INDY Week 6.26.19

Raleigh June 26, 2019

50 Years Queer A half-century after Stonewall, we asked local LGBTQ leaders: What does progress look like?

BY JAMES MICHAEL NICHOLS, P. 14

Cops at Night

P.

11

A Council Above Accountability P. 12 An Ice Cube That Never Melts P. 25

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 26

DEPARTMENTS

8 Jose Chicas hasn’t left the School for Conversion in 729 days.

He’ll probably be there at least 574 more.

8 News

10 A bill to allow distilleries to become cocktail bars would “change really everything,” says Rim Vilgalys. “We’d be able to to be a better part of the community around us.”

25 Food 27 Music 30 Arts & Culture

14 Progress is a tricky thing to measure for a community as diverse as those living under the linguistic umbrella LGBTQ.

34 What to Do This Week 37 Music Calendar

18 After reviewing Charlie van der Horst’s essay, the admission director at Harvard called him a “goddamned nutcase.” So the future UNC doctor and Moral Majority activist went to Duke.

41 Arts & Culture Calendar

25 At STIR, a new restaurant in North Hills, people ask to watch ice melt twenty-five times a night.

27 Out of Sight isn’t Jake Xerxes Fussell’s first record with other musicians, but it’s his first with what feels like his band.

31 A memory-altering seizure Ronald West had several years ago got his neurons firing toward Black Irish Baile’s new show.

At STIR, a new restaurant in Raleigh’s North Hills, you can watch ice melt—or not (see page 25). PHOTO BY ZACH STAMEY, COURTESY OF STIR

On the cover PHOTO COURTESY OF THE NEW YORK PUBLIC LIBRARY / DESIGN BY ANNIE MAYNARD

INDYweek.com | 6.26.19 | 3

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

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The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

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INDYWEEK.COM

backtalk Just Build It Already

L

ast week, Leigh Tauss wrote about her not-entirely-successful efforts to buy a house in Raleigh. Lots of folks replied with their own tales of housebuying woe. Here’s a sampling.

From Jake Seaton: “My wife and I are on the other side of thirty, and it took us seven years to find and buy a house in Raleigh. We were very lucky to find what we did—beating out multiple offers, including an allcash offer that was over our bid. We could have moved to Garner, Apex, Fuquay, what have you, and bought much sooner, but we wanted to be in Raleigh and close-ish to downtown. There’s no way anyone can buy a house in a hot housing market in ‘a few months’ unless you have $250,000 in cash.

It’s frustrating, sure, but it’s the reality of urban home-buying these days.”

“There are currently twenty-five singlefamily homes listed (I’m sure not good condition) under $250,000 inside the Beltline,” adds Carrie Pitts-Densmore. “The problem isn’t that you need cash in a hot market (outside the Beltline, that’s mostly untrue); it’s that there isn’t enough affordable housing. And by affordable, I don’t mean just low-income.”

Andrew Snee thinks Tauss was being unrealistic: “The author is trying to buy a house inside the Beltline, in biking distance of downtown. That’s not really a test of the overall housing market.”

“And the tradeoff of not having a car in exchange for a higher house cost isn’t really possible in Raleigh because, despite some good effort, it’s not a city where it’s made at the pedestrian level,” writes Scott Dadson.

Brian Porter says we just need to build more: “A house with a big yard isn’t for everybody. We need all the options for affordable housing. Tiny homes, apartments, condos, townhouses, microapartments, duplexes, mobile home parks (preferably co-op), doghouse, outhouse, in-law house, just freaking build everything.

Get rid of any zoning and other regulations that get in the way of affordable housing.

Preserve the character of the neighborhood, my ass. Just build it all already.”

It’s possible commenter DWK might be willing to sell you a house in Clayton:

“Preserve the character of the neighborhood, my ass.”

“As Triangle home prices continue to rise, millennials will need to make compromises when shopping for homes. While you may not get a home within the Beltline, there are still good values to be found in surrounding communities like Johnston County. It may not be centrally located, but the entire Triangle is rapidly changing.

Downtown Clayton used to be a ghost town in prior years, but now has many wonderful bars, breweries, and restaurants, as well as farmers markets and events. Also, millennials might find that, as they age, living downtown, with growing crowds and traffic jams, starts to lose its appeal.”

Finally, Anthony E. Biancardi asks us for more of columnist Barry Saunders: “Lately I’ve been nibbling at the idea of joining the INDY Press Club, but Barry Saunders’s column reeled me in. Years ago, when N.C. State was looking to replace their basketball coach, he wrote something to the effect that, predictably, the school was interviewing the usual lineup of ‘Brill-creamed, Armani-suited’ candidates rather than promoting from within. That hilarious observation started my years-long devotion to his N&O column.

And I hope my small contribution to the INDY will in some way help promote the kind courageous, honest journalism our state and country sorely needs at these almost desperate hours.”

About that: Thanks to you and everyone else who’s gone to KeepItINDY.com and joined our Press Club, next week, we’re launching INDY Voices, a rotating column from a diverse set of some of the Triangle’s most compelling writers. And guess who’s kicking it off ? None other than Barry Saunders.

Want to see your name in bold? Email us at backtalk@indyweek.com, comment on indyweek.com or our Facebook page, or hit us up on Twitter: @indyweek.

INDYweek.com | 6.26.19 | 5

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indynews

A Solitary Sanctuary

TWO YEARS AFTER SEEKING REFUGE FROM IMMIGRATION OFFICIALS IN A DURHAM CHURCH, JOSE CHICAS FEELS ANXIOUS AND ABANDONED BY THOMASI MCDONALD

O

n Friday afternoon, Jose Chicas was worried.

About thirty-six hours later, armed Immigrations and Customs Enforcement agents were supposed to launch a mass roundup of undocumented immigrants.

President Trump had promised “millions” of deportations in a tweet earlier that week, ahead of his reelection kickoff, though administration officials were telling reporters a few thousand were more likely.

When those raids started, Chicas thought, he might no longer be safe. After all, they knew right where he was. He hadn’t gone anywhere in two years.

Chicas, fifty-four, was sitting on the front porch of the School for Conversion, a small religious center on the grounds of St. John’s Missionary Baptist Church in Durham that he’s called home since June 27, 2017. An undocumented immigrant with a deportation order hanging over his head, living here has been his only option: ICE abides by a policy to avoid detaining immigrants at medical facilities, public demonstrations, and places of worship.

But that policy isn’t a law. ICE could simply change its mind. And if Trump thought a harder line against undocumented immigrants might help him get elected, Chicas considered that a possibility.

“This man is crazy,” Chicas said. “He might turn around and sign an order for the agents to go to church services.”

That hasn’t happened—at least not yet. On Saturday, Trump announced that he was calling off the ICE raids.

(An ICE spokesman told the INDY the agency’s sensitivelocations policy “remains in effect.”)

So for now, Chicas will remain here, at the School for Conversion, waiting—though he’s not entirely sure what for. Trump’s presidency will last at least another nineteen months. What if he wins again? What if he doesn’t—will a Democrat be any better? Will Chicas be allowed to leave this building? Will he be allowed to stay in the country?

In January 2018, of thirty-six immigrants living in sanctuary in the U.S., six were in North Carolina. Since then, one—Samuel Oliver-Bruno—has been deported. Two have seen their deportation orders canceled.

Three, including Chicas, remain in sanctuary, the Spanishlanguage newspaper La Noticia reported last week. Rosa del Carmen Ortez-Cruz, who fled Honduras after her ex-partner stabbed her multiple times, sought sanctuary in the Church of Reconciliation in Chapel Hill in April 2018. Juana Luz Tobar Ortega entered sanctuary in Greensboro one month before Chicas took refuge in the School for Conversion.

8 | 6.26.19 | INDYweek.com

Jose Chicas in the School for Conversion in November 2017 In June 2017, immigration officials issued Chicas a deportation order instructing him to board a one-way flight to his native El Salvador, leaving behind his wife and four children. Instead, he took sanctuary in this two-bedroom parsonage, which also houses a tiny library named for the legendary civil rights activist Ann Atwater. He hasn’t ventured off the property since.

The stress of living in isolation for two years—his wife visits almost nightly, but he lives alone—has taken its toll on Chicas’s health. His sciatica has gotten worse. A doctor comes regularly to monitor his elevated blood sugar.

Before entering sanctuary, Chicas lived in the U.S. for more than thirty-two years. As a seventeen-year-old, he was a soldier with the Salvadoran military, which was backed by the U.S. during the Reagan and Carter administrations during a long and devastating civil war against communist

FILE PHOTO BY CAITLIN PENNA

rebels. On February 6, 1985, Chicas fled on foot in search of political asylum in the United States.

He walked for more than a week, eventually crossing the U.S.-Mexico border on Valentine’s Day, when he was apprehended by immigration officials. He was released after paying a fine, but he failed to show up for his court date, a miscue he blames on bad legal advice.

An immigration court issued a deportation order in his absence. Chicas says he wasn’t aware of that order until two years ago.

Chicas and his wife, Sandra Marquina, met in 1992.

Her brother, Chicas’s best friend, introduced them. They married in 1997 and settled into a home on a quiet Raleigh street and started a life together. She found a housekeeping job at N.C. State, where she’s worked for eighteen years, and her husband worked as a church custodian.

“I pray to God to help me continue this process.

I don’t feel like I have freedom. I feel like this is jail.

I feel like I’m in prison.”

In the 1990s, Chicas struggled with alcoholism and was arrested for driving under the influence and domestic abuse, though the family says he wasn’t convicted. But he got sober and converted to Christianity in 2002. He reconciled with his wife. His religious faith grew, and he was ordained as an evangelical pastor at Iglesia Evangelica in Raleigh.

His asylum application was denied in 2008, but Chicas was able to stay in the U.S. through stays of removal and work permits. He received a social security number and driver’s license, and he paid taxes. He visited the Charlotte ICE office for routine check-ins. During the Obama administration, Chicas still lived under a deportation order, but ICE never acted on it. But then, a few months into Trump’s presidency, when he went to check in with ICE, he was told his time had run out.

Three of his children are U.S. citizens, and the fourth is a Dreamer. His situation is affecting them, too, he says. His thirteenyear-old son, Ezequiel, is seeing a therapist, and his grades have slipped. Chicas’s twenty-year-old daughter, meanwhile, is suffering a “bad depression,” he says.

Marquina says she gave immigration officials documents showing them her daughter’s deteriorating mental condition.

“They don’t care,” she says. “They said, ‘When we deport your husband, she can go with him.’ And she was born here.”

In the beginning, Chicas, a stocky, quiet man, thought he’d be in sanctuary for three, maybe four months.

Now, he struggles to maintain hope.

“I have faith in God,” he says. “I pray to God to help me continue this process. I don’t feel like I have freedom. I feel like this is jail. I feel like I’m in prison.”

During his first year in sanctuary, Chicas met twice with U.S. Representative David Price and once with Senator Bernie Sanders—whose campaign released a video of that visit, though Marquina says she hasn’t been able to get in touch with his team since—as well as with former NC NAACP president and Moral Monday leader, the Reverend William J. Barber II. In June 2018, the Durham City Council unanimously approved a resolution supporting Chicas and the sanctuary movement. His wife sought help from Governor Cooper and contacted the office of Republican senator Thom Tillis.

Nothing changed.

As frustrating as dealing with bureaucracy and seemingly indifferent elected officials can be, Marquina is no less frustrated by the very people she thought would have their back: the church community.

With a few exceptions, her husband’s fight isn’t one they’re willing to take up, she says. In fact, most of the people who are helping them these days aren’t part of any religious organization, which she admits has given her pause.

“Me and my husband are Christians.

Then we have this situation and look to other Christians for help,” she says. “But the Christians say they don’t want to help me because they support President Trump because it’s a Christian administration. Where is the mercy and compassion for us? Why don’t you have mercy for us? My husband and I only want to be together.”

If more churches rallied behind him, she thinks—hopes might be a better word— maybe the administration would listen.

At the very least, maybe they wouldn’t feel forgotten.

Inside the religious center, Chicas wakes up each day at 4:00 a.m. to pray, read his Bible, and listen to music. He works outside in the yard. Once a week, he takes English classes and guitar lessons.

“Sometimes I sleep too much,” he admits.

“Depression.”

Sometimes he wants to go back to El Salvador, a country he hasn’t known in three decades. But his family is here. His life is here.

“My hope is, I wish someone will help me,” he says. “And give me some relief.” tmcdonald@indyweek.com

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ne

THE GENERAL ASSEMBLY MIGHT TURN EVERY N.C. DISTILLERY INTO A COCKTAIL BAR

DOES BIAS I

Cocktails & Dreams

BY LEIGH TAUSS

G

entry Lassiter is ready.

Soon, he’ll pry apart the handmade pallet-board counter at his Knightdale rum distillery and overhaul the front room from a bare-bones retail space into a cozy lounge. The home of Lassiter Distilling Company will, almost overnight, become more than a distillery. It will become a cocktail bar.

If a bill making its way through the General Assembly becomes law, the same could soon happen at every other distillery in North Carolina. They would no longer be cavernous warehouses where booze tourists gawk at large metal vats and take communion-sized sips of room-temperature spirits. Just like the state’s breweries, liquor-makers would have a place to showcase their products—and for the state’s burgeoning craft spirits industry, that would be a game-changer.

“Our business model will change fairly dramatically,” Lassiter says. “Right now, we’re primarily a tour location and an attraction, not really a hangout spot. We’d like to change that.”

As the INDY reported in February, distillers have been pushing back against North Carolina’s liquor regulations, which restrict on-site sales to five bottles per year—until recently, the limit was one bottle per year— and, under a rule the ABC Commission began enforcing this year, force distillers to reach a certain sales threshold to hold their place in state’s warehouse, making it more difficult for smaller distillers to gain a foothold in the market.

Despite the state’s restrictions, the number of North Carolina distillers has grown from just eight in 2010 to more than eighty now. And while a poll earlier this year found that a slim majority of North Carolina residents want to do away with the ABC system, the state’s Distillers Association says reform, not abolition, is the answer.

Senate Bill 290 aims to do just that. It would remove the on-site bottle-sale cap 10 | 6.26.19 | INDYweek.com

Be

B

TOPO Distillery in Chapel Hill

FILE PHOTO BY BOB KARP

at distilleries, allow them to serve mixed drinks along with wine and beer, and give them the ability to offer tastings at ABC stores. Meanwhile, HB 536 offers a broader set of reforms, including allowing the sale of alcohol at university sports games and on trains and ferries.

As state representative Chuck McGrady, a Henderson Republican who has long sought to liberalize liquor laws, puts it, the bills will “bring [North Carolina] into this century.”

“We’ve done that with respect from breweries, wineries, and cideries, and we’re now moving more toward craft distilleries,” says McGrady, who sponsored HB 536 (and if he had his druthers, would do away with the ABC system altogether). “I think both bills will live through the process and perhaps will be combined when they both cross over into the other chamber.”

The ABC Commission told the INDY it does not “take policy positions on pending legislation,” though it’s working with lawmakers to clarify how the bills would affect its operations.

“We certainly support all North Carolina industry partners—distilleries, wineries, breweries—and look forward to continuing our good relationship with them,” ABC Commission spokeswoman Kat Haney told the INDY in an email.

The Senate is expected to take up SB 290 Tuesday afternoon—after the INDY goes to press—while HB 536 is expected to be taken up by the House Finance Committee Wednesday. Both bills could be signed into law by the end of the summer.

Lassiter’s banking on it. He’s already started renovations at his distillery, which he says would be the first cocktail bar in Knightdale if the changes go through

(there’s an Applebee’s and a sports bar, but la not much else). lik “We need a new bar, a new counter of for people to come in that’s a little morein the Ra permanent and stable,” Lassiter says. “Thewest Dist current counter, it’s a well-made counter,citywide but we built it out of the pallets that our2018—a m equipment came in on. It’s on wheels.” of possibl Rim Vilgalys, who makes Lithuanian Even so liqueur out of his Durham distillery, is alsostudy fou eyeing changes to his “lounge,” which bearsality at th a greater resemblance to a Soviet bunkeronly with than a cocktail bar. ables: wom While The Brothers Vilgalys is just on theof eleven other side of the railroad tracks from down-by patrol ( town, it feels a world away from the Bull The RP City’s thriving food and beverage scene. Withlast Thurs the legislative changes, he hopes to add staffCenter co to serve drinks—as well as more products. or so off “It would change really everything. Itthe public would bring our focus back to the tastingdra Deckroom we have and to set up a cocktail bar,”departme Vilgalys says. “We’d be able to be a bettersight boar part of the community around us. If we’reRPD “had able to host an environment where people“I do belie can come and hang out, then we can real-ing and a ly start to participate in the great scene RTI re in Durham.” explained McGrady, who is not seeking reelection,than a ha says the bills will provide not just flexibil-study’s ei ity for the state’s distillers but an economicined the boost for an industry struggling to turnplace betw a profit in a field dominated by billion- The “ve dollar corporations. analysis to And that could mean more jobs. more ease State representative Deb Butler, a Wilming-night) vis ton Democrat, is also sponsoring McGrady’sdriver wh bill. She sees this as a measured step forward,over. This while still maintaining safeguards. of traffic “It’s no surprise to anybody who is pay-like San D ing attention that we have a proliferation The id of distillers and craft breweries in Northpulled ove Carolina,” Butler says. “Creating these fic-sunny bu tional roadblocks or impediments is notbly biased helpful. We need to help [distillers] boostless of ligh their business, not get in the way of it.”

