN DUNNE ($17/$20) 5/6 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) W/ REVEREND BARON ($13/$15) 5/8: BENT SHAPES W/ BODYGAMES, BAND AND THE BEAT 5/9: PEACH KELLI POP

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

BLACK LIPS

5/4: KIM RICHEY ($18/$20)

FR 5/6 STICKY FINGERS W/ BOOTLEG RASCAL ($13/$15)

SOLD OUT

TH 5/12 @ MOTORCO

CHELSEA WOLFE

TH 5/5 PARACHUTE W/ JON MCLAUGHLIN**

CAT’S CRADLE PRESENTS:

MATTHEW LOGAN VASQUEZ

($19/$23) ($22/$25)

TU 7/26 SWANS W/ OKKYUNG LEE ($20/$24)

5/18 JOE PUG AND HORSE FEATHERS ($17/$20) 5/19: MARTY WILSONPIPER'S ACRES OF SPACE 5/20 YOU WON'T W/ SUMNER JAMES, JOCELYN MACKENZIE ($10/ $12) 5/21: CHICKEN WIRE GANG 5/24 THE AMERICANA ALL-STARS FEATURING TOKYO ROSENTHAL, DAVID CHILDERS, AND THE STRING BEINGS ($10) 5/26: FANTASTICO W/ HENBRAIN 5/31: MRS MAGICIAN

COLLECTIVE

6/1 HACKENSAW BOYS 6/4 JONATHAN BYRD ($15/$18) 6/5: BAS W/THE HICS, RON SOLD OUT GILMORE,COZZ,EARTHGANG 6/10 KRIS ALLEN W/ SEAN MCCONNELL ($15/$18) 6/12: OZYMANDIAS W/ STEELBENDERS, CASTLE WILD

TU 11/22 PETER HOOK & THE LIGHT ($25)

6/14: JOHN PAUL WHITE ($15; ON SALE MAY 6)

SU 7/31 THE FALL OF TROY ($17/$20) SA 8/13 RAINER MARIA ($15/$17) SOLD OUT

FR 11/5 ANIMAL

TU 5/10 @ CAT’S CRADLE BACK ROOM

THE DESLONDES

6/15 SO SO GLOS ($10/$12) 6/18:BIG DADDY LOVE, URBAN SOIL, GET RIGHT BAND 6/19: JOHN DOE ($17/$20) 6/21 THE STAVES ($12) 7/2 THE HOTELIER ($12/$14) 7/5: JESSY LANZA W/ DJ TAYE 7/11 DAVID BAZAN ($15) 7/22:: JON LINDSAY W/ MATT PHILLIPS (BAND) & YOUNG MISTER 7/25: MARISSA NADLER 7/26: FEAR OF MEN ($10/$12) 8/6: OH PEP! ($10/$12) 8/27: MILEMARKER ($12) ARTSCENTER (CARRBORO)

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

7/26 GREGORY ALAN ISAKOV & THE GHOST ORCHESTRA MOTORCO (DURHAM)

5/12 BLACK LIPS W/ SAVOY MOTEL($14/$16) 5/16 AGAINST ME! SOLD OUT W/ MY JERUSALEM PINHOOK (DURHAM)

6/15 DYLAN LEBLANC ($12) NC MUSEUM OF ART (RAL)

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

5/12 FRIGHTENED RABBIT W/ CAVEMAN ($20/$23) 6/11: HONEYHONEY 8/12 PIEBALD

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

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

WED, MAY 4

CAT’S CRADLE: Chelsea Wolfe, A Dead Forest Index; 8 p.m., $18–$20. • CAT’S CRADLE (BACK ROOM): Kim Richey; 8 p.m., $18–$20. • THE CAVE: The Blind Spots, Kate Rhudy & The Boys; 9 p.m., $5. • KOKA BOOTH AMPHITHEATRE: Marcus Anderson; 5:30 p.m., $5, 12 and under free. • LINCOLN THEATRE: Bunny Wailer, Crucial Fiya; 8:30 p.m., $25.50. • LOCAL 506: Peelander-Z, Midnight Plus One, Blood Red River; 9 p.m., $8–$10. • MOTORCO: Shooter Jennings with Waymores Outlaws, Colter Wall; 8 p.m., $25–$45. • THE PINHOOK: Delicate Steve; 9 p.m., $10. • POUR HOUSE: Stammerings, Zephyranthes; 9 p.m., $5–$7.

THU, MAY 5 Greg Brown FOLK With his craterSAGE deep voice and homegrown poetic powers, Midwestern troubadour Greg Brown has been turning out one album of raw, penetrating Americana after another for some three and a half decades.

Somehow, that voice keeps on getting deeper and deeper, and these days, it sounds like the earth itself. Brown delivers insights, inspiration, and warnings to anyone smart enough to put an ear to the ground. —JA [THE ARTSCENTER, $28–$30/8 P.M.]

Stephen Kellogg AROUND Stephen Kellogg’s INDIE latest project, a four-EP collection released as South, West, North, East, finds the singer-songwriter traveling literally and figuratively. Kellogg, who frequently alternates between solo artist, The Sixers bandleader, and TEDx Talk speaker, recorded the songs in all four corners of the country.

He commutes between indie rock, alt-country, and folk. Brian Dunne opens. —KM [CAT’S CRADLE BACK ROOM, $17–$20/8 P.M.]

05.04–05.11

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

Local Band Local Beer: Ancient Cities, Wahyas

performing his own gentle folk and polished country. Backing Easterling are seasoned Triangle hands Danny Gotham, Ed Butler, and Paul Westlake. Fellow Chapel Hill singer-songwriter Wes Collins opens with pop-folk. —SG [CARY THEATER, $10–$25/8 P.M.]

TWISTED Combining fuzzy GARAGE guitars and squirrely synthesizers, Ancient Cities updates sixties rock in a way that suggests recent Black Keys, though the Charlotte crew is just as likely to take dreamy folk trips, too. The snarling stomps of Greensboro duo Wahyas have an ominous, twangy undercurrent. Lairs rounds out the bill. —SG [POUR HOUSE, FREE/9:30 P.M.]

N.C. Symphony: A Day in Paris

PHOTO BY IAN DICKINSON

music

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

Lyrics Still Matter HARD Far from the LINES wrestling raps of Raleigh rapper Madison Jay’s campaign a few years ago, we get his softer side over a sample of Case’s R&B ballad “Missing You” on the Pooh Bear-assisted single, “Everyday (That I Wake Up).” It’s from Madison’s Return of the Gap LP, due later this month. Yes, loverboy lyrics can matter, but there are other hard-hitting accomplices on this bill, too—Kaze, Raleigh staple Samson, Durham striver Alex Aff, and others to bring pulpy bars back to ground zero. —ET [DEEP SOUTH, $5/9:30 P.M.]

