INDY Week 5.23.18

RALEIGH 5|23|18

SYSTEM SHOCK How Ashley Christensen is leading the restaurant industry into the future

By Layla Khoury-Hanold, p. 14

CHARTER SCHOOLS’ RACE PROBLEMS, P. 10

STRAWBERRY FIELDS FOREVER, P. 17

THE TAO OF COUNTRY MUSIC, P. 18

2 | 5.23.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 21

6 The General Assembly might be cramping the Bull City’s style, but that hasn’t stopped Steve Schewel and company from developing some Durham workarounds.

10 The two charter schools in northern Orange County are about 90 percent white.

12 Only three North Carolina charter schools joined forty-two school districts in closing for the May 16 teacher protest.

Durham’s Central Park School for Children was one of them.

14 Ashley Christensen didn’t win the James Beard Award this year, but her moral leadership is still reshaping her industry.

18 Willie Nelson and Sugarland offer two different paths to surviving one’s struggles—and indeed, different ways to look at the world.

22 The584’s Michelle Gonzalez-Green envisions an 80 percent people-of-color constituency for her new downtown art space.

23 The very first skeleton cataloged in the American Museum of Natural History’s fossil reptile collections was discovered in Chatham County.

DEPARTMENTS 6 News 14 Food 18 Music

Kaitlyn Aurelia Smith performs at Carolina Theatre during Moogfest.

22 Arts & Culture

PHOTO BY CAITLIN PENNA

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

On the cover ILLUSTRATION BY STEVE OLIVA/PHOTO BY JEREMY M. LANGE

Housing Market Update

Wake County

Year to Date 2017/2018

+/-

New listings

8,936/8,713

+2.8%

Closed Sales

5,909/5,785

+4.8%

$314,219/$334,803

+4.6%

31/28

-8.7%

Average Sales Price Days on Market

For more information, visit carpentergroupnc.com • Kyle Eckenrode (919) 669 0759 , Kimberlie Meeker (919) 623 0095 , Wes Blaylock (919) 889 4200 INDYweek.com | 5.23.18 | 3

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backtalk

Deserve Better

Kimberly Edwards writes that, at least Last week’s cover story profiled nine local where she comes from, the teachers shoulteachers who were taking part in the May der some of the blame: “In my county, many 16 Rally for Respect in Raleigh to pressure teachers (the ones who have even bothered the General Assembly to better fund public to vote since 2010) elected these sitting education.

Republicans because their preachers told Elizabeth M. Johnson writes that her them so. I can only hope that they’re finally child’s public-school teacher is a lot like the mad as hell. It’s been eight long years.” educators we spoke to: “Neither my husAnd Chris Jay points out that, on the day band nor I attended public school. When of the rally, lawmakers ended the first day we looked at a school for our daughter, of the short session after less than an hour: there were many options, but we decided “The cowards ended the legislative session on public school. We are astounded and for the day after just forty minutes. They grateful for her experience this year. The either are afraid of the teachers marchlevel of care and dedication to the students ing or don’t care about why they are. If we at our daughter’s school is nothing we have don’t get both the House and Senate back in ever seen before. There’s a teacher greetNovember, the teachers ing kids as they walk need to go on strike!” through the front door.

Last week we broke We see her with a hair“I can only hope that brush, doing a student’s they’re finally mad as hell.” the news that Nancy Errichetti, the head hair as they chat about the Montessori School reading or the school of Raleigh, had been arrested and charged play. There’s another teacher stationed in with aiding and abetting Nick Smith, who the same corridor every morning, greeting was charged last year with sexually abusevery kid who walks by. ing two students. As the INDY has pre“Our daughter’s teacher is a wonder. She viously reported, Errichetti twice gave has the patience of a saint, managing twenSmith warnings for inappropriate behavior, ty kids of varying backgrounds and skills including going into girls’ hotel rooms on every single day. Our child comes home school trips, but he remained in the classevery day rattling off new facts. We wonder room until his arrest in November. aloud where all of this comes from or how RaleighMom1977 doesn’t understand she knows owls don’t have ears! These three why the school’s Board of Trustees hasn’t cut teachers at our child’s school are not anomaErrichetti loose: “Please help me understand lies. They are like each of the nine teachers how this school has not asked this woman to in ‘School’s Out.’ They go beyond what is step down. She is a mandated reporter. State expected, put in countless hours, buy their law requires mandated reporters to report own supplies, and care for our children in suspected abuse/neglect. She slapped his increasingly more complex and emotionally hand and wrote up a bogus corrective action challenging ways than ever before. When are plan; meanwhile, this rapist continued to be we going to realize that public-school teacharound young children. The Board of Trusters are actively influencing our future? They, ees must be held accountable for this and and our kids, deserve much better.” fire her immediately.”

Tammy Raynor Petrosillo says she too had Montessoriparent offers similar thoughts: a situation with many more students than “The school should be shut down and a thordesks: “One year as an art teacher my last ough investigation, by external authorities, class of the day was forty-two students. I only undertaken. This school is suspiciously evahad twenty-six seats. It was a nightmare and sive and promotes a culture of secrecy. So left me in tears most days.” Melissa Wilder glad we pulled our kids out when we did.” adds: “My son had a math class his junior year with the teacher out sick on [long-term Want to see your name in bold? Email us at disability], so they combined classes and backtalk@indyweek.com, comment on our there were sixty students in the math class!

Facebook page or indyweek.com, or hit us up It didn’t go well. That was in Wake County at on Twitter: @indyweek. a ‘top’ school. So unacceptable!”

INDYweek.com | 5.23.18 | 5

indynews Schewel’s Rules

DURHAM’S MAYOR ON GENTRIFICATION, BEING COVERED BY THE NEWSPAPER HE FOUNDED, AND TRYING TO CULTIVATE THE MOST PROGRESSIVE CITY IN THE SOUTH

BY SARAH WILLETS

I

t’s been six months since Steve Schewel was sworn in as mayor of Durham, laying out a vision of the Bull City “as a progressive beacon for the South and the nation.” In a long, wide-ranging, occasionally wonky interview—Schewel is nothing if not verbose, particularly on subjects he cares about—the INDY asked him what it’s like being covered by the paper he founded, the council’s controversial statement against police exchanges, and leading a growing, liberal city in the age of Trump and under a Republican-controlled General Assembly.

Below is a condensed version of our interview, edited for space and clarity and organized into nine subjects.

THE MOST PROGRESSIVE CITY IN THE SOUTH Durham’s city council, with its majority of working moms of color, has been touted as one of the most progressive in the South. We asked Schewel about the potential of that group, given its limitations under the much more conservative General Assembly. In his answer, he discusses steps the city has taken to provide identification cards for undocumented immigrants, efforts to keep those busted for possession of marijuana out of the court system, and a program that provides grants to homeowners in three gentrifying neighborhoods to cover their rising tax bills.

Let me start with the things we would love to do.

We would love to have gun control that is meaningful. We would love to have municipal broadband. We would love to have environmental regulation that really protected our water supply as opposed to what the legislature will let us do. We would love to have inclusionary zoning.

6 | 5.23.18 | INDYweek.com

There are so many things that are hidden that no one even sees that are just little ways in which the legislature is constantly attacking us.

But there is still a ton we can do, and I think a lot of it is in what I think of as these Durham workarounds. The faith ID is nothing but a Durham workaround. The way in which our chief is handling bodycamera footage: Durham workaround. The misdemeanor diversion court is a Durham workaround of the marijuana laws. The tax-grant program we’re doing for the three neighborhoods is a Durham workaround of the state’s tax laws.

We can do a lot of that. It makes it much harder for us. It makes it much more cumbersome. But if we’re going to be the progressive city that we want to be, we have to take advantage of the opportunities we have for that.

ICE ACTIVITY IN DURHAM After Immigration and Customs Enforcement took twenty-five people into custody in the Triangle during one week last month, Schewel said he condemned the arrests “in the strongest possible terms.” We asked Schewel if he was concerned that speaking out against ICE would cause blowback for Durham.

I used to be more concerned about that than I am now, and here’s why: I used to think that Durham could fly under the ICE radar, and now I know we can’t. ICE is active here. We’re not drawing them here by making a strong statement against them.

I believe that ICE is here and that whatever we do in terms of speaking against them—and I believe that we should speak strongly against them—whatever we do, I believe they will be here, and they will be active here.

Mayor Steve Schewel PHOTO BY JENNY WARBURG

I do think that part of the reason that [Clarence Birkhead] won [the primary for Durham County sheriff ] was over the issue of the ICE detainers. I do think that the immigrant community has been very concerned about and opposed to the ICE detainers. By Clarence’s pledge not to continue those, and assuming that that happens—which I believe it will—I think that will improve relations [with the immigrant community]. I do support that change.

RACIAL DISPARITIES IN POLICING The Durham Police Department stopped fourteen thousand fewer drivers in 2017 than it did in 2013, the year before the agency began requiring officers to get a person’s written consent to search a vehicle without a warrant.

Black drivers accounted for about 60 percent of that reduction, but they’re still being disproportionately stopped and searched by Durham police. We asked Schewel what the city should do to address those disparities.

ting—and de-escalation goes along with procedural justice, the idea that people are treated fairly and feel like they’re treated fairly by a police officer in that encounter— all those things are going to contribute to our ability to continue on this trend.

HOUSING Twenty people a day are moving to Durham, many of whom want to live in the historically black neighborhoods ringing downtown. We asked Schewel how the city can increase its density to accommodate this demand for housing without destroying those neighborhoods.

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First of all, we are densifying, right? But we’re densifying for people who can afford it.

There’s another way that we can incentivize density that will be helpful for people who are low-income. One is the [Old West Durham neighborhood protection ordinance] that we passed the other night. It’s very rare among NPOs because, not only does it include accessory dwelling units, it encourages them.

“There are so many things that are just little ways in which the legislature is constantly attacking us.”

Can I emphasize the first part first? Because I think it’s a big, big story, and I don’t think it’s really been told the way it ought to be by you or anybody else.

But, true, we still have racial disparities in our stops and searches. And we have to continue to reduce those disparities. I feel like that will be happening. I feel like [Police Chief C.J. Davis] will be paying a lot of attention to that.

We’ve also reduced the disparity, as well.

So take a look at that. In other words, I know it can be done. We have to make sure that our police officers are never targeting anyone and that they’re never discriminating. And, I think, again, that’s something that you have to imbue in the culture of the police department.

I don’t think there’s any magic to it. But I think that the racial-equity training that our officers are getting now, the crisisintervention training that they’re getting, the de-escalation training that they’re get-

There’s a second aspect of this densification, which has to do with what’s called “missing-middle housing.” And missing middle includes triplexes, quads, townhomes, tiny homes. ADUs would be included in that as well. We should be allowing missing-middle housing to be built by-right according to design standards that make sure that that missing-middle housing is compatible with the scale of the neighborhood housing. We can do that, and our planning department is now just beginning to work on that. I’m very excited about that.

Another issue with our ability to maintain affordability in near-downtown neighborhoods is our affordable housing developers’ inability to act quickly when there is a property that’s for sale. This is where I think our housing trust fund, our affordable housing loan fund, will come into play. What that is about is to raise a pot of money—I would love to see twenty million in the fund—that would be available INDYweek.com | 5.23.18 | 7

LEGISLATIVE PRIORITIES

for low-interest loans for our affordablehousing developers to be able to move quickly. That money would be housed there, and then all you would have to vet was the project. You wouldn’t have to vet the organization. They would be pre-vetted.

I don’t know exactly the amount that we will be able to hit at the beginning, but I’m very hopeful we’ll be able to, in the next year or so, have a trust fund with money in the bank and able to act.

Among the priorities the city council conveyed to Durham’s legislative delegates is a change to a state law shielding police bodycamera footage from the public. Schewel said the current law leaves the decision to release footage “all in the hands of the police chief.”

We asked him about his thoughts as a former journalist on that law, as well as the city’s other legislative priorities.

EVICTIONS Last year, nearly ten thousand evictions were filed in Durham County, down from about fifteen thousand during the recession.

We asked what the city’s role should be in addressing evictions.

We should provide legal assistance. The county should be providing the emergency rental assistance, because the county does it already. They already do a lot of that, and there’s some more needed. It’s not what we do. And, you know, one of the things is that the county needs to help step up on these things as well. We need to be in this, fighting these evictions together.

There are more eviction filings per day than there are people moving to Durham per day. I’ve heard this called an eviction crisis. I almost never use the word crisis, because I think very few things really are a crisis. But I would say that, when you have that level of eviction, crisis is appropriate.

I am convinced that we can change that.

There are places that have changed it, and I think providing emergency rental assistance and more lawyers to represent these people in eviction court can make an enormous difference.

THE POLICE-EXCHANGE RESOLUTION Last month, the city council passed a resolution opposing “international exchanges with any country in which Durham officers receive military-style training” that included a quote from Chief Davis stating her agency is not and will specifically not participate in such exchanges with Israel. The resolution was prompted by a petition from a group called Demilitarize from Durham2Palestine, which wanted the city’s police force to disassociate itself from Israeli security forces. Council members—including Schewel, who is Jewish— have been criticized for the vote and called anti-Semitic. We asked Schewel how the resolution came together and whether it 8 | 5.23.18 | INDYweek.com

Schewel at his election-night victory party at Pompieri Pizza was worth the controversy, considering the fact that the exchanges aren’t actually happening.

Just today I’ve had a meeting with members of the Jewish community who were feeling vulnerable and concerned about the vote and feeling like the anti-Semitic posters that have come up in town again have contributed to that. I’m acutely aware of the fact that this was very controversial and that it stirred up a lot of emotions. I get that.

There was a petition during the election.

All of my colleagues except for myself signed the petition. So there was a lot of impetus to act on that. The groups who had circulated the petition came to us. [City manager Tom Bonfield] said, ‘I’ll talk to the chief. And what I think would be good is, let the chief issue a statement, and you all can respond.’

That’s what we did. [Chief Davis] issued a statement. We responded. So I think the impetus is really more around, from the council’s point of view, the kind of policing that we want.

I don’t expect this level of vitriol very often, but I also know it can happen. I try to figure out how to do the right thing and not worry too much about that. But we certainly could’ve taken a path that was less controversial.

LIGHT RAIL Last month, the INDY reported that state funding for the Durham-Orange Light Rail line could fall $63 million short of what GoTriangle had requested. While that

PHOTO BY JENNY WARBURG

number has been questioned and is within what the agency budgeted for contingency, any gap would come on top of another $102.5 million a public-private partnership is trying to raise. We asked Schewel how funding for the project is shaping up.

Think of a pie, you know, a two-point-fivebillion-dollar pie. Half of it is federal money that comes at the end of the rainbow.

Between us and Orange County, and mostly Durham—by far, mostly Durham— we are doing around nine hundred and fifty million in local sales tax, which you’ve already passed.

Then the other big pieces of that pie that we need are—two hundred and forty-eight million is the maximum state money, and about one hundred and two million in private funds or other donated funds. Not all private. So those are the two big pieces.

I think about forty or fifty million of that will come in right-of-way donations. So we’ve got to raise another fifty million. We have a wonderful group of people who are working on raising that. It’s in the beginning stages, and that needs to happen by the end of the year.

