INDY Week 5.9.18

: CTION IDE ING SE ssss t t e h INS VERTIS e D h LA n g n CIA g SPE ssii ii u ttll u b o b o p ssp

RALEIGH 5|9|18

MISSING PIECES

A state law orders insurers to cover expensive treatments for children with autism, but many families are still digging deep into their own pockets—or going without • By Sarah Ovaska-Few, p. 13 $15M FOR HOUSING, P. 10

PREDATOR IN THE CLASSROOM, P. 11

SEEING SOUND AT DIX PARK, P. 27

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 19

7 Nearly six hundred North Carolina prisoners are mothers of children under the age of eighteen.

10 In his proposed budget, Wake County’s new manager will recommend $30 million in new funding for schools—and another $15 million for affordable housing.

11 Twice, the Montessori School of Raleigh warned Nick Smith not to go into girls’ hotel rooms on school trips. But he stayed in the classroom until his arrest for statutory rape anyway.

13 North Carolina law requires insurance companies to cover specialized treatments for children with autism, but the mandate only applies to about 15 percent of insurance plans.

15 Insufficient reimbursements for North Carolina’s schoolnutrition programs adversely affect the quality of school meals.

18 The Cave closed on April 30. But now its resurrection is imminent.

27 The Raleigh Arts Office is thinking outside the mural with Nate Sheaffer’s new neon light installation at Dix Park.

DEPARTMENTS 6 News 15 Food 18 Music 25 Arts & Culture 30 What to Do This Week 33 Music Calendar 36 Arts & Culture Calendar

Light the Woods with Sound is on view at Dix Park in May (see page 27).

On the cover

PHOTO BY BRYAN REAGAN

ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 5.9.18 | 3

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backtalk

Blessed Are the Gentrifiers On Facebook, Vanya Wright argues that Let’s begin with the debate over the neighpeople wouldn’t care if the new construcborhood protection overlay in Old West tion wasn’t hideous: “I think people wouldn’t Durham, where some residents want addihate the new houses so much if they weren’t tional zoning regulations to stop new consuch eyesores. Cheap, suburban construction struction they deem out of character with and ridiculous, uninformed design. The new what’s already there. (On Monday night, the houses are not just big, they are awful.”

Durham City Council approved the NPO on Finally, there’s DR B, who weighed in last a unanimous vote; see story, page 10.) week with what turned out to be an inacTiffany W-g, an OWD homeowner, says curate prediction: “The people with money the NPO initiative was a last resort: “We control the world. The rest of us have little, if support the NPO because we don’t want any, say in the matter. The NPO will fail, Mongiant monster houses looming over our strosities will prevail, property taxes will soar, family’s backyard. If we wanted a McManand retirees on fixed incomes who own their sion, there are plenty of other neighborhomes will be forced to sell to greedy, indifhoods in Durham for that. Developers could ferent developers due to inability to pay the respect our neighborhood and restore or exorbitant taxes. build homes of the proper size and char“God bless America and the rich pricks for acter (and still make money, BTW). But which it stands.” since they clearly only care about profit and On to our story about the recent $50 squeezing in ridiculous square footage onto million-plus verdict against pork giant our tiny lots, it’s our job as residents to try Murphy Brown LLC, which two expert trial and push this NPO as a last resort to save lawyers (correctly, as it turns out) told us the neighborhood we cherish.” (on background) would be reduced to a little Edward Teach, a renter in this neighover $3 million because of a state law capping borhood, says the developers aren’t the punitive damages. ones being greedy here.

“I really appreciate “When I look to possiyour article about the litbly purchase a house,” “God bless America igation and trial results.

Teach writes, “what and the rich pricks It was thorough and I see are old, dumpy, for which it stands.” well-written,” writes dilapidated houses Gary Jackson. “But, as with high asking prican attorney, my reaction es. Homes that are to the attributions from anonymous attorneys barely habitable, but asking $200,000– opining on the case rings hollow. You need to $400,000. So because of this, I really have find prominent and respected attorneys who little-to-no sympathy for the pro-NPO are not afraid of attribution. Though a great arguments about ‘greedy developers.’ The piece, that aspect limited its power.” existing homeowners seem to be rather Commenter MichaelEdits says the hog greedy themselves. If middle-income Durindustry isn’t going to change on its own: “Of ham families cannot afford these houses in course they chose the current lagoon (cessthe first place, then why exactly should we pool) system because it was the cheapest way enact a public policy to force the status quo to operate. Anyone who tells you different to remain? doesn’t even believe what he’s saying. They’re “In reality, this is a neighborhood that is not going to change unless they’re forced to. ripe for larger multiunit development, in “North Carolina sure didn’t smell like this order to keep it reasonably priced. If the when I grew up here, and now I often get to idea is that ‘We are going to keep these little hear people from other places ask me, ‘What mill houses,’ then we are basically adopting is that smell?’” an anti-middle-class policy.”

Commenter John Trololo thinks OWD Want to see your name in bold? Email us at should be grateful to the gentrifiers: “Genbacktalk@indyweek.com, comment on our trification is the American way. Be thankFacebook page or indyweek.com, or hit us up ful for the rich who make this happen. It is on Twitter: @indyweek. change for the better.”

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indynews

Prison Parents

A NONPROFIT IS HELPING THREE-DOZEN MOTHERS BEHIND BARS IN RALEIGH CONNECT WITH THEIR KIDS BY SARAH WILLETS

O

they’re done,” says Melissa Radcliff, procaregivers. And with women making up the in the coveted program—also take parentn a Tuesday afternoon in April, gram director for Our Children’s Place of fastest-growing segment of the incarcerated ing classes.

Latisha and two of her daughters, Coastal Horizons Center, a Durham-based population, their number is rising.

The visits give Latisha something to look ages eleven and thirteen, are organization that works with the children Though women account for a small perforward to while awaiting her 2025 release preparing a feast. The sticky-sweet smell of incarcerated parents. “No. Actually, there centage of those locked up in North Carodate. In anticipation of the girls’ visit, she of vanilla frosting for a box cake mixes with are lots of folks who are trying to be parents lina prisons, since 2009 their numbers have says she redid her hair five times. the spice of the Lowry’s seasoning Latisha and kids who want to have that relationgrown by 19 percent, compared with a 1 “No day of the month matters but this has sprinkled over a tray of French fries. It ship, so what can we do support each end?” percent change in the men’s prison populaday,” she says. “If it wasn’t for this program, all gets crowded into the oven with a frozen The incarceration of a parent can have tion, according to an analysis by the Prison I don’t know how I’d make it in here.” pepperoni pizza. both economic and emoIt’s a lot of food for the tional effects on a famthree of them, but they ily, says Radcliff. Families aren’t really cooking to may need to move, downeat—though that doesn’t size, or take on additionstop the girls from sneakal work because of lost ing tastes of frosting. income. For children, it They’re cooking because, can be an isolating expefor three hours once a rience, especially durmonth, they can. ing holidays that revolve Before she entered the around family activities.

N.C. Correctional InstiThe last Mother’s Day tution for Women in Latisha recalls before her Raleigh in 2016, Latisha incarceration, her chilhated cooking (Departdren brought her a bright, ment of Public Safety offiTechnicolor daisy from cials asked that her last Walmart. During a visit name not be used). With last weekend, this time five kids, it was work, like with cinnamon rolls on the doing the girls’ hair every menu, the girls said they morning. didn’t remember that.

“Now I love cooking,” “I wouldn’t want to she says. “Now I’m like, ‘I remember Mother’s need some hair bows.”’

Day if my mom wasn’t They’re able to have this around,” Latisha says. time together because of She didn’t see her family a nonprofit program only for Mother’s Day last year offered at NCCIW, Mothbecause she wasn’t in the ers and Their Children, or MATCH program.

MATCH, which affords Mother’s Day is a time women with at least a of mixed emotions around seven-year prison sen- Latisha's daughter bakes a cake with her mom and sister at the N.C. Correctional Institution for Women. the NCCIW, which houstence and a record of good PHOTO BY CAITLIN PENNA es about sixteen hundred women. Women Policy Initiative. A 2011 report by the Annie On a single day in late January, nearly behavior extended visits with their kids. who didn’t celebrate Mother’s Day prior E. Casey Foundation found that about 8 six hundred women in North Carolina prisUnlike regular prison visits, the children to their incarceration may not think much percent of North Carolina children had a ons reported being the mothers of children don’t have to be accompanied by an adult about it, says Vernice Whyms, the socialparent who has been incarcerated. under eighteen—and many, like Latisha, will and can freely interact with their mother in work supervisor for MATCH. For others, it’s “The misconception is that folks go off to spend Mother’s Day incarcerated. Nationa sort of apartment on the NCCIW campus a reminder of relationships they’re missing jail or prison, they’re lousy people, they’re ally, about 62 percent of women in prison outfitted with games, a TV, and a kitchen. now or shirked before they entered prison. lousy parents, and they made lousy choices, are mothers, about half of them primary MATCH participants—there are thirty-six INDYweek.com | 5.9.18 | 7

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“Most people are waiting for mail the whole week,” Latisha says.

Latisha says MATCH has changed her approach to parenting, and although she’s separated from her children, in some ways they’re growing closer. Because their time together is limited, she notices the traits she and her daughters share and is more attuned to their moods, which in different circumstances might seem like typical adolescent angst. Both girls live with Latisha’s mother near Fayetteville now.

“You can’t relate to your friends because their mom is there,” says the thirteen-yearold, who remembers sneaking into her mom’s truck when she would go to the store just to spend some time alone with her. “You can’t trust anybody or talk to anybody.”

They relish the opportunity for some privacy and tenderness, holding hands or leaning on their elbows on the kitchen counter to talk. By contrast, in a 2008 Bureau of Justice Statistics report, about half of mothers in state prisons said they’d never had a personal visit and less than 15 percent reported having a visit at least once a month.

“Sometimes I just sit and watch like, wow, they’re growing up so fast and I’m missing it, but I try to not stay too long in that moment,” Latisha says. “There is nothing and nobody that is going to stop me from having this.”

Although other prison-based programs give incarcerated parents time with their children, MATCH is unique in the normalcy and intimacy it affords those interactions. The program also provides transportation for children to get to visits (they travel an average of 125 miles each way, according to MATCH). For those who live too far from Raleigh to drive, MATCH flies them in once per year and pays for their lodging.

But the twenty-four-year-old nonprofit is limited by funding, which comes from grants and donations; in 2016, according to tax records, it garnered $65,900 in grants and contributions, down from $96,355 the year before. With more money, it could bring more women into the program and bring out-of-state children for more visits.

The moms also get to participate in a book club and cooking classes. Next Thursday, they’ll have a Mother’s Day celebration; children can’t attend, but the women will be treated to gifts, dinner, and a comedy show.

“They are all good moms,” says Stephanie Dixon, MATCH’s director. “It’s just the situation they’re in here, but I think what keeps them going is that they are moms.” swillets@indyweek.com

news

No Place to Call Home

THE GOVERNMENT WANTS HER GONE BY NEXT WEEK. ROSA DEL CARMEN ORTEZ-CRUZ SAYS THAT’S A DEATH SENTENCE.

BY ARACELI CRUZ

R

osa del Carmen Ortez-Cruz has a scar on her arm. It’s small, the size of a quarter. A second scar—on her back—is little bigger, though it blends with her skin and is barely noticeable.

Her third and fourth scars, however, cover her entire abdomen. These stab wounds are two striking vertical lines deep in her flesh.

They are the only physical remnants of the abuse she suffered years ago at the hands of her ex-partner. She says that if she’s forced to return to Honduras, her native country—a place she hasn’t been since 2002, when she was nineteen—he will certainly kill her.

You may have heard stories like OrtezCruz’s—women forced to flee toxic relationships, scared that their husbands, boyfriends, or fiancés will beat, torture, or kill them if they try to get away. But OrtezCruz hasn’t just been traumatized by the man who fathered her son.

For the last four years, she’s also faced a cold, capricious U.S. immigration system.

An undocumented immigrant, OrtezCruz was detained in Greensboro and remained in detention for a month. She was released on bond because of unspecified health concerns, says her attorney, Anne Marie Dooley. Ortez-Cruz’s mistake, Dooley says, was not seeking asylum immediately after arriving in the United States; instead, she waited a year, a decision that has constrained her legal options.

A year ago, an immigration judge in Charlotte ordered her deportation. On March 23, her appeal for protection under the United Nations Convention Against Torture Act— which specifies that “no one shall be subjected to torture or to cruel, inhuman or degrading treatment or punishment,” and is likely her only shot at remaining in the country—was rejected by the immigration court in Charlotte, and she was ordered to leave the country by May 14.

“I think it’s because of Trump,” Ortez-Cruz says in Spanish. “They’re just denying all the

Rosa del Carmen Ortez-Cruz PHOTO BY CAITLIN PENNA cases.” (As the INDY has previously reported, the Charlotte immigration court, which hears cases from North and South Carolina, has gained a reputation as one of the toughest immigration courts in the country for its judges’ high denial rates of asylum cases.)

Court documents state that “the Immigration Judge properly found that there has been a fundamental change in [OrtezCruz’s] circumstances such that she does not face a clear probability of future harm.”

Ortez-Cruz and Dooley are once again appealing the deportation order. But even if their efforts are unsuccessful, Ortez-Cruz doesn’t intend to leave the country next week, as ordered.

On March 23, the day her appeal was rejected, Ortez-Cruz fled her home in Greensboro after living there twelve years

and looked for sanctuary in a church, where Immigration and Customs Enforcement won’t follow—as at least six other undocumented immigrants have done across the state. The Congregational United Church of Christ in Greensboro had already taken in two undocumented people, so the only option that seemed like a possibility for her was in Chapel Hill.

“I was so scared,” Ortez-Cruz says. “I felt that any minute they could deport me.”

She has every reason to be scared. In the past month, the Associated Press reports, at least forty undocumented people have been arrested in North Carolina, including twenty-five in the Raleigh-Durham area.

Days prior to Ortez-Cruz’s arrival at the Church of Reconciliation in Chapel Hill— which she connected with through Lori

Fernald Khamala, program director at the American Friends Service Committee, a Quaker organization—three men who worked on Franklin Street, just a few blocks away, had been taken by ICE agents.

They’re now sitting in an immigration detention center in Georgia.

Inside the pleasant room that the church set up for her, there is a television, a fullsize bed, a small couch, and a vintage exercise bike. Church members also constructed a shower.

“The current situation right now is organizing the logistics for her life,” says pastor Isaac Villegas of the Church of Reconciliation, who is helping facilitate shelter, food, and support for Ortez-Cruz. Several volunteers organize a meal plan for her, along with getting groceries, doing laundry, and finding things for her to do so she’s not “overwhelmed with boredom.”

While the church property is vast and includes a worship space, a school, and a daycare, Ortez-Cruz is wary of leaving the confines of her room.

“I’m just now discovering the place,” she says. “I was really scared at first, but now I just have to place my trust in God.” Asked if she feels like she’s in prison, she responds, “No. I don’t think so. I’ve been in the detention center before for an entire month. It’s quite awful there.”

Ortez-Cruz says everyone has been very kind, but she doesn’t want to burden anyone. While she feels safe inside the church, she’s finding the language barrier an obstacle, as it’s difficult for her to communicate with her hosts and supporters, including her lawyer. One way of passing the time is learning how to speak English while she teaches others Spanish.

Most of the time, Ortez-Cruz is composed, if a bit weary. It is when she speaks about being deported to Honduras, the possibility of facing her ex-partner, and leaving her four children behind that she falls apart.

INDYweek.com | 5.9.18 | 9

“I miss my kids,” Ortez-Cruz says, wiping away tears. They are nineteen, thirteen, nine, and seven. The latter three are all U.S.born citizens; her eldest son was fathered by her abusive ex in Honduras. She says this experience has been traumatic for them.

“I can’t go back,” she says. “I just can’t.”

In recent weeks, Ortez-Cruz has gotten a lot of media attention. Despite seeming bogged down by the constant interviews, she feels it’s important to bring attention to her cause and to show people that the government is breaking up families. Her advocates are mostly concerned with two things: keeping her safe and getting signatures for a petition asking ICE to keep her in the country.

Villegas launched the petition through Mijente, a Latinx advocacy group, to “put public pressure” on Thomas Homan, acting director of ICE. (Last week, Homan announced plans to leave the agency in June.) Villegas says that petition is also a good way for people to connect with OrtezCruz’s story.

“The point is to get as many as possible, as a sign of support and solidarity,” Villegas said.

“Not only is Honduras one of the most dangerous countries in the world, but Rosa cannot return because her abuser has threatened her life,” the petition states.

“Despite the fact that immigration courts recognized that Rosa fled Honduras to

news

save her life, the courts ultimately denied her case, effectively sentencing her to the hands of her abuser if she were deported to Honduras.”

