INDY Week 8.10.16

raleigh•cary 8|10|16

Wake Elections Shenanigans, p. 6 Richard Burr, Scoundrel, p. 9 Women Brewing It for Themselves, p. 19 The Regeneration of D Generation, p. 23

the Tattoo issue Medical Tats, Cover Cover-Ups, Ups, & the Man Whose Ink Made Steph Curry a Star

2 | 8.10.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | DURHAM

Christine Fantini performs with The Wigg Report during the Bull City Records eleventh-anniversary party Saturday evening at Ponysaurus Brewing Company in Durham. PHOTO BY ALEX BOERNER

Cover:

PHOTO BY ALEX BOERNER

VOL. 33, NO. 32

6 “I’m OK with fixing up the schools, but some money needs to go into these schools to help improve our schools so our children can learn reading.”

8 That massive chasm on Glenn Road is a washout, not a sinkhole.

9 In 1989, the Supreme Court said flag-burning was constitutional. In 2016, Richard Burr still thinks it’s a winning campaign issue.

13 Areola tattooing will cost $600 for both breasts.

15 The secret to being a tattoo artist? “You have to be an amateur psychiatrist.”

19 In a male-dominated industry, Bombshell Beer Company carves out a herstory of its own.

20 Each mouthful of Mothers & Sons’ squid ink pasta is redolent of the Carolina coast.

21 Figs growing on Durham trees are the not-soforbidden fruit.

26 For some, martial arts are just fun. But for endangered LGBTQ youth, they’re vital for self-defense.”

NEXT WEEK: THE HEATED STORY OF SQUIRREL NUT ZIPPERS’ HOT

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 9 Soapboxer 10 The Tattoo Issue 19 Food 23 Music 26 Arts & Culture 28 What to Do This Week 31 Music Calendar 36 Arts/Film Calendar 41 Soft Return

INDYweek.com | 8.10.16 | 3

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backtalk Surgical Precision

As the INDY reported last week, HB 2 looks like it will soon meet an ignominious demise at the hands of a federal judge. Because Attorney General Roy Cooper isn’t defending the law, the state’s laughably weak defense (which boils down to the fact that the law won’t be enforced anyway) will fall to you, dear taxpayer—and, though McCrory has recently said he won’t use it, that defense fund includes $500,000 set aside for disasters.

Facebooker Kathleen Pepi Southern isn’t happy about that.

“Thank you for wasting valuable resources in the midst of hurricane season to pay some large Republican law firm to defend the indefensible—a law that, just as with the voter ID law, addresses a nonexistent problem.”

“Good on the judge,” adds Stefi Davis. “The North Carolina [governor] needs to be removed and put in some mental institution; either way, he is a narrow-minded idiot living in Stone Age times.

Transgender people, when using a restroom, do not make eye contact; they want to be in and out as fast as possible—they need to use the restroom, they do not even want to be in there.”

Our announcement of the 2016 musical lineup for the N.C. State Fair caused Twitter user @lauriefrommiami (a purported resident of Chapel Hill) to implore the INDY and some of the acts playing—including Superchunk, Corrosion of Conformity, and Maceo Parker—to boycott the damn thing, because of HB 2, of course. “I encourage you all to drop out unless HB 2 is repealed. The fair is state sponsored.”

Which is true. But Pat McCrory’s bigotry shouldn’t deny us the awesomeness of Superchunk.

Finally, commenter rataplan takes issue with our post about a federal court striking the state’s voter ID law. Getting an ID, he/she argues, isn’t that much of a burden: “I’m more outraged by the personal privations of so many black Americans because they’ve had no IDs to buy cigarettes, apply for food stamps and obtain welfare, etc. I believe the liberal media and Democrat Party should stand up because these people are so poor and haven’t had the opportunity legally to use a photo ID so they could vote. I also would like to know an example of the ‘surgical precision’ in a photo ID used to disenfranchise black voters, since there are at least twenty-four ways for anyone of legal age in North Carolina to obtain a photo ID.” Want to see your name in bold? Email us at backtalk@indyweek. com, comment on our Facebook page or INDYweek.com, or hit us up on Twitter: @indyweek.

No matter who you are or where you’re from, you are always welcome here.

Show the world your point of view and why the Triangle is a great place to live and work. www.allarewelcomehere.com #AllAreWelcomeHere

INDYweek.com | 8.10.16 | 5

triangulator Eddie Woodhouse

+NEAT TRICK

On July 1, the federal Fourth Circuit Court of Appeals ruled that the Wake County commission and school board maps— redrawn by the legislature to be made more favorable to Republicans in the wake of humiliating electoral defeats— were unconstitutional. The three-judge panel wrote: “We see no reason why the November 2016 elections should proceed under the unconstitutional plans we strike down today.”

Thus began a scramble among Wake Republicans to fix this mess. This weekend, they came up with what can only be described as the worst possible solution.

On Sunday, U.S. District Court Judge James Dever, a George W. Bush appointee who is overseeing the case and apparently chafing at the Fourth Circuit’s ruling, ordered the Wake County Board of Elections to rank from best to worst four possible scenarios. The options were: reverting to maps in place before the legislature meddled; using new maps put forward by state legislative leaders; using new maps put forward by Democratic state representative Rosa Gill; and— unbelievably—proceeding with the maps that the Fourth Circuit had already deemed unconstitutional.

Dever gave the board until Monday afternoon to figure it out, but there was a problem: one of the Republican seats

on the county board had been vacant since last month. (County boards of elections have three members, two from the governor’s party and one from the opposition party.)

The solution? The state board called an emergency phone meeting—with just ninety minutes’ notice to the public—in which officials confirmed a new member: Eddie Woodhouse, a former Raleigh City Council candidate and aide to Jesse Helms who is also the cousin of state GOP executive director Dallas Woodhouse.

“This being done, in this manner and at this stage of the game, only proves the intent of the GOP majority,” says Wake County Democratic Party chairman Brian Fitzsimmons. “They have no regard for public input or intent, because they know that the majority of the public isn’t on their side. Dark rooms and late-night maneuvers are all they can muster at this point, all to ensure conservative control over a county commission.”

At his first meeting Monday night—held via conference call—Woodhouse didn’t disappoint. For his first act, he tried to eliminate Sunday early voting, which black churches (read: Democrats) use to drive turnout. That didn’t pass. But then the board, required by court order to extend early voting

+IN DURHAM, A DIFFERENT SORT OF REVIVAL

When people speak of a revival in Durham these days, they’re typically referring to chic restaurants opening in long-abandoned storefronts, startup culture, and luxury apartment buildings making dents in the sky.

PHOTO COURTESY WWW.EVANGELIZEDURHAM.ORG But a different kind of revival—one you’re unlikely to have heard about on Twitter—is currently underway: an old-fashioned tent revival. On a patch of land at the corner of Dillard and Holloway streets, Evangelize Durham, a coalition of thirty-one mostly black local churches, has erected a large white tent and crammed about five hundred folding chairs underneath it. Every evening for the entire month of August, a different pastor is leading a service. Every day, from 11 a.m. to 2 p.m., Evangelize Durham is doing community outreach: a clothing drive, food distribution, and workshops on topics like domestic abuse, substance abuse, and HIV screening.

6 | 8.10.16 | INDYweek.com

to seventeen days from ten, decided to only open the county BOE offices those extra seven days—literally the least they could legally do.

Then, the decision we were all waiting for. In a court filing later that night, the newly configured board released its ranking of the redistricting options. Number one— surprise!—was the very maps the Fourth Circuit had declared unconstitutional, because these maps required no additional work on the board’s part. After that, in order: the 2011 maps, Gill’s maps, and the legislative leaders’ maps.

On Tuesday morning, Dever ruled that both the school board and commission races would revert to the 2011 maps.

All nine school district and three commission seats will be on the November ballot for two-year terms; there will be a new filing period for the school board seats, but no new primary.

In short, it’s an unmitigated mess.

Dever ordered that these plans only be used in the November 2016 elections, and said he “expects the General Assembly to enact an appropriate and constitutional system” in the next session. Which means that this battle isn’t over; it’s merely been postponed.

“It’s inspired by a similar revival that happened in [the public housing area] Few Gardens back in 1992,” says Pastor Earnest Williams, of Durham’s Joshua Generation Fellowship. “All us pastors coming together, we’re taking a stand against the violence that’s happening here in Durham, spreading the gospel of Jesus. It’s a citywide thing.”

And beyond: churches from Cary, Greensboro, Fayetteville, and Henderson are also participating. On Monday evening, a week into the festivities, a female preacher was warming up a crowd of about seventy-five before the 7 p.m. service. (“We were over capacity for the Sunday night service,” says Tierra Bullock, an organizer. “People kept flowing in from off the street.”) The preacher paced the stage as the faithful nodded their heads to her words and occasionally waved their arms in the air.

“Some of us are tired, Father God,” she prayed. “Some of us are exhausted, Father God. Declare your love, Father God. Declare your reign, Father God. Tonight we know the power of unity, Father God. Teach us how to evangelize, Father God. We pray for those not underneath this tent, Father God.” Just outside the tent, a generator hummed, powering two food trucks: Tootie’s Mobile Kitchen and a shaved-ice proprietor without a discernible name. A band from the Wings of Eagles Christian Church, led by a middle-aged woman in a red blouse, black pants, and black sneakers, took the stage and started in on a rousing number. Three young girls in matching black t-shirts with the word RISE on them danced athletically up front, their backs to the stage.

“We’re taking this city back,” the singer said as the song soared to its conclusion. “We’re not gonna lose any more ground here in Durham.”

TL;DR: THE INDY’S QUALITY-OF-LIFE METER

+MO’ MONEY, FEWER PROBLEMS?

ed to only hose extra hey could

ll waitingIn the continuing battle to get more school night, thefunding, Durham Public Schools is facing ts rankingharsh criticism from residents. mber one— Earlier this summer, the county comhe Fourthmission and the school board sparred over titutional,how much money additionalDPS would get from 011 maps,the $170 million bond referendum slated for he schoolthe November ballot.

011 maps.Commissioners signed will be onoff on almost $91 mill be a newlion. But the school w primary.board, eyeing the construction of a new e Novem-Northern High and the renovation of Eno al Assem-Valley Elementary, wanted more: $110 milystem” inlion, at least. The county, however, got the ’t over; it’sfinal say—and it had other priorities, too.

In addition to school improvements, the referendum, which commissioners approved Monday night, includes almost $45 million for the main library, $20 million for Durham Tech, and $14 million for the Museum of Life of Science.

At that county commission meeting, DPS officials, including Superintendent Bert L’Homme and school board chairman Mike Lee, made their case for the school bond, arguing that DPS needs the money for bigticket capital projects.

“Teaching and learning are our priority,” L’Homme told commissioners. “But building and maintaining our schools is the work

“We’d like to see that money go toward our children,” said resident Sheryl Smith.

“I’m OK with fixing up the schools, but some money needs to go into these schools to help improve our schools so our children can learn reading. We have too many kids graduating that can’t read.”

While only a handful of residents spoke out against DPS’s portion of the bond—the others met with general approval—commission chairman Michael Page said he wasn’t “feeling the very best. But I really do believe that we can feel a lot better if we come together, and let’s work out these differences for the sake of this community.”

The school board will have until November 8 to sell skeptics on the bond’s merits.

Voters will get to approve—or reject—each of the four bond measures separately. triangulator@indyweek.com

“We’d like to see the money go toward our children. We have too many kids graduating that can’t read.” behind the work. We are creating and preserving the infrastructure that enables our students to learn without the distraction of leaky roofs or faulty HVAC systems.”

But several residents countered that DPS’s priorities were skewed. Even though—as L’Homme pointed out—achievement and graduation rates are rising, they said the school system should focus its bond revenue on student needs, not buildings.

This week’s report by Paul Blest, Lauren Horsch, and David Hudnall.

-1

The state legislature has spent more than $9 million defending itself in court, most of it on the unconstitutional voting law.

“Really stoked we showed those early voters who’s boss,” says a schoolteacher in line for food stamps.

+2

Governor McCrory decides not to spend $500,000 in disaster-relief funds defending HB 2, just in case Hurricane Pat decides to roll through this season.

-3

A state toxicologist says under oath that the McCrory administration misled homeowners about the safety of well water near coal-ash plants. “We meant that it’s safe to look at—well, mostly,” a spokesman says.

-1

In Raleigh, an eleven-year-old Trump fan accuses Mike Pence of “softening up” Trump’s rhetoric. The youth later clarified that “rhetoric” is kid slang for “penis.”

-2

Fearing NCAA sanctions, UNC tries to exclude damning interviews from an infractions hearing. In one incendiary exchange, a UNC player expressed admiration for Coach K’s loafers.

-2

In an emergency session, the N.C. Board of Elections appoints former Jesse Helms aide Eddie Woodhouse to Wake County’s election board. The members then serenade Woodhouse with an a cappella version of “Dixie.”

+1

The Durham City-County Planning Department issues a notice of violation, saying the county GOP’s new headquarters doesn’t comply with zoning codes. Officials are still trying to determine how zoning laws allowed Republicans in Durham County in the first place.

+3

Elon University students try to block an on-campus speech by syndicated conservative columnist Kathleen Parker—a writer (Save the Males) who proves that women can mansplain, too.

PERIPHERAL VISIONS | V.C. ROGERS

This week’s total: -3 Year to date: -16 INDYweek.com | 8.10.16 | 7

indynews

Tapped Out

IN A DROUGHT-STRICKEN FUTURE, N.C. STATE RESEARCHERS THINK AN ANSWER TO OUR WATER WOES MAY LIEdurham•chapel IN CARY BY PAUL hill BLEST raleigh•cary 1|2|13

GLAD Study

The Frohlich Lab at UNC-Chapel Hill is looking for individuals who would be interested in participating in a clinical research study. This study is testing the effect of transcranial alternating current stimulation (tACS) on mood symptoms of Major Depressive Disorder.

Transcranial current stimulation is a technique that delivers a very weak current to the scalp. Treatment has been well tolerated with no serious side-effects reported. This intervention is aimed at restoring normal brain activity and function which may reduce mood symptoms experienced with Major Depressive Disorder. We are looking for individuals between the ages of 18 and 65, diagnosed with Major Depressive Disorder currently not taking benzodiazepines or antiepileptic drugs. You can earn a total of $280 for completing this study. If you are interested in learning more, contact our study coordinator at: courtney_lugo@med.unc.edu Or call us at (919)962-5271 8 | 8.10.16 | INDYweek.com

As climate change accelerates all over the globe, scientists and governments are racing to figure out how to best protect the water supply from its consequences. One possibility, raised in a National Science Foundation-funded project from researchers at N.C. State, is to recycle water—in other words, treating wastewater and enabling it to be used for nonpotable purposes, which would help conserve water as access to that allimportant resource becomes more unstable.

The problem: overcoming people’s perception that they’re using water that has already gone down the drain.

In 2001, Cary became the first municipality in North Carolina to use reclaimed water.

In a paper published last week in the Journal of Water Resources Planning and Management, N.C. State engineering professor Emily Zechman Berglund and communications professor Andy Binder, who studies controversial science topics, used Cary’s system as a model to develop a computer simulation that other municipalities could use when considering such an infrastructure investment.

Zechman Berglund explains that Cary uses a “dual system,” which means houses need two sets of pipes to pump in reclaimed water: one for potable water and one for reclaimed water. That can be a cost-prohibitive proposition for many municipalities and developers.

“If you’re just one homeowner, I would hate to use the word impossible, but it would pretty much be impossible to do,” she says.

“The city has to build the treatment plant, has to build the infrastructure, and then the developer has to build the pipes that go from AlAmAnce sheriff: Bring me the street into the house.”

In 2007, Cary projected that seventeen thousand homes would have the option of using reclaimed water by 2030. More recently, Zechman Berglund says, that projection has been revised downward, perhaps because of the expense, although a Cary rep-

resentative says the town expects the overall system to grow over time.

Once that infrastructure is in place, there are not-insignificant benefits to homeowners, most directly in cheaper water bills. In fact, in their paper, Zechman Berglund and Binder predict that 90 percent to 100 percent of homes with the pipes installed will use the reclaimed water by 2030.

The only obstacle? What Binder and Zechman Berglund call the “yuck factor.”

“I came in as a social scientist to figure out how people make that sort of a judgment,” Binder “Thecustomers idea of using this Why says. water are [reclaimed] water makes people question if furious about Aqua NC it’s safe to drink or their children to be in contact with.”

By LisA sorg In a previous study, which surveyed twenty-eight hundred adults, Binder and Zechman Berglund found that perceptions of water reclamation varied in different areas of the country; in the South and Gulf Coast, people were colder to reclaimed water than those in the drought-prone West.

“They’re already doing a lot of that in the West, and we’re not doing it here as much,” Zechman Berglund says. “I mean, look outside, it rains all the time here. If you’re conILLUSTRATION BY JP TROSTLE stantly confronted with the idea of not ed it,” Binder says. “That’s one of the reahaving enough water, the idea of reusing sons why we’re interested in measuring risk water seems like a great idea.” perception, because that’s a key element of So while the researchers predict that the whether or not they want to use the water yuck factor will subside as people become like this, and if they trust the people treating more familiar with the technology and water the water to do it properly or not.” conservation becomes more necessary, it’ll As Zechman Berglund points out, howevtake longer in some areas. The national outall water is ultimately cry over lead-poisoned in Flint,Land Michsome mexicAns! p.11 water Promised p.31 er,rAlph stAnley comescyclical. to town p.35 “Almost everyone is downstream from igan, isn’t doing reclamation any favors, another city,” she says. “Somebody who gets Binder and Zechman Bergland say—even if very freaked out about reclaimed water may the source of lead poisoning is the pipes rathnot understand the cyclical nature of water er than reclaimed water. itself. We’re all drinking someone else’s “In some ways, I’m glad [the Flint story] wastewater, basically.” l didn’t happen when we were collecting our pblest@indyweek.com data, because I’m sure it would’ve impact-

Dirty and expensive

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RICHARD BURR WRAPS HIS CAMPAIGN IN THE FLAG–– BUT FORGETS WHAT IT STANDS FOR

BY JEFFREY C. BILLMAN

Richard Burr isn’t where he wants to be headed into his final election. His approval numbers are middling—30 percent in June— and his party is a shambles, anchored by the dead weight of drowning presidential candidate Donald Trump. North Carolina’s senior U.S. senator now finds himself locked in a pitched battle with former state representative Deborah Ross, a whip-smart challenger who has proven a prodigious fundraiser.

With fewer than a hundred days to go, Burr faces a difficult task in this age of balkanized politics: convincing lukewarm Hillary Clinton backers to pull the lever for him.

To do that, Burr is playing a card straight out of the GOP’s 1990s deck. This weekend, Burr’s campaign sent supporters an email hocking $7 American flag pins—and calling into question Ross’s love of country. “These flag pins,” wrote digital media coordinator Elizabeth Minton, “represent our respect for the flag and the sacrifice of those who died to protect it. I know Deborah Ross wouldn’t be seen wearing one of these. She called it a ‘tremendous victory’ for people to burn flags, but she wouldn’t fight for a veteran’s right to fly one.”

Ah, patriotism, the last refuge of the scoundrel—an axiom proven time and time again during the George W. Bush administration.

(Remember freedom fries?)

Here’s the back story: from 1994–2002, Ross was the executive director of the state ACLU. The ACLU opposed Republican efforts to enact a constitutional prohibition on flag burning, which the Supreme Court declared in 1989 to be protected speech, even though many Americans find it distasteful.

That much was known—and it was pretty much a given that Burr would use Ross’s ACLU years to tar her as an unpatriotic radical who loves flag burners and atheists and sex offenders and other assorted miscreants. (Ross also opposed North Carolina’s

sex offender registry—on the perfectly reasonable ground that many sex crimes take place within families, so outing the perp could mean outing the victim—and allowing public schools to display the Ten Commandments.)

But this part is new. Last week, the Burr campaign—with an assist from the right-wing Washington Free Beacon—hit Ross for declining to help a Caldwell County veteran who was asked to take down an American flag flying on a pole in his lawn because it ran afoul of his neighborhood’s covenants.

The vet’s letter probably never made it to the ACLU executive director’s desk; in any event, the neighborhood agreed to change its rules. But that didn’t stop the Burr camp from turning the outrage up to eleven.

“This is another example of Deborah Ross’ radical tenure as the chief lobbyist for the ACLU,” spokesman Jesse Hunt said in a statement to The Charlotte Observer. “Ross will have to explain to the roughly 775,000 veterans in North Carolina … and other patriots why she would allow someone to destroy our country’s flag, but won’t stand up for the someone who wants to fly it.”

