INDY Week 5.11.16 by Indy Week

raleigh•cary 5|11|16

Are Raleigh’s Airbnb Rules Too Strict? p. 9 It’s Trump’s Party Now, p. 11 Tubman on the Twenty, p. 29 A Native Who’s Not Leaving, p. 41

Is Provenance the Best New Restaurant in Raleigh? Meet an audaciously local restaurant and its powerhouse chef BY EMMA LAPERRUQUE & GRAYSON HAVER CURRIN

2 | 2.17.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 33, NO. 19

6 Pat McCrory clutches his precious. 9 Unlike most cities, Raleigh soon won’t let you rent out your whole house on Airbnb. 10 The number of heroin-overdose deaths in North Carolina jumped from 38 in 2010 to 253 in 2014. 11 The GOP is no longer the party of Lincoln. Now it’s the party of Trump. 12 Last year, the Carolina Theatre thought it was running a profit. Turns out it was $1 million in debt. 16 At Provenance, a chef with a sterling résumé yields the spotlight to his local ingredients. 19 We’re starting to see what a hyper-modified diet is doing to the human animal. 25 Tonk’s Second Nature takes us back to the country. 27 The performing arts highlights of the 2015–16 season reveal important things about their academic presenters’ visions and values. 29 Harriet Tubman on the $20 reminds us at a crucial moment that the Underground Railroad began in North Carolina.

DEPARTMENTS 6 Triangulator 9 News 22 Food 25 Music 27 Culture 30 What to Do This Week

Patrice Quinn preforms with Kamasi Washington at the Art of Cool Festival

PHOTO BY ALEX BOERNER

33 Music Calendar 37 Arts/Film Calendar 41 Soft Return

On the Cover: PHOTO BY ALEX BOERNER

NEXT WEEK: THE QUIET ELECTION THAT COULD SAVE THE STATE

INDYweek.com | 5.11.16 | 3

Raleigh Cary Durham Chapel Hill PUBLISHER Susan Harper EDITORIAL EDITOR IN CHIEF Jeffrey C. Billman,

jbillman@indyweek.com MANAGING+MUSIC EDITOR Grayson Haver Currin, gcurrin@indyweek.com ARTS & CULTURE EDITOR Brian Howe, bhowe@indyweek.com STAFF WRITERS (DURHAM) Danny Hooley, David Hudnall STAFF WRITERS (RALEIGH) Paul Blest, Jane Porter ASSOCIATE EDITOR Allison Hussey, ahussey@indyweek.com COPY EDITOR David Klein THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS Tina Haver Currin, Curt Fields, Bob Geary, Spencer Griffith, Corbie Hill, Emma Laperruque, Jordan Lawrence, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Patrick Wall, Iza Wojciechowska

There wa our recap enforce H is called o Departme would me that the m To wit, lature of t face of com overreach the possib ART+DESIGN PRODUCTION MANAGER Moving Skillet Gilmore, sgilmore@indyweek.com ART DIRECTOR Maxine Mills, mmills@indyweek.com changes t GRAPHIC DESIGNER/ILLUSTRATOR Christopher Williams, always be cwilliams@indyweek.com they aren’ STAFF PHOTOGRAPHERS Alex Boerner, value is de aboerner@indyweek.com, Jeremy M. Lange, jlange@indyweek.com ment that OPERATIONS BUSINESS MANAGER Alex Rogers how close restriction WEB CONTENT MANAGER Reed Benjamin of smaller CIRCULATION CIRCULATION DIRECTOR “Those Brenna Berry-Stewart derthals,” DISTRIBUTION Laura Bass, David Cameron, Michael Griswold, JC Lacroix, Richard David Lee, grow. But Joseph Lizana, James Maness, Gloria McNair, where pos Jeff Prince, Anne Roux, Timm Shaw, Freddie Simons, Gerald Weeks, Hershel Wiley

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Reasonable People

There was, to say the least, a lot of HB 2 news this week—and a lot of reader reaction, too. (See our recap in Triangulator). Responding to the Department of Justice’s demand that the state not enforce HB 2’s bathroom provision, commenter chappa hillian (get it?) writes: “Finally, this law is called out for what it is. McCrory and the legislature now find themselves battling the Justice Department over civil rights. If the majority of North Carolinians were reasonable people, this would mean the end of GOP dominance in the next election cycle. However, evidence suggests that the majority of people in my state are not reasonable.” To wit, GianniP has some thoughts about the homosexual agenda. “It is amazing that the legislature of this state had to be called into action to mitigate a municipal ordinance that flies in the face of common sense and is an affront to any notion of due privacy. This is another example of overreach that has made the LGBT community the most despised of all U.S. communities with the possible exception of the Klan.” Moving on. In response to our story about residents’ concerns over Raleigh’s forthcoming changes to its comprehensive plan [Triangulator, May 4], Jenraleigh warns that bigger isn’t always better: “I imagine many people living in long-established neighborhoods don’t know that they aren’t protected from encroachment by a new neighbor. When that happens, your property value is decreased, as is your use and enjoyment of your property. I am happy to see new development that replaces homes that are in ill-repair. However, I don’t support the lack of restrictions on how close, how wide, and how tall a developer or new neighbor may build. The lack of adequate restrictions leaves existing homeowners subject to encroachment, and encourages the tear-down of smaller homes and single-story homes. Bigger houses don’t equate to higher density.” “Those of us who are concerned about certain kinds of development are not anti-growth Neanderthals,” writes Stefanie Mendell. “We understand the demographics, and we want our city to grow. But we don’t want to lose what is special about Raleigh. We’d like to prevent tear-downs where possible, save trees where possible, and stop the huge houses that overwhelm their lots.” Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our Facebook page or INDYweek.com, or hit us up on Twitter: @indyweek.

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Justin Dillon prepares Provenance’s dining room for dinner service. PHOTO BY ALEX BOERNER

INDYweek.com | 5.11.16 | 5

triangulator “This is a very complex issue, and it requires complex review—and sensitivity, I might add. Sensitivity to those people who are trangenders [sic]. But also to those people who have family members who feel very strongly that they only want to share a restroom, locker room, or shower with someone of their gender.” —Pat McCrory (seen here, clutching his precious)

+DISSEMBLING

On Wednesday, as news broke that the Department of Justice had done what any second-year law student could’ve predicted—ruling that House Bill 2’s bathroom provision violated the Civil Rights Act and thus put billions of federal dollars at risk—a haggard-looking Governor McCrory sought to defend himself at the N.C. Chamber’s Annual Government Affairs confab at the N.C. Museum of History. Over the sounds of the Air Horn Orchestra gathered outside, the governor sought yet again to portray himself as a victim of liberal aggression. This is all Charlotte’s fault, he insisted. He was only protecting private businesses from government overreach. Besides, he added, twenty-seven other states have “almost the exact same law.” Not quite. While twenty-eight states do not prohibit housing discrimination against LGBTQ people, according to the Movement Advancement Project, only three specifically prohibit local governments from doing so: Alabama, Tennessee, and, now, North Carolina. Moreover, with HB 2, North Carolina became the first state to regulate transgender people’s access to public restrooms. He’s right, though, that Charlotte’s 6 | 5.11.16 | INDYweek.com

ordinance is a “mandate” on private businesses—just like all federal laws that prohibit discrimination are “mandates.” The only difference is that McCrory deems transgender people less worthy of legal protections than women and minorities. The U.S. Department of Justice disagrees. As Vanita Gupta, the head of the DOJ’s civil rights division, wrote to McCrory on May 4, “The State is engaging in a pattern or practice of discrimination against transgender state employees and both you, in your official capacity, and the State are engaging in a pattern or practice of resistance to the full enjoyment of Title VII rights by transgender employees of public agencies.” Gupta gave the state until Monday to “remedy these violations” by “confirming that the State will not comply with or implement HB 2.” On Thursday, House Speaker Tim Moore said the General Assembly would ignore the feds’ deadline: “We will take no action on Monday. That deadline will come and go. We don’t ever want to lose any money, but we’re not going to get bullied by the Obama administration.” Then, on Monday morning, McCrory filed a federal lawsuit accusing the Obama administration of “baseless and blatant overreach” and asking the court to rule that transgender people are not entitled to protections under the Civil

Rights Act. Later that day, Moore and Senate leader Phil Berger filed their own lawsuit, which begins with this whiny discursion: “When people find themselves in the intimate settings of public bathrooms, locker rooms, or showers, they expect to encounter only other people of the same biological sex. … Yet when North Carolina sought to protect that expectation in law … a torrent of criticism was unleashed against the State, its officials, and its citizens. The abuse has now reached its apex with the unprecedented threats by the United States Department of Justice.” The DOJ was not amused. On Monday afternoon, Attorney General (and Durham native) Loretta Lynch held a press conference to announce a “law enforcement action” against North Carolina: the DOJ was suing McCrory, the N.C. Department of Public Safety, and the University of North Carolina, seeking a court order that HB 2’s bathroom provision is “impermissibly discriminatory” and a statewide ban on its enforcement. And, Lynch added, “we retain the option of curtailing federal funding.” “This action,” Lynch admonished, “is about a great deal more than just bathrooms. This is about the dignity and respect we accord our fellow citizens and the laws that we, as a people and as a country, have enacted to protect them—

indeed, to protect all of us. And it’s about the founding ideals that have led this country—haltingly but inexorably—in the direction of fairness, inclusion, and equality for all Americans.” In this way, she linked HB 2 to Jim Crow: “This is not the first time that we have seen discriminatory responses to historic moments of progress for our nation. … This is why none of us can stand by when a state enters the business of legislating identity and insists that a person pretend to be something they are not or invents a problem that doesn’t exist as a pretext for discrimination and harassment.” Long story short: this thing is headed to the Supreme Court, but not before North Carolina once again blows millions of dollars in legal fees defending the morally indefensible. It’s worth reiterating here—as McCrory did to the Chamber last week—that HB 2 does much more than regulate bathrooms. But the bathroom provision was what gave the legislature the room to ram through a veritable grab bag of right-wing policy goals. The transgender bathroom freakout was just the cover. So even if the DOJ wins in court, HB 2’s other components—including a prohibition on living-wage ordinances and eliminating your right to sue over workplace discrimination—will remain.

TL;DR: ILLUSTRATIONS BY CHRIS WILLIAMS

+MILLION-DOLLAR BOONDOGGLE

The state Department of Environmental Quality hasn’t inspired much confidence of late. The Jordan Lake SolarBees debacle isn’t likely to change that perception. Recall that, in 2009, Democrats in the General Assembly approved a set of guidelines for cleaning up Jordan Lake, which, because of runoff from cities and neighborhoods, suffers nutrient-caused algae blooms. But then, not wanting to burden developers upstream with costly restrictions, the Republicans who took over the legislature by 2013 launched a $2 million pilot program to test the SolarBees as a cheaper water-cleaning alternative, thereby delaying implementation of the cleanup rules for a reservoir (technically, Jordan Lake isn’t really a lake) that provides drinking water to three hundred thousand people in Wake and Chatham counties. In 2015, the legislature directed the DEQ to study whether SolarBees were effective. In March, the department released its findings: the SolarBees did nothing to clean up the lake. This wasn’t exactly news to environmentalists. Simi-

PERIPHERAL VISIONS | V.C. ROGERS

lar projects in New York, Washington, and elsewhere in North Carolina had previously been deemed failures, and there was no reason to think Jordan Lake would turn out differently. But the day that report was to go before the Environmental Management Commission’s water-quality committee, it mysteriously disappeared from the committee’s agenda. The DEQ promised a new-and-improved version in the near future, though it missed an April 1 deadline to report its findings to the legislature. Then Steve Tedder, the chairman of the

water-quality committee, was removed after expressing concerns about the retracted report. And so it came as no surprise that the new report the DEQ issued last Thursday was stripped entirely of SolarBees criticism. But what happened next was very surprising indeed. Just hours later, DEQ secretary Donald van der Vaart announced that the agency was abandoning the SolarBee project after twenty-one months of data indicated that the SolarBees were not in fact helping. (This, a DEQ spokesperson later insisted, was not actually a reversal.) In the end, the SolarBee experiment cost North Carolina more than $1 million and, more important, delayed the cleanup of Jordan Lake for years. Now the state faces a choice: get serious about water quality and implement the Jordan Lake rules immediately, or waste money on some new bullshit scheme. We’re not optimistic. triangulator@indyweek.com

THE INDY’S QUALITY-OF-LIFE METER -2

Governor McCrory sues the Department of Justice over HB 2. You know what they say: “When you shit yourself and then fall back in it, don’t quit—start rolling around.”

At a press conference announcing that the DOJ was suing North Carolina, Attorney General Loretta Lynch compares HB 2 to Jim Crow. “Finally, someone gets it!” exclaims Phil Berger.

-2

As Donald Trump clinches the GOP nomination for president, Senator Richard Burr pledges his loyalty. “As chairman of the Senate Intelligence Committee, I feel comfortable entrusting Donald with the nuclear codes,” Burr says, slamming the morning’s third shot of Everclear.

-1

House and Senate leaders agree to a 2.26 percent funding increase, rather than the 2.8 percent McCrory wanted, which could limit teacher raises. Sources could not confirm at press time if speaker Tim Moore could actually count past 2.26.

-2

The state determines that the Durham County Board of Elections mishandled nineteen hundred provisional ballots in the March primary. Misunderstanding the meaning of the word “provisional,” election workers ate them.

The N.C. Department of Transportation’s plans for the 540 loop around Raleigh hit a roadblock: the endangered dwarf wedgemussel, whose habitat would be disrupted. Now you understand all those tiny “Not in My Stream” signs popping up along 540.

Durham’s Human Relations Commission argues that the Bull City Connector should “focus on serving the Durham community, not just Duke.” Several firstyear Duke students vowed to have their parents buy buses of their own.

This week’s report by Jeffrey C. Billman and Jane Porter.

This week’s total: +2 Year to date: -18 INDYweek.com | 5.11.16 | 7

ind

ARE R

BY JAN

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 PineConeâ&#x20AC;&#x2122;s Down Home Concert series 8 | 5.11.16 | INDYweek.com

NCArts.org

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indynews

House Rules

ARE RALEIGH’S NEW AIRBNB REGS TOO STRICT? rently illegal in Raleigh, though the city hasn’t enforced the law. After receiving recommendations for regulating short-term rentals from the planning commission last October, the council voted 7–1 to send them back for more study, indicating that the rules were too broad. The commission came back to the council last week with new, more restrictive regulations. Under a proposed change to the city’s unified development ordinance, Airbnb would become legal, but residents could rent out no more than two rooms in their home for less than thirty days. They would also have to apply for an annual permit, and there would be a four hundred-foot buffer from one short-term rental service operator to the next. If your neighbor beats you to the permit, you’re out of luck. Most controversial, residents wouldn’t be able to rent out their whole house. Hand in hand with that provision is a requirement for an on-site manager to be present throughout the rental period. Raleigh’s proposal is stricter than regulations in other major cities, including Nashville, San Francisco, Portland, and Philadelphia. Most allow people to rent rooms in their home as well as the entire house when they’re gone. “Today, when families travel together, they want to be able to rent out a whole house to share,” says Stebben. “It is not a family-friendly move not to enable a family to rent a whole house while they’re on vacation. We are chasing away dollars by not making Raleigh a great destination for families.” Matthew Curtis, the government relations director for HomeAway, a service that rents out whole homes rather than single rooms, says that communities that restrict whole-home rentals only drive that market underground. "The compliance with local rules is not being achieved, and taxes aren't being remitted," Curtis says. "There is not one single example of a community in the world that has effectively been able to regulate against

Gregg Stebben

Cynthia Gallon is a registered nurse who works part-time, cares for her elderly mother and disabled brother, and has found a way to stretch her dollars. M.B. Hardy is a sixty-sixyear-old empty-nester who enjoys having a supplemental income and interesting company. Colin Keenan lost his job in December and now has a “real sense of meaning and control over my own worth.” They all rent out their homes on Airbnb, and all of them emailed Raleigh city council members recently, asking them to go easy on regulations for short-term rental services. They say they’ve never had conflicts with their neighbors and only open their home to conscientious visitors. On the other side, Karen and Paul Johnson, a couple from north Raleigh, say an Airbnb host in their neighborhood “has a revolving door, with guests appearing nightly,” causing concerns about safety, parking, and “degradation to the quality of the neighborhood.” “Families in my neighborhood are looking to relocate because they are concerned about current short-term rental activity,” Karen Johnson wrote. “I hope they can hide that activity from prospective buyers because, in my view, it will negatively affect their ability to sell their home.” Raleigh has been grappling with how to regulate short-term rental services for more than a year now, since the city received its first anonymous complaint in October 2014 against Five Points resident and Airbnb host Gregg Stebben. Opposition has ebbed and flowed. One opponent, a national group known as Neighbors for Overnight Oversight, was vocal in the early stages but has been silent for the past year. The Oakwood Inn, Raleigh’s last traditional bed and breakfast, closed last June; the owner blamed short-term rental services but has also stayed out of the debate. And since Airbnb agreed to collect sales and hoteloccupancy taxes in Wake County last May, the North Carolina Restaurant and Lodging Association hasn’t been engaged either. Still, short-term rental services are cur-

PHOTO BY JUSTIN COOK

BY JANE PORTER

the demand for this kind of rental activity." Planning commission chairman Steve Schuster told the council that he’d heard from many short-term rental advocates who wanted whole-house rentals, but ultimately, the commission left that decision to the council. “The text-change committee developed the proposed text change they felt was the right balance,” Schuster says. “But I want [the council] to know a lot of people we heard from felt a broader ordinance would be appropriate.” Stebben says he’s disappointed the wholehouse provision wasn’t debated more, though it’s sure to come up again at an upcoming public hearing on June 7. The city has been testing short-term rentals for the past year, he says, but has experienced few problems. City records back up that assertion. Raleigh records administrator Lisa Coombes says that complaints have been lodged against only seven of the roughly five hundred purveyors of short-term rentals in Raleigh. It seems likely the commission’s pro-

posed regulations are restrictive enough to appease skeptical council members like Kay Crowder, who specifically requested the permit requirement, while allowing sharing-economy advocates like Bonner Gaylord and Mary-Ann Baldwin, who prefer more permissive rules, to not be seen as voting against Airbnb. But Stebben believes the council’s scheduled hearing is premature, because the wholehouse issue hasn’t been properly vetted. “I think this is the weirdest thing,” Stebben says. “The whole-house issue has important economic factors attached; let’s take time to debate it or make a plan before moving this ahead. I can’t imagine a public hearing is a very effective way of debating. Even if three hundred people show up and say, ‘I love whole-house short-term rentals,’ it will just be kicked back to someone else, anyway. This is a microcosm of a really dysfunctional government.” jporter@indyweek.com INDYweek.com | 5.11.16 | 9

