6.08 Indy Week

Raleigh | Durham | Chapel Hill June 8, 2022

Right now, it looks like the only thing stopping North Carolina’s anti-LGBTQ “Don’t Say Gay” bill from becoming law is a veto from Governor Roy Cooper.

BY JASMINE GALLUP, P. 8

Raleigh W Durham W Chapel Hill VOL. 39 NO. 23

“The whole idea [is about] being able to connect people with a sense of place and ecology,” says designer William Dodge about the public art installation Alluvial Decoder: City of Raleigh Storm Memorial, p. 14 PHOTO BY BRETT VILLENA

CONTENTS NEWS 5 6 8

The bin of free flowers in the entryway to Cosmic Cantina is one of Durham's best-kept secrets. BY HANNA RUMSEY A new report advocates for investment in wellness services for young people instead of criminalization and incarceration. BY THOMASI MCDONALD Despite an almost-certain veto from Democratic Gov. Roy Cooper, Republican lawmakers are charging ahead with "Don't Say Gay" legislation.

BY JASMINE GALLUP

ARTS & CULTURE 10

"Songwriting is sort of an altered state, a bit like meditation," says Florence Dore, whose new album comes out on June 11. BY BRIAN HOWE 12 A look at this years American Dance Festival lineup. BY BYRON WOODS 14 A new public art project by Crabtree Creek brings awareness to floodplains, the ghosts of storms past, and the creeping effects of climate change.

BY JASMINE GALLUP

THE REGULARS 3 15 Minutes 4 Quickbait 16 Culture Calendar

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BACK TA L K

Last week for the web, Jasmine Gallup wrote about the Wake County preschool teacher who resigned right before local Republicans turned flash cards depicting diverse families that she had displayed in her classroom into a national spectacle. We got some feedback from readers, some of it focused on something the teacher wasn’t actually doing—namely teaching human sexuality to preschoolers. But reader SAMUEL SUTTON has a unique take:

Your article, “Wake County Teacher Resigns Amid LGBTQIA+ Flashcard Controversy,” probably received a lot of feedback. I’m sure most of it was readers agreeing/disagreeing based on their personal beliefs, however my take objectively speculates on the rules of government institutions and individual beliefs. For instance, it’s heavily argued that there should or should not be a separation between church and state, so should there also be a separation between gender/sexual-orientation beliefs and state? A lot of people might find a contradiction in allowing one over the other. Your article clarifies that the state does not want teachers expressing their opinions in the classroom, but it also suggests the state should allow it. If it does, what are the implications? At what point do public school instructors’ personal opinions become unacceptable, dangerous, or imposing?

The bottom line is that Ballentine Elementary is a public school and public schools should be adhering to the standards of the government, which seems to be … no personal opinions expressed. And the extremely dividing topic of sexual orientation and gender are certainly still considered personal beliefs in terms of public education. I say if a teacher wants to champion their social/political/religious beliefs in a classroom, then they should probably seek employment in an environment where that is accepted. The Christians have their schools, there’s the whole Montessori thing, the homeschoolers have their houses, and I imagine there are schools that allow for LGBTQIA+ positivity in their classrooms. But, when it comes to government education, teachers are going to have a difficult time trying to express personal beliefs in the classroom, even if it’s something as simple and unassuming as flashcards.”

So public school teachers should never acknowledge, much less seek to represent, diverse family structures (of which some of their students are certainly a part) lest they be accused of “championing their social/political/religious beliefs in a classroom”?

Counterpoint: A person’s gender or sexual orientation is not a social/political/religious belief and human sexuality—the very existence of it—is not inherently sexual.

Gallup has more reporting on this story, and the state’s newly proposed, unfortunate “Don’t Say Gay” bill, this week for print. Read her story on page 8.

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Durham

e

15 MINUTES John Manuel Author

BY SARAH EDWARDS sedwards@indyweek.com

An environmental journalist and the author of several books, including two inspired by local rivers: The Canoeist, a memoir, and a novel, Hope Valley, set here in Durham

You recently had a launch for your new book, Solitario—The Lonely One, and incorporated music into the event. How has music informed your work?

The reason I chose that format is because, in the process of writing fiction, I’ll occasionally have these songs come into my head.

Sometimes I go back and actually really listen to the song and the lyrics and compare it to the scene I’ve written. And often I’ve found that the song has more emotional depth than my writing.

In some cases, I actually go back and rewrite the scene to try and achieve that depth.

How long have you been writing?

You know, I’ve written since I was a kid, but I didn’t get serious about it until about 1990. I went into freelance writing mostly on environmental and environmental health issues. And then around 2006, I started getting serious about fiction.

You write about rivers often. How has your relationship with local rivers, in particular, informed your creative process?

When I first came down here in the mid-’70s, the area was very undeveloped and I felt claustrophobic with such dense woods. And then I suddenly discovered the Haw River, and it was like, wow, look at these spectacular views and these beautiful rocks. And then I started discovering, you know, New Hope Creek, and I thought,

wow, this is where the real beauty is, this is where you have all these beautiful rock formations and stuff. And so my first writing was nonfiction articles for the state wildlife magazine on the Eno and Haw. And then I started working rivers into my fiction writing.

I’ve found that rivers are like a moving stage on which a story can play out. Not only is the scenery constantly changing as you come onto rapids and stuff—your mood changes. And I found, especially when I was canoeing with other people, that the river was evoking a sense of principality.

And what are your relationships with each of these rivers like?

Each of our rivers here in the Triangle has its own personality. The Haw is big and boisterous, with long views and big, beautiful rocks. It’s where the real excitement is in terms of wildlife (ospreys, eagles, cormorants) and canoeing. It can be quite scary to run when the water is high.

The Eno is more intimate, more approachable.

It’s easily explored from the banks, thanks to the trails along the sides. It invites a real sense of community—families with children wading in the shallows at Fews Ford, bigger groups swimming in the deep water at Sennett’s Hole (above West Point), and sunbathing on the rocks. It’s only navigable by canoe a few weeks out of the year, but that makes its exploration all the more special.

New Hope Creek is more intimate still. Through Duke Forest, it’s almost like a mountain stream with tumbling rapids and banks lined with mountain laurel. The pools are clear enough that you can see fish and turtles and snakes. It’s less heavily traveled than the Eno, so I find a real sense of peace there. W INDYweek.com

June 8, 2022

3

Q UIC KBA I T

Pandemic Impact

School Stressors

3%

BY JASMINE GALLUP

jgallup@indyweek.com

16.5%

W

25%

ake County teachers are worried about the amount of time they have available to teach, learning disparities, and students' social and emotional health, according to this year's Teacher Working Conditions Survey.

Some 12,208 teachers, principals, and other educators in Wake filled out this year’s survey, the majority of them teachers.

28.5%

14.3%

19.2% 24.3%

30.2%

72%

72.5%

percent of teachers said their students were behind academically compared to a typical school year 1 year behind 6 months behind 3 months behind

said their students need more or much more social, emotional, or mental health support

About the same Other

8.34%

42.3%

Much more than before Somewhat more than before

About the same Other

Reteaching last year’s curriculum

of teachers plan to leave education entirely

44%

33%

of teachers spent more than half their time reteaching

spent a quarter of their instructional time reteaching

Biggest concerns for teachers ONLY

Time to teach

58%

Student discipline

of teachers said they have enough noninstructional time, down from 65% in 2020

44% 37%

31%

of school staff said class sizes are too big for teachers to meet the needs of all students

30%

Misc.