According to the Advocates for Human Rights, in Honduras, “between 2005 and 2013, the number of violent deaths of women rose by 263.4 percent,” and “statistics from the Public Prosecutor’s Office reflect approximately 16,000 reported allegations of numerous manifestations of violence against women for 2012, with 74.6 percent related to domestic and intra-family violence, and 20 percent related to sexual offences. From 2009 to 2012, victims filed 82,547 domestic violence complaints, representing an average of 20,637 complaints per year, of which 92 percent were filed by women.”

Ortez-Cruz is at least the sixth person to seek refuge at a place of worship in North Carolina. There are two undocumented immigrants living at churches in Durham, one in Chapel Hill, one in Raleigh, and two in Greensboro. Villegas says he has also spoken to city and state lawmakers in the area—he declined to say which ones—and has had positive conversations about the work that his church is doing with Ortez-Cruz’s case.

“She’s a strong woman,” Villegas says.

“She’s committed to making this life work for her.” backtalk@indyweek.com

BRIEF

NPO A GO In a unanimous vote Monday night, the Durham City Council unanimously approved a contentious set of citizen-led zoning regulations for Old West Durham.

Called a neighborhood protection overlay, or NPO, the regulations aim to reduce teardowns and limit the size of new construction in the neighborhood, which finds itself on the cusp of rapid change.

The NPO was created to ensure that new development would match the character of existing properties in Old West Durham. For years, some residents had complained that recently constructed houses towered over surrounding properties and left little room for canopy trees and other greenery.

Some urban planners have warned that new regulations could exacerbate affordable-housing issues. But supporters countered that housing prices across the neighborhood will likely rise regardless of the overlay and that, in the short term, the NPO may preserve smaller, affordable units.

Old West Durham will now join TuscaloosaLakewood, the only other neighborhood in 10 | 5.9.18 | INDYweek.com

Durham with an NPO. In cities like Raleigh and Chapel Hill, citizen-led zoning initiatives are far more common. Raleigh has nineteen overlays, for example.

But more could be on the way in Durham.

The council has now set a precedent for how it will weigh the balance between reining in development and maintaining property rights.

Council member Mark-Anthony Middleton warned that some of the issues that the NPO touches on aren’t going away anytime soon and cannot be fully controlled by zoning regulations.

“To those that are looking in at home tonight or who may be listening in the chamber, take note and get ready,” Middleton said. “Because there’s going to be some communities that are going to be dealing with this who may not have this robust an effort mounted against ongoing gentrification and ongoing pricing-out of communities in our city. And I weep for them. I’m concerned about them.”

—Nick Gallagher

news

Through the Roof

WAKE’S PROPOSED BUDGET WILL INCLUDE $15 MILLION FOR AFFORDABLE HOUSING BY JEFFREY C. BILLMAN

A

fter new Wake County manager David Ellis unveils his first recommended budget Wednesday night, the headlines will focus on the question that dominated Tuesday’s primary elections: How much new funding will the county give the school system?

As it turns out, Ellis will recommend about $30 million, just over half of the $58.9 million the school board says it needs, but enough to bring the county to its highest-ever level of per-pupil funding, the INDY has learned. On its own, that will require a property tax-rate hike of about two cents, or about $40 a year for a home appraised at $200,000.

But just as important is a groundbreaking recommendation for another penny property-tax-rate increase—about $15 million this year—for affordable housing, an investment that could have far-reaching implications for a fast-growing region in which the supply of housing is not keeping up with the demand.

This push builds off of the work of the Affordable Housing Steering Committee, which commissioners established in 2016 and which issued its plan in October.

Helmed by Commissioner Jessica Holmes, the committee sought to address a daunting challenge: as of 2015, Wake had an unmet need of 56,000 affordable units; by 2035, that need could reach 150,000.

The committee envisioned three strategies. The first is to encourage the county’s municipalities to create more housing—for instance, in Raleigh, by allowing accessory dwelling units and changing zoning rules to foster higher density, particularly along transit corridors. The second involves leveraging existing programs to create or preserve more subsidized units. The third is to obtain additional funds for affordable housing and evaluate whether the county’s surplus properties could be developed as housing.

Since she took office in December 2014, Holmes says, the public has become more aware of the crunch many families

are facing, with some teachers and other middle-class employees having to live outside of the county and commute because they can’t afford to live here.

“The number of people impacted has increased substantially,” Holmes says.

Among other things, Ellis’s proposed budget will create permanent supportive housing for the county’s roughly one hundred homeless veterans, with the goal of ending veteran homelessness within three years; partner with Urban Ministries of Wake County to build a new shelter for homeless single women; and reorganize the county’s Human Services Department so that the county’s housing operation becomes a standalone entity with its own director.

In addition, the county will work with municipalities, nonprofits, and developers to acquire affordable housing developments, including loaning organizations money to prevent existing affordable housing from being converted into something more profitable, as happened last year with Forest Hills Apartments in Garner. Along those lines, Holmes also wants the county to develop a database that will let officials know when an affordable development’s tax credits are about to expire so that the county can act before residents get letters telling them to leave.

Besides the penny tax hike, Holmes says the county will also use less-predictable revenues from the Wake County Board of Alcoholic Control for one-time costs, as it did last month to cover cost overruns for the Oak City Multi-Services Center.

Despite the acrimony over school funding in last year’s budget, Holmes doesn’t expect the affordable housing initiative to be divisive.

“I’m not concerned about housing competing with other county priorities,” Holmes says, “because there’s the priority that a child can’t learn when they’re not housed.

We’re taking a whole-child approach.” jbillman@indyweek.com

news

See No Evil

A LAWSUIT ALLEGES THAT THE MONTESSORI SCHOOL OF RALEIGH TURNED A BLIND EYE TO SEXUAL ABUSE. THE SCHOOL SAYS IT’S NOT RESPONSIBLE.

BY JEFFREY C. BILLMAN

T

he allegations in Jane Doe I et al. v.

The Montessori School of Raleigh Inc. et al., filed in January in Wake County Superior Court, are at once gutwrenching, infuriating, and difficult to read.

They painstakingly detail years of alleged predatory sexual abuse on the part of a teacher, Nicholas Conlon Smith, against two sisters, identified in court documents only as Jane Doe I and II. The gist of those allegations was made public when Smith was arrested in November on more than twenty counts of statutory rape, possession of child pornography, and related charges, and when ABC 11 obtained search warrants related to the Raleigh Police Department’s investigation earlier this year, which showed that Smith allegedly began abusing Jane Doe I during the 2011– 12 school year. (Smith, who is named as a defendant in the lawsuit, is currently locked up on $3 million bail.)

But the lawsuit, which the INDY and WRAL first reported last Wednesday, alleges something new: the private, nonprofit Montessori School—whose mission statement bills itself as “the Triangle’s modern embodiment and mindful practice of the time-proven Montessori philosophy, developing agile thinkers, poised communicators, and gracious collaborators”—and its leader, Nancy Errichetti, are accused of not only failing to protect the girls from their abuser but also responding to their parents’ discovery of the abuse by first denying it and then refusing to “take any action with respect to their complaint.”

As a result, the lawsuit alleges, Smith stayed in the classroom for years after Errichetti was made aware of the allegations against him—and was only removed when he was arrested.

The school denies that it knew anything about Smith’s alleged predation before

his arrest. Last week, Joyce Fitzpatrick, a spokeswoman for the school, told the INDY that the school’s Board of Trustees is “standing behind [Errichetti] one hundred percent.”

In a statement, Joe Lee, the chairman of the Board of Trustees, added, “We are aware that a civil lawsuit has been filed on behalf of the victims and have filed an answer to the suit denying all wrongdoing and denying any knowledge of sexual misconduct. You can be certain that the school did not have any knowledge of any sexual assault or criminal behavior by Nick Smith before his arrest.”

According to the lawsuit, Smith began “grooming Jane Doe I for his later sexual abuse” prior to her ninth-grade year by making inappropriate comments and having oneon-one interactions with her on field trips in which he promised they would be “close friends.” The summer before her ninth-grade year, he began texting her, sometimes multiple times per day, the lawsuit says.

Soon after school started that year, 2011, Smith allegedly kissed her in a school barn used for arts and crafts projects. Throughout the year, the lawsuit says, “Smith engaged in both consensual and non-consensual sex and sex acts with Jane Doe I in a multitude of places …. [He also] induced her to be the subject of child pornography, and he procured and possessed the same.” He told her he was her “first boyfriend” and that he “loved her,” and said he would kill himself if she told anyone about their relationship, the lawsuit says.

The complaint alleges that “prior to [Smith] sexually abusing Jane Doe I, [the school] received reports of [Smith] engaging in inappropriate conduct with other young female students. However, [the school] failed to appropriately address, remedy and/or investigate the same. Further, during the time that [Smith] was grooming and thereafter sexually abusing Jane Doe I, [the school] received specific reports

Nicholas Conlon Smith PHOTO ILLUSTRATION BY STEVE OLIVA from teachers and staff of [Smith] engaging in inappropriate behaviors with Jane Doe I, specifically including but not limited to holding her hand, being alone with her in compromising positions (both on and off campus, including a hotel room on a school trip) and otherwise.”

In August 2012, the lawsuit says, the school finally acted—sort of. While it “failed to interview Jane Doe I, failed to properly investigate the reports, failed to notify Jane Doe I’s family, and failed to take any meaningful action” against Smith, Errichetti did have him sign a “corrective action plan” in which he agreed to “no longer engage in inappropriate conduct with his young female students, and wherein he agreed to do other things such as ‘not to enter a girls [sic] hotel room on school trips.’”

According to the behavioral plan, which the INDY obtained, Smith was also instructed to “never socialize or interact with students in a way that you would socialize or interact with adults,” and “never discuss things with them that are personal in nature … or be alone with any student on school property or on school trips.” The penalty for

violating the behavior plan would not be termination, however, but a “first warning as outlined by the Employee Handbook.”

This, the lawsuit says, constitutes “willfully [turning] a blind eye to the extensive sexual abuse of Jane Doe I” and gave Smith license to repeat that pattern of abuse with her younger sister, Jane Doe II, whom he allegedly began abusing during the 2015–16 school year, when she was in eighth grade.

(According to the lawsuit, “None of the sexual abuse committed … upon Jane Doe II was in anyway [sic] consensual.” All of the abuse took place on the school campus, the lawsuit says, except for one incident in which Smith allegedly grabbed Jane Doe II’s breasts at a Harris Teeter on a school outing.)

While this abuse was taking place, according to the complaint, the girl’s parents discovered that Smith had attempted to friend her on Snapchat. Jane Doe II declined. The parents allegedly reported this to Errichetti, who told them “she did not believe their allegations.”

After that, Jane Doe II left the school.

Smith, the lawsuit notes, “remained in a classroom teaching minor female students.”

INDYweek.com | 5.9.18 | 11

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The INDY has also obtained a second corrective action plan—not mentioned in the lawsuit—that Smith signed on June 2, 2016.

It is nearly identical to the one he signed in 2012 and includes the admonitions not to enter girls’ hotel rooms on school trips or be alone with students. This time, however, the school warns that failure to abide by the plan could result in termination.

Asked whether this second corrective plan was prompted by Jane Doe II’s allegations or a separate incident, Lee, the school’s board chairman, told the INDY in a statement: “Given the ongoing litigation, it is not appropriate for us to discuss specific issues related to this case. But I can tell you with absolute certainty that the school did not have knowledge of any sexual assault or criminal behavior by Nick Smith before his arrest. We would have promptly reported any such behavior to law enforcement.”

In the lawsuit, the Doe girls’ parents alleged that the school defrauded them of the more than $300,000 they paid in tuition (according to the school’s website, tuition for upper elementary, middle, and high school students runs about $19,000 per year, with lower elementary school students charged a little over $17,000 per year); they are also seeking damages related to the physical and psychological injuries their daughters suffered, as well as punitive damages.

In a statement, Lee says, “The board fully supports our school’s leadership and will vigorously defend our school’s actions. This does not diminish our care or compassion for those impacted in any way. The safety of our students is our top priority.”

The Montessori School responded aggressively to the lawsuit. Among other things, it offered affirmative defenses that claimed that the statute of limitations may have expired, that the school shouldn’t be held responsible for Smith’s actions, and that, if the Doe girls’ parents knew or should have known about the abuse, “then and in that event, these Defendants plead those Plaintiffs’ own negligence.” The school also calls the plaintiffs’ requests for punitive damages and attorneys’ fees “frivolous and malicious.”

In addition, the school argues, “Errichetti acted reasonably at all times in her capacity as Head of School. [Errichetti] did not have any knowledge of any sexual assault by Smith at any time before his arrest.”

According to the school’s 2016 tax filings, it had more than $5.4 million in net assets. Errichetti drew a salary of $157,864 that year. jbillman@indyweek.com Additional reporting by Nick Gallagher.

12 | 5.9.18 | INDYweek.com

MISSING PIECES

A state law orders insurers to cover expensive treatments for children with autism, but many families are still digging deep into their own pockets—or going without

By Sarah Ovaska-Few

ILLUSTRATION BY STEVE OLIVA

W

hen North Carolina passed a 2015 law requiring health insurance companies to cover specialized therapies for children with autism, families with affected children rejoiced at the news.

But more than two years after the mandate became law, some families

are no closer to getting access to the intense treatments that can cost upward of $40,000 a year.

“I haven’t met anybody who is actually affected by the law,” says Abegail McGrew, a Huntersville mother whose five-year-old daughter, Olivia, was diagnosed two years ago with autism. “I don’t know what they wrote it for.”

McGrew and her husband, Mike, spent $34,000 last year for Olivia’s applied behavior analysis therapy, after finding out in 2016 that the insurance the family receives through Mike McGrew’s out-of-state employer would not cover the therapies.

Olivia works one-on-one with an experienced practitioner, going over behaviors that have overwhelmed her in the past to lessen her reactions over time.

Despite North Carolina passing a mandate for the therapies to be covered under private insurance plans, only a fraction of North Carolina health insurance plans actually do so. Indeed, only about 10–15 percent of North Carolina’s health care market is subject to the ABA-therapy coverage mandate.

Nor can coverage be bought on the individual marketplace created by the Affordable Care Act, a scenario that has led many families of autistic children back to the choice of digging deep into their own pockets or forgoing treatment altogether.

“We’re fortunate enough that we’re able to do something, but it’s not bottomless,” says Mike McGrew. “The money runs out at some point.”

Sally Pidge, who owns Charlotte’s Achieve Therapy Services, says she regularly hears from parents upset that their employer-provided health insurance will not help pay for ABA therapies. Those families can’t buy an individual plan to help after the General Assembly opted to exclude plans available through the ACA marketplace from the mandate.

“If there was one on the marketplace, I would send them one thousand families,” Pidge says.

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BA therapies are specialized and timeconsuming. They require a board-certified behavioral analyst or certified technician to spend as many as forty hours a week of one-on-one time with a child.

The therapist uses behavioral techniques to identify issues and slowly adjust the autistic child’s intense reactions to everyday sit-

uations. Ideally, the children can learn to handle situations or scenarios that were previously overwhelming.

Families who have used the therapies say their children have made significant progress, from older children being able to use the bathroom on their own to interacting more deeply with those around them.

“In some kids, if we can get them young enough, we can get them into typical kindergarten,” Pidge says. That’s a significant milestone that can set a child up for years of continued success.

The McGrews have seen Olivia make big strides since she began ABA therapy in 2016, on top of speech- and occupationaltherapy sessions she takes. Olivia, who does not speak, can now communicate through a combination of sign language and pictures. Tantrums and frustrations have also lessened, and both parents see less “stimming,” a behavior common in autistic children where sounds, actions, movements or other stimuli are repeated as a way to self-soothe. Olivia also has begun imitating sounds, a breakthrough that brought tears to her mother’s eyes.

Now, her ABA therapist is working with her to turn and look when her name is called, a seemingly small accomplishment for those with neurotypical children but a considerable achievement for an autistic child like Olivia who also has developmental delays.

The McGrews wish their health insurance would help pay for the ABA therapies.

They can only afford to send Olivia to an average of ten to fifteen hours of ABA therapy a week. They wonder what more treatments would do for her.

“If money wasn’t an issue, I would give it a go and see what thirty to forty hours would do,” Abegail McGrew says.

Like so much with health care, figuring out if a health care plan includes ABA therapies is complicated.

The mandate requires insurance plans regulated in North Carolina to provide up to $40,000 annually of adaptive behavior INDYweek.com | 5.9.18 | 13

therapies for those under eighteen and on the autism spectrum. Copays and deductibles still apply, so those with a $5,000 deductible or copays for individual sessions would still be on the hook for those costs.

The plans that fall under the mandate include companies with fifty or more employees that have health plans that operate only in North Carolina, says Jennifer Mahan, public policy director for the Autism Society of North Carolina, one of the advocacy groups that pushed for the 2015 law.

