INDY Week 5.24.17 by Indy Week

raleigh 5|24|17

% 90 of participants in Wake schools’ single-subject accreditation program are white or Asian

OPPORTUNITY

% 5

GAP STORY BY THOMAS GOLDSMITH

YOUR PARTY’S LAME, DUDE P. 6

P. 8

are black or Hispanic

PUPUSAS FOR A PURPOSE P. 15

DING DONG DIDDLY DOOM P. 18

2 | 5.24.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 19

6 Since May 2008, North Carolina has netted nearly one million new voters. Only 2 percent have registered as Democrats. 8 Only 5 percent of participants in a Wake schools’ program to advance gifted students in math are black or Hispanic. 10 Before it became a Hulu hit, scenes from a nowforgotten The Handmaid’s Tale movie were filmed at Saint Mary’s School in Raleigh. 15 Proceeds from sales of pupusas, a beloved Salvadoran taste treat, are being used to help finance the education of undocumented students. 17 Like Tin Man in The Wizard of Oz, Moogfest 2017 was shiny but lacked heart. 21 Unlike typical theatrical depictions of Christmastime, Straight White Men dispenses with comforting bromides about peace.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 12 Food 17 Music 19 Arts & Culture 22 What to Do This Week 25 Music Calendar

DJ Premier performs at Motorco Park during Moogfest.

PHOTO BY ALEX BOERNER

29 Arts/Film Calendar

On the cover: ILLUSTRATION BY SHAN STUMPF

the indy’s guide to triangle dining

on stands may 31!

INDYweek.com | 5.24.17 | 3

ARE YOU BINGE DRINKING TOO MUCH? UNC is seeking volunteers for a research study testing the effectiveness of naltrexone & bupropion to treat binge drinking of alcohol. The study will involve a screening and, if you qualify, counseling sessions. You will be compensated $185 depending on your level of participation. If you are between the ages of 21 and 44 and having problems with alcohol, you may be able to participate in this new clinical research study. Call us at 919-966-0011 or scan here to see if you qualify:

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf NEWS EDITOR Ken Fine STAFF WRITERS Thomas Goldsmith,

Erica Hellerstein, Sarah Willets

MUSIC EDITOR Allison Hussey ASSOCIATE ARTS+COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHERS Alex Boerner, Ben McKeown CHIEF CONTRIBUTORS

Drew Adamek, Elizabeth Bracy, Timothy Bracy, Spencer Griffith, Corbie Hill, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Michaela Dwyer, Neil Morris, Angela Perez, Hannah Pitstick, Noah Rawlings, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Sheldon Koppenhofer, Lydia McInnes

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers DIGITAL CONTENT MANAGER Tira Murray

INDY WEEK’S BAR + BEVERAGE MAGAZINE ON STANDS NOW

4 | 5.24.17 | INDYweek.com

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backtalk Ain’t No Cronkites

As the investigation into the Trump cam- Reverend William J. Barber leaving the N.C. paign’s ties to Russia continues, Bob and NAACP [“The Next Mission”], Terry Duff of Susan McClanahan of Orange County have Garner writes that Barber should not be celsome thoughts for Senator Richard Burr, ebrated: “Did his previous mission improve chairman of the Senate Intelligence Com- the life of even a single person? He is rich and mittee. In an open letter, they write: “‘The famous, but the black family has further disaccusations that have been leveled and the solved. Gangs, drugs, violence, single mothevidence of wrongdoing that has surfaced ers, welfare, school dropouts, crime, drive-by has cast a black cloud of distrust over our shootings, unemployment, abortion still are entire society. Our citizens do not know prevalent. Was Reverend Barber’s previous whom to believe, and many have concluded mission a success or failure for anyone other that all the processes of government have than the Reverend William J. Barber?” Finally, commenting on our story about become so compromised that honest governance has been rendered impossible. We the Raleigh City Council’s plans to replace believe that the health, if not the survival, of the Citizen Advisory Councils [“Twilight our social structure and of our form of gov- of the Amateurs”], FONCitizen says the city ernment requires the most candid and pub- might be looking in the wrong place: “Some additional stats about lic investigation of all the city communications evidence. …’ with citizens. The ‘A Few “These are the words “The city wants Minutes with the Mayor’ spoken by Senator Sam to shut down YouTube interviews have Ervin Jr. as he comas few as 59 views and at CACs because menced the Watergate most 656. Is this a failhearings that led to the they don’t like ure? The city of Raleigh uncovering of criminal the message they YouTube channel has activity designed to influonly 815 subscribers. Is ence the outcome of the receive.” this worth the effort? 1972 presidential elecCompare these to the six tion. How true those words continue to ring. How essential it is hundred citizens attending a single CAC now for the truth to be revealed as to what meeting to voice opinion on a rezoning case. efforts Russian or other foreign actors made It did happen. The city of Raleigh Facebook to assist in the election of Donald Trump, page has 6,268 likes, about the same as the as well as what interactions anyone from number of CAC subscribers. Compare this the Trump campaign had with those actors. to the four thousand citizens one active Clearly, a key item which will shed reveal- CAC group got to sign a petition opposed to ing light on these questions is Trump’s tax an unpopular rezoning. That’s the very definition of engaged citizens. If Mayor Nancy returns from the last several years.” Commenter Rataplan, meanwhile, sees McFarlane wants to evaluate the success accusations without evidence behind the of citizens’ engagement tools strictly by the calls for Trump’s impeachment, includ- numbers, it would seem she should make a ing ours [“A Republic, If You Can Keep It,” recommendation to shut down her interJeffrey C. Billman]. “Some verifiable proof, views, Raleigh’s YouTube channel, and instead of politically inspired allegations of the city’s Facebook page as unsuccessful. Donald Trump’s crimes against the country, It seems to me the city actually wants to would be nice for a change. When a writer shut down CACs because they don’t like the holds up to contempt his audience (for not message they receive when the citizens do grasping what he claims is obvious), that engage actively.” often turns into a mirror that reflects poorly on the author’s motivations. In other words, Want to see your name in bold? Email us there ain’t no more Walter Cronkites out at backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up there, least of all Mr. Billman.” Responding to our piece last week on the on Twitter: @indyweek.com. INDYweek.com | 5.24.17 | 5

triangulator

ccording to a report released Monday by the voting rights group Democracy NC, North Carolina has added 973,776 to its voter rolls since Barack Obama won the Tar Heel State’s presidential primary here in May 2008. But only 2 percent of them—that’s not a typo—have registered as Democrats, and four out of five have eschewed parties altogether. Below are some highlights from Democracy NC’s analysis. The quick and dirty: Republicans are surviving off senior citizens, Democrats have seen a net gain of less than 1 percent over the Obama era, and, if current trends hold, the unaffiliated will soon be the largest voting bloc in the state.

N A M , D A E D S ’ Y T R A THIS P 6,742,246 Total registered N.C. voters, May 2017 973,776 Total net new voters, May 2008–May 2017 204,824 New voters age 18–25 74 Percentage of new 18–25 voters who registered as unaffiliated 94,266 New voters age 26–40 182 Percentage of new 26–40 voters who registered as unaffiliated* 305,770 New voters age 41–65 95 Percentage of new 41–65 voters who registered as unaffiliated** 368,916 New voters age 66-plus 45 Percentage of new 66-plus voters who registered as unaffiliated 106 Percentage of new Republican voters who are 66-plus*** *The Republicans and Dems both lost voters from this cohort. **The Democrats lost 53,908 voters in this category. ***The GOP added 147,502 seniors but lost 90,621 voters from the 26–40 age bracket.

6 | 5.24.17 | INDYweek.com

973,776 NET NEW VOTERS

22,775

NEW DEMOCRATS

139,724

NEW REPUBLICANS

+BFD

The U.S. Supreme Court ruled 5–3 Monday that the congressional districts the North Carolina legislature enacted in 2011 and had in place for the 2012 and 2014 elections constituted an unconstitutionally racist gerrymander, upholding a lower court ruling. Justice Elena Kagan delivered the court opinion, invoking the Equal Protection Clause of the Fourteenth Amendment. In affirming the lower-court ruling, Kagan held that the 2011 maps were designed to dilute the power of minority votes by packing African-American voters into Districts 1 and 12. The 2011 maps resulted in ten of thirteen districts being represented by Republicans. After the federal district court ruled them unconstitutional last February—just a month before the scheduled congressional primaries, which were then rescheduled for June—legislators scrambled to quickly redraw the maps in a manner that maintained the GOP supermajority while obtaining the court’s approval. The new maps are currently embroiled in another lawsuit over whether it’s constitutional to gerrymander for partisan rather than racial reasons; a federal court hearing in that case is scheduled for June. In addition, the state’s legislative maps are also the subject of a court battle over allegations of racial gerrymandering. In November, a federal court ordered the legislature to draw new districts and hold new elections in 2017; earlier this year, however, the Supreme Court stayed that order. But it’s worth noting that much the same

“This decision by Justice Kagan is a major victory for voting rights plaintiffs.” process went into the 2011 congressional districts that went into the legislative districts—so with one having fallen, it’s not hard to imagine the other going away, too. In the bigger picture, writes Richard L. Hasen, a political scientist at the University of California, Irvine, and election law expert, “This decision by Justice Kagan is a major victory for voting rights plaintiffs, who have succeeded in turning the racial gerrymandering cause of action into an effective tool to go after partisan gerrymanders in Southern states.”

+ALSO A BFD

The October visit to Raleigh by the Dalai Lama is a big deal indeed, and as such will require lots of work by lots of people. The visit by the spiritual leader of Tibet, who will turn eighty-two on July 6, has been announced as a virtual certainty by the Kadampa Center of Raleigh. But knotty details remain, notably including securing a date and venue. It’s not easy to find an appropriate site for

a public appearance of a Nobel Peace Prize winner who routinely draws twenty thousand people. The October timing means the event will compete for space with attractions such as an N.C. State football game, a Bruno Mars concert at the PNC, and the State Fair. Raleigh Mayor Nancy McFarlane personally invited His Holiness during a recent (self-funded) trip to India. Also taking part in extending the invitation were Raleigh Denim founders Sarah Yarborough and Victor Lytvinenko and Bida Manda co-owner Vansana Nolintha. An interfaith organizing committee will include Kadampa Center director Robbie Watkins, founder Don Brown, and resident teachers Geshe Gelek and Geshe Sangpo, as well as other representatives from across the spiritual spectrum. The event will be historic for Raleigh in any case. But it has additional resonance because it’s possible that the current Dalai Lama, Tenzin Gyatso—only the fourteenth person to occupy the position since the fifteenth century—may also the last. The Dalai Lama fled Tibet in 1959 after Chinese troops put down a rebellion; while he selected a young boy as his successor in 1995, the Chinese government rejected that selection. In recent years, the Dalai Lama has turned over his political responsibilities to the Tibetan government-in-exile and said it would be better to have no Dalai Lama that one used as a pawn of the Chinese government. triangulator@indyweek.com

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indynews

Gap Year

WHAT’S BEHIND THE BIG RACIAL AND GENDER DISPARITIES IN A WAKE SCHOOLS PROGRAM DESIGNED TO HELP GIFTED STUDENTS ADVANCE IN MATH? BY THOMAS GOLDSMITH

Wake County Public Schools program that allows hundreds of students to skip a grade in math instruction includes about 90 percent whites and Asians, twice as many males as females, and only a handful of Hispanic and African-American students. These numbers are far out of line with these groups’ presence in the system, in which about 55 percent of students are white or Asian, a little more than half are male, and about 40 percent are African American or Hispanic. In the three-year-old program called single-subject acceleration, a fourth grader, for example, can take fifth-grade math while remaining at grade level in other subjects. Teachers, parents, or students themselves make nominations for the program in first through seventh grades. SSA is a small part of Wake schools’ efforts for the twenty-five thousand students identified as academically and intellectually gifted, but it reflects a broader reality—that efforts to support gifted students, to move them a step closer to professional careers, often shortchange those from minority groups. The importance of such programs is recounted in an April 27 post by five education scholars on the Brookings Institution website: “Those pushed into accelerated math courses were twenty percentage points more likely to describe themselves in tenth grade as intending to enroll in a four-year college, even after many had already left the accelerated track.” The first two full years of program data were presented to the Wake County Board of Education on May 8. Board chairwoman 8 | 5.24.17 | INDYweek.com

Monika Johnson-Hostler describes what she saw as shocking. “It was startling to see the numbers,” she says. “The questions I would ask are, ‘Are you making the access to all the students so that they can understand it?’ and ‘Do we also have a safety net so that we don’t see them slipping through the cracks?’” The situation of students of color who find themselves distinctly underrepresented—or even overrepresented—in high-level classes arose during a presentation at a recent school board meeting in which Enloe High School students performed excerpts from the student-written play We the People. “It’s not appropriate to be black in [advanced-placement classes],” says Mya Ison, an Enloe junior and actor. Ison doesn’t take part in the skip-ahead program, but she says that, in terms of racial identity in AP classes and similar settings, “There’s a

“Some people don’t have access to information at the same level.”

fine line what need Some different obsessed ment. In talks abou students careers i high acad “I’m no told the I speaking The SS to have a gram, but essary wr was dropp director o the racial dents wh guage por math prog and fema “Appro lish-langu female,” h math prog In the can-Ame dents—or 664 partic ated class two group of the sys able, peer of inhere or minori The SS informal p in one su piloted in 15 and 20 fair, and s accelerat preventin of acceler So why and acce rates than Lenard system’s a research, answers females a “We ha informati

Publication Date: July 12 To reserve your space contact your ad rep or advertising@indyweek.com fine line between what’s appropriate and what needs to be said.” Some students feel singled out for a different reason: being stereotyped as obsessed with achievement and advancement. In the play, Enloe junior Rishi Desai talks about the presumption that all Asian students strive for top grades and eventual careers in medicine or other fields with high academic requirements. “I’m not talking just for myself,” Desai told the INDY after the presentation. “I’m speaking for the entire Asian community.” The SSA program was originally designed to have a parallel English language program, but so few students passed the necessary writing test that the language track was dropped. Matthew Lenard, the WCPSS director of data strategy and analytics, says the racial and ethnic characteristics of students who qualified for the English language portion were similar to those in the math program, but the proportions of males and females were quite different. “Approximately three-quarters of [English-language] nominees and qualifiers are female,” he says, roughly the reverse of the math program. In the math program, only fifteen African-American and seventeen Hispanic students—or about 5 percent of the program’s 664 participants—wound up in the accelerated classes. That’s the case even though the two groups make up more than 40 percent of the system’s enrollment—and no verifiable, peer-reviewed data show a lower level of inherent math aptitude among females or minority groups, Lenard points out. The SSA program replaced a previous informal practice of moving students ahead in one subject. The program, which was piloted in 2013–14 and put in place in 2014– 15 and 2015–16, calls for the “consistent, fair, and systematic use” of opportunities to accelerate learning and has “guidelines for preventing nonacademic barriers to the use of acceleration.” So why did certain groups get nominated and accepted into the program at higher rates than others? Lenard and Brad McMillen, the school system’s assistant superintendent for data, research, and accountability, have no pat answers for the underrepresentation of females and people of color. “We have groups that we struggle to get information to,” McMillen says. “Some peo-

ple don’t have access to information at the same level.” Females are nominated and accepted into the math program at significantly lower rates than their male counterparts. But African Americans are nominated and accepted at far lower rates. Forty-nine percent of SSA participants are white, and another 41.7 percent are Asian, with both groups nominated and advanced at rates far in excess of their percentages of the overall Wake schools population. To qualify for the math SSA, a student has to score well on the subject matter for the year he or she will enter. A fourth grader would have to succeed on the fifth-grade math test, for example. “When you use prior achievement as your criteria, any kind of achievement gap there might be is going to be reflected,” McMillen says. It’s been difficult to precisely assess the value of the SSA program, because the state Department of Public Instruction only allows students to be tested in subjects at grade level. “There was no statistically different [endof-grade test] performance between accelerated and nonaccelerated,” when tested at grade level, Lenard says. The students are tested on material from their overall grade year, even though they studied more advanced material throughout the year. Staff members say the system is prioritizing reaching talented students who might otherwise miss out on programs like SSA. “We have a program call Nurturing for a Bright Tomorrow,” Lenard says. “It’s a partnership we had with Duke to raise the expectations of kids who are underidentified. It’s a pathway from K–3 in sixteen Wake County elementary schools.” According to information on Nurturing for a Bright Tomorrow, it’s an offshoot of a federally funded effort designed to address a state and national problem: the “achievement gap among potential gifted students at a foundational period.” Currently, though, Johnson-Hostler says the numbers reflecting low participation among specific groups are regrettably familiar in a system where students of color are far more likely to be suspended and/or fail to graduate. “It’s quite a bit like a lot of the things we see,” she says. tgoldsmith@indyweek.com

