INDY Week 6.27.18

DURHAM • CHAPEL HILL 6|27|18

Diamond in the Rough Bull Durham taught us that baseball is a precarious balance of confidence and caution.

Thirty years later, that lesson also speaks to a transformed city.

By Adam Sobsey, p. 12

LIGHT RAIL’S CONDITIONAL REPRIEVE, P. 7

AMERICA’S ORIGINAL SIN, P. 10

THE CAVE WON’T CAVE, P. 19

2 | 6.27.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 35, NO. 26

7 Lawmakers took the Durham-Orange Light Rail Transit project off life support, but its revival comes with tight deadlines and a strict cap on state money.

10 You don’t have to rip kids from their parents. You do it because you want to.

12 The scene that lends Bull Durham its lasting depth and power isn’t even in the movie.

16 From 2016–17, food insecurity threatened about 14 percent of Wake County residents, 14 percent of Orange County residents, and 18 percent of Durham County residents.

19 The Cave’s new owners want to help bands make more money.

In the meantime, the bathrooms smell a whole lot better.

22 Funk icon Betty Davis was born in Durham, but her legacy spans the entire globe.

24 It wasn’t exactly easy for Anne Plamondon to tell the story of her father’s schizophrenia in dance form, but once she got started, it was almost effortless.

DEPARTMENTS 7 News 16 Food 19 Music 24 Arts & Culture 26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

Autumn Spencer and Melissa Swingle, new owners of The Cave in Chapel Hill (see page 19) PHOTO BY CAITLIN PENNA

On the cover ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 6.27.18 | 3

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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backtalk

Damn Fools

“It really sounds like they’re complaining We begin this week with Seth Bramson, about the economic development boom in who expresses consternation with recent Durham (which is crazy). Despite what the comments in opposition to the Durhameditors at The Atlantic believe, gentrificaOrange Light Rail Transit Project: “I am tion is not a bad thing—it revitalizes runabsolutely astounded to see the nonsensidown areas. cal, vitriolic, and totally-without-basis-in“I hope I can save the task force money truth-or-fact opposition to light rail. and time by saying that the problem with “First, buses are absolutely not the black economic development nationwide answer. Second, there is no such thing as (as well as in Durham) is not institutional ‘bus rapid transit,’ and, third, dozens of citracism, but a problem is with black culies (and states) in this country are realizing ture. Convince black women to have kids the foolishness of abandoning their streetin a stable home instead of 77 percent out car and/or interurban electric railway sysof wedlock and you’ll suddenly have a new tems, in most cases having been corrupted generation of stable kids who have access into doing so by General Motors and the to all of the opportunities of the world. Fix still very much in existence conspiracy of the black family and you’ll fix the economic auto manufacturers, tire and rubber comdisparity.” panies, gas and oil companies, and road In last week’s paper, Sarah Willets reportbuilders. ed on the Durham County jail’s Inmate “The answer is truly simple: Stop actWelfare Fund, which ing like damn fools, charges inmates— realize and recognize “Jail is not an easy place most of whom are how terrific light rail has been for Charlotte to avoid when you’re poor, there awaiting trial, many because they (and New Orleans and black, and targeted for can’t afford bail—extra Los Angeles and Portunlawful arrest.” on commissary items land and Seattle and to fund things like Salt Lake City and the blankets and sheets Twin Cities and Denthat critics say the county should pay for ver and Sacramento and on and on almost anyway. infinitum), and become aware of the fact Commenter Mike Moore doesn’t see the that light rail is far, far superior to polproblem: “These people are already being lution-spewing, environmentally damaga burden on the rest of us by being engaging, noisy, and far more expensive (once all ing in behaviors that put them in jail. Why costs are laid out properly) rubber-tired, should they not be assessed to some degree ecologically disastrous buses. for their own support? Jail is an easy place “Come out of the nineteenth century and to avoid.” get with the future, folks, for the future of To which M 1 counters: “The other week, American transit must be built around rail I witnessed the Durham Police Department transit.” unlawfully arrest a group of young black Last week, Durham’s city council estabmen with absolutely no evidence against lished a Racial Equity Task Force to examthem and with the entire neighborhood ine and help undo institutional racism, explaining to the police how they’d made a ensuring that no one is left behind as the mistake. Where do you think these young city grows. Commenter Pixel Support says men ended up? In the Durham County jail. the task force is “nothing more than a public Jail is not an easy place to avoid when show by the mayor and city council to preyou’re poor, black, and targeted for unlawtend to do something about racial dispariful arrest.” ties. If they were honest with themselves, it’s not about freeways that were built sevWant to see your name in bold? Email us at enty years ago. ‘Institutional racism’ is not backtalk@indyweek.com, comment on our the problem here. One would hope that it Facebook page or indyweek.com, or hit us up doesn’t take a bunch of task force time and a on Twitter: @indyweek. lot of money to figure that out.

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indynews Strings Attached

THE GENERAL ASSEMBLY PUT LIGHT RAIL ON LIFE SUPPORT, THEN REVIVED IT—BUT WITH CONDITIONS THAT COULD ULTIMATELY KILL IT

BY SARAH WILLETS

L

ess than a month ago, the DurhamOrange Light Rail Transit project had been all but pronounced dead, thanks to thirty-four words in a state budget crafted behind closed doors and rushed through without debate: “A light rail project is ineligible for scoring, prioritization, and State funding until a written agreement is provided to the Department establishing that all non-State funding necessary to construct the project has been secured.”

The problem, of course, is that in order to get “non-State funding”—$1.2 billion from the federal government—the $2.47 billion project first needs commitments from state and local funding sources. If the state’s commitment were made contingent on an existing federal commitment, that would create a Catch-22 that could imperil the whole enterprise.

Officials with local governments and GoTriangle, the transit agency spearheading the light-rail effort, scrambled to convince legislative leaders that they’d made a mistake. It seemed like a long shot, given how brazenly GOP lawmakers and their veto-proof majority steamrolled the budget process.

“They view mass-transit projects as social engineering, as telling people what to do in terms of the way they get around,” says Senator Floyd McKissick, a Durham Democrat. McKissick, like Senate Minority Leader Dan Blue, is skeptical of the idea that legislators were unaware of the problem the language created.

Nevertheless, McKissick successfully negotiated with Republicans on a technical corrections bill—ratified June 15—addressing the offending language. But the light rail’s new life comes with tight deadlines and a new cap for state funding—creating at least a $57 million shortfall for the project.

Language in the bill basically sets up a game of Operation around the project’s

ILLUSTRATION BY SKILLET GILMORE

future. Bump into its parameters and zap!—the DOLRT could die on the table.

Those working on the project say there isn’t much wiggle room in the timeline it lays out, but it can be done.

This is only the latest hurdle the DOLRT has faced in trying to line up state funding.

Previously, light-rail projects were eligible for state funding up to 25 percent of the total project cost; the DOLRT’s original funding plan banked on this more than $600 million. In 2015, however, that cap was reduced to just $500,000—again, as part of a backroom budget deal. A bipartisan effort succeeded in getting that

repealed, but it was replaced with a 10 percent cap, which, for DOLRT, meant a maximum state contribution of $247 million. (As the INDY reported earlier this year, however, because of how the state’s contribution is calculated, the project was only likely to get $183 million in the bestcase scenario.)

The corrections bill set a new cap specifically for the DOLRT (other projects are still eligible to receive up to 10 percent of their cost from the state): $190 million.

Given all that’s happened, another funding hit couldn’t have been much of a surprise for transit officials.

But the bill also added conditions: If the project doesn’t hit certain deadlines, it will be removed “from the current and any future State Transportation Improvement Program,” which allocates funding for transit projects across the state.

The DOLRT’s final score from the N.C. Department of Transportation is expected in August, and approval of the upcoming STIP will come in about a year. If all goes according to plan, construction will begin in 2020, and the line will open in 2028.

“If the deadlines are not met,” says GoTriangle general manager Jeff Mann, “state funding would be forfeited and INDYweek.com | 6.27.18 | 7

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reprogrammed to other projects, which of course would be very detrimental to the project given the necessity of the state funding.”

The first deadline is April 30, 2019. By that date, $1 billion in local money needs to be committed to the project. This could come from local governments or a private fundraising effort being headed by GoTransit Partners, a nonprofit the transit agency set up last summer.

“That’s an aggressive timeline, but it has been our plan,” Mann says. “It is now, however, a requirement as opposed to a target.”

It’s too soon to know whether project partners will close the funding gap by cutting costs or finding new money, Mann says. GoTriangle is meeting with Durham and Orange Counties to see if a previously adopted costsharing agreement needs to be revisited, with the counties forking over more money.

The counties are funding their share through sales taxes, vehicle registration

According to a consulting firm’s March 28 presentation to the GoTriangle board, the nonprofit was looking at “a potential land donation from two large entities” that would put the fundraising effort more than halfway to its goal. Goodmon told the INDY he believed those talks were progressing, but he declined to identify donors.

“We’re in a wide variety of discussions in terms of land contributions, and we’re starting now to tee up our conversation around financial contributions,” he says.

That leaves the second deadline: Under the corrections bill, GoTriangle has to secure federal funding by November 30, 2019. Mann says it was already the agency’s plan to submit its final application for federal funds by the end of this year, with the aim of securing an agreement by September 2019.

Still, that’s cutting it close—and there will be no room for error.

“I do get concerned about the tightness of the timeline, but it is a timeline that

“I do get concerned about the tightness of the timeline, but it is a timeline that GoTriangle felt comfortable with.”

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fees, and vehicle rental fees. About $88 million from these voter-approved funds has been spent already.

Wendy Jacobs, chairwoman of the Durham County Board of Commissioners and a member of the GoTriangle Board of Trustees, points out that new development along the route—and the approximately $1.4 billion in new tax revenue it’s expected to generate through 2057—benefits more than just the county governments splitting the local share. (She adds that there’s been no talk of raising taxes to close the gap.)

“We’ve got to look at the big picture and what the value is to our community in terms of filling the fifty-seven-million-dollar hole that we have,” she says.

GoTransit Partners, whose board of directors is chaired by Capitol Broadcasting Company vice president Michael Goodmon and also includes former Durham Mayor Bill Bell, had been tasked with raising $102 million through in-kind, rightof-way, and cash donations. GoTriangle is also evaluating the option of selling namTo advertise or feature ing rights to the eighteen stations along the a pet route. for adoption, seventeen-mile Goodmon says he’scontact confident the nonplease profit can hit its fundraising goal—which advertising@indyweek.com may change in light of the limit on state funding—but it will be “all hands on deck.”

“I think projects like this need a timeline, and I think aggressive timelines are good,” he says. “It forces answers. It forces asks. It forces tough conversations.”

GoTriangle felt comfortable with,” McKissick says. “It’s realistic but, yes, it’s ambitious in that it assumes that everything proceeds relatively smoothly and that commitments that need to be made on the local level and federal level occur within the timelines that are reasonably anticipated today.”

McKissick met with Mann, as well as the general counsel for GoTriangle, Senate leader Phil Berger, Senator Bill Rabon (a Republican who McKissick says has been an ally for transit projects), and legislative staff to talk about the project timeline and answer questions. The Federal Transit Administration also joined by conference call, McKissick says.

McKissick argues that the State Transportation Improvement Plan was created to keep politics out of the funding process—and he believes that logic resonated with lawmakers who didn’t want to see the DOLRT move forward. McKissick says the new conditions were the price of doing business with the Republican majority.

“You’re talking about a project that had to be brought back to life,” he says. “It was already dead. You had to come up with a reasonable, doable timeline. Best-case analysis, you wouldn’t have had any language there dealing with it except removing what was put into the budget. That’s best case. But we’re dealing in a world where best case is not always obtainable.” swillets@indyweek.com

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soapboxer

This Is America

WE’RE BETTER THAN TRUMP’S BORDER CRUELTY (AND OTHER LIES WE TELL OURSELVES)

BY JEFFREY C. BILLMAN

T

o fully reckon with the depth and magnitude of the moral depravity we stared in the face last week, as the Trump administration ripped screaming children from their mothers and erected kiddie concentration camps—sorry, “tender-age shelters”—in South Texas, offering patently absurd and constantly shifting justifications and outright lies all the while, we must first reckon with the fact that American immigration policy was capricious and awful long before Donald Trump began ranting about Mexican rapists and killers.

First things first: Progressives need to admit that, DACA aside, Barack Obama was pretty terrible on immigration. He deported more than 2.5 million people. He also detained children, especially following a surge of families and unaccompanied minors fleeing violence in Central America to seek asylum in the U.S. in 2014. The children who came with their parents were detained with their parents, while the ones who came alone were held, at least temporarily, in juvenile facilities. After immigration advocates sued, his administration fought (unsuccessfully) a 2015 court order preventing immigration authorities from holding children for longer than twenty days.

For Obama, this ruling presented a dilemma: If you don’t want to separate children from parents—his administration did so only in exceptional circumstances—and you can’t hold children for longer than twenty days, you had to let the entire family go while their immigration cases played out, a process that can take years.

Where Obama saw a dilemma, however, Trump saw leverage. Along with his virulently anti-immigrant attorney general Jeff Sessions and alt-right poster boy/senior adviser Stephen Miller, the president found an opportunity to get what he really wanted: a border wall to satisfy his own narcissism, and strict limits on legal immigration to appease the Breitbart crew.

The kids would be his hostages.

