INDY Week 8.8.18

RALEIGH 8|8|18

HURRY UP AND WAIT As the city’s housing crisis worsens, the Raleigh Housing Authority is having trouble convincing landlords to participate in its Section 8 program

By Anna McGeehan, p. 10

THE FOUR MISSING WORDS, P. 9

HI-TEST & HIGHBALLS, P. 16

VAMPIRES IN MANHATTAN, P. 21

of the

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 32

DEPARTMENTS

6 The N.C. Council of Churches wants to buy an aging sanctuary in Old East Durham. The congregation that uses it sees it as another step toward gentrification.

6 News 14 Food

9 The absence of four words from a proposed constitutional amendment could irreparably alter the balance of power in North Carolina government.

17 Music 20 Arts & Culture 22 What to Do This Week

10 As Raleigh’s affordable housing crisis deepens, the number of landlords willing to accept Section 8 vouchers from the Raleigh Housing Authority is declining.

25 Music Calendar 28 Arts & Culture Calendar

14 COPA’s new farm advances its mission to recreate classic Cuban cuisine and redefine farm-to-table.

17 From Sinéad O’Connor ballads to The Isely Brothers’ “Shout,” MMA fighters philosophize on how to pick the best walkout music.

20 Of the Blum family, Eowyn had the earliest theatrical debut, playing the changeling in A Midsummer Night’s Dream when she was eleven months old.

The back patio of Fig, a new restaurant in Raleigh (see p. 16)

On the cover

PHOTO BY CAITLIN PENNA

ILLUSTRATION BY CHRISTOPHER WILLIAMS

INDYweek.com | 8.8.18 | 3

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backtalk

Standard Procedure

downtown properties in the coming For last week’s cover story, a journalist who years. Sheldon Hayer argues that this is was arrested while covering the J20 proa bad idea: “Once again, another proposal tests that marked President Trump’s inauhas come forth by the Durham Housing guration wrote a personal reflection on his Authority to begin redeveloping one of its nearly eighteen-month ordeal. downtown properties. There are several Amanda Meier Shaffer, a former Trianproblems: Why build on land that has a gle resident who lives in Washington D.C., higher market value to be used as lowresponds: “This article is upsetting to read, income housing? DHA should just sell the at best. The truth of Inauguration Day for property, thus generating more cash to be those who make D.C. their home was that utilized in building units on lower-value several groups from both political parties land and repairing existing units. came to town that day with the intent to “The whole concept of public housing create havoc. The D.C. police as well as the needs to be reassessed. Over National Park Police both time, the failure rate of put out multiple statements building, improving, and in the weeks before Inau“The whole maintaining public housguration Day warning resiconcept of ing is abysmal. The authoridents to stay away from the public housing ties for public housing are no inauguration because sevmore receptive to the proberal groups had indicated needs to be lems than bureaucrats in that there may be violence. reassessed.” other government programs.

“There was. People fightCost analysis for projects is ing in the streets, millions usually wrong, revenues fall short, employof dollars of damage done, a car lit on fire. ees want pay raises and better benefits, and I have friends who live two blocks away inflation is never considered. I guess it is from some of the worst of the violence, the taxpayers who pay more for less and who were literally terrified to leave their less year after year.” apartment at all that day. The fact of the Going back two weeks, to our package on matter is, there were people affiliated with one hundred local dishes you should try, S several groups who came to D.C. that day Finch says we muffed one thing: “So many and acted in a dangerous manner. Keep dishes we have never heard of from places in mind that D.C. is a town that is accuswe have never been to! We’ll remedy that tomed to protests. Literally hundreds of soon enough. groups come to protest in our city every “One problem: Your explanation of supyear, and we are glad to have them. pli is so wrong. The Italians don’t Italianize “If someone comes to any town and is French words if they can help it. The name affiliated with an organization that has parsuppli is short for suppli di telefono—teleticipated in violent, dangerous, or illegal phone wires—because when you bite into acts, it stands to reason that that person these delicious fried rice balls filled with or organization may have charges pressed melting mozzarella, strings of cheese drape against them. In these times, part of being from your mouth like the wires of a teleinvestigated for criminal charges is having phone line. Thus the ‘suppli.’” your online presence examined. Yes, they Finally, a correction: An article in last are going to Google you and look at your week’s INDY incorrectly stated that Arsocial media. It is standard procedure.

Razzaq Islamic Center manufactured shea “I am as left as they come, as is most of butter as part of a Nation of Islam program. the D.C. area (we went 93 percent for HillIt was part of a national project under the ary, for crying out loud). And I am a big late Imam W.D. Mohammed. fan of this paper and have been a longtime reader. But I really feel that this article Want to see your name in bold? Email us at doesn’t tell the whole story.” backtalk@indyweek.com, comment on our Also in last week’s paper, Sarah Willets Facebook page or indyweek.com, or hit us up wrote about the Durham Housing on Twitter: @indyweek.

Authority’s plans to redevelop one of its INDYweek.com | 8.8.18 | 5

indynews Church and Real Estate

IN EAST DURHAM, THE BITTER FIGHT OVER WHO SHOULD OWN A CHURCH IS SET AGAINST THE BACKDROP OF A GENTRIFYING NEIGHBORHOOD

BY SARAH WILLETS

O

n a recent rainy afternoon, construction crews are taking shelter under the porches of the Driver Street bungalows on which they’re working. The street is dotted with homes under renovation, sandwiched between understated Victorians, duplexes with peeling paint, and the occasional new construction.

Towering above them all is Shepherd’s House United Methodist Church, a red brick Gothic at the corner of Main Street.

Since being gifted this property in 2008 by another, dwindling Methodist congregation, Shepherd’s House has opened the eighteen-thousand-square-foot property to other organizations in line with its mission of helping the neighborhood and the immigrant community. There’s the Life Changers International Ministry, which runs a GED program, and a Latino ministry. The church hosts the Religious Coalition for a Nonviolent Durham for vigils and roundtables. A food pantry feeds as many as eighty people twice each month.

But with the local district of the United Methodist Church considering selling the property to the North Carolina Council of Churches, church and community leaders worry all that is at risk. In a neighborhood where residents have been displaced as their affordable rentals were sold or rebuilt, this sale feels to them like yet another example of white people taking something good out of black and brown hands.

“This is a desperate situation where we are trying to protect the place we call home,” says the Reverend John Gumbo, senior pastor at Shepherd’s House.

6 | 8.8.18 | INDYweek.com

The Council of Churches, a statewide ecumenical organization with members across eighteen denominations, says it doesn’t intend to displace Shepherd’s House and hopes the arrangement would benefit the building’s tenants and its own mission of advancing racial, social, and economic justice. But congregants, who say they’ve been kept out of the process, aren’t buying it.

Instead, they’re trying to buy the church themselves.

Originally a fellowship of immigrants from Zimbabwe, Shepherd’s House now has about 120 members from sixteen countries, says Gumbo, who’s from Zimbabwe.

About thirteen years ago, Shepherd’s House began worshipping in the Driver Street building, which had been home to Carr United Methodist Church since the late 1940s. As Carr’s membership waned and Shepherd’s House’s grew, it became clear whose church it should be, Carr’s then-pastor, wrote in Faith & Leadership, an online publication of Duke Divinity.

So, in 2008, Carr members voted to give the property, including the sanctuary, parsonage, and playground, to Shepherd’s House. But, because Shepherd’s House isn’t chartered with the United Methodist Church, the deed was transferred to the board of trustees for the church’s local district, now known as the Corridor District.

The district was to be the custodian of the property. Shepherd’s House leaders didn’t realize that meant the district might sell the property to an outside institution.

“Is it because we are immigrants? Is that what this is?” says Elspeth Walker, an

The Reverend John Gumbo

PHOTO BY CAITLIN PENNA

apostle at Shepherd’s House and chair of the trustees committee. “Are they thinking we don’t know better, that they can pull the wool over our faces? It was not theirs to sell and especially, to me, in the disrespectful way it was done.”

Discussion about the Council renting space in Shepherd’s House began about two years ago. But the Council never moved in, and talk of renting turned to collaborating on grants, and then to buying the place.

Jennifer Copeland, the Council’s executive director, says the building just needed too much work, and that Gumbo last fall had been on board with the potential sale. Gumbo denies that, saying he doesn’t see this becoming a mutually beneficial arrangement.

“This isn’t a partnership,” he says. “It’s a takeover.”

The Council and the trustees for the UMC district signed an offer to purchase the property in June, with an addendum saying Shepherd’s House should “have a place of privilege,” Copeland says.

After a 120-day due-diligence period, the Council’s board will decide if it wants to move ahead with the sale. A contractor has estimated that the church needs $700,000 in work, including asbestos removal.

“What they have had in the use of that building was the gift of being allowed to use a building they did not own,” Copeland says. “It’s not that anybody is trying to take a building away from Shepherd’s House.

What I’m saying is we want Shepherd’s House to be able to continue to use the building they have been using.”

Church members say they only found out about the offer about three weeks ago. They

formed an LLC and, two weeks ago, submitted their own offer for $355,000, a shade over the $350,000 the Council is offering.

As of 2016, the property was valued at about $1.2 million.

The Reverend Carol Goehring, the UMC Corridor District’s superintendent, says she hopes the sale will yield a partnership between “two Christian ministries that faithfully heed the call for justice and peace.”

But community leaders say it’s the way the sale has come together, rather than the prospect of coexisting with the Council—or even moving—that they find most upsetting. To Camryn Smith, executive director of Communities in Partnership, an Old East Durham-based grassroots organization, it’s organizational white supremacy that disregards the ability of a community of color to decide what’s best for itself.

“The foundation of this nation is white people who were called by God to be here, bought, transported, raped, pillaged, and owned human people for hundreds of years, and justified it and sanctioned it and thought it was OK theologically, ethically, and morally,” she says. “These actions are a direct result of that type of history.”

This dispute is wrapped up in emotions about the way the neighborhood is changing. Smack in the middle of Old East Dur-

ham, Shepherd’s House is part of a census tract surrounded by new development, both downtown and in transit projects like the East End Connector and the proposed Durham Orange Light Rail Transit line.

In the smaller census block group immediately around the church, the black population has declined from about 69 percent in 2010 to 50 percent in 2016, with both the Hispanic population and smaller white population growing. Although median rents in the area have declined, there are fewer renter-occupied households. At the same time, the median income of homebuyers has increased from about $45,000 in 2012 to $72,000 last year, according to census data.

“My feeling is there’s just no way this ever could be a beneficial relationship as far as we’re concerned because the more properties that turn over into white ownership, into white hands, the more gentrification just speeds up even quicker,” says Smith.

But Copeland says the Council wants to locate in East Durham specifically in order to surround itself with and lift up diverse voices. The organization, founded in 1935 by white and black clergy with a racial equity mission, facilitates a program that helps congregations that have taken in immigrants facing deportation and has passed resolutions opposing the resegregation of public schools, supporting efforts to combat climate change, and calling for a reexamination of Confederate monuments.

“We think of ourselves of a black and brown and white community—always have been,” Copeland says.

“Recognizing the perils of what’s going on in East Durham, we might be a really good organization to come alongside folks who are fearful, and allay some of those fears or join arms with them and help them hold at bay some of the things they are afraid of.”

If the sale goes through, the Council would bring a staff of nine. Without knowing the current arrangements between tenants and their respective costs, Copeland can’t say what

“My feeling is there’s just no way this could ever be a beneficial relationship.”

rental agreements would look like. There’s even the possibility that the Council could charge Shepherd’s House rent. But “nobody is looking to gouge a tenant,” Copeland says, and she hopes the existing organizations stay.

“We’re a nonprofit. We don’t have to make money. We just need to break even,” she says.

Apostle Roy Dunkins, pastor of Life Changers International Ministry, fights back emotion as he speaks about what the space at Shepherd’s House has meant to his congregation. Members with no college graduates in their families earned their GED certificates, he says, and others turned away from thoughts of suicide.

For Feed My Sheep, a food pantry that has operated out of the building for five years, the possibility of having to pay rent—rather than contributing to utilities, as it does now—is daunting. And moving, if it can find a space big and cheap enough, would take the organization away from the people it serves, says executive director Jackie Blackwell.

This isn’t a position Gumbo is happy to find himself in—stuck between his church and other Methodists.

“I lose sleep over this,” he says. “Where I am, I have to balance—to understand that we have an obligation to make sure we don’t end up throwing mud onto the gospel.” swillets@indyweek.com

INDYweek.com | 8.8.18 | 7

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I love working at the INDY. I especially love the people I work with and getting to help small, local businesses.

I moved here last year from Portland, OR— but, I am originally from the mountains of North Carolina. I’m an artist who loves to draw and paint and I also teach art to kiddos in my free time. Currently, my favorite musician is La Feline—look her up, she’s awesome!

I love my job here at INDY Week! Providing services to clients while supporting independent local news reporting, who could ask for a better job? I’m an avid foodie & cocktail lover, addicted to WUNC, and the New York Jets (They’ll win within my lifetime!) I have a long history of hospitality related jobs, lived in Durham for 8 years now, and have a cat named Lula - named after our favorite hot sauce, Cholula.

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I’m a Kansas native with a background in small business, and passion for the local free press. One of my favorite things about working for the INDY is getting to explore all around the Triangle and find my favorite new local spots.

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CAMPAIGN JOBS

The Trojan Horse

COULD FOUR MISSING WORDS FROM A PROPOSED CONSTITUTIONAL AMENDMENT RENDER THE GOVERNOR POWERLESS WITHOUT ANYONE REALIZING IT?