SIMPLE REAL FOOD

NIGHT KITCHEN

Private cooking classes in your home for groups from 2 to 20 310.980.0139 • Durham www.amandacooks.com

hef Amanda Cushman’s private cooking classes are just the thing for the foodie in you. If you love to cook, entertain, or just appreciate the pleasure of great food, private cooking classes are the place to indulge your passions. The classes are designed for both the novice cook and seasoned home chef and will empower you to cook with confidence. Bringing together groups from two to twenty in your home Amanda will provide tips on shopping, planning ahead and entertaining with ease. Amanda’s healthy recipes have appeared in publications such as Food and Wine, Cooking Light, Fine Cooking and Vegetarian Times. In Los Angeles her highly successful private classes included celebrities such as Neil Patrick Harris, Molly Sims and Randy Newman. Wanting a slower pace with more focus on local, farm to table access and a stronger sense of community Chef Amanda and her husband recently moved to Durham. Educated at The Institute of Culinary Education in Manhattan, Cushman is the author of her own cookbook, “Simple, Real Food.” Amanda’s healthy recipes have appeared in publications such as Food and Wine, Cooking Light, Fine Cooking and Vegetarian Times. In Los Angeles her highly successful private classes included celebrities such as Neil Patrick Harris, Molly Sims and Randy Newman. Wanting a slower pace with more focus on local, farm to table access and a stronger sense of community Chef Amanda and her husband recently moved to Durham. Wanting a slower pace with more focus on local, farm to table access and a stronger sense of community Chef Amanda and her husband recently moved to Durham. In addition to a number of regularly scheduled cooking classes each month at venues such as Southern Season, Durham Wines and Spirits, Duke Diet and Fitness Center and UNC Wellness, Amanda offers private cooking classes in your home throughout the Triangle as well as corporate team building events. ●

raleighnightkitchen.com

ight Kitchen Bakehouse & Cafe opened in November of 2014 rather quietly. “We didn’t have much time or extra cash to have a big to-do,” says owner Helen Pfann, “My Dad brought some wine for a soft opening party, and then we were off.” These days, there’s a lot more buzz about Night Kitchen. European classics such as croissant, scones, and french macarons have received high marks; as well as more American items such as brownies or the bread pudding, a muffin-shaped treat with caramelized sugar on top. The breads at Night Kitchen, however, are the real focus. “I got started as a bread baker,” explains Pfann, “...and though I enjoy pastry work, making bread is what I love most.” Night Kitchen sells Sourdough, 9-Grain, and French bread everyday, and features daily specials. The bakery supplies bread to several local restaurants, including Farina, J Betski’s, and Bad Daddy’s Burger Bar. “I designed the kitchen so we could do wholesale and have room to grow. We’ve just started working with the Produce Box, so folks statewide can try our breads.” The final piece of the pie is the cafe at Night Kitchen. Exchange and fine teas from Tin Roof Teas, it’s a great space to meet a friend or have a small gathering at one of the larger farm tables. A selection of sandwiches, daily soup and quiche specials round out the menu. The breads at Night Kitchen, however, are the real focus. “I got started as a bread baker,” explains Pfann, “...and though I enjoy pastry work, making bread is what I love most.” Night Kitchen sells Sourdough, 9-Grain, and French bread everyday, and features daily specials. The bakery supplies bread to several local restaurants, including Farina, J Betski’s, and Bad Daddy’s Burger Bar. .These days, there’s a lot more buzz about Night Kitchen. European classics such as croissant, scones, and french macarons have received high marks; as well as more American items such as brownies or the bread pudding, a muffin-shaped treat with caramelized sugar on top. ●

Psychotherapy, yoga therapy, mindfulness practices 919.666.7984 • Durham nancyhollimantherapy.com

ersonal issues such as anxiety, depression, a new medical diagnosis or dealing with a chronic illness may be making you feel like life is one big struggle. Whether you have these sorts of problems or other concerns that are making your life hard or even unbearable, change is always possible if you are willing to work and you have the support you need. I offer that support. My therapeutic foundation is based on a blend of Western psychology and Eastern spiritual practices, mindful attention to our inner life, and a full, heartfelt engagement with the world. Using a mix of narrative therapy, mindfulyou can live more fully and enjoy more emotional balance, stronger relationships, and get what you want out of life. As a client, you can expect to become better acquainted with your thinking, behavior, responses, and feelings so that you can ultimately live more fully and authentically. We’ll work together to discover and build on your strengths and empower you to conquer negative patterns so you have greater emotional and overall psychological freedom. My therapeutic foundation is based on a blend of Western psychology and Eastern spiritual practices, mindful attention to our inner life, and a full, heartfelt engagement with the world. Using a mix of narrative therapy, mindfulness, meditation, breathing, and physical movement techniques, I help you uncover and develop your strengths, so that you can live more fully and enjoy more emotional balance, stronger relationships, and get what you want out of life.

Psychotherapy, yoga therapy, mindfulness practices 919.666.7984 • Durham nancyhollimantherapy.com

ight Kitchen Bakehouse & Cafe opened in November

such as brownies or the bread pudding, a muffin-shaped treat with caramelized sugar on top. ●

help, please give me a call. ●

Publication Date: July 12

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THERAPY

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of 2014 rather quietly. “We didn’t have much time or N for personal training, meet with a nutrition mpower Personalized Fitness is now open extra cash to have a big to-do,” saysup owner Helen Pfann, ersonal issues such as anxiety, depression, a new “My Dad brought some wine for a soft opening party, and counselor – or, try itP all.medical diagnosis or dealing with a chronic illness may in Raleigh! Empower is locally-owned and then we were off.” be making you feel like life is one big struggle. Whether These days, there’s a lot more buzz“Whether about Night Kitchen. you are you trying tosorts setof problems a personal operated by Jessica Bottesch and Ronda Williams have these or other concerns that are European classics such as croissant, scones, and french making your life hard or even unbearable, change is always macarons as well as more record at your next sporting event and has been in the Triangle since 2005 withhave received high marks; possible if you are willing to or workwanting and you have the support American items such as brownies or the bread pudding, a you need. I offer that support. muffin-shaped treat with caramelized on top. to sugar look your best for aMyspecial life event a of their flagship location in Durham. “Empower therapeutic foundation is basedlike on a blend The breads at Night Kitchen, however, are the real focus. psychology and Eastern spiritual practices, mindful wedding or reunion Western our expert team will create Personalized Fitness is different from any other “I got started as a bread baker,” explains Pfann, “...and attention to our inner life, and a full, heartfelt engagement though I enjoy pastry work, making bread is what I love with the world. Using a mix of narrative therapy, an 9-Grain, individualized plan to help you reach any goal, fitness center and Raleigh-ites will benefit from our most.” Night Kitchen sells Sourdough, and French mindfulyou can live more fully and enjoy more emotional bread everyday, and features daily specials. The bakery balance, stronger relationships, and get what you want out and motivate you every step of the way.” says highly personalized approach to fitnesssupplies withbread services to several local restaurants, including of life. Farina, J Betski’s, and Bad Daddy’s Burger Bar. “I designed As a client, you can expect to become better acquainted Jessica Bottesch. such as personal training, small fitnesstheclasses kitchen so we could do wholesale and have room to with your thinking, behavior, responses, and feelings so that grow. We’ve just started working with the Produce Box, so you can ultimately live more fully and authentically. We’ll half price Personal including indoor cycling and health coaching incanatry our breads.” Empower is now offering folks statewide work together to discover and build on your strengths and The final piece of the pie is the cafe at Night Kitchen. empower you to Week conquer negative patterns so you have greater Training Packages and One of Free Classes boutique setting.” says Ronda Williams. Exchange and fine teas from Tin Roof Teas, it’s a great emotional and overall psychological freedom. space to meet a friend or have a small gathering at one of to new clients at theirMyRaleigh location. Call Empower is now at 2501 Blue Ridge Road therapeutic foundation is based on a blend919of Western the larger farm tables. A selection of sandwiches, daily psychology and Eastern spiritual practices, mindful attention soup and quiche the menu. or visitwww.becomepowerful.com in The Atrium Building at the intersection ofspecials round out973-1243 to our inner life, and a full, heartfelt engagementfor with The breads at Night Kitchen, however, are the real focus. the world. Using a mix of narrative therapy, mindfulness, “I got Rex started as a bread baker,” explains Pfann, “...and more information. Connect with on twitter Blue Ridge and Lake Boone Trail near meditation, breathing, andthem physical movement techniques, I though I enjoy pastry work, making bread is what I love help you uncover and develop your strengths, so that you can most.” Night Kitchen sells 9-Grain, and French @becomepowerful and Hospital. Unlike a typical gym no membership is Sourdough, live moreon fully facebook.com/ and enjoy more emotional balance, stronger bread everyday, and features daily specials. The bakery relationships, and get what you want out of life. EMPOWERRaleigh. bread to several local restaurants, including required to take advantage of any ofsupplies Empower’s If you’re struggling with an eating disorder, medical Farina, J Betski’s, and Bad Daddy’s Burger Bar. .These days, diagnosis, ongoing health issues, caregiving issues, aging, multitude of services. At Empower Raleigh you there’s a lot more buzz about Night Kitchen. European disability, medical trauma, relationship concerns, spirituality, classics such as croissant, scones, and french macarons stress management, depression, anxiety, adapting to change can drop in to a focused group fitness sign haveclass, received high marks; as well as more American items and unpredictability, grief, loss, or bereavement and would like

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If you’re struggling with an eating disorder, medical diagnosis, ongoing health issues, caregiving issues, aging, disability, medical trauma, relationship concerns, spirituality, stress management, depression, anxiety, adapting to change and unpredictability, grief, loss, or bereavement and would like help, please give me a call. ●

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SIMPLE REAL FOOD

NIGHT KITCHEN Hearth-baked Breads – Artisan Pastry – Unique Sandwiches 10 W Franklin St #140, Raleigh • 984.232-8907

NANCY HOLLIMAN THERAPY

BAKEHOUSE & CAFE

Private cooking classes in your home for groups from 2 to 20 310.980.0139 • Durham www.amandacooks.com

raleighnightkitchen.com

Psychotherapy, yoga therapy, mindfulness practices 919.666.7984 • Durham nancyhollimantherapy.com

INDYweek.com | 5.24.17 | 9

MAID IN DURHAM REMEMBER THAT TIME HAROLD PINTER WROTE A MOVIE OF THE HANDMAID’S TALE AND THEY FILMED SCENES AT DUKE CHAPEL AND MICHAEL PETERSON’S HOUSE?

BY ALLISON HUSSEY

ore than thirty years after its publication, Margaret Atwood’s instant-classic novel, The Handmaid’s Tale, has bubbled back into popculture consciousness thanks to a new episodic adaptation on Hulu. Set in the near future, it follows the life of a woman who is forced to bear children for wealthy, infertile couples in the Christian-controlled Republic of Gilead, formerly known as the United States. A handmaid awaits her fate in this still, shot at Duke Chapel.

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But twenty-eight years before the Hulu series launched a thousand think pieces about the story’s contemporary resonance, The Handmaid’s Tale was adapted into a film that was primarily shot in Durham. Though it’s been mostly forgotten (you can’t even rent it on Amazon, though you can buy it for $9.99), it was quite memorable for people in the Bull City at the time, not least because it stirred up some unexpected controversy. Filmed in the spring of 1989, the indie adaptation of The Handmaid’s Tale was the American feature debut of German director Volker Schlöndorff, best known for his 1979 film, The Tin Drum. Legendary playwright Harold Pinter wrote the script, though he later told his biographer that he was dissatisfied with changes made by Atwood and others during shooting. While the book and the series both weave in flashbacks, Pinter and Schlöndorff stick to a more linear narrative, resulting in a movie that moves at a fast clip and in broad strokes, with less embellishment and detail than a ten-part series can afford. A young Natasha Richardson starred as Offred, the story’s protagonist. She’s sent to live with—and have a child for—the Commander and his wife, Serena Joy, both of whom are much better cast than their 2017 counterparts are. Faye Dunaway’s Serena Joy is frosty and frightening, a woman past her prime, motivated by desperation for control in a world where she has relatively little of it. Robert Duvall’s Commander is a calculating cretin. Any woman who watches his performance will intimately recognize the ways he uses his power to butter up, manipulate, and oppress Offred all at once. This was before a Republican legislature eliminated tax incentives for North Carolina media productions in 2014, decimating a thriving film industry that had put highly recognizable Durham locales onscreen in movies such as Bull Durham and Brainstorm. It was also before the urban landscape of Durham began its drastic reinvention in the aughts. But The Handmaid’s Tale film reminds us of how much has stayed the same as well as how much has changed. The American Tobacco Company (now the American Tobacco Campus) serves as the exterior of the Red Center, a training hub for handmaids-to-be. A climactic scene in which Offred makes her escape was shot at the intersection of Chapel Hill and Pettigrew streets, and though it takes place at night, the overpass is unmistakable. Other scenes were filmed in front of St. Mary’s School in Raleigh, The Ark dance

studio and a gym on Duke’s campus, and a bathroom at Northern High School. One other location is so sinister you couldn’t have made it up. According to an article by Linda Surralt in the March 9, 1990, Durham Morning Herald, more than 60 percent of the film was shot at 1810 Cedar Street in Durham’s tony Forest Hills neighborhood. The ten-thousand-squarefoot house served as the Commander’s abode, the setting of most of Offred’s story. In the early 2000s, the not-so-humble home became infamous as the site of Kathleen Peterson’s alleged murder at the hands of her husband, the novelist Michael Peterson, who recently ended the fifteen-year murder case with a plea deal.

ore than five thousand people showed up to open auditions organized by Wilmington’s Fincannon and Associates at Durham’s Northgate Mall and Raleigh’s Crabtree Valley Mall. Three thousand made the cut. Brenda Pollard, who was cast as Handmaid No. 62, discussed her experience as an extra in a scene shot in front of Duke Chapel with the Durham Morning Herald’s Susan Broili in an article published on March 9, 1990. “It was so hot that day that we were just about to faint. We worked on it so hard, we worked right through lunch,” she said. That scene caused an exceptional flap on Duke’s campus. A significant piece of the Handmaid’s Tale story is a “salvaging,” a public execution that reminds handmaids of what happens when they step out of line. One of them, played by Duke undergrad Allison Holmes, is hanged for “fornication with medical staff.” Her body swings back and forth in front of Duke Chapel’s iconic bell tower in one of the most stunning and stomach-turning shots of the film. But no one at the university or with the film thought to notify anyone at Duke Chapel before shooting this highly charged scene. Even Reverend William Willimon, who was the chapel’s dean at the time, was kept in the dark. Willimon had heard buzz that The Handmaid’s Tale, which he’d read and found intriguing, would be shooting around the chapel. But one Sunday morning, he arrived to find a tank, an armored vehicle, and a massive gallows in front of the church. “The thing that peeved me was that somebody in the university administration said, ‘Well, we consulted the chaplain, and he said it was fine,’ and I said, ‘Gee, I might have said it was fine if asked, but nobody ever asked me,’” he recalls. “By Monday morning, it was a deluge of complaints: ‘This is a violation of the chapel and Duke,

and this is a terrible image.’” The shoot had been scheduled to coincide with Duke’s spring break, when there would be fewer students around, but it backfired: the gallows were in front of the church on Palm Sunday, a week before Easter. Willimon took it in stride, working the unsettling surprise into his homily. “I did get some good sermon mileage out of it,” he says. “I said, ‘Here, we’ve got a gallows out in front of the church, but if we were really being true to the Christian story, the cross was the first-century Roman gallows.’” In the ensuing uproar, some denounced the production’s use of chapel grounds as sacrilegious. Willimon says he thought that was a bit much, but that it still felt disrespectful. In a News & Observer article from March 17, 1989, he told reporter Mary Burch, “As a Methodist minister, I find all forms of capital punishment repugnant. Duke Chapel is a sacred place to many of us, and the scene going on seems to be kind of a violation of that sacredness.” Who, then, was to blame for the dustup? In a letter dated April 10, 1989, Leonard G. Pardue, the director of university relations and the university’s associate vice president, claimed responsibility. He was writing in response to a faculty member

who was concerned about the production’s use of the campus and what it said about the university’s values. Pardue defended the decision, writing, “I concluded this was a serious and substantive work that raised significant social and political questions … I saw no basis to object to the film on the ground that it might be controversial, given the University’s necessary commitment to free speech and free inquiry.” Others voiced concerns that were a little less severe: one letter of complaint was more fretful about film crews damaging the slate walkways around the chapel than with the university’s reputation. The misadventure ultimately helped Duke figure out better practices for future film productions. The Handmaid’s Tale had a small release in the spring of 1990. Despite Durham’s starring role in the picture, Raleigh’s Rialto Theatre was the only local cinema to run it—and just for two weeks—other than two special screenings at Duke. It hasn’t held up well, with a Rotten Tomatoes score of 33 percent. Even so, it’s an indispensable slice of Durham history on the big screen. Watch it out of local curiosity or as a rough primer for the Hulu series. Whatever you do, just don’t let the bastards grind you down. ahussey@indyweek.com

PETof the WEEK

Photo by Alycat Photo & Video Services

Hi, I’m SHILOH! I’m a friendly and nice adult dog, with a shy and submissive side, and very curious about strange noises. Confidence building will be very helpful since I try very hard to please and I’m eager to learn! A calm home with kind handling and lots of encouragement will help me blossom again. Come meet me at APS of Durham!

