INDY Week 7.11.18

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

RALEIGH 7|11|18

DIG A TUNNEL

How Arcade Fire burrowed out of a tiny Chapel Hill rock club and into global stardom

By David Ford Smith, p. 14 WHY ARE YOU PICKING ON CHRIS BROWN? P. 5

ANTOINE WILLIAMS’S MONSTER MASH, P. 21

THEATER YOU CAN EAT, P. 22

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 28

DEPARTMENTS 6 News 8 Food 14 Music 20 Arts & Culture 22 What to Do This Week 25 Music Calendar 28 Arts & Culture Calendar

“You Thirsty!”

by Antoine Williams (p. 21) PHOTO COURTESY OF ANCHORLIGHT

6 Judicial candidates used to eschew ideology on the campaign trial.

Not this year.

8 For a quarter century, Nana’s inspired an almost pathological loyalty among local diners.

14 Despite their fourteen-year connection to Merge Records, Arcade Fire hasn’t played the Triangle since 2008.

17 After a stint abroad, Wendy Spitzer is investigating questions about creative collaboration and what it means to work together.

20 According to Justin Tornow, The Fruit is the only place where she could make multiple large-scale installations, thanks to its large footprint and its owner’s openness.

21 An Anchorlight exhibit by Antoine Williams shows that in a structurally racist culture, some of us must evolve to survive, others to be just.

On the cover PHOTO COURTESY OF THE BILLIONS CORPORATION

INDYweek.com | 7.11.18 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED GRADE SEPARATION AT THE CORNWALLIS ROAD RAIL CROSSING IN DURHAM COUNTY TIP PROJECT NO. P-5717 The N.C. Department of Transportation will hold a public meeting regarding the proposed grade separation at the Cornwallis Road (S.R. 1121) rail crossing of the Norfolk Southern/N.C. Railroad Line, in Durham County. The purpose of this project is to improve operations and safety at the crossing.

The meeting will be held on Thursday, July 12, 2018 at The Frontier, 800 Park Offices Drive in Research Triangle Park from 5 p.m.-7 p.m. Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project.

Please note there will be no formal presentation. All comments received will be taken into consideration as the project progresses.

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe STAFF WRITER Sarah Willets MUSIC EDITOR Allison Hussey FOOD+DRINK EDITOR Layla Khoury-Hanold STAFF PHOTOGRAPHER Caitlin Penna COPY EDITOR Laura Bullard THEATER+DANCE CRITIC Byron Woods DANCE CRITIC Michaela Dwyer CONTRIBUTORS Amanda Abrams, Jim Allen,

Elizabeth Bracy, Timothy Bracy, Katie Jane Fernelius, Curt Fields, Nick Gallagher, Spencer Griffith, Julie H. Hamilton, Liz Hull, Laura Jaramillo, Debbie Matthews, Glenn McDonald, Niki McNeill, Neil Morris, Hannah Pitstick, Noah Rawlings, Kevin J. Rowsey II, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Ryan Vu, Patrick Wall INTERNS Macon Atkinson, Elizabeth Chen, Lena Geller, Absaroka Mann-Wood, Cole Villena

ART+PRODUCTION

As information becomes available, it may be viewed online at the NCDOT Public Meeting Webpage: http://www.ncdot.gov/projects/publicmeetings Anyone desiring additional information may contact Gregory Blakeney, NCDOT, Senior Rail Project Development Engineer, by telephone at (919) 707-4717 or by email at gmblakeney@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting.

Anyone requiring special services should contact Lauren Putnam via email at lnputnam1@ncdot.gov or by phone at (919) 707- 6072 as early as possible, so that arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

PRODUCTION MANAGER Christopher Williams ART DIRECTOR Steve Oliva

CIRCULATION

CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, Nathan Fellers,

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backtalk

Men Behaving Badly

same tactics they condemned the author of Much has happened on the Jordan Peterson the original article, Laura Bullard, for using. front since we gathered together last week.

While citing the fact that he’s a professor On Friday, the Durham City Council issued a and other so-called credentials, they could statement essentially disavowing the event, offer no fact-based information because noting that the city doesn’t control the DurJordan is all about self-promotion, self-help ham Performing Arts Center’s bookings and pabulum, and references to philosophical encouraging residents to “resist bigotry.” clichés that proved illogical and inconsistent This, of course, got JP’s supporters in a decades ago, so of course they resorted to righteous lather, both in our comments secpersonal attacks on the article’s author and tion and the council’s email inbox. It got all the INDY. Their reactions to the article fly in the more intense when Peterson himself the face of their claims to be for free speech took notice, posting about the statement in and are more reminiscent of cult followers.” a lengthy note on his website, “Everything Moving on … to another man we’re not big that is reprehensible about the radical and fans of: Chris Brown. In last week’s paper, ideologically possessed left—all the moral Allison Hussey wrote a brief about the singself-righteousness, the platitudes, the clier/serial assaulter titled “Chris Brown Still chés, the mindless celebration of diversity Sucks”; the next day, Brown was arrested for the sake of the demonstration of toler(yet again) on an assault charge in Florida. ance, the naiveté, and the appalling malevoStill, Joe Mena took up for Brown (though lence of casual denunciation—is on painful not for punctuation or capitalization): display in this missive.” “fuck this website you hate Chris cause his To the comments. First up, Jonathan doing good fuck this website i mean fuuuu Howard, who starts by dissing council uuuuuuuuuuuuuuuuuu member Jillian Johnuuuuuuuuuuuuuck you son for “spreading “Flat-out liars advancing and leave CB alone for rumors about a fictian agenda. Disgusting.

Christ sake.” tious Ku Klux Klan rally Go to hell.”

Paulette Jordan that that existed only in also rises to Brown’s her head” and “cheerdefense: “Just because you don’t like an artfully [naming] her dog Bernie Sanders.” ist doesn’t mean they automatically suck.

Howard then gets to the point: “The bottom Chris Brown has served his punishment line, of course, is that Jordan Peterson will for things he’s done. If you’re going to make still speak and people will no doubt attend a blog, actually have a little bit of evidence. in droves and love the event. The same way Not biased slander. You work for a newspathey are doing all over the world with no per. Not a gossip blog!” sign of abating. You and your little SJW To which Viper A responds: “I love how buddies, INDY Week, can spout all the disthis whole thread is people crying, ‘He is tortions and lies you like. To be extremely a changed man! Forgive him! Everyone blunt with you, the vast majority of people makes mistakes!’ literally the day before he really couldn’t care less what you think. You gets arrested for felony assault. Again. He don’t control the narrative and we reach isn’t being charged with drug possession, conclusions for ourselves.” or fraud, or plagiarism, or something that Next, John Amaud: “You people are repulis easy to forgive and forget. It isn’t somesive. I hope a day comes when journalists thing like a DUI, which can be written off as like you, who tell blatant lies and slander a ‘mistake’ or a single bad decision. He has, others, are able to be taken to court and sued. on multiple occasions, made the conscious Absolutely disgusting how you have made decision to attack another person. One of up lies about Dr. Peterson. This is why no those people was his romantic partner.” one trusts the media anymore. Flat-out liars advancing an agenda. Disgusting. Go to hell.”

Want to see your name in bold? Email us at And on it goes, almost endlessly, all saybacktalk@indyweek.com, comment on our ing the same thing. Mary Lynch says she Facebook page or indyweek.com, or hit us up finds it “sad and amusing that the defenders on Twitter: @indyweek. of Professor Jordan Peterson practiced the

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indynews

Justice League

JUDICIAL CANDIDATES USED TO ESCHEW IDEOLOGY IN FAVOR OF GENERIC RHETORIC ABOUT FAIRNESS AND IMPARTIALITY. NOT THIS YEAR. NOT IN DURHAM.

BY SARAH WILLETS

S

ix years ago, Paul Newby, a Supreme Court justice seeking reelection to the state’s highest court, became lodged in the public’s mind via a political action committee ad with a catchy banjo tune.

“Paul Newby. Justice tough but fair. Paul Newby. Criminals best beware,” the banjo player repeated with a twang.

Kitsch aside, the ad summed up what has been the traditional judicial campaign message: experience, firmness, and an even hand.

Not this year—at least in Durham. With elections coming up in November, judicial challengers are emphasizing their experience and pledging to be fair and hold people accountable. But they’re also talking about things like bail reform, diverting people from the courts to begin with, and helping people who do go through the system emerge productive and healthy.

Thomas Mills, a longtime political consultant whose father was a judge, says the ideological messaging is certainly “out of the mainstream” for a job typically associated with impartiality and restraint.

“Normally the topics are not issue-oriented,” he says. “They’re more about the personal character that people bring to the job, experience, integrity, fairness, impartiality—those types of things. I think it’s reflective of the times. We’ve created really what’s an activist society in some ways.

There’s a desire for change in the way government works top to bottom, and the activists are on both sides of the aisle.”

Perry Woods, another local political consultant, isn’t surprised that such reform-minded candidates would come out of Durham.

“It’s not something they necessarily often do, but in this environment, it doesn’t necessarily surprise me,” he says, pointing to the rise of movements like Black Lives Matter.

Last year, legislators voted to again make races for District and Superior Court seats 6 | 7.11.18 | INDYweek.com

partisan. They also canceled judicial primaries over the objections of Democrats.

District Court judges are elected to fouryear terms, while Superior Court judges are in office for eight years.

The race for one Superior Court seat in Durham’s district—currently held by Elaine O’Neal, who isn’t seeking re-election after being named interim dean of N.C. Central’s law school—is contested. In that race, assistant district attorney Josephine Kerr Davis faces Dawn Baxton, senior assistant public defender for the county.

Incumbents are unopposed for two other Superior Court seats. Chief Superior Court Judge Orlando Hudson is not up for reelection this year.

Six District Court seats are on the ballot, with incumbents unopposed in four of them. Clayton Jones, an assistant district attorney and former public defender, is taking on Chief District Court Judge James Hill, the only Republican out of the Durham candidates and a sixteen-year incumbent. Dave Hall, a civil rights attorney, is challenging Judge Fred Battaglia, who was elected in 2014. (Battaglia was in the spotlight earlier this year after acquitting three people accused of toppling a Confederate monument. He later suggested to members of the county Republican Party that the prosecution had dropped the ball.)

Their candidacies come after Durham voters elected an avowedly progressive city council made up of mostly women of color, a new sheriff pledging to cut ties with Immigration and Customs Enforcement and rebuild trust with communities of color, and a new district attorney who most recently ran an affordable housing advocacy organization and campaigned on many of the same values echoed by this crop of judicial candidates.

A Durham native, Davis has practiced law for more than fifteen years, including as an assistant public defender in Fayette-

Clockwise from top left: Clayton Jones, Josephine Kerr Davis, Dave Hall, and Dawn Baxton ville and an assistant attorney general with the state Department of Justice. Through her work, she’s seen firsthand how “justice is rendered upon what you have.”

“As a mother of two children, two African-American boys, I don’t want them to have to deal with a system that’s based on chance and what type of opportunities they have,” she says. She realized she had become part of that “fragmented system” as an ADA by treating everyone equally,

rather than accounting for their different circumstances.

Davis wants to bring her perspective as a black woman and working mother not only to the bench in Durham, but also to other counties where Superior Court judges rotate.

“What I recognize is there are mothers who are aching because they lost their son or daughter to violent offenses,” she says. “But also there are mothers who are

aching because their sons are looking at twenty, twenty-five [years], maybe even life sentences.”

If elected, Davis says she would seek a revision of Durham County’s bond guidelines—which were written in 2011 by the chief Superior and District Court judges— in an effort to see secured bonds set for fewer nonviolent crimes. She would also like to set up a diversion court to deal solely with crimes driven by poverty.

“I don’t have a platform where I’m tough on crime,” she says. “I have a platform about accountability and mercy.”

Baxton grew up in the tiny coastal town of Roper, North Carolina. She knew from a young age—about thirteen—that she wanted to be an attorney. With few models around, she looked to Thurgood Marshall, the first African-American U.S. Supreme Court justice who as a lawyer helped undo Jim Crow.

Her ideas about what it means to be a “fair” judge are rooted in her experience being raised by grandparents with limited means, being a first-generation college graduate, and representing indigent clients.

“A lot of judges say they’re going to be fair, but they don’t tell you exactly what fair means to them. Fair for me always means being forthright,” she says. “Also for me, fair

means making sure everybody has the same access to justice, because that’s the only way the system works.”

Baxton has worked as an assistant public defender in Durham County since 1999 and has been second to the chief defender since 2006. She says she and her colleagues at the public defender’s office have long seen bond as an issue of fairness for their clients.