One of the ways you can fill that hole is value engineering, as it’s known. You can reduce the cost of the line. But that means making the line less attractive to ride. And so we don’t want to do that if we can help it.

We’ve got a really tight deadline because we want to get the full funding grant in 2019 now. So this is crunch time, and I’m hopeful. I mean, it’s far from a done deal, but I think we can get it done.

My understanding is that there is some sentiment in both parties—definitely among the Democrats, but also among some Republicans in the legislature—that city managers and city councils ought to have the ability to view and release that body-camera footage. Now you can do it, but you have to go to Superior Court. And that’s a really high barrier. That’s a bad policy. I hope we can make some progress on the body-camera part of that and the dashcam footage, but I don’t know that we can.

We discussed a piece of local legislation that I think is really—it’s very small and minor. It won’t be controversial, but I think it’s important. And that is the ability for Durham Public Schools to transfer land to CASA, our nonprofit housing developer, to [develop] teacher housing at the corner of [N.C. Highways 54 and 55].

The second thing that we talked about was net neutrality. [State Senator] Mike Woodard is actually working on it with another senator. They feel like there’s a lot of potential for an alliance with rural people, because net neutrality is actually as big an issue in rural areas as it is in urban.

ON BEING COVERED

BY THE PAPER HE FOUNDED Schewel founded the INDY in 1983 and sold it in 2012, and even though no one on the current editorial staff worked here while he owned the paper, the fact that he did can make covering him a little awkward. We wondered if he felt the same way.

It is strange. Because, you know, I’m so attached to the paper. Always will be. I have so many hopes and dreams for the INDY. I read it every week. I don’t read every single story, but I read it every week. And I’m very supportive of what you all are trying to do.

[But] it can feel a little odd at times. swillets@indyweek.com

INDYweek.com | 5.23.18 | 9

As white students leave public schools across Orange County, minorities are paying for charter schools that don’t serve them • By Adrian Wagner

T

o Orange County Commissioner Mark Marcoplos, what’s happened with the county’s two fast-growing charter schools over the last few years isn’t an accident.

Rather, the fact that these schools are about 90 percent white—compared to traditional Orange County public schools, which are about 50 percent white— is indicative not only of longstanding Republican efforts to undermine traditional public education but also of a new wave of segregation.

10 | 5.23.18 | INDYweek.com

White parents are pulling their kids from Orange County Schools’ more diverse public schools to pack them into homogenous charters—and in the process, they’re placing a burden on minority parents while straining the county’s budget.

“So many people are getting their news from Fox News and these questionable sources that prey on their fears,” Marcoplos says. “It’s all this divisiveness around race that is just boiling to the surface.”

From 2006–16, according to the National Charter School Alliance, enrollment

in charter schools across the country grew from 1.2 million to 3.1 million.

North Carolina has seen a similar story, encouraged by a General Assembly that, in 2011, repealed a law capping the number of charters that could operate in the state.

Consequently, between 2012 and 2017, enrollment in North Carolina charters grew from about forty-five thousand to just over one hundred thousand, now spread across 173 schools. In northern Orange County, enrollment over that period grew from 254 to 799—more than tripling in size,

now to about 10 percent of the OCS’s total enrollment.

OCS’s charters appear to have absorbed many of the white children whose parents have recently moved into the area, as well as some white kids who transferred from traditional public schools.

In some ways, this is the opposite of national trends. According to a report this year from the National Center for Education Statistics, much of the nationwide growth in charters has been driven by AfricanAmerican and Latino students.

But it does resemble what’s happening elsewhere in North Carolina.

Before the legislature removed the cap in 2011, state law required charters to assist gifted students and those struggling in traditional public schools. In addition, the 1996 law that authorized charters mandated that they have the same ethnic makeup as their traditional counterparts.

Those requirements, however, were eliminated.

Helen Ladd, a Duke researcher who studies charters, says these early policies were in place to prevent the kind of segregation the state is seeing today and to ensure that charters worked with school systems to provide services that traditional schools couldn’t.

But when the cap was lifted, Ladd says, everything changed.

In a 2015 paper, she argued that North Carolina’s charter schools are “increasingly serving the interests of relatively able white students in racially imbalanced schools.”

But there’s another, less-cynical explanation, says Brian Crawford, who helped start The Carter Community Charter School in Durham and ran an unsuccessful campaign for Orange County commissioner this year.

A key difference between OCS and CHCCS schools, according to a Department of Public Instruction report, is discipline problems. In 2016–17, OCS had five times more crime than CHCCS. And OCS had 452 suspensions for about eight thousand students, while CHCCS had only 220 suspensions for almost twice as many kids.

Many times, Crawford says, young black males get caught up in this disciplinary morass or school-to-prison pipeline. But his charter school, which is 90 percent black, doesn’t have those issues.

In Crawford’s view, it’s the public school system, not the charters, that are driving blacks and whites to segregate. They’re creating discipline problems where none need exist.

“We don’t have rampant fights every day in school,” he says. “We don’t have police

year, Ladd, the Duke researcher, wrote that Durham charters were pulling $500–$700 per pupil away from traditional schools.

“This is going to start making it harder for public schools to provide quality education,” says Ladd.

In Orange County, where the growing charters are nearly all white, that could leave the increasingly minority traditional schools underfunded.

Students who move to a charter school carry with them money that has already been earmarked for public schools. Next year, OCS projects that it will lose about $3.7 million on 924 charter school students, $500,000 higher than the current year.

Even when an OCS student goes to a charter outside of Orange County, that money still follows him or her.

About one hundred Orange County students go to other counties to attend charter schools. The biggest group goes to The Voyager School in Durham, which has forty-seven students from Orange. That’s $187,000 in taxpayer money that doesn’t

decades, from just over $16 million in 1997 to more than $580 million for the 2017–18 school year.

The two charters in OCS’s territory, Eno River Academy and The Expedition School, are free. Admission is by lottery, but luck isn’t always enough, as neither school provides transportation. (Lisa Bair, executive director of the Eno River Academy, says it would be impractical for her school to do so because it has students from nine counties.)

This lack of transportation primarily affects students in low-income households, says OCS communications director Seth Stephens. Many of these students are minorities, which is one reason the charter schools are so white.

Moreover, the current state system for allocating funds to counties for busing could actually be preventing charters from getting buses.

The DPI uses a formula to evaluate how efficient a school system’s buses are. Less efficient systems get less money; Stephens

“Public schools are actually a great place for civic engagement. You want your kid to be a captain of industry? They can’t be captains of industry supervising all white people.”

A

t the Orange County Board of Commissioners’ May 1 budget meeting, Marcoplos and Commissioner Penny Rich voiced concerns about white flight toward the county’s charters, arguing that these schools could be catering to racial biases.

Orange County’s other school district, Chapel Hill-Carrboro City Schools, hasn’t seen a similar migration toward its two charters. Together, these schools account for just 1 percent of CHCCS’s enrollment, and they don’t have the same types of racial disparities that OCS’s charter schools do.

Marcoplos isn’t sure why parents of CHCCS students seem to be more satisfied with their traditional public schools.

According to the state’s testing data, CHCCS schools aren’t superior, and their graduation rates are only slightly better. (Both districts have graduation rates among the highest in the state.)

One possible answer: CHCCS schools have fewer African-American and Hispanic students and more Asian students, who are stereotyped as being studious. Perhaps white parents feel more comfortable with their kids in that environment.

hauling them off to jail. We don’t have teachers saying ‘arrest them!’ So, in our mind, we have been successful with the experiment.

The experiment is how you educate kids on a daily basis without making them part of the juvenile justice system.”

At Carter Community, there are no school resource officers and no student suspensions. The result is fewer discipline problems, Crawford says.

Crawford says the lack of student diversity is an issue in his own school. The racial composition of charters isn’t reflective of the real world, he adds.

“Public schools are actually a great place for civic engagement,” he says. “You want your kid to be a captain of industry? They can’t be captains of industry supervising all white people; they have to learn how to work with and feel comfortable with many different kinds of people.”

C

ritics argue that the problem with charters is that they don’t exist in a vacuum. As they grow, they suck more and more money away from traditional public schools. In a paper released earlier this

go to OCS. Indeed, it doesn’t even go to a school in Orange County.

There are thirteen public schools in the OCS system. Each has fixed costs—teachers, facilities, athletic fields, lights, etc.— that don’t change even as students move to charters. This process drives up the school system’s per-student operating costs and puts a greater burden on taxpayers.

In 2012, Orange County allocated $25.7 million to OCS; for next year’s budget, the county manager has recommended giving the school system $33.4 million. The county is looking at raising property taxes to help cover these rising education costs.

While the school system’s budget has shot up by a third, the number of students has risen at a much slower rate, by about one thousand kids, or roughly 12 percent.

Most of this is unrelated to charters, and instead has to do with the county trying to make up for insufficient state funding.

But while the state’s per-pupil education funding is down almost 9 percent since the recession, adjusted for inflation, the General Assembly has boosted spending for charter schools dramatically in the last two

says that if Orange County charters tried to use the OCS bus system, the school system’s rating would drop, and OCS could lose out on state dollars. After all, charter students come from all over, and transporting them would likely require more buses to carry fewer kids greater distances.

“I think it could cause a crunch,” Stephens says. “It could put some serious pressure on the funding.”

For now, though, those concerns are theoretical, because the charters have not approached OCS about the possibility of busing.

Marcoplos says he feels like his hands are tied when it comes to charter school expansion.

“They’re such a major player in the county that we’ve actually begun to ask ourselves how we can work with them instead of just observe them as an outside force,” he says.

With few regulations and the potential for unlimited growth—not to mention a growing population moving to Orange County—being an outside force is working out pretty well for charters right now. backtalk@indyweek.com INDYweek.com | 5.23.18 | 11

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Unlikely Allies

Throughout North Carolina, charter schools are creating racial imbalances. One Durham charter wants to be part of the solution.

BY LUCAS HUBBARD

804 W. Peace St. • Raleigh • 834-7070

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῀ Apply now for August 2018 ῀ Contact Admissions admissions@daoisttraditions.edu www.daoisttraditions.edu 828.225.3993 12 | 5.23.18 | INDYweek.com

ay 16 was a day for sign-makers in Raleigh, and amid the red shirts and the vuvuzela blasts, teachers gathered with countless foam cores that asked “WTF: Where’s The Funding?” and enlisted Ms. Frizzle from Magic School Bus to convey their demands. But John Heffernan, the director of Durham’s Central Park School for Children, marched holding a simple, weather-worn poster. “We’re a Charter,” it said, “for Accountability, Collaboration, Equity.”

“It’s not just symbolic,” Heffernan says. “It’s actually really important, immediate work that, if we’re to ensure greater health for our children here, we can’t sit on the sidelines.”

That Heffernan’s presence and modest sign were statements enough reflects the strained relationship between charters and traditional public schools in North Carolina.

At least forty-two school districts across the state closed for the day, including Durham Public Schools, but only three of the state’s 173 charter schools took similar action, says Rhonda Dillingham, executive director of the North Carolina Association for Public Charter Schools. And while Dillingham notes that she’ll “always be proteacher,” she also says that “the organizer of the rally was [the North Carolina Association of Educators]. And NCAE has an anticharter agenda.”

Heffernan’s Central Park School for Children was one of the three to close. It

announced its decision on May 2, a few hours before DPS decided that all of its schools would do likewise.

“Other people have been drawing the dividing lines, and have been just pitting charter schools and public schools against each other,” says Morgan Carney, a sixthgrade teacher at CPSC. “We should be trying to draw the line for what we stand for.”

Leading up to May 16, Carney and Taylor Schmidt, a fifth-grade teacher at the school, wrote a spirited Herald Sun op-ed explaining CPSC’s action. They described North Carolina’s charter school system as “a Trojan Horse for dismantling public schools,” labeled CPSC and its peer charters as culpable in the underfunding of public schools and the resegregation of the education system, and took a stand against privatization, vouchers, and for-profit schools.

“Once schools like Central Park step into the game, it becomes super clear that this isn’t charter schools versus public schools and fighting over who gets the money,” says Lisa McCool-Grime, the high school director of the Durham Association of Educators, the local branch of the NCAE. “This is really about people who care about public education and students and people who don’t.”

The question now is how CPSC’s talk translates to action. “Driving back from Raleigh, staring out the window, that’s what was on all of our minds,” says Schmidt.

“What comes next?”

Charter schools—taxpayer-funded institutions that have leeway to experiment with curriculum and teaching methods—first arose in North Carolina in 1996; in 2011, the General Assembly voted to remove the onehundred-school statewide cap, sparking a bloom of new charters.

While proponents argue that the choice they provide—along with the opportunity for innovation—enables better student outcomes, social scientists have recently begun to study their adverse effects. A 2015 paper from Duke found that North Carolina’s charters were “increasingly serving the interests of relatively able white students in racially imbalanced schools,” and a 2018 analysis of six North Carolina school districts examined how the presence of charters affected public school funding: in Durham, public school services were reduced by $500–$700 per pupil.

The problem charters present, explains Helen Ladd, a Duke professor who coauthored both papers, is “how to reconcile the private interests of families or individual schools—and those are real interests—with the public or collective interest.”

A school’s mission may not overlap with the goals of parents or those of the greater region; such divergent aims can lead to deleterious outcomes.

CPSC saw that firsthand. “We were becoming a vehicle, in many ways, for class and for white flight,” says Heffernan, who took over as the school’s director in 2009.

The school changed in response, more intentionally pursuing diversity. In 2013, it added a weighted lottery system (a first in the state) that advantaged applicants who qualified for free or low-cost lunch. But within a choice-based system, even a school that offers an “unapologetically progressive education”—“our goal is to have kindergartners talking about race,” Schmidt notes— falls short of demographics on par with those of DPS. “We can weight [the lottery] all day long, but we’re still going to have an outrageous amount of applications coming from the suburbs,” he says.

It’s in light of such inequities, local and statewide, that Schmidt and Carney wrote the op-ed to challenge their peer charters— and CPSC itself—to do more. “We’re not asking you to shut down your entire system,” says Schmidt, “but we have to look for solutions.”

Educators on both fronts support more collaboration: the original vision of the charter model was to enable experiments, allowing newly discovered methods to proliferate throughout all schools.

But the question remains as to how that teamwork will happen. Earlier this decade, the DPS Board of Education approved a Vision for Quality Public

Sixth-grade teacher Morgan Carney (left) and fifth-grade teacher Taylor Schmidt at Durham Central Park School for Children PHOTO BY CAITLIN PENNA

Schools in Durham that outlined how Durham’s public schools could work with its charters, but the charters never signed on. According to members of that school board, the hesitation surrounded language stating that “all of our public schools will share equally in this challenge to educate our impoverished children.”

Carl Forsyth, the former managing director of Voyager Academy who organized this effort on the charters’ side, says in an email that he does not recall that language being a “contributing factor as to why the Vision Statement was not adopted.”

To many, pitting charters against traditional schools is not an accident but a reflection of how charters were initially implemented. The General Assembly created the charter system but didn’t establish the infrastructure that would allow the two groups to work together, so the question of “how to create authentic collaboration that’s meaningful” was passed off to local school districts, says McCool-Grime. “It’s

not an easy tool to tax an already-burdened school system with.”