For more information: www.apsofdurham.org/dogs/shiloh If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 5.24.17 | 11

indyfood

ALLEY TWENTY SIX

320 East Chapel Hill Street, Durham www.alleytwentysix.com

Double Date

MOVE OVER, WINE. THE EXPANDED ALLEY TWENTY SIX HAS STARTED MATCHMAKING COCKTAILS AND SNACKS. BY EMMA LAPERRUQUE

At Alley Twenty Six, fried oysters pair best with the pineapple-infused How Leeward? and other tiki drinks. PHOTO BY ALEX BOERNER

iddle me this: If I say steak, you say red, right? And if I say fish, you say white. If I say summer, you say rosé. We’ve reached a point where we feel like we don’t even need sommeliers anymore (but we do). Serving a rib eye with, say, a Two Buck Chuck merlot may not be inspired, but there is a consensus that merlot is “right” and Chardonnay is “wrong.” Beer pairings are catching up steadily but slowly, like a bellied, middle-aged man chasing after his Pilates-loving wino wife on a morning jog. Breweries are cooler by 12 | 5.24.17 | INDYweek.com

the day—just ask one of the dozens in the Triangle—yet if I say steak, you say what? Ale? Porter? Cocktail pairings are the underdog, and that is what Alley Twenty Six wants to change. Shannon Healy opened the Durham bar in 2012 and expanded into the space next door in February. The extension effectively doubled the business in size, adding another bar, an open kitchen, and a thirty-six-seat dining room with a full menu spearheaded by chef Carrie Schleiffer. The kitchen

serves food until eleven p.m. on weeknights, with late-night specials running through two a.m. on Fridays and Saturdays. In many ways, it seems like Schleiffer was made for this. She worked on the opening team at Bar Virgile; served as executive chef at G2B Gastropub in Durham and sous chef at One in Chapel Hill; and logged time at nationally known spots like Gramercy Tavern and Tabla in New York City. Her menu, which aptly described itself as “upscale” in an early press release, includes snacks, meats, and cheeses, plus

small and large plates. Alley Twenty Six is less liquor-and-mixer, more, as they put it, “farm-to-sip.” The new food program is just as complex. Instead of chicken and waffles, for instance, you’ll find chickenfried duck confit with a spiced waffle, luxardo cherry sauce, and—in a neighborly nod to Dame’s down the road—a chicken liver mousse schmear. But what caught my eye wasn’t the lobster roll with French fries, the tuna tartare with lotus root chips, or the foie gras mousseline with crostini. It was on a menu page

that preceded the listing of those other items: four suggested cocktail pairings, priced between the low to high twenties. Over the course of two visits, I ordered them all. The answer to the question that I started with (Do cocktails really “pair” with food?) quickly became clear: absolutely, if you have people like Healy and Schleiffer doing the pairing. But then another question cropped up: Does the new Alley Twenty Six pair with the old? Of that, I’m still unsure. On my first visit, I turned left into the dining space. It gleams in a new-car sort of way, pristine and shiny and beautiful. Also like a new car, you resist having too much of a good time. If your friend says, “Hey! Want to take my new Ferrari for a spin?” you do want to. But you don’t do it. Even at eight on a Saturday evening, in a mostly full dining room, the ambiance felt stiff, like the cocktails. (On the bright side, if you’re on a first date or having a business dinner, you can actually hear yourselves speak.) Along the far wall, bottles of Lillet Blanc and Punt e Mes are on display behind a shimmery glass panel, a museum-like touch and a welcome countermeasure to the open shelves that serve as the backdrop in most bars, including the one just across the wall. I like it better over there. On a Sunday night, there’s a d.j. and a crowd of people that make you feel like, Wow, who knew Sundays were so fun? The cocktail/food pairings are fun in theory but fancy at heart, like Scarlett O’Hara going to a barbecue in a corset. Going out for a burger and drinks, you imagine one thing,

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but Alley Twenty Six gives you another. The namesake burger—paired, naturally, with the namesake cocktail—has black truffle, cheddar, bourbon bacon jam, arugula, and chipotle aioli. Crowded? Totally. But during a moment of build-your-own burger mania, that’s supposed to be thrilling, right? The accompanying cocktail, with Wild Turkey 101 bourbon, dry vermouth, Cynar, Luxardo Maraschino, and celery bitters, is just as busy. This was the only large plate included in the suggested pairings during my visits, though the selection evolves with the seasonally driven menu. (Pairings are also offered with any weekend specials.) My favorite was the oysters and Foula Kahuna, which evokes what I imagine Hawaii to be like: a bright beach and a cool breeze. The beer cocktail marries Ponysaurus Scotch ale with pineappleinfused scotch, then celebrates the occasion with drunken pineapple syrup, lemon, orange, and mole bitters. The more you sip and spin the little umbrella, the more you adore the oysters—cornmeal-crusted, deep-fried, and swimming in a spicy remoulade. I was excited about the burrata with smoked strawberry, toasted almonds, basil coulis, and strawberry chips. It was set up with the Cloud Cover, a cocktail with a similar sweet-sultry personality—strawberry-infused mezcal, mezcal-infused strawberry syrup, Chartreuse, lime, and egg white. But the burrata stood us both up (eighty-sixed). When I asked our server what might pair second best, he suggested the goat cheese croquettes with roasted beets, grapefruit, and mint. And they really hit it off. The French 75 and Scotch egg are in an I’ll-call-you situation, but the cocktail keeps checking its phone and is starting to feel bad about itself. It shouldn’t. It’s a fine French 75, with cava instead of the usual champagne. And the Scotch egg is gooey-centered, sage-scented, and dreamily salty-crispy. Which should be a shoo-in with the sweet drink, right? Salty and sweet. Fatty and acidic. Opposites attract. Still, I wonder what would happen if the pairing were more playful, more punny— maybe a Scotch egg with a scotch-and-St. Germain Elderflower cordial? Salty and sweet with an herbal interest in common? Thankfully, nothing is off limits among the creative collaboration shared by Schleiffer, Healy, the bartenders, and sous chefs. I’m excited for Alley Twenty Six to keep leading the way. food@indyweek.com

“The pairings are fun in theory but fancy at heart, like Scarlett O’Hara at a barbecue.”

804 W. Peace St. • Raleigh • 834-7070

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas! 711 W Rosemary St • Carrboro • carrburritos.com • 919.933.8226

INDYweek.com | 5.24.17 | 13

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food

SO GOOD PUPUSAS 919-791-7744 www.sogoodpupusas.com

Pupusas with a Purpose A SALVADORAN FOOD TRUCK PROVIDES SCHOLARSHIPS TO UNDOCUMENTED STUDENTS—AND TASTY TREATS TO YOU BY SAYAKA MATSUOKA Cecilia Polanco’s mom loves feeding people. In college, Polanco often brought friends home to Durham to meet her family, advising them to arrive with an empty stomach. Pupusas, the national dish of El Salvador since 2005, are what Polanco grew up eating on special occasions with her Salvadoran family. And while they are often touted on Mexican-Central American “fusion” menus around town, these grilled corn tortillas stuffed with savory meat, beans, and cheese are still a celebration food in homes like Polanco’s; the process of making them can take hours and requires lots of hands. These days, Polanco, age twenty-four, runs the So Good Pupusas food truck with the help of her family. It began as a catering business over a year ago, and now the truck has been roving around the Triangle, from UNC’s campus to Fullsteam brewery, for two months. Polanco is spurred on both by the nostalgic appeal of that childhood treat as well as by a greater purpose. The idea came to Polanco during her sophomore year at UNC-Chapel Hill, when she joked with her sister about starting a family food truck. But she also began thinking more broadly about her Latina identity and some of the privileges she had enjoyed going into college. “I started thinking about my part in the larger community and about how I was blessed to have received a number of scholarships to graduate debt-free,” says Polanco. One of the scholarships she received was the prestigious, merit-based MoreheadCain scholarship, providing Polanco with a full ride to the university. “Scholarships really changed my life before I even stepped foot onto the campus,” says Polanco. Born in California to Salvadoran parents, Polanco never had to worry about being undocumented. But she speaks passionately about how many of her Latinx friends grew up under different

Cecilia Polanco poses in her So Good Pupusas food truck. PHOTO BY BEN MCKEOWN circumstances. According to survey data from 2014 by the Pew Research Center, North Carolina has approximately 350,000 undocumented immigrants, making it the state with the ninth-largest undocumented population in the country. Here, undocumented immigrants are required to pay out-of-state tuition and are ineligible for federal aid of any kind. “It makes it virtually impossible for them to fund their own education,” says Polanco. Now, with her food truck, Polanco aims to lessen the burden carried by many of these individuals by putting profits toward scholarships for undocumented students. “As a twenty-year-old, I didn’t have money or marketable skills, so I came up with the idea with my sister to use

the profits from the food truck for a scholarship,” says Polanco. So Good Pupusas began its scholarship program last year, providing two recipients $1,000 each to use toward school. Two new recipients were also chosen earlier this year. “A thousand dollars for an undocumented student is really just a drop in the bucket,” says Polanco. The funding is renewable for those selected, and Polanco hopes to eventually help eight students a year and provide $8,000 in scholarships. Polanco also hopes to eventually broaden the social justice mission of the food truck by not only providing scholarships for students but also using her business to create a mechanism for community

members to sell their food out of the truck and make a living. She notes that many Latinos make and sell food out of their vehicles and don’t have the means to start their own food truck or a brick-andmortar restaurant. For her, food isn’t just about sustenance and flavor, it’s a mode of empowerment and education. Working with the Southern Foodways Alliance, for example, Polanco raises awareness about the numerous issues afflicting her community while striving to bring a cultural awareness about Latinos to the area. “Talking about the Latino South is to talk about what is American,” says Polanco. “Tacos might as well be American. That’s now almost a household word; pupusas aren’t yet, but we’ll get there.” She says that the presidential election reaffirmed the work she and her family are doing. “We are unapologetic about who we are helping,” she says. For Polanco, all of it comes together through the love in each pupusa. She says she used to watch her mom pray over the pupusas, just as her grandmother would do. “We caress every pupusa so it’s drenched in good feeling,” says Polanco. “It’s like my grandmother would say, ‘I’m doing this for someone else—let it be the best.’” food@indyweek.com INDYweek.com | 5.24.17 | 15

the indyâ&#x20AC;&#x2122;s guide to triangle dining

on stands may 31!

16 | 5.24.17 | INDYweek.com

indymusic A Tale of Two Cities MOOGFEST AND ART OF COOL TELL DURHAM TWO DIFFERENT STORIES ABOUT ITSELF BY ALLISON HUSSEY

St. Beauty performs at The Pinhook on Friday night at the Art of Cool Festival. PHOTO BY ALEX BOERNER

or better or worse, the Art of Cool Festival and Moogfest have spent the past two years locked in comparison and competition for city resources. The festivals take place less than a month apart, making use of many of the same spaces but courting different audiences. During Moogfest’s second year in Durham after moving from Asheville, those differences have become even starker. Since 2014, the Art of Cool Festival, directed by Cicely Mitchell, has gathered strength, earning a regional reputation as an eclectic, forward-looking jazz festival. It’s stepped up its bookings a bit with each iteration, and this year was its biggest yet—it snagged Common for a headlining gig at the Durham Performing Arts Center. The festival is still fairly young; it doesn’t have any year-round corporate backing or full-time, paid staff. But it makes a sig-

nificant imprint downtown, in a city that already has a storied history and a deep connection to the music that Art of Cool offers. Art of Cool has always felt like a genuinely grassroots enterprise, a wholehearted effort made possible by and for the people of Durham. Like Hopscotch, its ticketing reflects those inclusive values: you could buy singleday passes or single tickets for just the headlining Common or George Clinton shows. Anyone under twenty-five—not just students—could buy a discounted pass. Moogfest sold no single-day or single-show tickets, and its $99 student tickets were limited to those who could produce a university ID. This year, its lowest regular ticket price was $249. The more flexible ticketing seemed to work to Art of Cool’s advantage. Throughout the weekend, Moogfest’s crowds barely felt much bigger than those at Art of Cool, despite it being a larger festival. The differences in

crowd sizes didn't feel at all proportionate to the disparity of the promotional and financial resources afforded to each festival by the City of Durham and by corporate sponsors. Additionally, Moogfest had a far less personal feel. Instead, an air of exclusivity seemed omnipresent. Around 5 p.m. Thursday evening, many attendees trying to get into the Carolina Theatre for Gotye’s tribute to Jean-Jacques Perrey were turned away from the 1,300-capacity venue because it was “sold out.” That was true, but only because the festival was allowing just three hundred people into one of its largest rooms. A few blocks away, the section of Rigsbee Street between Fullsteam and Motorco was closed off, essentially turning an entire block of businesses into a private club for Moogfest attendees only. (The Pit was open to the public via a side door.) Logistically, it made some sense, as it allowed festivalgoers to

mill about the block with beers in hand, but it still felt strange. Themes of protest and resistance were central to both Art of Cool and Moogfest this year, and their different manifestations were telling of their motivations. Before Common went on at DPAC, the Reverend William Barber delivered fiery invective about pushing back against oppressive forces. “Bowing down is not an option,” he said, and the crowd roared back in agreement. He offered a direct, exciting call to action, and Common coasted in on that energetic wave before turning in an invigorating set of his own. At Moogfest’s much-ballyhooed Protest stage on Thursday night, Mykki Blanco, Talib Kweli, and Pie Face Girls offered varied messages about subverting oppression and promoting social justice. But their noble efforts were watered down by messages of consumption between sets: Listen to this podcast! Download these apps! Logos of corporate sponsors flashed on the stage’s massive LED backdrop, including Guitar Center, which closed its only Durham store last summer. Buy local, right? That’s not to say Moogfest wasn't fun—it was an enjoyable weekend that brought some excellent talent downtown. Suzanne Ciani at The Armory, with the PA set up in the round, gave one of the best, most immersive performances of the festival. Overall, Moogfest delivered entertainment and engaging ideas. But like The Wizard of Oz’s Tin Man, the shiny affair lacked heart. The city felt more rented than inhabited. It’s important to remember, too, that Moogfest decamped to Durham in large part because Asheville didn’t want to pony up any more cash after the festival lost $1.5 million in 2014. But Durham, apparently eager to beef up its “Silicon Valley of the South” image, rolled out the red carpet for Moogfest, while Mitchell and Art of Cool had to stop just short of begging for support from the city. Durham eventually caved and Art of Cool got its money, but that didn’t happen without significant uproar from the community first. It's a shame that the city seems keen to chase the “cool” factor of one festival when a homegrown one already has it in abundance. The key difference is this: Moogfest could happen anywhere, but Art of Cool couldn’t happen anywhere else. ahussey@indyweek.com INDYweek.com | 5.24.17 | 17