But those make up only about 10–15 percent of the health care plans operating in the state, with large employers often utilizing different types of health care plans, Mahan says. The state “doesn’t control a lot of the health plans out there; the federal government does.”

Not included in the mandate are plans adopted by out-of-state companies or those with fewer than fifty employees. Also exempted are self-funded plans, in which a company pays all the health care costs of its employees, while the insurance company only administers the plan as instructed.

Self-funded plans are preferred by many employers because they have more control over what is offered, and, in the long run, it can cost less or provide better coverage for employees.

Companies can decide to include coverage of ABA therapies for their employees, as large employers like Walmart, Bank of America, Home Depot, and SAS have done. State employees can get ABA services for their children on the autism spectrum after the State Health Plan began covering it in 2015.

Lorri Unumb, a vice president of state government affairs for Autism Speaks, suggests families without coverage speak up.

“Go to your company’s HR and ask to add coverage,” Unumb says.

W

hen it passed the 2015 law, the General Assembly also opted to exclude individual plans offered on the health care exchange, known as Obamacare.

There were concerns about a federal provision that says states that demand services above and beyond the basic offerings would have to pay for the increased cost, Unumb says. But none of the twenty-plus other states that have included adaptive behavior therapies for those with autism have faced those extra charges, she adds, in part because of evolving language that has increasingly classified ABA therapies as an essential part of treatment for those on the autism spectrum.

She suspects that, if the legislature were to expand the mandate to ACA plans, North Carolina would not end up having to pay insurance companies to include 14 | 5.9.18 | INDYweek.com

Applied behavioral analysis therapies can help children with autism through one-on-one, repetitive therapies that look to redirect or reduce reactions to otherwise overwhelming situations. PHOTO COURTESY OF AUTISM SOCIETY OF NORTH CAROLINA the coverage given that the coverage is mandated in other states.

“It’s not really that much of a threat,” she says of the odds of federal regulators coming down on North Carolina for beefing up ACA plans with coverage for the specialized autism therapies.

Premium costs do go up when ABA coverage is added, however—though not by much. Private health plans in Missouri went up by $3.12 a year for each member in 2014. In South Carolina, including ABA coverage in the state health plan cost $5.64 per member in 2015, according to data provided by Autism Speaks.

Jayashri Nandargi found out about North Carolina’s ABA exclusion the hard way, when she, her husband, and twin toddler sons moved to Winston-Salem last year.

Nandargi purchased an individual ACA health care plan for her two-year-old son Aarush, who has been diagnosed with autism, after an insurance broker erroneously told her ABA therapies would be covered.

She has since found out that the health care plan excludes the therapies and has not been able to enroll Aarush in the behavioral therapies she believes would help him communicate and overcome some sensory issues.

He receives an hour of speech and occupational therapy a week, but she wishes ABA therapies were available to him.

“I don’t know what to do,” Nandargi says.

“Out-of-pocket is very, very expensive.”

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he law’s shortcomings were known when it was being debated, Mahan says, and advocacy groups have tried to let families know that the mandate is far from universal in North Carolina.

But in a field as complicated as health care, not everyone has gotten the message.

Families such as the McGrews say they’re glad the 2015 law has helped some people, but they wish it went further.

“They need to revise the mandate,” Abegail McGrew says. “There’s so many companies within North Carolina that don’t operate within those parameters.”

But could the state legislature fix this scenario for families unable to get coverage?

Yes and no.

The General Assembly could opt to expand ABA therapies to the open marketplace, a move that Unumb says would then at least allow families to buy plans on their own with that coverage.

State Senator Joyce Krawiec, a Kernersville Republican, is eyeing a fix for this. Even as a primary sponsor of the 2015 legislation,

Krawiec says she was unaware that families were blocked from buying plans that offer ABA coverage on the open marketplace.

“The objective was to make autism insurance coverage available in all North Carolina families,” Krawiec says in a statement.

“Apparently this is not happening.”

But the state does not have the authority to dictate coverage for plans that are selfsupported or insurance policies based out of other states. Any changes there would have to happen at the federal level, and given the current discord in Washington over health care, that is unlikely to happen, Unumb says.

Until then, families will need to make the decision about whether to pay for ABA therapy themselves or begin looking for jobs that offer coverage.

Nandargi is hoping her husband’s employer opts to add ABA coverage to its health insurance plan next year. If not, they may leave the state and return to Ohio, where they lived previously.

“Here, I’m struggling,” she says. backtalk@indyweek.com This story was originally published by the nonprofit news site N.C. Health News.

Support N.C. Health News’s journalism at northcarolinahealthnews.org.

indyfood

Lunch Money

LOCAL CHEFS HELP REIMAGINE SCHOOL NUTRITION AND MOVE MEAL-FUNDING BILLS TO THE FRONT BURNER

BY LAYLA KHOURY-HANOLD

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hether you loved square cheese pizzas, looked forward to chicken-nugget day, or loaded up your tray with doughy breadsticks and ranch dressing, just about everyone has a memory of school lunch. Now, local chefs are working together to create healthy, restaurant-worthy school lunches to raise awareness about school-meal standards and state funding for school-meal programs.

In North Carolina, 869,954 children ate school lunch in December 2017, making the state’s school-nutrition program the seventh largest in the country, according to the N.C. Parent Teacher Association. Three-fifths of them were eligible for free or reduced-price lunches (determined on the basis of the family’s size and income); these are the kids who have more than half of their nutritional needs met through school meals.

Most of the state’s school-nutrition funding comes from federal reimbursements, and the current reimbursement rates for free and reduced-price meals don’t fully offset the cost to schools. This adversely affects the quality and nutrition of school meals.

Besides providing vital nutrition, highquality school meals are also associated with improved academic performance, according to a 2017 Brookings Institution study, and are a less costly investment than reducing class size to achieve the same result, according to the national PTA. Yet three bills currently in the state House’s Appropriations Committee that would provide additional funding to the state’s school-nutrition and meal programs look unlikely to go anywhere during the General Assembly’s short session, which begins on May 16.

The first bill, House Bill 891, would make all school meals free at an annual cost of $200 million. The second, House Bill 892, is considerably cheaper at $5 million; it would make reduced-price lunches free to students who qualify. The third, House Bill 893, would provide $10 million to help

child-nutrition programs meet school lunch requirements.

But all these bills are sponsored by Democrats in a Republican-dominated legislature, and they’ve languished in committee since last year. There’s little reason to be optimistic that will change anytime soon.

Still, the NCPTA sees an opportunity to start a conversation, raise awareness, and put pressure on lawmakers to create a more meaningful bipartisan bill next year, likely one that ties reimbursement to buying more local produce for schools, which in turn supports local farmers. While there isn’t yet a bill in place, the NCPTA’s efforts leading up to the General Assembly’s long session in January will be focused on getting legislators on board.

“We are at a critical point where, as a state, we need to discuss investing in school meals,” says Virginia Jich, president of the NCPTA. “It’s an opportunity. Not only would it be great for the health of children, but it has the potential to be great for our economy by supporting local agriculture.”

One of the NCPTA’s new initiatives to get parents and community members talking is Reimagining School Meals, which aims to increase support of school meals, promote understanding of nutrition standards, and inspire new ideas for healthy and delicious school meals. And who better to spark that conversation—and create those meal ideas— than chefs?

At the NCPTA’s first Reimagining School Meals event on April 26 at Southern Season, four local chefs served a school meal that provided a serving of a healthy protein, a serving of vegetables, a serving of fruit, and a whole grain to fifty school-meal advocates and parents, in the hope that these meals would be adopted by North Carolina schools.

Sean Fowler, who owns farm-to-table fine-dining restaurant Mandolin, was one of the first chefs to get involved. Fowler became concerned about the food insecurity

Sean Fowler’s Ponzu Chicken Poke Bowl, school-lunch style PHOTO COURTESY OF MANDOLIN issues facing N.C. schoolchildren during a James Beard Foundation advocacy program that was held at The Durham Hotel last fall.

His challenge for the NCPTA event was to dream up a dish that not only cost less than $2 and met thirteen key components of the National School Lunch Program’s guidelines (there are more than eighty pages of them, including restrictions on fat and sodium), but also one that kids would like to eat.

As a father of two-year-old twin daughters, Fowler knows this challenge firsthand.

To create a dish that would be as appealing to kids as it was nutritious, he considered the types of food his girls ate at home and looked to Instagram for trend inspiration. He used poke bowls as a jumping-off point, but raw fish was out of the question for budget and food-safety reasons. So he created a Ponzu Chicken Poke Bowl instead, featuring lightly seasoned brown rice, ponzu-glazed chicken, and a medley of vegetables that were chosen as much for their nutritional value as for their local sourcing potential: edamame, radishes, cucumbers, and kale. He added pineapple for sweetness, with a garnish of chopped nori and mint, and finished the bowl with what he calls yum yum sauce, made with a touch of mayo, soy sauce, and paprika.

Though it’s a departure from his refined Southern cuisine, Fowler has added the dish to Mandolin’s menu ($12) through May 16.

All proceeds will be donated to Inter-Faith Food Shuttle’s BackPack Buddies program, which provides grocery-filled backpacks to

food-insecure kids to take home over the weekend, when free school meals are not available. (Fowler also serves on the board of directors for Inter-Faith Food Shuttle.)

Fowler is rallying his peers to join the cause, calling on the other chefs from the April 26 NCPTA event to consider adding their reimagined school lunches to their restaurant menus. Bo Peterson from Primal had served a reimagined sloppy Joe featuring ground beef thickened with chickpea puree and sweetened with carrot juice, piled on a whole grain bun with cheese and served with a side of apples. Jake Wood from 18 Seaboard whipped up a whole-grain flatbread with avocado spread, roasted tomatoes, radishes, and chicken, served with pineapple chia-seed pudding and a cucumber-and-strawberry salad. Regan Stachler from Hull Foods made whole-grain pasta tossed with olive oil and chicken sausage, served with sides of braised kale, a tahiniand-chickpea potato salad, and melon with honey and lime.

“I think that chefs are really vital in the conversation,” says Marianne Weant, director of family engagement for the NCPTA. “They understand food; they understand food systems; they understand local food sourcing and farms. And more importantly, they have followings that are not necessarily like us—that are not just moms and dads, but other people who would be willing to get energized around this.” food@indyweek.com INDYweek.com | 5.9.18 | 15

business spotlight business spotlight

METALLICITY JEWELLERY DESIGN

BARLEY LABS Dog-friendly Taproom, Bottle, & Gift Shop 4015 University Drive, Durham www.barleylabs.com 919-432- 4597

CARY CAR CARE 234 East Johnson St Cary, NC 27513 919-380- 0040 www.carycarcare.com

“A place to grab a drink with your best friend.”

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t started with a home brewer, a rescue dog, and a fed-up cubicle dweller. Theresa Chu, co-owner of Barley Labs, came home one afternoon frustrated with her job and told her partner Scott Beaudry that she wanted to take the dog treats he was making using the spent grain from his home brewing hobby and create something positive.

In 2012, Barley Labs was born as an all-natural beer grain dog treat company. It was a way for Theresa and Scott to celebrate their love for their dog Barley, a Lab-mix rescued in 2008, and their love of craft beer. Six years later, they achieved their dream of being able to share that love with their community by opening a dog-friendly taproom, bottle, and gift shop in Durham.

“We wanted a space where people feel comfortable grabbing a drink and spending quality time with their best friends, whether they’re furry or not,” said Theresa. Humans can enjoy beer or cider from 16 rotating taps, wine by the glass, and bottled beer and growlers to go. Dogs can enjoy beds, toys, water, and treats. Additionally, Barley Labs hosts dog adoption events and designates a monthly “donation tap” where $1 from every pint is donated to a rescue.

“Whether you have a dog or not, we strive to create a great experience for you through delicious drinks, friendly service, and fun social events,” said Scott. “From Friday night movies to beer tastings and educational seminars, there’s always something entertaining on tap.”

“To the entire Triangle community, we just want to say thank you for helping make our dreams come true,” said Theresa.

“Without your support of our dog treats, this new space wouldn’t exist. We can’t wait to see you soon.”

H

i there and thanks for checking out more about Cary Car Care! We’re a family owned and operated business in Cary, NC that has been in the same location since we opened in 1990. Paul Lambdin, my dad, actually opened the business with a partner who has since retired. BJ (my cousin) and I came onboard as owners in 2015. That’s me in the middle, Kelsey (see picture above)! We all enjoy working together to provide full service auto repair for the Cary community! Every service we provide is centered around our core values of communication, trust, relationships, service and community. We’re constantly striving to be the best in the industry and make sure each client has a great experience!

As an ASE Blue Seal Certified shop, you can expect only the best from our team! Our skilled mechanics have the diagnostic tools and experience to solve your particular car problem for good. Additionally, every auto repair and maintenance service is backed by our leading 2 year/ 24,000 mile warranty on most parts and labor. When you come to Cary Car Care, it’s not just about today’s repair or maintenance, but it’s about the overall life of your vehicle. We will explore your vehicle’s complete history and help you prioritize the maintenance schedule to keep your vehicle running for as long as possible. We provide the care your vehicle needs with the most important thing in mind – you!

Stop by and see us or give us a call to get your vehicle scheduled for service. We’d love to serve you and your family! As our motto says “it must be right, or we’ll make it right!”

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Custom Jewellery Design Studio metallicity-jd.com tony@metallicity-jd.com lilla@metallicity-jd.com 10410 Globe Rd Suite 106 Morrisville, NC 27560 919-908-0030 Tues-Sat 9am to 5pm

etallicity is an astronomy term for a star’s abundance of heavy elements. Without the star’s fusion factory, you, me and the precious metals we know and love would not exist Metallicity Jewellery Design is a collaborative design partnership of Tony Nemyer and Lilla Taylor. It was born out of our passion to create jewelry. From modern to vintage inspired.

We strive to produce something beautiful functional and, like every individual, unique.

We both have been in the jewelry industry for over twenty-five years involved in many facets of the business. Tony began his career in jewelry early on taking classes in junior high and continued his educational studies at Pratt. He is an AGTA Spectrum Award winning designer. Lilla’s career in custom jewelry design began right out of college. Her design and art history degrees fuels her passion for creating.

We offer a different experience at Metallicity Jewellery Design than your traditional walk-in store. We are appointment based giving our clients the personal attention while creating for them in our “design driven” studio. We specialize in custom designed creations, from engagement and wedding bands that make a statement to redesigning a new piece from unused jewelry or from scratch.

We embrace cutting-edge technology as well as old world craftsmanship. Our ambitious designs are made a reality incorporating 3D printing in the process rather it be casting or a design ready to go.

“We like to take emerging technology into the jewelry sector and let our imagination run wild.”

Our 3D printed collection as well as other custom designed creations are featured in our website store. Metallicity also offers repairs, restorations as well as appraisal services. Please contact us via email or call the studio. We would be delighted to assist you.

16 | 5.9.18 | INDYweek.com

business spotlight business spotlight

PURE-LINE PLUMBING MITHAI INDIAN CAFÉ 744F East Chatham Street, Cary, NC 919-948-8475 www.mithaius.com Taste the Tradition, Flavor and Artistry The Indian Café and Dessert Bar “Dessert is probably the most important stage of the meal, since it will be the last thing your guests remember before they pass out all over the table” — William Powell

I

ntroducing the Carolina’s First Local Indian Dessert Bar and Tasting Room with preservative free, eggless, vegan, vegetarian, gluten free Indian desserts.

Tucked away in the heart of Cary, NC is the Carolina’s first and only locally made Indian dessert brand. While other competing products are imported from other states like CA, NY, NJ and GA, all confections at Mithai are made in-house from scratch and are preservative free, chemical free, additive free and contain no chemicals, fillers, emulsifiers or MSG. Moreover, the café caters to those with different dietary preferences.

We believe that sweets open doors, hearts, and conversations.

In the Indian culture, taking a box of sweets to someone’s house is like taking a box of chocolates or a bottle of wine. While Indian restaurants are now plentiful around the Triangle, the concept of an Indian dessert bar is less well known.

In keeping with our Eastern Indian (Bengali) heritage, we honor a food-art tradition almost unheard of in North America, where sweets are crafted in clay or wooden molds, making oneof- a-kind desserts you’ve never seen or tasted before!

Apart from dessert, we also welcome you to experience a range of snacks hailing from the eastern part of India, a cuisine not represented by other Indian food establishments in the Triangle. We serve Larry’s Coffee and sell Videri Chocolates too! Come visit us daily 11am-9pm, Sunday 12p-9p.

Residential And Commercial Plumbing Services 4611 Hillsborough Rd. Building 200, Durham, NC 27705 www.purelineplumbing.com 919-670-2599 “Happy employees provide excellent customer service.”

