INDY Week 5.2.18

THE FIFTY MILLION DOLLAR QUESTION RALEIGH 5|2|18

Will a huge verdict against Murphy-Brown force Big Pork to clean up its act?

AMERICANS WITHOUT BORDERS, P. 16

FLEET FOXES KEEP THEIR PROMISE, P. 22

THE ART OF INCARCERATION, P. 24

2 | 5.2.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 18

DEPARTMENTS

6 In Old West Durham, a group of neighbors want to mandate a tree in every backyard.

6 News 19 Food

8 About 92 percent of employers in North Carolina conduct criminal background checks on applicants.

20 Music 24 Arts & Culture

10 Last week, a Raleigh jury decided to punish pork giant MurphyBrown LLC. North Carolina law might get in the way.

26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

14 After peering into the dark side of human nature, Criminal’s producers wanted to lighten up with This Is Love.

19 Someone in Saxapahaw who thought they were planting lemons wound up with flying dragon fruit, which now stars in a hyperlocal beer.

20 More than just a requiem for a room, The Cave’s final nights might spell the end of the old, weird Chapel Hill.

22 Roland Sherrill, who turned his wrongful incarceration into art in The Jumpsuit Project, adds another layer to his institutional critique in Raleigh.

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backtalk

Shortsighted

an advocate in the criminal justice system, This is our last issue before Tuesday’s elecrepresenting death row inmates and advotion—go vote, would ya?—so we’re going to cating for criminal justice reform, racial do our level best to squeeze in as many elecjustice, and the abolition of the death pention-related comments as possible. alty. I support Satana Deberry for Durham First up, Susan Bowers, who writes in district attorney. I believe that our criminal about our coverage of the Wake County justice system is broken; the United States Board of Commissioners primaries: “Thanks is responsible for 25 percent of the world’s for the great coverage and the context your prisoners and a grossly disproportionate article provides on the accomplishments of share of those inmates are people of color. the Wake County Board of Commission“In Durham, our jail and courtrooms are ers and individual commissioners and the filled with black and brown people. Our recent controversy over the Crooked Creek prosecutors continue to employ many of property. I hope comity returns soon to the same punitive tactics that have failed the Board of Commissioners. I support the for decades, including harsh and punitive Wake County commissioners’ vote on the sentencing, high bonds, cash bail, and maxCrooked Creek property, which was clearly imum charges to induce plea bargains. For a good decision. I will vote with enthusiasm example, District Attorney Roger Echols’s again for the incumbents.” practice of initially charging many murOver to Durham, where Jonathan Espitia ders as potentially capital cases has cost writes in support for Clarence Birkhead’s the state and county bid for sheriff: “As hundreds of thousands the White House “We need someone of dollars in needless continues to roll out who is able to admit expense. discriminatory policies “Echols has supportmistakes and fix them.” against undocumented ed some important Durcitizens we, as ham criminal justice communities, must reforms, including a misdemeanor divercontinue to protect the integrity of our sion program for sixteen-to-twenty-onetowns and counties by rejecting such year-olds, a mental health clinic housed in racist policies and focusing on keeping our the jail, a restorative justice program, and communities whole. I am a graduate student detention-based or outpatient treatment for at Duke University, and this semester I persons with drug addictions. But he has not interviewed undocumented citizens in embraced reform in a way that fundamenand around Durham County. From my tally changes the criminal justice system.” interviews, it was apparent that the policies Commenter Tema Okum says our set forth and carried out by [Sheriff Mike endorsement of Echols, based both on his Andrews] directly affect the well-being record and on Deberry’s plagiarism of Philand safety of undocumented community adelphia District Attorney Larry Krasner, is members. These are people who belong “shortsighted. Your endorsement should be to mixed-status families and experience based on what the candidates aim to do for extreme levels of stress and anxiety because Durham and how they conduct themselves of the constant threat of detention and in the public arena. We need someone who deportation. Children are scared to travel is actively and aggressively addressing the to and through Durham because they fear racial bias embedded in the system. We their parents will be deported. need someone who is able to admit mis“I strongly urge my fellow Durhamites to takes and fix them. Our current DA would go out and vote on May 8 for Clarence Birkdo well to follow the example Satana sets head for sheriff. If we believe Durham is an in both areas.” inclusive and welcoming community, then we must show it through our vote. ‘Durham Want to see your name in bold? Email us at for all y’all’ can be more than just a slogan.” backtalk@indyweek.com, comment on our Ken Rose, meanwhile, is backing SataFacebook page or indyweek.com, or hit us up na Deberry for district attorney: “I have on Twitter: @indyweek. spent thirty-seven years litigating cases as INDYweek.com | 5.2.18 | 5

indynews

Bringing Down the House

OLD WEST DURHAM RESIDENTS ARE BATTLING OVER THE SOUL OF THEIR NEIGHBORHOOD

BY NICK GALLAGHER

“I

guess you found it all right through all of the construction?” asks Dan Welch, a resident of Old West Durham, over the din of jackhammers and dump trucks.

Two new houses are going up next door.

Compared to Welch’s quaint single-story house from the 1940s, these taller, wider structures would fit better in the suburbs.

Welch says he’s not against all new construction. He just wants what’s coming to match the character of what’s already there—charming mill houses that have existed in this area for decades.

He’s not alone. Welch and dozens of his neighbors have spent years lobbying the city for a designation known as a neighborhood protection overlay, or NPO, which adds to the city’s existing zoning regulations in a particular neighborhood. If they’re successful this week, Old West Durham would become only the second neighborhood in Durham to have an NPO. This, they say, is their best chance at reducing teardowns and holding on to the elements that make their neighborhood unique.

But the proposed NPO regulates more than just the size of houses—there would be limitations on bulk relative to a house’s lot size and a maximum height of twentysix feet. The NPO would also mandate a canopy tree in every backyard and limit the height of accessory dwelling units, or ADUs, to twenty feet.

Developers, of course, don’t like the NPO, as the restrictions would inhibit their profit margins. But neither do some homeowners, including John Temple, an OWD resident since 1964, who argues that, by trying to reduce new construction, the pro-NPO crowd is harming efforts to keep housing prices in check.

In a letter to the city council in April, Temple wrote, “I think the NPO will only result in fewer folks in each house, and that will also cause rents to rise. Families that have more children should be able to 6 | 5.2.18 | INDYweek.com

Dan Welch

PHOTO BY CAITLIN PENNA

enlarge their houses without being forced to move to another neighborhood that does not have such arbitrary restrictions.”

Indeed, on March 13, after several drafts and sixteen public meetings, the city’s planning commission narrowly rejected the

NPO on a 5–4 vote—a clear blow to NPO supporters. A statement from the meeting explained, “The commission believes the request is not reasonable and in the public interest.” On May 7, the application goes to the Durham City Council, which has the

final word. Already, residents on both sides of the issue are bombarding city council members’ inboxes.

One of the emails in support of the NPO came from Heather Gavilan, an OWD resident of over eighteen years, who complained that “the likelihood that our lot will eventually be robbed of sunlight, air flow, and privacy from both sides by for-profit, non-resident landlord developers is greater than ever before.”

This NPO application is part of a larger trend toward neighborhood protection in which well-meaning homeowners limit development projects in an effort to keep their neighborhoods intact. The problem, according to many urban planners, is that neighborhood-protection initiatives sometimes do the opposite of what residents hope for. Economists say that by limiting the supply of housing, the added regulations often make prices skyrocket. That, in turn, leads to neighborhood exclusivity.

Joshua McCarty, an urban analytics researcher, says that the minutiae of regulations on height and bulk can sometimes dissuade developers from contributing to a diverse marketplace with many options for renters and buyers. Prices in Durham are going to rise regardless of an NPO, he says, and cutting supply will only exacerbate the issue.

Instead, McCarty suggests, the neighbors should support incentives to build duplexes, townhouses, and other multiunit properties that would increase housing availability, and thus improve affordability.

But, as NPO supporters point out, affordable housing does not seem to be a primary concern for most developers in Old West Durham. In scenarios where an older, smaller single-family house is being replaced by a newer, larger house, there’s little change in supply but a large difference in price.

In the short term, at least, the price hikes could be enough to force renters to move elsewhere.

O

ld West Durham residents began exploring the creation of the NPO in 2012 and submitted their proposal to the city in 2014. Although the initiative wasn’t precipitated by a single event, supporters say they were generally concerned about the area’s rapid growth and fears that those trends would accelerate in the future.

Because the Durham City-County Planning Department lacked sufficient personnel, officials there only began working on the NPO last year.

Since NPOs are proposed and backed by residents, they’re a uniquely democratic process in the world of city planning.

“This is probably the only zoning tool we have that really allows neighborhoods to essentially write their own destiny, to some degree,” says Matthew Filter, a senior planner for the department.

Durham is changing, and OWD with it.

The neighborhood’s vast tree canopy, proximity to Ninth Street, and relatively affordable prices (it’s not uncommon to pay under $1,000 a month for an older rental) make it a desirable location. Most of all, neighbors say, OWD is known for its “porch culture.”

As opposed to the impersonal anonymity afforded to suburb-dwellers, small lots and walkable streets encourage OWD residents to use their porches and lawns to enjoy the weather, chat with friends, and share meals.

But lately, the trees are dying off as they reach maturity, housing prices are exploding, and some small village houses are being torn down and replaced by larger homes that tower over their neighbors. Nineteen homes in the neighborhood—out of 428 parcels of land in OWD—have been demolished in the last decade. The newly constructed homes that replace them are generally larger and thus more expensive.

The average size of a house built in the 1990s was 1,769 square feet, compared to an average size of 2,828 square feet in the 2010s.

The pro-NPO group argues that welcoming construction and renovation while limiting the size of new houses will make each unit more affordable than what’s currently being built. Supporters compare a traditional mill house from 1956 that rents for $1,085 a month to a house constructed last year priced at $2,750 per month.

Perhaps no one has aroused the NPO supporters’ ire more than developer Jeff Monsein, who owns fifty-three properties in the neighborhood. Monsein, along with business partner Chris McKeel and fellow property owner Martin McFarling, says he’s been astonished at the vitriol to which he’s been subjected.

The neighborhood's listserv is dotted with posts that condemn Monsein’s development “excesses.” One post last year hinted that one of his houses could have been burned down in order to build a larger duplex, albeit with no evidence to support that claim. The developer also says his antiNPO signs are frequently stolen from properties he owns.

been neglected and wonders why residents haven’t targeted them through their proposed overlay. He notes the metal carports some residents have constructed in their backyards, which could also be considered uncharacteristic of the neighborhood.

But Ellen Dagenhart, a real estate agent who owns and rents out a house at 900 Virgie Street, says that over her nearly forty-

A large new house dwarfs its neighbor in Old West Durham.

In the 1980s, when Monsein first bought property in Old West Durham, houses were selling for between $20,000 and $40,000.

Now, some of those houses are going for more than half a million dollars. Demolishing the original residences to build bigger houses has proved to be a lucrative model for many landlords, including Monsein. He believes he just got lucky. There was no way to predict the upsurge in home values.

“It’s not like we’re scheming somehow,” he says. “This just happened.”

But detractors say that the things that Monsein does have control over, like ensuring that his newer houses match the neighborhood, have been disregarded for the sake of profit. Some of the developer’s properties snugly fit into their designated lots and rise above surrounding structures. That’s led critics to refer to them as “Mon-strosities.”

Monsein admits that many of his newer homes are larger and pricier than the originals. For instance, one currently available property rents for over $3,000 a month, and its accessory dwelling unit costs about half of that. Still, he believes the development is reinvigorating a neighborhood that would otherwise be falling into disrepair. Monsein points to neighboring properties that have

PHOTO BY CAITLIN PENNA

year career, she’s rarely seen a property that’s “too far gone” for repairs. In many cases, she insists, tax credits for historic preservation can help cut the costs of renovation. And even if the renovations take more money and time to develop, Dagenhart believes that the red tape is worth it to preserve the character of the neighborhood.

“T

he thing that hurts about this is that they’re going through the city to try to impose regulations on us, when it seems like the neighborly thing to have started with would have just been to come and say, ‘What are your goals as an investor, and can we work out some reasonable changes?’” says McKeel, Monsein’s business partner.

The NPO’s supporters say they have tried to reach out, but the developers rebuffed them. And Welch flatly dismisses the idea that the NPO will hurt the landlords’ business prospects.

“The developers are trying to paint themselves as victims of all these people that are trying to steal away their livelihood,” he says.

“Another way to frame it is these [investors] are doing really well. The rents have about doubled in the past ten years. They really shouldn’t be considered victims in this.”

Instead, Welch suggests, the real victims are renters, who make up 57 percent of the neighborhood, according to the planning commission. Welch says they often get priced out of the neighborhood when new houses are constructed.

A major point of contention for both sides is the lack of an official vote on the NPO from the residents who will be affected. In Durham, it’s not required, so there’s no way of knowing for sure if a majority of the neighborhood really supports the initiative. But all indications suggest that’s the case. Those who have shown up to community meetings tend to support the NPO; at a November meeting, even the least-popular aspects of the proposal were backed by 70 percent of respondents.

In addition, a private survey taken by the anti-NPO camp showed that OWD residents support the NPO by a nearly 2–1 margin. Both renters and—albeit to a lesser degree—property owners back the additional regulations.

The only other NPO in Durham was established in Tuscaloosa-Lakewood in 2008. It shares many features with the one proposed in OWD: both limit house sizes and address issues related to tree cover. Other North Carolina cities have a long history of implementing citizen-led zoning initiatives. In Raleigh, there are nineteen resident-driven overlay districts, and in Chapel Hill there are about ten.

Neighbors in those districts had some of the same concerns as the citizens in OWD. “Largely, the more recent [overlays] we’ve seen have been aimed at reducing teardowns and subdivisions, subdivision of a single lot to build two or three houses where there was one,” says Bynum Taylor, a senior planner for the city of Raleigh.

“We’re definitely seeing, with the ongoing growth pressures post-recession, a greater interest in historic and neighborhood conservation overlay districts.”

Even the most ardent supporters admit that the NPO won’t stop the wave of gentrification cascading through Durham.

But one thing that both sides can agree on is that this debate is not really about architecture or zoning.

Rather, it’s about finding a way to curb growth while promoting inclusion and affordability.

The problem is figuring out what that balance looks like. It remains unclear whether the NPO gets to the heart of the matter or is simply the last gasp of an effort to resist inevitable change. backtalk@indyweek.com INDYweek.com | 5.2.18 | 7

news

Break the Cycle

SEVEN HUNDRED PEOPLE COME HOME TO DURHAM FROM PRISON EACH YEAR. A HOMECOMING CELEBRATION AIMS TO WELCOME THEM WITH OPEN ARMS.