And ex ltauss@indyweek.comSouthwes

news

Beyond the Veil

DOES A NEW REPORT REALLY CLEAR THE RPD OF BIAS IN TRAFFIC STOPS? BY THOMAS C. MARTIN

B

lack women were 17 percent more likely to get pulled over by a patrol officer before sunset than at night in the Raleigh Police Department’s Southwest District, according to a new study of citywide traffic stops between 2010 and 2018—a measure considered an indicator of possible racial bias.

Even so, the Research Triangle Institute study found “no evidence of disproportionality at the city level.” The disparities came only with that specific confluence of variables: women in the Southwest District (one of eleven RPD districts) who were stopped by patrol (as opposed to non-patrol) officers.

The RPD presented the report’s findings last Thursday night in a Raleigh Convention Center conference room, where the sixty or so officers outnumbered members of the public two-to-one. Police chief Cassandra Deck-Brown, who has argued that her department does not need a civilian oversight board, told those in attendance that the RPD “had quite a bit of homework to do,” but “I do believe [the report is] a story worth telling and a story worth discussing.”

RTI research analyst Brian Aagaard explained that, while the RPD made more than a half-million traffic stops during the study’s eight-year window, RTI only examined the seventy-two thousand that took place between 5:30 p.m. and 9:00 p.m.

The “veil of darkness” approach limits the analysis to periods when officers would have more ease (before sunset) and difficulty (at night) visually determining the race of a driver when deciding whether to pull them over. This method has been used in studies of traffic-stop disproportionality in cities like San Diego, Minneapolis, and Durham.

The idea is that if black drivers were pulled over disproportionately when it was sunny but not at night, the cops are probably biased. If the rates don’t change regardless of light, the cops probably aren’t biased.

And except for black women in the Southwest District, that’s what RTI found.

But there’s evidence that the primary assumption behind the veil-of-darkness methodology—the driver’s race is difficult to discern at night—may not always hold up.

A 2015 study of traffic stops in Syracuse, New York, that appeared in the Review of Economics and Statistics used the same veil-of-darkness approach as RTI’s study but refined its definition of darkness to exclude areas lit by streetlights.

After all, if streetlights show officers the race of a driver, that undermines the test’s fundamental premise.

When using a more refined analysis that took streetlights into account, the Syracuse study found evidence of racial profiling in traffic stops between 2006 and 2009; ignoring the presence of streetlights in that same data set, however, yielded no evidence of profiling.

“How this difference arises is hard to say,” the study’s authors write. “It could be due to differential police behaviors in poorly lit areas, but it could be due to differential driving behaviors or some other unobservable features of poorly-lit areas.”

The bottom line: “Accounting for heterogeneity in nighttime ambient lighting may be important for the veil test.”

RTI didn’t factor in the presence of streetlights in its report.

In an interview, Aagaard acknowledges that ignoring streetlights could obscure bias, but he also suggests that ambient nighttime light could actually impede officers’ ability to determine a driver’s race because of the glare on windshields and other clear surfaces.

“It’s something that warrants further examination,” Aagaard says.

After the initial slideshow by RTI representatives Thursday evening, no one mentioned the disproportionate level of traffic stops of black women before sunset in the Southwest District. backtalk@indyweek.com

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Back on Their Bullshit

DEAR CERTAIN MEMBERS OF THE RALEIGH CITY COUNCIL: GROW UP.

BY JEFFREY C. BILLMAN

T Your week.

Every Wednesday.

INDYWEEK.COM 12 | 6.26.19 | INDYweek.com

hese five facts are not in dispute.

Fact 1: Last year, Raleigh City Council member David Cox tried to get then-planning commissioner Eric Braun in trouble following an argument Braun had with Cox’s allies at a planning commission meeting. The city found no wrongdoing on Braun’s part. (Later, Cox also tried to get the city’s utilities director disciplined for declining his demand to move a sewer line into wetlands after a constituent complained about the city digging in her backyard. The city found no wrongdoing in that case, either.)

Fact 2: Braun, no longer on the planning commission, sometimes criticizes Cox on Twitter. Cox has forwarded a few of those tweets—nothing threatening, just links to INDY and News & Observer stories with commentary slamming Cox’s leadership— to the city attorney.

Fact 3: At last Tuesday’s city council meeting, Braun used the public comment period to ask Cox for an apology and explanation for sending his tweets to the city attorney, which Braun likened to intimidation. (Cox didn’t apologize and has never offered an explanation, Braun says.)

Fact 4: Soon after Braun’s remarks, the council unanimously (minus Mayor Nancy McFarlane and council member Nicole Stewart, who were absent) voted to change its rules so that members of the public could no longer address individual council members. It did so with no debate or discussion; this change did not appear on the council’s agenda.

Fact 5: Jonathan Jones, an attorney and former executive director of the N.C. Open Government Coalition, told INDY reporter Leigh Tauss that he thought such restrictions were probably unconstitutional.

That’s what Leigh reported Tuesday night.

Cox, followed by his supporters in the echo-chamber of the District B community Facebook page and beyond, lashed out, first attacking Leigh, then the INDY, and then me.

Cox huffed that “Tauss got the story wrong” and posted a letter from city attorney Robin Tatum Currin signing off on the change (neither Tatum Currin nor Cox responded to Leigh’s request for comment Tuesday, and this letter wasn’t made public before the vote).

Others piled on, accusing us of “shoddy” journalism, having a vendetta, being fake news, being ageist, having conflicts of interest, supporting white supremacy, being pawns for unnamed forces seeking to manipulate the upcoming election, being toadies for Phil Berger’s right-hand man, etc.

Cox later pointed out that Leigh moved here from Connecticut.

Fine. Being a target isn’t fun, but it’s the price of being in the arena. So as much as I want to, I’m not going to defend Leigh— other than to say she’s tenacious, ambitious, and assiduous—or myself here.

In fact, I was hesitant to write about this episode at all. Why give it oxygen?

The answer is that it offers a window into something more bothersome: Cox—and a few of his council allies, particularly Stef Mendell—appear to have deemed themselves above accountability.

It’s not just that they’re defending themselves—they’re entitled to do so. Nor is it that they seem to expect coddling by the progressive media, though that’s gross.

The problem is that they chafe at any criticism whatsoever.

That’s part of the reason the change in the council’s rules of decorum was worth reporting, regardless of its legality: Council members decided that the people they serve shouldn’t have the right to call them out in public meetings.

The other reason is the subject of the public comment that preceded the council’s decision: What the hell was Cox doing reporting the mean tweets of a private citizen to the city attorney?

To my mind, both of these things betray exceedingly thin-skinned tendencies.

In their view, it seems, any reporting that reflects negatively on their decisions, or any opinion that offers a different vision of the city’s future, must—just must—be offered in bad faith, funded by developers or business interests, and it needs to be delegitimized as “fake.”

Mendell, for instance, has claimed that the INDY has a conflict of interest because (deep breath) our company’s owner, Richard Meeker, has a nephew who has a business partner whose wife is on the city council, which means … something. I wasn’t clear on where that thread went.

Cox, meanwhile, implied on Facebook last week that the INDY had undergone some big change recently—new management, new editor, Leigh “from Connecticut” Tauss—as if that were the only possible explanation for critical coverage of the city council.

To clarify: Richard Meeker has owned the INDY since 2012. I’ve been the editor since 2015. That year, we endorsed David Cox for city council, as we did in 2017— when we also endorsed Stef Mendell.

Neither the paper’s ownership nor its editorial management has changed since.

What’s changed is that, following the 2017 elections, the council’s majority began wielding its power (and, I’d argue, not always in ways befitting a thriving, forward-thinking city). They’ve made news, so we’ve put them under a microscope. We’d do the same no matter who was in control.

This, too, is the price of being in the arena. You want power? We’re going to call you on your bullshit. And lots of residents are going to do the same.

Sometimes they’ll be unfair. Sometimes they’ll even be mean.

Put on your big-boy pants and deal with it.

(Don’t worry, David. I’ll go ahead and send this column to the city attorney. I wouldn’t want you to trouble yourself.) jbillman@indyweek.com

INDYweek.com | 6.26.19 | 13

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50 Years Queer A half-century after Stonewall, we asked local LGBTQ leaders: What does progress look like? BY JAMES MICHAEL NICHOLS

S

tonewall didn’t actually mark the beginning of the LGBTQ rights movement.

By June 28, 1969, so-called homophile groups like the Mattachine Society and the Daughters of Bilitis had been risking life and liberty to organize queer folks and challenge the assumption that homosexuality was a mental disorder or moral defect for nearly two decades. But the three days of public, violent demonstrations that followed an early-morning raid on The Stonewall Inn in New York City’s Greenwich Village—a rebellion against police brutality toward queer people, many of them trans or people of color—nonetheless came to occupy that space in the American consciousness.

The five decades since the Stonewall riots—begun, in mythology if not necessarily reality, by a transgender woman of color named Marsha P. Johnson—have seen unprecedented victories for the LGBTQ community. But they’ve also witnessed immeasurable heartbreak, disappointment, death, and tragedy: The AIDS epidemic.

Harvey Milk. Prop 8. Anita Bryant. Don’t Ask, Don’t Tell. Pulse. HB 2.

Today, many LGBTQ Americans enjoy prosperous lives framed by rights won through pain and bloodshed—at least in parts of the country. But how do we truly measure progress when the most vulnerable members of our community are still under threat?

There’s no federal or state law protecting LGBTQ people from job discrimination.

President Trump is stacking the federal courts with people like Matthew Kacsmaryk, who’s called transgender people “delusional”—and who, last week, became a U.S. district court judge. And with the rollback last month of Obama-era rules that safeguarded trans people from discrimination in medical settings, the Trump administration has effectively dismantled every federal protection for transgender Americans.

This doesn’t even begin to consider the lived experiences of queer people of color, immigrants, and others living at the intersection of multiple modes of oppression.

Same-sex families’ adoption rights are at risk. Trans women of color are murdered in the streets. Queer kids are thrown out of their homes—a full 40 percent of homeless youth identify as LGBTQ. Progress is indeed a tricky thing to quantify, especially for a community as diverse as those living under the linguistic umbrella LGBTQ. But as we reach a half-century after Stonewall, it’s crucial that we find ways to preserve this history—the victories, the losses, the joys, and the traumas that our queer ancestors endured—so that it doesn’t become a casualty of time and fading memory.

We owe this to our community’s elders, to future generations, and to ourselves.

Prior to coming back to North Carolina last September, I spent five years as the editor of HuffPost Queer Voices in NYC. There I learned that the most important form of our community’s collective power lies in our stories. Through personal storytelling, we humanize our struggle. And through our stories, we ensure that the history of what our community has endured isn’t forgotten. We tell our stories and uplift the voices of our community’s most vulnerable—and we do this as often and as loudly as we can to anybody who will listen—as we continue to fight for a more just and equitable world for anyone who calls themselves LGBTQ. In an effort to create space for queer voices as Pride Month concludes, the INDY asked local community leaders, activists, and elders for their perspectives about what fifty years of Stonewall means—and where we go from here. As someone engaged in an ongoing journey to more fully understand this community’s culture and history, I hope their words resonate with you as powerfully as they did with me.

PHOTOS ON PAGES 15–16 BY JADE WILSON. PHOTOS ON PAGE 17 PROVIDED BY SUBJECTS.

14 | 6.26.19 | INDYweek.com

Daniel Tomas / Derelict

Nightlife curator and activist, Raleigh

To be completely candid, progress has been slow in North Carolina. I do think we’re making progress in North Carolina in the queer community, but the harder we push and the harder we advocate, it seems in the current political climate—both at the state and federal levels—they push even harder to silence and invalidate what we have to say. For example, we’re about to pass the fiftieth anniversary of Stonewall, and it wasn’t until this month when our state capital of Raleigh got its first Pride Month deemed by both the governor and mayor.

I am, however, grateful for those who came before me both at Stonewall and here in North Carolina. So many activists fought with their lives so that I could have any of the visibility I have today.

I feel like we still have dividing factors within our own local and national LGBTQ communities that aren’t going to lead to us coming together to fight and be cohesive. I would hope that in the next thirty years we’re not still talking about marriage equality or Adam and Steve or debating trans rights when we need not look or listen further than our own backyards—do I believe that’s going to happen? I don’t know. North Carolina has not been a beacon of positive change for me, and I do think that’s very real for many people, not just LGBTQ. As much as I would hope everybody’s on an equal playing field in the next thirty years or so, the women’s rights movement and the Civil Rights movement of the sixties and seventies tell us that won’t necessarily be the case.

The harder we push and the harder we advocate, they push even harder to silence and invalidate what we have to say.

Conner Calhoun

Special projects coordinator, Lump Gallery, Raleigh

Fifty years isn’t a very long time, and the mythos of Stonewall Inn feels like a watered-down drink. I want to link my LGBTQ legacy not to tragedy, but to people who are full of sequin light. It was the most fabulous, colorful people who liberated queers, who continue to liberate us.

Being a studio artist is not helping people directly, but when I’m working in the studio, I know that’s where I, to the best of my ability, navigate and communicate complicated issues. Gender. Sexuality. Trauma. Environmental change. It’s a language for words too smoldering for my tongue to grasp. An outlet for my fevered emotions.

Because I have art as an outlet, very slowly I’ve been able to grasp the reins of my sobriety. As a queer person, I didn’t have many healthy outlets, so I turned to drugs and alcohol, starting at an early age when I was coming to terms with who I was. We poison ourselves, taming our magical empathy. We need more spaces that aren’t built around the sales of alcohol. Spaces without the pressures of commodity. We need a space that isn’t an art project. Something exclusive to queer people, trans people, and people of color without it othering said people. Spaces that are queer-owned.

I’m not sure Raleigh has made progress. I don’t think saying the word “inclusive” all the time is enough. Talk is cheap. And there’s very little to prove that spaces are actually being inclusive without being exploitive. I’m not going to pat someone on the back for being a good person.

There is an ancient wisdom to the air we breathe, a humble destiny to which all our hearts ache.

I am anxious. I have hope.

I’m not sure Raleigh has made progress. I don’t think saying the word ‘inclusive’ all the time is enough.

Justin Clapp / Vivica C. Coxx

Drag queen, interim executive director, LGBTQ Center of Durham

Having it be fifty years since Stonewall and still having to fight every single day for our ability to be happy and to have full lives is really hard to think about. But remembering the courage from fifty years ago does give me the courage to wake up every single day and make sure everything I do is either for my happiness, the happiness of the queers around me, or for the overall well-being of the folks in my life.

So I find their struggle to be empowering because I know they wouldn’t want us to give up today.

Progress, for me, looks like black and brown and trans and gender-nonconforming folks waking up every single day and knowing that they are safe. I want them to have the resources they need, and I want us to stop writing legislation that hinders folks’ ability to go to the bathroom, seek employment, or just have access to health care in the ways that they need it. That’s what progress looks like—access to the basic things that help us survive and live, which are currently being attacked.

I think a lot of people focus on Pride as an opportunity to celebrate who we are. And I want to make sure that we continue celebrating who we are. But in the process of celebrating, we are being thankful for the progress we have made and being reminded that we still have work to do. I think of Pride Month as almost like a revival, where we can come together and recommit to moving forward while also celebrating our successes over the past year. And, with it being fifty years since Stonewall, we should chart new waters while continuing the legacy laid before us by trans women of color.

I think of Pride Month as almost like a revival.

INDYweek.com | 6.26.19 | 15

Kendra R. Johnson

Executive director, Equality NC, Raleigh

Stonewall was such a pivotal moment because it broke the silence around the LGBTQ community and gave us broader visibility as a movement.

Even though we’ve been struggling for fifty years, particularly the trans and gender-nonconforming community, which has always been at the forefront of the movement, we continue to face the same type of police brutality and the same type of violence that sparked the movement in the first place.

And although we’ve made some strides, we’re still fighting for our lives on a day-to-day basis.

I think there’s been a concerted effort to erase our voices, to erase our presence, and to demonize us as a community. But we have been successful in raising the visibility of our lives and our stories, which is creating space for the people who come after us to have positive role models to see that happiness is possible, to know that there are elders in the community who support them, and to have a reflection.

For me, a safe and inclusive world for queer and trans folks is a place where our identities are not demonized. Where we have freedom of movement and access. Where we have sovereignty over our bodies and we have representation not only in our government but in our media and our corporations and in our school systems.

We still have a lot of work to do to build a society that recognizes our contributions, that does not continue to erase us from history, that gives us free and open access to all of the aspects of the American Dream, and does not stigmatize our very existence.

There’s been a concerted effort to erase our voices, to erase our presence, and to demonize us as a community.

Vansana Nolintha

Co-founder, Brewery Bhavana and Bida Manda, Raleigh

My relationship with Stonewall and the progress of this movement is specific to the impact its legacy has on Raleigh and North Carolina.