“It’s important because, in order for them to actually realize their right to fair trial, they need the ability to be out and help their lawyer prepare a fair trial,” she says. “We understand the need to have a bond set that’s going to protect the community, but we also believe you’re innocent until proven guilty.”

Jones spent thirteen years with the public defender’s office in Durham before becoming an assistant district attorney in 2016. As a judge, he says he would be “proactive” in trying to reduce the burden of fines and fees on the accused.

“Fines, fees, and costs shouldn’t be a hindrance for working people who are trying to live their life and survive,” he says.

He would also like to see drug court and mental health court programs expanded— giving people more opportunities to avoid jail—more interpreters at the courthouse, and the bail system overhauled to assign secured bonds in fewer nonviolent cases.

“Depriving someone’s liberty should be the remedy of last resort,” he says. “It seems like, in the system we have now, we incarcerate first. We incarcerate over mental health issues. We incarcerate for substance abuse issues. We incarcerate if you don’t have money.”

Jones is taking on a longtime incumbent who has campaigned in the past with the tried-and-true message of impartiality.

Jones says Durham’s judges can be more actively involved in achieving the kind of reform voters signaled they wanted in recent elections.

“I’m not saying everything has to be completely overhauled, but for me, I’ve seen inequalities I feel I could address better,” he says. “I think we could have a better bench going in the direction of change we in Durham have envisioned.”

Hall is the least conventional of the four challengers. Most recently, he was a civil rights attorney with the Southern Coalition for Social Justice, working on issues like bail reform, expungements, and racially disparate policing. That work has helped him understand the impact of courts on people’s lives. Now, he says, he wants to change the system from within.

“We certainly, in the election for DA, embraced a whole new set of values

around criminal justice reform, and I think I certainly played a role in shaping the narrative of criminal justice reform in Durham,” he says.

His own ideas about safety evolved when, in 2013, he was struck by a stray bullet in a shootout on his street, and he started thinking about why those shots were fired in the first place.

“Safety for me looks like stopping punishing folks for having been through the system,” he says. “We have a societal addiction to punishment, and we need to have some culture shift around that mindset.”

To that end, Hall says as a judge he would look for opportunities to use restorative justice in sentencing and divert people from the system. He also believes the bail system is inequitable and needs to take into account what people can afford.

“A lot of damage can be done by District Court holding people in jail so that by the end of the month, when their rent is due, a two- or three-day dip could mean everything to somebody,” he says. “It could mean the loss of their work, their place to live, their children in some cases. The court needs to be flexible, and the court needs to understand what really happens in folks lives after they leave that courtroom.” swillets@indyweek.com

INDYweek.com | 7.11.18 | 7

indyfood

After the Flood

COME HELL OR HIGH WATER, FOR ITS STAFF AND CUSTOMERS, ICONIC DURHAM RESTAURANT NANA’S WAS A FORCE OF NATURE. A LONGTIME BARTENDER PAYS HONOR TO ITS CULTURE ON ITS FINAL NIGHT.

BY ADAM SOBSEY

B

In fact, it didn’t matter who you were, To some, that culture could seem insular, y the time final toasts were made as long as you were authentically yourself, even clubby. It was true that you saw the at Nana’s following its last night of because Nana’s was always authentically same faces there year upon year, but memservice on June 30, the calendar had Nana’s—fully, unmistakably, unapologetibership was unrestricted and easy to gain: rolled into July. The dozens of late-night cally—and it asked the same of its clienShow up once, then show up again. And the revelers in the bar were a mix of present tele. Scott may have sometimes “lost [his] perception that Nana’s was elitist had no and past employees whose years of service way,” as he told the The News & Observer in basis. By the time it closed, it was no lonstretched in a near-continuous timeline all 2016, reflecting on the kitchen accident that ger anything like Durham’s most expensive the way back to the restaurant’s opening in 1992, friends and spouses (some of whom were customers before they were friends and spouses), several tearful regulars, and a fair number of people no one had ever seen before.

That was Nana’s. It was a complex extended family whose members never really left—not even after their lives called them away—and shared in its lifeblood whether they were on the payroll or on the reservations list or living on other continents.

And the place easily and freely folded in newcomers, right up to the very end—an end no one thought would ever come.

It’s hard to ponder life without Nana’s.

I worked at Nana’s for twelve years, which was only the fifthlongest tenure in the restaurant’s history—sixth, of course, if you count chef-owner Scott Howell. I returned for the hectic final week of service, along with other Nana’s vets, to lend a hand. One of them, who was Nana’s Nana’s, hey hey, goodbye: the last night of service PHOTO BY CAITLIN PENNA among the few who surpassed nearly killed him and his subsequent addicrestaurant—if it ever was—and its portions me in tenure, was Brad Weddington, Nana’s tion, depression, and hospitalization. But he were almost cartoonishly large compared longtime bartender, who, with his brother, never lost the way of Nana’s, which qualito similarly priced places. The millionaires Graham, now co-owns one of its surviving fied as fine dining of a kind that is leaving and ballers and surgeons and lawyers who siblings, NanaSteak. this world with little fanfare. Scott didn’t populated the place were far outnumbered Brad raised his glass and allowed that like the category, anyway—at least not when by schoolteachers, librarians, salespeople, although its food was what brought people he described his restaurant, which seldom and thousands of other “ordinary” folks who to Nana’s, it wasn’t why they came back. put on airs. He had an unerring pretension were treated no less royally.

“Nana’s,” he said, “was a culture.”

8 | 7.11.18 | INDYweek.com

detector both on the menu and in the dining room. Only what was real endured.

That realness was what gave Nana’s its staying power. It was a force of nature— sometimes a brute one, like the notorious floods that overwhelmed it every year or so (Nana’s was built in front of a creek and over a culvert that is prone to catastrophic overflow). But the place sailed on, come hell or literal highwater, floorboards warping, funds leaking, someone in the kitchen stirring Nana’s famous risotto.

Regulars came and went and died of old age, their tables taken by new regulars for whom the place became just as indispensable. Nana’s inspired an almost pathological loyalty.

And no wonder. Scott is pathological, as any restaurateur must be. That’s not a value judgment; it’s a verdict of sympathy. Plenty of people, including Scott himself, have called him worse. In any case, Scott’s restaurant was more beloved than he is, and its legacy exceeds him and his food: It’s the inimitable, singular culture Weddington identified. That culture carried a strain of craziness that was as essential to working at Nana’s as taking orders, cooking food, and wading into chest-high floodwaters with an axe. (Don’t ask.) Working with Scott, you saw that to win, you don’t outrun your demons, or overcome them. You put them to work in service to your dreams.

You put yourself in service, too. I saw Scott sacrifice his health, wealth, and some personal relationships to keep the place alive, even when it tried to kill him—and not just in the form of the monster grill that fell on him in 2013. (Nana’s, of course, chugged

“N

ana’s was a force of nature, sometimes a brute one, like the floods that overwhelmed it every year or so.”

PHOTO BY CAITLIN PENNA

on without him.) Accidents and floods are what make the news. A restaurant can crush or drown you every single day, and no renowned career chefs are also genial, reasonable, even-keeled, or well-adjusted.

“It’s never nice all the time,” Scott said during his final toast, understating the case by a thousand pounds. “If it was nice all the time, then anybody could do it.”

Hardly anyone can. There’s an episode of M*A*S*H in which an internal army evaluator is sent to the 4077 (the hospital unit number) with instructions to build a case for breaking up its motley crew of louche, infighting malcontents under Colonel Blake’s erratic leadership. The evaluator observes “textbook examples of neuroses, psychoses, voyeurism, fetishism, and a few isms I’ve never even heard of. They’re mad, quite mad,” he says. But when an especially gruesome flight of wounded soldiers comes in, he watches the entire unit labor intensely, professionally, and harmoniously to save them. Hours later, he concludes, awestruck, “They’re impossible people, in an impossible place, doing totally impossible work; and the only act I can think of that would be madder still would be breaking them up.”

To many, it seemed mad to break up Nana’s, which was as popular as ever after twenty-five years. But madness has always been Scott’s method. The reasons are many and knotty, but in the end, the restaurant

closed for the same reason it stayed open so long—because Scott wanted it to.

As he spoke on the final night, sometimes through tears, his resolve was audible in his voice, his humor visible in his clothing. He was wearing pink shorts and a black fauxsnakeskin jacket whose lining was entirely silkscreened with portraits of Elvis. It was the only time I’d ever seen him wear anything so outlandish, and it was appropriate for the night he left the building.

He thanked his staff generously, graciously, and then concluded with a few final words.

“People knew that we cared about them.

It wasn’t just about us. It was about them.

That was the biggest thing we did. It was a privilege for us to have people here. We didn’t treat it like it was a privilege for them to be here. That’s why we won.”

Nana’s closed six years after Magnolia Grill, its seminal fine-dining cousin. Their quarter-century lifespans were nearly identical. They’re forever linked in local culinary history (Scott cooked at Magnolia before opening Nana’s), and their lineage dominates our culinary present. Unlike Magnolia’s Ben Barker, though, Scott isn’t retiring. He has new projects already underway; the culture lives on. But there’s no successor to Nana’s. An era has ended.

“Durham,” Weddington said, “will never be the same.” food@indyweek.com INDYweek.com | 7.11.18 | 9

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As a dental provider, Dr. Nadella welcomes patients in all stages of life with varying dental needs. Whether the interest lies in teeth whitening, tooth replacement or teeth straightening; her expertise makes it possible to achieve your dental goals all in one location. She is passionate about partnering with her patients to attain their smile goals and overall oral health.

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Our Durham practice is one of 16 offices located around the Triangle. Riccobene Associates Family Dentistry has been voted the Best Dentist in the Wake and Johnston counties by a number of publications for more than 10 years and our Durham office was recently a 2018 Indy Week Best of the Triangle finalist.

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With medication assisted treatment and appropriate counseling, outpatient treatment can be very effective. At Solas Health we have seven providers who are licensed to prescribe buprenorphine/Suboxone for addiction.

We have outstanding counselors available. Solas Health has been offering chronic pain management treatment since 2002, and opiate addiction treatment since 2013. At the Cary location, providers include Francis Corrigan, M.D., and Dr. Zizette Gabriel, M.D., both board certified in anesthesiology and pain management, and Jessica Bustos, nurse practitioner. All providers are also licensed to prescribe Suboxone for opiate addiction.

At Solas Health we utilize physical therapy, injections, radiofrequency ablations, yoga and other holistic treatments to improve chronic pain. We also evaluate and treat chronic pain in patients with substance use disorder.

Call now for an appointment within one week. We also transition patients on methadone maintenance to buprenorphine when clinically appropriate. Our goal is to ultimately wean the addicted patient off all medication.

Medication Assisted Recovery Available in the Triangle ALL INSURANCE ACCEPTED, including NC Medicaid Call Solas Health at 919 460 7246

SPECIAL ADVERTISING SECTION

business spotlight business spotlight

VILLAGE HEARTH COHOUSING VillageHearthCohousing.com (561) 714-8009 VillageHearthCohousing@gmail.com

UPCHURCH OPTICAL CENTER Two stores located at: 5108 N Roxboro Rd, Durham, NC 27704 (919) 477-9113 5826 Fayetteville St, Suite 104, Durham, NC 27713 (919) 405-2888

F

ounded by Durham native Michael Upchurch, Upchurch Optical provides eye exams, eyewear, and contact lenses at competitive prices.

“Providing for your visual needs is our top priority.”

The customer truly is everything. When I started Upchurch Optical in 1982, I wanted my business to provide the best customer care in the Triangle. At Upchurch Optical, providing for your visual needs is our top priority. Our staff includes 6 licensed opticians with over 125 years of combined experience.

This level of expertise allows us to provide lenses that fit your lifestyle, from spending hours on the computer to driving home at night. We want you to feel and look your best when you wear our glasses, so in our store we carry a variety of fashionable frames, including my own designs and handmade pairs from Denmark, Germany, and Italy. Truly, our staff and products are unique. If you want to see well and look sharp too, Upchurch Optical is the place for you.

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e are a dynamic LGBT-focused group of baby boomers collaborating to build a 55+ community on 15 beautiful, wooded acres just 20 minutes from downtown Durham. We are gay and straight, single and coupled, working and retired, from Durham and beyond.

We will own our homes where we can balance social and private time in a self-managed, close-knit, respectful, supportive environment. Friends, nature, and fun will be right at our doors.

28 fully equipped, energy-efficient, single story cottage homes built with Universal Design principles creating accessibility throughout all dwellings, walkways, Common House, and auxiliary buildings 2,550 sq ft Common House includes: large combination dining/meeting room, kitchen, exercise room, sewing/craft room, guest room, laundry facilities, terrace and more!