BY JEFFREY C. BILLMAN

E

ver since the Republican-dominated General Assembly put six constitutional amendments on the November ballot in June, Senator Jeff Jackson, a Charlotte Democrat, has been trying to get anyone who will listen to pay attention to one of them. Not even what’s in the amendment, but rather what’s not there—four words that he contends could fundamentally reshape North Carolina politics, rendering the legislature all-powerful and the governor effectively impotent.

And residents who vote on the amendment will have absolutely no idea what it really does—or could do, he says.

The amendment, spelled out in SB 814, essentially transfers the governor’s power to fill judicial vacancies to the legislature.

If it passes, the legislature, governor, and chief justice of the state Supreme Court will create a nonpartisan commission that vets nominees, then forwards ones it deems qualified to the General Assembly, which will select “at least two” to present to the governor. If the governor refuses to appoint one of them within ten days, the legislature will get to pick its favorite.

How this will actually work is anyone’s guess. As with the rest of the amendments, which were rushed through at breakneck speed, the General Assembly punted on socalled implementing legislation until after the election. So, for now, both the exact makeup of the commission and the method the General Assembly will use to select its preferred nominees are unclear.

But ignore for the time being the question of whether the amendment’s stated purpose is a good idea, and look instead at what SB 814 doesn’t say that previous constitutional amendments have said.

Specifically, it doesn’t include the words “contain no other matter.”

Understanding why those four words are important requires a brief history lesson: Until 1997, North Carolina was the last

state in the union to deny its governor a veto. That changed through a compromise between the then-Republican House and Democratic Senate, which crafted a constitutional amendment that voters approved in 1996 granting a veto, albeit with some exceptions. The governor cannot veto bills that draw congressional or legislative districts, local bills that only affect a handful of counties, joint resolutions, amendments to the state constitution, and, most important for our purposes, bills that make appointments to public office, such as judges.

The problem, Jackson argues, is that with this constitutional amendment, there would be no restrictions on what else the legislature could pack into a bill filling a judicial vacancy—a bill the governor could not veto. In theory, lawmakers could wait for a judicial vacancy and then slap an entire budget (or something as controversial as HB 2, or literally anything else) into the bill that fills it, and the governor couldn’t stop them.

That’s not as crazy as it sounds.

Gerry Cohen, a former special counsel for the General Assembly who worked on the veto compromise in the mid-nineties, told me, “I agree one hundred percent with [Jackson’s] conclusion. It could be an oversight, or it could be deliberate.”

In a July 31 email to Jackson’s office, Kara McCraw, a staff attorney with the General Assembly’s nonpartisan Legislative Analysis Division, appears to concur: “Because there is no restriction on adding other matters to these judicial vacancy bills, a court could reasonably interpret that a judicial vacancy bill and legislation on other matters is not subject to the Governor’s veto,” she writes.

If you’re inclined to believe this wasn’t a mistake, here’s some evidence to support your case: On Saturday, when the legislature convened to override two of Governor Cooper’s vetoes, Jackson proposed a bill to close the loophole. Republicans declined.

“They’re in the middle of a dedicated campaign to roll back the governor’s power.”

“Their intent is to preserve the possibility,” Jackson says.

Of course, Republicans see it differently. As one top GOP staffer told me, this is all premature. Until the General Assembly passes implementing legislation, it’s not even clear lawmakers will send their picks to the governor in the form of a bill rather than by an election of the legislature; that means there might not be any bill to tack additional legislation onto.

Besides, the staffer says, the lawmakers who wrote the amendment have said it wasn’t their intent to create a Trojan horse, and courts will take that into account.

(Asked why the Republicans didn’t back Jackson’s bill, the staffer replies, “They think those words are superfluous and unnecessary. You’re admitting you got it wrong before.”)

“If you’re a judge, you only look at the intent if the plain reading [of the amendment] is ambiguous,” counters Jackson, an attorney. “The plain reading is very clear.

Their intent isn’t that relevant.”

When viewed in context, Jackson adds, it’s not difficult to question whether Republicans’ declarations of goodwill are credible. “They’re in the middle of a dedicated campaign to roll back the governor’s power,” he says. “This isn’t out of the blue.”

That’s undeniably true. But so too is this observation, from the GOP staffer: “There’s a great deal of distrust between the parties.

There are tendencies to look at the other sides’ motivations as sinisterly as possible.” jbillman@indyweek.com

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INDYweek.com | 8.8.18 | 9

HURRY UP AND

WAIT

As the city’s housing crisis worsens, the Raleigh Housing Authority is having trouble convincing landlords to participate in its Section 8 program

A

BY ANNA MCGEEHAN

few months ago, Carleigh Walters (not her real name) was one of more than eight thousand Raleighites looking for help from the Raleigh Housing Authority, the agency responsible for providing safe, affordable housing to low-income residents.

Walters, fifty-four, has two kids, five grandkids, and works at a Raleigh hotel, cleaning rooms. She’s been incarcerated and homeless, and a victim of domestic violence. “I own nothing,” she says.

ILLUSTRATION BY CHRISTOPHER WILLIAMS

10 | 8.8.18 | INDYweek.com

In May, however, her luck appeared to change. After three years on a waiting list, Walters received a Section 8 housing voucher for $724 per month. She had sixty days to find a landlord willing to accept it. She called dozens of places that advertised Section 8 housing and paid three separate application fees, each totaling between $50 and $75.

Each landlord denied her application.

“They all want application fees, eighthundred-dollar security deposits, first month’s rent. Who has money for that?” she asks.

Then fortune favored her again. She’d been renting a room in a house in Southeast Raleigh. After watching her struggle to find a place that would accept her voucher, her landlord decided to renovate a two-bedroom house he owned in South Raleigh to make it eligible for Section 8. He set the rent at $850 a month; they agreed she’d cover the difference between that and her voucher.

Walters submitted her paperwork and waited for the housing authority to schedule an inspection and determine whether or not the landlord’s rent was reasonable.

Then things went sideways.

In June, Walters received an email informing her that RHA’s voucher would only cover $443 a month, meaning she would be on the hook for an additional $407. The amount changed, she learned, because of a U.S. Department of Housing and Urban Development rule requiring her to contribute at least 30 percent of her income toward rent.

Then in July, more bad news: RHA’s rentreasonable assessment determined that $850 was too much. It told the landlord he had to knock the rent down to $712 a month for the property to remain eligible for a Section 8 voucher.

After years of waiting and months of paperwork and inspections, Walters suddenly needed to either find somewhere else to live or convince her landlord to take a financial hit that he thought was crazy, considering that a house two doors away had recently sold for $425,000.

This sort of bureaucratic nightmare isn’t unusual. The difficulties RHA’s Section 8 tenants and their landlords run into can often be traced back to policies or rules handed down from Washington or promulgated by RHA itself. For many participants, navigating this red tape can prove to be frustrating, leaving voucher holders confused and some landlords wondering if it’s worth the hassle.

“You have HUD guidelines, and then you have the RHA’s guidelines that they’ve added on,” says Octavia Rainey, a Southeast Raleigh community activist. “RHA compounds guidelines with more guidelines.”

RHA argues that it has many satisfied participants, though it admits that demand and staffing shortages can prolong the Section 8 process. But in the midst of an affordable housing crisis—Raleigh needs more than thirty-five thousand units for extremely and very low-income families just to meet an existing need, according to the Low Income Housing Coalition—and with a waiting list measured in years, the authority can’t afford to drive Section 8 landlords away.

That appears to be happening. In fact, even as demand has increased, the number of Section 8 landlords has fallen—from 870 in 2016, to 850 in 2017, to 840 in 2018.

As one landlord puts it: “Too often, I hear the blame being placed on greedy landlords.

This may be true in some cases, but the vast majority of complaints I hear are in reference to the Raleigh Housing Authority itself.”

R

HA has fourteen staff members and currently helps house more than thirty-eight hundred families. The authority’s website estimates a three-to-seven-year wait for housing assistance.

Voucher recipients have two months to find a landlord willing to participate in the Section 8 program, with the option for a one-month extension. If they’re successful, and if their house passes inspection, RHA will determine the amount a Section 8 landlord can charge, a process known as rent reasonableness.

This is a common source of irritation for Section 8 landlords.

One landlord who has participated in Raleigh’s Section 8 program for more than three years says he has repeatedly asked RHA how it determines rent reasonableness, but his requests for an explanation were denied. That wasn’t the case at Wake County’s housing authority, he adds.

“I asked Wake for its data, and they just gave me the spreadsheet with the rentreasonable formula,” he says. He asked not to be identified because he has numerous rental properties throughout the city and says he worries about RHA’s retribution.

In response to the INDY’s questions, RHA provided an overview of its rent-reasonable process. Using a HUD formula, it assigns a property points based on location, size, type, quality, age of the unit, amenities, maintenance, and utilities provided by the owner.

The authority then adds up those points and identifies comparable units in similar zip codes. If a landlord’s rent exceeds what the RHA sees as reasonable, the agency will ask the landlord to lower the rent, even if the amount is below fair market value. RHA

points out that HUD rules restrict Section 8 rents to between 90 percent and 110 percent of fair market value.

“As a federally funded rental assistance program,” RHA told the INDY in a statement, “we and all other participants are subject to the guidelines that are in place. As the owner of the property, it’s completely the landlord’s choice to be subject to that or to rent exclusively in the market without vouchers.”

The guaranteed monthly payment from RHA is an incentive for landlords to accept less than market value. But growing frustration over what landlords see as a lack of real estate acumen within RHA is driving some of them out of the Section 8 market in Raleigh.

“For a while, we were open to accepting RHA vouchers on any properties,” says one landlord, who also asked not to be identified. “But we are not accepting RHA vouchers anymore. We are happy to accept Wake housing authority vouchers, but it’s too much of a pain to work with RHA.” Walters’s landlord shared similar sentiments. His real estate partner was working with a local voucher holder to rent a twobedroom home in East Raleigh for $850, he says. But RHA conducted its rent-reasonableness analysis by comparing a singlefamily detached home in East Raleigh to two separate zip codes throughout Wake County, including a townhome in Knightdale. After weeks of back and forth, RHA determined that the two-bedroom house was worth $685.

“Can you find a two-bedroom apartment to rent for six-eighty-five? I doubt it,” the landlord says. (His partner did end up renting to the Section 8 tenant. Other than the loss of $165 in monthly rent, the arrangement is working well.)

Another sore spot among some Section 8 landlords are the restrictions on rent increases. RHA limits increases to one per year and requires landlords to submit a request no more than ninety days and no fewer than sixty days prior to a tenant’s recertification date. If a landlord misses that window, he or she cannot ask for a rent increase for an additional year.

Landlords complain that RHA will not clarify how much of an increase it is willing to approve. “We learned that in order to get the most, you have to overshoot. It’s a game,” one says. “Wake’s housing authority doesn’t have these hurdles and arbitrary nonsense.” Wake’s authority permits a 3 percent increase each year.

Asked about this complaint, RHA said in a statement: “We do not restrict the requested increase amount because we will only be able to give [an increase] based on the rent-reasonableness test.”

INDYweek.com | 8.8.18 | 11

Essentially, RHA says it can’t specify how much of an increase it will approve until it conducts another rent-reasonable analysis.

T

he Low Income Housing Coalition estimates that there are 354,851 extremely low-income renters in North Carolina (i.e., households living at or below 30 percent of the area median income, or AMI), and an estimated 46 affordable and available rental homes per 100 extremely low-income households.

The situation is even worse in Raleigh.

There are just 31 affordable and available rental units per 100 extremely low-income households, while there are 110 affordable and available rental units per 100 middleincome households.

Mayor Nancy McFarlane acknowledges the challenge the city faces.

“That is one of the many reasons we have focused on affordable rental housing production, to provide [Section 8] voucher holders with more options,” she says.

The city’s budget allocates between $5.2 and $5.6 million annually for affordable rental development, totaling over $33

million in the next five years. The city also started allocating revenue from a property tax increase (approved in 2017) toward affordable rental developments for individuals and families making less than 60 percent of AMI. (That would help a family of four making less than $42,150.)

The city plans to create 570 affordable rental units a year for the next ten years.

“We have been able to more than triple the number of units produced annually by affordable rental housing developers in the last four years, which is tremendous,” McFarlane says.

But while the city’s stock of affordable housing is rising, some housing advocates contend that the mayor’s initiatives focus more on workforce housing, aimed at young professionals, rather than on housing the very poor.

“Everybody talks about affordable housing,” Rainey says. “But in reality, we need to get on the same page. Fifty to sixty percent [of AMI] is not affordable. Thirty percent is affordable. That is the real need.”

In Raleigh, 30 percent of AMI would total about $23,000 a year for a family of four, nearly half of what the city uses as its affordability threshold.

“T

here is a huge gap in housing, and the resources are just not there.

The Section 8 market is really disappearing.”

Rainey, who has advocated on behalf of Raleigh’s poorest residents for decades, sees many factors contributing to the burgeoning housing crisis. She contends that Section 8 vouchers are getting harder to obtain, and the sixty-to-ninety-day window to find a landlord is unreasonable.

“There is no housing,” she says. “You may find a landlord here and there, but a majority of voucher holders need more than ninety days. It’s not an easy search.”

The city isn’t doing enough to help very low-income residents, Rainey contends, and some of RHA’s policies are exacerbating the problem.