Senior Fellows SEETHING There’s focused SLUDGE intensity to the bludgeoning mid-tempo metal of the Oklahoman sludge crew Senior Fellows, so it’s hardly shocking that the band shares members with the cult hardcore band Brother Inferior and grindcore act Kill the Client.

Even at this restrained tempo, the band’s vicious pedigree is obvious. Squall and Shadows open. —BCR [SLIM’S, $5/9:30 P.M.] ALSO ON THURSDAY CAT’S CRADLE: Parachute, Jon McLaughlin; 8 p.m., $21–$24. • THE CAVE: Greyscale Whale; 9 p.m., $5.

• LOCAL 506: Jonny Craig, Tilian, Kurt Travis, Victory Heights; 6:30 p.m., $15–$17. • THE PINHOOK: The Damned: Don’t You Wish We Were Dead; 7 p.m., $8. See box, this page.

THURSDAY, MAY 5

THE DAMNED: DON’T YOU WISH THAT WE WERE DEAD Of course The Damned deserve a documentary. The band was the first of the UK’s original punks to issue a recording; even after peers in the Sex Pistols, The Clash, and Buzzcocks caught up, The Damned remained one of the best. Over time, they moved from brash, flamboyant punk toward newwave pop, into a goth phase, and, finally, into its present role as legacy punk act trotting out old hits for eager crowds. It’s hard to imagine anyone else, short of a hologram Joe Strummer, representing the Class of ’77 at Coachella.

Still, The Damned is often overshadowed by its more famous, martyred peers. Lacking Strummer’s firebrand politics or the sneer of Johnny Rotten and Sid Vicious, The Damned remain mostly cult figures.

Wes Orshoski, the filmmaker responsible for Lemmy, seems eager to change that perception with The Damned: Don’t You Wish That We Were Dead. Featuring the band’s founding quartet and a legion of famous fans like Lemmy, Chrissie Hynde, and Keith Morris, the film celebrates the band’s fortieth anniversary by campaigning for The Damned’s place in the punk pantheon. Really, it’s not a tough sell. Archival footage of the band through the years is plenty to pique interest, but, for the uninitiated, consider this doc an enthusiastic introduction to one of punk’s all-time greats.

—Bryan C. Reed THE PINHOOK, DURHAM 7 p.m., $8, www.thepinhook.com

FRI, MAY 6 Capital City Music Fest TITANS R&B has had it OF SOUL rough lately, with its near-wholesale exile from the pop-radio landscape and excellent releases getting a scintilla of the attention they deserve. This tour features

funk-pop pioneer Frankie Beverly and his band, Maze, ex-Gap Band vocalist (and Kanye West muse) Charlie “Uncle Charlie” Wilson, and gospel-jazz titan Lalah Hathaway. No doubt, it will, be a good time replete with full-bodied vocal performances and performances that’ll have audience members shaking their full bodies. —MJ [PNC ARENA, $56–$125/7:30 P.M.]

Wyatt Easterling & Friends NASHWyatt Easterling VILLE VET may be better known in Nashville than in his native land of Chapel Hill; the former A&R head for Atlantic Records Nashville has served as a songwriter, producer, or session man with the likes of Sting, Keith Urban, and John Michael Montgomery. He’s since transitioned back to

WINE & Endless NPR fund CHEESE drives aren’t the only way to get to Paris. This lunchtime concert offers three vigorously melodious works by Saint-Saëns, von Suppé, and Bizet. It includes the young Mongolian/Chinese violinist Angelo Xiang Yu on SaintSaëns’s third violin concerto. To complete the experience, smuggle in wine, cheese, and crusty bread. —DR [MEYMANDI CONCERT HALL, $28/12 P.M.]

Sticky Fingers AUSSIE The story goes that BUMMER Aussie quintet Sticky Fingers chose their name not to extol The Rolling Stones’ seminal 1971 record but because the LP happened to be on a coffee table. If they took anything from The Stones, it was the excess and innuendo; their bland reggae-pop could use a bit of their namesake album’s rock allure. With Bootleg Rascal. —PW [CAT’S CRADLE, $13–$15/9 P.M.]

Kiefer Sutherland THE LOST Those who miss BOY following Jack Bauer’s weekly real-time war on terror through 24 will probably be delighted by Kiefer Sutherland’s drift toward country music—what’s the difference between saving the world and saving a loved one, right? The lead single from Sutherland’s forthcoming Down in a Hole, “Not Enough Whiskey,” places his growl on a bed of slide guitar and sleepy percussion. Drink-the-painaway lyrics get added existential heft from his rough voice, which INDYweek.com | 5.4.16 | 33

we 5/4

PEELANDER-Z

MIDNIGHT PLUS ONE / BLOOD RED RIVER 9PM $8-$10 th 5/5 CRANK IT LOUD PRESENTS JONNY CRAIG TILIAN / KURT TRAVIS / VICTORY HEIGHTS 6:30pm $15-$17 fr 5/6 SOLE & DJ PAIN 1 / JUAN HUEVOS THE THOUGHTCRIMINALS (MIKAL KHILL AND SULFUR) 9pm $10 sa 5/7 THE MALLETT BROTHERS BAND CAMPFIRES AND CONSTELLATIONS / THESE WILD PLAINS 9pm $8 su 5/8 3@3: CASTLE WILD / BELLFLOWER / SADIE ROCK 3pm FREE mo 5/9 MONDAY NIGHT OPEN MIC 8:30pm FREE

11 7 W MAIN STREET • DURHAM

brings to mind an extra-grizzled Leonard Cohen. Austin Plaine opens. —MJ [LINCOLN THEATRE, $20/8 P.M.]

tu 5/10 PHONONOVA / POINSETTIA 9pm $7 we 5/11 SIBANNAC / RAW DOG / SAFE WORD / 49/SHORT 9pm $7

ADAM EZRA GROUP / THE PAPER STARS 8:30pm $8-$10 fr 5/13 LOCAL 506 AND THE CAVE PRESENT: HEY GUY 9pm $7 sa 5/14 ‘IRON FOOT’ ALBUM RELEASE SHOW: PLUTOPIA 9pm $10-$12 th 5/12

su 5/15

PURSON / ORCHID SUN / THE MANIMALS 8pm $10-$12

COMING SOON: SIMON JOYNER, LINCOLN DURHAM, A GIANT DOG, OXYMORRONS

www.LOCAL506.com

MO 5.9

MARISA ANDERSON TASHI DORJI

DELICATE STEVE MOVIE SCREENING: THE DAMNED: DON’T YOU WISH WE WERE DEAD ART OF COOL FESTIVAL: 9TH WONDER, HEATHER VICTORIA / KHRYSIS ART OF COOL FESTIVAL: DONNIE, J*DAVEY