WHY WON’T GOOGLE PAUSE? ARE THEY AFRAID OF PUBLIC REVIEW? Google’s Bechtel partner has accelerated this surprise cemetery meadow construction. Carrboro’s prior siting process had zero public participation because of Google’s rush pressures. This opacity led to a terrible site choice, which illustrates how Google will continue to pilfer parkland nationwide: Google’s partner towns may only nominate town-owned sites, which leads to parks being nominated, which leads to the poorside park being picked by Google. Why won’t Google allow public utility sites and school district maintenance yards to be nominated? Commissioners and councilors are concerned: ocbocc@orangecountync.gov mayorandcouncil@townofchapelhill.org 10 | 5.11.16 | INDYweek.com

news Move the Needle

TO FIGHT N.C.’S HEROIN EPIDEMIC, A GOP LAWMAKER WANTS TO LEGALIZE SYRINGE-EXCHANGE PROGRAMS BY PAUL BLEST

Syringe Exchange Network. Several exist in It’s no secret that heroin addiction has North Carolina, but the exact number is hard become an epidemic—and North Carolito pin down. They operate underground—tolna isn’t immune. Nationally, the number of erated but not sanctioned by local officials. heroin-overdose deaths spiked from 2,452 After all, the state’s paraphernalia laws in 2010 to 10,574 in 2014, according to the make needle exchanges illegal. National Institute on Drug Abuse. Likewise, That, too, could soon change. Last month, in North Carolina, heroin-overdose deaths Senator Stan Bingham, R-Davidson, have jumped from 38 in 2010 to 253 in 2014. introduced Senate Bill 794, which would Another problem associated with heroin legalize needle-exchange programs. is infectious diseases—especially HIV and “Other states that have had needlehepatitis C—spread by the sharing of needles. exchange programs have been able to demonAs the heroin epidemic has grown, so too strate that these programs do not encourage has the number of hep C cases, both here drug use, but they do prevent blood-borne disand nationwide. North Carolina’s Medicaid eases,” says Senator Terry Van Duyn, D-Bunpayments for hepatitis C jumped from combe, who cosponsored the bill. Van Duyn $8 million in 2013 to $61 million in 2015, also serves on the Buncombe County Health according to the Triangle Business Journal. and Human Services Board. “We’ve had a To combat this scourge, needle-exchange needle-exchange program for some time, and programs have popped up across the counit works,” she says. try. In addition to protecting addicts from But it’s still been diffiinfectious diseascult to get the state to act. es, these programs “These programs do The N.C. Harm Reduction also offer support to not encourage Coalition has been pushing help get them clean. a bill like this for the last The North Caroli- drug use, but they do five years, with no luck. na Harm Reduction prevent diseases.” In 2013, two House Coalition says the Democrats introduced legislation to decrimiprograms’ participants are five times more nalize the possession of needles, but it went likely to seek treatment than their peers. nowhere. That bill, however, was only sponThe idea dates back to the eighties, but it sored by Democrats; Bingham’s bill has seven has long met with resistance from those who Republican and four Democratic cosponsors, believe these programs facilitate drug use. In which means the legislature’s Republican 1988, Congress prohibited federal funding for majority is more likely to take it seriously. needle exchanges. A decade later, with eviBingham admits there’s been opposition dence mounting that these programs worked, from law enforcement. He also notes that the Clinton administration considered reversthe upcoming election means politics could ing the ban but backed off after criticism from get in the way in this year’s short session. Republicans. Regardless, Bingham says, he feels good about But with the epidemic raging, the tide his bill’s chances. seems to have turned. Late last year, Congress “I’m confident that if we can’t get something reversed the federal funding ban. States and done in the short session, then we’ll be able to local governments can now seek federal do it next year,” he says. “We can put our heads dollars to help sustain needle exchanges. in the sand and forget about it. But it’s here, At least 210 such programs are currently and we need to address it.” l operating in thirty-five states and Washington, D.C., according to the North American pblest@indyweek.com

soapboxer Party’s Over

GOOGLE & CARRBORO: Why spoil the tranquility of this cemetery meadow with the 24/7 noisy cooling gear for your internet hub ...

DONALD TRUMP’S HOSTILE TAKEOVER OF THE GOP IS NOW COMPLETE BY JEFFREY C. BILLMAN So Donald J. Trump will be the Republican nominee for president. I’ll repeat that; let it sink in. Donald Trump will be the Republican nominee for president. Of the United States. Our voice on the world stage. Custodian of the world’s second-largest nuclear arsenal. Commander-inchief of the world’s most powerful military. Supervisor of the world’s largest economy. Trump is what happens when callow, reality-show entertainment pervades the political realm. When our dumbed-down, celebrity-obsessed media repeats the toxic but “objective” notion that “both sides do it”—a mythology promulgating a false equivalence between a demagogic nationalist and his more mainstream rivals. When decades of talk radio and Fox News nurture an impermeable information bubble and stoke the flames of white aggrievement in the face of fast-changing social mores. Most of all, Trump’s rise is a symptom of how much the GOP’s once-robust intellectual core has degenerated in the age of Obama. A better party— one that hadn’t spent the last eight years inflaming its base with Manichean rhetoric, one that hadn’t made obstinacy an axiomatic value—could have stopped this. But it didn’t. In the short term, this strategy proved effective. The tea party wave in 2010—and, on the state level, the gerrymandering that followed—ushered in what will likely be generational control of the House of Representatives. And the tea party’s hard line effectively neutered Barack Obama’s domestic aspirations two years in, driving down his poll numbers and halting any effort to accelerate a middling recovery. In the process, however, the inmates took over the asylum. And so the Republicans have Trump, the perfect figurehead for what is no longer the party of Lincoln—or even the party of Reagan. The GOP now belong to Donald Trump and his angry supporters.

That puts the more scrupulous conservatives in a quandary: support a man who may lead their party (and their country) to ruin, or support Hillary Clinton, a woman who’s been their bête noire for a quarter-century, but who represents a continuation of the status quo rather than dangerous unpredictability. Already, the two living former Republican presidents have pointedly refused to endorse Trump, as has House Speaker Paul Ryan and Mitt Romney. Nebraska senator Ben Sasse, a tea party stalwart, has called for a third-party candidate. A not-insignificant chunk of the conservative intelligentsia has joined in. Of course, most (though not all) of the #NeverTrump movement will eventually fall in line, just like most Bernie Sanders die-hards will fall in line. Modern politics is nothing if not tribal, and negative partisanship—voting against the other team—drives turnout. But this conservative revolt is nonetheless remarkable: party loyalists are proclaiming that the bigotry and boorishness of their standardbearer are a bridge too far, even if that means Hillary wins. Such courage, however, is lacking among North Carolina’s top Republicans. Last week U.S. senator Richard Burr signaled his fealty to Trump. Governor McCrory has likewise pledged to support the nominee, apparently no matter what that nominee says or does. Which either means they think it’s wise to hand Trump the nuclear codes or they’re too petrified of offending the rabble to say anything to the contrary. Neither speaks particularly well of their character and judgment. The good news is Trump will probably lose badly—and he might take McCrory and Burr and the GOP’s control of the U.S. Senate with him. In the end, such a repudiation of Trump and his enablers might be the very best thing that could happen to a Republican Party that has gone so completely off the rails. l jbillman@indyweek.com

Fidelity Street

When you can use OWASA’s secure water plant?

A better party could’ve stopped him.

Jones Ferry Road (behind cemetery)

Alderman Slade asks Google to pause... What about our other Aldermen? boa@townofcarrboro.org Read Sierra Club’s OCG Ex-Com letter unc.edu/~rap and then sign petitionsite.com/719/496/959 INDYweek.com | 5.11.16 | 11

After the Crash

PHOTOS BY ALEX BOERNER

12 | 5.11.16 | INDYweek.com

ACCOUNTING ERRORS PUT THE HISTORIC CAROLINA THEATRE ON THE ROPES. WHERE DOES IT GO FROM HERE? BY DAVID HUDNALL

hen Aaron Bare came to work for the Carolina Theatre in 2006, it wasn’t the buoyant venue the city knows today. “The shows weren’t particularly exciting. It’d be Gregory Popovich’s Comedy Pet Theater or [saxophonist] Boney James or Todd Oliver’s talking dogs,” says Bare, who came on as the theater’s director of marketing and was later promoted to chief operating officer. “Our marketing was an afterthought. We’d send out direct mail and postcards. We didn’t have a Facebook page. Our website was atrocious. The whole place was just kind of antiquated.” Financially, the theater—owned by the city of Durham, which in turn pays an annual subsidy of about $600,000 to the nonprofit Carolina Theatre of Durham to operate it—was in a negative feedback loop of cutting costs to fight sagging revenues. The arrival of the Durham Performing Arts Center in 2008 exacerbated the problem. Was there still a role for the historic 1920s theater in modern Durham? In 2009, president and CEO Connie Campanaro announced she would be stepping down. Bob Nocek was brought in to replace her. Nocek’s background was in working with national concert promoters. He’d booked an eighteen-hundred-seat venue in Wilkes-Barre, Pennsylvania, and later served as assistant general manager at a ten-thousand-seat arena there. The thousand-seat Carolina Theatre wasn’t as big or slick, but Nocek saw an opportunity for reinvention. “From the outside,” Nocek says, “it looked like a small-minded community organization that wasn’t doing much with its potential. Which is not uncommon. A lot of organizations that start grassroots get stuck in that gear. What I saw, though, was a market that was starting to grow and a city starting to turn, and I felt that there was a path forward for the theater as a more commercial venue.” “Bob came in and said, ‘We’re going to have growth, we’re going to have big shows,’” Bare says. “We got on Ticketmaster. We built up a massive email database. We stopped announcing shows in the traditional way— all at once as a season—and instead spread them out throughout the year, more like a commercial venue.” It was slow going at first. But by 2013, things picked up. “We had figured out the brand and the programming niche,” Bare says. “It’s not easy

to find your niche in this business. You have to try lots of things and see what works, and it’s expensive.” The niche was, roughly, mid-level artists not big enough for DPAC but too commercial for Duke Performances. There were big gets: Brian Wilson, Lauryn Hill, Morrissey. In 2014, comic Aziz Ansari did four sold-out sets over two nights. (“Our highest-grossing shows ever,” Nocek says.) The theater’s Film: Acoustic series brought names like Jeff Tweedy, Wayne Coyne, and Neko Case to host screenings and discussions of their favorite films. And the theater stayed true to its mission. In 2015, it launched Series 26, a string of eclectic shows like the Dance Theater of Harlem, Chick Corea & Béla Fleck, Paco Peña’s Flamencura, and the Japanese drumming act TAO: Seventeen Samurai. The theater was doing more programming than ever before—over a hundred shows in 2015, up from just twenty-five in 2009. Revenues doubled to $5 million. In 2015, the theater cracked the Top 100 list of concertindustry trade publication Pollstar; Durham’s once-sleepy community theater was now selling more tickets than all but ninety-nine theaters in the world. In February 2015, the theater announced that it had turned a profit for the second year in a row. “There was a sense that we had made it, that we had figured it out,” Bare says. “We were the little theater that could.” Everything was clicking—and then, suddenly, it wasn’t. A year later, the Carolina Theatre is a million dollars in debt and begging the city for a cash infusion to keep its doors open. Nocek is gone. Bare is gone. In April, Jared McEntire— the last person in the building with booking experience—departed. Not including the arthouse films that run year-round, the upcoming calendar shows only six events between now and Labor Day. Whether the theater will reassert itself as a venerated Durham institution or wither into nothingness is very much an open question. And the answer largely depends on Dan Berman.

he symphonic sounds of the Southeastern Regional Ballet Association swirl up from downstairs as Berman pulls up a couple of chairs in the Carolina Theatre’s second-floor lobby. Berman, a Duke undergrad and law grad, has

lived in Durham for the last eighteen years. He made his bones in the radio business, buying and selling stations in northeastern North Carolina and Virginia, and sold the last five years ago. Before becoming the Carolina Theatre’s interim CEO in January—a pro bono gig for him—Berman had been easing into semiretirement. He still looks the part: shaggy white hair, an untucked powder-blue oxford, jeans, brown loafers, no socks. When Berman came onboard, he only knew what he’d read in the papers in December: massive accounting errors had caused the theater’s leadership to believe it was running a surplus when, in fact, it had run up a deficit in excess of $1 million. Upon reading about the theater’s woes, Berman had called his friend, Sugar Hill Records founder Barry Poss, who sits on the theater’s board. “I said, ‘What’s going on over there? It sounds like Full Frame all over again,’” Berman says. A decade ago, the Full Frame Documentary Film Festival broke away from Duke’s Center for Documentary Studies and became an independent operation. It soon ran into financial trouble. “Poor accounting, some overspending,” Berman says. “I was asked to join the Full Frame board and was made finance chair to try to help untangle the mess and figure out a plan moving forward. We moved it back to the Center for Documentary Studies so that it would have resources behind it. It worked out well.” The Carolina Theatre board hopes Berman can work the same magic. But here he faces a considerably more complex undertaking. The generally agreed upon chronology of how the Carolina Theatre ended up in its current predicament is that, one day in May 2015, Nocek got an email from the bank informing him that the state had placed a levy on the Car-

“There was a sense that we had made it, that we had figured it out. We were the little theater that could.”

olina Theatre’s account. It owed more than $155,000 in unpaid taxes. The person directly responsible for this oversight was finance director Sam Spatafore. (The INDY’s efforts to contact Spatafore were unsuccessful.) Nocek notified the city, and Spatafore was fired within days. The theater worked out a payment plan with the state and had things squared up by July. Spooked, Nocek brought in an outside accounting firm to take a closer look at the theater’s books. They were a bigger mess than anyone had imagined. Dozens of invoices had not been entered into the financial reports. Large chunks of revenue had not been accounted for. Larger chunks of expenses had not been accounted for. The accounting firm had to reconcile dozens of vendor accounts from scratch. In the end, the Carolina Theatre had lost more than $830,000 in the previous two years. Add in the $225,000 long-term deficit it had been carrying for years, and the theater was more than $1 million in debt. “It was crushing, to say the least,” Bare says. Nocek reported the information to the theater’s board of directors and city manager Tom Bonfield in November. In December, the theater announced the news to the press. Nocek proposed that the city advance the theater $600,000—$75,000 for each year left on the contract between the city and the theater, which runs through 2024—while it revised its budget and programming in order to dig itself out of the hole. In mid-January, though, Nocek resigned. His severance agreement, he says, limits what he can say about his exit. Bare isn’t bound by such formalities. “Bob’s resignation was forced; it’s the worst-kept secret in Durham,” Bare says. “I didn’t agree with it, but I understood where the board was coming from. I had every intention of staying on. And I would have hoped that, as COO, I would have been trusted to advise the board during that stretch. But I wasn’t. I found out that staff members were having conversations with the board that I wasn’t privy to. It made me feel like the board didn’t trust me.” Bare resigned the following week. Scott Harmon, chairman of the theater’s board, says that “all parties felt [Nocek’s departure] was in the best interest of the theater. Beyond that, it’s a personnel matter, and I won’t comment on it.” INDYweek.com | 5.11.16 | 13

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But Harmon says the board isn’t shying away from its role in this disaster. “The best metaphor I’ve got is a commercial plane crash,” he says. “A commercial plane doesn’t crash because one system fails; the redundancies and safety features are too robust. The crash happens when three or four seemingly unrelated systems fail at one time and overwhelm the system.” He goes on: “We had an internal accountant doing sloppy work but also knowing enough to try to hide his incompetence. Then you had a CEO and president who was making important decisions while believing that this faulty accounting was accurate, and neither he nor anybody else in management at the theater was checking to make sure the accounting was legitimate. Then there’s a finance committee on the board of directors that also bears responsibility here. And we had an outside audit of the books done in 2014. And the audit came back fine! So if any of those things had functioned the way they should have, we probably wouldn’t have ended up where we did.” “I made the mistake of relying on information I was given and not looking deeper into it,” Nocek admits, “and I grew the organization very rapidly, believing we were in one position, when it turned out we were really in another. I should have seen it, and I certainly think the board should also have seen it.” Bonfield has a harsher take. “It’s beyond me how the theater could have gotten to the level of being that upside down in debt and crisis without somebody knowing about it,” he says. “Certainly there was horrible accounting, but there was also poor oversight across the board.” Into these fiery ashes came Berman. After diving into the theater’s books, he determined that its finances were in even worse shape than Nocek acknowledged in November. On

February 29, Berman submitted a memo to Bonfield stating that “without an immediate injection of cash, the theater will have no choice but to shutter its doors next week.” Berman outlined a path forward. It includes an increased emphasis on private funding, fewer in-house produced events, greater emphasis on renting out the theater, and more board oversight. Berman asked the city for a half-million dollars, contingent upon private matching donations. “Our request is enormous but simple,” Berman wrote. “If the city will provide $500,000, the theatre can immediately collect pledges of $270,000. The board is committed to raising an additional $230,000 by the end of June.” Bonfield and his staff reviewed the request and recommended that the council support it, which it did. (The council will formalize the decision later this month.) “As distasteful and frustrating as the situation was, there was no good reason to not resolve it and be partners moving forward,” Bonfield says.

he Carolina Theatre, built in 1926, is a resilient joint. At one time, a dozen or so theaters like it existed in Durham. Only it survived. In the 1970s, a band of community activists fought off a plan to level the theater to make way for a parking deck. They formed a group that took over the lease, with promises to keep the doors open. “Part of the mission was to bring back downtown, to create a reason for people to come here,” says Stephen Barefoot, who served as the theater’s managing director in the eighties. “It was all closed-up storefronts down here back then. At one point during that time I think the census had it that the official population in downtown Durham was one person. We wanted the theater to be the living room for downtown Durham.”