What’s especially exciting about CPSC’s message, McCool-Grime says, is that the school is echoing what public school educators have been saying for many years. By denouncing the system it participates in and stepping out, the school can be a liaison to other, similarly minded charters. As the DAE continues to push for greater accountability for charters that aren’t innovating, Central Park—as a charter itself—can help identify appropriate standards that wouldn’t inhibit existing good work in those schools.

Maybe the boldest idea for forging a meaningful bond between the two school groups is the final bullet point in Carney and Schmidt’s op-ed. For charters that manage to innovate and reach stability, they want to find ways to reintegrate with public schools.

“I think the fact that that’s actually a thing that someone is saying aloud is a profound step forward,” says Bryan Proffitt, president of the DAE.

Given the persistent narrative is that only charters can innovate, Proffitt notes abundant evidence of the flexibility of Durham Public Schools: Southwest Elementary has a dual-language immersion program; Northern High School has a culinary-arts program; numerous elementary schools have Community Schools programs, which rely on the kind of localized decision-making one might find in a successful charter.

“So I think those things point to: Why couldn’t Central Park keep the things that it does that makes it unique, but also be part of the system?” says Proffitt.

It’s the sort of idea that these educators describe as both radical and common sense. And perhaps that’s what it will take to solve the ongoing educational divide.

“If we really want to have justice for our kids in education, then we need to retool our thinking,” Schmidt says. “Because it’s clear that this isn’t working.” backtalk@indyweek.com INDYweek.com | 5.23.18 | 13

indyfood

System Shock

ASHLEY CHRISTENSEN DIDN’T WIN THE JAMES BEARD AWARD THIS YEAR, BUT HER MORAL LEADERSHIP RESOUNDS THROUGH THE HOSPITALITY INDUSTRY

BY LAYLA KHOURY-HANOLD

O

n May 7, after the final medal of the evening was draped around the winner’s neck, an explosive energy radiated from the cavalcade of people spilling into the lobby of the Lyric Opera of Chicago. As post-ceremony nerves deflated faster than soufflé and the frantic anticipation of finally getting to eat, drink, and celebrate kicked in, there was a pervasive sense of optimism at the end of the twenty-eighth-annual James Beard Awards.

Ashley Christensen, chef-owner of Raleigh restaurants like Poole’s Diner, Death & Taxes, and Beasley’s Chicken + Honey, is no stranger to the Beard Awards, the Oscars of the food world. In 2014, she won the category of Best Chef: Southeast. This year, she was among five nominees for Outstanding Chef.

“Ashley Christensen is bad ass,” said chef Steve McHugh, a nominee for Best Chef: Southwest for his San Antonio restaurant, Cured. “I did an event with her once, and she can throw down.”

It was a common refrain I heard throughout the night. But beyond her prowess in the kitchen, Christensen is also celebrated among her peers for her moral leadership. In the wake of #MeToo, the sexual harassment allegations facing many high-profile chefs, and homegrown issues like the bathroom bill, Christensen has become a role model for effecting change and fostering equality in the hospitality industry.

Though Christensen didn’t take home the win (New York City’s Gabrielle Hamilton, of Prune, did), her progressive vision is part of a broader shift—the cause of the prevailing sense of optimism. This year’s winners reflected the James Beard Foundation’s effort to diversify its nominees; eleven out of fifteen chef awards went to women or people of color. The theme, “Rise,” underscored this cultural shift. On social media and in videos played throughout the evening, chefs posed with signs on which they’d written what they “rise” for.

14 | 5.23.18 | INDYweek.com

Lauren Ivey, Cappie Peete, Kaitlyn Goalen, Ashley Christensen, Charlotte Coman, and Lesley Anderson at the James Beard Awards PHOTO BY FRANCIS SON

It’s a badly needed jolt in a field that’s traditionally been a boys’ club where patriarchal hierarchies and macho environments fester. This is why the James Beard Foundation has two dedicated Women’s Leadership Programs to help advance women in food, regularly sponsoring panels and conferences to support that mission.

After meeting Christensen at a James Beard Foundation-sponsored Women’s Empowerment Breakfast & Panel, we asked her to share her top takeaways from the discussion and how they will shape her work— and the hospitality industry as a whole.

INDY: On the panel, Jessica Koslow from Sqirl in Los Angeles said that it’s up to the restaurant owners to define the culture in their restaurants. How do you do that in your own restaurants, and are there areas where you see room for improvement?

ASHLEY CHRISTENSEN: I agree with her statement, and I think it’s something that we’ve been working on for a long time. We think so much about the guest experience, which is tremendously important, but it’s really important to make sure that we’re considering how we make our employees feel. And it doesn’t just mean how you pay

people and your benefits, but how you consider them and the environment you create to make them feel welcome, safe, and successful.

I think a big part of the future of the restaurant industry depends on making people feel like they have the opportunity to feel pride and accomplishment in the roles that they love to do. Where I think previously, there’s been an idea in our industry that you’ve only made it if you’ve become the boss, whether you become a chef, the GM, or the owner. I don’t think it’s a good structure.

I think that we have built so much recognition around simply pushing people up the ladder, and I want to find a way to create some healthiness within all the levels of the hospitality industry.

One of the things that satisfies people most in their work is to know what’s expected of them. For us, it’s [about] doing a much better job of outlining job descriptions. Also really important is how we’re going to deliver feedback in a positive, constructive way that energizes people to want to do a job a little better each day.

I think we’re at a really important time.

The moves that are made in the next five years will define the future of the hospitality industry. And for that, and for so many reasons, we take this work very, very seriously.

We’re not just making food and serving food; we’re a part of something that serves our community but also serves our industry.

I think what panelist Rohini Dey said is that one way to close the inequality gap isn’t simply to have more women in the hospitality industry, but to promote women to positions of senior leadership. How do we close the inequality gap but still put the best person, regardless of gender, in the role?

It’s a complex question. I think that one way that we serve that issue is to put a lot of energy into the work environment itself and how women and men treat each another. If we create the environment where people have each other in their best interest and are pulling for each other and working together each day to learn and achieve things—I think that absolutely has to come from the top, and you have to plant the seeds to make that happen. I think that when we do that, then the balance we’re talking about occurs naturally. [There was] a very powerful statement, I can’t remember the word they used, but essentially something really drastic …

I think they called it an “artificial jolt.”

Yeah, that was the wording. I think that the jolt right now is the fact that this is a huge conversation that’s happening everywhere, and we have to keep that dialogue going. It can’t be, let’s just make some noise around this until people stop talking about it.

I think more than one panelist pointed out that having the conversation is important, but at a certain point, we need to involve men in the conversation. Otherwise, it’s just going to be a really great venting session.

Oh yeah. Definitely. We did a panel on this conversation about workplace environment and inequalities within the hospitality industry at South by Southwest. One of the things that hit me is, we’ve got to talk about the fact that everyone’s like, “Why aren’t men

I remember what panelist Rohini Dey said about women not just running the kitchen but owning the kitchen. How do you equip your team to have a stake not only from a personal-fulfillment standpoint but also in driving the financial success of the business?

We’ve got an incredible operations director.

We do one-on-ones with all of our managers, and they are part of the process of developing projections, really knowing how to move the numbers within their locations. That has been something over the last two years that we’ve put a ton of energy in, and it’s a long project. But for me it means everyone has a much deeper understanding of what’s happening in the walls of the businesses we’re running. I would love for these folks to stay and work with us for as long as they feel fulfilled in this company. But my other goal is, when they move on, I want to put people into the world who know how to change some of the things that have been problematic in the industry.

Ashley Christensen PHOTO BY JOHNNY AUTRY saying anything about this?” And then, when they speak up, everyone says, “Why are you talking right now?”

We’ve got to get to a place where we can have conversation with everybody at the table, because at the end of the day, that’s what the point is, right? It’s for everybody to be heard and to talk through and work through a solution that makes sense for how we direct the future of this industry.

Some of the conversation on Twitter was about how part of the problem is labeling this as a “women’s breakfast” or “women’s empowerment.” Where does that leave other groups that feel marginalized? How do you define a truly inclusive culture within your company?

We try to talk about the real issue, which is creating justice and equality, and there are so

many people to include in that conversation.

The piece that is very tough is that there’s a marketing angle to driving the issue forward.

I think that a lot of folks want to get behind something and believe in the wording, but also, the wording is part of the problem.

Not to say that you can’t have a wonderful women’s dinner. We have an event that we do here called 12 Roses, and it’s women winemakers, women somms, and all women chefs, but I don’t think that we use it as a tool to address something. It’s just women who want to gather and do good for this particular charity [The Frankie Lemmon School].

There is a lot of conversation among women chefs when you go to one of these dinners like, “Oh great, another women’s dinner.”

Whereas I think something that would be super powerful, if you want to have a dinner with all women, is do it and don’t mention it.

I’m curious to know what you think the role of the media is in all of this. How can we better educate consumers or highlight restaurants that promote equality in the same way that we speak ubiquitously about farmto-table, for example?

[By] making sure that the folks who are doing it right, that their stories are told in a way that allows people to gain inspiration from it.

[Especially people] who are in the industry and have never had a mentor who showed them that. Of course, a lot of it has to do with how we’re raised and a core set of values, but if you come up in a business and you work for six total schmucks who never show you what matters about being a great employer ... It’s important to look really hard for people who are not just doing it right, but who are doing it in interesting ways that can be applied to other folks’ businesses.

The theme for the awards was “Rise.” What do you rise for?

I rise for the future of my industry and all the things that we have the potential to do the right way, being able to share that message and set an example. I think that’s the reason my name was on that list. It’s because that’s something that we take very seriously. As we put the energy into this, we’re not protecting it and just keeping it home; we’re trying to make sure that everything that we put work into, we have the opportunity to share with our industry and to inspire the health and success of this business. I want this to become an industry where people want their children to work. And right now, I don’t think that we can all say that. laylakh@indyweek.com INDYweek.com | 5.23.18 | 15

FREE Community Event Food demos & activities throughout the day Food tickets for purchase using cash or credit card Overflow parking w/ shuttle service Raffle tickets for amazing prizes

Levin Jewish Community Center 1937 W. Cornwallis Rd., Durham, NC 919-354-4936 www.LevinJCC.org/2018jewishfoodfestival

All proceeds go to support our Food Pantry.

North Carolina Heritage Award Ceremony & Concert Wednesday, May 23, 7:30 PM • Duke Energy Center for the Performing Arts, Raleigh Tickets are $23.60. Call PineCone at (919) 664-8302 South Indian Performer and Instructor Asha Bala (with Leela School of Dance) Potters and musicians Glenn and Lula Bolick Master Fiddler Arvil Freeman (with Bryan McDowell) Soulful trumpet player Dick Knight (and The Monitors) Mandolin virtuoso Tony Williamson (with Noam Pikelny)

www.NCArts.org 16 | 5.23.18 | INDYweek.com

food

Chandler, which Lee describes as “a traditional, old-timey North Carolina strawberry that is soft, super sweet, and super juicy.”

They’re so soft and juicy that they should be eaten as soon as possible, making them perfect for snacking or as a topping for strawberry shortcake.

Camarosa are firmer, less juicy, and have a beefier bite, ideal for dipping in chocolate, making into jams and jellies, or baking into pies and cakes. They keep for four to six days in the refrigerator.

A new variety the Lees grew this year is Ruby June, which Karma describes as the perfect strawberry: the medium-to-large berries are soft, very sweet, and juicy, but they also hold up well in the rain and keep in the refrigerator for up to a week. Customers are also smitten, so the seven rows of Ruby Junes get picked quickly, and the picking season typically winds down after May. If you want some, now’s the time.

Try Buckwheat, which offers helpful picking tips on its website—green berries will not turn red after picking; leaving the stem and cap on will extend freshness—or find a U-Pick farm near you by visiting ncstrawberry.com/farm-locator.

Strawberry Alarm Clock

THE TIME IS RIPE FOR PICKING AND EATING NORTH CAROLINA STRAWBERRIES

BY LAYLA KHOURY-HANOLD

Rose’s Strawberry Sorbet and Strawberry Ice Cream Sandwiches PHOTO BY CAITLIN PENNA

I

n case you missed it, like we almost did, Governor Cooper declared May 2018 Strawberry Month in North Carolina.

This is my first spring in the state, and at first, I didn’t believe the hype. But the more strawberry dishes I saw popping up on Instagram feeds and local restaurant menus, and the more I heard locals waxing poetic about the ruby jewels, the more I realized that strawberries are definitely a thing around here.

May’s almost over, so we suggest you seize the moment and seek out some strawberry love for yourself. Better yet, find a farm where you can pick your own; North Carolina

really does have strawberry fields forever.

Well, almost. According to the governor’s proclamation, the state ranks third in the nation in strawberry production, with the fruit occupying twelve hundred acres of land spread throughout almost every county.

Here’s a primer on North Carolina strawberries, tips for picking, and a roundup of some of the Triangle’s juiciest offerings.

“The Perfect Strawberry” Karma Lee and her husband, Jim, are celebrating twenty years of growing strawberries at Buckwheat Farm in Apex, where they’ve mainly produced two varieties. There’s

Strawberry Kombucha at Southern Peak Brewery Sarah Michalski, kombucha brewer at Apex’s Southern Peak Brewery, describes strawberries’ sugars as the perfect complement to fermented beverages like kefir, beer, or kombucha. For Southern Peak’s strawberry ‘booch, Michalski juices forty pounds of Buckwheat Farm’s Camarosa and Chandler strawberries, the latter of which she likens to the wild strawberries she grew up picking.

The concentrated juice is added to Southern Peak’s kombucha, a fermented combination of organic black and green tea. The mixture ferments for several days until the strawberry flavor strikes a balance between tart and slightly sweet and the carbonation, a byproduct of fermentation, hits its peak.

With a ratio of one pound of berries per gallon of kombucha, the resulting scarlet-hued beverage is like spring in a glass.

The first week of June, Michalski will also release a seasonal strawberry version of Southern Peak’s One Mile Round, a pale wheat beer brewed with local honey.

Strawberry Ice Cream Sandwiches at Rose’s Noodles, Dumplings & Sweets Hat-tip to Instagram user @BitesofBullCity, whose post brought this striking frozen strawberry confection to our attention.

Rose’s Strawberry Sorbet and Strawberry Ice Cream Sandwiches are a sought-after treat as soon as they hit the menu, and to extend strawberry season from a spring

fling to a summer romance, co-owner and pastry whiz Katie Meddis has one whole freezer just for strawberry puree. She sources the berries from Eastern Carolina Organics and Primrose Farm at the Durham Farmers Market, using them as a base in both sorbet and ice cream, which she freezes together in separate layers, cuts into squares, and sandwiches between Meyer lemon sugar cookies.

Strawberry Drop Biscuit at Crawford & Son “I think there’s always been a kind of romantic air around strawberries,” says Krystle Swenson, pastry chef at Crawford & Son. “It’s one of those first vibrant fruits that come out after a long winter. They’re a sign of spring and warmer weather.”