5.4 5.5 5.6 5.7

WXDU & ROUGH DRIFT PRESENT:

5.9 5.10 5.11 5.13 5.14 5.15 5.15

MARISA ANDERSON / TASHI DORJI EVERYTHING GOOD TOUR FT: KING DIVINE AZON BLAZE / NOAH BILITY SAINTSENECA / HAPPY ABANDON VIVICA C COXX PRESENTS: FREAK SHOW THE BRONZED CHORUS DAY SHOW: RUSSELL LACY SCHOOL OF MUSIC SHOWCASE HARDWORKER / REMONA DOWELL COMING SOON: MOOGFEST • NAPPY ROOTS • TOMBOI PURE BREATHING CULTURE • DYLAN LEBLANC

919.821.1120 • 224 S. Blount St

STAMMERINGS

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thepourhousemusichall.com 34 | 5.4.16 | INDYweek.com

Matthew Logan Vasquez DELTA Need a dose of new DUDE Delta Spirit? In the tradition of side-venture experimentation, the just-released solo effort from the indie rock band’s leader, Matthew Logan Vasquez, may not be what you’re looking for. Solicitor Returns gives the Texas native room to roam and experiment with nearly every instrument.

SoCal musical project Reverend Baron opens. —KM [CAT’S CRADLE BACK ROOM, $13–$15/8:30 P.M.] ALSO ON FRIDAY THE ARTSCENTER: Joshua Davis; 8 p.m., $15–$18. • BEYÙ CAFFÈ: Art of Cool Festival. See page 14. • CAROLINA THEATRE: Terence Blanchard, E-Collective; 8 p.m., $51–$103. See page 14. • THE CAVE: Firecracker Jam, Pagan Hellcats; 9 p.m., $5. • KINGS: Animalweapon, Foxture; 9 p.m., $7. • THE MAYWOOD: The Dapper Conspiracy; 9:30 p.m., $7. • LOCAL 506: Sole, DJ Pain 1; 9 p.m., $10. • MOTORCO: Art of Cool Festival. See page 14. • THE PINHOOK: Art of Cool Festival.

See page 14. • POUR HOUSE: Doco, Fonix, Funk You; 8 p.m., free.

• SOUTHLAND BALLROOM: Tuesday’s Gone, Automag; 8 p.m., $10–$15. • THE STATION: Well Respected Men; 8:30 p.m., $7.

SAT, MAY 7 Deceased NO One could forgive DEATH Deceased for faltering. The Virginia metal institution has been at it for thirty years, surviving death in the ranks and label instability.

Still, 2011’s Surreal Overdose was entirely enjoyable, absolutely ridiculous death metal, chockablock with war chants, garish solos, and militarized drums. Thanks to bad timing and thin marketing, Deceased rarely gets credit for just how strange and audacious they’ve grown. But don’t be surprised if

King Fowley and crew veer suddenly from standard death metal into more psychedelic strata. With Eldritch Horror and Old Codger. —GC [SLIM’S, $8/9 P.M.]

Goodbye, Titan POSTING Goodbye, Titan UP hasn’t given up on post-rock. On the forthcoming Daedalus, the Raleigh quartet refines the slow, dramatic arcs that epitomize the genre, with electric guitars pulled as tight as tripwires across an emphatic rhythm section. “Mynot,” the record’s lead single, even folds in the pennywhistle of James Olin Oden, an unlikely move that adds majesty as the band approaches the song’s summit.

Greaver and Gray Young open.

—GC [KINGS, $7/9 P.M.]

Blake Kearney Band RADIO Presumably, the READY slate of acts that’ll fill Walnut Creek as part of this summer’s Country Megaticket will survive the recent spate of HB 2-related cancelations. For those already jonesin’ for their fill of party-friendly pop-country with a big-time feel, Goldsboro’s Blake Kearney should offer the fix. Jonathan Parker Band and Kaylin Roberson join. —SG [LINCOLN THEATRE, $10/8 P.M.]

The Mallett Brothers Band MAINE Though hailing EVENT from Maine, the Mallett Brothers Band makes thick country rock that sounds like it took shape in a swamp.

The songs don’t have quite the punch of today’s party-minded pop country, but it still hits many of those hoot ’n’ holler buttons.

Chapel Hill’s rowdy Campfires and Constellations make for a fitting opener. Also, These Wild Plains. —AH [LOCAL 506, $8/9 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Art of Cool Festival. See page 14. • CAROLINA THEATRE: Moonchild, The Internet, The Beast; 8 p.m. See page 14. • CAT’S CRADLE: Boyce Avenue;

7:30 p.m., $25–$28. • THE CAVE: Jimmie Swagger and the Fussy Eaters; 9 p.m., $5. • DEEP SOUTH: Catch 22; 7:30 p.m., $8. • THE MAYWOOD: Motorbilly, Isabelle’s Gift, Robert Fireball Mitchell; 8:30 p.m., $8. • MEYMANDI CONCERT HALL: Triangle Youth Brass Band; 8 p.m., $5–$10. • MOTORCO: Art of Cool Festival. See page 14. • THE PINHOOK: Art of Cool Festival. See page 14. • POUR HOUSE: Tab-One & Sinopsis, Nance, Napoleon Wright II; 9 p.m., $10–$12. See page 30. • SAXAPAHAW RIVERMILL: Haw River Festival; 4 p.m., free. See page 30.

• SOUTHLAND BALLROOM: Driver, Belle Rose Band; 8 p.m., $10.

• THE STATION: Lady Fingers, Archaeli; 10 p.m., $5.

SUN, MAY 8 The Chamber Orchestra of the Triangle CLASSIC- The Chamber AL, ETC. Orchestra of the Triangle continues to mine unexpected corners of the classical repertory. Here, that takes the form of Juan Crisóstomo Arriaga, the “Spanish Mozart” who died at the age of nineteen in 1826. His lone symphony emulates Beethoven and Schubert. Joining it are Beethoven’s playful fourth symphony and Mozart’s Sinfonia Concertante for Four Winds. —DR [CAROLINA THEATRE, $25/3 P.M.]