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“It’s beyond me how the theater could have gotten to the level of being that upside down.” Board member and Durham mayor pro tem Cora Cole-McFadden’s memory stretches back further than Barefoot’s, to darker days when segregation split the seating in the theater. “I’ve moved from the balcony to the board,” she says. Cole-McFadden calls Berman “an incredible citizen” for the unpaid work he’s doing as interim CEO. And the city council and deeppocketed donors have decided with their money that Berman’s plan is sound. But stabilizing the theater financially is different from stabilizing its role as a cultural institution. “I think [Berman] is a guy who wants to do the right thing and has a great history with philanthropic ventures,” Bare says. “But I don’t know if the board understands the entertainment experience required to pull this through. I felt like they were thinking about replacing the CEO of one of Durham’s favorite nonprofits, as opposed to replacing the CEO of one of the country’s busiest performing arts centers.” The counter to Bare’s argument, of course, is that maybe the theater had no business being one of the country’s busiest performing arts centers. Berman and Bonfield agree that the previous leadership took excessive risks on national acts with high guarantees. Sometimes this approach brought sold-out Aziz Ansari shows. Other times, however, artists like the late Frank Sinatra Jr. sold only a couple hundred tickets, and the theater lost twenty grand. Such losses are easier to absorb for a national corporation than a city-subsidized nonprofit. The way Bonfield sees it, Durham was blessed with so many Carolina Theater shows under Nocek because the nonprofit got trapped in a cycle of losing money on shows and then booking additional shows to pay the bills. Nocek denies this. “As I told the city in

December, it’s not unusual in the industry for an organization to use advance ticket sales for cash flow,” he says. Regardless, Berman says, his plan is to scale back big-ticket events. The theater will produce closer to sixty per year, he says, down from more than a hundred. The goal is to market the freed-up dates to promoters who want to put on their own events—a more profitable scenario in which the theater remains active, the nonprofit takes little risk, and the ordinary audience member doesn’t know the difference. The one problem: more rentals mean less control of the theater’s brand. “You need a strong programming identity to stay relevant in your community, or else you turn into the Armory,” Bare says, referencing the underutilized downtown space. “I understand that continuing to operate with risky programming is difficult. I get that. I can imagine that they’re looking at the spreadsheets right now and seeing programming as the enemy. But if the intention is to keep the theater open and operating, you have to open yourself up to risk and know not all of it will work out.” But without McEntire, who booked national shows until his departure last month, and his network of industry connections, won’t it be more difficult to lure big acts? Berman says no. The theater plans to quickly hire an in-house booker or outsource booking to a promotions company. “I don’t think anybody agrees that one hundred and eight shows in a year was a reasonable number for the Carolina Theatre to be putting on,” Berman says. “Reducing shows to a reasonable number—sixty or seventy—automatically opens you up to more rental days, which are more profitable, which will help dig us out of this hole we’re in. And by the way, some of those rentals are local groups that bring in national acts—Art of Cool, for instance—or national promoters presenting a show, like AEG. “I’m very conscious of not allowing the pendulum to swing too far back the other way,” Berman continues. “Yes, the theater went too far in one direction. It got too big, it overextended itself, it spent too much. But the last thing I want to do here is lose the goodwill and status the theater has achieved in recent years. I think that would be a true loss to the community.” l dhudnall@indyweek.com

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PROVENANCE

120 E. Martin St., Raleigh www.provenanceraleigh.com

DIGGING DEEPER PROVENANCE TAKES THE CONCEPT OF LOCAL FOOD TO EXTREME ENDS. AND AT RALEIGH’S BEST NEW RESTAURANT, TEDDY KLOPF’S GAMBLE OFTEN PAYS OFF. BY EMMA LAPERRUQUE | PHOTOS BY ALEX BOERNER

16 | 5.11.16 | INDYweek.com

The INDY’s Guide to Dining in the Triangle

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It takes a village to wait a table at Provenance. When your parent-server is occupied with another diner or an errand to the kitchen, your uncle-server or godparent-server or neighbor-server swoops in with the assist. One carries a dish. Another describes it. Another refreshes your water. Another clears your plate, or replaces your cutlery or tries to take your “Older Fashioned” one sip too soon. “No!” I proclaim, perhaps a bit more boldly than intended. But it was a great drink, made with Defiant whiskey, distilled in the small western North Carolina town of Bostic, and

orange-and-fig bitters from Crude, made less than a mile away. Purplish, muddled beets dye the cocktail a magenta so bright that the drink seems bioluminescent. The flavor is earthy, sweet, and strong, like kvass you actually want. Our uncle-server hands over the glass and nods. He’s the cool uncle. “I love that Old-Fashioned. It’s so good,” he says. “Weird … but good.” The same, I consider, could be said about Provenance. The restaurant opened in February on the ground level of the SkyHouse apartment

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building in downtown Raleigh. Elle Decor named it one of the fifty best places to have Easter brunch in the country, the best in the state. It’s easy to see how Provenance caught a designer’s eye. The architecture is chiseled like a model, with sleek, sharp lines and, every so often, a curve. The walls are white and gray with wood accents and minimalist artwork. This aesthetic is sterile and bare, maybe even boring as a backdrop for a neon pink cocktail. As I glance back and forth between my drink and the dining room, I can’t help but think of a modern art museum, where the blank walls seem to withdraw behind the paintings. Indeed, such an intentionally crafted, completely neutral space is often meant to showcase something else. Here, it’s the food and the ingredients, not the decor or even the chef. That says a lot, considering the celebrity-chef hunger of our culture and the background of owner and head chef Teddy Klopf. The thirty-one-year-old Culinary Institute of America graduate has a résumé as lofty as the SkyHouse’s twenty-three floors. Herons at The Umstead. McCrady’s in Charleston, where he worked for James Beard Award winner and television favorite Sean Brock. Various Michelin-starred restaurants. He’s a certified sommelier. Think big tuna, swimming in a mid-size, triangle-shaped pond. But you’ll probably never see him. Open kitchens may be the way to brighten the spotlight on successful chefs, but Klopf seems less interested in himself than in his work and its sources. The completely closed back of house, without so much as a window or swinging door, feels somehow innovative. The dishes—sourced almost exclusively from North Carolina produce and products— speak for themselves. The servers help translate. The braised pork lettuce wraps, for instance, are presented with a lesson on sustainability: Did you know 90 percent of supermarket lettuce comes from California? Provenance’s lettuce doesn’t even know what California is. This happy Bibb grew up in a hoop house nearby. I

was happy eating it, too, stuffed as it was with sorghum-sticky pork and crunchy pickles. The crab cake Benedict arrived like a debutante—very accomplished and very pretty. A nori-crusted, gooey-yolked egg sat on top. A house-made, open-crumbed English muffin sat alongside fried and pickled green tomatoes. The dish curtsied, and I almost clapped. My neighbor-server brought the crab cake, which, somehow, didn’t make the plate but was worth the wait. I wish they had forgotten the mealy April apples instead. When your server-parent is stretched too thin, he or she simply sets down and abandons other, simpler dishes, like the spicy greens with mustard juice vinaigrette and caraway croutons. That shortcoming is much like what you would find at any other restaurant, sure, but Provenance does not want to be just any other restaurant. At first glance, Provenance is an ode to local ingredients. But it is also an ode to technique and creativity and cooking as art, expression, exploration. For years, fine dining has sought to serve as an evening’s entire entertainment—dinner and the show. This one, under Klopf’s direction, is captivating. See, for instance, the embered oysters. They emerge from the kitchen in an eggplant-hued cocotte by Staub, her royal highness of froufrou cookware. When the lid is lifted, wisps of smoke waft and part ways to reveal four plump Carolina pearl oysters, set atop a mountain of rosy, shimmery shells. The meat is warm and luscious, swimming in buttermilk-tangy whey and grass-hued herb oil. Other seafood selections also gleam like sunlight on water. A rainbow of sweet potatoes—beige, pumpkin, and purple, both pureed as plate paint and deep-fried into fritters—color pan-seared day boat scallops with crispy edges and creamy centers. Ramps and peanuts come scattered across the top. The shrimp and grits, served at brunch, flirt with, but don’t marry, tradition. The grits are coarse-ground and loosely cooked, conjuring a truly good risotto. The shrimp are tender and blushing pink—you would be too,

Think big tuna, swimming in a mid-size, triangle-shaped pond.

18 | 5.11.16 | INDYweek.com

Teddy Klopf, at work in Provenance’s kitchen

A CHEF'S PHILOSOPHY

PHOTO BY ALEX BOERNER

Even when Teddy Klopf sits down, he rarely sits still. When he’s silent, his fingers bounce from the surface of a table in Provenance, the downtown Raleigh restaurant he opened earlier this year. And when he speaks, his hands become semaphores, helping to highlight words and emphasize the importance of ideas. He seems to vibrate, like the surface of a pot of water just about to boil. Such energy and enthusiasm are evident in the food at Provenance, a place driven as much by the localsourcing, no-waste precepts of Klopf the Philosopher as the unexpected choices and exquisite plating of Klopf the Chef. No decision seems arbitrary, no choice made simply because it seemed easiest. After a recent lunch service, I sat down with Klopf for a long conversation about issues of food sourcing, accessibility, and agriculture. To read more of the talk, visit www.indyweek.com. And to read more about Klopf, pick up the new EATS, our annual food magazine.

INDY: What sparked your interest in intensive local sourcing? TEDDY KLOPF: It’s all about deliciousness. Sourcing is incredibly important, but it all started from the perspective of trying to make food taste good. When something is just clipped, say the herbs from our garden, and you eat it within hours, it’s infinitely better than something that was picked days ago and shipped across the country. Then it became an ethical pursuit and an intellectual pursuit. It’s better not just as far as deliciousness is concerned; it’s better for the community, for the environment, for us as people. A beet grown in soil that’s rich in nutrients is infinitely more nutritious than a beet that’s grown in soil that has been treated to accept Roundup. That is quite literally poison. We’re starting to see what a hyper-modified diet is doing to the human animal.

that disconnect bother you? Food is expensive. Real food is even more expensive, but that’s part of the problem. We’re asking the wrong question. The question should be: “Why is McDonald’s so inexpensive?” We’re paying for it elsewhere— through subsidies, through taxes, with health problems, with health insurance. Rates of childhood obesity, rates of allergies, rates of birth defects: all of these things are increasing. I suspect a lot of it is because of cheap food. We’re going to look back at the turn-of-thiscentury agribusiness like we look at the turnof-the-twentieth-century industry, when black clouds of coal smoke were turning skylines black. We’re doing it to our bodies.

would that be for a community? It would be a really wonderful thing for the community, for sustainability, if we did try to limit ourselves. Food would be a lot better. Those carrots coming from Peru, all this way, they’re not very good. They’re starchy, and their colors are pretty.

Food accessibility is important for you, but few would say Provenance is cheap. Does

You’ve previously said restaurants shouldn’t talk about serving local food, because it needs to be the norm. Is that impossible? I recognize that will never happen. People love things that they can’t get locally. How great

How does your proximity to farms impact the way you cook? I spent a lot of my career where onions were just something that arrived at the back door. Then we apply the best technique possible to these onions. There were incredible, incredible things going on, don’t get me wrong. But I didn’t really learn how to cook until I learned how to farm. When I was actually on the farm, in touch with the cyclical nature of life, and my sweat was going into the soil, and I got to pull that radish out of the ground, I started to understand. When you taste that radish, you’re like, “This is what a radish tastes like.” —Grayson Haver Currin

if you were tipsy on Bloody Mary ketchup. If you’re looking to keep your feet on solid ground, order the yard bird, braised and panseared. Like the best Southern chicken, it is buttermilk-bathed and crispy-skinned. Then there are the petite rouge peas (with the look of a legume and spirit of a ragù), a tangle of ramps, and a rich mushroom ketchup. The brunch burger—essentially a hangover reinterpretation of Sean Brock’s iconic Husk burger—nods to fast-food nostalgia. The trendiest gourmet burgers are steak-inspired: bloody and brick-thick, like April Bloomfield’s, at Salvation Burger in New York City, which

weighs in at a half pound. Klopf runs the other way. He smothers two thin-ground short riband-bacon patties in cheese and tops them with mustard greens and a runny egg. The malt vinegar-brined sweet potato fries and Cackalacky tempura-battered onion rings are worth ordering on their own. Between courses, Provenance reexamines the amuse-bouche ritual with Southern hospitality in mind. Instead of an initial pleasantry, like a handshake, the kitchen sends surprises mid-meal: smoked trout dip with skin crackers, dill, and lemon. Swordfish belly with rice paper crisps. A bowl of house-

baked bread: chive focaccia, sesame grissini, whole wheat sourdough, and soft butter freckled with smoked salt. I ate half before remembering that complementary breadbaskets aren’t novel. There’s a lot to be said for unexpected timing. Other aspects of the baking/pastry operation are still wobbly. The biscuits are impressively bad—heavy and undercooked, served with an overcooked strawberry jam. The “ice cream cake,” a playful pairing of cornmeal cake and burnt orange ice cream, was on its way to being spectacular until someone got a little carried away with over-whipped cream.

FOOD TO GO THE TRIANGLE’S BEST FOOD EVENTS BOTANY OF BEER, TIME OF WINE

Presented by Durham’s Parks & Recreation Department, the smart little series Botany Bar Crawl aims to explore the science of sipping craft beverages from the city’s new glut of beer makers, cider makers, and distillers. For this ticketed edition on May 15, erudite imbibers head to Fullsteam, the “plow-to-pint” brewery that sourced forty percent of its beer’s ingredients last year within a three-hundred-mile radius of its Rigsbee Avenue headquarters. You’ll learn about hop and barley varieties and how they affect the taste of the final product— and then get a taste yourself. Speaking of tastes, there will be plenty of free ones at Raleigh Wine Shop’s weekendlong fifth-anniversary party. On Friday night, Craig Rudewicz presents a workshop on “wine cocktails” made with his Crude bitters, while Sunday afternoon offers an opportunity to meet Richard Betts and Carla Rzeszewski, an intriguing and energetic pair of wine makers looking to make that venture more exciting. As they speak inside, food trucks and Raleigh pastry emporium lucettegrace will offer treats outside from noon until four p.m.

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VEGAN BBQ, VEGAN PHILOSOPHY

For decades, Will Tuttle has written and lectured extensively about the global impacts of a vegan lifestyle, epitomized by his book The World Peace Diet: Eating for Spiritual Health and Social Harmony. On Wednesday, May 11, in Raleigh and on Thursday, May 12, in Carrboro, Vegans for Peace presents a combination barbecue and lecture with Tuttle. It’s free, with donations going to cover expenses.

www.facebook.com/vegansforpeace

Still, such seemingly inevitable hiccups are minor given Klopf’s incredibly ambitious approach. If Provenance promotes a certain mission, it’s to epitomize and elevate North Carolina’s culinary identity—our region’s ingredients, recipes, traditions. This is, after all, what provenance implies: origin. The word has another meaning that, to me, holds truer here. Provenance signifies ownership of art, a symbol of authenticity. If this restaurant has accomplished any one thing since opening, it is calling the bet on contemporary Southern cuisine—and going all in. ● Twitter: @EmmaLaperruque INDYweek.com | 5.11.16 | 19

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1912 Bernard St, Raleigh | (919) 977-3864 | cave1912.com

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Locally owned and a proud supporter of the community! Restaurant and Market Open Daily!

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IRREGARDLESS CAFE

901 West Morgan Street • Raleigh • 919-833-8898 • www.irregardless.com Tues-Fri Lunch 11 am - 2:30 pm; Dinner: Tues-Fri 5-9:30 pm, Sat 5pm to midnight, Sun 5-9 pm, Weekend Brunch 10 am-2:30 pm Real Food and Live Music. Irregardless stands as a pioneer in the restaurant business, sourcing local produce from its ‘Well Fed Community Garden’ and implementing sustainable practices. Since opening in 1975, the Cafe has offered top quality, hand-crafted meals for carnivore, vegetarian, vegan and gluten free patrons. An icon of the Triangle’s live music scene, Irregardless’ stage has showcased entertainers every night of the week since opening in its ‘small-club’ atmosphere.

LILY’S PIZZA

1813 Glenwood Ave • Raleigh • 919-833-0226 810 W Peabody St • Durham • 919-797-2554 • www.lillyspizza.com Lilly’s Pizza has proudly served the Triangle since 1994. We are acclaimed for our award winning pizzas and salads. Our focus is to serve fresh,, locally sourced and organic foods which we make by hand daily. We appreciate our loyal customers and local suppliers.

P.G. WERTH’S

927 W. Morgan Street, Raleigh - 984-232-0415 - Mon 10am - 2:30pm, Tue 11am - 2:30pm, Wed - Fri 11am - 9pm, Sat 10am - 9pm, Sun 10am -2:30pm • www.chefhamm.com Rooted in the traditional flavors of the Carolina mountains, the menu at PG Werth’s is equal parts old-school comfort and new-school technique. Fresh. Local. Delicious. Come see what everyone’s writing home about!

SASSOOL

9650 Strickland Rd • Raleigh • 919-847-2700 1347 Kildaire Farm Rd • Cary • 919-300-5586 • www.sassool.com Sassool is a family-owned restaurant serving authentic Lebanese and Mediterranean cuisine in a fast-casual setting. In addition to fresh, healthy Mediterranean fare, Sassool offers an interesting selection of specialty groceries and baked goods. The name of the restaurant, Sassool, is the nickname for the owner’s mother, Cecilia, the creator of the traditional recipes. Try Cecilia’s recipe for delicious today!

Historic Five Points 1813 Glenwood Ave. 919-833-0226

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Downtown Durham 810 W. Peabody St. 919-797-2554

www.lillyspizza.com

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Who did you vote for and why do you think they’re the Best of the Triangle? The INDY’s Guide to Dining in the Triangle

Send your comments to bestof@indyweek.com and they may be featured in our June 15th issue!

The INDY’s guide to Triangle Dining ON THE STREETS NOW! INDYweek.com | 5.11.16 | 21

indyfood EAT THIS

CROOK’S CORNER

610 W. Franklin St., Chapel Hill www.crookscorner.com

Soaking for Sweets AN EVENING IN THE RAIN, HUNTING HONEYSUCKLE WITH BILL SMITH

BY GRAYSON HAVER CURRIN The pair of primly dressed couples tucked beneath umbrellas and inside heavy coats on a jarringly windy, cold, and soaked night in early May pay little mind to the man shuffling across Franklin Street in the rain. He holds a four-liter pitcher half stuffed with honeysuckles. Undeterred, his Merge Records hoodie and Human Rights Campaign hat drenched, he keeps his eyes locked on the restaurant ahead. The satisfied couples are leaving Crook’s Corner, the institution of classic Southern cuisine that has straddled the CarrboroChapel Hill divide for nearly four decades. The man they overlooked was responsible for their meal. It’s Bill Smith, the restaurant’s baby-faced and legendary head chef. He has little time to talk; this evening, he has been on an urgent mission to keep this season’s customers satisfied. “People get really infantile about this stuff,” he says, laughing. “I need to have a surplus if I put it on the menu, or I’m in trouble.” Honeysuckle in hand, Smith sneaks through the kitchen’s back door, puts the pitcher down, and retrieves—exactly, as he’s picked two quarts of blossoms—ten and twothirds cups of chilled water. He pours it into the pitcher, drops two white saucers on top to push the blooms to the bottom, wraps it all in plastic, and wedges it into a sliver of empty shelf space in the kitchen’s walk-in cooler. Tomorrow he will add simple syrup, a little lemon juice, and a touch of cinnamon so small that Smith can’t even measure it. Just in time for Mother’s Day, it will become the prized possession of springtime in Orange County, on the menu only as long as the weather abides: “Bill Smith’s Honeysuckle Sorbet.” An hour earlier, standing in a grove alongside an abandoned railroad track, Smith 22 | 5.11.16 | INDYweek.com

Bill Smith—and his coveted honeysuckle blossoms—in the rain PHOTOS BY ALEX BOERNER

leaned into a thicket of green leaves and white and yellow honeysuckle flowers and plucked. In spite of the rain and chill, he worked leisurely, stopping every few minutes to take a sip from a PBR can, lifted from the bar at Crook’s and toted through town in a pitcher of ice. “Honeysuckle season gets me out of the kitchen. I get to come out here and drink a beer by myself,” says Smith, grinning over his shoulder. “It’s like my break.” In the dozen years since Smith pioneered his honeysuckle sorbet, based on a centuriesold Sicilian recipe for “jasmine ice” and his own trial and error, he has taught his employees and their spouses how to pick the flowers. He pays them fifteen dollars for eight softly packed cups. This year, though, thanks to spells of cold and wet springtime weather, he’s been largely on his own, forced to forage

in thin patches that aren’t booming with the typical blooms. He pops them off one by one, shaking away detritus before plopping them into the pitcher. He explains the variations in the different bunches, pointing out faint pink stripes on some and saying it’s essential to nab the yellow, pollinated blooms before they wither away, biological function completed. He inspects one bush that straddles a fence and scoffs. “That’s the bad kind. Those are the blooms that just clump together. No matter what you do, you end up picking too many leaves,” he says, returning to a preferred cluster across the tracks. Now he smiles. “Hey, I told you I knew a lot about this stuff.” The reputation of Crook’s hinges on heavy foods—cheese-covered artichokes and exquisite French fries, Hoppin’ John and shrimp and grits, steaks and deviled eggs. Eating

Smith’s sorbet, though, feels like ingesting frozen air—infinitely light and pleasant, the sweet essence of the scent lingering on the tongue, as if you’re walking through a golden glade of honeysuckle and breathing more deeply than you ever have. Smith has often thought about trying to preserve this essence for use later in the year, or even consulting with a perfumer about how best to do so. One year, he froze some for a New Year’s Eve party. When he opened the container, it had essentially turned into a hard block of sugar water. He’s come to appreciate that what’s here today may be gone tomorrow—which is why, unless it’s pouring, you’ll find him on the Carrboro-Chapel Hill line, his face buried in the blossoms until he shuffles back across Franklin Street, pitcher in hand. l gcurrin@indyweek.com

Reality of My Surroundings On view through July 10

Nick Cave, Soundsuit, 2015. Mixed media including wire and bugle beads, buttons, sequined appliquĂŠs, 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. ÂŠ Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York. Photo by James Prinz Photography.

