INDY Week 7.17.19

Short-Term Rental Rebellion P. 7

RALEIGH July 17, 2019

Merge: Next Gen P. 12 Give Me More, Papa P. 18

After years of organizing, Duke University’s graduate students got a raise. Duke still won.

BY LEIGH TAUSS, P. 8

5 The cont

6 The Rae who

8 Givi Duk

12 Mer Mer and

15 For Up K of th

18 Pap defin

22 The best happ

2 | 7.17.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 27

DEPARTMENTS

5 The filename for Durham’s Comprehensive Plan contains the words “OTHER_PLAN.”

6 News

6 The feds have paid New Horizons Group Home in Raeford nearly $4 million to “detain and transport” kids who crossed the southern border.

15 Music 18 Food 22 Arts & Culture

8 Giving its graduate students a living wage will cost Duke University $19 million a year.

26 What to Do This Week 29 Music Calendar

12 Merge Records at age thirty retains the values of Merge Records at age one, updated for the tastes and tenor of our times.

33 Arts & Culture Calendar

15 For our emo-loving Gen Z correspondent, The Get Up Kids come packed with all of the riffs but none of the memories.

18 Papa Shogun does Japanese-Italian food. That is most definitely not a gimmick.

22 The hosts of How Did This Get Made? know that the best part about bad movies is the conversations that happen after them.

The tonkatsu milanese at Papa Shogun (see review on page 18)

On the cover PHOTO BY JADE WILSON

DESIGN BY ANNIE MAYNARD

INDYweek.com | 7.17.19 | 3

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman ARTS+CULTURE EDITOR Brian Howe STAFF WRITERS Thomasi McDonald, Leigh Tauss ASSOCIATE ARTS+CULTURE EDITOR Sarah Edwards FOOD+DIGITAL EDITOR Andrea Rice EDITORIAL ASSISTANT Cole Villena THEATER+DANCE CRITIC Byron Woods RESTAURANT CRITIC Nick Williams VOICES COLUMNISTS T. Greg Doucette,

Alexis Pauline Gumbs, Courtney Napier, Barry Saunders, Jonathan Weiler CONTRIBUTORS Amanda Abrams, Jim Allen, Elizabeth Bracy, Timothy Bracy, Jameela F. Dallis, Khayla Deans, Michaela Dwyer, Spencer Griffith, Howard Hardee, Corbie Hill, Laura Jaramillo, Kyesha Jennings, Glenn McDonald, Josephine McRobbie, Samuel MontgomeryBlinn, Neil Morris, James Michael Nichols, Emily Pietras, Marta Nuñez Pouzols, Bryan C. Reed, Dan Ruccia, David Ford Smith, Zack Smith, Michael Venutolo-Mantovani, Chris Vitiello, Ryan Vu, Patrick Wall INTERNS Lena Geller, Thomas C. Martin, Sophia Wilhelm

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backtalk

Once Over Lightly

W

e begin with Erica Weaver, who writes that she’s “a bit appalled”

by Barry Saunders’s recent column on his experience at Beyú: “As a longtime (now former) reader, I once looked to the INDY for informative and educational articles about Durham. When I read this, I was a bit annoyed that the INDY would even publish such an article. It came across as petty and particularly unfair. I’m sure there’s more to write about in Durham, and I hope in the future the INDY chooses more wisely what it publishes.”

John Norris says that our recent Deep Dive section “came up dry in the Hillsborough dining scene. Perhaps you should rename this feature ‘Once Over Lightly.’ Or maybe put in a little more effort the next time you pass through Hillsborough and other outlying destinations in the Triangle.”

Note: Deep Dive listings are taken from our annual guide to the Triangle, FINDER. The 2019 edition will be released in October.

“I moved to Durham six weeks ago for a job in communications,” writes Myles Green.

“Within two hours of arriving here, I had a copy of the INDY in my hands. An hour later, I was engrossed in Tristan Park’s performance, They Don’t Know Harlem: In Communion with James Baldwin. Your reporting on the diversity, creativity, and political realities of the Triangle has only continued for me since then. Gratitude. I now have a weekly ritual every Wednesday.”

Finally, Hampton Dellinger: “I’ve relied on the INDY for decades for its trenchant, salient, probing and (you guessed it) indispensable political and policy reporting and commentary. But Nick Williams’s brilliant review of Panciuto’s restaurant reminded me that your cultural, social, and culinary observations have enriched my life (and the life of the Triangle) as well. Thank you, and I’m delighted to be part of the vital INDY Press Club.”

If you’d like to join Hampton, please visit KeepItIndy.com.

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

INDY VOICES

The M/otherplan

WE HAVE A RESPONSIBILITY TO CREATE A COMMUNITY THAT IS AS LIFE-GIVING AS POSSIBLE

BY ALEXIS PAULINE GUMBS

ALEXIS PAULINE GUMBS is the author of M Archive: After the End of the World, Spill: Scenes of Black Feminist Fugitivity, and co-editor of Revolutionary Mothering: Love on the Front Lines.

NEXT WEEK: JONATHAN WEILER, a UNC-Chapel Hill political scientist and co-author of Prius or Pickup? How the Answers to Four Simple Questions Explain America’s Great Divide and Authoritarianism and Polarization in American Politics.

I

recently moved back to Durham after a year and a half away. A lot can change in a year and a half. A higher cost of housing, a skyline pierced by new luxury condos, and a whole lot of white people running the streets without being chased—the running of the bulls?— greeted me seemingly out of nowhere upon my return.

But these things don’t come out of nowhere. Cities are planned.

Is this my fault? I’ve been traveling the country as a writer and speaker gushing about how wonderful Durham is, at the same time national magazines have been including Durham on their top-ten lists. I want everyone I love to move here. Some people actually have. My partner and I were on the cover of Durham magazine some years back declaring Durham “the L-Word [they meant LESBIAN] capital of the South.” Am I complicit in Durham becoming dangerously trendy to gentrifiers? That wasn’t my plan.

I wouldn’t recognize myself without the artists and organizers of this city. Fifteen years ago, when I moved to Durham from NYC to start life after college, this was a place with a scale of inspiration and action that held me accountable as a writer and educator. I was relieved to find a home without the high turnover and shallow social scenes of the places I’d lived before. In Durham, I found an intergenerational majoritypeople-of-color community where children, elders, and everyone in between expected me to keep my word and show up as a participant in a community with revolutionary histories and aspirations.

I’ve made my love for Durham public, because Durham has mothered me in a way that deserves acknowledging.

What does mothering have to do with it?

I mean mothering in the sense that Alice Walker talks about it in her essay “Democratic Motherism.” Mothering is a life-giving approach to community. The words on the front of the Durham County Human Services building, designed by the late architect Philip Freelon, are one definition of the mothering I am talking about: “Durham’s vitality is built on the health of our residents and the capacity of our community to foster and advance the wellbeing of every citizen.”

Alice Walker imagines Motherism (as opposed to capitalism) as a system of relating to resources, governance, and structure based on what makes the community and the world more life-giving. And while Black women, like the women of SpiritHouse, ancestor organizers Cynthia Brown and Nayo Watkins, activist Mandy Carter, and Black mothers who are elected officials—such as Satana Deberry and Jillian Johnson—are a major part of how Durham has mothered me, it’s like Alice Walker says: “Mothering is an instinct, but it is also a practice. It can be learned.”

That means everyone can do it. And that we all have a responsibility for creating communities that are as life-giving as possible. You could call Phil Freelon’s lifelong decision to design schools, museums, libraries, public service buildings, and bus stations, instead of prisons and strip malls, a practice of mothering the thousands of people who move through those spaces.

Mothering by design.

So when Patricia Harris, the first licensed Black woman architect in North Carolina and a member of the committee to create the Durham 2020 Masterplan (released about fifteen years ago) writes a letter to The News & Observer saying,

“Our accelerated growth has now placed too many who ride the bus, under the bus,” or when visually impaired artist Nikki Brown reports to the Human Rights Commission the ways that the free Bull City Connector discriminates against people with low incomes and disabilities who most need accessible transportation by not stopping at the Durham Transit Station, I have to wonder if, instead of a new masterplan, we need a motherplan.

Durham has long been under a masterplan in the poetic sense of the word, where “master” refers to the slaveholding patriarchal owner of a plantation.

Much of Durham was once a plantation owned by the Stagg family. The interests of Duke University, founded by the slaveholding Duke family, shape the contemporary growth of Durham. The university (where I got my graduate degree) was the largest donor to the 2020 Cultural Master Planning process (after the city itself ). Is there another way to plan?

While reading the Cultural Master Plan, the 2017 update of the Downtown Masterplan, and the Durham Comprehensive Plan, I noticed that, by intention or mistake, the filename for the Comprehensive Plan PDF is: “8384_OTHER_PLAN_-_ MARK_UP_VERSION_305581_445340. pdf.” Hmm. Other Plan.

For me, mothering is indeed how we create an/other world. What would a m/otherplan for Durham look like?

Stay tuned.

INDY Voices—a rotating weekly column featuring some of the Triangle’s most compelling writers and thinkers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 7.17.19 | 5

indynews

Companies Love Misery

SOME N.C. CORPORATIONS ARE MAKING BIG BUCKS OFF CONTRACTS WITH CUSTOMS AND BORDER PROTECTION

BY THOMASI MCDONALD

S

ince 2010, nearly two dozen North Carolina corporations have together earned more than $36 million doing business with Customs and Border Protection, an agency facing harsh criticism for its overcrowded and inhumane detention camps along the southern border, according to a report last month on the investigative money-in-politics website Sludge.

Among them are the Cary-based Horizon Performance, a consulting company that received nearly $179,000 in 2019; Signalscape, which provides security and intelligence services and products, and has a contract with CBP that could pay as much as $785,000 between 2016 and 2020; and SAS Institute, which received nearly $40,000 for services it provided to the CPB. Outside of the Triangle, the New Horizons Group Home in Raeford was awarded nearly $4 million to “detain and transport unaccompanied alien children” who crossed the border or “were separated from adults,” Sludge reported.

In 2018, the Battleboro-based consulting firm TMC-TeleSolv was awarded a contract that could pay up to $40 million over a two-year period. KDH Defense Systems Inc., in Eden, a manufacturer of body armor, was awarded nearly $23 million.

Southern Police Canines Inc. in Nashville, which specializes in K9 training, banked $80,000 from the agency.

Sludge reporter Alex Kotch, a Durham native who previously worked at the Institute for Southern Studies, relied on a database made public by the Federal Procurement Data System, a subsidiary of the General Services Administration.

These payments were part of the $6.4 billions CBP has paid to 1,123 vendors across the country for a variety of services, everything from vehicles to food to housekeeping.

These payments have risen sharply under the Trump administration, Kotch reported, with the biggest recipients being defense contractors like Lockheed Martin and PAE 6 | 7.17.19 | INDYweek.com

Vice President Pence at McAllen Border Patrol Station Aviation and Technical Services, along with the information technology company Leidos, G4S Solutions, and the consulting firms Deloitte and McKinsey & Company.

These government contracts have come under scrutiny as media reports and immigrant rights advocates have called attention to conditions inside the camps, where asylum seekers have been detained in overcrowded, unhygienic facilities. Last week, Vice President Mike Pence, along with Senator Thom Tillis and other Republicans, toured one detention camp in Texas where men held in chain-link cages said they were denied access to showers and CPB agents wore masks to shield themselves from the stench.

Pence said afterward that “the system was overwhelmed,” but this was not the administration’s fault. Other Republicans have argued that CPB does not have enough resources. For his part, Trump tweeted last

PHOTO COURTESY MIKE PENCE’S TWITTER ACCOUNT

week that “if illegal immigrants are unhappy in the quickly built or refitted detention centers, just tell them not to come. All problems solved!”

The dilemma at the detention camps was amplified earlier this month when a memo from the Department of Homeland Security’s acting inspector general outlined the need to “address dangerous overcrowding and prolonged detention of children and adults in the Rio Grande Valley.”

On July 12, advocates in cities across the country gathered as part of a liberty vigil to protest the conditions faced by migrants in these camps. Lights for Liberty, a grassroots coalition of immigration rights organizations, sponsored a vigil in Carrboro.

Toby Gialluca, a Triangle lawyer and member of Lights for Liberty, says he’s been inside the camps. The conditions are “beyond description.”

“Twenty-four adults and six children

have died as a result,” Gialliuca says. “The world must take a stand against this administration and stop these camps before more lives are lost.”

In response to the INDY’s questions, SAS officials said in an email that the company “is not, nor has it ever been, involved in immigration detention centers.”

Records show that SAS’s involvement with CBP dates back to the George W. Bush administration and continued through last year, during which time it was awarded about $4.3 million in contracts from the agency’s Office of Information Technology, according to receipts published on the government website USASpending.com.

These receipts primarily show work for software and licenses.

The other local companies, as well as New Horizons Group Home, could not be reached for comment by press time. tmcdonald@indyweek.com

news

Ignorance Is Bliss

THE STATE MIGHT HAVE JUST PREEMPTED RALEIGH’S AIRBNB REGULATIONS. THE CITY IS PRETENDING IT DIDN’T HAPPEN. BY LEIGH TAUSS

O

n January 1, Raleigh is set to begin enforcing strict rules on shortterm room rentals and a ban on whole-house rentals in most of the city through services like Airbnb. Two things could get in the way.

One, the outcome of October’s city council elections.

Two, the North Carolina General Assembly.

Depending on whom you ask, the latter already did so. On July 1, Governor Cooper signed an update to the state’s Vacation Rental Act that prohibits local governments from forcing property owners to obtain a permit before renting out their properties, which the rules the Raleigh City Council passed in May require. Last week, Brent Woodcox, the General Assembly’s special counsel—an Airbnb proponent and frequent council critic—told the INDY that Senate Bill 483 effectively preempted the city’s regulations.

But city spokeswoman Julia Milstead says that “after reviewing [the law], we do not believe it has any impact on the city’s current regulations related to shortterm rentals.” City attorney Robin Tatum Currin, however, did not respond to the INDY’s request for comment, and the city declined to make available any rationale for its determination, which appears to contradict the explanation of the bill provided by the legislature’s Legal Analysis Division.