Cowboy Mouth NOLA The Louisiana ACES collective Cowboy Mouth serves high-stepping grooves that mix New Orleans traditions with rock of all kinds, in songs that celebrate folks like Joe Strummer, and, well, Kelly Ripa. Since its mid-nineties heyday with the modest hit “Jenny Says,” the band and its revolving cast of players still deliver stirring live performances that some have even described as religious. You may not leave a convert, but the spirit may move you. At least that’s what Jenny says. —DK [MOTORCO, $20–$25/8 P.M.]

E CAVE: Drippy Inputs, ussy Eaters; Bodykit UTH: THE IMPURE The strangest thing , Isabelle’s MOODS you can do on ell; 8:30 p.m., Martin Street might be eating at NCERT the downtown Subway above ss Band; and over from Neptunes. Seeing RCO: Art this fantastically strange Sunday 14. • THE night Neptunes lineup is a close Festival. See second. Ex-Whatever Brains duo SE: Tab-One BODYKIT strips the knotty hardon Wright ware electronics from their old ge 30. • band and rework them into RMILL: Haw weirdo minimal synth jams, See page 30. which lodge themselves in your LROOM: skull. Boone’s Drippy Inputs p.m., $10. plays mutant techno that’s Fingers, occasionally as danceable as it is fried. Plus Patrick Gallagher and Voter Frog—DS [NEPTUNES, $5/9 P.M.]

he

Oddisee

HORN Alwasta, the new EP RAP from cult Brooklyn-via-D.C. rapper and producer Oddisee, finds him mber ra of the hopping in Pete Rock’s backseat for a gorgeous set of sunny-day mine cruise music, backed by f the ere, that muscular instrumentation. This is nothing new for Odd, a rapper n who first gained critical he o died at attention for a largely instru1826. His mental conceptual mixtape about bike riding. Even when ates ert. Joininghe’s going for smooth jams, his yful fourth decade-plus of underground rt’s Sinfonia experience shines through Winds. —DRclever lyricism and a flawless $25/3 P.M.] ear for samples. —DS [KINGS, $15–$17/8:30 P.M.]

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8 P.M.]

Old 97s

The Zinc Kings

ALTIn the two decades COUNTRY it’s taken the Old 97’s to go from alt country’s enfants terribles to its elder statesmen, these Texas boys have picked up more than a few new tricks. While the band is still more than capable of calling upon the cow-punk fury that once made it so electrifying, frontman Rhett Miller’s songwriting has grown by leaps and bounds over the years, as has the band’s willingness to wander into new stylistic neighborhoods. So, long in the tooth or not, there’s never been a better time to see them than right now. B.J. Barham opens with his new solo material. —JA [CAT’S CRADLE, $25/8 P.M.]

TRAD & The Zinc Kings TRUE formed at UNC–Greensboro in 2010 with one goal: to spotlight the oft-neglected, blues-informed musical traditions of North Carolina’s Piedmont region. The group’s original bluegrass tunes and sharp playing have attracted bigger audiences and led to almost nonstop touring. To coincide with the quadricentennial of Shakespeare’s death, the band will be playing works from its original score for an adaptation of As You Like It, set in the nineteenth-century American South. —DK [N.C. MUSEUM OF HISTORY, FREE/3 P.M.]

ScienZe, King I Divine RHYME Despite its waning REMIND popularity nationally, sample-based boom-bap hip-hop remains one of the Triangle’s most coveted music exports—see, for instance, Jamla Records. Could a polished tandem like New York emcee ScienZe and Atlanta beatstro King I Divine remind us of where, exactly, we went stale, and the limitless soundscapes to which we should aspire? It’s so nice they had to book the show twice, tonight in Raleigh and at Durham’s Pinhook Tuesday.

With Azon Blaze, Latasha Alcindor, Noah Bility, and more.

—ET [DEEP SOUTH, $7–$10/8 P.M.]

ALSO ON SUNDAY CAT’S CRADLE (BACK ROOM): Bent Shapes, Body Games; 8:30 p.m., $8. • DUKE GARDENS: Mallarmé Chamber Players: Teriffic Tangos; 1 p.m., $5–$10. • LOCAL 506: 3@3: Castle Wild, Bellflower, Sadie Rock; 3 p.m., free. • NC MUSEUM OF ART: Nuance Lyrique; 3 p.m., $12–$14. • POUR HOUSE: The Mercury Tree, This Falling Sky; 9 p.m., free.

MON, MAY 9 La Luz NEW & La Luz’s frontOLD woman, Shana Cleveland, is an illustrator whose portraits of musicians like Buddy Holly and The Shirelles have shown up in The Believer and beyond. Her band’s

music is steeped in the hallmark sounds of the vessels she sketches: multipart vocal harmonies, twangy, springy reverb. It draws heavily from revered historic sounds and sounds fresh nonetheless. With Las Rosas and Drag Sounds.

—PW [KINGS, $12/8 P.M.]

Peach Kelli Pop BLANKET Ottawan Allie FUZZ Hanlon’s aggressively upbeat take on garage rock is coated in candy and reverb and built around blink-and-you’ll-miss-’em crush stories made for pogoing. On Peach Kelli Pop III, Hanlon salutes her No. 1 inspiration, the nineties manga show Sailor Moon, with a sweetly fuzzed-out cover of its theme song. That it fits so well into Peach Kelli Pop’s overall aesthetic suggests that Hanlon has a career in the theme-song business, once culture gets over this “gritty reboot” nonsense.

—MJ [CAT’S CRADLE BACK ROOM, $8/8:30 P.M.] ALSO ON MONDAY THE PINHOOK: Marisa Anderson, Tashi Dorji; 8 p.m., $8. See page 31. • POUR HOUSE: Steve Everett, JD Eicher, Jason Adamo; 8 p.m., $8–$10.

• SLIM’S: Sibannac, US Bastards, Chateau; 9 p.m., $5.

TUE, MAY 10 Born Ruffians CHEEKY INDIE

With identifiable nods to aughts-era

gy, harmony-heavy folk with splashes of zydeco and gospel.

—SG [CAT’S CRADLE BACK ROOM, $10/8 P.M.]

Dead Meadow

Wayleaves

D.C. Like Minor Threat STONERS long before them, D.C. trio Dead Meadow formed as a reaction to its environment.

But whereas Ian MacKaye and his straight-edge cohorts went against the Reagan-era grain, Dead Meadow defied its hometown’s Dischord-soaked scene by turning on, tuning in, and dropping out. The trio embodies the lava-lampiest of the stoner-rock seventies, whether indulging in Sabbathstyle sludge or turning down the amps for the vibe of Zeppelin III’s second side. Plus MAKE and Solar Halos. —PW [POUR HOUSE, $12–$15/9 P.M.]