INDYweek.com | 5.11.16 | 23

Who did you vote for and why do you think theyâ&#x20AC;&#x2122;re the Best of the Triangle? Send your comments to bestof@indyweek.com and they may be featured in our June 15th issue!

24 | 5.11.16 | INDYweek.com

indymusic

With Guitar

SURVEYING STRONG FULL-LENGTHS FROM HONKY-TONK HEROES, EMO REVIVALISTS, AND AN INSTRUMENTAL SCULPTOR CHUCK JOHNSON VELVET ARC

(Trouble in Mind Records) In the bands Spatula and Shark Quest, North Carolina native Chuck Johnson dealt, respectively, with atavistic indie rock and stately instrumental anthems. Since leaving for college and California, Johnson has built a distinct, different reputation as a solo fingerpicker, his songs refined and meditative. But on the new Velvet Arc, Johnson picks up an electric guitar and returns to full-band life, at least in part, for a seventrack album that’s as fuzzy, warm, and graceful as its title claims. Velvet Arc begins with the brooding “As I Stand Counting,” where low-end riffs trudge through plodding percussion. He gets lush and hazy for “Everything at Once” but sculpts the sensation for “Anamet,” which drifts as though suspended in a dream for seven minutes. “Anamet” previously appeared on 2015’s Blood Moon Boulder under a different name, Johnson’s trebly guitar underscored only by the sighs of pedal steel. Here, he adds loping synthesizers and faint percussion, his past successes now reinforced by the help of new peers. The coda stretches like a permanent sunset. Velvet Arc begins to bend with the title track, moving from mild psychedelia into pastoral realms, as if Johnson’s scoring winter’s slip into spring. If “Anamet” gathers the final weeks of February, “Velvet Arc” announces springtime, with pedal steel and fiddle suggesting gentler winds. “Roadside Auspice” patters at a moderate clip, like a sunny afternoon drive through the coun-

tryside, a feeling echoed in the back-roads cruiser of snappy closer “Middle Water.” Johnson is part of a passel of excellent, relatively new solo guitarists—Glenn Jones, William Tyler, Cian Nugent, Steve Gunn, Daniel Bachman. Sometimes, all their exquisite flurries of steel-stringed notes can blur, with even distinct styles melding into one. On Velvet Arc, though, Johnson manages

ments and screamed vocals, the songs meditate on grief and vengeance. During “Grief Seeds,” sore-throated screaming recalls the tightly wound fury of modern emo acts like Touché Amoré. Rather than stick strictly to the molds that Touché Amoré and Pianos Become The Teeth used to spark new interest in emo, though, Greaver embraces a welcome, broader range

to merge his rock-band past with his intimate solo reflections, moving toward more dynamic material and into a moment of distinction. —Allison Hussey

of influences that only underscore the band’s compositional and conceptual ambitions. “A Poisoned Well” goes full-on prog, with guitars flying in spirals so tight they seem like aerial stunts. The gang-vocal interlude of “Southfield” feels like the invocation of a pummeling mosh pit, but the song spreads suddenly into a wiry tangle of melodic postrock. Close call-and-response vocals and intricate guitar interplay serve as anchors, whether Greaver is blasting through a furious vamp or stretching out for an instrumental séance. None of these elements are necessarily novel, but Greaver’s synthesis of them is seamless. The Faun often feels like a familiar entry in a growing post-hardcore canon. And with it, Greaver has demonstrated not only the ability to develop and execute a narrative but to shade classic emo tropes of loss and betrayal with high drama and social commentary. —Bryan C. Reed

GREAVER THE FAUN

(Cardigan Records) A story of murder, racism, and grief frames The Faun, the full-length debut from Durham’s Greaver. Dotted with spacious interludes and spoken-word passages from a protagonist named Morgan, The Faun fully embraces both the album’s conceptual conceit and its own emo revivalism. Audacity aside, The Faun’s greatest strength might be Greaver’s earnestness. Greaver’s members collectively take on the role of Leon, the Faun whose ghost guides Morgan’s decisions as the story develops. Through complex post-hardcore arrange-

TONK SECOND NATURE (Future Standards)

Tonk doesn’t play alt-country, but that’s the camp in which the Raleigh band is likely to locate the most simpatico ears. In reality, Tonk’s sound is an unadorned Bakersfield echo. In the current country climate, that puts the group firmly in the realm of outsiders and underdogs. When roots-conscious country bands can feel like they’re putting on retro drag, Tonk defiantly serves up a second helping of old-school songs on Second Nature. With sad-voiced singer Jay Brown, an unpretentious approach, and a predilection for shifting among honky-tonk shuffles and laconic laments, Tonk evokes fond memories of another Triangle institution: the defunct Two Dollar Pistols. Tonk is deft when it comes to twisting classic country tropes. A line like “I see lots of wine and beer in my impending atmosphere,” from “Getting Ready to Be Lonely,” is Merle-worthy. And most any hard-country crooner will envy the refrain of “The Devil”: “They say the devil is in the details/So I’m compelled to speak on the level/My sweet darling, the details say that you are the devil.” The playing is excellent, from Shep Lane’s fluid pedal steel solo on opener “Let’s Bend the Rules” to Greg Readling’s lonesome ivory work on moody instrumental “Aloha Baby.” Every member feels fully dedicated to delivering that nursing-a-heartache-and-a-Bushmills four a.m. feeling. It’s never far from the surface for any real-deal country artist, and that’s exactly where Tonk falls. —Jim Allen INDYweek.com | 5.11.16 | 25

music

ANTENES: THE EXCHANGE The Carrack, Durham May 17–28, free www.thecarrack.org

Hello, Operator

LORI NAPOLEON CALLS OLD TELEPHONE SWITCHBOARDS MODERN MUSIC BY DAN RUCCIA

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Devised by dog & pony dc

May 6 - 22

Sponsors PNC • NC Arts Council raleighlittletheatre.org Raleigh Brewing • PIP BOX OFFICE: 919.821.3111 dog & pony dc • N&O Gaddy-Goodwin Teaching Theatre Raleigh Arts Commission 301 Pogue St., Raleigh, NC 27607 Empire Properties 26 | 5.11.16 | INDYweek.com

Lori Napoleon had never considered how early phone calls happened. But years ago, while visiting a lighthouse on Michigan’s Upper Peninsula, she saw the town’s century-old telephone exchange. The odd arrays of knobs, lights, and buttons evoked the extravagant modular synthesizers of the sixties, which she’d studied at New York University. That connection became the basis of The Exchange, her latest work under the name Antenes. “There was a back area that had all these old dinosaur synths,” she remembers of the class. “Seeing the look of the Buchla synthesizer with the image of the switchboard that I was so attracted to, there was just something that clicked, that made sense to me.” Napoleon decided to convert those old switchboards into working modular synths, which she’s bringing to Durham in conjunction with the art gallery The Carrack and Moogfest’s Hacking Sound (Systems) series. Forget smartphone apps and laptop producers; in her personal confluence of circuit hacking and the history of electronics, Napoleon revivifies antique hardware, giving new life to obsolete machines. A telephone exchange and a modular synth do roughly the same thing—they connect disparate sound sources. In fact, the enduring image of both is a thicket of patching cables. Early-twentieth-century telephone exchanges required an operator to connect a caller with another person by physically moving cables. Each switchboard was a self-contained system, so placing a call outside of one system could require a lot of people and a lot of time. Modular synthesizers operate on a similar principle: one part of the machine creates signals that are routed through different processing units before being sent to speakers. Many such chains—and, therefore, sounds—can run in parallel. Early modular synths, including those built by pioneers Robert Moog and Don Buchla, were complicated pieces of equipment, requiring multiple technicians to manage the numerous connections.

As Antenes, Napoleon uses her half-dozen switchboard synthesizers to evoke the crackle and hum of telephone wires and the buzzing warmth of synth explorers like Morton Subotnick or Delia Derbyshire, the creator of the original Doctor Who theme music. Her 2015 EP, The Track of a Storm, shows off her musical range: one side features static chopped over minimalist pulses, while the other is built around highly sequenced industrial beats that clatter and clang. For Napoleon, the construction of these fascinating machines seems as important as their sounds. They are art objects and instruments. She tries to keep as much of the original hardware as possible, repurposing knobs and switches while replacing aging wires and adding new sonic circuitry. For one instrument, she gleefully points to noise generators that can produce sounds that range “from crisp snares and hi-hats to Niagara Falls and blustery stormy winds.”

Lori Napoleon is Antenes. PHOTO COURTESY OF THE ARTIST

“Opening up an old switchboard always reveals sculpture-like wiring configurations and cryptic codes,” she says. A true tinkerer can turn anything into a synthesizer now. Japanese noise musician Merzbow built one from a fluorescent light ballast, while Wolf Eyes’ John Olson uses a belt buckle synth. But Napoleon’s approach of historic reconnection—of making a peculiar patch between two unexpected channels—draws attention to the past without being too nostalgic. She’s the operator, then, connecting modern sounds with their primitive history. l Twitter: @danruccia

indystage

Encore Performance Lil Buck made an unforgettable impression at Carolina Performing Arts. PHOTO BY DANIEL JACKSON

THE STAGE HIGHLIGHTS OF THE 2015–16 SEASON–– AND WHAT THEY SAY ABOUT THEIR PRESENTERS

Doing a year in review as the calendar turns ignores the fact that the biggest performing-arts presenters are still in the midst of their seasons, which run from fall through spring. So we’re pausing now, near the end of the academic year, to look back at the highlights of the 2015–16 season and take their presenters' artistic temperature. We’ll cover the area’s independent presenters on our blog, but we’re focusing here on four prominent university-affiliated series. They are key ambassadors from North Carolina to the world, and how they use their platforms is especially important after HB 2. Presenters and artists drive change, whether they boycott our state or alter their shows to speak to it. They tell us and the world a more complex story about being North Carolinian than the stereotypes promulgated by runaway politicians and an incurious national media. And, of course, they delight, edify, and entertain. —Brian Howe

LIL BUCK PERSONIFIES A DARING, BORDERLESS CAROLINA PERFORMING ARTS SEASON Like most people, Carolina Performing Arts director Emil Kang discovered Charles “Lil Buck” Riley in a phone video Spike Jonze uploaded to YouTube. In the video, Riley, a virtuoso of the Memphis street-dance style jookin’, performs Fokine’s ballet solo for Camille Saint-Saëns’s “The Swan,” played by world-famous cellist Yo-Yo Ma. The performance is not quite European classical, nor is it American street. Instead, it opens a third space where hierarchies dissolve. Lil Buck’s April show at Memorial Hall amplified that egalitarian quality, even while multiplying the number of global inputs. It was the most unforgettable performance I saw this season: Spectacular in the moment, it also refreshed my awareness of the fact that art is art, regardless of form, if you know where to look for the seams. Jookin’ is fluidly jerky, like stop-motion film, with a certain contortionist bravado. Its performers float in a cloud of sinuous limbs and gyroscopic feet, ankles swiveling freely on impossible axes. No one floats more lightly, contorts more lyrically, than Lil Buck (though his partner at Memorial Hall, Ron "Prime Tyme" Myles, rose to every technical challenge). A product of the Memphis jookin’ scene, Riley also studied at the New Ballet Ensemble, and he has taken his version of the regional dance form to international heights. At Memorial Hall, he was joined—“backed” isn’t the right word for a collaboration so

mutually communicative—by a remarkable band from Ma’s Silk Road Ensemble. After a short jookin’ primer at the outset, the show never felt like a hip-hop starter course for chamber music subscribers. Each musician took a lengthy solo as the dancers, then the other players, gradually joined the fray, increasing the energy to a controlled fever pitch. This structure gave a showcase to each performer, and, most exciting, no mode dominated—strains of the U.S., Europe, India, China, and Spain blended unselfconsciously in delightful ways. Building a breathtakingly long arch, Sandeep Das metastasized minimalist tabla patter into a high-BPM groove full of dangerous tuned swerves. Similarly, Wu Tong, a master of the sheng—Chinese pipes with a brightly furred sonority not unlike the harmonium— nudged forlorn drones toward a hoedown and interjected belts of impassioned Chinese singing. Brooklyn Rider violinist Johnny Gandelsman smoothly shifted gears to navigate the many modes. The show offered many amazements, from Lil Buck running forward into a back-

flip at headlong speed to the way his entire body constantly flowed like an ink animation, his feet inscribing elegant hieroglyphics that were almost visible in their clarity. It’s a pleasure to watch someone revel in the sheer joy of physical capacity. But even better was seeing hip-hop dance treated as one move-

mil Kang isn't new to bringing category-bursting shows to Carolina Performing Arts, with world premieres from the likes of performance artist Taylor Mac already under his belt. But this season, UNC-Chapel Hill’s series was especially marked by audacious, hard-to-define performances that seemed unconcerned with salability. Beyond Lil Buck, there was a second commission from Marie Chouinard, an accomplished choreographer with virtually no mainstream name recognition, whose dances blend classical beauty with mortifying expressions of fear, shame, and pain. There was Shara Worden and Andrew Ondrejcak’s

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ment vocabulary among others. It never felt like a fun garnish (ballet—with hip-hop! Flamenco—with hip-hop!) but was an integral element in a global system, one that could pivot from street to ballet with the merest tilt of an instep, the slightest smoothing of a spin into a pirouette. —Brian Howe

bizarre chamber opera You Us We All, a not-quite-solved baroque-pop puzzle box that left me with mixed feelings but lasting impressions. And there was pace-setting experimental theater director Ivo Van Hove’s Antigone— easy to market, with Juliette Binoche in the title role, but challenging to audience expectations with its elementally stripped-down, ceremonially brooding setting of the classic tale. When these kinds of bookings come from a presenter that could dine out all year on The Nutcracker, Brahms' piano quartets, and Martha Graham, it means something: it’s a mark of artistic commitment worth trusting, wherever it leads. —Brian Howe INDYweek.com | 5.11.16 | 27

Bandaloop performs on the façade of Aloft Raleigh. PHOTO BY BECKY KIRKLAND

Duke Performances has often pushed artists toward long-form experiments, from Bill Frisell and Bill Morrison’s The Great Flood to the Campbell Brothers’ re-creation of A Love Supreme. This season was no different, with innovative evening-length works by Hiss Golden Messenger and the Orlando Consort, and a unique collaboration between Imani Winds and the Fisk Jubilee Singers. Two shows, by Roomful of Teeth and Michael Gordon, were particularly exemplary.

September’s Disgraced and February’s We Are Proud to Present … united a number of important themes from the tenure of PlayMakers Repertory Company’s former artistic director, Joseph Haj. In both, we were confronted with the stories of people from cultures outside the typical American experience. Both addressed the thorny issues of authenticity and appropriation that arise when outsiders, including theater companies, try to represent those cultures in art. In the agonies of Amir (Rajesh Bose), who is both an insider and an outsider in his own marriage, his family, and his country, Disgraced takes on the social stigma and silent segregation Arab-Americans endure. Ayad Akhtar’s script condemns the xenophobia and intolerance found among the extremists of Islam, Christianity, and American society. It also asks if it’s possible to embrace the ideals found in each without acknowledging— and attempting to reform—their dark sides. PlayMakers also continued to interrogate American theater's inadequate responses to prejudice and marginalized populations. After last season’s Trouble in Mind condemned a sanitized depiction of black history, We Are Proud to Present … mocked the ethical and artistic shortcuts sometimes taken in devised theater, drama's recent fad. These clueless college students shouldn’t have been unsupervised while making a play about the Herero, an African people wiped out by German colonizers at the dawn of the twentieth century. Inadequate research, imagination, and empathy ultimately turned the group on itself when the only ethnic heritage and conflict it could draw on was its own. Indeed, ethnographic theater that never transcends our own culture’s foibles is useless to all. —Byron Woods

28 | 5.11.16 | INDYweek.com

Last fall wasn’t the first time NC State LIVE had the aerial dance troupe Bandaloop take its work outside a conventional theater. In 1997, the group catapulted, swooped, and dove, suspended by cables, on the face of the North Carolina Education Building. Then, last September, for the grand reopening of Talley Student Union, Bandaloop adapted and performed two works on the vertical surfaces of the building’s airy four-story atrium. The weekend after a two-night stand in Stewart Theatre, NC State LIVE presented the group, in conjunction with SPARKcon, one afternoon on Hillsborough Street. In Travelers, two Bandaloop dancers nonchalantly jived, cheek to cheek, to Count Basie,

nder Aaron Greenwald's direction, Duke Performances has set the pace for academic institutions bolstering safe-bet classical with cuttingedge performing arts. This season, it asserted its ongoing dominance in presenting global and postminimal music—though the race is getting closer, with CPA booking the likes of Ensemble intercontemporain. But UNC’s series had the more vital nonmusical offerings, after Duke’s were diminished by the non-HB 2-or-snow-related cancelations of a tap show featuring Savion Glover and Jack DeJohnette (rescheduled for June) and a Beckett trilogy. Still, the area’s most reliable presenter had Julian Sands performing Pinter, hip-hop-dance pioneer Rennie Harris, Shakespeare marauders Filter Theatre, and more—not a lineup to sneeze at. But one is pleased to note that, after pulling other area series up to its ambitious level, Duke Performances now has some real competition for fans of the freshest performing arts' time. —Brian Howe

some six stories off the ground, on the wall of the then unopend Aloft Hotel. Then a quartet somersaulted in slow motion down several stories in the pensive Container Quartet. About three hundred people, some just passersby, looked on. It was an exciting example of what can happen when presenters think outside of the black box. —Byron Woods

uke Performances and Carolina Performing Arts use leading performers as ink to write stories about art, our region, and their presenters’ personal vision, but NC State LIVE has a less clear identity. It brought some world-class heat this season (Kenny Barron, Acoustic Africa), but it relied heavily on more gimmicky cirque acts (Gravity & Other Myths), popclassical personalities (Cameron Carpenter), and family-friendly theater. Though acrobats were a novel way to show off the revamped Stewart Theatre, it also seemed like a missed opportunity, in the year when the presenter rebranded itself as NC State LIVE, to refine its desultory bookings. Nothing wrong with a fun, accessible season, but one would like to see NCSU join the arms race with UNC and Duke to bring us the most essential performing artists. —Brian Howe

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his was the season Joseph Haj had been building toward for his entire tenure as artistic director of PlayMakers Repertory Company. Never had we spent so much time—in six out of nine shows—in the present tense, facing our contemporaries on stage. Never had we wrestled as regularly with pressing social and political issues of our day. It’s too early to assess the changes under Vivienne Benesch, though her first PlayMakers show as artistic director, Three Sisters, was robust and contemporary. Refreshingly, half of the six mainstage shows announced for the 2016–17 season (on which, we should note, Benesch had little input) are by women. But the next season also seems shorter on the immediacy we saw in the last one, edging us toward the relative safety of the past, with Detroit ’67 and Intimate Apparel situated fifty and one hundred years ago, and The Crucible set in the 1600s. Twelfth Night and the musical chestnut My Fair Lady reinforce the sense that PlayMakers has chosen a safer route for 2016–17, changing course from offerings that directly address the turbulence of our times. —Byron Woods