Fact check: Ross didn’t “allow” anyone to burn a flag. The Supreme Court did that.

More important: the First Amendment wasn’t meant to protect viewpoints that everyone agrees with. It was meant to protect the radicals, the unsavory, those with dangerous opinions—including flag-burners.

The right to unpopular speech is a fundamental pillar of America’s greatness, and for the republic to survive, it needs to be defended vigorously. Like it or not, it’s also one of those rights North Carolina’s 775,000 veterans fought to protect. If Burr doesn’t understand that—or, worse, if he’s wrapping himself in the flag to cater to authoritarian impulses—that’s his problem, not Ross’s. l jbillman@indyweek.com INDYweek.com | 8.10.16 | 9

the indy's tattoo issue

10 | 8.10.16 | INDYweek.com

RIGHT Shea Collins PHOTOS BY ALEX BOERNER

LEFT

Cody Abell at Glenn's Tattoo Service in Carrboro

I have two tattoos, both on my back, though I don’t show them off very much. The first—a weird sun-like thing to celebrate a waning freshman-year depression—I got in college. The second, a clef note to remind me to focus on what I want and not what a certain ex-girlfriend wanted of me, came after a mid-twenties bender in Vegas (because I am a walking cliché). For several years now, I’ve been eyeing, but never pulled the trigger on, a third—an oldfashioned typewriter on my forearm, another reminder to be true to myself.

That, after all, is what most tattoos are: stories we tell ourselves about where we’ve been, where we’re going, and what we value in life. These days, tattoos are so common that not having one almost has the same unique allure that sporting one once had. But the fact that they are so commonplace doesn't dilute their power.

To the contrary—more people having tattoos means more people interpreting ink through a personal, rather than simply visual, lens.

In our Tattoo Issue, we delve into some of the countless ways in which tattoos transcend the decorative. Corbie Hill and Alex Boerner document the process of covering up a youthful indiscretion with something more meaningful. Hannah Pitstick explores how breast cancer survivors use tattooing to reclaim a sense of normalcy. Allison Hussey brings us some tales from the trenches of a working tattoo artist. And, best of all, our readers share stories and pictures of the tats that define who they are—and who they'd like to be.

Through these stories, we can clearly see how tattoos are far more than body art. They are the records of our lives, our hopes and dreams, written on our skin. —Jeffrey C. Billman

Cody Abell covers Corbie Hill's tattoo at Glenn's Tattoo Service in Carrboro.

THE TH E COVE R COVER U P UP

GOT A TERRIBLE TAT WHEN YOU WERE A TEEN? YOU CAN FIX THAT. STORY BY CORBIE HILL • PHOTOGRAPHS BY ALEX BOERNER

he front room of Glenn’s Tattoo Service is walled with classic tattoo-shop imagery—naked ladies, square-rigged sailing ships, devils and skeletons.

It’s a hot Tuesday in July, and I’m just happy to be inside, out of the Carrboro sun. Cody Abell, tattooed from ankles to temples and wearing a perpetual half-smile, strides in from the other room, holding a small scrap of contact paper. He presses it to my arm, directly atop my first tattoo.

“Take a look,” he says, pulling the paper away. I look in the mirror. For now, two images battle for the same patch of skin.

One, a faded little circle with wings, looks like a poorly drawn airline pin. The new image is a Star Trek insignia that deliberately obscures the wings. When I look, I somehow manage to ignore the tangle of lines and see just the tattoo to come. I smile.

T

“Yeah,” I say. “That’s it.” Then he dips his needle in a little cup of ink and goes to work on my first tattoo in ten years.

I’m like a lot of people: thirtysomething and stable, with a few faded tattoos peeking out of my sleeves, all relics of my early twenties. Granted, I’m happy with almost all of them.

I like the shark jaw on my left deltoid, and I’m proud of the treble clef nestled within a stylized seahorse—my design— above my right elbow. The Anasazi petroglyph on the inside of my left arm reminds me of my late stepdad. It’s based on a keychain he bought me during a Texas trip years ago (though I later discovered it’s also the Teva logo—after I got the tat).

I even like the breaking wave on the back of my right leg, though the art is pretty bad.

Yet there was the question of my first tat, the wings on

my right deltoid. I didn’t like what it represented, and it was the only one I had no good answer for if one of my daughters asked what it was. I had grown, I had changed, and it was time for me to enter the second phase of my tattoo-getting life. It was time to fix a mistake.

Alison McGhee knows the story well. In March, shortly before the release of her children’s book Tell Me a Tattoo Story, she put out a call on social media: Send me a photo of your favorite tattoo and tell me the story behind it. McGhee got much more than she expected.

“Some of them, which I didn’t publish, were about tattoos that they really regretted, either because the art was horrible or the sentiment behind it had changed,” she says.

McGhee sounds winded when she picks up the phone.

INDYweek.com | 8.10.16 | 11

hen McGhee’s son turned eighteen, he texted her to ask if it was OK to get a tattoo.

“Sure,” she replied, “as long as it’s a heart on your bicep with the word ‘Mom’ in the middle.”

What her son chose was quite touching.

W

12 | 8.10.16 | INDYweek.com

Fresh ink: Out with the old (see below, inset), in with the new

She’s on one of her favorite hiking trails, a canyon path in Wilderness Park above Laguna Beach. SoCal is one of several places the nomadic author calls home. I've solicited her input because I respect what she did with Tell Me a Tattoo Story, a tender book in which a child asks his dad about his tattoos. The answers unfold like a tapestry of the father’s life: Here’s the one from his favorite book as a kid; here’s the one from his military deployment; here’s the one that reminds him of the day he met his wife.

“I thought it was a very traditional book about a family’s love and a father and a child,” McGhee says. Accordingly, I can easily identify with the dad in Tell Me a Tattoo Story.

He’s a believable person, and his tattoos don’t signify toughness or danger or any of those other lingering stereotypes. They’re just tattoos.

So, like others before me, I swallow my pride and tell McGhee my own embarrassing first-tattoo story. She listens patiently. I explain that, when I was twenty, I was briefly taken with the tinfoil-hat idea that an undetected planet called Nibiru was on a cometlike orbit and would intercept the Earth in 2012, heralding a new millennium, blah blah blah. A guy I worked with at the time had a tattoo gun, so I got him to tattoo a line drawing of a planet with wings on my arm, with the result looking like something a seventhgrader scrawled in a notebook. Revealing to McGhee that I had Chariots of the Godslevel unscientific nonsense tattooed on my arm for fourteen years was embarrassing, but nowhere near as embarrassing as seeing it in the mirror every single morning.

“What’re you going to cover it up with?” she asks.

“The Star Trek insignia from the eighties movies,” I say.

“Oh, nice.”

“I am a lifelong Star Trek fan,” I continue. Tattoo talk gets personal fast. “It is my mythology and my philosophy. That actually means something.”

“It’s very hard to imagine that will ever change,” she says without missing a beat.

When he was very little, McGhee explains, he had a hard time adjusting to the world and would scream unless he was being carried. He spent most of his time in a forward-facing carrier, and the two would read picture books together, Mom reading the words and son turning the pages. So, when he was legally old enough, he had the gentle, flower-loving bull from The Story of Ferdinand tattooed between his shoulder blades. It was his favorite book as a child.

Whatever preconceptions McGhee had about body art vanished. When she realized tattooed parents weren’t represented in picture books, it compelled her to fill that void.

The book all but wrote itself.

“I want to be an artist in the time I am living in now,” McGhee says. “I don’t want to deny the current world. I don’t want to repudiate it. I just want to acknowledge that this is the world, and the world I’m in is full of tattoos.”

Children’s books simply haven’t caught up.

The world my two girls live in is also full of tattoos. Their dad has them; other parents have them; the local children’s librarians they love so much have them. My daughters don't view body art as a dramatic act— you get inked (I did) or you don’t (my wife didn’t). They like putting on temporary tats, and they know you have to be fully grown to get a permanent one. They’ve even seen that tattoos aren’t final. There’s laser removal, which Abell says feels like a muscle-bound dude repeatedly whacking you with a rubber band, and there’s simply covering up that ill-conceived youthful passion with new ink.

That’s what I did: For about two hours, I sat in Glenn’s while Abell scratched away on my arm, slowly but indelibly paving over Nibiru and leaving behind something far more logical and meaningful. As people came and went, we talked about our families and the places we’d lived; the conversation ranged from Steinbeck to The Beatles to Deep Space Nine. If only I’d had a cup of coffee in front of me, I would have been perfectly content.

Later, at the supper table, six-year-old Sarah asks me what it feels like.

“It doesn’t really hurt, not that bad,” I say, pausing to figure out the best way to explain it. “It feels kind of like someone rubbing sandpaper on your arm.”

Sarah thinks about this for a second. She and her four-year-old sister, Lucy, look at the new tattoo for another moment and then go back to eating. l Twitter: @afraidofthebear

Chest and nipple tattoos by Candice Tekus of Mad Ethel's Tattoos in Raleigh PHOTO COURTESY OF CANDICE TEKUS

Invisible Ink

FOR SOME BREAST CANCER SURVIVORS, NIPPLE TATTOOS OFFER A RETURN TO NORMALCY

BY HANNAH PITSTICK

Tara Dunsmore never imagined she would grow up to be a tattoo artist. The forty-three-year-old registered nurse never got into drawing as a kid. She pursued a medical path in school rather than an artistic one. But after being diagnosed with breast cancer in 2012 and undergoing a double mastectomy, Dunsmore heard about areola tattooing as a final step in reconstruction. She was shocked, however, to see a lack of

options for breast cancer survivors who want realistic tattoos that look three-dimensional to get back a sense of normalcy.

When Dunsmore finished her breast reconstruction, her doctor brought up areola tattooing but couldn’t refer her to anyone outside of the office nurse, who had been trained to do basic one-dimensional areola tattoos.

After searching in vain for a viable alternative, Dunsmore, INDYweek.com | 8.10.16 | 13

"My husband's really the only one who gets to see it, but I feel like showing everybody." who lives in Raleigh, relented and went with the in-office nurse.

“It was horrible, painful, and the only color options were bubblegum pink, chocolate brown, and nude,” Dunsmore says. “I didn’t have any control over the color or size, and when I walked out of there, I just couldn’t believe it. I couldn’t believe these were the options for breast cancer survivors. It was unacceptable.”

When she returned to her plastic surgeon, she voiced her concerns and told him she was going to go train with the best 3-D tattoo artist she could find. Then she was going to come back and do this for survivors. And she did.

Dunsmore trained in advanced 3-D areola tattooing with Rose Marie Beauchemin at the Beau Institute in New Jersey, and, in April 2014, she founded Pink Ink Tat-

too (2304 Wesvill Ct. #360, Raleigh, www. pinkinktattoo.com) and began performing realistic-looking areola tattoos on breast cancer survivors from across the country.

Since 2014 she’s worked with more than two hundred clients and travels to plastic surgeons’ offices from Durham to Texas.

She charges $600 for bilateral tattoos (meaning both breasts) and $350 for unilateral (one breast), but because she’s a nurse and the tattoos are done in plastic surgeons’ offices, clients can seek reimbursement from their insurance companies. She says most insurance policies at least partially cover the procedure, thanks to the Women’s Health and Cancer Rights Act of 1998, which requires group health plans that cover mastectomies to also provide certain reconstructive surgery and other post-mastectomy benefits.

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For many of these women it’s their first tattoo.

“I actually had a woman who was seventytwo years old, and she had waited seventeen years for her tattoos,” Dunsmore says. “She came in and waited until we were completely done, and she looked in the mirror and her eyes started tearing up and she said, ‘Tara, I’ve waited seventeen years for this.’ And I said, ‘What did you wait so long for?’ And she said, ‘I’ve been waiting for you.’ Even when I say it to this day, it jerks me up, because that’s what it’s about. This is the reassurance that I’m following the right path and doing the right thing.”

Even after tattooing more than two hundred clients, Dunsmore has yet to get her own tattoos redone, though she’s had plenty of opportunities to do so.

“Right now, I look at myself and it’s a reminder to me that this is why I do it,” she says. “They’re not horrible looking, but this is not acceptable. When I look at them, it reminds me of why I’m getting up tomorrow.”

While many women turn to a nurse or specialist for their areola tattoos, some women simply walk into a tattoo shop.

Caroline Moretto, a fifty-six-year-old who lives in Fuquay-Varina, opted to get her tattoos done by Candice Tekus of Mad Ethel’s Tattoos (424 South Dawson Street, Raleigh, www.madethelstattoo.com), whose work she came across through her daughter. Months before she was diagnosed with breast cancer in March 2015, Moretto had been scrolling through the Mad Ethel’s website and was enamored by a full chest and areola tattoo Tekus had done for a breast cancer survivor in Texas. So when she was diagnosed, Moretto figured the obvious choice was to visit Candice to add the finishing touch after her surgery and reconstruction.

“I figured a tattoo is a tattoo, and, to be honest, after a year of pulling your shirt off for everybody, to go in there and see Candice didn’t feel like a big deal anymore,” Moretto says. “Candice is so matter-of-fact about everything, so it wasn’t embarrassing or anything.”

Tekus has performed areola and nipple tattoos on a handful of clients during her

eleven years working as a tattoo artist across the country, though Moretto was her first in Raleigh. When a survivor first approached her about getting areola tattoos years ago, she was nervous, but she was able to give the woman the illusion of realistic nipples and areolas using basic 3-D tattooing techniques.

In Moretto’s case, the plastic surgeon had already created a nipple by scoring the tissue in the center of the breast, so all Tekus had to do was create a little more shadow underneath the scar-tissue nipple bump, draw in the Montgomery glands, change the tone of the areolas, and blend out the scars.

“My husband’s really the only one who gets to see it, but I feel like showing everybody,” Moretto says, laughing. “You would not believe this—it’s amazing.”

Tekus charges about $80–$110 for a pair of areola tattoos, the same rate she charges for any tattoo of the same size. She says the shop has never filed a claim with an insurance company. Tattoo shops and doctors’ offices don’t often intermingle.

“Doctors don’t really refer clients to us because they tend to not have a lot of faith in tattoo artists, which is kind of sad, because we really could work together,” Tekus says.

Regardless of where survivors get their tattoos, Tekus and Dunsmore agree that this final step in the process of reconstruction can offer a sense of closure to the nightmare of breast cancer.

“When cancer comes along, these women are focused on fighting,” Tekus says. “When the fight is over, they’re left with this battle scar, which is an amazing thing, but at the same time, it’s a painful reminder every day.

To be able to reconstruct it and bring it back to some form of normalcy is important.” ● Twitter: @HPitstick

Stories on Skin

PHOTO BY BEN MCKEOWN

ERROL ENGELBRECHT, OWNER OF RALEIGH’S BLUE FLAME TATTOO, ON TWO DECADES IN THE TAT BUSINESS AS TOLD TO ALLISON HUSSEY

Y

ou just have to be constantly prepared for anything. Most people are pretty good, but once in a while, you get a screw loose. You never know what can happen. People with attitudes—you have to learn how to deal with handling those kinds of situations. You get those people who have such high expectations. Those are usually the worst. They have an idea and they don’t want to hear no, but a professional’s going to know what’s going to look good. If they don’t get what they want when they want it, they’re going to throw a fit. And then next thing you know, they’re going to go write you a bad review because they didn’t get what they wanted. They didn’t get their way.

They’re the worst.

I had a guy come in, and he had a dragon that was just awful. I can draw a dragon a million times better than this. He was just set on that one. If you’re dead set, then OK. I don’t think it’s going to look good, but I’m not the one wearing it. That’s where the lines get kind of blurry.

Sometimes it’s not about you, it’s about them and what they want and what’s important to them. I’ve had people come in with stuff that their three- or four-year-old kid drew. What are you going to say? That’s just kind of cute.

Most of the time, I find you learn how to be an amateur psychiatrist, and I found how to defuse situations pretty quickly and how to handle people pretty well. I could talk someone down, talk them into a better idea. Every once in a while, you’ll get one that’s just complete bonkers.

Tattoos go through phases. There was the tribal armband, the barbwire armband. Tasmanian devils were big, panthers were big. Now it’s all lettering. Everyone wants a whole bunch of words. A picture is a thousand words, so you don’t need to get a thousand words. Get a picture. It’s nicer to look at. A word or two is usually OK. You don’t need to have a whole scripture or entire song tattooed on you. Young girls never had a tattoo and they want fifty words tattooed on their ribs. I’m just like, “You’re not going to be happy with this.”

The ribs are difficult. The foot is just awful. God, that hurts. I got my foot tattooed, and it was the most painful tattoo I’ve got.

Tattooing other people’s feet—better sit still. You get started and they’re all squirmy. That’s when it gets difficult, when they’re screaming and crying and moving around, you’re going, “God,

Errol Engelbrecht

Nearly twenty years ago, Errol Engelbrecht opened up Blue Flame Tattoo, a Raleigh shop that would grow to be one of the best-reputed outlets for body art in the Triangle.

Though he still owns the business, Engelbrecht retired from tattooing three years ago due to a long-term work-related ailment. He’s since turned his artistic focus toward painting. Here, he discusses his decades in the business, why he thinks of himself as an amateur psychiatrist, and what it takes to keep even the most persnickety customers happy.

you’re just going to screw this up if you can’t sit still.”

Nowadays, everyone comes in and they just show their phones and they’re like, “I want this.” Something they found on Pinterest. I was like, “Lame.” Come up with something original. Usually, something you find on Pinterest, a million people will already have the same tattoo. You need to try to be a little more original. l l l

I’ve learned you never can judge a book by its cover. People will surprise you, and it makes it really interesting. You see someone coming up and you think, “They’re going to want this.” And they come in and they what something totally unexpected. I’ve had some people come in and think, “Oh, this is going to be a great customer.” And they turn out to be the biggest assholes. You never know. The best part of the job was that people in a group may be different, but when you get them in a room one on one, they let their guard down. You get to be in there for hours. You get talking and getting to know each other.

I’ve tattooed everyone from all over the world, all different ethnic groups, all different economic backgrounds, religion, everything. It can be very eye-opening if you let it be. I did a lot of portrait work, where they get a memorial tattoo. There were days I just cried.

It’s a totally different thing, sitting there for hours working on someone and really getting to know them. Most of my friends all come from people I’ve tattooed. Tattooing is just like, “What’s going to happen today?” You have some idea, you’ve got your schedule of what you’re going to tattoo today, but it might be a new person. God, the millions of stories I’ve heard. ahussey@indyweek.com

INDYweek.com | 8.10.16 | 15

WE ASKED OUR READERS FOR THEIR BEST AND WORST TAT STORIES—AND WOW, DID THEY DELIVER jon

dale

joyce

suzanne

My eggplant stick-and-poke

started as a joke. One blistering July, I piled into a car with a few friends to go to the farmers market. The sign displaying vegetables in season simply said “eggplant.” We began to joke that we would buy this one eggplant, cook it, and enjoy. Of course, we found more than a single eggplant in the market, and we began to say that we were going to start an eggplant riot. For a few weeks, we kept adding to this joke, and it escalated until a friend put the eggplant tattoo on me.

My eyeball and tooth stick-and-pokes have a similar origin: sex, or lack thereof. They were randomly chosen because of my mood when I got them. The eyeball was done by someone I was trying to get intimate with, cajoling her into tatting me in her kitchen. It didn’t go as planned. Instead, she accused me of faking my Southern heritage. The tooth came a few years later, after I’d fallen out with someone I had been intimate with. I was sitting in my room, alone, a few beers in, when the proverbial light bulb went on in my brain. Within twenty minutes I was hard at work on my leg, simply because I didn’t want to think about the fact I was going to sleep alone that night.

—Jon Davies

My tattoos began in 1963 with

do-it-yourself initials on my chest. Various ink designs appeared over time, but the most important occupy my entire right arm, which I consider “one” tattoo, birth to death—my family journal. On top, “Wild Horses” by The Rolling Stones was our wedding song. Next is a portrait of my deceased wife of thirty-four years. The leaves on the vine are our nine children’s initials—a replica of the tattoo she had on her hip and thigh. Our children got a variation of the ink on the back of my right hand in memory of their mother. I have an 16 | 8.10.16 | INDYweek.com

additional tattoo on the other side of my arm (not shown) in memory of an infant daughter who passed away. My ink tells the story of a happy, busy life, full of love and great memories, with no regrets. —Dale R. Strauss

On April Fools’ Day, 2012, I

was standing in my yard talking to neighbors. Then, for some reason, I woke up on the ground. I had been run over by a car I didn’t even see coming. Evidently my face shattered the windshield as I was thrown over the roof of the car. I needed to get up … I hadn’t had my coffee yet. But I was told to lie still and not move. How strange. I remember being loaded into an ambulance and my children telling me that they loved me. I remember bits and pieces of the next few weeks. After it was determined that I would survive, my irreverent children started calling me “Dead Mama Walking.” Such wonderful and inventive children, too! I had multiple fractures, weeks in the hospital, months of physical therapy, multiple surgeries, loss of my job … but I digress.