BY SARAH WILLETS

O

“deny rights and privileges” to the approxiThe work is rooted in the idea that all n Thursday night, a crowd lined mately 1.6 million North Carolinians with people have an inherent worth and potenthe wooden pews in the sanctucriminal records. tial that is not diminished by their mistakes. ary of Durham’s First PresbyteAbout 92 percent of employers in the state Thursday’s homecoming served to acknowlrian Church. As one might expect, there conduct criminal background checks on edge not only that worth but also the ways in was prayer, singing, and references to Bible verses. But this was no ordinary service. It was a celebration—in the spirit of traditional church homecomings across the South—of the seven hundred or so people who come home to Durham from prison each year.

The Reentry Homecoming was a joint effort of the Religious Coalition for a Nonviolent Durham and the county’s Local Reentry Council, which formed last year to coordinate reentry services. While it’s the first time the coalition has thrown this kind of public event for returning residents, it’s been working with the county’s Criminal Justice Resource Center for about fifteen years to help residents make that transition.

While the CJRC and the Reentry Council connect returning residents to jobs, housing, and other resources, “faith teams” trained by the Religious Coalition provide companionship, support, and a sense of accountability. Each team and its partner, as returning resi- William Ellmore speaks at the first-annual Durham Reentry Homecoming. PHOTO BY CAITLIN PENNA dents are known in the program, applicants, according to the Justice Center. which society has allowed systems of mass enter into a year-long commitment to an While many employers in Durham have incarceration that dehumanize people, even honest, judgment-free friendship. The coaliagreed to “ban the box” on job applications after they’ve served their time, to continue. tion is about to train its twentieth faith team. asking if applicants have been convicted of The wraparound approach CJRC and the “When it gets really cool is when they a crime, Demetrius Lynn, the Local Reentry Coalition create is necessary because of the start arguing with each other about who Council’s job placement specialist, says it barriers returning residents face. has benefited the most, about how much can still be difficult for justice-involved Private- and public-housing landlords they’ve learned that they didn’t know or individuals to find work; many earned may deny a potential tenant based on crimhow they’ve gotten this different perspeccertifications during their time in prison, but inal history. People with records may be tive,” says coalition director Ben Haas. because they were locked up, they don’t have barred from jobs, professional licenses, “That’s the space we get really excited hands-on experience in the job they want. public assistance, and rights like voting. about because it starts to reopen or open According to the N.C. Department of PubAccording to the NC Justice Center, more these really different ways of understandlic Safety, between 60 and 75 percent of peothan nine hundred state and federal laws ing what community can look like.”

8 | 5.2.18 | INDYweek.com

ple are unemployed one year after returning from the state’s prisons. This lack of opportunity—coupled with the pressure to provide for family that has been living without the person’s income or to fall back in with an old social network—adds to the risk of reoffending. Among people who left North Carolina prisons in 2013, 48 percent were re-arrested within two years, and 21 percent were re-incarcerated.

“Too often, people who are still in prison are forgotten until they get released. Reentry starts inside,” said William Ellmore, one of three speakers Thursday night. Ellmore spent twenty-five years in prison before starting a support group for the families of people who are incarcerated.

Wilbert Pipkin said he spent eight years in prison and left “angry with the system,” but eventually he was persuaded to join the county’s reentry program and work with a faith team. He says it was the best thing that’s ever happened to him.

“People began to show me love, and it was something I hadn’t felt before,” he told the crowd.

A third speaker, who asked not to be identified in this story, says working with the Religious Coalition taught him to take responsibility for his actions. Five years after his release from prison, he’s still close friends with a team that began writing to him inside, before he returned to a Durham that had drastically changed during his seven-year sentence. With their support, he’s started a business flipping houses and doing landscape work—and he makes a point to hire people with criminal records.

“These four volunteers chose to help a stranger, and I wasn’t going to waste their time,” he says. swillets@indyweek.com

news

YYYYYY VOTING GUIDE YYYYYY WAKE COUNTY

BOARD OF COMMISSIONERS: SIG HUTCHINSON (DISTRICT 1), MATT CALABRIA (DISTRICT 2), ERV PORTMAN (DISTRICT 4), JAMES WEST (DISTRICT 5), JOHN BURNS (DISTRICT 7)

Failure to Communicate

DURHAM COUNTY

DISTRICT ATTORNEY: ROGER ECHOLS SHERIFF: CLARENCE BIRKHEAD BOARD OF EDUCATION: MIKE LEE (DISTRICT 1), MATT SEARS (DISTRICT 3), NATALIE BEYER (DISTRICT 4)

ORANGE COUNTY’S EMERGENCY COMMUNICATIONS SYSTEM IS OUTDATED, BUT FIXING IT WILL COST A TON OF MONEY

ORANGE COUNTY

O

STATE SENATE

BY ADRIAN WAGNER

range County needs a major update to its emergency communications systems, but how, when, where, and how much it will cost depend on crucial decisions by county officials in the near future. In the balance could hang the high-speed internet for underserved and unserved populations as well as the safety of emergency medical services workers and the people they serve.

In an emergency, communication is key, but Orange County EMS has had difficulty with that. Ten years ago, the county switched from an analog radio system to a digital one, which had an unintended consequence: EMS workers couldn’t use their radios inside some buildings.

“Our radio system utilized by fire, rescue, and police is outdated and routinely places our emergency workers at risk,” Sheriff Charles Blackwood told reporters last week.

The sheriff, up for reelection Tuesday, says he’s worried about what might happen in the case of a terrorist attack or school shooting.

In schools, hospitals, and public buildings, the weak radio signal has trouble penetrating walls. In these cases, EMS workers rely on cell phones to stay connected.

Blackwood warns that cell-phone lines can become jammed in mass emergencies, adding another hurdle for rescuers.

In 2007, the county joined in the state’s $83 million emergency communications initiative, VIPER, which stands for Voice Interoperability Plan for Emergency Responders. The county contributed new interfaces, and VIPER increased the number of EMS workers who could talk at once by giving the county access to more radio frequencies. It made organizing calls easier because they could be routed by someone sitting at a computer.

But the state and county have different needs for the system.

“The highway patrol uses car-mounted radios from the roads, which is a very different situation than using a handheld in a building,” says Orange County emergency services system technician Pat Campbell.

The state has little incentive to solve the interbuilding communication problem, Campbell says. This means Orange County is on its own.

Federal Engineering, the county’s consultant, is scheduled to release a request for proposals to update the system in September. When lawmakers receive bids, they’ll have to weigh the cost—as much as $20 million, according to Commissioner Earl McKee—against the urgency.

“I’m not willing to pull money away from other needed services in order to address this on a narrow timeframe,” says McKee. At the same time the county is considering an upgrade, so is the state. In April, the General Assembly’s Program Evaluation Division recommended an appropriation that would keep VIPER running while replacing equipment and upgrading outdated software.

No matter what the state does, the county still needs new communications towers to increase coverage and improve signal strength. These can be expensive eyesores, but communities might get something out of it—not just improved EMS capabilities, but also faster internet service.

And that, McKee says, may be a way to reduce costs for a new communications system: selling space on towers to internet providers.

In 2014, Orange County identified underserved or unserved internet coverage areas along with sites for fiber towers to increase internet speeds. Campbell says these same sites could be shared for EMS towers. The locations have not yet been made public. backtalk@indyweek.com

CLERK OF THE SUPERIOR COURT: MARK KLEINSCHMIDT BOARD OF COMMISSIONERS: SALLY GREENE (AT-LARGE), EARL MCKEE (DISTRICT 2) BOARD OF EDUCATION: SARAH SMYLIE, BRENDA STEPHENS, HILLARY MACKENZIE, WILL ATHERTON SHERIFF: CHARLES BLACKWOOD

U.S. HOUSE

DISTRICT 2, REPUBLICAN: NO ENDORSEMENT DISTRICT 2, DEMOCRAT: WENDY ELLA MAY DISTRICT 4, DEMOCRAT: DAVID PRICE DISTRICT 16, DEMOCRAT: LUIS TOLEDO

STATE HOUSE

DISTRICT 11, REPUBLICAN: NO ENDORSEMENT DISTRICT 11, DEMOCRAT: ALLISON DAHLE DISTRICT 33, DEMOCRAT: ROSA GILL DISTRICT 35, REPUBLICAN: NO ENDORSEMENT DISTRICT 35, DEMOCRAT: TERENCE EVERITT

YYYY WHERE TO VOTE EARLY YYYY DURHAM COUNTY

ORANGE COUNTY

HERBERT C. YOUNG COMMUNITY CENTER 101 WILKINSON DRIVE, CARY APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M.

DUKE UNIVERSITY BRODHEAD CENTER 402 CHAPEL DRIVE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

CARRBORO TOWN HALL 301 WEST MAIN STREET, CARRBORO APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: 9 A.M.–5 P.M. MAY 5: 9 A.M.–1 P.M.

CHAVIS COMMUNITY CENTER 505 MARTIN LUTHER KING JR. BOULEVARD, RALEIGH APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M.

DURHAM COUNTY BOARD OF ELECTIONS 201 NORTH ROXBORO STREET, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

EAST REGIONAL LIBRARY 211 LICK CREEK LANE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. NCCU ONESTOP 640 NELSON STREET, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. NORTH REGIONAL LIBRARY 221 MILTON ROAD, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. SOUTH REGIONAL LIBRARY 4505 SOUTH ALSTON AVENUE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

ORANGE COUNTY BOARD OF ELECTIONS OFFICE 208 SOUTH CAMERON STREET, HILLSBOROUGH APRIL 19–20, APRIL 23–27, APRIL 30–MAY 4: 9 A.M.–5 P.M. APRIL 21, 28: 9 A.M.–3 P.M. MAY 5: 9 A.M.–1 P.M.

CHAPEL OF THE CROSS 304 EAST FRANKLIN STREET, CHAPEL HILL APRIL 21: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M. EFLAND RURITAN CLUB BUILDING 3009 FORREST AVENUE, EFLAND APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M. SEYMOUR CENTER 2551 HOMESTEAD DRIVE, CHAPEL HILL APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M.

WAKE COUNTY

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INDYweek.com | 5.2.18 | 9

WILL A HUGE VERDICT AGAINST MURPHY-BROWN FORCE BIG PORK TO CLEAN UP ITS ACT?

BY ERICA HELLERSTEIN AND JEFFREY C. BILLMAN

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THE FIFTY MILLION DOLLAR QUESTION 10 | 5.2.18 | INDYweek.com

ast Tuesday, as the first of twenty-six scheduled nuisance trials against pork giant Murphy-Brown LLC came to a close, U.S. District Court Judge Earl Britt slowly turned his chair and gazed at the ten-person jury. Britt, an octogenarian Jimmy Carter appointee with a soft drawl, had just finished reading jurors their instructions, a task that took more than twenty minutes. He leaned back and left the courtroom with a parting thought.

“My only comment is that I am tired of looking at that dirty hog,” he said, glancing at the life-size, faux-waste-coated hog replica that had been sitting inside the courtroom for the past three weeks. Spectators reacted with surprised laughter, as they had throughout the trial when the normally nononsense Britt made an unexpected quip.

But the coat of “filth” painted onto that pink plastic hog was more than a punch line.

It represented the root of a dramatic case that had played out in court over the month of April. The trial, at its core, was about pig feces—and whether the world’s largest pork producer should be held accountable for the way that it manages the tons and tons of waste its hog farms produce.

This case marked the beginning of a series of landmark trials in lawsuits filed by more than five hundred neighbors of hog farms against Murphy-Brown, a subsidiary of Smithfield Foods. The plaintiffs in this and the other lawsuits argue that the farms’ method of disposing of hog waste produces unbearable stenches that adversely affect their quality of life. That waste-management system, common in large hog farms in North Carolina, functions by storing pig excrement in open-air lagoons and then liquefying and spraying the waste onto nearby fields.

Among other things, the plaintiffs allege that the odors and mist from the spray drift onto their property; the hogs attract swarms of flies, buzzards, and gnats; boxes filled with rotting dead hogs produce an especially noxious stink; and the stench has prevented them from spending time outside, having barbeques, and even opening their windows.

PHOTO BY ALEX BOERNER

With twenty-five more lawsuits pending, this first trial’s outcome was closely watched as a potential bellwether. Whom would the jury believe? The corporate giant, whose Chinese parent company was worth nearly $13 billion as of 2017 and whose attorneys claimed these lawsuits were ginned up by money-grabbing out-of-state lawyers, or the farms’ mostly working-class and largely African-American neighbors who say the corporation’s greed has made their lives miserable?

Indeed, the vast majority of the plaintiffs involved in these cases have lived on their land for generations, and two UNC researchers found that the state’s industrial hog farms disproportionately affect minorities—a phenomenon they concluded is “generally recognized as environmental racism.”

To remedy the problems alleged in the lawsuits, Mike Kaeske, an attorney representing the ten plaintiffs involved in the first trial, argued in his closing statement that, in the absence of strict state regulations, a major financial penalty could force the industry to change. When dealing with multibillion-dollar corporations, he said, money talks. A hefty payout could prevent Murphy-Brown from “committing similar wrongful acts.”

As he made his case to the jurors, who had patiently absorbed the technical details of hog-waste management for weeks, he motioned to the plaintiffs sitting quietly in the courtroom’s hard wooden chairs.

“We’re asking you to fight for these people,” he said. “You ten are able to do it. Today, you are more powerful than the governor of North Carolina and the attorney general.”

Two days later, the jury gave MurphyBrown a spanking probably more severe than even Kaeske had dreamed. Its verdict: an eye-popping $50.75 million judgment. Alone, that sum was harsh. But should the next twenty-five juries follow suit, the results could be calamitous for the company, perhaps as much as $2.5 billion. If money does talk, as Kaeske implored the jury, Murphy-Brown now had a hell of an incentive to

invest in proven alternative waste-disposal technologies that can ameliorate many of these complaints.

As Michelle Nowlin, the supervising attorney for the Environmental Law and Policy Clinic at Duke Law, told the INDY in an email, “This verdict forces the industry to internalize and reckon with those costs. I’m hopeful this decisive victory will be a gamechanger in North Carolina and force the industry to modernize its waste treatment to the benefit of rural communities, the environment, and the farmers themselves.”

If the judgment stands, that may very well happen. But, thanks to a North Carolina law passed two decades ago, it probably won’t.

Instead, Murphy-Brown will more likely get a slap on the wrist and go back to business as usual. And that’s exactly the outcome the state’s corporate interests—and the lawmakers who did their bidding—had in mind.

million, about half of what Smithfield Foods makes each year after taxes. Between 2010 and 2015, he told the jury, four Smithfield executives earned a total of $245 million.

“The industry built these operations this way because it was the cheapest,” he said.

“They won’t change now because they don’t want to spend the money.”

Anderson chafed at the implication that the industry’s waste-disposal system is motivated by avarice. Instead, he pointed out that the lawyers suing Murphy-Brown were asking for money, not a fix to the waste problem.

He added that he was “frustrated, listening to all this talk about big corporations, big money”—rhetoric he called “anti-corporation and anti-agriculture.”

The jury didn’t buy it. On Thursday, jurors awarded each plaintiff $75,000 in compensatory damages and—after finding that Murphy-Brown “committed fraud, or acted with

“The industry built these operations this way because it was the cheapest.

