INDY Week 8.28.18

RALEIGH 8|29|18

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n w O r i e th The carolina mudcats— the triangle’s other minor league team—would like to remind you they exist

By Samuel Evers, p. 10

THE LOST CAUSE LOST AGAIN, P. 5

BIRD AIN’T THE WORD, P. 8

MUSIC FESTIVAL MADNESS, P. 16

FINDER THE INDY'S GUIDE TO THE TRIANGLE g n i m o C

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2 | 8.29.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 35

6 Since Durham County legalized accessory dwelling units eleven years ago, only twenty-two have been permitted.

8 Bird, the California tech company behind the scooters that appeared in Raleigh this summer, has decided it’s better to ask local governments for forgiveness than permission.

10 The Durham Bulls got their own Hollywood blockbuster.

The Carolina Mudcats got a cameo in Space Jam. 13 Replacing Franklin Street institution Spanky’s, Lula’s carries on the tradition of nostalgic Southern fare with its signature fried chicken.

DEPARTMENTS 6 News 13 Food 16 Music 19 Arts & Culture 22 What to Do This Week 25 Music Calendar 28 Arts & Culture Calendar

14 “Ugly produce is anything that’s atypically sized, shaped, or colored, like a twisted carrot.”

16 The Triangle has more music festivals than ever this September. Here’s what you need to know about them.

19 Our region has largely avoided the mediocrity of dinner theater. Snap Pea’s The Banquet is something else entirely.

20 A Durham docuseries explores new kinds of quinceañeras for a new generation of Mexican Americans.

On the cover

The Carolina Mudcats play at Five County Stadium in Zebulon (p. 10).

PHOTO BY CAITLIN PENNA

PHOTO BY CAITLIN PENNA

INDYweek.com | 8.29.18 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED WIDENING OF N.C. 55 (WILLIAMS STREET) FROM U.S. 1 TO OLIVE CHAPEL ROAD (S.R. 1160) IN WAKE COUNTY TIP PROJECT NO. U-2901B The N.C. Department of Transportation will hold a public meeting regarding the proposed widening of N.C. 55 (Williams Street) from U.S. 1 to north of Olive Chapel Road (S.R. 1160) in Wake County. The primary purpose of this project is to reduce congestion along N.C. 55.

The meeting will be held on Thursday, August 30, 2018 at the Apex Town Hall located at 73 Hunter Street in Apex from 4 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 September 30, 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, Zahid Baloch, P.E., by phone at (919)707-6012 or by email at zbaloch@ncdot.gov or Consultant Project Manager Candace Andre, by phone at (919)741-5346 or by email at candre@vhb.com.

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.

4 | 8.29.18 | INDYweek.com

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backtalk

Sam, Silenced Last Monday evening, demonstrators tore down Silent Sam on UNC-Chapel Hill’s campus. Over the next week, the N.C. Historical Commission voted—begrudgingly— to keep the three Confederate monuments on the state Capitol grounds, a member of the UNC Board of Governors pledged to re-erect Sam, and a bunch of definitelynot-racist-just-history-loving Silent Sam supporters held their own rally on Saturday and were chased away by student protesters. The INDY reported on all of that, which, as the subject of the Lost Cause always does, produced a, um, robust comments section. Get your hazmat suits on, kids; we’re going in.

First up, Mike Paladin, who says no one cares about facts: “It’s a shame that not one of the ‘activists’ actually took a good look at the face of that statue while ranting about ‘the racist hatred it represents.’ Because that face—that young face—was crafted to represent a UNC student who put aside his pencil and books to go get shot at in a war. He was not out to get shot at to keep blacks enslaved; he was not heading off to risk death just so plantation owners could keep their slaves. He went to war to fight off an invading army. An army invading the South. His home. That young face risked it all with courage and honor. He did not go off to defend his home wearing a KKK hood.

“Not that any of the new crop of UNC students, that pampered oh-so-wise crew of smartphone-packing elitists, would care.

Why should they? It’s ancient history. Who cares about facts? And apparently—predictably—the INDY doesn’t give a damn, either.”

(Sigh. Perhaps we don’t care about facts, but we nonetheless feel obliged to point out that, well, yes, the entire point of the Confederacy was to perpetuate slavery, as evidenced by the very words of its founders.

Also, it’s likely not every Nazi soldier wanted to exterminate Jews, and many fought in a manner we would consider brave in other circumstances, but you don’t see statues honoring them in public squares in Berlin.

Context matters.)

Over to you, briteness: “Why did the police permit this vandalism? Did they have ‘stand-down’ orders, and, if so, who gave the orders? Or were they just scared of the angry mob? With shameless advocates

of revolutionary violence, the potential for people getting hurt was real. Maybe there weren’t enough cops to keep these jackals under control? I hope the public will get answers to these questions. For now, I think the most likely possibility is that somebody told the cops to let this happen. If this is the case, we need to demand that the responsible party lose his/her job.”