(answers from school staff)

said efforts are not made to minimize the amount of routine paperwork teachers are required to do

said teachers are not protected from duties that interfere with their essential role of educating students

36%

indicated that teachers had little or no role in establishing rules for student discipline

said administrators do not consistently enforce rules

68%

34%

37%

said students do not follow school rules

27%

said leaders failed to address concerns about managing student conduct

of teachers said professional development sessions were not tailored to teachers’ individual needs

35%

of survey respondents indicated teachers have little or no role in selecting instructional materials and resources

57%

of teachers agreed vandalism rarely occurs in schools, down from 74% in 2020

percent said they had little or no role in forming the school budget

Source: NC Teacher Working Conditions Survey 4

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N E WS

Durham

Come Up Roses A bin of free flowers in the stairwell leading up to Cosmic Cantina is one of Durham’s best-kept secrets.

BY HANNA RUMSEY backtalk@indyweek.com

T

he world can be a bleak place (see politics). Even Cosmic Cantina—home of what is truly “The Best Mexican Food on the Planet”—can be a bleak place (see college students drunkenly crying over breakups). But sometimes the wafting scent of Cosmic’s fry oil mingles with the perfume of real, fresh roses. There’s a little joy in the air.

In the stairwell that leads up into the cosmos—OK, the Mexican restaurant on the second floor—a bin sometimes appears, full of flowers. The bin—black, plastic, two feet tall, and about as plain as they come—is one of Durham’s accidental secrets.

It sits at the back door of Ninth Street Flowers. More OfficeMax under-the-desk-trash-can than vase, the bin is nevertheless filled with water and whichever overripe blooms can’t go in the fine flower shop’s expertly curated bouquets. A notecard, attached to the bin with a clothespin, says “FREE.” You can take any of the pungent blooms you desire, but “Please,” the flower shop asks in tiny letters, “leave our container.”

Today the black bin is filled with roses. Red, pink, yellow, white, eviscerated.

The flowers, tucked away in the narrow graffitied hallway, are a generosity afforded to all who might almost trip over the bin that holds them. (Were I an English major at some fussy school, I might be tempted to note the juxtaposition of the scene—the fresh flowers in a practical trash can, the natural beauty of roses coupled with scrawled tags that say everything from “it’s yea moms fave” [sic] and “death comes for all of us” to “Dan + Bryn” and “monsh,” whatever that means.)

The barrel of fresh blooms feels a little out of place in the hallway, but these flowers have been ousted, unceremoniously, from the cooler inside Ninth Street Flowers. Their new home, in the black bin, is only temporary. Plenty of people pass the flowers. Some lean in to (literally) smell the roses. Only a few stop to actually pick one up.

Today the first is a teenage boy in a white T-shirt, gold chain, baggy gray jeans, and—the accessory of a generation—AirPods. As he enters the hallway to Cosmic with two friends in tow, he snatches a single pink rose. The flower is still coiled tight around the bud, it has barely

Free flowers in the Cosmis Cantina stairwell.

PHOTO BY MADDIE WRAY

bloomed, and he seems much the same. He leans against the walls as I ask about the bloom in his hands.

Despite the “FREE” sign on the bin, he isn’t eager to discuss nabbing the flower. He answers questions with one- and two-word answers and seems ready to call his lawyer if I get any more persistent. He gives only his first name, Vincent. I ask how old he is; he says he is 17.

Asked why he took the flower, he shrugs. “Looks nice?”

Has he ever taken a flower before? Indeed he had. What did he do with it? Gave it to a friend. When I ask about the nature of this flower-loving friend he just lets out a single chuckle. His friends crack up. Realizing I have no power to detain them, they retreat upstairs for The Best Mexican Food on the Planet.

I get a bit more from Connor Bost, 17, and Ambrose Kee, 17, than I did from “Vincent.” The boys, so in sync with each other that even the tint of their lavender shirts matches, are taking a lunch break as they study for finals.

Teenage boys—save once a year for prom season—aren’t exactly the target demo for flower shops like Ninth Street Flowers, but the boys, fresh off their Mexican food binge, are bubbling over the bin marked “FREE.” Connor has picked up a rose and Ambrose is about to—he’s taking a second to decide.

They are students at the North Carolina School of Science and Mathematics just a few blocks away. Delighted by the sweet smell in the air as they exit the building, their sunny demeanors don’t seem like those of stressedout juniors (or as they prefer, “almost seniors”). But they are stressed out about finals. The flowers, not usually purchased as study aids, are coming in clutch. The rose he is now holding is the perfect “destresser,” Ambrose tells

me. Connor’s lips curl into a smile as he looks down at his rose and nods in agreement with his friend.

T

he bin, when it appears, seems to materialize by magic—pushed out the back door by a disembodied hand. The hand belongs to Karen Flueck-Holveg, the general manager of Ninth Street Flowers. She is charged with caring for the bin.

Ninth Street Flowers has been putting its unused flowers out into the back hall for as long as Flueck-Holveg can remember.

Pre-pandemic, the flower shop made sure to put out the bucket-o’-blooms on Saturdays when little ballerinas, with pink tutus to match bubblegum roses, flocked to a class upstairs at Ninth Street Dance.

But it’s not just about serving Cosmic diners and tiny dancers. As nice as it would be to just give away flowers, the program is, at least in part, practical. Ninth Street Flowers needs to keep its selection fresh.

“Flowers,” Flueck-Holveg says, “are like lettuce.” To stay fresh they have to stay cool. And even if they stay cool they still go all super-unappealing-brown-limp-romaine after a while.

They’re kept in a cooler so dense with flowers and greenery that it looks like a rainforest. The employees remove wilting blooms and move “flowers that are not quite good enough to put in somebody’s arrangement” to the black bin.

Perhaps those flowers only have one or two perky days left; perhaps the flowers are just a little funky. Either way, Flueck-Holveg says, “they’re still beautiful, somebody should enjoy them.” So out into the hallway they go. W INDYweek.com

June 8, 2022

5

N E WS

Durham

Communities, Not Cages As Durham County plans for a youth detention center, a new report emphasizes the ongoing legacy of the “adultification” of Black and brown children, a relic of the country’s white supremacist history.

BY THOMASI MCDONALD tmcdonald@indyweek.com

I

n 1944, the State of South Carolina executed George Stinney Jr., a 14-yearold Black boy, after he was wrongly convicted of murdering two white girls.

A report made public late last month by the Durham-based Southern Coalition for Social Justice (SCSJ) notes that “the straps of the electric chair were too big” for Stinney’s small body and “he sat on a stack of books to be electrocuted.”

Stinney, arrested and interrogated alone, without his parents and without an attorney, was done in by a sole piece of evidence presented at his trial: a sheriff’s claim that he confessed to the crimes.

An all-white jury convicted the child within 10 minutes, and it took a full 70 years after his death for him to finally be exonerated, when in 2014 a judge vacated the teen’s conviction.

The authors of the exhaustively researched, 54-page report cite Stinney’s execution as part of the historical “adultification” of Black and brown children who are often perceived as more dangerous, more prone to be involved in drug use, less innocent, and less responsive to rehabilitation than their white peers.

“The George Stinney piece, that’s where the concept comes in,” says Tyler Whittenberg, who is deputy director of the Advancement Project and a coauthor of Invest in Our Youth, Invest in Our Children: Ending Youth Criminalization in North Carolina, the report published by the SCSJ. “The criminalization and opposition of Black and brown bodies has always been a part of white supremacy,” Whittenberg says.