As an immigrant, choosing a place to live and creating space are central to my life and my purpose, as I am constantly searching to build a community, to build a new home away from home. It’s important for my sister and I that we invest our lives, our stories, our hearts, and our time in a place that is progressive, inclusive, generous, and kind. There is something really remarkable and empowering about living and contributing to a purple state. Our country is experiencing a time of leadership crisis with extreme polarization. Whether it’s immigration or LGBTQ rights, we no longer are able to have a conversation that is grounded in the humanity of these complex and nuanced topics. It’s my life purpose that my personal story and my work be an opportunity to humanize these polarizing topics and an invitation for all of us, with all of our differences, to build a community that is centered in empathy.

As a young person, there weren’t really many role models in my life that I looked up to who were gay. So for a long time, my perception of what it means to be a gay person in the world was conditioned by what is displayed through the mainstream media. My ask for you is that, whether you are a singer or an engineer, a painter or a teacher, be proud of your truth and your authenticity, because we have a chance to be someone’s role model— inspiring them and inviting them to live their truth. My hope is that we can diversify what it means to be a gay person in the world—a narrative that it is more complex, more nuanced, and more whole than what it is displayed through the lens of the mainstream media.

Be proud of your truth and your authenticity, because we have a chance to be someone’s role model.

Saige Martin

Raleigh City Council candidate

Stonewall is a humbling reminder of how far we’ve come and yet how far we still have to go. I think that so much progress has been made, and yet we are at a time in our national politics, across various states and even locally in some instances, where that progress is trying to be eroded. Decisions that local, municipal leaders, state leaders, and those within the federal government make are really challenging much of the work of what was started when the riot first broke out at Stonewall.

So, for me as a young, gay, out man who is running for public office, it’s a joyful experience to think back on, to reflect on all that has come from that moment, and all the work that came before that, as well. But it’s also a call to action for me, specifically, as someone who could potentially be an elected leader, to realize that progress can be lost very quickly—and especially for communities that are most marginalized and communities that are most at risk. In the month of Pride, we should be proud of what we’ve accomplished as a community.

We should also be so thankful for those who have come before us and those who have stood in the way of police and in courtrooms and in the way of the justice system to say what you are doing is not right. I think sometimes we get so caught up in the events of Pride Month that perhaps we don’t reflect enough on what has come before that make that event possible.

So much progress has been made, and yet we are at a time where that progress is trying to be eroded.

16 | 6.26.19 | INDYweek.com

Jasmine Beach-Ferrara

Executive director, Campaign for Southern Equality, Asheville

Stonewall means a lot of different things to me at once. It was a seminal event in the fight for LGBTQ liberation, but, of course, people were living very brave lives and doing powerful organizing before that night. What happened is such a powerful, iconic story about a group of drag queens and women of color who just said enough, and, at great risk to themselves, confronted the regime of laws and persecution that targeted our community.

Part of what’s powerful about Stonewall that I think about in our work across the South is the idea of what it means to claim public space as our own and what it means to be who we truly are in the public square. Every day, LGBTQ Southerners contend with the realities of laws or persecuting systems or cultural pressure points that try to keep us from claiming that right to just be—and be safe and whole—in both our private and public lives. The act of just being who we are, of being open about who we love, is a form of resistance in the South. A big part of what keeps me relentlessly hopeful are the acts of courage I see people taking every day.

It’s always been true that many things are true at once in the South. That feels like the best way I know to narrate the moment we’re in right now. I know a lot of people in our community who say that not much has gotten better in their lifetime, and this is true for them. And I know a lot of other people who say that there has been breathtaking change in their lifetime, and that’s also true. Our work is to build a movement that responds to the urgent crises in our community and also speaks to the dreams of our community.

It's always been true that many things are true at once in the South.

Bishop Tonyia M. Rawls

Sacred Souls Community Church, Charlotte

The Stonewall legacy is so powerful on many levels. I think what makes it so important today, particularly as a queer woman of color, is that we hear the truer narrative of what actually happened there—with trans women of color being the ones who actually led the rally for freedom and justice for us all. When we think about lesbian and gay people, that was a margin, and when we think about trans people of color, they were the margins of that margin. And so that model of the Stonewall work, I believe, set a tone for us that, when followed, helps to ensure that no one gets left behind.

I celebrate the courage displayed at Stonewall. My hope is we bring that courage to life again, particularly as it relates to the fights we’re facing in reference to LGBTQ life, protections, and privileges. It is their courage and it is that heritage of speaking truth to power that can be liberating for us all.

Progress, for me, looks first like us turning inward to see where there are places within our own movement where we still have a lot of work to do. We have work to do in reference to racial justice within our movement. We have work to do as it relates to class and issues of the marginalized. We have work to do as it relates to the ways that we love, embrace, and support our trans and gender-nonconforming family. My highest hope is that we not shy away from that internal work.

It is their courage and it is that heritage of speaking truth to power that can be liberating for us all.

Your week. Every Wednesday.

NEWS • ARTS • FOOD • MUSIC INDYWEEK.COM INDYweek.com | 6.26.19 | 17

‘I Was Doing It for My Patients’ In this previously unpublished interview, UNC physician and researcher Dr. Charlie van der Horst, who died last week, discusses his life in advocacy AS TOLD TO JONATHAN MICHELS • PHOTOS BY PHIL FONVILLE

The Triangle’s health advocacy community lost one of its most outspoken voices June 14 with the death of Dr. Charlie van der Horst during a 120-mile marathon swimming race in the Hudson River. He was sixty-seven.

The renowned AIDS researcher and professor emeritus of medicine and infectious diseases at UNC–Chapel Hill was not content to fight for his patients in the exam room or from the lab bench. During pivotal moments of his life, van der Horst felt compelled to take a public stand by stepping out of the clinic and into the streets.

Perhaps the most iconic act of civil disobedience during the Moral Monday protests of 2013 and 2014 belongs to van der Horst. In a well-known image, van der Horst, wearing a white coat and with his hands bound by zip ties, shoots a wry glance over his shoulder as Capitol police escort him out of the General Assembly.

What led the doctor to be arrested that day?

In a previously unpublished interview—conducted in July 2014 as part of an oral history on the Moral Monday movement—van der Horst reveals how his commitment to social justice stemmed from his early political activism, the difficulty of caring for victims of the AIDS epidemic, and his indignation with the General Assembly’s refusal to expand Medicaid. —Jonathan Michels

I

‘People Do a Lot of Talking’

was born in the Netherlands. I was a postwar, World War II baby, and then my family immigrated when I was two months old to the U.S.

18 | 6.26.19 | INDYweek.com

My mother was a Holocaust survivor, and she didn’t feel safe. She thought it wasn’t safe to be a Jew and be in Europe anymore after that. We moved to a town of about eighteen thousand people called Olean, New York, south of Buffalo.

It was sort of this sleepy town at the northern tip of the Appalachian Mountains. They ended up there because my grandfather had a patent, and he had established a small factory there to be close to the factory that made those big engines because they used his patent.

My parents were active in the Civil Rights movement. We never had Welch’s grape juice in the house or Welch’s jelly because Robert Welch was, I think, a founding member or big supporter of the John Birch Society, which is a rightwing organization. [Editor’s note: Welch was a co-founder and president of the organization.] My parents belonged to the ACLU the first year they immigrated to the United States. My father was a member of the NAACP and raised money for the United Negro College Fund.

I remember marching with my father. My mother wouldn’t have done that because she was still scarred from the Holocaust. She wouldn’t have gone out and marched.

But I remember marching with my father and a black friend of mine. A big crowd of people, black and white, just marched downtown. We held signs and sang songs.

Later, I got involved in the anti-war movement. I remember getting signatures for George McGovern. I don’t remember a lot, but I got a lot of people who were supportive of it. What was shocking to me was more students didn’t get involved. They just didn’t want to.

People do a lot of talking, but they don’t—for a variety of reasons—they don’t actually walk the walk. I’m a child of a Holocaust survivor, and people who didn’t walk the walk died. But you never get change unless you put a little effort into it. It should be a little painful.

A

‘That Goddamned Nutcase’

fter attending [Phillips Academy Andover in Massachusetts], I applied to Harvard and I applied to Duke. I wrote this incredibly left-wing essay for Harvard. It was like this stream-of-consciousness thing about standing up for what’s right.

The admissions advisor at Andover, he couldn’t understand why I didn’t get into Harvard. I was a little disappointed because all my friends had gotten in. Now, remember this was when Nathan Pusey was president at Harvard and had called in the Cambridge police who had beaten—literally a bloody battle with the students who were occupying an office on campus.

He called up the admissions director at Harvard. He said, “I don’t understand why didn’t you take van der Horst?” He said, “Did you read his essay?” [The admissions director] said, “Have you looked at the newspaper headlines. Do you think I’m going to take that goddamned nutcase?”

I think I wrote the same essay for Duke.

For them, that was a positive. It was a culture shock [coming to Duke]. Andover was a lot of negative things. It was a lot of wealthy kids from New York City who had been in prep school all their life. All these very rich and famous people, and I was this country bumpkin. They were really, really smart and very outspoken. People weren’t shy about giving their opinions, and the faculty just pushed you hard and you had to write, write, write.

At Duke, it was a lot of Southern boys who were quiet. They were smart, but they were quiet. They didn’t participate, so if you were in a small group, no one talked. No one else would say anything. Then my senior year— it was much better than it is now, where 60 percent of the men and women are in fraternities and sororities. Oh god, they kept trying to recruit me. The Jews wanted me, and the Jewish fraternity and the jocks, I was a varsity swimmer. They wanted me in the jock fraternity. And the prep school kids wanted me in the prep school fraternity.

And I just wanted none of them. It was just nauseating. I just was so against it.

I was an old-fashioned intellectual. I worked in the library six days a week until it closed. I was also a jock. I was on the swim team. I just loved it, but I didn’t have a lot of friends until I was writing the history honors thesis and I met all these wonderful people.

So then I went to Harvard. The joke about Harvard is that there are three major religions at Harvard Medical School: orthodox, conservative, and reformed. So I had not been raised as a Jew, but I was finding an increasing affinity for Judaism.

I felt like I instantly had thirty-two friends.

They went into medicine for the same reasons I did. They were politically active.

They were snarky. We raised holy hell.

I

‘We Went on Strike’

wanted to see what public medicine was like, so I did a rotation at Boston City Hospital, which is a public hospital. I really enjoyed that. When we looked at our residency, our residency was a lit-

tle complicated because by then [his later wife] Laura and I were involved. We weren’t engaged yet. We sort of lied and said we were engaged so we could match together.

And we ended up going to New York.

It was very hard. We worked so hard for three years. Every third night, you slept in the hospital. So you’d be on, you’d go in at seven a.m. in the morning, like, on a Monday. And you’d go home at seven p.m. on Tuesday. And then you’d get up the next morning at seven a.m. and you’d work just the day and get out at seven p.m. So that would be Wednesday and then start all over again Thursday, seven a.m. going until Friday night at seven p.m. or about that. But there were no set hours. You left when the work was done.

We had to push our patients to X-ray.

There weren’t enough staff. If they needed emergency antibiotics, we had to run to the pharmacy to get them and hand them to the nurse to hang. All the blood, we drew ourselves, and all the lines, we started ourselves.

And we ran the blood up to the lab.

I learned an enormous amount of medicine. It was very, very, very good, but we went on strike.

It was actually the longest physician strike in U.S. history. I think we went on strike in 1981. And the issue was that we said the hospital was not hiring enough staff to take care of the volume of patients.

They were admitting people, critically ill people, to waiting rooms that didn’t even have proper plugs in them. So when they had a cardiac arrest, you had to just move the bed to a different place so you could plug in the crash cart because they weren’t battery-powered then. You needed a plug so you could shock the patient. It was just ridiculous.

They were putting us in a position where we would admit a sixtyyear-old with cardiogenic shock due to massive heart attack to the coronary care unit, and then we’d have to kick them out two days later because we had a forty-five-year-old with the same thing. So they were having people who’d been physicians for twelve months having to make these life-and-death decisions. It was just intolerable. We thought it was harming the patients. The patients were dying because of this. And so we went out on strike.

We ended up getting busted in the end.

Everyone got a FedEx that says if you don’t show up to work tomorrow, you’re fired. Not only will you be fired, but we’ll make sure

Your Week.

Every Wednesday.

INDYweek.com | 6.26.19 | 19

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH

For advertising opportunities, contact your ad rep or advertising@indyweek.com 20 | 6.26.19 | INDYweek.com

you can’t get boarded in your specialty.

The medical establishment is not very liberal. How many doctors do you see joining me on the picket lines?

I didn’t like the plumbing specialties.

I liked thinking about the whole body. And I liked internal medicine. So if I was going to do a specialty, then I wanted to think about the whole body.

So I said well, I’ll go into infectious diseases. And this was 1981, mind you. And I’ll just take care of little old ladies with pneumonia and make them better.

And I loved viruses, the symmetry of viruses. They’re just very pretty, elegant. So I thought it would be fun to do [infectious disease]. Then what happened in June of 1981? Do you remember? That’s when the first HIV/AIDS cases were recognized.

I started taking care of some HIV patients [at UNC]. In fact, the AIDS house in Durham is called the Blevins House, named after Nat Blevins, who was my patient. I took care of him right from the very beginning.

[HIV/AIDS] was a huge problem then because no one wanted to take care of the patients. Fear of contagion, fear of this whole idea that they were gay. It was a terrible time. It was just physically draining. It was like being a resident again. I was always in and out of the hospital, and we set up a ward. We set up a clinic. We were the only hospital from Miami to New York that had a dedicated HIV ward. Almost all of the patients passed.

Most of [my] political activity had to do about AIDS issues. Usually discrimination issues. We had a lieutenant governor, Jim Gardner was his name, and he was trying to do testing of food service workers, and health care workers and teachers, and then he wanted to fire them all. It was a huge issue that we beat that off, and so that didn’t happen. That was sort of the limit of my political activism in that arena.

I

‘I Was Pissed Off ’

held a big rally here at the hospital for the Affordable Care Act before it was passed, got all the press involved.

That was very successful. I had written a couple of editorials on why [the ACA] needed to be passed, and then it got passed.

Then [Republican legislators] were making

all these pronouncements that they weren’t going to expand Medicaid.

I got involved [in Moral Mondays], particularly about Medicaid expansion. I was pissed off. It was going to harm my patients.

I can’t tell you how awful it is to be put in place to make a diagnosis and then not to be able to treat it because they don’t have health insurance. It’s such a terrible feeling.

It goes back like when we went on strike— when here I have the skillset, but for want of an aide or a plug in a room that works, I can’t save this person’s life.

I didn’t know about Reverend William Barber at all. I went to Raleigh and talked with a couple of other people, including [Duke health services researcher] Perri Morgan. That was in February, and then they passed the law that [banned Medicaid expansion]. I opened up the paper and saw that Perri had gotten arrested, and I said, well, shit. If she’s doing this, I need to start doing this stuff. The next Monday, that’s when I met Reverend Barber.

I thought I wanted to protest. I didn’t know that I wanted to be arrested. I don’t think I made a foregone conclusion. It just sort of happened.

That picture became a sort of symbol for doctors being unhappy with not expanding Medicaid. In the white coat, in handcuffs— that woke up a bunch of people.

People have quietly come up to me and said they were glad. They admired that I had done it. People stop me in grocery stores, and it’s a little bit because I wear the white coat now.

It’s a potent symbol, and I was doing it for my patients. backtalk@indyweek.com Jonathan Michels is a freelance journalist.

As a board member of Health Care for All NC, he advocated for a Medicare for All health care system along with van der Horst.

deep dive EAT • DRINK • SHOP • PLAY

HILLSBOROUGH

N

owhere else in the Triangle is quite like Hillsborough, a town with three centuries of architecture mixed with a modern cultural vitality, and a scenic, bucolic countryside that gives way to a vibrant downtown. It’s perfect for the day-tripper looking to shop for Carolina kitsch or the artistic soul looking to put down roots. Whether it’s the outdoors or the arts or history or food you’re after, Hillsborough is your destination. —Eryk Pruitt

RADIUS PIZZERIA & PUB

112 NORTH CHURTON STREET, 919-245-0601, RADIUSPIZZERIA.NET A fun, vibrant neighborhood hang with a funky vibe, Radius offers eclectic pizzas and a pick-your-pasta option.

EL RESTAURANTE IXTAPA 162 EXCHANGE PARK LANE, 919-644-6944, IXTAPA.HOMESTEAD. COM/HOMEPAGE.HTML

Two generations of the Munoz family chip in at this family-run shop, which features tacos with handmade tortillas. For something more substantial, order the Mexican sandwich, packed with your favorite meat and generous helpings of fresh tomato, lettuce, and avocado.

108 SOUTH CHURTON STREET, 919-732-2214, SARATOGAGRILL.COM Some places are affected by neither time nor tide, and you can count the Saratoga Grill among them. As businesses on Churton have come and gone, Saratoga stands, serving New England clam chowder and crab cakes.

It’s the best option in Hillsborough for steaks and chicken cordon blue.

VINNY’S ITALIAN GRILL & PIZZERIA

133 NORTH SCOTTSWOOD BOULEVARD, 919-732-9219, VINNYSHILLSBOROUGH.COM It’s easy to miss if you aren’t looking for it, but then you’d never know about Vinny’s buffalo chicken sub.

THE WOODEN NICKEL PUB

EAT

105 NORTH CHURTON STREET 919-643-2223, THEWNP.COM That the Nickel is always bursting at the seams is indicative of one thing: food and drinks done right, with one of the best burgers in the Triangle and a wide selection of draft and bottled beers.