10 | 6.27.18 | INDYweek.com

In April, Sessions announced that, whereas previous administrations had generally declined to press criminal charges against people who entered the country illegally, the Trump administration would do so in every single case. (Being undocumented in the U.S. isn’t a crime; it’s a civil matter. Crossing the border in between official ports of entry, however, is a misdemeanor.)

And because the administration can’t hold kids with their parents indefinitely, it separated more than twenty-three hundred of them over the next two months, turning them into unaccompanied minors (of which there are now nearly twelve thousand), detaining them, and sometimes shuffling them off to, as chief of staff John Kelly phrased it, “foster care or whatever.”

insisted that zero tolerance is still in effect.

So too is that 2015 court order. Unless one of those things changes, it’s not entirely clear what the White House is going to do.

In addition, because the Trump administration is as incompetent as it is cruel, it’s uncertain when—or whether, or how— many of the twenty-three hundred taken children will be reunited with their parents.

The executive order doesn’t apply to them.

According to the White House, the 2,053 kids still in federal custody will be held until their parents’ deportation proceedings are completed; if a judge decides that a parent has a case for asylum, that parent can apply to be the child’s sponsor in the U.S. If the parent is to be deported, the child will be reunited with the parent before the deportation.

You don’t have to separate children.

You don’t have to arrest their parents.

You do it to send a message.

The images that emerged of small children snatched from their families and stashed in makeshift cages—especially a gut-wrenching recording of dozens of children crying while a Border Patrol agent laughs about an orchestra missing its conductor—proved too much for the American conscience to bear. Pressure mounted and, on Wednesday, Trump—whose administration had alternately defended the policy as biblically ordained, denied its existence, claimed it was the Democrats’ fault, and said the president was powerless to stop it—signed an executive order ending it.

There are still loose ends to be tied. The Border Patrol has said that it will no longer refer border crossers with children for prosecution, though the ultimate decision to prosecute resides with the Department of Justice. At the same time, the president has

Two things to note here: One, this is an obvious effort to coerce refugees into dropping their asylum claims. As the Texas Tribune has reported, asylum seekers are being told they’ll be reunited with their kids if they sign voluntary deportation orders.

Two, there’s only a skeleton of a mechanism in place for connecting separated families.

In other words, it’s still a mess, and the government is still intentionally inflicting pain to achieve its goals.

Something else to think about: None of this was necessary.

Before going further, we should understand America’s role in fomenting the refugee crisis Trump is purporting to address. People are fleeing the northern triangle of Central America because of endemic poverty and rampant violence.

In each of these three countries, you can

see American hands at play: We overthrew the democratically elected government in Guatemala in 1954, setting off decades of civil war. We funded right-wing death squads in Honduras and El Salvador’s long war with a left-wing guerrilla group.

Our appetite for narcotics combined with our war on drugs still fuels the cartels in Honduras. And the MS-13 gang ravaging El Salvador began on the streets of California.

In other words, the situation didn’t arise in a vacuum, and America is not without responsibility. What’s more, we know that immigrants, both legal and otherwise, commit crimes at lower rates than nativeborn Americans, and that states with more undocumented immigrants have lower crime rates. Contra Trump’s fearmongering, the evidence suggests that immigrants aren’t dangerous.

But even if you believe in hard-line enforcement, there are better ways to do the job than traumatizing kids.

Last year, the administration spiked a case-management program in which 99 percent of participants showed up for their immigration court dates (including those who were deported). There are also equally successful ankle-monitoring and phone check-in programs.

In short, you don’t have to separate children. You don’t have to arrest their parents.

You do it because you want to. You do it to send a message. And the message Trump clearly wants to send is that refugees—and immigrants generally—aren’t welcome.

This is nothing new, of course. Trump has been broadcasting this message since the first day of his campaign. He has ended Temporary Protected Status for nearly four hundred thousand immigrants from Honduras, El Salvador, Haiti, and Nicaragua, all of whom had fled natural disasters and made lives in the U.S. He’s insisted that any immigration reform curtail legal immigration and halt family reunification.

Earlier this month, Sessions announced that asylum petitions would no longer be

granted on the basis of domestic abuse or gang violence, which he shrugged off as “personal crimes.” And just last week, Trump took to Twitter to bemoan our “ridiculous immigration laws,” which “let people come into our country based on the legal phrase they are told to say as their password.” (It’s worth noting that the right to seek asylum is guaranteed by U.S. and international law.)

In the president’s view, these Hispanic migrants “infest our Country” like rodents or cockroaches—creatures we eradicate.

He tweeted Friday, “We cannot allow our Country to be overrun by illegal immigrants as the Democrats tell their phony stories of sadness and grief.” (Melania was more succinct: “I REALLY DON’T CARE, DO U?”) To deny the racism undergirding this policy—the same through line that connects the Muslim ban, Trump’s comments about good white supremacists in Charlottesville, his remark about “shithole countries” in Africa, and so on—is to be willfully blind to the reality in front of your eyes.

But we’re also deluding ourselves if we pretend that Trump is an aberration. From slavery to Jim Crow; from the slaughter of Native Americans to the Japanese internment; from the exploitation of immigrants to discrimination against ethnic, religious, and sexual minorities—American history is rife with examples of marginalized groups being targeted by bigots and made scapegoats by demagogues.

In many ways, it’s our original sin.

It’s true that the arc of the moral universe bends toward justice. It’s also true that images of children in cages prompted a backlash that even Trump couldn’t ignore.

And it’s true as well that American sensibilities toward immigrants appear to be evolving: According to Gallup, a record 75 percent of Americans say immigration is a good thing, and four in five want to give Dreamers a path to citizenship.

Then again, Trump telegraphed his antipathy toward immigrants from the outset—made it a centerpiece of his campaign, in fact—and was elected anyway. Blame Russia or James Comey or Hillary Clinton if it makes you feel better, but the fact is, sixty-three million Americans looked racism dead in the eye and said OK. None of what we saw last week should surprise us. Trump is doing exactly what he promised to do, what his most ardent supporters expect him to do.

Which is all to say, we can tell ourselves that we’re better than Trump’s cruelty, but America isn’t quite done reckoning with its original sin. Maybe, though, we’re finally fully awakening to the authoritarian horror show that Trumpism represents. jbillman@indyweek.com

HOW YOU CAN HELP

North Carolina is a long way from the Mexico border, but there are several things you can do to help refugees and the families who have been separated by the Trump administration’s policies.

MARCH

On Saturday, thousands of people will protest in Washington, D.C., and cities across the country as part of Families Belong Together. The local march begins at 10:00 a.m. at City Plaza in Raleigh and will end with a rally at Bicentennial Plaza.

The goal, according to the Facebook event page, is “to show the country and the world that North Carolina stands on the side of decency and humanity, not the callous tearing apart of families.”

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CALL

Senator Richard Burr defended Trump’s policy of ripping children from their families. If you’d like to (politely!) have a word with his staff, call 202-224-3154 or email Richard_Burr@burr.senate.gov.

Senator Thom Tillis struck a more moderate tone, but he hasn’t cosponsored the Keep Families Together Act, which would, well, keep families together. Holler at him (politely!) at 202-224-6342 or email him at Thom_Tillis@tillis.senate.gov.

GIVE

Here are some organizations—both local groups and those working on this particular crisis—that are doing great work for immigrants and refugees and could use your support.

Al Otro Lado, alotrolado.org Church World Service–Durham, cwsrdu.org Council on Immigrant Relations, ciraleigh.org D.E.A.R. Foundation, dearfoundation.org Immigration Justice Campaign, immigrationjustice.us Refugee Community Partnership, refugeecommunitypartnership.org Refugee and Immigrant Center for Education and Legal Services, raicestexas.org South Texas Pro Bono Asylum Representation Project, ambar.org/2t1uDud Southern Coalition for Social Justice, southerncoalition.org Together Rising, togetherrising.org U.S. Committee for Refugees and Immigrants, North Carolina, refugees.org/field-office/north-carolina World Relief Durham, worldreliefdurham.org

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 18:

North Hills/North Raleigh

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 6.27.18 | 11

The Church of

Baseball

Thirty years later, Bull Durham is a bellwether and a cautionary tale for the Bulls’ and Durham’s growth.

But what makes it a sports-movie holy text happens off screen.

BY ADAM SOBSEY

W

hen Bull Durham—the greatest baseball movie ever made, don’t bother arguing—turned thirty earlier this month, it was feted locally in fine style. Writerdirector Ron Shelton (a former minor-leaguer himself, it should be noted) threw out the first pitch at a Bulls game and commandeered the team’s Twitter feed for a public Q and A. Bulls management showed the movie at its birthplace, Durham Athletic Park, in its R-rated entirety. Credit the family-friendly Bulls for that daring adults-only promotion.

It was an appropriate one, because despite its sporting backdrop, antic comedy, memorable zingers—the movie owns in perpetuity the word “lollygaggers” and has at least a minority stake in “cocksucker”—and essentially happy ending (it was loosely based on an ancient Greek comedy, after all, Aristophanes’s Lysistrata), Bull Durham is meant for grownups. And not just because of the “cocksucker” scene, or anything else the movie contains.

It’s what’s not there, an absence replete with presence, that taps baseball’s deepest emotional vein and gives the movie its weighty adultness: a father.

To be sure, it contains plenty of father figures: There’s Crash Davis, of course; Joe Riggins, the Bulls’ irascible manager; and Max Patkin, the legendary Clown Prince of Baseball. Nuke LaLoosh’s actual father makes an appearance, too, but his character is so wooden, his conduct so benighted—he sits right behind home plate with an enormous eighties-vintage video camera, recording and waving inanely at his rattled son—that it’s hard to believe they’re related. Shelton seems to be delib-

12 | 6.27.18 | INDYweek.com

erately using the character to mock the sentimental baseball-reminds-me-of-my-father tradition; Nuke’s dad is jettisoned from the story without so much as a nod.

It’s the father we don’t see whose presence presides over Bull Durham—haunts it, really. The climax comes when Crash demands that Annie explain her near-pathological devotion to the Bulls.

Surely it isn’t just to sleep with one of the players every summer? He presses her until she finally unburdens herself of a long monologue about her father, from whom she was estranged most of her life—from both her parents, in fact. Her mother left when Annie was an infant, and Annie herself ran away from home at fifteen.

Years later, she decided to make peace with her father, but that very week she got word that he had died. She drove down to Florida for the funeral, and when it was over, wracked by a double grief—over his death and her failure to reconcile with him in life—she wandered out into the afternoon and heard that unmistakable sound of bats on balls: tok, tok, tok, tok. Her ears followed the sound to the New York Yankees’ spring training complex, where her eye was drawn to one player in particular: Thurman Munson, the great, doomed Yankees catcher (Crash’s position, not coincidentally).

Munson, an amateur pilot, died in 1979 when he crashed his plane—another dead father. Entranced by him—and by the beautiful order and mystical tok tok tok of the baseball diamond—Annie found her religion then and there. As her voiceover opens Bull Durham with the line, “I believe in the church

of baseball,” the camera pans over a shrine to Munson. The script contains other references to him.

The script does, but the movie does not. That opening shot of Munson’s photograph is his only appearance in Bull Durham. And if you can’t remember the scene in which Annie remembers her father’s death, that’s because it isn’t the movie, either. During editing, Shelton decided to cut it.

Not because he didn’t like it.

“It kept stopping the movie’s momentum even though it was a great scene by itself,” Shelton told me. “We kept shortening it and finally tried the movie without it, and the movie took off.”

Without the scene, the source of Annie’s sorrow, which Susan Sarandon’s performance masterfully intimates without word or deed, is a hidden well that gives Bull Durham its unrelieved pathos and, in turn, its heft. The arrival into Annie’s life of Crash, far older than the callow youngsters she’s accustomed to canoodling with every summer—a man with the age and gravity of a father, and with the echo of Munson—allows her, finally, to relinquish her secret sadness, even without acknowledging it.

The storytelling expediency that informed Shelton’s choice to cut the scene conceals an elemental and structural reason why the movie is stronger without it: There is a crucial absence where a scene about a crucial absence had been. Perhaps we’re still watching Bull Durham after all these years because we’re searching, in some intuitive way, for its—and baseball’s—seminal character, powerfully present and never revealed.

When Bull Durham turns forty, then fifty, we can surely count on more celebrations of the movie that put our city on the map. Each anniversary is its own reckoning, so what does this one suggest about the state of Durham in 2018 vis-à-vis its Bull Durham mythology? Although it will never be a metropolis, Durham is currently making its case for the big leagues. Million-dollar condos are sprouting four blocks up Mangum Street from Annie’s house, a generation after seven-cents-a-pound Crash grudgingly praised Nuke’s “million-dollar arm.” To paraphrase another Kevin Costner baseball movie—Bull Durham’s mawkish counterpart, Field of Dreams—we have built it, and people are coming. For the first time since the movie was born, the real Durham can plausibly claim to measure up to its distinction as the setting for the greatest baseball movie ever made.

This is something to be proud of, no doubt, but that pride must be tempered lest it puff the Bull City out of shape. “You’ve gotta play this game with fear and arrogance,” Crash tells Nuke, his final piece of advice to the young pitcher before he leaves for the Show. If Annie’s deleted monologue is Bull Durham’s psyche, then Crash’s counsel to Nuke is its patrimony.

“I

t’s what’s not in Bull Durham, an absence replete with presence, that gives the movie its weighty adultness: a father.”