The landmark report was “created in partnership with local grassroots organizations and highlights the long-term 6

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impact and cost of youth criminalization in North Carolina, including the psychological harm of youth detention centers and the school-to-prison pipeline,” according to a SCSJ press statement.

The report “advocates for a divestment in youth criminalization and an investment in community-led youth wellness services in North Carolina.”

Moreover, the report “chronicles how Black children have been historically targeted by racist policies in the criminal legal system.”

Among the report’s findings: • In 2020, Black youth represented 56 percent of juvenile complaints and 67 percent of youth placed in short- and long-term confinement but are only a quarter of North Carolina’s youth population.

• Incarceration in North Carolina’s most restrictive form of confinement disproportionately impacts African American children.

• On average, young people in youth development centers have three separate mental health and/or substance use diagnoses.

• With the money North Carolina spends on incarcerating one child for a single year ($155,734), the state can cover in-state tuition for 23 college students annually.

The report also notes that the overpolicing of Black children begins in schools and “forms an integral part of the schoolto-prison pipeline and the social control of students of color.”

The report authors explain that school resource officers in schools are “associated with increased referrals to law enforcement for minor, nonviolent infractions,”

George Stinney Jr.

PHOTO FROM SCSJ REPORT

and “police officers often perceive Black boys as older, view them as less childlike and less innocent than white boys of the same age suspected of committing the same offenses.”

The report makes an even more compelling case on behalf of Black girls, noting that while Black students are “the most overdisciplined demographic compared to white students ... Black girls are overdisciplined at even higher rates than Black boys compared to white youth.”

As a consequence of what the report describes as “the adultification of Black girls,” their suspensions “are often driven by teachers’ unconscious racial bias, and frequently occur when students justifiably break racist rules” that include policies that prohibit specific hairstyles and clothing, thus empowering educators “to apply stereotypes interpreting certain behaviors as defiant.”

The authors also state that “insufficient mental health resources also play a role in the overcriminalization of Black girls.”

One of the report’s coauthors, Sabine Schoenbach, an attorney and senior policy analyst with the SCSJ, says the importance of the report and the story its data tells about the criminalization of youth of color across the state “cannot be understated.”

“Too long, our state has created and reinforced structures that expose North Carolina’s children to traumatic experiences that negatively affect their development and potentially alter their life’s trajectory with impacts into the next generation,” Schoenbach states in the SCSJ release.

“Youth heal in loving communities, not courtrooms and cages,” says Imadé Borha, an SCSJ communications advocate who is also the report’s coauthor.

Indeed, the report questions whether a “youth punishment system” should even exist.

“The whole point of the report is that the system cannot be reformed,” Whittenberg says.

The report was published against the backdrop of Durham County’s ongoing plans to build a new and expanded $30 million youth detention center that will house 35 to 40 juveniles.

Architectural designs indicate the detention center space could be expanded to house 60 children awaiting the resolution of their criminal court cases.

The new detention center will be built on undeveloped land where the current 14-bed youth home shares space with the offices of Durham County Emergency Management on Broad Street. It’s expected to be completed by 2023.

“The criminalization and opposition of Black and brown bodies has always been a part of white supremacy.”

Wendy Jacobs, cochair of the Durham County Board of Commissioners, told the INDY this week that construction of the facility is included in the budget approved this week, and is in the “pre-construction” phase, which includes soil studies.

County commissioners for several years have said they have a legal obligation to build a new detention center following the death of 17-year-old Uniece Glenae Fennell, who died by suicide in 2017 while in custody on charges of murder at the adult downtown detention center. The teen’s mother, Julia Graves, filed a civil lawsuit in federal court against Durham County that claimed the sheriff’s office’s and county jailers’ neglect led to the wrongful death of her daughter.

As previously reported by the INDY, at the time of her death, Uniece was a minor being detained among adult inmates, according to the wrongful death complaint her mother filed in the U.S. District Court for the Middle District of North Carolina in Greensboro.

A May 2019 settlement with Durham County included a provision requiring the board of commissioners “to study, explore, and construct, if feasible, an expanded Durham County Youth Home, or develop some alternative plan for total sight and sound separation between juveniles and adults in Durham County. Only after all reasonable efforts to find an in-county placement solution have been exhausted can Durham County children be housed in an out of county facility.”

Durham County commissioners say the court order is one of the reasons behind their support for the construction of a new youth detention center, along with a 2019 “raise the age” law, which bars most 16- and 17-year-olds from being automatically charged as adults, and soaring rates of youth gun violence.

Opposition to a new youth detention center has been considerable over the past two years, most notably in November, during a virtual, two-hour town hall, “Youth Heal in Communities, Not Cages,” hosted by members of Durham Beyond Policing, a coalition of local groups who want divestment from jails and prisons

and investment in evidence-based crime prevention models.

Whittenberg, while speaking with the INDY this week, again criticized a new youth detention center and questioned the need for such an expanded facility.

“The county already detains a small number of juveniles—two or three— accused of murder. That’s no excuse to lock up 36 children in Durham.”

Whittenberg calls the county commissioners’ insistence that they have a legal obligation to build a youth detention center because of Uniece’s death “a false argument,” along with one county commissioner’s scenario of a teen on a “murderous rampage” being allowed back on the streets where he can harm another family.

“That’s the same fear-based logic behind the war on drugs,” Whittenberg says. “The same logic that led to mass incarceration. How different is that from [former president] Nixon? It’s the same logic that led us here.”

He notes that after the mass shooting in Uvalde, America’s elected officials who are struggling with an unprecedented rise in gun violence would realize that calls for more police, arming teachers, and “hardening” schools are not effective.

“They want to build fortresses around schools but offer no mental health counseling,” Whittenberg says. “People are beginning to see the hypocrisy.”

Whittenberg, an attorney, praised Durham County district attorney Satana Deberry’s decision to stop prosecuting criminal referrals from Durham Public Schools, saying that complaints from the school system accounted for 80 percent of all juvenile complaints prior to her election in 2019 but have now “shot down to 12 percent.”

“Durham has been doing a great job,” Whittenberg told the INDY this week.

“Now it’s about to head down the wrong road. If you build it, it’s going to fill up,” he adds about the new youth detention center.

“Every city says it’s different,” Whittenberg says. “But they’re all locking Black boys up. How is that different?” W

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June 8, 2022

7

NEWS

North Carolina

HB 2 2.0 With the Republican-led “Don’t Say Gay” bill, some of the worst proposed anti-gay legislation since HB 2, North Carolina lawmakers renew their attack on LGBTQ rights.

BY JASMINE GALLUP jgallup@indyweek.com

N

orth Carolina’s newest piece of antiLGBTQ legislation—the “Don’t Say Gay” bill—isn’t likely to pass Gov. Roy Cooper’s desk. But even if the bill fails, conservative parents and politicians will continue to wage a nasty culture war, one that’s already imposing consequences on teachers and students statewide.

Last month, a special-needs preschool teacher in Wake County resigned amid a national firestorm over LGBTQ flash cards she had pinned to a bulletin board on her classroom wall.

It’s unclear why the teacher resigned— whether it was a personal decision or because of the initial response to the flash cards from the principal and school system—but by all accounts, students will be impacted most by her departure.