I

Octavia Rainey

FILE PHOTO BY ALEX BOERNER

12 | 8.8.18 | INDYweek.com

n the end, Carleigh Walters’s landlord says he was left with no good options, forced to choose between making Walters rejoin the pool of voucher holders struggling to find a place to live or accepting $138 less per month in rent than he thought his house was worth.

“Basically, they are saying, ‘Seven-twelve per month. Take it or leave it,’” he says.

“To my knowledge, there is no appeal process and no human interaction available for negotiating. My only way to respond is to check the ‘accept’ box or the ‘decline’ box.

It feels like I am being strong-armed into an agreement.”

He says that the opaque nature of the rent-reasonable analysis is the crux of the problem for landlords. If landlords knew the rent-reasonable rate up front, they could decide whether or not to participate in the program.

While her landlord weighed his options, Walters kept her hopes up, despite three frustrating years working through the Section 8 program. “The Lord is going to give me this house,” she told the INDY at one point. “But it shouldn’t be this hard.”

The Lord—or at least her landlord— did ultimately give her the house. Her landlord decided to accept RHA’s lower monthly rental rate—mostly, he says, out of sympathy for Walters’s situation. (Walters, meanwhile, is trying to convince RHA to factor in her medications as part of its assessment of what she owes, and possibly reduce her $443-per-month obligation.)

But he’s not sure whether he’ll participate in RHA’s Section 8 program in the future, noting he could easily rent to non-Section 8 tenants without the administrative headaches.

More landlords could follow suit.

“There is a huge gap in housing,” Rainey says, “and the resources are just not there.

The Section 8 market is really disappearing, and the problem is not going anywhere, not by a long shot.” backtalk@indyweek.com

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED IMPROVEMENTS TO U.S. 401 FROM SOUTH OF OLD STAGE ROAD (S.R. 1006) TO SOUTH OF MECHANICAL BOULEVARD (S.R. 2538) IN WAKE COUNTY TIP PROJECT NO. U-5302 The N.C. Department of Transportation will hold a public meeting regarding the proposed improvements to U.S. 401 from south of Old Stage Road (S.R. 1006) to south of Mechanical Boulevard (S.R. 2538) in Wake County.

The meeting will be held on Thursday, August 16 at the Ernest Myatt Presbyterian Church located at 4926 Fayetteville Road in Raleigh from 5 p.m. to 7 p.m. The public may attend at any time during the meeting hours.

Please note there will be no formal presentation.

At the meeting there will be maps of the proposed plans as well as project team members who will be available to answer your questions and receive feedback.

All comments will be taken into consideration as the project progresses. The opportunity to submit written comments will be provided at the meeting or can be done via phone, email, or mail no later than August 31, 2018.

As information becomes available, it may be viewed at the NCDOT Public Meeting Webpage: https://www.ncdot.gov/news/public-meetings/.

For additional information please contact NCDOT Project Manager, John Braxton, by phone at (919)707-6219 or by email at jwbraxton@ncdot.gov or Consultant Project Manager Cyndy Yu Robinson, by phone at (919)239-7142 or by email at cyndy.yu.robinson@aecom.com.

Your week.

Every Wednesday.

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

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

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

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494.

INDYWEEK.COM INDYweek.com | 8.8.18 | 13

indyfood

COPA

107 West Main Street, Durham 919-973-0111, www.copadurham.com

Pharmacology to Farm Ecology

WITH ITS NEW SCIENCE-BASED FARM, COPA IS OUT TO PROVE YOU CAN GROW LOCAL AND EAT GLOBAL

BY LAYLA KHOURY-HANOLD

I

n March, Old Havana Sandwich Shop relocated a few blocks west on Main Street in downtown Durham and renamed itself COPA. Old Havana’s traditional Cuban fare—rice and beans, roast pork, sandwiches—followed, but the menu at COPA got a makeover.

Dishes from Old Havana’s “Lost Dishes of Cuba” dinner series have found a permanent home here, underscoring both the complexity of Cuban cuisine and its vegetableheavy influence. That’s part of the reason why COPA’s owners, Elizabeth Turnbull and her husband and chef Roberto Copa Matos, recently started their own farm.

Another part is their desire to redefine the way diners think about farm-to-table.

“Many people tend to think of farm-to-table as posh, upscale, ‘new American’ food, not international cuisine.

But the truth is that farm-to-table can be—and often is— adapted to all kinds of food,” Turnbull says. “Among many other reasons for tying a farm to COPA, we want to highlight that you can ‘grow local and eat global.’”

Deciding to source ingredients from local farms is one thing; starting your own farm is quite another. It’s an ambitious project for any restaurateur, but Turnbull and Copa Matos have always been dreamers. Old Havana started as a flight of the imagination.

“We were eating at La Vaquita”—the beloved taqueria on Chapel Hill Road—“having wonderful tacos, and we decided the place needed Cuban street food,” Turnbull says, recalling a conversation they had in 2010. “Wouldn’t that be hilarious! All Roberto could do was kind of cook rice. But he had a very good palate; the rest are just skills you learn. We expected everybody to tell us this was a crazy idea, but they said, ‘I think this could actually work.’”

At the time, Copa Matos—a biochemist who had always dreamed of using his agricultural research toward science-based farming—was working as a research technician at the UNC School of Pharmacology. Turnbull, meanwhile, had parlayed freelance fundraising into a marketing business for nonprofits. They leased the Old Havana space with the intention of having Copa Matos’s relatives from Los Angeles help build and run the restaurant. But just before Old Havana’s opening in January 2011, his relatives bailed; instead of giving up, Copa Matos quit the lab.

Copa Matos learned how to cook on the job, but he politely refused to be called chef.

“About year three,” Turnbull remembers, “he woke up one morning and said, ‘I think I could be a chef.’ And that was [when] he started to make the transition.”

14 | 8.8.18 | INDYweek.com

It wasn’t just a transition of title.

“There was the realization that by being part of the restaurant industry, I didn’t have to give up my farming dream project,” Copa Matos says. “I can work both ends.”

By then, the seeds of what would become COPA had already been planted. In 2012, when the Durham Public Library asked Copa Matos to give a talk about the food of his native land, he discovered references to a nineteenthcentury cookbook of Cuban cuisine called Nuevo Manual del Cocinero Cubano y Español. They sought out the book, discovering fragments of a manuscript whose pages were full of vegetables—turnips, celery, cauliflower, and much more—and a globally-inspired pantry of spices and herbs.

Copa Matos and Turnbull labored to fill in the manuscript’s many gaps and eventually republished it in 2013 with a foreword by Copa Matos.

Over the last couple of years, Old Havana began offering occasional “Lost Dishes of Cuba” dinners based on recipes from Nuevo Manual. These events were so rewarding and enjoyable for everyone that Copa Matos and Turnbull began to reimagine their restaurant.

C

OPA reopened with a new menu that commingles Old Havana’s menu with tapas-style, farm-based fare, with many dishes inspired by recipes from Nuevo Manual.

Around the same time, the couple bought land in Hillsborough to start a farm, Terra Sacra, and hired farm manager Andrew Legge.

With their own farm, Turnbull and Copa Matos have more control over their ingredients, not only in the kinds of crops they grow but also in how they’re grown; it also allows Copa Matos to achieve his science-based farming dream.

“We say we want to be in a business that cultivates relationships all the way from soil to table,” Copa Matos says.

“And when I say soil, I mean get a microscope, get a sample of the soil. Look at the ecology of that soil: how many bacteria you have, and how many fungi, and nematodes, and how is that affecting everything from there all the way to the table, sharing a plate of food.”

Copa Matos did indeed buy a microscope; by analyzing the balance of microorganisms in the soil and applying research from soil microbiologist Elaine Ingham, Copa Matos and Legge can determine the most sustainable and efficient farming methods based on the specific makeup of their farm’s soil.

Starting, planting, and cultivating a farm is a long game, but Legge has already harvested cucumber and yellow

squash, the latter of which recently found its way into a colorful seasonal salad, and is planting crops such as kale, beets, and mustard greens to harvest this fall. Other crops, such as sweet potatoes, black-eyed peas, and herbs, were planted in the spring and are ready for or are approaching harvest.

One crop that Turnbull and Copa Matos are particularly excited about are fresh black beans.

“Black beans are the quintessential Cuban comfort food, and I might go so far as to extend that across the Caribbean,” Turnbull says. “Growing black beans is really an opportunity for us to experiment and follow the full life cycle of the plant and learn how to enjoy it at its different stages. For [Roberto], who has eaten black beans every day of his life, that’s exciting.”

While this year’s crop won’t yield enough dried black beans to fulfill COPA’s needs, Legge has begun harvesting the beans in their nascent stage. At this point, the black beans bear a closer resemblance to green beans; the tender-crunchy pods have appeared in the seasonally inflected vegetales dish. In the coming weeks, as the beans mature and approach the second stage of their life cycle, they will look more like black beans but will still be fresh, so Copa Matos plans to use them in a raw or lightly cooked preparation. Finally, once the beans have dried in their pods on the stalk, they’ll be harvested and prepared in a more traditional soak-and-cook method, destined for soup or rice-based dishes.

The farm is also teeming with herbs such as thyme, oregano, rosemary, holy basil, and mint, specifically hierba buena. It’s also aptly known as mojito mint, which Turnbull favors for COPA’s mojitos.

“It’s less peppery than some varieties of mint,” she explains. “It has more of the mint oil, which is what you want in a mojito. A good mojito experience is really about fragrance; you want every sip to be a fragrant experience, and this mint does that well.”

A more unexpected application for that mint is in a Nuevo Manual dish called Ropa Vieja a la Americana.

Ropa vieja, with translates to “old clothes,” is a classic Cuban dish of slow-cooked, shredded beef. Typically, it’s made with flank stank, a leaner, drier cut of meat that relies on a tomato-based braising liquid to bolster flavor and moisture.

“Roberto has never been a huge fan of ropa vieja. He’s not a fan of heavy sauces, so when he saw this recipe, it piqued his interest. Ropa vieja is Cuban, so how would you do it American?” Turnbull says. “We don’t know a

Elizabeth Turnbull and Roberto Copa Matos

PHOTO BY CAITLIN PENNA

hundred percent for sure why it’s called [Ropa Vieja a la Americana] and we don’t know a hundred percent if it meant the United States or the greater Americas.”

Ropa Vieja a la Americana calls for white wine and mint; Turnbull divines that one plausible explanation for the name is that Americans have a history of cooking meat with fragrant herbs. For his take on the dish, Copa Matos braises beef chuck with white wine, mint, diced tomatoes, and fresh herbs. Though chuck is a less popular cut, Copa Matos was happy to discover that, in the end, it produced a better dish: The meat stays moist but isn’t fatty, and shreds easily into long strands.

The lightly sauced dish is a far cry from traditional ropa vieja, particularly since at COPA it’s served atop cassava, or yuca, flatbreads instead of alongside more traditional accompaniments such as white rice or plantains. The dish’s composition and plating are in line with the restaurant’s tapas-based approach, but it also has the added benefit of introducing diners to another old-world ingredient, cassava root. Copa Matos grinds the starchy tuber to make a dough,

Black beans grown at the COPA farm in Hillsborough

then cooks and browns rounds on a griddle. This yields a pliable vehicle—thicker than a corn tortilla but more flexible than a cracker—to hold the beef and soak up its juices.

But even with COPA’s farm producing more ingredients for the restaurant, Turnbull points out that they’re not doing it all themselves.

“On the contrary, we’re able to focus our efforts on what makes the most sense for us to grow while developing relationships with other farms for what makes the most sense for them to produce—such as the incredible pork raised by Tiffany Parker at Parker Family Farms.”

Copa Matos butchers the primal cuts from Parker Family Farms, cutting the loin’s chops thick for Chuletas a lo Guajiro, peasant-style pork chops, another dish inspired by Nuevo Manual. The chops are simply seasoned and marinated in salt, onions, parsley, and olive oil, and cooked on the griddle till a golden-brown crust forms and the parsley crisps up. It’s one of the larger and less composed tapas, but it’s a staff favorite that’s quickly gaining popularity among diners, too.

PHOTO BY CAITLIN PENNA

Pork chops are arguably an approachable, even expected dish on restaurant menus in the South, but there are many ingredients used in nineteenth-century Cuban dishes that have plenty in common with North Carolinagrown ingredients and Southern dishes.

For Harina con Camarones a lo Puerto Príncipe, harina with shrimp in the style of Puerto Príncipe (a town in Eastern Cuba), Copa Matos cooks N.C. shrimp in a whitewine sauce with ground mustard seed, thyme, and parsley, and serves them on a bed of harina, Cuban-style cornmeal made with N.C. stone-ground yellow corn.

“Southerners will see a direct connection to shrimp and grits,” Turnbull says. “The presentation and flavors are a little different, but in the end, this dish is a reminder that we all have a lot more in common than we might think. After all, isn’t that part of what drives us in this industry: to build relationships and foster connections through food?” laylakh@indyweek.com Additional reporting by Adam Sobsey INDYweek.com | 8.8.18 | 15

food

AMUSE-BOUCHE

FIG

1000 Brookside Drive, Suite 109, Raleigh www.figraleigh.com

Hi-Test and Highballs

SLINGING COFFEE BY DAY AND CRAFT COCKTAILS BY NIGHT, FIG IS THE LATEST FRUIT OF RALEIGH’S GROWING CAFE-BAR SCENE

BY LAUREN KRUCHTEN

I

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

INDYWEEK.COM 16 | 8.8.18 | INDYweek.com

f you believe the adage “two is a coincidence, three is a trend,” then hybrid cafe-cocktail bars are officially a thing in Raleigh. There’s Hummingbird at Dock 1053, 42 & Lawrence downtown, and now Fig, which opened in the Brookside Shopping Center mid-July. Inspired by the growing number of families in Oakwood, the owners of Brookside Market & Pizza opened Fig next door with a menu of artfully crafted lattes, classic cocktails, cafe fare, and eclectic small plates. The menu sates cravings morning, noon, and night, but the biggest reason to while away a day or evening here is the destination-worthy back patio.