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

“It sums up my life view closer than anything I’ve ever written,” Shelton told me. The line asks us to act consciously on a contradiction. We must take the mound or step into the batter’s box with unquestioning confidence, but we must also remember that everything we do is in some way a response to “primal fear,” Shelton says: “Snakes, tigers, homelessness, lovelessness, failure, death.” Forgetting that, our command will desert us, we will make no solid contact, and we will find ourselves back in the minor leagues.

Like Annie’s memory of her father, playing the game with fear and arrogance is ultimately a matter of origins and legacy. When Bull Durham was made, the Bulls were a Class A team, far from the major leagues. The modern Bulls play in Triple-A, just one level down from the Show, and most of their roster will get called up sooner or later—many already have. The hard part is staying; most wind up in Triple-A again, at least for a while. To make the best of Durham, now and in seasons to come, it’s worth appreciating how high we’ve already risen, and how easy it can be to crash, or to become Crash. backtalk@indyweek.com

INDYWEEK.COM INDYweek.com | 6.27.18 | 13

BEST TRIANGLE OF THE

THE PEOPLE HAVE SPOKEN.

Here is just a small sample of the three hundred-plus Best of the Triangle winners from this year’s readers poll.

To see more winners, visit INDYweek.com.

t s e b gle TH OF

E

t r i a n 2018

14 | 6.27.18 | INDYweek.com | BEST OF the triangle 2018

t s e b ngle F

TH

tria

O

E

8 2 01

Carrboro Plaza Veterinary Clinic, Foundation, Triangle Krav Maga, Revelry Barber & Shave Shop, Heavenly Buffaloes

LEFT, CLOCKWISE FROM TOP LEFT

THIS PAGE, CLOCKWISE FROM TOP LEFT Primal, Motorco, The Parlour, Oak City Cycling Project, Ponysaurus Brewing Co., Neomonde

BEST OF the triangle 2018 | INDYweek.com | 6.27.18 | 15

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Back-Issue Comics 1809 W. Markham Ave. Durham • 919-286-1076 info@booksdofurnisharoom.com www.booksdofurnisharoom.com 16 | 6.27.18 | INDYweek.com

indyfood

bowl. Eve commerc ious coun potential local econ The firs ered to a three Dur Express F and Los retail for with SNA tance Pro Good B Market an Co-op M strive to s ety of fin ping, a bo and co-di Durham-b nization w ect, came depending At Weave Good Bow ter, custom dollars les lars more will also offered at Now th to the pilo can asses tant in det To that en ing conve Bowls are counties, related re mercial ki Scienti success a ly, Amme that regul on the he since frui with dise a broader interview Spectrosc vasive dia and-veget contain a greens, ca Ammer strive to a Good Bowls’ chicken-burrito bowl PHOTO BY CAITLIN PENNA relying on Weaver Street’s Hillsborough-basedcan result feature locally sourced, seasonal produce production facility, Food House, has craft-project’s m from small- to mid-size farms, which proed three different options for Good Bowls’ing a con duce crops such as sweet potatoes, peppers, inaugural run, including chicken and riceaffordable and greens, keeping ingredients and flavors in a coconut curry sauce, sausage and veg-people wh varied. It also gives farmers an outlet to sell gies with cheese grits, and a chicken-burrito excess or imperfect produce.

The Golden Bowl

A UNC-CHAPEL HILL PROJECT PEDDLES NUTRITIOUS, CHEAP MEALS IN CONVENIENCE STORES, CO-OPS, AND FOOD DESERTS

BY DEBBIE MATTHEWS

C

all it trickle-down misery. When funding is tight, the people further down the economic ladder are the hardest hit. According to the U.S. Department of Agriculture, North Carolina has the fifth-highest number of people living with food insecurity.

In the Triangle, the statistics are sobering. The Food Bank of Central and Eastern North Carolina says that, from 2016–2017, about 14 percent of Wake County residents, 14 percent of Orange County residents, and 18 percent of Durham County residents were food insecure.

One contributor to food insecurity is the food desert: an area where there’s a lack of access to affordable, healthy food because of insufficient grocery stores, farmers markets, and other outlets selling nutritious food.

Often, residents in food deserts rely on convenience stores, which are not known for fresh produce or nutritious fare.

To help bring affordable, healthy food to food deserts in Durham and rural Warren County, Alice Ammerman, a professor at UNC-Chapel Hill’s Department of Nutrition and the director of the Center for Health Promotion and Disease Prevention, has developed a creative solution called Good Bowls, funded initially by a $75,000 grant from the Felix Harvey Foundation.

Good Bowls is a meal in a bowl, made with fresh ingredients and based on the Mediterranean diet, which includes plenty of fruits and vegetables, olive oil, legumes, lean proteins, and fish. To extend its shelf life, Ammerman came up with the idea to freeze the bowls and sell them at convenience stores, bringing an affordable, healthy alternative to food deserts.

Weaver Street Market, which states a commitment to fighting hunger, was a logical partner for helping develop and test recipes and produce the first batch of bowls; it also donated food and labor. The bowls

bowl. Eventually, the bowls will be made in commercial and community kitchens in various counties across the state, which has the potential to create food-related jobs in the local economy.

The first run of Good Bowls has been delivered to a few stores in Warren County and three Durham convenience stores, including Express Food Mart, Mangum St. Mini Mart, and Los Primos Supermarket, where they retail for $2.99 and can also be purchased with SNAP (Supplemental Nutrition Assistance Program, also known as food stamps).

Good Bowls are also sold at Weaver Street Market and will be available at the Durham Co-op Market this week. Because co-ops strive to serve customers with a broad variety of financial circumstances, Beth Hopping, a board member at the Durham Co-op and co-director of the Food Insight Group, a Durham-based food-systems research organization working with the Good Bowls project, came up with a plan to price the bowls depending on a customer’s financial means.

At Weaver Street and the Durham Co-op, Good Bowls will retail for $4.99; at the register, customers can choose to either pay two dollars less for the meal ($2.99) or two dollars more ($6.99). This cost-offsetting model will also help supplement the $2.99 price offered at local mini-marts.

Now that the bowls have been distributed to the pilot stores, Ammerman and her team can assess program efficacy. Data is important in determining the future of Good Bowls.

To that end, they’ll track sales at participating convenience stores, and once the Good Bowls are rolled out to additional stores and counties, they can also track Good Bowlsrelated revenue generated by partner commercial kitchens and farmers and suppliers.

Scientific data is also key to measuring success and defining next steps. Eventually, Ammerman wants to study the impact that regular consumption of Good Bowls has on the health of consumers in food deserts, since fruit and vegetable intake is associated with disease prevention. In the context of a broader study, this will include in-person interviews and maybe the use a Reflection Spectroscopy, or “Veggie Meter,” a noninvasive diagnostic tool that measures fruitand-vegetable intake, particularly ones that contain a lot of carotenoids, such as leafy greens, carrots, and sweet potatoes.

Ammerman says that Good Bowls will strive to achieve self-sufficiency to eliminate relying on grants, which are uncertain and can result in funding gaps. This will keep the project’s mission front and center—providing a consistent, reliable source of healthy, affordable food to the neighborhoods and people who need it most. food@indyweek.com

day drinker Day Drinker is a recurring feature in which INDY staffers graciously accept samples of new and seasonal offerings from local breweries and tell you what we think of them. If you’d like your beer or cider to be considered, email food editor Layla KhouryHanold at laylakh@indyweek.com.

CRYO OPACITY THE GLASS JUG BEER LAB This New England IPA, with its concentrated hops, was the biggest all-around hit with our staff. This is an IPA for people who don’t like IPAs. Its bitterness is mild, lurking tastefully behind clean, hazy, yeasty flavors of citrus and pine. We’d drink this all day.

FLAVOR PATTERNS BOND BROTHERS BEER COMPANY Hey, who melted Flintstones children’s vitamins in this blonde sour ale? Oh wait, those are just really tart raspberries. None of us wanted to drink more than one of these, although one of us appreciated the berry blast. The Capri Sun of summer ales.

DISENCHANTMENT BOND BROTHERS BEER COMPANY One of our editors thought this blended sour ale tasted like suntan lotion someone had soaked a moccasin in, but another detected pleasing notes of sarsaparilla, tobacco, and anise on the finish. A bold beer, not for sour novices.

SOUTHERN BASIL

TRAVEL GUIDE A special issue exploring day trips, local adventures, and outdoor fun

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FULLSTEAM BREWERY Fullsteam suggests pairing this basil-infused farmhouse ale with pizza or caprese salad, which is spot-on because it tastes like Pompieri’s Margherita pie in a can.

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FARM’S EDGE: FOX KNOB FULLSTEAM BREWERY This fig saison is sweet but not syrupy, with rich coffee notes. It starts like a sour, coming on fruity and sharp, and ends like a porter, not lingering on the palate. A summery treat that, at 7 percent ABV, won’t weigh you down in the heat.

INDYweek.com | 6.27.18 | 17

food

Ugly Customer

IN CAROLINA CATCH, DEBBIE MOOSE EXTOLS THE VIRTUES OF BUYING SHEEPSHEAD, GRUNT, AND OTHER UNDER-LOVED FISH FROM NORTH CAROLINA BY LAYLA KHOURY-HANOLD

D

ebbie Moose loves two things fiercely: UNC-Chapel Hill basketball and North Carolina seafood.

Her Tarheel pride is evidenced by the Carolina-blue flamingos bedecking her yard, and she says that she and her husband renovated their home to accommodate more friends to watch the team’s televised games.

Meanwhile, Moose extols North Carolina seafood in Carolina Catch, her latest UNC Press book, which is dedicated to fish and shellfish. Though she jokes that her childhood introduction to fish came in stick form, it’s clear that Moose’s appreciation and knowledge have expanded since then, and it runs deep. In Carolina Catch, she explores the industry that built many of our state’s foodways while introducing readers to the vast variety of fish and shellfish available here, from the mountains to the coast.

Moose also shares her hard-won advice for sourcing and preparing fish, along with more than ninety recipes, in the hope that readers will be inspired to dive into North Carolina seafood.

The book opens with “Best Basics,” a handy primer for buying, storing, prepping, and cooking fish. There are plenty of takeaways, many of which help to dispel common misconceptions. When it comes to buying fish, Moose says that people think it ought to smell like fish. But good fish, she insists, should not smell fishy—it should smell like the ocean. If it doesn’t, you should buy your fish elsewhere. She also says that people have a fear of fish because they don’t cook it as often as meat or poultry.

“They overcook it once and decide that they don’t like fish,” Moose says.

To help assuage home cooks’ trepidation, Moose’s approachable seafood-focused recipes span nearly every meal, organized into categories such as appetizers, soups and salads, main dishes, and “Sides, Sauces, and Sassy Goodies,” which includes recipes for homemade tartar sauce and a crabby Bloody Mary. One of her all-time favorite recipes is the Greek Baked Sea Trout.

18 | 6.27.18 | INDYweek.com

“It’s a really good recipe for people starting out cooking fish,” Moose says. “The sauce that covers the fish provides insulation from heat and helps put moisture in the fish, so it’s really forgiving.”

works with any flaky, medium-thick fish fillets, like flounder, snapper, sheepshead, or grunt.

If those last two fish don’t sound familiar, don’t worry. But do keep an open mind.

Carolina Paella, featured in Carolina Catch: Cooking North Carolina Fish and Shellfish from Mountains to Coast PHOTO BY JULI LEONARD It’s an especially fine recipe to try now, since the sauce features in-season cherry tomatoes cooked down with onions and garlic, brightened with parsley and capers, and it lends itself to being baked on the grill, too (so you don’t have to turn your oven on). In addition to sea trout, the recipe also

Moose makes it easy to learn about less commonly known N.C. fish with her “Think Seasonal” index, which includes helpful descriptions of texture and flavor mixed with recommendations.

Trying under-loved fish (Moose prefers this term to the oft-used “trash fish”) not only

expands your palate, but it also tends to be less expensive than popular but overfished varieties like flounder, snapper, and grouper, so it’s also a more sustainable choice.

This summer try amberjack, a thick, juicy alternative to salmon or swordfish. Looking for a substitute for mahi or swordfish for fish tacos or grilled entrees? Try cobia, which boasts an equally thick, meaty texture. Tilefish, with its flaky texture and mild, sweet taste, makes a great swap for flounder or snapper. The thin fillets fry up quickly and need little more than a pat of butter or a squeeze of lemon juice.

Moose is also quick to praise local restaurants who are committed to sourcing and serving N.C. fish and shellfish, which not only helps support the industry, but educates diners on under-loved varieties. You may not have heard of drum, but chef Ricky Moore of Saltbox Seafood Joint has. He recently grilled black drum, a firm, meaty, mild-flavored fish, and served it alongside summer-truffle-corn soubise. It was the finale in a five-course seafood dinner held in honor of Carolina Catch, in which Moose also includes Moore’s recipe for Chowan County Shellfish “Muddle.” The dinner, held at chef Sean Fowler’s Mandolin, also featured dishes from other local chefs, as well as companies such as Locals Seafood, who source exclusively N.C. seafood for many Triangle restaurants. Proceeds from the dinner benefitted NC Catch, an organization committed to strengthening the state’s seafood economy by educating consumers about the importance of buying local.

Whether you’re trying your hand at Moose’s Greek Baked Sea Trout—get the recipe at indyweek.com—or confidently ordering grunt, by focusing your choice on N.C. seafood, you’re guaranteed to eat what’s freshest and in season.