They won’t change now because they don’t want to spend the money.”

T

his first lawsuit—McKinley v. Murphy-Brown LLC—was brought by neighbors of Kinlaw Farm, a Bladen County operation that contracts with Murphy-Brown to raise about fifteen thousand hogs. During the trial, Murphy-Brown attorney Mark Anderson likened the farm to a peaceful slice of pastoral heaven, displaying a series of picturesque photos for the court. The farm is “gorgeous,” “beautiful,” and “well-maintained,” he told the jury.

When the operator of the farm has a party, he added, “they do it right there on the property.”

The plaintiffs’ lawyers countered that pigs produce five times as much waste as humans, and concentrated animal feeding operations—CAFOs for short—in North Carolina often contain thousands of hogs in confinement. The hogs on Kinlaw Farm produce about 153,000 pounds of waste a day, Kaeske told the jury. The lagoon-to-sprayfield model of waste disposal, critics have long argued, has been put in place to cut costs.

The attorneys suing Murphy-Brown say the company has refused to invest in alternative technologies that would minimize the odor, such as covering the lagoons and converting the sequestered methane into electricity. But those and other alternatives are expensive to implement. According to Kaeske, the cost of covering all the lagoons in North Carolina would total about $500

malice, or engaged in willful or wanton conduct”—$5 million in punitive damages.

The outcome enraged the industry. In a statement, the North American Meat Institute said it represented “a blow to jobs and the state’s economy fueled by anti-animalagriculture rhetoric.” According to the Food and Environmental Reporting Network, U.S. Agriculture Secretary Sonny Perdue called the verdict “despicable. It’s horrible if that’s the kind of money that people are awarding.”

Republican state representative Jimmy Dixon of Duplin County, an outspoken industry ally, bemoaned what he described as the attack on family farmers by “greedy out-of-state lawyers,” telling the INDY that the verdict marked “a very sad day for consumers who have enjoyed an abundant supply of safe and economical pork products.”

Last year, Dixon sponsored House Bill 467, which aimed to head off just this eventuality.

The bill—which passed over Governor Cooper’s veto—limits the amount of damages property owners can collect in nuisance lawsuits filed against agricultural operations, including hog farms.

Had Dixon gotten his way, it would have also essentially negated the twenty-six pending lawsuits against Murphy-Brown, including this one; however, that provision was stripped from the bill before it passed the House.

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T

he most noteworthy response came from Smithfield, which immediately—and unsurprisingly—promised to appeal.

Much of its statement was predictable.

The company called the lawsuits “an outrageous attack on animal agriculture, rural North Carolina, and thousands of independent family farmers who own and operate contract farms. These farmers are apparently not safe from attack even if they fully comply with all federal, state, and local laws and regulations. The lawsuits are a serious threat to a major industry, to North Carolina’s entire economy, and to the jobs and livelihoods of tens of thousands of North Carolinians.”

But in a separate email, Smithfield spokeswoman Joyce Fitzpatrick brought up what is likely to be a central point of contention. Even if the company’s appeal fails, she points out that, under North Carolina law, punitive damages are capped at three times the amount of compensatory damages or $250,000, whichever is greater.

In this case, that means each plaintiff would be limited to an award of $325,000, bringing the total judgment down from $50.75 million to $3.25 million. To a company as large as Smithfield Foods, that’s chump change—the cost of doing business, not an incentive to alter behavior.

The bill—sponsored by Republican state representative Charles Neely, now a lobbyist and attorney at the Raleigh law firm Williams Mullen—passed amid a wave of tort-reform legislation that followed the so-called Republican Revolution of 1994.

Pushed by the N.C. Citizens for Business and Industry, a coalition of the state’s largest companies, the legislation aimed to, in the words of its lobbyist, “prevent frivolous lawsuits that are intended to frighten businesses” into settling.

Neely, who was out of the country Monday and could not be reached for comment, explained at the time, “We shouldn’t wait for a crisis to fix the problem.”

According to Nowlin and two outside legal experts consulted by the INDY (the plaintiffs’ lawyers declined to discuss their strategy after the verdict), Smithfield’s interpretation of the law is likely to hold up. Even though this trial took place in federal court, they said, the state’s cap still applies; the lawsuit was fought over a state statute and was only heard in federal court because Murphy-Brown is incorporated in Delaware. (For the same reason, Dixon’s HB 467 can restrict future nuisance lawsuits, even ones filed in federal court.)

“The short answer is, I don’t think there’s any grounds to challenge the punitive-damage law,” says one expert, a longtime North Carolina trial attorney who spoke on back12 | 5.2.18 | INDYweek.com

Butler Farms in Lillington uses alternative waste-management technologies that reduce odors. PHOTO BY ALEX BOERNER ground because he’s not directly involved in the case. In 2004, the N.C. Supreme Court upheld the law.

Not only does North Carolina law limit punitive damages, but it also forbids a judge from informing the jury about that cap. The theory, it seems, is that if jurors wanted to punish a company for bad behavior but knew that the amount of punitive damages was tied to the amount of compensatory damages, they would simply jack up the compensatory-damage award. By keeping jurors in the dark, the law works to further shield large corporations from big verdicts.

In addition, the cap hasn’t been adjusted for inflation since 1995; if it had been, according to the U.S. Department of Labor’s online inflation calculator, the $250,000 maximum would now be set at more than $415,000.

The other legal expert, also a longtime trial lawyer who knows and thinks highly of attorneys on both sides of the case, says that if the plaintiffs want to get around the cap, they’ll have to develop a novel legal theory.

The attorney floats one such possibility: “Can you count each day as a separate offense?” In other words, if a court were to find that each day that the plaintiffs suffered because of Murphy-Brown’s “willful or wanton conduct,” as the punitive-damages statute puts it, was worth $250,000, that could add up to $5 million.

In the end, Judge Britt has to apply the cap, and this attorney cautions against assuming that he’ll do so. Instead, that decision might fall to an appellate court.

As of press time, neither the plaintiffs nor the defendant had filed any post-verdict motions.

E

ven assuming the cap stands, a string of difficult verdicts could take its toll on Murphy-Brown. If each of the more than five hundred plaintiffs in all twenty-six lawsuits is awarded $325,000—the amount the first ten seem likely to receive— the company would end up forking over more than $160 million, plus attorneys’ fees.

For that reason, the second attorney wouldn’t be surprised to see Smithfield settle the remaining cases. Its lawyers, after all, saw how the first jury reacted to their case; there’s little reason to think subsequent juries will react differently.

“This has not hurt the plaintiffs’ bargaining position,” the attorney says.

But the bigger question is whether the verdict—and any settlement that follows—will lead to meaningful change.

By their very definition, punitive damages are designed to punish bad behavior so as to compel reform. But here, because the corporation being punished is so large, the punishment meted out might not be sufficient to obtain the jury’s desired result—especially considering that the legislature has already cracked down on future nuisance lawsuits, and, with the cap in place, any settlement is likely to be far less than what it would cost the company to cover its CAFOs’ lagoons.

As the first trial attorney laments, “We have these laws that protect the man behind the curtain. It’s very frustrating.”

In the background is this: although the industry claims that it is among the most regulated sectors in the state, critics say the regulations in place are insufficient and have become less comprehensive in recent years. The number of annual inspections of the state’s hog farms was slashed from two to one in 2011 following budget cuts under former governor Pat McCrory.

Tom Butler, a Lillington hog farmer who testified for the plaintiffs during the trial, told the INDY last year that the hog farm inspections have become increasingly relaxed over the past two decades and now essentially consist of a paper audit. (The N.C. Department of Environmental Quality denies that claim.)

Butler also pointed out that farmers are given up to a week’s notice before their farms are inspected—“If we do have any issues, we can get those cleared away because we know the inspector is coming,” he said—and the inspection process itself relies on self-regulation, as the inspections draw from a farmer’s own records.

If the state won’t rein in bad actors, the attorney says, then “the only other recourse is the civil justice system.” But if the civil justice system “restricts jurors’ ability to determine what’s fair and what’s not fair,” then what check is there on corporate misdeeds?

“Horrendously bad behavior,” he says, “deserves horrendously bad punishment.”

But, in North Carolina, the law says otherwise. backtalk@indyweek.com

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True Love

AFTER PODCASTING ABOUT THE DARK SIDE OF HUMAN NATURE WITH CRIMINAL, ITS PRODUCERS STEP INTO THE LIGHT WITH THIS IS LOVE

BY ERYK PRUITT

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he adage about not fixing what isn’t broken certainly applies to the winning formula developed by the Durham-based true-crime producers who created the national podcast phenomenon Criminal.

Their newer effort, This Is Love, which has released six episodes since Valentine’s Day, doesn’t stray far from their signature anthropological approach. It’s just that now, instead of cops and robbers, the focus is love.

But it still features Phoebe Judge’s soothing vocal timbre and the steadying hand of producer Lauren Spohrer. Producer Nadia Wilson is still on board, as is engineer Rob Byers and illustrator Julienne Alexander, who, alongside her signature artwork, details the trials of her parents’ romance in the first episode.

As part of a live tour organized by PRX’s Radiotopia podcast network, Judge and Spohrer will appear at the Carolina Theatre on May 8 to tell a story (about streakers!) previously unheard on Criminal. The evening also features storytellers from six other PRX podcasts, including Radio Diaries, The Bugle, and The Allusionist.

We recently spoke with Judge and Spohrer about their literary approach to podcasting, the virtues of small stories, and life on the road with a bunch of podcasters.

INDY: You two and your team are already some of the hardest-working producers in podcasting. What compelled you to branch out with a second podcast?

PHOEBE JUDGE: When we started Criminal four years ago, we were obviously interested in crime, but that’s not all we’re interested in. We’re interested in a thousand other topics, and after just doing Criminal for four years, we thought it was time to stretch our wings a little bit and challenge ourselves, and hopefully make something that complements Criminal even though it’s a topic that’s totally different.

14 | 5.2.18 | INDYweek.com

Criminal and This Is Love creators Lauren Spohrer, Phoebe Judge, and Nadia Wilson PHOTO BY JULI LEONARD Criminal has been called “a broad reading of the true-crime genre.” This Is Love certainly follows that description. Was it difficult to shift your storytelling to a new genre?

LAUREN SPOHRER: Phoebe and I have worked in public radio for a long time, so we don’t come from any sort of investigative background. When we started the show, we were thinking that we wanted to make something that didn’t already exist. We were thinking, what if we used a New Yorker long-read as a model? So we had sort of literary ambitions from the beginning with Criminal. But our background is not in

crime. Our background is in telling good audio stories. To do the love stories was sort of a return to some skills that we haven’t got to use in a while, which is to find people we find to be delightful. It was very exciting for us to do it with love because crime is obviously very broad, and I don’t think it gets much broader than love.

These stories range from a romance novelist and her process to a widower living here in the Triangle. How do you find your stories?

PJ: For a long time, we’ve been thinking about the love show, and we were stalling because

we couldn’t find that perfect story. We were looking for these big, grand stories, and then we finally said, maybe we’re trying to find something too big. We’ve never been good at finding big stories; we’ve always been good at finding small stories, personal stories. So when we got out of the mindset of finding something grand, we found the perfect batch of stories. Unlike with Criminal, we actually have relationships with some of the people in This Is Love. We looked around at people we have known and finally just said, wait a second, you would make the perfect episode.

The thing that dictates what we choose is what we’re curious about.

You completed the first six-episode season of This Is Love and have six more episodes slated for the fall. How’s the response been?

PJ: Wonderful. The marker for a wonderful response is that we have people writing that these stories have touched them in some way. People have said these stories made them feel good. They’ve also said that they’re crying a lot in public, which we don’t hear as much for Criminal. But our hope was to make a show that would make people have some faith in humanity and surprise people and give them a break from everything else that is going on in the world, and I hope we’ve succeeded in that.

own down here, so it was a lot of fun to get to spend time with [The Memory Place’s] Nate DiMeo and The Kitchen Sisters and sit around and share meals.

How’s life on the road? Are you on vacation or are you working?

LS: We’re always working.

PJ: Criminal does not stop, whether we’re on the road or not.

LS: We work with Nadia Wilson, so she will stay and hold down the fort while we’re gone. But yeah, we’ll keep looking for stories; we’ll keep doing interviews while we’re on the road.

“Our hope was to make a show that would make people have some faith in humanity and give them a break from everything else that is going on in the world, and I hope we’ve succeeded in that.”

Radiotopia kicks off an East Coast tour in Atlanta on the seventh and then next night brings you to Durham. What can we expect?

PJ: It’s great because you get to see a collection of podcasts all doing their own thing and performing live on stage. You’re not just going to see Criminal. You get to see 99% Invisible and Benjamen Walker’s Theory of Everything and The Kitchen Sisters Present. These are all shows we’ve admired for so long. It’s fun to see these podcasts that you usually hear live and see what the people look like. For us, we don’t get much audience engagement. I have no idea if someone is smiling or frowning or falling asleep, but now we get to look out into the audience and see the person’s immediate reaction, and it’s been great fun for us.

Last year, you toured with Radiotopia on the West Coast. How was that experience?

LS: It was so much fun! A lot of these shows are grouped together in the Bay Area and L.A. or in New York, so they get to see one another and go out for drinks and pitch in if someone has an editorial question. But we’re own our

PJ: In the past, we’d find a studio in the city we’re in and go and track the next episode or do an interview if we have to. We’re usually editing the script or thinking about the next episode, and so we’re always on the phone with Nadia in North Carolina. The only thing we know for certain is that Criminal will come out twice a month on a Friday, and so we just plow ahead.

Do you have a preference between playing on the other side of the country or a couple blocks from your own house?

PJ: It’s always nice to be doing it in your own backyard. The Triangle community has been incredibly kind to Criminal. When we did our first live show three years ago at Motorco, I was convinced that no one was going to show up. I was terrified. I didn’t know what we were doing or why we thought we could do something like this. People showed up and they loved it and they were so kind and generous. We’ve always felt incredibly supported by Durham and the Triangle. It’s where we live. arts@indyweek.com

RADIOTOPIA LIVE

Tuesday, May 8, 8 p.m., $33 The Carolina Theatre, Durham www.radiotopia.fm/live INDYweek.com | 5.2.18 | 15

Americans Without Borders A PODCAST BY AND ABOUT FIRST-GENERATION CITIZENS EXPANDS THE MAP OF NATIONAL IDENTITY

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BY SAYAKA MATSUOKA

hen Perrine DeShield and Skye Wilson launched their 1st Gens podcast in January 2017, the timing was apt but coincidental. While planning it, they had no idea of the added relevance their storytelling would gain in Trump’s America. The two Liberian-American women, who both graduated from UNCChapel Hill, are cousins, and they wanted to start a podcast that reflected the experience of growing up as first-generation Americans.

“We didn’t see ourselves reflected in the podcast world,” Wilson says. “When Perrine brought the idea to me, I didn’t think it was a great idea because the market is so saturated, but I started realizing that the conversations we were having are kind of unique. We could make visible what was invisible.”