JYOTISHMATI YOGA SHALA CARRBORO 309 W. Weaver St. Suite 300 - Second Floor Carrboro, NC 27510 (919) 704-5365 • lyndsaybahn@gmail.com

D

evout yogi and veteran yoga instructor Lyndsay Bahn opened Jyotishmati Yoga Shala in Carrboro in June of 2016 to offer intelligent, intuitive and experientially-based yoga teachings to the surrounding community. Jyotishmati is translated as “illuminated,” and Lyndsay’s focus is to aid in bringing the light out of everyone she encounters.

Lyndsay has been practicing yoga as a way of life for over 12 years with an emphasis on physical, mental, emotional and spiritual therapy. Few know the anatomy of movement and alignment like Lyndsay does through her own difficult personal journey, and she offers her compassion and expertise every day to a vibrant community of yogis at The Shala.

The Shala offers classes that bring students to new heights in their practices and lives simply by finding a deeper understanding of how the body works, connecting the mind and body together for healing, as well as deeper focus and awareness.

Amenities: private and community gardens, walking trails, dog park, planned arts & crafts studio, woodworking center, bike shed, and common storage building. Clustered buildings, friendly front porches, private back yards, and abundant green space.

Many yoga teachers and advanced practitioners find their way to Lyndsay’s classes to deepen their knowledge, but classes are available to all levels of practice, from brandnew beginner to advanced practitioner. Often, students find themselves feeling as if they are experiencing a private lesson in the midst of a group of other students doing the same.

Imagine…. cheering your team or watching movies with friends in the sitting room. Sharing meals in the Common House. Wine, laughter, and great conversation. Sipping coffee on the shaded terrace. Exploring your creativity in the arts & crafts studio. Staying fit in the exercise room. Having time for the things that enrich your life!

We emphasize supportive relationships, so there is a regular offering of individual instruction to anyone who is interested in receiving it. Students will feel challenged, yet supported and empowered.

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Lyndsay has done trainings and taught classes nationally and abroad for over 8 years, and is thrilled to be stationed in Carrboro. Classes regularly include sun salutations followed by a mix of standing poses, seated poses, forward bends, backward bends, twists, arm balances, inversions, hip openers, breath work, chanting and meditation, all based upon a call to share her own path to joy.

INDYweek.com | 7.11.18 | 11

business spotlight business spotlight

DECO RALEIGH

TRINITI SALON

NEW ADDRESS! 207 S. Salisbury Street, Raleigh (919) 828-5484 www.decoraleigh.com Owner, Pam Blondin Managers: Savannah Bridges, Kirsten Wyatt Asst. Managers: Eliza Eisenhardt, Tal Avishai

POSSIBILITIES BOUTIQUE

“Lively, colorful, customer-centered gift shop featuring local artists and designers.”

O

ur new home is your new home. We’re excited to announce that DECO Raleigh and DECO Home will now be ONE BIG NEW STORE. Even better? It’s only a few yards from our original address, just around our corner. We can’t wait to have plenty of space to offer you more of what you love: unique, smart, and local gifts, artwork and home goods.

We will be open and ready for business during the month of July…watch social media for the exact date.

Join us for an official Grand Opening Celebration on Friday, August 3, starting early in the afternoon and extending through First Friday. We’ll be serving up Trophy Brewing beer and Union Special goodies while you shop and check out the new space. We’ve curated a collection of new goods including expanded offerings in home goods, kids, jewelry and pet sections. And of course, we have lots of new makers represented.

Since the first day we opened the doors of DECO Raleigh in 2012, we have loved getting to know YOU and stocking cool things that our customers have requested. Owner, Pam Blondin, had a vision that DECO would be a gathering place for neighbors, friends and visitors, and we love that people now see us that way. Our parklet, sidewalk mural and community partnerships are all part of our commitment to the Raleigh we love.

This new space is our forever home and we look forward to building a better store experience with your help. We love hearing customers laughing in the card section or calling their friends over to see the perfect gift. Your ideas and suggestions help make the community we build and support better.

Watch our new store for special pop-up events that will feature up-and-coming artists and makers as we continue to support the arts and creative minds that make Downtown Raleigh such a great place to live and work.

12 | 7.11.18 | INDYweek.com

1247 Kildaire Farm Rd, Cary (919) 460-1852 www.possibilitiesboutique.com

K

athy Fowler Wilkerson still gets excited telling her story. If you didn’t know any better, you may think she just started her business last year instead of more than 30 years ago. In 1977, while walking to a bank to inquire about a business loan, she passed the University of North Carolina’s marching band. It was playing the Rocky theme song. At the time, her thought of getting a loan was against the odds, but she received $10,000 from the bank and the same amount from a relative. Seven of her friends lent her $100 each to pay for the first month’s rent at her Carrboro location, where she opened Forever Young. She sold an entire rack of clothing the first weekend and promptly paid her friends back.

Nine years later she sold her store after the birth of her daughter, but continued doing trunk shows. “I still had to be in the business because I loved it so much” says Kathy. That passion led to her current boutique, Possibilities, located in Saltbox Village for over 30 years. An extension of her style: artsy, colorful, comfortable, stylish and fun, the Cary store has a friendly vibe where her helpful team is gracious and welcoming.

“I want everyone to feel better when they leave than when they came, regardless of whether they buy anything.” An easy, uncomplicated relationship with fashion has always been her trademark. And she has always had a knack for adding just the right accessory to make it work. Many regular customers express delight in stopping by to see a layered ensemble “creatively thrown together” by Kathy and her team and buy it from top to bottom! Possibilities has consecutively been an INDY Best of the Triangle Winner, thanks to Kathy’s unending passion for helping women feel their most beautiful.

1061 Darrington Dr, Cary, NC 27513 (919) 650-2324 www.trinitisalon.com

L

ocated at 1061 Darrington Drive in Cary, NC, Triniti Salon works around the clock to revolutionize the hair industry in unexpected ways. When Sharon Smith founded this salon, she was fueled by the passion to protect and preserve the environment while also equipping women with the confidence to change the world in which they live. We believe that when we come together as one, we have a global impact for good!

As a zero waste salon, we have a passion for improving the hair industry by recycling and composting any and all materials possible. We are single-handedly responsible for keeping over 300 pounds of foils out of our oceans, 400 pounds of oxidized color out of our air supply, and 200 pounds of garbage and food product out of our landfills. Not only does this salon strive to limit what waste we produce, but we also use environmentally conscious products and tools, such as energy efficient hair processors, water regulators on all shampoo bowls, and 150 year old up-cycled wood to decorate our interior. Triniti is making a difference for our planet, but also in the lives of our clients. Our stylists pour their heart and soul into their work - and it shows! From top to bottom, Triniti Salon shines by encouraging beauty inside and out. Triniti Salon truly is Mind, Body, and Style.

SPECIAL ADVERTISING SECTION

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INDYweek.com | 7.11.18 | 13

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BY DAVID FORD SMITH

Arcade Fire PHOTO COURTESY OF THE BILLIONS CORPORATION

O

n June 7, 2004, a typical Monday night, Arcade Fire played a set at The Cave. As the story goes in Our Noise, John Cook’s written history of Merge Records, the hastily booked gig at Chapel Hill’s favorite 74-capacity venue occurred in the middle of Arcade Fire’s first U.S. tour.

Though they had already played a number of undersold American shows, the band had scored a reliable opportunity opening for the short-lived Montreal bizarro indie rock outfit The Unicorns.

This was the early aughts, and The Unicorns were themselves riding a wave of pre-analytics internet hype and “will they implode” speculation months before Arcade Fire’s debut LP, Funeral, would define that trend. In a twist, the Unicorns, long since imploded, would reunite to open for Arcade Fire in 2014, on their friends’ 15,000-seat arena tour.

Why exactly did Arcade Fire play The Cave? Moreover, how did an art rock band from Montreal end up inextricably connected to the Triangle? Credit their longtime label, the Durham-based Merge, and a man named Howard Bilerman.

Bilerman is a longtime friend of Merge co-founder Mac McCaughan—he briefly drummed for Arcade Fire for about a year prior to Funeral’s September 2004 release and currently co-runs the Hotel2Tango studio in Montreal with members of

Godspeed You! Black Emperor. He was also the linchpin between Arcade Fire and Merge. Though sweating about his personal connections to the band, he mailed the label a DVD of live footage, which turned out to be improperly burned. He then offered a CD of demo material that hung around the office for a while.

As Cook documented in Our Noise, McCaughan and the rest of the staff loved the music when they eventually got to it.

They also famously dragged their feet to respond. In that interim, Arcade Fire signed to Alien8, a Canadian experimental label known at the time for issuing oddball records

by Merzbow, Keiji Haino, and Masonna.

McCaughan sent an email expressing interest the day after the band went out for a celebratory deal dinner. Naturally, that created some tension, but the labels and the band resolved it more or less amicably. Still, the incident meant that booking a show in North Carolina, where Merge could see them, was likely important, as a show of commitment on all sides.

“It was like seeing U2 on the War tour when I was fifteen,” McCaughan said about the show in a PopMatters piece in 2007.

“They had these huge anthems that the crowd was responding to right away even though no one had heard the songs yet.”

Just a month later, Arcade Fire returned to play a Mergefest pre-party at Local 506

with Sebadoh’s Lou Barlow, just before the release of Funeral. Footage on Youtube shot

by Chapel Hill videographer Cam Carrithers, who was working on a DVD for Merge at the time, shows the band fiercely ripping through their set, barely able to fit even their slightly downsized lineup on the tiny stage.

Carrithers also taped an interview with the band, which is some of the earliest video footage of the group.

“We filmed this short thing with them in the green room of 506, just them talking while eating celery and Carrburritos chips. It was meant to be an MTV-style intro to the performance video,” he recalls. But at the time, Carrithers wasn’t convinced they’d go so far.

“I liked them, but even at that show, they were like any other new Merge band. Everyone in the know was like, ‘You have to check this band out, they have so much energy,’ because they were Merge’s latest signing. I never assumed they would be bigger than Neutral Milk Hotel or Superchunk or the biggest things on the label,” he says.

Fast forward fourteen years. Arcade Fire is returning to play Red Hat Amphitheater in Raleigh on July 12. Frontman Win Butler is spinning records at Motorco in Durham the night before as DJ Windows 98. This is their first official return visit into the Triangle in a decade: Arcade Fire’s last show here was a May 2008 rally for Barack Obama’s presidential campaign in

the Carrboro Town Commons. The band was just off the Neon Bible tour, and George W. Bush was still in office.

The gap seems especially strange when you consider the length of the time and the band’s run on Merge within those years.

Why not come back to play a festival like Hopscotch or one of Merge’s anniversary events, like 2014’s Merge 25? Chalk it up to financial incentives, large-scale venues, and other logistics that aren’t easy to come by in the Triangle, as well as a vast and likely

ARCADE FIRE

Thursday, July 12, 6:30 p.m., $46 Red Hat Amphitheater, Raleigh www.redhatamphitheater.com

Funeral dropped to ravenous acclaim, well outstripping the initial ten thousand-copy print that Merge ordered. In 2007, Neon Bible galvanized Arcade Fire’s status as the indie band du jour, and kept Merge’s name hot to a new generation of indie rock fans, not to mention the burgeoning mainstream crossover indie movement. A few years later, The Suburbs boxed out Eminem, Lady Gaga, Katy Perry, and Lady Antebellum to win 2011’s Album of the Year Grammy. Their rise is the stuff of rock legend.

And yet, Arcade Fire never publically returned to the area that signed them or put out those records. For years in the mid2010s, the top Google result of “Arcade Fire North Carolina” was a news article about an actual boardwalk arcade fire at Carolina Beach.

music

boring world of internal music industry politics. Their record deal with Merge was characterized in the press as loose and hands-off, with the band and label splitting profits and Arcade Fire otherwise handling all their own recording, licensing, production decisions, and tour routing with little input from Merge. It feels like a safe bet that playing the home state of their label wouldn’t register high for a band of their pedigree— especially once the band quietly shifted over to Columbia Records.

Arcade Fire’s return to the Triangle may be much delayed, and the occasion is a tidy benchmark for the status of local and international institutions alike. Who knew that a small one-off show in a college town could make such a difference? music@indyweek.com

BRIEF

INDEPENDENT VENUE WEEK COMES TO MOTORCO This week, fourteen venues across the country, including Durham’s Motorco Music Hall, are partaking in the stateside debut of Independent Venue Week, which runs July 9-15. Billed as “Record Store Day for venues,” it’s designed to commemorate independently run music venues through a series of shows, spotlighting smaller clubs and giving them the chance to build relationships with new patrons, artists, labels, promoters, and media.