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Roomful of Teeth concluded the season with two large-scale works by young composers. The eight-piece vocal ensemble embraces a vast range of nonclassical techniques to forge a sound all its own. Caroline Shaw’s 2013 Pulitzer winner, Partita for 8 Voices, and Wally Gunn’s The Ascendant approached that sound from different perspectives. Partita is Roomful’s manifesto, seamlessly melding its different sounds so that each seems inevitable, none out of place. It reveals just how much traditional classical vocals leave behind. The Ascendant, a setting of texts about the fall of man by Australian poet Maria Zajkowski, is less ostentatious in its sonics but makes up for it with powerful scope. It is a beautiful, devastating work. A week earlier, Mantra Percussion and the Rushes Ensemble presented two recent works by Bang on a Can cofounder Michael Gordon. They took advantage of the unique acoustics of the Durham Fruit and Produce Company, one of the few remaining unfinished warehouses in town. Timber and Rushes are similar works, constructing engulfing hour-long drones out of thousands of tiny pulses. Timber uses six two-by-fours, Rushes seven bassoons; each dives deep into the peculiar timbres of its chosen instrument. This was the first time these works had been paired, an audacious booking that only Duke Performances would consider. —Dan Ruccia

BANDALOOP STANDS OUT IN A CIRQUE-HEAVY SEASON FOR A REVAMPED NC STATE LIVE

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PHOTO COURTESY OF DUKE PERFORMANCES

JOSEPH HAJ CLOSES HIS TENURE AT PLAYMAKERS WITH A CONFRONTATIONAL BANG

Michael Gordon's Timber

DUKE PERFORMANCES REMAINS THE LOCAL TRAILBLAZER IN AMBITIOUS NEW MUSIC

indyetc

Jackson Reaction

HARRIET TUBMAN’S TWENTY-DOLLAR COUP REMINDS US OF N.C.’S LEGACY OF LIBERTY AT A CRUCIAL TIME In 2020, the centennial of women’s suffrage, Harriet Tubman will become the first woman in more than a century to appear on U.S. paper currency, replacing Andrew Jackson on the front of the twenty-dollar bill. A recent PPP poll found that while most North Carolinians view Tubman positively, not everyone is in favor of her enshrinement on the twenty. Nearly 70 precent of Democrats are, but nearly 80 percent of Republicans aren't. They’ll all get their wish, as Jackson will stay on the reverse side of the bill. That seems telling to me. In a politically divided state that has been making national news as an intolerant, backward place, we still have our past—our slave masters, our Andrew Jacksons—on our backs. But Tubman faces forward to the future, calling on us to remember North Carolina’s legacy of liberty at a crucial time. Before she was a suffragist, Tubman had already entered history as a conductor on the Underground Railroad, making at least nine solo trips to rescue some seventy people from enslavement and freeing hundreds more as a scout and intelligencer for the Union Army. And North Carolina, which nurtured more Abolitionist societies than any other state, was also the birthplace of the Underground Railroad. In early-nineteenth-century Guilford County, New Garden (present-day Greensboro) was home to a large Methodist and Quaker community of farming families. Many, like the Coffin family, were religiously inclined toward abolition. Due to labor scarcity, whites and slaves in New Garden, as in much of the South, often worked side by side. Though the work was social, with songs and stories to pass the time, this integration didn’t always extend beyond it. One day in late 1813, the Coffins, travelers, and slaves worked to finish the harvest at the neighboring farm of Reverend David Caldwell, a hero of the Revolutionary War. That evening, when the other white people went in to dinner, fifteen-year-old Levi Cof-

fin did something unusual: he stayed behind to talk to the slaves of one Mr. Holland, a slave dealer who had stopped for lodging. Levi, a self-proclaimed abolitionist since age seven, met Stephen, who was freeborn, and had just completed his term of indenture to the Lloyds of Philadelphia. Stephen had been working alone, as a drover, when he was overpowered, captured, and sold to Holland. Moved by the injustice, the Coffins wrote to the Lloyds, who quickly arrived in Greensboro to help. Stephen was eventually found in Georgia, where Holland had sold him, and, after the Lloyds filed suit, Stephen was freed. It was Stephen’s story, and others like it, that led the Coffin family to found what historian Andrew David Caldwell, a descendent of the reverend, calls the Underground Railroad’s first station, in 1818, in the dense thicket between their land and Caldwell’s. Though Quakers had been informally assisting runaways for some time, a tunnel excavated in the 1970s is believed to be that first station. In the decades the Underground Railroad operated before the end of the Civil War, seventy-five thousand African-Americans fled the slave states, aided by likely and unlikely allies— free blacks, other slaves, Quakers, even slaveholding whites like Caldwell. Levi Coffin helped guide more than two thousand runaways to freedom. After Reconstruction, opportunities for African-Americans temporarily grew in North Carolina. Upward mobility wasn’t necessarily the norm, but it was possible, and there were at least thirty African-American legislators in North Carolina between 1869 and 1901. But by the early twentieth century, the pendulum had swung the other way. From the 1920s, when Ku Klux Klan mem-

ILLUSTRATION BY CHRIS WILLIAMS

BY CRISTEL ORRAND

bership peaked, until 1970, five million African-Americans left the South. Today that tide is turning again. The 2010 census showed that for the first time in decades, the majority of African-Americans live in the South. New York City still has the largest African-American population, but Charlotte's is higher as a percentage—and growing. These changes and others in North Carolina necessitate new conversations about diversity and politics. Just as we led the colonies to independence in the American Revolution, birthed the Underground Railroad, and elected African-American representatives in the antebellum period, we now have an opportunity to lead again. We must harness our revolutionary lineage to challenge our voter I.D. laws, HB 2, and the gerrymandering that produces representatives who fail to represent us. By the time Tubman, a former slave, finally graces the front of the twenty, let’s make sure it’s a reminder of how far we’ve come, not how far we still have to go. l AmalgamistBooks@gmail.com

Your Week. Every Wednesday. indyweek.com INDYweek.com | 5.11.16 | 29

05.11–05.18 THURSDAY, MAY 12–SATURDAY, MAY 14 THURSDAY, MAY 12/ SUNDAY, MAY 15

CRAIG ROBINSON Craig Robinson has had funny roles in movies such as This Is the End, Pineapple Express, and Knocked Up. But to me, he’ll always be The Office’s Darryl Philbin, who started as a minor figure at the Scranton paper company before rising through its ranks (and rising in screen time) to wind up as a key player on the influential single-camera sitcom. A restrained contempt for incompetent boss Michael Scott is pervasive in the office, but it seemed most deeply smelted in Robinson’s deadpan gaze, probably because he was one of two black main characters on a show with an oblivious white hole at its center. Robinson also performs solo shows that mix stand-up comedy and his piano playing with a band called The Nasty Delicious, and he’s coming to Goodnights for a threenight stand this week. —Brian Howe

FU HB 2: THE MOUNTAIN GOATS, LOAMLANDS; STAND AGAINST HB 2

Rubbish 2 Runway (2014)

PHOTO BY BARBARA TYROLER

GOODNIGHTS COMEDY CLUB, RALEIGH 8 p.m. Thu./7:30 and 10 p.m. Fri. and Sat., $33–$41, www.goodnightscomedy.com

Circuit 4, Department of Justice, NASCAR: How much worse will the fallout over House Bill 2 get for Pat McCrory and his immoral army in the next few weeks? Two local benefits will raise money to support the fight and the communities that the state’s conservatives endanger. On Thursday, the Mountain Goats’ John Darnielle returns to The Pinhook’s stage for “FU HB 2,” a sharply named benefit for the Southern Vision Alliance, a nonprofit network of organizations working to empower youth-led social justice organizations. Loamlands, which has activist and Pinhook boss Kym Register at its helm, opens with crackling, electrified folk rock. On Sunday in Saxapahaw, an all-day affair presents a massive slate of locals raising their voices against HB 2. From Southern Culture on the Skids and The Veldt to Tres Chicas and The dB’s, twenty-two acts will offer songs against the administration, indoors and outdoors. That’s plenty of bang for your buck, and all of those bucks are going to support Equality NC. Tickets are tight for both shows, so don’t be surprised to find yourself on a wait list. —Allison Hussey

While you might look around at all the construction sites in the Triangle and just see trash, the designers of Rubbish 2 Runway see raw material for haute couture. In the third outing of FRANK Gallery’s semi-annual “trashion show,” dozens of high school and college students construct garments, fashionable or fantastical, from recycled materials. Prior years have produced styles made of packing peanuts, bike tires, road maps, and playing cards. It’s a Scrap Exchange-y, creative reuse kind of thing, and it moves to a funnily glitzy setting this year. On Sunday, models strut the raiment of refuse down the runway at Mercedes Benz of Durham, to be judged on innovation, use of materials, “wearability,” and creativity. You can also see the clothes on display at FRANK through June 5, with a reception at 6 p.m. on Friday, May 13. —Brian Howe MERCEDES BENZ OF DURHAM, DURHAM 3 p.m., $15–$80, www.frankisart.com 30 | 5.11.16 | INDYweek.com

THE VELDT SOUTHERN CULTURE ON THE SKIDS JON HEAMES & HIS SECRET SURPRISE ROD ABERNETHY ROBERT KIRKLAND JOHN HOWIE JR & THE ROSEWOOD BLUFF BRETT HARRIS JOHNNY FOLSOM 4 JEFFREY DEAN FOSTER SARAH SHOOK & THE DISARMERS TRES CHICAS THE LOVE LANGUAGE JON LINDSAY SHIRLETTE AMMONS JOE NEWBERRY YEAUX KATZ ORLANDO PARKER, JR. LAURELYN DOSSETT

THURSDAY: THE PINHOOK, DURHAM 9 p.m., $30–$50, www.thepinhook.com

MEMBERS OF MIPSO THE BACKSLIDERS HENBRAIN

SUNDAY: HAW RIVER BALLROOM, SAXAPAHAW Noon, $15–$17, www.hawriverballroom.com

SOMEONE’S SISTER OG MERGE ILLUSTRATION BY SKILLET GILMORE

SUNDAY, MAY 15

RUBBISH 2 RUNWAY III TRASHION SHOW

THE dB’s THE CONNELLS

SATURDAY, MAY 14

SCOTTY MCCREERY If the conjunction in the title of Scotty McCreery’s new memoir, Go Big or Go Home, seems off, it’s because he made his fame by doing both. After winning American Idol in 2011, he returned to Garner, North Carolina, to finish his high school pitching career and then enrolled at N.C. State. Meanwhile, he released a platinum debut album and several successful follow-ups that reliably placed singles on the Billboard country charts. McCreery is a clean-cut, appealing performer with an oaky yet creamy croon, a relatively restrained pop-country sound, and a firm grasp on an old-fashioned lingua franca of heartbreak, God, and gentle, clueless sexism, in which “The Trouble with Girls” is an object lesson. In short: They’re irresistibly pretty, ultimately mysterious, and made of “sugar and spice and angel wings.” (I’m not kidding.) On Garner’s official Scotty McCreery Day, he visits the church of his youth—where he led the actually fairly awesomely named praise band Audience of One—to play a few songs, answer a few questions, and sign his book, which goes on sale May 3. Preordering one from Quail Ridge Books gets two people into the signing line. —Brian Howe FIRST BAPTIST CHURCH CHRISTIAN LIFE CENTER, GARNER 2:30 p.m., $25, www.quailridgebooks.com

WHAT TO DO THIS WEEK

STRANGE NEW WORLDS FILM SERIES:

KUMIKO, THE TREASURE HUNTER FR OCAC ARTIST 5/20 SALON SA 5/21 K. SRIDHAR TRANSACTORS SA 5/21 IMPROV: FOR FAMILIES THE CHUCKLE SA 5/21 & CHORTLE COMEDY SHOW THE MONTI SA 6/4 SEASON FINALE FR 5/13

Lydia Loveless

BLOC PARTY AT CAT’S CRADLE (P. 33), PRESTON GANNAWAY AT SPECTRE ARTS (P. 37), INVERSION AT THE SHED (P. 39), LONGLEAF FILM FESTIVAL AT THE N.C. MUSEUM OF HISTORY (P. 38), THE MYSTERY OF EDWIN DROOD AT KENNEDY THEATRE (P. 38), SAVAGE WEEKEND AT NIGHTLIGHT (P. 35), SWITCHBOARD SYNTHESIZERS AT THE CARRACK (P. 26)

SATURDAY, MAY 14/SUNDAY, MAY 15

LYDIA LOVELESS & WHO IS LYDIA LOVELESS? Ohio singer Lydia Loveless turned out one of 2014’s best albums with her Bloodshot Records release Somewhere Else. She cranked out a prickly blend of punk rock attitude and alt-country twang, a cross of nineties Lucinda Williams and seventies Patti Smith. The album earned Loveless more attention than ever before, even sparking the interest of filmmaker Gorman Bechard, who decided to make a documentary, Who Is Lydia Loveless?, about the recording of her next and, to date, unreleased album. For two nights, you can catch a screening of the new film and see a solo acoustic performance from Loveless. It will likely sound quite a bit different from the electrified roar of her last record and her usual full-band shows. The twenty-five-year-old singer-songwriter hasn’t come close to showing us all the cards in her hand yet. She’ll have our attention for a while. —Jim Allen SATURDAY: CAT’S CRADLE BACK ROOM, CARRBORO 8 p.m., $12, www.catscradle.com SUNDAY: THE POUR HOUSE, RALEIGH 7:30 p.m., $12-$15, www.the-pour-house.com

OUGHT

PHOTO COURTESY OF BLOODSHOT RECORDS

WHAT ELSE SHOULD I DO?

A LIVE SCORING OF

THURSDAY, MAY 12

“Beautiful Blue Sky,” the best song on last year’s Sun Coming Down, the second album from Montreal post-punk revivalists Ought, consists of eight minutes that could last a lifetime. The song itself is simple, a consistently buoyant beat springing upward beneath guitars pulled taut like Television’s and gentle keyboards floating like a humid summer’s haze; the band sits still, occasionally growing loud but mostly shaping a canvas for the urban discomfort of observer, poet, and speak-singer Tim Darcy. He details and repeats images from the city that both woo him and make him a little weary—beautiful landscapes and days pocked by condos and industry, sun on his shoulder that helps him hope he’s more than a piece of a machine. “I’m no longer afraid to die/’cause that is all I have left,” he stammers in the chorus. But then the guitar lifts, his voice lifts, and he takes a moment to reconsider. “And I’m no longer afraid to dance tonight/’cause that is all that I have left. Yes! Yes!” In a moment, that is the crux of Ought, a band wrestling with existence by making rock music smart enough to ponder it and sharp enough to move to. Priests open. —Grayson Haver Currin KINGS, RALEIGH 8:30 p.m., $12–$14, www.kingsbarcade.com

THE COOK, THE THIEF, HIS WIFE AND HER LOVER 10 BY 10 IN 7/8- THE TRIANGLE: SA 6/25

7/24 FESTIVAL OF NEW SHORT PLAYS

JULY 8, 9, 14, 15, 16, 21, 22, 23 - AT 8PM JULY 10, 17, 24 - AT 3PM

STAY TUNED FOR OUR 2016-2017 SEASON ANNOUNCEMENT COMING IN JULY Find out More at

ArtsCenterLive.org

300-G East Main St. Carrboro, NC

Find us on Social Media

@ArtsCenterLive INDYweek.com | 5.11.16 | 31

WE 5/11 ROOM 13 PRODUCTIONS PRESENTS:

TH 5/12

BITTER END

TH 5/12 FR 5/13

RHYTHM OF FEAR / SELF DESTRUCT / FUTURE PRIMITIVE / ILL EFFECT OUGHT / PRIESTS / ESSEX MURO WILD NOTHING / CHARLIE HILTON

SA 5/14 EVERYBODY WANTS TO KILL ME TOUR FEAT.

BIG DED + SOBRITE / ZENSOFLY BLAKE DIAMOND / NXIDENTITY

SU 5/15 MOTORCO PRESENTS:

DREAMERS AND AUDIODAMN!

MO 5/16

SCYTHIAN TH 5/12 SCYTHIAN ($15/$17) W/ KAIRA BA

THE YOUNG WILD DISAPPEARS / LACY JAGS

TU 5/17 A/V GEEKS PRESENT:

DREAMS AND PRAYERS THE DANGLING LOAFER

FR 5/13

PARQUET COURTS

ABSENT BOUNDARIES / BLATANT

WE ARE SCIENTISTS / KING KHAN & THE SHRINES DUNGEN / NAILS / STEVE GUNN DRAGGED INTO SUNLIGHT

FR 5/27 CARAVAN PALACE $20/$23 SA 5/28 !!! (CHK CHK CHK!) W/ STEREOLAD ($15)

SA 5/21 JOSH ROCKET MEMORIAL SHOW AND BENEFIT WITH

DISARRAY / GOLD COAST / POISON ANTHEM

SOLD OUT

SA 5/15

BLOC PARTY

TH 6/9 TWO DOOR CINEMA CLUB W/

TH 5/19

SAY ANYTHING

BAYONNE

FR 6/10 DIRTY BOURBON RIVER SHOW ($10/ $12) SA 6/11 RAINBOW KITTEN SURPRISE ($10/$12)

SOLD OUT

WE 6/15 OH WONDER W/ LANY

SA 6/18 HGMN 21ST ANNIVERSARY SHOW --

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)

WE 6/29 AESOP ROCK W/ ROB SONIC, DJ ZONE ($20) TH 6/30 MODERN BASEBALL W/JOYCE MANOR ($19/$23) FR 7/15 THE STRUTS W/ DOROTHY ( $15) 32 | 5.11.16 | INDYweek.com

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)

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 5/20

TH 5/12 @ MOTORCO

BLACK LIPS

5/11: SUSTO W/ WILD FUR

SU 5/15 BLOC PARTY W/ THE VACCINES ($29.50/$32)

FEAR ITSELF!

LIVE AT NEPTUNES SIOUX FALLS TH 5/19 NORTH CAROLINA SYPHONY PRESENTS:

SA 5/14 THE FRONT BOTTOMS W/ BRICK & MORTAR, DIET CIG

JOE PUG

CAT'S CRADLE BACK ROOM

FR 5/13 PARQUET COURTS W/ B BOYS, FLESH WOUNDS ($13/ $15) SOLD OUT

WE 5/18 @ CAT’S CRADLE BACK ROOM

SA 5/14 @ CAT’S CRADLE BACK ROOM

LYDIA LOVELESS

SU 7/24 DIGABLE PLANETS W/ CAMP LO ($22/$25) TU 7/26 SWANS W/ OKKYUNG LEE ($20/$24) SU 7/31 THE FALL OF TROY ($17/$20) SA 8/13 RAINER MARIA ($15/$17) TH 9/1 MELVINS ($20/$22; ON SALE 5/13) TU 9/13 BLIND GUARDIAN W/ GRAVEDIGGER ($29 - $60 FOR VIP) SOLD OUT

FR 11/5 ANIMAL

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

5/15 ARBOR LABOR UNION ($10) 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 W/ TAZ HALLOWEEN 5/24 THE AMERICANA ALL-STARS FEATURING TOKYO ROSENTHAL, DAVID CHILDERS, AND THE STRING BEINGS ($10) 5/26: FANTASTICO W/ HENBRAIN, THE SUITCASE JUNKET ($7) 5/27: DANGERMUFFIN ( $10) 5/28: UNIONTOWN (FREE SHOW) 5/31: MRS MAGICIAN 6/1 HACKENSAW BOYS 6/3: BLACK MASALA W/ D-TOWN BRASS 6/4 JONATHAN BYRD ($15/$18) 6/5: BAS W/THE HICS, RON SOLD OUT GILMORE,COZZ,EARTHGANG 6/9: SAM LEWIS ( $10/$12) 6/10 KRIS ALLEN W/ SEAN MCCONNELL ($15/$18) 6/11: THE GRAND SHELL GAME (ALBUM RELEASE SHOW) W/ANNABELLE'S CURSE, GABRIEL DAVID ($10/$12) 6/12: OZYMANDIAS W/ STEELBENDERS, CASTLE WILD

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

TH 5/12 @ HAW RIVER BALLROOM

FRIGHTENED RABBIT 6/13: POWERS ($10/$12) 6/14: JOHN PAUL WHITE ($15) 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) 7/1: PINEGROVE W/ SPORTS, HALF WAIF ($10/$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) 8/12: ELIZABETH COOK ($15/$17; ON SALE 5/13) 8/27: MILEMARKER ($12) CAROLINATHEATRE(DURHAM):

6/26 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

WED, MAY 11

CAT’S CRADLE (BACK ROOM): Susto; 8 p.m., $8–$10. • KINGS: Bitter End, Rhythm of Fear, Self Destruct, Future Prim, Ill Effect; 7 p.m., $12. • KOKA BOOTH AMPHITHEATRE: Atomic Rhythm All-Stars; 5:30 p.m., $5, 12 and under free. • LOCAL 506: Sibannac, Raw Dog, Safe Word, 49/Short; 9 p.m., $7. • THE PINHOOK: Saintseneca, Happy Abandon; 9 p.m., $10. • POUR HOUSE: Wayleaves, The Eddie Taylor Thing, Karbuncle; 8:30 p.m., $5. • RED HAT AMPHITHEATER: Pentatonix, Us The Duo, AJ; 8 p.m., $35–$85.