DeShield and Wilson, who both grew up in North Carolina, were raised by parents who immigrated to the United States from Liberia almost four decades ago. Liberia

I knew we could share the story of other first-generation Americans, too.”

Drawing on skills from their studies of broadcast journalism and communications at UNC, the pair released the first episode of 1st Gens (1stgenspodcast.com) just days before President Trump was sworn into office. Since then, episodes have been downloaded thousands of times by people in the U.S. and beyond, in Ghana, India, Brazil, and the U.K. While they hadn’t deliberately timed the podcast to the election, Wilson says it gave them even more reason to tell these stories. Some of the topics they cover relate to the whirlwind of actions taken by the Trump administration, including the infamous Muslim ban and other hardline stances on immigration.

But 1st Gens, which is now in its second season, covers more than political hot topics. Somber stories about love, gender, motherhood, and sexual assault are mixed with lighter episodes about Black Panther and the symbolism of Wakanda. The podcast is as diverse and complex as the storytellers themselves.

“We could make visible what was invisible.” has suffered years of political instability after a military coup in 1980 led to the First Liberian Civil War, which lasted from 1989 to 1997. Many Liberians left the country, including DeShield’s and Wilson’s parents, who, in search for a more stable life, eventually rooted themselves in North Carolina.

One generation later, DeShield and Wilson are working to preserve their parents’ stories while crafting and balancing their own as first-generation Americans.

“Our [culture’s] viewpoint on what American means is very narrow, and America isn’t so black and white,” DeShield says.

“We are black Americans, but we are also Liberian. And because of our background, 16 | 5.2.18 | INDYweek.com

It’s an incredibly refreshing listen, especially for first-generation Americans, like me, who can acutely relate to episodes about how our names shape our identity and what it means to be American while observing our parents’ culture and traveling back to our “home” countries. Still, the show is also crafted to be accessible and relatable to all listeners.

“I think the reason why we have a lot of non-first-gens listening is because people want to listen to the experiences of people who are not like them,” Wilson says. “That’s the power of storytelling, and in this political climate there’s an increased need for a show like ours.”

Skye Wilson and Perrine DeShield PHOTO COURTESY OF 1ST GENS While DeShield and Wilson are described as “Carolina girls” and Liberian Americans on the podcast’s website, they also identify themselves in many other ways: DeShield as Christian, heterosexual, and a lover of fashion; Wilson as queer and middle class.

Working on the podcast has helped them to further unpack their intersecting identities.

“It’s been so therapeutic,” says DeShield.

“There are so many things that arise that you don’t realize impacted or influenced your outlook on life. It’s been really eyeopening for me as a host because I’m able to self-reflect and get a better grip on my own identity, and then I’m able to be a sounding board for my guests.”

With season two well underway, DeShield and Wilson want to continue to tell the stories of other first-generation Americans while also uncovering more of their personal identities; they have plans to reconnect with the Liberian part of their heritage by traveling back to the country.

“It’s kind of cliché, but you don’t really know your future unless you know your past,” DeShield says. “Toward the end of season one, we decided that we should really go back because I hadn’t been since I was a baby and I wanted to see it for myself.”

But for now, they hope the podcast helps anyone listening, first-generation or not, reflect on their own identities, unveiling things they hadn’t realized were there.

“We hope that the stories and the vulnerability that is shown in our podcast allow people to internalize their own and see how it’s affected their entire outlook and change for the better, or at the very least educate themselves,” DeShield says.

“Always take a second look,” Wilson adds. “Things are never only as they appear, so make sure to look under the surface of everything.” arts@indyweek.com

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HAW RIVER FARMHOUSE ALES

1713 Saxapahaw Bethlehem Church Road, Saxapahaw 336-525-9270 www.hawriverales.com

Saxapahaw in a Bottle

HAW RIVER FARMHOUSE ALES FORAGES RARE LOCAL INGREDIENTS TO CRAFT EXOTIC BEERS WITH A DEEP, SURPRISING SENSE OF PLACE

BY KAIA FINDLAY

C

trifoliate orange, or the flying dragon fruit. haw. Near the dam, a short walk upstream arrot and cumin. Cocoa and cofNative to Korea and northern China, it’s a from the brewery, a patch of Virginia Pines fee. Winter squash and coriander. cold-hardy breed that produces a furry, tengrows. Their wavy needles are the star of In culinary circles, these ingredient nis-ball-like fruit late in the summer. When a spring beer, Shortstraw, released in early combinations often appear together on the cracked open, the fruit’s interior reveals April. Woodward boils the needles in water plate, but in Saxapahaw, they also shine in seeds and pith surrounded by a sticky resin to dispel the more bitter flavors, then adds bottles of locally crafted beer. that tastes simultaneously sour and bitter. that “tea” to a basic white IPA, where the The intrepid beer drinker can sip these flavors at Haw River Farmhouse Ales, where owner Ben Woodward brews beers like Beneath the Feet of Orion, a rye Saison made with carrot, ginger, and cumin; the dark and malty St. Benedict’s Breakfast Dubbel, brewed with cacao nibs and locally roasted coffee beans; and Hiverna, a winter Saison starring slow-roasted pumpkin and squash spiced with coriander. The small craft brewery is housed on the ground floor of the old Dixie Yarns Cotton Mill in Saxapahaw, a town surrounded by sustainable farms. This is where Woodward concocts unique flavor profiles for Belgian-style beers that tell the story of the place he and his wife, Dawnya Bohager, have called home for nearly a decade.

“Our vision is to brew beer that reflects our local culture and community,” Woodward says.

This means taking the extra time and money to source ingredients such as barley, wild yeast, Shortstraw White IPA at Haw River Farmhouse Ales in Saxapahaw. PHOTO BY CAITLIN PENNA honey, and fruit from within a hundred-mile radius of the brewery.

Isaiah Allen, the executive chef at the needles’ tangy, citrusy taste mingles with And sometimes it means foraging ingrediEddy Pub in Saxapahaw, came across the wheat and hops. ents that can’t be found anywhere else. Since pasture several years ago on his way to The pine needles are not the only unique opening Haw River Farmhouse Ales in 2014, work and noticed the trees laden with ingredients growing practically in the brewWoodward has highlighted North Carolina’s fruit. He knocked on the farmhouse door ery’s yard. Less than a mile away, on a road edible bounty with each release, giving beer and a woman in her eighties answered. lined with rolling green hills and farmland, drinkers not only a one-of-a-kind, truly local She told Allen that, about sixty years ago, sits a small white farmhouse with a cow pasbrew, but a sense of place, too. her father planted what he thought were ture in the front. But instead of grazing cattle, The greenish water of the Haw River spills lemon seeds. Instead, he got trifoliate it’s filled with the snarled, wickedly thorny over a small dam before weaving through oranges. Lots of them. branches of an exotic fruit tree known as the rocky outcroppings by downtown Saxapa-

The woman said she didn’t use the fruits and that Allen could help himself, or even bulldoze the field if he felt like it. Instead, he collected milk crates full of the oranges to bring back to the kitchen. He shared his discovery with his downstairs neighbor, Woodward, and the two started experimenting. They found that, when cooked, the orange’s juice separates into two layers: an oily top layer full of bitter tannins and a sour bottom layer. Allen uses the bottom layer to make jelly while Woodward prefers the top layer for brewing.

The fruit’s bitterness can stand in for or complement the bitterness of hops; Woodward has previously featured it in a seasonal sour beer called Funk the Flying Dragon.

“Every year, as I drive into town and start to see the fruit ripening, I will contact Ben,” Allen says. “We figure out a time to go and collect the fruit for the year so we can have fun with it.”

After the fun, Woodward relishes the opportunity to share beer brewed with Saxapahaw’s special ingredients to all who visit the brewery’s tasting room, travelers and neighbors alike. He’ll also soon share his creations beyond the brewery’s brick walls during Saturdays in Saxapahaw, the annual summer-long outdoor music and food festival that kicks off this Saturday.

Woodward is already working on new flavor profiles for summer, including one featuring local elderberries. He knows he could get mass-produced elderberry concentrate for half the price, but it would be missing the key element all Haw River Farmhouse Ales beers possess: a true sense of hyperlocal pride. food@indyweek.com INDYweek.com | 5.2.18 | 19

indymusic

Rock in a Hard Place

THE CAVE IS CLOSED AFTER FIFTY YEARS, MARKING THE END OF AN ERA FOR MUSIC IN CHAPEL HILL

BY ALLISON HUSSEY

T

here are nine pizza spots in less than a mile of Franklin Street near the campus of UNC-Chapel Hill.

Over the past decade or so, Franklin Street has undergone a renaissance of sorts, with redevelopment plopping new restaurants, upscale condos, and even a Target on the college town’s main artery. But for all of the gleaming new additions, Franklin Street is down one scrappy but essential music club and watering hole. As of this week, after fifty years of business, The Cave is closed.

On the afternoon of April 19, Mark Connor, who’s run the club since October 2012, posted a statement on The Cave’s Facebook page announcing that Monday, April 30, would be the venue’s last night of business.

News of The Cave’s demise caused a flood of local artists, music fans, and barflies to chime in with their favorite Cave memories (or alcohol-fueled lack thereof ).

To some, The Cave was just another dive, and a pretty dingy one at that. But to a subsection of Triangle-dwellers, it was a hallowed getaway. It’s where countless local bands cut their teeth playing their first shows, where they could perform to twenty people and it still felt like they’d packed the room. It was a spot where one-off pick-up bands could make magic for an hour or two and then call it a night. But the end of The Cave is more than a loss of a cultural artifact or a room. Its closure furthers the drawn-out denouement of Chapel Hill counterculture— the weird, the rowdy, and the ugly being edged out and suffocated by the moneyed, the pristine, and the bland.

Tucked at 452 ½ W. Franklin St., The Cave was a modest bar down a steep concrete set of steps. Its unusual décor set it apart from any other Triangle dive, with chicken wire and plaster coated with sandy colored paint throughout the interior. Its walls were covered in all manner of adornments, from spray-painted Lasceaux-style bugs and livestock to a panoply of profanity covering the bathroom walls. Its stage was a plot on the floor at the front of the narrow bar, 20 | 5.2.18 | INDYweek.com

demarcated by rugs so stomped-upon that they seemed to be one with the concrete beneath them. With an “official” capacity of just seventy-four people, Monday night’s last hurrah was thoroughly oversold, but as several people joked, what was anybody gonna do, call the fire marshal and get the place shut down?

F

A couple leaves The Cave on one of the club’s final days. PHOTO BY CAITLIN PENNA

or the past six years, The Cave’s captain has been Connor, who bought the club from Mouse Mock with assistance from Slim’s owner Van Alston and another investor. Throughout his tenure, Connor saw fit to keep The Cave a no-frills spot for small shows. If a show sold poorly, touring bands could almost always leave with a little something, even if it was twenty bucks from the register to help cover gas money.

Despite all the goodwill, business wasn’t consistently booming enough for the club to thrive. They’d have good spells—December and January among them, according to Connor—but it wasn’t enough to sustain The Cave long-term. Connor and Alston were ready to put their energy into other projects, and so they started looking for a buyer.

Nothing came through after several months.

The Cave had to close.

After the news broke, a string of “funeral week” shows followed in quick succession.

Business-as-usual bills became doubleheader nights, with later shows turning into marathon affairs as local bands piled on to bid a final farewell to The Cave. Some of these shows felt like mostly normal nights—maybe a little busier than usual, with a light air of bittersweet reminiscence. Crowds varied starkly in age and style; there were plenty of people who came just to soak up a few more hours of time in The Cave, regardless of who was performing.

But Monday night felt the most surreal.

The palpable tension of a countdown made it feel like a New Year’s Eve party, but instead of joyously whooping in a fresh start, we were preparing for the end of an era. Employees working the door wore all

“Monday night’s last hurrah was thoroughly oversold, but as several people joked, what was anybody gonna do, call the fire marshal and get the place shut down?”

Cartridge Family at The Cave Sunday, April 29 PHOTO BY CAITLIN PENNA white, donning fluffy halos to complete their angelic ensembles. A half-inflated Mylar balloon floated along a side wall, bearing a message, “You’ll be missed!”

The music line-up was largely kept a surprise, including a scorching set from Southern Culture on the Skids, one of countless Chapel Hill bands that played some of their earliest shows in that room.

A one-off band consisting of Connor and a cast of Cave regulars plowed through a raucous set of covers by other local bands, including The Love Language’s “Lalita” and Ryan Gustafson’s “Soul Train.” They slid from Spider Bags’ “Que Viva El Rocanrol” into “Shit Horse (Is Gonna Ride)” the “theme song” for the bizarrely wonderful but short-lived local cult band Shit Horse.

Connor and company deftly swapped places with the actual members of Shit Horse, who took over for one last round of song.

As Shit Horse brought their set to a close a few minutes before 2 a.m., a bartender bellowed for last call. For a few moments, it was all fairly orderly, and I found myself thinking “Wait, is that it?” as Cyndi Lauper’s “Girls Just Want to Have Fun” played on the PA. But of course that

wasn’t it. All hell broke loose, beginning with cries of “Who wants a beer?” And out came the free beers, followed shortly by the bar’s abundant liquor stash flowing freely. Patrons slapped the craggy ceiling as they took their turns having bartenders pour shots directly into their mouths.

Overwhelmed by too much AC/DC, the speakers’ low ends surrendered to the stereo gods. There was singing, dancing, and delighted, drunken screaming in all directions. I left the bar at 2:45, aching a little inside as I dipped out of the back door for the last time.

For a few minutes on Friday night, I sat in a corner I’d occupied many, many times before and pondered what the space’s future could hold. I couldn’t fathom what The Cave would look like with the lights all the way up, much less what it would look like as another bar or boutique or pizza joint. Whatever it ends up as, it’ll pale in comparison to the colorful roost of rascals that The Cave nurtured. I spent a lot of time and money there, but I wish I could’ve spent more. At least it ended with one hell of a party. ahussey@indyweek.com

music

BRIEF

LOCAL 506 GETS NEW OWNERSHIP BUT KEEPS ITS LOCAL ROOTS INTACT

After four years at the helm of Local 506, a longtime staple of the Triangle’s live music scene, Kippy and Tom Perkins are stepping down. But ownership of the venue won’t stray far from home. On May 4, two local music veterans, Stephen Mooneyhan and Rob Walsh, will become the venue’s new owners.

Kippy Perkins says the ownership change was precipitated by a need for the venue to have more hands-on owners.

“We just realized that the long-term sustainability of the 506 called for an owneroperator model,” Perkins says. “We were not really working as owner-operators. We have an amazing staff that, basically, we delegated everything to, especially [in] the last year.”

It was important to the couple for the new leadership to preserve the club’s important role in Chapel Hill’s independent music scene. When Mooneyhan, the venue’s general manager, and Walsh, a longtime employee and member of the band Bitter Resolve, proposed to buy the venue, Perkins described it a “no-brainer.” Both have deep roots in the music community and vowed to keep the venue small and independent at a time when downtown addresses are ceding to more lucrative ventures and formerly independent venues such as The Ritz now belong to corporations like Live Nation.