(Attorney and former Wake County commissioner John Burns told the INDY last week he thinks it’s incorrect to say the law either preempts or has no effect on Raleigh’s rules, and the “answer is somewhere in the middle.”)

As if to emphasize their point, House Republicans introduced a bill last week that would have expressly blocked local governments from regulating rental services. It was withdrawn after a heated debate in committee over local control, but it’s likely to return.

Representative Dean Arp, a Union County Republican, introduced the bill

“ I just think it’s wrong to tell someone what they can do with their home.” because he believes municipalities are “creating a patchwork of provisions” that limit property owners’ rights to rent out their homes. His bill would have stopped cities from creating outright bans, including Raleigh’s forthcoming prohibition on whole-house rentals.

While he pulled the bill for now, Arp says it isn’t dead. He plans to make some revisions and bring it back after addressing his colleagues’ concerns.

And that doesn’t change the fact that SB 483 is already law, Nor does it change the fact that a lawsuit challenging the city’s rules—which require homeowners to pay $176 to get a permit to rent their homes, followed by an $86 annual renewal fee—is in the works, Woodcox says.

Regardless of how the legal issues play out, short-term rentals will be at the forefront of Raleigh’s mayoral and council elections this fall.

The new regulations—which also limit homeowners to renting out no more than two rooms to no more than two adults at a time—were based on those in Asheville, where Currin previously served as city attorney. In Asheville, which has a tourism-based economy, the city council was concerned that short-term rentals were

crowding out housing units and making the market unaffordable.

In Raleigh, there’s little evidence that short-term rentals are behind the city’s affordability crisis, which stems more from insufficient supply. Indeed, short-term rentals do not appear to be causing many problems at all. In the last five years, the city has substantiated only twenty-three complaints against short-term rental properties—fewer than five per year—and the vast majority of those who have spoken on the issue at public hearings have supported short-term rentals.

“I just think it’s wrong to tell someone what they can do with their home, especially if they have an opportunity to find ways of being able to take care of themselves and create financial stability and building their wealth,” says Katina Turner, who rented her Northeast Raleigh townhome on Airbnb for two years before getting pushback from her homeowners association.

That money was the equivalent of a parttime job—and for some families, she adds, it could be the difference between making a mortgage payment and foreclosure.

But the majority of the city council that took office in 2017 has seemed skeptical of Airbnb and sympathetic toward horror stories of loud parties and strange cars parked in residential neighborhoods.

There’s a way to split the difference, says Brian Fitzsimmons, the former chairman of the Wake County Democratic Party who is challenging council member David Cox in District B. “There are reasonable ways that we can regulate this service in order to protect our housing inventory, in order to protect the people that live in the neighborhoods,” Fitzsimmons says. “People need to be able to rent out their home. We need to allow whole-home rentals, and we need to allow them in such a way that balances the need for this type of inventory.” ltauss@indyweek.com

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

INDYWEEK.COM INDYweek.com | 7.17.19 | 7

After years of organizing, Duke University’s graduate students will get a higher stipend and better benefits starting in 2022. Duke still won.

BY LEIGH TAUSS

W

hen Hannah Rogers moved to Durham in August 2013, she rented a room in a modest two-bedroom apartment on Burch Avenue for $400 a month. The apartment wasn’t far from Duke University, where she was about to begin pursuing her PhD in literature. Duke had awarded her a stipend—$23,400 a year—and though her first paycheck wouldn’t come until mid-September, she figured she’d squirreled enough away to make it work.

But even with the stipend, Rogers found that she was burning through her savings while her workload was piling up: taking and teaching classes, researching her dissertation on Victorian literature. So she picked up side hustles, like writing for and editing academic journals, cataloging books, and even pet-sitting.

That extra income wasn’t a lot, she says, “but it might pay a grocery bill. There have been times where I’ve been absolutely grateful for anyone who will offer me a bit of money.”

This summer, she’s cramming to finish her dissertation, sometimes writing for twelve or thirteen hours a day, seven days a week, while dipping her toes into an increasingly bleak academic job market—itself nearly a full-time job.

In the last six years, her rent has gone up 50 percent; she now pays $600 for her share of a two-bedroom. The cost of living in Durham has risen sharply, as well.

The city now considers a living wage more than $15 an hour, or more than $31,000 a year. But Rogers’s stipend has barely budged. She, like other Duke grad students receiving the standard stipend, takes home $11.70 an hour.

So a few years ago, Rogers did what workers across the country have long done when they’ve believed their working conditions were untenable: She joined a union.

When Rogers first got to campus, the union didn’t exist, but there were rumblings of student organizing. In 2014, some grad students created a committee to abolish continuation fees, a $7,000 charge for graduates six years or more into the PhD program. From that, the Duke Graduate Students Union formed in early 2016 to demand better compensation and benefits.

A few months later, the National Labor Relations Board ruled that graduate students have the right to collectively bargain, overturning a precedent and greenlighting organizing efforts nationwide.

That changed everything. Grad students began demonstrating on campus, holding bake sales, and soliciting support from their colleagues. By February 2017,

8 | 7.17.19 | INDYweek.com

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After Trump’s NLRB rules against them, “grad student unions will be very hard to organize. Existing unions will probably find it hard to negotiate any new contracts.”

with the help of the SEIU, graduate students held a union election.

The results were a muddle. Of the 1,089 ballots cast, 691 voted against SEIU representation, to 398 in favor. But between them, the union and the university had challenged 502 ballots over issues of eligibility, more than the margin separating the two sides.

That meant the election was inconclusive and headed to the NLRB to decide.

Facing the prospect of a prolonged, uphill battle, the DGSU ultimately withdrew its petition for certification.

Instead, it formed what’s called a directjoin union and began working alongside Fight for $15 activists in a successful campaign to raise the minimum wage of the campus’s contract employees. But the grad students still felt left behind.

So for the last year, they’ve donned bright orange shirts and staged walkouts, a yoga protest on the quad, and multiple rallies demanding a $31,200 stipend paid out over twelve months (summer funding isn’t guaranteed after year three), a relocation grant for incoming graduates, and pay beginning upon arrival in August.

And their efforts appear to have paid off– sort of. In April, Duke agreed to raise the graduate stipend to $31,160. Duke has also agreed to cover tuition for six years instead of five, extend family leave, and move up its pay schedule to cover a student’s first few weeks in Durham.

“Only through collective action could we actually show the university that these are the things we need and we are prepared to work together for them,” Rogers says. “We really had to work together and really demonstrate in a very public manner why we need these things.”

But there’s a catch: The stipend will increase in 2022—after Rogers and many of the DGSU leaders who pushed for the wage hike have left.

D

uke says the timing is a coincidence.

In fact, Duke says the union— which the university doesn’t rec-

ognize—had nothing to do with its decision at all. The stipend increase, spokesman Keith Lawrence says, has been in the works since 2016, and the delay is only to give the university “sufficient time to plan for the increase in financial support.”

Raising the standard stipend for all twenty-four hundred Duke grad students will cost the university about $19 million a year. But this is hardly a cash-poor institution. Duke has nearly seven thousand undergrads, most paying nearly $70,000 in annual tuition. Its endowment reached $8.5 billion last year, ranking it the tenth-highest in the nation. Basketball coach Mike Krzyzewski earns more than $7 million a year, while top university officials make well over $1 million.

Lawrence points out that, with tuition, the stipend, and other benefits, “each PhD student at Duke receives more than three hundred thousand dollars in support from the university during their enrollment.”

But this money isn’t a gift. The university arguably couldn’t function without grad students’ work. They grade, they teach, they conduct research, they treat patients—and as Duke and other universities across the country have become more reliant on contingent faculty while cutting back on tenured professors, it’s often fallen to grad students to pick up the slack.

It’s to Duke’s advantage, then, to keep the grad students from organizing.

In giving the students a higher stipend while fighting their unionizing efforts, Duke might be playing a long game, says professor David Zonderman, a historian of labor movements at N.C. State: The university pays a little more, but the power dynamic remains fundamentally unchanged.

“We call that a ‘union avoidance strategy,’ and you can use a carrot or a stick,” Zonderman says. “It’s about power or control.”

Actually, Duke’s long game need not be that long: In September, the NLRB—now run by anti-union Trump appointees—will revisit whether grad students at universities like Duke should even be able to unionize in the first place.

INDYweek.com | 7.17.19 | 9

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You have to deal with this power dynamic where your boss is also your academic adviser and is holding your whole academic degree in his or her hands.

n the 1970s, roughly two-thirds of faculty at universities across the country were either tenured or tenure-track, positions that afford professors job security and near-absolute academic freedom. Almost a half-century later, less than 30 percent are. Most teaching and grading is done by contingent faculty and graduate students, whose struggles are increasingly interrelated.

It’s not just about saving money, although adjuncts make less than tenured professors. Contingent faculty are paid per class—sometimes as little as $1,500 per semester—often without benefits, sometimes while paying down hundreds of thousands of dollars in student loans. Just as important, they have little job security.

Their contracts are at risk if they cross administrators or department heads.

This has created what Sarah Lawrence College professor Nicolaus Mills described as an “academic underclass”: “The faculty having the greatest amount of contact with individual students are those on the lowest rung of the academic ladder,” Mills wrote in a 2012 article in Dissent.

In recent years, contingent faculty have been unionizing with increasing frequency. In 2017, Duke’s contingent faculty became the first at a major private university in the South to successfully unionize, bargaining for a pay hike of up to $8,000 per class per semester.

Graduate students at many public universities across the country—though not in North Carolina—have also been able to organize and collectively bargain, because their union rights are governed by state law.

(North Carolina does not allow any state workers to do so.) But in 2004, the Bush administration-era NLRB ruled that grad students at Brown University—like Duke, a private institution—weren’t eligible to organize because the grad students were students, not workers, so they weren’t covered by the National Labor Relations Act. That changed in 2016 when an NLRB controlled by Obama appointees gave grad students at Columbia the right to organize.

Its decision led to union drives at several

elite universities. Harvard began bargaining with its graduate student union last October, followed by Columbia.

Other efforts have devolved into bitter stalemates, including a hunger strike at Yale in 2017. Yale’s union, which attempted to organize various departments separately, quietly withdrew its petition for recognition last year—“a signal that the movement to organize graduate student teachers on American campuses … is facing tougher sledding under the Trump Administration,” according to the New Haven Independent.

Indeed, Trump’s appointees to the NLRB, including new chairman John F. Ring and general counsel Peter Robb, have made the body an actively anti-union organization.

Last year, in fact, Ring unilaterallyDGSU me announced that he was terminating the existing contract with the NLRB’s profesas sional association and replacing it with ca another, while Robb restructured the agency’s field offices to effectively demote local co directors deemed too pro-union. Bloombergof debt be reported in May that Robb has directedThe Huffi agency staffers to pursue charges againsttorate at D labor organizations for things that were $23,400 s formerly considered harmless errors—los- Betwee ing an employee complaint or not return-utilities, f ing a worker’s phone call. expenses So when NLRB takes up the issue of grad-and an ad uate student unions in September, anotherEthics br reversal seems like a given. At that point,cal issue?

Zonderman says, “grad student unions will “If the s be very hard to organize going forward. and for m Existing unions will probably find it hard toshouldn’t negotiate any new contracts.” healthy w Graduate students at Duke find them- But acc selves in a precarious position. Their pretty m academic success depends on balancing those in t teaching and research under the eyes of asays, “and handful of advisers. And they worry that, if He beli they cause too much trouble, their careers “It feel could be at risk, and without a union, they’llstudent s have no way to protect themselves. work,” Fi “You have to deal with this power who have dynamic where your boss is also your aca-make it in demic adviser and is holding your whole Kevin academic degree in his or her hands,” The thirt says North Carolina AFL-CIO presidentspent sev MaryBe McMillan. ried that,

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bargainnion last

nto bitter strike at ttempted separater recognimovement achers on g tougher stration,” pendent. he NLRB, Ring and made the ization. ilaterallyDGSU members are pushing to get the stipend increase implemented sooner. PHOTO BY JADE WILSON ating the ’s profesthe job market. His wife, who is Korean, was able to obtain asey Williams describes himself as “the bestg it with a visa, so he started at Duke in 2015. case scenario.” the agenAt first, he was happy with his $26,000 stipend. But in The PhD literature candidate made it through mote local 2018, Duke denied him summer funding, leaving him withcollege on a full-ride without amassing mountains Bloombergof debt before starting a career in journalism, writing for out a paycheck for three months. That summer, his daughdirectedThe Huffington Post. When he decided to pursue his docter, Jia, was born. With no other choice, he dipped into his s againsttorate at Duke in 2016, he was unaware of just how little his modest savings to keep his family afloat. hat were $23,400 stipend would cover.

“If we had had our daughter before this, I wouldn’t be rors—los- Between $800 in rent for a one-bedroom apartment, doing a PhD, definitely not. It would have been a totally ot return-utilities, food, and therapy appointments, his basic living irresponsible decision at that point,” Spencer says. “As soon as you get there, they give you two years of decent funding, expenses inched above $26,000 this year. Freelance writing ue of grad-and an additional fellowship from the Kenan Institute for and then you are in far enough, they can yank it away. They r, anotherEthics bridge the shortfall with little wiggle room. A mediare really squeezing us because they could, because nobody hat point,cal issue? A laptop breaks? He’s out of luck. was making a fuss about it.” nions will “If the stipend can work for anybody, it’s a person like me Their old apartment had cockroaches, so they moved to forward. and for me,” Williams says. “And the graduate school at Duke a more expensive place after the baby was born. Spencer it hard toshouldn’t look like me. They shouldn’t all be young, relatively stopped buying coffee in the morning. The preschool his wife worked at donated baby clothes. healthy white men without dependents.” nd them- But according to literature student Julien Fischer, that’s “I need dental work, I know I do, but I’m not sure how n. Their pretty much the case. “The overwhelming majority” of to pay for it,” Spencer says. Duke does not provide dental balancing those in the program “are white cisgender men,” Fischer insurance. eyes of asays, “and that seems true across the board.”

He expects to earn his doctorate in 2021. He’ll be over ry that, if He believes the low pay is to blame. forty, and he’ll have depleted his savings—money he hoped ir careers “It feels almost impossible to exist only with a graduate to use as a down payment on a house. on, they’llstudent stipend, and it’s very difficult to take on additional A year later, the stipend hike will kick in. s.