“The saddest thing is our children lost the most incredible teacher. It’s just awful for them,” says Jackie Milazzo, whose child is in the teacher’s preschool class. “She has changed so many children’s lives. Who my son was at the beginning of the school year, he’s grown in ways that we could have never even dreamed of …. The parents that I’ve spoken to are absolutely devastated.”

The teacher submitted her resignation just before Republican state house Speaker Tim Moore publicized an inflammatory and misleading news release accusing her of using “LGBTQIA+ themed flashcards, including a card with the depiction of a pregnant man, to teach colors to children.”

In fact, the flash cards were not used in the teacher’s daily lessons but merely displayed in her classroom’s art center.

The flashcard Moore referenced appears to depict a lesbian couple, one of whom is pregnant. The set of 12 cards, each labeled with a color, also appears to show a mul8

June 8, 2022

INDYweek.com

tiracial family, same-sex couples with children, and parents with disabilities.

“They latch onto that one postcard, but the rest of them, they show people of different races, different disabilities, different family dynamics,” Milazzo says. “This doesn’t feel inappropriate for my child to see. If anything, as a special-needs child, it’s wonderful they are seeing that being different in any way isn’t scary. It isn’t bad, it’s normal.”

Those safe spaces created by caring teachers may soon be a thing of the past, however.

North Carolina’s newly introduced House Bill 755, or the “Don’t Say Gay” bill, is part of a much larger conservative movement to crack down on LGBTQ rights through schools. Republicans nationwide felt they hit on a winning political strategy when they discovered they could get support by spreading fear among parents about their children being “indoctrinated,” “groomed,” and “sexualized” in schools.

“We knew because this was an election year that there would likely be some bill,” says Kendra Johnson, executive director of LGBTQ rights advocacy nonprofit Equality NC. “There’s a playbook we’re seeing nationally, which is parents’ rights bills, trans sports bans, and other things like medical denials or bans on gender-affirming care. [The bills] largely come out of conservative think tanks as model legislation and then are adopted by whichever conservative politician needs to have their name in the newspaper.”

North Carolina’s “Don’t Say Gay” bill, similar to the infamous Florida legislation, prohibits teachers from talking about gender identity and sexual orientation in K–3 classrooms.

Another part of the bill allows parents to object to the use of certain textbooks

North Carolina’s ‘Dont Say Gay’ bill would harm LGBTQ students and educational resources. It also requires schools to tell parents what books students have checked out from the library, encouraging attempts by conservative activists to ban school library books dealing with LGBTQ characters or issues.

Officially, the bill’s ban on talking about gender identity and sexual orientation covers only formal classroom curricula. But, as Johnson points out, there is no formal classroom curriculum that covers LGBTQ topics.

Students in K–3 classrooms are simply not taught about gender identity or sexual orientation as part of their daily education.

“This has been a long game from our conservative opposition, actually manufacturing problems in order to solve them,” Johnson says. “There’s always a wedge issue that’s thrown out in election years. This is part and parcel of a strategy to elevate a nonexistent issue, propagate a cultural war, and then create some solution.”

Republican state senators Phil Berger, Deanna Ballard, and Michael V. Lee stuck to that narrative during a press conference last month, arguing the “Don’t Say Gay” bill is a way to ensure children are receiving “age-appropriate instruction.”

Lt. Gov. Mark Robinson’s FACTS task force—Fairness and Accountability in the Classroom for Teachers and Students— was likely a precursor to the bill, Johnson says. The task force is aimed at “exposing indoctrination in the classroom” and holding teachers accountable to “inappropriate content … of a sexual nature.”

The watchdog environment created by politicians encourages community members—not necessarily parents—to monitor local teachers and report them for things as simple as having a rainbow “Safe Space” sticker on their classroom door. Historically, teachers targeted in this way have resigned rather than face discrimination from their school system and threats from the community.

Teachers who try to support LGBTQ students, or gay, lesbian, or transgender teachers who mention their personal life, are all at risk. The “Don’t Say Gay” bill doesn’t currently prohibit those kinds of conversations, but it sends a clear message: LGBTQ students and teachers are not welcome in public schools.

“It sends a very negative message to people who are already deeply marginal-

Images of flash cards that drew the ire of NC House Speaker Tim Moore ized and are already struggling to have their identities accepted,” Johnson says.

“We saw in Florida, already, an increase in suicidal ideation amongst the population of young folks who are LGBTQ+, because the message that it sends is that your identity is so horrible that it’s unmentionable in a classroom.”

Suicidal thoughts among LGBTQ youth have trended upward in recent years, according to the Trevor Project. About 45 percent of LGBTQ youth nationwide seriously considered suicide in the past year, including more than half of transgender and nonbinary youth, according to the nonprofit’s 2022 National Survey on LGBTQ Youth Mental Health.

In North Carolina, schools are already unsafe for LGBTQ youth. A GLSEN report shows that in 2019, most LGBTQ students regularly heard anti-LGBTQ remarks as well as experienced verbal harassment about their sexual orientation, gender expression, or gender.

Almost 65 percent of LGBTQ students experienced discrimination at their school, including for public displays of affection.

Half of transgender students were prevented from using their chosen name or pronouns in school, while 70 percent were not allowed to use the school bathroom aligned with their gender.

The “Don’t Say Gay” bill would make schools even more dangerous for LGBTQ youth, forcing teachers and staff to out transgender students by notifying their parents if they ask to be addressed by

a different gender pronoun. Educators would also be prohibited from withholding information about a child’s LGBTQ status if they came out at school but not to their families.

“For many kids, unfortunately, school is the only safe space they have,” Johnson says. “So the forced outing that would be codified in this bill puts kids in real danger. We’re not just looking at the mental health outcomes, we’re looking at actually real recrimination from parents who may not be supportive.”

Parts of the bill also require schools to “establish a process for parents to learn about the nature and purpose of clubs and activities offered at their child’s school,” which could help conservative activists shut down GayStraight Alliances in public schools.

“It criminalizes teachers who may attempt to be supportive,” Johnson says. “It’s taking away a lifeline for kids who are at risk.”

The bill, which passed the state senate last week in a 28–18 vote along party lines, is now headed to the house for a vote. If approved, it would go before Democratic governor Cooper, who would likely veto it.

But simply by introducing it, Republicans have already made schools more unsafe for LGBTQ teachers and students as school boards become less likely to pass protections for LGBTQ youth, teachers fear promoting equality in the classroom, and gay, lesbian, and trans- and gender-nonbinary students become even more afraid to come to school. W

“We knew because this is an election year that there would likely be some bill.”

INDYweek.com

June 8, 2022

9

M U SIC

FLORENCE DORE: HIGHWAYS & ROCKETSHIPS RELEASE SHOW

Saturday, June 11, 8 p.m., $15 | Cat’s Cradle Back Room, Carrboro | catscradle.com

Long Story Short Florence Dore’s parallel lives in Southern literature and American rock curve together in Highways & Rocketships, her first album in 21 years.

BY BRIAN HOWE music@indyweek.com

F

lorence Dore, who teaches contemporary fiction, the American novel, and songwriting at UNC-Chapel Hill, will release her second album, Highways & Rocketships, via Propeller Sound Recordings on June 10.

A wise and tender collection of rock, folk, and vintage Southern power-pop, it’s unusual for a second album only in that it took two decades to follow Dore’s first.