“It’s a first step, but I’m a believer that venues should try to work together, as I think there are a lot of benefits to be had if we do,” says Glenn Boothe, the former owner of Local 506 who now works as Motorco’s marketing director. “IVW helps highlight that, although we are locally owned and operated, we’re not alone in this pursuit to bring great artists to our local communities.”

Independent venues benefit artists, fans, and the industry at large, fostering an environment where talent can flourish without big-money backings from major labels or promoters like LiveNation. To Boothe, Motorco’s participation in IVW could help get its name circulating outside of state lines, while elevating its local presence.

“We wanted to participate to both highlight the need for independent venues as well as be highlighted. It’s nice to be part of an event that includes nationally renowned venues like [Washington, D.C.’s] 9:30 Club,” Boothe says.

Though IVW runs for seven days, it only manifests as an individual show for participating venues.

For Motorco, that show is with River Whyless, a folk band from Asheville.

“Although we weren’t limited to doing this with a local act, we actually were hoping that we could use this event to highlight a solid local artist that people outside of NC may have also heard of,” Boothe says.

Featured artists in other venues around the country include The Lone Bellow, The Get Up Kids, and Western Medication. The IVW concept began in the U.K., and its fifth edition there this year boasted a ten-fold increase in participating venues since year one.

“We hope we can expand in the US in the same way,” said IVW's Sybil Bell in a statement. “It sets the scene to make this a true celebration of venues globally over the coming years.” —Lena Geller INDYweek.com | 7.11.18 | 15

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North Hills/North Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com 16 | 7.11.18 | INDYweek.com

music

WENDY SPITZER’S CO-LABOR-ATORY Saturday, July 14, 9 p.m., $7 Nightlight, Chapel Hill www.nightlightclub.com

Ties That Bind

FELIX OBELIX'S WENDY SPITZER WAS A DIEHARD SOLO ARTIST. BUT A TRANSFORMATIVE TIME ABROAD TAUGHT HER TO PLAY WELL WITH OTHERS. BY LENA GELLER

W

endy Spitzer asks questions about the things that everyone experiences but nobody talks about. How do we make friends in adulthood versus other parts of our lives? How do we work together, and how do emotional issues arise and get resolved when we’re collaborating?

She doesn’t offer answers, but since returning to the Triangle after a years-long stint abroad, the longtime local musician has been probing their possibilities.

Spitzer spent 2015 to 2016 at Goldsmiths, University of London, delving into these questions of trust, vulnerability, and the social dynamic inherent in creative collaboration, while earning her master’s degree in music.

Before that, she spent a year living alone in Prague, and prior to that, she was in Carrboro, making music under the name Felix Obelix— a name that intentionally has no meaning, allowing its function to remain fluid.

“It doesn’t connote any one particular thing, other than the words sound nice together,” Spitzer says. “Felix Obelix has changed over time, and it’s always in flux.

Initially, it was a band that I put together to play my own music, which I used to write by myself and everyone just played all the parts.

Over time, it morphed into more of a solo project, where basically me as a musician is Felix Obelix.”

Though Spitzer considers herself primarily a musician—a composer, a singer, and a multi-instrumentalist whose work is an experimental blend of classical and pop styles—she’s spent the past few years dabbling in other arenas, ranging from visual art to creative writing.

“People have told me that there’s a strong current of myself going through everything that I do, regardless of media,” she says.

Recently, however, Spitzer has become less interested in her personal brand and more invested in creative collaborations.

“I’m not playing strictly Felix Obelix music right now, where everything is my own vision, because I’m really interested in what happens when it’s me plus other people,” Spitzer says. “People bring out different things in each other.”

This intrigue goes back to her time spent in London researching psycho-social dimensions of interacting with another person in a creative setting. Spitzer’s newfound interest in creative collaborations stems from multiple sources.

“After having done my music for so long, I was ready for a change,” she says. “I think the isolation of living in a different country by myself was also at play.”

Another catalyst for Spitzer’s research was the unexpected death of a friend and musical associate.

“His death hit me really hard, and I was really surprised by it, so I started to think, ‘Why is this affecting me so much?’” Spitzer says. “I got back to that thing of like, we were doing special musical things together, so it was like a double loss—as a friend and as a collaborator. And then I started thinking about why that relationship was so special and interesting.”

Spitzer’s research explores how vulnerability in social relationships leads to trust, and when this occurs in a creative collaboration, the social dynamic deepens in parallel with the artwork.

“It creates what this scholar Vera JohnSteiner calls ‘emotional scaffolding.’ It’s like you’re building a building, and the other person builds the scaffolding, so you can get higher and higher and finish the building,” Spitzer explains. “It creates a framework where you feel safe enough to try new things and take risks, which you can’t always get when you’re doing your own thing.”

But those connections can go the other way too, Spitzer notes. If a relationship between collaborators is unhealthy, their

Wendy Spitzer PHOTO BY CAITLIN PENNA art suffers too. Trusting each other’s feedback is one of the most important elements of maintaining positivity within a creative collaboration.

“You can have an internal/external, objective/subjective opinion about how it’s going.

It’s a very special thing if you can find collaborators that are really in tune with you,” Spitzer says.

And she has—as an outgrowth of her findings, Spitzer is involved in numerous creative collaborations, five of which she plans to showcase in a performance called “Co-Labor-Atory” at Nightlight on Saturday.

“I’m going to start off by giving a conference presentation on my research, which is not a typical way to start a rock show, but who cares,” Spitzer says. “Then, I’m going to Skype in my collaborator, Barnabas Poffley, in the UK, and we’re going to play music over the speakers that we’ve been writing remotely, trading files back and forth.”

Spitzer and Poffley’s crisp, evocative compositions fall under the genre of library music, intended for use in videos, commercials, podcasts. Following that, Spitzer and Genevieve Dawson will perform songs they’ve written together, after which Spitzer will screen a documentary art project she created with her friend Carol Bales on the topic of friendship. Yet another set involves Spitzer and her

partner, Billy Sugarfix, reading from the first draft of a middle-grade novel they’re writing about a boy’s journey through seventh grade, inspired by Sugarfix’s own experience.

“It’s basically about a kid who has a Napoleon complex, and is trying to compensate for being small for his age in a number of ways, and finds that he really wants to play rock music,” Sugarfix says, adding that the creative collaboration process with Spitzer has helped him refine the narrative.

“Since it’s about my experience, I want to write about everything, but Wendy can look and tell if it adds anything to the plot or if it’s just some silly story. If she rewrites a scene that I wrote, it’s like the scene got bitten by a spider with powers,” Sugarfix says.

“Co-Labor-Atory” will conclude with a set of songs performed by Jeezle-Pete, a band comprising Spitzer, cellist Josh Starmer, and percussionist Robert Cantrell.

“I feel like, especially in this creative area, the Triangle itself, there’s a lot of collaborating going on,” Spitzer says. “I like to pick questions about things that people aren’t talking about, and having a chance to have a whole night around that topic—first, with the presentation, and then getting to witness the outcomes—people will get to think about these ideas in a new kind of new way.” music@indyweek.com INDYweek.com | 7.11.18 | 17

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.

b e s tle E OF TH

t r i a n g2018

18 | 7.11.18 | INDYweek.com | BEST OF the triangle 2018

t s e b ngle F

TH

tria

O

E

8 2 01

Chapel Hill Pediatrics, Mami Nora's, Volt Doctors, Planned Parenthood, NOFO @ The Pig

LEFT, CLOCKWISE FROM TOP LEFT

THIS PAGE, CLOCKWISE FROM TOP LEFT Mosaic Comprehensive Care, Raleigh Beer Garden, The Orginal Q Shack, The Scrap Exchange, Urban Ministries of Wake County

BEST OF the triangle 2018 | INDYweek.com | 7.11.18 | 19

indystage Show Business

JUSTIN TORNOW ATTEMPTS THE IMPOSSIBLE: AN ECONOMICALLY VIABLE PERFORMANCE EXPERIMENT THAT PROMOTES FREEDOM AND FLEXIBILITY

BY MICHAELA DWYER

T

he choreographer Justin Tornow recently walked me through The Fruit’s seemingly unending cavernous rooms, describing the similarly proportioned scope of her newest work. Distilling all the layers of SHOW—a collaborative crossdisciplinary project that will inhabit the space for five nights this week—is impossible, and necessarily so. The work comes together anew each night and leaves several elements to chance. But I’ll try.

During the first half of SHOW, attendees will be able to explore—with “control and agency,” videographer Alex Maness says— several rooms housing art installations and artists working in response to certain themes: absence and presence, visibility and invisibility.

In the second half, COMPANY dancers will perform in The Fruit’s pillared space.

Throughout, subtle and overt mechanisms, including video surveillance, will invert the conventional separation between artist and audience. The whole thing, Tornow explains, is meant to feel a bit like a museum, albeit one that centers on performance work and the presence of everyone inhabiting the space.

“There’s a lot about performance, or at least choreography, that can feel withheld, like there’s some kind of hidden meaning. I’m really not about that,” Tornow says. “If [audiences] just look and listen and feel whatever 20 | 7.11.18 | INDYweek.com

Justin Tornow PHOTO BY ALEX MANESS they feel and think what they think, that’s what we want.”

SHOW is Tornow, Maness, and visual artist Heather Gordon’s latest large-scale collaboration for several performers, following last summer’s multimedia extravaganza No.19/Modulations. (Greensboro-based lighting designer Chris Fleming is the fourth principal collaborator in SHOW.) It’s also Tornow’s first work for COMPANY since she spent more than a month last fall as an artist-in-residence at TanzART Atelier in Kirschau, Germany, where she developed No. 22/Penumbra, a performance in conjunction with Gordon’s exhibit And Then the Sun Swallowed Me at CAM Raleigh last February.

In Europe, Tornow had time to get mad about the state of arts funding in the U.S.— about how artmaking seems inseparable from capitalistic assignments of monetary value, even for independent artists like her, who rely on local economic buy-in. These concerns are taking on more weight as development spirals out of control in Durham. Tornow has used crowdfunding not only to partly pay for SHOW, but also to call

attention to the minimum production costs, $12,000, for a work on this scale.

These issues are particularly urgent in performance, where traditional strategies of documentation and funding—which, Gordon points out, more easily apply to a concrete object like a painting—are not always viable.

The conundrum relates to the relationship between performance and audience. Does one necessitate the other?

“I have a tricky relationship with spectatorship and what it means to perform,” Tornow says. “I’m interested in performance as research instead of just performance for others—a way that performance can be valued as an internal experience for the performer as much as an external experience for the person witnessing.” This line of thinking runs through SHOW. On one hand, there’s the richness of all that will happen inside The Fruit’s many rooms— what we could call the piece’s content. In one room, a light installation by Kai Riedl and Sean Thegen plays with progressive dimming and shock-like brightening; in another, several well-known local artists examine the

COMPANY: SHOW

Wednesday, Jul. 11–Sunday, Jul. 15, 8 p.m., $15–$20 The Fruit, Durham www.durhamfruit.com

prompt “absence and presence.” In the second half, COMPANY works through Tornow’s signature angular phrasings in a rectangle bounded by scrims that will incorporate Maness’s surveillance footage.

On the other hand, SHOW uses content to redirect attention to context, to the frames that enclose the work: walls, lighting, sound score. How do these elements make a performance possible, and even encourage open-mindedness about what performance is? Tornow says The Fruit is the only space where they could make multiple large-scale installations, thanks to its large footprint and owner Tim Walter’s openness. In being deeply customizable, The Fruit “allows the audience to experience what SHOW could be, and not have a fixed idea about it,” Tornow says.

In a way, then, this is a work about possibility, how a set of discrete structural conditions actually creates more options for performers and audience members. Tornow’s M.O. is to “create a structure that promotes a maximum amount of freedom,” which is reflected in her trust in her collaborators, a COMPANY hallmark and a nod to the influence of Merce Cunningham and John Cage. This approach resonates with Tornow’s aim to empower audience members to feel their own agency, to examine how their presence contributes to SHOW. But how can SHOW’s conceptual rigor extend beyond the five-night run? (It will be video-documented each night, and ultimately, a public website will provide links to all the participating artists’ work.) The key lies in its porosity, its potential to unleash its energies elsewhere.

Tornow and Gordon want to develop a manual that documents SHOW’s concrete technical elements—a sprung floor bounded by scrim, a room with down spot lights, and so on. This manual could be “distributed to likeminded artists in other communities,” Gordon says, allowing others to replicate SHOW’s conditions while filling in the content according to their own interests.

It’s an innovative artistic model, one that expands a creative vision outward while tethering it to SHOW’s unique iteration in Durham. And it’s one we should pay particular attention to as independent artists in the Triangle and elsewhere look for creative paths toward building solidarity, as well as to present, document, and advance their work.