Swenson likes to pair strawberries with classic flavor combinations like lemon or rose. For her Strawberry Drop Biscuit, she makes a buttermilk drop biscuit whose texture is somewhere between shortcake and cobbler topping and plates it alongside fresh strawberry ice cream ribboned with homemade strawberry jam, made with berries from Chickadee Farm and TerraStay Farm.

The biscuit and ice cream rest atop fresh strawberry slices in a pool of rose-tea strawberry syrup, which adds another layer of strawberry flavor and echoes the fruit’s floral notes. The dish is finished with lemon zest, Meyer lemon oil, and locally grown edible flowers.

Strawberry Butter at Acme Food & Beverage Company As a Southerner, chef Kevin Callaghan says that jam is one of the hallmarks of strawberry season. He describes some of the local strawberries from places like Lyon Farms and Elysian Fields Farm as so ripe and juicy that they practically turn into jam by themselves. One of Callaghan’s favorite ways to eat strawberry jam is with butter on warm biscuits, but he has always found it challenging to keep the jam inside the biscuit. To remedy that at Acme’s Sunday brunch, he whips homemade strawberry jam into butter with lemon juice and crunchy salt, then serves it alongside his cast-iron-baked Angel Biscuits. Callaghan also puts up a savory strawberry black-pepper jam to bring a taste of spring to cooler months, when he serves it alongside winter-rich foods like pâté. laylakh@indyweek.com

BUCKWHEAT FARM 2700 Holland Road, Apex 919-303-0339 www.buckwheatfarm.com

INDYweek.com | 5.23.18 | 17

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ILLUSTRATION BY STEVE OLIVA

F

or as long as songs have been written and sung, musicians have sometimes served as informal philosophers, delivering advice on heartbreak and hardship and reflections on the world at large. This weekend, two back-to-back, bigname country shows offer divergent solutions to life’s ailments. One leans toward classic country, featuring Willie Nelson with Sturgill Simpson (as well as Alison Krauss and Union Station and Delta Rae), while the

other bubbles with the colorful pop sensibility and razor-sharp writing of Sugarland and Brandy Clark. They offer two different paths to surviving one’s struggles, and indeed, different ways to look at the world.

One path, overgrown and unattended, boasts life as a cosmic wonder, something to be endured for all the right reasons. The other, immaculately manicured, promises a glittering affirmation of the cause of pain as inconsequential if you step back and look at

the bigger picture. One promises self-discovery and a little pain, nothing that can’t help but remind you of how short life is. The other will be easy and full of celebration, though it might leave you asking whether or not you deserve to be that happy, in light of how easy it was to get to your destination.

Perhaps you’ve heard the story of the butterfly: a man opens the cocoon to help the butterfly transform sooner, only to find that his well-intentioned act doomed the crea-

To advertise or feature a pet for adoption, please contact advertising@indyweek.com “Something More?” Sugarland welcomes you with open arms, loving hearts, with people ready to celebrate alongside you, having just run the same marathon as you.

The truth according to Sugarland is that the path to happiness not all glitz and glamour; sometimes it’s a disguise, a turd painted gold and sprayed with Febreeze to help you get through.

Maybe the question is not where, specifically, is the struggle, but rather, what does the product of your specific struggle look like? Does the product bear the reminder that the subject has struggled, like Simpson’s “Turtles All the Way Down?” Or is it a polished celebration of surviving the

“Would you rather turn your success into a chip on your shoulder, or a positive affirmation for the world?”

Do you like to wallow? To sit and stew in your regrets, painfully wishing for some kind of release, desperately begging god to turn back time and allow you to do it all over again the right way? Then the overgrown path is for you, allowing plenty of time alone with your thoughts as you stumble your way through the wilderness before arriving at your destination. You are dirty and bleeding, but alive. It’s a lonely road, one that dooms you to a certain type of survival that only you can understand.

Or do you like to celebrate? Sugarland makes the perfect soundtrack for an upbeat recognition of overcoming strife. It glitters and glistens. We all want to feel accomplished, loved, and to celebrate that, as Sugarland and songwriter Shy Carter do on “Stuck Like Glue.” Would you rather turn your success into a chip on your shoulder, as Simpson and Nelson do, or a positive affirmation for the world, like Sugarland’s

struggle, like you’d find with Sugarland’s “Babe” (which features Taylor Swift)?

Would you rather be constantly reminded of your pain and how you dealt with it or, for a brief moment, be allowed to leave it at the door? Either choice is the better one, and you’ll find escape in either venue.

Choose the dirty, unkempt path, the one you know will be hard, and you’ll find yourself at the altar of Willie Nelson and Sturgill Simpson, in all their long-haired, wooded, life-is-just-one-big-strugglemade-of-smaller-maybe-lesser-ones glory. The other will take you to the open arms of Sugarland and Brandy Clark, a celebration of life and what it can be.

This is not to say their interpretation of your struggle is less refined or shallow, but that theirs is one where you can at least celebrate your victory with others.

Choose wisely. music@indyweek.com

WILLIE NELSON, STURGILL SIMPSON Friday, May 25, 2018, 5:30 p.m., $35–$144 Coastal Credit Union Music Park at Walnut Creek, Raleigh www.livenation.com

SUGARLAND, BRANDY CLARK Saturday, May 26, 7 p.m., $28–$75 PNC Arena, Raleigh www.thepncarena.com

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

PEt

of the

week PHOTO BY ALYCAT PHOTO AND VIDEO SERVICES

ture before it even had a chance. There are two possible lessons to take away from this parable, depending on how you’re feeling.

One is that the struggle in whatever form it takes is inherent to future success, as Sturgill Simpson sings in “High Top Mountain” or Willie Nelson does in “Blue Eyes Crying in the Rain.”

Take that away, and you doom the other to failure, or, if you’re feeling dramatic, death.

The other is that your desire to help others in the way you deem necessary can have the reverse effect in the end, as Nelson alludes to on “Last Man Standing.” The ego is a powerful drug—you don’t know as much as you think you do, so why assume otherwise?

BRUTUS is our Pet of the Week!

“Et too Brute’?” Why yes! He too is looking for a loving home!

Proud to be one of those fabulous black felines that come complete with an abundance of love & faithfulness. Five years in this world have made him an ex-purrrt! Brutus is one of the Fab FIV Felines who will be thrilled to have a chance to show that this is a very manageable thing in the cat world.

Please consider this handsome boy, who is as loveable as he is beautiful.

For more information:

http://www.apsofdurham.org/dogs/nemo If you’re interested in featuring a pet for adoption, please contact advertising@indyweek.com INDYweek.com | 5.23.18 | 19

music Free Rein

FROM FIDDLE TUNES TO TOP 40 REACHES AND LOST-CAUSE KISS-OFFS, THESE FRESH LPS NAVIGATE NEW SPACES BOBBY BRITT

from a major-label artist—that Kickstarter money went to good use, it seems. But somehow, Nance never quite hits his sweet spot. The production often feels too clean and safe.

At other times, however, the project is a bit overproduced. “Mentions,” for example, trails off into a Tiesto-esque electronic bridge that’s structurally sound, but it’s a little too over-the-top and sounds engineered for Top 40 radio. This same lack of creativity hits especially hard on “Caffeinated,” a highenergy, beat-driven song that sounds fit for Kendrick Lamar-style fire. But instead

ALAYA SELF-RELEASED 1/2

Created by local artist Sarah Bronstein, the cover of Bobby Britt’s Alaya nods to some important aspects of the busy local fiddler’s solo debut. The rainbow itself alludes to the unfortunate circumstances surrounding the album’s creation. After complications from a medical procedure prevented Britt from moving to Spain to pursue a graduate degree from Berklee College of Music, Alaya producer Andrew Marlin pushed Britt to record his first LP, helping Britt find hope in a time of darkness. Meanwhile, the collagelike construction suggests the communityoriented approach to Alaya—Britt recruited guitarist Jerry Brown and banjo player Allison de Groot along with Marlin’s Mandolin Orange bandmates Emily Frantz and Josh Oliver to fill out his songs.

Britt—a member of Town Mountain who also plays with Big Fat Gap, Alice Gerrard, Hiss Golden Messenger, Mipso, and a slew of others—could have easily called in a cast of pals to make appearances, but the relatively tight circle of accomplished pickers contributing to the album allows the spotlight to remain on his expressive fiddle playing.

Original, spirited fiddle tunes “Tar Heal” and “Out of the Woods” and the sprightly traditional “Big Footed Man in the Sandy Lot” glow with joy, while Britt’s take on the slow air and hornpipe “The Fairest Rose” is particularly mournful. The soaring Irish reel “Silver Spire” contrasts with the breakneck bluegrass breakdown “Garfield’s Blackberry Blossom,” showcasing Britt’s tremendous versatility across the album’s instrumentals.

While Britt shines throughout, he cedes center stage on a trio of vocal tracks that were, incidentally, all recorded by Doc Watson. Led

by Marlin, the aching “Look Up, Look Down That Lonesome Road” and “Little Orphan Girl” both sound like vintage Mandolin 20 | 5.23.18 | INDYweek.com

Orange. The finest, though, is the gospelinflected “When I Die, I’ll Live Again,” which is perfectly suited to Oliver’s craggy voice.

With Marlin and Frantz adding harmonies, it suggests that the guitarist’s next solo release could be another gem from this crew.

Of course, Britt is well versed in using his talent to boost the signal of his collaborators, but Alaya proves he’s plenty worthy of his own attention. —Spencer Griffith

NANCE

NO EXCUSES SELF-RELEASED 1/2

By all indicationss, Nance has a great story to tell. He’s been on the independent rapper grind for years, ticking off the boxes that help lay the foundation for a long-term career.

He’s played major music festivals, opened for big artists, curates his own shows to great success, and executed a Kickstarter campaign that earned him over $10,000 last year. And most important, he can rap very well. All of the pieces seem to be in position for Nance to make a move for the next level, and on his new record, No Excuses, Nance sounds like he has his sights set on making that happen.

Everything about the album is industry standard. The production is crisp, and engineered to the level of anything you’d hear

Nance raps about drinking coffee—and not in a metaphorical context to illustrate his energy level. It’s literally about drinking coffee.

At the end of No Excuses, it’s clear that Nance is a good rapper, but his songwriting does little to give a proper introduction to the who, what, and why of Nance.

—Charles Morse

NICOLAY AND THE HOT AT NIGHTS GLACIERS FOREIGN EXCHANGE MUSIC 

Glaciers, the first full-length collaboration between Dutch multi-instrumentalist

and producer Nicolay and Raleigh’s Hot at Nights (Chris Boerner on eight-string guitar, Matt Douglas on his usual array of woodwinds, and drummer Nick Baglio), is alternately infuriating and intriguing.

On one level, it has the shimmering, inscrutable veneer of the finest waitingroom music, with simple, unremarkable melodies and more eighties-throwback synthesizers than one could ever imagine.

Chords move through rehashed soft-rock progressions, colored by bits of smooth jazz toward climaxes that feel tired and unearned.

The production can be both saturated and hazy at the same time, layering synths, guitars, and winds in evershifting combinations that often scream of artificiality. Boerner’s guitar solos can soar and shred aimlessly. The perfect storm arrives in “Of Days Gone By,” seven minutes spent wandering an endless shopping-mall hallway.

And yet, peering past the surface reveals that much more is going on, where the group crafts everything mentioned above into of something far more interesting.

Take “Saturn,” for instance. It centers on Baglio’s skill at creating deeply funky grooves that never settle anywhere for more than a few moments. The track

features one of the heaviest bass lines on the album, which prompts Boerner to channel Slash and Eddie Van Halen in a starburst of a solo. Nicolay’s playful array of synths make the song’s unexpected twists and turns all the more surprising.

Throughout the album, Douglas remains the group’s secret weapon. His deep arsenal of instruments and ear for layers provide attention-grabbing details throughout, like the burbling figures at the beginning of “The Current” or the floating chords in “Pioneer 11.”

He can turn even the most pat melody into a gripping expression. All of these contradictions show just how fine a musical line the group is riding on Glaciers, and how small the gap is between a compelling groove and muzak.

—Dan Ruccia

THE PINKERTON RAID WHERE THE WILDEST SPIRITS FLY SELF-RELEASED 

The debate over Confederate iconography has exploded in recent years—see the 2015 removal of the flag from South Carolina’s state capitol grounds in Columbia, last year’s toppling of a Confederate monument in downtown Durham, and ongoing protests against UNC’s Silent Sam statue. Every so often, small groups of Lost Causers—some of them decked out in full Confederate Army cosplay— gather to lament the flag’s absence and spew their heritage-not-hate errata. They dare defend their rights, sure, but so, too, do the protesters who come out in droves to combat the myopic bigotry endemic to the Lost Cause narrative.

Of course, the conflicts have been underscored by hateful rhetoric of the Cheeto in Chief. How else to explain the twin protest-song centerpieces of Where the Wildest Spirits Fly, the latest missive from Durham’s The Pinkerton Raid, but as a response to the current sociopolitical miasma? On “These Colors Don’t Run” and “Jefferson Davis Highway,” Jesse James DeConto digs hard for meaning.

On the latter, a dusty shuffler that paints a nice portrait of the rusted and rustic “God’s own country” of Carolina backwoods, DeConto casts pointed barbs at continued support for Confederate history and ideals, evoking gravitas without being overly somber.

“Colors,” meanwhile, is a poignant call for unity, for love to overcome hatred and fear. “You said these colors don’t run,” DeConto warbles, buttressed by doleful horns and a backing choir, during the song’s chorus, before wondering, “Then why are you so afraid?” Both songs nod to the band’s sharpening prowess, particular DeConto’s confidence as a bandleader.

But Where the Wildest Spirits Fly spends too much time mired in midtempo waltzes, and the band’s attempts at texture fall short of their intended mark, less The National and more an effects pedal-heavy Mumford and Sons. And as much as he’s sharpened his songwriting, DeConto still struggles at times with treacle. The gang shouts of “These colors don’t run/Red, yellow, brown, black and white” toward the end of “These Colors Don’t Run,” for instance, resound not as call to arms but a groan-worthy bit of naïvete.

Still, most of Where the Wildest Spirits Fly’s misses are by slim margins. Sure, there are those who wring out more astute excoriations of the duality of the Southern thing (Lee Bains and Drive-By Truckers spring to mind), but few brim with as much hope. —Patrick Wall

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM

THE PINKERTON RAID Friday, May 25, 9 p.m., $10 The Pour House, Raleigh www.thepourhousemusichall.com

INDYweek.com | 5.23.18 | 21

indyart

From the Bronx to the Bull

AS A NEW ART AND COMMUNITY SPACE RUN BY AND FOCUSED ON PEOPLE OF COLOR, THE584 IS AN ESSENTIAL ADDITION TO DOWNTOWN DURHAM BY CHRIS VITIELLO

M

the space is a throwback to times when urban ichelle Gonzalez-Green’s elbows real estate was rough, cheap, and abundant. are covered with paint and she Gonzalez-Green has certainly seen a lot can’t stop smiling. of spaces and organizations come and go as “I sold my first artwork and we were development and gentrification have shiftbarely open an hour,” she says at the opened socioeconomic lines and deepened racial ing of The AfroBombastic Exhibit, which disparity in Durham. You need a handful of launched The584, Gonzalez-Green’s downtown Durham design studio and community space, last Friday. “I’ve almost made my first month’s rent.”