I was fortunate enough to have fabulous surgeons and doctors at UNC, supportive friends and relatives, and a steely determination. I came out the other end with a deeper appreciation of life (and limb!). I had always want-

ed at least one tattoo. My daughter has some very nice art by some famous tattoo artists on her body, and had been harassing me to get a tattoo. I wanted my “art” to be beautiful and have deep meaning to me.

I was born and raised in Atlanta, Georgia, hence the Georgia peach. Getting run over took me through both fire and flood, and I am now a “Dead Mama Walking.” I get some comments on it: “Are you a fan of the Grateful Dead?” “Is that a memorial to your mother?”

I sometimes tell my story, but mostly I just answer yes or no. It will always be a badge of survival and determination, reminding me of how lucky I am to be alive and the “journey” (torture) I endured to get to the other side. I am happy, grateful, and joyful to be alive … I tell myself that every day! —Joyce Baird

My right arm strikes up many conver-

sations. People love butterflies, and I welcome any opportunity to tell those who compliment them why I have them. The one closest to my wrist symbolizes the spiritual trial I went through in my teens, deciding if this life was really worth living when I survived a suicide attempt. The smaller, middle one symbolizes the emotional abuse I suffered in relationships. The largest one, on the top with hands behind it, symbolizes physical traumas ranging from my self-inflicted addictions to injuries that occurred at work, resulting in two surgeries that caused me to have a disease of my nervous system. The hands are so important—they represent that, through all that I’ve gone through, I have always been, and will never cease to be, in God’s hands. He has

brought me through all three types of turmoil and never lets me go. For this reason, I love my tats. They have ignited conversations with many who struggle with their own addictions and physical pain. My butterflies open doors and serve as a daily reminder to me of where I’ve been, where I am, and, more importantly, where I’m going. —Suzanne C. Miller

I was a senior in college after having been the mascot for four straight years. We were about to go to the Southern Conference basketball tournament, before hopefully going on to the NCAA tournament.

My hopes weren’t great, but we had a pretty phenomenal player, Steph Curry, leading our Davidson College team. I decided I wanted to get a tattoo in honor of my four years of sweat and dedication. I decided on the design and the location (admittedly, the hip wasn’t the most masculine place, but whatever.)

We were on our last few days of spring break before heading to Charleston for SoCon. So I got a tramp-stamp-y hip tattoo of a cat paw.

On spring break. If I were a coed in Cancun, this story couldn’t be more cliché.

When the artist was done (his name was Jesus, nice guy), he told me I had to keep it clean and dry, and keep clothes from rubbing against it, for one week. Only problem: the next day I was off to wear a fur costume for four hours a day for five days, dripping in sweat. By some miracle, and with a judicious

amount of baby powder, gauze dressing, and petroleum jelly, I was able to preserve my memento. Soon, of course, the world would be introduced to Steph Curry and Davidson Basketball as the team went on a tear through SoCon and the NCAA, narrowly missing out on the Final Four. Aside from Steph’s freakish talent, I like to think my tattoo supplied a little good luck to get us there. —David McClay

cat

gina

Twenty years ago I briefly lived in a small town in western North Carolina and was ready for my first tattoo. I knew what I wanted, so I went to the tattoo shop behind the Harley dealership. This dude Jim was scary!

Cigarette hanging out of his mouth the whole time. Spoke his mind freely with as much vulgar language as possible. It was awesome. As I was getting my very cool first tattoo, a girl came in wanting her nipple pierced. He said “bring your titty over here and let me see it.”

He pulled on it a little and said “OK, hop up here.” He told me this would only take a minute and, puffing Marlboros nonstop, proceeded to pierce her nipple as I waited. Then I got my black panther crawling up my lower back, bloody claws and all. Mom wasn’t so proud. I went on to get seven more tattoos. Not with Jim, though. (PS, I would love recommendations for a good tattoo artist to reconstruct a black blob on my upper ass.) —Gina Turner I spent a good part of my life making decisions based on fear—mostly the fear of making others angry. After breaking free of some longtime abusive relationships, in the midst of the immediate healing process, I fell in love with the idea of an empty birdcage tattoo. But the appeal was in a sort of giving-the-finger to those who had hurt me. That wasn’t an attitude that needed cultivating in me. Time passed. I grew stronger. I practiced the art of disregarding Fear’s opinion while contemplating my choices. Life felt better. Then, one night in Canada, playing a game in a hot tub after a gig, the question came up, “If you could get a tattoo right now, what would it be?” “Oh! I know this one,” I thought.

In another country, as a professional musi-

what’s it mean?” one friend asked. “Well, it’s the alchemical symbol for earth ...” I began to explain. “No. That’s air,” they replied. One heart-pounding Google search later, sure enough, I’d tattooed the literal and figurative inverse of what I’d planned. Instead of earth, I had air. There are a lot of lessons in this. But one that always comes to mind when I think about that day is, “Don’t take yourself so damn seriously.” —Danielle Dulken

julia

cian in a future I hadn’t imagined, the good and the tragic intertwined and my perspective changed. The tattoo would be a reminder of my present—a reminder that I don’t have to make my decisions like someone caged in fear. My band mate, Ed, suggested Mad Ethel’s in Raleigh, and they executed the answer from my hot tub game: “A branch, mostly bare of leaves. On the branch would be a bird cage. The cage would be empty and the open door would be bent and hanging off the hinges, unable to close again.” —Cat Albanese

About six years ago, in my hometown of Asheville, North Carolina, I walked into a shop to get a very simple alchemical symbol, about a centimeter in diameter, on my upper arm. Getting it inked was low stakes—or so one would think. But as a twenty-something who was living in New York City and always skating the edge of cool, the perfect position felt seriously important. The tattooist traced the dainty shape and applied it to my arm in preparation for the prick of her needle. I asked her to move the dainty shape. She did, and carefully reviewed it. Then I asked her to move it again. And again. And again. Understandably, the tattooist I was torturing signaled her frustration with loud huffs. “It’s a tiny tattoo,” she groaned. Anxious from her judgment, I blurted out, “OK, OK. This is it. This works!” Bzzzzzz. Bzzzzzz. After twenty minutes of indecisiveness and ninety seconds of needle-work, I was tattooed. High on adrenaline, I texted my friends a picture of my new adornment. Of course, I got the response every tattooed human loathes: “So,

On October 15, 2009, my dad was diagnosed with ALS (Lou Gehrig's disease). He had been succumbing to the effects of the disease for some time, and the visit to the Duke ALS Clinic only confirmed what we had all been thinking. My dad could no longer move most of his body.

When he became unable to speak, he would communicate by writing on a whiteboard, which became harder and harder for him to do. I knew that my dad most likely did not have much longer to live, and I decided that I wanted something so that a part of my dad would always be with me. I had him write “My Urch, Love Dad” so that I could turn my dad’s unique handwriting into a tattoo. Ever since I was two years old, my dad had called me “Urch” because I loved to play in the dirt, and I would end up looking like a little urchin.

On October 17, the day before my dad’s birthday, I went to Blue Flame Tattoo. My dad was never a fan of tattoos, but when I showed it to him, I could tell that it made him very happy. —Julia Tennant Hold fast, bear down, and grit it out. When I was around the

age of twenty-two I took my first notable job as a tattoo artist in Portland, Oregon. At the time I was living in Tennessee. I took the job under certain pretenses that, later on, never surfaced. After about six months the shop shut down. I was left with a one-bedroom apartment and three hundred dollars to my name. It was the very first time in my youngadult life that I felt completely helpless and unable to get myself out of a situation. No car, no money, no resources of any kind.

Just my wits and grit to get me through it.

After several weeks I was able to scrape up enough money by selling almost everything I owned—except my tattoo equipment—to get a plane ticket home. After I got settled in I decided that was very likely the lowest point of my life. I come from a family of sail-

ors and Merchant Marines, and for my entire life I heard the phrase “hold fast.” When things get bad, hold fast. When things get worse, hold fast. That’s why I decided to get “Hold Fast” on my temples. I am thirty now and I do not regret my decision whatsoever.

—Cody Abell of Glenn’s Tattoo Service (see story, p. 11)

jenn

I stood in a tattoo parlor in downtown Raleigh with my

best friend. To be honest, “stood” is not an accurate verb. I move around and talk a lot, especially when I’m anxious. I usually have no idea what is pouring out of my mouth, but I generally think I’m hilarious. I hope I average a funny rate of at least 50 percent. I had wanted a tattoo of a unicorn. I thought it would be ironic and, of course, funny. I wanted my life to be rainbows and unicorns. And, for the record, I still do. Then I contemplated a duck. I thought I should brand myself with the reminder that, if it looks like a duck, walks like a duck, and sounds like a duck, then it’s a duck! I seem to forget that on a regular basis. Then I thought I should get the phrase “listen to my funny tummy feelings.” My son brought home a coloring page from first grade. The page had a butterfly outline on it with the above phrase typed below. Attached was a business card from SafeChild with the same butterfly and the same phrase. I kept the card. This is the exact moment when having your best friend beside you at the tattoo parlor is key to life. She looked at me and said “No!” She said there was no way she was letting me get that phrase tattooed on my body. I looked at my best friend and made the brave choice to reveal the title of a book I wanted to write someday. She looked at me, smiled, and said she loved it. And that’s all I needed. The title of my unpublished, unwritten book is By Any Medium Necessary. I can’t take credit for the phrase, but when I heard it come out of Pierce Freelon’s mouth during his talk at CreativeMornings, I was forever changed. I had been fighting my custody battle for three years, protecting my child by any means necessary. But I had also been doing something else. I had been showering him with unconditional love, and I had been doing it by any medium necessary.

—Jenn Williamson INDYweek.com | 8.10.16 | 17

FIND YOUR LOCAL tattoo SHOP RALEIGH

Authentic Tattoo Company 416 West South Street 919-720-4272 www.facebook.com/ authentictattoocompany

Blue Flame Tattoo

710 West Peace Street 919-755-3355 www.blueflametattoo.com

Conspiracy Ink Tattoos

HILL/ CARRBORO

Ascension Tattoo

405 West Franklin Street 919-240-5452 www.ascensiontattoonc.com

Glenn’s Tattoo Service Inc. 705 West Rosemary Street 919-933-8288 www.glennstattooservice.com

328 West Morgan Street, Suite A 919-526-6581 www.conspiracyinktattoos.com

Femme Fatale Tattoos & Piercings

807 East Main Street 919-682-0000 www.dogstartattoo.com

2109 Avent Ferry Road Suite 116 919-803-4227 www.facebook.com/femmefataletattoos

Hillsborough Street Tattoo and Body Piercing

2402 Hillsborough Street 919-706-5575 www.facebook.com/hillsboroughsttattoo

Mad Ethel’s Tattoo & Body Piercing 424 South Dawson Street 919-900-8345 www.madethelstattoo.com

Oak City Tattoos

3114 Hillsborough Street, #101 919-838-8330 oakcitytattoos.com

Phoenix Tattoo Studio

1215 Hillsborough Street 919-834-8055 www.phoenixtattoostudio.com

Red Wolf Tattoos

3801 Western Boulevard 984-200-3413 www.redwolftattoos.com

Rock N Roll Tattoo & Piercing 3629 Capital Boulevard, #240 919-872-2881 6311 Glenwood Avenue 919-977-6371 www.rocknrolltattoonc.com

DURHAM

Dogstar Tattoo Company

Gorilla Ink Tattoos

2508 Fayetteville Road 919-519-5683 facebook.com/gorillainktattoos

Ink Time Tattoos

2000 Chapel Hill Road, Suite #41 919-401-4465 www.inktimetats.com

Skin City Body Art

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indyfood

BOMBSHELL BEER COMPANY 120 Quantam Drive, Holly Springs www.bombshellbeer.com

Gender Bender

WOMEN SHATTER THE GLASS CEILING AT BOMBSHELL BEER COMPANY

BY SAYAKA MATSUOKA

Hip microbreweries have cemented their place in North Carolina’s recent history, dotting formerly vacant warehouse districts and lining the perimeters of urban centers in more than 170 locations around the state.

And most of them are run by men.

But within the suburban splendor of Holly Springs, flanked by cul-de-sacs and Food Lion supermarkets, Bombshell Beer Company has quietly carved out a herstory all its own.

The three-year-old brewery is North Carolina’s only 100 percent all-female-owned microbrewery—with all female brewers.

Historically, the first humans known to ferment libations from barley were women in ancient Mesopotamia thousands of years ago. Today, the industry is overwhelmingly male-dominated; women make up thirty-two percent of brewers nationwide.

Catapulted by this revelation, longtime home brewer Ellen Joyner decided to do something about it. Since 2005 she had been experimenting with home brews. By 2011, she applied the “each one teach one” approach by sharing her skills with a friend, Michelle Miniutti. Within a year, they were producing twenty gallons of beer or more per week at Miniutti’s house.

“We brewed a lot outside in my garage,” remembers Miniutti. “Neighbors would stop and stare and wonder what we were doing.”

The two friends would host blind taste tests against established local breweries and found that people often preferred their beer over the competition.

The seeds of Bombshell Beer Company were planted in these early stages. The brewery opened in 2013 with the addition of a third owner, Jackie Hudspeth, a longtime friend.

“We lived in the same neighborhood,” says Hudspeth. “One day they asked me if I wanted to help them start this brewery, and it only took me about five seconds to say yes.”

The brewery sits in a lot off Quantum Drive in Holly Springs. Its taproom welcomes visitors with a simple color palette of beige and maroon, flat-screen televisions, and its logo

of a pinup girl toasting a pint glass, which occupies one wall. The interior occupancy caps at seventy, with modest outdoor picnictable seating. Bombshell gives off more of a comfy, neighborhood vibe than the modern approach of Carolina Brewery, the veteran operation just two miles down the road. Miniutti calls their relationship friendly, which is a common refrain among brewers across the state.

“Craft breweries are like siblings,” she says.

“We’re competitive, and everybody steps up their game, but we all want to support each other and see each other succeed.”

For Miniutti and her partners, Bombshell’s success depends on mastering the craft for a quality product. The brewery serves six to eight different drafts at a time. Head Over Hops IPA, its most popular, is big and brash.

It jumps with quick early notes of citrus that smooth over into a bitter finish, boasting a fuller mouthfeel than other tap beers.

Rounding out the lineup of drafts is the Starlight Ale, the Spell Caster Black Ale, the Full Jar Pale Ale, the Hop Tease Session IPA, and, my personal favorite, the Strawberries & Cream Summer Ale. Each well-balanced beer is unlike the one before it.

“The demand for craft beer is fickle,” says Miniutti. “People are constantly craving a new style of beer. The market is hard to satisfy because you can produce so many different flavor profiles within one beer.”

Like its statewide predecessors, the brewery functions as a fun, fluid community center of sorts, hosting several events and local fundraisers.

The three women divide the work to make sure each pulls her own weight—literally.

Miniutti, who primarily does the company’s marketing, jokes about Hudspeth’s day-today role as the distribution manager.

“It’s like she does CrossFit all day! She’s five-foot-three, but she has all this muscle because she moves around 165-pound kegs all day.”

Along with the physical demands of run-

Bombshell Beer Company’s three owners: Michelle Miniutti, Jackie Hudspeth, and Ellen Joyner COURTESY OF BOMBSHELL BEER COMPANY

RIGHT

BELOW Bombshell bartender Chris Arellanes serves customers in the tap room in Holly Springs.

PHOTO BY ALEX BOERNER

ning a business, Hudspeth and Miniutti are also mothers, who must balance irregular hours with family obligations. But it’s nothing daunting. The owners have collectively made it one of Bombshell’s missions to encourage other women to follow their dreams regardless of gender stereotypes.

“I was brought up being taught that I could do anything,” says Joyner. “Going into a ‘man’s world’ didn’t faze me. I hope [that] starting Bombshell shows other women not to let gender get in the way.”

Miniutti hopes they can bring more women into the craft beer world. She cites Raleigh Brewing Company (the first North Carolina brewery with a female CEO) and Charlotte’s Birdsong Brewery as models in matriarchal brewing. She also points to Kim

Jordan, cofounder of the longstanding and celebrated New Belgium Brewing Company, which recently opened up a distribution center in Asheville. Jordan has helped grow her business in paramount ways: in 2012, New Belgium was listed as the third-largest craft brewery, and eighth-largest overall brewery, in the country.

Bombshell plans to keep experimenting with brewing techniques to give beers added dimensions of flavor, like producing barrel-aged beers and sourcing local coffee for stouts.

“I think women are more interested in beer because craft beer is more interesting to drink,” says Miniutti, “and we’re grateful to be a part of this developing industry.” l Twitter: @whatsaysaid INDYweek.com | 8.10.16 | 19

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food EAT THIS

MOTHERS & SONS

107 West Chapel Hill Street, Durham www.mothersandsonsnc.com

Squid Goals

MOTHERS & SONS’ SQUID INK TONNARELLI LEAVES A MARK ON YOUR SOUL BY JESSAMYN STANLEY

Learn to code in the Triangle.

Life’s too short for the wrong career.

T H E I R ON YA R D.CO M/ T R I A N G L E GI V E US A CA L L: 855.399. 2275

20 | 8.10.16 | INDYweek.com

I was plenty excited about the opening of Mothers & Sons Trattoria, Durham’s newest Italian eatery helmed by Josh DeCarolis and Matt Kelly. Still, I had to resist the urge to roll my eyes every time I heard anyone (and nearly everyone) rhapsodize over the squid ink tonnarelli.

The grouchy hipster within me was bred with a Pavlovian need to throw shade any time I hear a popular ingredient buzzword like “squid ink.” But even my too-cool-forschool barber mumbled something about wanting to try it. This plate of noodles is becoming the stuff of Durham legend, so I made it my mission to understand the origin of all the fuss.

Each trip to Mothers & Sons felt like an outtake from Big Night, with my dates and I taking the liberty of ordering almost everything on the menu, sipping wine all night, and basically sleepwalking our way to the parking lot. By the time the pasta course came around on the first visit, I could barely lift my eyelids, let alone my fork, to truly appreciate the renowned dish in question.

On the second trip, I’d nearly stuffed myself to Violet Beauregarde status with the fried mozzarella-fava-prosciutto arancini and the roasted beets dolloped with pesto and stracchino cheese. But when the squid ink pasta hit the table, I was primed and ready to stuff my gullet.

Two-thirds of the way through my plate, I figured out why no one can seem to shut up about this dish. It’s not necessarily about the hand-rolled pasta tinted with squid ink, or the perfect, surprising morsels of uni and shrimp, or the fact that the plating design calls to mind savory ropes of black licorice.

All of those things were great, but the dish stands out for another reason.

For me, each mouthful of squid ink and seafood brought back childhood summers at the Carolina coast. Poking through the ingredients with my fork churned up long-forgotten memories of catching low-country sea critters with my uncles, and how the com-

The squid ink tonnarelli at Mothers & Sons in downtown Durham PHOTO BY ALEX BOERNER

bination of seaweed and salt creeps inside your nose and burrows into your soul. The dish brought back memories I haven’t lingered over for years. As a result, it did much more than just fill my stomach. It filled my heart, too.

This dish isn’t about buzzwords, and Mothers & Sons isn’t solely about the hype.

Each bite clearly conveys the love and happy memories of those who conceived the recipe.

The unforgettable flavors don’t just showcase the line cooks’ precision or the subtle genius of the executive chef. The flavors carry the obvious thumbprint of a generations-old reverence for the art of eating, and the weight of that thumbprint lasts long after the check has been paid. l Twitter: @mynameisjessamyn

food

It’s August and that means fig season is upon us. For some homeowners, that represents more than just the return of the sticky fruit that fills Nabisco’s Newtons.

Look around. In Durham’s residential neighborhoods, nearly every block boasts at least a few robust trees bushy with the distinctive hand-shaped leaves. Starting in late July or early August, the fruit begins to ripen on the tree, turning from green to pink, purple, or brown, and becoming soft and sweet.