JAY’S CHICKEN SHACK

646 NORTH CHURTON STREET, 919-732-3591, JAYSCHICKENSHACK.COM Wings. Burgers. Chicken sandwiches.…

Breakfast? This unassuming joint off Highway 70 is full of surprises. There’s no better place in Orange County to satisfy that wing fix. And be sure to score some fresh biscuits.

DRINK

CUP A JOE

HILLSBOROUGH BBQ COMPANY

112 WEST KING STREET, 919-732-2008 One of the greatest improvements to Hillsborough in a century happened when Cup A Joe moved to larger digs. Still, even after it traded cramped quarters for a much larger room with improved seating, there still never seems to be an open table. Credit this to the attention paid by the experienced baristas to their craft, or the chill vibe curated by loyal patrons. Why drink your beans anywhere else?

236 SOUTH NASH STREET, 919-732-HOGS, HILLSBOROUGHBBQ.COM Perfectly smoked Southern ’cue cooked over a wood-fired pit and done right, served in a relaxed atmosphere with local brews and no attitude. Don’t miss the catfish—or, better yet, the pork nachos.

HILLSBOROUGH WINE COMPANY

PANCIUTO

110 SOUTH CHURTON STREET, 919-732-6261, PANCIUTO.COM Chef Aaron Vandemark enjoys no shortage of accolades. At Pancuito, the perennial James Beard semifinalist explores Italian cuisine with Southern ingredients from local farmers. The menu changes with the seasons and Vandermark’s whims, but be sure to try the homemade pastas and ragus.

118 SOUTH CHURTON STREET, 919-732-4343, CHAPELHILLWINECOMPANY.COM Drop in this quaint little shop for handselected boutique wines. Don’t know any of the labels or vintages? No problem.

The employees have that covered. If their extensive knowledge isn’t enough, treat your taste buds to a one-, two-, or four-ounce pour from the wine-tasting machine.

PUEBLO VIEJO MEXICAN RESTAURANT

370 SOUTH CHURTON STREET, 919-732-3480 Fresh ingredients, classic Mexican recipes, and fast, friendly service equal a bustling spot for that late lunch that screams for a quick margarita.

SARATOGA GRILL

HOT TIN ROOF HILLSBOROUGH RIVERWALKPHOTO BY CAITLIN PENNA

115 WEST MARGARET LANE, 919-296-9113, HOTTINROOFBAR.COM Looking for the perfect honkytonk to swill your longnecks and take in live music? Look no further.

6.26.19 • SPECIAL ADVERTISING SECTION • 21

VOLUME HILLSBOROUGH PHOTO BY CAITLIN PENNA

NASH STREET TAVERN

GOOD FOOD GOOD FUN GOOD COMMUNITY

250 SOUTH NASH STREET, 919-245-1956, FACEBOOK.COM/ NASHSTREETTAVERN Perfect for a game of darts or a drink with the locals—there’s no telling what a person can get up to here.

SHOP

ENO RIVER FARMERS MARKET

144 EAST MARGARET LANE, ENORIVERFARMERSMARKET.COM Boasting the same (approximate) location for more than 264 years, this farmers market was one of the original structures laid out by colonial town planners. It operates yearround on Saturdays and features products from the region’s top farmers and culinary craftspeople.

The market is open on Saturdays year round!

April-November: 8am-12pm, December-March: 10am-12pm 144 E Margaret Ln Hillsborough, NC 27278 22 • SPECIAL ADVERTISING SECTION • 6.26.19

MATTHEW’S CHOCOLATES

104 NORTH CHURTON STREET, 919-732-0900, FACEBOOK.COM/ MATTHEWSCHOCOLATES In a town filled with culture and artists, you have to wonder if there’s anything more elegant than Matthew Shepherd’s chocolate creations. Be sure to stop in during the

winter holidays to stock up on homemade marshmallows and hot chocolate.

MY SECRET CLOSET

107 JOHN EARL STREET, 919-732-1254, MYSECRETCLOSET.COM/HILLSBOROUGH From home furnishings to home décor, this consignment superstore is a treasure trove for bargain hunters.

PURPLE CROW BOOKS

109 WEST KING STREET, 919-732-1711, PURPLECROWBOOKS.COM Sharon Wheeler must have the cushiest job in Orange County. She gets to curate books for readers looking for the latest story. If she needs to find inspiration for her recommendations, she only needs look down the street. With authors like Lee Smith, Hal Crowther, Jill McCorkle, and Allan Gurganus as neighbors, who better to deliver the skinny on what’s great to read?

VOLUME HILLSBOROUGH

226 SOUTH CHURTON STREET, 919-643-2303, VOLUMEHILLSBOROUGH.COM It’s hard enough to find a decent record store, but can you imagine trying to cop some good vinyl while sipping on some good local suds? If so, you must have stopped

FINALIST

Best Coffee Shop unty in Orange/Chatham Co ta Best Baris unty, in Orange/Chatham Co Zach Brown

Thank you to our wonderful community and to all our awesome supporters!

We love you!

OROUGH PENNA

emade

by Volume Hillsborough. Belly up to the bar, order a pint, then finger your way through the vast selection.

UNIQUITIQUES

OROUGH 125 EAST KING STREET, 919-644-8000, UNIQUITIQUES.COM cor, this The whole place is draped in vintage, from re trove the homey décor to the curated style of contemporary women’s clothing for sale.

You’ll find it all here: cowboy boots, costume S jewelry, and Southern-made t-shirts.

WEAVER STREET MARKET

228 SOUTH CHURTON STREET, est job in 919-245-5050, WEAVERSTREETMARKET. oks for COOP/ LOCATION/HILLSBOROUGH she needs More than just a Whole Foods alternative, dations, this organic grocery and co-op provides With delectable baked goods and specialty items, Jill as well as a one-stop shop for local brews. ghbors, hat’s great

UGH

CUP A JOE • 112 W. King St

HISTORIC OCCONEECHEE SPEEDWAY PHOTO BY CHRISTOPHER WILLIAMS

PLAY

AYR MOUNT

376 ST. MARYS ROAD This Federal-style plantation house, built around 1815 by William Kirkland, is now a cord publicly accessible historic site sitting on 265 cop me good acres, owned and operated by the Classical American Homes Preservation Trust. Aside pped

from the well-preserved interior, the real stars of the show are the extensive scenic trails that wind across the grounds and the beautiful array of Carolina flora.

BLACKWOOD FARM PARK 4215 N.C. HIGHWAY 86, CHAPEL HILL, 919-969-8959

Located on 152 acres of land between Hillsborough and Chapel Hill, this gorgeous property offers a hiking, fishing, and picnicking paradise. Be transported back in time with original structures like a historic farmhouse, barn, and smokehouse. It’s only open on the weekends, but the best opportunity to check it out may be the annual Orange County Localfest, which pops up at the end of September.

ENO GALLERY

100 SOUTH CHURTON STREET, 919-883-1415, ENOGALLERY.NET The ground floor of this art lover’s paradise hosts a bevy of paintings, sculpture, and fine crafts. Up a staircase humming with a cozy glow from colonial-style lamps, a second gallery awaits. This welcoming space, with plenty of natural light from large windows overlooking the courthouse, features monthly solo exhibitions that should not be missed.

Hilllsborough, NC • 919-732-2008

If you love your furry friends you’ll love Paws at the Corner... we’re so much more than a pet supply store.

Paws at the Corner is a Natural Pet Supply Store & Self Service Doggie Spa. We have lots of fun gifts, unique collars & leashes, healthy food & yummy treats.

246 S. Nash Street, Hillsborough | 919.644.0729 pawsatcorner@gmail.com 6.26.19 • SPECIAL ADVERTISING SECTION • 23

MORE FROM OUR ADVERTISERS ENO RIVER FARMERS MARKET

144 EAST MARGARET LANE ENORIVERFARMERSMARKET.COM We offer farm fresh vegetables and fruit, cheese, pasture raised meat and eggs, baked goods, prepared foods and crafts from local growers and producers. Vendors are selected with great care based on the quality and diversity of their offerings; must be local (within 60 miles of Hillsborough for traditional foods; within NC for specialty items such as peaches and apples) and the original producers of their products.

We have live music, master gardeners, arts and crafts activities, chef demonstrations, and more! The market is open on Saturdays year round! April-November: 8 a.m.-12 p.m., December-March: 10 a.m.-12 p.m.

HILLSBOROUGH VISITORS CENTER

150 EAST KING STREET 919-732-7741, VISITHILLSBOROUGHNC. COM/THINGS-TO-DO/VISITORSCENTER The Hillsborough Visitors Center is located at 150 East King Street in Beautiful Downtown Hillsborough. Housed in the historic Alexander Dickson House (c. 1790) the Visitors Center offers information to visitors and locals alike about how to best enjoy this charming, southern getaway on the banks of the Eno River.

PAWS AT THE CORNER

246 S NASH STREET 919-644-0729 PAWSATTHECORNER.COM An independent, locally-owned pet store where you and your dog can shop, relax and play or enjoy our self serve doggie spa. You will be greeted by Aspen, Izzie & Whiskey the 4-legged CEOs. You will find healthy food for your dog, cat, bird, fish and rabbit; jewelry, apparel, toys, treats, collars, leashes, human T-shirts, beds and other unique gifts.

YONDER

114 WEST KING STREET 919-283-2368 FACEBOOK.COM/YONDERBARNC Yonder serves as Hillsborough’s unofficial living room and arts space where folks gather to celebrate craft cocktails, beer, and local artists. Musicians perform three nights per week and monthly art installations make this place a comfortable, safe place for friends to gather and relax. Y’all come!

24 • SPECIAL ADVERTISING SECTION • 6.26.19

HILLSBOROUGH GALLERY OF ARTS

121 NORTH CHURTON STREET, 919-732-5001, HILLSBOROUGHGALLERY.COM Owned and operated by local artists and located in the historic Mercantile Center, this gallery will make fans of modern and contemporary fine art feel right at home. Be sure to check in every Last Friday, when a featured exhibit highlights three of the gallery’s artists.

HILLSBOROUGH RIVERWALK

115 NASH AND KOLLOCK STREET, 919732-1270, HILLSBOROUGHNC.GOV/ Walk off some of that satisfying Churton Street fare on the paved urban greenway stretching nearly two miles along the Eno. Walkers, joggers, and cyclists alike enjoy natural views of the lazy river and its wildlife.

Vistas alongside Gold Park and River Park offer plenty for your ’Gram.

HISTORIC OCCONEECHEE SPEEDWAY

320 ELIZABETH BRADY ROAD, HISTORICSPEEDWAYGROUP.ORG In the nineteenth century, Julian Carr raced horses here. In 1949, it became one of the first two NASCAR tracks in existence, hosting legends such as Fireball Roberts and Richard Petty. After closing in 1968, it lay fallow until this century, when walking trails were built. There are still old and busted race cars on the grounds.

OLD TOWN CEMETERY

NORTH CHURTON AND WEST TRYON STREETS Located just outside St. Mathew’s Church, the cemetery was established in 1757.

Its 184 marked graves (and several more unmarked) include some of the town’s most notable early residents, among them a governor, a U.S. senator, a Confederate senator, and a signer of the Declaration of Independence.

ORANGE COUNTY HISTORICAL MUSEUM

201 NORTH CHURTON STREET, 919-732-2201, ZORANGECHISTORY.ORG All you need to know about Orange County can be found in the former Confederate Memorial Building. Here, artifacts of rural life, featuring colonial weights and measures, memorabilia from different Carolina eras, and portraits of prominent Orange County figures are on display.

ORANGE COUNTY SPORTSPLEX

101 MEADOWLANDS DRIVE, 919-644-0339, TRIANGLESPORTSPLEX.COM If you can imagine it, it happens here: swimming, ice skating, league play, sports classes, lessons-you name it, and all indoors. The access to the Olympicsized swimming pool is worth the monthly membership alone.

OCCONEECHEE MOUNTAIN STATE NATURAL AREA

625 VIRGINIA CATES ROAD, 919-383-1686, NCPARKS.GOV/ OCCONEECHEEMOUNTAIN-STATE-NATURAL-AREA Here you can hike among the rhododendron and mountain laurel. This three-mile trail follows riverside thickets and rocky bluffs as it ascends to the highest point in Orange County.

JULY 24, 2019

NORTH HILLS/NORTH RALEIGH CONTACT YOUR REP OR ADVERTISING@INDYWEEK.COM

indyfood

STIR

4242 Six Forks Road, #100, Raleigh 984-200-8614 stirraleigh.com

(Artisan) Ice, Ice Baby THIS IS A THING NOW. WHY IS THIS A THING?

BY ANDREA RICE

“A

re you ready for your ice show?”

I glance up from my iPhone as Megan Barie approaches me, balancing a tray with a single empty tumbler, a towel, a two-inch-by-two-inch cube of ice, and a large stainless steel cylinder.

I’m seated alone at a high-top shortly before eight o’clock last Thursday, with a just-arrived second drink: an icecold mezcal Negroni devoid of any trace of ice. This is STIR, a new restaurant and oyster bar concept featuring craft cocktails with artisan ice—a thing now, I suppose—in the hub of developer John Kane’s North Hills, where the buildings are tall and the parking is free.

A thunderstorm had just passed, and though the chaos of happy hour had subsided, the 283-seat restaurant was still full and on a waitlist. STIR, which had opened three days earlier, will go through six hundred pounds of ice and sell upward of eight hundred house oysters today.

Barie, the trainer from STIR’s flagship in Chattanooga— this is the second STIR, and more are in the works—asks me to slide the empty plate of Harkers Island oysters I’d just housed out of the way. (The oysters were very salty and very fresh and, yes, very cold.)

“This is actually really heavy,” Barie says.

She sets the tray down and, with focus and precision, picks up the cube of ice with a pair of tongs and places it into the cylinder. It slips. Barie is concerned. She activates the cylinder, a small compression device that presses the square pegged cube into a round mold that starts at room temperature and finishes at freezing.

I watch the ice melt for several minutes. (Really, I did this. People do this. There are twenty-five ice shows a night, general manager Chris Brett tells me.)

Barie is concerned that it may not work, that there may be impurities, especially after the slip—air bubbles trapped in the ice that taint its complexion. When she reopens the cylinder, the crown of a crystal-clear sphere is revealed.

She removes the sphere with tongs and shows me the upside-down reflection of the bustling restaurant on its surface, much like the Chicago Bean.

She’s disappointed by two small impurities in the ice.

She places the sphere into the clear glass tumbler so I can watch it not melt. Cloudy, “impure” ice melts faster.

Watching crystal-clear artisan ice melt is like watching grass grow.

It is 7:53 p.m. Watching the ice not melt is part of the show.

There are seven different types of ice at STIR. Each one serves a different purpose related to the type of cocktail or

An ice sphere!

PHOTO BY ZACH STAMEY, COURTEST OF STIR

the type of liquor, of which there are three hundred available at the bar: rare Japanese whiskeys, cordials and vermouths, high-end cognacs, and, of course, a well-curated selection of Southern bourbons.

Leading up to the launch, Kane’s North Hills kingdom had been plastered with flyers advertising the new location. That, combined with a diverse, “made-fromscratch” menu that ranges from a raw bar to Peruvian ceviche to a spicy tuna burger, as well as an attractive list of Instagram-worthy drinks poured over artisan ice, had generated, well, quite a stir well before the doors even opened.

“We’ve probably gone through thirty-six hundred pounds of ice in eight days,” Brett says. That’s almost two blocks a day.

Those blocks are three hundred pounds each, made in an industrial-grade Clinebell machine that produces two at a time over a three-day cycle. Each block is sliced into smaller sixty-pound sub-blocks, before being turned into a one-inch rock, two-inch rock, long rock, sphere, or being crushed, shaved, or pebbled. Each technique creates a different effect: from zero dilution to retain the structure of a cocktail from start to finish, to subtle dilution that would create, say, a whiskey-and-water-type effect.

My first drink, the Viva La Astral (tequila reposado, grapefruit and lemon juice, cucumber, jalapeño) was served with a one-by-one cube that did not melt, even as I slowly sipped to ensure the claim’s authenticity.

While regular ice makers cool from the top down, the Clinebell, the same type of machine that ice sculptors use, cools from the bottom up, as a top layer of water forms to collect air bubbles—aka impurities—from the ice. The U.S. model of the Clinebell is listed at $5,500, made of galvanized steel, runs on approximately 115 volts, and draws thirty-six kilowatts of electricity per day.

For perspective, that’s the same as running over a thousand thirty-watt lightbulbs in a day. Some environmentalists have warned against the artisan ice fad, citing unnecessarily high levels of energy consumption.

But no one at STIR seemed too concerned about the carbon footprint. The high-vaulted wood-paneled ceilings echoed with chatter and laughter as a steady beat pulsed in the background. A woman behind the bar worked a handoperated snow cone-style ice crusher. Another bartender pounded ice in a brown bag with a large wooden mallet.

By 8:27 p.m., my ice sphere had barely melted. arice@indyweek.com INDYweek.com | 6.26.19 | 25

VICTORY SOUR MONKEY TRIPEL $12.99 6 PACK BREWERY BHAVANA PULP DOUBLE IPA $16.99 4 PACK TROPHY BREWING PINEAPPLE NOW & LATERS $10.99 4 PACK

v

Voted BEST BEER SELECTION in the Triangle year after year!