Vibe: Three distinct spaces make up Fig: The covered front porch near the entryway offers two-tops that are perfect for people watching or an al fresco tête-à-tête. Inside, you can snag a seat at the marble bar or at a table in the main dining room, preferably one with a velvet booth. The modern-meetsvintage decor includes accents such as gold plates, teal mosaic vases, and a turquoise wall adorned with contemporary paintings and oversize mirrors. But Fig’s pièce de résistance is the beautifully renovated (and dog-friendly) back patio, outfitted with plush-cushioned wicker couches and a colorful vintage Indian bus that the owners plan to turn into a wine bar.

Menu: Fig’s morning menu is available till 3:00 p.m. and includes solid renditions of the usual suspects—avocado toast, an açai bowl—along with scones and muffins from Yellow Dog Bread Company and a signature quiche. Lunch includes classic sandwiches such as grilled chicken, a BLT, and toasted Brie with apple and honey. Evening cocktails can (and should) be paired with small plates (available after 4:00 p.m.) such as pimento-cheese deviled eggs; a charcuterieand-cheese board served with crostini, date puree, and olives; or a Mediterranean hummus plate, which also comes with tzatziki, naan, and house-made pickled vegetables.

The morning quiche is served at Fig. PHOTO BY CAITLIN PENNA Price range: Drip coffee starts at $3, espresso drinks go up to $4. Pastries are $3 or less; quiche and toast are $6-$7. Sandwiches and salads are $9-$10; small plates are $7. Cocktails are $9-$11.

What to order: For a breakfast that begs to be savored, you can’t do better than pairing a cup of Counter Culture Coffee with Fig’s house quiche, where an egg, goat cheese, and Pecorino Romano filling is enveloped in a flaky crust and dolloped with fig preserves.

An iced macchiato paired with the house salad, topped with grilled chicken, goat cheese, and house vinaigrette, is the perfect antidote to a sad lunch desk. Feeling more than peckish? The turmeric-based curry chicken salad, served with mango chutney on either bread or a bed of greens, is a solid choice, as is the BLT, served on Yellow

Dog Bread Company’s rustic loaf (spring for the addition of avocado). The mac ‘n’ cheese with pimento and smoked sausage is as comforting as the homemade version I indulged in growing up, but just as likely to induce a nap as it is nostalgia. You can’t go wrong with any of the classic cocktails on the list, crafted with local liquors—the Gin Rickey is made with Sutler’s gin from Winston Salem—and fresh juices made with leftover citrus from the Produce Project next door. Signature libations are seasonally inspired, such as a bourbon tipple crafted with house-made strawberry-ginger shrub, lemon, and soda.

Perfect for: A leisurely breakfast or working lunch; casual catch up with friends; date night at the bar. food@indyweek.com

indymusic

Breaking and Entering

FOR MMA FIGHTERS, THE PERFECT WALKOUT SONG MAKES A POWERFUL IMPRESSION BEFORE A BOUT BEGINS

BY BRYAN C. REED

C

ollectors of music are often compelled to exist in paradox. On the one hand, there’s the drive to hear—to amass—as much music as possible. On the other, the compulsion to narrow vast stores of records and songs into finite lists: albums of the year, songs of the decade, even the true crucible of music fandom, the desert island, all-time, top five.

But for anyone with even a passing interest in both music fandom and combat sports, I have to imagine the challenge is even more stringent. Instead of a whole five albums, you have to imagine what one solitary song you’d pick to introduce you on the long walk to the ring or cage.

Recently, I’ve learned just how tough it is when the idle hypothetical becomes an actual to-do list item. Having accepted a grappling match at Fight For It III, a promotion in Hickory, North Carolina, which includes grappling, MMA, kickboxing, and boxing on its cards, the exercise is no longer theoretical. Fortunately, I’m not the only one who’s given this a lot of thought. Jeff Shaw, a friend and fellow jiu-jitsu enthusiast, understands my overthinking.

“You can’t take this stuff lightly,” he says.

Before decamping to Bellingham, Washington, earlier this year, Shaw trained in Durham.

He organized Toro Cup, a series of jiu-jitsu cards that benefit various local charities, and launched his podcast, Dirty White Belt Radio, from Hillsborough’s WHUP. To say he’s involved in the grappling scene is an understatement. And when he had to pick his own ILLUSTRATION BY CHRISTOPHER WILLIAMS walkout music for a jiu-jitsu cage match in ominous drone. It was an intimidating prologue to the fight, in Durham, he took it very seriously. which Tyson starched Spinks in only ninety-one seconds.

Shaw’s “Walkout Music” playlist on Spotify collects more than In similarly persona-defining fashion, former UFC champion thirty songs, ranging from on-the-nose gangsta rap (Ghostface Ronda Rousey walked out to the Octagon with Joan Jett’s “Bad Killah’s “The Champ”) to anime theme songs (“Cowboy Bebop”); Reputation” blaring overhead. At the time, she was poised as from unexpected pop hits (“It’s Raining Men” by The Weather the division’s unbeatable heel. In hindsight, Rousey’s embrace of Girls) to hometown upstarts (“D.U.R.M.” from Professor Toon & that role seems even more apt, as it foreshadowed her burgeonThe Real Laww). With a narrowing-down process, he ultimately ing career in the WWE. settled on an El-P remix that he felt had the right dynamics for I found myself immediately gravitating toward blunt-force the setting, but also carried a personal significance. In second metal with unsubtle titles like Ringworm’s “One of Us Is Going place: a novelty rap song called “40-Year-Old Vegan.” to Have to Die” or Phobia’s “Submission Hold,” but I fully defined What Shaw realized—as many music-and-fighting-fans my parameters. Again, Shaw had some advice. must—is that the walkout song can leave as much of an impression There are four or five ways to approach a walkout song, he as the fight itself. Recall Mike Tyson’s title unification bout with says. There’s the “pump-up song,” which is employed to fire up Michael Spinks in 1988. Tyson entered the arena to a throbbing,

the crowd. This is the tactic Anthony Wright employs. He’s a 3-0 MMA pro, and my teammate at Elevate MMA Academy in Durham.

“My walkout music is always something that’s gets me pumped and the crowd can enjoy and take part in,” Wright says. But, what he’s listening to backstage is more internally focused, selected to put him in a “warrior mindset.”

Shaw’s second category is “personal meaning.” For this, he cites Irish UFC champ Conor McGregor walking out to Sinead O’Connor’s version of the folk ballad “The Foggy Dew.” Next is the “signifier song,” which has more to do with branding—like when Donald “Cowboy” Cerrone enters the cage to Kid Rock’s “Cowboy.”

The next two, the “ironic song” and the “optimal performance song” wouldn’t seem to have much in common, but my coach, Cody Maltais, an accomplished MMA pro himself, managed to combine them (and the “pump-up song”) when he walked out to The Isley Brothers’ “Shout” before trouncing his opponent by guillotine choke at Next level Fight Club 6 in Raleigh. I thought it was inspired.

For Maltais, selecting walkout music was a part of a long-evolving process, inspired by chess and martial arts champion Josh Waitzkin’s The Art of Learning, which outlines a process by which to create a trigger for intense focus. Maltais fights better when he’s having fun, so an upbeat standard suits him best. If an opponent clashes his choice with a predictably aggressive nu-metal track, all the better.

But the final category seems to be the thread that unites the choices of everyone I asked for guidance in my own process. Samantha Faulhaber, a jiu-jitsu black belt and movement instructor, who also coaches me at Elevate,

described her optimal song selection as “anything that makes me feel fun and excited to be there.”

“That’s when I fight best,” she says. “I won Pans to ‘Shut Up and Dance with Me.’” I still haven’t settled on a song, but I’ve got my thirty-trackand-shrinking playlist on my headphones as I write. Pruning the list has me more anxious than the bout itself. All my life, I’ve defined myself—at least in part—by the music I listen to.

Now, the stakes have never been higher. music@indyweek.com INDYweek.com | 8.8.18 | 17

music

AU G U ST

FR 10 BROTHERHOOD BASH BLOCK PARTY! 3:30p

Thursday, Aug. 9, 9 p.m., $10 Nightlight Bar & Club, Chapel Hill www.nightlightclub.com

Six-String Supernova

GUITARIST DANIEL BACHMAN EXPLODES HIS APPROACH TO ACOUSTIC GUITAR WITH THE MORNING STAR BY DAN RUCCIA

FR AUG 10

PHISH AFTERPARTY W/ THE MANTRAS 10:15PM

SA 11 SU 12 TH 16 FR 17

DANIEL BACHMAN

METAL POLE MAYHEM 8p TODD NANCE AND FRIENDS 7p SISTER HAZEL 7p VALLEYS W/ DISCOVERIES / UNICORN 7p

TU 21 RIOT PITCH NIGHT 5p FR 24 ID FEATURING: MT. CRUSHMORE NEON TIGER / ELECTROCHEMICAL AGGRESSION 9p S E PTE M B E R

9/1 9/6 9/7 9/8 9/14 9/14 9/15 9/23

THE BLACK LILLIES 7:30p HOPSCOTCH MUSIC FESTIVAL 7p HOPSCOTCH MUSIC FESTIVAL 8p HOPSCOTCH MUSIC FESTIVAL 8p CHERUB @ THE RITZ EVERYONE ORCHESTRA 8p TWIDDLE 8p JUMP, LITTLE CHILDREN

“Sycamor horn and like. I als key, and storm, an so I just works. Th ly. It’s on moments

SILENCE When you adding th space is s express m quiet than out by usi thing that ure out. It I’d be inte I’ve been now, I’m k the stuff t esting for And silen records th

mu

ALBUM RELEASE PARTY feat. MICHAEL FLYNN 7p

9/28 CLUTCH: BOOK OF BAD DECISIONS TOUR 2018

9/30

w SEVENDUST/ TYLER BRYANT/ w/ THE SHAKEDOWN 6:30P MOON TAXI W/ RIPE & TRAVERS BROTHERSHIP- LINCOLN STREET STAGE 4:30p

CO M I N G S O O N 10/4 TRAOBA PRESENTS: THE 4TH ANNUAL

NELSON MULLINS BATTLE OF BONKER BAND! 4:45p 10/4 TURNPIKE TROUBADOURS @ THE RITZ 7p

10/5 THE DEVON ALLMAN PROJECT

w/ SPECIAL GUEST DUANE BETTS 8p

10/18 LANE 8 LITTLE BY LITTLE TOUR 7p 10/24 THE OH HELLOS W/ SAMANTHA CRAIN 7p

10/25 AN EVENING W/ CHRIS 10/26 ROBINSON BROTHERHOOD 10/30 CLAUDIO SIMONETTI’S 11/2 11/3 11/4 11/8 11/9 11/10 11/14

7 pm

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Daniel Bachman PHOTO BY GRETA SVALBERG

D

aniel Bachman has always been in a hurry. He released albums at a fevered clip, and he played quickly and intensely, filling the space with his complex fingerpicking. But after spending a spell in Durham, he left the Triangle, issued a self-titled record, and returned to his hometown of Fredericksburg, Virginia, in 2016. There, he reflected on a decade of music making, and he started slowing down and reevaluating the sounds that inspired him.

On the resulting album, July’s The Morning Star, Bachman pushes himself in ways his past records have only hinted at. Layers of field recordings and organ interact with his intricate guitar work to create compositions more spacious and experimental than anything he has done to date. In the middle of a move to Charlottesville, Virginia, Bachman caught up with us to talk about some of those changes.

DRONE I’ve been into drone music since I was a little kid when I used to hum and match my voice with my parents’ lawnmower in the

yard. I have really vivid memories of that, but I never thought of it as drone music.

When I was in middle school, I bought a Yo La Tengo record that had a lot of drone elements to it, and I was like, “Wow! This is crazy! You can be in a rock band and not change the chord for ten minutes?”

I’d never heard anybody do that stuff. And then I started to get into Indian classical music and Jack Rose. That’s the three steps to drone in my life. It just makes me feel centered. It’s like a tone to breathe around. Especially these days, it makes me feel grounded.

CICADAS They’re wonderful. I just feel incredibly comforted by is the sound of their music.

It’s psychedelic how loud it is. There are train tracks in my folks’ backyard, and I thought it was a train, but it was actually them. It’s wild. Since I was a little kid, I’ve loved them. I remember when I was probably like seven, it was one of the big, seventeen-year broods. I filled up like three or four Food Lion bags with all of their shells.

I’ve been fascinated with them for my

whole life. They’re kind of like manatees.

They’re just vegetarians floating around, and they’re not hurting anybody. They’re just big gentle bugs.

I had some friends from that band the Mountain Movers, who played in Fredericksburg a couple weeks ago, and we were in my parents’ backyard. They had never heard the type of cicadas that we have here.

They have their own sounds in New Eng-The four d land, but the ones here are different. Theysecond alb were like, “My god, what is that?” I said,and trippy The ban “That’s the summer bugs, man. That’s like drenched w our little drone orchestra that goes on all from six m the time.”