F

ounded in 2014, PLP is owned by Roger Miller, Gil Rodriguez, and Brandon Smith. Together they have more than 50+ years of combined industry experience and follow the philosophy that successful companies are made up of happy employees and happy customers. They believe creating an atmosphere where their employees enjoy working translates into employees that provide exceptional service to customers. In fact, PLP encourages employees to further their education, offering bonuses to those who become Master Plumbers.

Customers of PLP are provided reasonable rates, same day quotes, easy and friendly appointment scheduling with 24/7 availability, on-time plumbers, knowledgeable and courteous technicians, and quality work. PLP’s plumbers are hot water specialists, skilled to work on water heaters (including tankless). Other services provided are toilet and faucet repairs and replacements; tubs and showers; sewer pumps; home plumbing inspections; garbage disposals and troubleshooting.

PLP plumbers also conduct water and sewer line repairs; video pipe inspections; hydrostatic drain cleanings; grease traps and interceptors; backflow repairs and certifications; gas line installation and repairs.

PLP offers a preventative maintenance residential membership program for $99/year that includes a free plumbing safety inspection (valued at $125) and helps identify plumbing issues before they turn into plumbing nightmares. Members of this program also receive 15% off of plumbing work completed by PLP. PLP is proud to be an INDY Week “Best of the Triangle 2018” Finalist for Best Plumber in the Triangle. They were also a 2017 winner of the Best of HomeAdvisor and runner up for the 2018 BBB Torch Award for Marketplace Ethics in their category. In an effort to give back to their community, PLP’s charitable contributions include providing Journey Bags to foster children, man hours at Healing Transitions, Shepherds Table soup kitchen, the Wrenn House and the Exchange Club.

WOMEN’S BIRTH & WELLNESS BOUTIQUE 930 Martin Luther King Jr. Blvd., Suite 204 Chapel Hill, NC • 919.537.7055 www.ncbirthcenter.org M-F 9am-6pm, Saturday 10am-5pm

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here’s a purpose to your purchase!

Women’s Birth & Wellness Boutique is a unique retail store that gives you a chance to shop locally and put your mind and your conscience at ease. Your purchases help support Women’s Birth & Wellness Center, a non-profit birth center, and its mission to offer individualized healthcare to mothers and families.

At the Boutique, we price match. We have an all-female staff. We offer free one-on-one, hands-on helpful guidance for all your birth, breastfeeding and baby needs.

We focus on breastfeeding support, including hospital-grade breast pump rentals and supplies and a wide variety of nursing bra sizes and styles, fitted by certified bra fitters.

We specialize in selling a variety of cloth diapers, baby carriers, and holistic health and wellness products for the entire family. The Boutique also offers gift registries.

More than anything, the Boutique is a community resource offering free baby-wearing classes taught by Babywearing International of the Triangle educators the first Saturday of every month, as well as free cloth diapering classes the third Saturday of every month. Breastfeeding Café meets the second and fourth Friday every month for mothers and babies to relax in a supportive setting with lactation consultants on hand. Please check our website calendar for more details and happenings!

We want to be around for a long time. When you buy from the Boutique, you support the Birth Center. When you support the Birth Center, you fill the community with healthier, happier families.

Shop Local. It means the world to us.

INDYweek.com | 5.9.18 | 17

indymusic

18 | 5.9.18 | INDYweek.com

Empty Tomb

LAST WEEK, IT WAS THE END OF AN ERA FOR THE CAVE. THIS WEEK, IT STARTS A NEW ONE.

BY ALLISON HUSSEY AND NICK GALLAGHER

T

here’s an oft-mangled aphorism from Mark Twain that goes, “The report of my death was an exaggeration.”

As it turns out, that’s true of The Cave, the venerated fifty-year-old bar and club that was set to close for good on Monday, April 30, as we reported last week. But suddenly, it’s in the process of being sold to a new set of owners who hope to reboot The Cave in the coming weeks.

Leading the charge are Melissa Swingle and Autumn Spencer. Both are longtime bartenders, and Swingle is a fixture in the local music scene with bands like Trailer Bride and The Pneurotics, which played one of The Cave’s “funeral week” shows.

Mark Connor, who bought The Cave in 2012, and his business partner, Slim’s owner Van Alston, had been searching for a buyer for several months, but nothing had come through. Even on The Cave’s penultimate night of business, it seemed the closure was a done deal.

was really dire—that The Cave was actually going to close for good—that’s when we went into crisis mode and were like, ‘OK, we’ve got to do something.”

During the funeral shows, Spencer and Swingle started to scramble to make that something happen. Those efforts are crystallizing this week as they continue to navigate the necessities of their purchase, including acquiring a liquor license. The pair has signed a lease with Julie Jennings, who owns The Cave’s space and its upstairs neighbor, Uniquities, an upscale boutique that has four locations in Chapel Hill, Raleigh, and Huntersville. Jennings says that she hasn’t been heavily involved in the business’s transfer, but she’s met with Swingle and Spencer and seems to have a positive outlook on her new tenants.

“I think they’re very passionate and they have the experience and they’re locals. And I think Franklin Street as a place is very specific about the types of businesses and things that do well here,” she says.

“When we found out that it was really dire, that’s when we went into crisis mode and were like, ‘OK, we’ve got to do something.’”

“I had heard that The Cave was for sale, but we didn’t know that it was so dire that The Cave was actually going to close,” Swingle says. “When we found out that it

FILE PHOTO BY JEREMY M. LANGE

Swingle and Spencer want to maintain The Cave’s stature as a music venue while elevating its profile as a community watering hole. Swingle, for her part, is

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming May 16:

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For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 5.9.18 | 19

Scenes from The Cave’s not-so-final nights of business in April PHOTOS BY CAITLIN PENNA excited to have a hand in keeping a renowned institution afloat.

“We didn’t want to save The Cave just to be nostalgic. It’s not [only] a sentimental thing,” Swingle says. “We hope to make The Cave a thriving place again and a profitable place again.”

As of press time, the sale isn’t finalized— there’s still some paperwork to finish up. There’s no set re-opening date, but 20 | 5.9.18 | INDYweek.com

according to Swingle, they’ll likely throw another big party to celebrate the next chapter once all the ink is dry. The Cave’s pending resurrection feels like a rare underdog win for the Triangle’s rowdy weirdos, one that, hopefully, is a long-term success.

That is, unless they decide they’re closing again as soon as we go to press. music@indyweek.com

NCDOT TO HOST A PUBLIC MEETING IN MAY FOR THE PROPOSED SIX TO NINE MONTH CLOSURE OF ALSTON AVENUE BETWEEN EAST MAIN STREET AND LIBERTY STREET DURHAM, DURHAM COUNTY STIP Project No. U-3308 The N.C. Department of Transportation is currently working to widen N.C. 55 (Alston Avenue), install curb and gutter and sidewalks between N.C. 147 (I. L. “Buck Dean” Freeway) and U.S. 70 Business/N.C. 98 (Holloway Street) in Durham. A proposal has been made that will assist with accelerating completion of this project. The proposal would include closing Alston Avenue to through traffic between E. Main Street and Liberty Street, for a period of six to nine months.

A public meeting to present the proposal and obtain feedback will be held at the Refiners Fire Community Church located at 1003 E. Main Street, in Durham, on Monday, May 21 st from 5:30 p.m. to 7:00 p.m.

The purpose of this meeting is to provide interested citizens with information on the proposal and gather public input.

Interested citizens may attend at any time between 5:30 p.m. and 7:00 p.m. Please note that a short presentation will be made at 5:30 p.m. NCDOT representatives will display maps and be available to answer questions and receive comments. Comments and information received will be taken into consideration as work on the project develops. Written comments or questions can also be submitted at the meeting or later by June 1, 2018.

Your week.

Every Wednesday.

For additional information contact NCDOT Division 5 Project Manager Boyd Tharrington by phone at (919) 562-7000 or by email at btharrington@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop. Anyone requiring special services should contact Diane Wilson, NCDOT Senior Public Involvement Officer by phone at (919-707- 6073) or by email at pdwilson1@ncdot.gov as early as possible so that arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 494-6494.

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

INDYWEEK.COM INDYweek.com | 5.9.18 | 21

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A

t the end of 1995, a fledgling dance label in Charlotte called ActivAnalog Records released its first record, Textures Vol. 1. The music was Detroit-inspired techno, raw and hard and highly atypical for Charlotte. At the time, popular dance nightlife was fixated on then-chic styles like English progressive house and maximalist Miami Bass. For Paul O’ Boyle, aka Paul D, who started the label with Keith Cochran (aka Q-Bik), the record was a statement of purpose. They wanted to announce their unique presence to the city, one that didn’t always understand their work.

Activ’s release schedule has been sporadic for years, primarily due to the financial realities of maintaining a vinyl-based techno label. Yet they continue to release music nearly twenty-five years after that first record, a discography that includes this year’s Pollution Project, a new collection of tracks from the label’s core associates. By any metric, this makes them one of the most persistent North Carolina underground dance labels to ever exist.

Back in the mid-eighties, though, O’Boyle was just a young record collector in school for audio recording near Washington, D.C. He cut his teeth on recording work in the burgeoning hip-hop scene and deejayed a bit. Through cult scene figures like Sam Burns and DJ Mandrill, he eventually grappled his way into dance music. The mechanized early sounds of Detroit techno were nothing short of foundational to him.

“All the stuff that Metroplex was putting out in those days still completely blows my mind,” he says. Migrating south to Charlotte, O’Boyle eventually met Cochran, an ambitious party promoter and fellow Detroit devotee.

“He was the only other person in Charlotte who knew what I was talking about,” Cochran says. They became fast friends.

Activ-Analog's Paul O'Boyle, aka Paul D PHOTO COURTESY OF PAUL O'BOYLE Together, the two secured a regular club night at The Edge (later called Baha), a former camping equipment store that had been retrofitted into a sizable nightclub space. Thanks to their passion and sweat equity, a remarkable who’s-who of house and techno talent played the city in the midand late-nineties. Heavyhitters like Kevin Saunderson, Kenny Larkin, Juan Atkins, DJ Pierre, and Louie Vega of Masters at Work all came through. Getting other people to care, however, could be thankless work.

“We would promote extensively and maybe two hundred people would show up. But, y’know, if there was a party with a progressive house deejay, seven hundred thousand people would be there. It became exhausting after a while,” says O’Boyle.

Through another Charlotte electronic label, Outside Recordings, O’Boyle and Cohen met Max Armah, a friend and local

scene figure who heard O’Boyle’s recordings.

Armah helped assemble a studio and pushed them to release music.

“I would play my techno tracks off cassette tape in the deejay booth and he would be like, ‘This is incredible, you should release this!’ I thought it was absolute crap,” says O’Boyle.

In those early days, gear for his studio setup came from the same shifting trends in dance music that hurt their touring events.

“I was finding unbelievably cheap stuff in pawn shops that was exactly what I wanted because people were just throwing away analog synthesizers at the time,” he remembers.

Activ’s best-known releases are probably the Night Shift series, a spectacular run of sleek late-nineties techno records that were printed in runs of a few hundred copies.

Those releases now sell for hundreds of dollars, many to international collectors.

BRIEF

MOON RACER IS IT REALLY A SECRET? ORDINAL RECORDS 1/2

“From my bedroom to yours,” reads the biographical blurb on Moon Racer’s Bandcamp page.

While musicians and writers alike have criticized the classification of “bedroom pop” for being vague, incapable of capturing the range of sounds and themes explored by artists working by their bedsides, Durham’s Autumn Ehinger clearly identifies with the term. On her debut album as Moon Racer, Is It Really a Secret?, Ehinger embodies a consciousness too shy or pensive to commune directly with others, vocalizing vague, moody sentiments like, “days won’t change” and “I feel the same as always” to the ether of the internet, where kindred spirits may stumble upon them.

Like the work of her peers and predecessors (such as Owen Ashworth of Casiotone for the Painfully Alone, whose label, Ordinal Records, released Is It Really a Secret?), Ehinger’s music is remarkably consistent. Each song begins with a persistent drum loop alongside a gentle synth riff, setting the water-colored stage for Ehinger’s distorted, reverb-inflected murmurs. Sonically, a single song more or less conveys the record’s overall tone; but lyrically, the tracks work as a meaningful whole, mingling memory with desire. “Last Kiss” and “Friendly Ghost” are haunted by former amorous adventures, whereas “New Crush” and “Starry Up” ring with a tentative hope for love anew. Ehinger sounds as though she yearns to be vulnerable and intimate, to feel excited about another person once more, but repeatedly checks herself with reminders of the possibility of pain. The juxtaposition of these cognitive states within the same musical atmosphere lends the record emotional density and saves it from redundancy.

Is It Really a Secret? doesn’t stretch the possibilities of home recording, relying on slightly timeworn techniques and aesthetic sensibilities. But it is a cozy, warm album in which to wrap yourself while reflecting upon summer days past and brighter ones to come. —Noah Rawlings

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“A record label called 7th City in Detroit back then was doing a little bit of distribution. They would buy like seventy-five copies and send them to a place in Germany or Austria. I remember getting a call from a guy in Greece who bought Night Shift II there, which was amazing at the time,” O’Boyle recalls.

As the label’s profile rose, the crew grew to include fellow deejay talents like Oliver Long and Ja’maul Redmond (aka Loner.9), who both now run “sister” label Abstracta Audio. But a number of external factors conspired against the collective. Attracting a large crowd became increasingly difficult as the dance music scene in North Carolina and the U.S at large was splintering.

Two particular events did exceptional damage to the scene in North Carolina. In Greensboro, the storied rave-centric nightclub Babylon shuttered in April 2000 after its booker, a promoter and record-store owner named Ed Lebrun, was murdered by a group of teenage ravers who broke into his house and stabbed him to death. The murder was a supposed revenge killing over allegations of sexual assault. Around the same time in Charlotte, a heavily intoxicated teenager was accidentally killed at the Baha Club by three security guards during an altercation. This led to a fearful Charlotte Observer article about rave culture and, eventually, a crackdown.

“They passed this thing called the rave ordinance that defined a party as more than three people listening to music on a PA system,” O’Boyle says. “It made it impossible to get a permit.” The law stayed on the books until its repeal in 2014.

On top of all that, the vinyl market crashed.

In those bleak days, O’Boyle credits Charlie Hearon, who ran the Triangle-based vinyl label FrequeNC around the same time, for moral support and helping Activ-Analog chart a way forward.

“The vinyl market is back now, but for a while, everyone jumped to CDJs and laptops. Records really died out, but I do think niche stuff like FrequeNC definitely played a big part in keeping vinyl alive through those years,” O’Boyle says.

Fortunately, O’Boyle and Cochran now have a more stable market wind in their sails.

Through the U.K.-based vinyl-only label Albeit, they’ll issue Compound Interface, a collection of previously unreleased ninetiesera Activ-Analog tracks, on May 25. Will they make it another twenty-five years?

“We’re not going to stop anytime soon,” O’Boyle promises. music@indyweek.com

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JOHN AKOMFRAH: PRECARITY Through Saturday, Sep. 2 Nasher Museum of Art, Durham www.nasher.duke.edu

Making History

JOHN AKOMFRAH BLENDS HISTORICAL WITNESS AND IMAGINATION TO RESURRECT A NEW ORLEANS JAZZ LEGEND

BY LAURA JARAMILLO

“I

like the sense that once something drops out of the universe of history, [it goes] into a parallel universe of fiction,” John Akomfrah told the INDY at the opening of Precarity, his three-channel video installation on view at the Nasher through the fall.

The piece takes up the life and myth of Charles “Buddy” Bolden, the New Orleans cornet player who is apocryphally said to be the first jazz musician. Though speculative accounts of Bolden’s life exist, very few facts remain. What is a matter of historical record is that Bolden died in 1931 after spending two decades in a mental institution. Akomfrah was inspired by Coming Through Slaughter, Michael Ondaatje’s 1976 novel about Bolden. Spiraling out from the bare-bones facts of Bolden’s life, Akomfrah weaves a meditation on madness, desire, and creativity under the materially precarious conditions of diaspora.

Precarity escapes easy categorization, existing in a liminal space between essay film, experimental documentary, fiction, and sculpture. The installation, which runs on enormous screens, montages various historical and fictional materials together: black-and-white archival photographs of the New Orleans African-American community framed in close-up in the bed of a rushing river, fictional tableaux from Bolden’s life on high-definition color video, documentary footage of early-twentieth-century white Americans playing at amusement parks and working in factories, and wide-angle, panoramic long takes of the city’s contemporary infrastructure, rendered in twilit oranges and oily browns.

With each of the screens cutting between these variegated materials, the past seems to continually intrude upon the present.