“This is what I’ve dreamed up, what I think is interesting inside the scrim box,” Tornow says. “But if I said ‘absence and presence’ to another group of people in a different part of the world, what would they do with it?” Then she rephrases the question slightly: “What could they do with it?” arts@indyweek.com

indyart

ANTOINE WILLIAMS: KIDNAPPED PAGANS Through Saturday, Aug. 4 Anchorlight, Raleigh www.anchorlightraleigh.com

Monster Mash

ANTOINE WILLIAMS BRUTALLY CHARTS THE DISTORTING EFFECTS ON THE BODY OF STRUCTURAL RACISM AND FORCED DYSFUNCTION BY CHRIS VITIELLO

A

ntoine Williams makes monsters.

Except they’re not monsters; they’re us. The hybrid half-animal figures that populate his collaged paintings are warped by generations of structural racism, and express the trauma of forced dysfunction. But there’s hope within the horror, new abilities that emerge from the distortion as Williams’s figures adapt to survive it.

Williams’s exhibit Kidnapped Pagans debuted in Charlotte on a grand scale last year, shown in the Mint Museum as well as in public spaces on kiosks and the sides of buildings. Independent curator Jonell Logan organized that show, as well as this iteration in Raleigh.

At Anchorlight, the show occupies two disconnected galleries. The front gallery features many recent paintings with the Chapel Hill-based artist’s distinctive distressed surfaces and layering of collage and drawing.

An inner gallery features an installation of nine life-size figures in profile, wheat-pasted around three walls of the room in a kind of procession under duress.

The substrate of Williams’s paintings is a layered collage of color washes, often in the pinks and greens of vintage house paint, and a collage of newspaper and magazine pages that he sands, peels, and paints on. Despite the violence of these processes, the surfaces are oddly static, an image of conflict sustained over time until it becomes daily life.

Williams draws animal-human hybrid characters on top of that surface. One of his longstanding recurring characters—and a kind of anti-hero within his oeuvre—is a man with sagging pants, no arms, and a pair of chicken legs jutting straight up in place of a head. In this show, Williams’s characterization has grown more sophisticated and expressionist; in one work, the figure stands among chickens that have arms for the back halves of their bodies.

Bodies burst and dematerialize into splatters and scrawls. “Knife and Wound” is the most spectacular image in the first gallery, containing a figure in the corner whose torso

“Collage Series VI” by Antoine Williams PHOTO COURTESY OF ANCHORLIGHT explodes into a cloud of scarred signification, including tufts of feathers and fur, horns and teeth, and a single sharp-nailed thumb. The cloud terminates in the figure’s torso, headless, with its hands folded behind the head,

as if commanded to freeze by a cop. Collaged pages have been peeled off, leaving rectangles of underpainting to show their removal, giving the overall impression of a U.S. map— traumatized, internally erupting.

The contents of the second gallery are stark compared to the colors and layers of the first, which makes the dehumanization of black subjects as animals and products more chilling. Hand-drawn figures in black and white proceed around the room’s perimeter in profile, most of them variations on a hoodie-wearing figure. They are humanoid with animal protrusions on their heads and backs. Crocodile spikes or a rhinoceros horn tear through the hoodie’s fabric. On a few, the drawstrings become antennae or tentacles.

Some of the protrusions, however, are cultural, not animal. One figure, with a shark’s face, has Crisco cans protruding from its back. On the only apparent female figure, a cluster of long swords jabs out of the head.

Everyone is crippled and corrupted. A trio on the room’s long wall seems to be running, fleeing pursuers or an attack. Along another wall, they’re hunched and stopped, exhausted or frozen in the pain of transformation.

At the front of the procession, a male-female pair is led by a recurring figure sitting on a toy car, dressed in Superman pajamas, with a holstered pistol on his hip. A tear in the paper splits his head in half and removes his eyes.

The torn child is terrifying. It might have been an image of joy in its original form, a kid having fun with a toy. But the missing eyes make the face emotionally unreadable, the open mouth a shout of pain or loss.

Still, the boy is armed. The backs and heads of these figures are armored and weaponized. Survivors, they are hybridizing into the necessity of their condition. Adaptation is mutation, after all.

Looking at these figures, it seems inevitable that Williams will expand into sculpture at some point. Imagine them as three-dimensional figures stalking and fleeing around you in a public space like a park or a city square—or perhaps surrounding Silent Sam at UNC, where Williams got an MFA—and you’ll shudder with their power and gravity. If we are all monsters, some of us have to evolve by necessity, and others, by choice. arts@indyweek.com INDYweek.com | 7.11.18 | 21

SATURDAY, JULY 14

CUT WORMS

As Cut Worms, singer-songwriter Max Clarke wears his sixties-era rock influences on his sleeve, but don’t mistake his transparency for pure mimicry. Clarke excels at throwing his songs a little off-kilter. On his new record, Hollow Ground, Clarke’s blink-and-you’ll-missthem flourishes have a cumulative effect of making the album feel lightly warped, like a Warhol print hanging slightly crooked on the wall. Other twists aren’t so subtle—on “It Won’t Be Too Long,” Clarke leans into a twangy, honky-tonk feel; “Till Tomorrow Goes Away” follows with twinkling keys in the background that lend it an eerie edge. For Clarke, it seems, the devil—and the delight—is all in the details. Shy Boys, from Kansas City, takes the middle slot with its own strain of punchy rock, and Raleigh’s The Dinwiddies open with weed ditties. —Allison Hussey LOCAL 506, CHAPEL HILL 9 p.m., $12, www.local506.com

FOOD SATURDAY, JULY 14

WELL FED, WELL SAID

“Dinner and a show” sounds like a conventional game plan for a Saturday night. But what happens when dinner is the show? Unconventional Raleigh theater group Seed Art Share loves to stage shows in unusual places, and, as often as not, food’s involved. After leading us on a bar crawl of one-acts about mixed drinks last season, they traced the history of beer in Raleigh with a theatrical walking tour of downtown microbreweries in April. They’re making healthier choices this time. After being served Negronis for Ian Finley’s play The Perfect Negroni at the Glenwood’s outdoor amphitheater, you’ll move indoors for the comic one-act Beans and Greens at a salad station in the lobby. In the ballroom, public-radio health mavens Joe and Terry Graedon will offer remarks during a three-course vegan or vegetarian dinner from Irregardless Café. Then comes dessert, served with a comedy about motherdaughter birthday tsuris: The Great Eggless, Flourless, Gluten-Free Vegan Chocolate Cake.

Dinner, wine, dessert—and a show—are all included in the ticket price. —Byron Woods THE GLENWOOD, RALEIGH 7 p.m., $50, www.seedraleigh.org

Cut Worms’ Max Clarke PHOTO BY JOYCE LEE

7.11 WHAT ELSE SHOULD I DO?

ARCADE FIRE AT RED HAT AMPHITHEATER (P. 14), THE AWFUL TRUTH AT THE CAROLINA THEATRE (P. 32), DAVID BOWLES AT FLYLEAF BOOKS (P. 32), COMPANY AT THE FRUIT (P. 20), DANA RUTTENBERG DANCE GROUP AT NCMA (P. 30), RACHEL GOODWIN AT POWER PLANT GALLERY (P. 28), RIVER WHYLESS AT MOTORCO (P. 15), WENDY SPITZER AT NIGHTLIGHT (P. 17), ANTOINE WILLIAMS AT ANCHORLIGHT (P. 21) 22 | 7.11.18 | INDYweek.com

WEDNESDAY, JULY 11–SUNDAY, JULY 22

BIG FISH

Magical realism is charming—at least, that is, until you have to grow up under the same roof with it. Southerners have a longstanding love for the tallest of tales.

Most of us generally know when enough is enough. But not Edward Bloom, the loving but relentlessly self-mythologizing central figure in Big Fish. After director Tim Burton made a film version of Chapel Hill author Daniel Wallace’s 1998 bestselling novel, playwright John August and composer Andrew Lippa adapted it as a Broadway musical in 2013. This iteration differs from the film in enough key points to keep us guessing. Still, the witches, giants, and Alabama werewolves that populate Edward’s yarns about his life have thoroughly alienated his son, William, and threaten to further estrange him at his upcoming wedding. Then a cancer diagnosis puts a final deadline on both to discern the real home truths of an enigmatic life. —Byron Woods KENNEDY THEATRE, RALEIGH Various times, $33–$35, www.theatreraleigh.com

WEDNESDAY, JULY 18

ANNA & ELIZABETH

Anna & Elizabeth, the Brooklyn-based folk duo of Anna Roberts-Gevalt and Elizabeth LaPrelle, has always excelled at delivering clean-cut, straightforward versions of old songs. But on March’s The Invisible Comes to Us, the pair upended perceptions of what “folk” could or should mean. Sourcing most of their material from a Middlebury College archive of New England field recordings, LaPrelle and Roberts-Gevalt made a new set of forgotten tunes entirely their own. They focused on drawing out the stories of every song, toying with their sense of time and building elaborate instrumental backdrops of guitar, fiddle, percussion, woodwinds, pedal steel, and more. LaPrelle and Roberts-Gevalt are two of the sharpest young minds in the folk field, and The Invisible Comes to Us is their best work by far. With one foot in the past and another in the future, Anna & Elizabeth are an unforgettable pair. —Allison Hussey SARAH P. DUKE GARDENS, DURHAM 7 p.m., $5–$10 (12 and under free), www.dukeperformances.com

Anna & Elizabeth PHOTO COURTESY OF THE ARTIST INDYweek.com | 7.11.18 | 23

7/13 7/14

IMPROV PERCOLATOR FAMILY-FRIENDLY TRANSACTORS IMPROV: WONDER WOMEN NC 10 BY 10: A FESTIVAL OF 10-MINUTE PLAYS

7/1922 (PRESENTED BY ODYSSEYSTAGE & CARY PLAYWRIGHTS FORUM) 7/27THESE SHINING LIVES 29, 8/2-5 (PRESENTED BY WOMEN’S THEATRE FESTIVAL) 8/17GODSPELL (PRESENTED BY CHAPEL HILL SCHOOL OF MUSICAL ARTS) 19 9/22 LEO KOTTKE

2018-19 PERFORMANCE SEASON ANNOUNCEMENT COMING NEXT WEEK!

TU 7/17 @MOTORCO

THE GET UP KIDS TU 8/7

TH 7/19

DEAFHEAVEN

AMANDA SHIRES

7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($25)

SA 8/11

SAM BUSH

7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM

Find out More at

artscenterlive.org

300-G East Main St., Carrboro, NC Find us on Social Media: @artscenterlive

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

7/21 THE DEAD TONGUES ($12) 7/25 DANNY DUNCAN ($25/ $30, VIP AVAILABLE)

8/6 KINA GRANNIS

W/ IMAGINARY FUTURE

SA 7/28 @NORTH CAROLINA MUSEUM OF ART

THE MAVERICKS

9/8 TIM BARRY

8/7 AMANDA SHIRES W/ CORY BRANAN

8/9 THE SWORD W/UME ($18/ $20)

Recently Announced: DJ Windows29 98 (Win8:00 Butler of Arcade Fire), WED WED JUN JUN 29 @ @ 8:00 PM, PM, $12/$15 $12/$15 SATLyrics 7/11 Born, Boulevards, Bombadil, Joe Mande, Dex Romweber FRI 7/11

RICHIE RAMONE

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

DJ WINDOWS 98/ THE MIDATLANTIC FRI BUTLER 7/1 LOOK HOMEWARD (WIN OF ARCADE FIRE)

FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC Rock NCIt showcase!