View kicks

their noise

FIELD RECORDINGS Kelly Fah My friend Shawn Hansen has a record thatgether so w came out called Radio Badlands that was asurf, thoug big inspiration to me. No one really knowsmusic that about his stuff. He’s a piano tuner in Kansas All of th City and did a synthesizer and field record-executed p vocal hook ing project based on the Badlands.

In some of the tunes on the record, Ismoothly. really feel like it helps set the environ-clear chim ment that I’m in. And it makes it a moreEcho Court personal experience. On the second tune,starts at 8:

va

ITAR

CCIA

“Sycamore City,” with the bugs and the car horn and stuff, that’s really what it sounds like. I also had this improvisation in that key, and I had a field recording of a rainstorm, and they were the exact same length, so I just smooshed them together, and it works. They compliment each other nicely. It’s one of those synchronistic kinds of moments where it just fits together.

SILENCE When you are a solo musician, I’ve found that adding that silence and using that negative space is so heavy at times. You can almost express more sometimes by letting things go quiet than when you’re really trying to get it out by using a bunch of notes. That’s another thing that’s taken me a really long time to figure out. It’s a powerful thing to play with, and I’d be interested in even going more minimal.

I’ve been doing this for eleven years now, so now, I’m kinda getting more into abstracting the stuff that I’m really into to make it interesting for myself. It’s like a new thing again.

And silence is part of that. So many of those records that I’ve made over the years are just

music

busy. It’s part of just slowing your own mind down and finding peace.

AUTOBIOGRAPHY I’m trying to reflect my emotions and my experience. Sometimes, the stuff doesn’t really reflect that if it’s more traditional in nature, or if it’s someone else’s tune or something. But especially the kind of music that I write, I’m just trying to express things that I feel, whether it’s the negative things or positive things, we’ve all got that stuff. It’s absolutely autobiographical.

It’s been a crazy fucking year. It’s been a crazy couple of years. It’s almost a way to move on from things. It’s a really weird way to do it when you show other people parts of yourself. It’s like a release, I feel like, almost.

And then you can move on to a new thing. At some point, I figured out that you can shed things through the stuff that you make, kinda like that cicada skin. You make these things, and then you molt them off. It’s still a physical thing, and you can revisit it, but you’re changed at the end of it. music@indyweek.com

BRIEF

manatees. g around, y. They’re

ECHO COURTS

band the n FrederROOM WITH A VIEW we were SELF-RELEASED had never 1/2 have here.

New Eng-The four dudes in Echo Courts must have rad record collections. The Greensboro rock band’s ent. Theysecond album, Room with a View, is loaded with three-part vocal harmonies à la the Beach Boys ?” I said,and trippy studio effects that would have done the late George Martin proud.

The band’s 2016 debut album, In the Garden, followed the tradition of lo-fi, British-sounding rock That’s like drenched with a hundred-gallon drum of reverb. But since then, Echo Courts have slimmed down oes on all

from six members to four and, perhaps as a result, sound tighter and less washed out. Room with a View kicks off with a mostly instrumental song (“I Don’t Mind”), allowing each band member to flex their noise-making muscles before diving into more traditionally formatted pop songs.

Kelly Fahey and Luc Swift trade off on everything from guitar leads to lead vocals, and they blend toecord thatgether so well it’s difficult to distinguish who’s who. The overall package is something related to sixties hat was asurf, though that fails to fully account for the sprawl of sounds on Room with a View. It’s summertime lly knowsmusic that’s both busy and chill, like zoning out in the backseat of a cruising convertible. in Kansas All of the jangly guitars and fuzz boxes lend a loose, cool aesthetic, even if the music itself is d record-executed precisely. For example, on single “Take Away,” a warbly guitar follows the melody of the vocal hook note for note; anything short of spot-on would sound messy, but Echo Courts pull it off . record, Ismoothly. The guitar sounds are impeccable throughout this record’s ten tracks, from the crystalenviron-clear chimes of “Strawberry Pie” to the bluesy bends of “Daisies # 4.” —Howard Hardee

it a moreEcho Courts play a release show for Room with a View at Kings on Wednesday, August 15. The show ond tune,starts at 8:30 p.m. and tickets are $5–$7.

INDYweek.com | 8.8.18 | 19

indystage

THE MIRACLE WORKER

Friday, Aug. 10–Sunday, Aug. 12, 7 p.m. nightly/2 p.m. Sat., $22 The Borden Building, Raleigh www.seedraleigh.org

Sister Act

A SUCCESSFUL RALEIGH THEATER FAMILY PLAYS A FAMOUS HISTORICAL ONE, THE KELLERS, IN SEED ART SHARE’S IMMERSIVE THE MIRACLE WORKER

BY BYRON WOODS

I

t’s part of the magic of theater that bands of strangers come together and convince us, after a few weeks of rehearsals, that they’re families with lifelong backstories and relationships. But Seed Art Share’s immersive production of The Miracle Worker (directed by Dustin Britt), the biographical drama based on the childhood of deaf and blind author and activist Helen Keller, has an ace in the hole.

The actors playing the Kellers—father Arthur, wife Kate, and daughter Helen— are already a family. When nine-year-old Havana Blum plays Helen for a weekend in Raleigh’s Fletcher Park, her actual mother and father, Rebecca and Seth Blum, will be acting as her parents in the show.

It’s far from the first time that the two generations of this Raleigh theater family have shared the stage. Havana and her two sisters, Scarlett and Eowyn, were the hapless children of Macduff, while Seth played Banquo, in Bare Theatre’s memorable outdoor production of Macbeth at Raleigh Little Theatre.

Where was mom? In the director’s chair: Rebecca Blum’s innovative take shed new light on Shakespeare’s darkest tale. By her count, various family members have worked together in some twenty-four regional productions to date.

The earliest debut among them was the conscientious but still mischievous thirteenyear-old Eowyn, who’s working offstage in The Miracle Worker as a production assistant/kid wrangler. She was eleven months old when she played the changeling child in a 2006 version of A Midsummer Night’s Dream. Seth still remembers how the squalling baby backstage invariably smiled and waved at the audience the moment she was brought on.

“The director cut her time on stage from a minute to thirty seconds,” he says. “No one was paying attention to the exposition.”

Having a show-biz family might seem like the logical outcome for an artistic couple 20 | 8.8.18 | INDYweek.com

Seth, Havana, Eowyn, Rebecca, and Scarlett Blum PHOTO BY AREON MOBASHER who met while working on Theatre in the Park’s The Complete Works of Shakespeare (Abridged) in 1998. But a theatrical career was never automatically in the cards for the Blum children. Still, Seth was in favor of it; in his experience, there was no community more accepting.

“It welcomes all kinds and all values and teaches team-building, patience, and selfdiscovery,” he says. “I couldn’t think of anything I would love better for a child than to be in this place of great acceptance.”

But Rebecca couldn’t easily shake the memories of her own early theatrical experiences.

“My self-esteem was wrapped up completely in whether I got cast or not, and when I did not, it was devastating,” she says. “I did not want that for them.”

The Blums ultimately decided to expose their children to theater and then “play it by ear.” The results so far? All three daughters are professional actors with representation; all have performed on stage, in film, and in commercials and shows on television. The sparkling Scarlett, the youngest and currently highest-paid actor in the house, was six when she got a role on the Fox TV series The Gifted.

The kicker? None of the girls ultimately wants a career in acting. Currently, they want to be a foreign ambassador, a dolphin trainer, and a scientist/engineer when they grow up.

“I’m fine with that,” Rebecca says. “At least so far, their self-worth is not tied up in a shallow and often mysteriously judgmental industry.”

Havana, who played Minka Kelly’s daughter and Andie MacDowell’s granddaughter in the April Hallmark TV film The Beach House, is thoughtful and focused as she talks about her role as Helen. She’s already finished reading her fourth book on her subject, and she’s spent a lot of time imagining her way into the character.

“She’s really smart,” Havana says. “A lot of people don’t know Helen had already come up with fifty signs for people and things in her home before [teacher] Annie Sullivan came. … She likes to feel the garden; she can tell which flower’s which by their smell and feel. She loves to lie in the grass when she’s tired; it smells good and feels really nice on her feet.”

Havana says her biggest challenge in the role is not looking at other actors—but for a reason that isn’t immediately obvious. Helen’s role is very physical; one scene with Sullivan is basically a knockdown, drag-out brawl over breakfast. The problem: Fight choreography, which keeps the actors safe, is based on constant communication.

Seth, Havana, and Rebecca Blum

PHOTO BY AREON MOBASHER

“Imagine doing hand-to-hand stage combat without making eye contact,” Rebecca says.

Working on a show together can provide—and relieve—some stressors in family relationship, the Blums say. Though The Miracle Worker is usually considered a play about teaching a girl who is deaf and blind to communicate, the drama is really about

stage

a family that can’t communicate. If the Blums aren’t facing challenges as severe as the Kellers, Seth notes, “We’ve still got these issues, on some level. What family doesn’t? Working through parenting issues as the Kellers while we’re working through parenting issues as the Blums—it can’t help but have echoes on stage.” arts@indyweek.com

BRIEF

BURN THIS ½

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“We don’t like to hear the word ‘vampire’ around here,” William S. Burroughs groused about the downtown New York art scene in 1986. “Trying to change our public image.”

The quote came to mind early in Sonorous Road’s repertory production of Burn This. Director Tony Lea’s intriguing take sets Lanford Wilson’s 1987 drama among a largely unsympathetic quartet of characters representative of the era’s first-generation loft-dwellers.

At the center is a sparkless power couple: Anna (newcomer Danielle Koppel) is a dancer whose glossy, bulletproof façade never slips as she fashionably recounts, in a world-weary way, the horrors of the next of kin at the funeral of her closest friend and dance partner, Robbie.

Then Anna’s warm-milk boyfriend, Burton (an earnest Jonathan King), a trust-fund sci-fi screenwriter just back from hiking a Canadian glacial ridge, kisses her—well, on the forehead, at least.

As artists, Anna and Burton are obsessed with authenticity, passion, and several other human traits they seem unable to convincingly feel or reproduce. Servicing this relationship built on aesthetics is a designated den mother, the aging gay adman Larry (a game David Ring), the only character thus far with a positive hemoglobin count.

But that may not last; he appears as little more than an emotional universal donor and a curmudgeonly supporting character in his own life.

Robbie’s older brother, Pale (Daniel P. Wilson), interrupts this scene of cultivated interpersonal distance like a brick through a loft apartment window. Pale’s tough-guy-from-Jersey front only briefly conceals an incoherent hot mess of homophobia, survivor’s guilt, and true grief, compounded by sexual opportunism and victimizing machismo that he knows are hollow.

Can any of these perplexing characters possibly construct a meaningful relationship? And how many are any closer, by the end, to tolerating direct sunlight? We’re still solving both modern-day riddles at the end of this challenging work. —Byron Woods INDYweek.com | 8.8.18 | 21

BY DAVID MCCLISTER

Lucinda Williams PHOTO

WHAT TO DO THIS WEEK 8.8–8.15 FRIDAY, AUGUST 10

LUCINDA WILLIAMS, STEVE EARLE, DWIGHT YOAKAM

This gig is part of a string of shows dubbed the LSD Tour, but the combination of Lucinda Williams, Steve Earle, and Dwight Yoakam has nothing to do with chemical alterations of the psyche. Quite the opposite, this bill of alt-country’s three most trailblazing titans is all about unadorned, clear-eyed perspectives on what wasn’t even called Americana yet when they started out. Between Yoakam’s Buck Owens-worshipping, Bakersfield-inflected approach; Earle’s gritty, outlaw-indebted rock-country amalgam; and Williams’s poetic, folk-informed singer-songwriter approach, all three of the headliners have trod very different paths from each other over the last few decades. Still, they’ve got some deep American roots in common and a fealty to the power of twang that makes them sonic siblings of the soul. If previous performances from this tour are any indication, there’s a good chance you’ll hear these three Americana auteurs join together on a country classic or two before all is said and done. —Jim Allen RED HAT AMPHITHEATER, RALEIGH $20–$95, 7 p.m., www.redhatamphitheater.com 22 | 8.8.18 | INDYweek.com

FRIDAY, AUGUST 10

NO BORDERS, NO MASTERS: A BENEFIT FOR SEPARATED FAMILIES

The prevailing ideologies of punk—egalitarianism, anti-nationalism, anti-authoritarianism, anti-racism, civil rights, nonconformity—put its practitioners directly opposite our tinyhanded, nonsense-spewing Cheeto-in-chief. The president’s racist immigration policies have resulted in the criminal prosecution of thousands of individuals seeking asylum, and the inhumane detention and separation of immigrant families. This show is a benefit for those families; proceeds will go to the Houston Immigration Legal Services Collaborative.