“Know where you’re getting your seafood from,” says Moose. “The industry is such a vital part of the state and what it has to offer us is so good. We should enjoy it.” laylakh@indyweek.com

indymusic

THE CAVE IS ALIVE

Friday June 29–Sunday, July 1, 7 p.m., $10 suggested donation The Cave, Chapel Hill www.caverntavern.com

The Stone Was Rolled Away

THE CAVE IS COMING BACK TO LIFE. WHAT DO ITS NEW OWNERS HAVE PLANNED FOR ITS NEXT CHAPTER?

BY ALLISON HUSSEY

O

n the day after the summer solstice, the sun still burns bright late into the afternoon. But you can easily forget that fact once you step into The Cave, the windowless, formerly rather dank dive that’s occupied 452 ½ West Franklin Street in Chapel Hill for the past fifty years. Outside, the afternoon heat is thick. It’s comparatively cool inside—the air conditioning could use repairing, but it doesn’t have to work hard when there are only three people in the club as the clock ticks closer to four p.m.

Autumn Spencer stands behind the bar, and Melissa Swingle sits across from her on the other side of the recently refinished bartop. The two longtime local bartenders completed their purchase of The Cave at the beginning of May, and now, they pause to consider the changes they’ve made so far.

“It looks a little nicer. We’ve got flowers out,” Spencer notes.

“The bathrooms definitely smell better,” Swingle adds.

Having saved it from an extinction that seemed certain, The Cave’s new owners have picked up a heavy legacy that they want to build upon. As owner-operators who plan on handling most of the bartending and booking themselves, much of their focus seems to be on keeping overhead low while continuing to maintain its reputation as a beloved local watering hole. Starting with this weekend’s reopening celebrations, they’ve got about a year to get it all figured out.

For all intents and purposes, The Cave went out of business at the end of April.

After a few months of searching for a buyer and finding no takers, then-owners Mark Connor and Van Alston decided to close it; I went to its “final” shows and wrote about how its end was another tragic loss for weird Chapel Hill in this very publication. But in those last days, Swingle and Spencer were scurrying behind the scenes with Connor and landlord Julie Jennings to buy The Cave.

Swingle says that it happened so last-minute simply because she didn’t know the sale was even happening, and they had to keep it quiet

Autumn Spencer and Melissa Swingle PHOTO BY CAITLIN PENNA because it wasn’t a done deal before The Cave technically closed.

“It would have been a dumb thing to do to say, ‘Hold up, everybody, The Cave’s not dying!’ because it wasn’t a definite thing yet. We hadn’t actually signed the lease yet,” Swingle says.

These days, The Cave doesn’t look all that different than it did the night I thought I was leaving it for the last time. It’s noticeably cleaner, but the heart of it is the same. The back room still boasts a big-screen TV, and there are a few more big, comfy-looking chairs to lounge in; the floor is painted with Twin Peaks-inspired black-and-white zig-

zags. (The bar’s jukebox will return from its vacation in a Mebane warehouse soon, Swingle promises.) Two coolers have been repaired, and sound system upgrades are coming soon: new monitors, a new board, new microphones, and more.

Swingle declined to discuss the specifics of the bar’s finances, but says that the money for the purchase and upgrades have come from personal funds and other sources, with friends like Stephanie Roquette, Maggie Zychowski, Rebecca Newton, and Virginia Sloop chipping in however they can.

“If they haven’t actually given us money, they’ve helped us by fixing stuff for us, or

refinishing the top of the bar for little to nothing, donating their time to help us renovate,” Swingle says.

Those helping hands have contributed to the sense of community pride that Swingle feels is an essential part of The Cave’s existence.

“I don’t really feel like the owner of The Cave, I feel like the caretaker of The Cave now,” she says. “I feel like this community actually owns The Cave. Autumn and I are just keeping it alive.”

The biggest operational change Swingle hopes to institute is trying to shift bands’ compensation model to one based on INDYweek.com | 6.27.18 | 19

suggested donations or a pass-the-hat method, rather than a hard cover. Most shows at The Cave in recent years have cost between $5 and $10, and Swingle agrees that Cave covers shouldn’t really surpass that.

But she thinks that bands that take the paywhat-you-want route stand to as much—or

“I thought a year made sense, initially— starting off just one year, see if it works. You don’t want to be tied into a five-year lease if you’re still not sure what the outcome is going to be,” Spencer says. Swingle, meanwhile, is actively optimistic that the outcome will be a good one.

“The bathrooms definitely smell better.” even more—money than they would with an enforced cover. She says the policy worked well when she worked at The Cave under the ownership of Mouse Mock, who preceded Connor.

“The people who are here [already] want to stay here, and the people coming to the door don’t end up going to The Cellar because we’ve got a ten dollar cover,” she explains.

“That doesn’t mean we’ll stop doing covers altogether, but as I’m booking them, I’m trying to encourage bands to go with a suggested donation.”

Swingle says that it wasn’t uncommon for happy patrons to drop more money in the hat—a crisp $20, say—than they would’ve spent on a regular cover charge, too.

Spencer and Swingle’s lease on the space lasts a year, and they have an option to renew it if all goes well.

music

“I’m feeling positive that we’ll be able to renew the lease, that we’ll be profitable at that point, and we won’t even have to consider closing The Cave again,” she says. “I really do feel confident that the community will help us, and will support what we’re trying to do for the local music scene.”

When The Cave was supposed to close, decades worth of musicians, music fans, and barflies shared their sentimental stories about the bar, and patrons packed it out every night of its supposed last week. Swingle and Spencer are hoping to leverage that passion into a building a business that’ll finally boom again.

“This bar is your community bar. If you want it to continue, come down here. Come hang out with us and buy a drink,” Swingle says. “All those people that were sad about The Cave dying—come help us keep it alive.” ahussey@indyweek.com

BRIEF

BOWERBIRDS FLY AGAIN AT FESTIVAL FOR THE ENO It’s been a long while since we last heard from Bowerbirds, the beguiling folk-rock band led by Beth Tacular and Phil Moore. The band’s most recent record, The Clearing, is six years old, and it’s been nearly that long since they last graced a stage in the Triangle.

But on July 4, Bowerbirds return to the spotlight to begin a new period of activity that’ll eventually include a new record. They’ll be at the Festival for the Eno, the major annual fundraiser for the nonprofit Eno River Association, performing on the Meadow Stage at 2:15 p.m.

“I feel like taking a long break actually was refreshing. We just finally realized this is taking so long, there’s not really pressure anymore,” Tacular says.

Not long after the release of The Clearing, the band launched a Kickstarter campaign that raised them more than $37,000 for a new studio, a new Bowerbirds record, and a solo record from Moore. Tacular and Moore built the studio and started a family, and Moore issued his self-titled solo debut as Tuskha in May 2016. But unexpected and dire health issues within their family resulted in some necessary shifts in priorities, which in turn translated into major delays for supporters getting their handmade prizes. Save for a few lingering paintings, Tacular says, they’re caught up on their Kickstarter obligations and are looking toward moving on.

At the Festival for the Eno, they’ll play some of their new songs and offer a preview of what’s to come with their new record, which doesn’t have a set release date yet. They’re not gunning to hit the road hard quite yet, either.

“We’re just trying to see how this goes. This is a good point before actually releasing the record to see if we enjoy getting back into it in some sort of way, but there’s no tour being scheduled right now. No extreme diving into anything,” Moore says. “Just the creative part is such a nice part to get back into, writing the music. —Allison Hussey 20 | 6.27.18 | INDYweek.com

INDYweek.com | 6.27.18 | 21

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music

JUNE CREATIVE NATION PRESENTS

Shining Star

“MONEY POWER RESPECT TOUR” 7p FR 29 CHAD PRATHER 6p

BETTY DAVIS CHANGED THE FACE OF FUNK. IT’S TIME TO CELEBRATE HER ON HER OWN TERMS. BY ALEXA PETERS

SA JUNE 30 • 7:30P

YACHT ROCK REVUE J U LY

FR 6 THE STEEL WOODS SA 7 INTERSTELLAR

8p

OVERDRIVE

W/ ABACAB 7:30p

TU 10 BERES HAMMOND

W/ HARMONY HOUSE SINGERS 7p

FR 13 LITTLE OZZY

(OZZY OZBORNE TRIB) W/ THE GRAY/NEON KNIGHTS (DIO TRIBUTE) 7p

SA 14 CONTROL GROUP

REUNION

SU 15 TH 19 FR 20 TH 26 FR 27 SA 28

W/ KRIS HEATON BAND / DONNA BLUE BAND / NIGHT SHIFT 7p

AFTON MUSIC SHOWCASE ERIC SCHWARTZ 7p JUSTIN WEST 7p TAB BENOIT 7p TORY LANEZ 7p MOTHER’S FINEST 7:30p

CO M I N G S O O N

GANJA WHITE NIGHT COSMIC CHARLIE 8p PENNYWISE 8p BROTHERHOOD BASH BLOCK PARTY! 3:30p 8/10 PHISH AFTERPARTY 8/2 8/3 8/7 8/10

8/11 8/16 9/1 9/14 9/23

W/ THE MANTRAS 10:15p

METAL POLE MAYHEM 8p SISTER HAZEL 7p THE BLACK LILLIES 7:30p CHERUB @ THE RITZ JUMP, LITTLE CHILDREN ALBUM RELEASE PARTY FEAT. MICHAEL FLYNN 7p

10/5 THE DEVON ALLMAN

PROJECT

10/18 11/2 11/3 11/9 11/14

W/ SPECIAL GUEST DUANE BETTS 8p LANE 8 LITTLE BY LITTLE TOUR 7pp COREY SMITH 8p ST. LUCIA 8p THE LACS 8p

S

he’s been called funk itself: libidinous, formidable, and raw. She’s the queen of self-possessed sexuality, a feminist cult hero, the lesser-known inspiration for Bitches Brew and one of the mothers of jazz fusion and Afrofuturism. But the person who really defines Betty Davis is Betty Davis herself—and that’s what has made her so unforgettable for the last forty years.

She was born Betty Mabry in Durham in 1944, but many still don’t know of her strong roots in the Triangle. It was here she sat listening to her grandmother’s collection of blues records—B.B. King, Jimmy Reed, and Elmore James—that inspired her deep love of blues and rock ’n’ roll. It was in Durham, at twelve years old, that she wrote her first song, “I’m Going to Bake That Cake of Love,” laying the foundation for her sexforward future.

On Thursday, a piece of Betty will be back in Durham. Motorco hosts the Triangle premiere of the new documentary, They Say I’m Different: A Celebration of Funk Icon Betty Davis, followed by a performance from Davis’s own original hand-picked backing band, Funk House, featuring Fred “Funki” Mills, Larry Johnson, Carlos Morales, Garry Percell, Nicky Neal, and vocalists Cedrina Shari’ and Rachelle Neal.

The film and performance are a rare occasion to understand the now seventy-twoyear-old Davis, who’s been out of the music business since the early eighties. But director Phil Cox did his due diligence to catch up with the mysterious Davis, learning from her never-before-heard stories about her time as Jimi Hendrix’s close friend, Miles Davis’s wife, and as a funk pioneer in the seventies.

ILLUSTRATION BY STEVE OLIVA

Davis’s journey started when she relocated to New York City at sixteen, after a childhood spent in Durham and Pittsburgh, Pennsylvania, where her father worked in steel. In New York, she enrolled in the Fashion Institute of Technology, worked as a model, and also began hosting at a club called The Cellar.

There, she rubbed shoulders with influential creative people of the day like Hendrix, Sly Stone, and eventually Miles Davis, who would become her husband.

It was Miles’s gray suede shoes that first caught her eye, and the attraction was mutual. In September of 1968, the pair got married, marking a mutually creative but tumultuous time for the couple.

Meeting twenty-three-year-old Betty turned out to be one of the most important things for Miles Davis’s career. With the days of cool jazz and Kind of Blue on the wane, forty-two-year-old Miles was losing his edge. It was Betty who helped him

ALLEN STONE

W/ NICK WATERHOUSE 7p

12/1 KIX 7p 12/11 KHRUANGBIN 7p

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22 | 6.27.18 | INDYweek.com

THEY SAY I’M DIFFERENT: A CELEBRATION OF FUNK ICON BETTY DAVIS WITH FUNK HOUSE Thursday, June 28, 8 p.m., $15 Motorco, Durham www.motorcomusic.com

update his image and his sound—tossing his suits out for flowing fabrics and scarves, and introducing him to psychedelia of Hendrix and rhythmic power of James Brown. With her influence, Miles’s uncanny, rock-jazz fusion album Bitches Brew came alive and went on to become one of the best-selling jazz albums in the world.

Miles had a profound impact on Betty too, who, despite making a substantial living from modeling, longed to be a musician. He encouraged her to sing and produced several of her sessions, namely a previously unreleased 1969 session unearthed and issued

by Light in the Attic records in 2016 as Betty Davis: The Columbia Years. These sessions combined Hendrix’s rhythm section of Billy Cox and Mitch Mitchell with Miles’s jazz comrades Herbie Hancock, Wayne Shorter, and Larry Young, and is considered one of the lesser-known origin stories for jazz-rock fusion.