Located on West Franklin Street in downtown Chapel Hill, Local 506 opened its

doors in 1992.

The midsize venue, which holds around 250 people, pairs touring acts and local ones, filling a crucial niche for bands that can’t pack out a venue as large as Cat’s Cradle. Kippy and Tom Perkins bought it from Glenn Boothe, who had owned it for about a decade. Over the past four years, the couple presided over hefty renovations to the venue’s bar and facade, and maintained the room’s reputation as a small, solid club.

Kippy Perkins says the most rewarding part of the experience has been working with a dedicated and passionate staff.

“They’re honestly some of the best people in this town,” she says. “It’s a really tough business and they just put their heart, sweat, and soul into their work, day after day.”

She and her husband will remain in Chapel Hill, where they say they will continue to support the local music scene in other ways. Meanwhile, Mooneyhan and Walsh celebrate with a launch party on May 4 featuring deejay 20th Century Boy spinning industrial, goth, and dark wave records.

Perkins is excited for what the new duo will bring to the venue.

“It really is bittersweet to step away from the 506, and I’m proud of the work we did there,” Perkins says. “I think it will continue to hold its ground as a full-fledged member of the community and have as positive of an impact as it does now.” —Nick Gallagher INDYweek.com | 5.2.18 | 21

MAY

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WE 2 TH 3 FR 4 SA 5

MOONTYPE/ DWNLO (18+ ONLY) 9p

MO 7 KING LIL G 7p

music

FLEET FOXES

Thursday, May 3, 7:30 p.m., $30–$50 Red Hat Amphitheater, Raleigh www.redhatamphitheater.com

Cracked Open

AFTER A SIX-YEAR HIATUS, FLEET FOXES RETURN TO MAKE GOOD ON A PROMISE THEY MADE IN RALEIGH

BY ALLISON HUSSEY

TU MAY 8 • 7P

AN EVENING WITH

BUCKETHEAD MISTERWIVES 7p BILLY STRINGS 7p JUPITER COYOTE 7p STEELDRIVERS 7p THE CLARKS 7:30p BARCODE: UNPLUGGED: SILENT PART 9p TH 24 SLUSHII W/ TBA 7p SA 26 JAKE MILLER 8p TH 31 THE PANCAKES & BOOZE ART SHOW 6p

WE 9 TH 10 SA 12 TH 17 FR 18 SA 19

JUNE

FR 1 IDLEWILD SA 2 TH 7 SA 9 WE 13 SA 16 FR 22 SA 23 FR 29 SA 30

(ALLMAN BROTHERS BAND TRIBUTE) 8p

WHISKY MYERS 7p TASH SULTANA 7p RECKLESS KELLY 8p RÜFÜS DU SOL 7p THE BREAKFAST CLUB 8p DAVID ALLAN COE 7p AMERICAN AQUARIUM

W/ TRAVIS MEADOWS (ON THE LINCOLN THEATRE STREET STAGE) 3p CHAD PRATHER 6p YACHT ROCK REVUE 7:30p

CO M I N G S O O N

7/6 THE STEEL WOODS 8p 7/7 INTERSTELLAR OVERDRIVE W/ ABACAB 7:30p

7/10 BERES HAMMOND 7/14 7/19 7/27 7/28 8/7 8/10

W/ HARMONY HOUSE SINGERS 7p CONTROL GROUP REUNION 7p ERIC SCHWARTZ 7p TORY LANEZ 7p MOTHER’S FINEST 7:30p

PENNYWISE PHISH AFTERPARTY

W/ THE MANTRAS 10:15p

11/14 ALLEN STONE

W/ NICK WATERHOUSE 7p

ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com

22 | 5.2.18 | INDYweek.com

Fleet Foxes PHOTO COURTESY OF THE BILLIONS CORPORATION

I

n September 2011, Fleet Foxes stopped at Raleigh’s Red Hat Amphitheater for what was supposed to be a run-of-themill show. But a torrential storm hit that night, raining so hard that the aisles between seating sections resembled creek beds.

Lightning threatened the outdoor electrical system and water dripped through the roof of the stage onto then-drummer Josh Tillman’s kit. The band apologetically ended the show early, swearing they’d be back.

Nearly seven years later, Fleet Foxes are finally making good on that promise after the release of Crack-Up on Nonseuch Records last August. The band dissipated for a few

years—frontman Robin Pecknold went back to college, and his band mates immersed themselves in other projects. But they’ve returned true to form: Crack-Up is rooted in lush folk-rock, with Pecknold's distinctive croon leading the way. But unlike its predecessors Crack-Up swoops and dives dramatically, veering from Pecknold singing in a near-whisper above a soft guitar line to dramatic, explosive instrumental interludes. It feels like a brave adventure into some sort of soft, mossy abyss.

Ahead of the band’s return to Red Hat, Pecknold paused to reflect on some of CrackUp’s multi-layered themes.

HIATUS We stopped touring in 2012, and then it wasn’t so much that I wanted to take a hiatus as much as I just wanted to continue trying new things. I didn’t spend a lot of time just sitting on my hands or not doing things. I actually felt like I had to make up for lost time in terms of all this other stuff that I wanted to do aside from music. So there was no real hiatus in terms of my day-to-day life. I would say I associate the word “hiatus” with something you take when you’re like sixty-five or seventy-five—retirement or something.

SOLITUDE I feel like if I ever do something alone it’s because I can’t convince someone to do it with me. It’s something I really want to do. I feel like I get enough solitude in the writing process, working on the music, that I don’t really want solitude any other time. [laughs] Oftentimes I feel like if I do something alone, even though I have my memory of it, if it’s not a shared memory it’s much less potent or valuable. I’d rather be doing things with people that I love. I think it’s necessary sometimes and it’s just about balancing.

There are things that you can kind of hash through on your own that help you be a better friend when you do come back into the fold with people.

DYNAMICS Back when I was writing songs for Crack-Up, I was watching this movie called Walkabout a lot, this movie about these two kids lost in the Australian Outback. There would be these really beautiful shots, like a shot of a girl swimming in a spring, and then there would be a shot of someone butchering a kangaroo or slaughtering an animal—these really contrasting shots right next to each other. I found that interesting or exciting, the juxtapositions, and I was also very—not wishy-washy, but I feel like I was kind of like manic and changing my mind all the time, and that’s probably why that was interesting to me. It was fun to be messing with different volume contrasts and putting different parts of the songs in different mental spaces.

DECEPTION I totally get hung up on that. Even if it’s like self-deception or someone else deceiving you—I don’t know, it’s just certain things that were going on that bled into the lyrics. I feel like I’m always wondering to what extent anything you attempt to do is a form of selfdeception, or if there’s any objective reason to do anything—or, if you call it deception, it doesn’t need to be a bad thing. Giving yourself a reason to get up in the morning, it’s a useful lie, something that does you good. I guess that bled into the lyrics somewhat.

MYSTICISM I think music is kind of the only thing I have a mystic connection to. I’m not like reading Aleister Crowley or the Kabbalah, I don’t do tarot cards. It’s really weird, any time someone goes there I tune out a little bit, with astrology or things that are more in that vein. I do feel really connected to something unknown and it feels very magic to me. So I think if those things ever crop up in the lyrics, it’s almost just a function of that reflecting how it feels to work on the songs themselves. ahussey@indyweek.com

music

BRIEF

THE COKE DARES FAKE LAKE THIRD UNCLE RECORDS 

Raleigh band The Coke Dares, once the rhythm section of the late Jason Molina’s Magnolia Electric Co., trades in zippy bursts of punky powerpop with the arty verve of Wire, the sinewy energy of The Minutemen, and the pith of Guided by Voices. So it’s no surprise that new album Fake Lake recalls those influences’ greatest works.

Like Pink Flag, Double Nickels on the Dime, or Bee Thousand, The Coke Dares’ third full-length is a towering punk suite that flits between an array of styles. Not one song among Fake Lake’s thirty-five, which are spread over just forty-four minutes, comes within spitting distance of three minutes.

Only four top two minutes, and the longest of those, the freak-folk experiment “Water Purse,” just barely does.

But brevity is a boon to The Coke Dares’ sonic breadth. Some songs, such as the tantrum-like “Drivin’ on a Sunday” and the strutting “I’m Just Lookin’ for My Manager,” are intense explosions of attitude and energy. Others are tender ballads that mask sophomoric ribaldry. “Please Say Fuck” is a jangle-pop ode to the F-word that could double as a metaphor for communication breakdowns. “Came to Shit” masks regret in toilet humor; its chorus consists of the classic bathroom-stall rhyme. There are weird pop experiments like the title track and nuggets of power-pop gold fit for a Cheap Trick record, including “Droppin’ Out” and “You Say a Lot.” But despite its variegated voices (literally, as each member of the trio writes and sings), Fake Lake’s striking moments cohere into a remarkably cogent whole. Just around the record's three-quarter mark, for example, the funk-punk of “Call Me High School” segues perfectly into the Big Star-like “Bed of Ashes,” which flows directly into the searing “Pontiac Blues.”

Given its length and heft, it might seem reasonable to suggest that The Coke Dares tried to fit too many ideas into Fake Lake.

But when a record is so densely packed with smart arrangements and zany humor, performed at breakneck speed, excess doesn’t seem that bad a sin. —Patrick Wall

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INDYweek.com | 5.2.18 | 23

indyart

SHERRILL ROLAND: ARTFOR(US)

Reception: Friday, May 4, 6–10 p.m. | Artist talk with Dasan Ahanu: Thursday, May 10, 7 p.m.

Artspace, Raleigh www.artspacenc.org

Prisoner of Conscience

AT ARTSPACE, THE JUMPSUIT PROJECT ARTIST SHERRILL ROLAND CONTINUES TURNING HIS EXPERIENCE OF WRONGFUL INCARCERATION INTO AN INDICTMENT OF THE SYSTEM

BY CHRIS VITIELLO

T

he National Memorial for Peace and Justice and the adjacent Legacy Museum: From Slavery to Mass Incarceration both recently opened in Montgomery, Alabama. The former is a sacred open-air pavilion of pillars bearing the names of lynching victims; the latter is a technology-rich space of documentary and witness in which you walk past cells or sit at a visitation window to hear holograms of prisoners tell you their stories.

Artfor(us), Sherrill Roland’s solo show running at Artspace through May 12, is structured similarly to the Legacy Museum but in the form of collages that episodically narrate his ten-month incarceration in Washington, D.C., in 2013 and 2014, after which he was released and exonerated.

Much more interactive than holograms, Roland’s highly personal and densely overwritten collages, which were created following his incarceration, are made from the kinds of materials that were accessible to him in jail, including toilet paper and legal paper, Sharpie markers and Kool-Aid powder, and the greeting cards, letters, and monthly issues of Artforum International that his family sent to him.

The nine collages are accompanied by three compilations of excerpts from Roland’s letters from prison, handwritten on Mylar that he disguised as legal pads by dyeing it with Top Ramen chicken seasoning.

These texts are straightforward accounts of his prison experiences: “I remember being stripped naked in front of everybody. Officers, inmates, and all. They ask me to lift, spread, and squat.

Dave Chappelle wasn’t playing. I can laugh about it now but never have I ever felt so low and less than.”

Roland first drew attention to his experience of wrongful incarceration—he doesn’t discuss the nature of the charges—with The 24 | 5.2.18 | INDYweek.com

Jumpsuit Project. He wore an orange prison jumpsuit while finishing his MFA at UNCGreensboro, which he’d been plucked from for his prison term, and he continues to use the garment to tell stories and provoke con-

American prison system and its historical connection to slavery. He pushes that story further in this body of work.

The legal-pad narrations set up the collages, which layer images with different kinds

Sherrill Roland: “Summer 2014” PHOTO COURTESY OF ARTSPACE versations at places like the Oakland Book Festival and the Studio Museum in Harlem.

Roland understands the power of speaking this way to a public that remains relatively ignorant about the racial inequity of the

of texts on paper panels handmade from pulped toilet paper and Artforum issues.

Each collage is mounted on a section of black steel screen, which evokes prison fencing. In the texts, biblical passages are written in

black, frank quotes and stories about survival skills are in blue, and inspirational quotes are in red. Each collage also includes larger imagery ranging from parts of Artforum covers and cartoonish illustrations to a newspaper obituary of Roland’s grandmother, who passed away while he was in prison.

It’s a lot to process and combine, but the collages add up to a nuanced statement of the many abilities and coping mechanisms required to survive both incarceration and the difficult return to a changed life afterward.

There’s the greeting-card reassurance that people who care are waiting outside. There’s the wisdom of scripture, that a higher power might exceed even the authoritarian system of the prison. There’s the ambition of a young artist whose education has been interrupted, trying to stay connected to an art world that couldn’t seem more far away.

The exhibit embodies the difficulty of handling all of this at once. Roland’s collages draw you very close to read the small handwriting on them. Inches away, they’re like windows through the steel fencing, as if they allow him to see through the walls of imprisonment. But when you step back, the collages suddenly look like slapped-up, fragile scraps, and you feel how desperate and tenuous it is.

Materially and psychologically, Roland’s work shows the overarching value of resourcefulness. In artfor(us), prisoner and artist are two different uniforms that a survivor wears to work through a system that will process him whether he fights it or not.

If he survives the system and gets outside of it—at least enough to act with some agency—then he can fight it in the form of work like this. It’s the lesson that every witness needs to learn. arts@indyweek.com

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WHAT TO DO THIS WEEK 5.2–5.9

SATURDAY, MAY 5 & SUNDAY, MAY 6

COMPAGNIA TPO: FARFALLE

Italy’s Compagnia Teatro di Piazza d’Occasione takes children’s theater into the twenty-first century. In Farfalle, which means “butterfly,” the company’s imaginative digital animators, interactive media wizards, sound and set designers, and choreographers create a captivating green world of fireflies, flowers, insects, and animals, project it onto the floor and curving scrims in a theater, and then invite children from the audience to explore it, integrating them into the performance. When the company’s supple dancers aren’t guiding kids to hop across lily pads or string along the threads of a spider’s web that responds to their presence, they’re navigating the fantastical leaves and illuminated flora of a digital rainforest or camping out in a chrysalis made of gauze. It’s a world of wonder for children and adults to immerse themselves in, courtesy of Carolina Performing Arts. —Byron Woods CURRENT ARTSPACE & STUDIO, CHAPEL HILL Various times, $10–$20, www.currentunc.org

Compagnia TPO PHOTO COURTESY OF CAROLINA PERFORMING ARTS

SATURDAY, MAY 5

RYLEY WALKER

Guitarist Ryley Walker, indie rock’s merriest prankster and funniest tweeter, always seems to be chasing his fleet imagination. As a teenager new to Chicago, he dished out harsh slabs of wild, explosive skronk in Heat Death. On his first two records as a folkie, it was easy to paint him as some kind of cosplay agent: on 2014’s All Kinds of You, he operated in British folk form (think Tim Buckley, Bert Jansch, and Nick Drake); on 2015’s Primrose Green, he went pastoral, splitting the difference between Van Morrison and Pentangle. On 2016’s Golden Sings That Have Been Sung, he crafted ornately composed, languid indie rock that nods to the post-rock legacy of his home city, in particular Tortoise and Gastr del Sol. But on the forthcoming Deafman Glance, Walker may have finally matched his imagination stride for stride. The jams are measured and paced, but they’re still an exciting amalgam of competing ideas, tying together psych, folk, prog, jazz, and post-rock. Their rapidly cascading lines barrel forever forward like the L train. With Skylar Gudasz and Nathan Golub. —Patrick Wall KINGS, RALEIGH 9 p.m., $12–$14, www.kingsraleigh.com

WHAT ELSE SHOULD I DO?