TUE 7/5GirlsCrank Loud: NOTHING / CULTURE ABUSE TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE SUN 7/15 RIVER WAILIN STORMS /asHUNDREDFTFACES WHYLESS part of Independent Venue Week WAILIN STORMS / HUNDREDFTFACES 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 SUN 7/15 MON 7/11 Regulator Bookstore presents MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live as part of Independent Venue Week TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE7/177/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE Cat’s Cradle Presents GET UP KIDS / Racquet Club / Ageist THU 7/14 Storymakers: Durham, Community Listening Event THU THU7/197/14TheStorymakers: Community Listening Event Monti StorySLAM:Durham, Frenemies SAT7/20 7/16CHRIS PINKERTON RAID/ /Brodie ST. ANTHONY MYSTERY TRAIN FRI WEBBY / Anoyd Fresh&&/THE Rook SAT 7/16 PINKERTON RAID / ST. ANTHONY THE MYSTERY TRAIN SUN JUL 17 SAT 7/21 GIRLS ROCK NC SHOWCASE! SUN JUL 17 @ 8:00 PM SUN 7/22 THETHE RAGBIRDS @ 8:00 PM REVELERS / Paige Johnson THE RAGBIRDS $12/$15 $12/$15 SAT 7/14

RIVER WHYLESS

THE THE RAGBIRDS RAGBIRDS

8/11 SAM BUSH W/ HANK AND PATTIE DUO ($30/$33) 8/17 ABBEY ROAD LIVE! ($12/ $15) 8/22: ALKALINE TRIO W/ TOGETHER PANGEA ($24/$29) 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 8/28 WOLF PARADE ($20/$23) 9/4 X ($25/$28) 9/8 OHGR W/ OMNIFLUX,

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

SommerKill Booking presents TEMPLE OF VOID Eldritch Horror / Datura / Antenora SUN 7/29 Crank It Loud presents SAT 7/23THEGirls Showcase SPILLRock CANVAS / Punchline / Selfish Things SAT 7/23 Girls Rock Showcase TUE 7/31 HE IS WE / Sondorblue / Map The Sky TUE 7/26 Motorco Comedy Night: TUE 7/26 Motorco Comedy Night: FRI 8/3 URBAN SOILWOODHULL / ADAM COHEN ANDY ANDY WOODHULL / ADAM COHEN SUN 8/5 School of Rock Cary er s -P op Ma tt er s FRI 7/29 YOUNG BULL Album Release Show el er s" -P op Ma tt tr avRelease FRI8/187/29 YOUNG BULL Album s"Show tis tic SAT e ar tr av el er at Sophomore Slump Fest tic mm w/ ALIX AFF / DURTY DUB tis ar e "C on su w/ ALIX AFF / DURTY DUB su mm at on8/23 "CTHU FIRESIDE COLLECTIVE / SLOCAN RAMBLERS SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, JARED FRI 8/24 SUN JUL17 COMING SOON:STEEL JULIETTE LEWIS,/ Alan YARN,Barnosky JARED && THE THE MILL, MILL, THE WHEELS HAL NRBQ, LIZ VICE, WINDHAND, Doors: 7pm HAL8/26KETCHUM, KETCHUM, NRBQ, LIZ VICE, WINDHAND, Doors: 7pm SUN ELIZABETH COOK / Ladies Gun CIRCLES, Club BAND OF SKULLS, CODY CANADA & THE DEPARTED, RUSSIAN Show: 8pm CODY CANADA DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm& THE SISTER SPARROW KING, COMING SOON: Mike&& THE FarrisDIRTY & TheBIRDS, Fortunate Few, The NCDead Boys, Who’s $12 ADV 723 RIGSBEE AVE DURHAM, MOTORCOMUSIC.COM SISTER SPARROW THE DIRTY KING, $12 ADV 723 RIGSBEE AVE --COMPANY, DURHAM, NC --ADRIAN MOTORCOMUSIC.COM Bad, Foxing, Maimouna Youssef andBIRDS, DJ Dummy - The Vintage Babies, Hot DOYLE LAWSON & QUICKSILVER, THE RECORD LEGG, $15 DAY OF DOYLE LAWSON & QUICKSILVER, THE Andrew RECORDW.K., COMPANY, ADRIAN LEGG, Snakes, Frankie Cosmos, The Old 97’s, Sales, Dwele, Rahsaan $15 DAY OF REBIRTH BRASS BAND, MY BRIGHTEST DIAMOND, KARLA BONOFF, !!

W Patterson, Dark MY Tranquillity, Murder

By Death, CloZee, REBIRTHNOTHING, BRASS BAND, BRIGHTEST DIAMOND, KARLA BONOFF, NO LE WStrings, A OOddissee, A LOUDON WAINWRIGHT III V LE & NAfrica A B AmyTALIB Ray KWELI, and Her Band, U WHY?, Brother Ali,IL Gripper AB M ILDerek A TALIB KWELI, LOUDON WAINWRIGHT III LB V A A H W T M E R U N A E LB H A Fatoumata Diawara, Noura Mint Seymali, Daymé Afrocena, Tal National, Danilo H"" E HEARTBrito H T NEW & LD E O H T H S & E R LD H T HO HE "T THRE E RIGSBEE "TH723 AVES- DURHAM, NC - MOTORCOMUSIC.COM SAT 7/28

S D R I B G A R E TH

The Threshold & The Hearth THE RAGBIRDS

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

The Threshold & The Hearth THE RAGBIRDS

7/17 PETAL & CAMP COPE W/ SIDNEY GISH ($13/ $15) 7/19 JOE PUG ($15/ $18) 7/21 SUMMER SALT W/ HOT FLASH HEAT WAVE AND THE SYMPOSIUM ($13/ $15)

7/27 BODY GAMES W/ TOW3RS ($10/$12)

9/ 26 THE GROWLERS’ BEACH GOTH TOUR 2018 ($25/$30)

7/28 DR BACON W/ ENO MOUNTAIN BOYS AND ANDY LYLE HALL ($8/$10

9/27 CAAMP ($14/ $16) 9/29 MT. JOY W/ ARLIE ($15/$17) 10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22)

10/12 NEIL DIAMOND ALLSTARS W/ LESTER

/ Jo Gore @ 8:00 PM $25/$30 JOHN COWAN FRI 7/27 NIKKI LANE / Blank Range $25/$30

7/15 UP FROM HERE, COME CLEAN, CONTINUATIONS

9/19 FIDLAR W/ DILLY DALLY AND NOBRO ($22/$25)

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

@ 7/24 8:00 PMJOHN COWAN TUE NEGRITO @ 8:00FANTASTIC PM

7/13 PIERCE PETTIS ($15) 7/14 40HZ PRESENTS: KOZMIC, SOUND LOBOTOMY, AND GARUDA

7/25 MEGA COLOSSUS, WITCH MOUNTAIN, BIBLE OF THE DEVIL, DEMON EYE ($10)

LEAD INTO GOLD

10/7 JOEY GRACEFFA:

MON 7/18 MAIL THE HORSE THE W/ PAIGE JOHNSON FRI JULREVELERS 22 FRI JUL 22

7/12 INT'L PLAGUERS ANTHEMS / A COMIC BOOK RELEASE PARTY FT. DISTRIBUTED SYSTEMS, SHINER, BRUTAL JR ($10; INCUDES COMIC BOOK)

9/15 DEAD SARA

EDEN TOUR (ON SALE 7/13)

SUN MON7/227/18 MAIL THE HORSE

24 | 7.11.18 | INDYweek.com

8/10 TOWN MOUNTAIN ($12/ $15)

7/11 FAMILY VISION, TIRED FRONTIER

COALBANKS & THE SEVEN SORROWS ($10)

10/14 GAELIC STORM ($26/ $29; SEATED SHOW - TIX ON SALE 7/13)

7/30 MAMMOTH INDIGO W/ THE PINKERTON RAID AND PROPERSLEEP 8/2 SPIDER BAGS W/ DRAG SOUNDS ($10/$12) 8/3 SCHOOL OF ROCK ALLSTARS ($10) 8/4 ALBUM RELEASE PARTY ANNE-CLAIRE PETER HOLSAPPLE COMBO CHESSA RICH ($8 /$10) 8/5 JOAN OF ARC W/ CURT CASTLE ($12)

9/9 SLOAN ($22/$25) 9/11 REMO DRIVE, FIELD MEDIC PRINCE DADDY & THE HYENA ($13/$15) 9/15 LVL UP 9/28 JOSHUA HEDLEY W/CALE TYSON ($15) 10/12 THE VEGABONDS W/ KENDALL STREET COMPANY ($10/ $15 FOR TWO-PACK) 10/16 MIKAELA DAVIS ($12/ $14) 10/18 SARAH SHOOK & THE DISARMERS DOCUMENTARY SCREENING & LIVE PERFORMANCE ($15) 11/3 MAX FROST ($15/$17) 11/17 TALL HEIGHTS W/ FRANCES CONE AND OLD SEA BRIGADE ($13/$15; ON SALE 7/13) ARTSCENTER (CARRBORO)

10/20 POKEY LAFARGE (SOLO) MEMORIAL HALL (UNC-CH)

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

9/29 JOAN BAEZ SOLD

FARE THEE WELL TOUR

OUT

MOTORCO (DUR)

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 W/ H.C. MCENTIRE ($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 SOLD JENNY LEWIS OUT

10/15 BOB MOSES

8/8 ASM (ALEXANDRA SAUSERMONNIG OF MOUNTAIN MAN) ($10/ $12)

10/16 WILD NOTHING

8/9 THE ESSEX GREEN

8/3 KISHI BASHI AND JAKE SHIMABUKURO

8/10 TUATHA DEA W/ SIRIUS B AND LOVE AND VALOR

8/18 TROMBONE SHORTY'S LD VOODOO THREAUXDOWN SO OUT

W/ MANSIONAIR

10/20 GLORIETTA 10/22 WE WERE PROMISED JETPACKS ($15/$17; ON SALE 7/13) 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

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

8/11 OPEN FIELD, OBJECT HOURS, SHELLES ($8) 8/13 DK THE DRUMMER/ SUCRE ($15) 8/16 VACATIONER W/ SEGO, DIRTY ART CLUB ($15/ $17)

HEAT, JUNIOR BROWN, BLASTERS, BIG SANDY

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

11/30 MOUNTAIN GOATS W/DEAD RIDER

8/30 SLAUGHTER BEACH, DOG W/ THIN LIPS($12/$14)

RALEIGH LITTLE THEATER

9/6 MELODIME ($12/$14)

9/15 THE CONNELLS W/ DILLON FENCE AND THE MAYFLIES USA 3:30 DOOR/ 4 PM SHOW ($20/$25)

$10 day 8/31 THEof MATTSON 2 AND $10 advance advance // $12 $12 day of ASTRONAUTS, ETC. ($13/$15)

12/18 2ND ANNUAL HORTON’S HOLIDAY HAYRIDE: REVEREND HORTON

THE RITZ (RAL)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

Your Week.

Every Wednesday. indyweek.com

music 7.11– 7.18

The Body stops at The Pinhook on Friday night.

WED, JUL 11 2ND WIND: Yeaux Katz; 7-9 p.m., free.

CAT’S CRADLE: Kurt Vile & the Violators, Dylan Carlson; 8:30 p.m., $23–$26.

CAT’S CRADLE (BACK ROOM): Family Vision, Tired Frontier; 8 p.m., $5.

THE CAVE: Coyote vs Acme; 8 p.m., donations.

PHOTO BY ADAM DEGROSS

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

NEPTUNES PARLOUR: Marisa Anderson; 10 p.m., $8–$10.

NIGHTLIGHT: Kee Avil, Desert Secretary, Secret Boyfriend, de_Plata; 9 p.m., $7.

THU, JUL 12 2ND WIND: 2 fer; 7:30-9 p.m.

DUKE GARDENS: Music in the Gardens: Diali Cissokho & Kaira Ba; 7 p.m., $5–$10, 12 and under free.

THE CAVE: DUMB, Cosmic Punk; 7:30 p.m., $7 suggested donation.

Dumb, Cosmic Punk; 8 p.m., $5.

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

CRAFTY BEER SHOP: Sleepy Tom; 7 p.m., free.

NEPTUNES PARLOUR:

Heart of the Ghost [$8–$10/10 P.M.]

Washington, D.C.’s Heart of the Ghost is an improvisational trio comprised of percussion, bass, and alto saxophone, creating urgent and wild music in the lineage of Ornette Coleman, Rahsaan Roland Kirk, and Albert Ayler. The ensemble doesn’t perform so much as upend, hurl, and splatter sounds, building from a frothy collage of worriedsounding instruments through to a noisy cacophony. For this performance, they’re joined by local sound magicians

Jil Christensen on keys and electronics, and Crowmeat Bob on woodwinds.

—Josephine McRobbie POUR HOUSE: Local Band Local Beer: King Draft, Jared Sales, Cyanca, DL ZENE; 8 p.m., $3–$5.

swirling guitars and crashing cymbals. If you dig the churning psychedelia of Wooden Shjips or the performative masculinity of Pissed Jeans, give these local folks a try.

—Josephine McRobbie

SLIM’S:

FRI, JUL 13

[$5/8 P.M.]

618 BISTRO: Randy Reed; 7-9:30 p.m.

Night Battles Raleigh’s Night Battles bring a heavy and dense hit of gothy psych to Slim’s. While vocalist Charlie King camps it up with creepy vignettes in the style of Bauhaus’s Peter Murphy, the band fills every moment with

BEYÙ CAFFÈ: Lockdown Blues Band; 7 & 9 p.m., $13.

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

THE BULLPEN: David Childers and The Serpents; 8:30 p.m.