Miles’s abuse drove Betty to leave him in 1969, but she quickly forged a path for herself with the newfound musical confidence and connections her marriage had nurtured. With her own impeccable ear for groove, she wrote and produced her own songs with her band, Funk House. She went on to release three albums with Funk House: 1973’s explosive Betty Davis, 1974’s fearless They Say I’m Different, and 1975’s culmination of the two, Nasty Gal. In her live performances too, Betty Davis was an earthquake of unbridled womanhood: doing the splits in her silver kneehigh boots, her Afro high and wild, belting into the mic. She shrieked and gasped, “Talk trash to me, I’m yours, I’m over twenty-one,” and, “You said I was an evil witch...you used to love my broom, honey,” unabashedly fond of raunch. But then she’d turn around and croon sensitive ballads like, “You and I,” that firsthighlighting her inimitable talent. tion was Too forward for its time, however, Nasty e pair gotGal struggled commercially. When she eative butrecorded a fourth album in 1976 called Is It Love or Desire, creative differences with her ld Bettylabel kept it from being released. Afterward, st impor-Betty slid into reclusion, where she’s been eer. Withever since. f Blue on In her wake, artists like Prince, Erykah s was los-Badu, and Janelle Monae have cited Davis elped himas a major influence of modern music. Her music is being shuffled to the front of vinyl shelves, her style is being lauded in Vogue, and the in the modern zeitgeist of Trumpism-inspired “Nasty Women,” her indomitable spirit is kept well in mind. As it goes, the affirmation of genius is a matter of timing, and Betty’s time is finally here. music@indyweek.com

music

REVIEW

NO LOVE

CHOKE ON IT SORRY STATE RECORDS 1/2 With their fulllength debut, Choke On It, Raleigh’s No Love has grown into a formidable outfit with a strong contender for the year’s best punk record.

At first blush, Choke On It is a caffeinated rush of sharply barked vocals and surging guitars punctuated by potent hooks. But closer listening reveals an understated complexity that's unabashed in its ambition and unpretentious in its execution. It’s the rare punk record that offers depth and nuance without shedding an ounce of urgency.

It’s also the product of a lifetime of far-ranging deep-cut influences, but No Love synthesizes its references so fully that pinpointing them is akin to counting grains of sand. At times, there are echoes of West Coast hardcore icons like The Adolescents, or a jagged guitar riff that suggests The Fall or Wire. Scores more are tucked into the margins. Regardless, not a single second feels nostalgic, and the band’s uncanny chemistry binds its cacophony.

On “Dogs // Wolves,” reprised from the band’s 2015 7-inch, singer Elizabeth Lynch sneers, “Do you hate me? Do you love me?

Do you think you’re miles above me?” Guitarists Seth Beard and Daniel Lupton answer her call with a needling lick that sounds like a schoolyard taunt. “Bad Things” surges with anthemic vamps that peel off into stinging single-note guitar runs. The title track edges close to hardcore in its rabid rush, but again shines with searing melodies and an instinctive turn toward sharp hooks.

Lynch is a commanding presence behind the microphone, shading the contours of her band’s melodies as she shouts lyrics that feel prescient without resorting to sloganeering.

Behind her, Lupton and Beard volley vicious licks and boldface power-chord vamps while bassist Osamu Sueyoshi and drummer Dave Yarwood push the tempo with a volatile low end that offers as many sudden lunges and barbed hooks as the melodic leads. (Yarwood left the band post-recording and has since been replaced by Chris Grubbs.)

As a unit, though, the band steers its storm with precision. Few debuts arrive so accomplished, and few records with this degree of veteran poise feel so urgent and explosive. —Bryan C. Reed

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 6.27.18 | 23

indystage

Body Language

ANNE PLAMONDON: THE SAME EYES AS YOURS

Saturday, June 30 (7 p.m.) & Sunday, July 1 (2 & 5 p.m.), $12–$27 Von der Heyden Studio Theater at the Rubenstein Arts Center, Durham www.americandancefestival.org

AFTER DECADES SPENT DANCING THE VISIONS OF OTHERS, ANNE PLAMONDON TELLS THE STORY OF HER FATHER’S SCHIZOPHRENIA IN HER CHOREOGRAPHIC DEBUT BY BYRON WOODS

to share to manife else’s cho A lot o frustrated to be the v for twent ing to be else’s visi early on, “girl who really felt actor who the time t

T

hough Anne Plamondon’s American Dance Festival debut, The Same Eyes as Yours, is a solo show, we encounter several entities in it. The central character is a taxi driver who’s realizing he can’t hide from—or control—his schizophrenia. When we meet him, he’s still capable of observing and studying the anomaly in his consciousness.

Then we meet the chaos: the maelstrom in the person, not the person in the maelstrom.

Between the two, there’s the little girl who watches the man struggle in his psychological underworld. Plamondon knows all three intimately because the man was her father and she was the little girl. We reached her in Montreal to learn why she chose such a personal subject for her first work as a choreographer after more than two decades of realizing other people’s visions as a professional dancer.

w

INDY: This is the first piece you ever made. You began choreographing after two decades as a professional dancer with companies including Les Grands Ballets Canadiens, Nederlands Dans Theater, RUBBERBANDance Group, and Crystal Pite/Kidd Pivot. Why did it take so long?

ANNE PLAMONDON: It took eight years for me to have the courage to go on stage by myself. I’ve seen some awesome solo works and some that were a little less good. But I had mainly thought a solo work was a selfish thing to do. You need to be very confident if you’re telling an audience, “You’re going to watch me for an hour.” Why ask them to deal with that?

What prompted you to start?

After I started ballet when I was ten, I was an amazing student. There were always teachers teaching you how to be a good interpreter, and then artistic directors and choreographers, always bringing you into their vision. When you’re a company dancer, your job is to adapt to your colleagues, 24 | 6.27.18 | INDYweek.com

Anne Plamondon PHOTO BY MICHAEL SLOBODIAN

Dancer protocol i act and co person in understan did come inside: bu rapher wo really wa them, but kept com For eigh myself sp life. I nee nobody w me and I I wanted been acc years, as i

to share the space. You’re always dancing to manifest someone else’s vision, someone else’s choreography.

A lot of my colleagues would become frustrated; beyond a point, they didn’t want to be the vehicle for someone else’s art. But for twenty-two years, I dedicated my dancing to be the best manifester of someone else’s vision. I am a smaller woman, and early on, I would be placed in works as a “girl who is moving really fast.” But I never really felt that dynamic. It was like being an actor who kept getting cast in dramas, all the time thinking, “Give me more comedy!”

somewhere. I opened the bag, and all these amazing things came out.

What did it take to choose an autobiographical subject for your first work of art?

People ask if it was hard to do a piece about my father. It wasn’t. I was older. I was ready.

Earlier, it would have been much harder.

When I was twenty, I had completely disassociated from him. But the moment I found the subject, found the meaning—it wasn’t easy, but in a way, it was effortless.

I knew it by heart—all of my experiences with my father were imprinted on me. I could

“I started feeling it inside: bursts of my own voice.

A choreographer would make me go left and my body really wanted to go right.”

Dancers don’t talk very much. There is a protocol in the studio, in the way we interact and communicate with each other. The person in front talks and then everyone understands what they need to do. But it did come to a point where I started feeling it inside: bursts of my own voice. A choreographer would make me go left, and my body really wanted to go right. I never asked for them, but these ideas started coming and kept coming.

For eight years, I had this fantasy to allow myself space to move away from company life. I needed to be alone in the studio so nobody would try to bring their agenda on me and I could allow myself to do what I wanted. When I did, I found that I had been accumulating information all those years, as if I kept it in a backpack, reserved

take a deep breath in, close my eyes, and remember him talking, moving, his habits, his tics. And at the same time, I could remember me as a little girl.

But it is not strictly autobiography. Yes, I deal with what happened to him. But at some point, I am totally imagining what it feels like to suffer from that illness, and through my choreography, I try to convey that imagining.

So this is not therapy. It is art. It is a dance show, and it should be understood as one.

We should feel transported by the authenticity of the story, and by the dancing—its intense physicality, its very subtle softness, its delicate touch. The abandonment, the fight, the struggle—I really want that journey to be taken through the moving body. That’s how I created it. arts@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 18:

North Hills/North Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 6.27.18 | 25

WHAT TO DO THIS WEEK

6.27–7.4 Valerie June COURTESY OF BILLIONS CORPORATION

SATURDAY, JUNE 30 & SUNDAY, JULY 1

OCCUPY CON: OCCUPY THE STAGE 2018

The Women’s Theatre Festival is consolidating three parts of its mission into a single, twenty-four-hour-long convention this year. A VIP track features around-the-clock classes on the basics of professional practice (including lighting design, fight choreography, and marketing) and panels and seminars on intersectional feminism, local gender demographics in theater, organized mentorship, theater criticism, and burlesque. A play festival goes the distance with twenty-one staged readings from around the region and across the country.

And participants can help in the creation process of two devised works in progress: Rowen Haigh Mahoney’s Occhi Aperti (Eyes Open), which explores the ethics of current scientific research using sleep deprivation to treat depression and bipolar disorder, and The Illuminated Dresses, Debra Kaufman’s compendium of narratives from playwrights about women’s clothing. And, to break down another longstanding barrier between women and educational development, childcare is also included in the ticket price. —Byron Woods RENAISSANCE CENTRE, WAKE FOREST | 7 p.m., $25, www.womenstheatrefestival.com 26 | 6.27.18 | INDYweek.com

FRIDAY, JUNE 29

VALERIE JUNE

In an interview last spring, singer-songwriter Valerie June told Rolling Stone, “I’m playing with the thought of, ‘What does it mean for your dream to not be yours, but a lot of people’s?’” Throughout her artistic practice—building rootsy, easygoing songs that bridge a multitude of American music styles—June is moved by similar big concepts, like the nature of voices and spirits on earth and whether or time is linear. Beyond those points of pondering, June describes herself as a vessel for her songs rather than an author; they come to her and she follows their lead, whether that’s toward blues, rock, folk, or any combination thereof. “I don’t think about songs. I just get ’em,” she’s said. June stops at Durham Central Park for a free, family-friendly Friday night concert, offering an ideal opportunity to open yourself to the many mysterious forces she’s channeling. —Allison Hussey DURHAM CENTRAL PARK, DURHAM | 6 p.m., free, www.durhamcentralpark.org/playlist

Home Exercises PHOTO COURTESY OF SARAH FRIEDLAND AND GABE C. ELDER SATURDAY, JUNE 30

MOVIES BY MOVERS

In her third season of curating the American Dance Festival’s summer-long series of dance films, Cara Hagan (who performed on a Durham Independent Dance Artists split bill with Paideia last March) showcases shorts from places as far-flung as Finland, Japan, Switzerland, Germany, and the U.K. In Lil Buck with Icons of Modern Art, Andrew Margetson documents the jookin’ grandmaster’s apparently boneless interplay with paintings by Matisse and Picasso as he glides through the Foundation Louis Vuitton museum in Paris. Lulo Rivera eavesdrops on charismatic, cutting-edge Spanish flamenco dancer and choreographer Jesús Carmona while shadowing him along the shores and bridgeworks of Miami before his 2018 tour. Misato Inoue muses on modern relationships and the tango in the whimsical stop-action short Hat In Love, and Sarah Elgart broods about postmodern fashion and brutalist architecture in Ghost Story.

Winston-Salem filmmaker Jonathan Pfundstein follows Durham dancer/choreographer Caitlyn Swett in RETA. The festival continues at the Nasher weekly through July 15. —Byron Woods NASHER MUSEUM OF ART, DURHAM | 2 p.m., free, www.americandancefestival.org

FRIDAY, JUNE 29

BAT FANGS

We’re in the peak of summer, which can make leaving the house feel like a trial. But it’s worth stepping out and taking an extra dose of heat from Bat Fangs, the explosive duo of Carrboro drummer Laura King and guitarist Betsy Wright. The two proudly wear their arena-rock influences on their sleeves, delivering high-octane tunes that are full of attitude and immediately catchy. Beyond that, the pair bolsters their songs with a bewitching supernatural edge on tracks like “Bad Astrology” and “Rock the Reaper.” Bat Fangs is plenty of fun, but their songs offer serious bite; they shoot to thrill, and their riffs don’t miss. Raleigh’s No Love, whose debut LP Choke On It is one of this year’s most thrilling records, opens (read a full review on page 23). Plus S.E. Ward. —Allison Hussey KINGS, RALEIGH | 9 p.m., $12, www.kingsraleigh.com

WHAT ELSE SHOULD I DO?