The584, named after the South Bronx apartment block that Gonzalez-Green’s grandmother lived in for fifty-seven years, inhabits the space above H. Eugene Tatum III’s law offices on East Main Street, looking out at Carolina Soul Records and Bar Brunello through a trio of second-floor windows. Tatum had been using the room for storage but is more than happy to see it rejuvenated in GonzalezGreen’s hands.

She plans to use the small walkup as her own art and design studio and gallery.

Multitalented and restless, she welds, sculpts, does installation and mixedmedia work, and has tech and maker skills. And she’s anxious to install a makeshift darkroom, too.

“I want to explore everything in a space that’s big Michelle Gonzalez-Green PHOTO BY CAITLIN PENNA enough for me to do it,” Gonfingers to count off the Durham nonprofits zalez-Green says. “But I also need other peoshe’s worked for, including SEEDS, SeeSaw ple to share it, in part for inspiration.”

Studio, and Liberty Arts Studios & Foundry, In addition to providing a home for her of which she was executive director until a work and curation projects, The584 will be few weeks ago. open for community use for exhibits, meet“It’s going to be that small, underground ings, workshops, and other purposes. She’s space that used to be around in Durham and envisioning an 80 percent people-of-color New York—places I know—and they don’t constituency. Kept intentionally unfinished, 22 | 5.23.18 | INDYweek.com

exist anymore,” she says. “Everything’s, you know, fancy schmancy now. It’s to prove a point that you don’t need a large space to have dope art.”

A basic working space is all Thaddeus Edwards needs. Starting a few weeks before the opening, he and the rest of the African-

American improv comedy troupe Improv Noir started gathering here for rehearsals on Sunday afternoons.

“It’s important for there to be people-ofcolor-owned spaces in Durham, but especially art spaces,” Edwards says. “That needs to continue, and I want to put my own energies into these spaces.”

“Pay me in pork rinds and we’re good,” Gonzalez-Green jokes. Her highly negotiable rental terms could also include cash, barter, or the purchase of studio things she needs. “All they need is space downtown where it’s private, and that’s really hard to find now for artists in small groups. So I get to curate what comes here and also what happens here.”

What happens in the space will have a lot to do with what happens around it. Gonzalez-Green reconfigured The AfroBombastic Exhibit barely a week before it opened after a long conversation with a homeless man behind the building. She wanted to express his experience of displacement through personal and political histories that are as coded into the landscape as they are into the memories of the people who’ve lived through them.

It’s a toehold on the front lines of the battle between new Durham and old Durham. Lean out the windows of The584 and you can see multiple glass-box construction sites rising.

Look to the right and you can glimpse the base of the fallen Confederate monument a block east.

Look straight down at a pothole in Main Street and an old streetcar rail peeks through the broken asphalt.

“This is the first African-Latina-run art site in downtown Durham,” GonzalezGreen says with justifiable pride.

Visit www.the584.com for upcoming exhibits and hours. arts@indyweek.com

indyetc

After a While, Crocodile

HOW A HUMBLE CHATHAM COUNTY PHYTOSAUR CRAWLED INTO HISTORY BEFORE THE MIGHTY T. REX

BY ETHAN FULWOOD

I

f you visit the Hall of Vertebrate Origins at the American Museum of Natural History, you’ll find a mounted skeleton of Rutiodon carolinensis, a member of the superficially crocodile-like order Phytosauria. This long-lived and diverse group inhabited North America during the Triassic period, from around 250 million to 200 million years ago. If you look closely at the signage, you’ll notice that this skeleton, specimen AMNHFR-1, was the very first cataloged in the museum’s fossil reptile collections.

The AMNH is famous for spectacular mounted skeletons of dinosaurs from the badlands of Mongolia and the American West, but this skeleton, you might also notice, is said to come from the verdant hills of Chatham County, North Carolina. So how did this humble Carolina crocodylomorph make its way to Central Park West before the first Tyrannosaurus or Triceratops?

The AMNH signaled its intention to build a major vertebrate paleontology program in 1891, when it hired Henry Fairfield Osborn. Osborn’s interest in North Carolina appears to date from the 1880s, when he published a short paper on two jaws from mammal relatives called cynodonts. They had been found in Chatham County coal mines by Ebenezer Emmons, North Carolina’s first state geologist. Emmons’s visits to the mines in the 1850s also yielded fragmentary phytosaur fossils that he would give the name Rutiodon (“wrinkled tooth”) carolinensis (“of Carolina”), a new species.

Over the summers of 1894 and 1895, Osborn dispatched his newest assistant curator, William Diller Matthew, to North Carolina, on a search for more early mammals. Matthew would eventually become a pioneer of modern American mammalian paleontology. A creative theorist and a careful researcher, he did much to bring order to the chaos created by the exuberance of some nineteenth-century paleontologists. His North Carolina expeditions were his first for the AMNH.

Above: Chatham County native AMNH-FR-1 at the American Museum of Natural History. Below: The Egypt mine site on the Deep River. PHOTOS BY ETHAN FULWOOD

Matthew began work in the Egypt Coal Mine (now in the community of Cumnock), one of a string of mines along the Deep River from Gulf to Sanford that operated sporadically from the 1810s until the 1920s. The coal deposits of Chatham and Lee counties had formed in swamps in the rift basins created as the African plate pulled apart from North America beginning about 220 million years ago.

Phytosaurs were important predators in these swamp ecosystems and were common enough fossils to be well-known to the miners. Matthew returned to New York in 1895, frustrated in his efforts to find additional fossil mammals but with a large quantity of phytosaur material.

The specimen cataloged as AMNHFR-1 is a composite of a skull and a number of skeletal elements, likely from multiple creatures found in the Egypt mine in close proximity. The skeleton was mounted some time before 1906, when it first figured in a monograph, and again in the 1940s, using information acquired from additional Rutiodon discoveries. As such, Rutiodon carolinensis was among the first ancient reptiles to be represented by a museummounted skeleton.

Rutiodon wouldn’t reign long as king of AMNH reptiles, though. Later in 1895, the museum acquired the thousands of fossils collected by famous and fractious Philadelphia paleontologist E.D. Cope over his long career. This included many important dinosaur specimens that would find their place in the fossil reptile collections inaugurated by Matthew’s North Carolina phytosaurs. But fossils of phytosaurs, mammal relatives, and other contemporaneous animals have continued to emerge from rocks of the Triassic basins of central North Carolina, providing key insights into this period of the evolution of North America. arts@indyweek.com INDYweek.com | 5.23.18 | 23

indystage

WAKEY, WAKEY 

Through Sunday, June 10 Manbites Dog Theater, Durham www.manbitesdogtheater.org

Death at a Funeral

MANBITES DOG DELIBERATELY USES ITS LAST PRODUCTION AS A SYMBOL OF ITS OWN DEMISE, BUT THE SHOW ALSO SPEAKS TO THE UPS AND DOWNS OF THE VENERABLE THEATER'S LIFE

BY BYRON WOODS

I

’d love nothing more than to give Manbites Dog Theater a critical victory lap for Wakey, Wakey, its final show before morphing into an arts-supporting (but no longer producing) entity. No words here could diminish the reputation artistic director Jeff Storer and managing director Ed Hunt have earned over three decades at the head of the indispensable theater company that helped establish—all but single-handedly, at times—not only a site for cutting-edge independent theater in our region but also the context in which it could flourish.

Manbites Dog began as a direct challenge to the status quo, with a mission to radically broaden the scope of stories and faces visible on local stages. It has hosted a constellation of our best itinerant theater companies and nurtured a generation of emerging stage artists. These all demand our respect; the eleven five-star reviews that the INDY’s critics have conferred on Manbites Dog productions since 2004 far outstrip other area companies.

But the company’s own standard of excellence and our commitment to those who will continue this work after it’s gone obligates us to speak just as candidly about Wakey, Wakey as the company’s previous productions have spoken, time and again, to our community. On one level, Manbites Dog’s final show is a transparent exercise in theatrical grief counseling—a dubious bit of fan service for the company’s longtime supporters.

Will Eno’s 2017 script applies a postmodern aesthetic of awkwardness and failure— both personal and theatrical—to the one subject where defeat is a given: mortality.

At the start, central character Guy (played

by Manbites stalwart Derrick Ivey) wakes up under a sudden spotlight at center stage.

He jolts upright from the floor, yelling, “Is it time? I thought I had more time!” As 24 | 5.23.18 | INDYweek.com

Manbites Dog Theater managing director Ed Hunt (standing) and artistic director Jeff Storer FILE PHOTO BY ALEX BOERNER that classic actor’s nightmare continues, he ruefully admits, “This was supposed to be something else. … But, you know, tick tock, tick tock,” adding dryly, “That’s the sound of a clock, for you youngsters.”

Guy acknowledges that time and nature conquer our best-laid plans: “You adjust.

And your life is the adjustment. To the real things.” But of course, there comes a point when no further adjustment is possible. For Guy, it’s when he can no longer

rise from the wheelchair he’s previously stepped out of to underline its artifice as a prop. From that point, Wakey, Wakey turns into a coercive living wake: an indeterminate time spent with a man awaiting his own death, armed with little more than a stack of notecards, a juice box, an animal video, and an abiding sense of irony. Despite Ivey’s convincing emotional inventory, an unwelcome sense of lassitude deliberately creeps in. It will be

familiar to anyone who has sojourned for days with a loved one in a hospital.

Actor Lakeisha Coffey’s late appearance as Lisa, a nurse, injects moments of compassion and patient conversation.

But who is Guy, exactly? Given Wakey, Wakey’s marked similarities to an earlier Eno play—Thom Pain (based on nothing), which Manbites Dog produced in 2006—it seems like an awkward, lengthy coda featuring the same character later in

life. Both have the same morbid fixations, the same weakness for showbiz hokum.

Instead of Thom Pain’s raffle that never occurs, Wakey, Wakey’s Guy mentions (spoiler alert) nonexistent free T-shirts and 3-D glasses beneath our chairs: devices as flimsy as the projected anagram puzzles that momentarily interrupt the tedium as he and we wait for the end.

Both Thom Pain and Wakey, Wakey also share another weakness: the hasty short-

triple-duty in this production, also standing in for Manbites Dog itself. After his demise, Lisa, honoring his last request, struggles to transform Sonja Leigh Drum’s generic office set into a supposed site of celebration. As balloons and a disco ball descend, dance music and colored lights fill the space, and the walls split open to reveal props and set pieces from classic Manbites Dog productions, including The Mystery of Irma Vep, Mr. Burns, and The Nether.

its high-intensity lights in hot weather.

We always appreciated Manbites Dog for pushing us out of our emotional comfort zones, but less so for pushing us out of our physical ones.

A “celebration of life” is just a funeral by another name, but if Wakey, Wakey is an act of theatrical self-pity, it’s as close to an earned one as you can get. When a company this influential goes dark, a great loss is taking place. As so many of

an alternate universe, there’s a Manbites Dog that pursued long-term growth and sustainability by gradually building a professional company infrastructure, employing development, marketing, and management specialists. In their absence, and saddled with the burdens of its realestate acquisition, the theater always struggled to fund its next production. Plans to expand into the building’s second story, which would have made it functional year-

“We always appreciated Manbites Dog for pushing us out of our emotional comfort zones, but less so for pushing us out of our physical ones.” hand Eno uses, from single-word incantations to a supposed “gratitude exercise,” to refer to emotional states instead of writing scenes and dialogue that actually evoke them. If Guy already seems like a wan version of Thom Pain’s protagonist, he does

screen

But the opening-night crowd didn’t feel much like dancing, being enervated and sweat-drenched after spending seventy-five minutes in an overheated room.

That’s hardly news; for fourteen years, the theater’s central air has failed to match

its shows have, Manbites Dog’s closing also pushes us to reexamine our concepts of what local theater looks like, where it can occur, and what it can achieve. The theater wasn’t immune to the perils of complacency underlying its longevity. In

round, never materialized. Still, Manbites Dog Theater took us far in thirty-one years, both by raising the bar for local theater and by illustrating the challenges the next generation must overcome. arts@indyweek.com

best invention, though, is the suffragette droid L3-37, who doubles as a love interest for dedicated space pansexual Lando Calrissian (Donald Glover). Weird, funny, and unexpected, the droid-love subplot is the movie’s second-best surprise. First place goes to a last-minute character reveal that sets things up for a potentially intriguing sequel.

In the spirit of internet-age rankings, I’d sequence the new movies thusly: Rogue One > The Force Awakens > Solo > The Last Jedi.

Feel free to disagree.

That’s half the fun.

—Glenn McDonald

BRIEF

SOLO: A STAR WARS STORY ½

Opening Friday, May 25 As corporate custodians of George Lucas’s space-opera vision, Disney executives have actually done an admirable job with the new batch of Star Wars movies. They’ve commissioned clever scripts, hired smart people, and developed some good films. Movie math is always tricky, but surely everyone can agree with the certainty that The Last Jedi > The Phantom Menace.

Like 2016’s Rogue One, the new franchise installment, an origin story for beloved space smuggler Han Solo, is a spinoff from the main series of films, ostensibly designed to be one-off endeavor. If Rogue One was basically a war picture set in the Star Wars universe, then Solo is a space Western—and a pretty good one, too.

Blockbuster rookie Alden Ehrenreich takes over for Harrison Ford, and he’s perfectly adequate when channeling the character’s outlaw charm. Ehrenreich lacks Ford’s inherent forcefulness, though, and as a result, the entire movie has a lightweight quality that sometimes undercuts the thrills. There’s no menace, phantom or otherwise. Fans of the late, great

PHOTOS COURTESY OF DISNEY

sci-fi franchise Firefly will recognize the vibe; the movie is remarkably similar in its pulpy comic tone.