Fig trees are popular with homeowners in the area “probably because you don’t have to do anything to take care of them,” says Cheralyn Berry, an agriculture agent with the Durham County Cooperative Extension.

Ficus carica, the common fig tree, grows very well here in the Piedmont—particularly Celeste, a cold-hardy variety that flourishes in a range of soils. It doesn’t need pruning, herbicide, or even fertilizer: the plant is incredibly prolific.

But if you’ve got one of these exuberant trees in your yard, that bountiful harvest can be something of a nuisance.

“You always know when the figs are getting ripe, because people start stopping by,” says Maggie Grant, who lives in Old North Durham. She’s used to seeing passersby pause at the fig tree in her yard to pluck a few—or more. “We’ve had people with buckets come and pick them. It’s strange when you have people in your yard taking a whole container of the fruit and not asking once.”

Technically, even fruit that’s hanging over the sidewalk belongs to the tree’s owner, according to Durham city attorney Patrick Baker. But Grant, like many other fig tree owners, says she doesn’t mind people picking her figs—after all, the trees produce a lot of fruit, and a person can appreciate only so much fig cake, fig bread, sautéed figs with goat cheese, or stuffed figs. “We have more than we can eat,” says Laura Ballance, whose

PHOTOS BY BEN MCKEOWN

BELOW

BY AMANDA ABRAMS

LEFT

HAVE A TREE? GIVE A FIG.

Maggie Grant proffers a Celeste fig from a tree at her Durham home.

Old North Durham and other parts of the city are rife with fig trees.

Sticky Fingers

Duke Park yard is home to perhaps the mother of all fig trees.

It can be an issue of etiquette. If you can reach the fruit from the street or the sidewalk, fine. But maybe don’t enter someone’s yard without asking. “And don’t bring containers,” says Peter Eversoll, who has surprised pickers outside of his Walltown home with bags full of his figs.

Online, a nationally crowdsourced map at fallingfruit.org shows five fig trees rooted on public property within Durham city limits, ripe for the picking.

If you simply can’t help yourself, follow the lead of Grant’s neighbor. Arriving home from work one evening, Grant caught the neighbor in her yard red-handed. “She left, and then came back shortly after and brought us a jar of jam that she’d made”—made entirely from the “stolen” figs, of course. Grant wasn’t upset, but then a sweet gift never hurts. l Twitter: @mandaabrams INDYweek.com | 8.10.16 | 21

22 | 8.10.16 | INDYweek.com

indymusic

Bacchus in Business

WITH NOTHING IS ANYWHERE, AN OLDER, WISER D GENERATION MAKES A STRONG COMEBACK

BY BRYAN C. REED

D Generation, regenerated, with Richard Bacchus at far right PHOTO BY JUSTIN BORUCKI

Richard Bacchus is bound for Philadelphia.

The night before, Bacchus and his bandmates in the recently reunited D Generation debuted new songs for a small audience at a secret show at a friend’s house in New Jersey.

But Philly is the band’s official unveiling; D Generation will take the stage at roughly the same time that Hillary Clinton accepts the Democratic Party nomination for president.

A homecoming show in New York City fol-

lows two days later. With a legacy as one of the alternative-era’s greatest almost-famous acts, the reunited D Generation has plenty to prove with Nothing Is Anywhere, its first album in seventeen years.

“There’s been a lot of butterflies,” Bacchus admits. “But last night was to really get everything super solid, and we’re pretty happy about it.”

Listening to Nothing Is Anywhere, you INDYweek.com | 8.10.16 | 23

wonder what Bacchus was so worried about.

The sharp hooks, roaring guitars, and obvious chemistry that made D Generation the darlings of nineties rock critics are intact.

The same charged mix of ’77-style punk, power pop, and glam rock that fueled the band’s shoulda-been classics drives the band’s lineup—guitarists Bacchus and Danny Sage, singer Jesse Malin, bassist Howie Pyro, and drummer Michael Wildwood—through a more mature, but no less potent reunion LP. For Bacchus, who left New York for Raleigh a decade ago, the D Generation reunion is less about revisiting former glories and more about pursuing new ones.

“We’re in full-on creative mode,” he says.

Even if the state of the music industry in 2016 isn’t likely to afford the same majorlabel benefits D Generation enjoyed twenty years ago, there’s always hope.

raved, “D Generation approaches the songs on this major-label debut as if each one were the opening salvo in a war on complacency ...

D Generation is just the band to redeem your faith in the power of loud, snotty rock and roll.”

While others bemoaned flat production, the lead single, “No Way Out,” started to gain traction and do well on radio.

But the label wasn’t so keen on it. A shakeup in the executive suite led to a new president at the label, who, Bacchus recalls, had the track pulled from radio playlists.

“This guy was like, ‘No, that’s not my baby.

I’m the new guy at the label and I don’t love that.’ A couple of things like that happened to us,” Bacchus says.

So, despite a strong initial reception, the album failed to stick commercially. D Generation jumped to Columbia Records and took a mulligan for the release of 1996’s No Lunch, produced by Cars frontman Ric Ocasek.

go, Bacchus says, “I just looked at them and said, ‘OK, no problem. I’m going to be in my band. Screw you.’ I think it really took them by surprise.”

Murphy’s Law guitarist Todd Youth filled Bacchus’s role as D Generation soldiered on to record 1998’s comparatively smooth-sounding Through the Darkness with producer Tony Visconti. Drawing more overtly from the band’s glam and stadium rock influences, Through the Darkness offered some of the band’s biggest hooks, but shed some of No Lunch’s intensity.

Still, it earned its share of praise. Entertainment Weekly described the record as “hard ’n’ hooky” and “filled with near-perfect threeminute gutter-guitar symphonies.”

As Vasquez evolved into Richard Bacchus & the Luckiest Girls, D Generation cycled through members. Todd Youth and Michael Wildwood formed Chrome Locust with Heneghan and released one album.

leadership role in the band. Where D Generation operated by consensus, with the Luckiest Girls, Bacchus calls the shots. The band doesn’t even rehearse, he says, they just play shows, and it’s all great fun. Still, reuniting with his old gang has stirred new ambitions in Bacchus, who’s now a fixture of Raleigh’s rock scene.

“With the five of us [in D Generation], it pushes me to do different things, and maybe better things,” he says.

The reunion that now has D Generation promoting a new album, with a West Coast tour planned this month, isn’t the first time they've revisited the old band. In 2008, D Generation reconvened to play a short set at a VH1 Save the Music benefit in the John Varvatos store that replaced CBGB in New York. In 2011, the band played a few festivals and a short run of dates with Guns N’ Roses.

In 2012, Malin told Rolling Stone that D Gen-

”We're all trying to outshine and kind of fuck each other over at the same time.”

“Anything could happen. We could get a really good Cialis commercial,” Bacchus says with a laugh.

Despite the years apart and the shifting business of being in a band, the dynamic among D Generation’s members hasn’t changed. Bacchus says with five headstrong members all contributing to the songwriting, the band has always had a volatile dynamic.

“There’s a healthy competition on stage.

We’re all trying to outshine and kind of fuck each other over at the same time. It’s just part of the energy,” Bacchus says.

But the flipside is also true: “We all push each other to be better than we would be on our own,” he adds.

When D Generation launched in 1991, the band had clear ambitions. Its members set a goal and sketched out a five-year plan to score a major record deal. They eschewed side projects and committed themselves to making the band work.

“We made a pledge to stick it out for five years and get signed and really just work at staying focused on each other,” Bacchus says.

The plan worked. Chrysalis Records released 1994’s D Generation to positive critical reception. People magazine, of all places, 24 | 8.10.16 | INDYweek.com

Reprised versions of four songs, including “No Way Out,” filled the tracklist.

Despite the overlapping singles, No Lunch proved to be D Generation’s finest hour. In his four-star review, Rolling Stone’s David Fricke called the record “tough, taut and charged with manic adolescent panic.” SPIN scribe Charles Aaron scored the LP eight out of ten, writing that the band “strikes a pose like the Dead Boys all dressed up for your love.” That year, D Generation would tour with Kiss.

In spite of the apparent impending success, Bacchus left the band later in 1996.

“It wasn’t because I was angry with anybody,” he says. “It seemed to me we were just really grinding gears and something wasn’t working at the time.”

So he founded a side project, Vasquez, with bassist Jim Heneghan (later replaced

by Hanoi Rocks’ Sami Yaffa) and drummer Eric Kuby as a diversion from his main gig.

“I had done my five-year term with [D Generation] and I had a backlog of songs that I submitted to them and they didn’t want to do,” Bacchus says.

His bandmates in D Generation weren’t happy with their guitarist splitting his time.

When they gave him the ultimatum to stay or

“Everything we’ve done in the past has always been critically acclaimed, but it never really took off from the fanbase thing,” Bacchus concedes. On October 24, 1999, D Generation called it quits after a final show at Coney Island High in New York.

A few years later, Bacchus moved to Raleigh. He’d been touring with his solo project, traveling the country and trying to figure out where to set up shop.

“Whenever we got to a place, we’d put our elbows on the bar, and say to ourselves, ‘OK, if we lived here, what would happen? Who would we hang out with?’” he says.

“We went down to New Orleans. We were thinking about California. We went everywhere, and just kept coming back to Slim’s.”

After meeting friendly locals like Slim’s owner Van Alston, Backsliders frontman Chip Robinson, and his future Luckiest Girls bandmate Jimbo Britt, Bacchus made his choice.

“For the first few years when I got to Raleigh, I was just terrified. It was a major culture shock. And it also took like two years for people to warm up to me,” he says.

Eventually, Bacchus found his niche, one that gave him the opportunity to focus on his “low maintenance” Luckiest Girls and take a

eration had started work on a new album.

“We tried going into the studio with a couple different producers, but every time we did, it just didn’t pan out,” Bacchus confirms.

Instead, the band ultimately decided to tackle the album on its own. Songs from the 2012 sessions evolved into their current forms, new songs came into the mix, and Sage took control of production to hone the tracks that would become Nothing Is Anywhere.

“Everything we’ve done in the past had all been done at Electric Lady Studios, so it’s really big-time, old-school, super polished and nice,” Bacchus says. “The demos [for Nothing Is Anywhere] were done in the basement.

Danny took a little bit of convincing, but that’s the way that people make records now.”

D Generation’s long-term ambitions have changed, too—the band is way past its original five-year plan, as Bacchus notes.

“Now we just realize it’s going to be with us for the rest of our lives, however long that may be. The real motivation is us being together and having this voice that we have,” he says. l Twitter: @BryanCReed

music

Dancing with Dragons

WITH HIS PETE’S DRAGON SCORE, DANIEL HART TACKLES HIS BIGGEST BEAST YET

BY ALLISON HUSSEY

Though he now lives in Dallas, Texas, Daniel Hart has left an indelible imprint on the Triangle. From 2002 to 2009, he lived in Chapel Hill and crafted gorgeous songs with his band The Physics of Meaning; you can hear his deft violin work on records by Mount Moriah, Megafaun, Annuals, and The Rosebuds, to name just a few. His more recent work has included composing music for ads and short films, but this year Hart found himself tasked with a huge new project: writing the score for Disney’s reboot of the 1977 movie Pete’s Dragon, which hits theaters across the country this weekend. Hart discussed his new chapter of work and managing his biggest undertaking to date.

INDY: How did you first get approached to do this score? That seems like a pretty enormous project.

PHOTO COURTESY OF DANIEL HART DANIEL HART: Yeah, it’s the biggest film that I’ve ever written music for. It’s the fourth film on which the director to me and he asked me what was the biggest ensemble I had and I have collaborated together. David Lowery and I have worked with before this. I thought about it for a second and worked every other film of his, and that was the reason that I realized that the biggest group of musicians I had worked I ended up working on this one. It took a bit of convincing to with on a film before Pete’s Dragon was six people at a time. get me the job, because that’s a big risk, basically, that Disney took, hiring a composer who had never done a film of this When did you begin work on composing the score? size or scope. We had done two feature films together, and a Mid-January. I left from L.A. in January, and I worked basishort film. cally nonstop for about four months. We went to London in May to record the orchestra, and then I came back to L.A. How big was the ensemble with which you recorded? after that to edit and mix everything into the film, to make There was a ninety-four-seat orchestra, a thirty-two-person sure what we had recorded in London turned out the way that choir, and then we had various soloists, which we recorded we wanted it to turn out. separately. We were there in London and I was sitting in the control booth, watching the orchestra get everything togethWhat was your schedule like? Did you have to put other er. Part of my job while I was there was to produce those projects on hold? sessions, so the orchestra would play the music that I had I did have to put other projects on hold. I was working on written, and I would give them feedback, see if we needed the second album for Dark Rooms, my band, when I got the to make changes to what was actually written in the sheet call. We had been working on recording it in December and music. Sometimes you just don’t know what it’s going to January. So I had to just sort of stop doing that completely, sound like until you actually get there, and then maybe some and then we had a European tour scheduled for the spring as changes need to be made. During that process, I was working well, which I ended up having to cancel in order to do this. We with this orchestra, and I felt like it was going really well. In are currently rescheduling for October and November. My one of the breaks, one of the heads of music at Disney turned basic schedule was seven days a week, on average, eleven to

twelve hours a day. I think most people who work on films of this size have a team of people working with them— assistants, people helping with various aspects of the project, but it was just me. I was just doing everything. I think at one point the music editor on the film was encouraging me to hire someone, to bring someone out, but I felt there wasn’t enough time to really work someone up to the process. Because I’d never worked with other people before, I’d always just done everything myself in the films that I’ve done. I felt that that would take more time than it would help decrease my workload.

How do you approach writing for a band versus writing scores?

A film, my job is to help tell someone else’s story, help realize someone else’s vision. There are already immediate parameters put in place as to what kind of music to be used. In the stuff that I’m working on for Dark Rooms, I can basically tell any story with any instruments I want, in any way, shape or form. On the one hand that’s very freeing, on the other it’s very daunting, because at least with these films, there’s some limitations that mean that you can narrow down choices to be made. But if you can make any choice at there with any instrument out there, and most of it’s available all the time, then how do you decide what to do?

Were you a fan of the original movie?

I watched the original as a kid, I remember that I liked it but I don’t really have any memory of the actual film. Since I got the job working on Pete’s Dragon, I’ve talked to a lot of friends about it, and I’d say the majority of my friends saw that movie as a kid and really loved it, and often will sing me some of the songs from the original film. But it wasn’t like that for me. I had some idea, but I have no memory of it really, and I thought it would be best if I did not go back and watch it before working on this new version. The new version and the old version don’t have a whole lot in common in terms of anything beyond the fact that there’s a boy named Pete and the fact that there’s a dragon. l ahussey@indyweek.com INDYweek.com | 8.10.16 | 25

indysports

FIGHTING BACK

2:30–4:30 p.m. Sundays through Sept. 4, free (ages 13–18) Squad! Self Defense @ United Thai Boxing and MMA, Durham www.squadselfdefense.com

The Good Fight

A FREE SELF-DEFENSE CAMP IN DURHAM EMPOWERS LGBTQ YOUTH TO STAND UP TO OPPRESSION

BY BRYAN C. REED

Martial arts and political resistance have a long, complicated relationship. Slaves in Brazil, forbidden from training in any style of combat, masked powerful kicks in the dance-like movements of capoeira. British suffragettes employed jiu-jitsu to take down the men (many in uniform) who violently blocked their march toward progress.

In Durham, Elizabeth Schroder and Neal Ritchie, instructors at United Thai Boxing and MMA, are continuing that lineage.

Through their Squad! Self Defense organization, the pair teaches martial arts to youth with the goal of contributing to “a larger struggle to combat state violence and oppression.” For four consecutive Sundays starting August 14, they’ll offer “Fighting Back,” a free self-defense camp for LGBTQ teenagers, with a curriculum based in nonviolent de-escalation and MMA techniques.

For hobbyists like me, competing in martial arts—in my case, Brazilian jiu-jitsu—is an intense test of skill and toughness. You’re squared up against someone you don’t know, whose sole mission is to physically dominate you. But it’s governed by agreed-upon rules and respect, not anger and malice. There’s a referee, and you’ll probably hug as soon as one of you taps out. The techniques of sport fighting are necessarily different than those of, well, real fighting. It’s easy to forget that not everyone has the luxury of considering self-defense a sport.

While national violent crime rates have fallen from their peak in the nineties, marginalized communities still suffer from the persistent threat of violence. In a 2011 analysis of FBI data, the Southern Poverty Law Center determined that “LGBT people are far more likely than any other minority group in the United States to be victimized by violent hate crime.” The hostile climate fostered by discriminatory legislation like HB 2 doesn’t help.

The INDY caught up with Ritchie and Schroder to discuss their goals with “Fighting Back” and the role of combat techniques in empowering marginalized communities.

26 | 8.10.16 | INDYweek.com

INDY: How did Squad! Self Defense get started, and how did you develop the idea of a fight camp for LGBTQ youth?

NEAL RITCHIE: Squad! started as an avenue to teach these skills in a school setting. The upcoming fight camp emerged from conversations with a friend about responses to HB 2. We were talking about the daily harassment that we or friends have faced, and all the seemingly banal things that make it totally impossible for our trans friends to live in this world. Reaction against HB 2 has been a lightning rod in some important ways, but it’s also felt weird and, at times, disingenuous, how policy-focused it’s been.

Liberal discourse around “diversity” and “real North Carolina values” does nothing but obscure the kinds of structural transformation that would be necessary to achieve real liberation.

In light of some of those frustrations, we wanted to offer something that, however small, might be practical, useful, and, above all, provide a direct feeling of empowerment.

Then our friend Collier Reeves from Girls Rock NC approached us, encouraging us to offer such a series, which is when the idea really took off.

On a side note, it seems relevant to mention the increase of attacks against immigrants and youth of color as white nationalist organizing has grown immensely in the last several years. Incidents like the recent conflict in Sacramento come to mind, where hundreds of anti-racists managed to courageously shut down a white supremacist gathering, but not without six people getting stabbed. A recent rule in one N.C. school district encouraging straight kids to bring pepper spray to school to use against trans folks in the bathroom comes to mind as well.

There’s no shortage of self-defense classes geared toward women, which is wonderful, but I haven’t seen nearly as much focus on LGBTQ people. Given the horrifying rates of violence against these communities, that feels like a glaring oversight. What inspired

you to create this series specifically for LGBTQ teenagers?

NR: While women’s classes are increasingly common, I think there’s a really sexist division of labor in how “self-defense” historically tends to be taught to women and “fighting” tends to be taught to men. The practical outcome is that women are taught unrealistic and ineffective techniques, in my opinion, in one-off seminars by unqualified people, while men are taught solid combat. It’s getting better with the popularity of women’s MMA, but it’s still omnipresent.

I think of it like this: If you’re in a situation where you have to physically defend yourself, yes, it’s “self-defense,” but you’re in a fight. So let’s treat it like that. Whatever the discipline may be—grappling, striking, weapons—that means learning how to fight back against resisting opponents in dynamic rather than static scenarios.

ELIZABETH SCHRODER: While I agree with Neal on the differences between women’s self-defense classes and MMA classes, I think part of the appeal is that they tend to take place outside of the hyper-masculine, cisgender dude culture that permeates many gyms. That perceived culture functions as a huge barrier for lots of people who might otherwise give training a try. When trying out fighting arts for the first time, especially if you’re not a cis dude, it really helps to have some focused encouragement. We hope that "Fighting Back" can offer that. Without having to worry about apprehensions like, “How can I even tell people my pronoun in this setting?” or “I hope nobody in class gives me weird looks because of how I present,” LGBTQ teens can get some safer space to learn real, effective fighting techniques.

You both assist with the kids’ program at United Thai Boxing and MMA, and you do self-defense seminars at local schools.

How did you get involved in teaching martial arts to young people?

ES: I have been teaching in schools for about six years, and am about to begin my fourth

year as an elementary PE teacher. I teach youth because I love working with them. Also, though I’ve been an athlete my whole life, my martial arts training has felt very physically challenging. There were a few months in particular where I would head straight from my job as a preschool movement teacher to my BJJ class. On those days, I’d spend my mornings telling five-year-olds, “Put your foot here.

Nope, that’s your arm. Use your foot. Nope, that’s your hand.” Then I’d go to BJJ and my coach would tell me, “Now prop yourself up on your left hand. Nope, that’s your elbow.

Use your left hand.” When I teach these skills to young folks, I get a little jealous of them, because it’s such a privilege for them to store in their bodies this muscle memory now, rather than starting later in life, when there’s so much more to unlearn.