THEY SAY I’M DIFFERENT: A CELEBRATION OF FUNK ICON BETTY DAVIS AT MOTORCO (P. 22), BOWERBIRDS AT THE FESTIVAL FOR THE ENO (P. 20), THE CAVE IS ALIVE! AT THE CAVE (P. 19), DALE NILES AT HORACE WILLIAMS HOUSE (P. 32), L-E-V AT DPAC (P. 34), ANNE PLAMONDON AT THE RUBY (P. 24), RODENTS OF UNUSUAL SIZE AT ALAMO DRAFTHOUSE (P. 36), SABAA TAHIR AT FLYLEAF BOOKS (P. 36) INDYweek.com | 6.27.18 | 27

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SA 7/7

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THE DEAD TONGUES

THA MATERIALS

TH 6/28

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FORTH WANDERERS

7/7 ELLIS DYSON & THE SHAMBLES W/ KATHARINE WHALEN PERFORMING THE SQUIRREL NUT ZIPPERS ($10) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM 7/20 CREATE YOUR SUMMER TOUR FEAT. KARINA GARCIA, WENGIE AND NATALIES OUTLET 7/21 THE DEAD TONGUES ($12)

WED 6/27

WED 6/27

BLAC RABBIT / Sun Parade WED WED JUN JUN 29 29 @ @ 8:00 8:00 PM, PM, $12/$15 $12/$15

RICHIE RAMONE w/ POISON ANTHEM w/ POISON ANTHEM RICHARD BACCHUS & THE LUCKIEST GIRLS RICHARD BACCHUS & THE LUCKIEST GIRLS W/ SUN PARADE

BLAC RABBIT FRI 7/1

LOOK HOMEWARD / THE MIDATLANTIC THU FRI6/28 7/1Kings LOOK HOMEWARD Presents “THEY SAY/ THE I’M MIDATLANTIC DIFFERENT”

TUE 7/5A CELEBRATION Crank It Loud: NOTHING / CULTURE OF FUNK ICON BETTY DAVISABUSE TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE STORMS / HUNDREDFTFACES W/ WAILIN FUNKHOUSE WAILIN STORMS / HUNDREDFTFACES FRI 6/29 MYSTIC BOWIE’S TALKING DREADS / Sound System Seven FRI 7/8 SolKitchen & The Art of Cool Project: FRI 7/8 SolKitchen & The Art of Cool Project: The Art of Noise #Durham The Art of Noise #Durham MON 7/11 Regulator Bookstore presents MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live FRI 6/29 TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS THU 7/14 Storymakers: Durham, Community Listening Event THU 7/14 Storymakers: Durham, Community Listening W/SOUND SYSTEMEvent SEVEN SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SAT7/1 7/16Motorco PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUN Music Trivia SUN JUL 17 SUNwith JUL 17 FRI 7/6 The Lost Generation Presents: Summer Splash @ 8:00TLG, PM THE RAGBIRDS @ 8:00 PM Cloudy Yung Yent, 2K, Kimbo THENueve, RAGBIRDS $12/$15 $12/$15 SUN 7/8

MYSTIC BOWIE’S TALKING DREADS

Cat’s Cradle Presents BOB SCHNEIDER Durham People’s Alliance 2018 Judicial Candidate Mixer SAT 7/14 Girls Rock NC showcase!

SUN 7/15 RIVER WHYLESS as part of Independent Venue Week MON 7/18 MAIL THE HORSE MON 7/9

THE THE RAGBIRDS RAGBIRDS

MON 7/18 MAIL THE HORSE FRI JUL 22 FRI JUL 22 @ 8:00 PMJOHN COWAN @ 8:00 PMJOHN COWAN $25/$30 $25/$30 SUN 7/15

8/6 KINA GRANNIS W/ IMAGINARY FUTURE

S D R I B G A R E TH CradleRock Presents GET UP KIDS / Racquet Club / Ageist SAT 7/23Cat’sGirls Showcase SAT 7/23 Girls Rock Showcase FRI 7/20 CHRIS WEBBY / Anoyd / Brodie Fresh / Rook TUE 7/26 Motorco Comedy Night: TUE7/217/26GIRLS Motorco Night: SAT ROCKWOODHULL NCComedy SHOWCASE! ANDY / ADAM COHEN WOODHULL / ADAM COHEN SUN 7/22 THEANDY REVELERS / Paige Johnson tt er s -P op Ma FRI7/247/29 YOUNG BULL Album Release Show er s el er s" -P op Ma tt TUE FRI 7/29FANTASTIC YOUNG BULL Album Release tis tic NEGRITO /tr Jo av Gore el er s"Show av e ar tr tic DUB mm at w/ ALIX AFF / DURTY tis ar e "C on su w/ ALIX DURTYRange DUB su mm at on7/27 "CFRI NIKKI LANEAFF/ /Blank SUN JUL17 COMING SOON: JULIETTE LEWIS, && THE SAT 7/28 SommerKill Booking presents TEMPLE OF MILL, VOID SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, YARN, JARED JARED THE MILL, HAL Doors: 7pm Eldritch HorrorLIZ DaturaWINDHAND, / Antenora HAL KETCHUM, KETCHUM, NRBQ, LIZ/ VICE, VICE, WINDHAND, Doors: 7pmNRBQ, CODY & THE DEPARTED, RUSSIAN CIRCLES, BAND SKULLS, Show: 8pm CODY CANADA CANADA DEPARTED, CIRCLES, BAND OF OF Slump SKULLS, Show: 8pm COMING SOON: The& THE Spill Canvas, HeBIRDS, IsRUSSIAN We, KING, Urban Soil, Sophomore Fest, SISTER SPARROW && THE DIRTY $12 ADV 723 RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM SISTER SPARROW THE DIRTY BIRDS, KING, FiresideADV Collective, Slocan Ramblers,723The SteelAVEWheels, Elizabeth Cook, Mike $12 RIGSBEE DURHAM, NC MOTORCOMUSIC.COM DOYLE LAWSON & QUICKSILVER, THE RECORD COMPANY, ADRIAN LEGG, $15 DAY OF Farris & The Fortunate Few, The Dead Boys, Who’s Bad, Foxing, DOYLE LAWSON & QUICKSILVER, THE RECORD COMPANY, ADRIANMaimouna LEGG, $15 DAY REBIRTH BAND, DIAMOND, KARLA BONOFF, Youssef and BRASS DJOF Dummy The BRIGHTEST Vintage Babies, Hot Snakes, Frankie Cosmos, !!

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The Threshold & The Hearth THE RAGBIRDS

SA 7/28 @NC MUSEUM OF ART

THE MAVERICKS

8/5 JOAN OF ARC ($12)

8/7 AMANDA SHIRES 8/9 THE SWORD ($18/ $20) 8/10 TOWN MOUNTAIN ($12/ $15)

6/28 FORTH WANDERERS W/ LONNIE WALKER

8/11 SAM BUSH ($30/$33)

6/29 (7:30PM SHOW) THE CHORUS PROJECT

8/17 ABBEY ROAD LIVE! ($12/ $15)

6/29 (10:30 PM SHOW) CANINE HEART SOUNDS

8/22: ALKALINE TRIO W/ TOGETHER PANGEA ($24/$29)

6/30 (2 PM SHOW) GIRLS ROCK NC SHOWCASE

8/24 25 BE LOUD! '18: 8/24: MATTHEW SWEET, THE RIGHT PROFILE, SURRENDER HUMAN ($25) 8/25: SEX POLICE, COLLAPSIS, PRE-RAPHAELITES BE LOUD '18 WEEKEND PASS: $40

7/5 SAM MORROW ($10/$12)

8/28 WOLF PARADE($20/$23) 9/8 OHGR W/ OMNIFLUX, LEAD INTO GOLD 9/15 DEAD SARA 9/19 FIDLAR W/ DILLY DALLY AND NOBRO ($22/$25) 9/27CAAMP ($14/ $16) 9/ 26 THE GROWLERS’ BEACH GOTH TOUR 2018 ($25/$30) 9/29 MT. JOY ($15/$17) 10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22)

JOHN JOHN COWAN COWAN RIVER WHYLESS w/ DARIN & BROOKE as part of Independent Venue Week w/ DARIN & BROOKE ALDRIDGE ALDRIDGE

28 | 6.27.18 | INDYweek.com

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

10/11 APARNA NANCHERLA ($22/$25) 10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10) 10/15 BOB MOSES 10/16 WILD NOTHING 10/20 GLORIETTA 10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18) 10/27 ROKY ERICKSON ($25/ $28) 10/30 HIPPO CAMPUS W/THE DISTRICTS

6/30 THA MATERIALS W/ J ROWDY & THE NIGHT SHIFT

7/6 SLEEPYHAED, ELVIS DIVISION, HALF-COCKED (FILM) ($8) 7/7 QUIET SLANG W/ABI REIMOLD ($13/$15) 7/11 FAMILY VISION, TIRED FRONTIER 7/12 INT'L PLAGUERS ANTHEMS / A COMIC BOOK RELEASE PARTY FT. DISTRIBUTED SYSTEMS, SHINER, BRUTAL JR ($10; INCUDES COMIC BOOK) 7/13 PIERCE PETTIS ($15) 7/14 MATTHEW E WHITE W/ ANDY JENKINS ($15) 7/17 PETAL & CAMP COPE ($13/ $15) 7/19 JOE PUG ($15/ $18) 7/21 SUMMER SALT W/ HOT FLASH HEAT WAVE AND THE SYMPOSIUM ($13/ $15) 7/25 MEGA COLOSSUS, WITCH MOUNTAIN, BIBLE OF THE DEVIL, DEMON EYE ($10) 7/27 BODY GAMES W/ TOW3RS ($10/$12) 7/28 DR BACON W/ ENO MOUNTAIN BOYS AND ANDY LYLE HALL ($8/$10 8/3 SCHOOL OF ROCK ALLSTARS ($10) 8/4 ALBUM RELEASE PARTY ANNE-CLAIRE PETER HOLSAPPLE COMBO CHESSA RICH ($8 /$10)

$10 $10 advance advance // $12 $12 day day of of

11/2 GHOSTLAND OBSERVATORY ($25/$27)

12/18 2ND ANNUAL HORTON’S HOLIDAY HAYRIDE: REVEREND HORTON HEAT, JUNIOR BROWN, BLASTERS, BIG SANDY

8/9 THE ESSEX GREEN 8/13 DK THE DRUMMER/ SUCRE ($15) 8/16 VACATIONER W/ SEGO ($15/ $17) 8/30 SLAUGHTER BEACH, DOG ($12/$14) 9/9 SLOAN ($22/$25) 9/11 REMO DRIVE, FIELD MEDIC PRINCE DADDY & THE HYENA ($13/$15) 9/15 LVL UP 11/3 MAX FROST ($15/$17) 11/29 THE STRAY BIRDS MEMORIAL HALL (UNC-CH)

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

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

7/8 BOB SCHNEIDER (RESCHEDULED) ($20/ $23) 7/17 THE GET UP KIDS W/ RACQUET CLUB AND AGEIST ($22/ $26) 9/26 ANDREW WK ($20) 10/24 AMY RAY AND HER BAND ($20) NORTH CAROLINA MUSEUM OF ART

7/12 LAKE STREET DIVE

SOLD OUT

7/28 THE MAVERICKS 8/1 FATHER JOHN MISTY WITH SPECIAL GUEST JENNY LEWIS 8/3 KISHI BASHI AND JAKE SHIMABUKURO 8/18 TROMBONE SHORTY'S LD VOODOO THREAUXDOWN SO OUT THE RITZ (RAL)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

7/27 BEACH HOUSE W/ ED SHRADER'S MUSIC BEAT 9/16 SHAKEY GRAVES HAW RIVER BALLROOM

11/30 MOUNTAIN GOATS W/DEAD RIDER

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

Your Week.

Every Wednesday. indyweek.com

music 6.27– 7.4 WED, JUN 27 2ND WIND: Yeaux Katz; 7-9 p.m., free.

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

DUKE GARDENS: Music in the Gardens: The Sadies; 7 p.m., $5–$10, 12 and under free.

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

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

MOTORCO: Blac Rabbit, Sun Parade; 8 p.m., $10–$12.

THE PINHOOK: Pylon Reenactment Society; 7 p.m., $10.

THU, JUN 28

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Luke Bryan [$38–$170/7 P.M.]

Of all the fascinating, fertile tensions in pop country— between regional roots and radio reach, rustic tradition and slick modernity—none is sharper than the dream of an American heartland where all the radios play Hank Williams versus the reality of omnipresent urban radio sounds, even on those old back roads. To be a country star now is to skillfully waffle between pretending hip-hop never happened and admitting that it did, and that virtually everyone under fifty loves it.

Luke Bryan has sold millions of albums this way, using his easily legible appeal to plow through conflicts between singles as irredeemably stupid as “Rain Is a Good Thing,” with its farmer-pandering and Confederate-flag flashing, and singles as irresistibly stupid as “That’s My Kind of Night,” which turns Southern rock into Southern bounce and name checks T-Pain next to Conway Twitty. Country bros find common cause with rappers in their love of girls and rides: Bryan’s thirty-fives just happen to be spinning under a “big, black,

jacked-up truck” instead of an Escalade, and he sings about a catfishing date on the Flint River as if it were bottle service in a strip-club VIP room. Jon Pardi and Morgan Wallen open.

—Brian Howe ARCANA:

Jeb Bishop & Dan Ruccia [$10/8 P.M.]

You may have seen trombonist Jeb Bishop and violist Dan Ruccia pop up in any number of venues in the Triangle, from jamming with the genre-transcending Eugene Chadbourne at Neptunes to composing chamber ensemble compositions performed at Duke University. Their collaborative album Scratch Slice Jag, a frenetic set of free improvisations recorded live at the Carrack in 2016, aims to highlight these two instruments that, as they put it, are “usually relegated to a place in the margins.”

(Disclosure: Dan Ruccia is a regular INDY contributor.)

—Josephine McRobbie CAT’S CRADLE (BACK ROOM): Forth Wanderers; 8 p.m., $12.

DEEP SOUTH:

Vaughn

[$5–$10/8:30 P.M.] Weaving 2000s-era Top 40 pop beats with rap lyrics, Raleigh newcomer Vaughn has a bland flow that is similar to Turquoise Jeep, without the sharp satire. He manages to choose beats that check all of the boxes for pop hit structure, and his desired musical trajectory is clear, but his subpar songwriting keeps him from connecting the dots.

Disqo Volante and Keosoul share the stage.