That’s convenient, says Fischer, who will be entering his work,” Fischer says. “It seems almost like only the people is power who have personal wealth are the ones that are supposed to sixth year in the program at that point. your aca-make it in these graduate programs.”

“There is a way in which erasing institutional memory ur whole Kevin Spencer is not as fortunate as Casey Williams. helps bolster [Duke’s] powers over its workers,” Fischer r hands,” The thirty-nine-year-old Canadian-born lit grad student says. “Our fight for a greater stipend wasn’t for the future. It presidentspent several years teaching at Korea University but worwas for the right now, because many of us are struggling to pay rent, pay bills, struggling to provide for children.” ried that, without a PhD, he’d eventually be pushed out of

C

If we had had our daughter before this, I wouldn’t be doing a PhD, definitely not. It would have been a totally irresponsible decision at that point.”

O

n April 18, the DGSU planned a sit-in during parents’ weekend, in which members would camp out in front of Duke Chapel as part of its “ticket to a living wage” campaign.

A week before the protest, Duke announced the stipend increase. The graduates decided to gather anyway.

“We decided to make it a victory celebration,” Williams says. “Duke’s decision to increase the stipend amount wasn’t inevitable and wasn’t a coincidence; it came after our union worked for over a year and a half to push them to do this.”

Despite the wage increase, the fight isn’t over. They want Duke to increase the stipend sooner. But the larger fight is for a seat at the bargaining table.

“I think it really shows the power of a union, whether you are an officially recognized union or not, by coming together you can really create change,” says McMillan, the NC AFL-CIO president. “You can raise wages. You can create a better working environment.”

But at Duke, the victory is bittersweet. Amid the springtime celebrations, when dissertations are accepted and students adopt the honorific doctor, there’s increasing anxiety—even at a Southern Ivy—about who will end up with a job.

“There’s a lot of great scholars leaving academia,” Rogers says. “Graduate students who absolutely would have made academia better and their particular specialization fields better through their research and teaching and yet there have to leave because they can’t afford to continue on.”

The number of people earning PhDs has risen, but the number of tenure-track positions is plummeting, especially in the humanities. Rogers knows her chances of landing a tenure-track position are slim. And she’s not sure whether, cobbling together several adjunct gigs, she’ll make more than she does as a graduate student.

But what she’s seen organizing and advocating at Duke has given her a reason to fight.

“While you can’t control the market, that does make me hopeful,” Rogers says, “that there is a future of colleagues who care and seek to advocate for each other and do want to invest in unions, in graduate students, in undergrads.” ltauss@indyweek.com INDYweek.com | 7.17.19 | 11

Sturdy at Thirty Merge Records has lasted by doing what it's always done. But its new generation reflects an industry where women are rising to the fore.

BY SARAH EDWARDS

“I

t was kinda like my dream label,” says Katie Crutchfield of the indie-rock band Waxahatchee. “Merge is so respected. I’m from the South, and it’s this beacon of Southern indie culture that really spoke to me.”

Waxahatchee signed with Durham’s Merge Records in 2014, the year the label celebrated its twenty-fifth birthday. Now, she’s playing this Saturday at Merge’s four-day thirtieth anniversary festival; a lineup of thirty-some bands that includes staples like Spider Bags and The Mountain Goats but also brims with a new generation of Merge bands, which, like Waxahatchee, skew younger and are often fronted by women. When tickets to each of the nights at Cat’s Cradle went online, full passes sold out almost immediately. Cementing the occasion, Governor Roy Cooper also issued a gold-stamped proclamation declaring July 24–27 “MRG30 Week.”

The story of Merge’s origins is well-trod ground. In 1989, Laura Ballance and Mac McCaughan, who met as college students working at Pepper’s Pizza in Chapel Hill, decided to start a band, the deathless Superchunk. The same year, while on a summer cross-country road trip, they also decided to also start a label, and Merge—now regarded as a prototypical indie label—was born. Early operations flitted between bedrooms and small Chapel Hill offices, leading eventually to the downtown-Durham, house-plant crowded storefront that Merge has called home since 2001.

By its tenth anniversary, the once locally focused label boasted international indie blockbusters like Neutral Milk Hotel’s In the Aeroplane Over the Sea and The Magnetic Fields’ 69 Love Songs; by its twentieth, it had Arcade Fire’s world-beating Funeral and Spoon’s Ga Ga Ga Ga Ga. This narrative arc has a nice momentum, building from the first scrappy cassettes of McCaughan-adjacent bands in the college-rock heyday to the wider ambit of the internet era.

Yet the driving values of Merge have remained constant: civic and community engagement, commitment to hard work and artistic integrity, and, well, general moxie and coolness.

12 | 7.17.19 | INDYweek.com

Waxahatchee PHOTO BY MOLLY MATALON “They all have to somehow get out attention and stay with us, which is hard to do, when you listen to music as much as we do with our jobs,” Balance says, referring to the dozens of demos that roll through her office each week.

“They have to bring something new and interesting to what they’re doing, and to Merge.”

Women have always made rock music, of course, but their presence has long been seen as an exception to the rule. That is changing in recent years, as women have increasingly been taking their places on the front lines of the music industry. You can see this change in Merge’s discography, too, starting in the aughties with the signings of She & Him and Camera Obscura. While its older catalog is dominated by male artists, the past decade of signees features a notably higher proportion of women.

“At some point, we noticed that we were very male-heavy and made a conscious effort to change it and examine it,” Ballance says, adding, “We’re not choosing them to create gender balance. We’re choosing them because they’re awesome and make great, interesting music.”

The Merge roster has expanded in recent years to include acts like Waxahatchee, Sacred Paws, Swearin’, Flock of Dimes, A Giant Dog, Ex Hex, and Gauche, most of whom are playing at MRG30—energized bands who are serious about music and also happen to be led by women; several of them also have roots in the South.

In discussions of women’s success in rock, the name that crops up the most frequently—and with good reason—is Waxahatchee’s Crutchfield, who was born the year that Merge was founded and signed twenty-five years

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Torres PHOTO BY JENNA GRIBBON later. Crutchfield, who has been making music alongside her twin sister, Allison, since they were fourteen, gives off the sense of someone with two feet solidly on the ground—a good quality in anyone, but particularly in an artist with a prolific output that continues to invent, evolve, and surprise her fans.

S

till, when it comes to women in indie rock, one rote, nagging word surfaces over and over again: “confession.” A Google search of “confession+Waxahatchee” yields more than twenty-five thousand results; the game works pretty well with any female indie-rocker. Torres “slotted her bruises and her confessions into a singersongwriter mode with a distinctly 1990s air” (Pitchfork), while Waxhatchee purveys “devastating confessions” (The New Yorker). It’s a leaden word that, beyond its immediate relationship to shame and dogma, brings to mind both tittering afterschool secrets and the dark writings of female mid-century poets. Not only does it land strangely in 2019; it also feels inaccurate when describing the stories that these artists are telling.

In interviews, the indie singer-songwriter Mitski—who falls among this generation of female indie rockers—has been particularly

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adamant in maintaining that first-person does not a confession make.

“I think it’s funny that anybody thinks they know what my personal life is and whether what I’m singing about is personal at all,” says Mackenzie Scott, aka Torres.

“Some of it is, but there are many voices and layers and angles. Half of the time I am singing from the perspective of a female character that I’m observing.”

Crutchfield agrees. “I hate that word,” she says. “It’s never used to describe men’s music. It kind of cheapens the writing. Me and Mackenzie, we don’t shy away from that stuff. A lot of my stuff is really dark and depressing, and I think when women are writing about those things, people don’t know what to do with it. A lot of those things we’re talking about are heightened, being raised in the South. It’s exciting to have these conversations with other Southern women and break down a lot of those constructs.”

Waxahatchee’s lo-fi songs shimmer and shred between moments of rage, sorrow, and discovery. This self-assuredness is also reflected in Crutchfield’s touring choices.

“I’ve always played with women,” Crutchfield told the INDY by phone from Texas, where she was recording a new album. “Even before Waxahatchee, I

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remember so desperately not wanting to play music with guys, [and] to see women on stage and to have those kinds of creative interactions with other girls. The only tour where I toured only with women was Out in the Storm—I knew people would see that and think, ‘That’s fucking awesome.’”

A seasoned artist, Crutchfield has played in numerous bands throughout the Southeast, from her home state of Alabama to Philadelphia and New York, where she has also lived. In 2017, a New York Times piece made the bewildering choice of describing Crutchfield and her sister, Allison Crutchfield, as the “D.I.Y. Punk’s Twin Elders,” as if any female musician who’s been around long enough to rent a van is also necessarily tottering toward the grave. That following year, Allison, who fronts the punk band Swearin’, released her first album on Merge. At age thirty, both have a creative output that continues to feel fresh.

“They have great voices and strong ideas,” Ballance says of the Crutchfields. “Their personality and distinct take on their music really come through in how they execute it.”

In June, Merge signed Torres, who has released three LPs of dark electronic rock.

Raised in Macon, Georgia, she found a kind of musical salvation in her teenage bedroom while listening to Taylor Swift.

“She was one of the only people that was a girl around my age writing her own songs and performing them,” Scott says by phone.

“She’s a killer songwriter.”

When Scott moved to New York, she began to write careful, probing songs that wrestle with religious fundamentalism, desire, family, and the body. Ever since her self-titled 2013 LP, Torres has seemed like a star on the rise, with the lyrical precision of an artist with twenty years in the game. “[She has] confidence that I really appreciate, a swagger that is really refreshing coming from a woman,” Laura Ballance says. “She makes cool, interesting music and you can tell her soul is in it.”

But last year, following the release of 2017’s Three Futures, Scott announced that she’d been unceremoniously dropped from the label 4AD for a lack of commercial viability. “I wish them all the best,” she wrote on Twitter. “Also, fuck the music industry.” These days, while still professing shock regarding 4AD’s decision, Scott, with the pragmatism of someone who spent her formative years in Sunday school, offers a redemptive narrative.

“I would owe two more records that I poured my heart and soul into to people who aren’t going to do a good job with it because they don’t believe it,” she says. “They freed me from that obligation.”

In between 4AD and Merge, she’s been working on a new album, adding that she is honored to join a label run by musicians.

Merge has always looked beyond straightforward commercial viability when it comes to its roster: That’s the joy and the curse of signing the stuff that you like. Ballance and McCaughan have maintained a commitment to representing smaller acts alongside the bigger, bread-and-butter bands like The Mountain Goats. And anyway, as Ballance says, it’s hard to predict what is going to truly take off.

“Today’s weirdo act is tomorrow’s more commercial act,” she says. “You just really don’t know what’s going to capture people’s attention and become a bigger thing. We didn’t predict the Arcade Fire would become big.”

In a 2013 INDY profile, Ballance spoke about leaving Superchunk—she suffers from hearing loss after years of touring— and her mixed feelings, as a powerhouse female bassist, about being thrust into the position of role model.

“One of the things that makes me sad about not playing live anymore is that so many young women come up to thank me after shows, and I’m not going to be there for them anymore,” she said then. “My natural reaction used to be like, ‘Me? Oh no, no.’

But after a while, I learned to be happy to do that for them.”

Scrolling through Spotify, looking up at the Cat’s Cradle stage, or poring over the catalog of a beloved indie label and seeing women represented—taking a seat not just at any table, but at the scrappy, weirdo riff-raff table—is thrilling. And perhaps what feels so off-register about critics’ widespread use of the word “confession” is its suggestion that female artists require an emotional justification for taking up space and expressing an experience of the world. In the headbanger “Never Been Wrong,” Crutchfield observes a man who is unburdened by self-doubt, and she draws a line in the sand: “And I will unravel / When no one sees what I see.”

“I think that on the one hand, there’s always been a lot of women writing music, playing music, but the doors are more open to them now,” Crutchfield says. “I’m pretty firmly of the opinion that, whether because of the political moment we’re in or just because of the fact of the matter, I kind of think women are killing it. I think we’re making the best music now.” sedwards@indyweek.com

MRG30 Wednesday, Jul. 24-Saturday, Jul. 27 Various times, $10-$65 Various venues, Triangle-wide www.mergerecords.com

indymusic

THE GET UP KIDS

Sunday, Jul. 21, 8 p.m., $22–$26 Cat’s Cradle, Carrboro www.catscradle.com

My So-Called Emo Childhood

FOR A MID-AUGHTIES EMO FAN, THE GET UP KIDS COME WITH ALL OF THE ANGST BUT NONE OF THE MEMORIES

BY COLE VILLENA

I

had very little to be sad about in middle school. Growing up in North Raleigh in the mid-2000s, I had a loving family, good friends, and many happy times. So, of course, I spent many of those years riding the melodramatic pop-punk and emo wave fueled by bands like Fall Out Boy, The All-American Rejects, and My Chemical Romance. I had no way of relating to their angstfilled lyrics at first, but they were what my older brother listened to, and he’s cooler than me. So even though my mom once threw away a Thirty Seconds to Mars album we bought at Best Buy because it had a parental advisory sticker on it, I filled my ears with songs about how hard it is to be a suburban teenager, how important it is to leave your hometown, and how totally awesome summer is.

The Get Up Kids PHOTO BY SHAWN BRACKBILL When I got to high school, though, lyrics about standing alone, being rejected by girls, I listened to Problems as well as The Get Up Kids’ most and wondering about your place in the world started to popular older album, 1997’s Something to Write Home make more sense. My biggest source of loneliness in my About, and enjoyed them both. They sounded exactly like freshman year was that I wasn’t sure if the people I sat with something I would have put on my iPod in middle and high at lunch liked me, but my adolescent brain often made me school: the screamable, angsty choruses about friendship feel like the only one standing for what was good in a world and love, loneliness and rejection. The bouncy, slinky bass that just didn’t understand me. Listening to emo music cerlines and chunky guitars. The riffs that get stuck in your tainly didn’t help me gain a healthy perspective; I recently head all day and can be learned on guitar in a few minutes. I found a journal entry written in my Algebra II class that added a few of their tracks to my Spotify playlists, and I liswas just the lyrics of Paramore’s “Pressure”—“Some things ten to “Holiday” on the way to work occasionally.