RALEIGH Raleigh’s WayROCK leaves are new, but the faces are familiar. Featuring members of Polvo, The Cherry Valence, The Royal Nites, and Greatest Hits, the quintet largely remained off the radar while shaping nearly an album’s worth of material over the last year.

These songs emphasize harmonies while leaning on catchy classic rock with a starry-eyed Americana bent.

Eddie Taylor—who led The Loners’ garage-blues storms before fronting Cousins’ vintage power pop—and Karbuncle open. —SG [THE POUR HOUSE, $5/8:30 P.M.]

The Deslondes

ALSO ON WEDNESDAY CAT’S CRADLE (BACK ROOM): Susto; 8 p.m., $8–$10.

• LOCAL 506: Sibannac, Raw Dog, Safe Word, 49/Short; 9 p.m., $7. • KOKA BOOTH AMPHITHEATRE: Atomic Rhythm All-Stars; 5:30 p.m., $5. • THE PINHOOK: Saintseneca, Happy Abandon; 9 p.m., $10. RED HAT AMPHITHEATER: Pentatonix, Us The Duo, AJ; 8 p.m., $35–$85.

WOODSY The Deslondes’ SOUL country-fried mix of rock and soul could only come from a musical melting pot like New Orleans. The vocal-trading Crescent City quintet conjures a back-porch bash, where Stax and Sun session players spike high-ener-

ALSO ON TUESDAY THE MAYWOOD: Iron Kingdom, Knightmare, American Empire; 8:30 p.m., $7. • THE PINHOOK: King I Divine, Azon Blaze; 9 p.m., $7–$10.

WED, MAY 11

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indie rock touchstones like the Strokes and Modest Mouse, the Canadian quartet Born Ruffians stoke a goofball aesthetic in music videos that seem tailor-made for social media.

The band has chops—heck, they’ve covered Aphex Twin’s “To Cure a Weakling Child.” But on last year’s Ruff, issued by Yep Roc, these beer-loving ruffians sound relaxed and revivified.

—DK [KINGS, $12–$14/8 P.M.]

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Reality of My Surroundings On view through July 10

Nick Cave, Soundsuit, 2015. Mixed media including wire and bugle beads, buttons, sequined appliqués, fabric, metal, and mannequin; 109 x 29 x 19 inches (276.8 x 73.6 x 48.2 cm). Collection of the Nasher Museum of Art. Museum purchase with additional funds provided by the Office of the Provost, Duke University. © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York. Photo by James Prinz Photography.

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SPECIAL A Personal Look at EVENT Nature: Nancy Nieves. May 6-30. Reception: Fri, May 6, 6-8 p.m. Nature Art Gallery, Raleigh. www. naturalsciences.org.

SPECIAL Barns & Cricks: Lori EVENT White. May 7-28.

Reception: Fri, May 6, 6-9 p.m. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

SPECIAL Eggistentialism 3.0: EVENT Chicken-themed art presented with Tour D’Coop.

May 5-28. Reception: Fri, May 6, 6-9 p.m. 311 Gallery, Raleigh.

SPECIAL Elements and EVENT Artifacts: Sculpture

by Lucia Apollo Shaw and Gretchen Cobb. May 6-30.

Reception: Fri, May 6, 5-6:30 p.m. Hillsborough Wine Company, Hillsborough. chapelhillwinecompany.com.

SPECIAL Exposed: Nudes in EVENT Art: May 6-Jun 3.

Reception: Fri, May 6, 6-9 p.m. Litmus Gallery, Raleigh. www.litmusgallery.com.

SPECIAL Faces: Keanna Artist EVENT and Margaret Griffin. May 6-30. Reception: Fri, May 6, 6-9:30 p.m. Local Color Gallery, Raleigh. www. localcoloraleigh.com.

SPECIAL First Folio! The Book EVENT That Gave Us Shakespeare: May 7-30.

Lecture: Mary-Floyd-Wilson.

Fri, May 6, 6:30 p.m. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Fragments: Found & Formed: Charron Andrews, Susan Parrish, and Carol RetschBogart. May 10-Jun 5. FRANK Gallery, Chapel Hill. www. frankisart.com.

Here and Now: Larry Dean,

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05.04–05.11 Craig Gurganus, and Fen Rascoe. May 5-Jun 4. ArtSource Fine Art, Raleigh. www. artsource-raleigh.com.

Rubbish 2 Runway III: Dresses created by student “trashion” designers. May 10-Jun 5.

FRANK Gallery, Chapel Hill. www.frankisart.com.

Spring Invitational Crafts Show: Ceramics, woodworking, basketry, Jewelry, painting, and mixed media by local artists.

Sat, May 7, 10 a.m.-4 p.m.

White Oak Pottery, Durham. www.whiteoakartworks.com.

Transplanting Traditions and More...: The Karen Youth Art Group. May 10-Jul 3. FRANK Gallery, Chapel Hill. www. frankisart.com.

SPECIAL When Kindness and EVENT Truth Meet; Peace and Justice Shall Kiss: Sculptures by Phyllis Kulmatiski.

May 7-Jun 30. Reception: Sat, May 7, 3-5 p.m. The Qi Garden, Hillsborough. www.theqi-garden.com.

ONGOING 2016 Members’ Showcase: Thru Jun 11. Durham Art Guild, Durham. durhamartguild.org.

4 Directions: Textile and collage

by Marguerite Jay Gignoux, A. Brook Heuts, Harriet Hoover, and Carolyn Nelson. Thru Jun 11.

Light Art + Design, Chapel Hill. www.lightartdesign.com.

Altered Land: Works by Damian Stamer and Greg Lindquist: In Altered Land, Stamer and Lindquist apply a heavy coat of subjectivity to rural N.C. scenes. Stamer paints a barn with black-and-white horror movie starkness in “South Lowell 18,” and Lindquist spills angry psychotropic colors in his pointedly titled “Duke Energy’s Dan River” series. Thru Sep 11.

NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe American Impressionist: Childe Hassam and the Isle of Shoals: In the late-nineteenth and early-twentieth centuries, Childe Hassam spent decades painting Appledore Island, a resort in the Gulf of Maine.

His style is beautiful and refined, like a slightly more fastidious Monet, but the subject is repetitious, and oddly, NCMA has chosen to pipe in distracting seagull sounds, like a small-town natural history museum. It’s hard to forget these are essentially a wellheeled person’s pretty vacation paintings. Thru Jun 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe ARTQUILTSvoices: PAQASouth. Thru Jul 2. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org.

Artspace Teaching Artists Showcase: Thru May 14.

Artspace, Raleigh. www. artspacenc.org.

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

SPECIAL Benjamin Britton: EVENT The Hope and Desire Forecast: Thru Jun 5.