—Charles Morse MOTORCO: They Say I’m Different: A Celebration of Funk Icon Betty Davis; 7 p.m., $15. See page 22.

POUR HOUSE: Local Band Local Beer: The Antique Hearts, Rebekah Todd, Dead Sea Sparrow; 8 p.m., $3–$5.

Mystic Bowie’s Talking Dreads stops at Motorco Friday night.

FRI, JUN 29 BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: Pat “Mother Blues” Cohen; 8:30 p.m.

CAT’S CRADLE BACK ROOM:

Canine Heart Sounds [$7/10:30 P.M.]

Though the members of Canine Heart Sounds have spent more time lately in cahoots with the Grandma Sparrow, Blanko Basnet, Mipso, Molly Sarlé, and other Triangle acts, the quartet’s own experimental blend of progrock and jazz suggests its wellschooled beginnings along with influence from Tortoise, The Bad Plus, and Captain Beefheart. The Canines promise a “super secret special

guest band” on the bill, too, so show up early for the surprise.

—Spencer Griffith THE CAVE: Trailer Bride, Magnolia Collective, Loamlands; 8 p.m., $10 suggested donation. See page 19.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Lynyrd Skynyrd [$30–$200/6 P.M.]

Johnny Van Zant, brother of original Lynyrd Skynyrd singer Ronnie, has been fronting the band since 1987, and founding guitarist Gary Rossington is still on board representing the trailblazing Southern rockers’ glory days.

But all things come to an end, so if you ever wanted to catch them in action, the Last of the Street Survivors Farewell Tour

PHOTO COURTESY OF THE ARTIST

will be your last chance. The addition of 38 Special and Cheap Trick sweetens the pot even further. —Jim Allen DURHAM CENTRAL PARK: Valerie June, Kamara Thomas; 6 p.m., free.

See page 26.

LOCAL 506:

Caroline Spence & Robby Hecht [$12–$15/9 P.M.]

Caroline Spence’s Spades & Roses was one of last year’s finest folk records, as Spence used her devastatingly beautiful voice to explore personal topics like internal strife and interpersonal relationships, and address global issues such as injustice and gender inequality with

sharp insight. Her duo with Robby Hecht generally sticks to safer, more romantic material. The Sea The Sea harmonizes on elegant, lush folk-pop. —Spencer Griffith THE MAYWOOD:

11 Echoes [$10/8:30 P.M.]

11 Echoes’ peripherals are interesting: Singer Angie Bagley used to do roller derby and drummer Scott Crawford backed up one-time American Idol Chris Daughtry in bygone hard rock outfit Absent Element. But unless you’re keenly attuned to plodding modern rock, the quintet’s bombastic and melodramatic alt-rock is less interesting than its membership’s biographies.

—Patrick Wall INDYweek.com | 6.27.18 | 29

MOTORCO:

THE WICKED WITCH: Carolina Tenn Fest; 8 p.m., $10.

Mystic Bowie’s Talking Dreads [$12–$25/9 P.M.]

While the name might suggest a sloppy bar band taking a joke too far, this group has more than enough clout to warrant reworking Talking Heads songs to have a heavy reggae spin.

Mystic Bowie, a twenty-year veteran of Tina Weymouth and Chris Frantz’s Tom Tom Club, has clout, but he also has boundless enthusiasm and an uncanny ability to retrace the worldwide influences imbued in Talking Heads and bring them joyfully to center stage.

Sound System Seven opens.

—Josephine McRobbie POUR HOUSE: Underhill Family Orchestra, Thirsty Curses, The High Divers; 7 p.m., $10. Signal Fire, Sons of Paradise; 10:45 p.m., $5–$10.

RED HAT AMPHITHEATER: Rebelution, Stephen Marley, Common Kings, Zion I; 6:30 p.m.

Catch Robby Hecht and Caroline Spence at Local 506 Friday night.

7/13 7/14 7/1922 7/2729, 8/2-5 8/1719 9/22

PHOTO COURTESY OF THE ARTIST

SHARP NINE GALLERY: Michael D’Angelo Quintet; 8 p.m., $10–$20.

WAKE FOREST RENAISSANCE CENTER: Marcus Anderson: A Hot Night for Cool Jazz; 8 p.m., $25–$30.

SAT, JUN 30 ARCANA: Ally J, Kevin Clark; 9 p.m.

THE BULLPEN: Alexa Rose; 8:30 p.m., free.

CAT’S CRADLE BACK ROOM:

Tha Materials [$7–$10/8 P.M.]

In the tradition of neo-soul, Tha Materials ramp the subgenre up a notch and have created their own more jazz-centric sound, with exquisite live instrumentation and rhymes executed at a high level provided by emcee and horn player Cameron Tripp. The ensemble has been on the cusp of national notoriety since 2015, so hopefully the release of their new EP, Cartoons and Car Tunes Vol. 1, will be the impetus they need to take off. With J Rowdy & the Nightshift. —Charles Morse THE CAVE: Wailin Storms, M Is We, Candy Coffins, Elvis Division; 8 p.m., $10 suggested donation. See page 19.

DEEP SOUTH: Earther, Juxton Roy, The Old Sioux Summer, But You Can Call Me John; 8 p.m., $8.

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primal feel of archival releases from those very pioneers and ancient ragtime acts. Performing solo tonight, his grizzled voice conveys swampy backwoods anguish. Katharine Whalen opens. —Spencer Griffith POUR HOUSE: Raptor Taxi, The Titos; 8 p.m., $6–$8.

to tangibly make things any better. Chapel Hill’s Sibannäc plays what could best be described as crust-ska.

—Patrick Wall POUR HOUSE: Back to BACK to Black: Amy Winehouse Tribute feat.

Remember Jones; 9 p.m., $15–$20.

RED HAT AMPHITHEATER:

WED, JUL 4

Barenaked Ladies

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

What’s more appropriate for celebrating American independence than a performance by Canada’s third biggest alternative export from the turn of the millennium?

Barenaked Ladies have since strayed from the folky formula that brought them that success, especially following co-founding singer-songwriter Steven Page’s departure almost a decade ago. On last year’s Fake Nudes, anthemic lead single “Lookin Up’” crosses a modern BNL with Rusted Root’s vaguely worldliness, while “Invisible Fence” fuses subtle socio-political commentary to the quartet’s quirky pop sensibilities. Better Than Ezra and KT Tunstall join.

—Spencer Griffith

THE MAYWOOD:

OC45

[$7/9 P.M.] OK, yeah, it’s Independence Day, but it’s really hard to feel much like celebrating given the miasma that’s plagued the land since the inauguration of President Cheeto Palpatine.

The hard-drinking, fuckthe-world punk of Boston’s OC45 splits the difference between golden-era West Coast pop-punk aggression and the Bay State particular pugnaciousness, making it good music to work out some pent-up frustration to, even smashing shit doesn’t do much

[$28–$50/6:30 P.M.]

Luke Bryan headlines the Coastal Credit Union Music Park at Walnut Creek Thursday.

PHOTO COURTESY OF UNIVERSAL MUSIC GROUP

KINGS:

Lilac Shadows [$8/9 P.M.]

From its outset, Lilac Shadows has traded in fuzzy songs that cloak twisting melodies in generous swaths of reverb, sharpening its shoegazey focus with each new release. After going quiet for a long spell following the 2015 release of Brutalism, Lilac Shadows is stirring again with some fresh material. The new track “True Ever After” hints at another completed batch of songs that the band may be releasing next year. Truth Club and Indigo de Souza open. —Allison Hussey THE MAYWOOD: KingHitter, The Fifth, The Gray; 8 p.m., $8.

THE PINHOOK: The Pinkerton Raid, Beauty World; 8 p.m., $10–$12.

POUR HOUSE: The Fritz Presents: The King of Pop Meets The Purple One; 8 p.m., $10–$12.

SAXAPAHAW RIVER AMPHITHEATER: Saturdays in Saxapahaw: The JonDoe; 6 p.m., donations.

SUN, JUL 1 THE CAVE: Crystal Bright & the Silver Hands, Wahyas, Honey Magpie, Regina Hexaphone; 8 p.m., $10 suggested donation. See page 19.

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

DUKE’S BALDWIN AUDITORIUM

American Dance Festival Musicians Concert [$12–$20/7 P.M.]

“I see how they move, and then I feel that in my hands. I see when they need support or when they need to sustain, and then, I do that,” explained Vladimir Espinosa in 2013 of his time as a musician for the American Dance Festival.

The ADF’s Musicians Concert is a yearly thank-you to the versatile musicians who accompany all movement classes at the School. The crowd is heavy on ADF participants, so come prepared for impromptu dancing.

—Josephine McRobbie

POUR HOUSE: Caroline Tanner, Hank Bowman; 1 p.m., $5.

RIVER PARK: Picnic in the Park; 11 a.m.-3 p.m., free.

MON, JUL 2 MOTORCO: Flash Chorus; 7 p.m., $7–$10.

NIGHTLIGHT:

To Live and Shave in L.A. [$8/9:30 P.M.]

A notorious and deeply influential institution in underground noise and avantgard music, Miami Beach’s mystifying To Live and Shave in L.A. has been erupting on unsuspecting crowds for nearly three decades. The lineup’s constants are its two core members: former Pussy Galore member Tom Smith and East Coast noise legend Rat Bastard. The band’s larger mythology sprawls outward into a gigantic constellation of collaborators, including Thurston Moore and Andrew W.K. Excellent local openers— Raleigh’s Spookstina and

Chapel Hill’s Housefire—make this one a must for eclectic noise enthusiasts. With Bryce Eiman. —David Ford Smith THE PINHOOK: Mama Played Mondays; 7 p.m., free.

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

TUE, JUL 3

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Foreigner, Whitesnake, Jason Bonham’s Led Zeppelin Evening; 7 p.m.

THE PINHOOK:

C.W. Stoneking [$12–$15/8 P.M.]

C.W. Stoneking may be best known in America for his slurred spoken word contribution to “Abulia and Akrasia” on Jack White’s Boarding House Reach. The Australian singer/guitarist worships alongside White at the altar of early bluesmen like Son House and Blind Willie McTell. Rather than reimagining country blues, though, Stoneking’s frozen-intime recordings capture the

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OPENING

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

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

SUNDAY, JULY 1

DALE NILES: SOLIDFYING ROOTS

Art Bar Reception: Create Art with Lawyers: Reception for the Ars Gratia Legis Summer 2018 Art Show. Art created by N.C. attorneys and art-making activities. Wed, Jun 27, 7-9 p.m.

Arcana, Durham. www.arcanadurham.com.

Cosplay America: Cosplay convention. $50. Fri, Jun 29-Sun, Jul 1. Embassy Suites Cary, Cary.

Mindfulness: Opening reception.

Featuring Eduardo Lapetina, Jude Lobe, and Jason Smith. Fri, Jun 29, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Elizabeth Bradford: Paintings.

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

Playscape Artist Reception: Marguerite Jay Gignoux, Becky Joye, and Georges le Chevallier.

Wed, Jun 27, 5:30-7:30 p.m.

Block Gallery, Raleigh.

SPECIAL Solidifying Roots: EVENT Photography by Dale Niles. Jul 5-Aug 19.

Reception: Sun, Jul 1, 2-4 p.m.

Horace Williams House, Chapel Hill. chapelhillpreservation.com.

The Sticky Note Show: Carrack community show and fundraiser. Fri, Jun 29-Sun, Jul 1. The Carrack Modern Art, Durham. www.thecarrack.org.

SPECIAL Unite and Illuminate: EVENT Exhibition inspired

by Artists United The Walls We Build. Featuring Kenneth Nkosi, Julyan Davis, Bill Brown, Alexis Lavine, Tezh Modarassi, Tinka Jordy, Gayle Stott Lowry, Ben Hamburger, Donn Young, and Katy Bowler. Jun 29-Jul 24 Reception: Fri, Jun 29, 6-9 p.m.

Eno Gallery, Hillsborough. www.enogallery.net.

The Walls We Build: Occaneechi: Visual art, spokenword poetry, and conversations by local members of the Occaneechi and American Indian community. Fri, Jun 29, 6-9 p.m. Thomas Stevens Gallery, Hillsborough.

SPECIAL A World of Glorious EVENT Color: Jun 29-Jul 24.

Reception: Fri, Jun 29, 6-9 p.m.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

32 | 6.27.18 | INDYweek.com

his concerns about the dehumanization of workers.

Though it was made two years prior to Trump’s election, “Trumpeter” seems like an on-the-nose caricature of our POTUS as a CEO. A trumpet connected to a motionactivated speaker stands in for the figure’s head. As you draw close, it emits indiscernible squawking sounds, implying that the bullying figurehead offers citizens nothing more than a farcical circus of noise.

Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

—Julie M. Hamilton

Bursting into Bloom: Abstract florals and cats by Debra Wuliger. Thru Jul 19. Eno River Unitarian Universalist Fellowship, Durham. eruuf.org.

“Family Face” by Dale Niles

PHOTO COURTESY OF PRESERVATION CHAPEL HILL

When we lose family members, we have to figure out what to do with the things they leave behind—emotional and actual. When artist Dale Niles inherited boxes of family images and objects after the death of her mother, she found a way to both keep and combine the figurative and the literal, all in one fell swoop. She made photographs of the memorabilia with the family members she associated the objects with, a way of simultaneously grieving and aesthetically archiving a family history for herself and her children. The resulting exhibit, Solidifying Roots, won a Moscow International Foto Gold Award and now comes to Horace Williams House in Chapel Hill, where it runs through August 19 after this opening reception.