CAT’S CRADLE (BACK ROOM): Pierce Pettis; 8 p.m., $15.

THE CAVE: Sonitus Lux, TRIPLE X SNAXXX, Subscape Annex; 7:30 p.m., $5 Suggested donation.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Tedeschi Trucks Band [$20–$65/7 P.M.]

The idea of an oversize band playing an organic mix of blues, rock, country, and soul isn’t a new one—it goes back at least as far as hippie-era ensembles like Delaney & Bonnie & INDYweek.com | 7.11.18 | 25

Friends, or Joe Cocker’s Leon Russell-led group. But when the soulful vocals of Susan Tedeschi and the stinging guitar of her husband, Derek Trucks, combine amid a full complement of horns, backing vocalists, et al., it feels like some kind of torch has been proudly passed. With DriveBy Truckers and The Marcus King Band. —Jim Allen DURHAM CENTRAL PARK: Joshua Gunn; 6 p.m., free.

KINGS:

Shock Therapy: Jooselord Magnus

TH 7/12 FR 7/13 SA 7/14 SU 7/15 TU 7/17

SATCHMO BABCOCK CAROLINA LIGHTNIN’ DUKE STREET DOGS DLANIEOUS MEL MELTON & THE WICKED MOJOS DAVID QUICK’S JAZZ COMBO TUESDAY BLUES JAM WITH CLARK STERN

Shaan

[$29–$49/8 P.M.] Though his name may not immediately ring a bell, Shaan is one of the biggest lights of Bollywood. A playback singer renowned for his particular knack for romantic songs, his voice has graced dozens of hit films. His stop in Raleigh is an opportunity to see a star at the top of his game, and

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7P 7P 6-8P 9P 8PM $10 5-7P 7:30P

FR 7/13 SA 7/14 FR 7/20 TU 7/24 FR 7/27 SA 7/28 FR 8/3 SA 8/4 FR 8/10 SA 8/11

Baron Tymas Quartet Charlie Sothcott Quintet Zoocru NCJRO Brad Linde’s Team Players Jua and Andrea Claburn Devin Frazier Quartet Curtis Taylor Quartet featuring Shana Tucker Thomas Taylor CD Release Dave Finucane Quartet

Adult, Youth, & Private Classes available!

4608 Industry Lane, Unit L • Durham, NC 27713

(919) 486-JAZZ (5299) www.durhamjazzworkshop.org

26 | 7.11.18 | INDYweek.com

Charley James’ indie electropop debut EP, Baby We’re Optimists, Remember?, fuses deeply personal lyrics with melancholy, dream-like beats and melodies. His music might make you want to cry or dance or “drive slow and think about the future all alone,” as he expresses in “Dreams in Grayscale.” Fish Dad opens.

—Lena Geller

MEMORIAL AUDITORIUM:

This Friday night slate at Kings celebrates the launch of the Krawzbonez Collective, an ensemble of local hip-hop up-and-comers. Founder Jooselord Magnus headlines with hard-hitting bars, whlie the undercard features fellow Krawzbonez affiliates like Konvo the Mutant, 3AM, Jovi Mosconi and more.

—Allison Hussey

WE 7/11

[$8/9 P.M.]

THE MAYWOOD: Gross Reality, Paagtheaan, Malediction; 9:30 p.m., $8.

[$10–$12/10 P.M.]

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PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10.

POUR HOUSE:

Fly Anakin [$12/8 P.M.]

On his latest album The Tale of the Mutant Root, Richmond emcee Fly Anakin continues to expand on his avant-garde style with intricate lyrics and sample-based production. His sound palette closely resembles Westside Gunn, but Anakin’s cadence is cleaner, more energetic, and lighter. Though his beat selections are samplebased, they’re far from run-ofthe-mill nineties imitations, and rely on atmosphere rather than heavy drums. Ohbliv, Al Divino, Ankhlejohn, and Billie Essco share the stage. —Charles Morse RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, JUL 17 CAT’S CRADLE BACK ROOM:

Coheed and Cambria stop at Raleigh’s Red Hat Amphitheater Friday. a cut of the show’s proceeds benefit NC Arts in Action, which enriches the lives of fourth-graders through dance education. —Allison Hussey THE PINHOOK:

The Body [$12/9 P.M.]

For years, Portland doom deconstructionists The Body have consistently challenged, and sometimes obliterated, the boundaries between metal, noise, punk, and industrial. This year’s twin releases, I Have Fought Against It, But I Can’t Any Longer and the Uniform collaboration Mental Wounds Not Healing, features the duo at an emotional and creative apex. Both are highly claustrophobic and unsettling listens, and they’re extremely powerful releases of negative emotions. But that’s the exact kind of bloodletting we all need now and again, and it makes The Body an affirming (and even oddly soothing) listen. Lingua Ignota and Solar Halos open.

—Patrick Wall POUR HOUSE: Downtown Abby, The Echoes; 2 p.m., $5. Travers Brothership & Friends; 10:30 p.m., $10.

RED HAT AMPHITHEATER:

Coheed and Cambria [$22–$82/6:30 P.M.]

Coheed and Cambria is still finding new narratives in its Amory Wars sci-fi prog-rock universe. The Unheavenly Creatures, coming in October, is the sixth entry in the series, and the band’s seventh record. But the saga plays out as though it were directed

by Michael Bay: all flash via overproduced records, outsized riffs, and Claudio Sanchez’s hyperdramatic vocal delivery, and no substance.

Taking Back Sunday kicks it turn-of-the-century, too—it’s been churning the same midgrade emo alt-rock for nigh on twenty years. —Patrick Wall THE RITZ:

Petal, Camp Cope PHOTO BY MANUAL CASANOVA

which spent its first few years speeding through whiplashing concoctions of math rock and death metal. Nowadays, the quintet’s extreme in the same way as, say, Kayo Dot, in their mixture of brains and brawn, but it’s rougher—and arguably more appealing—edges have been smoothed down. Born of Osiris, Veil of Maya, Erra, The Agony Scene, Allegaeon, Soreption and Entheos also play. —Patrick Wall

SAT, JUL 14 APEX NATURE PARK: Sweet Potato Pie; 7 p.m., free.

BEYÙ CAFFÈ: D. Shawn & Soul; 7 & 9 p.m., $13.

THE BULLPEN: Thomas Rhyant’s Sam Cooke Soul Revue; 8:30 p.m.

Between the Buried and Me

THE CAVE: Space Koi; 8 p.m., $5 Suggested donation.

Here, veteran North Carolina progressive hardcore band Between the Buried and Me headlines what’s called The Summer Slaughter Tour, which is billed as “the most extreme tour of the year.” “Extreme” might have once applied to Between the Buried and Me,

THE MAYWOOD: Outliar, Antenora, Greves, River Of Black; 8 p.m., $10.

[$26/2:30 P.M.]

THE KRAKEN: The Unmentionables; 8 p.m.

MOTORCO: Girls Rock NC Showcase for Rising 2nd Through 4th Graders; 1 p.m., $10.

NIGHTLIGHT: Felix Obelix/Wendy Spitzer’s Co-Labor-Atory; 7:30 p.m., $7.

See page 17.

POUR HOUSE: Andy Wood, Infinite Eve, Seth Rosenbloom; 6:30 p.m., $10.

Elephant Convoy, Monjah; 9:30 p.m., $7.

SAXAPAHAW RIVER AMPHITHEATER: Saturdays in Saxapahaw: Big Fat Gap; 6 p.m., donations.

THE STATION: Regional Producer Showcase: Downbeat Beatdown; 8 p.m., $10.

SUN, JUL 15 CAT’S CRADLE: Come Clean, Up From Here, Continuations; 7:30 p.m., $8.

[$13–$15/8 P.M.]

Grounded in personal experience, Camp Cope’s jangly slacker punk often becomes political. The Australian trio’s second LP includes an in-your-face response to sexist criticism and a harrowing reflection on the music scene’s sexual assault epidemic. Petal leverages both sunny pop hooks and sparse piano ballads while laying emotions bare, Kiley Lotz’s mellifluous voice mirroring the clarity she’s found towards her mental health and queerness. Sydney Gish opens. —Spencer Griffith

FULLSTEAM: Brooke McBride; 5 p.m., free.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Chicago, REO Speedwagon; 7:30 p.m.

LINCOLN THEATRE: AirCrash Detectives; 6:30 p.m., $15.

KOKA BOOTH AMPHITHEATRE:

MOTORCO: River Whyless; 8 p.m., $15–$28. See page 15.

[$45–$70/6:30 P.M.]

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

POUR HOUSE: City Dirt Trio, Tennessee Jed; 1 p.m., $5.

MON, JUL 16 IMBIBE: Grewen and Griffin; 7-10 p.m., free.

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

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

The B-52s

While the idea of your new wave faves still putting on the turquoise eyeshadow to perform their greatest hits might be a slightly depressing proposition, consider the case of the B-52s. They were always retro misfits running on tension and release, and their personas never thrived on sexiness or youth. It remains electric to watch a spacesuited

and bouffant-ed Cindy Wilson ask “Remember when you held my hand? Remember when you were my man?” over spare funhouse organ, before descending into chaotic call-and-response vocals. They take the stage between Boy George & Culture Club and Thompson Twin’s Tom Bailey for this Cary nostalgiapalooza.

—Josephine McRobbie MOTORCO:

The Get Up Kids [$22–$26/8 P.M.]

It’s been almost twenty years since The Get-Up Kids released Something to Write Home About, a classic entry in the nineties emo canon. Like many of their contemporaries, they’ve strayed from the formula at points, but always returned home to the crunchy guitar and yelled missives that bring in nostalgia-ready crowds of thirty-somethings.

Racquet Club and Ageist open.

—Josephine McRobbie POUR HOUSE: Get Sad Y’all: Raleigh’s Emo Night; 9 p.m., $10–$15.

WED, JUL 18 BLUE NOTE GRILL: The Herded Cats; 8 p.m.

DUKE GARDENS: Music in the Gardens: Anna & Elizabeth; 7 p.m., $5–$10, 12 and under free. See page 23.

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

THE PINHOOK:

Lee Bains III & the Glory Fires [$8/9 P.M.]

One year after releasing the timely and defiant Youth Detention, Lee Bains III & The Glory Fires are the most vital rockers in America. Bains uses his distinct Southern drawl to amplify the voices of the marginalized, channeling his frustrations with structures that have long given power to folks like him while reconciling that with his own upbringing. Fierce punk charges lend urgency to rallies against systems of oppression, redefining Southern rock for the complicated landscape of the new South.

With Lonesome Leash.

—Spencer Griffith POUR HOUSE: Consider the Source, Magma Opus; 8 p.m., $12.

UNITY CENTER OF PEACE: Freebo and Alice Howe; 7:30 p.m., $20.

INDYweek.com | 7.11.18 | 27

art 7.11–7.18

FOR OUR COMPLETE COMMUNITY CALENDAR

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

INDYWEEK.COM

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

OPENING Big & Small & Abstract & Floral: Hillsborough artist Michael Brady. Fri, Jul 13, 6-9 p.m. Carrboro Century Center, Carrboro. carrboro.com/ centurycenter.html.

Scientific Expressionism: Art by Robert Chambers Hoppin.

Fri, Jul 13, 6-9 p.m.

Carrboro Town Hall, Carrboro. www.townofcarrboro.org.

ONGOING Abstracture: Abstract paintings by Michelle Draughon. Thru Jul 31. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

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

Elizabeth Bradford: Paintings.

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

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

By the Sea: Seascapes and shore living. Thru Sep 1.

V L Rees Gallery, Raleigh. www.vlrees.com.

Folk Keepers: Art by Charlie and Let’s Use Lo Susan Frye: Paintings and found-by Joan Va 1. Chapel H art assemblages.

Thru Aug 9. Alexander Dickson Visitors Bu House, Hillsborough.