music

OKILLY DOKILLY

Saturday, May 27, 8 p.m., $15–$18 Local 506, Chapel Hill www.local506.com

Ding Dong Diddly Doom

OKILLY DOKILLY EXPLORES THE SURPRISING DARKNESS OF THE SIMPSONS’ NED FLANDERS THROUGH HEAVY METAL BY SPENCER GRIFFITH

ccording to its unassuming origin story, Okilly Dokilly came into being when a pair of bandmates started brainstorming innocuous names for imaginary hardcore bands. A reference to The Simpsons’ friendliest neighborino— the perpetually upbeat and severely religious Ned Flanders—inspired plenty of follow-up jokes and eventually gave birth to the world’s first “Nedal” outfit, which takes the character’s more offbeat lines like, “The last thing I ever bought a woman was a coffin,” out of context and casts them as growled refrains to punishing, brutal metalcore. The result is “not as fast as Bartcore, and a little cleaner than Krusty Punk,” according to vocalist Head Ned in an August 2015 interview that made Okilly Dokilly a viral sensation. “We never intended to turn it into an actual thing but the puns just kept flowing,” admits Head Ned. (Red, Dead, Cred, and Bled round out the quintet of current Neds.) “We started looking at reasons why we shouldn’t do it, but I worked for a clothing manufacturer, so I could get polos and sweaters for cheap. This was a genre that the band was interested in, so we thought we’d play a couple weird, small shows in bars, and it just grew from there,” he says. In the midst of a six-week cross-country headlining tour, Okilly Dokilly has by far surpassed the achievements of its members’ previous, more serious projects. “Just the fact that we had any success anywhere with any project is a big deal to us,” says Head Ned. “You could be bitter, but why would you even need to?” INDY: What were you and the rest of the band doing musically before Okilly Dokilly? HEAD NED: We were all doing different things in the same scene; myself and the drummer [Bled Ned] did more of an indie/ alternative rock thing where we got compared to Weezer constantly. A lot of the other guys were in more of a digital, Devoish band and they did some dancey stuff. It 18 | 5.24.17 | INDYweek.com

their creativity to cosplay these Simpsons characters at our shows while enjoying this obscure Simpsons tribute night. What’s been the most surreal experience you’ve had while this project has taken off? I think it was really early on when we first published our photos and demos in August 2015. We went from zero to twenty thousand Facebook fans, we were on the front page of Reddit and trending on Facebook. We went from this goofy idea that we thought nobody would be into, then suddenly there was a really intense couple days of being everywhere on the internet. It’s funny, because we kind of did it all backwards, where we got all this fame first, then after that we played our first show and actually recorded an album.

The five Neds of Okilly Dokilly PHOTO COURTESY OF ADRENALINE PR was really all over the board, but this is the most metal thing that we’ve done—it’s kind of a step into a new genre for us. When this project came up, I just wanted to reach out to anyone who was a friend of mine and wanted to be involved, which is actually how we ended up with synth in this band. It wasn’t really predetermined, that’s just what he played and I wanted him to be in the band. What is it that you’re looking for in the dialogue of an episode when finding inspiration for a song? At first, I was looking for something that he’d say that was very dark and could be very metal when taken out of context. I was looking to find the humor in the fact that you might listen to the song not knowing the theme of the band and just hear how dark the lyrics are, then delve into it and go “Oh, that’s something that Ned Flanders said?” That’s where songs like “They

Warned Me” came from. From there, we’ve kind of branched out and done some different things. Some are sillier but still angry, like “More Animal Than Flan” where he says “Ann Landers is a boring old biddy”—which is a very mellow thing to say, but when you say it angrily, it works. Nowadays when I’m looking for quotes, I kind of follow one of those two patterns. We also created our own rule with “Only Ned Flanders quotes,” then broke it pretty much immediately with “All That Is Left,” which is an ode to the Leftorium and is mostly left-handed puns. What have the crowds been like at your shows? The fans are always really passionate. At each show, there are more and more of what we call “Bonus Neds”—people who come decked out in Flanders costume—and we’ve had Max Power, a couple Maudes, an Apu, a Sideshow Bob. People kind of use

When you share bills with more serious bands, how have those artists responded to Okilly Dokilly? You’d think some might get offended that we’re taking this genre that they take seriously and we’re doing something silly with it, but one thing that’s constantly impressed me about the metal community is that everyone seems to have a really developed sense of humor despite the seriousness of the genre. We’ve had one band that played a lot of their straightforward songs and then they did a bunch of covers from the actual show and played a medley of like “See My Vest” and “Everyone Hates Ned Flanders,” which was really cool. If you were to pick any other genre that would fit Ned Flanders’s life, what would that be? I think it might be funny if it was a folk band that was entirely composed of banjos and “diddlys” and “doodlys”—something so incredibly innocent and over-the-top. I think it would have to be an extreme version of one genre or another. music@indyweek.com

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ALIEN: COVENANT HHHH Now playing

Cheaters Win

ADULTEROUS ROMANCE AND LUST REKINDLE A DYING MARRIAGE IN THE LOVERS BY NEIL MORRIS The Lovers is a portrait of marital discord that feels familiar and staid. It immediately casts viewers into a morass of tumult and tears, and we obligingly yearn to learn more about how the marriage of Mary (Debra Winger) and Michael (Tracy Letts) became corroded. We await clues about what drew Mary to her needy paramour, Robert (Aidan Gillen), or Michael to his intense inamorata, Lucy (Melora Walters). At the same time, we’ve seen this story before, and we feel like we’ve kinda got these characters pegged. Grace notes enrich the minuet in writer-director Azazel Jacobs’s comedy of manners. Mary and Michael’s icy coupling isn’t the most pitiable part of their lives. Rather, it’s the harried lengths they go to sate needy lovers who have become as tedious as their spouses. Mary and Michael are constantly late to their humdrum jobs, with Mary stealing away for nooners and Michael for after-work trysts. When Lucy starts to ring more frequently— her caller ID on Michael’s smartphone reads “WORK”—Michael starts concocting phony encounters with friends to cut short their conversations and get-togethers. While Mary and Michael are each unaware of the other’s infidelity, both appear quietly resigned to the possibility and to contending with the charade of deception—as long as it doesn’t land on their doorstep. Mary and Michael separately promise their lovers they will end their marriage in a couple of weeks, after a visit from their resentful son, Joel (Tyler Ross), who bears the unseen scars of his parents’ lifeless union. But a funny thing happens on the way to splitsville. As their affairs become more monotonous, cheeky texts and silly playacting lead Mary and Michael to find renewed romance in, well, each other.

REVIEWS

THE LOVERS

It’s generally acknowledged that the creature in the Alien franchise is the scariest monster in all of science-fiction cinema. Based on the vision of Swiss artist H.R. Giger, it’s a triumph of sinister design—a Freudian nightmare of biomechanical sex and death. Alien: Covenant, the new installment by Ridley Scott, burrows into the psychosexual roots of the monster to present a bloody, baroque, deeply weird story. A sequel to 2012’s inscrutable misfire, Prometheus, the new film concerns another spaceship crew encountering another alien infestation. All the franchise elements are present: derelict ruins, extreme body trauma, a strong female lead, and lots of dripping water—not to mention other fluids. But Scott switches things up by structuring the story like a classic Gothic horror tale, complete with Byron and Shelley references. The sepulchral planetary necropolis where it takes place is among the scariest cinematic spaces ever conjured, right up there with Dracula’s castle and Frankenstein’s lab. Michael Fassbender returns as the synthetic life-form David, who’s long been stranded in the tombs beneath the city. Is he friend or foe to the marooned crew? That’s determined after the lethal xenomorphs pick off the cast one by one, dismembering some, impregnating others. Good times. Covenant is the best Alien since the first two, and the darkest sci-fi vision yet of our evolving cultural anxieties about machines and artificial intelligence. A persistent ambient dread hangs over the film like a sticky red mist, and you may feel it clinging long after you leave the theater. —Glenn McDonald

BAYWATCH H Opening Thursday, May 25

Debra Winger and Tracy Letts in The Lovers PHOTO BY ROBB ROSENFELD/COURTESY OF A24

“Are you sleeping with her?” a suspicious Lucy asks Michael, the question heavy with obvious irony. The bulk of this unintentional chamber play is propelled by the performances of Winger and Letts, the latter’s renowned stage experience on full display. Mary and Michael betray more mutual weariness than outward antagonism, a trait they extend to their lovers. Mary dozes off as Robert, a writer of sorts, drones on from his latest manuscript. Michael prefers perusing the newspaper to watching Lucy, a dance instructor, rehearse her latest routine. As Mary and Michael rekindle their romance in and out of bed, The Lovers

seems bound for an inevitable finale. Instead, Jacobs interjects an unexpected detour that reconfigures the thrust of the narrative. The denouement, and by extension the film itself, feels oh so French, steeped in relaxed sexual mores, casting off the suffocating strictures of both monogamy and puritanical marriage. It exalts the notion of love outside matrimony, particularly after a wife has borne children, and embraces older people as worldly sexual beings. Hearts can be broken, but by the ruin of personal amour rather than the dissolution of conjugal constructs. Spouses come and go, but lovers are forever. arts@indyweek.com

So I have this theory about Zac Efron and his inexplicable success as an actor. My bet is that, on his eighteenth birthday, as he graduated from Hollywood's child-star factory, he descended to a secret chamber deep below the sound stages of Burbank. There he took part in unspeakably vile satanic rituals involving boiling hot goat semen, the hideous Sigil of Baphomet, and the severed, frozen head of Walt Disney. Screaming infernal blasphemies and draped in the bloody entrails of 666 purebred kittens, he sold his soul to the demon Azazel in exchange for fame, fortune, six-pack abs, and piercing blue eyes the color of the Aegean Sea. Every year since then, on the eve of Samhain, Efron pledges once more to drown the world in an ecstasy of fire and blood as he signs the contract for yet another incredibly shitty movie, like this Baywatch reboot costarring Dwayne “The Rock” Johnson and coming this week to a theater near you. Nooooooo! —Glenn McDonald

INDYweek.com | 5.24.17 | 19

artificer

BARKLEY L. HENDRICKS: WORKS FROM THE COLLECTION Through June 18 The Nasher Museum of Art, Durham www.nasher.duke.edu

Life of the Cool

HOW A GREAT, NEGLECTED NORTHERN PAINTER AND A YOUNG, RISING SOUTHERN MUSEUM PUT EACH OTHER ON THE MAP BY BRIAN HOWE

“B

right colors, imagination, champagne, drawing, taking pictures, teaching, telling stories, process, everyday rituals, style, race, Rome, Durham, discovery, Hawaiian shirts, a woman in high-heeled shoes, a lack of inhibition, directness, honesty, individuality, self-confidence, humbleness, and, most of all, Susan.” This is but a partial list of the loves and traits ascribed to the artist Barkley L. Hendricks, who died in April at age seventy-two, by Durham’s Teka Selman, who has worked throughout the art world— as a consultant, writer, dealer, and curator— over the last fifteen years. On Sunday afternoon, a few dozen people, including Susan Hendricks, were gathered in a small auditorium at the Nasher Museum of Art to pay tribute to the artist whose vivid yet stoic life-size oil paintings of black people, often posed on strong monochrome backgrounds, were a commanding corrective to the whiteness of the art canon in the sixties and seventies, let alone the Renaissance portraiture Hendricks so admired. Selman went on to describe a man of robust contradictions, who was kind, warm, and stubborn, who did not suffer fools but had a ready sense of humor, who was an individual to the point of contrariness— who was completely himself. “He always had a toothpick at the ready, usually tucked behind his ear,” Selman said. “He owned more sunglasses than anyone I’ve ever met. He didn’t waste time trying to convince people how cool he was. He was just cool.” Next, Selman’s husband, Trevor Schoonmaker, the chief curator of the Nasher, took the podium, dwarfed by an aptly outsize slide show. In a personal tribute full of long, emotional pauses, Schoonmaker remembered discovering Hendricks’s portraits in grad school at the University of Michigan in the mid-nineties while studying with Richard J. Powell, a leading scholar of Afri20 | 5.24.17 | INDYweek.com

Barkley L. Hendricks (right) in a slideshow with Trevor Schoonmaker, also seen onstage, at the Nasher Museum of Art PHOTO BY BRIAN HOWE can-American art who is now also at Duke. Schoonmaker soon went to work for a gallery in Chelsea that offered him the chance to curate a summer show. So he coldcalled the famously prickly artist (“Here’s his home number, don’t tell him I gave it to you, and good luck,” said a colleague at the Studio Museum in Harlem) and they wound up speaking for hours. Schoonmaker went to New London, Connecticut, where the Philly-born Yale graduate had settled down, and they immediately bonded. But neither could have known the meeting would be a turning point—in each of their careers, for the Nasher, and, arguably, even for the Western canon. This was in 2000, a time when interest in Hendricks had sharply waned after he had stopped making portraits, for decades, in favor of photographs and landscapes. “In part, it was because they were so amazing that everybody wanted to see them, so he said, No thanks, I’ve got other

things I can do,” Schoonmaker remarked. So Hendricks must have seen little risk in loaning two paintings to a six-artist gallery show by a young, untested curator. But it was a surprise success, and when Schoonmaker curated Black President: The Art and Legacy of Fela Anikulapo-Kuti at The New Museum in 2003, Hendricks painted a picture of the Nigerian music giant—his first portrait since 1983’s “Ma Petite Kumquat,” which depicted his wife. But for Hendricks and the Nasher Museum of Art, the gleaming postmodern building and young staff that had replaced the small, ad hoc Duke University Museum of Art in 2005, everything clicked in 2008. Schoonmaker, as the Nasher’s contemporary curator, mounted Barkley L. Hendricks: Birth of the Cool, Hendricks’s first major solo retrospective. Though the ascendant curator was beginning to hear Hendricks’s name whispered reverently among young artists in New York, the artist

himself was game but skeptical. “He said, ‘Trevor, I love you, dude, and we’re going to put on a great show, but I’ll believe that shit about the others when I see it,’” Schoonmaker recalled with a fond smile. “Well, Barkley did get to see that admiration, and even revel in it, and now he has hundreds of artistic children, if not more.” At the time of Hendricks’s death, he and Schoonmaker had been at work on a new exhibit for Prospect New Orleans’s fourth international art exhibition, Prospect.4, in 2018, which Schoonmaker is curating. Now a tribute featuring the portraits, some of which you can also see in an exhibit at the Nasher through midJune, will go up instead. Just as Selman had opened her encomium in litanical form, Schoonmaker closed his by intoning a list of noted artists who claim Hendricks’s influence: Kehinde Wiley, Jordan Casteel, William Cordova, Rashid Johnson, Stacy Lynn Waddell, on an on. The Nasher alone owns two works that are direct tributes to Hendricks, including Amy Sherald’s “High Yella Masterpiece: We Ain’t No Cotton Pickin’ Negroes,” a 2011 canvas where two men in white suits holding pink cotton candy pose against a goldenrod background. “The full impact of his art and teaching is only beginning to unfold,” Schoonmaker said.