—Brian Howe

HORACE WILLIAMS HOUSE, CHAPEL HILL 2–4 p.m., free, www.preservationchapelhill.org

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

Business as Usual: A massive white man’s head hangs from the ceiling, with furrowed

brows, beady eyes, and veins protruding at the temples.

This omnipresent “boss” watches over Winston-Salem artist Bob Trotman’s exhibit, which incorporates mixed media and video art into dozens of figurative sculptures that critique big business by unmasking its gospel of greed and envy at the expense of workers. In wood, resin,

tempera, and wax, the handcarved figures range from doll size to larger than life. The details in their caricatured faces show that they have become hardened to their expendability in an ecosystem of private enterprise. Echoes of 9/11 and the 2008 financial crisis are also present.

Trotman uses the form of the automaton to propose

Folk Keepers: Art by Charlie and Susan Frye: Paintings and found-art assemblages. Thru Aug 9. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

LAST FRESH Juried CHANCE Exhibition: Work

by N.C. artists juried by NCMA curator Jennifer Dasal.

Thru Fri, Jun 29.

Artspace, Raleigh. www.artspacenc.org.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life.

The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines

of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Sep 21.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe June Exhibit: Woodworker Keith Allen, painter Carroll Lassiter, ceramicist Linda Prager, and photographer John Rosenthal.

Thru Aug 5. FRANK Gallery, Chapel Hill. www.frankisart.com.

Nat Lazakis: Pencil drawings.

Sat, Jun 30.

Southwest Regional Library, Durham. durhamcountylibrary.org.

Let’s Use Lots of Color: Paintings by Joan Vandermeer. Wednesdays.

Thru Aug 1. Chapel Hill/ Orange County Visitors Bureau, Chapel Hill.

LAST Light in Line: Lisa CHANCE Stinson and Tim Turner. Thru Jun 30.

Claymakers, Durham. www.claymakers.com.

Louisiana Trail Riders: Jeremiah Ariaz’s photographs of African-American trailriding clubs in Louisiana. Thru Sep 22. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

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

SPECIAL Painting the EVENT Camino de Santiago: Oil paintings by Sonia Kane. Thru Aug 26.

Reception: Fri, Jun 29, 6-8 p.m. Cary Town Hall, Cary. www.townofcary.org.

SPECIAL Debbie Quick: PNC EVENT Pop In Artist in Residence. Beaded drawings and figurative sculptures. Thru Jun 29. Artspace, Raleigh. www.artspacenc.org.

Rise of the Phoenix – El Ascenso de la Fénix: Sarah Elizabeth Cornejo, Felicity Palma, and

Yuko Nogami Taylor. Thru Aug 4.

Duke Campus: Fredric Jameson Gallery (Friedl Building), Durham.

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

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This

touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing.

They range from mid-twentiethcentury Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit.

Thru Jul 15. Nasher Museum of Art, Durham. nasher.duke.edu.

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

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

SPECIAL Summertime: EVENT Summer-themed nature paintings. Thru Jun 30.

Reception: Fri, Jun 1, 6-9 p.m.

V L Rees Gallery, Raleigh. vlrees.com.

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

The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the

elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.”

Is a luxury hotel an odd site for post-capitalist critique? Sure.

But, as we’ve said, what seams?

Thru Aug 18. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Brian Howe Three Quilts: Fiber art by Martha Clippinger. Thru Aug 12.

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

Through Eyes of My Own: Exhibit exploring identity curated by the Nasher Teen Council. Thru Jul 7. Durham Arts Council, Durham. www.durhamarts.org.

Visualizing Micro Environments: Paintings by Orr Ambrose inspired by

cosmology, physics, and microbiology. Thru Oct 11. Durham Convention Center, Durham. www. durhamconventioncenter.com.

LAST The Walls We Build: CHANCE (dis)Ability: Pleiades member artists and guest artists with a range of special needs and disabilities. A collaboration with artist UNITED. Thru Jul 1. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Watercolor Paintings from the Estate of Harry De Maine (1880 – 1952): Thru Jul 31.

Gallery C, Raleigh. www.galleryc.net.

Worlds Apart: Thru Jul 7.

Craven Allen Gallery, Durham. www.cravenallengallery.com.

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food & drink

4th of July Celebration with New Creation United Methodist Church: Kids’ games, hotdogs, hamburgers, crafts, loteria, and giveaways. Wed, Jul 4, 4-6 p.m. New Creation United Methodist Church, Durham.

Opening Celebration: Complimentary sangria, music, dinner to benefit A Place at the Table. Thu, Jun 28, 5-10 p.m. bu•ku Wake Forest, Wake Forest.

Someday: A Brunchy Party for Everyone: Weekly summer brunch series with various guests and activities. Sundays, noon. Thru Sep 2. The Durham Hotel, Durham. thedurham.com.

A Taste of Greece: Greek food festival. Sat, Jun 30, 11 a.m.-7 p.m. St. Barbara Greek Orthodox Church, Durham.

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TUESDAY, JULY 3

L-E-V

“She loved that I had to kiss her goodbye sixteen times, or twenty-four times if it was Wednesday. She loved that it took me forever to walk home because there are lots of cracks on our sidewalk.” So goes Neil Hilburn’s poem, which served as the inspiration for OCD Love, a show created by Israeli dance company L-E-V. The performance is about love, of course, but also about connection and why we stay with our partners even when things turn bad. Deeply informed by the Gaga movement style, which helps choreographers and movers break out of their patterns, the choreography is dark, sinewy, and unconventional, with an ensemble of movers manipulating one another and exploiting the emptiness between them. “Love is not a mistake, and it’s killing me that she can run away from this and I just can’t.” Sometimes, OCD Love reminds us, you simply can’t pull yourself away. —Amanda Abrams

DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $12–$62, www.americandancefestival.org

Sharon Eyal and Gai Behar of L-E-V PHOTO BY RON KEDMI

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OPENING L-E-V: American Dance Festival. $12-$62. Tue, Jul 3, 8 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com.

Anne Plamondon: American Dance Festival. See story, p. 24. $12-$27. Sat, Jun 30 & Sun, Jul 1. Rubenstein Arts Center - von der Heyden Studio Theater, Durham.

Ronald K. Brown/EVIDENCE: 2018 Scripps/ADF Award Winner. $12-$43. Thu, Jun 28-Sat, Jun 30. Duke Campus: Reynolds Industries Theater, Durham.

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

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

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

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

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Improv at the Varsity: Stand-up, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.com.

LAST It Shoulda Been You: CHANCE In addition to two TV shows, the bestseller The Worst-Case Scenario Survival Handbook spawned a number of special editions and assorted tchotchkes in the early aughts.

Brian Hargrove’s dizzy 2015 musical farce, It Shoulda Been

You, could have been the wedding version of the series.

It’s the morning of the nuptials of Rebecca Steinberg and Brian Howard, so check the box beside “Jewish-Irish Catholic wedding” and brace yourself for lyrics like, “Rabbi Schwartz and Father O’Shannon/Somebody shoot me with Pachelbel’s Canon.” The mothers-in-law are not entirely reconciled to the merger. Or each other. Check.

And look who just showed up: the bride’s ex-boyfriend, who has an ax to grind—and several inebriated family members on his side. Double-check, and cue the title song. Mackie Raymond and Tyler Graeper play the happy couple, with support from stalwarts Alison Cooper and Sandi Sullivan. Jackson Cooper directs. $20-$30. Thru Jul 1.

Theatre In The Park, Raleigh. www.theatreinthepark.com.

—Byron Woods

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Your week.

Every Wednesday.

It Shoulda Been You closes at Theatre in the Park this week.

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SPECIAL SHOWINGS

THURSDAY, JUNE 28

RODENTS OF UNUSUAL SIZE

The Bleeding Edge: Documentary about the medical-device industry.

Thu, Jun 28, 6:30 p.m. Relias Learning Headquarters, Cary. reliaslearning.com.

Nobel Nok Dah and This Is My Home Now: Two films about refugees and immigrants. Part of the Southern Culture Movie Series. Thu, Jun 28, 6:30 p.m.

UNC Campus: FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

THURSDAY, JUNE 28

SABAA TAHIR: A REAPER AT THE GATES An Ember in the Ashes, Sabaa Tahir’s epic young-adult fantasy series, fuses Roman influences with Middle Eastern mythology. 2015’s eponymous debut introduced Laia, a Scholar girl in search of her brother who joins the underground resistance against the oppressive Martial Empire.

We also meet Elias, a privileged young Martial officer training to become one of the elite, terrifying Masks, whose conscience forces him to betray his family. A Torch Against the Night introduced Helene, a young Mask whose affection for Elias cannot overcome her duty, and whose zeal propels her through the Martial ranks to become second-in-command to the emperor. In Tahir’s new novel A Reaper at the Gates, a less-idealistic Laia is leading raids against the Martials; Elias is paying the price for his choices; Helene is watching her emperor grow more erratic by the day; and a new character, the enigmatic jinn, Nightbringer, is planning to reunite the pieces of a shattered star to grant himself the power to free his people, imprisoned by the Scholars centuries ago.

And we’ve still got one more book to go. Tahir joins fellow fantasy author Roshani Chokshi for a conversation at Flyleaf Books. —Samuel Montgomery-Blinn

FLYLEAF BOOKS, CHAPEL HILL 6 p.m., free–$24, www.flyleafbooks.com

READINGS & SIGNINGS Lynne Hinton: Novel The View From Here. Sat, Jun 30, 2 p.m.

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

Melissa Rooney: Children’s book The Fate of the Frog.

Make-and-take plush tadpole crafting. Sat, Jun 30, 11 a.m. & 1 p.m. Regulator Bookshop, Durham. regulatorbookshop.com.

36 | 6.27.18 | INDYweek.com

Liese O’Halloran Schwarz: Novel The Possible World. Sat, Jun 30, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

LECTURES ETC. Cuba Caravan: Building Bridges, Tearing Down Walls: Speakers on Cuba including Rosemari Mealy. Screening of short documentary Dare to Dream. Community discussion.

Sat, Jun 30, 3 p.m. Lyon Park Community Center, Durham.

Rodents of Unusual Size: Thu, Jun 28, 7:30 p.m. Alamo Drafthouse, Raleigh.

A Seat at the Table: Local film starring Celeste Jones. $10.

Thu, Jun 28, 8 p.m. The Wicked Witch, Raleigh. wickedwitchraleigh.com.

OPENING Sicario: Day of the Soldado— Benicio del Toro and Josh Brolin return to the drug war on the U.S.-Mexico border.

Rated R. Uncle Drew—NBA pro Kyrie Irving spins his eldery baller character from those Pepsi commercials into a feature film. 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.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated SpiderMan, the sequel is a controlled detonation of the superheromovie template: filthy, funny, and cheerfully ultraviolent.

Rated R. ½ First Reformed— Paul Schrader, a giant of American cinema, connects secular and spiritual forms of despair with glimmers of humor and hope. Rated R.  Hereditary—This truly disturbing horror film thrives on real human anxieties, hideous images, and the occasional headless cultist. Rated R.

Rodents of Unusual Size PHOTO COURTESY OF GABRIELLE SAVOY/TILAPIA FILMS No, it’s not a movie about the making of The Princess Bride (though I would so watch that), in which the R.O.U.S. of the title originated. Instead, it’s a documentary by Quinn Costello, Chris Metzler, and Jeff Springer about what to do with a species you’d call invasive if you hadn’t invited it in. Tabasco heir Edward McIlhenny came up with a great plan when the Great Depression hit Louisiana: importing nutria—corpulent, orange-toothed Argentinian rodents—to boost the fur trade. But these prodigious eaters and breeders tore through the wetlands faster than trappers could catch them, and, after the decline of the fur trade and the devastation of hurricanes, they’re running rampant through the bayou with a $5 bounty hot on their tails, pursued by Louisianans of various stripes. The nutria: friend, foe, or fuzzy fall guy? Find out as the Full Frame Road Show rolls into Alamo Drafthouse. —Brian Howe

ALAMO DRAFTHOUSE, RALEIGH 7:30 p.m., free, www.drafthouse.com/raleigh

½ Incredibles 2— Dialing up socially progressive themes fourteen years after the original, Pixar’s sequel is fun, funny, and timely but not quite transcendent.

Rated PG. ½ Jurassic World: Fallen Kingdom—A murky moral, plain old jump scares, and the diminishing returns of digital dinos weigh on this once-mighty franchise.

Rated PG-13.

 RBG—Forgot those Avengers. This doc about pioneering Supreme Court Justice Ruth Bader Ginsburg is the best superhero movie of the year. Rated PG.  The Seagull—In this Chekhov classic, Irina loves Trigorin, who loves Nina, who is with Irina’s son. Medvedenko loves Masha, daughter of the steward, whose wife loves— you know what? Never mind.

Just see it for Bening, Moss, and Ronan. Rated PG-13.

½ Solo: A Star Wars Story—If Rogue One was a war picture set in the Star Wars universe, then Solo is a space western, and a pretty good one, too.

Rated PG-13. ½ Won’t You Be My Neighbor—This documentary about a nationally beloved kids TV icon captures the incredibly genuine nature of the late Mr. Rogers.

Rated PG-13.

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INDYweek.com | 6.27.18 | 37

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DANCE CLASSES IN LINDY HOP & CHARLESTON START JULY 10TH

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 18:

North Hills/North Raleigh

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