THU, MAY 12 Black Lips PROTO- From early days as BURGER a charmingly sophomoric band known as much for onstage antics as for simple, catchy songs to the (relatively) more mature and nuanced veteran band with a noticeable ripple of influence, Atlanta’s Black Lips have followed a trajectory not unlike pop-punk stars Green Day or Blink-182. Indeed, the Lips’ jangly, lightly psychedelic garage rock is a prototype for the sunny, upbeat stuff that propels imprints like Burger Records. And while the foursome doesn’t have the mainstream success of its pop-punk analogues, Black Lips seem perfectly content to ride reliable grooves and veteran status to headlining slots. Savoy Motel opens. —BCR [MOTORCO, $14–$16/8 P.M.]

Adam Ezra Group POP ODES Boston’s Adam Ezra Group seems like kindred spirits of Train. If you can get past the opening lines of “Let Your Hair Down”—“You’re sweet like a melon, sly like a felon”—you’ll find earnest acoustic rock and well-meaning if goofy couplets. Plus The Paper Stars. —AH [LOCAL 506, $8–$10/8:30 P.M.]

05.11–05.18

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

Frightened Rabbit

wielded his ax for Chinese Democracy-era Guns N’ Roses and has collaborated with fellow oddballs like Les Claypool and Mike Patton—continues to expand an impressive, self-indulgent catalog of avant-garde adventures, grounded in progressive rock and metal. —SG [LINCOLN THEATRE, $20/9 P.M.]

RELY ON Despite some MISERY teases that it’d lean on electronic sounds, and despite some arranging by The National’s Aaron Dessner, Frightened Rabbit’s Painting of a Panic Attack sticks to the band’s reliable gloom. Yeah, there are a few more synths and some triggered drums and some heavily processed guitars, but the quintet still distills common thematic threads—loss, regret, angst—into whiskey-warmed swooners mired in mid-tempo soul searching. Caveman opens. —PW [HAW RIVER BALLROOM, $20–$23/8 P.M.]

PHOTO BY RACHAEL WRIGHT

music

CONTRIBUTORS: Grant Britt (GB), Grayson Haver Currin (GC), Spencer Griffith (SG), Allison Hussey (AH), Maura Johnston (MJ), David Klein (DK), Bryan C. Reed (BCR), Dan Ruccia (DR), David Ford Smith (DS), Gary Suarez (GS), Eric Tullis (ET), Patrick Wall (PW)

Phantom Pop INSOUL- Featuring New York MENTALS jazz heads who are accomplished improvisers, Phantom Pop typically slicks out its neo-soul fusion, suggesting the likes of Snarky Puppy. (J) Rowdy and The NightShift finds the intellectual Chapel Hill rhymer spitting bars over a jazzy band. Outside Soul adds energetic funk. —SG [CAT’S CRADLE BACK ROOM, $8–$10/8:30 P.M.]

Scythian BAD IRISH Based around Washington, D.C., Scythian is the musical equivalent of a sloppy Saint Patrick’s Day celebration. The band slings high-energy, Celtic-inspired folk-rock with plenty of hidey-hos and hee-dee-dees. The band of white guys (and one woman) also proudly brands itself with the word “gypsy”—par for the course for this cloying mess. Locals Diali Cissokho and Kaira Ba, the better band here by a long stretch, open. —AH [CAT’S CRADLE, $15–$17/8:30 P.M.] ALSO ON THURSDAY AMERICAN TOBACCO CAMPUS: The Old Ceremony, The Backsliders; 6 p.m., free. • THE CAVE: Mike Frazier, Associations, Cameron Stenger, Andrew Timmons; 9 p.m., $5. • DEEP SOUTH: Blue Frequency, My Mountains, Flight of Salt; 8:30 p.m., $5. • KINGS: Ought, Priests; 8:30 p.m., $12–$14. See page

SUNDAY, MAY 15

BLOC PARTY

Hymns, the fifth album by the Brits of Bloc Party, represents a musical shift for the one-time buzz band. Kele Okereke’s stirring yawp remains one of the few threads between then and now, but Bloc Party has traded the wiry textures and bouncing-ball drums of its earliest singles for vaporous guitar fuzz and much mellower beats. The title of Hymns is somewhat literal; in a January interview with Out, Okereke noted that the sparse house nod of “Only He Can Heal Me” has structural roots in the Israeli folk song “Shalom Chaverim.” He also cited the husband-and-wife gospel duo The Consolers— specifically their “emotional, back-of-the-throat delivery”—as an influence. Secular pleasures lurk, too: “I used to find my answers in the gospel of St. John/ But now I find them at the bottom of a shot glass,” he grouses during “The Good News,” which melds moody verses with a dirt-smudged slide guitar. Shifting musical gears is a risky proposition for any band in this fast-paced era, particularly for acts once pegged as next-big-thing types. Given the current abundance of metadata tags, can you truly escape your past without seeming to try too hard to avoid irrelevancy? To wit, “Banquet,” the group’s pulsing decade-old hit, is probably more prominent even now than any of the tracks on Hymns. It provides the soundtrack for a car commercial that pops up during sports telecasts and the occasional cable drama. But Hymns suggests a hunger to keep going and keep questioning what Bloc Party is. Reaching the top of the mountain might be the stuff of legend, but the post-summit journey has way more potential for spurring growth and change. Good on Bloc Party for taking the chance. —Maura Johnston CAT’S CRADLE, CARRBORO 8 p.m., $29.50–$32, www.catscradle.com

31. • LINCOLN THEATRE: The Hip Abduction, Down By Five; 8 p.m., $8.75. • THE PINHOOK: The Mountain Goats, Loamlands; 9 p.m., $30–$50. See page 30. • POUR HOUSE: Local Band Local Beer: Hey Guy, Absent Lovers; 9:30 p.m., free.

FRI, MAY 13 Arc Iris UPPED As Arc Iris, former ANTHEM Low Anthem

member Jocie Adams broadens that band’s stylistic base of folk with flourishes of ragtime and torch songs, pealing twang and emphatic rock. Arc Iris’s self-titled debut, released on ANTI- two years ago, was promising but precious, with Adams’s curling, quirky wonder of a voice sometimes subsumed by a band a little too eager to make a statement. But when the band steps back and she leans forward in an intimate song, she can stun. —GC

[CAT’S CRADLE BACK ROOM, $8–$10/8:30 P.M.]

Buckethead SHROUD Before returning to & SHRED the stage last month after nearly four years off the road, masked-and-bucketed guitar god Buckethead put in a staggering amount of studio time that resulted in more than two hundred solo albums. The highly skilled shredder—who

Bruce Katz Band BURBLING Backed only by BLUES guitarist Chris Vitarello and drummer Ralph Rosen, Bruce Katz has plenty of room for his B-3 to burble through a mix of jazz, funk, and blues. His latest release, Homecoming, mixes acid jazz and funk and includes a rockabilly take on Elmore James’s “Wild About You Baby.” —GB [BLUE NOTE GRILL, $10/9 P.M.]

MarchFourth! BRASSY Portland perforFUN mance troupe MarchFourth! smashes together a sideshow-esque spectacle of acrobats, vaudevillians, and stilt walkers with a DIY marching band. Musically, the outfit uses the modern brass band formula of jazz, funk, rock, and hip-hop for polyrhythmic adventures that also toss together an array of worldly influences. Tea Cup Gin opens. —SG [MOTORCO, $14–$16/9 P.M.]

Mel Melton & The Wicked Mojos NAWLINS In his dual role as STYLE bandleader and chef, Roy “Mel” Melton has come to embody the proudest traditions of New Orleans since he fell in love with southeast Louisiana as a UNC student in 1969. The Beauty Operators provide the appetizer, serving up roadhouse rock with satisfying sass and crunch. —DK [DEEP SOUTH, $8/8 P.M.]

INDYweek.com | 5.11.16 | 33

11 7 W MAIN STREET • DURHAM

FUHB2 TH 5.12

THE MOUNTAIN GOATS & LOAMLANDS 5.11 5.12 5.13 5.14 5.15 5.15 5.16 5.17 5.18 5.19

5.20

5.21 5.23 5.24 5.25

A BENEFIT FOR SOUTHERN VISION ALLIANCE SAINTSENECA / HAPPY ABANDON FUHB2: MOUNTAIN GOATS & LOAMLANDS BENEFIT FOR SOUTHERN VISION ALLIANCE

VIVICA C COXX PRESENTS: FREAK SHOW THE BRONZED CHORUS DUMB WAITER / ZEPHYRANTHES DAY SHOW: RUSSELL LACY SCHOOL OF MUSIC SHOWCASE HARDWORKER / REMONA DOWELL S & M (SNACKS & MOVIES) PURPLE RAIN TUESDAY NIGHT TRIVIA: WIN A $50 BAR TAB OR TIX TO A SHOW MOVIE SCREENING: I DREAM OF WIRES MOOGFEST 2016: AFRIKAN SCIENCES RABIT / LARRY GUS / ULTRABILLIONS MOOGFEST 2016: KYLE HALL / PATRICIA M. GEDDES GENGRAS / TRANDLE / HANZ EYES LOW / PARTY ILLEGAL MOOGFEST 2016: VIA APP / KAREN GQYER LAUREL HALO / VERONICA VASICKA QUINTRON & MISS PUSSYCAT / THE BODY / RBTS THAT’S THE JOINT! MONDAY NIGHT TALENT SHOWCASE TUESDAY NIGHT TRIVIA: WIN A $50 BAR TAB OR TIX TO A SHOW JUST JESS / THE SECOND WIFE COMING SOON: NAPPY ROOTS • TOMBOI • DYLAN LEBLANC PURE BREATHING CULTURE • KOOLEY HIGH • FREAKWATER

N.C. Symphony: Grant Conducts Mahler SPRAWL, Despite being EXPANSE written just before his life started falling apart, Mahler’s Seventh Symphony is a surprisingly dark work. Its themes bend toward the minor, and it favors darker orchestral colors. Over the course of five sprawling movements, Mahler covers a huge amount of terrain. Let it all wash over you. —DR [MEYMANDI CONCERT HALL, $18–$66/8 P.M.]

Nerd Rage GRITTY Kentucky’s GRIND NerdRage delivers a gleeful, grimy brew of fast hardcore, rumbling grindcore, and slithering death metal. Jackson Hogg slides Obituaryish riffs across Adrian Dickerson’s tumultuous drumming while singer Nick Pulliam growls. Fellow Kentuckians Dirt Bag and Raleigh’s RBT join. —BCR [SLIM’S, $5/9 P.M.]

Parquet Courts 919.821.1120 • 224 S. Blount St WE 5/11

The INDY’s Guide to Dining in the Triangle

WAYLEAVES

THE EDDIE TAYLOR THING / CARBUNCLE UNKNOWN BREWING PRESENTS: LOCAL BAND LOCAL BEER

TH 5/12

JONAS SEES IN COLOR

HEY GUY (GOGOL BORDELLO GUITAR PLAYER) ABSENT LOVERS RUNAWAY GIN A TRIBUTE TO PHISH (3 SETS)

FR 5/13

BIG MEAN SOUND MACHINE

SA 5/14 SU 5/15

DURTY DUB THE POUR HOUSE & GUITARTOWN PRESENT:

WHO IS LYDIA LOVELESS?

DOCUMENTARY SCREENING & ACOUSTIC PERFORMANCE MO 5/16

MAGNOLIA

FOXTURE / SEE BRIGHT LIGHTS / JOSH EPIFANIO TU 5/17

WE 5/18

COAST 2 COAST LIVE INTERACTIVE SHOWCASE MAIL THE HORSE / TEXOMA

UNKNOWN BREWING PRESENTS: LOCAL BAND LOCAL BEER

TH 5/19

OUTSIDE SOUL

Shana Tucker

NUCLEAR HONEY / THE KNEWS

GROOVE FETISH

FR 5/20

THE GET RIGHT BAND / SOUTHERN BELLES MOJO RISING (TRIBUTE TO THE DOORS) HALESTRUM (TRIBUTE TO HALESTORM)

SA 5/21 SU 5/22 MO 5/23 TU 5/24

HOLDING Back in 2014, after COURT the release of the very good Sunbathing Animals, Spin lauded Parquet Courts as its band of the year. The now-defunct Grantland wondered if they were the last great New York band. Expect similar accolades this year for Human Performance, which finds the band smarter and sharper than ever. Parquet Courts are vibrant chroniclers of modern ennui, with sideways indie rock implying the dread and anger underneath. B Boys and Flesh Wounds open. —PW [CAT’S CRADLE, $13–$15, 9 P.M.]

RADIO BIRDS

STRANGETOWNE / YOUNG YONDER PSYLO JOE / THE JAUNTEE CHROME SCENE / ARSON DAILY / REMARK

facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com 34 | 5.11.16 | INDYweek.com

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

NU CELLO While the myriad practitioners of chamber pop could start their own chamber orchestra by now, the chamber soul genre consists of a Long Island-bred, sometimes-Tar Heel-based cello player named Shana Tucker. The cello’s grit adds texture to her dynamic hybrid of jazz, soul, and

R&B. Tucker’s focus on her instrument is resolute, while her smoky singing is a wonder in itself. —DK [BEYÙ CAFFÈ, $10/8 & 10 P.M.]

Wild Nothing JANGLE When Wild MAN Nothing’s terminally chill Gemini LP arrived in 2010, sugary Joy Division synths and nostalgia for the present were everywhere in indie rock. Though many of their peers fizzled, Wild Nothing has hummed along on the back of consistent, if monochromatic, songwriting. Life of Pause adds polish and should appeal to any dreampopper worth a floppy haircut. With Charlie Hilton. —DS [KINGS, $15/9 P.M.] ALSO ON FRIDAY BYNUM GENERAL STORE: The Outliers; 7 p.m. • DURHAM SCHOOL OF THE ARTS: Spring Showcase Choral Concert; 7 p.m., $10. • LOCAL 506: Hey Guy; 9 p.m., $7. • THE MAYWOOD: Hectorina, First Persons, Sam Brown Seven; 9:30 p.m., $7. • MYSTERY BREWING PUBLIC HOUSE: Casey Williams, Old Quarter; 8:30 p.m., free. • NC MUSEUM OF ART: Ed Stephenson & The Paco Band; 5:30 p.m. • NORTHGATE MALL: Reverend Dan and the Prophets; 6:30 p.m., free. • POUR HOUSE: Runaway Gin; 9 p.m., $10–$12.

SAT, MAY 14 The Bronzed Chorus DO THE The Bronzed MATH Chorus finds Hunter Allen working overtime, layering electronics over skittering drums while Adam Joyce counters with nimble, intricate guitar lines. Richmond’s Dumb Waiter twists and turns through shifting, sax-studded amalgamations that span free jazz, metal, reggae, and post rock. Experimental upstarts Zephyranthes add a punk edge to tonight’s mathy music. —SG [THE PINHOOK, $7/9 P.M.]

Everybody Wants to Kill Me Tour DERANG- Big Ded is an ED NOISE experimental EDM act that pairs Atlanta’s Pamela_ and her sons with Celines. The frolicking “We Coughs Em Up” is an evil reworking of Kanye West’s “New Slaves.” It makes up for some of the idiosyncratic “prose pop” of tour mate SoBrite, who raps in an almost inaudible tone about bikini waxes and dog breeds. Zensofly, Blake Diamond, and Nxidentity open. —ET [KINGS, $10/10 P.M.]

Flatbush Zombies WILD Every generation ONES needs its drug-addled nihilists. After multiple mixtapes of face-eating romanticism and vape viscera, Flatbush Zombies’ latest album, 3001: A Laced Odyssey, goes to surprisingly brighter and altogether more personal places. Everyone’s got to grow up sometime. Yet while the Zombies haven’t gone straight-edge or anything so extreme, their work does benefit from thematic diversity. Even in-house producer Erick Elliott’s beats have evolved and improved as he explores the serene and severe power of bass. With A$AP 12vy and Remy Banks. —GS [LINCOLN THEATRE, $23–$100/9 P.M.]

The Front Bottoms GROWN- Streams of witty, UP EMO wild-eyed lyrics made for shouting meet huge pop hooks to form the irresistible earworms that define The Front Bottoms. They’re set to frantic acoustic strums that are quickly proving ready for pop status. Fellow New Jerseyans Brick + Mortar supply electro-infused modern rock, while Diet Cig deals infectious, peppy jangles. —SG [CAT’S CRADLE, $17–$21/8 P.M.]

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(I kid.) Raund Haus is actually a fresh-faced electronic collective and event series based at The Shed in Durham. This show s an ental EDM ropes together several local s Pamela_ beatmakers to promote the ines. The Haus’s first tape release, with s Em Up” Durham IDM phreaker Calapse on headlining duties. Support Kanye It makes comes from eclectic sound osyncratic wrangler hifilorau, cyberpunk rap maven Tennis Rodman, and ate n almost the intriguing Apache Kid, gunning to make “acid chiptune” bikini s. Zensofly, a genre. —DS Nxidentity [THE SHED, $5/9 P.M.] 10/10 P.M.] ALSO ON SATURDAY

Machine, Durty Dub; 9:30 p.m., $7–$10. • RED HAT AMPHITHEATER: Trampled By Turtles, The Devil Makes Three; 6:30 p.m., $20–$200. See indyweek.com. • SAXAPAHAW RIVERMILL: Shiloh Hill; 6 p.m., free. • SCHOOLKIDS RECORDS (RALEIGH): Horseskull; 7 p.m. • BOND PARK: SERTOMA AMPHITHEATRE: Mile Twelve; 5 p.m., free. • SOUTHLAND BALLROOM: The Bee Ball; 8 p.m., $12–$15. • THE STATION: Texoma, The Stars Explode; 8:30 p.m., $5. Luxe Posh; 9 p.m., $5. • STEEL STRING BREWERY: Hal Engler Quartet; 5 p.m. • THE COMMUNITY CHURCH OF CHAPEL HILL UNITARIAN UNIVERSALIST: Playing for Peace; 4 p.m., $10–$15. • UNIVERSITY PRESBYTERIAN CHURCH: Avante; 7:30 p.m., $5–$12.