fter the tributes, as Durham bassist John Brown’s quartet filled the Nasher atrium with jazz, Schoonmaker, who is forty-seven but looks thirty-five, found a moment to sit in a quiet corner and reflect on time and timing. “No one else was painting that kind of imagery, personalizing everyday people of color and making them larger than life,” he said. “When we met in 2000, it was perfect because I was an aspiring curator and he felt like he’d been completely overlooked.” From the Nasher, Birth of the Cool

traveled to The Studio Museum in Harlem, The Santa Monica Museum of Art, PAFA in Philadelphia, and Contemporary Arts Museum Houston. Black President and the renewed attention from Birth of the Cool inspired Hendricks to finally return to portraiture with new vigor. “Nineteen years is a long time, when you’re a master of portraiture, not to paint them,” Schoonmaker said. Hendricks also got picked up by the reputable Jack Shainman Gallery in New York, enjoying a final decade of unexpected success and acclaim. But Birth of the Cool not only revitalized Hendricks’s career, it also put a new museum in a growing city on the map. “Some of the younger artists I mentioned first learned about him through that show, while the ones more my age had only seen a work here or there,” Schoonmaker said. “It was hugely beneficial to [the Nasher]. He had done all the hard work, but we were the fortunate ones to present it to the world.” Hendricks developed a close relationship not just with Schoonmaker and the Nasher, but also with the city. He had first visited in the late seventies, when the American Dance Festival moved from New London to Durham, and later he had a studio at Golden Belt. “Barkley felt like he got his first big love here and he never forgot it,” Schoonmaker said. “He had a lot of respect for Durham and knew a lot of people who weren’t necessarily affiliated with Duke.” But this is more than a story of a mutually beneficial friendship between an artist and a curator. It’s a story of the revision of a racially unbalanced Western canon, which caught up with Hendricks just in time. In 2008, when Kehinde Wiley’s heraldic but naturalistic portraits of black people were gathering wide acclaim, a much different art world than Hendricks faced in his youth began to turn him into a retroactive icon. “Some of the younger artists, who were then in their thirties, like Kehinde Wiley and Mickalene Thomas, who speak so eloquently about his impact on their work, were starting to get a lot of attention, critically and in the market,” Schoonmaker said. “They made an easy reference point for him. The younger generation of African-American artists working with representation really opened the door for people to rediscover Barkley’s work.” “I see a lot of up-and-coming artists who speak about him like this giant of the art world, which wasn’t the case ten years ago,” Schoonmaker went on. “There’s so much more diversity now. So I think it’s inevitable that history is being rewritten a little, and he’s being written into the canon.” bhowe@indyweek.com

indystage

STRAIGHT WHITE MEN

HHH ½ Through Sunday, May 28 Sonorous Road Theatre, Raleigh www.sonorousroadtheatre.com

Conditional Love

YOUNG JEAN LEE EASILY SLICES THROUGH FATTY LAYERS OF HOLIDAY SCHMALTZ IN HER CAUSTIC DRAMA, STRAIGHT WHITE MEN BY BYRON WOODS conditions that qualify the supposedly unconditional love among siblings and patriarch. In a sense, we can see it coming in the socialized aggression of Jake and Drew’s early roughhousing. It’s good-natured for the most part as they relitigate squabbles from an extended, possibly permanent adolescence, while their older, more mature brother, Matt, remains above the fray. But matters grow a shade darker as the family reminiscences about a childhood in which Matt was a shockingly effective activist—high schoolers quoting Hegel, anyone?—and helped raise the other two to be acutely aware of their social privilege. Things get darker still when we learn that Matt Brian Thacker, Nick Popio, Sean Wellington, and Simon has had a mid-career criKaplan in Straight White Men PHOTO COURTESY OF SONOROUS ROAD THEATRE sis of faith. “I was teaching a bunch of people something I didn’t know how to do, that they production of The Shipment, confrondidn’t want to learn,” he admits, concluding tational playwright Young Jean Lee easithat he’s never figured out how to be a usely slices through the fatty layers of holiday ful human. schmaltz and sentimentality in this caustic The more Matt questions his profession 2014 drama, which is Sonorous Road Theand the necessity of careers in general, the atre’s final production at its Oberlin Road more his overachieving kin seek to excuse space before it moves to Hillsborough Road his underperformance. Clinical depresin June. sion is the cause, says one, while another Easy laughter spills forth as Ed (Simon asserts that Matt is practicing a strategic Kaplan) and his three adult children—acerself-martyrdom so the underprivileged can bic banker Jake (Sean Wellington), sensirise instead. tive writer Drew (Nick Popio), and academic Even the closest of groups set boundarMatt (Brian Thacker)—reenact cheesy holiies involving unacceptable behaviors and day rituals on Vivian Chiang’s domestic set. beliefs. Hassan draws nuanced work out of But Lee’s real targets, which aren’t Santa an ensemble that coheres as a convincing suits and Christmas-day pajamas, take a bit family—that is, before their own assumplonger to comprehend. Slowly, she and guest tions about what it means to be men threaten director egla Birmingham Hassan probe the to tear them apart. connective tissue that hold this family togethbwoods@indyweek.com er. In doing so, they gradually uncover a set of As Straight White Men begins, it’s Christmastime, when artificial trees, gaudy decorations, and comforting bromides about universal peace and love are taken out of storage, dusted off, and briefly put on display. To the surprise of no one who saw her regional premiere in Black Ops Theatre’s

REVIEW THE SEAGULL HHHH Through Monday, May 29 5612 Cabe Ford Road, Durham Anya Reiss’s sparkling 2012 adaptation of Chekhov’s breakthrough play begins as a veritable bonfire of the artistic vanities as it chronicles the onstage, backstage, and offstage disaffections among a group of artists and the unfortunates who happen to be related to (or, even worse, in love with) them. In this Bartlett Theater production, director Jonathan Bohun Brady gratifies Reiss’s mostly comic treatment of Chekhov’s first two acts with a uniformly well-cast ensemble. As Adam Kampouris probes the theatrical jealousies of the neurotic young Konstantin, Emily Rieder’s goth Masha carries the torch for him while being hounded by the whining Medvedenko (Chris Wright). As the avuncular Sorin, Jim O’Brien eases tensions between Konstantin and his actress mother, Arkadina (Beth Ritson)—until she accidentally-on-purpose upstages his unfortunate first play. Even Konstantin’s love interest, wannabe actor Nina (Moriah Williams), knows his script is a bomb, but she dutifully plows through its turgid prose before an increasingly restive onstage audience of islanders. In the second and third acts, principal characters pursue lovers as clearly unobtainable as they are unworthy. We admire Shannon Malone’s integrity as Polina, pining for the eternally noncommittal Dr. Dorn (crisply portrayed by Joey Infinito). Reiss paints Nina as a starstruck fool for Arkadina’s consort, Trigorin, a famous novelist with conspicuous feet of clay (Jon Parker Douglas). David Klionsky adds commentary as the sardonic, overinflated caretaker, Shamrayev. In Brady’s imaginative outdoor staging, the audience visits four sites across the attractive grounds of a historic country house near the Eno River. Reiss’s present-day adaptation and a nimble ensemble keep the audience on its feet, though the pacing begins to drag in a mostly humorless final act. Until the characters’ predicaments, understandably, ground it in the end, this Seagull flies higher than any I’ve seen. —Byron Woods INDYweek.com | 5.24.17 | 21

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MUSIC

5.24–5.31

PHOTO COURTESY OF THE ARTIST

SATURDAY, MAY 27

JOHN HOWIE JR. & THE ROSEWOOD BLUFF

It’s been an interesting few months for John Howie Jr. Best known for leading the alt-country band Two Dollar Pistols in the early aughts, Howie has lately devoted himself to being a member of Sarah Shook’s band, the Disarmers. In April, he briefly reconvened Two Dollar Pistols for a show celebrating the rerelease of Shook’s excellent October 2015 LP, Sidelong, on Bloodshot Records. At the helm of this longrunning country-honk outfit, Howie has steered through stunning highs, hard times, and heartbreak. But even as he revels in plenty of twang, Howie somehow manages to retain a touch of punk and indie spirit. When he digs in for an evening with his other band, The Rosewood Bluff, Howie has every reason to be in a jubilant mood. With the Kernal and Mike V. —David Klein THE STATION, CARRBORO 8 p.m., $8–$10, www.stationcarrboro.com

STAGE

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GHOST THE MUSICAL

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Of course there’s life after death. We see fresh evidence of it every time a show dies on Broadway and then somehow finds new life in national tours and multiple regional productions. North Raleigh Arts and Creative Theatre has successfully prowled the musical boneyard before, making significant hay out of works such as Seussical and Reefer Madness, which didn’t linger long in old New York. Their work’s really cut out for them in the stage adaptation of the nineties multiplex megahit starring Patrick Swayze and Demi Moore, which got very little love during four brief months on Broadway in 2012. Chasta Hamilton Calhoun directs. —Byron Woods NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH 8 p.m. Fri. & Sat./3 p.m. Sun., $12–$20, www.nract.org

WHAT TO DO THIS WEEK Animazement PAGE

PHOTO COURTESY OF ANIMAZEMENT

SATURDAY, MAY 27

SCENE BITES

This reading and signing from Red Adept Publishing, a small, North Carolina-based independent publishing house, features a diverse slice of fiction by local, national, and award-winning authors. From Norseinspired urban fantasy, romantic suspense, and science fiction to epic fantasy, Southern gothic, and even a police procedural, the lineup represents the broad interests of publisher Lynn McNamee, who has steadily built her house from its origins in freelance editing to a stable of more than sixty authors, twelve of whom appear here. Three highlights to wet your whistle: local author Karissa Laurel’s Midnight Burning is the gritty, sexy, Alaska-set first installment of her “Norse Chronicles.” New Hampshire author Nicholas Conley’s 2015 novel, Pale Highway, is about a Nobel-winning virologist’s battle against his own Alzheimer’s and the potential outbreak of a new virus. And New Jersey author Mary Fan’s Jane Colt series of young-adult space operas features galaxyspanning conspiracies of artificial intelligences and cyberpunk secrets that unfold through the eyes of a “once ordinary” heroine. —Samuel Montgomery-Blinn

MUSIC

SATURDAY, MAY 27

BODYKIT, DRIPPY INPUTS

On a new seven-inch split on Acid Etch Recordings, subversive ex-Whatever Brains synth-punks Bodykit and physical noise techno revitalizer Drippy Inputs offer smeared, decaying electronic punk outlined in jet black marker. Their freak talents are well paired. Playing fast and sloppy numbers with dance music conventions, Drippy Inputs, who also records and performs as Floor Model, is simpatico with other weirdo underground beat icons like Profligate and Unicorn Hard On. His tunes crank distortion to violent, deafening levels, yet they usually provide a shred of broken groove to grip, provided you can hold on. Bodykit is a bit more songoriented, which isn’t saying much—think shamanic punk tunes cloaked in thick layers of electronic debris. If you’re looking to understand the ever-expanding relationship between punk and electronic music, this is a great place to start. With Mall Prowler. —David Ford Smith KINGS, RALEIGH 9 p.m., $5–$8, www.kingsraleigh.com

ART

THURSDAY, MAY 25–SUNDAY, MAY 28

ANIMAZEMENT

In its nineteenth year, the Japanese animation and culture festival Animazement continues to be one of the not-so-secret weapons in the Triangle’s growing arsenal of claims to be a geek-culture center. Attracting more than ten thousand guests a year in recent years, it’s equal parts community and spectacle, with a combination of panels, dealers, video games, cultural events, and, of course, legions of cosplayers in elaborate costumes, dressed as characters from all varieties of media. Major guests this year include founding Animerica magazine editor and manga translator Trish Ledoux, English-language anime producer Toshi Yoshida, and Dragon Ball Z voice actor Linda Young. It’s a feast for fans and a potentially overwhelming introduction for newcomers; keep an eye on www.indyweek.com for our post-coverage. —Zack Smith RALEIGH CONVENTION CENTER, RALEIGH Various times, $25–$65 per day, www.animazement.com

AVERSBORO COFFEE, GARNER Noon–3:30 p.m., free www.facebook.com/RedAdeptPublishing

WHAT ELSE SHOULD I DO?

MYLOAN DINH AT THE DURHAM ARTS COUNCIL (P. 29), EDDIEFEST AT KINGS (P. 27), JOHN T. EDGE AT VARIOUS BOOKSTORES (P. 30), OKILLY DOKILLY AT LOCAL 506 (P. 18), THE ORBITING HUMAN CIRCUS AT MOTORCO (P. 25), THE SEAGULL AT SORIN’S ESTATE (P. 21), STRAIGHT WHITE MEN AT SONOROUS ROAD (P. 21), TOMMY! THE DREAMS I KEEP INSIDE ME AT THE CARY THEATER (P. 31), DANIEL WALLACE AT FLYLEAF BOOKS (P. 32)

INDYweek.com | 5.24.17 | 23

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BLUE NOT Wednesday; CRADLE ( Tobin Sprout, $13–$15. • TH Residency: Ju Guests; 9 p.m Sidecar Socia • IRREGAR Bros.; 6:30-9 BOOTH AM Peter Lamb a p.m., $5. • LO Durham, Will NEPTUNE Chiffon, Real THE PINH 9 p.m., $10. • Chainsmoker Warren. • PO Hombres, Kev 9 p.m., $7–$10 Saving Space SLIM’S: Jen Sam Leidig; 9

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music

5.24– 5.31

FOR OUR COMPLETE COMMUNITY CALENDAR

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CONTRIBUTORS: Amanda Black (AB), Elizabeth Bracy (EB), Timothy Bracy (TB), Zoe Camp (ZC), Spencer Griffith (SG), Allison Hussey (AH), David Klein (DK), Noah Rawlings (NR), Dan Ruccia (DR), Patrick Wall (PW)

WED, MAY 24

CHORS AWAY!,” and a punk song with a riff reminiscent of “Crocodile Rock,” Nevernauts make music that’s simultaneously light and heavy. With Home Town Girl and Devils Night. —NR [THE CAVE, $5/10 P.M.]

8-11 p.m., free. • NIGHTLIGHT: Karaoke with B and ?; 9:30 p.m. • POUR HOUSE: Local Band Local Beer: Dark Water Rising, Africa Unplugged, The Freeway Revival; 9:30 p.m., $3–$5. • SLIM’S: Vincas, Night Battles, Girl Werewolf; 9 p.m., $5.

Ravary

FRI, MAY 26

BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • CAT’S CRADLE (BACK ROOM): Tobin Sprout, Elf Power; 8:30 p.m., $13–$15. • THE CAVE: May Artist Residency: Juan Huevos with Special Guests; 9 p.m., $5. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The Holland Bros.; 6:30-9:30 p.m. • KOKA BOOTH AMPHITHEATRE: Peter Lamb and the Wolves; 5:45 p.m., $5. • LOCAL 506: Lincoln Durham, Will Varley; 9 p.m., $10–$12. • NEPTUNES PARLOUR: Hotline, Chiffon, Real Dad; 10 p.m., $5. • THE PINHOOK: BYP-100 Benefit; 9 p.m., $10. • PNC ARENA: The Chainsmokers, Kiiara, GRYFFIN, Emily Warren. • POUR HOUSE: Bad Hombres, Kevin Maines & The Volts; 9 p.m., $7–$10. • RUBY DELUXE: Saving Space Showcase; 9 p.m. • SLIM’S: Jenny Besetzt, Jock Gang, Sam Leidig; 9 p.m., $5.

SOLO Like many a busy SIDE musician juggling projects, Justin Ravary Ellis found he needed an outlet to make music that’s his and his alone. That’s where this self-named project comes in for the Triangle-based multi-instrumentalist, whose main band, Happy Abandon, has just signed to the burgeoning Schoolkids Records label. Filtering Americana through his Quebecois heritage, Ravary finds a new way to approach familiar ground. With Little Raven. —DK [NEPTUNES PARLOUR, $5/10 P.M.]

THU, MAY 25

Valley Queen

Franz Ferdinand DANCE Since emerging from ROCK Glasgow in the early aughts as a European counterpart to American electronic acts like LCD Soundsystem, Alex Kapranos and his cohorts in Franz Ferdinand have proved a reliable font of smart, engagingly art-damaged dance pop. Like its seventies forerunners (and occasional collaborators) Sparks, the band’s muse is situated someplace between glam swagger and prog weirdness, lending just enough misdirection to its arena-size melodies to keep the sound vital and surprising. Omni opens. —EB [LINCOLN THEATRE, $25/8 P.M.]