But she never strayed too far from music, as you can tell from the personnel on the album (including The dB’s Will Rigby and Peter Holsapple, Southern Culture on the Skids’ Mary Huff, Mipso’s Libby Rodenbough, and famed R.E.M. producers Don Dixon and Mitch Easter) or the special guests for the June 11 release show at Cat’s Cradle Back Room (including Django Haskins, Daniel Wallace, The Connells, and Robert Sledge).

The INDY recently spoke with Dore via video chat to learn more about her long hiatus from, and timely return to, recorded music; how her Marshall Crenshaw cover led to the Cat’s Cradle benefit album Cover Charge; her first general-interest rather than academic book (The Ink in the Grooves, forthcoming from Cornell University Press); and the vanishing line between music and literature.

INDY WEEK: Which came first, literature or music?

FLORENCE DORE: Music. I’ve got a book

coming out in October, The Ink in the Grooves. In the intro, I talk about when I was four or five, hearing The Band’s “The Night They Drove Old Dixie Down” and being mesmerized by it. But my previous book, Novel Sounds, is about how literature and rock music are the same. The eureka moment was when Steve Earle recommended I read 10

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this Leadbelly biography. He attended the Modern Language Association meeting in 1934 with John Lomax, where he was on a panel called “Popular Literature.” So, Leadbelly was literature.

How did you wind up in Chapel Hill?

My parents split up when I was in fifth grade, and we went back and forth between Nashville and D.C. for years. Then I went off to college, and I lived in Boston for a few years, playing punk-rock-slash-country music there. It must have been, like, 1987 to 1991, because I remember hearing Lucinda Williams on the radio before the first Rough Trade album came out and just pulling the car over. From my point of view, she gave aspiring female musicians in the rock world a model of being honest and made it badass to play folk music again. Then it was grad school in San Francisco, teaching at Kent State in Ohio, and a postdoc at NYU. That’s when I made my first record, Perfect City.

Florence Dore

PHOTO BY MARIE KILLEN

ing attention to her? I was like, OK, this isn’t gonna work for a while. I didn’t want to be a mom who toured; I wanted to be there with my daughter while she was growing up.

That was in 2001. What were your aspirations then, before you veered off on the academic track?

You’ve been teaching at UNC-Chapel Hill since 2010. What are your areas of interest?

Well, I was really happy to do both. I made that record myself, but it got picked up by a label in Missouri called Slewfoot.

That gave it a new life, and everything was cooking along. It was through making the record that I met my husband, Will Rigby.

We had a baby. He was on tour with Steve Earle, so a lot of the time, I was doing it on my own and also had a job. The music stuff all kind of came to a halt. The last gig I had, opening for Jason Ringenberg at the Cleveland Public Library, Will brought the baby in the stroller, and she had to be taken out screaming. Why wasn’t I pay-

I do American fiction with a Southern fiction bent. A few years ago, when I started writing songs again, Bland Simpson, my colleague in the creative writing program, said, “Oh, maybe you should teach the songwriting class.” I said, “What about this fall?”

What inspired the renewed spate of songwriting?

I finished my second book, achieved full professor; my daughter is a teenager, so she doesn’t care what I do anymore. Usually, academics will spend the summer writing academic stuff, but I was like, I’m gonna

carve this out for creative time, and I came up with like 20 songs.

This was right before COVID.

It was like, yay, I’ve got my GarageBand versions, I’ve got interest from a label. We did a tour in March 2020. We went into the Fidelitorium to do the first single, and then, everything fucking shut down. But I wasn’t discouraged. It still had this momentum. For the tour, Peter Holsapple had suggested doing Marshall Crenshaw’s “Somewhere Down the Line,” and I said, nah, I wanna do something faster. But all of a sudden, it seemed like a really good song to cover—so beautiful and comforting. We recorded it remotely, and Don [Dixon] mixed it. I got in touch with Steve Balcom and Lane Wurster, who brought in Shawn Nolan, and that’s how Cover Charge happened. That took up all of my time until it came out. We were going to record the album remotely, but then, vaccines started happening, and we got back into the studio.

I’m so glad. It’s like teaching: there’s just no substitute for being in the room.

You lined up a very pedigreed band through personal connections.

The thing is, I never stopped being involved with music. There are the conferences I’ve put on, Will has been playing, and all our friends are musicians. Through the songwriting process, Peter Holsapple was advising me and cheering me on; he’s a great supporter. Mark Spencer is one of the guitarists from Son Volt, and Jeremy Chatzky, the bassist, he’s played with Ronnie Spector and Bruce Springsteen.

Family ties seem to be less the theme than the foundation of the songs. Why do you think that’s coming up now?

Maybe it’s partly because I’m middle-aged, and you do think about your life and genealogy at that point. The final song, “And the Lady Goes”—that’s a pop song about menopause. As you kind of go down the mountain [laughs], you start to think about what was on the other side. And “Sweet to Me” is told from my grandmother’s perspective as an elegy to her.

For songwriters who put out a record every few years, there’s this almost formal pressure for each record to frame a few years. Did you feel pressure to put in everything, to catch up?

That’s a smart point, and I hadn’t thought about it in that way. Because of course while I’m sitting here writing, I’m thinking, Jesus! Got a lot of ground to cover. [Laughs.]

Circling back to The Ink in the Grooves, did you conduct all the interviews?

Most of them. It’s my first foray into a trade book; it’s not academic or scholarly.

It’s interviews with people like Steve Earle, Lucinda Williams, and Dom Flemons. Scott Timberg, who sadly is no longer with us, did the one with Rhiannon Giddens. There’s also fictional stuff about rock ’n’ roll. It’s about what has become my life’s work: how literature and music intersect.

Fewer people than one would think both perform and write about music. Why do you think that’s so?

While I was writing my last book and editing this one, I wasn’t writing songs—it’s two different kinds of work, a different headspace.

Songwriting is sort of an altered state, a bit like meditation. You have to make not just physical space but a certain kind of mental space. People talk about songwriting in mystical terms for a reason. It does sometimes feel like you have to ready yourself to be visited. W INDYweek.com

June 8, 2022

11

STAGE

AMERICAN DANCE FESTIVAL

Multiple venues | Through September 11 | americandancefestival.org

Moving Forward The American Dance Festival returns in full force to Durham this summer.

BY BYRON WOODS arts@indyweek.com

O

K now: this is much more like it.

After COVID necessitated online-only performances in 2020 and a brave, single-week season outdoors last year at the North Carolina Museum of Art (NCMA), the American Dance Festival returns to a far more familiar—and reassuring—form this year. Over the next month and a half, its 15 programs encompass modern dance’s past, present, and future.

And that’s not counting a bonus week in September when the festival returns for four wide-ranging evenings at NCMA’s Bryan Amphitheater.

We’ll have more on those in the fall. For now: a run-down of the works the ADF brings to Durham this and next month.

Made in North Carolina

Devotion

Helen Simoneau Danse, Stephen Petronio & Johnnie Cruise

Rosie Herrera Dance Theatre Reynolds Industries Theater June 16-17 The women in the last part of Rosie Herrera’s triptych inquiry into religious iconography take on the crucial final component in faith: embodying their beliefs. A mother, a partner, and a devotee all know that devotion can take you to extremes; it’s no coincidence that the work’s original title was Negotiating Surrender. “It’s one thing to say something; another to ground it in your body,” Herrera says. “You come to the edge of yourself.”