I’ll never know, and I had to let them go / I’m sitting all I love discovering new pop-punk bands. As I listened alone, feeling empty”—and a big frowny face. further and dug into the lyrics of Problems, though, I found I’ve grown a lot since high school, both emotionally myself wondering why I would listen to The Get Up Kids and musically, but We the Kings’ “Check Yes, Juliet” and over any of the other bands I enjoyed growing up. Every Relient K’s “Be My Escape” still bring back memories of new emo-ish band I’ve discovered injects something new simpler, more carefree times. Historians who should really into the formula I fell in love with in grade school, whether be studying better music call these bands “third-wave emo.” it’s the math-rock weirdness of Kyoto-based Tricot or the I’d listened to some Jawbreaker and was vaguely aware that comical, self-aware whining of Atlanta’s Microwave. The emo was actually pretty old, but I’d never heard of nineties Get Up Kids just sounded like a mid-2000s band I had “second-wave” icons The Get Up Kids before our arts edimissed out on—all of the sounds, none of the memories. tor told me to listen to their new album—their first in eight It’s obviously unfair to call The Get Up Kids’ sound years—ahead of a show at Cat’s Cradle this week. “unoriginal” when people like Fall Out Boy’s Pete Wentz call

it a direct influence. (My immediate thought upon hearing Something to Write Home About, “This is like Yellowcard without the violin,” would probably get me kicked out of a 2003 internet chat room.) At the same time, I couldn’t shake the feeling that the band had missed the boat somehow, as if they had taken a decade to catch back up to the bands I listened to. I later learned that this wasn’t a coincidence; The Get Up Kids were inactive from around 2005 to 2008, which is exactly when most of my favorite acts broke into the mainstream.

It’s also unfair to say that Problems is completely out of step with modern music. Unlike Weezer’s Rivers Cuomo, who is almost fifty and still writing songs with titles like “Thank God for Girls,” Get Up Kids singer Matt Pryor avoids the deeply suburban view of women as prizes that was common among lyrics of the era (see Weezer’s entire catalog; Fall Out Boy’s From Under the Cork Tree). Even Problems’ “Satellite,” which features the classically emo lyrics, “By myself, I don’t think anybody knows I’m even here / But do tell, you think you understand my fears,” is a lot easier to accept coming from an adult’s mouth when you learn it was written for his teenage son.

Concerts are always fun, and I live within walking distance from Cat’s Cradle. I’ll probably go to The Get Up Kids show next Sunday, and I’ll probably have a great time. As I was reflecting on whether or not I’d actually keep listening to their music after I finished writing this piece, however, I kept thinking of a song a friend and I jokingly wrote on a vacation last month.

He, like me, was a perfectly happy kid who loved emo music, and we decided to write the most stereotypical pop-punk anthem possible. It had every cliché: a big riff you’d hear blasting through Guitar Center, the phrase “Baby, hold my hand” coupled with the almost-rhyme “I’ll be with you ‘til the end,” and a fun, carefree vibe. For better or worse, it sounded a lot like a song on Problems. cvillena@indyweek.com INDYweek.com | 7.17.19 | 15

music

BRIEF

DEFACTO THEZPIAN: CHICKS & RHYMES, VOL. IV 

[Self-released; May 17] Pinhook show: Saturday, Jul. 20 Durham rapper Defacto Thezpian is known for his fast cadence and his ability to rap-rap. With a discography of four LPs and one EP, he has also collaborated with the best of Durham, from G Yamazawa and Pat Junior to Lil Bob Doe. Off rip, what stands out most about his latest release, Chicks & Rhymes, Vol. IV, is the crisp production. This is in stark contrast to the not-so-favorable critique his 2016 EP received from INDY contributor Ryan Cocca. Rather than music, the first thirty seconds of the album feature Defacto in conversation, revealing that he sold his car in order to get the project mixed and mastered. This transparent opening sets the tone of urgency, hunger, and commitment.

The twelve-track album features beats from five talented producers who stay in their own lanes but add up to a cohesive sound. The soul-filled sample aesthetic of Ace Dizzy and the mellow, jazzy, bass-heavy sounds of Domeno stand out. The album centers on Defacto’s stories about sex, love, heartbreak, relationship conflicts, and his love of rapping.

On several lengthy interludes, Defacto riskily raps over well-known beats produced by the likes of Timbaland and the Alchemist. On three out of four, he nails it by remaining in the pocket and showing versatility. But “Hold You Down Interlude” falls short with an attempt to use AutoTune stylistically. The synthesized vocal effect complements the female vocals on the track quite well, but altering Defacto’s pitch comes across as trying too hard. In comparison, the AutoTune-free singing he briefly offers on “Nina Mosley” feels more authentic.

Another standout feature that's minor but has a large impact is Defacto’s well-composed ad libs. On tracks like “calisthenics,” “bigfax,” and “Lavar Ball,” the ad libs showcase his creativity and professionalism, playing with the tone of his voice and giving off high energy.

If you could once argue that Defacto was a promising MC in need of better beats, now, he’s a good MC who has them. —Kyesha Jennings

16 | 7.17.19 | INDYweek.com

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indyfood

Bring the Funk

PAPA SHOGUN HAS UNLIMITED POTENTIAL. IT JUST NEEDS TO GO FOR IT.

BY NICK WILLIAMS

M

y knee-jerk (and culturally dimwitted) reaction to learning about Papa Shogun—and its blend of Japanese and Italian cuisines—was that it sounds like a gimmick. Then, in the time it took me to remember that life is much more enjoyable when you don’t go through it as a jaded, hidebound snob, I realized I was probably wrong. So I googled “Japanese Italian food,” and guess what? Japan is not only ravenous for Italian cooking, but extremely good at it.

Italian food—or Itameshi—started popping up in Japan at the end of the nineteenth century. By the end of the twentieth, through the careful incubation of chefs and eateries, it had become a genuine cultural phenomenon. As with tempura and other culinary imports, Japanese chefs experimented and innovated, bringing local ingredients and techniques to the kitchen table, creating not so much a fusion but rather a left-field take on traditional Italian dishes.

Papa Shogun is the Triangle’s local purveyor of Itameshi, and it’s certainly not a gimmick. But “Japanese Italian food” is an oversimplified term for what it actually does. Papa Shogun’s menu reads like a brash and flamboyant collision of two wildly different cuisines. The reality— for better and for worse—is much subtler.

Opened last year in Raleigh’s Seaboard Station, Papa Shogun is helmed by Tom Cuomo, whose impressive résumé cites stints at such defiantly unsubtle New York restaurants as wd-50 and Carbone. From the former, Cuomo developed a flair for experimentation, and from the latter (as well as ad hoc cooking lessons in his grandmother’s New Jersey kitchen) an apparent familiarity with some hardcore Italian food.

Cuomo’s credentials, alongside the restaurant’s youthful air, make the relative delicacy and restraint of Papa Shogun’s food a little surprising. With a few exceptions, these are humble Italian dishes, infused here and there with Japanese ingredients—sometimes brilliantly, sometimes unnoticeable.

We started with the fresh pulled mozzarella, sprinkled with togarashi. The cheese is competently made, beautifully presented, but ultimately nothing special, the attractive spray of seasoning overwhelmed by the richness of the mozzarella. More delicious is the mozz’s accompaniment, a kombu-sprinkled garlic bread; ten-year-old me could have devoured fifty pieces.

We moved on with a few more small plates, all of them perfectly OK, yet oddly disappointing. In my current state of eggplant infatuation, I anticipated great things from the 18 | 7.17.19 | INDYweek.com

Papa Shogun chef Tom Cuomo prepares tonkatsu milanese. farro caponata. The dish got a lift from some electrically sweet pickled raisins, but came off like a health-food bowl that might best be enjoyed after a triathlon, hinting at a universe of fascinating and complex flavors that disappeared under the tang of pickled red onions.

Better were the yaki onigiri, grilled Japanese rice balls that evoked arancini but with their own exotic spin. They are texturally delightful, but the rest of the preparation—a scattering of olives, capers, and agrodolce—is too staid and familiar, like a sauce I would throw together in my kitchen, incongruous next to technically exquisite onigiri that I could never, ever pull off.

But things were on an upward trajectory, evinced by the shrimp scampi in a deliriously rich sauce of miso, butter,

PHOTO BY JADE WILSON

and Calabrian chili. My only complaint was that I wanted more miso—more of that nutty, fermented, salty funk.

Then came the summer squash, the first dish in Papa Shogun’s lineup that truly clicked. Locally sourced zucchini and yellow squash, charred to perfection, dotted with generous gobs of butter permeated with the soy-and-citrus intensity of ponzu, and finally bathed in an ebullient shiso pesto. It’s allconsumingly delicious, sweet and smoky and silky and bright.

This is a glorious dish, maybe a genius dish, and a lesson in what’s possible when Papa Shogun really goes for it.

The rest of our meal occupied a slice of the quality scale between pretty good and very good. We moved into pasta territory with the mushroom gnocchi, little pillows of earthy savor topped by charred oyster mushrooms and a snowfall

Clockwise from top: tonkatsu milanese, panzanella, and eggplant parmesan of shaved ricotta. I found it very good, but I would have found it better had the mushroom dashi broth promised by the menu been in evidence.

I loved the triumphantly weird linguine, noodles slicked with a transparent sauce of umeboshi, dried and salted Japanese plums.

It has a striking, invigorating scent that falls somewhere between plum blossom and seawater—strange, wonderful, and addictive.

Papa Shogun’s tendency toward subtlety does occasionally reap rewards, as in the dead-simple panzanella, with soba noodles replacing the traditional cubes of rustic bread. It’s clever, summery, refreshing, and charming.

Our final dish of the evening (not counting some forgettable cannoli) was, finally, an exercise in maximalism. The tonkatsu

PHOTOS BY JADE WILSON

Milanese—a pork cutlet pounded into an enormous oblong disk and fried to perfection—is a showstopper, a study in pure dining fun. Once you dig through the forest of arugula piled on top, the tonkatsu itself is basically a delivery vehicle for pure porky crispness, with balancing acidity provided by a fabulous katsu “ketchup.” It’s a joy to behold, and I dug in with childlike glee.

And it was a representation of what I wanted, and didn’t quite get, from Papa Shogun: more.

I want more effort from the unadorned dining room. I want it to look like Wes Anderson and Akira Kurosawa collaborated on decorating an Olive Garden. I want a bigger wine list. I want more sake. I want cocktails, shochu, whiskey. I want more noise, more spectacle. I want edge and ego.

I want more flourish from these dishes.

More miso, more dashi, more fermented madness, more fat and funk and richness.

More bizarre chimeras, more logic-defying combinations. More braggadocio and flash.

More fun. More, more, more.

As it stands, there’s a disconnect between what I expected from Papa Shogun and what I actually got that I find difficult to reconcile. It’s a great little neighborhood restaurant, already in the upper echelon of its kind. But when I read that menu, I want a Big Night Out. Papa Shogun is clearly a labor of love, with a team capable of technical precision and blinding creativity. Where that leaves them, at this moment, is with an almost limitless potential for more. food@indyweek.com INDYweek.com | 7.17.19 | 19

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INDYweek.com | 7.17.19 | 21

indystage

HOW DID THIS GET MADE?

Friday, Jul. 19, 7:30 p.m., $41+ Durham Performing Arts Center, Durham www.dpacnc.com

Disaster-Piece Theater

THE HOSTS OF HOW DID THIS GET MADE? KNOW THE BEST PART OF BAD MOVIES IS TALKING ABOUT THEM AFTERWARD BY ZACK SMITH

T Your week.

Every Wednesday.

INDYWEEK.COM 22 | 7.17.19 | INDYweek.com

here are plenty of good podcasts about bad movies, but How Did This Get Made? might be best at capturing the sheer bewilderment that a bad movie inflicts upon its viewers. For almost nine years, it’s operated in a simple format: Prolific comedians and actors Paul Scheer, June Diane Raphael, and Jason Mantzoukas—currently visible in everything from Long Shot to John Wick 3—bring in friends like Daniel Radcliffe, Charlize Theron, and Conan O’Brien to riff on the plot, characters, and mere existence of films like Sleepaway Camp, Geostorm, and the Look Who’s Talking sequels. On occasion, people involved in the films show up to explain how, indeed, these things got made. After their take on Tommy Wiseau’s disasterpiece The Room, the hosts appeared in James Franco’s chronicle of its making, The Disaster Artist.

On the podcast’s live tour, which comes to DPAC on July 19, the film under discussion is Unforgettable, an ironically titled 2017 thriller with Katherine Heigl; the guest host will remain a mystery until the event. We spoke with Scheer about just why it’s so much fun to talk bad movies, the Platonic ideal of a HDTGM film, and which Oscar winner he’d like to feature.

Something like The Room, which is a flawed imitation of the storytelling tropes it’s trying to achieve, engages in a similar way. It makes you feel smart because you recognize exactly how things are going wrong.

Yeah! One of the things that I think works about this podcast is that we’re talking about something everyone’s an expert at, which is movies. We all have a basic understanding of this art form. It’s like a book club, only one where the books are bad.

INDY: What’s the perfect HDTGM film for you?

PAUL SCHEER: Unforgettable is kind of perfect, actually. It’s Katherine Heigl playing this real villain-y villain—it’s almost mustache-twirling, this kind of Fatal Attraction rip-off that I think will lead us into some really fun discussions. For us, it’s not about torturing the audience. We want to give you something where you go, “Oh, that’s crazy! I want to talk about this!”

Unforgettable falls into that horror/thriller thing that always does well, because you’re going, “Don’t go in there! I can’t believe you’re doing this!”

As the podcast veers toward live shows, it’s interesting to see the broad reactions that people bring to these films.

I always say the movie is just a small part of the show. What it’s really about is the communal experience of talking about them with friends. With the live tour, we’re really able to achieve that. Also, we cut out fifteen to twenty minutes for the podcast, so there’s a lot of inside jokes and odd moments live. Just watch the film with some friends and come ready to talk about it. Come with some questions. Some people come in costumes, some sing songs. Podcasts can be like listening to friends have

Paul Scheer (far right) and the other hosts of HDTGM PHOTO COURTESY OF HDTGM a conversation, but a live show lets you be part of that conversation.