Director Ron Howard ably stages a series of action-packed set pieces, including an urban landspeeder chase, several gunslinger showdowns, and the infamous hyperspace heist known as the Kessel Run. The script’s

INDYweek.com | 5.23.18 | 25

WHAT TO DO THIS WEEK

SATURDAY, MAY 26

MARY LATTIMORE

It’s hard to make an elevator pitch for Mary Lattimore, a North Carolina-raised musician who now calls Los Angeles home. She plays the harp, but her music is unlike anything you might usually associate with the instrument, which she processes through effects pedals to sublime and otherworldly ends. Lattimore wrote most of her new record, Hundreds of Days, at a residency at the Headlands Center for the Arts in California’s Marin Headlands, but her music has always felt like it’s free from any earthly bounds. It drifts along in gentle, reverberating waves, and the effect is as close as one can get to weightlessness without leaving the ground. One title in particular, “Hello From the Edge of the Earth,” neatly describes all of Lattimore’s breathtaking songs. Al Riggs opens. —Allison Hussey THE ARTSCENTER, CARRBORO 8 p.m., $15, www.artscenterlive.org

Mary Lattimore PHOTO BY JACKIE LEE YOUNG

SATURDAY, MAY 26

KENDRICK LAMAR, SZA, SCHOOLBOY Q

FRIDAY, MAY 25

Top Dawg Entertainment’s aptly titled Championship Tour, which stops in Raleigh this weekend, features a rare reunion of much of the label’s roster of contemporary hip-hop luminaries. Bringing their West Coast flair, the championship team includes Kendrick Lamar, SZA, Schoolboy Q, Jay Rock, and more. The leading star is Lamar, who recently made history by becoming the first hip-hop artist to win a Pulitzer Prize. Lamar’s 2017 album, DAMN., was “a virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism,” in the words of the prize committee. Schoolboy Q, Lamar’s frequent collaborator, has two wellreceived albums under his belt with 2014’s Oxymoron and 2016’s Blank Face. SZA, who brings high-gloss R&B to the lineup, had a breakout year in 2017; her critically acclaimed debut, CTRL, earned five Grammy nominations and platinum certification. With Jay Rock, Ab Soul, SiR, and Lance Skiiiwalker. —Kyesha Jennings COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, RALEIGH 7:30 p.m., $35–$174, www.livenation.com

AUDIO UNDER THE STARS

Whether it’s NPR in our cars or podcasts at the office, many of us are constantly awash in audio documentaries. The stroke of brilliance of Audio Under the Stars was to open the doors, pull out the earbuds, and fling these stories open to social life in the night air. Every summer since 2014—first at SPECTRE Arts, now at its own digs—the Center for Documentary Studies has put on this monthly Third Friday event in which short, locally produced or focused audio docs are introduced live and played in a courtyard full of people picnicking with friends on blankets and folding chairs (in all cases, BYO). This season begins on the theme of “Connections: Lost and Found,” with a batch of stories about “special friendships, unlikely allegiances, surprising encounters, and missed connections; the bonds that knit people, families, and communities together, and what happens when those fall apart.” —Brian Howe CENTER FOR DOCUMENTARY STUDIES, DURHAM 8 p.m., free, www.audiounderthestars.org

WHAT ELSE SHOULD I DO?

ANIMAZEMENT AT THE RALEIGH CONVENTION CENTER (P. 32), DADDY LONG LEGS AT KENNEDY THEATRE (P. 35), MOVIES IN THE PARK AT DURHAM CENTRAL PARK (P. 36), WILLIE NELSON AT COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK (P. 18), THE PINKERTON RAID AT THE POUR HOUSE (P. 21), SUGARLAND AT PNC ARENA (P. 18), WAKEY, WAKEY AT MANBITES DOG THEATER (P. 24) 26 | 5.23.18 | INDYweek.com

5.23– 5.30

DURHAM’S YEAR ROUND FLEA MARKET

At the Durham Green Flea Market you can find:

FOOD TRUCKS! Space Is the Place THURSDAY, MAY 24

SPACE IS THE PLACE

If Black Panther recently spread the gospel of Afrofuturism to the masses, the canon of Sun Ra, including this 1974 sci-fi film, is one of the cosmology’s foundational sources. The film’s genesis lies in the early seventies, when the visionary jazz musician was teaching a course on “The Black Man in the Cosmos” at UC Berkeley. These lectures formed the basis for Space Is the Place, in which a time-traveling Sun Ra and his Arkestra discover a new planet where they want to resettle African Americans. But they have to win a card game against the evil Overlord, a pimp, first. Of course, Sun Ra uses music to rally the youth to his cause, even as the Overlord works to poison their minds and NASA scientists try to steal his space-travel secrets. The freewheeling psychedelic narrative is the result of experimental structuring and editing techniques, but it conceals a systemic indictment of the white power structure and how it can co-opt even African Americans. See it at Shadowbox with Sun Ra tunes spinning before and after. —Brian Howe SHADOWBOX STUDIO, DURHAM | 7 p.m., free, www.shadowboxstudio.org

Also-novelties, clothing and accessories, toys, collectibles, snacks, computer repairs, auto parts, appliances, incense and body products, crafts, tools, other peoples past treasures, birds, produce and so much more!

Open Saturday and Sunday 7am- 4pm Rain or shine shopping Vendors indoors and outdoors 1600 East Petigrew St., Durham 27703 durhamgreenfleamarket.com INDYweek.com | 5.23.18 | 27

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PETER HOOK & THE LIGHT PERFORMING BOTH JOY DIVISION AND NEW ORDER’S ‘SUBSTANCE’ ALBUMS...

AND MORE!

WE 6/6

PARQUET COURTS

SA 6/16

RECENTLY ANNOUNCED: MIKE FARRIS, AMY RAY AND HER BAND, WEDTHE JUN @ 8:00 PM, $12/$15 SPILL29 CANVAS WED JUN 29 @ 8:00 PM, $12/$15 WED 5/23 RODDY RADIATION (of The Specials) The Scotch Bonnets / The Spectacles THU 5/24 ROBBIE FULKS / Alan Barnosky

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

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TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE ROBBIE FULKS W/ ALAN BARNOSKY TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES FRI 5/25

WAILIN STORMS / HUNDREDFTFACES SHANE SMITH & THE SAINTS / Corey Hunt Band

7/8 SolKitchen & The Art of Cool Project: 7/8 SolKitchen & The Art of Cool Project: The Art of Noise #Durham The Art of Noise #Durham MON 7/11 Regulator Bookstore presents FRI 5/257/11 Regulator Bookstore presents MON HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS W/ COREY HUNT BAND TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS THU5/307/14Universal Storymakers: Durham, Community WED Love - Mallarme Chamber PlayersListening with KairaEvent Ba THU 7/14 Storymakers: Durham, Community Listening Event FRI SAT6/1 7/16DARIN PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN & BROOKE ALDRIDGE SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUN JUL 17 SUN JULPM 17 @ 8:00 THE RAGBIRDS @ 8:00 PM $12/$15 THE RAGBIRDS $12/$15 FRI FRI

SHANE SMITH & THE SAINTS

SU 6/3 @CAT’S CRADLE BACK ROOM

SUNFLOWER BEAN

5/25PETER HOOK & THE LIGHT ($28/$31)

THE DARIN & BROOKE ALDRIDGE THE RAGBIRDS RAGBIRDS

6/6 PARQUET COURTS W/ GOAT GIRL ($15/ $17)

5/25 WYATT EASTERLING AND THE INSCRUTABLES (FJ VENTRE AND MIKE ROSADO)

6/7 PHIL COOK W/ JAKE XERXES FUSSELL ($17/ $20)

5/26 THE SHOALDIGGERS W/ WINFIELD

6/8 SHREDDERS (OF DOOMTREE) W/ ASTRONAUTALIS ($17/ $20)

5/27 CLAUDINE LANGILLE AND THE LOW HIGHLANDERS ($15; SEATED SHOW)

6/13 TOO MANY ZOOZ ($17/$19)

6/1 ANGIE APARO ($10/$14)

6/16 SNOW THA PRODUCT ($18/$20)

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

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

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

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

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

6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25)

7/20 CREATE YOUR SUMMER TOUR FEAT. KARINA GARCIA, WENGIE AND NATALIES OUTLET

MON6/2 7/18CAIQUE MAIL THE& HORSE SAT VIDAL BATUQUE MON 7/18 MAIL THE HORSE

SUN FRI6/3JULCat’s 22 Cradle Presents POND / Fascinator

FRI JUL 22 @ 8:00 PMJOHN COWAN $25/$30 THU 6/7 DUMPSTAPHUNK / The Get Right Band $25/$30

@ 8:00 PMJOHN WED 6/6 Crank It LoudCOWAN Presents BRICK + MORTAR / The Unlikely Candidates

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

BIG SAM’S FUNKY NATION SAT 6/9 Family Bizness Presents The Pinnacle 2 “The Wave Season” with Lvitto / Jooselord / Kronoz Time / 3AM / Hasina / Ethan / MallyRock EvansShowcase SAT 7/23Taylor Girls SAT6/107/23The Girls RockPresenting Showcase SUN LL Orchestra Stop Making Sense (Featuring Curtis TUE 7/26EllerMotorco Comedy Night: & Little Green Pig Theatrical Concern) TUE 7/26 Motorco Comedy Night: ANDY WOODHULL ADAM -COHEN THU 6/14 MAIMOUNA YOUSSEF and DJ// DUMMY THE VINTAGE BABIES ANDY WOODHULL ADAM COHEN er s jonDoe BULL Album Releases"Show -P op Ma tt FRI 7/29/ TheYOUNG el er Show Ma tt er s av tr -P op FRI 7/29 YOUNG BULL Album Release FRI 6/15 Cat’s tis tic er s" ar el Cradle Presents TRACYANNE & DANNY (featuring Tracyanne e av at tr w/ ALIX AFFtis / DURTY tic DUB "C on su mm e ar at w/ ALIX / DURTY DUB& Danny Coughlan of Crybaby) / Lomelda Campbell of AFF Camera Obscura "C on su mm SAT 6/16JUL17 SUN COMING SOON: JULIETTE LEWIS, YARN, JARED & THE MILL, The Sol Kitchen presents The Love Movement “Hip Hop & RnB SUN JUL17 COMING Dance SOON: Party” JULIETTE LEWIS, YARN,(RVA JARED THE&MILL, Mad Skillz - A &King A Prince - Supa HAL KETCHUM, NRBQ,with LIZ VICE, WINDHAND, Doors: 7pm HAL KETCHUM, NRBQ, LIZ VICE, Doors: 7pm Dupa Fly) + Wally SparksWINDHAND, (ATL - Flava - TheBAND Groove) CODY CANADA & THE DEPARTED, RUSSIAN CIRCLES, OF SKULLS, Show: 8pm CODY & THE DEPARTED, RUSSIAN CIRCLES, OF SKULLS, Show: 8pm SUN 6/17 CANADA HOBO JOHNSON & THEBIRDS, LOVEMAKERS SOLDBAND SISTER SPARROW & THE DIRTY KING, $12 ADV 723 RIGSBEE AVE - DURHAM, NCOUT - MOTORCOMUSIC.COM SISTER SPARROW & THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM DOYLE LAWSON & QUICKSILVER, THE RECORD COMPANY, ADRIAN COMINGDAY SOON:THE WALLS GROUP, BLAC RABBIT, MYSTIC BOWIE’S TALKING LEGG, DREADS, $15 OF LAWSON QUICKSILVER, THEFANTASTIC RECORD NEGRITO, COMPANY, ADRIANOFLEGG, THEDOYLE GET UPBRASS KIDS,&BAND, THE MY REVELERS, $15 DAY OF REBIRTH BRIGHTEST DIAMOND, KARLATEMPLE BONOFF, !!VOID, W O N HEREBIRTH IS BRASS WE, BAND, SOPHOMORE SLUMP DIAMOND, FEST, THE STEEL WHEELS, MY BRIGHTEST KARLA BONOFF, LE B A W IL O A N TALIB KWELI, LOUDON WAINWRIGHT III V A LE FIRESIDE COLLECTIVE WITH SLOCAN RAMBLERS, ELIZABETH COOK, WHO’S BAD," B M UM AVIIIAILA LB TALIB ALOUDON H W T EKWELI, N HE A LBUWAINWRIGHT E MURDER

BY R ANDREW W.K., ASALES, DARKOLD TRANQUILLITY, TH" RDEATH & TH NEW E HE A FRI 6/8

S D R I B G A R E H T

HOLD & TH HRES T HE "T THRE E RIGSBEE AVES-HDURHAM, NC - MOTORCOMUSIC.COM "TH723 M

The Threshold & The Hearth THE RAGBIRDS

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

The Threshold & The Hearth THE RAGBIRDS

8/3 SCHOOL OF ROCK ALLSTARS ($10)

LD

6/3 TYLER CHILDERS SO OUT W/LIZ COOPER & THE STAMPEDE

7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM

FRI 6/1

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SNOW THA PRODUCT

6/10 WAND W/ ITASCA ($12) 6/11 BENT KNEE W/ GATHERERS ($10) 6/12 LIZ COOPER & THE STAMPEDE ($10/$12) 6/14 PROPERSLEEP (ALBUM RELEASE PARTY) W/ SO SOON, THE TRUTH , AN AUTHOR, A POET, PAPERBACK, AND OL’ SPORT ($8)

8/5 JOAN OF ARC ($12) 8/9 THE ESSEX GREEN 8/16 VACATIONER W/ SEGO ($15/ $17) 9/9 SLOAN ($22/$25) 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) 7/8 BOB SCHNEIDER (RESCHEDULED) ($20/ $23) 7/17 THE GET UP KIDS W/ RACQUET CLUB AND AGEIST ($22/ $26) 9/26 ANDREW W.K. ($20/$24) NORTH CAROLINA MUSEUM OF ART

6/8 FIRST AID KIT W/ JADE BIRD

7/25 DANNY DUNCAN ($25/ $30, VIP AVAILABLE)

6/15 THE TILLS, PIE FACE GIRLS, REESE MCHENRY & THE FOX

6/16 SHOVELS AND ROPE WITH SON VOLT

8/6 KINA GRANNIS W/ IMAGINARY FUTURE

6/16 JEANNE JOLLY ($15/ $18)

6/23 MANDOLIN ORANGE LD W/ CHARLIE PARR SO OUT

8/7 AMANDA SHIRES 8/11 SAM BUSH ($30/$33)

6/17 MAPS & ATLASES W/ PRISM TATS ($15/$17)

8/28 WOLF PARADE

6/18 YOUNG WIDOWS W/ NULL, WAILIN STORMS

9/27CAAMP ($14/ $16)

6/19 JEREMY ENIGK ($18/$20)

9/29 MT. JOY ($15/$17)

6/23 DESSA W/ MONAKR ($20)

10/11 APARNA NANCHERLA ($22/$25)

6/28 FORTH WANDERERS

10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10)

7/13 PIERCE PETTIS ($15)

10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18)

7/7 QUIET SLANG ($13/$15) 7/14 MATTHEW E WHITE W/ ANDY JENKINS ($15) 7/17 PETAL & CAMP COPE ($13/ $15) 7/21 SUMMER SALT W/ HOT

FLASH HEAT WAVE AND THE $10 day $10 advance advance // $12 $12 SYMPOSIUM day of of ($13/ $15)

10/27 ROKY ERICKSON ($25/ $28)

7/12 LAKE STREET DIVE 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 LD VOODOO THREAUXDOWN SO OUT THE RITZ (RAL)

610: TASH SULTANA

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6/13 WASHED OUT ($20/$23)

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

Your Week.

Every Wednesday. indyweek.com

music 5.23– 5.30

WED, MAY 23

BLUE NOTE GRILL: Blue Wednesday; 8 p.m.

THE RITZ:

Ledisi

[$33/8 P.M.]

POUR HOUSE: Red Elvises; 8 p.m., $10–$12.

Ledisi has a dozen Grammy nominations to her name, but has yet to take home a trophy.

That’s a shame, as the singer’s groovy, soulful voice is a force to be reckoned with—there’s a reason she played gospel goddess Mahalia Jackson in the 2014 film Selma. Ledisi’s work is R&B in name, but she imbues it with a mighty blend of gospel, soul, and jazz. “High,” the lead single from last year’s Let Love Rule, is a dreamy, lilting number that celebrates overcoming struggles. “I just wanna be high,” she sings, and you want to be right there with her.