Louisiana T www.historichillsborough.org. Ariaz’s pho American t Dana Lynn Harper: Summer Artist-in-Residence Dana Lynn in Louisian Harper. Thru Jul 28. Artspace, Duke Cam Raleigh. www.artspacenc.org. Document www.cdsp HEATWAVE: Works inspired

by summer heat. Thru Aug 5. Ode to Ma

by Mary Pa Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Aug 12. Lit Craft Colle Hotel Theory: Around the time he stepped away from his littleartgall

twenty-year tenure as foundingOne Eno: P director of Raleigh gallery Holden Ric Lump, Bill Thelen struck out forSundays. T an artist residency in a hotel Point on th in Oaxaca. He brought two www.enori books with him, Huysmans’s Painting th decadent Against Nature Santiago: O and Wayne Koestenbaum’s Kane. Thru Hotel Theory, an experimental Hall, Cary. philosophy of hotel life. The www.town 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

THURSDAY, JULY 12

RACHEL GOODWIN: CONVERSE CANOPY Since the beginning of June, Power Plant Gallery artist-in-residence Rachel Goodwin has been gradually transforming the space. If you’ve dropped by during the residency, you’ve seen the gallery filling up with the Durham artist’s long, hanging, beaded sculptures, which allude to Mardi Gras beads in the trees of her native New Orleans. Made of wood, paint, and found materials, the pieces present their own visual logic as color ripples against color and form ranges across form. But what, precisely, is Goodwin thinking or feeling about the myths and mirages of New Orleans and the meaning of constructing one place in another? Gain insight and see the finished installation at this closing reception for Converse Canopy, which features an artist talk and live music by Charles Latham. —Brian Howe

Detail from Rachel Goodwin’s Converse Canopy PHOTO COURTESY OF POWER PLANT GALLERY

28 | 7.11.18 | INDYweek.com

POWER PLANT GALLERY, DURHAM 6–9 p.m., free, www.powerplantgallery.com

SPECIAL EVENT Allen, pain ceramicist photograph Thru Aug 5 13, 6-8 p.m Chapel Hill

SPECIAL June Exhibit: EVENT Woodworker Keith Allen, painter Carroll Lassiter, ceramicist Linda Prager, and photographer John Rosenthal.

Thru Aug 5. Reception: Fri, Jul 13, 6-8 p.m. FRANK Gallery, Chapel Hill. frankisart.com.

Let’s Use Lots of Color: Paintings

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

Louisiana Trail Riders: Jeremiah Ariaz’s photographs of AfricanAmerican trail-riding clubs in Louisiana. Thru Sep 22.

Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Ode to Matisse: Oil paintings

by Mary Page Whitley. Thru Aug 12. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

One Eno: Photography by Holden Richards. Saturdays, Sundays. Thru Aug 12. West Point on the Eno, Durham. www.enoriver.org.

Painting the Camino de Santiago: Oil paintings by Sonia Kane. Thru Aug 26. Cary Town Hall, Cary. www.townofcary.org.

Recent Activity: PNC Pop In Artist in Residence Jeana Eve Klein. Thru Jul 28. 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.

Say What Now?: New collages

by DAG member artist Kathryn DeMarco. Thru Jul 24.

Golden Belt, Durham. www.goldenbeltarts.com.

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

Nasher Museum of Art, Durham. nasher.duke.edu. —Brian Howe Solidifying Roots: 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 won a Moscow International Foto Gold Award. Thru Aug 19.

Horace Williams House, Chapel Hill. chapelhillpreservation.com.

—Brian Howe

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

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

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 Tandem Transitions: Portals and Hues: Painter Darius Quarles and guest ceramic artist Linda

Marcuson. Thru Aug 5.

Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Three Quilts: Fiber art by Martha Clippinger. Thru Aug 12.

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

Unite and Illuminate: Exhibition inspired by Artists United’s 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.

Thru Jul 24. Eno Gallery, Hillsborough. enogallery.net.

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

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

Watercolor Paintings from the Estate of Harry De Maine (1880 – 1952): Thru Jul 31. Gallery C, Raleigh. www.galleryc.net.

A World of Glorious Color: Thru Jul 24. Cary Gallery of Artists, Cary. carygalleryofartists.org.

Worlds Apart: Thru Jul 7. Craven Allen Gallery, Durham. www.cravenallengallery.com.

food & drink

Matsuri Omakase: Interpretations of Japanese street food. Tue, Jul 17, 5:30-9 p.m. Dashi, Durham.

National Ice Cream Day Celebration 2018: Live music

by Back Porch Orchestra & the Mason Lovette Band, lawn games, face-painting, food trucks, ice cream specials, and more. Sun, Jul 15, 1-9 p.m. Maple View Ice Cream, Hillsborough. www.mapleviewfarm.com.

PickleFest Durham 2018: N.C.-made products from pickle vendors, including kombucha and kimchi. Free-$20.

Sun, Jul 15, 12-4 p.m. The Rickhouse, Durham. www.rickhousedurham.com.

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.

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

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(919) 967-6159

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

Issue: 7/18 • Reservations: 7/13 CONTACT YOUR REP OR ADVERTISING@INDYWEEK.COM

SATURDAY, JULY 14–TUESDAY, JULY 17

DANA RUTTENBERG DANCE GROUP After a series of last-minute challenges from the Department of Homeland Security, it wasn’t certain that Israel’s Dana Ruttenberg Dance Group would be permitted to perform at the American Dance Festival. But now that its five dancers, company manager, and artistic director have been found to pose no threat to national security, the show can go on. In the immersive, interactive Naba 2.0, the context of the movement is individualized as dancers and audience members prowl the galleries of the North Carolina Museum of Art. At the start, each patron receives a set of headphones and an audio guide programmed with a series of musical, spoken word, audio vérité, and sound effects clips. The audio “chapters” you choose alter the frame of reference for each section in a work where viewers see the same choreography while experiencing it in very different ways.

—Byron Woods

NORTH CAROLINA MUSEUM OF ART, RALEIGH Various times, $33, www.americandancefestival.org

Dana Ruttenberg Dance Group PHOTO BY ZOHAR RALT

30 | 7.11.18 | INDYweek.com

OPEN

A.I.M: Am Festival. $ 17-Thu, Ju Arts Cent Studio Th

ADF Facu American $12-$20. p.m. Duke Industries

Cabaret: Summer $10-$15.

PlayMake Company

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Bulltown Comedy Series: Third Tuesdays, 9 p.m.

Fullsteam, Durham. www.facebook.com/ BulltownComedySeries.

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.

OPENING A.I.M: American Dance Festival. $12-$38. Tue, Jul 17-Thu, Jul 19. Rubenstein Arts Center - von der Heyden Studio Theater, Durham.

ADF Faculty Concert: American Dance Festival. $12-$20. Sat, Jul 14, 2 & 5 p.m. Duke Campus: Reynolds Industries Theater, Durham.

Cabaret: PlayMakers’ Summer Youth Conservatory. $10-$15. Jul 18-30.

PlayMakers Repertory Company, Chapel Hill.

Dana Ruttenberg Dance Group: American Dance Festival. $33. Sat, Jul 14-Tue, Jul 17. NC Museum of Art, Raleigh. ncartmuseum.org.

Family-Friendly Transactors Improv: Improv with the theme of “girl power.” $6-$10. Sat, Jul 14, 6 p.m.

The ArtsCenter, Carrboro. artscenterlive.org.

Wondrous Women: American Dance Festival. $12-$51. Fri, Jul 13, 8 p.m. & Sat, Jul 14, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre.org.

LadyBits Open Mic: Fiveminute comedy sets by women. Second Saturdays, 5:30 p.m. The Pinhook, Durham. www.thepinhook.com.

Tere O’Connor Dance: American Dance Festival. $12-$33. Thru Jul 11, 8 p.m.

Duke Campus: Reynolds Industries Theater, Durham.

The Sunday Show: Monthly showcase for stand-up comics from around the state. Featuring Mark Brady, Tyler Wood, Shari Diaz, Alex Garretson, Tank Smith, and Aaron Cardwell. Sun, Jul 15, 8 p.m. Mystery Brewing Public House, Hillsborough. www.mysterybrewing.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 | 7.11.18 | 31

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page

SPECIAL SHOWINGS All About Bears: North Carolina & Beyond: New documentary Pandas 3D. With Stuart Pimm and Joe Folta.

Sat, Jul 14, noon. Wells Fargo IMAX Theatre at Marbles Kids Museum, Raleigh. www. marbleskidsmuseum.org.

Movies in the Park: Outdoor archival program “Really Big, Really Small.” Sat, Jul 14, 9 p.m.

Durham Central Park, Durham. www.durhamcentralpark.org.

PHOTO COURTESY OF THE AUTHOR

TUESDAY, JULY 17

DAVID BOWLES In last year’s Norse Mythology, Neil Gaiman shaped varied North-Germanic myths into a unified narrative that was more about storytelling panache than academic insight.

I love books like this (see also Robert Crumb’s straight, therefore utterly surreal, retelling of the biblical book of Genesis), which try to see myths for what they are rather than what underlies them. David Bowles adds a delightful treasure to the trove with Feathered Serpent, Dark Heart of Sky: The Origin Myths of Mexico, a modern retelling of Mexico’s creation myths that attempts to bind the fragments into a line. From the beginning of the world as a god’s dream to the fateful arrival of fair-haired strangers from the sea, Bowles weaves a dazzling tapestry of the pre-Colombian Mesoamerican cosmos. “Despite the darkness that pervades most of the tales, Bowles’s dense yet lyrical prose raises the narrative to a level suited to high mythological tradition and illuminates the foundations on which contemporary Mexican culture is laid,” says Kirkus Reviews. —Brian Howe

FLYLEAF BOOKS, CHAPEL HILL 7 p.m., free, www.flyleafbooks.com

READINGS & SIGNINGS

the Lost Colony. Sat, Jul 14, 11 a.m. Circle City Books & Music, Pittsboro.

Nora Gaskin Esthimer: With novel The Worst Thing. Wed, Jul 18, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

LECTURES ETC.

Scott Reintgen: Nyxia Unleashed launch party. Tue, Jul 17, 7 p.m.

Barnes & Noble, Cary. www.barnesandnoble.com.

Dwayne Walls Jr.: With nonfiction book Backstage at 32 | 7.11.18 | INDYweek.com

Animal ESP and Communication: The Rhine Center’s Susan Freeman, featuring animal communicators Kathe Martin, Toni Stevens, and Michele Bustamante. $10-$20.

Fri, Jul 13, 7 p.m. The Episcopal Center at Duke, Durham.

Un Buen Carnicero, Collards in the Cafeteria, and Wok Next Door: Character-driven documentaries about food and contemporary social issues. Part of the Southern Culture Movie Series. Thu, Jul 12, 6:30 p.m.

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

OPENING Eating Animals—The novelist Jonathan Safran Foer’s bestselling anti-factory-farming book is now a documentary.

Unrated.

Hotel Transylvania 3: Summer Vacation—Dracula and friends escape from the titular hotel and onto a cruise ship in this third outing for the animated children’s franchise. Rated PG. Skyscraper—Imagine Die Hard but with Bruce Willis replaced by Dwayne Johnson (as an amputee, for good measure), and there you have it. 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.  Ant-Man and the Wasp—Marvel takes a goofy, low-stakes break from existential threats. The tone is so agreeable you hardly notice the rickety script.

Rated PG-13.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated SpiderMan, the sequel is a controlled detonation of the superheromovie template: filthy, funny, and cheerfully ultraviolent.

Rated R.

WEDNESDAY, JULY 18

MOVIEDIVA FILM SERIES: THE AWFUL TRUTH There are few people we’d rather have guiding us through classic Hollywood than Laura Boyes, who serves as the film curator at the North Carolina Museum of Art and a movie commentator on WUNC’s The State of Things. In her new MovieDiva Film Series at The Carolina Theatre, Boyes picks some of her favorites and offers personal introductions. First up is The Awful Truth from 1937, a classic screwball comedy starring Irene Dunne and Cary Grant as a divorcing couple trying to thwart each other’s new romances. The film won Leo McCarey an Oscar for best director, though in his acceptance speech, he said he felt he’d won for the wrong film, as he considered his other work from that year, the heartbreaking drama Make Way for Tomorrow, to be superior. Still, The Awful Truth remains a touchstone of romantic comedy and launched Cary Grant’s comedy career. —Zack Smith

THE CAROLINA THEATRE, DURHAM 7 p.m., $7, www.carolinatheatre.org

 Hereditary—This truly disturbing horror film thrives on real human anxieties, hideous images, and the occasional headless cultist.

Rated R. 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 oncemighty 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.

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 | 7.11.18 | 33

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

7

5

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this week’s puzzle level:

© Puzzles by Pappocom

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

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

5 3 1 3

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solution to last week’s puzzle

Page 12 of 25

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9 2 1 1 8 9 6 4

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6 4 5 3 9 1 7 8 2 If you just8 can’t 1 3 2 wait, 7 4 5check 9 6 out the current 9 2 7week’s 5 8 6 answer 3 4 1 1 8 4 6 2 5 9 3 7 key at www.indyweek.com, 5 7 6 9 3 8 2 1 4 and click “Diversions”.

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

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

1 8 9 9

7.11.18

30/10/2005

5

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last week's puzzle

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MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 7.11.18 | 35

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

Issue: 7/18 • Reservations: 7/13 CONTACT YOUR REP OR ADVERTISING@INDYWEEK.COM