The bands on the bill build on punk’s blueprint: Play it louder, play it harder, and play it faster, in service of aggressive affirmations. There’s the crossover crust of Richmond’s Occultist, the pogoing BDSM d-beat of Raleigh’s Drugcharge, the confusion-is-sexy eighties hardcore of Essex Muro, the angular punk of Das Drip, and the psychedelic party rock of Magma Opus. —Patrick Wall KINGS, RALEIGH $10, 9:30 p.m., www.kingsraleigh.com

PHOTO BY JULIETA CERVANTES

Kevin Clay in The Book of Mormon WEDNESDAY, AUGUST 8–SUNDAY, AUGUST 12

TUESDAY, AUGUST 14

THE BOOK OF MORMON

PECHA KUCHA

DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $29+, www.dpacnc.com

PITTSBORO ROADHOUSE, PITTSBORO 6 p.m., $5–$10, www.pittsbororoadhouse.com

If you take away one thing from The Book of Mormon, it probably won’t be a new perspective on life, a deep personal insight, or a sense of awe about the transformative power of theater. Instead, it will almost certainly be this: “I have maggots in my SCROtuuuum!” These words keep intruding on songs throughout the show, a lacerating reminder of the gulf between the frivolous American problems of a gaggle of young Mormon missionaries and the much direr problems—famine, war, dysentery, AIDS—of their prospective African converts. It’s the most uproarious running gag South Park creators Trey Parker and Matt Stone (with Bobby Lopez, composer of Frozen and Avenue Q) came up with for a sacrilegious Broadway musical that pillories the Mormon church—and any other religion with imperial ambitions—for the self-denial it inflicts on its followers and the uselessness, even insidiousness, of its doctrines for people with less privilege. —Brian Howe

What’s pecha kucha? Picture a TED Talk crossed with speed dating, and you’re heading in the right direction. This eccentric form of performance got its start in Tokyo in 2003, when a bunch of professional architects kept boring their bosses with endless PowerPoint marathons. Their presentations were put on a mandatory diet: twenty images, no more or less, each on screen for exactly twenty seconds, for a total performance time of six-and-two-thirds minutes apiece. Since then, pecha kucha has been used in lively multimedia showcases on a broad variety of subjects and performances combining music, dance, theater, and spoken word. Agri-activism group Abundance NC cohosts this evening’s six presentations, including Lewie Caraganis’s “A River Bank Account,” Angela Parrish’s “Birds of a Feather,” Karen Howard’s “Love, Death and Going Home” and Laura Stewart’s “Be More Like Spores: Notes from an N.C. Mushroom Farmer.” —Byron Woods

WHAT ELSE SHOULD I DO?

DANIEL BACHMAN AT NIGHTLIGHT (P. 18), BURN THIS AT SONOROUS ROAD (P. 21), HOT TAKES AT LIGHT ART + DESIGN (P. 28), DAVID JOY AT QUAIL RIDGE BOOKS (P. 32), ECHO COURTS AT KINGS (P. 19), JOSHUA LOZOFF ON PENN & TELLER: FOOL US (P. 32), MASTER CLASS AT KENNEDY THEATRE (P. 30), THE MIRACLE WORKER AT THE BORDEN BUILDING (P. 20) INDYweek.com | 8.8.18 | 23

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9/27 CAAMP ($14/ $16)

8/17 FLASH CAR, LILAC SHADOWS, SALT PALACE ( $7)

9/29 MT. JOY W/ ARLIE ($15/$17)

8/19 FOREVER YOUNG.. A

10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22) 10/ 6 BLITZEN TRAPPER 10/7 JOEY GRACEFFA:EDEN TOUR 10/9 THE STRUTS W/ WHITE REAPER AND SPIRIT ANIMAL ($24/$27) 10/10 MINUS THE BEAR: THE FAREWELL TOUR. W/ CASPIAN

BENEFIT FOR ANDY!

8/25 THE ORANGE COUNTY OPRY LESTER COALBANKS & THE SEVEN SORROWS, WITH SPECIAL GUESTS: CHARLES LATHAM, JOHN HOWIE JR., THE HIGH BUSHY TAILS, THE APPLE CHILL CLOGGERS 8/30 SLAUGHTER BEACH, DOG W/ THIN LIPS, RACHEL KIEL($12/$14)

10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10)

8/31 THE MATTSON 2 AND ASTRONAUTS, ETC. ($13/$15)

10/14 GAELIC STORM ($26/ $29; SEATED SHOW)

9/6 MELODIME ($12/$14)

10/15 BOB MOSES W/ MANSIONAIR 10/16 WILD NOTHING

9/2 BUMPIN UGLIES 9/8 TIM BARRY 9/9 SLOAN ($22/$25)

10/20 GLORIETTA

9/11 REMO DRIVE, FIELD MEDIC PRINCE DADDY & THE HYENA ($13/$15)

10/22 WE WERE PROMISED JETPACKS ($15/$17)

9/14 RUNAWAY GIN-- A TRIBUTE TO PHISH ($10/$15)

10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18)

9/15 LVL UP W/ YOWLER

W/ MEN I TRUST

10/27 ROKY ERICKSON W/ WHITE MYSTERY ($25/ $28) 10/30 HIPPO CAMPUS W/THE DISTRICTS

9/16 GABE DIXON 9/17 WAR ON WOMEN W/ HIRS COLLECTIVE 9/18 LVL UP W/ YOWLER

9/19 WILD RIVERS ($10/$12) $10 day of $10 advance advance // $12 $12 day EVIAN of W/ KATE VON 9/20 SAM

11/2 GHOSTLAND OBSERVATORY W/ GIBBZ ($25/$27) 11/7 HAKEN + LEPROUS W/ BENT KNEE ($22/$27)

11/8 DAVE ALVIN AND JIMMIE DALE GILMORE

10/2 ARSON DAILY, LAIRS AND REESE MCHENRY ($5/$7) 10/3 EMILY KINNEY (ON SALE FR AUG 10) 10/4 SAM BAKER 10/5 STOP LIGHT OBSERVATIONS ($10/$12) 10/6 ELECTRIC SIX 10/9 PARTICLE ($15) 10/12 THE VEGABONDS W/ KENDALL STREET COMPANY ($10/ $15 FOR TWO-PACK) 10/15 MIKE YUNG

10/20 WILDERADO AND SURE SURE ($15)

9/15 DEAD SARA W/ WELLES

W/ NAKED GIANTS

9/28 JOSHUA HEDLEY W/CALE TYSON ($15)

8/9 THE ESSEX GREEN W/ JESSE AINSLEE, THE DEAD BEDROOMS

8/12 SOME ANTICS ALBUM RELEASE PARTY W/ORPHAN RIOT, AUDIBLE ($5)

9/21 CAR SEAT HEADREST

W/ MATTHEW SWEET, THE RIGHT PROFILE, SURRENDER HUMAN, SEX POLICE, COLLAPSIS, PRE-RAPHAELITES

10/18 SARAH SHOOK & THE DISARMERS DOCUMENTARY SCREENING & LIVE PERFORMANCE ($15)

9/8 OHGR W/ OMNIFLUX,

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

BE LOUD! ‘18

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

8/11 OPEN FIELD, OBJECT HOURS, SHELLES ($8)

LEAD INTO GOLD

8/24-8/25

10/16 MIKAELA DAVIS ($12/ $14)

8/28 WOLF PARADE

W/ BLANKO BASNET ($20/$23)

($25/$28)

FRI 22 FRI 8/31JUL FRI JULGAVE 22

SAM BUSH BAND

SCHLEICHER ($12/$14)

9/23 VALLEY QUEEN 9/26 LOW CUT CONNIE ($15)

10/21 KIKAGAKU MOYO ($12/$14) 10/24 MIKE MATTISON AND SCRAPOMATIC ($15/$20) 10/26 GREG HUMPHREYS ELECTRIC TRIO ($12/$15) 10/27 DRIFTWOOD ($14 /$17) 11/3 MAX FROST ($15/$17) 11/17 TALL HEIGHTS W/ FRANCES CONE AND OLD SEA BRIGADE ($13/$15) 11/30 GABRIEL KAHANE ARTSCENTER (CARRBORO)

9/15 FIVE FOR FIGHTING WITH STRING QUARTET ($49.50/ 53) 10/20 POKEY LAFARGE (SOLO) MEMORIAL HALL (UNC-CH)

9/14 NEKO CASE W/ THAO (OF THE GET DOWN STAY DOWN) CAROLINA THEATRE (DUR)

12/14 DELTA RAE DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ SOLD

FARE THEE WELL TOUR

OUT

MOTORCO (DUR)

9/22 BOMBADIL W/ CHRIS FRISINA ($12/$15) 9/26 ANDREW WK ($20/$24) 10/23 THIS WILL DESTROY YOU ($15) 10/24 AMY RAY AND HER BAND W/ H.C. MCENTIRE ($20) KINGS (R AL)

9/14 ELEANOR FRIEDBERGER NORTH CAROLINA MUSEUM OF ART

8/18 TROMBONE SHORTY'S LD VOODOO THREAUXDOWN SO OUT THE RITZ (RAL)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

9/16 SHAKEY GRAVES W/KATE RHUDY HAW RIVER BALLROOM

11/30 MOUNTAIN GOATS W/DEAD RIDER RALEIGH LITTLE THEATER

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

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

music 8.8–8.15 WED, AUG 8 2ND WIND: Yeaux Katz; 7-9 p.m., free.

CAT’S CRADLE BACK ROOM: ASM, Andrew Marlin; 8 p.m., $10-$12.

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

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

THE PINHOOK: Tanajah; 9 p.m., $10.

POUR HOUSE: Dissin’ Terry, Ghost of Saturday Nite; 8 p.m., $5.

RED HAT AMPHITHEATER: O.A.R., Matt Nathanson; 6:30 p.m..

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

CAT’S CRADLE: The Sword, UME; 9 p.m., $18-$20.

CAT’S CRACLE BACK ROOM:

The Essex Green [$12/8 P.M.]

Where had you gone, The Essex Green? Our nation turned its lonely eyes to you in your protracted absence, longing for your effortlessly pleasing psych-tinged folkpop in an era of uncertainty (and in an extended period of renewed interest in The Fairport Convention). Turns out that members Jeff Baron, Sasha Bell, and Christopher Ziter were sailing rivers, studying elk, and fermenting stuff, respectively. They reconvene on the Mergeissued Hardly Electronic, another five-star installment in their collection of songs both sparkling and sad. Jesse Ainslie opens. —Patrick Wall THE CAVE: Izzy True; 9 p.m., $5 Suggested donation.

The Essex Green perform in the Cat’s Cradle Back Room Thursday night.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Dierks Bentley [$37+/7 P.M.]

For all his mainstream appeal, Dierks Bentley has always had a knack for slipping in a little dash of something unexpected, whether it’s a surging, U2-like stadium-rock momentum or a stray bit of bluegrass. And somehow he’s managed to maintain his country superstardom without ever pandering to the tailgate-party crowd. But make no mistake about it—keeping it classy doesn’t mean Bentley’s concerts don’t deliver the hits with some major good-time vibes. Brothers Osborne and LANCO open. —Jim Allen

KINGS:

Mike Baggetta Trio [$12–$15/8 P.M.]

Mike Baggetta is mostly a jazz guitarist, one whose expansive electric guitar compositions take a kitchen-sink approach to the genre. In Raleigh, however, he teams up with two bluegrass-adjacent players: Daniel Kimbro, who plays bass in the band of dobro giant Jerry Douglas, and Hunter Deacon, who plays drums in the Jon Stickley Trio. If footloose and fancy free is your speed this weekend, this gig makes an excellent appetizer for Friday night’s Phish gig in Raleigh or Saturday’s Sam Bush show in Carrboro (or both). With Raleigh’s Floy Doy. —Allison Hussey

PHOTO BY MEG RUPERT

THE PINHOOK: The Tan and Sober Gentlemen, Arson Daily; 7:30 p.m., $8.

POUR HOUSE:

Local Band Local Beer: Carolina Waves Pre-Awards Concert [$3–$5/8 P.M.]

Durham pride runs through the veins of R&B group Young Bull. Its founding members met playing basketball at Durham School of the Arts, its name, of course, is inspired by the Bull City, and most of all, its sound embodies the music of the area with its fusion of contemporary hip-hop with throwback soul and R&B. Imani Pressley, who

also performs at this bash ahead of the Carolina Music Awards, draws inspiration from the South’s rich music scene, merging R&B and pop to create music that’s reminiscent of her soulful predecessors with a modern twist. —Lena Geller

FRI, AUG 10 618 BISTRO: Randy Reed; 7-9:30 p.m..

BEYÙ CAFFÈ: DexBass Experience; 7 & 9 p.m., $13.

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

THE BULLPEN: The National Reserve; 8:30 p.m..

CAT’S CRADLE: Town Mountain, Sugar on Fire; 8 p.m., $12-$15.

CAT’S CRADLE (BACK ROOM): Tuatha Dea, Sirius.B, Love & Valor; 8 p.m., $10.

THE CAVE:

Charlie Paso [$5/9 P.M.]

Raleigh’s Charlie Paso borrows several pages out of Pavement’s slacker-rock playbook, adds a warped doowop twist along with a dose of surf guitar, and rounds it out with casually delivered vocals in the form of unhinged howls and jittery yelps. It’s perfectly disheveled in all the right ways and should be in fine form here following a week-long tour.

Fayetteville five-piece Black River Township revisits the eighties on its debut single.

—Spencer Griffith INDYweek.com | 8.8.18 | 25

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Phish

[$45–$80/7 P.M.] Love them or hate them, Phish has never followed conventions. Most acts in their fourth decade together lean on a crowd-pleasing mix of greatest hits, perhaps with a few cuts thrown in from their latest album. But Phish is not most acts. Over the first ten shows of this year’s summer tour, the legendary jammers played nearly 150 unique songs, immediately recognizable to phans but derided by naysayers for similar sounds. Like the legendary jammers, choose your own adventure?

—Spencer Griffith

Sam Bush performs in Carrboro Saturday night.