—Allison Hussey

THU, MAY 24

RUBY DELUXE: K-Pop // J-Pop Night; 10 p.m., free, $10 under 21.

2ND WIND: 2 fer; 7:30-9 p.m.

FRI, MAY 25

FLETCHER OPERA THEATER: North Carolina Heritage Awards; 7:30 p.m., $20.

HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

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

MOTORCO: Roddy Radiation, The Scotch Bonnets, The Spectacles; 8 p.m., $10–$12.

NIGHTLIGHT: Mike Compton & Joe Newberry; 8-10 p.m., $20.

THE PINHOOK: Sidewalk Chalk, Zoocrü; 8 p.m., $10–$12.

ARCANA: Yeaux Katz; 8:30 p.m., free.

LINCOLN THEATRE: Slushii; 7 p.m.

LOCAL 506: The Affectionates, Thick Modine, Hank & Brendan; 8 p.m., $5.

MOTORCO:

Robbie Fulks [$12–$15/8 P.M.]

With the exception of a couple of tracks that lean on bluegrass instrumentation, Robbie Fulks’s Grammy-nominated 2016 LP, Upland Stories, features lightly embellished folk songs that put the focus firmly on the wryness and wisdom of the Prine and Hartford disciple. Fulks’s warm vocals and his cozy storytelling approach ease the hard truths he reveals. Alan Barnosky opens. —Spencer Griffith THE PINHOOK: Westmoreland, Gabriel Pelli & Will Ridenour; 8:30 p.m., $8.

POUR HOUSE: Local Band Local Beer: The Tan & Sober Gentlemen, Eno Mountain Boys, James Olin Oden; 9 p.m., $3–$5.

ARCANA: Ally J, Kevin Clark; 9 p.m.

BEYÙ CAFFÈ:

Emily Musolino [$13/7 & 9 P.M.]

When it comes to barnburning vocalists, Durham’s Emily Musolino may be one of the area’s best kept secrets.

The Berklee graduate can belt it like few others, and she’s lent her talents to bands like the folk-pop outfit Dark Water Rising in addition to cranking out material of her own. She mostly leans toward rock, but frequently adds a bluesy bent, as she does on tracks like “Get Out” and “Bread N Water.” At times, the production can get heavy-handed, but Musolino’s voice remains a sparkling centerpiece. —Allison Hussey BLUE NOTE GRILL: Jamie McLean Band; 9 p.m., $10.

CARRBORO TOWN COMMONS: Freight Train Blues: Ernie Vincent, Guitar Lightnin’ Lee; 6:30 p.m., free.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Ledisi headlines The Ritz in Raleigh Thursday night.

PHOTO COURTESY OF STRONG ARM MEDIA

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CAT’S CRADLE:

Peter Hook & the Light [$23–$31/8 P.M.]

As bassist for Joy Division and New Order, two groups with top notes of moody romanticism, Peter Hook added a vital anchor of propulsive and tightly wound rhythm. On this tour, Peter Hook & the Light tackle both of their Substance compilations, in addition to new compositions.

Hook fronts the group with an endearing bar-band enthusiasm ripe for sing-alongs, but leaves the majority of his distinctive bass lines to band mate (and son) Jack Bates.

—Josephine McRobbie CAT’S CRADLE (BACK ROOM): Wyatt Easterling & the Inscrutables; 8 p.m., $15.

HAW RIVER BALLROOM: The Infamous Stringdusters, Songs from the Road Band; 7 p.m., $22–$24.

IMURJ: Craig Owens; 10 p.m., $12–$15.

LOCAL 506:

Kali Masi

[$8–$10/9 P.M.] Kali Masi churns out energetic garage rock that recalls Midwestern emo and hardcore,

genres that have come to define the alternative scene in the band’s hometown of Chicago.

Mathy, technical guitar riffs punch through driving drum patterns and a slightly strained vocal delivery. On last year’s Wind Instrument, the band offers aggressive tunes that are still approachable enough for punk enthusiasts and hardcore fans alike to feel right at home.

Totally Slow and Sneakers Award open. —Nick Gallagher MOTORCO: Shane Smith & The Saints, Corey Hunt Band; 9 p.m., $12–$15.

POUR HOUSE: Brothers Egg, The Mobros, The Pinkerton Raid; 9 p.m., $10.

RED HAT AMPHITHEATER:

Brian McKnight

R&B hitmaker Brian McKnight’s career peaked with one big single that’s almost two decades old. His three most recent albums make it plain to see that even with his four singles, McKnight’s been repeating the same steps for the past five years, but he’ll make you fall in love when starting “Back At One.” With Loose Ends.

—Spencer Griffith

TH 5/24 FR 5/25 SA 5/26 TU 5/29

Flatbush Zombies [$25/8 P.M.]

On their new album, Vacation In Hell, Flatbush Zombies slightly break away from their original Indigo Rap sound palette and venture into a more bass heavy trap sound that’s suitable to turn up to, without sacrificing the lyricism that makes the crew popular with a broad range of hip-hop fans. Vacation In Hell is being called their best album to date and, though it was just released in mid-April, one of the best rap albums of the year overall. —Charles Morse

SAT, MAY 26

Michael Rault is at Neptunes Parlour on Monday.

ARCANA: Andrew Kasab; 9 p.m.

[$28–$63/7:30 P.M.]

WE 5/23

THE RITZ:

THE ARTSCENTER: Mary Lattimore,; 8 p.m., $15. See page 26.

BEYÙ CAFFÈ: Ace Livingston; 7 & 9 p.m., $15.

CAT’S CRADLE (BACK ROOM): The Shoaldiggers, Winfield; 9 p.m., $7.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Kendrick Lamar, Schoolboy Q, Jay Rock, Ab Soul, Sir, Lance Skiiwalker; 7:30 p.m. See page 26.

GIRLS NIGHT OUT: CLARK STERN & CHUCK COTTON TOMMY EDWARDS & FRIENDS BNG’S 8TH ANNIVERSARY KICK OFF: REBECCA NEWTON & THE BENNYS JAMIE MCLEAN BAND BNG’S 8TH ANNIVERSARY: ARMAND & BLUESOLOGY TUESDAY BLUES JAM WITH CLARK STERN

DURTY BULL BREWING COMPANY: Laura Thurston; 4 p.m.

KINGS:

A Place to Bury Strangers [$10–$12/9 P.M.]

A Place to Bury Strangers is best at its most ferocious, when the Brooklyn noise-rock

trio is walloping listeners with the full-body combined assault of pounding drums, hundreds of guitar-amp watts and the frazzled output of a dozen bespoke guitar pedals.

(Most of them were designed

by A Place to Bury Strangers frontman Oliver Ackermann, who runs the Death By Audio pedal company.) Pained,

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

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SA 5/26 6/1-3

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POPUP BROADWAY: GREASE MARY LATTIMORE W/ AL RIGGS THE DREAM OF THE BURNING BOY (PRESENTED BY ONE SONG PRODUCTIONS)

KARLA BONOFF FR 6/8 SONGS FROM THE CIRCLE 9 6/8-9 JUST ANOTHER LYNCHING (PRESENTED BY JEGHETTO) SA 6/16 THE MONTI SA 6/16 NO SHAME THEATRE – CARRBORO FR 6/22 5P1N0K10 (PRESENTED BY JEGHETTO) 7/19-22 NC 10 BY 10: A FESTIVAL OF 10-MINUTE PLAYS WE 6/6

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the group’s fifth record, is another in the band’s long line of New York No Wave re-enactments, but it at least gets the attitude and aggression spot-on. With Prettiest Eyes and Lacy Jags.

—Patrick Wall POUR HOUSE: Funky Dawgz Brass Band, Groove Fetish; 8 p.m., $10–$12.

Love ? y d n i e h t

COMING NEXT WEEKEND: HARLEM RIVER NOISE, BARRERE & TACKETT WITH WILL MCFARLANE BAND

TH 5/24

PHOTO COURTESY OF THE ARTIST

919-6-TEASER for directions and information

www.teasersmensclub.com 156 Ramseur St. Durham, NC

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

TeasersMensClub

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THE RITZ:

Descendents [$30/8 P.M.]

Powered by caffeine and angst, the Descendents sprung up during the halcyon days of the Los Angeles punk scene, fusing the fury of hardcore and a strong melodic sensibility into selfdeprecating, blink-and-you’llmiss-them songs about life, love, girls, losers and food.

This tour, behind last year’s reunion album Hypercaffium Spazzinate, sports most of the classic Descendents lineup. Founding drummer Bill Stevenson and longtime guitarist Stephen Edgerton make the trip, as does features classic vocalist Milo Aukerman, the inspiration behind the band’s seminal Milo Goes to College.

—Patrick Wall SAXAPAHAW RIVER AMPHITHEATER: Chatham Rabbits; 6 p.m., donations.

SUN, MAY 27 ARCANA: Youth in a Roman Field, Infielder; 8 p.m.

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

KOKA BOOTH AMPHITHEATRE: Triangle Wind Ensemble: An American Celebration: Salute to the Cinema; 7 p.m., $13–$26.

LIVING ARTS COLLECTIVE: Orquesta GarDel; 3:30 p.m., $7–$25.

THE PINHOOK: Hip-Hop Against Lupus: Jones Michael, Bird Nefertiti, Kamus Leonardo, Nacynze, Shooter Jay, Erribodies Favorite, A.yoni Jeffries, Vinnie Dangerous; 6 p.m., $5.

POUR HOUSE: The Good Graces, Stray Owls, Judy Woodall; 1 p.m., $5.

MON, MAY 28

Descendents play at The Ritz Saturday night.

gentle pop hooks. Through gliding harmonies and spookily descending bass lines, Rault is at his best when joyfully channeling the late-sixties psychedelia and experimentation of the Beatles.

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

IMBIBE: Grewen and Griffin; 7-10 p.m., free.

POUR HOUSE: The Dustbowl Revival, The Lowest Pair; 7 p.m., $12–$15.

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

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

NEPTUNES:

Michael Rault [$10–$12/8 P.M.]

Anyone with stints on Burger Records and Daptone’s rock imprint Wick is liable to wear influences on their sleeve.

Michael Rault, a Canadian multi-instrumentalist, has mined the Nuggets canon with great efficacy, can play a compelling bluesrock lick, and has a gift for

TUE, MAY 29 THE PINHOOK:

Chad Valley [$12–$14/9 P.M.]

Chad Valley’s Hugo Manuel crafts slick, toe-tapping pop songs that affectionately harken to overproduced masterpieces from the eighties. Manuel’s previous two releases heavily featured

PHOTO COURTESY OF EPITAPH RECORDS

collaborations and coproductions, but his third full-length turns inward, instead relying heavily on his own sensibilities. These tracks effortlessly blend drum machine grooves with glistening, reverb-soaked synth lines and vocals. Water Wingz opens. —Nick Gallagher POUR HOUSE:

Marcy Playground [$20–$50/7 P.M.]

Can you name a Marcy Playground song that isn’t “Sex and Candy”? If not, that’s assuredly forgivable—the moody band’s blockbuster hit has never fully disappeared from rock radio since it hit the airwaves in 1997. It’s been six years since the band released Lunch, Recess & Detention, a mix of deep cuts, B-sides, and new stuff. The record’s lead single, “Mr. Fisher,” is mired in a pop-reggae arrangement, with John Wozniak’s ragged vocals

making it sound as though he could barely be bothered with singing them. Y’know what?

We’ll stick with “Sex and Candy,” it’s fine. Local H opens.

—Allison Hussey

WED, MAY 30 2ND WIND: Yeaux Katz; 7-9 p.m., free.

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

LOCAL 506:

Rubby the RabbitFoot [$10/8 P.M.]

Ruby the RabbitFoot started as the acoustic folk project of Ruby Kendrick, but has since transformed into a fledgling pop vehicle. The songwriter couples teen dream lyrics with spluttering beats and synths, and radiates a studied commitment to the R&B-tinged

pop of the late nineties and early aughts. But she couples her incomprehensible earnestness with sharp self-awareness. As she noted in an interview, “I can try to be pop all day long but at the end of the day I’m about ten years older than I should be and I have crooked teeth.” DEGA opens. —Josephine McRobbie

originals and a group jam on Bach’s Air on the G String.

Mallarmé will also perform a recent, glistening composition by balafon virtuoso Fodé Lassana Diabaté (arranged by Jacob Garchik for the Kronos Quartet). —Dan Ruccia

MOTORCO:

THE RITZ:

Mallarmé Chamber Players with Kaira Ba [$5–$25/7:30 P.M.]

This collaboration between two Durham musical institutions was born when Suzanne Russo, of the Mallarmé Chamber Players, recorded some backing tracks on four songs of Diali Cissokho’s and Kaira Ba’s forthcoming album. Here, Mallarmé and Kaira Ba will play those four rippling, kora-driven, griot grooves alongside two other Cissohko

THE PINHOOK: Dissimilar South, MKR; 7:30 p.m., $7.

AWOLNATION [$30/8 P.M.]

Remember “Sail,” that irritatingly catchy song that was inescapable for several years after? Since then, AWOLNATION, the band behind that hit single, hasn’t put out anything quite as memorable, for better or worse. Here Come the Runts, their latest album released under Red Bull Records, is a genre-blending alternative affair that makes for a fun listen but offers little depth or profundity. —Nick Gallagher INDYweek.com | 5.23.18 | 31

art

5.23–5.30

OPENING Animazement: Annual convention celebrating Japanese visual culture through anime, manga, video games, J-rock, martial arts, traditional crafts. $55-$70. Thu, May 24-Sun, May 27. Raleigh Convention Center, Raleigh. www.raleighconvention.com.

Creative Networking Social: Potluck and viewing of Spring Members’ Showcase. Thu, May 24, 6-8 p.m. Durham Art Guild, Durham. durhamartguild.org.

SPECIAL Free as a Bird: Art EVENT exhibit. Thru Jun 26.

Reception: Fri, May 25, 6-9 p.m. Cary Gallery of Artists, Cary. carygalleryofartists.org.

May Arts Night: The Durham Arts Council’s monthly arts night. Fri, May 25, 5-8 p.m.

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

What the Heck is Contrare: Solo show by Jai Martin combining music, color, and hip-hop.

Thu, May 24, 6-10 p.m.

The Stockroom, Raleigh.

ONGOING April/May Show: Mixed media

by Carol Retsch-Bogart and photography by Bill McAllister and Sam Wang. Thru Jun 3.

FRANK Gallery, Chapel Hill. www.frankisart.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.

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 hand32 | 5.23.18 | INDYweek.com

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carved figures range from doll-size to larger-than-life.

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

Though it was made two years prior to 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.

LAST Celebrating Nature: CHANCE Botanical drawings

by Preston Montague, wildlife photography by Ricky Davis, and pottery by Liz Kelly. Thru May 26. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

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

SPECIAL Combinations: EVENT Pottery by Garry Childs, photography by Eric Saunders, and paintings by Pat Merriman. Thru Jun 24.