NR: I’ve learned that adults basically seem to need what kids need. If you break down a technique for a kid a certain way and they get it, probably an adult will learn it well that way too. One of the things I love about United is how real the instruction is for kids.

While it’s age-appropriate in presentation, they aren’t taught anything that I wouldn’t do myself, whether it’s Muay Thai or ground work. Those kids are beasts!

You consider self-defense training part of a larger effort to combat state violence and oppression. Can you elaborate on that?

NR: Across history, one of the ways that states have succeeded in consolidating power and oppressing groups of people, which all states do, is by breaking up peoples’ warrior culture, either through cooption or outright suppression. Some examples include the genocide suffered by indigenous fighters, the prohibition of slaves owning weapons, the criminalization of capoeira in the territory that came to be Brazil, and Ronald Reagan’s use of gun control legislation to disarm the Black Panthers in California.

ES: Lots of fighters, from Muhammad Ali to Ronda Rousey, have spoken about how powerful it is to believe in one’s own capacity,

regardless of what may objectively be true, and how that belief alone actually increases their capacity. Personal agency is central in combating state violence and oppression, and training in fighting arts has worlds of lessons to offer on personal agency and empowerment.

Your curriculum emphasizes de-escalation, awareness, and consent. How so?

ES: While the bulk of our curriculum focuses on fighting techniques, we contextualize those techniques as a sort of last resort when other ways of conflict resolution have failed or can’t be used. We equip students with options for avoiding physical altercations, and discussions of awareness—both of environment and of self—are at the center of these de-escalation techniques. We explain to our students that while we offer them fighting instruction, it is in an effort to help them keep themselves safer and defend others from assault.

me to sit quietly. I’ve learned how to walk as tall as I am with an air that makes catcalling bros think twice about spitting their misogyny at me. I’ve learned how to stand my ground when somebody shoves me and, without even throwing a punch, change their mind about trying to make my body do what they want it to.

In the four weeks of "Fighting Back," we will only begin to scratch the surface of fighting skills. But I expect that students will notice a marked increase in their sense of confidence and power. Training not only reveals to people the sometimes-surprising power they already possess, but also that much more power is possible for them. I also hope that LGBTQ teens will use this as a way to build relationships that last past camp.

And it’d be great to see students get so stoked on training that they start training more regularly when the series is over.

“I've learned how to walk as tall as I am with an air that makes catcalling bros think twice about spitting their misogyny at me.”

You’ve both got pretty varied backgrounds in martial arts, with a mix of traditional styles and contemporary MMA. Which styles most inform the techniques you’ll highlight for a group of beginning students with a selfdefense focus?

NR: The techniques we’ll be drawing from will be super fundamental and primarily based around the knees and elbows of Muay Thai, some basic takedown defense from wrestling, and some positional ground defense from Brazilian jiu-jitsu.

After completing the course, what are the primary things you hope students will walk away with?

ES: Thus far in my training, I’ve learned some things about how to win a fight. But I’ve learned a lot more about how much space I get to take up in a room. I’ve learned about getting my voice heard in a world that wants

How can the community support what you’re doing to help LGBTQ youth feel safer—and actually be safer—in the world?

NR: First off, please spread the word about these classes. The signup is at www.squadselfdefense.com. Second, if you or your kid goes to a school that might be interested in hosting us, please let us know.

More generally, I prefer to think in terms of liberation rather than safety, partly due to how the state uses the concept of safety to get folks with more money or privilege to buy into its institutions at the expense of others.

Regardless, we’ve got to be in it for the long haul. I don’t think we’re going to get to the world we want through nonprofits or political parties or corporate sponsorship. It’s going to come through youth standing up for themselves and fighting back however they can. Hopefully we can stand with them. l Twitter: @BryanCReed INDYweek.com | 8.10.16 | 27

08.10–08.17 FRIDAY, AUGUST 12

DIXIE CHICKS

Three election cycles ago, Dixie Chicks landed themselves in hot water when Natalie Maines announced to a London crowd that the band was ashamed to share a home state with then-president George W. Bush. The band was derided for being unpatriotic and was sandbagged by the country music industry for speaking up. The 2006 album Taking the Long Way did well commercially and netted five Grammys, but the controversy still forced Dixie Chicks to quietly slip off the map. More than a decade later, though, they’re back, as fierce as ever, with a whole new political circus to fan their flames. The “sorry-notsorry” kiss-off of “Not Ready to Make Nice,” from Taking the Long Way, has only grown more powerful over the years. Old favorites like the barn-burning “Goodbye Earl” still make for a good time. They’ve also worked a cover of Beyoncé’s “Daddy Lessons” into their set, which is probably worth the ticket price alone. —Allison Hussey COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, RALEIGH 7 p.m., $42–$146, www.livenation.com

Dixie Chicks PHOTO BY VIJAT MOHINDRA

FRIDAY, AUGUST 12– SUNDAY, AUGUST 21

DECISION HEIGHT During World War II, just over a thousand women with aviator’s licenses were permitted—reluctantly and temporarily—to serve in the American war effort as Women Airforce Service Pilots, or WASPs. They endured second-class status and were denied promised military recognition until the program was disbanded in 1944. Playwright Meredith Dayna Levy drew on military records unsealed in 1977 to research the drama Decision Height, in which six women have to overcome their different backgrounds and cultural prejudices to face a rite of passage on a Sweetwater, Texas, airfield. In doing so, they learn to challenge a woman’s designated place in a time of war, on land and in the air. Emily Rose White directs this Women’s Theatre Festival production. —Byron Woods THE ARTSCENTER, CARRBORO Various times, $12–$15, www.artscenterlive.org 28 | 8.10.16 | INDYweek.com

SATURDAY, AUGUST 13

LYLE LOVETT & HIS LARGE BAND

It may seem hard to believe, given the current country music landscape, but some thirty years ago, Lyle Lovett’s quirky, irony-laden blend of country, blues, folk, and jazz produced a long string of Top 40 country hits. But even if the lanky Texan with the intimidating pompadour turned out not to be the harbinger of things to come in Nashville, his idiosyncratic style still seems just as crafty and cool as ever—maybe even more so. Lovett’s Large Band will provide plenty of bluesy, swinging ballast for their boss man’s excursions into his stunning bag of songs, now three decades deep. Lovett’s own material has been in regrettably short supply on the majority of his albums since the late nineties, but with that crushed-velvet voice of his, the cover tunes can be just as much of a joy as his own compositions. —Jim Allen DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $45–$100, www.dpacnc.com

FRIDAY, AUGUST 12–SATURDAY, AUGUST 20

THE NORTH CAROLINA GAY & LESBIAN FILM FESTIVAL As Neil Morris reported in the INDY last year (“Drowning in the Mainstream,” August 12, 2015), the North Carolina Gay & Lesbian Film Festival was at risk of folding not because its goals had gone unmet, but because they had been met too well. The festival was a vital counternarrative in Jesse Helms’s North Carolina, but in the years approaching its twentieth anniversary, attendance and energy had flagged. Realistic images of LGBTQ people were no longer so hard to find in the media, and the ratification of gay marriage had inflated a sort of hope bubble—a widespread sense that a long, hard struggle had come to an end.

What a difference a year can make. No one could have known that before the next NCGLFF, HB 2 would emerge like a specter from North Carolina’s past, howling the ongoing dangers of life in America for LGBTQ

people. The festival is responding with commensurate urgency and drive, with more screenings than ever before—167 shorts, features, and documentaries—and a renewed emphasis on the African-American, Latin American, and transgender experience.

Unlimited in genre and style, the offerings are as arch as modern film noir Kiss Me, Kill Me and as observant as documentaries Strike a Pose, about the dancers-turned-gay icons from Madonna’s Truth or Dare, and Deep Run, a portrait of a transgender teen in rural North Carolina. We applaud NCGLFF’s vigor in its twenty-first year, even as we wish for its obsolescence. —Brian Howe THE CAROLINA THEATRE, DURHAM Various times, $10 (one screening)–$85 (ten screenings) www.carolinatheatre.org

WHAT TO DO THIS WEEK

Tarocco: A Soldier’s Tale PHOTO COURTESY OF THE FOX & BEGGAR THEATER/

SATURDAY, AUGUST 13

TAZDIGITAL

We’ve noted the recent Tarot trend in Durham, and perhaps the magic in the air subliminally drew Asheville’s The Fox & Beggar Theater toward the Triangle on its first tour—though it landed one city over, in Raleigh. Tarocco: A Soldier’s Tale is the story of a World War I infantryman in enemy territory who comforts a dying friend with stories inspired by images in the Tarocco Piemontese, an Italian precursor to the modern Tarot deck.

This sad scenario is tempered by the wonder

of the spectacle, a contemporary hybrid of commedia dell’arte, cirque, dance, puppet theater, animation, and more. A preview video on Duke Energy Center’s website shows that a vivid, high-quality production, especially for a community-funded nonprofit, is in the cards.

—Brian Howe

TAROCCO: A SOLDIER’S TALE

FLETCHER OPERA THEATER, RALEIGH 7:30 p.m., $23–$69, www.dukeenergycenterraleigh.com

WHAT ELSE SHOULD I DO?

GLEAMING THE CUBE/THRASHIN’ AT THE STATION (P. 39), GROOVE IN THE GARDEN AT STEPHENSON AMPHITHEATRE (P. 31), FIGHTING BACK AT UNITED THAI BOXING AND MMA (P. 26), NICK OFFERMAN AND MEGAN MULLALLY AT DURHAM PERFORMING ARTS CENTER (P. 38), THE TINY BOOK SHOW AT BRIAN ALLEN ARTISAN PRINTER (P. 37), PHOTOGRAPHS BY HUGH MORTON: AN UNCOMMON RETROSPECTIVE AT THE NORTH CAROLINA MUSEUM OF HISTORY (P. 36), SUMAC AT THE PINHOOK (P. 35) INDYweek.com | 8.10.16 | 29

FR 8/12 THE JULIE RUIN

W/ HEATHER MCENTIRE (FROM MOUNT MORIAH)**($20/$23)

FR 8/12

THE JULIE RUIN

SA 8/13 RAINER MARIA W/ OLIVIA NEUTRON-JOHN ($15/$17) SOLD OUT

MO 8/22 LIL YACHTY

TH 8/25 LOCAL H (AS GOOD AS DEAD TOUR) ($12/$15) FR 8/26-SA 8/27 BE LOUD! SOPHIE '16 THE ENGLISH BEAT,

PREESH!, KAIRA BA, HOBEX, IWTDI, & PLENTY MORE...

TH 9/1 THE MELVINS W/ HELMS ALEE ($20/$22) FR 9/2 ECLIPSE (THE PINK FLOYD EXPERIENCE) AND ABACAB (THE MUSIC OF GENESIS) ($10) SU 9/4 OF MONTREAL

W/ RUBY THE RABBITFOOT ($17)

TU9/6CRYSTAL CASTLES**($20/$23) WE 9/7 RON POPE

W/ MELODIME AND TRUETT ($17/$20)

FR 9/9 ABBEY ROAD LIVE ($12/$15) SA9/10TORY LANEZ W/KRANIUM ANDVEECEE($30) TU 9/13 BLIND GUARDIAN

W/ GRAVEDIGGER ($29 - $60 FOR VIP)

FR 9/16 THE ULTIMATE TRIBUTE TO POP MUSIC'S ROYAL DYNASTY: MICHAEL JACKSON AND PRINCE ($18/$20) SA9/17COSMIC CHARLIE ($12/$15)

FR 8/12

PIEBALD

@ HAW RIVER BALLROOM

SU 10/30 NF ($18/$21) TU 11/1 THE MOTET ($16/$19) FR 11/5 ANIMAL COLLECTIVE W/ ACTRESS

SOLD OUT

TH 11/10 MEWITHOUTYOU W/ YONI WOLF ( OF WHY?)

SA 11/12 GUIDED BY VOICES ($26.50; ON SALE 8/12) SU 11/13 BENJAMIN FRANCIS LEFTWICH MO 11/14 BOB MOULD BAND ($20/$22) WE 11/16 WET ($20) TH 11/17 REV PAYTON'S BIG DAMN BAND, SUPERSUCKERS, JESSE DAYTON ($15/$17) SA11/19 HISS GOLDEN MESSENGER**($15/$17) TU 11/22 PETER HOOK & THE LIGHT ($25) 2/1/17 THE DEVIL MAKES THREE ($22/$25)

TU 9/20 OKKERVIL RIVER W/LANDLADY ($18/$20) TH 9/22 BUILT TO SPILL

W/ HOP ALONG, ALEX G($20/$25)

SA 9/24 HIPPIE SABOTAGE SU 9/25 CARRBORO MUSIC FESTIVAL (FREE SHOW/ 8 ACTS) TU 9/27 DENZEL CURRY W/BOOGIE ($17/$19) WE 9/28: THE DANDY WARHOLS W/ SAVOY MOTEL ($24/$27) TH 9/29 JUDAH & THE LION W/ THE LONELY BISCUITS

FR 9/30 KISHI BASHI** ($18/$20) MO 10/3 NADA SURF

W/ AMBER ARCADES($17/$20)

WE10/5ELEPHANT REVIVAL($15/$17) TH 10/6 TAKING BACK SUNDAY W/YOU BLEW IT, MAMMOTH INDIGO($35) FR 10/7 THE DEAR HUNTER W/ EISLEY, GAVIN CASTLETON ($18/$20) SU 10/9 LANY W/ TRANSVIOLET ($15) TU 10/11: THE MOWGLI'S W/ COLONY HOUSE, DREAMERS ($17/$19) WE 10/12 DIARRHEA PLANET** ($12/$15) TH 10/13 DANCE GAVIN DANCE ($18/$20) FR10/14:BALANCE & COMPOSURE W/ FOXING, MERCURY GIRLS

SA 10/15: BRETT DENNEN W/ LILY & MADELEINE ($22/$25) MO 10/17 SOILWORK W/ UNEARTH, BATTLECROSS, WOVENWAR, DARKNESS DIVIDED ($20/$23; ON SALE 8/12) TU 10/18 LUCERO

W/CORY BRANAN ($20/$23)

WE 10/19 BEATS ANTIQUE W/ TOO MANY ZOO'S, THRIFTWORKS ($26/$29) TH 10/20 WILLIE WATSON & AOFE O’DONOVAN**($22/$25)

SA 10/22 TODD SNIDER W/ ROREY CARROLL ($24/$27) WE 10/26 HATEBREED,

DEVILDRIVER, DEVIL YOU KNOW

($25/$28) SA 10/29 DANNY BROWN

W/ ZELOOPER Z ($22/$25&VIPAVAIL)

CAT'S CRADLE BACK ROOM

SA 8/20 @ NC MUSEUM OF ART

GILLIAN WELCH 10/1: THREE WOMEN AND THE TRUTH: MARY GAUTHIER, ELIZA GILKYSON GRETCHEN PETERS ($25/$28) 10/4: HONNE ($15) 10/5: ELECTRIC SIX / IN THE WHALE ($13/$15) 10/8:HARDWORKER W/REED TURCHI&THECATERWAULS($10/$12) 10/9: RIVER WHYLESS 10/11: SOLAR HALOS 10/13: DAVID RAMIREZ BOOTLEG TOUR ($13/$15) 10/15: GRIFFIN HOUSE ($18) 10/16: ADAM TORRES THOR & FRIENDS ($10/$12) 10/19: MC CHRIS ($14/$16) 10/21: SERATONES ($12/$14) 11/5: FLOCK OF DIMES ($12) 11/6: ALL GET OUT, GATES, MICROWAVE ($10/$12) 11/16: SLOAN "ONECHORDTOANOTHER" 20THANNIVERSARYTOUR($20) 11/17: BRENDAN JAMES ($14/$16) 11/20 MANDOLIN ORANGE($15/$17)

8/10 OUTER SPACES IZZY TRUE / DINWIDDIES ($8) 8/11: MARSHALL CRENSHAW 12/9,10,11: KING MACKEREL & W/ BRETT HARRIS THE BLUES ARE RUNNING **($22/ $25; SEATED SHOW) ARTSCENTER (CARRBORO) 8/12:ELIZABETH COOK W/ DEREK HOKE ($15/$17) 10/15: JOSEPH W/ RUSTON KELLY ($13/$15) 8/13: THE WELL RESPECTED MEN AND LUXURIANT SEDANS ($7) 11/8: ANDREW WK 'THE POWER OF PARTYING' ( $20/$23) 8/14 FLORIST W/ EMILY YACINA, TRULY ($10) MOTORCO (DURHAM) 8/18: SOCIAL ANIMALS W/JOE 8/12: JULIETTE LEWIS ($16/$18) ROMEO&THEJULIETS,PEOPLESKILLS($10) 10/3 BAND OF SKULLS 8/19: MELISSA SWINGLE DUO, W/ MOTHERS ($20/$23) 8:59S, COLESLAW ($8) 10/6: BLITZEN TRAPPER 8/20: ECHO COURTS, THE NUDE W/KACY & CLAYTON**($17/$19) PARTY, WAHYAHS, LESS 11/6 TWO TONGUES W/ WESTERN ($6/$8) BACKWARDS DANCER ($16.50/$20) 8/21: HONEY RADAR ($8) 11/16: MITSKI ($15; ON SALE 8/12) 8/25: THE VEGABONDS KINGS (RAL) W/ BOY NAMED BANJO LEFT ON FRANKLIN ($5/$10) 11/19MANDOLIN ORANGE ($15/$17) 8/27: MILEMARKER W/ PUFF NC MUSEUM OF ART (RAL) PIECES, COMMITTEE(S) ($12) 8/13 IRON AND WINE LD 8/31: WIFISFUNERAL, SKI W/ MARGARET GLASPY SO OUT MASK SLUMP GOD, POLLARI 8/20: GILLIAN WELCH 9/1:SAWYER FREDERICKS W/ MIA Z ($20/$25) 9/28: VIOLENT FEMMES THE RITZ (RAL) 9/8: CABINET (TICKETS VIA TICKETMASTER) W/ BILLY STRINGS ($12/$15) 9/9: STEPHANE WREMBEL 9/24: GLASS ANIMALS W/ BIG FAT GAP($20) 9/27: TYCHO 9/10: ELLIS DYSON 10/24:THE HEAD AND THE HEART & THE SHAMBLES 10/28: PHANTOGRAM W/ RESONANT ROGUES ($10/$12) HAW RIVER BALLROOM 9/11: THE SAINT JOHNS ($10/$12) 8/12: PIEBALD 9/14: SETH WALKER 8/25:HARD WORKING AMERICANS 9/17: LIZ LONGLEY W/THECONGRESS**($25) W/ BRIAN DUNNE**($12/$15)) 9/21: GOBLIN COCK ($10/ $12) 9/17: WILLIAM TYLER (SEATED SHOW; $15) 9/22: BANDA MAGDA ($12/$15) 9/30: REAL ESTATE ($20/$23) 9/24: PURPLE SCHOOLBUS REUNION W/ PSYLO JO 11/18 MANDOLIN ORANGE (CMF KICK OFF SHOW) ($15/$17) 9/30: SUTTERS GOLD STREAK RALEIGH LITTLE THEATRE BAND IDLEWILD SOUTH ($10/$13) 9/17, 4 PM: THE CONNELLS W/ THE

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

30 | 8.10.16 | INDYweek.com

FR 8/12 @ MOTORCO

JULIETTE LEWIS

OLD CEREMONY, DAVID J - FOUNDING MEMBER OF BAUHAUS / LOVE AND ROCKETS ($20)

CARY ARTS CENTER: Philharmonic Association; 6 & 7:45 p.m. • CAT’S CRADLE (BACK ROOM): Outer Spaces, Izzy True, The Dinwiddies; 8:30 p.m., $8. • THE CAVE: Hotbed, Eleveneleven, Indiobravo; 9 p.m., $5. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • LINCOLN THEATRE: I Prevail, The White Noise, My Enemies & I, Bad Seed Rising; 7 p.m., $15. • NIGHTLIGHT: Justice Yeldham, Housefire, Clang Quartet, Actualia; 9 p.m., $8. • THE PINHOOK: Shopping, Gauche, Truthers; 9 p.m., $10. • POUR HOUSE: Drunk on the Regs, Sexy Neighbors, Low Key Locals; 9 p.m., $5. • RUBY DELUXE: DJ Redbyrd; 10 p.m. • THE STATION: KC Masterpeace, DJ Meesh; 9 p.m.

• THE SHED JAZZ CLUB: Shaquim Muldrow; 8 p.m.