Nevernauts COMIC No matter how PUNK solemn your message, taking yourself too seriously as a punk musician can render the serious ridiculous. With a press photo featuring the band flipping off the camera and smiling, song titles like “AN-

MINI MAC Much in the same way as the Los Angeles Basin’s origins date to the Pleistocene, the roots of the Los Angelenos in Valley Queen stretch way back—to Laurel Canyon during its heyday in the sixties and seventies, or to Van Nuys in 1974, when Fleetwood Mac moved to the Golden State. The Mac’s probably the closest reference for Valley Queen’s ironed-out pop-rock, minus all that psychosexual drama. Christopher Paul Stelling opens. —PW [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • AMERICAN TOBACCO AMPHITHEATER: Tellico, Skylar Gudasz; 6-9 p.m., free. • THE CAVE: Ray Charles in Charge; 7 p.m. • DEEP SOUTH: Buffcoat and the Lacquer, The Trees, Nico Zarcone Band, Twenty Mule Team; 8 p.m., $5. • IRREGARDLESS: Going Back Band; 6-9 p.m. • LOCAL 506: Wayne Hancock; 9 p.m., $12–$15. • NASH STREET TAVERN: Ari Pappalardo;

Joey Agresta LO-FI New England’s got a WALDEN knack for harboring genius shut-ins, and like Frost or Dickinson or Thoreau before him, Vermont lo-fi artist Joey Agresta (formerly known as Joey Pizza Slice, Son of Salami) finds solace in solitude. Recorded in his bedroom above an antique store, Agresta’s oddball power-pop tunes (see: “I Feel Like Shit and I Want to Die”) ooze insular charm. Big French and Blood Revenge open. —PW [NIGHTLIGHT, $7/9:30 P.M.]

The Blasters HALF A great American CENTURY band now going on five decades of existence, the Blasters first emerged from Los Angeles in the late seventies, featuring a unique synthesis of country, blues, and rock. While their comingling of traditional reverence and punk spontaneity would prove highly influential and widely imitated, no one has done it any better since. The Delta Bombers open. —TB [POUR HOUSE, $15-$20/9 P.M.]

Conan BARThe British metal BARIC band Conan— named for the barbarian, not the comedian—specializes in “caveman battle doom,” a form of musical pummeling powered by the same stoner rat brain that made Black Sabbath’s muck so mesmerizing. They’ve got astounding strength for a trio, loosing battle cries over quaking doom riffs with Spartan discipline. Three like-minded bands of

Orbiting Human Circus ringleader Julian Koster PHOTO

BY CALEB BRYANT MILLER

WEDNESDAY, MAY 31

THE ORBITING HUMAN CIRCUS (OF THE AIR) In a year in which “the Greatest Show on Earth” closed after one hundred forty-six years and clown sightings became a staple of the news cycle, it’s safe to say that the Orbiting Human Circus (of the Air) is the best thing to happen to circuses in recent memory. It’s not a straight-up circus of course, but rather a podcast that reimagines the circus milieu as a sort of variety show of the mind. The show takes the form of a vintage radio program emanating from a grand ballroom atop the Eiffel Tower. There, a self-doubting janitor named Julian (portrayed by Julian Koster, the show’s creator) works his menial rounds and badly wants to find a way in to the world of the radio stars and performers (voiced by a fine cast of supporting players like John Cameron Mitchell, Tim Robbins, and Mandy Patinkin). Not just to be among them but, perhaps most dangerous of all, he desperately wants to perform. In private moments, he pours out his anxieties to the show’s patient narrator, who does his best to dispense sage advice to Julian, who, we learn, is “fated to ruin everything.” Should we doubt our protagonist’s struggles with the real world, this entire self-contained community exists solely in his own head. If that sounds like a kind of out-there premise, look to its source. As a member of Neutral Milk Hotel, Koster played

on the widely revered, shambolic indie classic In the Aeroplane Over the Sea. Following that band’s breakup, he took an idiosyncratic path that included an album’s worth of singing-saw Christmas carols and numerous side projects. His main band, Music Tapes, supplies music for the podcast. The premise may come across as fanciful, but the treatment isn’t necessarily whimsical. The show’s aim to entertain as well as unsettle is evident from the outset. Each episode includes a segment of “real people telling real stories on tape.” The pilot concludes with a spooky segment in which an older woman recounts a tale from her childhood about a law firm where her mother worked, whose partners successfully represent the defendant in a sensational childmurder trial before enjoying a celebratory dinner … of him. With its period flavor and fourth-wallbreaking structure, it recalls elements of The Singing Detective and even Jack Torrance’s conversations with Lloyd the bartender in The Shining. But the baroque flavor of Koster’s imagination renders this circus a concoction all its own. And its conceit is ideal for a live venue, where the audience becomes implicated in the proceedings. —David Klein MOTORCO, DURHAM 8 p.m., $15, www.motorcomusic.com INDYweek.com | 5.24.17 | 25

bruisers—North, MAKE, and Demon Eye—open. —ZC [KINGS, $12–$14/8 P.M.]

grooves that’s as aggressive as it is forward-thinking. With Waking Tera and Guts of the Oven. —ZC [LOCAL 506, $8/8:30 P.M.]

Fluorescence

Killiam Shakespeare

DREAMY Fluorescence is Chris LIGHTS Petto and Azul Zapata, a Chapel Hill-based duo that blends intricate dream pop à la Beach House with sweat-slicked soul. Zapata’s distinctive, lilting howl acts as a linchpin for the band’s Southern-fried shoegaze, a blunt, bluesy counterpart to Petto’s hazy instrumentation. Debut album Your Envy, released last month, is a nuanced, texturized collection of catchy, breezy indie songs. Little Raven, Boo Reefa, and Them Dam Bruners open. —ZC [THE CAVE, $5/9 P.M.]

JAZZ HOP Punny band names are often put to use to disguise mediocre music with a clever label. Fortunately, that’s not the case for Philadelphia’s Killiam Shakespeare. The collective braids together soul, hip-hop, jazz, and prog sensibilities for instrumental numbers that are engrossing and excellent. You can snag the band’s album Killiam Season 1 for free on Bandcamp, so this Friday night stand on Beyù is a worhtwhile investment. —AH [BEYÙ CAFFÈ, $16.50/7 & 9 P.M.]

Icaria

Maxwell

HEAVY Though named after ATL the Greek island where Icarus plummeted to the sea (according to the legend, anyway), the prog-metal outfit Icaria hails from Atlanta. Formed from the ashes of the Southern metalcore band Broadcast the Nightmare, the quintet put a sludgy spin on Rush’s labyrinthine

SMOOTH Like similarly inclined SOUL nineties soul icons Pharrell and D’Angelo, Maxwell’s slow-burning, lightly jazz-inflected sonics have proven profoundly influential on contemporary R&B. Having recently released his first new album in seven years, the gifted singer-songwriter returns to the stage with his signature

honeyed croon undiminished by the passage of time. Ledisi and Leela James open. —EB [RED HAT AMPHITHEATER, $34–$230/7:30 P.M.]

Porch Light Apothecary COMFY & At its best, Raleigh FAMILIAR quartet Porch Light Apothecary conjures Counting Crows, concocting catchy, soulful roots tunes by setting Brent Jordan’s emotive baritone and stirring storytelling to warm, rich arrangements bolstered by soaring harmonies and subtle flourishes on organ and mandolin. Dead Sea Sparrow’s sparse acoustic strums cast dark tension over singersongwriter fare. —SG [THE STATION, $7/8:30 P.M.]

Zach Williams LONE As frontman for the FELLOW painfully earnest Americana outfit Lone Bellow, Zach Williams has demonstrated an undeniable facility for the sort of populist, crowd-pleasing sing-alongs that previously made minted stars of Mumford & Sons and The Lumineers. Setting aside

the costumes, it’s not particularly clear what connection this music possesses to its supposed country roots—it’s essentially well-made eighties arena rock performed with bowler hats—but the hooks and energy are undeniable. Avi Jacob opens. —TB [CAT’S CRADLE BACK ROOM, $17–$20/8 P.M.] ALSO ON FRIDAY ARCANA: One Track Mind; 10 p.m., free. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • BYNUM FRONT PORCH: Milagro Saints; 7-9 p.m. • CARRBORO TOWN COMMONS: Freight Train Blues; 6:30 p.m., free. • DEEP SOUTH: Bar Games; 10 p.m., $5. • IRREGARDLESS: Elmer Gibson; 6:30-10 p.m. • LINCOLN THEATRE: Party String Party; 9 p.m., $10. • MOTORCO: Yarn, Me and Molly; 9 p.m., $12–$15. • NASH STREET TAVERN: Junction 57; 8-11 p.m., free. • NC MUSEUM OF ART: Peter Lamb and the Wolves; 5:30 p.m., free. • NORTHGATE MALL: Mel Melton & The Wicked Mojos with John Dee Holeman; 6:30-9 p.m., free. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): The Sun. The Moon.; 7 p.m. • SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$15.

• SLIM’S: Chris Frisina, Driskill, Nick Shanahan; 9 p.m., $5. • THE STATION: Solid Gold: LGBTQ+ Dance Party; 11 p.m.

occasional special guests jumping in. —DK [MOTORCO, $10–$15/9 P.M.]

SAT, MAY 27

Blue Note Grill’s Seventh Anniversary Party

Animal Fam CAUSE 4 A benefit for the PAWS SPCA of Wake County, this event features six hours of curated dance music ranging from the dubstep of F3NN to the breakbeats of Wondershock to the mesmerizing psych-trance of Horus. Attendees are encouraged, but not required, to dress up as their favorite animal. —TB [DEEP SOUTH, $5/8:30 P.M.]

Art of Noise: Memorial Weekend Edition

BLUES Now on Washington BASH Street on the edge of downtown, Durham’s Blue Note Grill has earned a reputation as one of the Triangle’s strongest outposts for blues music and barbecue. Seven years and one move later, it remains a hub for blues of all strains and styles. Blue Note Grill regulars The Tornado Blues Band, Snake Malone, and The Black Cat Bone are on hand to help celebrate. —AH [BLUE NOTE GRILL, $12/8 P.M.]

Madam West

TURN If you’re looking for a TABLES Memorial Day weekend extravaganza with a pronounced “hands in the air like you just don’t care” feel, this showcase under the auspices of the Sol Kitchen and Art of Cool should be just ticket. DJ Lonnie B returns to man the turntables, with

GOTHAM How come Batman SOUL doesn’t dance any more? Remember the Batusi? Madam West does: The Gotham neo-soul quartet, though its catchy, jazzy, semipsychedelic tunes take more inspiration from the L train, Flannery O’Connor, and anxiety attacks than the Dark

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Knight. Fans of Hiatus Kaiyote and Esperanza Spalding will find much to dig here. With Zephyranthes and My Mountains. —PW [SLIM’S, $5/9 P.M.]

N.C. Symphony: New World Symphony

PHOTO COURTESY OF KINGS

September Mourning

SUNDAY, MAY 28

EDDIEFEST Celebrated North Carolina drummer Eddie Watkins dazzled a lot of people in a variety of endeavors during his fortyseven years. “He was fucking brilliant,” says his former wife, Amy Overman, about the self-taught musician. “Anything he put his mind to, he dived hard into it.” That included working his way up from prep cook to sous chef at Chapel Hill’s 411 West, getting a degree in information science at N.C. Central University, which eventually resulted in a job at LexisNexis, and, of course, helping forge the sound of Chapel Hill’s Polvo as the band’s original drummer. Local musicians called him “The Chef ” because he looked like he was making a salad when he played drums. “If you watched him from the side or the back, you would swear he was just swiveling those sticks across the top of the head. It was a very interesting style,” says fellow drummer Chuck Garrison, whose band Pipe played numerous shows with Polvo in the early nineties and headlines the first-ever EddieFest. The all-day show is named in honor of Watkins, celebrating his life while helping HopeLine N.C., an organization dedicated to reaching out to people at risk of suicide. Watkins took his own life in Durham in April of last year. Overman says that in the months since, she’s been thankful for overwhelming support from the local music community throughout an

MOSTLY Nothing says the EUROPE start of summer in North Carolina more than…music by European men? Sure, Dvorak’s “New World” Symphony and Cello Concerto were written while the composer was visiting the United States. But Sibelius’s Finlandia and Verdi’s Overture to Nabucco don’t exactly scream “summer.” Would it be so hard to include something by an American, maybe Florence Price or George Walker? The orchestra will be joined by community members in the twentieth annual “Play with the Pros.”—DR [KOKA BOOTH AMPHITHEATRE, $17–$35/7:30 P.M.]

extraordinarily difficult year, something the extensive bill reflects well. “At the very least, we’ll have a day of music and people that love Eddie,” says Overman. “The kids will get to know them,” she adds, referring to her and Eddie’s children, Ned and Lucie, now in their teens. (At the show, Ned will play drums in his dad’s place with Stranger in the Valley of the Kings and perform trap music as Yung Polvo.) In addition to the music, HopeLine volunteers will be at the show throughout the day to talk, answer questions, and hand out information. The organization recently text-enabled both of its crisis lines at (919) 231-4525 or 1-877-235-4525. With that effort, the organization hopes to connect with more young people. Overman says she hopes to see people talk more openly about mental health issues. “We’re losing people to suicide,” she says. “People are hurting, and not getting the help they need. And they’re afraid to say anything, because there’s such shame and stigma about it.” She also hopes EddieFest becomes an annual tradition, a prospect that looks bright—she’s already got artists asking about a plan for next year. —Danny Hooley KINGS, RALEIGH 12:15 p.m., $10, www.kingsraleigh.com

ROCK September DRAMA Mourning isn’t a band so much as a comic book brought to life, with a benevolent human-reaper hybrid, X-Men’s Storm, as its heroine. Released in tandem with a comic book, the group’s debut album, Transcendent, theatrically details September’s rebellion against fate by way of Muse’s rock dramaturgy. With Chaos by Candlelight, Murder Maiden, and Scars of the Forsaken. —ZC [THE MAYWOOD, $13–$15/8 P.M.] ALSO ON SATURDAY ARCANA: The Soul Below; 10 p.m., $5. • BEYÙ CAFFÈ: Bashiri Asad; 7 & 9 p.m., $16.50. • THE BULLPEN: Cool John Ferguson; 8:30-10:30 p.m., free. • THE CAVE: Boo Hag, DK Unusual; 9 p.m., $5. • IRREGARDLESS: Tryad; 6-8:30 p.m. Ti Harmon Group; 9 p.m. • KINGS: Bodykit, Drippy Inputs, Mall Prowler; 9 p.m., $5–$8. See page 23. • LINCOLN THEATRE: Capleton, Crucial Fiya & Friends, Cayenne King; 9 p.m., $22–$35. • LOCAL 506: Okilly Dokilly, Beatallica; 8 p.m., $15–$18. See page 18. • POUR HOUSE: Dr. Bacon, The Nitrogen Tone; 9 p.m., $7–$10. • RUBY DELUXE: DJ Luxe Posh; 10 p.m. • SHARP NINE GALLERY: Brad Merritt Trio; 8 p.m., $10–$20. • THE STATION: John Howie Jr. and The Rosewood Bluff, The Kernal, Mike V.; 8 p.m., $8–$10. See page 22. The Mobelizer, Sound Resurgence; 11:30 p.m., free. • THE STAG’S HEAD: The New Hillbillies; 9 p.m., free.

SUN, MAY 28 Barefoot Movement FRESH Winners of IBMA’s GRASS 2014 Momentum Award for Band of the Year, Barefoot Movement deftly shifts from poignant ballads to rousing boot-stompers harmonies—led by North Carolina natives Noah Wall and Tommy Norris—consistently sparkle on sharp, novel arrangements. Unlike many of the next generation, though, the Nashvillebased quartet also has a fondness for faithful takes on bluegrass traditionals. Formed from PineCone’s youth jams and summer camps, opening act Carolina PineCones features five talented teen pickers. —SG [MOTORCO, $12–$15/8 P.M.]

Savi Fernandez Band FLORIDA An Orlando-based REGGAE reggae outfit led by nimble fingered singer-guitarist Savi Fernandez, this band steadfastly errs towards the feel-good dorm-room vibes of the genre, leaving roots-rock revolutionary politics to others. Nevertheless, a propulsive energy, deep pocket groove and serious chops make for a winsome combination. —EB [POUR HOUSE, $6/8 P.M.]