You’ve been covering the opposite end of the spectrum on Unspooled, going through films considered classics. Do any HDTGM films deserve to be on Unspooled, or vice versa?

The Room is the one I would put on the Unspooled list of defining American films.

There’s something about it—its success and failures and longevity and independent spirit, and just the fascination with it—that, if you were to put together a care package of everything that American film has to offer, it’s the very best of the worst. That’s not an insult.

You’re hard-pressed to find anything like it.

As for what would go on the other side, I have to say, I just watched The Deer Hunter for Unspooled, and I did not get it. It felt so bloated and oddly comical—that there’s this long wedding sequence, that Christopher Walken’s character seemingly plays Russian roulette every night for years. Obviously, there’s great performances in it, but it’s a fuckin’ weird movie. arts@indyweek.com

indypage

NORTH CAROLINA’S HURRICANE HISTORY (FOURTH EDITION)

By Jay Barnes UNC Press; July 2019

Writer of the Storm

NORTH CAROLINA HURRICANE GURU JAY BARNES REMINDS US THAT CLIMATE CHANGE AND WINDY WEATHER AREN’T JUST COASTAL CONCERNS BY JOHN STEEN

W

e’re now over a month into what the Climate Prediction Center expects will be a near-normal hurricane season, one that produces two to four major hurricanes and nine to fifteen total named storms. But almost fifteen years after Katrina, and on the heels of $50 billion worth of damage nationwide from a rough 2018 hurricane season, it feels like we’re living in a new normal. Add to this the fact that North Carolina ranks third nationally in hurricane landfalls, and it’s natural to have a few questions.

Will the Outer Banks have a new inlet by December? Will climate change bring a Sandy-like superstorm to wreak havoc?

Should I book that beachfront Airbnb for mid-September?

If there’s one North Carolina voice to trust with these questions, it’s Jay Barnes. Our state’s hurricane guru has just published a new edition of his definitive North Carolina’s Hurricane History. Studded with hard-to-find photographs of hurricanes and their aftermath, it features much more than storm lore. Bookended by a hurricane primer (perfect for N.C. transplants) and a new chapter called “The Next Great Storm,” North Carolina’s Hurricane History looks at the meteorological, geographical, environmental, and cultural backdrop of our perennial coastal and inland companion. Recently, the INDY spoke with Barnes about the impacts of recent storms, climate change, and what we need to do before the next big one hits.

INDY: What’s unique about twenty-first-century hurricanes?

JAY BARNES: Hurricanes striking N.C. in recent years include Irene, Matthew, and Florence (among others). There are several things about this group that are worth noting in historical context. First, as bad as they were, none made landfall with great intensity as traditionally measured with the Saffir-Simpson scale [the index that categorizes hurricanes on a 1-5 scale]. None were ‘major’ hurricanes at landfall (category 3 or greater) but yet some still rank among the state’s most destructive and most costly hurricanes in history. Each was an ominous, powerful storm at sea that weakened considerably before sweeping ashore. It illustrates how forecasters’ intensity measurements can mislead, creating scenarios where “modest” Category 1 storms can cause epic flooding and cost dozens of lives and billions in damages.

What’s unique about North Carolina in terms of hurricane history?

N.C. ranks third in the U.S. in hurricane landfalls, following Florida and Texas. Though we often focus on landfalls on our

The frequency of storm events plays into this. I remember a time when hurricanes seemed rare in N.C.—no significant hurricane events occurred here from 1960 through the early 1980s—a remarkable period of quiet that caused a generation to almost forget about them. But yes, especially along the coast, residents watch carefully and know the routine because they know that any year could be “the” year.

Jay Barnes PHOTO BY ROBIN BARNES coast, it’s important to note that all one hundred counties of our state are vulnerable, as many storms have impacted our western counties, including the mountains. Landfalls elsewhere often spin dissipating tropical systems our way, with lots of historical examples of destruction and fatalities.

What are some of the major storms to hit the Triangle that younger readers might not remember?

The two epic events in the Triangle worth noting are Fran in 1996 and Hazel in 1954—both were powerful storms that made landfall below Wilmington and tracked deep inland.

Fran was a Category 3 and Hazel a Category 4. These are reminders that you don’t need to live at the coast to get slammed by a hurricane disaster.

Why does the hurricane threat to the central and western parts of the state get overlooked?

We do tend to think of the threat as being from the Atlantic and along the coast. Inland areas have suffered greatly, however, and it mostly comes down to extended rainfall and the flooding it can produce. North Carolina is a land sliced and diced by river systems. Rainfall doesn’t tend to be as sensational while it’s occurring. Rain is more insidious, sometimes taking hours or days to produce the raging rivers that flood homes and businesses.

In terms of the anticipation and attention it garners, hurricane season can feel a bit like March Madness. Are North Carolinians marked by hurricanes even when they aren’t bearing down on us?

Do you predict that climate change will play a prominent role in how we think about hurricanes in the years to come?

The scientific community continues to make strides in better understanding the impact of warming oceans and the atmosphere on hurricanes. The newest evidence, some released within the past year, is compelling, and does confirm many earlier assumptions about increased storm frequency and enhanced intensities. As the evidence builds, there’s ever more reason to understand that our future with hurricanes is likely to be filled with more frequent and deadly storm events.

On the other hand, too often we’ve seen pundits and climate-change advocates try to directly correlate a specific hurricane event with climate change. In my opinion, that’s not exactly honest. For example, if a powerful storm strikes Florida, like Michael in 2018, should we look to a warming climate to explain its fury? Well, perhaps a warmer-thannormal Gulf of Mexico played some role, but other storms of similar intensity are known to have struck the region for centuries. Our changing climate has and will express some dramatic impacts, with shifting weather patterns, gradually rising seas, and consistently warmer oceans. But the atmosphere is complex.

Do you have your own hurricane survival story?

Probably my favorite memories come from my days as director of the N.C. Aquarium at Pine Knoll Shores when, during Fran and others, I didn’t evacuate, but needed to stay in the Aquarium to make sure generators ran smoothly. My daughters still have fond memories of those lock-ins.

What’s the most important behavior North Carolinians need to adopt before the next storm?

Knowledge. Patience. A willingness to help our neighbors.

And decision-making that incorporates resilience. Resilience in our communities and for our families. Being resilient means being knowledgeable, prepared, and having taken early measures to minimize impact. arts@indyweek.com INDYweek.com | 7.17.19 | 23

Your Week.

Every Wednesday.

24 | 7.17.19 | INDYweek.com

indyart

NOAH SATERSTROM: FACES: MUSICIANS, WRITERS, ARTISTS, ACTIVISTS & EDUCATORS Through Sep. 30 | Horse & Buggy Press, Durham www.horseandbuggypress.com

Unliving Legends

PAINTER NOAH SATERSTROM RAISES THE FAMOUS AND THE DEAD

BY GEORGE JENNE

I

’m staring at a wall of dead people and Gregg Allman is staring back. His likeness, rendered in viscous strokes of oil paint, is one of forty-eight portraits of deceased cultural figures that hang in a tight horizontal grid at Horse & Buggy Press in Durham.

Nashville artist Noah Saterstrom painted these portraits whenever someone of note passed away, often on the day their death was reported. According to his statement, it was an act of intimacy with the simple aim of capturing a likeness that would resonate. A few years and several hundred portraits later, his series of contemporary memen- "Alice Neel" and "I.M. Pei" by Noah Saterstrom PHOTO COURTESY OF HORSE & BUGGY PRESS to mori has grown into a by the respective stories of these indisweeping celebration of the lives and achieveside. The idea is to get viewers to engage viduals, is where that narrative begins to ments of our departed cultural heavyweights. with the work by playing a guessing flow. A pensive Harper Lee in sepia rests Though the reasonably priced portraits game. It’s a wholesome gesture, but one above Sid Vicious, whose mouth has been are available for sale individually, it’s that runs the risk of diminishing the violently smeared with a palette knife. hard to see how a single face would stand gravity of Saterstrom’s efforts. And anyImagine the quiet offense that the reclualone. Saterstrom’s handling of paint is way, the game happens naturally withsive author might take to the hedonist accomplished but lacks the kind of masout the sheet. punk, which he would undoubtedly reciptery that traps us in the grip of the mediBut after a few minutes, the mind setrocate with abject vulgarity. Muhammad um itself. Instead, the power of this work tles down, stillness sets in, and a sense of Ali hangs next to Pablo Picasso in another lies in its collective energy and the geomloss emerges. The faces become ghostclash of egos. etry of its presentation. Each twelvely. The stillness is unnerving because the And there are moments when the paint square-inch portrait seems to have been creativity that each of these giants lived itself fills in a plot point or two. Agatha painted with the larger image in mind. by is characterized by inherent restlessChristie, the grand dame of whodunits, The spontaneous quality of the marks, ness. Their collective expressions radiate is painted in deep red, while Peter Sellrelative to the ceremonious gesture of a sense oflonging to be let back into the ers, who made practically everyone laugh the grid, galvanizes the faces as one, and world, to finish what they started. In the (except himself ), weeps an elongated they float in tandem, just above the cool grand narrative of the grid, that impulse drop of grey. grey background, simultaneously recedspans decades, continents, proclivities, ing into the wall.

Horse & Buggy Press has printed a and politics.

Saterstrom characterizes his work Then, the grim, inevitable question arisone-sheet that offers hints to identify as narrative, and the conceptual lines the person in each rendering, with the es: Who will Noah Saterstrom paint next? between adjacent portraits, compounded arts@indyweek.com corresponding answer on the reverse

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

INDYWEEK.COM INDYweek.com | 7.17.19 | 25

7.17–7.24 WHAT TO DO THIS WEEK

THURSDAY, JULY 18

FANTASTIC FAUNA– CHIMERIC CREATURES

Bettye La

PHOTO COURT

What if the world of the imagination were as susceptible to scientific study as the world of tangible facts? Beauvais Lyons, a professor at the University of Tennessee, answers this idle question in the most fanciful ways in the Hokes Archives, which are named for fictitious Victorian scholar Everitt Ormsby Hokes. (The surname is a dead giveaway.) Devoted to “the fabrication and documentation of rare and unusual cultural artifacts,” Lyons’s archive is a multimedia wonderland of cryptozoology, ersatz medical scholarship, and simulated folk art that at once parodies academic shibboleths and unleashes a vivid world of fable and myth upon reality, one in which the chimeric hybrid creatures of global legends and literature have left behind not just dreams, but also schematic lithographs, taxidermy, and fossil records. Meet the Giraffe Boa, the Monkey Centaur, and the Nordic Hare Falcon at this opening reception, which also features members of the NC Opera performing selections from Mozart’s beast-laden The Magic Flute. But if you miss it, the exhibit is on view through January of next year, so you’ve got plenty of time to catch ‘em all. —Brian Howe THE GREGG MUSEUM OF ART & DESIGN, RALEIGH 6–9 p.m., free, www.gregg.arts.ncsu.edu

TUESDAY, JULY 23

THE BACON BROTHERS

There’s no question that Kanye West deliberately sabotaged the rollout and final product of Teyana Taylor’s 2018 sophomore release, K.T.S.E., but ultimately, it seems to have worked in her favor. It all started three years ago when the then-twenty-five-year-old singer and dancer starred in the music video for West’s “Fade” as the indelible Flashdance-esque thirster-ciser. As those four minutes were still marinating in our psyches two years later, Taylor and West were holed up somewhere in Wyoming, concocting arguably the most soulful twenty-three-minutes of R&B music. And as frustrated as Taylor may have been with how West chose to present her project to the world, sample-laden cuts like “Gonna Love Me,” “Issue/ Hold On,” and “Hurry” presented her as an undeniable vocal force. “It expressed so much,” she told Billboard, months after K.T.S.E.’s release. “It showed a different side from the first album, a more vulnerable and mature woman side of me.” Add that to the energetic, killer dance moves she pulls off while singing, and what you have is one of the more prime performer packages, post-Janet Jackson. —Eric Tullis

Are there fans of the Bacon Brothers who aren’t fans of Kevin Bacon’s prolific film and TV work? Perhaps, but certainly the main draw is the novelty of seeing the Footloose/ Tremors/Wild Things/current City on a Hill on Showtime star performing music with his brother, Michael (who, strangely, has an Emmy from his work scoring TV shows, which his actor brother doesnt doesn’t).

The duo’s “Forosoco” songs—apparently, that means folk, rock, soul, and country— include several hits, including the iTunes Top 10 “Tom Petty T-Shirt” from their most recent, self-titled album. And they’ve gotten a number of prestigious gigs, including opening for The Band at Carnegie Hall and helping fund the Philadelphia Mummers Parade with an exclusive online single. With many albums and an extensive history, The Bacon Brothers are certainly more than a novelty side project for a Hollywood star— but we’re still guessing many people will attend the show so they can say they’re one degree from Kevin Bacon. —Zack Smith

THE RITZ, RALEIGH 8 p.m., $40–$50, www.ritzraleigh.com

THE CAROLINA THEATRE, DURHAM 8 p.m., $38-$57, www.carolinatheatre.org

WEDNESDAY, JULY 24

TEYANA TAYLOR

Teyana Taylor PHOTO BY JADE WILSON 26 | 7.17.19 | INDYweek.com

B

T i t f 2 H v a s s i t

T 8

Bettye Lavette

PHOTO COURTESY OF THE ARTSCENTER

WEDNESDAY, JULY 24

BETTYE LAVETTE

The singer and songwriter Bettye LaVette, who began her career in the 1960s, is known for her bold interpretations of songs from genres ranging from funk to country and folk. Her comeback album in 2005 was a take on the work of female songwriters, including Fiona Apple and Joan Armatrading, and in 2010, she released an album of British rock songs of the sixties and seventies.