Rennie Harris Lifted

Rennie Harris Puremovement Page Auditorium June 17-18; Children’s Matinee: June 18 Hip-hop choreographer Rennie Harris’s Funkedified rocked the Carolina Theatre in 2019. Here, he turns to gospel house music for a work where the street and the Black church both lay claim to the souls of young people, in an exuberant production featuring local gospel singers and dancers.

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Jose Velasquez, Chris Yon and Taryn Griggs, Justin Tornow, Ramya Sundaresan Kapadia Duke Chapel lawn; Reynolds Industries Theater; June 21 Regional choreography gets its full due this season: after enVISION, ShaLeigh Dance Works’ astounding season opener last week, choreographers take us from street dance to classical Indian Bharatanatyam dance and song in an evening of four commissions. In the midst: Mesa, Justin Tornow’s Merce Cunningham-influenced meditation on the multiplicity of timescales we operate within at the same time.

Mercer Reynolds Industries Theater; June 23 As an entire concept, power needs reclaiming—particularly after the political and social abuses in its name in recent years. Helen Simoneau explores the soft, introverted, shared, and quiet power needed to be vulnerable and open and to empower communities for the greater good. Stephen Petronio was a member of ACT UP in the 1980s; he and Johnnie Cruise Mercer reflect on activism across generations in the queer community, in a work to new music by Monstah Black.

Pilobolus

Page Auditorium June 24-25; Children’s Matinee: June 25 This colorful festival mainstay, long known as the proverbial gateway drug of modern dance, turns 50 this year with an ADF-commissioned world premiere and a work for children that literally lifts the curtain on its famous shadow puppet/choreography works.

Pibolus

PHOTO BY ROBERT WHITMAN

An Untitled Love

A.I.M by Kyle Abraham Reynolds Industries Theater; June 28-29 After his bracing Nina Simone Suite at the 2021 ADF, Abraham’s new work, described by critic Brian Siebert as a “theatrical love letter to social dance,” veers back and forth between host Jae Neal’s urban house party to darker meditations on Black police violence and isolating gender roles. The soundtrack: soulful oldschool hits by D’Angelo.

Radioactive Practice

Abby Z and the New Utility von der Heyden Studio Theater, Rubenstein Arts Center; June 30–July 2 Choreographer Abby Zbikowski is known (if not notorious) for the physical rigor of her work. The New York Times notes that in pushing dancers’ bodies to their limits, Radioactive Practice “braids emotional toughness with unrelenting physicality” in “a bold new energy that speaks to survival and purpose.”

Paul Taylor Dance Company

Page Auditorium July 1-2; Children’s Matinee: July 2 Another ADF mainstay, the legacy company of the preeminent modern dance choreographer presents puckish repertory works Cloven Kingdom and Syzygy and A Call for Softer Landings, an innovative new work from rising Kidd Pivot dancemaker Peter Chu.

Fires of Varanasi: Dance of the Eternal Pilgrim

Ragamala Dance Company Reynolds Industries Theater; July 6-7 For centuries, Hindus have trekked to Varanasi, not only to pour the ashes of the dead into the Ganges but to bathe and seek ritual purification in the waters. Water and fire also figure into Ragamala’s atmospheric meditation on that faith’s intertwining cycles of birth, death, and rebirth.

The Running Show

Monica Bill Barnes & Company Reynolds Industries Theater; July 9-10 If they’re fortunate, a dancer’s career is not a sprint but a lifelong marathon. Moni-

ca Bill Barnes’s pithy, humorous works have taken us into dance’s backstage before; Barnes incorporates the voices, bodies, and stories of ADF and local dancers in a sports-inflected look at the impact of aging on a performer’s life.

Burnt-Out Wife

Sara Juli von der Heyden Studio Theater, Rubenstein Arts Center; July 12-15 Sara Juli’s solo shows dismantle cultural taboos with stand-up comedy, music, truly over-the-top choreography, and stories from her own life. ADF presented BurntOut Wife online in 2020; in the live version, she brandishes a hairbrush microphone in a hot-pink bathroom to interrogate the challenges in her own marriage.

Inheritance: A Litany

Janis Brenner von der Heyden Studio Theater, Rubenstein Arts Center; July 12-15 A litany is more than a prayer. It’s a list: an accounting of challenges, blessings, or both. Autobiographical artist Janis Brenner details specific physical, psychological, and spiritual traits she’s inherited from her parents in music and movement that swings from dreamlike impressionism to arresting specifics, in work she’s defined as a dance, a play, an opera, and a comic drama.

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Footprints

Charles O. Anderson, Kimberly Bartosik, Shen Wei Reynolds Industries Theater; July 16-17 When Shen Wei worked with ADF students for a month in 2000 in an earlier version of this yearly series, he formed a company with them, launching an American career that ultimately won him a MacArthur Foundation fellowship.

Wei returns to the vineyard to create a new work (and receive the Scripps/ADF Award for lifetime achievement). Afro-contemporary choreographer Charles O. Anderson’s scathing (Re)Current Unrest underlined racism under Trump, and Kimberly Bartosik has explored intergenerational schisms in work incorporating urban parkour tracing.

One. One & One

Vertigo Dance Company Reynolds Industries Theater; July 19-20 The aching desire for oneness, with the self, with fellow humans, with the planet—and the schisms and conflicts that impulse has historically wrought—form the basis of a meditation by a noted Israeli dance company, performed on a stage covered in earth. W INDYweek.com

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A RT

ALLUVIAL DECODER: CITY OF RALEIGH STORM MEMORIAL

Opened on Wednesday, June 1 | raleighnc.gov/arts

Watermarked A new public art project by Crabtree Creek brings awareness to floodplains, the ghosts of storms past, and the creeping effects of climate change.

BY JASMINE GALLUP jgallup@indyweek.com

O

n the banks of Crabtree Creek, a striped pole stands more than 12 feet tall, poking up over Blue Ridge Road.

The black-and-yellow marker is a monument to the historic floodwaters that poured into Crabtree Valley Mall on September 5, 1996, when Hurricane Fran, one of the worst storms in North Carolina’s history, hit the Triangle.

“This was all a lake,” designer William Dodge tells the INDY, pointing up to Crabtree Valley Mall and the surrounding streets. “I remember all of Crabtree being underwater. I grew up in Five Points and we didn’t have any power for two weeks.”

Dodge is one of three artists and architects who first pitched the public art project on the Crabtree Creek greenway to Raleigh officials. The project officially opened last week on June 1, the first day of hurricane season.

Dodge, graphic designer Lincoln Hancock, and landscape architect Will Belcher make up “a gang of three,” a newfound partnership aimed at strengthening the connection between people and places through public art.

“The whole idea [is about] being able to connect people with a sense of place and ecology,” says Dodge. “Thinking about how we can understand and respond to wonders and fury of nature, but also to be responsible caretakers and be educated on it.

Because if you’re not educated on it, you’re not going to appreciate it.”

The Crabtree Creek project is designed to help people understand how severe the flooding is around what is normally a small stream. The businesses and homes around Crabtree Creek, which are built on the floodplain, are in particular jeopardy.

During heavy rainfall, the creek jumps its 14

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banks and spreads to surrounding areas, where it puts people and property at risk.

“People don’t really understand it,” Dodge says. “It’s hard to explain. Even friends of ours who have lived here their whole lives, they don’t really get it until they’re standing next to one of these poles and they realize how tall it is.”