JAWSFEST BIGGER Orange County’s BLOCK tenth annual JAWSFEST kicks off beach season by celebrating Steven Spielberg’s classic thriller, which might still hit close to home after North Carolina’s spike in highly publicized shark attacks in 2015. Highlights of Local 506’s day-and-night bill include horror punks The Independents, fantasy metalheads Mega Colossus, surf-rockers Blood Red River, and heavy riffers Solar Halos. The Baxter hosts the requisite film screening, while other nearby businesses offer a punk rock flea market, charity haircuts, a dog costume contest, and more. —SG [LOCAL 506, $7/3:30 P.M.]

Moonchild AIR An L.A. synth-pop HEADED band with light notes of soul and R&B, Moonchild makes barely present compositions that are wafted along in their noncommittal ether by the unfailingly wispy vocals of frontwoman Amber Navran.

Seemingly contrived to convey California cool and alleging influences ranging from electronic to jazz, the net result is wafer-thin easy listening music, best reserved for high-end hotel lobbies and unshakable bouts of insomnia. —EB [CAT’S CRADLE BACK ROOM, $12–$15/8 P.M.]

No Hugs NOT A Its members HUGGER Berklee-trained in a melange of styles—the drummer in Latin percussion, the guitarist in flamenco and progressive metal, the singer in opera—Boston’s No Hugs is disparate but not disjointed, blending its bright influences into a hyper-smooth, if disappointingly gray puree. Bridge to Breakdown and Patrick Turner open. —PW [THE CAVE, $5/9 P.M.]

Ozuna BORICUA Ozuna has TRAP experienced a meteoric rise to fame via Spanish-language radio, boasting six hit singles at once. Mixing trap beats, the characteristic reggaetón dembow beat, and the amorous pleadings of the perpetually heartbroken, the band has attracted a massive international following. —AB [THE RITZ, $45–$125/8 P.M.]

Triangle Wind Ensemble: An American Celebration: The Best of Broadway GIVE In Cary, the Triangle REGARDS Wind Ensemble gives you all the Broadway hits you can stand with tunes from Beauty and the Beast, Fiddler on the Roof, West Side Story, South Pacific, Wicked, Les Miserables, Porgy and Bess, and Hamilton sung by Minji Kim, Wade Henderson, and J Rowdy. —DR [KOKA BOOTH AMPHITHEATRE, $13–$26/7:30 P.M.]. ALSO ON SUNDAY BLUE NOTE GRILL: The Beauty Operators Unplugged; 5-7 p.m., free. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Matt Walsh; 6-9 p.m. • KINGS: Eddiefest 2017; 12:15 p.m., $10. See box, this page. Shamrock Breakdance Competition; 10:30 p.m., $10. • RUBY DELUXE: Airhorn Dancehall White Party; 10 p.m.

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ar OPEN

SPECIAL EVENT June 24. Re May 26, 6 Designer Je SPECIAL EVENT Leif Vollebekk performs at the Cat’s Cradle Back Room Wednesday night. PHOTO BY JOSEPH YAMUSH Demonstra by Cynthia May 26, 5 and The Glands and peppered bring kids. The next generation of Gallery, Ap with baseball trivia and Star Wars jazzers won’t form on its own. cocoongalle —DK [KOKA BOOTH AMPHITHEreferences, The Hernies’ peppy KINGS: 1970s Film Stock, 80 Lb ATRE, $5, 12 AND UNDER FREE/5:45 O N G O bursts fill the crevasses between Test; 9 p.m., $7. • NEPTUNES P.M.] bare-bones garage rock and PARLOUR: May Residency: The Abstract Vi knotty psych. With Chapel Hill’s Atomic Rhythm All Stars; May 29, 8:30 Sam Ezell. T Le Weekend. —PW p.m., $5. • POUR HOUSE: Junior Building, Hi Leif Vollebekk [NEPTUNES PARLOUR, Astronomers, Magma Opus; 9 p.m. • American L $5/9:30 P.M.] RUBY DELUXE: K-Pop Night with HUSHED With “Elegy,” the first Time + Nat DJ Slime-A-Rita; 10 p.m. • THE SHED SONGS single from his new Personal W JAZZ CLUB: Sessions at the Shed LP Twin Solitude, Montreal’s Leif doesn’t fal Ben Miller Band with Ernest Turner; 8 p.m., $5. Vollebekk delivers a gentle, tree. This p VINTAGE This throwback roots yearning reflection on heartbreak. by a father BLUES act out of Missouri is He’s highly skilled at marrying concerned unafraid to bring out washboards tender lyrical sensibilities with that future and jugs, but somehow it gorgeous, appropriate instrumen- enough na tation. Riley Pinkerton opens. to recogniz A Day Without Love manages to skate the line —AH [CAT’S CRADLE BACK between earnest musical tribute of the clich LOTS OF A Philadelphia rock ROOM, $12–$14/8:25 P.M.] and craven nostalgia act by virtue who helme HEART band whose only of a fierce, reverential approach Park renov permanent member is singerand a demonstrable understandcombines Lespecial songwriter Brian Walker, A Day ing of the more unsavory and and paintin Without Love serves up tautly unsettling aspects of the pre-war VERY This Boston-by-way- Landscapes wound, guitar-driven meditations and Delta blues. —TB SPECIAL of-Connecticut trio referring b [MOTORCO, $10–$12/8 P.M.] on anxiety whose occasional and to a ja creates noir-ish instrumental melodic clunkiness tends to be songscapes punctuated by overshadowed by an aggressive ALSO ON TUESDAY complicated polyrhythms, pulsing and ultimately endearing CAROLINA THEATRE: bass tracks, and squiggly, sci-fi vulnerability. As with pre-New Day Sauerkraut: German Expressionism in movie synths. Brooding, engaging, Rising Hüsker Dü, Walker’s very Film and Music; 7:30-9 p.m., $5–$22. and cheerfully ridiculous, Lespecial real talent is often subsumed in • DUKE’S KIRBY HORTON somethin is onto something genuinely the brooding morass. Give him a HALL: Ciompi Quartet; 7:30 p.m., singular and exciting with its calendar little time, though, and he might $10–$60. • IMURJ: The Doug genre-sweeping, weirdo calendar just make a masterpiece. Izzy Largent Trio, Daniel Ayers; 8:30-11:30 dance-floor prog. Bruteus opens. (include Heltai opens, plus Chris Bullock p.m. • IRREGARDLESS: Marilyn —TB [POUR HOUSE, street ad and the Nonsense and Hank & Wienand; 6:30-9:30 p.m. • RUBY $7–$10/9 P.M.] info, cost Brendan. —EB DELUXE: Experimental Tuesday: Sean descripti [THE CAVE, $5/9 P.M.] Moustache; 11 p.m. ALSO ON WEDNESDAY it yourse indyweek BLUE NOTE GRILL: Selwyn The Hernies Birchwood; 8 p.m., $15. • THE CAVE: Events/A May Artist Residency: Juan Huevos with DEADLIN FUZZY What’s that they say Special Guests; 9 p.m., $5. • IMURJ: 5 p.m. fo POWER about the apple not Rian Adkinson, Advent Horizon, Brian Marcus Anderson Wednesd falling far from the tree? Henry Paglia; 8 p.m. • IRREGARDLESS: Thanks! Barbe, the whippersnapper SAX Marcus Anderson’s Craig Thompson Band; 6:30-9:30 p.m. GLORY band-leader of The Hernies, is the profile expanded son of David Barbe, former bassist exponentially as saxophonist in for Bob Mould’s Sugar and Prince’s New Power Generation. producer of damn near every The multi-instrumentalist has Drive-By Truckers record, but his since distinguished himself in band operates some distance collaborations with an impressive away from his pop’s projects. range of artists and in solo work. Nodding toward Television, The Bonus: the show has a childReplacements, The Minutemen, friendly price (free) and time, so

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TUE, MAY 30

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WED, MAY 31

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5.24 – 5.31

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SPECIAL Forged Jewelry by EVENT Jim Adams: Thru June 24. Reception: Friday, May 26, 6-8:30 p.m. Melissa Designer Jewelry, Hillsborough. SPECIAL The Art of EVENT Feltmaking: Demonstrations and fabric art by Cynthia Mollenkopf. Friday, May 26, 5-8:30 p.m. Cocoon Gallery, Apex. www. cocoongallerync.com.

MYLOAN DINH: FLUID At a glance, some of MyLoan Dinh’s paintings might look like simple summer-home confections of sand and sea. But look again. At the end of the Vietnam War, Dinh’s family fled its native Saigon and wound up at “Tent City” in California, one of the U.S.’s largest Vietnamese refugee camps. From there they migrated to North Carolina. After a time at UNC-Chapel Hill, Dinh studied at an art school in Australia and then spent a decade working in theatrical design before returning to painting in 2008. This life of comings and goings, both personal and geopolitical, furnishes images of legs running into and out of seas with underlying emotion and gravity. Elsewhere, the work is more pointed, as in an American flag constructed from lifejackets. Fluid, Dinh’s new exhibit, runs at the Durham Convention Center from May 19 to October 13. And look, we’re never going to try to send you to a convention-center corridor to look at art; luckily, the Durham Arts Council pavilion is hosting this one-night pop-up. See it there. —Brian Howe

ONGOING

Abstract Vision: Paintings by Sam Ezell. Thru Jun 15. Whitted Building, Hillsborough. American Landscapes in 4/3 Time + Natural Attraction & Personal Work: The apple doesn’t fall far from the tree. This pair of exhibits by a father and daughter is concerned with ensuring that future generations have enough natural world left to recognize the meaning of the cliché. Dan Gottlieb, who helmed the Museum Park renovation at NCMA, combines photography and painting in American Landscapes in 4/3 Time, referring both to his camera and to a jazzy time signature

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FRIDAY, MAY 26

DURHAM ARTS COUNCIL, DURHAM 5:30–8 p.m., free, www.durhamarts.org

“Running” by MyLoan Dinh PHOTO COURTESY OF THE DURHAM ARTS COUNCIL

he perceives in nature’s improvisations. And the Oakland-based illustrator Iris Gottlieb shows work related to her new book, Natural Attraction, which explores the relationships between animals and people through quirky watercolors and text. It’s supplemented by Personal Work, in which Iris probes “having mental illnesses, my queerness, and ways to visually explore intimate and vulnerable experiences.” Thru Jul 1. Craven Allen Gallery, Durham. www.cravenallengallery. com. —Brian Howe Artspace 30th Anniversary Artist Retrospective: Juried exhibition. Thru Jun 3. Artspace, Raleigh. www.artspacenc.org. LAST Avian Tablescapes: CHANCE Pottery by Lucy Dierks. Thru May 31. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

Careful to Carefree: Watercolors by Carol Liz Fynn. Thru Jun 29. ERUUF Art Gallery, Durham. www.eruuf.org.

collage by Dawn Rozzo. Thru Jun 1. Little Art Gallery & Craft Collection, Raleigh. www. littleartgalleryandcraft.com.

Cedar Creek Gallery National Teapot Show X: Thru Sep 5. Cedar Creek Gallery, Creedmoor. www.cedarcreekgallery.com. LAST Chapel Hill CHANCE Woodturners: Wooden sculpture exhibit and craft sale. Thru May 31. Horace Williams House, Chapel Hill. chapelhillpreservation.com. LAST Collecting Carolina: CHANCE 100 Years of Jugtown Pottery: Pottery. Thru May 29. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Cultural Fabric: Quilts and portraits by Keith Allen and Alan Dehmer. Thru Jun 4. FRANK Gallery, Chapel Hill. www.frankisart.com.

Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com.

Discover Your Governors: Thru Aug 6. N.C. Museum of History, Raleigh. www. ncmuseumofhistory.org. LAST Durham Public CHANCE Schools Student Art Show: Thru May 25. Northgate Mall, Durham. www. northgatemall.com. SPECIAL EARTHworks: EVENT Paintings by Chris Graebner and Jude Lobe, pottery by Garry Childs. Reception: Friday, May 26, 6-9 p.m. Hillsborough Gallery of Arts.

Color Song: Paintings by Margie Sawyer and mixed media

Eye Scapes: Photography by Eric Raddatz. Thru Jul 9. Through

This Lens, Durham. www. throughthislens.com. SPECIAL Forecasts and Other EVENT Disturbances: Mixed media screenprints and cut paper by Julie Anne Greenberg. Thru Jul 7. Reception: Friday, May 26, 6-8 p.m. Durham Arts Council, Durham. www. durhamarts.org. From Here to Eternity: Quilted tapestries by Ann Harwell. Thru Jul 25. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. Glory of Venice: Renaissance Paintings 1470–1520: Thru Jun 18. NC Museum of Art, Raleigh. www.ncartmuseum.org. SPECIAL Julie Anne EVENT Greenberg: Paintings. Thru Jul 7. Reception: Friday, May 26, 5-7 p.m. Durham Arts Council. www. durhamarts.org. Half the Sky: Sculptures by Jan-

Ru Wan. Thru Jun 1. Sertoma Arts Center, Raleigh. www.parks. raleighnc.gov. In Conditions of Fresh Water: The term “environmental racism” has existed since the eighties, the problem for much longer. But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized communities are subjected to inferior environmental conditions. Clean water and wastewater treatment are still lacking in places like Alamance County, imperiling the health of residents and the security of the land. This exhibit is by Torkwase Dyson, a Duke visiting artist, and Danielle Purifoy, an attorney/ environmental scientist, that explores this phenomenon in depth through interviews with residents of rural, historically black Southern counties that INDYweek.com | 5.24.17 | 29

have been victimized by insidious institutional neglect. Thru Jun 3. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. —David Klein Just Flowers: Paintings by Sam Ezell. Thru Jun 15. Alexander Dickson House, Hillsborough. www.historichillsborough.org. Looking South: Photography by Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org. A Moment in Time: Paintings by Angela Nesbit and Sharon Bass. Thru Jun 17. ArtSource Fine Art Gallery, Raleigh. www.artsourceraleigh.com. More than One Story | Mas de una historia: Photography. Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc. edu/davis. New Paintings and Assemblages, Celebrating 50 Years of Art Making: Paintings by Gerry Lynch. Thru Jul 1. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com. Nine Artists Show: Out in the forests of Chatham County lies 123 Art Studios, a renovated barn that has transformed in recent years into a working and display space for area artists. The poplar-paneled charm of the interior, markedly indifferent to the spatial neutrality cultivated by urban galleries, should make a warming home for the nine artists in this exhibit. Despite the rustic setting, the show promises more than a healthy share of the expected paintings: there’s also Mayan-inspired mixedmedia work (Zoe Allison Rockingbear), steel sacred geometry (Joseph Asterita), raku pottery (Colleen Black Semelka), digital prints (Francis Shepherd), and even neon glass (Nate Shaeffer). Thru Jun 5. 123 Art Studios, Pittsboro. —Brian Howe LAST Not Like It Was: CHANCE Paintings and mixed media by Gayle Stott Lowry. Thru May 27. Crocker’s Mark Gallery, Raleigh. LAST May’s Emerging CHANCE Artist: Meredith Bridges: Sculptures. Thru May 31. The ArtsCenter, Carrboro. www.artscenterlive.org. LAST big, small, and CHANCE sometimes medium: Paintings by Nico Amortegui. 30 | 5.24.17 | INDYweek.com

Thru May 31. The ArtsCenter, Carrboro. artscenterlive.org. SPECIAL Our House: Student EVENT and instructor exhibition. Thru Jul 7. Reception: Friday, May 26, 6-8 p.m. Durham Arts Council. www.durhamarts.org. LAST Project Reject Is CHANCE Underway: Sitespecific installation by Jeff Bell and Megan Sullivan. Thru May 27. Artspace, Raleigh. www. artspacenc.org. Pleasant Places: Digital paintings by Quayola. Thru Aug 13. NC Museum of Art, Raleigh. www.ncartmuseum.org. Site-Specific Installation: Fiber art by Gabrielle Duggan. Thru Jun 24. Artspace, Raleigh. www. artspacenc.org. LAST Southeast Natives: CHANCE Botanical art from North Carolina artists. Thru May 28. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org. Southern Light: Paintings by Chad Smith. Thru Jun 24. Eno Gallery, Hillsborough. www. enogallery.net. LAST Stories from the CHANCE Heartland: Paintings by Rachel Campbell Thru May 25. Durham Arts Council, Durham. www.durhamarts.org. LAST The Lived Body: Six CHANCE artists, presented by Subverbal Collective. Thru May 26. Visual Art Exchange, Raleigh. visualartexchange.org. LAST Taste of Home: Oil CHANCE paintings symbolizing hospitality and food. Thru May 27. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com. LAST Textiles in Tiers: CHANCE Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org. Time Will Tell: The Ackland Art Museum features the works of UNC-Chapel Hill’s MFA class of 2017, which comprises artists Luke Firle, Wayne Marcelli, Joy Meyer, Vanessa Murray, Emily J. Smith, Louis Watts, and Lamar Whidbee. Their work varies significantly in medium, form, and subject matter: Marcelli and Whidbee often work through political ideas via figurative painting, while Meyer and Watts frequently employ nonobjective or multimedia

representational techniques. The title of the exhibit has a winking double meaning, as each artist explores his or her individual relationship to time—and each makes a case for a prospective career. Thru Jun 5. Ackland Art Museum, Chapel Hill. www.ackland.org. —Noah Rawlings Under Pressure: Prints and performance art. Monday nights thru Aug 27. Visual Art Exchange, Raleigh. www. visualartexchange.org. Vitamin O: Photography from Alicia Stemper about the people of Orange County, N.C. Thru Jun 1. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org. You + Me: Photographs from various artists. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

food DOUGHMAN 9: Self-propelled relay-team culinary tour of Durham. Proceeds support Durham Bike Co-op. Sat, May 27. DOUGHMAN Durham, Durham. www.doughman.org. A Memorial Day Fish Fry in Chapel Hill: Hosted by Gene & Bill of Crook’s Corner and Al and Mel (Al’s Burger Shack) with music by Liquid Pleasure. $45. Mon, May 29, 6-8 p.m. Crook’s Corner, Chapel Hill. www.crookscorner.com. Seasonal, Local Dinner and Mini-Foraging Walk in Oakwood: Five seasonally driven courses prepared by chef Kim Hunter of Kimbap followed by a foraging walk. Discussion with Erin White. Benefitting the Raleigh Food Corridor. $100. Wed, May 31, 6 p.m. Personal Home, Raleigh.