THU, AUG 11 The Black Lillies APP FUNK The Black Lillies have steadily climbed the Americana ropes since its debut release in 2009. The outfit’s third record, 2013’s Runaway Freeway Blues, hit No. 43 on the Billboard Top 200 Country chart and was hailed as one of the best albums of that year. With an expanded six-piece lineup, the group is touring in support of its latest album, Hard to Please, the result of a successful fan fundraising campaign. But you won’t need to raise any funds of your own to take advantage of the band’s free, early evening set in Durham. The Jon Stickley Trio opens. —DM [AMERICAN TOBACCO CAMPUS, FREE/6 P.M.]

Christopher the Conquered STILL Talented Des BASIC Moines-based singer-songwriter Christopher Ford plays a brand of witty piano-based pop in the tradition of Warren Zevon and Randy Newman. He he hasn’t quite achieved the acid mastery of those bleak troubadours, but he may get there yet. The Cowards Choir and Old Sea Brigade Open.

—EB [MOTORCO, $10–$12/7 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Allison Hussey (AH), David Klein (DK), Desiré Moses (DM), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WWW.INDYWEEK.COM

Marshall Crenshaw STILL Few can boast a GOING more fascinating trajectory than Marshall Crenshaw, whose occasionally charmed, mostly frustrating career truly marks him as what Ray Davies once called “one of the survivors.” Beginning with his 1981 power pop hit “Someday, Someway” to his 1987 role as Buddy Holly in La Bamba, to his 1996 co-write with the Gin Blossoms, Crenshaw has seen the business from nearly every side possible, and lived to laugh wryly about it. Brett Harris opens. —EB [CAT’S CRADLE BACK ROOM, $22–$25/8 P.M.]

PHOTO BY D.L. ANDERSON

WED, AUG 10

08.10–08.17

HAMMER NO MORE THE FINGERS FILE

music

North 11 RALEIGH Imbued with a ROCK youthful verve that verges on hectoring, Raleigh’s North 11 plays an eager-to-please blend of power pop and keyboarddriven millennial new wave that succeeds admirably on its own modest yet exuberant terms— quite plausibly coming to a Top 40 playlist near you soon. The Motions, Katie Hazel, and Gracen & Corrine open. —TB [KINGS, $8–$10/8 P.M.]

Rebekah Todd HUSKY Upon graduating BLUES from East Carolina University with a degree in fine arts in 2012, Wilmington-based singer-songwriter Rebekah Todd has dedicated the majority of her time to the road. With a voice that fits somewhere in-between Susan Tedeschi and Bonnie Raitt, her debut EP, Forget Me Not, and follow-up LP, Roots Bury Deep, brim with soulful laments that showcase her chill-inducing range. Matthew Greenslade opens. —DM [THE STATION, $6/8:30 P.M.]

John Dee Holeman and Tad Walters BLUES John Dee Holeman O’CLOCK plays the cleanest blues you’ve ever heard. The subject matter may be murky— he loves to sing about a dead

SATURDAY, AUGUST 13

GROOVE IN THE GARDEN

Last year’s inaugural Groove in the Garden offered a slate of North Carolina acts that embody the region’s musical past, present, and future, with bands like The Backsliders, Bombadil, and The Love Language as its headliners. For the second iteration of the one-day festival, the offerings have expanded both in number and in stylistic range. The original eight-band Groove in the Garden emphasized indie rock and Americana, but this year’s thirteen-act lineup adds subtle gradations to the original color palette, from Matthew E. White’s soulful and sumptuous orchestral pop to Raleigh hip-hop crew Inflowential to the sublime songs of Skylar Gudasz.

One way the national festival circuit has become self-sustaining is by providing bands an incentive to get back together, if only briefly. Groove in the Garden has this phenomenon in miniature with a reunion of The Fabulous Knobs, charter members of N.C.’s early-eighties Comboland scene who haven’t played a gig together in a quarter-century. The announcement of the band’s reunion has already generated brought in unexpected new offers to play. Terry McInturff, who will take up guitar duties for Dave Enloe, who died in 2007, says the Knobs can still summon their early energy.

“It does not sound like a fossilized old act at all, and I think that new fans will be made,” he says.

The invitation has had a similarly galvanizing effect on Durham’s Hammer No More the Fingers. Now in its tenth year, the band has only played and recorded together sporadically in recent years, with members keeping busy with side projects that include Beauty World and Blanko Basnet. Bassist Duncan Webster confirmed that the festival provided the trio’s members with an impetus that had been lacking. They’ve begun weekly practice and are working on material for a new album.

“Since being asked to play the Groove in the Garden show, we’ve suddenly given ourselves a kick in the butt,” he says, adding that he’s excited to be on a bill so rich with Triangle-area talent.

He sees the lineup as a testament to the area’s musical riches, and says grateful to be part of it.

“It seems like every era since the eighties has been the golden age of local music. This scene only grows and gets more interesting. It reminds me how, once you start playing music, it’s hard to stop. It’s a lifelong pursuit,” he says.

As for Saturday, there’s plenty for the audience to pursue, too: Holy Ghost Tent Revival, Some Army, The Debonzo Brothers, Matt Phillips, Christiane, Pinto, and Ellis Dyson, and Andrew all round out the day’s big bill. —David Klein STEPHENSON AMPHITHEATRE & ROSE GARDEN, RALEIGH 2 p.m., $15–$20, www.thepourhousemusichall.com

man’s paw, the mojo hand you dig up to cast spells—but his fingerpicking is as crisp and precise as any Piedmont blues performer. Tad Walters makes for the perfect accompanist, as he listens carefully before joining in with harmonica or guitar. —GB [BLUE NOTE GRILL, FREE/7 P.M.]

White Cascade TUNE Few local shoegaze GAZE bands have kept their blissed-out fire burning as long as Raleigh’s White Cascade.

The band’s maximalist, drippy space rock atmospheres prop up unique Auto-Tune-soaked vocals.

Listen long enough, though, and White Cascade veers into codeined-out Lil Wayne territory—entertaining, but hard to stomach in large amounts. As Weezy’s career has shown, brilliant experimentation often requires an equal amount of self-indulgence. Portland sludgegaze outfit Tender Age shares the bill. —DS [NEPTUNES, $5/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • BEYÙ CAFFÈ: Andy Kleindienst Trio; 7 p.m. • THE CAVE: American Swill, Cantwell, Gomez, & Jordan, Friedman & Blatt, Rodney Henry; 9 p.m., $7. • DEEP SOUTH: Gryhme Family, Danegerous, Trill, Ron Donson, Infinite7Mind, FKB$; 8 p.m., $8. • IRREGARDLESS: Frankie Alexander Trio; 6 p.m. Elmer Gibson, Lori Barmer; 6:30 p.m. • THE PINHOOK: Gringo Star, Wild Fur; 9 p.m., $10. • POUR HOUSE: Local Band Local Beer: Happy Abandon, Foxture, My Darling Fury; 8:30 p.m., free. • RALEIGH CITY PLAZA: The Outliers, Jonah Riddle & Carolina Express; 5 p.m., free. • ROOST: Paper Moon; 5 pm, free. • RUBY DELUXE: Ruby Deluxe One Year Anniversary Party; 8 p.m. • SLIM’S: Eleveneven, Hotbed, Indiobravo; 9 p.m., $5. • THE SHED JAZZ CLUB: Charlie Sothcott Quintet; 8 p.m.

FRI, AUG 12 Big Daddy Love U.S. Big Daddy Love ROOTS harnesses the electric drive of Southern rock, INDYweek.com | 8.10.16 | 31

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from the duel Stratocaster players on down, while maintaining a rough-hewn, rustic sensibility through elements of country, bluegrass, and swing. The band has dubbed its hybrid “Appalachian rock,” and whether cranking out spirited originals or covers of classics like “Sweet Child O’ Mine,” the band crackles with energy and precision playing.

Openers Dangermuffin blend jam-band, Americana, and folk elements. —DK [LINCOLN THEATRE, $12/9 P.M.]

Blood Red River ROCKA- Durham’s Blood Red BILLY River consistently delivers a foot-stompin’, hootin’ ‘n’ hollerin’ good time. The outfit’s blend of garage, punk and rock is propelled by loud riffs, frenetic energy, and in-your-face jams.

Grab a beer and buckle up. With the Hellhounds and White Trash Messiahs. —DM [THE STATION, $6/9:30 P.M.]

The Julie Ruin KEEP In 1997, queen riot RIOTING grrrl and Bikini Kill frontwoman Kathleen Hanna issued Julie Ruin as a one-off album while taking a break from BK. Nearly twenty years later, though, the project has morphed into a full band fronted by Hanna that revives some of the riot grrrl spirit. “I’m Done” is a magnificent, bouncy kiss-off tune, while “I Decide” is a powerful assertion of agency. Hanna’s energy and encouragement is nothing short of inspiring. Mount Moriah’s Heather McEntire opens with a solo set. —AH [CAT’S CRADLE, $20–$23/9 P.M.]

Juliette Lewis BORN TO The public doesn’t ROCK seem to want to see its great screen idols as mere musical performers. Otherwise, talented folks like Johnny Depp and Scarlett Johansson would be better known for their musical abilities. The Oscar-nominated Juliette Lewis, on the other hand, is perfectly credible fronting a rock band. Harnessing the unpredictability of her screen presence, Lewis has an Iggy Pop-like

dynamism that’s ideal for delivering her favored brand of “fast and mean” rock ‘n’ roll. —DK [MOTORCO, $16–$18/9 P.M.]

PART OF The college radio IT! station I worked for used part of “American Hearts”

by Massachusetts emo band Piebald for one of its station IDs. Piebald’s Travis Shettel shouted “Hey! You’re part of it!” before the station’s call letters were announced. Reunited after eight years apart, Piebald—and its best record, 2002’s We Are the Only Friends We Have—remains a college-radio favorite and still captures that sense of collegial community in its catchy, witty punk. —PW [HAW RIVER BALLROOM, $25/8 P.M.]

$42–$146. See page 28. • DEEP SOUTH: The Windsor Oaks Band, Adam Pitts & The Pseudo Cowboys, Cosmic Superheroes; 9 p.m., $7–$10. • HONEYSUCKLE TEA HOUSE: The Holland Brothers; 7 p.m. • KINGS: Girls Rock NC Teen AXN League Showcase; 6 p.m., $5. • LOCAL 506: Hotline, Erica Eso, Band & The Beat; 9 p.m., $8. • THE MAYWOOD: KIFF, Born Again Heathens, J.D. Power and the Associates, Nevernauts; 8:30 p.m., $8. • MYSTERY BREWING PUBLIC HOUSE: Time Sawyer; 8:30 p.m., free. • THE PINHOOK: Off the Books with DJ Rang; 10 p.m., $10. • POUR HOUSE: Better Off Dead, Triple Wide; 9 p.m., $8–$10. • ROOST: Isabel Taylor; 5 p.m., free. • RUBY DELUXE: Wildhoney, Jenny Besetzt, Essex, Muro, Luxe Posh; 7 p.m.

• SLIM’S: Naked Gods, New Boss, S.E. Ward, Rodney Henry; 8 p.m, $7.

• SOUTHLAND BALLROOM: Chicago Reloaded; 8:30 p.m., $10.

Uniform, Bodykit

SAT, AUG 13

Piebald

ROCKIN’ Born in the suburbs, SUBURBS hardcore was birthed in large part in reaction to suburban commuter capitalism and as the antithesis of the hated hippie movement, scornfully rejecting, as Robert Christgau once wrote, “the political idealism and Californian flower-power silliness of hippie myth.” There’s little flower-power idealism to the two acts atop this suburban bill: Atlanta’s Uniform spices its powerful hardcore with post-punk riffs and minimalist attitude; ex-Whatever Brains duo Bodykit brings a hardcore approach to its weirdo minimal synth jams. With Crete and Decoy. —PW [SOUND FACTORY, $7–$8/8 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • BERKELEY CAFÉ: Molly Baz, Emmanuel Nsangi; 8 p.m. • BEYÙ CAFFÈ: Lockdown Blues Band; 8 & 10 p.m., $8. • BLUE NOTE GRILL: The Phantom Playboys; 9 pm. Duke Street Dogs; 6-8 p.m., free. • BYNUM GENERAL STORE: Durham Ukulele Orchestra; 7 p.m., free. • CAT’S CRADLE: Elizabeth Cook, Derek Hoke; 8:30 p.m., $15–$17. • THE CAVE: LL Orchestra, Lay Away, Casual Interference; 9 p.m., $5. • COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Dixie Chicks, Vintage Trouble, Smooth Hound Smith; 7 p.m.,

Ahleuchatistas INSTAThis Asheville duo ODYSSEY gets it name from the merging of a Charlie Parker song with a Mexican revolutionary movement. Their music is just as wide-ranging, drawing on krautrock, math rock, Slint, Oneida, Deerhoof, U.S. Maple, prog, and a little of everything else. Guitarist Shane Parish explores every nook and cranny of his guitar—teasing out glimmering melodies, complicated loops, and walls of reverb—while drummer Ryan Oslance quietly finds the right subtle, satisfying beats as a complement. —DR [THE SHED, $10/8 P.M.]

Def Leppard SAY Some of rock’s most WHAT? preposterously unlikely survivors, these good-natured Brits have always leaned toward the crowd-pleasing, glam-informed side of metal, eschewing menace for towering hooks and infectious sing-alongs.

Beginning in the early eighties, Def Leppard practically invented a genre all its own on a series of hit records that comingled diamond-hard riffs, high-sheen synths, booming drums, and vocal harmonies into a heady brew

aimed directly at the neural pleasure centers. REO Speedwagon and Tesla open. —TB [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $25–$99/7 P.M.]

Doco PEPPER Doco is a Raleigh POWER trio led by Trevor and Josh Booth, who just happen to descend from the infamous Booth who shot Abraham Lincoln.

The band’s bass-heavy funk-rock grooves owe a sonic debt to Red Hot Chili Peppers, a band one imagines Honest Abe would have hated. With Edge Michael. —DK [POUR HOUSE, $5–$7/9 P.M.]

Guerilla Toss GUERILLA Guerilla Toss is built BISCUITS on confounding expectations. The band presents itself as a bunch of Day-Glo, weed-loving, good-time hippies, but its spazzy electro-punk has found a home on stalwart avant-garde labels like Digitalis Limited and John Zorn’s weird and wonderful Tzadik. Eraser Stargazer, released in February by DFA, keeps up the contradictions. It’s visceral but brainy, noisy but groovy, manic but zoned-out. The band’s wild, whirlpooling tumult is underpinned by precision, zig-zagging under singer Kassie Carlson’s unhinged holler. With Zephyranthes and Clang Quartet.

—PW [KINGS, $9/10 P.M.]

Hotline SOUL Hotline is a Raleigh SALVO foursome whose members used to play an idiosyncratic brand of electro-soul as Oulipo. Now, the band’s vibe is a bit more laid-back and wiseacre, with goofy synth sounds and the falsetto silliness of Midnite Vultures-era Beck. “I Get Paid,” the first single from the Mitch Easter-produced debut record, shows the group’s predilection for slightly turgid funk. “Do Me Like You Do,” with in-the-pocket groove and sunny harmonies is more irresistible. Leapling, Zula, and Del Sur open. —DK [THE PINHOOK, $8/9 P.M.]

Iron & Wine

Rainer Maria

FOLKSY Since his 2002 WISPS debut The Creek Drank the Cradle, Sam Beam has expanded his Iron & Wine from hushed, simmering folk songs into indie rock and jazz territory. The instrumentation may have shifted some across his five Iron & Wine LPs, but Beam’s songwriting has stayed gorgeous throughout.

Beam’s latest effort, April’s Love Letter for Fire, put him in collaboration with singer-songwriter Jesca Hoop, and was more of a return to folk-inclined form.

It’s yet another beautiful, gentle record, lifted by elegant accents of cello and piano. Hoop isn’t joining Beam for this NCMA date, but that won’t keep Beam from delivering a splend set all on his own. —AH [N.C. MUSEUM OF ART, $22–$40/8 P.M.]

RILKE Like anything named ROCK for the Austrian poet Rainer Maria Rilke, this three-piece is light on laughs and fraught with the sundry degradations and humiliations of this thing we call living. Over a stop-and start trajectory that included an eight-year hiatus between 2006 and 2014, the band has maintained a loyal following for its spleen-venting jangle rock, which skates close to emo while mainly, but not entirely, avoiding that genre’s most embarrassing, navel-gazing tropes.

Olivia Neutron-John opens. —EB [CAT’S CRADLE, $15–$17/8 P.M.]

Kidz Bop POP I’ve watched PABULUM countless Baby Einstein videos, but I’d draw the line at Kidz Bop, a lucrative series of pop hits sung by children that assumes that kids need or want bland, ruined versions of current chart hits. Crank some oldies radio at home instead, and buy your kid a present with the dough you’ll save. The kidz’ll thank you later. —DK [RED HAT AMPHITHEATER, $20–$103/4 P.M.]

Popunkapalooza!

POPDrop Back Booking PUNK!!!! presents another installment of Popunkapalooza, showcasing young movers and shakers of the genre. This summer’s bill features Jonas Sees in Color, The Second After, Magnolia, The Water Between and Take the Fall. Bursting with punch and precision, the five-band minifest promises a plethora of power chords, soaring melodies, and plenty of nineties nostalgia on deck. Give Me Mine, the latest release from headliners Jonas Sees in Color, is steeped in polished riffs and rowdy vocals.

Break out your Vans and don your Warped Tour tees—it’s time to rock. —DM [DEEP SOUTH, $8–$10/8 P.M.]

ALSO ON SATURDAY BERKELEY CAFÉ: Kenny Roby, Scott McCall Duo; 8 p.m. • BEYÙ CAFFÈ: Dee Lucas; 8 & 10 p.m., $9. • BLUE NOTE GRILL: Willie Painter Band, Doug Prescott Band; 7:30 p.m., $8. • CARMEN’S: International Dance Party; 10 p.m., $10–$25. • CARY DOWNTOWN FARMERS MARKET: Carolina PineCones; 9:30 a.m. • CAT’S CRADLE (BACK ROOM): The Well Respected Men, Luxuriant Sedans; 9 p.m., $7. • THE CAVE: Sibannac, Octopede, The Dick Richards; 9 p.m., $5. • DURHAM PERFORMING ARTS CENTER: Lyle Lovett and His Large Band; 8 p.m., $45–$100.

See page 28. • HONEYSUCKLE TEA HOUSE: Julia Price; 7 p.m. • IRREGARDLESS: Glen Ingram; 11 a.m. Michael Jones Duo; 6 p.m.

Marimjazzia; 9 p.m. • LINCOLN THEATRE: Crowded Streets; 9 p.m., $10. • THE MAYWOOD: Necrocosm, Rotting Obscene, Altar Blood, Hell Is Here; 8:30 p.m., $8. • MYSTERY BREWING PUBLIC HOUSE: Adam Bernstein; 8:30 p.m., free. • NIGHTLIGHT: Refocus, Uzi Kids, Mind Melt, Rapid Change, Death Penalty, Full Measures; 7:30 p.m., $7–$10. • RALEIGH LITTLE THEATRE: Groove in the Garden 2016; 2 p.m., $15–$20. See box, page 31.

• THE RITZ: Appetite 4 Destruction, Ride the Lightning; 9 p.m., $10. • ROOST: Eric Bannan; 5 p.m., free. • RUBY DELUXE: Truly, Aunt Sis, DJ DNLTMS; 8 p.m. • SAXAPAHAW RIVERMILL: Sarah Shook; 6 p.m., free. • BOND PARK: SERTOMA AMPHITHEATRE: Charm City Junction; 6 p.m. • THE

INDYweek.com | 8.10.16 | 33

11 7 W MAIN STREET • DURHAM

8.18

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REBEKAH TODD W/ MATTHEW GREENSLADE FR 8/12 BLOOD RED RIVER

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SUMMER SESSIONS: JAZZ SATURDAY

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SHADOWBOX: Three Body Problem, Today’s Forecast; 6 p.m., free. • SHARP NINE GALLERY: Mike Ode Quartet; 8 p.m., $10–$15. • SLIM’S: Woolly Bushmen, Wayhas; 9 p.m., $5. • SOUTHLAND BALLROOM: Cody Daniel, Nkognito, Cyanca; 8 p.m., $10. • THE STATION: Summer Sessions: Jazz Saturdays; 2 p.m., free. Summer Splash Drag Show with Jackson Drag Family; 10 p.m., $5. Luxe Posh; 11 p.m., free.