In recent years, some critics have pointed out that experimental film’s increasing consumption in contemporary art spaces instead of traditional theaters leads to distracted, superficial engagement with mov-

Actor Christopher Udoh as Charles “Buddy” Bolden in John Akomfrah’s Precarity PHOTO COURTESY OF THE NASHER ing-image works. Precarity takes up the challenge of being built for fragmentary viewing in a gallery without losing its force or complexity. Because the piece resists narrative closure, you can walk in and out, viewing it from different angles and encountering it in different ways, though it also rewards focused linear viewing to fully experience the juxtapositions of text and image. To Akomfrah, the multiple screens allow a certain freedom.

“On a single screen, closure is necessary because otherwise things start to look confusing,” he says. “On the multiple screens, the confusion is part of the structure.”

In the sense that Precarity is an essay film, it makes its arguments subtly and masterfully. For example, Akomfrah builds an implicit argument about who

benefitted from America’s grand narrative of progress by juxtaposing archival footage of white workers in early-twentiethcentury factories with still portraits of black people in New Orleans inundated by river water.

In highlighting Bolden’s inability to fully appear in his own biography, let alone the official history of jazz, the film shows how African-American New Orleans came to be construed by white America as both a rich storehouse of culture and a social problem, an idea epitomized by Bolden’s troubled yet lucid soliloquies, as voiced by actor Christopher Udoh.

“Being a problem is a strange experience, even for one who has never been anything else,” he says, poignantly driving home his sense of being and feeling other.

In the film’s fictional episodes, a sad-eyed young Bolden, wearing a jaunty bowler hat, looks out over the landscape of early-twentieth-century Louisiana. Shot on high-definition video, the slow movements of the actors and the precise turn-of-the-century costumes feel curiously stuck in a no-time that is neither historical nor contemporary. An image of Bolden’s lover, elegantly still on a settee beneath a vodou flag, seems transmitted from a place where history has been petrified because these characters and images have fallen out of the archive.

Like Bolden’s life, swept away by time and water and official history, their stories are waiting to be told.

One persistently fascinating aspect of Akomfrah’s work is how omniscient voiceover narration weaves together found INDYweek.com | 5.9.18 | 25

and new texts, placing a poetic intertextual layer over the montage of images. When we hear Bolden quoting Genesis, saying, “I will bring a flood of waters upon the earth” as we see portraits of African Americans washed over by water, the quote erupts into a riotous polyphony. It is at once the voice of God, the voice of otherness, and the voice of elemental forces that will sweep away history and fragment memory.

A Londoner of Ghanaian descent, Akomfrah says he is drawing on the connection between water and memory celebrated by his ancestors in the Accra region.

immigration—its concomitant losses, as well as the ways in which diasporic peoples, finding themselves displaced and dispossessed, reshape the world into which they arrive as strangers.

Akomfrah says two opposing themes dominate his exploration of diaspora: “This question of protest—I don’t want to be here, I want to go—and accommodation. Shit happens; we’re here. Let’s lie down by the rivers of Babylon and sing a song.”

Akomfrah’s expansive collage method and fictionalization of Bolden’s life are an implicit argument that there are things we may know

“Once something drops out of the universe of history, [it goes] into a parallel universe of fiction.”

“The key deities of West Africa are watercentered, and most of them are deities of memory,” he explains. “When you want to summon the gods, you pour libations, you pour water on the ground, and you start a series of incantations, and it’s through the incantatory logic of your speech that they are supposed to come.”

Since the early eighties, Akomfrah has been committed to exploring the psychic and cultural experience of diaspora and

more deeply through fiction than through fact. In Akomfrah’s reanimation, history is a mythology that lives on in our recursive imagination and in our retelling of it, illuminating the elisions of an archive in which protected materials are determined by race, class, health, and other factors. Like the best of Akomfrah’s films, Precarity complicates the narratives of cultural memory and erasure, fiction and truth, assimilation and refusal. arts@indyweek.com

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BRIEF

FEMININE SPECTRUM Through Saturday, May 26 Visual Art Exchange, Raleigh www.vaeraleigh.org

Before you even enter Feminine Spectrum at VAE, you contribute to it.

At the door, Stacey L. Kirby presents you with a “Gender Spectrum Form” on which you make an X somewhere along a dotted line between feminine and masculine end points. It’s an apt, inclusive entry point for what amounts to a very personal show.

In her curatorial debut, Kirby brings together work by sixteen artists who have played a role in her growth as a queer, white, female Southern artist. Connect the dots— from Ann Kalmbach and Tatana Kellner at the Women’s Studio Workshop in Kingston, New York, where Kirby interned, to Durham musicians Christy Jean Smith and Heather McEntire, who brought Kirby into local creative communities through collaboration and friendship—and you get a map of the artist’s development. The work includes tantalizing sculptures from Harriet Hoover, stunning

video by Ellie Ga, collages by elin o’Hara slavick, and a rocking chair covered with pointe shoes by Daniel B. Coleman.

This idea might seem insular, but once you fill out your form, you’re part of it, and that’s Kirby’s point: artists outside the straight white mainstream (especially in the South) must wander widely to construct communities. More than Kirby’s personal narrative, Feminine Spectrum is a template for how to build networks of influence and inspiration— the kinds that shape old institutions and start new ones.

VAE, one such institution, is hosting some terrific programming around the show, including a can’t-miss performance evening on May 10 with Hoover, Coleman, Susan Harbage Page, and Marie Garlock, as well as a May 18 appearance by LUEWWD (League of Upper Extremity Wrestling Women Durham) and a May 24 drag brunch. —Chris Vitiello

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BY BRI

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LIGHT THE WOODS WITH SOUND Through Sunday, May 27 Dix Park, Raleigh www.dorotheadixpark.org

Gleaming the Tube

NEON ARTIST NATE SHEAFFER FILLS A CORNER OF DIX PARK WITH LIGHT YOU CAN HEAR AND SOUND YOU CAN SEE

BY BRIAN HOWE

H

ey, did you hear about this lightand-sound thing in Raleigh?

No, not You Are Here at NCMA. Light the Woods with Sound, a new publicart installation, is up—very up—in Dix Park this month. Local neon artist Nate Sheaffer suspended hundreds of pieces of glowing tube high in a clutch of trees, timed to flash in various patterns with looping music. But the piece is more than lulling to look at; it’s also fun to play with.

The neon pieces consist of loops and coils that drip from the boughs; there are also glass eggs that glow and fade like fireflies. Though Dix Park Conservancy and the Raleigh Arts office provided the opportunity, Sheaffer has long been fixated on the vision of neon in trees. Maybe it began when he did an installation in Oklahoma City combining real trees with neon ones. Maybe it was earlier, when he threw a party with bands on a river island, using generators to power amplifiers and neon in the trees. Or maybe it was when Sheaffer, while studying German literature at UNC-Chapel Hill, also studied art with Robert Howard and Jerry Noe, contemporaries of neon-art pioneers like Donald Judd and Dan Flavin. Sheaffer was particularly struck by Noe’s installations in creek beds.

“Super-organic, taking a high-voltage element and throwing it into nothing but earth,” Sheaffer says. “The water, the reflections, they were fantastic.”

After getting into glassblowing and neonbending in college, Sheaffer started his own shop, Neon Impressions, in Chapel Hill.

He employed dozens of workers for twelve years, creating signs for everything from Miller beer to Krispy Kreme. That business folded in the late nineties, when Chinese production took over the industry, by which time Sheaffer had gotten so busy with commercial work he barely had time to make art. At his current workshop, Glas, in the old

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Nate Sheaffer works a tube of neon. PHOTO BY TERESA MOORE boiler room of Raleigh’s Dock 1053 warehouse, he focuses on art while doing some sign work for longtime partners.

As we sit under a neon-spangled tree, I can’t super follow what Sheaffer’s saying about routers feeding MIDI signals to 128 circuits controlling 192 transformers (don’t quote me). But it all sounds vaguely epiphanic because of the long loop of dewy space-disco that plays behind our entire conversation. It was created by Joe Caterinicchio, who also designed five other sound beds in different genres that are keyed to different patterns in the light sculpture.

But you can also play keyboards, drum pads, or a theremin to add sound and change the light, creating a complex, exciting interplay between pattern and chaos. Fridays and Sundays are the best nights to try it (register on the Dix Park website), while on

Saturdays, local musicians such as Missy Thangs, David Mueller, and Sunset Palette give experimental concerts with the setup.

“We’re trying to do more artwork that’s experiential, interactive, performative, and temporary,” says Kelly McChesney, the former Lump director and current Raleigh public art director, who is thinking outside of the mural. “This is the first of many projects like this you’ll see, both around the city and in Dix Park.”

“I really want to take this on the road, which will be a lot of fun because of the role regional artists can play,” Sheaffer adds.

“Last night, when there wasn’t even music, everybody was exactly like bugs, drawn from all directions, gathering around the fence and just looking up, dead silent. That is a very basic, visceral reaction to light.” bhowe@indyweek.com

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Thinking Outside of the Seat

WITH INGENUITY AND THE AID OF MORE PRIVILEGED SECTORS OF THE COMMUNITY, LITTLE GREEN PIG WANTS TO MAKE ALL OF ITS SHOWS NEXT SEASON FREE

BY BYRON WOODS

A

meat and produce from local farmers. Today, grants, and give pop-up performances t a time when it seems like the price while companies like Greensboro’s Triad around the city, in the vein of recent musiof everything is going up, Little Stage have quietly adopted dynamic pricing cal revues devoted to the songs of Tom Waits Green Pig Theatrical Concern is (electronically adjusting ticket values based and Elvis Costello at local bars. cutting its ticket prices this fall. on demand) to increase revenue, Little To zero.

Green Pig is forging a path in the oppoDurham’s longtime theatrical mavsite direction. ericks typically charge $15–$20 for a There are some precedents, if not show, but they want to remove that local ones. A “Radical Hospitality” inieconomic barrier while still being tiative at Minneapolis’s Mixed Blood able to pay artists for their labor. They Theatre keeps a block of general admisrecently announced a crowdfunding sion tickets free for all performancpush to make seats for the three maines—or patrons can pay to “guarantee” a stage shows in their fourteenth seaseat. And Chicago’s Theatre Y makes all son free. Though local groups like Bare seats available free while patrons subTheatre have offered individual proscribe at various levels, just like Little ductions like ShakesBEER on a passGreen Pig wants to do. the-hat basis, Little Green Pig is the Other companies offer variations on first to attempt a full season on a zeroa “pay what you can” model. For a “Livdollar-ticket model. ing Ticket” at New York’s Flex The“We’d been talking about it since atre Ensemble, theatergoers can pay the inception of the company,” managthrough service, whether it’s getting the ing director Dana Marks says. She and word out about a production or physiJaybird O’Berski studied organizations cal labor. And at Philadelphia’s Azuka like public radio and the Smithsonian Theatre, audiences pay what they want Institution, which use subscription after the show, on their way out. Letplatforms and have investors who ting patrons choose ticket prices might buy into the value of their missions. seem like a dicey business model. But Two years ago, Little Green Pig startin two seasons of doing so, Azuka ed funding via Patreon, where recurachieved an unpredicted trifecta: attenring donations now amount to more dance up by a third, a surge in new audithan $18,000 in support per year. But ence members, and a $3 increase in the that’s only about 40 percent of what average amount paid per ticket. it needs to make next season’s tickets In each of these cases, communities free: $12,000 over the next four months came through beyond predicted expecand a total of $45,000 by next May. Little Green Pig's current production, The Changeling tations when asked to support someThe hope is that the zero-dollar-ticket PHOTO BY ERIN BELL/BULL CITY PHOTOGRAPHY thing they believe in. Though it’s early, goal will increase Patreon donatations there are signs that the same could hap“We’ve been thinking about guac-abecause of its ethical importance. pen here. When the company put out a “soft thons—making guacamole—and dance-a“Audiences for serious, provocative artannouncement” about the zero-dollar-ticket thons,” Marks says, laughing. “Getting the house theater [are] elite, typically white, plan before Christmas, Marks says, “Bam, community together and having fun is the affluent, and over forty,” the theater noted bam, bam, we got ten new patrons right away. spirit of the thing.” in its announcement. “We need to expand People want to be involved in keeping Little Theater companies have long devised crethis base to include people of color as well as Green Pig alive and flourishing. It’s so humative ways to generate support. The Barter those who can’t afford to pay full price.” bling and exciting.”

Theatre in Abington, Virginia, thrived at the Little Green Pig will also accept at-thearts@indyweek.com height of the Great Depression by accepting door donations, solicit endowments and 28 | 5.9.18 | INDYweek.com

stage

BRIEF

THE CHANGELING 

Through Saturday, May 19 The Fruit/Mystery Brewing/Culture Mill www.littlegreenpig.com In the seventeenth century, a couple of swells named Middleton and Rowley wrote a play about people using sex as a bargaining chip, a lever, an escape route, a weapon—anything but a token of love.

One half is set in a castle where everyone wants somebody murdered in exchange for sex or vice versa, the other in an insane asylum. The linked plots are a rather disgusting roundelay of sexual coercions and assaults, triple betrayals and love quadrangles, disguises and virgin swaps.

The dispiriting point seems to be that women who want to have sex with people their families didn’t choose deserve the bad ends they meet. This is considered a high point of Jacobean tragedy.

In the twenty-first century, Little Green Pig director Jaybird O’Berski injected his anarchic spirit into this archaic material, plopped into three venues, and left us on our own to figure out what to make of it.

The play is staged in two rooms. In the castle scenes, the text, read at headlong speed, was sometimes hard to parse, particularly in Shelby Hahn’s mutter as the loathsome DeFlores. A crisp, vivid Rebecca Bossen owned this act as Beatrice-Johanna, scheming to get DeFlores to kill her fiancé. Scholarly articles about seventeenth-century sexual mores complicate Beatrice-Johanna’s rape, but to us, it is just rape, staged with triggerwarning-worthy brutality and followed by a clown orchestra playing The Pixies.

Meanwhile, the asylum scenes are a kind of Borscht Belt music revue, as if Diane Arbus had shot an episode of America’s Got Talent. This part of the show is fun—if you can handle copious dick jokes.

The garish onslaught is hypnotic; we kept settling in and then being startled, like wait, what am I watching, and why?

This isn’t for Renaissance theater buffs, who would hate it, and if there’s a modern criticism in the mayhem, it’s hard to find.

It’s pure O’Berski-style extremity: half classic and half modern, half sparkly and half ugly, half serious and half crazy, half wonderful and half terrible. It deserves either all the stars or none (which we averaged out to three). Is O’Berski trolling us? Maybe, and while this is far from our favorite Little Green Pig show, that’s what keeps us coming back. —Brian Howe

indyscreen Citizen Ruth

FORGET THOSE AVENGERS. THIS DOC ABOUT A GROUNDBREAKING SUPREME COURT JUSTICE IS THE BEST SUPERHERO MOVIE OF THE YEAR.

BY GLENN MCDONALD

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deep dive EAT • DRINK • SHOP • PLAY

Coming January 17: Downtown Durham/Ninth & Broad For advertising opportunities, contact your ad rep or advertising@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

Coming January 17: Downtown Durham/Ninth & Broad For advertising opportunities, contact your ad rep or advertising@indyweek.com

Ruth Bader Ginsburg in RBG PHOTO COURTESY OF MAGNOLIA PICTURES

R

BG, the new documentary chronicling the life of Supreme Court Justice Ruth Bader Ginsburg, is way more fun than it might sound. Surprisingly bouncy and engaging, it charts Ginsburg’s gradual ascension from pioneering legal scholar to eighty-five-year-old pop-culture icon.

RBG is one of those rare docs that built enough momentum on its festival rounds (it opened Full Frame this year) to propel it onto the indie cinema circuit. It’s perfectly timed for a theatrical run through the heart of the American zeitgeist. With SNL skits and Notorious RBG T-shirts, Ginsburg has found a new generation of young admirers energized by #MeToo and America’s broader resistance. As the Supreme Court continues its rightward drift, Ginsberg has become an absolutely critical voice: our Great Dissenter.

Directors Betsy West and Julie Cohen take a mostly traditional approach, blending archival footage with interviews and some lively animations. RBG is structured around Ginsburg’s 1993 confirmation-hearing testimony. The narrative bounces off her words to flash back and forth in time. And what beautiful words they are. Ginsburg is a neurosurgeon of the English language, and we’re invited to simply admire the passion and precision of her opinions, majority or

dissenting. Her most devastating arguments are presented in stylized subtitles so we can better appreciate their sheer poetry.

But RBG engages the heart as well. The most moving elements concern Ginsburg’s personal story. The daughter of Brooklyn immigrants, she stormed the manly citadels of 1950s Harvard and Columbia law schools while raising two children and caring for her cancer-stricken husband. Her stamina is impossible. Her kids estimate that she slept about two hours a night for years.

This is a deeply admiring biography, to be sure, but it never tips into hagiography.