THURSDAY, MAY 3–SATURDAY, MAY 19

THE CHANGELING

In European folklore, if you don’t suspend a pair of opened iron scissors above a newborn’s cradle, the fey folk might abduct the child and leave a hungry fairy infant in its place. But there are other kinds of changelings in the world, and they tend to show up at the most inconvenient moments: in bed beside you the morning after a hook-up or during an election victory speech. Marriage, money, and good old-fashioned lust create other changelings still. In Jaybird O’Berski’s adaptation of Middleton and Rowley’s bivalent Jacobean drama, they include a film-noir femme with an unsuitable lover and another fool in hot pursuit, plus a blowhard who invents the wrong trophy case for his trophy wife. In O’Berski’s unique staging, we walk between two rooms in which the two intersecting plots unfold. After this week’s opening at The Fruit (May 3–5), the show travels to Mystery Brewing (May 10–12) and Culture Mill (May 17–19).

—Byron Woods VARIOUS VENUES, TRIANGLE-WIDE 8 p.m., $10–$17, www.littlegreenpig.org

THE COKE DARES AT NEPTUNES PARLOUR (P. 23), FLEET FOXES AT RED HAT AMPHITHEATER (P. 22), ERASERHEAD AT ALAMO DRAFTHOUSE (P. 36), FREE COMIC BOOK DAY AT ULTIMATE COMICS (P. 36), JOY MEYER AT LUMP (P. 32), A NIGHT WITH JANIS JOPLIN AT FLETCHER OPERA THEATER (P. 34), STEPHEN AND ROB’S 506 LAUNCH PARTY AT LOCAL 506 (P. 21), RADIOTOPIA LIVE AT THE CAROLINA THEATRE (P. 14), SHERRILL ROLAND AT ARTSPACE (P. 24) 26 | 5.2.18 | INDYweek.com

TUESDAY, MAY 8

SPEEDY ORTIZ

Boston band Speedy Ortiz had already earned its spot as one of this decade’s most revered indie rock outfits. Its new record, Twerp Verse, just seals the deal.

It’s taut and punchy, full of barbs that hop between self-deprecating and outwardly excoriating. “I’m blessed with perfect pitch/I waste it on songs that you’ve never even heard of,” sings frontwoman Sadie Dupuis, surrounded by a cascade of fuzzy, noisy guitars. Twerp Verse is packed with more unexpected turns than a high-speed Pac-Man game. But don’t take those changes to indicate a lack of direction—instead, they add up to a thrilling ride. Dupuis’s pointed lyrics feel even more relatable to millennial existential crises on “Lucky 88,” where she sings, “Life is carnage/I once was lost, but now I’m floundered.”

Here’s hoping Speedy Ortiz can soothe their fellow flounderers in Durham.

Soccer Mommy and Zenizen open. —Allison Hussey THE PINHOOK, DURHAM 9 p.m., $12–$14, www.thepinhook.com

Speedy Ortiz COURTESY OF GROUND CONTROL TOURING

THURSDAY, MAY 3

A SERIES OF FORTUNATE EVENTS OPENING NIGHT GALA

A Series of Fortunate Events—a program of Raleigh nonprofit Arts Access, which works on arts accessibility for people with disabilities—is a bit different than many such arts showcases in that it puts the art first. “So often, the affliction or condition comes before the output,” participating musician Chris Hendricks told the INDY about the debut last year. “But the emphasis here is on the art, and I think that makes us feel valued, taken more seriously as artists.” This year, after Thursday night’s opening gala at The Laurelbrook with remarks by Raleigh Mayor Nancy McFarlane and music by Wilmington’s DJ Smooth, more than a week’s worth of performances and exhibits spread through Raleigh: a First Friday reception for art exhibit Ultralight II at the United Arts Council (May 4, 6–9 p.m.); a concert by Castle Wild, Built for Comfort, Carolina Lightnin’, and 3WB at Lincoln Theatre (May 5, 1:30–6 p.m.); a screening of The Shape of Water paired with a discussion of media portrayals of disability at the new Alamo Drafthouse (May 10, 6 p.m.); a kids’ art exhibit at the Sertoma Art Center (May 12, noon–3 p.m.); and a theater showcase at Theatre in the Park (May 16, 7 p.m.). All events feature assisted listening, audio description, and other services; visit the website for details. —Brian Howe THE LAURELBROOK, RALEIGH 6–8 p.m., $50 gala/events free–$30, www.fortunateevents.org INDYweek.com | 5.2.18 | 27

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PANDA BEAR 6/18 YOUNG WIDOWS W/ NULL, WAILIN STORMS

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6/19 JEREMY ENIGK ($18/$20) 6/23 DESSA W/ MONAKR ($20) 7/13 PIERCE PETTIS ($15) 7/17 PETAL & CAMP COPE ($13/ $15) 8/5 JOAN OF ARC ($12) 8/9 THE ESSEX GREEN

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

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6/21 MANCHESTER ORCHESTRA W/ O'BROTHER ($23 /$28)

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WED, MAY 2

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

POUR HOUSE: Ruby the Hatchet, Heavy Temple, Demon Eye; 8 p.m., $12–$15.

THU, MAY 3 BLUE NOTE GRILL: Nash Street Ramblers; 7-9 p.m.

DUKE’S BALDWIN AUDITORIUM: Durham Medical Orchestra; 7:30 p.m., free.

KINGS:

Charly Bliss [$11–$13/9 P.M.]

Charly Bliss’ immediately infectious album Guppy feels both fresh and familiar by contrasting bubble gum melodies against grungy distortion. But the sticky, hot pink hooks—delivered by Eva Hendricks with singsong cheer—disguise wry, occasionally explicit barbs, like the “Percolator” send-off “I’m not scared to lick the floor/Cause I have sucked on something worse.” The seemingly sunny “Ruby” is an ode to Hendricks’ therapist, indicative of her own earnest, vulnerable explorations of anxiety, image, and doubt throughout the record.

Skating Polly opens.

—Spencer Griffith MOTORCO: Bob Schneider with Mobley; 8 p.m., $20–$23.

POUR HOUSE: Local Band Local Beer: Ghostt Bllonde, Dim Delights, and Erie Choir; 8 p.m., $5.

RED HAT AMPHITHEATER: Fleet Foxes, Shy Boys; 7:30 p.m., $20–$49. See page 22.

SHAKORI HILLS:

Shakori Hills Grassroots Festival of Music & Dance [$22–$114/VARIOUS TIMES]

Though Shakori Hills hosts Donna the Buffalo for each of the festival’s four days this year, iconic roots rocker Steve Earle is the line-up’s obvious heavy hitter, thanks

tUnE-yArDs perform Sunday night at the Haw River Ballroom in Saxapahaw. to songwriting that hits on both Earle’s political leanings and his decades of hard living. Fellow headliners Rising Appalachia and Driftwood favor soaring folkpop with modern string band arrangements. Meanwhile, Ibibio Sound Machine mixes West African dance music with electronics and Chicano Batman adds funky soul from Central and South America.

Highlights from the undercard include Kate Rhudy, Kamara Thomas & the Nightdrivers, Dante High, Violet Bell, Boom Unit Brass Band, and former Carolina Chocolate Drop Dom Flemons.

—Spencer Griffith

FRI, MAY 4

PHOTO BY ELIOT LEE HAZEL

DUKE’S BALDWIN AUDITORIUM:

ARCANA: Super Secret Dance Party: DJ Rang, DJ Forge; 10 p.m.-2 a.m., $8.

Paul Lewis

BEYÙ CAFFÈ: Young Bull; 7 & 9 p.m., $14.

For the final event in Duke Performances’ piano recital series, British virtuoso Paul Lewis goes small with some lesser-known works by composers who are otherwise performed to death.

Beethoven’s eleven Bagatelles, opus 119 were written over the course of twenty years, exploring the power of brevity. Brahms’ final works for piano close the program, showing a composer freed to wander through unexpected harmonic and temporal space.

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

BULL CITY RECORDS: Charles Latham & the Borrowed Band, Reese McHenry & the Fox; 8 p.m., free.

THE BULLPEN: Travers Brothership; 8:30 p.m.

CAT’S CRADLE: Black Rebel Motorcycle Club, Pete International Airport; 8 p.m., $25–$28.

CAT’S CRADLE (BACK ROOM): Caitlin Rose, The Kernal; 8:30 p.m., $10–$12.

[$20–$42/8 P.M.]

Sandwiched between sit a pair of nicely concise Haydn sonatas. —Dan Ruccia MEYMANDI CONCERT HALL:

N.C. Symphony with Ben Folds [$38–$79/8 P.M.]

Since the folding of his Five, Ben Folds has gradually transitioned into that nebulous space between rock and contemporary classical music.

The North Carolina native’s last studio album was a collaboration with the hip new music ensemble yMusic, which included both pop songs and a piano concerto. And Folds can be increasingly found sitting in

front of an orchestra. But don’t worry, he’ll still play all of those tunes that you wish would stay in the nineties. —Dan Ruccia NIGHTLIGHT: Floor Model, J. Carter, Divorce Ring; 9:30 p.m., $7.

THE PINHOOK:

Sheer Mag [$14/9 P.M.]

Those who think that rock is dead in the year 2018 are sorely mistaken, and need to look no further than Philadelphia’s Sheer Mag for an answer. Mixing punk attitude with riffy seventies rock, the band’s tracks vacillate between hard-charging anthems (“Meet Me in the INDYweek.com | 5.2.18 | 29

Streets”) and cool, sassy choogle (“Need to Feel Your Love”). Live, Sheer Mag is a well-oiled machine whose super-tight sets will have you shouting along in no time.

With Red Death and Fury.

—Allison Hussey POUR HOUSE: The Bar Exam: Hip-Hop Showcase & Competition; 8 p.m., $10–$15.

RUBY DELUXE: HAWT Sauce: A Queer Dance Party; 10 p.m.-2 a.m., $5.

SHAKORI HILLS: Shakori Hills Grassroots Festival of Music & Dance; 9 a.m.-11:45 p.m., $22–$114.

UNIVERSITY UNITED METHODIST CHURCH: VOICES: Castles and Cottages; 8 p.m., $10–$25, 12 and under free.

VAE RALEIGH: Christy Jean Smith; 6 p.m., free.

Find Sheer Mag Friday night at The Pinhook.

SAT, MAY 5 PHOTO COURTESY OF GROUND CONTROL TOURING

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

CAT’S CRADLE (BACK ROOM): The Collection and The Pinkerton Raid; 8 p.m., $12–$14.

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BEYÙ CAFFÈ: Audio Wolf; 7 & 9 p.m.

DUKE’S BALDWIN AUDITORIUM: Emerson String Quartet; 8 p.m., $20–$48.

LOCAL 506:

Rolling Blackouts CF [$10–$12/9 P.M.]

This rugged and rowdy indie rock outfit out of Melbourne already has two EPs under its belt, with a full-length album set for release on June 15.

Three members of the band share singing responsibilities, which offers space for disparate perspectives, even over the course of a single tune. We’re likely to get a sneak peak of some songs from the new album, in addition to rollicking early favorites. —Nick Gallagher MOTORCO: Alvvays, Frankie Rose; 8 p.m., $15–$17.

NIGHTLIGHT: Carouse \\ 01: A New Dance Party; 10 p.m., $5.

THE PINHOOK:

No Age

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POUR HOUSE: Nicolay + The Hot at Nights; 8 p.m., $12/$15.

SHAKORI HILLS: Shakori Hills Grassroots Festival of Music & Dance; 9 a.m.-11:45 p.m., $22–$114.

SUN, MAY 6

CAT’S CRADLE (BACK ROOM): Broncho, Valen; 8 p.m., $10–$12.

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

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their first for Drag City after a trio of releases on Sub Pop. Will we ever get that plaintive acoustic album? Unlikely. But Snares is one of their finest artistic statements to date and reifies their status as one of the best underground guitar bands of the last fifteen years. Released after a five-year absence, where many similar bands turned to hokey shoegazer worship for atmosphere, this record is a loving reminder smack that writing spacious, wellhoned songs can be a far better gauze for any industrial attack. With Behavior and Superb Owl. —David Ford Smith

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HAW RIVER BALLROOM:

tUnE-yArDs [$28–$30/8 P.M.]

After releasing songs with titles like “Powa,” “Killa,” and “Bizness” on earlier records, and finding inspiration in R&B, Afro-pop, and traditional African music, tUnE-yArDs frontwoman Merrill Garbus reflects upon her white privilege and artistic debts on January’s I Can Feel You Creep Into My Private Life.

While keenly attuned to the precarious balance between appropriation/inspiration and privilege/responsibility, the record often feels more like a distracting, tiresome confession of guilt than a timely work of art. With My Brightest Diamond.

—Noah Rawlings MOTORCO: Bali Baby, Charles DaBeast; 8 p.m., $10–$15.

NEPTUNES PARLOUR: Berndsen, Echo Courts, Raindeer; 8 p.m., $10–$12.

POUR HOUSE: Eyeball, Roar the Engines, 80lb Test; 1-5 p.m., $5. Hot Club of Cowtown, The Hot Club of Raleigh; 7 p.m., $15–$20.

SHAKORI HILLS: Shakori Hills Grassroots Festival of Music & Dance; 9 a.m.-11 p.m., $22–$114.

ST MICHAEL’S EPISCOPAL CHURCH: Oak City Voices: Spring Favorites; 4 p.m., $10–$12.

MON, MAY 7

Charly Bliss headlines Kings in Raleigh Thursday night.

PHOTO COURTESY OF THE BILLIONS CORPORATION

CAT’S CRADLE:

The Melvins [$20–$22/9 P.M.]

On last month’s Pinkus Abortion Technician, the Melvins double down on the low end, with the Butthole Surfers’ Jeff Pinkus and Redd Kross’s Steven McDonald— both previous contributors— simultaneously playing bass alongside longtime constants Dale Crover and Buzz Osborne. Both bassists also join for this tour, adding a heavy ballast to what’s otherwise in line—however off-kilter it may be—for the legendary outfit’s trademark cocktail of fuzz and sludge.

With All Souls.

—Spencer Griffith CAT’S CRADLE (BACK ROOM): Jennifer Curtis and the Carolina Friends School Upper School Bands; 7:30 p.m., $10.