Reception: Fri, May 25, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

LAST FRESH Preview CHANCE Exhibition: Work by N.C. artists. Thru May 26.

Artspace, Raleigh. www.artspacenc.org.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill

International double-dutch champs J-Trap appear at Animazement this year. PHOTO COURTESY OF THE ARTISTS’ WEBSITE THURSDAY, MAY 24–SUNDAY, MAY 27

ANIMAZEMENT

Another Memorial Day weekend, another massive influx costumed folks (fourteen thousand, according to the website) into downtown Raleigh for a celebration of Japanese animation and culture. Trying to explain Animazement, the largest homegrown genre-fandom event in the area, to the uninitiated is like trying to explain the backstory of Game of Thrones or the Marvel movies. The convention’s guest list is dominated by animation voice actors, anime merchandise dealers, karaoke, cosplay, and panels. Some of the ones that seem most accessible to newcomers are “100 Years of Anime” (Thursday), in which three veteran anime creators examine the history of the form; “Beyond Miyazaki: Anime Creators You Should Know” (Friday), which focuses on some of the newer voices creating films and television; and “What the Heck Are You Watching?: Parents’ Guide to Anime and Cons” (Saturday), which kind of speaks for itself. I think my parents could have used it when I was younger. There are also appearances by J-pop group 9nine and international double-dutch champs J-Trap. —Zack Smith

RALEIGH CONVENTION CENTER, RALEIGH | Various times, $55–70, www.animazement.com 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.

LAST Light the Woods CHANCE with Sound: 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.

The neon pieces consist of rings and coils that drip from the boughs; there are also glass eggs that glow and fade like fireflies. But the piece is more

than lulling to look at; it’s also fun to play with. Joe Caterinicchio designed six sound beds in different genres that are keyed to different patterns in the light sculpture.

You can 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. Thru May 27. Dorothea Dix Campus, Raleigh.

—Brian Howe 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. lumpprojects.org. —Brian Howe LAST Mentor/Mentee: CHANCE 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 Night Bright Community Festival: Interactive light murals

by Austrian artist collective OMAi. Part of You Are Here.

May 24-25, 6:30 p.m.

NC Museum of Art, Raleigh. www.ncartmuseum.org.

LAST Not in my Backyard: CHANCE MFA thesis exhibition by Jeanine Tatlock.

Thru May 24. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Our House: Durham Arts Council student and instructor exhibition. Thru Jul 7. Durham Arts Council, Durham. www.durhamarts.org.

LAST Painted Ladies: CHANCE Actresses from the Pre-Code Era: Oil paintings by Kevin Peddicord. Thru May 27.

Imurj, Raleigh.

LAST Debbie Quick: PNC CHANCE 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.

SPECIAL Rise of the Phoenix – EVENT El Ascenso de la Fénix: Sarah Elizabeth Cornejo, Felicity Palma, Yuko Nogami Taylor. Thru Aug 4. Reception: Sat, May 26, 6-9 p.m. Duke Campus: Fredric Jameson Gallery (Friedl Building), Durham.

LAST Sentience: Paintings CHANCE 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. www.gallerya-nc.com.

Solidary & Solitary: The Joyner/ Giuffrida Collection: The most famed names in postwar abstract art—Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing

painting past representation.

They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twentyfive-foot-tall sculpture anchors the exhibit. Thru Jul 15. Nasher Museum of Art, Durham. nasher. duke.edu. —Brian Howe Spring Sublime: Thru Jun 11.

FRANK’s Outreach Gallery, Chapel Hill.

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 postcapitalist critique? Sure. But, as we’ve said, what seams?

Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Brian Howe LAST Sweet Dreams: CHANCE 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.

Through Eyes of My Own: Exhibit exploring identity curated by the Nasher Teen Council. Thru Jul 7.

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

Visualizing Micro Environments: Paintings by Orr Ambrose inspired by cosmology, physics, and microbiology.

Thru Oct 11. Durham Convention Center, Durham. durhamconventioncenter.com.

LAST Watermark: CHANCE Weaving and other traditional methods of handwork by Dawn Hummer.

Thru May 25.

Pleiades Gallery, Durham.

PleiadesArtDurham.com.

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.

Worlds Apart: Thru Jul 7.

Craven Allen Gallery, Durham. cravenallengallery.com.

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stage

OPENING The Animazing Show: Animethemed show in honor of Animazement. $7-$25. Thu, May 24, 8 p.m. The View at Legends, Raleigh. www.legends-club.com.

Gayliens: A Drag Show to Benefit QORDS: Vivica C. Coxx, Dustin Reams, and Stormie Daie. $5-$20. Sat, May 26, 9 p.m. The Pinhook, Durham. www.thepinhook.com.

Magic Jokes: Presented by Oak City Comedy Festival. $10.

Sat, May 26, 2-5 p.m. Pour House Music Hall, Raleigh. thepourhousemusichall.com.

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

Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com.

Boat Jail: Late Night Standup: $5. Fourth Thursdays, 9 p.m.

Thru Sep 1. Neptunes Parlour, Raleigh. neptunesparlour.com.

LAST  Dry Powder: CHANCE “Dry powder” is the term of art for an investment firm’s unencumbered capital.

As playwright Sarah Burgess demonstrates, it also refers to the explosive relationships that develop among the competitive top officers at a private-equity firm. Seth (an agile Chris

Hinton) is the company’s rising rainmaker, but when his latest gem-in-the-rough acquisition exposes a bit too much of his touchy-feely side, his nemesis, Jenny (Michelle Murray Wells), the always-calculating numbers person, looks to shoot it down or corrupt it from within. When she warns Seth, “There is a hawk on my shoulder. You can’t see it, but it’s always there,” we probably should be concerned for his long-term health. But in this production, on opening weekend, we weren’t. Though the show’s sound design includes Morphine’s “Sharks,” director Mark Filiaci hadn’t fully sharpened Jenny’s teeth or those of Seth and Jenny’s boss, Rick (Dan Oliver). Still, in a genre that usually demonizes financial types, Burgess serves up a fitting reminder of who the demons actually are—and just how close they are to home. $16-$20. Thru May 28. Sonorous Road Theatre, Raleigh. —Byron Woods The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

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

Varsity Theatre, Chapel Hill. improvatthevarsity.com.

page Hilary Maiberger and Max Chernin in Daddy Long Legs PHOTO BY JENNIFER ROBERTSON THROUGH SUNDAY, MAY 27

DADDY LONG LEGS Here’s to the Anonymous Benefactor, that chestnut from Romantic and gothic potboilers of yore.

Over the years, Abel Magwitch, John Beresford Tipton, and even Charles Montgomery Burns (on two very special occasions) have all partaken of the philanthropy that dares not speak its name.

With only two actors on stage in the chamber musical Daddy Long Legs, the A. B. will be easy to spot. It’s the male character, Jervis Pendleton, the youthful but wealthy trustee of an orphanage, who takes an interest in the home’s oldest ward, nineteen-year-old Jerusha Abbott. As a single woman without money or family at the dawn of the twentieth century, Jerusha’s prospects are quickly dwindling when Jervis decides to pay for her college education in exchange for regular letters on her progress. Jerusha chafes at disclosing so much of her life to a mystery man. Falling in love with her, Jervis agonizes over whether he should remain anonymous. Megan McGinnis, who originated the role of Jerusha in the musical’s New York and West End productions, directs Theatre Raleigh’s summer season opener. —Byron Woods

KENNEDY THEATRE, RALEIGH

Various times, $33–$35, www.theatreraleigh.com

READINGS & SIGNINGS Michael Barsa: With debut novel The Garden of Blue Roses.

Thu, May 24, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Ricky Garni, Patty Cole, and Valerie Macon: Book-release reading. Sun, May 27, 2 p.m.

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

Literary Lunch with Paula McClain: Three-course lunch and signed book with the author of Love and Ruin. $75. Wed, May 23, noon. Fearrington Barn, Pittsboro. www.fearrington.com.

Scene Bites: Ten Red Adept Publishing authors read, sign, and discuss their books. Sat, May 26, noon-3 p.m. Aversboro Coffee, Garner.

LECTURES ETC. Audio Under the Stars: Short audio documentaries outdoors about special friendships, unlikely allegiances, surprising encounters, and missed connections. Fri, May 25, 8 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Oak City Comedy Festival: Institutions such as Goodnights have made Raleigh a stopping place for many of the finest comedians in the world. Now, the city’s branding itself as a center for comedy with this new festival, which features both local and national voices over five laugh-filled days. Guests and performers include veteran local comic Mike Mello, “N.C.’s Funniest Person” J Bliss, Wilmington’s Blaire Postman, Charlotte improv group Now Are the Foxes, and Raleigh improv and sketch groups Spectral Spouse and Dear Sirs. Events are spread out across bars and comedy clubs throughout downtown Raleigh, giving audiences a chance to experience not only a variety of comedians but also the city’s variety of venues, from Sonorous Road Theatre to Neptunes. $10+.

Various times and venues. oakcitycomedyfestival.com.

—Zack Smith Open Mic Stand-Up Comedy at Durty Bull: Comedy open mike.

Fridays, 8 p.m. Thru May 25.

Durty Bull Brewing Company, Durham.  Wakey, Wakey: Reviewed on p. 24. $5-$20. Various times.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org.

food & drink

Blueberry Cheesecake & Cider/ Wine Pairing: Slice of pie from pastry chef Deric McGuffey and a three-glass flight of Botanist & Barrel blueberry ciders and wines. Sat, May 26, 2-6 p.m.

Botanist & Barrel, Cedar Grove.

Psychology of Money: Duke University professor Dan Ariely.

Sun, May 27, 3 p.m. Levin Jewish Community Center, Durham. www.levinjcc.org.

INDYweek.com | 5.23.18 | 35

screen Movies in the Park: Crazy Italian Night: Outdoor screening presented by Durham Cinematheque. Fri, May 25, 9 p.m. Durham Central Park, Durham. www.durhamcentralpark.org.

Space Is the Place: Sun Ra music and movie. Presented by Movie Loft. Thu, May 24, 7:30 p.m.

Shadowbox Studio, Durham. www.shadowboxstudio.org.

OPENING ½ Solo: A Star Wars Story—Reviewed on p. 25.

Rated PG-13.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated SpiderMan, the sequel is a controlled detonation of the superheromovie template: filthy, funny, and cheerfully ultraviolent.

Rated R. ½ Disobedience— Acclaimed Chilean director Sebastián Lelio sets out to explore lesbian sexuality within a conservative Hasidic community, but international stardom does not make for international cultural competency. Rated R.

“Crazy Italian Night”

 Isle of Dogs—Wes Anderson’s animated fable is alternately respectful and baffling in its treatment of Japan. Rated PG-13.

PHOTO COURTESY OF TOM WHITESIDE

FRIDAY, MAY 25

MOVIES IN THE PARK If the Center for Documentary Studies’ Audio Under the Stars series is an emerging hallmark of Durham summers (see p. 26), then Durham Cinematheque’s Movies in the Park is a well-established one. To kick off his tenth season of showing vintage film oddities outdoors at The Leaf in Durham Central Park, archivist par excellence Tom Whiteside has zeroed in on the theme of “Crazy Italian Night,” a cinematic fantasia he describes as “a fractured narrative with the love-life adventures of the lovely young Sophia Loren intercut with clips from travelogues and documentaries.” Bring your own chair and picnic if you’d like, and come back on June 15 for “Old News (and How We Got It)” and on July 14 for “Really Big, Really Small.” —Brian Howe

THE LEAF AT DURHAM CENTRAL PARK, DURHAM

9 p.m., donations accepted, www.durhamcentralpark.org 36 | 5.23.18 | INDYweek.com

SPECIAL SHOWINGS Advertising at the Edge of the Apocalypse: Documentary on the consequences of advertising, commercial culture, and American consumerism.

Presented by the Triangle-Area Green Party. Wed, May 23, 6 p.m. The Oasis at Carr Mill, Carrboro. www.oasisatcarrmill.com.

 RBG—Forgot those Avengers. This doc about pioneering Supreme Court Justice Ruth Bader Ginsburg is the best superhero movie of the year. Rated PG.  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.

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5

classy at indyweek dot com

6 5 5 32 45 3 8 5 9 68 9 2 4 1 8 7 6 2 9 4 6 3 2 4 1 8 8 77 4 8 4 2 6

1 2

MEDIUM

9

su | do | ku HARD

9 8 4 7

3

5 9 8 7

6

8 7 2 7 4 5 6

#5

5 8 1

5

5 2 6 8

2

MEDIUM

#6

5

this week’s puzzle level: # 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

5

4

1 6

4 2

2

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

3

14 1 67 9 2 1 2 1

3 4 75 7

32

2 5 3 6 4 6 75 8 1 5 49 2 7 5 6 8 9 7 6 1 3 8 4 5 MEDIUM

#7

HARD #5

8 2 4 6 1 9 3 5 7

6 3 5 4 2 7 8 9 1

7 1 9 5 8 3 2 4 6

#8

# 48 1 8 2 3 9 4 7 6 5

9 5 3 8 7 6 1 2 4

4 6 7 2 5 1 9 3 8

2 7 6 9 4 8 5 1 3

3 9 8 1 6 5 4 7 2

5 4 1 7 3 2 6 8 9

#6

4 6 7 2 3 5 8 1 9 If you just5 can’t 2 3 1 wait, 9 8 7check 6 4 out the current 1 9 8week’s 4 7 6 answer 2 3 5 6 3 4 5 2 1 9 8 7 key at www.indyweek.com, 9 5 1 8 6 7 4 2 3 and click “Diversions”.

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

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

5.23.18

solution to last week’s puzzle

www.sudoku.com 7 9 4 2 6 5 8 3 1 1 8 5 |7 INDYweek.com 4 3 2 6 9 38 | 5.23.18 6 3 2 1 8 9 5 4 7 5 4 6 3 1 8 9 7 2 9 1 3 4 7 2 6 5 8 8 2 7 9 5 6 3 1 4

# 47

MEDIUM

# 48

2 8 3 1 9 4

4 7 9 8 6 5

6 5 1 2 7 3

3 9 7 4 8 6

1 6 5 3 2 9

8 4 2 5 1 7

7 3 4 9 5 8

9 2 6 7 4 1

#7

Page 2 of 25 5 1 8 6 3 2

3 5 1 8 7 2 9 4 6

9 8 4 5 6 1 2 7 3

7 6 2 9 3 4 1 5 8

1 7 8 3 2 5 4 6 9

6 9 3 4 8 7 5 1 2

2 4 5 1 9 6 8 3 7

5 2 7 6 1 9 3 8 4

8 1 9 7 4 3 6 2 5

4 3 6 2 5 8 7 9 1

#8

2 7 3 9 8 6 5 1 4

8 1 4 7 5 3 9 2 6

5 6 9 1 2 4 3 7 8

9 5 6 4 1 8 7 3 2

7 2 8 3 9 5 4 6 1

4 3 1 6 7 2 8 5 9

3 8 7 2 6 9 1 4 5

6 4 5 8 3 1 2 9 7

1 9 2 5 4 7 6 8 3

CLASSY AT INDYWEEK DOT COM 30/10/2005

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