Between the narrative planks, we catch glimpses of Ginsburg’s severity and ambition. When asked to describe her mother as a parent, Ginsburg’s daughter says one word: exigent. Yeah, I had to look it up, too. It means “demanding,” basically, and the exchange provides a rather eloquent insight into the family dynamic.

Thanks to its spirit and its timing, RBG is more than just a documentary on a legal legend and feminist icon. It’s a film that reminds us how America is supposed to work—how real leaders emerge, contribute, and inspire.

Forget those Avengers. This is the best superhero movie of the year. arts@indyweek.com

RBG |  | Opening Friday, May 11 INDYweek.com | 5.9.18 | 29

5.9–5.16

WHAT TO DO THIS WEEK Wye Oak PHOTO BY SHERVIN LAINEZ THURSDAY, MAY 1O

WYE OAK

There’s a piece of wisdom that goes, “If it ain’t broke, don’t fix it,” but that didn’t work for Wye Oak. Jenn Wasner and Andy Stack, who now both call Durham home, once flourished within the creative limitations of operating exclusively as a duo. But as they approached making their new LP, they found that their self-imposed boundaries were an obstacle rather than an opportunity. The emotive, rock-leaning band branched out, expanding their songs to better match their technical prowess—so much so that they’ve added Loamlands guitarist Will Hackney to perform them live. The resulting record, last month’s The Louder I Call, The Faster It Runs, is sparkling and expansive, capturing a staggering range of textures and emotion. It veers between the title track’s tense thrill, the fragile “Join,” the poignant vulnerability of “Lifer,” to the electrifying blast of “Symmetry.” The band plays in Carrboro fresh off a string of dates in Europe, so expect these new songs to be in fine form. Palm opens with colorful, fidgety rock. —Allison Hussey CAT’S CRADLE, CARRBORO | 8 p.m., $18–$20, www.catscradle.com

WHAT ELSE SHOULD I DO?

JOHN AKOMFRAH AT THE NASHER (P. 25), THE CHANGELING AT MYSTERY BREWING (P. 28), GEOFF DYER AT CDS (P. 36), FEMININE SPECTRUM AT VAE (P. 26), LIGHT THE WOODS WITH SOUND AT DIX PARK (P. 27), LONGLEAF FILM FESTIVAL AT NCMH (P. 40), THE SONIC SOUTH AT CURRENT (P. 40), THE WEDDING FEAST AT THE PLANT (P. 38)

30 | 5.9.18 | INDYweek.com

THURSDAY, MAY 10–SUNDAY, JUNE 10

WAKEY, WAKEY

“We’re here to say goodbye,” reads the epigraph from Wakey, Wakey that Manbites Dog Theater selected to promote its upcoming production, the Triangle premiere of Will Eno’s play. If the brief quotation is unusually profound, it’s because it not only cuts to heart of Eno’s play about memory, mortality, and letting go, but it also underscores that this is the venerable Durham theater’s final production before it closes in June after thirty-one seasons. There will be time for remembrance, so for now, let’s linger in the present with this apt, ambitious sendoff. In this 2017 work by a major playwright—Beckett’s American heir apparent—a wheelchair-bound man faces the end and reflects on his life with Eno’s typical idiosyncrasy and eloquence, a rich character emerging from freewheeling digressions and tangents. Manbites cofounder Jeff Storer directs local stage veteran Derrick Ivey in the role Michael Emerson put such a strong stamp on; Lakeisha Coffey, recently praised by the INDY’s Byron Woods for her turn in another two-hander, Bartlett Theater’s Gidion’s Knot, plays care-worker Lisa. —Brian Howe MANBITES DOG THEATER, DURHAM | Various times, $5–$20, www.manbitesdogtheater.org

SUNDAY, MAY 13

MDOU MOCTAR

In the United States, wedding bands usually fit a certain profile: a feel-good ensemble of hired guns who are happy to deliver a boatload of dance-friendly cover songs. In his home country of Niger, Mdou Moctar’s bread-and-butter gigs are weddings, but his music is something entirely different. The guitarist weaves together traditional Tuareg styles with Western psychedelia. The resulting songs are spellbinding, knotty compositions that bridge two seemingly disparate worlds. Abetted by Portland’s Sahel Sounds record label, Moctar has found strong favor among adventurous listeners well outside Nigerien celebrations. And his oeuvre isn’t limited to the guitar, either—in 2015, he starred in Akounak Tedalat Taha Tazoughai, a clever and intriguing re-imagining of Prince’s Purple Rain. Though Moctar is influenced by the windswept deserts of his home country, his ambling, angular music is just as appropriate for ever-lengthening spring days. Dynamite Brothers and Repetitive Motion Disorder open. —Allison Hussey KINGS, RALEIGH | 9 p.m., $12–$14, www.kingsraleigh.com

FRIDAY, MAY 11–SUNDAY, JUNE 3

BLOOD DONE SIGN MY NAME

It’s usually a good idea to get the hardest part of a task out of the way first if you can. Historical playwright and brilliant solo performer Mike Wiley did that with Blood Done Sign My Name by adapting Duke professor Timothy Tyson’s sprawling memoir of a 1970 racially motivated killing in Oxford, North Carolina into a one-person show in 2008. Alone on stage, Wiley portrayed more than twenty characters, from the remorseless racist who killed Henry “Dickie” Marrow Jr. to Tyson’s father, a clergyman and community leader who worked to see justice done. Ten years later, Wiley has adapted that adaptation into a script for an ensemble of actors—only his third such endeavor, after The Parchman Hour and Leaving Eden, his new music theater work with Laurelyn Dossett that debuted last month at PlayMakers. Mark Phialas and Kevin Leonard anchor the world premiere of the ensemble version; Joseph Megel directs. —Byron Woods RALEIGH LITTLE THEATRE, RALEIGH | 8 p.m. Thu.–Sat./3 p.m. Sun., $15–$25, raleighlittletheatre.org

FRIDAY, MAY 11–SUNDAY, MAY 27

DRY POWDER

This inaugural production by Sonorous Road’s new repertory company reads like a mash-up of the Showtime series Billions and Jean-Paul Sartre’s No Exit. Two top associates wrangle for power at a blue-chip private-equity firm after its principal, Rick (Dan Oliver), has made a serious PR misstep, throwing an extravagant engagement party the same day one of his businesses, a supermarket chain, laid off thousands of workers across the country. In the face of nationwide demonstrations, ongoing negative coverage from the Times, and hints of possible congressional action in the air, Rick’s associate, Seth (Chris Hinton), comes up with a potentially company-saving play to acquire and create new jobs at an American luggage company. But a calculating Jenny (Sonorous Road cofounder Michelle Murray Wells), the numbers person, has a countermove in mind that will checkmate Seth—and then some. Sarah Burgess’s 2016 script has the crackle of David Mamet in a tale of jackknife finance where everything and nothing is “just business.” Marc Filiaci directs. —Byron Woods SONOROUS ROAD THEATRE, RALEIGH | Various times, $16–$20, www.sonorousroadrep.org INDYweek.com | 5.9.18 | 31

THE SACRED ART OF THE SAND MANDALA JOHN MCCUTCHEON SA 5/19 TRANSACTORS IMPROV: FOR FAMILIES TH 5/24 POPUP BROADWAY: GREASE SA 5/26 MARY LATTIMORE W/ AL RIGGS 6/1-3 THE DREAM OF THE BURNING BOY 5/15-19 FR 5/18

SA 5/12

NORTH MISSISSIPPI ALLSTARS

(PRESENTED BY ONE SONG PRODUCTIONS)

KARLA BONOFF JUST ANOTHER LYNCHING (PRESENTED BY JEGHETTO) SA 6/16 THE MONTI FR 6/22 5P1N0K10 (PRESENTED BY JEGHETTO) WE 6/6 6/8-9

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TRAMPLED BY TURTLES

WYE OAK 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25) 5/10 WYE OAK W/ PALM ($16/$18)

RECENTLY ANNOUNCED: HOBO JOHNSON & THE LOVEMAKERS, THE STEEL WHEELS, 29 @ 8:00 $12/$15 FIRESIDE COLLECTIVEWED SLOCANJUN RAMBLERS, BLAC RABBIT,PM, ELIZABETH COOK WED JUN 29 @ 8:00 PM, $12/$15 WED 5/9 TOMORROWS BAD SEEDS / Sun Dried Vibes / Roots of a Rebellion

RICHIE RICHIE RAMONE RAMONE

WED 5/9

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

TOMORROW’S BAD SEEDS FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC W/ SUN DRIED VIBES / ROOTS OF A REBELLION

FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC TUE5/10 7/5Museum Crank NOTHING / CULTURE ABUSE THU of LifeIt&Loud: Science Presents Tinkering & Drinkering TUE5/11 7/5 WAILIN Crank It Loud: NOTHING / CULTURE ABUSE STORMS / HUNDREDFTFACES FRI MICHAEL IAN BLACK & NICK THUNE WAILIN STORMS / HUNDREDFTFACES FRI 7/8 SolKitchen & The Art of Cool Project: FRI 7/8 The SolKitchen & The Art of Cool Project: Art of Noise #Durham The Art of Noise #Durham MON 7/11 Regulator Bookstore presents FRI 5/11 MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live TUE5/127/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS SAT Crank It Loud Presents SLAUGHTER TO PREVAIL TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS SUN THU5/137/14NoneStorymakers: Community Listening Escape The Law TourDurham, with KASH’D OUT / Tunnel VisionEvent / Seranation THU5/147/14FlashStorymakers: Durham, CommunityandListening Event by Oasis MON Chorus: “What Is Love?” by Haddaway “Wonderwall” SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN TUE KOALA’S Vinyl Vaudeville Floor Kids Edition SAT5/157/16KID PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUN JUL 17 Adira Amram and the Experience / DJ Jester SUN JULPM 17 @ 8:00 THE RAGBIRDS @ 8:00 PM $12/$15 THE RAGBIRDS $12/$15 TUE 5/15

MICHAEL IAN BLACK & NICK THUNE

KID KOALA’S VINYL VAUDEVILLE FLOOR KIDS EDITION

THE THE RAGBIRDS RAGBIRDS

W/ ADIRA AMRAM AND THE EXPERIENCE / DJ JESTER THU 5/17

Moogfest with Amber Mark / Madame Gandhi /Sassy Black

MON MAIL THE HORSE FRI 5/187/18Moogfest with Torres / Kyoka / Suicideyear / Tess Roby MON 7/18 MAIL THE HORSE

SAT 5/19JUL FRI 22 with Fatima Al Qadiri / Georgia / Helen Money / Ono Moogfest

FRI JULPM 22JOHN COWAN @ 8:00 SUN 5/20 Crank It Loud Presents

@ 8:00 PMJOHN COWAN $25/$30 HAMMERFALL / Flotsam & Jetsam / Mechabull / Era Gone $25/$30

JOHN COWAN JOHN COWAN w/ DARIN & BROOKE ALDRIDGE w/ DARIN & BROOKE ALDRIDGE

Flash Chorus: “Livin La Vida Loca” by Ricky Martin and “Enter Sandman” by Metallica WED 5/23 RODDY RADIATION (of The Specials) / The Scotch Bonnets / The Spectacles SAT 7/23 Girls Rock Showcase THU 5/24 ROBBIE FULKS / Alan Barnosky SAT 7/23 Girls Rock Showcase TUE5/257/26SHANE Motorco FRI SMITH & Comedy THE SAINTSNight: / Corey Hunt Band TUE5/307/26 Motorco Comedy/Night: ANDYLove WOODHULL ADAM COHEN WED Universal - Mallarme Chamber Players with Kaira Ba ANDY WOODHULL / ADAM COHEN er s FRI & BROOKE ALDRIDG -P op Ma tt FRI6/1 7/29DARIN YOUNG BULL Album Release Show s" er el tr av er s tis tic arBULL -P op Ma tt eVIDAL SAT FRI6/2 7/29 YOUNG Album Release at s"Show er mm CAIQUE & BATUQUE w/ ALIX AFF / DURTY DUB el su on av "C tis tic tr e ar at w/ ALIX AFF / DURTY DUB su mm on6/3 "CSUN Cat’s Cradle Presents POND / Fascinator SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, JARED & THE MILL, WED 6/6 Crank It Loud Presents BRICK + MORTAR / The Unlikely Candidates SUN JUL17 COMING SOON: YARN, JARED & THE MILL, HAL KETCHUM, NRBQ, LIZLEWIS, VICE, WINDHAND, Doors: 7pmJULIETTE THU 6/7 DUMPSTAPHUNK HAL KETCHUM, LIZ VICE, WINDHAND, Doors: 7pm&NRBQ, CODY CANADA THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm FRI 6/8 CANADA BIG SAM’S NATION CODY & THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm SISTER SPARROW &FUNKY THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM SUN 6/10 SPARROW The LL Orchestra Presenting Stop Making SenseNC(Featuring Curtis SISTER & THE DIRTY BIRDS, KING, DOYLE LAWSON & QUICKSILVER, THE RECORD LEGG, $12 ADV 723 RIGSBEE AVE -COMPANY, DURHAM, -ADRIAN MOTORCOMUSIC.COM $15 DAYEllerOF & Little Green Pig Theatrical Concern) DOYLE LAWSON &BAND, QUICKSILVER, THE RECORD COMPANY, LEGG, REBIRTH BRASS MY BRIGHTEST DIAMOND, KARLA ADRIAN BONOFF, $15 DAY OF !

W O N LE BKARLA REBIRTH BRASS BAND,WAINWRIGHT MY BRIGHTEST IL&ADANNY, COMING SOON: MAIMOUNA COLDBONOFF, ABORTED, TALIB KWELI, LOUDON VIIIADIAMOND, ! H" ATRACYANNE MTHE ORW UYOUSSEF, NCAVE, LB LE ALOUDON B W TALKING T A EKWELI, IL MYSTIC DREADS, GET UP KIDS, THE REVELERS, FANTASTIC NEGRITO, NBOWIE’S A A TALIB WAINWRIGHT III E V H LBUM A & THE MON 5/21

TT HH EE

S D R I B G S A D R R I B RA G

A SH TEMPLE OF W VOID,H WHO’S BAD, ANDREW W.K., E SALES, DARK TRANQUILLITY OLD E RTH" NE T HERISEWE, & TH HEA "TH723 LD O H S E R RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM H "THE T I R D S. C O M The Threshold & The Hearth THE RAGBIRDS

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

The Threshold & The Hearth THE RAGBIRDS

32 | 5.9.18 | INDYweek.com

5/11 COSMIC CHARLIE 2 SETS OF THE GRATEFUL DEAD! ($12/$15) 5/12 NORTH MISSISSIPPI ALLSTARS W/ FIONA SILVER ($20/$23) 5/18DAVID BROMBERG QUINTET (SEATEDSHOW) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) 5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20) 5/25PETER HOOK & THE LIGHT ($28/$31) 6/3 TYLER CHILDERS

SOLD OUT

6/6 PARQUET COURTS W/ GOAT GIRL ($15/ $17) 6/7 PHIL COOK ($17/ $20) 6/8 SHREDDERS (OF DOOMTREE) W/ ASTRONAUTALIS ($17/ $20) 6/13 TOO MANY ZOOZ ($17/$19) 6/16 SNOW THA PRODUCT ($18/$20) 6/19 STEPHEN MALKMUS & THE JICKS W/ LYTHICS ($20/$23) 6/21 MANCHESTER ORCHESTRA W/ O'BROTHER ($23 /$28) 6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM 7/20 CREATE YOUR SUMMER TOUR FEAT. KARINA GARCIA, WENGIE AND NATALIES OUTLET 8/7 AMANDA SHIRES 8/11 SAM BUSH ($30/$33) 8/28 WOLF PARADE 9/29 MT. JOY ($15/$17) 10/11 APARNA NANCHERLA ($22/$25) 10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10)

8/5 JOAN OF ARC ($12) 5/9 GIVERS W/CURT CASTLE ($15) 5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA 5/11 THE MOTHER HIPS W/ LEON III 5/17 AMY RIGBY W/ CHARLES LATHAM (FREE SHOW/ DONATIONS ENCOURAGED!) 5/18 PRISCILLA RENEA ($10/ $12 ) 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) 5/20 88.1 WKNC PRESENTS: ICEAGE W/ EMPATH ($14/$16) 5/22 ANDREW BRYANT W/ WILL STEWART 5/25 WYATT EASTERLING AND THE INSCRUTABLES (FJ VENTRE AND MIKE ROSADO)

10/27 ROKY ERICKSON ($25/ $28; ON SALE MAY 11)

8/16 VACATIONER W/ SEGO ($15/ $17) 9/9 SLOAN ($22/$25; ON SALE MAY 11) MEMORIAL HALL (UNC-CH)