Reception: Fri, May 6, 6-9 p.m. Flanders Gallery, Raleigh. www.flandersartgallery.com.

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

Birds in the Bees: Collages by Nancy L. Smith. Thru May 30.

Joyful Jewel, Pittsboro. www. joyfuljewel.com.

Lynn Boggess: Oil paintings of the N.C. coast and W.V. mountains. Thru May 28.

Tyndall Galleries, Chapel Hill. www.tyndallgalleries.com.

Branching Out: Photography

by Eric Saunders, paintings by Chris Graebner, and turned wood by Michael Salemi. Thru May 22. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

Burk Uzzle: American Chronicle: One of N.C.’s most faithful chroniclers gets a career retrospective. Uzzle, born in Raleigh in 1938 and now based in Wilson, started as a News & Observer shooter before

PHOTO COURTESY OF TEAM LUMP

FRIDAY, MAY 6

TEAM LUMP: ARISE! BALD MAN! KING OF HAIR PEOPLE! As we reported last week, Bill Thelen, the founding director of groundbreaking Raleigh gallery Lump, is stepping down in July after two decades, and the final show under his tenure is a tribute to him. Not that he’s fêting himself—the group installation, oriented around Thelen’s penchant for drawing bald guys, is the brainchild of Team Lump, the collective that brought bonkers art to Blount Street. This First Friday reception will be a homecoming for its now-far-flung members and an aptly ad hoc send-off for someone who paved the way for street-level avant-garde art in the Triangle. —Brian Howe LUMP, RALEIGH 6–9 p.m., free, www.teamlump.org hitting the big time at Life, photographing iconic scenes from the civil rights movement and Woodstock. Thru Sep 25.

NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Canned Heat: The Art of Encaustic Painting: Dianne T. Rodwell. Thru May 23.

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

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

Corruption of the Innocents: Controversies about Children’s Popular Literature: Thru Aug 15.

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

Durham and the Rise of the Baseball Card: An exploration of Durham’s role in popularizing

the baseball card. Thru Sep 5.

Durham History Hub. www. museumofdurhamhistory.org.

The Ease of Fiction: This exhibit features paintings, drawings, and sculptures by four young, technically skilled, U.S.-based African artists who intimately navigate the facts, official narratives, and myths of two nations that see each other in different ways. $5. Thru Jun 19.

CAM Raleigh, Raleigh. camraleigh. org. —Brian Howe Express Yourself: A Celebration of Black Art in Durham: Thru Jun 17. Duke Campus: Mary Lou Williams Center for Black Culture, Durham.

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

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

The Figure Revealed: Work about the human body by

Stephen Early, Mikio Watanabe, Lawrence Feir, and Lee Johnson. Thru May 22. Adam Cave Fine Art, Raleigh. www. adamcavefineart.com.

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

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

From the Mountains to the Sea: Paintings by Joan Meade.

Thru May 29. Church of the Good Shepherd, Durham. www. cgsonline.org.

Half a World Away: Oil paintings by Alicia Armstrong.

Thru Jun 19. Eno Gallery,

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

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Hillsborough. www.enogallery.net.

Imagine and Island: Michael Ligett. Thru Jun 30. Bond Park Community Center, Cary. www. townofcary.org.

Mary Kircher: Thru Jun 25.

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

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

Eric Legge: Folk art. Thru May 31.

Tempest in a Teapot, Durham. www.tempest-teapot.com.

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

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

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

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

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

It’s a thorough anatomy of a form. Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. —Brian Howe Members’ Spotlight Exhibition: Thru May 8. FRANK Gallery, Chapel Hill. www.frankisart.com.

Moods and Colors of Nature: Michael Navascues. Thru May 23. Herbert C Young Community Center, Cary. www. townofcary.org.

LAST The Nature of CHANCE Wilderness: Michelle Podgorski. Thru May 8. Durham Arts Council, 38 | 5.4.16 | INDYweek.com

Durham. www.durhamarts.org.

SPECIAL Navigating To + Fro: EVENT Tedd Anderson, Amy Hoppe, and Peter Marin.

Thru May 20. Reception: Fri, May 6, 5-7 p.m. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

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

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

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

OFF-SPRING: New Generations: This exhibit, mostly photography, makes “ritual” its theme, and the offerings are alternately revelatory and rehashed from big-box postmodernism. “Off-Spring of Cindy Sherman” might have been a better title. Stagey oversize portraits of children in adult dress give a momentary “whoa” reaction and nothing more. The better pictures admit complex reality, not just seamless artifice. Thru Sep 30.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham/. —Chris Vitiello Passages: Paul Hrusovsky.

Thru Jun 18. Craven Allen Gallery, Durham. www. cravenallengallery.com.

Pencils, Paint and Pearls: Diana Hrabosky, Jean Scholz, and Pat Buchanan. Thru May 24. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

Remnants of Great Spirit: Paintings by Lyudmila Tomova.

Thru May 30. Village Art Circle, Cary. www.villageartcircle.com.

LAST Senior Seminar CHANCE Exhibition: Works of graduating students of the BFA program in the Alcott gallery. Thru May 8. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Site-Specific Installation: Antoine Williams. Thru Jun 25. Artspace, Raleigh. www. artspacenc.org.

screen

Spring in Flight: Energy art

by Renata McConnell. Thru May 30. The Qi Garden, Hillsborough. www.the-qigarden.com.

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

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

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

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

LAST Visible Spectrum: CHANCE Portraits from the World of Autism: Photographs

by Mary Berridge. Thru May 8.

FRANK Gallery, Chapel Hill. www.frankisart.com.

Wood & Water: Installation by Greg Lindquist and Damian Stamer. Thru Jun 18. Craven Allen Gallery, Durham. www. cravenallengallery.com.

Dan Woodruff: Thru Jun 25.

HQ Raleigh, Raleigh.

stage OPENING Beertown: Play. $13–$22.

May 6-22. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. See story, p. 26.

Brent Blakeney: Standup comedy. $10. Wed, May 11, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Ashima Franklin: Stand-up comedy. $10. Fri, May 6, 9 p.m.

TJ’s Night Life, Raleigh. www. tjsnightlife.com.

The Mystery of Edwin Drood: Musical. $30–$33. May 11-22.

Kennedy Theater, Raleigh. www. dukeenergycenterraleigh.com.

SPECIAL SHOWINGS

Trapped: $7-$10. Tue, May 10, 7 p.m. Motorco Music Hall, Durham. motorcomusic.com.