BEYÙ CAFFÈ: James Saxsmo Gates; 8 p.m., $10. • BLUE NOTE neration GRILL: Brice Street Band; 8 p.m., $8.• BOOGIE HOLLER: Homegrown s Music Festival; 2:30 p.m., $15–$20. • After ace-eating CARY TOWN HALL: Ritmo Latino e viscera, Music, Art & Dance Festival; 12-6:30 est album, p.m., free. • CAT’S CRADLE Arbor Labor Union y, goes to (BACK ROOM): Lydia Loveless; 8 p.m., $12. See page 31. • DEEP and GEORGIA Once known as onal places.SOUTH: Christiane & The Strays; PREACH Pinecones, the 10 p.m., free. • THE GOVERNOR w up excellent new Sub Pop signees MOREHEAD SCHOOL: Eastern he of Arbor Labor Union are a Schools for the Blind Music Festival; 7 e post-punk quartet from Georgia. p.m., donations. • HONEYSUCKLE hing so The band’s musical lineage TEA HOUSE: Eric and Erica; 7 oes benefit traces to the glory days of Touch p.m. • LITTLE LAKE HILL: Cathy ty. Even & Go’s heavies, but there’s a Fink & Marcy Marxer; 8 p.m., $20. • ck Elliott’s concession to accessibility in LOCAL 506: Plutopia, Joel Keel; 9 nd their songs, an appreciation for p.m., $10–$12. • THE MAYWOOD: res the hooks that seems prone to pull KIFF, Thorazine, Snake & The Plisskens, wer of more people in than it puts off. If The Semantics; 8:30 p.m., $10. • y and you’ve ever been engrossed in MEYMANDI CONCERT HALL: the erudite, electric reflections N.C. Symphony: Grant Conducts Mahler; of Protomartyr or Ought, check 8 p.m., $18–$66. See May 13 listing. • Arbor Labor Union. —GC MYSTERY BREWING PUBLIC [CAT’S CRADLE BACK ROOM, HOUSE: JP and Leon Band; 8:30 $10/8:30 P.M.] p.m., free. • NIGHTLIGHT: Savage toms Weekend VI. See box, this page. • of witty, POUR HOUSE: Big Mean Sound d lyrics eet huge e that define Present this coupon for hey’re set ums that (Not Valid for Special Events, expires 01-17) ady for pop rseyans y for directions and information rn rock, www.teasersmensclub.com nfectious,

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PHOTO BY JEREMY M. LANGE

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FRIDAY, MAY 13–SATURDAY, MAY 14

SAVAGE WEEKEND Ryan Martin does not seem to mind the logistics of booking ninety bands during two days. Instead, Martin—as a musician, label head, and promoter, the area’s most steadfast experimental impresario—views his Savage Weekend as an hoc family reunion for international power electronics powerhouses, harsh noise blasters, and drone sculptors. Martin’s sixth-annual symposium of abrasion gathers touring festival standbys, like the great Rat Bastard, with prime locals, including Lack and Housefire. Martin’s also recruited some of his more recent favorites, including the damaged blasts of Chicago’s HOGG. For more than ten hours each day, the acts cycle through quarter-hour sets, each reevaluating the day’s dynamic in real-time. “People are vibing off of each other,” he says. “That’s one thing I appreciate across small music scenes—there are people encouraging in such a positive way. It’s a dialogue.” For an interview with Martin, see www.indyweek.com. —Grayson Haver Currin

SUN, MAY 15

Member Admission Price 919-6-TEASER

NIGHTLIGHT, CHAPEL HILL 4:30 p.m. (Friday) & 4 p.m. (Saturday), $20, www.facebook.com/nightlightclub

Against Me! AGAINST In the flurry of HB 2! canceled shows and protests over HB 2, Against Me!’s transgender frontwoman Laura Jane Grace was among the first to announce she wouldn’t cancel her North Carolina date. Instead, she

WED 5/11 THE HERDED CATS, 8PM THU 5/12 NASH STREET RAMBLERS 7PM FRI 5/13 DUKE STREET DOGS, 6-8PM BRUCE KATZ BAND, 9PM $10 SAT 5/14 BRICE STREET, 8PM $8 SUN TBA TUES 5/17 OPEN BLUES JAM, 7:30PM

156 Ramseur St. Durham, NC

WE 5/11

SA 5/14 SU 5/15 TU 5/17

TeasersMensClub

@TeasersDurham

Hardworker PLEASE Hardworker is a SING relatively new Durham five-piece that makes gentle, sometimes jangling folk-rock with occasional traces of gospel oomph. The undeniable core, though, is the sterling voice of Sus Long, whose brassy tone and vibrato sweep suggest Jolie Holland stepping forward in song, not back. On last year’s The Awful Rowing, she was often spectacular. Remona Dowell opens. —GC [THE PINHOOK, $10/8:30 P.M.]

Love Canon FAKE Love Canon deals in GRASS bluegrass covers of songs from the eighties. They do well with “Money for Nothing” by Dire Straits, the Dead’s “Touch of Grey,” and even “Axel F” from Beverly Hills Cop.

Purson BIG TOP Purson, a London GLAM fivesome fronted by the siren Rosalie Cunningham, blends the winking theatricality of glam with the visceral throb of Sabbath. Named for one of the kings of Hell, Purson has toured with Kiss, stoner icons Electric Wizard, and heavy metal titans Pentagram, which gives you a fair indication of the key threads. Orchid Sun and the Manimals open. —DK [LOCAL 506, $10–$12, 8 P.M.] ALSO ON SUNDAY BABYLON: Chris Trapper, Jason Adamo; 6 p.m., $12. • CAT’S CRADLE: Bloc Party, The Vaccines; 8 p.m., $29.50–$32. See box, page 33. • FLETCHER OPERA THEATER: N.C. Master Chorale; 3 p.m., $13–$28. • HAW RIVER BALLROOM: Stand Against HB 2: North Carolina Musicians United for EqualityNC; noon, $15–$17. See page 30. • LOCAL 506: 3@3: Odd Cardinal, Bella G, Daniel Gregory; 3 p.m., free. • THE PINHOOK: Russell Lacy School of Music Showcase; 2:30 p.m. • POUR HOUSE: Lydia Loveless; 7:30 p.m., $12–$15. See page 31. • SOUTHERN VILLAGE GREEN: Magnolia Klezmer Band; 6 p.m.

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 / JOEL KEEL 9pm $10-$12 su 5/15 PURSON / ORCHID SUN / THE MANIMALS 8pm $10-$12 su 5/15 KRISTEN ABIGAIL COLLECTIVE PRESENTS 3@3: ODD CARDINAL / BELLA G DANIEL GREGORY (OF RAID THE QUARRY) 3pm FREE mo 5/16 MONDAY NIGHT OPEN MIC 8:30pm FREE tu 5/17 RAVARY / VELO / PAST PRAYERS 9pm $5-$7 th 5/12

FR 5/13

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

DREAM “We don’t want to ON think for ourselves,” sings Nick Wold during Dreamers’ single “Drugs.” “We’re millennials.” It’s a tight, slick track that would sound right at home on alternative radio between Weezer and Young the Giant. Dreamers gets points for toe-tapping tunes, sure, but they don’t do much more than blend into an already oversaturated landscape. They don’t have to think for themselves—the blueprint’s already there. With Young Wild and AudioDamn!. —PW [KINGS, $10–$12/8 P.M.]

Asheville’s Tellico opens this seasonal music series with springy originals. —AH [MIDTOWN PARK AMPHITHEATER, FREE/4:30 P.M.]

we 5/11 RAW DOG / SAFE WORD / 49/SHORT 9pm $7

TH 5/12

1/8 P.M.]

aus is a place ether.

invited local activist groups to set up information tables and has said she plans to speak about the bill at the show. Expect even more truth spoken to power alongside Against Me!’s already potent songs. My Jerusalem opens this sold-out shindig. —AH [MOTORCO, $18–$20/8 P.M.]

Dreamers

THE HERDED CATS NASH STREET RAMBLERS DUKE STREET DOGS BRUCE KATZ BAND BRICE STREET TBA OPEN BLUES JAM

8PM 7PM 6-8PM 9PM $10 8PM $8 7:30PM

LIVE MUSIC • OPEN TUESDAY—SUNDAY THEBLUENOTEGRILL.COM 709 WASHINGTON STREET • DURHAM

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

www.LOCAL506.com INDYweek.com | 5.11.16 | 35

MON, MAY 16 Disappears ELECTRIC Since issuing its HAZE first proper LP in 2010, Chicago’s Disappears has remained in thrall to the ecstatic embrace of guitar, bass, and drums. Initially forged from churning post-punk and the post-rock of fellow Midwesterners, Disappears harnessed some pop swagger on 2012’s Pre-Language. Since then, the formula has continued to be willfully upended with shoegaze textures and PIL-style dub. Last year’s live performance of Bowie’s after-hours Berlin classic Low is more evidence of a group game for anything and everything. With Chapel Hill psych artists Lacy Jags. —DK [KINGS, $12/8:30 P.M.]

The Pessimists

BILL BURTON ATTORNEY AT LAW

Un c o n t e s t e d Di vo rc e SEPARATION Mu s i c Bu s i n e AGREEMENTS ss Law UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e rMUSIC s h i pBUSINESS LAW Wi l lINCORPORATION/LLC s C o l l e c t i o n s WILLS

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bill.burton.lawyer@gmail.com 36 | 5.11.16 | INDYweek.com

RAW São Paulo punks NERVES The Pessimists offer an anxious fusion of nervy post-punk, clanging surf rock, and power pop. Tonight they top a far-flung bill that gathers the D.C.- and Brazil-based hardcore band Sem Hastro, New York’s Nandas, Greensboro’s Louse, and Raleigh’s Crete. —BCR [NIGHTLIGHT, $7/8 P.M.] ALSO ON MONDAY CARY ARTS CENTER: Really Terrible Orchestra of the Triangle; 7:30 p.m. • POUR HOUSE: Magnolia, Foxture, See Bright Lights, Josh Epifanio; 9 p.m., $5.

TUE, MAY 17 Sioux Falls MOUSE Portland trio Sioux TRAP Falls raid Modest Mouse’s closet. However, they do it with far more verve than your average imitators. On 2016’s Rot Forever, seven-minute songs show the band attempting cinematic excess, even if repetition sometimes lessens the overall impact. —DS [NEPTUNES PARLOUR, $5/9:30 P.M.]

ALSO ON TUESDAY BURNING COAL THEATRE AT THE MURPHEY SCHOOL: Swift Creek; 7 p.m., $10. • LOCAL 506: Ravary, Velo, Past Prayers; 9 p.m., $5–$7. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m., $10. • THE RALEIGH TIMES BAR: Beer & Banjos: Daniel Ayers; 7:30 p.m.

WED, MAY 18 Curren$y PUFF No species is in ALWAYS more peril than the one-note rapper. In these fast-paced times, where going viral can quickly begin and end a career, adaptability remains key to staying current. While Curren$y is in no major danger at the moment, he’s nestled a bit too comfortably into a stoner groove, one that threatens to prove a rut. Arguably, there will be a demand for weed rap acts like Cypress Hill so long as the stuff still gets us high. But his continued failure to achieve what Wiz Khalifa has might doom Curren$y to a fate worse than the legacy circuit. —GS [LINCOLN THEATRE, $25–$39/8:30 P.M.]

Mail the Horse SWAMP & Mail the Horse’s STOMP “Flowers Keys & Gasoline” feels like carefree, late-summer fun. The band sports a bit of mid-seventies twang, adding rhythms that more align them with today’s rough-and-tumble indie rock. Texoma opens. —AH [POUR HOUSE, $6–$8/9 P.M.]

N.C. Symphony with Itzhak Perlman ITZY Itzhak Perlman is a BITSY master of the nineteenth-century violin repertoire, and Max Bruch’s Violin Concerto No. 1 is a perfect vehicle for his rich tone. Bruch strikes a balance between the fiery virtuosity of Paganini and the rich lyricism of Mendelssohn. In Perlman’s hands, this music is always on the edge of bursting. A pair of works by

Mendelssohn completes the program. —DR [MEYMANDI CONCERT HALL, $75–$180/7:30 P.M.]

Joe Pug MORE To make 2015’s HUMAN Windfall, Joe Pug first had to step away from a harried career as a singer-songwriter and re-focus on, as he put it, “behaving like a human being again.” He still slings his signature heartfelt songs with his acoustic guitar, but perhaps a little more carefully these days. With the gorgeous Horse Feathers. —AH [CAT’S CRADLE BACK ROOM, $17–$20/8 P.M.]

Rogue Wave EASY Drenched in reverb BREEZY and nodding ever-so-slightly to psychedelia, the fourth album from San Francisco’s Rogue Wave, Delusions of Grand Fur, is wholly pleasant. That adjective describes a lot of the acts that came up during the 2000s, when music blogs served up a lazy Susan of similar new artists. Guitarist-vocalist Zach Rogue has, at least, hung on, which is admirable even before you consider pretty Delusions tracks like the snowy “Falling.” Hey Marseilles opens. —MJ [CAT’S CRADLE, $16–$18/7 P.M.]

Styx, Kansas DEEP Styx and Kansas DINOS playing at the local deluxe venue would seem to embody everything wrong with the current live-music equation. Small rooms struggle to put asses in seats, yet two titans of dumbed-down, fin de siècle seventies art rock—replete with best-when-tripping-balls album art and coyly mystical LP titles—fill the big houses. So have at it. Just remember that it’s a grand illusion. Up first: Ex-Eagle Don Felder. —DK [KOKA BOOTH AMPHITHEATRE, $50–$60/6 P.M.] ALSO ON WEDNESDAY DEEP SOUTH: Kaylin Roberson; 7 p.m., free.

OPENING

Gallery, Durham. www. PleiadesArtDurham.com.

The Bazaar Craft & Art Market: Sun, May 15, 1-6 p.m. Carrboro Town Commons, Carrboro.

Altered Land: Works by Damian Stamer and Greg Lindquist: Stamer and Lindquist apply a heavy coat of subjectivity to rural N.C. scenes. Stamer paints a barn with black-andwhite 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

Captive Craftsmanship: Stories of Enslaved Work at Stagville: Demonstrations, exhibits of tools, children’s activities, and an open house. $3-5. Sat, May 14, 11 a.m.-4 p.m. Historic Stagville, Durham. www.stagville.org. Createfest: Artist demos, creative activities, live music, craft market, and more. Sat, May 14, 12-7 p.m. Draft Line Brewing Company, Fuquay-Varina. Iraqi Refugee Art: Paintings by ten Iraqi artists who fled to Syria and have recently been resettled in the U.S. and Canada. May 13-15. William Peace University, Raleigh. www.peace.edu. SPECIAL Our House: Durham EVENT Arts Council faculty and students. May 13-Jul 10. Reception: Fri, May 13, 5-7 p.m. Durham Arts Council, Durham. www.durhamarts.org. Rare Earth: Photographs by Marjorie Pierson. May 13-Jul 10. Durham Arts Council, Durham. www.durhamarts.org. Frumet Raskin-Miller: Pottery demonstration. Fri, May 13, 6-9 p.m. Womancraft Fine Handcrafted Gifts, Carrboro. www.womancraftgifts.com.

ONGOING 2016 Members’ Showcase: Thru Jun 11. Durham Art Guild. www.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. The Abstract Truth: Art about the transcendence of music. Thru May 29. Pleiades

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

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 Arise! Bald Man! King of Hair People!: Bill Thelen, the founding director of groundbreaking Raleigh gallery Lump, is stepping down after two decades, and this 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. Thru Jun 11. Lump, Raleigh. www. teamlump.org. —Brian Howe Art in the Garden: Sculpture show. Sat, May 14, 10 am-6 p.m. Garden Art Gallery, Hillsborough. www.garden-artgallery.com. Artface: Portraits by Tom Dunne. Thru May 29. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. ARTQUILTSvoices: PAQA-

PHOTO BY PRESTON GANNAWAY

05.11–05.18 South. Thru Jul 2. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org. LAST Artspace Teaching CHANCE 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. Barns & Cricks: Lori White. Thru May 28 Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com. Benjamin Britton: The Hope and Desire Forecast: Thru Jun 5. Flanders Gallery, Raleigh. www. flandersartgallery.com. Best of North Carolina 2016: N.C. history paintings, prints, and more. Thru May 31. Gallery C, Raleigh. www.galleryc.net. SPECIAL Blurred Lines— EVENT Modern Paper Quilts: Lisa Parrot. Thru May 31. Reception: Fri, May 13, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org. 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. 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 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. Martha Clippinger: Thru Jun 25. Artspace, Raleigh. www. artspacenc.org.

“PLANKERS” (2012)

art

FRIDAY, MAY 13

PRESTON GANNAWAY

The ocean is hard to see in Ocean View, the Norfolk, Virginia, area along the Chesapeake Bay that Pulitzer-winning photographer Preston Gannaway, born in North Carolina and now based in California, documents in her book Between the Devil and the Deep Blue Sea. As in many coastal towns, the humble cottages of the working class vie with milliondollar homes over scanty acres of crucial ecosystem. Gannaway shies from picturesque views to hunt down scenes of desolation, hardship, and unexpected connection, from a glum, misty redevelopment site to chairs dangling precariously from a storm-buckled porch. Meet her at this opening reception, which features a book signing and an artist’s talk. The show also has a Third Friday reception and runs through June 3. —Brian Howe SPECTRE ARTS, DURHAM 6–9 p.m., free, www.spectrearts.org

SPECIAL Connected: Pierce EVENT Boshelly. Thru May 31. Reception: Fri, May 13, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org. 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 Exposed: Nudes in Art: Thru Jun

3. Litmus Gallery, Raleigh. www. litmusgallery.com. Express Yourself: A Celebration of Black Art in Durham: Thru Jun 17. Duke Campus: Mary Lou Williams Center for Black Culture, Durham. Faces: Keanna Artist and Margaret Griffin. Thru May 30. Local Color Gallery, Raleigh. www.localcoloraleigh.com. 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. First Folio! The Book That Gave Us Shakespeare: 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 thirtyfive 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.

NC Museum of History, Raleigh. www.ncmuseumofhistory.org. — Brian Howe SPECIAL Fragments: Found & EVENT Formed: Charron Andrews, Susan Parrish, and Carol Retsch-Bogart. Thru Jun 5. Reception: Fri, May 13, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com. Half a World Away: Oil paintings by Alicia Armstrong. Thru Jun 19. Eno Gallery, Hillsborough. www.enogallery.net. SPECIAL Here and Now: Larry EVENT Dean, Craig Gurganus, Fen Rascoe. Thru Jun 4. Reception: Thu, May 12, 6-8

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!

INDYweek.com | 5.11.16 | 37

p.m. ArtSource Fine Art, Raleigh. www.artsource-raleigh.com.

18. Nasher Museum of Art, Durham. nasher.duke.edu.

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

Long Pose Exhibition: Thru May 28. Artspace, Raleigh. www. artspacenc.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

Los Jets: Playing for the American Dream: Thru Oct 2. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Passages: Paul Hrusovsky. Thru Jun 18. Craven Allen Gallery, Durham. www. cravenallengallery.com.

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

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

Mary Kircher: Thru Jun 25. Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com. LAST La Sombra y el CHANCE Espiritu IV - The Work of Stefanie Jackson: Thru May 13. UNC’s Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

Moods and Colors of Nature: Michael Navascues. Thru May 23. Herbert C Young Community Center, Cary. www. townofcary.org. Navigating To + Fro: Tedd Anderson, Amy Hoppe, Peter Marin. Thru May 20. 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 38 | 5.11.16 | INDYweek.com

Remnants of Great Spirit: Paintings by Lyudmila Tomova. Thru May 30. Village Art Circle, Cary. www.villageartcircle.com. SPECIAL Rubbish 2 Runway EVENT III: Dresses by student “trashion” designers. Thru Jun 5. Reception: Fri, May 13, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com. Tarot Dreamscapes: Cade Carlson, Kelly Knapp, and Darius Quarles. Thru May 19. Arcana, Durham. www. arcanadurham.com. SPECIAL Transplanting EVENT Traditions and More...: The Karen Youth Art Group. Thru Jul 3. Reception: Fri, May 13, 6-9 p.m. 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.