MOTORCO:

POUR HOUSE: West End Blend, Maj Deeka; 8 p.m., $6–$8.

[$15–$17/8 P.M.]

TUE, MAY 8

Hop Along Philadelphia’s Hop Along has come a long way since frontwoman Frances Quinlan, accompanied only by an acoustic guitar, began recording her own music in high school.

That solo project has grown into a four-piece act, but Quinlan’s mighty, cracked-atthe-edges vocals remain as the band’s bedrock. Hop Along opened for the likes of Built to Spill in its last visit to the Triangle, but this time the band headlines Motorco in support of its latest record, Bark Your Head Off, Dog. Saintseneca and Heartscape Landbreak open. — Nick Gallagher THE PINHOOK: Mama Played Mondays; 7 p.m., free.

CAT’S CRADLE:

Bahamas

[$16–$18/8 P.M.] The Bahamas (the archipelago, not the musician) exists in the popular imagination, thanks to a legion of marketing campaigns, as a warm-weathered utopia—a sunny escape from the toil of everyday life. Bahamas (the musician, Afie Jurvanen) strives to accomplish aurally what tourism marketers do visually. Bahamas create pleasant sounds which do little to engage the imagination or intellect, but cushion and lull

one’s ears with the promise of repose. With Soul Brother Stef.—Noah Rawlings CAT’S CRADLE BACK ROOM:

Charlie Brown, The Sisters Rodenbough [$8–$10/8 P.M.]

A music student at UNC, Charlie Brown sounds like an old soul on The Ruling Grade’s songs of love and loss, which are complemented by warm, rootsy arrangements.

The debut of The Sisters Rodenbough finds Mipso fiddler Libby and MKR leader MK sharing the stage to perform originals by each of the songwriting siblings.

—Spencer Griffith POUR HOUSE: The Perceptionists, Ben Shorr, Locksmith; 8 p.m., $15–$20.

WED, MAY 9 BLUE NOTE GRILL: Samantha Fish; 7 p.m., $20–$25.

CAT’S CRADLE:

Panda Bear

[$22–$25/8:30 P.M.] It’s best not to go digging for Panda Bear’s prismatic latest release A Day with the Homies on your favorite streaming service, as he elected to go off the internet grid and make this EP available only on vinyl.

Don’t write it off as another heads-only inscrutable noise record in the Animal Colective omniverse, though—these are songs, and spectacularly full-fledged ones at that.

Noah Lennox continues to explore his dubby, warped twist on glimmering Beach

Boys sun-and-surf production throughout, and tracks like “Nod to the Folks” will appeal to even casual fans who only love him for his shredded, easily digestible pop offerings.

If you can source a copy, make the effort. Fellow Animal Collective comrade Geologist opens. —David Ford Smith CAT’S CRADLE (BACK ROOM): Givers, Curt Castle; 8:30 p.m., $15.

THE KRAKEN: Shake Sugaree Americana Residency; 7-10 p.m., free.

MOTORCO: Tomorrows Bad Seeds, Sun-Dried Vibes, Roots Of A Rebellion; 8 p.m., $12–$15.

RED HAT AMPHITHEATER: ODESZA; 6:30 p.m.

THE RITZ: Nathaniel Rateliff & the Night Sweats, Lukas Nelson & the Promise of the Real; 8 p.m., sold out.

INDYweek.com | 5.2.18 | 31

art

5.2–5.9

OPENING

6th Annual Spring Crafts Show: Pottery, jewelry, mixed media, basketry, and woodworking by thirteen local artists. Sat, May 5, 10 a.m.-4 p.m. White Oak Pottery, Durham. www.whiteoakartworks.com.

Art in the Garden 24th Annual Exhibition: Outdoor sculpture exhibition. Sat, May 5, 10 a.m.-6 p.m. & Sun, May 6, noon5 p.m. Garden Art Gallery, Hillsborough. www.garden-art-gallery.com.

Artspace Corridor Exhibition: Member artists Jane Cheek, Autumn Cobeland, Arsis Fruritch, Joyce Watkins King, and Susan LaMantia. May 4-Jul 28. Artspace, Raleigh. www.artspacenc.org.

SPECIAL Coalesce: Watercolor EVENT Society of NC exhibit. May 4-June 27.

Reception: Thu, May 3, 6-8 p.m. Sertoma Arts Center, Raleigh. parks.raleighnc.gov.

Figurative: 24 Hour Figure Drawing Event: Participatory figure-drawing event from 9 a.m.

Sat, May 5 to 9 a.m. Sun, May 6.

Presented by Mikki Marvel. $60.

The Fruit, Durham.

SPECIAL Latino Arts EVENT Collective Exhibit: Beginning the 2018 Apex Latino Arts Festival. May 4-Jun 8.

Reception: Fri, May 4, 6-8 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org.

Debbie Quick: PNC Pop In Artist in Residence. Beaded drawings and figurative sculptures. May 4-26. Artspace, Raleigh. www.artspacenc.org.

Sacred Geometry: Open studio exhibition featuring mixed media artist Gray Griffin and sculptor and furniture maker Erik Wolken.

Sat, May 5, 10 a.m.-5 p.m. Erik Wolken, Chapel Hill. www.erikwolken.com.

SPECIAL Structure: VAE EVENT Photographers Forum exhibit. May 4-Jun 14.

Reception: Fri, May 4, 6-9 p.m.

Litmus Gallery, Raleigh. www.litmusgallery.com.

SPECIAL Sweet Dreams: EVENT Opening exhibition 32 | 5.2.18 | INDYweek.com

at new gallery located inside 311 Gallery. May 5-26. Reception: Fri, May 4, 6-9 p.m. V L Rees Gallery, Raleigh. vlrees.com.

Ultralight 2: Exhibition of artwork about disability, created by artists with disabilities. Fri, May 4, 6-10 p.m. United Arts Council of Raleigh & Wake County, Raleigh. www.unitedarts.org.

You, Me, and the Elephant Makes Three: Raku sculpture by Margaret Griffin, paintings and photography by Rebecca Toy. Fri, May 4, 6-9:30 p.m. Local Color Gallery, Raleigh. www.localcoloraleigh.com.

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

Thru May 12. Artspace, Raleigh. www.artspacenc.org.

ARTFOR(US): See story, p. 24.

Thru May 12. Artspace, Raleigh. www.artspacenc.org.

Boats of the Times: Mixed media. Apr 27-May 20.

Skylight Gallery, Hillsborough. skylightgallerync.com.

Business as Usual: A massive white man’s head hangs from the ceiling, with furrowed brows, beady eyes, and veins protruding at the temples.

This omnipresent “boss” watches over Winston-Salem artist Bob Trotman’s exhibit, which incorporates mixed media and video art into dozens of figurative sculptures that critique big business by unmasking its gospel of greed and envy at the expense of workers. In wood, resin, tempera, and wax, the handcarved figures range from doll-size to larger-than-life.

The details in their caricatured faces show that they have become hardened to being expendable in an ecosystem of private enterprise. Echoes of 9/11 and the 2008 financial crisis are also present. And sometimes, Trotman uses the form of the automaton to propose his concerns about the dehumanization of workers. Though it was made two years prior to

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Trump’s election, “Trumpeter” seems like an on-the-nose caricature of our POTUS as a CEO. A trumpet connected to a motion-activated speaker stands in for the figure’s head. As you draw close, it emits indiscernible squawking sounds, implying that the bullying figurehead offers citizens nothing more than a farcical circus of noise.Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu. edu. —Julie M. Hamilton Elizabeth Bradford: Paintings.

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

Celebrating Nature: Botanical drawings by Preston Montague, wildlife photography by Ricky Davis, and pottery by Liz Kelly.

Thru May 26. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com. cl/us/ter: Work by students graduating from the ARTS 500 Senior Seminar. Thru May 13. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

First Friday Raleigh: Extended hours & receptions at downtown art venues. First Fridays. www. godowntownraleigh.com.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca.

He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1.

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

From Joy Meyer’s The Lovers PHOTO COURTESY OF LUMP FRIDAY, MAY 4

JOY MEYER: THE LOVERS At a scale larger and closer than life, pink crepe myrtles quiver in spectral layers. Curtains rustle in glowing purple rooms. An antique mirror rests in a water-stained sink. Windows and doors beckon into other worlds. Such is the imagery found in The Lovers, Joy Meyer’s largescale video installation, a project that began while Meyer was in art school at UNC and now receives its complete premiere at Lump. Thirteen channels of video and sound, augmented with objects such as faux-fur rugs, neon signs, and vintage TV sets, create an immersive environment that draws on themes from speculative fiction, epistemology, feminism, and the tarot (the show is named after the deck’s sixth card) to test the edges of space and time, love and desire. After this opening reception, fall in The Lovers through June 9. —Brian Howe

LUMP, RALEIGH | 6–9 p.m., free, www.lumpprojects.org Chad Hughes: Oil aintings.

Thru May 31. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

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

Gayle Stott Lowry: New paintings. Thru May 20. Eno Gallery, Hillsborough. www.enogallery.net.

Mentor/Mentee: Lope Max Diaz & Luke Miller Buchanan: Lee Hansley Gallery celebrates twenty-five years in a Raleigh

with, appropriately enough, an exhibit celebrating lineage. Luke Miller Buchanan studied with Lope Max Diaz at N.C. State’s College of Design. Putting their paintings side by side shows how the elder’s striking geometric designs influenced but found softer, more sinuous

expression in the canvases of the younger artist. Thru May 27. Lee Hansley, Raleigh. leehansleygallery.com.

—Brian Howe Raleigh Makers Market: First Saturdays, 10 a.m.-2 p.m. Benelux Cafe, Raleigh. raleighmakersmarket.com.

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

Ibrahim Said: Vessels and sculpture from the Greensboro artist. Thru May 12. Claymakers, Durham. www.claymakers.com.

Sentience: Paintings and drawings by Adam Cohen.

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

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

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

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

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twentyfive-foot-tall sculpture anchors the exhibit. Thru Jul 15. Nasher Museum of Art, Durham. nasher. duke.edu. —Brian Howe

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

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

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation

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

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

Three Quilts: Fiber art by Martha Clippinger. Thru Aug 12. Durham Arts Council, Durham. www.durhamarts.org.

Trees by Three: Carved wood by Larry Favorite, glass art by Susan Hope, and paintings by Ellie Reinhold.

Thru May 20. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Us & Them: Portrait paintings

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

food

2018 Ham & Yam Festival: Street festival in downtown Smithfield presented by Stevens Sausage and Agri Supply. Craft and commercial vendors, food vendors, pig races, inflatables, bands on three stages. Sat, May 5, 9 a.m.-9:30 p.m. Sarah Edwards, Smithfield. www.hamandyam.com.

What Is Good Art?: Student artwork about ethics. Thru May 17. Kenan Institute for Ethics at Duke University, Durham.

Cinco de Mayo Gala: Auction benefiting Duke HomeCare and Hospice. With Mexican-themed dancing, cuisine, remarks from ABC11’s Steve Daniels. $150.

Sat, May 5, 7-11 p.m. Sheraton Imperial Hotel & Convention Center, Durham.

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

BLOCK2 Video Series, Raleigh.

Craft Beer Tastings: Free craft beer tasting with White Street Brewing. Thursdays, 5-7 p.m. thru May 18. Barley Labs, Durham. www.barleylabs.com.

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

Durham Greek Festival 2018: Greek food, traditional music, folk dance performances, shopping, children’s activities, and more. Sat, May 5 & Sun,

May 6, 11 a.m.-8 p.m. St. Barbara Greek Orthodox Church, Durham.

Lambrusco Fest III: Familyfriendly outdoor event with Lambrusco wine. Sat, May 5, 1-5 p.m. Pompieri Pizza, Durham. www.pompieripizza.com/.

Original Sin & Firsthand Foods Cider Dinner: Multi-course dinner featuring cider from Original Sin Hard Cider and local pasture-raised meat from Firsthand Foods. Talks by Gidon Coll from Original Sin and Jennifer Curtis from Firsthand Foods. $45. Wed, May 2, 7-9:30 p.m. Black Twig Cider House, Durham. blacktwigciderhouse.com.

Triangle NACE: Thinking Outside the Veggie Tray: Meal and discussion with Parizade chef pertaining to dietary allergies and other sensitivities. $55-$65. Tue, May 8, 6-9 p.m.

Parizade, Durham. www.parizadedurham.com.

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NC Theatre’s production of A Night with Janis Joplin PHOTO COURTESY OF NC THEATRE FRIDAY, MAY 4–SUNDAY, MAY 20

A NIGHT WITH JANIS JOPLIN Generally, North Carolina Theatre favors the one-and-done: single-week productions of hit Broadway musicals that vanish after their allotted time. But in this change-up, a coproduction with Connecticut’s Ivoryton Playhouse, audiences have three whole weeks to see New York’s Francesca Ferrari fill a very tall order: channeling Janis Joplin, the gritty, damaged, transcendent goddess of rock, blues, and gospel, in sequences on stage and off. In Randy Johnson’s 2013 Broadway musical biography, a two-act homage with a live band, a veritable pantheon of African-American musicians who fundamentally influenced Joplin’s music have their moments as well: Etta James, Nina Simone, Odetta, and Bessie Smith. But it’s Joplin’s electrifying live performances—or exorcisms, as she grappled with a darkness that ultimately overcame her in a heroin-and-alcohol overdose at age twenty-seven—that Ferrari must convey. —Byron Woods

FLETCHER OPERA THEATER, RALEIGH

7:30 p.m. Tue.–Sun./2 p.m. Sat. & Sun., $30+, www.nctheatre.com

OPENING The Changeling: See p. 26. $10-$17. May 3-19. The Fruit, Durham.

COOC Presents: Boomstick’s Legends & Lore: Burlesque. $12. Sat, May 5, 8 p.m.

The Maywood, Raleigh. themaywoodraleigh.com.

The Diary of Anne Frank: DSA Theatre presents Wendy Kesselman’s new adaptation. $10. May 9-12, 7:30 p.m.

Durham School of the Arts, Durham. www.dsa.dpsnc.net.

Geektastic 4: Bellydance inspired by The Lord of the Rings, The Legend of Zelda, and Star Wars. $15-$20. Sat, May 5, 7 p.m. Durham Arts Council, Durham. www.durhamarts.org.

ONGOING

Radiotopia Live: See story, p.

14. $33. Tue, May 8, 8 p.m.

Carolina Theatre, Durham. www.carolinatheatre.org.

The Dwayne “The Rock” Johnson House Party Comedy Open Mic: Second and fourth Wednesdays, 9 p.m.

LAST ½ Hand to CHANCE God: It’s an achievement when a performer can persuade us he’s locked in mortal combat with a sock

Tools of Destruction: Spokenword anti-gun-violence play. $12. Sat, May 5, 8 p.m. Ezra Center, Raleigh. www.ezracenter.com.