8/1719

GODSPELL PRESENTED BY CHAPEL HILL

9/8

BLACK UMFOLOSI AUSTIN PIAZZOLA QUINTET LEO KOTTKE MANHATTAN SHORT FILM FESTIVAL LEE KONITZ QUARTET

9/13 9/22 10/4, 5,7 10/6

PHOTO COURTESY OF THE ARTIST

Baracus [$8/9 P.M.]

In 1998, a crack rock ’n’ roll band disbanded; these men promptly escaped from a maximum security stockade to the greater Triangle music scene. Today, still wanted by longtime fans clamoring for a bygone era, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can’t wait another two decades to see them, maybe you should go see Baracus. Sci-fi rock act I Am Maddox returns after a much, much briefer hiatus. Few Good Things open. —Patrick Wall POUR HOUSE: Phish PreParty: Big Daddy Love, Members of Fireside Collective; 2 p.m., $5. Red Baraat; 7 p.m., $25. Phish After Party: Dr. Bacon, Psylo Joe; 10 p.m., $10.

DURHAM CENTRAL PARK: Kyshona Armstrong; 6 p.m..

POYNER PLACE: Funk n Disorder; 6 p.m., free.

KINGS: No Borders, No Masters: A Benefit for Separated Families: Occultist, Drugcharge, Essex Muro, Das Drip, Magma Opus; 8:30 p.m., $10 suggested donation. See page 22.

SHARP NINE GALLERY: Thomas Taylor; 8 p.m., $10-$20.

THE FRUIT: Eric Hirsh, ZooCrü, Shana Tucker, Zen Poets; 7:30 p.m., $17-$20.

SCHOOL OF MUSICAL ARTS

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FR 8/10

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

SA 8/11 FR 8/17 SA 8/18 SA 8/25 TU 8/28 FR 9/7

TH 8/9 FR 8/10 SA 8/11 SU 8/12 TU 8/14

SATCHMO BABCOCK JOHNNY SANSONE MEL MELTON & THE WICKED MOJOS DUKE STREET DOGS KARA GRAINGER TERESA JAMES & THE RHYTHM TRAMPS DAVID QUICK’S JAZZ COMBO TUESDAY BLUES JAM WITH CLARK STERN

26 | 8.8.18 | INDYweek.com

BEYÙ CAFFÈ: Elijah Jamal Balbed feat. JusPaul; 7 & 9 p.m., $15.

BREAKAWAY CAFE: Neville’s Quarter; 5 p.m., donations.

CAT’S CRADLE:

Sam Bush

[$30–$33/8 P.M.] It feels a little rude to call Sam Bush an “elder statesman” of anything, given his perpetually youthful spirit. Still, the mandolin and fiddle pro made an indelible mark on bluegrass music by being among the first players to mix the tenets of Bill Monroe, Earl Scruggs, and Lester Flatt with the loose, groovy rock music of the early seventies. These days, Bush maintains his easygoing, affable style through songs that continue the newgrass legacy. Hank Smith and Pattie Hopkins Kinlaw open with a duo set of fiddle and banjo tunes.

—Allison Hussey

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NBC’s The Voice was just the beginning. Zo has released three albums and numerous singles since participating in the show, and on her new eponymous album, her folksy, unrestrained voice shines as she sings about love and selfdiscovery. —Lena Geller RUBY DELUXE:

No Pants Party: DJ Luxe Posh [FREE/10 P.M.]

Skout stops at Kings on Sunday, August 12.

CAT’S CRADLE BACK ROOM:

Open Field [$8/9 P.M.]

After adopting the name Open Field in 2015, Kingsbury Manx’s Kenneth Stephenson quietly released a pair of dreamy, meditative LPs full of psyched-out Americana with backing by current or former members of Spider Bags, Lud, Ama Divers, Work Clothes, and Transportation. This is a rare chance to see the project brought to life on stage. Shelles sets the plaintive cries of Old Bricks songwriter Stuart Edwards to fractured, cosmic roots rock. Object Hours adds tumultuous instrumentals.

—Spencer Griffith THE CAVE:

Joe Jack Talcum [$10/9 P.M.]

In 1983, Joe Jack Talcum—née Joseph Genaro—founded The Dead Milkmen. The cultfavorite punk act was built on Talcum’s sharply snide songs, which lampooned his punk band’s audience as much as he skewered mainstream society. As a solo

Many deejays fail to venture out of their comfort zones, utilizing the same few beats and samples from Top 40 hits to create music they know is reliably danceable, if also unoriginal. Don’t bet on the same from Breniecia Reuben, aka DJ Luxe Posh, who heads up this wear-anything-butpants dance party at Ruby Deluxe. DJ DNLTMS hits the decks, too. —Lena Geller PHOTO BY KAITLIN GLADNEY

act, Talcum has extended his lengthy list of defiant and strange and irreverent songs. He still peppers his sets with Milkmen tunes; ask nicely, and Talcum might just play “Bitchin’ Camaro.” Dex Romweber, another cultfavorite songwriter with a razor-sharp wit and a penchant for mellifluous melody, opens.

Plus Erica Russo.

—Patrick Wall FLETCHER OPERA THEATER:

Carolina Music Awards [$33–$58/8 P.M.]

For more than a decade, the Carolina Music Awards have ostensibly functioned as a vehicle to celebrate music in North and South Carolina. While fans have the opportunity to nominate anyone they want early in the awards process, it’s ultimately a panel of radiofocused pros that decides who takes home a trophy.

The evening’s big winners, then, will likely be slanted toward perceived commercial viability rather than genuine artistry (though the two

aren’t necessarily mutually exclusive). Whichever way it swings, it’s likely you’ll still end up entertained.

—Allison Hussey POUR HOUSE: Porch 40, The Up and Up; 8 p.m., $8.

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

SHARP NINE GALLERY: Dave Finucane Quartet featuring Scott Sawyer; 8 p.m., $10-$20.

SUN, AUG 12 THE CAVE: Suggested Friends, Bangzz; 9 p.m., $5 Suggested donation.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Wiz Khalifa, Rae Sremmurd; 6 p.m..

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

THE DURHAM HOTEL: The Beast; 5:30 p.m., free.

KINGS:

Skout

[$10/9 P.M.] Brooklyn duo Skout crafts polished, poppy indie-folk

that finds echoes of Mumford & Sons’ anthemic, arenafilling crescendos distilled into stripped-down, primarily acoustic arrangements. Laura Valk’s soaring lead vocals are backed by Connor Gladney’s gentle harmonies, heightening the intensity imparted by her emotionally charged lyricism.

The resulting singles are tailor-made for TV producers to pluck for a melodramatic soundtrack—they’ve scored a couple placements already— though they’ll add some familiar covers as well. Skout also plays Local 506 on Friday, August 17. —Spencer Griffith POUR HOUSE: Cliff Wheeler Band, Zuzu Welsh, The Dround Hounds; 1 p.m., $5.

POUR HOUSE:

Gina Zo

MON, AUG 13

CAT’S CRADLE (BACK ROOM): DK the Drummer, Sucré; 8 p.m., $15.

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

fiery, melodic indie rock that borrows liberally from shoegaze (impenetrable walls of distortion and reverb), new wave (kinetic and vivid bursts of angular energy), and psychedelic indie pop (think: the Elephant 6 collective’s Technicolor collages) for a sound that’s effervescent and incandescent. Gauche and Desert Secretary open.

—Patrick Wall

TUE, AUG 14 THE CAVE: Ramblin’ Fever with DJ John Howie Jr.; 9 p.m.-midnite, $5 Suggested donation.

WED, AUG 15 2ND WIND: Yeaux Katz; 7-9 p.m., free.

BLUE NOTE GRILL: The Herded Cats; 8 p.m..

DUKE’S KIRBY HORTON HALL: Ciompi Quartet: Kettő, Drei, Quatre; 7:30 p.m., $10-$25.

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m..

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

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

LOCAL 506:

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

[$10/9 P.M.]

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

THE WICKED WITCH:

Flasher

[$10–$15/8:30 P.M.] Nominally, Flasher is a postpunk band, but the trio draws from a much wider well than the dour and dire sounds that mark the post-punk made in their hometown of Washington, D.C. Flasher’s

King Django New York’s King Django has been hauling around his blend of neo-ska, roots reggae, and whatever else he cares to toss into the mix since the nineties.

Along the way he’s probably become some purists’ worst nightmare with his eclectic, open-ended approach to reggae, but he’s made plenty more crossover converts. The Spectacles open. —Jim Allen POUR HOUSE: NC SPIRIT ‘18 Music & Arts Community Festival; 8 p.m., $12.

[$10/7 P.M.]

Though competing on a TV singing show is a huge opportunity, for many, it ends up being the highlight of their career instead of a gateway to bigger and better things. Gina Castanzo, who goes by the stage name Gina Zo, has made it clear that her 2016 stint on

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 8.8.18 | 27

art

8.8–8.15

OPENING Art Happy Hour! Woven Decor Macrame: Wine, snacks, artmaking with textile artist Katie Berman. $25-$35. Thu, Aug 9, 7 p.m. Artspace, Raleigh. www.artspacenc.org.

SPECIAL Hot Takes: Group EVENT show. Aug 10-Oct 5.

Reception: Fri, Aug 10, 6-8 p.m. Light Art + Design, Chapel Hill. www.lightartdesign.com.

SPECIAL Truth to Power 6: EVENT Annual show focusing on social justice. Juried

by Nasher director Sarah Schroth. Thru Sep 10.

Reception: Fri, Aug 17, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

ONGOING August Summer: Acrylic works

by Margo White. Thru Aug 31.

Local Color Gallery, Raleigh. www.localcoloraleigh.com.

LAST Beyond The Stars: CHANCE Paintings by Renzo 28 | 8.8.18 | INDYweek.com

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

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

Ortega. Thru Aug 31. Reception: Fri, Aug 10, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

By the Sea: Seascapes and shore living. Jul 6-Sep 1. V L Rees Gallery, Raleigh. vlrees.com.

Cameron Village Underground Photography Exhibit: This is going to sound crazy, but did you know there used to be an underground mall under Cameron Village, and that it housed nightclubs that both incubated local rock and hosted legendary touring acts as diverse as R.E.M., Barry Manilow, Jimmy Buffet, and Chuck Mangione?

In the late seventies and early eighties, before it was shut down because of concerns about safety, The Village Subway—aka the Raleigh Underground— roiled with nightclubs such as The Frog and Nightgown and The Pier, where Sonic Youth recorded the cover of “I Wanna Be Your Dog” that appears on Confusion Is Sex. This rich history, mostly lost beyond some hazily

FRIDAY, AUGUST 10

HOT TAKES

This is going to sound random for a second, but bear with me: When I was a kid, I had a cousin who lived in an apartment complex that had both a cold swimming pool and a hot tub, and I loved the shocking feeling of running back and forth between them. Now that experience comes to the art gallery in Hot Takes, which runs at Light Art + Design through October after this Second Friday reception. The main gallery is dedicated to works in diverse mediums given to “warm tones and hot topics,” while a satellite space on Brewer Lane features “chilly media and cool light installations.” Part of the gallery’s “Contemporaries” series, the exhibit features a large group of artists from the Triangle, Richmond, Philly, and New York; familiar local names include Carrie Alter, Bill Thelen, William Paul Thomas, Ron Liberti, Heather Gordon, and George Jenne. It’s that shocking icy-hot feeling of my childhood all over again, but with less risk of slipping on wet tile or cardiac arrest. —Brian Howe

LIGHT ART + DESIGN, CHAPEL HILL

6–8 p.m., free, www.lightartdesign.com

Still from “Opening Shots” by George Jenne PHOTO COURTESY OF THE GALLERY

remembered blogs, is the subject of a new exhibit at The City of Raleigh Museum, which runs through January after a soldout, wait-listed reception with photographer Chris Seward. His dynamic black-and-white photos from the scene capture nowfamous names and local, protoindie-rock bands such as The Fabulous Knobs and Arrogance in their primes. More than two hundred photos are featured in the exhibit, along with flyers, videos, and other artifacts. Thru Jan 31. Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

—Brian Howe Common Ground: Paintings by Linda Carmel and Michele Yellin, jewelry by Nell Chandler, and pottery by Evelyn Ward. Thru Aug 26. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Downtown Cary Food & Flea: Locally made goods, antiques, crafts, food, and art. Sun, Aug 12, noon-4 p.m. Fidelity Bank Plaza, Cary. www.dtcfoodandflea.com.

Existential Distress: Drawings

by Jessica Burke. Jul 20-Sep 16.

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

Expressions of Life: Jenny Jones B, Amy Gardner Dean, and Hello Pottery. Thru Sep 20. Litmus Gallery, Raleigh. www.litmusgallery.com.

LAST Folk Keepers: Art by CHANCE Charlie and Susan Frye: Paintings and found-art assemblages. Thru Aug 9.

Alexander Dickson House, Hillsborough. historichillsborough.org.

Dana Lynn Harper: Summer artist-in-residence exhibition.

Thru Aug 25. Artspace, Raleigh. www.artspacenc.org.

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

decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life.

The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Sep 21.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Jeana Eve Klein: PNC Pop-In Artist in Residence. Thru Sep 1.

Artspace, Raleigh. www.artspacenc.org.

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

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

M.E.: Mixed media by Susie Silver. Thru Sep 16. Durham Arts Council, Durham. www.durhamarts.org.

LAST Ode to Matisse: Oil CHANCE paintings by Mary Page Whitley. Thru Aug 12.

Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

LAST One Eno: CHANCE Photography by Holden Richards. Thru Aug 12.

West Point on the Eno, Durham. www.enoriver.org.

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

LAST Reclamation: Art CHANCE from Scraps of Durham’s Boom: Assemblages with salvaged materials by Mark Cool. Thru Aug 11. The Scrap Exchange, Durham. www.scrapexchange.org.

Ronan Peterson, Peg Bachenheimer, and Paul Hrusosvsky: Though it’s full of abstract forms, what could be more concrete than nature?

This quiet paradox beats at the heart of the new triple show at Durham’s Craven Allen Gallery, which runs through September 8 after this opening reception. But the three formally diverse exhibits become one in the resonances of their titles and themes. In Layered, FRANK Gallery member artist Peg Bachenheimer shows her imaginative landscapes and abstractions in encaustic wax.

In Fecundity, Ronan Kyle Peterson displays wheel-thrown red earthenware that embraces a “comic-book interpretation of ... the perpetual organic comedy of growth and decay.” And in Embellished, former Craven Allen director Paul Hrusovsky comes home with a clutch of new paintings, complicated with stencils and silk screens, which portray organic shapes in what the artist calls “a cacophony of excessive adornment.” Thru Sep 8. Craven Allen Gallery, Durham. www.cravenallengallery.com.

—Brian Howe Searching for Serenity: Photography by j.j. raia and silver jewelry Monica R. Hunter.

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Thru Aug 28. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

LAST Snippets: Paintings CHANCE by David Molesky.

Thru Aug 15. Gallery A, Raleigh. gallerya-nc.com.

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

—Brian Howe

RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE

THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS

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

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

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others.

Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation.

In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique?

Sure. But, as we’ve said, what seams? Thru Aug 18.

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

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LAST Temporal CHANCE Cartography: Interactive exhibit by Tom Dawson and JP Trostle. Thru Aug 11. Durham Art Guild, Durham. durhamartguild.org.

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

Durham Arts Council, Durham. durhamarts.org.

Visualizing Micro Environments: Paintings by Orr Ambrose inspired by cosmology, physics, and microbiology. Thru Oct 11. Durham Convention Center, Durham. durhamconventioncenter.com.

Waxing Poetic: Encaustic paintings by Marcia Streithorst. Thru Sep 1. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

The World Around Us in Watercolor: MAC (Marie Anne Crock). Thru Aug 31.

Jerry M. Passmore Center, Hillsborough. orangecountync.gov/ departments/aging.

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INDYweek.com | 8.8.18 | 29

stage

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming August 22:

NC STATE/HILLSBOROUGH ST. For advertising opportunities, contact your ad rep or advertising@indyweek.com 30 | 8.8.18 | INDYweek.com

WEDNESDAY, AUGUST 8–SUNDAY, AUGUST 19

MASTER CLASS

It’s 1971, and you’re a promising young soprano studying at Juilliard.

Already you can see ahead of you the Metropolitan Opera, the Royal Opera, and La Scala, all beckoning after graduation. But first, you have a public appointment with Maria Callas. Not everyone survives the experience. In playwright Terrence McNally’s visceral homage to the operatic legend once dubbed La Divina, Callas’s voice has been ravaged after decades of abuse, and she’s been reduced from iconic roles on the world’s great stages to a master class in New York City. There, one of history’s most mercurial divas exacts her tribute, cat-and-mousing with a carefully chosen group of pre-professionals, transforming a student recital rite of passage into a harrowing gantlet that can make—or break—a budding young star. PlayMakers stalwart Ray Dooley directs New York actor Judy McLane in a suspenseful Theatre Raleigh production. —Byron Woods

KENNEDY THEATRE, RALEIGH

Various times, $30–$32, www.theatreraleigh.com

Judy McLane in Master Class PHOTO COURTESY OF GOLDEN RELATIONS

OPENING Beatles vs. Elvis: A Musical Showdown: $35-$65. Mon, Aug 13, 7:30 p.m. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Hansel and Gretel and Little Red Ridinghood: Children’s theater presented by Aggregate. $10$12. Thru Aug 11. Church on Morgan, Raleigh.

The Imagination Show: Children’s theater presented by Aggregate. $10-$12. Thru Aug 18. Church on Morgan, Raleigh.

It’s Only a Play: Comedic play. $18-$24. Thru Aug 26. Theatre In The Park, Raleigh. www.theatreinthepark.com.

Metal Pole Mayhem: Pole dancers, aerial acts, and hoop performers with rock music. $20. Sat, Aug 11, 9 p.m. Lincoln Theatre, Raleigh. www.lincolntheatre.com.

A Night of Stand-up Comedy: Hosted by Michelle Maclay. $5 suggested. Wed, Aug 15, 9 p.m.

The Cave Tavern, Chapel Hill. www.caverntavern.com.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com. ½ Burn This: Reviewed on p. 21. $16-$20. Thru Aug 19.

Sonorous Road Theatre, Raleigh.

The Dangling Loafer: Stand-up comedy. $5. Fri, Aug 10, 9 p.m.

Kings, Raleigh. www.kingsraleigh.com.

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

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

In the Heart of the Fire: Anyone who’s ever been to camp knows that fire and stories are intertwined. Spooky tales— and ancient folkways and traditions—have been conveyed by firelight for millennia.

Paperhand Puppet Intervention cofounders Jan Burger and Donovan Zimmerman have been pondering some unconsidered similarities in both.

Like fire, stories can illuminate and warm us. When not critically viewed, both are also capable of great destruction.

Paperhand’s nineteenth annual pageant offers five different looks at the dualities of fire

and stories. Fantastical puppet creatures, from a multistory firebird to little baby sparks, populate choreographer Tommy Noonan’s midshow fire pageant.

Cantastoria, an Italian form of storytelling, turns the tale of a good fire into “a giant graphic novel with singing,” Zimmerman says. And a group of tricksters who graced the world with stolen myths and flame ponder the dichotomy and legacy of their greatest gifts. $8-$15. Thru Sep 23 UNC Campus: Forest Theatre, Chapel Hill. ncbg.unc.edu.

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

LadyBits Open Mic: Fiveminute comedy sets by women.

Second Saturdays, 5:30 p.m.

The Pinhook, Durham. www. thepinhook.com.

food & drink

Burly Wine Dinner: Five-course dinner with wine pairings with Napa Valley’s Burly Wine and owner Hank McCrorie. $95.

Tue, Aug 14, 6:30 p.m. bu•ku Wake Forest, Wake Forest.

Creative Workshops & Food Truck Fridays: A different food truck and craft workshop every Friday through August. Fridays, 3-7 p.m. Inspirations Home Decor and More, Raleigh.

Gluten & Allergen Free Wellness Event: Product sampling and sales from gluten and allergen free vendors, lectures, demonstrations. $10.

Sat, Aug 11, 10 a.m.-4 p.m. NC State Fairgrounds, Raleigh. www.ncstatefair.org.

OysterFest: Three-course sustainable seafood dinner with Paul Greenberg and Locals Seafood. $48. Sat, Aug 11, 6 p.m.

The Durham Hotel, Durham. thedurham.com.

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

screen SPECIAL SHOWINGS Marie Antoinette: Afternoon Tea screening. $12. Sun, Aug 12, 2:15 p.m. Alamo Drafthouse, Raleigh.

Crazy Rich Asians: Black Tie advanced screening. $12.

Wed, Aug 8, 7 p.m. Alamo Drafthouse, Raleigh.

Duel: Screening. $8. Fri, Aug 10, 7:30 p.m. Alamo Drafthouse, Raleigh.

Inventing Tomorrow: Full Frame Road Show Summer Series.

Thu, Aug 9, 7:30 p.m. The Cary Theater, Cary.

The Karate Kid: Screening. $8.

Thu, Aug 9, 6:30 p.m. Alamo Drafthouse, Raleigh.

Mac and Me: Weird Wednesday. 35mm screening. $5. Wed, Aug 8, 7:15 p.m.

Alamo Drafthouse, Raleigh.

Movies Under the Stars: Coco: Free movies outdoors on top of the Wallace Parking Deck at 150 E. Rosemary Street. Thu, Aug 9. Wallace Plaza, Chapel Hill.

Scraper: The Final Cut: Sevenand-a-half-hour time-lapse video of the One City Center construction. Sat, Aug 11, 1-8:30 p.m. Durham Art Guild, Durham. durhamartguild.org.

Ghoulies II: Terror Tuesday screening. $5. Tue, Aug 14, 6 p.m. Alamo Drafthouse, Raleigh.

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our august 15 issue reserve by August 9fi

Troll 2: Weird Wednesday screening. $5. Wed, Aug 15, 7:30 p.m. Alamo Drafthouse, Raleigh.

Whip It: Screening. With Carolina Roller Derby. $8.

Sat, Aug 11, 1:45 p.m. Alamo Drafthouse, Raleigh.

OPENING A.X.L.—A top-secret robot super-dog stars in this family adventure. Rated PG. BlacKkKlansman—Spike Lee takes on the true story of an African-American detective infiltrating the KKK. Rated R. Dog Days—LA denizens’ lives collide because of their canine companions in this ensemble piece. Rated PG. Generation Wealth—Lauren Greenfield (The Queen of Versailles) is back at it,

Contact your rep or advertising@indyweek.com INDYweek.com | 8.8.18 | 31

screen

baiting the super-rich, in her new doc. Rated R. The Meg—Jason Statham battles a seventy-foot shark in this Jaws for a more ridiculous age. Rated PG-13.

CONT’D

page READINGS & SIGNINGS

Slender Man—A group of teenage girls gets hunted by internet legend the Slender Man. Rated PG-13.

Dorothy Baird and Valerie Macon: Second Thursday Poetry. Thu, Aug 9, 7 p.m.

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

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

LECTURES ETC. WUNC Youth Reporting Listening Party: Audio stories by teenagers working with WUNC. Tue, Aug 14, 7 p.m.

Motorco Music Hall, Durham. www.motorcomusic.com.

 Ant-Man and the Wasp—Marvel takes a goofy, low-stakes break from existential threats. The tone is so agreeable you hardly notice the rickety script.

Rated PG-13. ½ Christopher Robin— After you get used to them being 3-D plush toys, Winnie the Pooh and friends charm, but Christopher Robin is the least interesting thing in this movie. Rated PG.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated SpiderMan, the sequel is a controlled detonation of the superheromovie template: filthy, funny, and cheerfully ultraviolent.

Rated R.

WEDNESDAY, AUGUST 15

DAVID JOY: THE LINE THAT HELD US

½ Eighth Grade—A brilliant first act and a more staid second split the difference in internet star Bo Burnham’s film about young life online. Rated R. ½ Incredibles 2—Dialing up socially progressive themes fourteen years after the original, Pixar’s sequel is fun, funny, and timely but not quite transcendent. Rated PG. ½ Jurassic World: Fallen Kingdom—Murky morals, jump scares, and diminishing returns of digital dinos weigh on this once-mighty franchise. Rated PG-13. ½ Mission: Impossible – Fallout—This Tom Cruise vehicle isn’t a good action film; it’s a great one, rivaling genre exemplars and drawing upon the previous entries in franchise.

Rated PG-13. ½ Solo: A Star Wars Story—If Rogue One was a war picture set in the Star Wars universe, then Solo is a space western, and a pretty good one, too. Rated PG-13.

32 | 8.8.18 | INDYweek.com

Magician Joshua Lozoff is used to baffling Triangle audiences with a thoughtful but mischievous combination of mind games, parlor magic, and sleight of hand.

Still, it takes something more to do your act in front of the two toughest customers in magic with a national TV audience looking in. Last December, Lozoff got the nod that he’d be on Penn & Teller: Fool Us this season. Then he realized he somehow had to boil down his audition piece, a mentalism effect that took twenty-five minutes in his live show, to four and a half minutes for television. That disappearing act took months in itself. “I’d bitten off more than I could chew,” Lozoff admits, “but as the piece evolved, it became much stronger.” Can Lozoff compel host Allison Hannigan to pick the animal he’s predicted ahead of time? Will he fool Penn and Teller? Tune in Monday night (or Friday night’s repeat broadcast) for the answer. —Byron Woods

Some truly dark pastimes come out of these Carolina mountains. It was here that Popcorn Sutton stilled his shine. Running it gave rise to stock-car racing and NASCAR. Add to that lineage the stories of David Joy. A Western Carolina University graduate who lives somewhere in the N.C. mountains where his tales are set, Joy published his first novel, Where All Light Tends to Go, in 2015. A brutal coming-of-age tale set in violent, hardscrabble badlands of meth and trailer parks, it earned him high praise as well as an Edgar Award nomination. His second novel, last year’s The Weight of This World (Random House), returned to the scene of the crime. An Afghanistan combat veteran embarked on a “meth-fueled journey to nowhere” after getting mixed up in a drug dealer’s accidental death.

Expect more bleak beauty in Joy’s latest, The Line That Held Us. —Eryk Pruitt

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MONDAY, AUGUST 13

JOSHUA LOZOFF ON PENN & TELLER: FOOL US

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

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NC State/Hillsborough St. For advertising opportunities, contact your ad rep or advertising@indyweek.com

INDYweek.com | 8.8.18 | 33

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INDYweek.com | 8.8.18 | 35

KOL HASKALAH'S ANNUAL OPEN HOUSE Sunday September 26th 10AM until noon, Murphey Hall, UNC Chapel Hill. Open to all. Come learn about Humanistic Judaism For more information: kolhaskalah.org

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