WEDNESDAY, MAY 11–SUNDAY, MAY 22

THE MYSTERY OF EDWIN DROOD Charles Dickens left an unintended mystery in The Mystery of Edwin Drood; he died after writing half of it, leaving few clues to its solution. The oddest and most entertaining attempt to finish the work is Rupert Holmes’s Tony-winning musical theater adaptation, set in a boisterous if disreputable Victorian music hall shortly after Dickens’s death. Its denizens gleefully put their musical mystery through its melodramatic turns. Then the audience votes on the solution, which the actors stage. Theatre Raleigh has cut a quarter of the script, with Holmes’s cooperation, for its ninety-minute “all star” version. That trim job could produce a cosmetic nip-and-tuck—or a theatrical amputation. We’ll find out which. —Byron Woods KENNEDY THEATRE, RALEIGH Various times, $31–$40, www.theatreraleigh.com

stage OPENING A Midsummer Night’s Dream: Presented by Carolina Ballet. May 12-15. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com. Adult Spelling Bee: $6. Fri, May 13, 7 p.m. DSI Comedy Theater, Chapel Hill. www. dsicomedytheater.com. Dan & Phil: Comedy. $43–$63. Wed, May 18, 7:30 p.m. Durham Performing Arts Center. www.dpacnc.com. The Honeysuckle Funnychuckle Murder Mystery Comedy History: Fri, May 13, 7 p.m. Honeysuckle Tea House, Chapel Hill. www.honeysuckleteahouse. com. Horrible People: Standup comedy. $5–$13. Wed, May 18, 8 p.m. Goodnights Comedy Club / The Grille at Goodnights, Raleigh. www. goodnightscomedy.com. Improv Wild Card: Comedy. $6–$10. Sat, May 14, 7 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater.com. Inversion: Performance art. Thu, May 12, 8 p.m. The Shed Jazz Club, Durham. KidsWrite 2016: a Festival of New Plays: Plays by students in grades six through twelve.

$10. Fri, May 13, 7:30 p.m. & Sat, May 14, 2 & 7:30 p.m. Burning Coal Theatre at the Murphey School, Raleigh. www. burningcoal.org. League Night: Improv and sketch comedy teams. $6. Thu, May 12, 8:30 p.m. DSI Comedy Theater, Chapel Hill. www. dsicomedytheater.com. David Lippman: Satire and songs. $10. Wed, May 11, 7:30 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill. The Little Mermaid: Ballet. $14–$25. Sat, May 14, 2 & 6 p.m. Carolina Theatre, Durham. www.carolinatheatre.org. Lyle the Crocodile: Play presented by Applause! Cary Youth Theatre. $5–$10. May 13-15. Cary Arts Center, Cary. www.townofcary.org. P.T. Scarborough Is a Movie: Improv comedy. $6. Thu, May 12, 7 p.m. DSI Comedy Theater, Chapel Hill. www. dsicomedytheater.com. Craig Robinson: Stand-up comedy. $33–$41. May 12-14. Goodnights Comedy Club / The Grille at Goodnights, Raleigh. www.goodnightscomedy.com. See p. 30. Stranger Danger: Improv comedy about bad dates. $10. Sat, May 14, 8:30 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater.com. Student Showcase: Improv comedy. $6. Sat, May 14, 7 p.m.

IT HAD WINGS BY JIM HAVERKAMP AND ELLEN HEMPHILL PHOTO COURTESY OF JIM HAVERKAMP

FRIDAY, MAY 13–SATURDAY, MAY 14

LONGLEAF FILM FESTIVAL

Presented by the N.C. Museum of History, the Longleaf Film Festival seeks to strengthen the bonds between the state’s filmmakers and film fans. Now in its second iteration, the festival is slated to present forty-plus films, most but not all of N.C. provenance. If anything unites these disparate works, it’s the aim of bringing audiences closer to people and circumstances they would otherwise not know. In this year’s rich roster of documentaries, we meet a teen with nonspeaking autism (Voices Unlocked); Durham police officer Lucy Zastrow (That Deputy Sheriff Might Surprise You); the folks behind the state’s craft beer scene (Brewconomy); James Henry Jones, the plantation-born farmer who waged a battle against desegregation (Chairman Jones); and luthier extraordinaire Matt Nowicki (Atomic Retro Customs). Along with the docs are narrative and dramatic films, including Jim Haverkamp and Ellen Hemphill’s adaptation of Allan Gurganus’s “It Had Wings.” The festival also helps nurture the next generation of filmmakers by letting young local directors show their stuff, like Silly Honest Kind, a five-minute short by high school director Dylan Crumpler, about a high school director who learns a lesson. —David Klein N.C. MUSEUM OF HISTORY, RALEIGH 3–7 p.m. Fri./11 a.m.–8:30 p.m. Sat., free www.longleaffilmfestival.com DSI Comedy Theater, Chapel Hill. www.dsicomedytheater. com. The Trojan Women: Play by the N.C. Theatre Conservatory Senior Acting Company. $15– $20. May 13-15. NC Theatre Conservatory, Raleigh. www. nctheatreconservatory.com. Versus: Hip-hop improv comedy. Wed, May 18, 10 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater. com. Vivica C. Coxx Presents: Freak Show!: Drag show. $10. Fri, May 13, 10 p.m. The Pinhook, Durham. www.thepinhook.com.

ONGOING Beertown: $13–$22. Thru May 22. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. Brent Blakeney: $10. Wed, May 11, 8 p.m. Goodnights Comedy Club / The Grille at Goodnights, Raleigh. www. goodnightscomedy.com. The Mystery of Edwin Drood: Musical. $30–$32.50. May 11-22. Kennedy Theater, Raleigh. www.dukeenergycenterraleigh. com/venue/kennedy-theatre. See p. 38.

PHOTO COURTESY OF INVERSION

INVERSION

ZAINA ALSOUS READS AT INVERSION

THURSDAY, MAY 12

This “wild evening of short poetry readings and text-based performances” continues to serve as the kickoff for Carrboro’s annual experimental music festival, Savage Weekend (see p. 35). But the reading series is showing signs of taking on a life of its own. This year, it moves from Nightlight neighbor All Day Records to a larger venue, Durham poetry hot spot The Shed. The series’s style runs to dark, unruly text performances with strong interdisciplinary elements, as befits its noise-scene origins. But this lineup of more than a dozen performers—many from North Carolina, Providence, and Philadelphia—features an interesting mix of experimental writers from comparatively mainstream, MFAclad spheres (including Katy Mongeau and Laura A. Warman) and those with backgrounds in underground visual art or music (Kristin Hayter, Emily Withers). Still, this is no decorous evening of poetry— not by a long shot. —Brian Howe THE SHED, DURHAM 7 p.m., free, www.shedjazz.com

screen SPECIAL SHOWINGS

Graffiti Bridge: Mon, May 16, 7 p.m. The Pinhook, Durham. www.thepinhook.com. Harmony: $15. Tue, May 17, 7 p.m. & Wed, May 18, 7 p.m. Raleighwood Cinema Grill, Raleigh. www. raleighwoodmovies.com. Kumiko, The Treasure Hunter: $7–$10. Fri, May 13, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

Longleaf Film Festival: Fri, May 13, 3-7 p.m. & Sat, May 14, 11 am-8:30 p.m. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Merchants of Doubt: Thu, May 12, 6:45 p.m. Levin Jewish Community Center, Durham. www.levinjcc.org. Purple Rain: Tue, May 17, 7 p.m. Nightlight, Chapel Hill. www. nightlightclub.com. Who is Lydia Loveless?: Documentary screening followed by acoustic solo performance. $12–$15. Sat, May 14, 8 p.m. Cat’s Cradle Back Room, Carrboro. www. catscradle.com. — Sun, May

15, 7:30 p.m. Pour House Music Hall, Raleigh. www. thepourhousemusichall.com.

OPENING The Man Who Knew Infinity—A young man who grew up poor in India (Dev Patel), admitted to Cambridge University during World War I, goes on to pioneer a mathematical theory. Rated PG-13. Money Monster—George Clooney and Julia Roberts star as a financial TV host and a producer held hostage in their television studio by an angry investor. Rated R.

A L S O P L AY I N G Read our reviews of these films at www.indyweek.com.  ½ 10 Cloverfield Lane— The spiritual successor of Cloverfield has wit and suspense, not just mysterious marketing. Rated R.  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 Captain America: Civil War—As in Batman v Superman, superheroes turn on each other, but the action is served with a Marvel smirk instead of a D.C. frown. Rated PG-13.  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.

page

READINGS & SIGNINGS Mary Kay Andrews: Novel The Weekenders Wed, May 18, 7 p.m. www.quailridgebooks. com. One Renaissance Centre, Raleigh. Noel Crook, Gail Peck: Reading poetry. Thu, May 12, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Willie Drye: For Sale: American Paradise—How Our Nation was Sold and Impossible Dream in Florida. Wed, May 11, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Karen Hall: Novel Dark Debts. Sat, May 14, 2 p.m. McIntyre’s Books, Pittsboro. www.

mcintyresbooks.com. Scott Hendrix: Martin Luther: Visionary Reformer. Sat, May 14, 11 am. McIntyre’s Books, Pittsboro. www.mcintyresbooks. com. Ross Howell Jr.: Forsaken: A Novel. Sun, May 15, 2 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com. Scotty McCreery: Memoir Go Big or Go Home: The Journey Toward the Dream. A copy of the book is required for admission. Sat, May 14, 2:30 p.m. First Baptist Church of Garner. www. fbcgarner.org. See p. 30. Mary Alice Monroe: Novel Lowcountry Wedding. Thu, May 12, 6:30 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks. com. Sara Moulton: Cookbook Sara Moulton’s Home Cooking 101. Sun, May 15, 1 p.m. Southern Season, Chapel Hill. www. southernseason.com. Michael Perry: Novel The Jesus Cow. Wed, May 18, 7:30 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Wendy Tucci: Acrylic landscapes. May 13-Jun 5. Reception: Fri, May 13, 6-9 p.m. The Cotton Company, Wake Forest. www.thecottoncompany. net. Charles Wheelan: Economics book Naked Money. Wed, May 11, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

LITERARY R E L AT E D Carolyn Bates: “The Unnatural Other: Psychology, Technology, and the Virtual Real.” $10. Fri, May 13, 7:30 p.m. -- Workshop. $5–$45. Sat, May 14, 10 a.m.-4 p.m. Church of Reconciliation, Chapel Hill. www.churchrec.org. Bynum General Store Storytelling: Henry Vogel, Judith Valerie, Roger Manus, Garry Lipson, and Cynthia Raxter. Sat, May 14, 6:30 p.m. Bynum General Store, Bynum. www.bynumfrontporch.org. James Carafano: Discussing the threat of EMP attacks. $10. Tue, May 17, 7 p.m. Extraordinary Ventures, Chapel Hill. www. extraordinaryventures.org. Holocaust Memorial Commemoration: Panel discussion and commemoration. Sun, May 15, 2 p.m. www.dpi. state.nc.us/holocaust-council/ commemoration/. Meredith College, Raleigh. www.meredith. edu. Jocelyn Neal: “Why We Should Pay Attention to Country Music in Today’s World.” Wed, May 18, 6 p.m. Top of the Hill Restaurant & Brewery, Chapel Hill. www. thetopofthehill.com. Robin Simonton: “Monument Art & Symbolism: The Stories Behind the Stones.” Fri, May 13, 6 p.m. Hillsborough Presbyterian Church, Hillsborough.

The INDY’s Guide to Dining in the Triangle

SING STREET EYE IN THE SKY The INDY’s guide to Triangle Dining

ON THE STREETS NOW! INDYweek.com | 5.11.16 | 39

indyclassifieds

employment employment COMMUNITY MINISTRY COORDINATOR Pullen Memorial Baptist Church, a progressive, ecumenical, welcoming and affirming church, seeks a half-time (20 hrs. per week) Community Ministry Coordinator. The Community Ministry Coordinator helps plan, develop, organize, participate in and support the work of groups and individuals within the church that are involved in community ministry. At Pullen, community ministry refers to human service, social justice and related activities such as ministry with poor, homeless and disenfranchised persons of the Raleigh area. Qualifications: Graduation from an accredited college or university with a bachelor’s degree and at least four years of experience in social justice ministry, non-profit or governmental social work, or related field; or an equivalent combination of education and experience. Prefer seminary degree or other theological training. See the full job description and church profile at www.pullen.org. Send resume and cover letter to cmcsearch@pullen.org or mail to Pullen Memorial Baptist Church, Attn: Community Ministry Search Committee, 1801 Hillsborough Street, Raleigh, NC 27605. Resumes accepted through June 5, 2016.

ASSOCIATE EDITOR The Sun, a nonprofit, ad-free magazine, needs an associate editor to edit text for publication, solicit new writing, evaluate submissions, and work with authors to develop and revise their work. Visit thesunmagazine.org for details.

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40 | 5.11.16 | INDYweek.com

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SELL YOUR CAR FAST! You give us $20, we’ll run a 20 word ad with a color photo for 4 weeks. Call 919-286-6642 or emailclassy@indyweek.com

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

cLassy@indyweek.com

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.

Stay and Fight

ILLUSTRATION BY CHRIS WILLIAMS

Among the many photographs I’ve amassed over the years, I obtained a prized picture of the gravestone of David White, my grandfather eight generations removed. He and other family members began arriving in North Carolina around 1750, settling into new and difficult lives as residents of the British royal colony. By 1770, North Carolina had an estimated population of just fewer than 200,000 residents, but the settlers had begun to shift from British citizens to the earliest American citizens. England retaliated to the spreading unrest with “The Intolerable Acts,” which severely limited the freedoms of the settlers and helped, in turn, foment the revolution. My ancestor, David, joined the cause and fought for independence in the Evans Company of the North Carolina regiment. I’ve often perused records of North Carolina’s participation in the war and found nods to those forebears; it’s as amazing as it is humbling to see a relative’s name on such ancient documents. In the centuries since the American Revolution, my North Carolina bloodline has produced farmers, teachers, businesspeople, and even a couple of writers. To my knowledge, we haven’t had a politician in the bunch, although a few family members did represent the government by working as postmasters. In the past five years, I’ve seen my pride and love in North Carolina tested. Zealots within our General Assembly craft and pass laws that seek to limit the rights of many citizens. Women have been told what they can and cannot do with their bodies. Gay and lesbian North Carolinians have been told that their unions would not be legally recognized. And now we have House Bill 2, the twenty-firstcentury legislative equivalent of an Intolerable Act. It is a regressive embarrassment and a prime example of “tyranny of the majority,” which the founding fathers recognized as a profound danger. Social media has allowed me to browse the pages of the bill’s architects and their supporters. I’m appalled by so many of them. I’ve seen those who oppose HB 2 referred to as freaks, sickos, perverts, and other insulting epithets. Others have said that those who don’t like HB 2 should leave North Carolina. Such arrogance is stunning. My “people” worked to make this land into one these radical politicians are now using to exclude others. I hate it, but I’m not going to tell them to move out of North Carolina. I’ll leave that sort of nastiness to them and, when it happens, invite them to kiss the rear of this North Carolinian native—and the 205-yearold gravestone of David White, my long-ago Tar Heel ancestor. —Eagle White

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

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INDYweek.com| |5.11.16 5.11.16| |4141 INDYweek.com

last week's puzzle

studies

classes & instruction ACCOUNTING & PAYROLL CLERKS in demand! Train at home to process invoices, payroll & A/P! Online Career Training Program gets you ready! Call for free info! HS Diploma/GED required. 1-888-407-7063(NCPA)

ART CLASSES

Taught in small groups, ages 5-adult. www.lucysartstudio. com 919-410-2327

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misc. PAID IN ADVANCE! Make $1000 A Week Mailing Brochures From Home! No Experience Required. Helping home workers since 2001! Genuine Opportunity. Start Immediately! www.TheIncomeHub.com (AAN CAN)

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notices NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA

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# 18

this week’s puzzle level:

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

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9 6 6 2 3

2 8 4 7 6 5 3 9 1

misc.

2 6 4

8 1 8 5

4 9

3 6 5 6 7 5 5 9 1 8 1

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# 20

1 2 3 6 9 7 8 4 5

8 5 6 1 4 3 7 2 9

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# 20

MEDIUM 9 3 4 5 6 2 1 7 8

2 7 1 8 4 3 9 6 5

6 5 8 7 1 9 3 2 4

3 2 7 6 9 5 8 4 1

1 4 9 2 7 8 5 3 6

5 8 6 4 3 1 2 9 7

8 6 2 3 5 4 7 1 9

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What’s Required? • One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60 Who Can Participate? • Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control. For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

ADOPTHappy, loving couple hopes to adopt baby. The preplacement assessment has been completed and has been approved by Patricia O’Connor on January 16, 2016. Call/text Kelly & Eric, 917-765-5875.(NCPA)

PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293. Void in Illinois/New Mexico/Indiana (AAN CAN)

PROTECT YOUR HOME With fully customizable security and 24/7 monitoring right from your smartphone. Receive up to $1500 in equipment, free (restrictions apply). Call 1-800375-5168 (NCPA)

for sale auctions ABSOLUTE AUCTION-

69.92 acres offered as tracts or whole. Wilkesboro, NC (Boomer). Saturday, May 21, 10am. Info: Jerry King 828230-2075. King Auction Realty. www.BidKingAuctions.com. NCFIRM7551. Lewis Harrison 844-316-1056. Walnut Grove Auction. www.WalnutGroveAuction. com. NCFIRM 233.(NCPA)

RESTAURANT EQUIPMENT AUCTIONWednesday, May 18, 10am. 201 S. Central Ave., Locust, NC. Selling 2 Restaurants & New Items. Hobart 30 Mixer, Coolers, Freezers, Ranges, Fryers, Prep Units, Mixers, Slicers. 704-791-8825. NCAF5479/5508. www.ClassicAuctions.com. (NCPA)

music lessons

stuff KILL ROACHES GUARANTEED! Buy Harris Roach Tablets with Lure. Odorless, Long Lasting. Available: Hardware Stores, The Home Depot, homedepot.com (AAN CAN)

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN! See the teaching page of: www.griffanzo.com Adult beginners welcome. 919-6362461 or griffanzo1@gmail.co

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

If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions”. Best of luck, and have fun! www.sudoku.com

solution to last week’s 30/10/2005 puzzle

42 | 5.11.16 | INDYweek.com

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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 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

If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS).

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5.11.16

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

cLassy@indyweek.com

rolina

ou have nd the

services

tech services GOT A MAC? Need Support? Let AppleBuddy help you. Call 919.740.2604 or log onto www.applebuddy.com

financial services STRUCTURED SETTLEMENT Sell your structured settlement or annuity payments for CASH NOW. You don’t have to wait for your future payments any longer! Call 1-800-316-0271. (NCPA)

garden & landscape YARD GUY Let me help in the yard when you’re too busy! Get your yard looking GREAT for Spring!. Mowing, mulching, leaf raking, trimming, planting, garden planning. Chapel Hill area. Experienced reasonable and insured. Free estimates. Mike: 919-428-3398.

home improvement ALL THINGS BASEMENTY! Basement Systems Inc. Call us for all of your basement needs! Waterproofing, Finishing, Structural Repairs, Humidity and Mold Control. FREE ESTIMATES! Call 1-800698-9217(NCPA)

professional services

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