Huo, Anamorph; 9 p.m., $7. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, AUG 16 Savi Fernandez Band

SUN, AUG 14

Chip Robinson OLD PRO Since 1992, Chip Robinson has fronted the Backsliders, a North Carolina rock institution that he started as a guitar-and-mandolin duo. In this intimate solo show, Robinson’s gruff wonder of a voice and skilled guitar chops will be front and center as he digs into solo songs, cool covers, and Backsliders gems. —DK [STEEL STRING, FREE/4 P.M.] ALSO ON SUNDAY BERKELEY CAFÉ: Kelley Mae; 6 p.m. • CAT’S CRADLE (BACK ROOM): Florist, Emily Yacina; 8 p.m., $10. • THE CAVE: Shannon O’Connor presents Co Co O’Connor; 7 p.m., $3.

Woolly Bushmen, Wayhas; 9 p.m., $5. • DEEP SOUTH: Live & Loud Weekly;

SUMAC

DRUM John “Kid Millions” GOD Colpitts is something of a living legend in the experimental underground.

Between his work in the frenzied percussion project Man Forever and his moonlighting as a drummer in legendary acts like Boredoms and Spiritualized, his résumé traces a line through the last two decades of experimental music. Of note is Oneida, his longtime collaborative project with a rotating cast of members, who have dropped around a dozen albums in fifteen years.

Living arbiters of the word “unclassifiable,” Oneida traces the constellations of genre, touching on krautrock, minimal electronic, psych drone, and noise. With Enemy Waves and Autospkr.

—DS [NEPTUNES, $8/9 P.M.]

PHOTO BY FAITH COLOCCIA

Oneida SUNDAY, AUGUST 14

SUMAC

Sumac’s pedigree is unimpeachable. Guitarist Aaron Turner founded the stalwart metal record label Hydra Head, and he led the late, great sludge-metal outfit Isis for thirteen years until it split in 2010. Since then, Turner has mostly busied himself with Mamiffer, an abrasive and beautiful band he formed with his wife, the vocalist and pianist Faith Coloccia. Bassist Brian Cook cut his teeth in seminal metalcore band Botch and founded the genre-bending post-hardcore outfit These Arms Are Snakes, and since 2007, he’s played with (and arguably bettered) proggy Chicago instrumetal trio Russian Circles. Drummer Nick Yacyshyn is the superpowered engine that drives the punishing Vancouver hardcore outfit Baptists.

Given the band’s collective experience with avant-garde-leaning heavy music, one might expect Sumac to skew intense and complex. That it does: What One Becomes, the band’s second LP, is a challenging and confrontational paean to the power of brutish riffs at high volumes. A thick, rich assault of deep riffage and thunderous wallop, What One Becomes crushes by grinding. It exists at a point of profound musical unease, sitting somewhere in between black metal’s precision, post-rock’s panoramic scope, and noise-rock’s antisocial abrasion. Acidic textures open “Image of Control” in abstract chaos before exploding into an angular pummel, climaxing in machine-gun riffing marked by Yacyshyn’s polyrhythmic rolls. The cataclysmic math metal of “Rigid Man” slithers and strangles, only offering reprieve in a washed-out ambient middle that feels less like amnesty and more like a threatening riptide. The seventeen-minute centerpiece “Blackout” is equal parts speed metal and modern minimalism. There, Yacyshyn’s forceful tom rolls land like seismic tremors as they guide the lumbering chords of Turner and Cook in the song’s opening section. It ends on an extended labyrinthine drone with a growing sense of dread, doom, and catharsis.

Terrifying and thrilling, What One Becomes sounds bigger than the sum of its parts, and it stands apart from the shadows of its personnel’s past achievements. Botch and Isis remapped the worlds of hardcore and metal, but What One Becomes shows Sumac at the apogee of aggressive music, carving new terrain far outside its seasoned members’ charted territory. Jaye Jayle and Norda open. —Patrick Wall THE PINHOOK, DURHAM 8 p.m., $10, www.thepinhook.com

9 p.m., $3. • HONEYSUCKLE TEA HOUSE: Dennis Cash; 1 p.m. • IRREGARDLESS: Larry Hutcherson; 10 a.m. John William Carlson; 6 p.m. • THE PINHOOK: Sumac, Jaye Jayle, Norda; 8 p.m., $10.

See box, this page.

MON, AUG 15 Jimkata PULSING This electronic POP dance outfit hails from Ithaca, New York, and has nothing to do with Minnesota Twins pitcher Jim Kaat. The band floats burbling, hook-laden tunes

BALMY For more than a GROOVES decade, this skilled Orlando, Florida, outfit has blended the classic island lilt of Jamaica with Latin rhythms, blues notes, and funk flavor. The group has developed into a skilled, crowd-pleasing act on tours with the elite reggae acts of our time, including Ziggy Marley and Steel Pulse. In the opening slots, Wilmington’s Groove Fetish mines jam-band excursions, and the Zeppelin-influenced Vegabonds make a mighty roar.

—DK [POUR HOUSE, $7–$10/9 P.M.]

Trnsgndr/VHS GLITCH Alexandra Brandon, WASH aka Trnsgndr/VHS, currently lives in Baltimore. That city’s spirit of musical experimentation pervades her work, which sounds like a waterlogged synth gradually choking on smoke from an electrical fire. The glitchy, abstruse music on the Condominium EP isn’t for beginners and can safely be filed under noise, though you might be surprised at how often your neck bobs at the punchy beats that creep in. Los Angeles’s Dawn Raid shares the bill, as do Blursome, De_Plata, and Karl Raymar. —DS [NIGHTLIGHT, $7/9 P.M.] ALSO ON TUESDAY THE CAVE: Hayden Arp, Elijah Fox-Peck; 10 p.m., $5. • IRREGARDLESS: Douglas Babcock; 6:30 p.m. • RUBY DELUXE: Housefire; 11 p.m. • SLIM’S: King Buffalo, The Hell No, Emerson Boozer; 8:30 p.m., $7.

that are just right for swooning and gentle hipswaying in the wilting August heat. —DK [POUR HOUSE, $8–$10/9 P.M.]

WED, AUG 17

ALSO ON MONDAY

Needtobreathe

THE CAVE: Second Husband, The Landmarks, Buffcoat and the Lacquer; 9 p.m., $5. • RUBY DELUXE: Orbit Bowling Fundraiser and Drag Show, DJ Redbyrd; 7 p.m. • SLIM’S: Greaver,

PRAISE Formed by a couple HIM of rural South Carolinian brothers named for an Alabama football coach, Needtobreathe is one of the

country’s most popular Christian rock bands. The songs are accomplished, with an epic sound incorporating U2-style slow builds, and the polished modern rock of Collective Soul. Bear Rinehart delivers these songs of praise in an earnest, contemporary-R&B vocal style. And the lyrics don’t necessarily have to be about the Holy Ghost—“Your melody is like a love letter” could be about just about anyone who makes you want to sing. —DK [RED HAT AMPHITHEATER, $25–$55/6:30 P.M.]

Reflex Arc IMPROV Improvisation rules JAMS the day. Local music/performance art duo Reflex Arc shares sounds with Byron Coley-approved Massachusetts improv trio Donkey No No for a night of skronky sonic sound worlds. Though you might expect free-form chaos, you’ll be pleasantly surprised when the music naturally coheres. The spastic tunes of Chula and the zoned-out new age jams of Brown Rice prepare your ears. —DS [NIGHTLIGHT, $7/9:30 P.M.]

Swear Tapes GARAGE Mississippi’s ROCK garage-pop outfit Swear Tapes achieve a charming swagger on tracks like the infectious “You’re Never in My World,” but ultimately hew closer to the pastoral and psychedelic elements of the genre. It’s more Electric Prunes and Chocolate Watchband than Mummies or Sonics—definitely not a bad thing.

Dragon Time opens. —TB [LOCAL 506, $8/8 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: The Herded Cats; 8 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: Magnolia Still; 6:30 p.m. • JOHNNY’S GONE FISHING: The Kenny George Band; 7 p.m. • POUR HOUSE: The Delta Saints, Ancient Cities; 9 p.m., $8–$10. • RUBY DELUXE: Goth Night with DJ Bela Lugosi’s Dad; 10 p.m.

INDYweek.com | 8.10.16 | 35

art OPENING

Flowers of France and Italy: Paintings by Sonia Kane. Aug 17-Sep 24. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Sea Life: Sculpture by Renee Levity, Brenda Holmes, and Nate Sheaffer. Aug 10-Sep 25.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

ONGOING LAST A Winter Day, a CHANCE Summer Morning: Joe Lipka. Thru Aug 13. PageWalker Arts & History Center, Cary. friendsofpagewalker.org.

African American Quilt Circle: Block-quilting, original designs, and fiber art by local artists.

Thru Sep 4. FRANK Gallery, Chapel Hill. www.frankisart.com.

SPECIAL All That Glitters: EVENT Golden-hued artwork by Gordon Jameson, Sheila Stillman, and Samantha Henneke, and Bruce Gholson of Bulldog Pottery. Thru Sep 4.

Opening reception Aug 12, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

Along These Lines: Constance Pappalardo. Thru Oct 16. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Altered Land: Works by Damian Stamer and Greg Lindquist: In Altered Land, Stamer and Lindquist apply a heavy coat of subjectivity to rural N.C. scenes. Stamer paints a barn with black-and-white horror movie starkness in “South Lowell 18,” and Lindquist spills angry psychotropic colors in his pointedly titled “Duke Energy’s Dan River” series. Thru Sep 11.

NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Kimberly Alvis, JJ Jiang: Paintings. Thru Aug 24.

Village Art Circle, Cary. www. villageartcircle.com.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM 36 | 8.10.16 | INDYweek.com

08.10–08.17 The Art of the Bike: Bicyclethemed art exhibit. Thru Oct 23. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/ library/carrboro.

Avant-Gardens: Mixed collage work by Lauren Worth. Thru Sep 19. Durham Arts Council, Durham. www.durhamarts.org.

LAST Bibelot: Beadwork CHANCE by Janine LeBlanc.

Thru Aug 13. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Phil Blank: Works on paper.

Thru Aug 19. Bull City Arts Collaborative: Upfront Gallery, Durham. www.bullcityarts.org.

Bonnie Brooks: Paintings made over several decades. Thru Aug 31. Sertoma Arts Center, Raleigh. parks.raleighnc.gov.

Liz Bradford: Oil paintings.

Thru Sep 30. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

Burk Uzzle: American Chronicle: One of N.C.’s most faithful chroniclers gets a career retrospective. Uzzle, born in Raleigh in 1938, started as a News & Observer shooter before hitting the big time at Life, photographing iconic scenes from the civil rights movement and Woodstock.

Thru Sep 25. NC Museum of Art, Raleigh. www.ncartmuseum.org.

—Brian Howe By the Sea: Robert Harrison.

Thru Oct 8. ERUUF Art Gallery, Durham. www.eruuf.org.

Carolina on My Mind: Wildlife paintings. Thru Aug 31. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

Chihuly Venetians: From the George R. Stroemple Collection: Whereas many glassblowers content themselves with bongs and lampshades, Dale Chihuly has taken the form into the upper echelons of fine art with his sculptural fantasias. This private collection of Chihuly’s works is currently on tour. The collection focuses on Chihuly vessels inspired by Venetian art deco vases from the 1920s and

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’30s, almost fifty of which are in the exhibit, arrayed around the centerpiece of the Laguna Murano Chandelier, a tour de force made of more than 1,500 pieces. Thru Oct 15. Captain James & Emma Holt White House, Graham. —Brian Howe Davis Choun: Thru Sep 24. HQ Raleigh, Raleigh.

Colorful Language: Thru Aug 21. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

The Colors of Summer: Peg Bachenheimer. Thru Sep 17.

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

LAST Corruption of the CHANCE Innocents: Controversies about Children’s Popular Literature: Thru Aug 15. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu.

Dear, Deer: Oil paintings by Trish Klenow. Thru Sep 9. Halle Cultural Arts Center, Apex. www.thehalle.org.

Departures and Arrivals: Raleigh’s Gayle Stott Lowry is a painter of landscapes and architecture whose pictorial realism glimmers with hints of abstraction. Her new exhibit showcases work from travels in England, where her mind turned to the plight of refugees while researching her ancestors’ journey to the U.S. The context gives the work a lonesome patina—a misty valley, more than a view to behold, becomes a challenge to traverse. Thru Sep 3.

Tyndall Galleries, Chapel Hill. www. tyndallgalleries.com. —Brian Howe Do You Have a Moment?: It’s a question that might send you scurrying when posed by someone clutching a clipboard on the street. It’s also the title of Jody Servon’s new show, which comes to life only when you respond to its prompts.

Servon developed the exhibit during her summer residency at Artspace. The centerpiece is “Our Top 100,” in which visitors write down a song title and a recollection it sparks. The notes are posted on the wall, and each

HUGH MORTON: “FEEDING GULLS” PHOTO COURTESY OF UNC-CHAPEL HILL LIBRARIES

STARTING SATURDAY, AUGUST 13

PHOTOGRAPHS BY HUGH MORTON: AN UNCOMMON RETROSPECTIVE Hugh Morton sold his first photograph as a fourteen-year-old to no less than Time magazine. After being a photographer at UNC’s Daily Tar Heel, the Wilmington native returned from working overseas for the army during World War II to devote the rest of his career in photography to the state of North Carolina. This traveling exhibit showcases the prolific Morton, a devoted conservationist, as he trains his camera on the region’s inhabitants in moments of ecstasy and in struggle. Morton’s photos depict the land in all its majesty as well as in its ravaged condition after Hurricane Hazel in 1954. In his photographs of people, Morton shows the vibrancy of life in small moments: listening to music, winning a trophy, learning in a classroom. A true Tar Heel, he never strayed far from his beloved alma mater; his sports photographs, especially of basketball, are riveting. The exhibit runs through March 12, 2017. —David Klein NORTH CAROLINA MUSEUM OF HISTORY, RALEIGH 9 a.m.–5 p.m., free, www.ncmuseumofhistory.org

Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent. DEADLINE: Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

page READINGS & SIGNINGS Roland Kays: Candid Creatures: How Camera Traps Reveal the Mysteries of Nature. Tue, Aug 16, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Nigeria Lockley: Discussing latest book Tempted to Touch.

Meet the Author series. Sat, Aug 13, 3 p.m. South Regional Library, Durham. www. durhamcountylibrary.org.

Terry Roberts: Novel That Bright Land. Wed, Aug 10, 7 p.m.

Flyleaf Books, Chapel Hill. www. song is added to the playlist streaming in the gallery. The result is a collective memory mixtape for Raleigh, and an invitation to break free from isolating routines. Maybe the next time a bright-eyed kid in an ACLU shirt flags you down on lunch break, you’ll stop. Thru Sep 27. Artspace, Raleigh. www. artspacenc.org. —Brian Howe

Durham and the Rise of the Baseball Card: An exploration of Durham’s role in popularizing the baseball card. Thru Sep 5.

Durham History Hub. www.

NG GULLS” museumofdurhamhistory.org.

HILL LIBRARIES

Durham by Ghostbike: In one of his mixed-media collages, Jeremy Kerman shows us a familiar downtown vantage through fresh eyes. Using bright colors, blocky shapes, and skewed perspectives remindful of a child’s drawing, he . After depicts the collision of old and g overseas new Durham, as historic brick of North jumbles with shiny ELF vehicles in front of the Organic Transit he s photos building. A“Ghost Bike” parking sign pays a tribute to a friend of 954. In the artist’s in particular, and to all music, ved alma the people being erased, literally h March or figuratively, from Durham.

“Road Closed Ahead,” reads another sign; the question Kerman quietly asks is “for whom?”

Thru Sep 17. Craven Allen Gallery, Durham. www.cravenallengallery. com. —Brian Howe

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flyleafbooks.com.

Second Thursday Poetry Reading and Open Mic: Kathryn Stripling Byer and Sally Stewart Mohney. Thu, Aug 11, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

When Women Waken Writers: Multiple authors and artists reading prose and poetry and discussing art from When Women Waken. Sun, Aug 14, 2 p.m. Joyful Jewel, Pittsboro. www.joyfuljewel.com.

LITERARY R E L AT E D Be Connected: Mechanics & Farmers Bank: Discussion of Killer Mike’s #BANKBLACK initiative. Tue, Aug 16, 7 p.m.

Ingrid Erikson, Tonia Gebhart, Caroline Hohenrath, Anna Podris, and Tim Saguinsin: Thru Sep 24. Artspace, Raleigh. www.artspacenc.org.

Faces: Portraits by Amy Beshgetoorian. Thru Aug 27.

Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com.

Garden’s Bounty: Paintings by Elda Hiser, jewelry by Monica Hunter, and ceramics by Susan Luster. Thru Aug 20. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

SPECIAL Katy Gollahon: Fiber EVENT art and quilts. Thru Aug 31. Reception: Aug 12, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Grillo/Geary: The close relationship between spacesharing galleries Lump and Flanders bears fruit in this exhibit by Joe Grillo and Mike Geary. After being artists in residence at Flanders in July, where they collaborated on paintings, sketches, collages, and sculptures, Grillo and Geary display the works at Lump. Grillo was a founding member of avant-garde comics collective Paper Rad, and that rude, energetic punch is also evident in collages that blend drawing and pop-culture detritus into high-velocity overloads of visual information.

Geary brings the same

Beyù Caffè, Durham. www. beyucaffe.com.

A Night With The Neugents: Original Stories Based on Extraordinary Photography: Writers speak about NC photographs by David M. Spear.

With musical guests Big Fat Gap. $15. Wed, Aug 10, 7:30 p.m. & Thu, Aug 11, 7:30 p.m.

The Rickhouse, Durham. www. rickhousedurham.com.

Rachel Seidman: “The Struggle For Women’s Rights in North Carolina” presented by Scholars for North Carolina’s Future.

Free. Mon, Aug 15, 7 p.m.

Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

WEDNESDAY, AUGUST 17

THE TINY BOOK SHOW Puppies, babies, army men—everything’s more fun when it’s tiny. (Well, almost everything.

Hey-oh!) Books are no exception. As the proud owner of several tiny tomes (they’re surprisingly easy to make—two of mine are pictured below), I got a miniature thrill when I heard that The Tiny Book Show, a project of the itinerant art studio The Creativity Caravan, would be making a stop at Brian Allen’s letterpress printing shop in Durham. Artists and writers from around the world have contributed to the collection of handmade books, each no larger than three square inches. Everything you write or draw matters so much more in a limited space, and the result is a literary talisman you can slip into your pocket. Along with Creativity Caravan founders Amy Tingle and Maya Rachel Stein, local artists Janet Guertin and Melinda Henderson Rittenhouse will participate in the show, where you will learn to make a tiny book of your own. Protip: Fortune-cookie fortunes make great tiny bookmarks.

—Brian Howe BRIAN ALLEN ARTISAN PRINTER, DURHAM 4–8 p.m., free, www.artisanprinter.com

George McKim: Thru Sep 24.

Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com.

exponential repetition and distended perspective to his visual works as he brings to his tape-loop compositions. Thru Aug 28. Lump, Raleigh. www. teamlump.org. —Brian Howe History and Mistory: Discoveries in the NCMA British Collection: This free exhibit is centered on nine rarely exhibited portraits from about 1580 to 1620, the subjects of a research project

by NCMA staff and regional university students. Who are the sitters; who painted them; what is hidden under past restoration efforts? It’s the first time in four decades that NCMA has curated an exhibit from its British holdings—and if you simply don’t care about pictures of random aristocrats in ruffs, the show also includes portraits by famous names like Anthony van Dyck and William Beechey. Thru Mar 19, 2017. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Hometown (Inherited): Photographic and mixed media work by Moriah LeFebvre. Thru Oct 2. Durham Arts Council, Durham. www.durhamarts.org.

LAST Hu.man.kind: Ely CHANCE Urbanski’s monoprints on fabric depict donated clothing, and at this exhibit, you can donate an item and record a video about it to keep the project going. The

The New Galleries: A Collection Come to Light: Thru Sep 18. Nasher Museum of Art, Durham. nasher.duke.edu.

outcome is an artistic X-ray of a stranger, inviting us to consider art as a composite of ingredients, each with its own story and sentiment. Donations and recordings will be accepted on August 10 and 12. Thru Aug 13. The Carrack Modern Art, Durham. www.thecarrack.org.

—Abigail Hoile In the Footsteps Of...: Group photography show. Thru Sep 9. Halle Cultural Arts Center, Apex. www.thehalle.org.