TUESDAY, MAY 10

COMEDY BANG! BANG! Scott Aukerman, a writer and actor on Mr. Show with Bob and David in its mid-nineties glory days, has also produced hundreds of episodes of his Comedy Bang! Bang! podcast, which features off-the-cuff chatter with a wide variety of game celebrity guests, from Jon Hamm to Amy Poehler. Another Mr. Show vet, Paul F. Tompkins, is on deck for this live podcast taping in Durham, with Orange Is the New Black’s Lauren Lapkus and Neil Campbell, who works on IFC’s show based on the podcast. That’s a lot of Bang! for your buck. —Brian Howe CAROLINA THEATRE, DURHAM 8 p.m., $32–$64, www.carolinatheatre.org

Jamie Kennedy: Stand-up comedy. $20–$33. May 5-7. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Tim Lee: Science stand-up comedy. $9–$25. Sat, May 7, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Trust the Bus: Performance. Sat, May 7, 8:15 p.m. Saxapahaw General Store. www. saxgenstore.com. See p. 30.

ONGOING 42nd Street: Musical. Thru May 8. Durham Performing Arts Center. www.dpacnc.com.

Wit: Play. $29. Thru May 8.

NC Theatre, Raleigh. www. nctheatre.com. See review, p. 27.

TUESDAY

EIKO O FROM TO TR

When the a Nagasaki in was a fiftee UNXFEST: Experimental at a munitio film, live music. $15. Sat, a mile away May 7, noon. Unexposed Microcinema, Durham. www. 1999, while unexposedmicrocinema.com. as a hibakus person,” she See p. 30.

Trinity, the first atomic OPENING Captain America: Civil War— Hayashi’s m Political conflict divides the witness, A B superhuman Avengers as new on Roxboro heroes and villains emerge. identity as a Rated PG-13.

DURHAM The Family Fang—Two siblings 7 p.m., fre (Jason Bateman and Nicole Kidman) return to their family home after their famous  Batm parents vanish. Rated R. Dawn of Ju iconi A L S O P L A Y I N G most overstuffed Read our reviews of these films at great mom www.indyweek.com.  ½ Dea  ½ 10 Cloverfield Lane—The spiritual successor of Cloverfield has wit and suspense, not just mysterious marketing. Rated R.

FRIDAY, MAY 6

SCREENAGERS: GROWING UP IN THE DIGITAL AGE I know I’m not alone among parents in wondering whether letting Baby Einstein DVDs entertain my toddlers set the stage for their later connection, sometimes alarmingly deep, to digital entertainment. In Screenagers, award-winning documentarian Delaney Ruston examines the effects of social media, video games, and other screen-based phenomena from a perspective that is both personal and scientific. Assessing our kids’ wired environment, the film posits that tweens and teens are at risk of becoming spectators in their own lives, scrolling through rather than taking risks, thinking deeply, or exploring the road not taken—heretofore regular stops on the road to adulthood. The film also offers strategies for guiding young people toward a sensible balance of the digital and the actual. The screening, followed by a Q-and-A, is apropos for its host, Emerson Waldorf School, whose core philosophy emphasizes an appreciation for the natural world. —David Klein VARSITY THEATRE, CHAPEL HILL 7 p.m., $12, www.varsityonfranklin.com

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EYE IN THE SKY HOLOGRAM FOR A KING

TUESDAY, MAY 10

EIKO OTAKE: FROM TRINITY TO TRINITY When the atomic bomb struck Nagasaki in 1945, Kyoko Hayashi was a fifteen-year-old girl working at a munitions factory less than a mile away from ground zero. In 1999, while documenting her life as a hibakusha, or “bomb-affectedperson,” she made a pilgrimage to EIKO OTAKE PHOTO COURTESY OF ANNA LEE CAMPBELL Trinity, the New Mexico site of the first atomic detonations. American Dance Festival choreographer and solo performer Eiko Otake translated Hayashi’s memoir, From Trinity to Trinity, in 2010, before embarking on her own odyssey of nuclear witness, A Body in Fukushima, with photographer William Johnston. Visiting the Durham County Library on Roxboro Street, Otake will discuss the hibakusha’s stigmatization in Japanese culture and how Hayashi’s identity as an outsider has influenced her artistic vision. —Byron Woods DURHAM COUNTY LIBRARY, DURHAM 7 p.m., free, www.durhamcountylibrary.org

 Batman v Superman: Dawn of Justice—D.C. Comics’ most iconic heroes clash in an overstuffed slog littered with great moments. Rated PG-13.  ½ Deadpool—Marvel’s smartass semi-hero (Ryan Reynolds) revels in excesses of quips and gore. Rated R.  Everybody Wants Some!!—Richard Linklater follows seventies paen Dazed and Confused with this joyful ode to the eighties. Rated R.  Green Room—Punks and skinheads face off in Jeremy Saulnier’s bloody horror thriller. Rated R.  The Jungle Book— Disney’s animated classic gets a well done, CGI-heavy update. Rated PG.  Miles Ahead— Don Cheadle finally delivers his deeply imaginative (if not very historical) biopic of jazz great Miles Davis. Rated R.  Keanu—Key & Peele’s action-comedy-slash-catmeme falls flat with the same jokes over and over. Rated R.  Miracles From Heaven—This Christian film is admirably frank about American families’ unsexy financial challenges. Rated PG.

page READINGS & SIGNINGS Jean Anderson: Cookbook Crisps, Cobblers, Custards and Creams. Sat, May 7, noon.

Southern Season, Chapel Hill. www.southernseason.com.

Caroline Bretherton: Cookbook Desserts. Sat, May 7, 2 p.m.

Southern Season, Chapel Hill. www.southernseason.com.

Sheri Castle: Cookbook Short Stack Editions: Rhubarb.

Sat, May 7, 2 p.m. Southern Season, Chapel Hill. www. southernseason.com.

Willie Drye: For Sale: American Paradise—How Our Nation Was Sold an Impossible Dream in Florida. Wed, May 11, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

John Hart: Mystery Redemption Road. Thu, May 5, 6:30 p.m.

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

Joseph Mills: Poetry from Exit, Pursued by a Bear. Fri, May 6, 5 p.m. NC Museum of History, Raleigh. www.

ncmuseumofhistory.org.

Crystal R. Sanders: A Chance for Change: Head Start and Mississippi’s Black Freedom Struggle. Tue, May 10, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Lee Smith: Hillsborough author Lee Smith’s Dimestore is an escape to simpler times, but it’s also so much more. Beyond a wholesome coming-of-age adventure set in bucolic Grundy, Virginia, it’s about the fracturing and binding qualities of familial mental illness and the search for enduring love, all wrapped tight in fifteen personal essays.