9/14 NEKO CASE W/ THAO (OF THE GET DOWN STAY DOWN) DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ FARE THEE WELL TOUR. MOTORCO (DUR)

6/3 POND W/ FASCINATOR ($15) 6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) ($18/$20) 7/17 THE GET UP KIDS W/ RACQUET CLUB AND AGEIST ($22/ $26) 9/26 ANDREW W.K. ($20/$24)

5/26 THE SHOALDIGGERS W/ WINFIELD

NORTH CAROLINA MUSEUM OF ART

6/3 SUNFLOWER BEAN W/ THE NUDE PARTY ($12)

6/8 FIRST AID KIT W/ JADE BIRD

6/5 POST ANIMAL W/ PAUL CHERRY ($12/$14)

6/16 SHOVELS AND ROPE WITH SON VOLT

6/7 THE REGRETTES W/ DESTROY BOYS($10/$12)

6/23 MANDOLIN ORANGE W/ CHARLIE PARR

6/10 WAND W/ ITASCA ($12)

7/12 LAKE STREET DIVE

6/11 BENT KNEE W/ GATHERERS ($10) 6/14 PROPERSLEEP (ALBUM RELEASE PARTY) W/ SO SOON, THE TRUTH , AN AUTHOR, A POET, PAPERBACK, AND OL’ SPORT ($8) 6/15 THE TILLS, PIE FACE GIRLS, REESE MCHENRY & THE FOX 6/17 MAPS & ATLASES W/ PRISM TATS ($15/$17) 6/18 YOUNG WIDOWS W/ NULL, WAILIN STORMS 6/19 JEREMY ENIGK ($18/$20) 6/23 DESSA W/ MONAKR ($20) 7/7 QUIET SLANG ($13/$15) 7/13 PIERCE PETTIS ($15) 7/14 MATTHEW E WHITE ($15) 7/17 PETAL & CAMP COPE ($13/ $15)

7/21 SUMMER SALT W/ HOT $10 advance / $12 dayHEAT of FLASH AND THE SYMPOSIUM ($13/ $15) $10 advance / $12 day ofWAVE 10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18; ON SALE 5/11)

8/9 THE ESSEX GREEN

7/28 THE MAVERICKS 8/1 FATHER JOHN MISTY WITH SPECIAL GUEST JENNY LEWIS 8/3 KISHI BASHI AND JAKE SHIMABUKURO 8/18 TROMBONE SHORTY'S VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON THE RITZ (RAL)

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/LUKAS LD NELSON&PROMISEOFTHEREAL SO OUT 5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA

SOLD OUT

6/27 BEACH HOUSE HAW RIVER BALLROOM

5/12 TANK AND THE BANGAS LD W/ SWEET CRUDE SO OUT

C AT S C R A D L E . C O M ★ 9 1 9 . 9 6 7 . 9 0 5 3 300 E. MAIN STREET ★ CARRBORO

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music 5.9–5.16

WED, MAY 9

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

CAT’S CRADLE: Panda Bear, Geologist; 8:30 p.m., $22–$25.

CAT’S CRADLE (BACK ROOM): Givers, Curt Castle; 8:30 p.m., $15.

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

LINCOLN THEATRE: Mister Wives, Flint Eastwood; 7 p.m.

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

POUR HOUSE: The Grass Is Dead, Rev. Jeff Mosier, David Gans; 8 p.m., $12–$15.

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

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

THU, MAY 10 CAT’S CRADLE: Wye Oak, Palm; 8 p.m., $18–$20. See page 26.

CAT’S CRADLE BACK ROOM:

Frankie Cosmos [$15–$17/8:30 P.M.]

Frankie Cosmos, like their peers in the New York City twee indie pop scene, endear and alarm through their fixation upon saccharine sentiments, expressed via intentionally naïve lyrics. A representative line from their latest record, Vessel, goes, “You got nice eyes/They’re very blue/That is why/I look at you.” Frankie Cosmos seems to have little to say, but even so, Vessel is Frankie Cosmos at its most musically inventive, precocious, and appealing.

With Florist and Lala Lala.

—Noah Rawlings DURHAM PERFORMING ARTS CENTER:

David Byrne [$81+/8 P.M.]

As the leader of Talking Heads, David Byrne helped crack open concepts of what rock music could look and

sound like. In March, Byrne released American Utopia, his first “proper” solo project in fourteen years, but that gap wasn’t an idle time for Byrne. He’s busied himself with collaborations with St. Vincent and Brian Eno, even helming a rock musical about former Filipino first lady Imelda Marcos. Byrne continues to bend together visual and conceptual art with glimmering oddball pop, making him a still-vital creative cultural force. —Allison Hussey LINCOLN THEATRE: Billy Strings; 7 p.m.

NIGHTLIGHT:

Sarah Louise [$12/8 P.M.]

The Asheville guitarist Sarah Louise adds bold and striking colors to the palate of contemporary guitar. Her compositions are steeped in traditions of Appalachian folk, but integrated elements from drone, spiritual jazz, and minimalism push her music beyond genre constraints.

Deeper Woods, due on May 11 via Thrill Jockey, maintains many of the arboreal textures, birdsong melodies and reverent descriptions of nature that marked her previous twelve-string acoustic guitar records (which are fantastic), but it’s the first to prominently feature her voice. Layers of warm vocal accompaniment float over instrumental harmonies and complex filigrees (see: the waves of distortion that undergird “When Winter Turns”), evoking the deep greens and mutating shadows of the North Carolina woods she calls home. Libby Rodenbough and Nathan Golub open.

—Patrick Wall POUR HOUSE: Matthew Ryan; 6 p.m., $15. Local Band Local Beer: Little Stranger, Africa Unplugged, Crucial Fiya; 8 p.m., $3–$5.

RUBY DELUXE: 2 Slices, DES, sl0wgl0w; 8 p.m., $5.

WHITAKER & ATLANTIC: David J, Daniel Chavis; 7 p.m., $25–$30.

David Byrne stops at the Durham Performing Arts Center Thursday night.

PHOTO BY JODY ROGAC

INDYweek.com | 5.9.18 | 33

FRI, MAY 11 THE BULLPEN: Blank Range, Blanko Basnet; 8 p.m.

CAT’S CRADLE: Cosmic Charlie; 9 p.m., $12–$15.

CAT’S CRADLE (BACK ROOM): The Mother Hips, Leon III; 8:30 p.m., $15–$18.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Steely Dan, The Doobie Brothers; 7:30 p.m.

DUKE’S NELSON MUSIC ROOM: WireTap New Music: Vox Balaenae; 8 p.m., $10.

IMURJ: Smoke From All The Friction; 8 p.m., $5.

KINGS:

Tank and the Bangas headline the Haw River Ballroom Saturday.

PHOTO BY GUS BENNETT

Arrogance

[$23–$25/8:30 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

In the seventies and early eighties, few bands from North Carolina were as big as Arrogance, which got its start on UNC-Chapel Hill’s campus.

Arrogance was more on the “rock” end of the Southern rock spectrum, but its work

laid the foundation for the state’s alt-country boom in the nineties. Songs like “Your Sister Told Me” occasionally added a bouncy pop edge, too. Arrogance stalled out and split up in 1983, but the band’s members have stuck around as scene stalwarts—Don Dixon, for example, went on to become a celebrated producer, while Rod Abernethy built a career making music for video games. Arrogance’s reunion appearances are somewhat rare—this is an opportunity to get a blast from the past and appreciate a significant early part of the state’s varied music history. —Allison Hussey

of both jazz and classical.

Frequently joined by The Kontras Quartet on strings, the trio has more recently used Appalachian roots traditions as a springboard to dive deeper into the classical realm with Appalachian Concerto and Lucid Dreamer, as well as innovative compositions written with orchestral accompaniment.

They’ll debut with the North Carolina Symphony over this two-night stand.

—Spencer Griffith NIGHTLIGHT: Modular Night #2; 9:30 p.m., $7.

POUR HOUSE: Dr. Bacon, The Company Stores; 8 p.m., $7–$10.

SAT, M

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CAT’S CR Allstars, Fiona $20–$23.

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[$16–$18/8 SHADOWBOX STUDIO: Magnolia There are p Klezmer Band; 7:30 p.m., free.

N.C. Syphony with via The Kruger Brothers ST. MATTHEW’S EPISCOPAL operate their comp CHURCH: Jason Harrod; 7:30 p.m., [$18–$66/8 P.M.] and then t $15. to a live ba Well before arriving in North THE STATION: Schooner, Stevie, the vibrant Wilkesboro, North Carolina Jphono1; 9:30 p.m., $7. and the Ba from Switzerland, The Kruger THE WICKED WITCH: Gudiya, those band Brothers used American Ball is the Nightspace, Bamban, Diaspoura; folk music as a launching the New O 8 p.m., $10. point to explore elements each mem the group t Present this coupon for odysseys funk, psych and roll. W —Noah Ra

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In its third Slam keep going shap in-state ba at each of venues jus apart. The contrasts W howling m Bronzed C and Zephy out punk, w Gray Youn Sunny Slop against Na psych-pop Case Sens hooks with angular ind Lenderman Wristband all three ve from each Oak City O efforts to e homelessn —Spencer

SAT, MAY 12

THE WICKED WITCH: Ace Henderson, Danny Blaze, Akili; 9 p.m., $10.

THE CARY THEATER: Dr. Abe; 2 p.m., $10–$15.

SUN, MAY 13

CAT’S CRADLE: North Mississippi Allstars, Fiona Silver; 8:30 p.m., $20–$23.

DURTY BULL BREWING COMPANY: Alex Gordez; 4 p.m.

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

MOTORCO: Tunnel Vision, Seranation; 7:30 p.m., $10–$12.

HAW RIVER BALLROOM:

POUR HOUSE: Clap Monkey, MSRP, Prose of Kahn; 1 p.m., $5. Local Hip-Hop Showcase; 5 p.m., $12–$15.

Tank and the Bangas [$16–$18/8 P.M.]

MON, MAY 14

There are plenty of bands who operate via auteurs who craft their compositions unaided, and then translate their works to a live band thereafter. But the vibrant ensemble of Tank and the Bangas isn’t one of those bands. Tarriona “Tank” Ball is the de facto leader of the New Orleans band, but each member contributes to the group to create vibrant odysseys through hip-hop, funk, psychedelia, and rock and roll. With Sweet Crude.

—Noah Rawlings

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

In its third iteration, Sidewalk Slam keeps folks in festivalgoing shape with a trio of in-state bands performing at each of three Raleigh venues just a couple blocks apart. The Pour House bill contrasts Wailin Storm’s howling menace with The Bronzed Chorus’ mathy sprees and Zephyranthes spacedout punk, while Kings pits Gray Young’s post-rock and Sunny Slopes’ arty alternative against Naked Gods’ fuzzy psych-pop. Slim’s matches Case Sensitive’s heavy hooks with Secretary Pool’s angular indie rock and MJ Lenderman’s lo-fi jangles.

Wristbands permit access to all three venues, with a dollar from each ticket donated to Oak City Outreach Center’s efforts to end area hunger and homelessness.

—Spencer Griffith

A contemporary champion of the classic country sound, Margo Price is a fresh diversion from mainstream country music. Her twangy vocals, witty lyrics, and toetapping beats are inexplicably overlooked on country radio, but shouldn’t be overlooked in your music collection or in your heart. Erin Rae opens.

—Kat Harding

Kid Koala’s Vinyl Vaudeville Floor Kids Edition [$18–$22/8:30 P.M.]

Sarah Louise celebrates a new LP at Nightlight Thursday.

KOKA BOOTH AMPHITHEATRE:

Vance Joy

[$35–$50/7:30 P.M.] Four years after Dream Your Life Away brought Vance Joy international success on the strength of the single “Riptide,” the Australian singer-songwriter has returned with Nation of Two, following a similar blueprint of merging

PHOTO BY JUDY HENSON

melodramatic ballads with triumphant anthems. With a fondness for soaring refrains and romantic lyricism, Joy’s folk-pop is akin to a less explosive Mumford & Sons. It’s catchy enough but, lacking an earworm with the power of his breakthrough single, has little staying power. lovelytheband opens. —Spencer Griffith

MEMORIAL AUDITORIUM: Brandi Carlile; 8 p.m., $36–$69.

LINCOLN THEATRE: Jupiter Coyote, LowBrow; 7 p.m.

THE STATION: Elonzo Wesley, Chris Frisina; 9 p.m., $7.

MOTORCO: Slaughter To Prevail; 7:30 p.m., $13–$15.

NIGHTLIGHT: BENT; 10 p.m., $8.

POUR HOUSE: Kiernan McMullan, Ryan Dunson; 1 p.m., $10–$12.

SAXAPAHAW RIVER AMPHITHEATER: The Beast; 6 p.m., donations.

HAW RIVER BALLROOM:

THE PINHOOK: Mama Played Mondays; 7 p.m., free.

MOTORCO:

[$10/9 P.M.]

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

Margo Price

TUE, MAY 15

Sidewalk Slam

WED, MAY 16

NIGHTLIGHT: Latin, Funk, World DJ Night; 9 p.m., free.

POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m.

KINGS, THE POUR HOUSE, AND SLIM’S:

Messenger for a hell of an evening of mellow Americana.

Trampled by Turtles’ newest album, Life is Good on the Open Road, dropped on May 4, so be ready for fresh tracks that sometimes lean into nineties country ballads, feature frantic fiddling, and feature earnest lyrics that’ll set you on the edge of heartbreak.

—Kat Harding

Kid Koala is a producer, deejay, and multidisciplinary artist who has dabbled in everything from collaborations with Gorillaz to film scores (including 2013’s The Great Gatsby) to tours with A Tribe Called Quest.

At Motorco, however, he’ll stage an extravagant night of kid-friendly vaudeville, with an array of bizarre spectacles occupying the stage—robots, puppets, dancers, and more.

With Adira Amram and the Experience, plus DJ Jester.

—Noah Rawlings POUR HOUSE: Dragondeer, Blue Footed Boobies; 8 p.m., $8–$10.

THE RITZ:

Trampled By Turtles [$25–$47/8 P.M.]

Duluth, Minnesota’s Trampled

by Turtles will be joined

by Durham’s Hiss Golden

[$22–$25/8 P.M.]

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

THE MAYWOOD:

Cannabis Corpse [$12/8:30 P.M.]

In invoking the name of seminal American death metal band Cannibal Corpse and a smokable psychoactive, Cannabis Corpse make it abundantly clear that they’re about two things: weed and headbanging. Taken at their surface level, the Richmond death metal bong lords seem like a gimmicky joke, but that belies their collection of titanic riffs.

Heavy, oppressive and given to searing solos, Cannabis Corpse delivers brutal devastation that quickly dispels any notion of lighthearted stoner fun.

—Patrick Wall INDYweek.com | 5.9.18 | 35

art

5.9–5.16

OPENING

ONGOING

Artist Talk & OCAG Spring Show: Bill McAllister artist talk; Orange County Artists Guild opening reception. Fri, May 11, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

Art in the Garden 24th Annual Exhibition: Outdoor sculpture exhibition. Sat, May 12, 10 a.m.-6 p.m. Garden Art Gallery, Hillsborough. www.garden-art-gallery.com.

LAST The Art of War: Art CHANCE about contemporary military experience by Trish Brownlee, Alicia Dietz, and Folleh Tamba. Thru May 12.

Artspace, Raleigh. www.artspacenc.org.

LAST artfor(us): Black on CHANCE Black Project and Artspace present new work by Sherrill Roland. Thru May 12.

Artspace, Raleigh. www.artspacenc.org.

Artspace Spring Market: More than forty artists, food, drinks, and music. Sat, May 12, 11 a.m.5 p.m. Artspace, Raleigh. www.artspacenc.org.

Between Worlds: Artwork and stories by more than two hundred refugee and immigrant women and children in Orange, Durham, and Guilford Counties.

Presented by the Art Therapy Institute. Fri, May 11, 6-8 p.m.

Art Therapy Institute of NC, Carrboro. ncati.org.

Light the Woods with Sound: See story on p. 27. Fri-Sun, 7-10 p.m. Thru May 27.

Dorothea Dix Campus, Raleigh.

Not in my Backyard: MFA thesis exhibition by Jeanine Tatlock. May 15-24. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

The Peccadillo Show: Openhouse viewing of the nude paintings from former Carrboro speakeasy Peccadillo. Fri, May 11, 1-7 p.m. Thomas Stevens Gallery, Hillsborough.

REAL Durham Pop-Up Market: Entrepreneurs of color and “necessity-driven entrepreneurs” showcase and sell their products. Sat, May 12, noon-4 p.m. The Mothership, Durham. wearethemothership.com.

Sacred Art of the Sand Mandala: Tibetan Buddhist Monks of Drepung Gomang Monastery construct a sacred sand mandala. May 15-19, 10:30 a.m.-5:30 p.m.