Her recent Grammy-nominated release of Bob Dylan covers includes a stark version of “Mama, You Been on My Mind” that utilizes LaVette’s smoky voice and insistent style to great effect. On her curatorial approach, LaVette has said that songs “have to hurt me or tickle me or really interest me.” At this show, LaVette performs alongside keyboard player Evan Mercer, and will include songs from her early circuit as a young performer in Detroit, which fit this intimate arrangement. —Josephine McRobbie THE ARTSCENTER, CARRBORO 8 p.m., $34, www.artscenterlive.org

deep dive EAT • DRINK • SHOP • PLAY

WHAT ELSE SHOULD I DO? CHRISTOPHER RUOCCHIO AT QUAIL RIDGE BOOKS (P. 34), THE GET UP KIDS AT CAT’S CRADLE (P. 15), FACES: MUSICIANS, WRITERS, ARTISTS, ACTIVISTS & EDUCATORS AT HORSE & BUGGY PRESS (P. 25), KENNEDI CARTER AT 21C (P. 33), KYLE ABRAHAM AT REYNOLDS INDUSTRIES THEATER (P. 35), HOW DID THIS GET MADE? AT DPAC (P. 22), UHF AT ALAMO DRAFTHOUSE (P. 36)

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 7.17.19 | 27

Chocolate Lounge & Juice Bar

Dianna Dennis Sat 7/27 Dackel Fri 8/2 Alice Orborn Sat 8/3 Michael Daughtry Fri 8/16 Neville’s Quarter Sat 8/17 Scott Bouldin Fri 7/19

Music Performed from 6pm to 9pm Beer & Wine Served Daily Timberlyne Shopping Center, Chapel Hill 1129 Weaver Dairy Rd • specialtreatsnc.com

TH 8/1 SU 7/21 THE

GET UP KIDS

TH 10/10 CHARLIE PARR ($15)

WE 7/24-SA 7/27 MERGE RECORDS 30 YEAR CELEBRATION

W/ LALA LALA AND OHMME

TU 10/15 MIKE WATT & THE MISSINGMEN ($15)

TH 12/12 TWIN PEAKS W/ LALA LALA AND OHMME

SA 10/12 O'BROTHER W/ THE END OF THE OCEAN AND HOLY FAWN

SA 12/14 HORTON'S HOLIDAY

SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS

TH 8/1 DONAVON FRANKENREITER ($20/$24) WE 8/7 MENZINGERS W/ THE

SIDEKICKS, QUEEN OF JEANS TH 8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS SU 8/11 BLACK JOE LEWIS & THE HONEYBEARS ($15/17) MO 8/19 PEDRO THE LION / MEWITHOUTYOU ($25/$27)

CHRIS WEBBY

Jarren Benton / Locksmith / Ekoh / Chez

FRI

7/19

SAT

7/20

SUN

TUE

7/23 WED

7/24 SUN

7/28 MON

7/29 THU

8/15

DAN BAIRD & HOMEMADE SIN Lemon Sparks

DAN BAIRD & HOMEMADE SIN

Lemon Sparks NC Modernist Houses, AIA Triangle Present A Talk by McMansion Hell’s Kate Wagner MRG30 Opening Night Party with Rock*a*Teens / Escape-ism Deb Aronin Presents MYQ KAPLAN Minori Hinds Cat’s Cradle Presents WE WERE PROMISED JETPACKS ‘These Four Walls’ 10th Anniversary Catholic Action COWBOY MOUTH Shawn Spencer

COMING SOON: Tessa Violet, Junior Brown, Mac Sabbath, Okilly Dokilly, Oso Oso, Kindo, Supersuckers, Sophomore Slump Fest, BoDeans, Subhumans, Sinkane, Bleached, flor, Boy Harsher,This Wild Life, River Whyless, The Regrettes, Genrationals,The Way Down Wanderers, Sheer Mag, Kero Kero Bonito, Team Dresch,White Denim, Blackalicious,Warbringer, Sonata Artica, Russian Circles, Nile, Chastity Belt, Fruit Bats, Com Truise, Mikal Cronin,Amigo The Devil, Jen Kirkman, Street Corner Symphony, Black Atlantic

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

28 | 7.17.19 | INDYweek.com

WE 10/23 CITY OF THE SUN W/ OLD SEA BRIGADE

FR 7/19 REGATTA 69, THE SPECTACLES, ASHLEY LARUE BAND ($7)

WE 10/30 JOAN SHELLEY W/JAKE XERXES FUSSELL ($15/$17; ON SALE 7/19)

SA 10/26 CAT CLYDE ($12/$15)

SA 7/20 SOME ANTICS, BLUE FREQUENCY AND MELLOW SWELLS SU 7/21 TOGETHER PANGEA AND TIJUANA PANTHERS W/ ULTRA Q

TU 11/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE FR 11/15 BLACK MIDI ($13) SA 11/16 THE BLAZERS ‘HOW TO ROCK’ REUNION WE 11/20 KING BUFFALO ($10)

SA 8/24 BE LOUD ‘19: THE JACKSON FOUR, GREG HUMPHREYS TRIO, THE CHORUS PROJECT

7/25-27 MERGE RECORDS 30-YEAR CELEBRATION

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SU 7/28 FIDDLIN AL MCCANLESS & FRIENDS ($15)

TU 9/24 BOB MOULD (SOLO) W/ WILL JOHNSON

WE 7/31 GABBY’S WORLD AND BELLOWS W/ MUSEUM MOUTH, JENNY BESETZT

FR 10/25 JONATHAN WILSON ($20/$22 )

TH8/1SCHOOL OF ROCK ALLSTARS

TH 11/14 ROBYN HITCHCOCK (SOLO)

FR 8/2 NEW SONGS FOR THE 20TH CENTURY (CHRIS STAMEY, DJANGO HASKINS, MILLIE MCGUIRE, KIRSTEN LAMBERT, ARIEL POCOCK AND MORE ($10/$12)

KOKA BOOTH AMPHITHEATRE (CARY) SA 9/21 MANDOLIN ORANGE W/MOUNTAIN MAN

MO 8/26 WHY? W/ BARRIE

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W/ CAROLINE SPENCE

MO 9/16 CAT POWER WANDERER TOUR 2019” WE 9/18 TINARIWEN ($30/$33) TH 9/19 SNOW THA PRODUCT TH 9/26 THE MOTET W/ EXMAG

SA 8/3 DELHI 2 DUBLIN MO 8/5 KYLE CRAFT & SHOWBOAT HONEY TH 8/8 ANDREW BELLE W/ WILLIAM WILD ($15/ $17)

FR 9/27 RIDE

SA 8/10 STEVIE, SCOTT YODER, PERSONALITY CULT ($8/$10)

TU 10/1 MT JOY W/ SUSTO

SU 8/11 (3 PM SHOW) MAD CRUSH W/ JESS KLEIN ($8/$4 FOR 12 & UNDER)

SU 10/6 BUILT TO SPILL- KEEP IT LIKE A SECRET TOUR ($28/$32)

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

W/ THE SPIRIT OF THE BEEHIVE

MO 10/7 LUNA PERFORMING PENTHOUSE W/ OLDEN YOLK TH 10/10 WITT LOWRY ($16/$18)

7/21

($25/$28; ON SALE 7/18)

MO 7/22 PRINCE DADDY & THE HYENA W/RETIREMENT PARTY, OBSESSIVES, DIVA SWEETLY

SA 9/21 WHITNEY W/ HAND HABITS

Motorco MotorcoandandCat’s Cradle present SUMMER Cat’s CradleSALT present Dante Elephant / Motel Radio SUMMER SALT Dante Elephant / Motel Radio Girls Rock NC Summer Camp #4 Showcase

HAYRIDE: THE REVEREND HORTON HEAT, VOODOO GLOW SKULLS, THE 5678'S, DAVE ALVIN

CHATHAM COUNTY LINE, THE OLD CEREMONY, TAN & SOBER GENTLEMEN

FR 9/13 WHO’S BAD

7/18

WITH TIJUANA PANTHERS

TH 12/12 TWIN PEAKS

FR 8/23 BE LOUD '19:

CHRIS WEBBY Jarren Benton / Locksmith / Ekoh

TOGETHER PANGEA

FR 12/6 OUR LAST NIGHT

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

THU

SU 7/21 @ CAT’S CRADLE BACK ROOM

SU 7/21 THE GET UP KIDS W/ GREAT GRANDPA ($22/$26)

TU 8/20 THE BIRD AND THE BEE

RECENTLY ANNOUNCED: (Sandy) Alex G, Superchunk, The Midnight Hour with Ali Shaheed Muhammad (A Tribe Called Quest) and Adrian Younge

DONAVON FRANKENREITER

WE 10/16 MELVINS AND REDD

FR 8/16 SIDNEY GISH W/ LUNAR VACATION SA 8/17 DEAD ELVIS DAY: TCB, DEX ROMWEBER, PHATLYNX ($10)

WE 9/25 HOLLY BOWLING

WE 11/20 SAN FERMIN

WE 10/16 WILCO LOCAL 506 (CHAPEL HILL) SU 7/21 COVET W/ VASUDEVA AND HOLY FAWN CAROLINA THEATRE (DUR) TH 9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES MOTORCO (DUR) FR 7/19 SUMMER SALT W/ DANTE ELEPHANTE, MOTEL RADIO MO 7/29 WE WERE PROMISED JETPACKS ‘THESE FOUR WALLS’ 10TH ANNIVERSARY W/ CATHOLIC ACTION ($16/$18)

SU 8/18 DEAD RIDER

SU 9/15 BLEACHED ($15/$17)

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7.17-7.24

TUESDAY, JULY 23

CARLY RAE JEPSEN To claim allegiance to Canadian pop idol Carly Rae Jepsen is to throw yourself into a churning maelstrom of context. Just as pop music’s critical rehabilitation reached a fever pitch in the mid-2010s, the unassuming “Call Me Maybe” star subverted expectations with Emotion, a dazzling record that channeled Jepsen’s raw studio-pop bona fides into chic neo-Madonna abundance. We know the story: A media-savvy army quickly locked arms around Jepsen and unwittingly made her the face of prestige-pop criticism’s New Sincerity. As hipster obsession and disavowal goes, her latest, Dedicated, has received a slightly frostier reception. It’s a shame, as the strongest songs on the record are arguably fiercer and meatier than ever. “Everything He Needs” is a perfect high-wire act between cutting emotional resonance and savvy chipmunk-soul production. As always, there’s a palpable tug-ofwar between commercially vital material and leftfield cuts more appropriate for her ravenous cult-online audience. But not every album needs total consistency or a Pitchfork-friendly press narrative to be worth hearing. —David Ford Smith THE RITZ, RALEIGH

8 p.m., $35, www.ritzraleigh.com

WED, JUL 17

THU, JUL 18

THE CAVE Washer, Sonic Afternoon, Black Surfer; $5 suggested. 9 p.m.

ARCANA DTownDeuce, Aiden Dale; 8 p.m.

LOCAL 506 The Minks, Arson Daily; $8. 8 p.m.

NIGHTLIGHT 2 Dogs 1 Glove, Secret Boyfriend, de_Plata, Wild Actions; $8. 9:30 p.m.

POUR HOUSE Magic Beans, The Fat Catz; $10-$12. 9 p.m.

RED HAT AMPHITHEATER Godsmack; $29+. 7:30 p.m.

SLIM’S Ghost of Saturday Nite, Some Kind of Nightmare, Midnite Sun; $5. 9 p.m.

BLUE NOTE GRILL Joe Robinson; $10. 7:30 p.m.

THE CAVE The Underhill Family Orchestra; $5 suggested. 9 p.m.

KINGS JULIA., Megachrome; $8.

10 p.m.

LINCOLN THEATRE Doom Flamingo; $15. 11:30 p.m.

MOTORCO Chris Webby, Jarren Benton, Locksmith, Ekoh; $20+. 8 p.m.

NORTHSTAR CHURCH OF THE ARTS The Originals: Live Mixtape of Gil Scott-Heron & Oscar Brown Jr.; $10. 8 p.m.

THE PINHOOK Tanajah, Tesh, Richie Nelson, Kelly Kale, Faze, KJ Fuego, Davaun; $8-$10. 9 p.m.

POUR HOUSE Local Band Local Beer: Strongman & Co Album Release Party with Juxton Roy, Propersleep; $5. 9 p.m.

THE RITZ Umphrey’s McGee, Aqueous; $30. 7 p.m.

SLIM’S Hex Machine, The Wayward, Dim Into Dross, Basura; $7. 8:30 p.m.

FRI, JUL 19 BLUE NOTE GRILL Chicken Shack; $8. 9 p.m.

CAT’S CRADLE BACK ROOM Regatta 69, The Spectacles, Ashley LaRue Band; $7. 9 p.m.

THE CAVE Goddamn Wolves, Slomo Dingo; $5 suggested. 9 p.m.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK Maze, Frankie Beverly, Kem, Tom Joyner; $75+. 7:30 p.m.

KINGS Cayucas, Cape Francis; $13-$15. 10:30 p.m.

KOKA BOOTH AMPHITHEATRE Greensky Bluegrass; $25-$45. 6:30 p.m.

LINCOLN THEATRE Interstellar Overdrive, Eyeball; $15. 8:30 p.m.

THE MAYWOOD 11 Echoes, Past Tense of Never, Needlemouse; $10. 9 p.m.

MOTORCO Summer Salt, Dante Elephante, Motel Radio; $16-$19. 8 p.m.

Carly Rae Jepsen

PHOTO BY MARKUS&KOALA

INDYweek.com | 7.17.19 | 29

KOKA BOOTH AMPHITHEATRE

Sublime with Rome [$38-$63, 6:30 P.M.]

The irreplaceable Bradley Nowell hasn’t touched a guitar string since his overdose death in 1996, but his music still graces festival and amphitheater stages thanks to Sublime with Rome. A step above your run-of-the-mill cover band, the ska-punk outfit includes Sublime’s original bassist Eric Wilson. Stepin frontman Rome Ramirez interprets his hero’s music as faithfully as could be expected. Close your eyes, and it’s like Bradley’s still with us.

—Howard Hardee LINCOLN THEATRE Afton Music Showcase: Electromanic, MeistroxMuzic, Mark DiPrimo, AirCrash Detectives, Keith LeGlue, The Gypsy Mystics, The Oceanfront Band; $12-$15. 6:30 p.m.

LOCAL 506 Covet, Vasudeva, Holy Fawn; $15. 8 p.m.

THE MAYWOOD Apples & Airplanes, Eight Bit Disaster; $10. 9 p.m.