Thu, May 5, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks. com.—Ryan Ashley-Anderson Heidi Trull: Cookbook Grits and Groceries. Fri, May 6, 1 p.m.

Southern Season, Chapel Hill. www.southernseason.com.

Two Writers Walk Into a Bar #23: Tyree Daye and Eric Tran.

Tue, May 10, 7 p.m. West End Wine Bar, Durham. www. westendwinebar.com.

Charles Wheelan: Economics book Naked Money. Wed, May 11, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

INDYweek.com | 5.4.16 | 39

indyclassifieds

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FTCCFayetteville Technical Community College is now accepting applications for the following position: Dean of Sciences.

For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/.

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40 | 5.4.16 | INDYweek.com

REALTORS Get your listing in 35,000 copies of the INDY! Run a 30 word ad with color photo for just $29/week. Call Leslie at 919-286-6642 or email classy@ indyweek.com

rent/ elsewhere FAIR HOUSING ACT NOTICE

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

For more information or assistance, contact Legal Aid of North Carolina’s Fair Housing Project at (855) 797-3247 or visit www.fairhousingnc.org.

rent/wake co.

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COOLEST CAR IN THE TRIANGLE 1950 Hudson Pacemaker 4 door sedan. 6-cyl, 3-speed w/ overdrive on column. Exterior good, interior original and a bit rough. Runs good, new battery, radiator, carb, more.

Comes with a cloth cover and many spare parts & manuals. $14,000. 919-883-2151 or 630240-9095.

Book your ad • CALL LesLie at 919-286-6642 • EMAIL

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soft return

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.

Race Home

ILLUSTRATION BY CHRIS WILLIAMS

I was a block away from the final turn toward the finish line when, at last, I veered off course.

“Sprint until the end,” I told my older brother, Senter, just two feet toward my left. “And I’ll meet you at the line.”

I stuttered my step and dipped hard toward his right, disappearing down a street that paralleled the one he’d take to the end of his first halfmarathon. For the previous thirteen miles, I’d followed his track throughout downtown Raleigh, out along Hillsborough Street and back, through the campus of Dorothea Dix, and into downtown Raleigh again.

He’d slowed toward the middle of the longest run of his life, the culmination of an inspiring year of aggressive dieting, nutritional consultations, and daily exercise.

But less than a thousand feet of Fayetteville Street from the finish line, he was now on target to beat his two-hour goal by a considerable margin. I knew he needed no more motivation.

Early that morning, after Senter had completed the first two turns of Raleigh’s third Rock ’n’ Roll Half Marathon, I drifted into his little pack and matched his pace. A few days earlier, we’d decided I would run alongside him for a few minutes and then zoom ahead, getting in a long practice run thanks to the closed streets of a race for which I hadn’t registered. I’d wait for him at the finish line, we’d determined, and we’d have lunch.

For as long as I can remember, I’ve been too competitive—not necessarily with others, but certainly with myself. In school, I was always the one to read ahead because I took it on faith that there was more to learn. When I started running three years and eighty pounds ago, I could barely make it three miles without huffing, puffing, and eventually resting with my hands on my knees. Now, though, after every marathon I finish, I start to analyze my failures, not my success, wondering how to shave more minutes off my time.

But sometime around the four-mile mark, as Senter and I passed through my neighborhood, I decided to stay with him and cruise, to take as long as needed to make sure he achieved his aim. I realized—lamentably, I must admit at the age of thirty-two, for one of the first times—that my own ambition could wait another day. As we climbed the final major hill, a real bear of vertical pitch, his steps were slowing, his lungs fighting. I told him that, only two years earlier, this had been the final hill of my first race, too, and I’d walked to the top. He laughed, then dropped his hands and powered on.

We didn’t speak again for the next mile, until I split to his right. “OK,” he said simply, staring straight to his own victory.

—Grayson Haver Currin gcurrin@indyweek.com

Book your ad • CALL LesLie at 919-286-6642 • EMAIL

cLassy@indyweek.com

INDYweek.com| |5.4.16 5.4.16| | 41 41 INDYweek.com

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• Healthy men and women aged 18-55 7• Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) 6

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WAKE COUNTY IN THE DISTRICT COURT 16 CVS 3505 LAKEISHA ANNETTE BURGESS, Plaintiff, v. SHAQUETTA NICOLE HAGAN AND JEAN MOORE BRIGGS, Defendants.

TO: SHAQUETTA NICOLE HAGAN, TAKE NOTICE that a pleading seeking relief against you has been filed in the above-entitled action. The nature of the relief sought is as follows: Plaintiff seeks damages stemming from a motor vehicle accident that occurred on August 22, 2015. You are required to make defense to such pleading not later than the 6th day of June, 2016, said date being 40 days from the first date of publication of this MEDIUM notice, and upon your failure to do so, Plaintiff will apply to the Court for the relief sought.

This the 27th day of April, 2016. Russell W. Johnson, Attorney for Plaintiff DIENER LAW, P.A. 209 E. Arlington Blvd., Greenville, NC 27858 Telephone: 252.747.7400 NC State Bar No.: 32751

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30/10/2005

Book your ad • CALL LesLie at 919-286-6642 • EMAIL

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services

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garden & landscape

entertainment

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Mowing, mulching, leaf raking, trimming, planting, garden planning. Chapel Hill area.

Experienced reasonable and insured. Free estimates. Mike: 919-428-3398.

home improvement

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ALL THINGS BASEMENTY! Basement Systems Inc. Call us for all of your basement needs! Waterproofing, Finishing, Structural Repairs, Humidity and Mold Control.

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misc.

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cLassy@indyweek.com

INDYweek.com | 5.4.16 | 43

CLASSES FORMING NOW

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APRIL 30-MAY 1 + MAY 7≠- 8

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Classes/workshops throughout the Triangle.

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For all repairs and upgrades. Your every need is covered: Electrical, Plumbing, Carpentry, Fencing, Additions, Decks and more. New lighting? Cabinets? Sinks? 30+ years experience. Call Greg at 919-791-8471 or email exley556@gmail.com

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919.286.6642

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Private skype lessons, native speaker $12/hr.

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Some places do karaoke. We do Game Nights. We bring 75+ board games to venues all around the triangle. Check out our free events.

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Weekly deadline 4pm Monday • classy@indyweek.com HOME REPAIR SPECIAL

GLAMOUR MODELS NEEDED For film/print work. 919-949-8330

Place an ad in the Professional Services section for 4 weeks, get 2 extra weeks FREE! Ads start at $19/week. 919-286-6642 or e-mail classy@indyweek.com

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Profits support Pleasant Drive Animal Rescue. 919-904-9025 ACHfixit@gmail.com

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