The art installation includes a dozen or so storm markers that show how high floodwaters have risen during hurricanes and other storms. The tallest, about the same height as the pole for Hurricane Fran, represents floodwaters during an unnamed storm in 1973, which ultimately reached nearly 28 feet above the creek bed.

There are also markers for Tropical Storm Alberto in 2006 (which resulted in about 24 feet of flooding), Hurricane Matthew in 2016 (23 feet), and Hurricane Floyd in 1999 (22 feet). Most recently, another unnamed storm in January dropped several inches of rain on the Triangle, causing the creek to rise to about 18 feet.

Under the Blue Ridge Road bridge, a mural displays the names of the storms in the language of maritime signal flags.

“The visual language is picking up on the colors and patterns of maritime signal flags. The letters are really abstracted,” Hancock says, adding that unnamed storms are represented by a checkerboard pattern.

“Part of what we learned was many of the largest flooding events were not tropical storms or hurricanes that had names people remembered—they were just times it rained a lot.”

Flooding has increased in recent years as climate change strengthens storms, resulting in longer, heavier rainfall and more frequent hurricanes. In an effort to curb stormwater, last year the Raleigh City Council

Designers William Dodge and Lincoln Hancock approved new regulations that restrict new construction in floodplains like the one around Crabtree Creek.

When the change goes into effect next month, developers will no longer be able to build on vacant properties in the floodplain larger than half an acre—a rule that affects about 400 properties and 1,545 acres of land citywide, according to Raleigh’s website.

The existing stormwater regulations have been on the books since the 1980s, says Wayne Miles, the city’s stormwater program manager. When he and his staff took a fresh look at them, they found some other cities and towns in the Triangle had more restrictive regulations, he says.

“As a community, we found a value in placing more restrictions to keep flooding from getting worse,” Miles says. “Climate change is one [consideration], and we’re seeing the effects of that. We’re seeing bigger rainfalls, more frequent rainfalls with higher intensity and more flooding. So we need to be prepared to become more resilient against that type of flooding in the future. This new regulation is one of the items that we’ve put in place to help with that.”

Meanwhile, Dodge and Hancock are hoping their art installation will help educate people about the urgency of preserving the environment, especially marshlands surrounding creeks and rivers that

PHOTO BY BRETT VILLENA

help filter stormwater into the ground after a big rainfall.

“Part of the project is awareness of these natural cycles but also what exacerbates them and what can help remediate them,” Hancock says. “We don’t know a lot about this site before the mall was put in, but we know it was more of a natural floodplain, it was muddy, marshlike. That soaks up water.”

Dodge and Hancock hope the project will reach not only the people using the Crabtree Creek greenway but also cars stopped in traffic on Blue Ridge Road. The colorful, tall storm markers are visible from the street, which may raise interest or questions from passersby.

“The majority of our audience is people sitting in stopped traffic,” Dodge says. “People look down here and then all of a sudden they realize that this greenway is down here and they would have never even known.”

Lines of sediment have already appeared on the mural since it was completed last year, a more informal marker of floodwaters that rise and recede over time. But the gang of three won’t be cleaning or repairing the mural anytime soon—they want it to weather, Dodge says.

“We knew [flooding] would happen at some point,” Hancock says.

“We knew it would happen a lot,” Dodge adds with a laugh. W

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Please check with local venues for their health and safety protocols.

The Doobie Brothers perform at Coastal Credit Union Music Park on Saturday, June 11

TWRP $20+.

Sat, Jun. 11, 9 p.m.

Motorco Music Hall, Durham.

PHOTO COURTESY OF COASTAL CREDIT UNION MUSIC PARK

Flume: Palaces Tour $45. Sun, Jun. 12, 7 p.m. Red Hat Amphitheater, Raleigh.

Gangland $20. Sun, Jun. 12, 8 p.m. The Pinhook, Durham.

Mandy Moore: In Real Life Tour $45+. Sun, Jun. 12, 8 p.m. The Carolina Theatre, Durham.

Phil Allen Octet $15+. Sun, Jun. 12, 2 p.m. Sharp Nine Gallery, Durham.

music Blends with Friends (Open Decks) Wed, Jun. 8, 8 p.m. The Pinhook, Durham.

Live Jazz with Marc Puricelli and Friends Wed, Jun. 8, 7 p.m. Imbibe, Chapel Hill.

The Mavericks / Maggie Rose $36+.

Wed, Jun. 8, 7:30 p.m.

NCMA, Raleigh.

The Warlocks $15.

Wed, Jun. 8, 8 p.m.

Cat’s Cradle Back Room, Carrboro.

Happy Together Tour $60+. Thurs, Jun. 9, 8 p.m. The Carolina Theatre, Durham.

REIK $49+.

Sun, Jun. 12, 8 p.m.

Duke Energy Center for the Performing Arts, Raleigh.

Maren Morris: Humble Quest Tour $29+. Thurs, Jun. 9, 8 p.m. Red Hat Amphitheater, Raleigh.

Mellow Swells Thurs, Jun. 9, 7:30 p.m. Imbibe, Chapel Hill. $10. Sat, Jun. 11, 8 p.m. Local 506, Chapel Hill.

Saturnalias $10. Thurs, Jun. 9, 8 p.m. The Pinhook, Durham.

Ben Rector: The Joy of Music Live $30+. Fri, Jun. 10, 7 p.m. Red Hat Amphitheater, Raleigh.

Desert Hearts: Mikey Lion & Marbs $20. Fri, Jun. 10, 9 p.m.

The Fruit, Durham.

Diane Coffee $15.

Fri, Jun. 10, 8 p.m.

Cat’s Cradle Back Room, Carrboro.

Slenderbodies $18. Fri, Jun. 10, 8 p.m. Local 506, Chapel Hill.

The Hit $15+.

Fri, Jun. 10, 8 p.m.

Sharp Nine Gallery, Durham.

Symphony X $30.

Fri, Jun. 10, 7:30 p.m. Cat’s Cradle, Carrboro.

K. Sridhar $22. Fri, Jun. 10, 7:30 p.m.

The ArtsCenter, Carrboro.

Abbey Road Live! $12. Sat, Jun. 11, 4 and 8 p.m. Lincoln Theatre, Raleigh.

Kingdom Tour: Maverick City Music x Kirk Franklin $30+. Fri, Jun. 10, 6:45 p.m.

Coastal Credit Union Music Park, Raleigh.

The Doobie Brothers: 50th Anniversary Tour $22+. Sat, Jun. 11, 7:30 p.m. Coastal Credit Union Music Park, Raleigh.

Madhouse Season 4 $10. Fri, Jun. 10, 8 p.m. The Pinhook, Durham.

Florence Dore Record Release Party $15. Sat, Jun. 11, 8 p.m. Cat’s Cradle Back Room, Carrboro.

Pinkest Floyd: A Tribute to Pink Floyd $15+. Fri, Jun. 10, 8:30 p.m. Lincoln Theatre, Raleigh.

FRESH Sounds with NiiTO Sat, Jun. 11, 7 p.m. Artspace, Raleigh.

iParty with DJ Matt Bennett: Playing Your Favorite Disney & Nick Hits $17. Sat, Jun. 11, 7 p.m. The Ritz, Raleigh.

Juan Alamo and Marimjazzia $15+.

Sat, Jun. 11, 8 p.m.

Sharp Nine Gallery, Durham.

NC Symphony Summerfest: Movie Music Classics $30+. Jun. 11, 8 p.m. Koka Booth Amphitheatre, Cary.