SIERRA NEVADA HOP PACK $9.99 12 PACK STIEGL-RADLER GRAPEFRUIT $17.99 4 PACK WE HAVE KEGS! A FANTASTIC ASSORTMENT OF CRAFT BEERS, IMPORTED BEERS, AND DOMESTICS WITH SPECIAL PRICING. 1/6, 1/4 AND 1/2 SIZES AVAILABLE.

BE SURE TO CHECK OUT OUR IMPRESSIVE WINE SELECTION - WITH PLENTY OF GRAB & GO CHILLED WINE AVAILABLE!

“We carry all Clove & International Cigarettes”

JOCO WHITE TATER $2.99 4 PACK

804 W. Peace St. • Raleigh • 834-7070

DOWNTOWN CARY

Neighborhood Restaurant + Bar 160 East Cedar Street

Beer. Wine. Cider. Drafts.

120 E. Chatham Street 26 | 6.26.19 | INDYweek.com

food

[FIRST BITE]

M POCHA

101 East Chapel Hill Street, Durham m-reststaurants.com

M-pire State of Mind

MIKE LEE’S NEXT STAGE OF WORLD DOMINATION: KOREAN STREET FOOD (AND LOTS OF DRINKS) BY LENA GELLER

T

he chef behind the acclaimed M Sushi, M Kokko, and M Tempura will open a new restaurant, M Pocha, in downtown Durham this week.

M Pocha will serve small plates primarily inspired by Korean street food, though chef Mike Lee says he tries not to limit himself to one cuisine.

“The best way to describe it is ‘food we like to eat when we get drunk,’” says Lee, who is Korean. “Whether the food itself is Asian or Hispanic or something else is sort of beside the point.”

Lee is taking over the spot at the intersection of East Chapel Hill and West Main Streets, formerly occupied by The Cupcake Bar, which closed last August after ten years in business. Like M Kokko, the space is tiny—it seats about thirty-five people—and has a simultaneously hip and homey atmosphere, with mood lighting, a large communal table, an open kitchen, and wide windows that face the street.

Pocha is short for pojanmacha, a Korean word describing a tented cart on wheels that serves street food and alcoholic drinks. Over the years, the pojanmacha concept has been modernized and is now more commonly used in brick-and-mortar locations. Lee says the cramped nature of the space makes it perfect for pojanmacha.

“Every dish is supposed to be shared.

You’re going to get messy with each other,” Lee says. “We’re basing the entire concept on dining with friends and family, or even strangers, and having fun while you’re having some drinks.”

M Pocha will offer a variety of wines and beers, and will also be Lee’s first restaurant with a full cocktail bar. The featured cocktails are designed to offset the spiciness of the food with tangy and sweet flavors. One comprises grapefruit juice, honeysuckle vodka, lemongrass syrup, and Durham Distillery’s Conniption gin, while another is simply house-made horchata with a rye kick.

Short ribs and Spanish pork at M Pocha, chef Michael Lee's new Korean street food restaurant, which opens in downtown Durham this week. PHOTO BY LENA GELLER “If I go to a taco shop, horchata is a nice drink to have after a spicy meal, to tone it down,” Lee says.

M Pocha’s menu will likely change during the first few weeks of service, as Lee responds to feedback from customers before selecting mainstays.

Current menu items include roasted brussels sprouts with bacon; classic Koreanstyle dumplings with ground pork and chili oil; crispy fried shrimp with a green papaya and mango salad; steamed buns filled with sautéed pork belly, minty perilla leaves, and a Thai-spiced cucumber salad; grilled short ribs; and kimchi stew, which Lee says is his version of what Koreans call “army stew.”

“Army stew came from the Korean War, when the United States Army would hand out leftover lunch meats and canned meats to the starving Korean soldiers,” Lee says.

“Everything the army gave them, they would make into soup.”

Lee’s stew stays true to its roots, featuring kimchi and a variety of meats—including a hot dog decoratively carved to look like a blooming flower as a garnish.

So what’s next for Lee? He says he has six more concepts to open in the Triangle, and then, once he builds the financial backing, he hopes to launch a worldwide franchise—the first global food chain that is 100 percent nonprofit.

“Before I die, I want to see it bigger than McDonald’s,” Lee says, “producing billions of dollars a year and helping wherever is needed, like our local school systems.”

After the franchise is up and running, Lee imagines dialing back his own role in the business—passing on leadership of his smaller restaurants to longtime employees and going back to cook at M Sushi, his first Durham restaurant, full-time. food@indyweek.com

indymusic

JAKE XERXES FUSSELL

Wednesday, July 10, 7 p.m., $5–$10 Sarah P. Duke Gardens, Durham www.dukeperformances.com

Pure and Simple

FOLK-MUSIC FOUNT JAKE XERXES FUSSELL STILL TREADS A LONESOME LINE BETWEEN MIRTH AND MELANCHOLY, BUT NOW HE'S GOT FRIENDS TO KEEP HIM COMPANY BY JORDAN LAWRENCE

O

n first blush, you’d be forgiven for thinking that nothing has changed on Jake Xerxes Fussell’s new album, Out of Sight, released earlier this month by Paradise of Bachelors. Like his 2015 selftitled debut and 2017’s What in the Natural World, it features traditional folk songs from the nineteenth and early-twentieth centuries. It’s sung with charm and warmth, played simply but dynamically.

And though a press packet frames the record as Fussell’s first with a full band— which he’ll have behind him in Duke Performances’ Music in the Gardens series on July 10—the Durham resident says that this might prove misleading.

“I’m not exactly sure if I know what that means,” Fussell says with one of his disarming chuckles. “My previous records had drums and bass, too. But the difference is, I really think about this group of people as my band.”

Fussell has been playing with drummer Nathan Bowles, bassist Casey Toll, pedal steeler Nathan Golub, and violinist/vocalist Libby Rodenbough for a couple of years now.

Originally, the group wasn’t intended as anything serious—just a few friends gathering at Toll’s house every couple of weeks to hang out and jam on old songs by the likes of John Conlee, George Strait, and Gerry Rafferty.

They didn’t play many gigs, but they began to build a lot of chemistry.

“When it came time to record this record, I knew I wanted to use them,” Fussell says.

“Sometimes a band can get in the way, particularly with some of these older songs that are so narrative-driven. Sometimes you can lose sight of what you’re trying to do with a song by adding a bunch of musicians and everybody playing on top of each other, and it being kind of a mess. But with this band, I knew that I didn’t have to worry about clutter, because everybody’s so skilled at being minimal or giving room to their fellow band person. I knew that I could use everybody’s talent to kind of punctuate certain aspects.”

True to this intent, Out of Sight is a subtle expansion of Fussell’s rich aesthetic. Bowles and Toll supply rhythms that are driving but never overbearing, as Rodenbough, Gollub, and James Wallace—who jumped in on piano and organ for recording sessions at Nick Petersen’s Durham studio—provide restrained but impactful accents.

The reckless contempt of the worker lamenting on “Winnsboro Cotton Mill Blues” wouldn’t have nearly as much punch without the giddy, cascading fiddle line that immediately follows the chorus (“You know and I know / There’s no need to tell / You work for Tom Watson / Got to work like hell”). The bright, sparing piano tinkles of “The River St. Johns” sparkle and tantalize, increasing your desire to believe a fisherman who claims his catch is “gilded with gold / And you may find a diamond in their mouths.”

Fussell is still the focus. His elegantly meandering guitar lines, the beaming booms and rustic crags of his voice, and his unfailing ability to tiptoe the line between mirth and melancholy remain his defining strengths. But this album fleshes out the nuances embedded in his deceptive simplicity. Fussell doesn’t care to be blunt. He knows that the type of hardscrabble characters he gives voice will inevitably leave listeners musing on various notions—particularly protest and social unrest, given the heightened political tensions of the Trump era. And he’s fine with that. But he refuses to do the thinking for you.

“I find it more interesting to put something out there that people can work with a little bit instead of having to sit through my presentation of an opinion,” Fussell explains. “It’s more interesting if there’s something that people can relate to in their own personal way. It’s not any kind of trick, like I’m obscuring some deep, hidden meaning. I might not know what the meaning is myself sometimes. If I could boil it down to a kernel of meaning, then I probably wouldn’t bother with singing the song.”

Jake Xerxes Fussell PHOTO BY BRAD BUNYEA Fussell moved to Durham from Oxford, Mississippi, five years ago. Asked if the prevalence of similar Americana purveyors like Hiss Golden Messenger and Mount Moriah makes him feel comfortable here, he says he hadn’t thought about it but reasons that it probably does. Finding such artists to play with is what made Out of Sight what it is.

“I was in Mississippi for ten years, and I really loved it there in a lot of ways,” he

says. “But I never really found my place musically there. When I got to North Carolina, I immediately knew that there were a bunch of people that I could collaborate with, and they understood my language that I was trying to speak. I can try just about anything out on this band, and they’ll be ready for it. As a musician, that’s where you want to be.” music@indyweek.com INDYweek.com | 6.26.19 | 27

music

BRIEF

CURTIS ELLER’S AMERICAN CIRCUS: A POISON MELODY 

RELEASE SHOW: SATURDAY, JUN. 29, 9 P.M., $10–$12 MOTORCO MUSIC HALL, DURHAM

Curtis Eller's American Circus PHOTO BY ALEX MANESS

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH For advertising opportunities, contact your ad rep or advertising@indyweek.com 28 | 6.26.19 | INDYweek.com

The poison pen comes out early on A Poison Melody, the potent new album by Curtis Eller’s American Circus.

That won’t surprise followers of the maniacal local banjo wizard, whose ten albums suggest what might have happened if Howard Zinn had abandoned academe to update Americana styles of yesteryear with a dose of punk.

“Hallelujah Nagasaki / All the boys are coming home,” Eller sardonically exults on the taut jump blues opener, “Radiation Poison,” to the air-raid-siren backing vocals of Dana Marks and Stacy Wolfson and the tasty tenor sax of Steve Cowles.

About half of the ten original songs (not counting a driving, gospel-tinged cover of Pete Seeger’s “Waist Deep in the Big Muddy”) satirize a range of distinctly unrepentant characters who are blind drunk on the privileges of class, race, and wealth. Why is the excitable narrator in the caffeinated dance number “Union Hall” taking his pistol downtown? “The Constitution said I can shoot what I want,” he brags before grilling us on our patriotism, all but shrieking by the end of the chorus, “I love the USA / Don’t you love it? / Don’t you feel OK?” There’s more than a note of Randy Newman in “Before the Riot,” when the good lord himself comforts a possible white supremacist, and an alcoholic union buster reassures us that “Everybody loves a wealthy man / In a Cadillac automobile” in the New Orleansinflected “Pay the Band.”

Alienation, the album’s other recurring theme, is usually handled tongue-in-cheek. William Dawson’s vibraphone gives a narcotic haze to the title track, a slow dance for single dancers.

The broken waltz “No Words to Choose” begins as a sentimental song about going home and ends in distortion and detonation. Less guarded moments in “These Birds” and “Lenny Bruce” leaven Eller’s caustic wit on an accomplished album that improbably marries feel-good dance music with cutting social criticism. —Byron Woods

INDYweek.com | 6.26.19 | 29

indystage

A+A DANCE COMPANY: DON’T GET ANY IDEAS, LITTLE LADY Friday, Jun. 28–Sunday, Jun. 30, 7:30 p.m., $15 The Fruit, Durham www.durhamfruit.com

Bright Ideas

INSTEAD OF CONCEALING MODERN-DANCE FAULT LINES, A+A DANCE COMPANY'S NEW WORK ABOUT FEMME-PHOBIA LETS THEM SHOW BY BRIAN HOWE

T

here are usually ways in which a modern dance work is trying to fool you. Sealed on a proscenium stage, it seems to descend from untroubled ether, weave its spell for an hour or so, and then disperse as deceptively lightly as it came.

But in Don’t Get Any Ideas, Little Lady, Allie Pfeffer and Alyssa Noble—the friends at the heart of A+A Dance Company—want to let the seams show, from the trials of funding and emotional labor around a staged work to the intersecting threads of privilege and oppression that stitch it together. At its core, the evening-length piece, whose premiere at The Fruit this weekend closes the Durham Independent Dance Artists season, is about the experience of misogyny and gender discrimination. But if it succeeds, by evening’s end, the social structure supporting this core—and the viewer’s place in it—will be just as evident, perhaps painfully so.

“Gender discrimination was our way in, but it doesn’t exist in a vacuum, separate from race or class or politics,” Noble says. “‘Femme-phobia’ is the term we’ve been using,” Pfeffer says, picking up the thread— the two have a way of completing each other’s thoughts. “All of the little insidious ways that, when something is coded as feminine, it’s lesser-than or weaker. That opens up more freedom to explore, because it’s not necessarily misogyny if a cis man who’s gay is experiencing discrimination.”

Originally, they wanted to work only with women, but they realized the risk of reinforcing dichotomies they wanted to dismantle.

“How do you criticize hyper-masculinity without upholding the binary?” Pfeffer asks. “There’s nothing inherently wrong with masculinity or femininity. We aren’t here to bash things. We’re trying to bring attention and disrupt power systems.”

This expansion of the concept befits a cast that includes people who use masculine and gender-neutral pronouns as well as those who use feminine ones, like the company’s leaders—a cast that is being 30 | 6.26.19 | INDYweek.com

Don't Get Any Ideas, Little Lady PHOTO BY ZOE LITAKER asked to place its own traumatic stories on stage, particularly in a climactic section in which, after vignettes approach the issue through various social lenses, performers dance their own movements to audio recordings of themselves speaking about their experiences.

“We’re not making trauma porn. We had someone with stories coming up from childhood that felt too hard, and we were like, ‘Cool, don’t tell those stories if you don’t feel ready and it doesn’t feel useful to you,’” Noble says. “The stories we’re telling are triggering for all of us, so we’re trying to be really protective of [the dancers’] energy.”

To acknowledge that traumatic experiences are not entertainment, the show ends with a breathing exercise during which dancers and viewers alike can process before the lights come up. A program note will specifically direct audience members not to ask the performers about their stories—which range from “micro-aggressions to things on a grand scale,” Noble says—after the show, which will also eschew the usual talkback session.

“We want our performers to feel safe sharing very vulnerable things. What we don’t want is for people to come and bounce what

they feel off a marginalized person, making them do the emotional labor of reassuring them they’re a good person,” Pfeffer says.

The performers are Pfeffer, Noble, JV Alencar, George Barrett, Beth Fajardo, and Chris Strauss. The music is by Jess Dilday (DJ PlayPlay) and Rook Grubbs (Vaughn Aed), with lighting design by Lisa Suzanne Turner and costumes by Pfeffer. This cast represents a range of artistic backgrounds as well as gender experiences. Pfeffer and Noble didn’t strictly want people with modern dance backgrounds, like them (Pfeffer studied it at New York University, Noble at the University of Illinois at Urbana-Champaign). They wound up with performers specializing in capoeira, ballet, street dance, and more. This toolkit was invaluable for a show in which modern dance is made to criticize itself for its unexamined biases and its inscrutability to those who aren’t trained in its language—which is to say, most people.

“There’s beautiful movement, but we’re using that movement vocabulary because of all the lineage it holds, whether that’s around privilege or general accessibility,” Noble says.

“Does Durham need another strictly modern dance show?” Pfeffer wonders. “It’s our

medium, but there’s a lot wrapped up in American modern dance. So there are sections where we’re saying, hey, this movement vocabulary has historically taken up a lot of space for intersecting power reasons, trying to name that and be accountable for it.”

In another effort to displace some emotional labor from the performers to the audience, the show will be accompanied by a zine and a lobby installation that includes simple but revealing activities. For example, on the way in, you might be asked to color places on the outline of a body that you’ve touched or been touched by a stranger without consent, and then you’ll see the results of this anonymous self-reporting on the way out. “[The zine] is sort of radical feminism 101, because that’s another accessibility issue,” Pfeffer says. “If you’re not having these conversations, it might just be because you don’t have the vocabulary for it.”

Pfeffer and Noble seem like lifelong friends, though they hadn’t known each other long when they started working together three years ago. They premiered their first full-length show, What You Want, in the 2017 DIDA season, followed by a Tobacco Road Dance Productions show.

“We have this beautiful, emotional, vulnerable friendship that systematically is called weak,” Noble says. “I feel so grateful to have an artistic partner with whom I can excavate these things. That feels in direct resistance to narratives about women.”

Perhaps it’s this that will uniquely allow Pfeffer and Noble to disturb the entrenched power structures of modern dance, extending the space they hold for each other to their collaborators and audience.

“We’ve tried to be really unapologetic and honest about producing the show, including trying to call out the ways crowd-funding is unsustainable,” Noble says. “This show is a grand gesture to try to push this conversation to happen in a loud, unapologetic way.” bhowe@indyweek.com

stage

BLACK IRISH BAILE: LIVE TISSUE Sunday, Jun. 30, 3 & 6 p.m., $10–$20 Cary Arts Center, Cary www.iamblackirish.com

JUNE

FR 6/28 • 8P

Synaptic Dance

BLACK IRISH BAILE’S RONALD WEST USES THE BODY TO LIGHT UP THE BRAIN

BY BYRON WOODS

SA 29 “TRAP APOLLO”

N

SU 30 PHISH AT BB&T AMPITHEATRE

atalie Morton is struggling to find the right words.