MOTORCO Dan Baird & Homemade Sin, Lemon Sparks; $15-$18. 8 p.m.

NEPTUNES PARLOUR Gustaf; $8-$10. 8 p.m.

Andy Jenkins performs at The Pinhook on Friday, July 19. PHOTO COURTESY OF THE ARTIST THE PINHOOK

Andy Jenkins [$12, 8 P.M.]

“Don’t get excited, we got nothing new,” Andy Jenkins sings on the titular track off his debut record Sweet Bunch.

While the laidback 70s folkrock aesthetic is a well worn trope, Jenkins rejuvenates it with introspective, naturalistic lyricism and a dash of pop sensibility. His show at the Pinhook is a great way to cool down during this scorching southern summer.

—Sam Haw

POUR HOUSE Torch Runner, Bloodritual, Thirteenth, Culling; $5-$10. 9 p.m.

SHARP NINE GALLERY Noel Sherr Quartet; $20. 8 p.m.

SLIM’S Ozone Jones, Darth Kannabyss, Blackhaus; $5. 9 p.m.

THE STATION Hank & Brendan EP Release with Katharine Whalen; 8 p.m.

SAT, JUL 20 BLUE NOTE GRILL The Nighthawks, Rev. Billy C. Wirtz; $25 -$20. 8 p.m.

CAT’S CRADLE BACK ROOM Some Antics, Blue Frequency, Mellow Swells; $5-$8. 8:30 p.m.

THE CAVE Sunny Slopes, M is We, Winfield; $5 suggested. 9 p.m.

KINGS Ed Schrader’s Music Beat, Dreamless, The Dinwiddies; $10-$12. 9 p.m.

KOKA BOOTH AMPHITHEATRE NC Symphony & The Embers: Annual Beach Party; $30-$33. 7:30 p.m.

THE KRAKEN Wiley Fosters, Rollin’ Dynamite; free. 9 p.m.

LINCOLN THEATRE Long Beach Dub Allstars, Aggrolites, Mike Pinto; $20. 8:30 p.m.

LOCAL 506 Spotlights, Vampyre; $10-$12. 9 p.m.

THE MAYWOOD Thrashitorium Throwdown: Nasty Savage, October 31, Earthling, Widow, Suppressive Fire, KIFF; $25-$28. 4 p.m.

MOTORCO Girls Rock NC Summer Camp Showcase; $10 suggested. 2 p.m.

NIGHTLIGHT Ibeeethaaa; $7. 8 p.m.

THE NIGHT RIDER Tan Universe, Car Crash Star, Lunchbox Hero; $5 suggested. 7 p.m.

THE PINHOOK Defacto Thespian, Gemynii, Jooselord, Cam James; $5-$16. 9:30 p.m.

POUR HOUSE Jerry Garcia Band Cover Band, The Big Strong Arms; $10-$12. 9 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

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SLIM’S Machine Gun Earl, Creekwood Adjacent, Blood Red River; $5. 9 p.m.

THE STATION Pete Pawsey, Bryan Leon Phelps, John C Clark; 7:30 p.m.

SUN, JUL 21 ARCANA Names of War; 8 p.m.

CAT’S CRADLE The Get Up Kids, Great Grandpa; $22-$26. 8 p.m.

CAT’S CRADLE BACK ROOM Tijuana Panthersm together Pangea, Ultra Q; $15. 8 p.m.

THE CAVE French Soiree, Francois, Sarah; $5 suggested. 9 p.m.

NIGHTLIGHT Red Squirrel Chasers; 7:30 p.m.

POUR HOUSE Big Jim Kohler Blues Band, Appaloosa Redd, Big Ron Hunter; $5. 2 p.m.

POUR HOUSE Roxy Roca, Darren & The Buttered Toast; $10-$12. 8:30 p.m.

SLIM’S Future Now Demo Release with McQqeen, Concussion; $7. 8 p.m.

MON, JUL 22

CAT’S CRADLE BACK ROOM Prince Daddy & the Hyena, Retirement Party, The Obsessives; $12-$14. 8 p.m.

THE CAVE Dexter Romweber; $5 suggested. 9 p.m.

OUR 2019-2020 PERFORMANCE SEASON IS HERE! SEE OUR AD IN THIS ISSUE

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Get tickets at artscenterlive.org

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

MC Taylor performs at The Carolina Theatre on Wednesday, July 24.

PHOTO BY ALEX BOERNER

POUR HOUSE Tre Mars Now Or Never Album Release with The Kids Downtown, Dshawn & Soul, Glory; $6-$8. 9 p.m.

THE RITZ Blueface; $48+. 8 p.m.

SLIM’S Crag Mask, Early Lover of Mankind; $5. 9 p.m.

TUE, JUL 23 ARCANA Haunted Like Human, Love & Valor, Arielle Bryant; 8 p.m.

CAROLINA THEATRE The Bacon Brothers; $38-$57. 8 p.m.

THE CAVE Racket Man; $5 suggested. 9 p.m.

NC MUSEUM OF ART

Bruce Hornsby & the Noisemakers, Amos Lee [$45-$60, 7:30 P.M.]

In a long career that’s included everything from massive pop hits to stints as the keyboard man for The Grateful Dead, the one thing Bruce Hornsby has never done is sit still. That remains true on his new album, Absolute Zero, which includes collaborations with legendary jazz drummer

Jack DeJohnette, Bon Iver’s Justin Vernon, and chamber ensemble yMusic on a wildly eclectic assortment of tunes.

It’s a safe bet that his show will be similarly resistant to stylistic pigeonholing.

—Sam Haw THE NIGHT RIDER Fiction, Our Blue Lights, Stranded Bandits; $5 suggested. 8 p.m.

THE PINHOOK Pearl & The Oysters, Charlie Paso, DirtBike; $7. 8 p.m.

POUR HOUSE Jake La Botz; $10-$12. 8:30 p.m.

THE RITZ Carly Rae Jepsen; $35+. 8 p.m.

WED, JUL 24 THE ARTSCENTER Bettye LaVette; $34. 8 p.m.

CAROLINA THEATRE

The Mountain Goats, Hiss Golden Messenger [$35, 7:30 P.M.]

Vaunted local indie label Merge Records kicks off its thirtieth birthday

party tonight with a trio of acts that star three of the independent music world’s finest songwriters: the Mountain Goats’ John Darnielle stocks his songs with compact but vivid portraits of people’s lives; Hiss Golden Messenger’s MC Taylor delivers richly textured emotions through wide-angle twang; H.C. McEntire bravely lays bare her most authentic self in powerful paeans to a queer South. Their probative approaches imbue in them a je n’ais se quoi that sets them apart from their peers—and makes them perfect fits for Merge’s stable.

—Patrick Wall

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THE CAVE David Israel, Short Cuts; $5 suggested. 9 p.m.

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LOCAL 506 Smoke From All the Friction, Petite Celine, Wolf & Moon, John Foley; $8. 8 p.m.

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MOTORCO MRG30 Opening Night Party: The Rock*A*Teens, Escapism; $10. 11 p.m.

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POUR HOUSE Mephiskapheles, The Ghost Of Saturday Nite; $10-$12. 9 p.m.

THE RITZ Teyana Taylor; $40+. 8 p.m.

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7.17–7.24

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QUESTIONS? cvillena@indyweek.com

FRIDAY, JULY 19

KENNEDI CARTER: GODCHILD The artist Kehinde Wiley is known for his bright, large-scale portraits that recast African Americans in the style of classical portraiture; in his paintings, subjects stare back with unwavering directness. The experience of looking at a Kennedi Carter photograph feels similarily transporting, with issues of race, class, art history, and representation drawn right to the surface of her beautiful, softly lit portraits. In Godchild, her exhibit on view in 21C Museum Hotel’s Vault Gallery through January, Carter shows African Americans in repose against gilded cloth backdrops, with ornaments of makeshift neoclassical imagery—fruit, flowers, a plate used as a gold halo—breaking the wall between the problematic canon and the evolving present. “Divinity and art in the Western world have worked together to create a set of toxic ideals, one in which Whiteness is the sole standard of beauty and the genesis of Christianity,” Kennedy, a student at UNC-Greensboro, writes in the exhibit notes. “In this photographic series I attempt to rewrite this narrative.” —Sarah Edwards

21C MUSEUM HOTEL, DURHAM 6–8 p.m., free, www.21cmuseumhotels.com/durham

OPENING Kristen DeGree Screenprints.

Jul 19-Sep 9. Reception: Jul 19, 6-8 p.m. Durham Arts Council, Durham.

Local Color Group show. Jul 22-Aug 25.

Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

What in the World Is a Grain Mummy?

Egyptology and art. Jul 20-Aug 8. NC Museum of Art, Raleigh Raleigh. ncartmuseum.org.

ONGOING 150 Faces of Durham Photos. Thru Sep 3.

Museum of Durham History, Durham.

AfterSchool Arts Immersion: Internet Abracadabra Student art. Thru Jul 31.

The ArtsCenter, Carrboro. artscenterlive.org/gallery.

“Madonna with Flowers” by Kennedi Carter PHOTO COURTESY OF 21C

Tony Alderman: Waterline Paintings.

Thru Aug 24. Craven Allen Gallery, Durham. cravenallengallery.com.

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

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

Jimmie Banks Retrospective Thru Sep 9. Rubenstein Art Center Gallery 235, Durham. artscenter.duke.edu.

Wim Botha: Stil Life with Discontent Mixed media.

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

NC Museum of Art, Raleigh. ncartmuseum.org.

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

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

Cary Gallery of Artists: Color Your World Thru Jul 23.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

Jillian Clark: Age Thru Aug 10.

Through This Lens, Durham. throughthislens.com.

Marsha Cottrell: Black and Light Works on paper. Thru Sep 8. CAM Raleigh, Raleigh.

Avery Danziger: In the Shadow of the Moon Photos. Thru Jul 31.

Through This Lens, Durham.

Empirical Evidence Group show. Thru Sep 30. Carrboro Town Hall, Carrboro.

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

Reception: July 19, 6-8 p.m.

Durham Art Guild, Durham.

Golden Expressions Golden Belt resident artists show. Thru Aug 25. Grand Gallery at the Golden Belt Campus, Durham. goldenbeltarts.com.

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

Clarence Heyward: Conundrum Thru Aug 31.

Triangle Cultural Art Gallery, Raleigh. triangleculturalart.com.

Hurray for the Red White & Blue Paintings. Thru Jul 27. V L Rees Gallery, Raleigh. vlrees.com.

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

NC Museum of Art, Raleigh. ncartmuseum.org.

INDYweek.com | 7.17.19 | 33

art

page

CONT’D

Kaleidoscope: Art of the Triangle Work from Duke Children’s Hospital pediatric patients. Thru Jul 27. FRANK’s Outreach Gallery, Chapel Hill. frankisart.com.

Kapow Group show. Thru Jul 27. Local Color Gallery, Raleigh. localcoloraleigh.com.

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

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

Ackland Art Museum, Chapel Hill. ackland.org.

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

CAM Raleigh, Raleigh.

Justin LeBlanc: Probable Normal Hearing Thru Aug 18.

CAM Raleigh, Raleigh.

Shawhan Lynch: Light Fusion Glass. Thru Aug 24. Craven Allen Gallery, Durham.

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

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

Claymakers, Durham.

Jim McQuaid: Detroit Thru Aug 10. Through This Lens, Durham. throughthislens.com.

Vanessa Murray: Night Swim Paintings and sculptures. Thru Jul 24. Reception: July 19, 6-9 p.m. Golden Belt, Durham. durhamartguild.org.

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

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

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

Paperhand Puppet Intervention: We Are Here Puppetry. Thru Jul 31.

The ArtsCenter, Carrboro. artscenterlive.org/gallery.

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

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

21cmuseumhotels.com.

QuiltSpeak: Uncovering Women’s Voices Through Quilts Thru Mar 8. NC Museum of History, Raleigh. ncmuseumofhistory.org. reNautilus Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Susan Skrzycki: These Things Take Time Mixed media. Thru Aug 3. VAE Raleigh, Raleigh. vaeraleigh.com.

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

Kirsten Stoltmann: I am Sorry Thru Jul 31.

Lump, Raleigh. lumpprojects.org.

READINGS & SIGNINGS

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

Ace Atkins Novel The Shameless. Fri, Jul 19, 7 p.m.

Quail Ridge Books Raleigh. quailridgebooks.com.

Dennis Szerszen: Unstill Waters Photos. Thru Aug 27. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Martin Clark Novel The Substitution Order. Sat, Jul 20, 11 a.m. McIntyre’s Books Pittsboro. mcintyresbooks.com.

Truth to Power Thru Jul 28.

Reception: Jul 19, 6 p.m.

Pleiades Gallery, Durham.

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

21cmuseumhotels.com.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s Photos. Thru Mar 31. UNC’s Wilson Special Collections Library, Chapel Hill.

Emily Weinstein: Under a Full Moon Paintings.

Thru Jul 17. Bull City Art & Frame Co, Durham.

Christina Lorena Weisner: Explorations Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

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

Marthanna Yater: Growing Together Photos. Thru Aug 18. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Mark Greaney & Lt. Col. Hunter Rawlings Speculative fiction Red Metal.

Thu, Jul 18, 6 p.m. McIntyre’s Books Pittsboro. mcintyresbooks.com.

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

written words from prisoners on death row. Sat, Jul 20, 4 p.m. Holy Trinity Greek Orthodox Church Raleigh.

WEDNESDAY, JULY 17

CHRISTOPHER RUOCCHIO Raleigh author Christopher Ruocchio’s debut novel Empire of Silence launched his “Sun Eater” sciencefantasy space-opera trilogy and drew comparisons to Dune, winning both local acclaim (a nod in this paper’s “Best Of ” issue) and wider recognition (the state-wide Manly Wade Wellman Award). In the first book, readers meet Hadrian Marlowe, an heir to an interplanetary fortune turned fugitive, slave pit gladiator, and eventually, infamous star-killer, as he records his story from a monastic cell. In the book’s sequel, Howling Dark, Marlowe recounts his decades in search of a lost planet and the elusive alien race whose ruins captivate scholars and scientists, in the hopes of achieving peace in humanity’s centurieslong war. With intensive world-building and plenty of science-fictional exploits, Ruocchio doubles-down on both the stakes of that world and his eminently quotable prose. —Samuel Montgomery-Blinn

John Larison American epic Whiskey When We’re Dry. Sat, Jul 20, 2 p.m. McIntyre’s Books Pittsboro. mcintyresbooks.com.