Queer Agenda! $5. Sat, Jun. 11, 11:55 p.m. The Pinhook, Durham.

Rebelution: Good Vibes Summer Tour 2022 $28+. Sat, Jun. 11, 7 p.m. Red Hat Amphitheater, Raleigh.

Sights and Sounds Concert Series: Aurora Musicalis $28+. Sun, Jun. 12, 1 and 3 p.m. NCMA, Raleigh.

Vocal Arts Ensemble of Durham 25th Anniversary Concert $10. Sun, Jun. 12, 4 p.m. Duke Chapel, Durham.

Aldous Harding $23. Mon, Jun. 13, 8 p.m. Cat’s Cradle, Carrboro.

Jason Isbell and The 400 Unit / Sheryl Crow $60+. Sun, Jun. 13, 6:30 p.m. Koka Booth Amphitheatre, Cary.

The War on Drugs $26+. Mon, Jun. 13, 7:30 p.m. Red Hat Amphitheater, Raleigh.

Adithya Vaidhyan Quartet $10.

Tues, Jun. 14, 7 p.m.

Sharp Nine Gallery, Durham.

Belle & Sebastian / Japanese Breakfast $50. Tues, Jun. 14, 6 p.m. The Ritz, Raleigh.

Dynamic Duos in Durham: Earl Gray $10. Tues, Jun. 14, 7 p.m. The Fruit, Durham.

Fenton Live!

Music Series Tues, Jun. 14, 6:30 p.m.

Fenton, Cary.

Live Jazz with the Brian Horton Trio Tues, Jun. 14, 9 p.m.

Kingfisher, Durham. mewithoutYou $30. Tues, Jun. 14, 8 p.m. Cat’s Cradle, Carrboro.

Mysti Mayhem Tues, Jun. 14, 7 p.m.

The Oak House, Durham.

Robert Plant & Alison Krauss Raising the Roof Tour $60+.

Tues, Jun. 14, 7:30 p.m. Koka Booth Amphitheatre, Cary.

Stan Comer Tues, Jun. 14, 7 p.m.

Imbibe, Chapel Hill.

art FRESH Leadership Innovation in Arts Administration Thurs, Jun. 9, 6 p.m.

Artspace, Raleigh.

Guided Tour: Modern Black Culture: The Art of Aaron Douglas Thurs, Jun. 9, 1:30 p.m. Ackland Art Museum, Chapel Hill.

Museum Park Tour Jun. 10-11, 9:30 a.m.

NCMA, Raleigh.

Art Adventures: Silhouette Paintings Sat, Jun. 11, 10:30 a.m. and 1 p.m. Ackland Art Museum, Chapel Hill.

Radical Repair Workshop: Shrine for a Broken Object Sat, Jun. 11, 12 p.m.

The Nasher, Durham.

Field Study: Photographs by Lori Vrba Jun. 12–Jul. 31, various times. Horace Williams House, Chapel Hill.

Gallery Talk: Beverly McIver Sun, Jun. 12, 2 p.m. The Nasher, Durham.

Virtual Family Tour: Fault Lines Tues, Jun. 14, 4 p.m. Online; presented by NCMA.

Live Jazz with Danny Grewen & Griffanzo Mon, Jun. 13, 6 p.m. Imbibe, Chapel Hill.

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PHOTO COURTESY OF DPAC

Assassins $12+. Jun. 2-19, various times.

Titmus Theatre at Frank Thompson Hall, Raleigh.

American Dance Festival Jun. 3–Jul. 20, various times.

Various venues, Durham.

A Pride Show at a Punk Venue Wed, Jun. 8, 7:30 p.m. The Night Rider, Raleigh.

Chris Rock $128+.

Wed, Jun. 8, 8 p.m.

DPAC, Durham.

What If If Only and Air $30. Jun. 9-26, various times.

Burning Coal Theatre Company, Raleigh.

Nick Mullen $18+.

Jun. 9-11, various times. Goodnights & Factory Restaurant, Raleigh.

Corban Addison— Wastelands Wed, Jun. 8, 7 p.m. Quail Ridge Books, Raleigh.

Comedy Showcase Fri, Jun. 10, 8 p.m.

Sammy’s Tap & Grill, Raleigh.

Pride Celebration Fri, Jun. 10, 4 p.m.

Fenton, Cary.

Chelsea Handler: Vaccinated and Horny Tour $30+.

Sat, Jun. 11, 8 p.m.

DPAC, Durham.

Comedy Showcase Sat, Jun. 11, 9 p.m.

Vecino Brewing Co., Carrboro.

Fred Armisen: Comedy for Musicians but Everyone Is Welcome $30. Sat, Jun. 11, 8 p.m. Cat’s Cradle, Carrboro.

NC Dance Institute Summer Session Open House Sat, Jun. 11, 12:30 p.m.

North Carolina Dance Institute, Raleigh.

The House of Coxx Drag Show $10. Sat, Jun. 11, 10 p.m. The Pinhook, Durham.

The Whirling Dervish Sun, Jun. 12, 2 p.m.

The ArtsCenter, Carrboro.

Jo Koy: Funny is Funny Tour $55+.

Sat, Jun. 11, 8 p.m.

Duke Energy Center for the Performing Arts, Raleigh.

Jesus Christ Superstar $30+. Jun. 14-19, various times.

DPAC, Durham.

George H. White: Searching for Freedom Preview Screening and Talk Thurs, Jun. 9, 7 p.m.

Online; presented by PBS NC.

screen Kiki screens at The Cary Theater on Friday, June 10 PHOTO COURTESY OF HARD WORKING MOVIES

Pride Month Series: Kiki $6. Fri, Jun. 10, 7:30 p.m. The Cary Theater, Cary.

The Sandlot and Shag: The Movie $10. Fri, Jun. 10, 7 p.m. The Carolina Theatre, Durham.

Storytime on the Roof Wed, Jun. 8, 10:30 a.m. The Durham Hotel, Durham.

Devi S. Laskar— Circa Thurs, Jun. 9, 5:30 p.m. Flyleaf Books, Chapel Hill.

The Concern Reading Series: Michael Cavuto, Lauren Hunter, Riley Ratcliff, Travis Smith, Ryan Eckes Fri, Jun. 10, 7 p.m. Attic 506, Chapel Hill.

Therese Anne Fowler—It All Comes Down to This Fri, Jun. 10, 5:30 p.m. Flyleaf Books, Chapel Hill.

Ann Humphreys— The Tao Of Hoop: On the Transformational Practice Of Hula Hooping (Seriously Though) Tues, Jun. 14, 5:30 p.m.

Flyleaf Books, Chapel Hill.

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Jurassic World: Dominion Brunch $10. Sat, Jun. 11, 11 a.m. Alamo Drafthouse Cinema, Raleigh.

Advance Screening: Marcel the Shell with Shoes On $13.

Tues, Jun. 14, 7 p.m.

Alamo Drafthouse Cinema, Raleigh.

Pride Month Series: Major! $6. Sat, Jun. 11, 7:30 p.m. The Cary Theater, Cary.

Watch Durham: A VERY Durham Film Screening Series Tues, Jun. 14, 7 p.m.

Durty Bull Brewing Company, Durham.

A Star Is Born (1954) Brunch $10.

Sun, Jun. 12, 3 p.m.

Alamo Drafthouse Cinema, Raleigh.

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us

ke up w a W i

Chelsea Handler performs at DPAC on Saturday, June 11

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© 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.

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

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