“It’s like lightning mixed with butter: so fast, direct, and so, so rich,” she says with a sudden flash of insight.

“No. More like the Rooster and the Pearl,” Sarah Putterman counters, name-checking mixologist Marshall Davis’s signature cocktail at the Raleigh mezcaleria Gallo Pelón.

“Everything spicy, peppery, and smoky, with a little sweetness to it.”

Morton is a principal dancer in Black Irish Baile; Putterman is the associate director.

Both are straining to describe the choreography of its founder, Raleigh dance maker Ronald West, over drinks after a load-in at Cary Arts Center for his new evening-length work, which premieres there Sunday.

Their struggle is understandable. West’s unlikely background in architecture and design as well as contemporary club and street dance make the enigmatic choreographer’s work funky, meticulous, and broadranging, and his passion for social justice regularly manifests in his work. But his new evening-length dance, Live Tissue, adds autobiographical experience with neurodiversity to the mix, examining how the workings of our brains influence our relationships and social behaviors.

If you think all that is hard to dance at once, you’re right. Morton and Putterman both recall their initial bewilderment at choreography so complex that, despite their years of professional training, it frustrated their early attempts to analyze and embody it.

“My initial response was, ‘What the fuck was that?’ Nobody moves like him,” Morton recalls. “I’d never had that experience with anyone.”

“When I saw new choreography in a rehearsal, I’d know how to do it immediately,” Putterman says. “But this was so foreign to me. I needed to see it multiple times just to begin to translate it.” Both felt liberated by the impossibility of perfection in the first (or sometimes, twentieth) iteration.

PRESENTED BY BSE / NEMON MARCUS / TJ LEAK / BRINT CITY 9p

WEBCAST 6:30p

J U LY

FR 5 THE CLARKS 7p SA 6 SECOND HELPING:

THE LYNYRD SKYNYRD SHOW 7:30p 7p

WE 10 THE NEW MASTERSOUNDS FR 12 PHISH AT ALPINE VALLEY NIGHT ONE WEBCAST 7p

SA 13 GRASS IS DEAD & SONGS FROM THE ROAD BAND 8p

SU 14 PHISH AT ALPINE VALLEY

NIGHT THREE WEBCAST 7p

SU 14 YELLOWMAN 7:30p TU 16 CHARLEY CROCKETT 8p TH 18 LATE SHOW- UM AFTER PARTY. DOOM FLAMINGO 10:30p

FR 19 GREENSKY BLUEGRASS

AT KOKA BOOTH AMPHITHEATRE 5:30p

FR 19 INTERSTELLAR OVERDRIVE:

A SAUCERFUL OF PINK FLOYD W/ EYEBALL 7:30p

SA 20 LONG BEACH DUB ALLSTARS

W/ AGGROLITES / MIKE PINTO 7:30p

SU 21 AFTON MUSIC SHOWCASE

Ronald West PHOTO BY ZIMZOOM PHOTOBOOTH West seeds his unique fusion of hip-hop, contemporary dance, costume design, and high-tech staging with clues about what’s on his mind; some are subliminal, others are in your face. Spoken-word, sound, and musical backgrounds can reframe apparent puppet-master relationships into a depiction of people being manipulated by their own fears.

A mid-show sequence set to an eerie, dissonant DJ Shadow/Harry Styles mashup probes interior emotional conflicts as well as interpersonal ones. West swoops over evasive dancer Josie Kolbeck before unleashing a shocking, high-velocity side kick, out of the blue, at her head, before Kolbeck definitively turns the tables, moments later.

It’s easy to miss an equally unsettling moment in the brief interruptions of a glitzy ensemble hip-hop sequence. In a split-second gesture of panic and retreat that blocks out the world, the performers wrap their hands around the back of their heads and pull their elbows together, and then immediately revert to smiles and jazz hands.

The moment suggests coping mechanisms that West has experienced himself.

“When I was twenty-seven, I had a seizure that lasted probably fifteen minutes,” says West, who is now thirty-three. The epileptic episode erased entire sections from more than a decade of his life. “I forgot relationships, people, and first-time experiences.”

Though West was unable to actively remember choreography he’d learned for Raleigh’s Black Box Dance Theatre, the show’s music triggered muscle memories of the movement, and he reconstructed it.

“I’m interested in what the brain and body know without acknowledging it, what the brain is capable of, and what live tissue has the capacity to be,” West says. In his new work, the ensemble is “one brain, collectively, and we are analyzing how a brain may look through movement, light, and tech.”

If each artist is a synapse in this onstage mind, West reflects that we all have a similar function and potential in society.

“We’re all of the same tissue: connective tissue, not alone in any way,” he says. “If we’re able to empathize and see ourselves in other people, that could make the world a lot more forgiving and understanding.” arts@indyweek.com

FEATURING: ELECTROMANIC, MEISTROXMUZIC, MARK DIPRIMO, AIRCRASH DETECTIVES, KEITH LEGLUE, THE GYPSY MYSTICS , THE OCEANFRONT BAND & GUEST 5:30p

SA 27 DIRTY LOGIC:

TRIBUTE TO STEELY DAN 8p

CO M I N G S O O N

8/2 COSMIC CHARLIE 8p 8/3 BENNY “THE BUTCHER” 8/9

W/ ADAM BOMB/CAPRI/ CEEZ PESO & THE BUFFET BOYS 8p STEPHEN MARLEY W/ DJ SHACIA PÄYNE & CONSTANCE BUBBLE 9p MOTHER’S FINEST 7p 12TH PLANET 8p

8/10 8/17 8/21 BERES HAMMOND – NEVER ENDING

W/ HARMONY HOUSE SINGERS 7p

8/23 JIVE MOTHER MARY

W/ BROTHER HAWK / BIGGINS / SIXTEEN PENNY 7:30p METAL POLE MAYHEM 8p

8/31 9/13 WILDER WOODS

LIVE IN CONCERT 7p

9/15 BRENT COBB AND THEM 7p 9/20 BLACK UHURU 8p 9/28 DREW HOLCOMB & THE

NEIGHBORS W/ BIRDTALKER 6:30p

9/29 NOAH KAHAN 7p 10/4 JIMMY HERRING AND THE 5 OF 7 7:30p

10/5 PERPETUAL GROOVE 8p ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com INDYweek.com | 6.26.19 | 31

stage

CHURCHILL’S SHORTS |  Through Sunday, Jun. 30 CAM Raleigh, Raleigh www.burningcoal.org

Carbon-Based Copies

CLONES HAVE FEELINGS TOO (AND OTHER NEAR-FUTURE WARNINGS FROM CARYL CHURCHILL) BY BYRON WOODS

U

rgent memo to the genetic technicians of the near future: Do not clone the psychopaths, even—or perhaps, especially—if they pay in cash. And while you’re at it, think twice before making a human Xerox (or twenty) of the clinically depressed.

I know, it seems like common sense: Leave the Abby Normal jar alone! Yet in A Number, one of two dystopian domestic dramas by Caryl Churchill that Burning Coal Theatre Company is coproducing with CAM Raleigh, quality control has clearly broken down throughout the genetic evaluation process in the coming scientific world.

It’s a curious hour in our culture to view Churchill’s suspenseful 2002 one-act.

In recent years, the fragility of those with unearned race-and-gender-based privilege has become a hot topic in American discourse. Churchill’s speculations suggest that, in a future where replicated offspring— genetic “do-overs,” as it were—can be stigmatized as inauthentic, fragility’s cultural portfolio could diversify in unexpected ways.

When the three sons of enigmatic, aging central character Salter (Mark Filiaci) learn that they were cloned, they experience one of the chilliest family reunions on record, and the trauma propels two cases of imposter’s syndrome to an improbable extreme. With actor Ben Apple, director Stephen Eckert sculpts two distinctly neurotic iterations of Salter’s son, Bernard, before the third, apparently thrown clear of the familial wreckage, finds himself embarrassed for being disappointingly well-adjusted. Salter’s agony in the presence of a scion without a dark side makes for the funniest conclusion of the 32 | 6.26.19 | INDYweek.com

Chloe Oliver and Julie Oliver in Far Away PHOTO BY AREON MOBASHER three productions we’ve seen here since A Number’s 2007 local premiere.

The other Churchill short at CAM Raleigh, Far Away, has an even greater resonance with current events. A young girl named Joan (Chloe Oliver) who is visiting her aunt and uncle is too innocent to realize she’s in danger after glimpsing a late-night atrocity among a group of deportees in their back yard. But Eckert and actor Julie Oliver reduce the suspense in her aunt’s responses as she repeatedly changes a cover story to save the girl’s life by explaining something monstrous away.

Other scenes in Joan’s life during wartime follow, wedged between awkward set changes and upstaged by designer Josh Martin’s needless, annoying live video backdrops. Death-penalty tribunals are televised, around the clock, and in the most speculative fiction of all, the government finally increases funding for the arts—but only to prettify their final results. When the remaining threads of human culture are rent apart, that inspires the rest of creation to pick sides as well. Uneasy coming attractions, all in all— some of which are already here. arts@indyweek.com

INDYweek.com | 6.26.19 | 33

WHAT TO DO THIS WEEK

6.26–7.3

Courtney Barnett PHOTO COURTESY OF MOM + POP RECORDS

TUESDAY, JULY 2

COURTNEY BARNETT

A southpaw guitar wizard who sometimes rocks a showstopper mullet to rival those of classic Aussie arena rockers Jimmy Barnes and John Farnham, Melbourne’s Courtney Barnett is perhaps best known for the wry, wordy lyrics that fill her two solo albums. Barnett has indicated in interviews, somewhat self-deprecatingly, that she struggles to express herself, but her communication style in songs is loquacious and deep. Much like her on-and-off collaborator Kurt Vile, she weaves feedback-heavy rock songs with deadpan stories of everyday life to impressive effect. On “Depreston” she guiltily mulls over loss and aging while looking for a house to buy; on “History Eraser”, she speaks with nervous energy about rambling through her city’s nightlife with a new lover. “I fed the ducks some krill / Then we were sucked against our will / Into the welcome doors of the casino,” she sings. Quinn Christopherson, the 2019 NPR Tiny Desk Concert winner, opens. —Josephine McRobbie NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $26–$40, www.ncartmuseum.org

THURSDAY, JUNE 27

DWIGHT YOAKOAM

In 1977, the Kentucky-born musician Dwight Yoakam dropped out of college and hightailed it to Los Angeles, where his heroes, such as Emmylou Harris, had paved the way for a new kind of California country. Swimming pools, movie stars, janky bar stools, Cadillacs, and broken hearts all populate the infectious brand of rockabilly roots music that made Yoakam a superstar during the height of the urban cowboy craze of the eighties and early nineties, so it’s fair to say that he found his muse. And the muse found him, too: Yoakam is the king of unlikely crossovers, starring in the movies Sling Blade and Panic Room in the mid-nineties and writing, producing, and co-starring in the millennium’s weirdest western to date, South of Heaven, West of Hell, which also starred Vince Vaughn and Billy Bob Thornton. Yoakam’s twelve gold albums have earned him the status of a classic, and his signature bootcut 517 Levi’s have continued to stoke his status, even all these years later, as a sex symbol. A recent hour spent scrolling through the YouTube comments on “A Thousand Miles From Nowhere” confirmed that the internet is still hornily nostalgic for both the jeans and Yoakam’s lonesome two-step ballads.

Up-and-coming country crooner Tyler Booth, who is also from Kentucky, opens the night. —Sarah Edwards THE CAROLINA THEATRE, DURHAM 8 p.m., $90–$110, www.carolinatheatre.org

34 | 6.26.19 | INDYweek.com

THURSDAY, JUNE 27

DAMIEN JURADO

Released in April, In the Shape of a Storm was a good record that suffered from the partial misfortune of following a great one. Based on Damien Jurado’s decades of fixation on all things dolorous, leaden, and rainy, from the depressive folk of his early records to his more recent psychedelic period, no one could have predicted 2018’s buoyant The Horizon Just Laughed, a farewell to Jurado’s native Seattle that seemed to awaken something in him, as big life changes can do. It certainly awakened his pretty but sometimes inert songs, imbuing them with lush, bouncy dynamics drawn from vintage R&B and soul.

In contrast, Shape was recorded in two hours one afternoon in California. It shows. Even sparser and flatter than Jurado’s early albums, it consists mostly of his acoustic guitar, his high, heavy voice, and his trademark evocations of quiet longing and desperation along rural byways, half novelistic and half poetic. For some fans, it’s a welcome return to form; for others, a tantalizing sketch for another record on par with Horizon. At Motorco, Jurado is joined by another Pacific-Northwest indie vet, Corrina Repp. —Brian Howe MOTORCO MUSIC HALL, DURHAM 8 p.m., $15–$18, www.motorcomusic.com

Damien Jurado

PHOTO COURTESY OF THE ARTIST

THURSDAY, JUNE 27–SUNDAY, JUNE 30

STICKY NOTE SHOW

In 1968, a scientist at 3M was trying to invent a strong adhesive. Instead, he accidentally invented a weak one, and nobody had any use for it—until 1974, when a colleague wished he had a sticky bookmark for his choir hymnal. Out of such serendipitous failure and piety was the Post-it Note born, launching nationwide in 1980 and now seemingly destined, like the cockroach, to outlast all other paper. (All this from 3M’s website, which also mythologizes a consumer-sampling effort known as “the Boise Blitz.”) The Post-it reaches its apotheosis in The Carrack’s second annual sticky-note fundraiser, in which tons of local artists face down three square inches that you can purchase to stick and re-stick wherever you please, at least until the glue gets too schmutzy. The miniature works are $5 each, with the proceeds supporting the Carrack. Leave it to downtown Durham’s essential community gallery to ask everyone to do a little rather than asking a few to do a lot. —Brian Howe THE CARRACK MODERN ART, DURHAM 6–9 p.m. Thu./Noon–3 p.m. Fri.–Sun., free, www.thecarrack.org

WHAT ELSE SHOULD I DO? A+A DANCE COMPANY AT THE FRUIT (P. 30), BLACK IRISH BAILE AT THE CARY ARTS CENTER (P. 31), CHURCHILL’S SHORTS AT CAM RALEIGH (P. 32), CLEO PARKER ROBINSON DANCE ENSEMBLE AT REYNOLDS INDUSTRIES THEATER (P. 43), CURTIS ELLER’S AMERICAN CIRCUS AT MOTORCO (P. 28), EMILY HOBGOOD THOMAS AT ALLCOTT GALLERY(P. 41), MICHAEL NOVAK AND SUZANNE CARBONNEAU AT THE RUBY (P. 42), MOVIES BY MOVERS AT THE NASHER (P. 44) INDYweek.com | 6.26.19 | 35

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PARACHUTE

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FR 7/12 THE LOVE LANGUAGE:

CELEBRATING THE 10TH ANNIVERSARY OF THEIR SELF TITLED DEBUT. FEATURING THE ORIGINAL LINEUP W/ SKYLAR GUDASZ AND REESE MCHENRY ($14/$16)

WE 10/9 ELDER ISLAND TU 7/2 @NCMA

TH 10/10 CHARLIE PARR ($15)

COURTNEY BARNETT

MO 7/15 ATERCIOPELADOS

WE 7/24-SA 7/27 MERGE RECORDS 30 YEAR CELEBRATION TH 8/1 DONAVON FRANKENREITER ($20/$24) WE 8/7 MENZINGERS W/ THE SIDEKICKS, QUEEN OF JEANS

TH 8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS

TU 10/15 MIKE WATT & THE MISSINGMEN ($15) SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS

TU 7/16 BILL CALLAHAN W/ NATHAN BOWLES TRIO ($22/$25) SU 7/21 THE GET UP KIDS W/ GREAT GRANDPA ($22/$26)

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WE 11/20 SAN FERMIN (ON SALE 6/28)

TU 8/20 THE BIRD AND THE BEE

TH 6/27 CAR CRASH STAR, WHENEVER ATOMIC BUZZ, SPORTSMANSHIP, ALLCAPS

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FR 6/28 COMMUNITY CHORUS PROJECT SUMMER SHOWCASE

W/ SAMANTHA SIDLEY & ALEX LILLY ($15/$18)

SA 8/24 BE LOUD ‘19: THE JACKSON FOUR, GREG HUMPHREYS TRIO, THE CHORUS PROJECT MO 8/26 WHY? W/ BARRIE

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W/ CAROLINE SPENCE MO 9/16 CAT POWER

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NORTH CAROLINA MUSEUM OF ART TU 7/2 COURTNEY BARNETT W/ QUINN CHRISTOPHERSON

MO 7/22 PRINCE DADDY & THE HYENA W/RETIREMENT PARTY, OBSESSIVES WE 7/31 GABBY’S WORLD AND BELLOWS W/ MUSEUM MOUTH, JENNY BESETZT

MO 8/5 KYLE CRAFT & SHOWBOAT HONEY

SU 10/20 THE BAND CAMINO

TH 8/8 ANDREW BELLE ($15/ $17) SA 8/10 STEVIE, SCOTT YODER, PERSONALITY CULT ($8/$10)

FR/SA 11/1 & 2 BILLY STRINGS FR 11/8 THE DIP ($15/ $18; ON SALE 6/28) SA 11/9 INFAMOUS

STRINGDUSTERS W/ KITCHEN DWELLERS

36 | 6.26.19 | INDYweek.com

SA 7/27 JOHN BUTLER TRIO+ W/ TREVOR HALL WE 8/7 AN EVENING WITH LYLE LOVETT AND HIS LARGE BAND SA 8/24 OLD CROW MEDICINE SHOW TH 8/29 CHAKA KHAN SA 8/31 MIPSO W/ BUCK MEEK SA 9/14 SNARKY PUPPY

SU 8/18 DEAD RIDER

SA 10/26 KNOCKED LOOSE

WE 10/30 WIZARD FEST

TU 7/23 BRUCE HORNSBY AND THE NOISEMAKERS/AMOS LEE

WE 9/25 RHIANNON GIDDENS AND FRANCESCO TURRISI

MO 9/9 THE NATIONAL PARKS AND WILD

(ON SALE 6/28)

SA 7/13 ANDREW BIRD WITH SPECIAL GUEST TIFT MERRITT

FR 8/16 SIDNEY GISH

FR 10/25 STIFF LITTLE FINGERS

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MO 9/30 GENERATIONALS

TH 8/15 ILLITERATE LIGHT ($12/$14)

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FR 7/19 SUMMER SALT W/ DANTE ELEPHANTE, MOTEL RADIO

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TH 10/17 WATCH WHAT CRAPPENS ($25/$28)

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music

6.26-7.3

SATURDAY, JUNE 29

HELADO NEGRO As Helado Negro, bilingual pop mastermind Robert Carlos Lange synthesized his eclectic vision on this year’s lush, laidback LP, This Is How You Smile, by folding bits of tropicalia and psychedelia into a fusion of light funk and cosmic folk. His pronounced experimental streak means even the most melodic nuggets come spiked with electronic textures, ambient noise, and scraps of found sound. When he’s not assembling the occasional sonic collage, Lange’s soothing, syrupy pipes convey his deeply personal experiences of growing up and living in the U.S. as the son of Ecuadorian immigrants. Opener August Eve crafts her own singular sound as she filters timeless torch songs through melancholic eighties dream pop, drenching luxe layers of synths with liberal doses of reverb.