Matt Myers Debut Hum and Swish. Sat, Jul 20, 10:30 a.m.

Quail Ridge Books Raleigh. quailridgebooks.com.

To advertise QUAIL RIDGE BOOKS, RALEIGHor feature a pet for adoption, Christopher Ruocchio please contact advertising@indyweek.com 7 p.m., free, www.quailridgebooks.com PHOTO BY PAUL RUOCCHIO

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Christopher Ruocchio Howling Dark 7pm

7.19

Ace Atkins The Shameless 7pm

7.20

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Matt Myers Hum and Swish 10:30am Well-Read Black Girl Book Club Meet and Greet 11am Recipes and Rules for Writing the Novel with Therese Anne Fowler and the Redbud Writing Project 12pm (signup required) www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR PODCAST: BOOKIN’ w/Jason Jefferies

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Live podcast recording. $41+.

Fri, Jul 19, 7:30 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

NC 10 by 10 Jul 18-20.

The Cary Theater, Cary. thecarytheater.com.

JP Sears Comedy. Jul 18-20.

Thu: 8 p.m. Fri-Sat: 7:30 p.m. & 10:15 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

ONGOING 462 Stand-up Comedy Show Comedy. Sat, Jul 20, 9:30 p.m. The People’s Improv Theater, Chapel Hill. thepitchapelhill.com.

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

Comedy Overload Comedy. $5. Thu, Jul 18, 8 p.m. Pour House Music Hall, Raleigh. comedyoverloadshow.com.

WEDNESDAY, JULY 17 & THURSDAY, JULY 18

A.I.M BY KYLE ABRAHAM

“She was thirty-four. He was thirty-seven. He was twenty-seven. He was twelve.” Carrie Mae Weems’s stark spoken-word litany invokes a list of African Americans killed by law enforcement as three eerie faces drawn in black and white by visual artist Titus Kaphar stare out at us, each countenance a composite of many others with multiple eyes, noses, and mouths. In their midst, the graceful, elegiac turns of choreographer Kyle Abraham’s sextet contrasts with audio of a police shooting in Meditation: A Silent Prayer.

Abraham’s American Dance Festival program also includes the dance maker’s first on-stage solo piece in nearly a decade: INDY (no relation), a prismatic psychological profile in which a character grapples with issues involving gender and sexuality. We’ll also see guest choreographer Andrea Miller’s shadowy, state and Abraham’s fierce Show Pony, originally a solo work retooled as a duet for company stars Tamisha Guy and Marcella Lewis, before the bassdriven club-dance vibe of Drive. —Byron Woods

REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $12–$43, www.americandancefestival.org

Kayla Farrish, Catherine Ellis Kirk, and Marcella Lewis of A.I.M PHOTO BY STEVEN SCHREIBER

OPENING 85 South Show Live Live podcast recording. $40-$125.

7 p.m. & 10 p.m. Sat, Jul 20, Carolina Theatre, Durham. carolinatheatre.org.

Annie Musical. Tue, Jul 23, 7:30 p.m. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

Antigone Raleigh Little Theatre. $15. Fri-Sat: 7:30 p.m. Sun: 3 p.m.

Jul 19-28. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Bright Star Playmakers Repertory Company. Jul 18-28. Center for Dramatic Art, Chapel Hill.

Nicole Byer Comedy. $20+.

Jul 19-21. Fri: 7:30 p.m. & 9:45 p.m. Sat. 7 p.m. & 9:30 p.m.

Sun: 7 p.m. Raleigh Improv, Raleigh improv.com/raleigh.

Cowboy Hat Hootenanny Stand-up, improv, and music. $5. Thu, Jul 18, 8 p.m.

The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Footprints American Dance Festival. Martha Graham, Merce Cunningham, and Paul Taylor. $12-$43.

Jul 19-20. Duke’s Page Auditorium, Durham. americandancefestival.org.

I Am My Own Wife Theatre Raleigh. Play. Thru Jul 21. Wed-Sat: 8 p.m.

Sat: 2 p.m. Sun: 3 p.m.

Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com.

Lady Day at Emerson’s Bar & Grill Play. Thru Jul 28. North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

NC’s Funniest Person Championships Comedy competition. $20. Sun, Jul 21, 7 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Six Pack Standup Show Comedy. $5. Wed, Jul 17, 7:45 p.m. North Street Beer Station, Raleigh. northstreetbeerstation.com.

INDYweek.com | 7.17.19 | 35

screen SPECIAL SHOWINGS

UHF

PHOTO COURTESY OF ALAMO DRAFTHOUSE

An Absolutely Remarkable Evening with Hank Green Livestream from Austin, Texas. Wed, Jul 24, 8 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

WEDNESDAY, JULY 24

UHF

If you missed “Weird Al” Yankovic’s stop in Cary last weekend, where the deathless pop-song parodist classed up the N.C. Symphony, here’s a consolation prize: a screening of 1989 cult classic UHF, which, among movies that make fun of other movies, is matchless in its full-bore delightful stupidity. It came out when I was ten, the perfect age to fall into love with idiocy, though for the non-nostalgic, it still boasts a bizarrely strong cast— David Bowie! Fran Drescher! Victoria Jackson! Kevin McCarthy! A preKramer Michael Richards! Co-writer Yankovic stars as George Newman, a loveable loser who manages a failing low-budget TV station and finds unexpected success by putting on a mad janitor (Richards) as a children’sshow host. But the plot is mainly just a frame for copious movie and TV parodies (of Indiana Jones, Ghandi, Rambo, and many more) drawn from George’s daydreams; my favorite was Conan the Librarian. You can imagine exactly how that bit plays out, which is what you want from Weird Al: jokes you get right away that just keep going and going. —Brian Howe

Apollo 11 Sat, Jul 20, 5:15 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Between Me & My Mind Wed, Jul 17, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. — $10. Wed, Jul 17, 7:30 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Beyond Valley of the Dolls Tue, Jul 23, 7:30 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

ALAMO DRAFTHOUSE, RALEIGH 9 p.m., $13, www.drafthouse.com/raleigh

Blazing Saddles With actor Burton Gilliam in attendance.

Wed, Jul 24, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Bohemian Rhapsody Free.

Thu, Jul 18. Food trucks: 7 p.m. Film: 8:30 p.m. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Captain Marvel $7. Wed, Jul 17, 8:30 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

Dreamscape & Caveman $10. Fri, Jul 19, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Ferdinand Rock the Park Concert & Movie Series.

Sat, Jul 20, 6 p.m. Durham Central Park, Durham. durhamcentralpark.org.

Friday the 13th Part VIII: Jason Takes Manhattan Tue, Jul 23, 2 p.m. & 9 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Holiday $7. Wed, Jul 24, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

The Lego Movie 2: The Second Part Fri, Jul 19.

Activities: 6 p.m. Film: 8:30 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

Valley of the Dolls Mon, Jul 22, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Mary Queen of Scots Sun, Jul 21, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Vampire’s Kiss Wed, Jul 17, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Neon Slime Mixtape Fri, Jul 19, 10 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Wild Zero Donations.

Thu, Jul 18, 7:30 p.m.

Shadowbox Studio, Durham. shadowboxstudio.org.

Sleepaway Camp & Friday the 13th IV Fri, Jul 19, 8:30 p.m. The Maywood, Raleigh. maywoodraleigh.com Star Trek: The Motion Picture $5. Wed, Jul 17, 7 p.m. Rialto Theatre, Raleigh.

Targets $7. Wed, Jul 17, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

OPENING The Lion King—Can you call it live action if it was made entirely in computers?

Either way, Disney’s virtual shot-for-shot remake of this classic is getting dud reviews. Rated R.

The Farewell— Lulu Wang’s Sundance hit finds a Chinese-American woman returning to China to see a grandmother who is dying of cancer but doesn’t know it.

Rated PG. Maiden—Alex Holmes’s documentary is about the first all-female sailing team in the Whitbread Around the World Challenge.

Rated R. Once Upon a Time in Hollywood—Quentin Tarantino returns with a love letter to the waning days of Golden Age Hollywood.

Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ John Wick: Chapter 3 – Parabellum— A bloody, Buster Keaton-esque ballet meets Sam Peckinpah. Rated PG.

food & drink Honey Extraction Party Buddha Bee Apiary beekeeping event. Drinks and refreshments.

Sat, Jul 20, 2 p.m. Fifth Season Garden Co, Carrboro. fifthseasongardening.com.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

36 | 7.17.19 | INDYweek.com

 Men in Black: International—What if Men in Black, but Morocco and Chris Hemsworth’s torso? Rated PG-13.

Tomato Day Sat, Jul 20, 8 a.m. Chapel Hill Farmers Market, Chapel Hill. thechapelhillfarmersmarket.com.

indy classifieds employment AIRLINES ARE HIRING

Get FAA approved hands on Aviation training. Financial aid for qualified students Career placement assistance.

CALL Aviation Institute of Maintenance 866-441-6890

FAYETTEVILLE TECH POSITIONS AVAILABLE Fayetteville Technical Community College is now accepting applications for the following positions: Biology Instructor (10-month contract), Database Management Instructor, Director of Facility Services, Simulation & Game Development/Digital Media Instructor. For detailed information and to apply please visit our employment portal at: https:// faytechcc.peopleadmin.com/ Human Resources Office Phone: (910) 678-7342 Internet: http:// www.faytechcc.edu An Equal Opportunity Employer

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SOFTWARE ENGINEERING ADVISORS NEEDED RALEIGH

Software Engineering Advisors (Raleigh, NC) Dsgn, model, &/or implmt corporate data warehousing activities for healthcare-related co.

Reqs MS in Comp Sci (or related field) & 2 yrs Data Informatics & Data Exchange exp using healthcare & clinical data (e.g. Claims, Membership, Client Structure, etc.), or a Bach deg & 5 yrs exp. All qualifying exp must incl: reviewing & analyzing code to help decode / research data issues using SQL, SAS, Python; data mining & data analysis; Toad; agile.

Hiring reqs: drug screen / background check. Resumes: S. Kikanamada, Cigna HLIC, 900 Cottage Grove Rd, Wilde Bldg, Bloomfield, CT 06002.

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APPLYING FOR SOCIAL SECURITY DISABILITY OR APPEALING A DENIED CLAIM? Applying for Social Security Disability or Appealing a Denied Claim? Call Bill Gordon & Assoc., Social Security Disability Attorneys, 1-888-989-4947! FREE Consultations. Local Attorneys Nationwide [Mail: 2420 N St NW, Washington DC. Office: Broward Co. FL (TX/NM Bar.)]

notices NOTICE TO CREDITORS ALL PERSONS, firms and corporations having claims against JAMES E. GRAHAM Sr., deceased, of WAKE, NC, are notified to exhibit the same to the undersigned on or before OCTOBER 1, 2019, or this notice will be pleaded in bar of recovery. Debtors of the decedent are asked to make immediate payment. This THIRD day of JULY, 2019. JAMES E. GRAHAM Jr., Executor, 7304 KRUME CT., APT. 1121, RALEIGH, NC 27613. INDY Week: 7/3, 7/10, 7/17.

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

Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979.

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The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH

For advertising opportunities, contact your ad rep or advertising@indyweek.com Book your ad • Email amanda: classy@indywEEk.com

INDYweek.com | 7.17.19 | 37

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

1

7

5 6

3

2 6 7 8 3 5

1 9 8

1

6 4 6 7 3

6 5 2

MEDIUM

8

8 3 9 # 34

su | do | ku

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.

9

3

6

5 7 5

4

4 9 37 91

9 84 3 1 48

1 1 3 83 2 77 2 9

5

9 2

3 1 7 6 8 9 9 2

6

MEDIUM

5 1 8

4

# 36

4 7 3 5

HARD 2 3 5 7 1 9 8 4 6

1 4 6 8 5 3 2 9 7

# 35

Page 9 of 25

2 1 6 8 5 7 9 3 4

5 7 9 1 4 3 8 6 2

8 4 3 6 9 2 7 5 1

4 5 2 9 7 8 6 1 3

# 62 9 6 8 4 3 1 5 2 7

1 3 7 2 6 5 4 9 8

7 8 5 3 1 9 2 4 6

3 2 4 5 8 6 1 7 9

6 9 1 7 2 4 3 8 5

solution to last week’s puzzle

38 | 7.17.19 | INDYweek.com

8

6

7

# 36

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

5 1 2 8 3 and click 6“Puzzle “puzzle pages.”

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

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

2 1 9 7

7.17.19

CLASSY AT INDYWEEK DOT COM

30/10/2005

Book your ad • Email amanda: classy@indywEEk.com

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

Book your ad • Email amanda: classy@indywEEk.com

INDYweek.com | 7.17.19 | 39

HIMALAYAN FRONTIERS CLOSING JULY 31, UP TO 90% OFF Triangle Town Center 919-649-9006 Handcrafted: Decor, masks, paintings Silver jewelry Bronze sculptures Meditation, crystals

LOVE MID-CENTURY MODERN?

back page

NCModernist documents the state’s 2,400 houses plus leads exciting Modernist tours to New York, Europe, Palm Springs, even Durham! www.ncmodernist.org

DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

SMOKY MOUNTAIN WHISKEY CRACKERS ® available at: Saxapahaw General Store, Southern Season, New Hope Market, Special Treats, Heart of Carolina, Oasis Fresh Market

919-286-1916 @hunkydorydurham We buy records.

Now serving dank beer.

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Weekly deadline 4pm Friday classy@indyweek.com

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Place your ad or announcement on the INDY Back Page and get views.

Contact Amanda: classy@indyweek.com

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RECYCLE THIS PAPER HISTORY TRIVIA: RECYCLE THIS PAPER • On July 18, 1963, Gov. Terry Sanford announced the establishment of the North Carolina Fund to RECYCLE THIS PAPER alleviate poverty in NC. • On July 21, 1930, Duke University PAPER Hospital RECYCLE THIS opened to patients. 17 patients were registered on the first day.

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