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

puppet, and full credit goes to Ira David Wood IV, who plays Jason, a nerdy teenage puppeteer, and Tyrone, his abrasive, possibly demonic sock puppet. In Robert Askins’s 2015 Broadway farce, Jason’s an increasingly unwilling member of a teen puppetministry troupe in small-town Texas. He’s at that awkward age when he’s easy prey for juvenile delinquents and the goth girl next door. Then there’s Tyrone. The gruff-voiced, bugeyed scamp has grown more domineering and more critical of Jason’s milquetoast ways.

For all his extremes, Tyrone is trying to teach a fatherless child lessons he will need to grow up. $18-$24. Thru May 6.

Theatre In The Park, Raleigh. theatreinthepark.com.

—Byron Woods The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Improv at the Varsity: Standup, sketch, and improv comedy. $6. Saturdays, 9:30 p.m.

Varsity Theatre, Chapel Hill. www.improvatthevarsity.com.

LAST Peter and the CHANCE Starcatcher: In the morass of Peter Pan-related sequels, prequels, and re-imaginings—call them vampires, robots, aliens, punks, whatever, it’s still about boys

who just won’t grow up—Rick Elice’s adaptation of Dave Barry and Ridley Pearson’s YA novel series about Pan’s origin is a welcome standout. The production employs the limitations of the stage to create a breathlessly paced and self-aware tale of a journey to a mysterious island, with minimalist props and lighting to conveying everything from giant ships to enormous crocodiles. It’s a treat that won’t make you wish the boy would just grow up already. $17-$20. Thru May 6. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

—Zack Smith LAST Plaza Suite: Cary CHANCE Players presents Neil Simon’s comedy. $18-$20.

Thru May 6. Cary Arts Center, Cary. www.townofcary.org.

LAST  ShakesBEER CHANCE II: The Bard Strikes Back: Shakespeare speaks to every age, but sometimes he mumbles when he’s drunk.

That’s one takeaway from Bare Theatre’s new comic collection of Shakespearean souses making the rounds at local bars. The wordplay’s still witty.

The company mocks its own segues and discusses failed gambits supposedly left on the cutting room floor. The acting’s sometimes rewarding, and there are tasty nuggets of Elizabethan nerd-dom. But the brevity of some scenes, such as the Hamilton parody, prevents

their full development. Further work on still-incipient scenes would add flavor to this drunken theatrical geek-fest, which closes this week at Durham’s Ponysaurus (May 2) and Raleigh’s Imurj (May 3).

Thru May 3. baretheatre.org.

—Byron Woods Third Date Improv: Improv show based on an audience suggestion. $14. Sat, May 5, 8 p.m. Walltown Children’s Theatre, Durham. walltownchildrenstheatre.org.

LAST Waitress: Before CHANCE 2016, there had never been a show on Broadway where women held the top four spots on the creative team. Then this musical based on Adrienne Shelly’s 2007 film opened with Diane Paulus at the helm, a new Sara Bareilles soundtrack, choreography by Lorin Latarro, and a script Jessie Nelson, completed after Shelly’s untimely death. A slice-of-life dramatic comedy, it focuses on Jenna, a waitress stuck in a dead-end marriage in a small Southern town. An unplanned pregnancy removes the few options she thought she had left. But Jenna has resources she’s only partially aware of: a gang of coworkers and regulars at the diner and a penchant for making pies that reflect her life. $45+. Thru May 6. Durham Performing Arts Center, Durham. www.dpacnc.com.

—Byron Woods

Laura J. Parker, Camille Watson, Benjamin Tarlton, and Glenn Griggs in ShakesBEER II: The Bard Strikes Back PHOTO COURTESY OF PROCTOR PHOTOGRAPHICS INDYweek.com | 5.2.18 | 35

page

SATURDAY, MAY 5

FREE COMIC BOOK DAY

READINGS & SIGNINGS

Mon, May 7, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Jennifer McGaha: Memoir Flat Broke with Two Goats. Wed, May 9, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

LECTURES ETC.

Noir at the Bar Crawl: Eight crime fiction authors read, sign books, and mingle. Featuring Eryk Pruitt, David Terrenoire, SA Cosby, JD Allen, Greg Barth and more. Hosted by Tracey Reynolds Thu, May 3, 6:30 p.m. 106 Main, Durham.

Poems from the Heron Clan Reading and Open Mic: Reading. Sat, May 5, 3 p.m.

Karma Coffee and Boutique, Sanford.

Katie Rose Guest Pryal: Fallout Girl: A Hollywood Lights Novel.

Periodic Tables: How Can You Mend A Broken Heart?

Regenerating Muscle After A Heart Attack: $5. Tue, May 8, 7 p.m. Motorco Music Hall, Durham. motorcomusic.com.

Reconstructing Frankenstein’s Monster: Mary Shelley’s World in Print: Student-curated exhibit of rare books and medical instruments that illuminate controversies surrounding Frankenstein.

Thru Aug 26. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib. unc.edu/wilson.

SPECIAL SHOWINGS

this comedy about a single mother’s relationship with her children’s nanny. Rated R.

May the 4th Be with You Party: Star Wars movie marathon, costume contest, themed flights. Fri, May 4, 3-10 p.m. Barley Labs, Durham. www.barleylabs.com.

N OW P L AY I N G

Bad Samaritan—A hapless thief (Robert Sheehan) breaks into the wrong house in this horror thriller, with David Tennant. Rated R.  Lean on Pete— Andrew Haigh’s film about a boy trying to save his horse is quiet, slow, sad, and gorgeous.

Rated PG-13.

Overboard—A remake of the Goldie Hawn/Kurt Russell rom-com. Rated PG-13.

Tully—Jason Reitman and Diablo Cody team up for

36 | 5.2.18 | INDYweek.com

ULTIMATE COMICS, TRIANGLE-WIDE

10 a.m.–5 p.m., free, www.ultimatecomics.com ILLUSTRATION BY CHRISTOPHER WILLIAMS

screen OPENING

Free Comic Book Day, an annual tradition in which comics publishers from major to minor release special free issues that readers can snatch up at comics stores, sounds like a great deal. It’s free, right? The catch is that the whole point is to get you into new comics, which, 364 days a year, are decidedly not free. It might be the most sneakily expensive giveaway in history.

It’s also an excuse for stores to throw parties, and nobody does it like Ultimate Comics, which has all-day festivities at its Raleigh, Cary, and Durham-Chapel Hill stores. Before the race for limited supplies of freebies begins at ten a.m., there’s an actual race—a superhero-themed 5K run for charity—at the flagship D-CH location at nine. Each shop will have cookouts, face painting, cosplay, and dozens of creators. Durham gets the likes of Warren Wucinich, artist of a comic based on Nickelodeon show Invader Zim; Cary gets Chris Sims, writer of X-Men ’92.

Show up early or content yourself with the dregs.

—Brian Howe

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13.  Isle of Dogs—Wes Anderson’s animated fable is alternately respectful and baffling in its treatment of Japan. Rated PG-13.  A Wrinkle in Time— Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds. Rated PG.

WEDNESDAY, MAY 9

ERASERHEAD The first time I saw Eraserhead, I almost barfed.

I went into a screening of David Lynch’s celebrated 1977 debut film with no idea of what to expect, thinking that would do me some good.

But I was bowled over by the film’s surreal plot, stomach-turning gore, and undercurrent of existential panic. I can’t say Eraserhead lingers as one of my favorite movies, but it’s not one I’ll ever forget. This week, Raleigh’s Alamo Drafthouse hosts a screening of the film as part of its Weird Wednesday series, hosted by A.V. Geeks head honcho Skip Elsheimer. Whether you’re a Lynch diehard who wants to see a familiar favorite on a big screen, a Twin Peaks fan looking to dive deeper into Lynch’s wild mind, or just a bargain shopper itching to check out Raleigh’s luxe new theater on the cheap, you can’t go wrong. Unless you barf.

Don’t say we didn’t warn you. —Allison Hussey

ALAMO DRAFTHOUSE, RALEIGH 8:30 p.m., $6, www.drafthouse.com/raleigh

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STRUGGLING WITH DRUGS OR ALCOHOL? Addicted to PILLS? Talk to someone who cares. Call the Addiction Hope & Help Line for a free assessment.

888-537-9106

massage FULL BODY MASSAGE

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Rosie

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by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe.

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AT&T HIGH SPEED INTERNET

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AUCTIONS Pickup Trucks, Trailers, Forklift, Pipefitting Inventory, Equipment, Metalworking Machinery, Tools and More, Rockingham, NC, Online Only, Begins Closing 5/14 at 12pm, ironhorseauction.com, 800.997.2248, NCAL 3936

DONATE YOUR CAR FOR BREAST CANCER! Help United Breast Foundation education, prevention, & support programs. FAST FREE PICKUP - 24 HR RESPONSE TAX DEDUCTION 888-641-9690

housing rent/ elsewhere

DISH SPECIAL! Save $480 on your TV Bill!

Starting at $49.99/mo. FREE Next-Day Installation + FREE $50 giftcard with signup courtesy of SatelliteDeals Call 855-402-1615

UNABLE TO WORK DUE TO INJURY OR ILLNESS? Call Bill Gordon & Assoc., Social Security Disability Attorneys! FREE Evaluation.

Local Attorneys Nationwide 1-800-371-1734 [Mail: 2420 N St NW, Washington DC. Office: Broward Co. FL (TX/ NM Bar.)]

DISH TV $59.99 FOR 190 CHANNELS + $14.95 HIGH SPEED INTERNET Free Installation, Smart HD DVR Included, Free Voice Remote. Some restrictions apply. Call Now: 1-800-3736508 (AAN CAN)

HUGHESNET SATELLITE INTERNET25MBPS starting at $49.99/mo! FAST download speeds. WiFi built in! FREE Standard Installation for lease customers! Limited Time, Call 1-800-490-4140

KEEP DOGS SHELTERED Beyond Fences 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.

notices DURHAM COUNTY BOARD OF ELECTIONS Notice of Resolution to Adopt Time for Counting of Absentee Ballots On 1/25/2018, the Durham Board of Elections met at its office at 201 N. Roxboro St., Durham, and adopted a resolution of the following effect:1.

The Board of Elections shall meet at 2:00 p.m. on Primary Election Day, Tuesday, 5/8/2018 at its office to count absentee ballots.

2. The results of the absentee ballot count will not be announced before 7:30 p.m. on the date of the primary/ election.

3. The Board of Elections shall meet at 2:00 p.m. on Thursday, 5/17/2018 at its office to count additional timely-received absentee ballots prior to county canvass.

4. Any voter of the county may attend these meetings.

NOTICE TO CREDITORS In regards to the estate of Joseph Lester Powell, creditors having any outstanding claims against the estate of said decedent must file claims by 7/25/18

919-416-0675

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CL ASS Y AT IN DY WE EK DOT CO M

REALTORS Get your listing in 35,000 copies of the INDY! Run a 30 word ad with color photo for just $29/ week. Call Kim at 919-2861972x176 or email classy@indyweek.com

INDYweek.com | 5.2.18 | 37

7 8 6 4 2 9 3 5 1

crossword

bang for your buck!

1

6

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

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HARD

# 46

© Puzzles by Pappocom

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

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

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

6

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4

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7 6

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solution to last week’s puzzle

# 47

4 9 8 7 2 3 5 1 6 Page 12#of4 25 4 6 3 5 1 8 6 4 2 7 9 5 8 2 4 3 9 6 1 5 7 9 9 3 6 1 5 7 4 2 8 1 7 1 5 4 8 2 6 9 3 7

2 6 7 9 1 5 8 3 4 38 | 5.2.18 | INDYweek.com

# 48

7 9 4 2 6 5 8 3 1 If you just 1 8can’t 5 7 4wait, 3 2 check 6 9 out the current 6 3 2 week’s 1 8 9 5answer 4 7 5 4 6 3 1 8 9 7 2 key at www.indyweek.com, 1 3 4 7 2 6 5 8 and click9“Diversions”.

8 2 7 9 5 6 3 1 4 Best of luck, 4 6 8and 5 2have 1 7 fun!

9 3 3 5 1 8 9 7 4 2 6 www.sudoku.com 2 7 9 6 3 4 1 8 5

8 1 2 6 5 3

3 7 9 8 4 2

9 5 7 2 8 4

1 2 4 3 6 5

5.2.18

6 3 8 7 9 1

5 8 3 4 7 6

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2 9 1 5 3 8

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4 7 9 8 6 5 2 1 3

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7 3 4 9 5 8 6 2 1

9 2 6 7 4 1 3 8 5

5 1 8 6 3 2 7 4 9

CLASSY AT INDYWEEK DOT COM 30/10/2005

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

advertise on this page!

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

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

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

last week's puzzle

YOUR WEEK. EVERY WEDNESDAY.

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

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

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

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

MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 5.2.18 | 39

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ArtsCenter, Carrboro. Private lessons also available.

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

back page

Weekly deadline 4pm Monday • classy@indyweek.com

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

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

SPECIAL TREATS

in Timberlyne Center, FB: specialtreatschapelhill.

Home of Smoky Mountain Whiskey Crackers™

YOU DESERVE TO LOOK AND SOUND FANTASTIC! WWW.LAURECEWESTSTUDIOS.COM

ADMINISTRATIVE LEGAL ASSISTANT

Nonprofit environmental law firm seeks an experienced administrative legal assistant to support a team of lawyers in their work to protect the environment of the Southeast. Outstanding job for the right person. Prior litigation support experience and an interest in environmental protection are essential. Requires college degree; strong computer, typing, and editing skills; and proven organizational and communication skills. Must be proficient in all MS Office applications. Excellent benefits, competitive salary, paid parking. To learn more, visit https://www.southernenvironment.org/about-selc/ careers. Apply by emailing resume, cover letter and 3 professional references to ncjobs@selcnc.org with subject ìAdministrative Legal Assistantî, or by mailing the same documents to Administrative Legal Assistant, 601 W. Rosemary Street, Suite 220, Chapel Hill NC 27516-2356. SELC is an Equal Opportunity Employer that continually seeks to diversify its staff. We strongly encourage applications from persons of all backgrounds.

No telephone calls or walk-ins, please.

RECEPTIONIST/GENERAL OFFICE ASSISTANT

Nonprofit environmental law office seeks a bright, capable, reliable individual to serve as receptionist/general office assistant. Outstanding job for the right person. Prior reception experience in a professional office operating a multiline, business telephone system is sought. Must be punctual, organized and accommodating. Must have refined communication skills, good judgment, positive attitude and friendly demeanor. Strong computer skills (MS Office), a must. Excellent benefits, competitive salary, paid parking.

Visit our ìCareersî page at www.southernenvironment.org for details about the position and to learn about our mission to protect the environment of the Southeast. Apply by sending resume, cover letter and 3 references to ncjobs@ selcnc.org with ìChapel Hill Receptionistî in the subject line; or mail these documents to Receptionist, SELC; 601 W. Rosemary St., Suite 220; Chapel Hill NC, 27516-2356.

SELC is an Equal Opportunity Employer that continually seeks to diversify its staff. We strongly encourage applications from persons of all backgrounds. No telephone calls or walk-ins, please.