—Spencer Griffith 9 p.m., $13–$15, www.kingsraleigh.com

WED, JUN 26

CAT’S CRADLE BACK ROOM: Kristin Hersh Electric Trio, Fred Abong; $18-$20. 8 p.m.

THE CAVE: Distractor, Alberta; $5 suggested. 9 p.m.

DUKE’S SARAH P. DUKE GARDENS: Bedouine; $10. 7 p.m.

KINGS: Zach Wiley, The Maudlin Fee; $12-$15. 8:30 p.m.

NEPTUNES PARLOUR: Ravary, Dogwood Lung; $8-$10. 10 p.m.

NIGHTLIGHT: Closet Goth, Softly; $5 suggested. 8 p.m.

THE PINHOOK: D&D Sluggers, Jaguardini, Tide Eyes; $9. 8 p.m.

POUR HOUSE: Jerry Castle, Bryan Haraway; $7-$10. 8:30 p.m.

RED HAT AMPHITHEATER: Shinedown, Badflower, Dinosaur PileUp, Broken Hands; $26+. 6:30 p.m.

THU, JUN 27 ARCANA: Alberta; 8 p.m.

THE ARTSCENTER: The Spill Canvas; $18-$20. 7:30 p.m.

CAROLINA THEATRE: Dwight Yoakam; $90-$110. 8 p.m.

CAT’S CRADLE: Parachute, Billy Raffoul; $20-$23. 8 p.m.

CAT’S CRADLE BACK ROOM: Atomic Buzz, Car Crash Star, Sportsmanship, Split Type; $7. 8:30 p.m.

Helado Negro

PHOTO COURTESY OF KINGS

INDYweek.com | 6.26.19 | 37

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TUE

7/23

SHE WANTS REVENGE / MXMS The Guidance SHE WANTS REVENGE / MXMS The Guidance Motorco and Foothills present Refresh on the Fourth!

A benefit for Ellerbe Creek Watershed MYSTERY SKULLSMYSTERY SKULLS Phangs / Snowblood Phangs / Snowblood as part of IndependentasVenue part ofWeek Independent Venue Week Girls Rock NC Summer Camp #3 Showcase Cat’s Cradle presents HOP ALONG Kississippi CHRIS WEBBY Jarren Benton / Locksmith / Ekoh Motorco and Cat’s Cradle present SUMMER SALT Dante Elephant / Motel Radio Girls Rock NC Summer Camp #4 Showcase DAN BAIRD & HOMEMADE SIN Lemon Sparks NC Modernist Houses, AIA Triangle Present A Talk by McMansion Hell’s Kate Wagner

COMING SOON: The Rock*A*Teens, Escape-ism, Myq Kaplan, We Were Promised Jetpacks, OVERSTREET, Cowboy Mouth,Tessa Violet, Junior Brown, Mac Sabbath, Okilly Dokilly, Oso Oso, Kindo, Supersuckers, Sophomore Slump Fest, BoDeans, Sinkane, Bleached, flor, Boy Harsher,This Wild Life, The Regrettes, Genrationals,The Way Down Wanderers, Kero Kero Bonito,Team Dresch, White Denim, Blackalicious,Warbringer, Sonata Artica, Russian Circles, Nile, Chastity Belt, Fruit Bats, Mikal Cronin, Black Atlantic

Also co-presenting at The Carolina Theatre of Durham: Criminal LIVE SHOW (on Oct 5th)

Quetico performs at Neptunes on Thursday, June 27. PHOTO COURTESY OF KINGS THE CAVE: Foggy May, Joint Operation; $5 suggested. 9 p.m.

GIBSON GIRL VINTAGE: Ragweed Brass Band; free. 6 p.m.

into glass-gargling screams.

Tonight, they’re joined by heavy-psych stalwarts Bitter Resolve and the synth-driven Kadashev IX. —Bryan C. Reed

LOCAL 506:

MOTORCO: Damien Jurado, Corrina Repp; $15-$18. 8 p.m.

Corona Mortis [$8, 9 P.M]

Led by former Lorelei singer Michael Rumple and Danny Hooley, the former guitarist for Ugly Americans and The Bastages, Corona Mortis offers a sharp and ominous fusion of contemporary metal styles. “Fool’s Eulogy,” the lead single from the band’s debut of the same name, shifts from funeral doom into jagged metalcore riffs, with Rumple moving easily from a warm, crooning tenor

NEPTUNES PARLOUR:

Quetico

[$10, 10 P.M.] Yan Westerlund established himself by playing drums with Mipso, Lost in the Trees, and Bowerbirds, among others. As Quetico, Westerlund takes a departure from his indie-folk background to explore a jazzinfused style. Glitchy synths and disparate drums drive his debut record, Man Alone. His

brother, Joe Westerlund, opens alongside Sylvan Esso’s Nick Sanborn. —Sam Haw THE PINHOOK: Lord Fess, Tracy Lamont, Reign, Konvo, Melrose; $10. 8 p.m.

POUR HOUSE: Local Band Local Beer: Harrison Ford Mustang, Blue Frequency, Cor de Lux; $5. 9 p.m.

SLIM’S: White Cascade, Origami Angel, Hunger Anthem; $5. 9 p.m.

FRI, JUN 28 BLUE NOTE GRILL: Big Joe & The Dynaflows, Anson Funderburgh; $12. 9 p.m.

CARY ARTS CENTER: Shawn Mullins; 8 p.m.

CAT’S CRADLE BACK ROOM: Community Chorus Project Summer Showcase; $10. 7:30 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

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THE PINHOOK:

The Pauses [$10, 8 P.M.]

This Orlando-based trio has done its indie-pop homework.

Each of the songs on its most recent album, Unbuilding, is packed with exuberant guitar riffs, propulsive drums, and bounding synths. Singer Tierney Tough’s voice is powerful and expressive as she sings about emotional vulnerability and the quandaries of digital living.

Taken as a whole, they feel like the latest in a long line of indie-poppers extending back to the 90s and before.

Local mainstays Heartscape Landbreak, S.E. Ward, and North Elementary open.

—Dan Ruccia POUR HOUSE: Day Party: Matt Heckler, Casper Allen; $10. 2 p.m.

POUR HOUSE: SK the Novelist, Mike L!vve, Iron Mic, Konvo, Thiago, Thedeepend, Danny Kidd; $10-$12. 9 p.m.

THE STATION: Creative Music Performance Student Band Album Release; $10 suggested. 6:30 p.m.

MON, JUL 1 THE CAVE: Emotion in General, Weird God, Swamp Hag; $5 suggested. 9 p.m.

POUR HOUSE: Lake Chamberlain, Mediocre at Best; $5-$8. 8 p.m.

TUE, JUL 2

NC MUSEUM OF ART: Courtney Barnett; $29-$40. 8 p.m.

The Pauses perform at the Pinhook on Sunday, June 30. PHOTO COURTESY OF THE PINHOOK WALNUT CREEK AMPITHEATRE:

Rascal Flatts [$53+, 7:30 P.M.]

Remember back in the early 2000s, when the contemporary country equivalent of The Eagles was still an off-putting idea? Well, Rascal Flatts is here to let you know they’ve outlived that issue. Compared to the glut of tailgate-partying bros dominating Music City today, these guys are the freakin’ mavericks. And guess what?

Their ballad-heavy country, pop, and R&B amalgam still connects with enough people for their albums to land on the upper rungs of the country charts to boot. Life, it turns out, is still very much a highway. —Jim Allen

KOKA BOOTH AMPHITHEATRE: NC Symphony: Broadway’s Greatest Hits; $38+. 7:30 p.m.

DURHAM CENTRAL PARK: Ricardo Diquez y la Orquesta Tropico; 7 p.m.

DURHAM PERFORMING ARTS CENTER: The Ultimate Queen Celebration Starring Marc Martel; $30+. 8 p.m.

FLETCHER OPERA THEATER: Richa Sharma; $49+. 8:15 p.m.

POUR HOUSE: Groove Fetish, Psylo Joe; $8-$10. 9:30 p.m.

SCHOOLKIDS RECORDS RALEIGH: Michael Daughtry and the Drift; 7 p.m.

FULLSTEAM: Berlin Brothers; free. 9 p.m.

ARCANA: The Old Year, Dana Kletter. 9 p.m.

THE MAYWOOD: Antigone, Seven Letter, The Old Laws; $8. 9 p.m.

BLUE NOTE GRILL: Tommy Tutone; $25-$20. 8 p.m.

CAT’S CRADLE BACK ROOM: Tan and Sober Gentlemen, Tuatha Dea, Virginia Ground; $10-$12. 8 p.m.

MOTORCO: Curtis Eller’s American Circus Album Release with Charles Latham & The Borrowed Band; $10-$12. 9 p.m.

KINGS: Finding Emo, The Emogees, DJ Tallboy’d; $8+. 9 p.m.

THE KRAKEN: Jess Klein, Mike June & the Band. 7 p.m.

THE KRAKEN: Chris Rattie & The New Rebels. 8 p.m.

SLIM’S: Strongman & Co, Chris Larkin, Star Wizard; $5. 9 p.m.

SAT, JUN 29

LINCOLN THEATRE: Liquid Stranger; $18-$30. 9 p.m.

THE CAVE: Camp Saint Helene, Case Sensitive, Charlie Paso; $5 suggested. 9 p.m.

NIGHTLIGHT: Carouse 5: PRIDE; $10. 9:30 p.m.

KINGS: Helado Negro, August Eve; $13-$15. 9 p.m.

LINCOLN THEATRE: Trap Apollo: BSE, Nemon Marcus, TJ Leak, Brint City; $5-$15. 10 p.m.

LOCAL 506: Propersleep & Harm Album Releases with Frontside, Stay Here, Remorsefully Numb; $10. 7:30 p.m.

POUR HOUSE: Travers Brothership, Purple Schoolbus; $10-$12. 9 p.m.

SHARP NINE GALLERY: Autumn Rainey. Sold out.

SLIM’S: Safe Word, Lil Skritt, The Nerve; $5. 9 p.m.

THE STATION: Sadie Rock and the Mad Ryans, Audible, Ari Haney; free. 7 p.m.

THE WICKED WITCH: Carolina Tenn Anniversary Show; $15-$20. 9 p.m.

SUN, JUN 30

CAT’S CRADLE BACK ROOM: Doctor Sig, Nite Beast; $10. 8 p.m.

ENO RIVER FARMERS MARKET: Picnic in the Park: Lightnin’ Wells, The Dedicated Men of Zion, Harvey Dalton Arnold, Alabama Slim. 11 a.m.

MOTORCO: She Wants Revenge, MXMS, The Guidance; $25-$30. 8 p.m.

NEPTUNES PARLOUR: Expansionpack: Ace Henderson, Tanajah, Holden Kiiind, Autumn Rainwater; $7. 8:30 p.m.

POUR HOUSE: Hell & Hollar, Supervillain, The Transonics; $6-$8. 9 p.m.

WED, JUL 3 THE CAVE: The Couldn’t Be Happiers, Jean Caffeine, Pete Pawsey; $5. 9 p.m.

KINGS: Mega ColossUSA; $10. 9 p.m.

LOCAL 506: Lion & Spaniel, The River Otters; $7. 8 p.m.

NEPTUNES PARLOUR: Ok Mayday, Animalweapon; $10-$12.

10 p.m.

POUR HOUSE: Raptor Taxi Album Release with Unaka Prong; $7-$8. 9 p.m.

INDYweek.com | 6.26.19 | 39

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

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Your Week.

Every Wednesday.

On Stands Now 40 | 6.26.19 | INDYweek.com

art

6.26–7.3

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

indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

QUESTIONS? cvillena@indyweek.com

MONDAY, JULY 1

EMILY HOBGOOD THOMAS: A STRING OF CONSECUTIVE THOUGHTS “Sense of place is the sixth sense,” writes the essayist Rebecca Solnit, “an internal compass and map made by memory and spatial perception together.” A fascination with the way that this sixth sense compresses and reconfigures our memories forms the backbone of the painter Emily Hobgood Thomas’s work. Photographic panels of beachy scenes—dunes, houses, parking lots—are collaged into miniature portraits, giving the impression of double exposure and a fractured, ultimately unreliable sense of time and place. Hobgood Thomas, a visual arts MFA student at UNCChapel Hill, writes of her paintings that “the tension between how memory is able to be perceived and the ability a viewer has to interpret the work is the conceptual foundation of my making. We are always searching for what is the Truth in a memory, but the Truth does not really exist.” Her solo show, A String of Consecutive Thoughts, will be open through July 12 after this opening reception. —Sarah Edwards

UNC’S ALLCOTT GALLERY, CHAPEL HILL 5 p.m., free, www.unc.edu

A piece by Emily Hobgood Thomas from A String of Consecutive Thoughts PHOTO COURTESY OF THE HANES ART CENTER

OPENING Cary Gallery of Artists: Color Your World: Jun 28-Jul 23.

Reception: Jun 28, 6-8 p.m.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

Empirical Evidence: Group show. Jul 2-Sep 30. Carrboro Town Hall, Carrboro. secondfridayartwalk. squarespace.com.

Graveface Serial Killer and Oddball Art Show: Serial killer, cult leader, death row inmate art collection. $6-$7. Jun 30, 7 p.m. Holy Mountain Printing, Durham. holymountainprinting.com.

Sticky Note Show: Miniature art for sale. Benefit for The Carrack.

Jun 27-30. The Carrack Modern Art, Durham. thecarrack.org.

Emily Hobgood Thomas: Jul 1-12. Reception: Jul 1, 5 p.m.

UNC’s Hanes Art Center, Chapel Hill. art.unc.edu.

Marthanna Yater: Growing Together: Photos. Jul 2-Aug 18.

Horace Williams House, Chapel Hill. preservationchapelhill.org.

ONGOING 150 Faces of Durham: Photos.

Thru Sep 3. Museum of Durham History, Durham.

AfterSchool Arts Immersion Student Show: Thru Jun 30.

The ArtsCenter, Carrboro. artscenterlive.org.

Elise Alexander & Sharon Hardin: Thru Jul 12. Chapel Hill Town Hall, Chapel Hill.

Ancestry of Necessity: Group show. Curator, April Childers. Thru Aug 24. Reed Bldg, Durham.

Paolo Arao, Sam King, Jason Osborne: Like Mercury in the Wind: Paintings. Thru Jul 20. Oneoneone, Chapel Hill. oneoneone.gallery.

Britt Bates, Charles Marksberry, Seth Marksberry: Thru Jun 28. Gallery C, Raleigh. galleryc.net.

Mike Benson: Thru Jun 30.

Smelt Art Gallery, Pittsboro.

Wim Botha: Stil Life with Discontent: Mixed media.

Additional work on view at 21c Museum Hotel. Thru Aug 4.

NC Museum of Art, Raleigh. ncartmuseum.org.

Linda Carmel, Ellie Reinhold, Jason Smith: Full Circle: Paintings and sculpture.