The ArtsCenter, Carrboro. artscenterlive.org.

SPECIAL Spring Sublime: EVENT May 11-Jun 11.

Reception: Fri, May 11, 6-9 p.m. FRANK’s Outreach Gallery, Chapel Hill.

36 | 5.9.18 | INDYweek.com

Artspace Corridor Exhibition: Member artists Jane Cheek, Autumn Cobeland, Arsis Fruritch, Joyce Watkins King, and Susan LaMantia.

Thru Jul 28. Artspace, Raleigh. www.artspacenc.org.

Boats of the Times: Mixed media. Thru 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.

submit! Got something for our calendar? Submit the details at:

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

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The cover image of The Street Philosophy of Garry Winogrand PHOTO BY GERRY WINOGRAND MONDAY, MAY 14

GEOFF DYER What’s Geoff Dyer doing in our art section? No, the wide-ranging British essayist, novelist, and critic hasn’t taken up watercolors. (At least not yet, as far as we know.) But he has published a book on University of Texas Press devoted to Garry Winogrand, one of the definitive mid-twentieth-century New York street photographers. The Street Philosophy of Garry Winogrand is in the mold of John Szarkowski’s classic book on Eugène Atget. (Szarkowski, former director of photography at MoMA, once called Winogrand “the central photographer of his generation.”) The book includes one hundred of Winogrand’s energetic, self-consciously candid photos, matched with typically observant, informed, but idiosyncratic essays from Dyer, never one to shy away from subjectivity. His talk and signing at the Center for Documentary Studies is cosponsored by Duke’s MFA program in experimental and documentary arts, where he is this year’s commencement speaker. —Brian Howe

CENTER FOR DOCUMENTARY STUDIES, DURHAM

6 p.m. (reception)/7 p.m. (talk), free, www.documentarystudies.duke.edu

Though it was made two years prior to Trump’s election, “Trumpeter” seems like an on-the-nose caricature of our POTUS as a CEO. A trumpet connected to a motionactivated 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.

SPECIAL Celebrating Nature: EVENT Botanical drawings

by Preston Montague, wildlife photography by Ricky Davis, and pottery by Liz Kelly. Thru May 26. Reception: Thu, May 10, 5-8 p.m. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

LAST cl/us/ter: Work by CHANCE sixteen students from the ARTS 500 Senior Seminar. Thru May 13. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Coalesce: Watercolor Society of NC Central Region exhibit. Thru June 27. Sertoma Arts Center, Raleigh. parks.raleighnc.gov.

Downtown Cary Food & Flea: Locally made goods, antiques, crafts, food, and art. Sun, May 13, noon-4 p.m. Fidelity Bank Plaza, Cary. www.dtcfoodandflea.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

Chad Hughes: Oil paintings.

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

Latino Arts Collective Exhibit: Thru Jun 8. Halle Cultural Arts Center, Apex. www.thehalle.org.

The Lovers: 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 Joy Meyer’s large-scale video installation. 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.

Thru Jun 9. Lump, Raleigh. www. lumpprojects.org.—Brian Howe Gayle Stott Lowry: New paintings. Thru May 20. Eno Gallery, Hillsborough. www.enogallery.net.

LAST The Marriage of CHANCE Paint and Collage: Mixed media by Bernice Koff.

Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

Mentor/Mentee: Lope Max Diaz & Luke Miller Buchanan: Lee Hansley Gallery celebrates twenty-five years in a Raleigh with, appropriately enough, an exhibit celebrating lineage. Luke Miller Buchanan studied with Lope Max Diaz at N.C. State’s College of Design. Putting their paintings side by side shows how the elder’s striking geometric designs influenced but found softer, more sinuous expression in the canvases of the younger artist. Thru May 27. Lee Hansley, Raleigh. leehansleygallery.com.

—Brian Howe Painted Ladies: Actresses from the Pre-Code Era: Oil paintings

by Kevin Peddicord.

Thru May 27. Imurj, Raleigh.

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

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

LAST Ibrahim Said: CHANCE 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.

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 African-diaspora abstract artists who refined this new way of seeing. They range from mid-twentiethcentury Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit. Thru Jul 15.

Nasher Museum of Art, Durham. nasher.duke.edu. —Brian Howe Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

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

Structure: VAE Photographers Forum exhibit. Thru Jun 14.

Litmus Gallery, Raleigh. www.litmusgallery.com.

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 Sweet Dreams: Opening exhibition for new gallery located inside 311 Gallery. Thru May 26.

V L Rees Gallery, Raleigh. vlrees.com.

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. www.hillsboroughgallery.com.

LAST Us & Them: Portrait CHANCE paintings by William Paul Thomas. Thru May 10.

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

Watermark: Weaving and other traditional methods of hand-work by Dawn Hummer.

Thru May 25. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

What Is Good Art? 2018: Student artwork about ethics.

Thru May 17. Kenan Institute for Ethics at Duke University, Durham.

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

BLOCK2 Video Series, Raleigh.

Working Classics: Landscapes in oil by Steve Hessler. Thru May 31. NC Crafts Gallery, Carrboro. www.nccraftsgallery.com.

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

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

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bill.burton.lawyer@gmail.com INDYweek.com | 5.9.18 | 37

stage

The Wedding Feast PHOTO BY ZELLA MAGOO FRIDAY, MAY 11 & SATURDAY, MAY 12

THE WEDDING FEAST

It had been awhile—more than twenty years, actually—since Mardi Magoo had taken to the region’s stages as a member of the fabled musical, visual, and theatrical artist collective The Somnambulist Project. Then she got divorced and started getting up at four in the morning to dance. “I had nothing but energy for this thing,” she marvels, recalling how she assembled the healing theater ritual she staged with collaborators last fall for the pagan holiday Samhain. “Humans have been mourning our losses and celebrating our lives and victories as long as we’ve been here, but we’re forgetting how to do that in our culture.” Thus, the need for new rituals, like this ancient springtime fertility rite disguised as a burlesquevariety show. “Beltane is about the marriage of sun and earth, of spirit and matter,” Magoo says. “The Wedding Feast brings that marriage together in our own bodies.” It also features storyteller Louise Omoto Kessel, punk shadow puppeteer Joanna Roberts, and Magoo’s band, the Modern Mystics. —Byron Woods

THE PLANT, PITTSBORO | 8 p.m., $20 suggested donation, www.abundancenc.org

OPENING Big Red Dance Project: Dancing Out Loud: Dance with live vocals by all-female a cappella group Stella. $10-$15. May 10 & 11, 8 p.m. PSI Theatre, Durham. durhamarts.org.

Cinderella: Presented by the Durham Ballet Theatre. $20-$25. Sat, May 12, 6:30 p.m. & Sun, May 13, 3 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

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.

38 | 5.9.18 | INDYweek.com

Dry Powder: Play. $16-$20.

Thru May 28. Sonorous Road Theatre, Raleigh.

Feminine Spectrum: New performances by Harriet Hoover, Marie Garlock, Daniel B. Coleman, and Susan Harbage Page. Thu, May 10, 6 p.m. VAE Raleigh, Raleigh.

Hamiltunes: Hamilton karaoke with audience participation. $10 suggested donation.

May 11 & 12, 7 p.m. Burning Coal Theatre at the Murphey School, Raleigh. www. burningcoal.org.

Michael Ian Black and Nick Thune: $27-$30. Fri, May 11,

9 p.m. Motorco Music Hall, Durham. motorcomusic.com.

Transactors Improv: Family Vacation: One-act unscripted show based on audience suggestions. $10-$15. Sat, May 12, 8 p.m.

Walltown Children’s Theatre, Durham. walltownchildrenstheatre.org.

Whose Live Anyway?: Improv comedy and songs based on audience suggestions by Ryan Stiles, Greg Proops, Jeff B. Davis, and Joel Murray. $37-$68. Thu, May 10, 8 p.m.

Duke Energy Center for the Performing Arts, Raleigh. dukeenergycenterraleigh.com.

ONGOING

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

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

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

Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. www.fullsteam.ag.  The Changeling: Reviewed on p. 28. $10-$17. May 10-12, 8 p.m. Mystery Brewing Company, Hillsborough. www.mysterybrewing.com.

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.

A Night with Janis Joplin: NC Theatre usually favors single-week productions of hit Broadway musicals. 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-andalcohol overdose at age twentyseven—that Ferrari must convey. $30+. Thru May 20. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

—Byron Woods Stand-Up Comedy at Durty Bull: Comedy open mic. Fri, May 11, 8 p.m. Durty Bull Brewing Company, Durham.

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

Read our review of The Changeling on p. 28. PHOTO BY TIM WALTER

food & drink 2nd Annual BBQ Bash: BBQ, bluegrass, and a silent auction benefiting the Foundation Fighting Blindness. $75. Sat, May 12, 6-9 p.m. NC State Fairgrounds, Raleigh. www.ncstatefair.org.

Chefs for Change: Fundraising dinner series benefitting homeless families. $75. Mon, May 14, 6-9 p.m. The Rickhouse, Durham. www.rickhousedurham.com.

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.

Mad Hatters’ Tea and Gaden Party: Wake Forest Garden Club. $20-$25. Sat, May 12, 10 a.m.-3 p.m. Wake Forest Historical Museum, Wake Forest.

Rosé Fest: Sample more than thirty-five rosés. $25. Sat, May 12, 1-5 p.m. The Wine Feed, Durham.

Thrive NC: “Immersive culinary experience” with local chefs,

live music, and an opportunity to give back through community service. Summit on statewide food system challenges. Presented by Blue Cross NC. $30. May 10 & 11, 6-9 p.m. Raleigh City Market, Raleigh. www.GoThriveNC.com.

Tinkering & Drinkering: The North Carolina Museum of Life and Science’s tinkering happy hour. $10 suggested.

Thu, May 10, 6:30 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

INDYweek.com | 5.9.18 | 39

page READINGS & SIGNINGS Billy Beasley: Signing novel The Preacher’s Letter. $17. Sat, May 12, noon-4 p.m. Barnes & Noble - Crabtree Mall, Raleigh.

Beth Holmgren: With biography Warsaw is My Country. Wed, May 16, 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.

Poets from the Heron Clan: Reading and open mic. Thu, May 10, 7 p.m. Sweet Bee Theater & Center for the Arts, Pittsboro.

Second Thursday Poetry Reading Series: Beth Copeland

and Maura Way. Thu, May 10, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Joe L. Webster: Local federal judge discusses The Making and Measure of a Judge: Biography of the Honorable Sammie Chess Jr. Tue, May 15, 6 p.m. Stanford L Warren Branch Library, Durham. www.durhamcountylibrary.org.

Eraserhead: $6. Wed, May 9, 8:30 p.m. Alamo Drafthouse, Raleigh.

Music & Film Soiree: Performance by Oak City String Quartet followed by the film A Late Quartet. $20-$25. Sat, May 12, 6 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

Scream for Me Sarajevo: Documentary. $10. Thu, May 10, 9 p.m. Chelsea Theater, Chapel Hill. www.thechelseatheater.com.

OPENING Breaking In—Gabrielle Union plays a mother fighting to protect her children from home invaders in this thriller.

Rated PG-13.

Life of the Party—Melissa McCarthy headlines this ensemble comedy about a divorced mom who goes back to college and winds up in her daughter’s class. Rated PG-13.

40 | 5.9.18 | INDYweek.com

THE SONIC SOUTH In more than four decades, the Southern Oral History Program at UNC’s Center for the Study of the American South has amassed some six thousand interviews with everyday people from all walks of life. Each story has evident intrinsic value, but overriding narratives about time and place and culture and class are also hiding in plain sight, at least for those willing and able to look from a bird’s-eye view. Enter the Sonic South, a nationwide competition for audio producers to extract short, innovative documentaries or sound experiments from the archive, this year focusing on the theme of persistence and the voices of women. Hear the five finalists in this live listening event in the studio at Current, hosted by WUNC’s Leoneda Inge. —Brian Howe

LECTURES ETC. Art for Lunch: Rob Fucci: Rob Fucci, Peck Collection Research Fellow, on “Old Paper, New Research: Using Historical Watermarks to Study Drawings in the Ackland Art Museum.” Bring a bag lunch. Wed, May 16, noon.

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

screen SPECIAL SHOWINGS

THURSDAY, MAY 10

CURRENT ARTSPACE & STUDIO, CHAPEL HILL 7:30 p.m., free, www.sohp.org

Leoneda Inge PHOTO COURTESY OF SOHP

 RBG—Reviewed on p. 29. Rated PG.

FRIDAY, MAY 11 & SATURDAY, MAY 12

N OW P L AY I N G

LONGLEAF FILM FESTIVAL

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

With its annual Longleaf Film Festival, the N.C. Museum of History underscores that history runs all the way up to the moment just before this one.

It’s a free weekend of new and recent films—shorts and features, docs and fiction—that are either

by North Carolinians or have ties to the state, often drawing the past through the keyhole of the present. You’ll witness integration in Appalachia during the civil rights movement (Tom Dierolf ’s Almost Cured); the clash of two motorcycle festivals, one black and one white, in Myrtle Beach, South Carolina (Ricky Kelly’s Black Beach/White Beach: A Tale of Two Beaches); the muddy exertions of an arcane bicycle race called cyclocross (Jay Capers’s Carolina ’Cross); more than twelve hundred miniature folk-art buildings hidden in Hillsborough (Marsha Gordon and Louis Cherry’s Rendered Small); and much more. There’s a ticketed opening reception ($10) at 6:15 p.m. on Friday, May 11, followed by a block of outdoor screenings at 8:30 p.m. —Brian Howe

 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.  Lean on Pete— Andrew Haigh’s film about a boy trying to save his horse is quiet, slow, sad, and gorgeous.

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.

NORTH CAROLINA MUSUEM OF HISTORY, RALEIGH Various times, free, www.longleaffilmfestival.com PHOTO COURTESY OF NCMH

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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

C LA S S Y AT I N DYWE E K D OT CO M INDYweek.com | 5.9.18 | 41

5 8 2 1 4 6 7 3 9

bang for your buck!

3 5

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

8 8 1 6 3 1 2 3 classy 9 1 4 6 9 1 at 3 9 8 7 3 5 1 indyweek 2 4 4 8 5 7 2 dot 2 8 7 3 com 5 9 3 8 6 1 7 2 5 5 6 9 su |HARDdo | ku this week’s puzzle level: # 45

1

5 3 4

9

7

6 8 7 6

#2

5 4 3

9

6 5 9 8

2

2

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5

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.

9 7 5

5

6

7

8

8

9

3

4 9 9 2

6 1 1

6

5 7 9 3 1 8 76

9 7

2 7

6

3

6

#4

4

#4

6 4 9 7 8 3 5 2 1

4 6 5 9 1 7 3 2 8

8 1 2 6 5 3 4 7 9

3 7 9 8 4 2 1 5 6

1 2 4 3 6 5 9 8 7

6 3 8 7 9 1 5 4 2

5 8 3 4 7 6 2 9 1

7 4 6 1 2 9 8 3 5

2 9 1 5 3 8 7 6 4

4 9 1 2

3 7 4 8

9 6 3 5

7 3 5 4

8 2 6 1

5 8 9 7

6 4 2 9

1 5 8 3

2 1 7 6

7 9 2 1 5 1 5 4 8 9 7

4

5

HARD

# 48

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

CLASSY AT INDYWEEK DOT COM

Best of luck, and have fun! www.sudoku.com

# 46 8 5 2 1 9 6 7 4 30/10/2005 3

7 6 1 | 2INDYweek.com 3 4 8 9 5 42 | 5.9.18

2 6 7 8 6

6 1 3 8 # 47

9 5 7 2 8 4 6 1 3

1 7

8

5.9.18

solution to last week’s puzzle

# 45

3

7

HARD 1 3 7 5 2 9 6 8 4

4

2 1 9 7 4 3

5

2

1

1 7 2 9 5 4

8 9 3 2 1 6

6 5 4 7 3 8

2 3 8 1 7 5

9 1 6 4 8 3

5 4 7 6 2 9

3 8 1 5 9 7

4 2 5 8 6 1

7 6 9 3 4 2

# 47

7 1 6 5 9 8

9 8 3 4 1 2

4 5 2 6 3 7

2 7 1 3 4 9

6 4 8 1 7 5

5 3 9 8 2 6

8 2 5 9 6 3

3 6 4 7 5 1

1 9 7 2 8 4

# 48

2 8 3 1 9 4

4 7 9 8 6 5

6 5 1 2 7 3

3 1 8 7 9 9Book 6 4 your 3 2 7 5 2 4 6 4 3 5 9 7 8 2 1 5 4 6 9 7 8 1

5 1 ad 8 6 3 2

• Email amanda: classy@indywEEk.com

advertise on this page!

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

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last week's puzzle

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MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com| |5.9.18 5.9.18| |43 43 INDYweek.com

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

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