PHOTO BY JASON THRASHER

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+ FOOD FOOD TUESDAY, MAY 30–THURSDAY, JUNE 1

JOHN T. EDGE: THE POTLIKKER PAPERS John T. Edge, the director of the Southern Foodways Alliance and the host of the podcast Gravy, makes three appearances in the Triangle this week to promote his new book, The Potlikker Papers. It opens in kitchens in Montgomery, Alabama, in 1955, where African-American women sustained the Montgomery bus boycott. Edge weaves impeccable research and charming anecdotes to illuminate the ways food traditions are entwined with class, race, gender, and social resistance. He revels in the dynamism of the South, proving tamales to be as Southern as cornbread. On Tuesday, May 30, he will read at 7 p.m. at Quail Ridge Books in Raleigh, introduced by chef Ashley Christensen. Next up is Fullsteam Brewery on Wednesday, May 31, at 7:30 p.m., with award-winning Lantern chef Andrea Reusing. Finally, Edge will appear at 7 p.m. on Thursday at Flyleaf Books in Chapel Hill, introduced by Bill Neal of Crook’s Corner (with Crook’s food, too). —Monique LaBorde VARIOUS BOOKSTORES, TRIANGLE-WIDE I Various times, free, www.johntedge.com

stage OPENING Additional Parts, Ben Ether: Drag show. Fri, May 26, 9 p.m. The Pinhook, Durham. www. thepinhook.com. DILEEP Show 2017: Malayalam entertainment. Fri, May 26, 7 p.m. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com. Dominique: Stand-up comedy. Sat, May 27 & Sun, May 28. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. LAST Downrange: Voices CHANCE from the Homefront: Mike Wiley created this play from workshops with military

spouses from Fort Bragg. He learned how a coming deployment affects family relationships, and what happens on the day the soldier leaves and over the months that follow. As Wiley and his colleagues spoke with the spouses of active, retired, and deceased soldiers and the partners of wounded veterans, an unusually nuanced portrait came into view. Wiley says, “There are so many depictions out there that are so far from the truth.” Fri, May 26 & Sat, May 27. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre. org. —Byron Woods Eyes Up Here: LadyBits Open Mic: Women-only comedy open mic, hosted by Brittany

Spruill. Thu, May 25, 8 p.m. The Pinhook, Durham. www. thepinhook.com. Ghost the Musical: Based on the film. $12-$20. Fri, May 26-Sun, Jun 11. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. LAST Grounded: In a CHANCE computerized age, work isn’t all that can follow you home. War can, too. Michelle Murray Wells wanted to restage her solo production of Grounded, about a female fighter pilot dealing with new psychological pressures after a pregnancy shifts her to the drone squad, because she refused to be grounded herself while completing the last

trimester of her own pregnancy. After the protagonist identity as a fighter pilot is taken, the coping mechanisms she uses to deal with drone missions start to fail. Sat, May 27 & Sun, May 28. Raleigh Little Theatre. www. raleighlittletheatre.org. —Byron Woods Greg Morton: Stand-up comedy. Thu, May 25 & Fri, May 26. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Smokey Joe’s Cafe: Musical showcase. May 31-Jun 11, 8 p.m. Kennedy Theater, Raleigh. www. dukeenergycenterraleigh.com.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. The Harry Show: Ages 18+. Improv host leads audience in potentially risque improv games. $10. Fri & Sat, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx.com. Martin Luther King, An Interpretation: Play. $10. Sat, May 27, 8 p.m. The ArtsCenter,

Carrboro. artscenterlive.org. LAST Matilda: Musical CHANCE satirist Tim Minchin is right: sometimes you have to be a little bit naughty. The subtle insurgency of the lyrics in his stage adaptation of Roald Dahl’s story about a young girl with an imagination (and a reading list) big enough to rewrite her dismal childhood helped make it “the most satisfying and subversive musical ever to come out of Britain,” said The New York Times. N.C. Theatre and Broadway Series South bring the Royal Shakespeare Company production to Raleigh bearing seven Olivier Awards and five Tony Awards. $25. Thru May 28. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com. —Byron Woods Rampage!: Improv with Grass Roots. Fri, May 26, 8:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. LAST  The CHANCE Seagull: Reviewed on p. 21. $25. Thru May 29. Bartlett Theater, Durham. www. BartlettTheater.org.

screen SCREEN

WEDNESDAY, MAY 31

TOMMY! THE DREAMS I KEEP INSIDE ME In his documentaries, Durham director Rodrigo Dorfman has explored the transformative power of art by focusing on artists and musicians who have had to fight to be heard. That interest found new, poignant expression in this 2013 documentary, whose subject has had to fight even harder than most. The title character in Tommy! The Dreams I Keep Inside Me is an autistic man of sixty who dreams of vocalizing in the style of Sinatra in front of a big jazz band. Although watching Tommy realize his dream could make a curmudgeon choke up, Dorfman doesn’t sentimentalize his subject or mine his story for easy pathos. His respectful spirit aligns with that of “A Series of Fortunate Events,” a monthlong Arts Access initiative highlighting the work of artists with disabilities. The film’s star, Tommy Onorato, will be on hand in his capacity as a member of Triangle Alliance Chorus, which will perform afterward. —David Klein

THE CARY THEATER, CARY 7 p.m., $10–$15, www.thecarytheater.com

PHOTO COURTESY OF RODRIGO DORFMAN

INDYweek.com | 5.24.17 | 31

SPECIAL SHOWINGS Jurassic Park: $5. Fri, May 26, 5:30 p.m (food and science stations)/7 p.m. (screening). NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org. Most Likely To Succeed: $10. Wed, May 24, 6:30 p.m. Silverspot Cinema, Chapel Hill. www.silverspot.net. Movies in the Park: Sputnik at Sixty. Sun, May 28, 9 p.m. Durham Central Park, Durham. www.durhamcentralpark.org. Tommy! The Dreams I Keep Inside Me: Film about adults living with autism in the jazz community. Wed, May 31, 7 p.m. The Cary Theater, Cary. See p. 31. Why Women Must Climb Mountains: Film about the life and work of Dr. Gerda Lerner. Tue, May 30, 7:30 p.m. Carol Woods Retirement Community, Chapel Hill. www.carolwoods. org.

OPENING  Baywatch—Reviewed on p. 19. Rated R. Chuck—Liev Schreiber plays Chuck Wepner, who challenged Ali for the heavyweight title in 1975. Rated R. ½ The Lovers— Reviewed on p. 19. Rated R. Pirates of the Caribbean: Dead Men Tell No Tales— Captain Jack Sparrow is back! Who still cares? Rated PG-13.

A LSO P LAYI NG The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  Alien: Covenant— Reviewed on p. 19. Rated R.  Beauty and the Beast— This live-action remake is an effective piece of fan service but certainly won’t replace the animated classic. Rated PG. ½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years. Rated R. ½ Gifted—Marc Webb’s story of a child math prodigy caught in a custody battle isn’t a particularly original film, but it’s heartfelt and accomplished—a very good story, very well told. Rated PG-13.  Going in Style—This “comedy” from “filmmaker” Zach Braff feels familiar: three old friends, played by actors in their golden years, reunite for one last bank heist. The jokes are tame (and lame) and the film hinges on the accumulated good will of Morgan Freeman, Alan Arkin, and Michael Caine. Rated PG-13.

worthy sequel to Marvel’s spacefaring success story, now with an Oedipal twist, as Peter Quill discovers his father is a living planet called Ego. Rated PG-13.

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 King Arthur: Legend of the Sword—Guy Ritchie gets medieval on our asses, twisting Arthurian legend into a British caper film. Critics are slamming the movie as ridiculous, but the key is to embrace Ritchie’s goofball riffing and try to ignore the more egregious flourishes, like Jude Law’s designer jackets. Rated PG-13. ½ Kong: Skull Island— Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse Now meets Starship Troopers. Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults. Rated PG. ½ The Lost City of Z—David Grann’s exceptional book about early-twentieth-century Amazonian exploration is rendered unexceptional by staid filmmaking and simple characterizations. Rated PG-13.

 Guardians of the Galaxy Vol. 2—A muddier story and zestier jokes balance out to a perfectly

PHOTO BY IMAN WOODS

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TUESDAY, MAY 30

DANIEL WALLACE: EXTRAORDINARY ADVENTURES After a prolific run of four novels that began nearly twenty years ago with his careermaking Big Fish: A Novel of Mythic Proportions, Daniel Wallace finally slowed his pace in the mid-aughts. He returned in 2013 with The Kings and Queens of Roam, a cautionary adult fairy tale of sorts, and his new book, Extraordinary Adventures, continues his tradition of melding the ordinary and the mythological into compelling novelistic worlds. Using a classic structure, the book hinges on the upending of order and the reverberations of an agent of change. For Edsel Bronfman, a shipping clerk, the catalyst comes in the form of a free weekend in sunny Florida. But since the deal is couples-only, Edsel, saddled with a name that is synonymous with failure, needs a date in the worst way. As he pursues this vital connection, he begins to awaken to a world of glorious possibilities. —David Klein FLYLEAF BOOKS, CHAPEL HILL

READINGS & SIGNINGS Renée Ahdieh: Flame in the Mist. Wed, May 24, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Tim Bauerschmidt, Ramie Liddle: Driving Miss Norma: One Family’s Journey to Saying “Yes” to Living. Thu, May 25, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

Pirates of the Caribbean: Dead Men Tell No Tales opens Friday. COURTESY OF WALT DISNEY STUDIOS 32 | 5.24.17 | INDYweek.com

I 7 p.m., free, www.flyleafbooks.com Barbara Garrity-Blake & Karen Amspacher: Living at the Water’s Edge. Wed, May 31, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. Zelda Lockhart: The Soul of the Full-Length Manuscript. Wed, May 24, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. NCPS Reading Series: Poetry reading with Becky Gould Gibson, Susan Spalt, and Janet Joyner. Sun, May 28, 2 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

LITERARY R E L AT E D Metamorphosis: tales of transformation and change: Audio stories exploring how humans cope with the only certain uncertainty in life. Fri, May 26, 8 p.m. Duke Campus: Center for Documentary Studies, Durham. www. cdsporch.org. Your Story: Informal writers’ group facilitated by Gaines Steer. Fourth Saturdays, 10 a.m.-noon. Flyleaf Books, Chapel Hill. www.flyleafbooks. com.

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FUN LOCAL CHAT LINE Listen to ads and reply free. Raleigh 919-882-0810. Durham 919059509888. USe free code 7883, 18+.

Maghee

EXCELLENT CONDITION. 168,000 miles. $7,500. CALL 919-923-4284.

919-416-0675

www.harmonygate.com classes & instruction DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI At ERUUF, Durham & ArtsCenter, Carrboro. RICHARD BADU, 919-724-1421, rbadudance@gmail.com

TAI CHI Traditional art of meditative movement for health, energy, relaxation, self-defense. Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936 or www.magictortoise.com

LEARN TAI CHI Learn Tai Chi for benefit of body and mind at Unity Church of Raleigh on Thursday nights, 6:30-8:30 pm. Visit www.taoist.org/usa/raleigh or call 919-787-9600 for more information.

INTRO TO IMPROVISATION 6/17 Saturday Noon to 3pm and 6/21 Wednesday 7pm to 10pm. Be funny, be quick, be confident. 919-829-0822 or www.comedyworx.com

FULL BODY MASSAGE by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe. Schedule an appointment with Pavel Sapojnikov, NC LMBT. #1184. Call: 919-790-9750.

products ACORN STAIRLIFTS The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800-291-2712 for FREE DVD and brochure. (NCPA)

ATTENTION SMOKERS: Stop smoking with TBX-FREE! Clinically proven. More effective than patch or gum! Fast acting! No Side Effects. 88% success rate! Just $1.67 per day with 1 month supply. CALL 1-888-437-1556

GOT KNEE PAIN? BACK PAIN? SHOULDER PAIN?

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.

SAFE STEP WALK-IN TUB ALERT FOR SENIORS. Bathroom falls can be fatal. Approved by Arthritis Foundation. Therapeutic Jets. Less Than 4 Inch Step-In. Wide Door. Anti-Slip Floors. American Made. Installation Included. Call 800-807-7219 for $750 Off.

MALE ENLARGEMENT PUMP Get Stronger & Harder Erections Immediately. Gain 1-3 Inches Permanently & Safely. Guaranteed Results. FDA Licensed. Free Brochure: 1-800-354-3944 www. DrJoelKaplan.com (AAN CAN)

counseling/ therapy MAKE THE CALL TO START GETTING CLEAN TODAY. Free 24/7 Helpline for alcohol & drug addiction treatment. Get help! It is time to take your life back! Call Now: 855-732-4139 (AAN CAN)

Ten years helping clients feel at home in their bodies. Swedish & deep tissue massage for stress relief. Near Duke. MassageByMarkKinsey. com. NCLMBT#6072. 919-619-6373.

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

SAWMILLS FROM ONLY $4397.00?

INDY WEEK’S BAR + BEVERAGE MAGAZINE ON STANDS NOW

claSSy@indyweek.com

loves to cuddle!

MAKE & SAVE MONEY with your own bandmill- Cut lumber any dimension. In stock ready to ship! FREE Info/DVD: www.NorwoodSawmills.com 1?-800?-578?-1363 Ext.300N

Get a pain-relieving brace at little or NO cost to you. Medicare Patients Call Health Hotline Now! 1- 800-591-5582

MASSAGE BY MARK KINSEY

on stands may 31!

KEEP DOGS SHELTERED Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.

To adopt: 919-403-2221 or visit animalrescue.net

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2012 TOYOTA PRIUS

FTCC FAYETTEVILLE TECHNICAL COMMUNITY COLLEGE

entertainment Instant live phone connections with local women & men. Try It FREE! 18+ 919.899.6800, 336.235.7777 www.questchat.com

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COMING TO ASHEVILLE?

Upscale Spa. private outdoor hot tubs, 26 massage therapists, overnight accommodations, sauna and more. Starting at $42. Shojiretreats.com 828-299-0999

home improvement ALL THINGS BASEMENTY!