Thru Jul 21. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Allison Coleman, Gabriella Corter, Angela Lombard: Thru Jun 27. Artspace, Raleigh.

Avery Danziger: In the Shadow of the Moon: Photos.

End date TBA. Through This Lens, Durham.

Charles Eneld: Upcycled: Upcycled Haitian art. Thru Jun 29. Triangle Cultural Art Gallery, Raleigh. triangleculturalart.com.

Evee Erb & Sydney Sogol: A Force of Nature: Textiles and sculptures. Thru Aug 3.

Durham Art Guild, Durham.

Rachel Goodwin: Look Through This: Mixed media.

Thru Jun 29. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

Stacey L. Kirby: The Department of Reflection: Multimedia. Thru Aug 4.

Ackland Art Museum, Chapel Hill. ackland.org.

Berkeley Grimball, Jim Lux, Jim Oleson, Mary Stone Lamb, Phillip Welch: Group show. Thru Aug 3. FRANK Gallery, Chapel Hill.

Michael Klauke: In So Many Words: Paintings, work on paper, and video. Thru Aug 18.

CAM Raleigh, Raleigh.

Bryant Holsenbeck & Kathryn DeMarco: We the Animals: Sculpture and collage. Thru Jun 29. Craven Allen Gallery, Durham. cravenallengallery.com.

INTERSECTIONS: Finding Common Ground: Group show. Thru Jun 30. Pleiades Gallery, Durham.

Jim Kellough: Vine Paintings: Thru Oct 10. Durham Convention Center, Durham. durhamarts.org.

John James Audubon: The Birds of America: Ornithological engravings. Thru Dec 31.

NC Museum of Art, Raleigh. ncartmuseum.org.

Justin LeBlanc: Probable Normal Hearing: Thru Aug 18.

CAM Raleigh, Raleigh.

Christian Marclay: Surround Sounds: Synchronized silent video installation. Thru Sep 8. Nasher Museum of Art, Durham. nasher.duke.edu.

Mac McCusker: Gendered Clay: Works in clay. Thru Jul 31.

Claymakers, Durham.

New Faces of Tradition: Documenting North Carolina’s Young Artists: Documentary portraits.

Thru Jun 30. Rubenstein Art Center Gallery 235, Durham. artscenter.duke.edu.

Our House: Durham Arts Council student-instructor exhibit. Thru Jul 31. Durham Arts Council, Durham.

Outsider Art in the Visitors Center: Group show. Works for sale. Thru Aug 30. Alexander Dickson House, Hillsborough.

Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border.

Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

John Parkinson & Mary Kircher: Furniture and tapestries. Thru Jun 30. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Pop América, 1965-1975: Latin American pop art. Thru Jul 21. Nasher Museum of Art, Durham. nasher.duke.edu.

Portraying Power and Identity: A Global Perspective: Thru Jan 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

INDYweek.com | 6.26.19 | 41

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page

CONT’D

PRIDE Exhibit: Group show.

Thru Jun 30. Carrboro Town Hall, Carrboro. townofcarrboro.org.

Southern Oracle: We Will Tear the Roof Off: Interactive sculptures. Thru Oct 31. NC Museum of Art, Raleigh. ncartmuseum.org.

UNREAL: Group show.

Thru Jun 29. United Arts Council of Raleigh & Wake County, Raleigh. vaeraleigh.org.

Kirsten Stoltmann: I am Sorry: Thru Jul 31. Lump, Raleigh. lumpprojects.org.

Ely Urbanski: Layers: Monoprints. Thru Jul 6. Durham Arts Council, Durham.

[re]ACTION: Artistic renditions inspired by scientific images.

Thru Jun 23. Golden Belt, Durham.

Tilden Stone: Southern Surreal: Furniture. Thru Sep 8. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

V L Rees: I Love Paris: Paintings.

Thru Jun 29. V L Rees Gallery, Raleigh. vlrees.com.

William Paul Thomas: Disrupting Homogeny: Portraits. Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Way Out West: Celebrating the Gift of the Hugh A. McAllister Jr. Collection: Thru Aug 25. Ackland Art Museum, Chapel Hill.ackland.org.

Darius Quarles: ARTsenal: Paintings. Thru Jul 1.

Pleiades Gallery, Durham. pleiadesartdurham.com.

Emily Weinstein: Under a Full Moon: Paintings. Thru Jul 17. Bull City Art & Frame Co, Durham.

READINGS & SIGNINGS Sarah Dessen: The Rest of the Story. Wed, Jun 26, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Aruna Gurumurthy: Poetry reading. Sun, Jun 30, 4 p.m. New World Coffee House, Raleigh. newworldcoffeehouse.com.

Louise Penny: Three Pines Mysteries. Wed, Jun 26, 7 p.m. NCSU’s McKimmon Center, Raleigh. feature quailridgebooks.com.

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

LECTURES ETC. Connect Raleigh: Community Voices on Gentrification: Panel discussion with Pamela Wideman, Kia Baker, Yvette Holmes, Asa Fleming, Paul Kane, and Kristen Jeffers. Thu, Jun 27, 6:30 p.m. Fletcher Opera Theater, Raleigh. raleighnc.gov.

To advertise or feature a pet forChristina adoption, Lorena Weisner: Cheryl Thurber: Documenting Explorations: Science Springs, Mississippi, in sculptures. Thru Jul 28. please contactGravel advertising@indyweek.com Susannah Sayler and Edward the 1970s: Photos. Thru Mar Gregg Museum of Art & reNautilus: Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Morris: Their World Is Not Our World: Video installation.

Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org.

Katie Shaw: Thru Jun 29.

Artspace, Raleigh. artspacenc.org.

6.26 7.87.12 7.9 7.10

2020. UNC’s Wilson Special Collections Library, Chapel Hill.

Design, Raleigh. gregg.arts.ncsu.edu.

Truth + Tamales: Large-scale, collaborative, temporary public artwork. Thru Jun 28.

The ArtsCenter, Carrboro. artscenterlive.org.

Within the Frame: Photos.

Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org.

Sarah Dessen The Rest of the Story 7pm Louise Penny Three Pines Mysteries 7pm AT NCSU’s McKIMMON CENTER Teen Writing Camp with John Claude Bemis Nathan Ballingrud Wounds: Six Stories from the Border of Hell 7pm Literary Trivia Night with Redbud Writing Project 7pm

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MICHAEL NOVAK & SUZANNE CARBONNEAU Last year, the thirty-six-year-old dancer Michael Novak had an unexpectedly short amount of time—less than two months—between being chosen in July to succeed legendary choreographer Paul Taylor and taking up the mantle when Taylor died in August. In his eight years with Taylor, a relatively brief tenure at a company where dancers spend whole careers, Novak has danced more than fifty roles, thirteen of which were created for him, in Taylor’s vast repertoire. Dance historian Suzanne Carbonneau (who recently worked on The Chaperone, an independent film about Louise Brooks) is Paul Taylor Dance Company’s artistic advisor and literally wrote the book on him, in her forthcoming authorized biography. In the midst of the company’s run of ADF shows at Reynolds Theater this week (June 27–29), Novak and Carbonneau discuss their lives with Taylor and his work in this installment of Ruby Fridays, Duke’s series of free, public conversations in The Rubenstein Arts Center’s lounge, with lunch provided. —Byron Woods

THE RUBENSTEIN ARTS CENTER, DURHAM Noon, free, www.artscenter.duke.edu

Paul Taylor PHOTO BY MAT HAYWARD 42 | 6.26.19 | INDYweek.com

stage Cleo Parker Robinson Dance Ensemble PHOTO BY JERRY METELLUS

TUESDAY, JULY 2 & WEDNESDAY JULY 3

CLEO PARKER ROBINSON DANCE ENSEMBLE Choreographer and dancer Cleo Parker Robinson’s company turns fifty next year, and a major reason for its longevity is clear in her American Dance Festival program.

The renowned dance maker is not content to merely celebrate and curate the masterworks of African-American choreographers, including Katherine Dunham’s raucous 1938 piece Barrelhouse Blues and Donald McKayle’s Uprooted: Pero Replantado, a too-timely meditation on the plight of immigrants. Robinson also seeks out and commissions works from vital new choreographers: We’ll see Garfield Lemonius’s 2017 piece, Catharsis, set to composer David Lang’s haunting “Just (After Song of Songs).” And with the meteoric Micaela Taylor, who combines hip-hop and balletic lines in a form she calls contemporary pop, debuting this summer at both of the country’s largest dance festivals—ADF and Jacob’s Pillow, in Massachusetts—the dance world will be paying attention to the premiere of her latest work, Resist, in Durham. —Byron Woods

REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m. Tue./2 & 8 p.m. Wed., $12–$43, www.americandancefestival.org

OPENING Kurt Braunohler: Jun 27-29.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Hayden Magician: Magic. $28+. Sat, Jun 29, 8 p.m.

Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Queer Nation: House of Coxx.

Drag. $15+. Fri, Jun 28, 8 p.m.

The Ritz, Raleigh. ritzraleigh.com.

Paul Taylor Dance Company: American Dance Festival. $12$54. Jun 27-28: 8 p.m. Jun 29: 7 p.m. Duke’s Reynolds Industries Theater, Durham. americandancefestival.org.

Trilogy of Tarot: 24 Hour Theater. Sat, Jun 29, 7 p.m.

The People’s Improv Theater, Chapel Hill. littlegreenpig.com.

ONGOING Between2Clouds Comedy Showcase: Free. Sat, Jun 29, 9 p.m. Clouds Brewing, Raleigh.

Comedy Night: Carly Kane, Kenyon Adamcik, Maddie Wiener, and host by Ben Gerber. $5-$8.

Fri, Jun 28, 9:30 p.m. Local 506, Chapel Hill. local506.com.

Ali Wong: Jun 26-27.

Durham Performing Arts Center, Durham. dpacnc.com.

Bizarre Gone Country: Drag. $7. Sat, Jun 29, 10 p.m. Ruby Deluxe, Raleigh. rubydeluxeraleigh.com.

Murielle Elizéon & Tommy Noonon/Culture Mill: American Dance Festival. $33. Thru Jun 26. 8 p.m. Rubenstein

Arts Center, Durham. americandancefestival.org.

NC’s Funniest Person: Comedy competition. $10. Jun 26: 8 p.m. Jun 30: 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

FOR OUR COMPLETE COMMUNITY CALENDAR

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INDYweek.com | 6.26.19 | 43

screen

THROUGH SUNDAY, JULY 14

SPECIAL SHOWINGS ActionFlix Film Series: Action movies. Full schedule online. Jun 28-30.

Carolina Theatre, Durham. carolinatheatre.org.

Bohemian Rhapsody: $8-$10.

Sat, Jun 29, 6 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

Caged Heat: Mon, Jul 1, 9 a.m.

Alamo Drafthouse, Raleigh drafthouse.com/raleigh.

Distance is Malleable: With Eiko Otake. Tue, Jul 2, 7 p.m.

Regulator Bookshop, Durham regulatorbookshop.com.

Do the Right Thing: Sun, Jun 30, 2:30 p.m. Alamo Drafthouse, Raleigh drafthouse.com/raleigh.

Dr. Strangelove: $7. Fri, Jun 28, 8:30 p.m. NC Museum of Art, Raleigh ncartmuseum.org.

E.T.: Free. Fri, Jun 28, 6:30 p.m. Orange County Main Library, Hillsborough co.orange.nc.us/library.

A Hard Day’s Night: Wed, Jun 26, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

44 | 6.26.19 | INDYweek.com

MOVIES BY MOVERS Psychomania: Wed, Jun 26, 1:30 p.m. & 9 p.m. Alamo Drafthouse, Raleigh drafthouse.com/raleigh.

Remarkable Journey: Documentary. Free. Thu, Jun 27, 5:30 p.m. UNC’s FedEx Global Center, Chapel Hill Somewhere in Time: Sun, Jun 30, 2 p.m. NC Museum of Art, Raleigh ncartmuseum.org.

Strange Negotiations: Q&A with David Bazan to follow.

Wed, Jun 26, 6:30 p.m.

Varsity Theatre, Chapel Hill. varsityonfranklin.com.

Thicker Than Blood: $9. Sun, Jun 30, 6 p.m. The Cary Theater, Cary thecarytheater.com.

Way Gay: Fri, Jun 28, 9 p.m.

Alamo Drafthouse, Raleigh drafthouse.com/raleigh.

Yesterday—”What would you do if you were the last person on Earth who remembered The Beatles?” asks Danny Boyle’s musical fantasy.

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. ½ John Wick: Chapter 3 – Parabellum— A bloody, Buster Keaton-esque ballet meets Sam Peckinpah. Rated R.

OPENING

 Men in Black: International—What if Men in Black, but Morocco and Chris Hemsworth’s torso?

Rated PG-13.

Spider-Man: Far From Home—Tom Holland reprises his role as the best SpiderMan yet in this fresh start for Marvel after Avengers: Endgame. Rated PG-13.

 Toy Story 4—A spork’s severe ontological distress ballasts a half-daring, halfpredictable extension of a beloved animated franchise.

Rated G.

For many, dance on screen begins with epic movie musicals like West Side Story and ends with the latest video by Taylor Swift. But ADF’s Movies by Movers series extends the relationship between moving pictures and moving bodies into the realms of documentary, experimental narrative, animation, and digital technologies. After screening Paul Taylor: Creative Domain at Duke’s Rubenstein Arts Center on June 26, the series continues with broadspectrum showcases over the next three Sundays at the Nasher Museum of Art. Two blocks running this Sunday afternoon include Peter Sparling’s startling Duet for One, in which digital clones accompany dancer Michael Trusnovec, and Dylan Wilbur’s Unfolding, in which women carefully cover a world and themselves with newsprint, as well as Cherie Sampson’s beautiful, devastating every.single.one (karuna), which juxtaposes the natural world and human videography with audio from after a breast cancer diagnosis. Crafty editing in Paulina Rutman’s Humana challenges us to find patterns among a grid of sixteen simultaneous iterations as a dancer mimics the body language of a spider.

—Byron Woods

THE NASHER MUSEUM OF ART, DURHAM Various times, free, www.americandancefestival.org

Reverie of the Puppets by Kathy Rose

food & drink Art Therapy Institute Pint Night: Wed, Jun 26, 4 p.m. Hi-Wire Brewing at Golden Belt, Durham. ncati.org.

Negroni Week Finale: Cocktails and more.

Sun, Jun 30, 2 p.m.

Crude Bitters, Raleigh.

PHOTO COURTESY OF THE ARTIST

Pollinator Party: Benefit for Bee City. Mead, honey, vendors, and more. Sat, Jun 29, noon.

Honeygirl Meadery, Durham. honeygirlmeadery.com.

indy classifieds employment AIRLINES ARE HIRING Get FAA approved hands on Aviation training. Financial aid for qualified students Career placement assistance.

CALL Aviation Institute of Maintenance 866-441-6890

services

misc. misc.

FTCC POSITIONS AVAILABLE Fayetteville Technical Community College is now accepting applications for the following positions: Dept. Chair, Mathematics Quantitative Literacy Pathways - English Instructor (10-month contract) - Simulation & Game Development/Digital Media Instructor (10-month contract).

For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/ Human Resources Office Phone: (910) 678-7342 Internet: http://www.faytechcc.edu An Equal Opportunity Employer

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TAI CHI Traditional art of meditative movement for health, energy, relaxation, self-defense.

Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-360-6419 or www.magictortoise.com

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 6.26.19 | 45

1 3 9 5 4 7 2 8 6

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

1 8 4 9 1

3 5 6

9 7 6 4 3

6 5 9 8

7 1 5

4

# 58

su | do | ku

this week’s puzzle level:

© Puzzles by Pappocom

9

6

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.

5 1 8

8

1

8

1

3

3

8 67 5

5

9 7 2

6

76

1

8

1

1 9 8

2 6 7 8 3 5

6 4 6 7 3

# 60

6 5 2

8

MEDIUM 6 5 8 1 9 2 7 4 3

4 7 2 6 8 3 9 1 5

# 60

6 2 5 7 3 9 8 4 1

8 4 7 6 1 2 3 5 9

9 3 1 8 5 4 7 2 6

3 6 4 5 8 1 9 7 2

3 9 # 34

7 9 2 4 6 3 1 8 5

9

5 1 8 9 2 7 4 6 3

4 5 6 1 9 8 2 3 7

2 8 9 3 7 6 5 1 4

1 7 3 2 4 5 6 9 8

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

Pages.”

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

6

6.26.19

solution to last week’s puzzle

3

8

30/10/2005

5 7 5

46 | 6.26.19 | INDYweek.com

4

9 2

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back page CONTACT AMANDA: CLASSY@INDYWEEK.COM last week’s puzzle

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INDYweek.com | 6.26.19 | 47

YOGAHEART

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DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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available at: Saxapahaw General Store, Southern Season, New Hope Market, Special Treats, Heart of Carolina, Oasis Fresh Market

TELL YOUR MOM!

1980’s icon John Davidson (Hollywood Squares, That’s Incredible, 13 albums) performs Saturday, August 24, in an intimate Durham backyard benefit concert for rural high school drafting students. www.ncmodernist.org/johndavidson

IMPROVE THE SOUND OF YOUR VOICE! WWW.LAURECEWESTSTUDIOS.COM

919-286-1916 @hunkydorydurham We buy records.

Now serving dank beer.

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