Its Some Kynd of Thing It Aint Us but Yet Its In Us: English artist Andrew Hladky’s dark, igneous enigmas—painted found objects that bulge from canvases—are like chunks of bedrock excavated from the subconscious. It’s art as pure artifact, contrasting the brightly

lit social experiments of Jody Servon, which are also currently at Artspace (see p. 36). Thru Sep 5. Artspace, Raleigh. www. artspacenc.org. —Brian Howe J: the Comic and Pop Art of L Jamal Walton: Solo comic exhibit. Thru Aug 31. Holly Springs Cultural Center, Holly Springs. www.hollyspringsnc.us.

SPECIAL Learned Behavior: EVENT Lamar Whidbee’s sculpture/painting hybrids made from found objects. Thru Aug 31. Reception: Aug 12, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Los Jets: Playing for the American Dream: Thru Oct 2.

NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

OFF-SPRING: New Generations: This exhibit, mostly photography, makes “ritual” its theme, and the offerings are alternately revelatory and rehashed from big-box postmodernism. “Off-Spring of Cindy Sherman” might have been a better title. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Chris Vitiello Erin Oliver: Site-specific installation. Thru Sep 24.

Artspace, Raleigh. www. artspacenc.org.

Printocracy: Work by North Carolina printmakers. Thru Sep 16. Cary Town Hall, Cary. www. townofcary.org.

Resilience: The Divine Power of Black & White: Artwork by Julie Niskanen Skolozynski. Thru Sep 18. Cary Arts Center, Cary. www.townofcary.org.

Save-the-Earth: Assemblages

by Ann Brownlee Hobgood.

Thru Aug 20. Hillsborough Arts Council Gallery, Hillsborough. www. hillsboroughartscouncil.org.

INDYweek.com | 8.10.16 | 37

FRIDAY, AUGUST 12

NICK OFFERMAN & MEGAN MULLALLY On Parks and Recreation, Nick Offerman and Megan Mullally played Ron Swanson and Tammy Two, former spouses and present nemeses wreaking utter havoc on each other and anyone in their vicinity. The pair’s real-life marriage, however, is much happier, a fact that’s the foundation of their tour together this summer. As comedians, they’re fantastic sparring partners, with her razor-sharp wit complementing his wry gruffness; their chemistry in person ought to border on explosive. They’ve titled their jaunt “Summer of 69: No Apostrophe,” so expect their shared words of wisdom to be bawdy in magnificent excess. —Allison Hussey DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $40–$60, www.dpacnc.com

dukeenergycenterraleigh.com/ venue/kennedy-theatre.

PHOTO COURTESY OF DPAC

Newsies: Musical. $35-$80.

Aug 16-21. Durham Performing Arts Center, Durham. www. dpacnc.com.

Seeing Beyond the Structures: Portraits of the Landscape: Paintings by Adam Bellefeuil, Rachel Campbell, and Caitlin Cary. Thru Sep 16. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

LAST The Sky Is Falling: CHANCE Jenn Hales. Thru Aug 13. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

LAST Something Human: CHANCE Sculpture by Julia Gartrell. Thru Aug 13. The Scrap Exchange, Durham. www. scrapexchange.org.

Southern Discomfort: The Art of Dixie: Work concerning the American South. Thru Sep 13. Gallery C, Raleigh. www. galleryc.net.

Space of Otherness: Paintings

by Quoctrung Nguyen. Thru Sep 19. Durham Arts Council, Durham. www.durhamarts.org.

Spectrophobia: Photographs

by Ian F.G. Dunn. Thru Aug 29.

Flanders Gallery, Raleigh. www. flandersartgallery.com.

Sunset: Sunrise: Works on paper by intergenerational artists including Victoria Turner Powers. Thru Sep 1. The Carter

38 | 8.10.16 | INDYweek.com

Building Galleries & Art Studios, Raleigh. thecarterbuilding.com.

Under the Microscope: Oil paintings by Rosalynn Villaescusa. Thru Aug 28.

Nature Art Gallery, Raleigh. www.naturalsciences.org.

Useful Work: Photographs of Hickory Nut Gap Farm: Ken Abbott’s color photographs of family farm in the Blue Ridge Mountains. Thru Sep 10. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Jina Valentine: Drawings and mixed media work. Thru Aug 28. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

Joan Vandermeer: Travel paintings. Thru Sep 30.

Mad Hatter Bakeshop & Cafe, Durham. www. madhatterbakeshop.com.

Whimsical Travels: Paintings by Cinc Hayes. Thru Aug 19. Urban Durham Realty, Durham. www. urbandurhamrealty.com.

stage OPENING All in the Timing: Six one-act comedies. $15. Fri, Aug 12, & Sat, Aug 13, 2 & 7:30 p.m./ Sun, Aug 14, 2 p.m. NC Theatre Conservatory, Raleigh. www. nctheatreconservatory.com.

Best Friends for Now: Comedy.

Hosted by JD Etheridge and Micah Hanner. $5. Wed, Aug 17, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Decision Height: Part of the Women’s Theatre Festival. $12$15. Fri, Aug 12 & Sat, Aug 13, 8 p.m./Sun, Aug 14, 3 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

DeRay Davis: Comedian and actor. $25. Thu., Aug 11, 8 p.m./ Aug 12-13, 7:30 & 10 p.m./Sun., Aug. 14, 7 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Tom McTiernan, Matty Litwack: Stand-up comedy. $13-$15. Sat, Aug 13, 8 p.m. The Cary Theater, Cary.

Million Dollar Quartet: Musical. $31-$33. Aug 17-28. Kennedy Theater, Raleigh. www.

Tarocco: A Soldier’s Tale: Dance and circus arts. $28.

Sat, Aug 13, 7:30 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

See p. 29.

The Roaring Girl: Play. $10$15. Thu, Aug 11-Sat, Aug 20.

Burning Coal Theatre at the Murphey School, Raleigh. www. burningcoal.org.

Trust the Bus: Multidisciplinary, site-specific performance. Sat, Aug 13, 8:15 p.m.. Saxapahaw General Store. www.saxgenstore.com.

Within The Sequence: Dance, sound, & installation by Andrew Fansler, Blakeney Bullock, Caitlyn Swett, Chanelle A Bergeron, Minori SanchizFung, Nia Galas, and Widow (A. Vitacolonna). $5-$20.

Fri, Aug 12, 9 p.m. Monkey Bottom Collaborative, Durham. themonkeybottom.blogspot. com.

ONGOING  ½ I Wish You A Boat: Play. $25. Fri, Aug 12 & Sat, Aug 13, 8 p.m./Sun, Aug 14, 3 p.m.

Ward Theatre, Durham. www. wardtheatrecompany.com. See Byron Woods’ review at www. indyweek.com.

food

Honey Buzztival: Honeymade products, tastings, demonstrations. Music by Matt Phillips Trio. Wed, Aug 10, 10 a.m. Raleigh City Plaza, Raleigh.

Panciuto and Girls Rock NC Picnic: Live music, food, and drink. $50. Tue, Aug 16, 6 p.m. Eno River Farmers Market, Hillsborough. www. enoriverfarmersmarket.com.

Raleigh Downtown Farmers Market: Wednesdays, 10 a.m.

Raleigh City Plaza, Raleigh.

Underground: A Pop Up Cocktail Series: Cocktails featuring handcarved ice. Sun, Aug 14, 7 p.m.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Wine, Cheese, and Chocolate Festival: Tastings, vendors, bands, DJs. Sat, Aug 13.

Lafayette Village, Raleigh. www. lafayettevillageraleigh.com.

Wine Tasting: Hand-selected wine from Fearrington Sommelier Colin Williams. Saturdays, 3 p.m; Thru Aug 27. The Goat, Pittsboro. www.fearrington.com/eateries/ the-goat.

Wines of New Zealand: $35. Thu, Aug 11, 6 p.m. The Fearrington Granary, Pittsboro. www.fearrington.com.

Winesday Tasting: 18th anniversary celebration with Raleigh Wine Shop. Wed, Aug 17, 5 p.m. Joint Venture Jewelry, Cary. www.jointventurejewelry. com.

screen SPECIAL SHOWINGS

Dumpster Dive Cinema: Gleaming the Cube, Thrashin’.

Tue, Aug 16, 8 p.m. The Station, Carrboro. stationcarrboro.com.

See p. 39.

Maybe You Should Quit: Durham Cinematheque Movies in the Park series. Fri, Aug 12, 8:30 p.m. Durham Central Park, Durham. www. durhamcentralpark.org.

Men in Black: Thu, Aug 11, 8:30 p.m. Wallace Plaza, Chapel Hill.

North by Northwest: $6. Fri, Aug 12, 9 p.m. NC Museum of Art, Raleigh. www.ncartmuseum. org.

Paddington: Aug 16-18, 9:30 a.m. Northgate Mall, Durham. www.northgatemall.com.

Penguins of Madagascar: Aug 16-18, 9:30 a.m. Northgate Mall, Durham. www.northgatemall. com.

Zootopia: Movies by Moonlight series. Fri, Aug 12, 7 p.m. Koka Booth Amphitheatre, Cary. www.boothamphitheatre.com.

OPENING Eat That Question—A documentary on musician Frank Zappa. Rated R. Florence Foster Jenkins—Meryl Streep plays a historical New York socialite who longed to be an opera singer even though she couldn’t sing.

Rated PG-13.

my n their f their -sharp e. They’ve be bawdy

Operation Chromite—Liam Neeson stars in this South Korean war drama. Rated R. Pete’s Dragon—A boy befriends a dragon in this remake of the 1977 Disney film. Rated PG. See story, p. 25.

Sausage Party—Imagine if Judd Apatow made a Pixar parody and this is what you’d get. Rated R.

A L S O P L AY I N G

en

The INDY uses a five-star rating scale. Read our reviews of these films at www.indyweek.com.

S

 The BFG—Roald Dahl’s Big Friendly Giant gets a shiny but underwhelming Spielberg adaptation. Rated PG.

 ½ Bad Moms—It’s The Change-Up and The Hangover for women. You’re welcome?

Rated PG-13.

ma: rashin’. he Station, boro.com.  Ghostbusters—Haters aside, the casting isn’t the problem here: The limp script uit: is. Rated PG-13. ue ries. Fri,  Hunt for the Wilderpeople—In this quirky rham hit from New Zealand, a . www.

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ns—Meryl ical New onged r even sing.

wayward boy and his grouchy foster uncle deliberately get lost in the bush, triggering a national search. Rated PG.  Jason Bourne—Matt Damon’s amnesiac assassin returns in an efficient, effective genre exercise with a disposable plot. Rated PG-13.  The Jungle Book— Disney’s animated classic gets a well-done, CGI-heavy update. Rated PG.  ½ Lights Out—A viral no-budget short about a monster that appears only in the dark becomes a surprisingly effective horror feature with a sensitivity to subtext. Rated PG-13.  ½ The Secret Life of Pets—This charming, beautifully crafted family movie falls apart in the final act. Rated PG.  Suicide Squad—The plot is throwaway thin, but this team of antiheroes brings much-needed levity and breadth to the DC Extended Universe. Rated PG-13.

ANTHROPOID TUESDAY, AUGUST 16

GLEAMING THE CUBE/ THRASHIN’

In the eighties, I grew up on a cul-de-sac where an older neighborhood kid had built a quarter pipe, a launch ramp, and a rail, which I used regularly. Was I a bit of a poser?

Of course I was. My best trick was the boneless, which is barely a trick at all; I never fully mastered the basic ollie. But if I was somewhat ambivalent about actual skating, I was obsessed with skate culture.

I idolized the likes of Tony Hawk and Christian Hosoi, the Apollo and Dionysius of eighties skating. I drew the Rat Bones symbol on my Airwalks, wrapped my bony torso in Vision Street Wear, and pored over catalogues for Slimeball wheels and Spitfire bearings to trick out my Santa Cruz deck. Skate videos were a huge part of that culture, and while cult classics Gleaming the Cube and Thrashin’ are no The Search for Animal Chin, they pungently bring back the flavor of those times—in a cheesy, mainstream way. The former stars Christian Slater as a skater who, absurdly, unravels a military conspiracy to smuggle weapons to Vietnam. But the skating is legit, provided by Bones Brigade icons such as Hawk, Tommy Guerrero, and Mike McGill. Thrashin’ (starring a young Josh Brolin!) is a punk-inflected tale of rival skate gangs in L.A.; pros like Hawk, Hosoi, and Tony Alva all have roles. See the movies as they need to be seen—on VHS, preferably with some verticalhold issues—in this Dumpster Dive Cinema screening at The Station in Carrboro. Polish up your trucks; there’s a killer rail right outside. —Brian Howe THE STATION, CARRBORO 8 p.m., free, www.stationcarrboro.com

INDIGNATION FLORENCE FOSTER JENKINS

BILL BURTON ATTORNEY AT LAW

Un c o n t e s t e d Di vo rc e SEPARATION Mu s i c Bu s i n e AGREEMENTS ss Law UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e rMUSIC s h i pBUSINESS LAW Wi l lINCORPORATION/LLC s C o l l e c t i o n s WILLS

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com INDYweek.com | 8.10.16 | 39

indyclassifieds

employment I’m in urgent need of an experienced cook and a Caregiver/Certified Nursing Aid to assist my mother for 5 hours daily (Mon-Fri) and I’m willing to pay $18 per hour for both. Interested candidates should send cover letter to edwardposner231@gmail.com Catering Servers, Bartenders, & Supervisors needed for all home UNC Football Games, Basketball Games and additional events throughout the year.

Please email resume to rockytopunc1@gmail.com Visual artist looking for a personal assistant who can handle my bills, account receivable, payable, schedule my meeting, reply my e-mails. If you are interested, then I encourage you to apply today and forward your resume to danbrookscreative@gmail.com. I will get back to you as soon as possible.

Booksellers wanted. 20-40 hours/week. Need readers who can learn computer system, run a register, lift boxes and move furniture.

Some days, evenings and weekends. Apply in person before 4pm. Quail Ridge Books at North Hills.

4209-100 Lassiter Mill Rd. Raleigh

Pathways for People, Inc.

is looking for energetic individuals who are interested in gaining experience while making a difference! Positions available are:

Day Program General Instructor -

General Instructor needed for Day Program.

Monday through Friday from 9:00am to 4:00pm. Experience with individuals with Intellectual Disabilities required and college degree preferred. Please submit resume with cover letter to Rachael Edens at rachael@pathwaysforpeople.org.

No phone inquiries please.

Full Time Floater -

Position entails filling in with various consumers in Wake, Chatham, Orange, Person, Johnston, and Durham counties.

Must be available from 8:00am - 7:00pm Monday - Friday. Experience with individuals with Intellectual Disabilities required.

For more information contact Michele at 919-462-1663 or michele@pathwaysforpeople.org.

music

own/ durham co.

lessons

REALTORS Get your listing in 35,000 copies of the INDY! Run a 30 word ad with color photo for just $29/week. Call Leslie at 919286-6642 or email classy@indyweek.com

rent/ elsewhere FAIR HOUSING ACT NOTICE All real estate advertised herein is subject to the Federal Fair Housing Act, which makes it illegal to advertise ìany preference, limitation, or discrimination because of race, color, religion, sex, handicap, familial status, or national origin, or intention to make any such preference, limitation, or discrimination.î We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity.

For more information or assistance, contact Legal Aid of North Carolina’s Fair Housing Project at (855) 797-3247 or visit www. fairhousingnc.org.

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soft return D’ohverwhelmed

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

ILLUSTRATION BY CHRIS WILLIAMS

There’s a significant gap between recognizing a joke and actually getting it, a concept that has been illustrated in exhaustive detail to me over the past several years through references to The Simpsons.

I wasn’t allowed to watch it as a child—it was rude, a terrible sin— and it never piqued my interest enough to risk sneak-watching it.

Because The Simpsons has been around for so long and beloved by so many, I reached a point where I could identify a Simpsons reference and at least extrapolate how it might be funny. These scenarios made me feel like a culturally illiterate robot, able to identify a catchphrase or reference but completely useless at trying to connect with it.

My first full-episode exposure to The Simpsons was “Two Cars in Every Garage and Three Eyes on Every Fish,” screened in a recitation section for a mandatory political science class in my second year of college. I watched Lisa’s famed “I am the lizard queen!” proclamation and the rest of “Selma’s Choice” on a lazy summer afternoon with friends several months later. On a date last spring, I got a heavy dose of Bart antics with “Bart of Darkness,” “Bart’s Inner Child,” and “Bart vs. Australia.” A year later, I watched “Bart on the Road” after taking a trip to Knoxville, because my friends kept joking about a wig outlet and I had no clue what they were talking about.

In late June, after being shamed about my non-viewing by several friends all in the same week, I started watching The Simpsons from the very beginning. Peer pressure works, y’all. Around the same time, my job changed with a sudden intensity, and The Simpsons became a wonderful remedy to long workdays coupled with twentysomething existential malaise. What started off as casual enjoyment quickly slipped into binging behavior.

I started The Simpsons expecting to be moderately amused, but the show revealed itself as hilarious, sly, weird, and brilliant in no time. Some moments have stuck with me for weeks—the “Quoth the raven, ‘Eat my shorts!’” interjection from the first Halloween special still has me giggling. I’ve found a kindred cartoon spirit in little Lisa, just trying to be bold and stay true to herself in a world that constantly tries to extinguish her shine. There’s a warm charm to the Simpsons family unit—they’re a bunch of uncouth weirdos, but they love each other anyway. And yeah, the show’s colorful cast isn’t always on its best behavior, but its damns and hells aren’t out of line with anything I already heard at public school.

And all of a sudden, oh my god, years of jokes and references and “HA-ha!”s finally bloomed! A light has been flipped on, retroactively illuminating countless missed moments. There are infinite little pieces to love in each episode, and they add up to one fantastic program. It reminds me of the Wizard of Oz scene where Dorothy goes from her sepia-toned farmhouse into Technicolor Munchkinland, where everything is bright and intricate, a little disorienting but ultimately intoxicating. It’s only now, six seasons in, that I’ve begun to understand how much the show has affected the vernacular of American pop culture.

My life was totally fine without The Simpsons, and it’s not like my entire understanding of the world has a whole new meaning because I started watching a cartoon. Maybe it’s not all that important, but it sure is a lot of fun. —Allison Hussey

Book your ad • CALL Sarah at 919-286-6642 • EMAIL

claSSy@indyweek.com

INDYweek.com|| |8.10.16 8.10.16|| |41 41 INDYweek.com INDYweek.com 8.10.16 41

6

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this week’s puzzle level: # 21

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.

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

Best of luck, and have fun! www.sudoku.com 8.10.16

solution to last week’s puzzle

# 21

1 7 4 9 3 5 6 5 8 9 1 6 2 4 2 6 3 8 7 4 5 7 3 8 2 9 6 1 4 9 5 3 8 1 2 6 1 2 4 5 7 8 9 T’AI 4 7CHI 5 2 8 3 Traditional 8 2art of 6 meditative 7 1 3 9 movement for health, energy, 3 5self-defense.

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6

4

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1 2 1 4 6 3 8 5 9 7

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Pavel Sapojnikov, NC LMBT. #1184. Call: 919-790-9750.

2 8 1 7 3 4 6 5 9

7 9 3 8 6 5 4 1 2

5 2 7 4 8 6 9 3 1

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9 6 4 1 7 3 8 2 5

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8

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# 23

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Do You Use Black C oho sh?

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If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects ofIf black being conducted National Institute of Environmental Health Sciences take black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? an important study on the health effects of black cohosh being conducted • Only one visit to donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National Institute Environmental Sciences (NIEHS).

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Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding Volunteers compensated upthe to $50 For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate?

National Institute of Environmental Healthy women, aged 18#years and older Health Sciences 24 Research Triangle Park, North Carolina Not pregnant or breastfeeding

5 7 4 6 9·· 1 · 6 5 · ·

2

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National Institutes of Health • U.S. Department of Heath and Human Services

For more information about the Black Cohosh Study, call 919-316-4976 National Institutes of Health • U.S. Department of Heath and Human Services

Lead Researcher

3 9 5 8 6 4 1 2 7 8 7 1 3 9 2 4 6 5 2 6 4 7 5 1 8 9 3 1 2 9 4 7 6 3 5 8 4 5 3 1 2 8 9 7 6 7 8 6 9 3 5 2 4 1 6 4 8 5 1 9 7 3 2 9 3 2919-872-6386 6 8 7 5 1 4 Raleigh: 5 1 7 2 4 3 6 8 9

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42 | 8.10.16 | INDYweek.com

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INDYweek.com | 8.10.16 | 43

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RESERVE NOW!

Publication date:

October 12 Deadline:

August 31