“Not that the new crop of UNC students would care. Why should they?

It’s ancient history.”

Michael Arrowood is also upset by the “mob rule” that led to Sam’s demise: “As a UNC graduate, a descendant of Confederates, and fervent advocate of the rational and humanistic principles I learned during my years in Chapel Hill, I am horrified and disgusted with this act of anarchy. It is incomprehensible for me that debates cannot be conducted above the level of mob rule, especially on matters of history and culture. This was a monument to students who gave their lives in the war, and should be accorded due respect. There is no excuse for this kind of behavior. I don’t recognize the Carolina where I studied anymore, if this is the way its students behave.”

To which ct responds: “Once the term ‘mob rule’ has been applied, hardly anyone would condone what happened. Of course, we celebrate ‘mob rule’ in the Boston Tea Party or the hammering down of the Berlin Wall. Technically those were illegal acts. Ultimately, history judges whether an occurrence of active civil disobedience was right. Sometimes history says yes, but more often history says no. People who participate in active civil disobedience should know that not only are they subject to nearterm prosecution, but they are also subject to long-term judgment.”

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

INDYweek.com | 8.29.18 | 5

indynews

Emp

Build, Baby, Build

A FAST-GROWING DURHAM NEEDS TO ADD TWO THOUSAND HOUSING UNITS A YEAR. ITS RULES ARE IN THE WAY.

BY SARAH WILLETS

A

verage newcomers to Durham bring with them $10,000 more a year in income than average Bull City residents. With the construction of new housing falling short of population growth since 2010, the effect is a competitive real estate market in which wealthier newcomers drive up prices and buy below their means, snapping up inventory that would have been affordable to others.

“You have to be fast and rich because even rich people can’t buy a house in Durham right now,” says Durham city council member Jillian Johnson.

City-county planning staffers are trying to stem that tide by proposing regulatory changes to encourage the development of so-called missing-middle housing—everything in between single-family homes and large apartment complexes. Senior planner Hannah Jacobson laid out phase one of the Expanding Housing Choices project for the city council last week.

To accommodate the approximately 160,000 people expected to move to Durham by 2045, the county needs to add about two thousand units per year to its housing stock, per Jacobson’s presentation.

Right now, options are mostly limited to single-family homes, which make up about 58 percent of Durham’s housing stock.

While single-family homes can be built by right in 77 percent of the county—meaning they don’t require special approval from local governments—missing-middle housing, such as duplexes, mother-in-law suites, and cottage courts that share a common outdoor space, can only be built without such approval in about 8 percent of the county.

Planning staffers hope that by relaxing regulations on lot size, where certain types of housing can be built, and how that housing can look, developers (and even homeowners) will start to fill the gap with missing-middle housing, giving buyers more options and adding density to existing neighborhoods without changing their character.

6 | 8.29.18 | INDYweek.com

“We look at all of the data we’ve seen so far, it feels like the answer to the housing shortage is to build more, build more, build more,” Jacobson told the council. “And I think that’s true at a citywide level and a regional level— that we need more housing supply. But if you zoom into the neighborhood level, the block level, development has felt like more of the problem and not the answer because it has led to increased gentrification.”

You don’t need to look twenty-seven years into the future to see Durham’s housing shortage play out.

Already about 120,000 people commute here every day from places like Johnston, Chatham, and Alamance counties, many because they can’t afford to live in the city where they work or find the type of housing they want here. The amount of developable land left is limited, and increasing density in existing neighborhoods by building taller— while encouraged for areas close to mass transit—tends to draw intense opposition from residents who say it’s not a good fit.

There are fewer homes on the market in Durham, and they’re selling faster and for higher prices; the median sale price has gone from $168,000 to $258,000 in the past five years, according to real estate website Redfin. While there is more rental inventory, rents have also increased.

While missing-middle housing is more affordable than your standard single-family house, it won’t be affordable for everyone. But officials hope that it could stave off gentrification anyway.

As council member Charlie Reece explained at last week’s meeting: “The rationale for this project, in my view, is not necessarily that this puts a dent in affordability … but that we build places for people to move into Durham and live in that are not currently bought by low-income folks.”

To that end, planning staffers have proposed six concepts.

One is to make it easier to build accessory dwelling units, also called mother-inlaw suites or granny flats, behind existing

FILE PHOTO BY ALEX BOERNER

homes. Right now, ADUs are capped in size at 30 percent of the primary dwelling on a lot. They also must conform to height limits and setback requirements. As such, just seventy-two ADUs have been permitted in Durham since they were allowed in 2006, according to the planning department.

Planners want to increase ADUs’ size limit while also reducing the height cap so that the units are less obtrusive. Jacobson said the department is also working to streamline the ADU process and connect homeowners with loans to build them.

Another proposal would allow duplexes in more parts of the county; currently, you can only build them in about 3 percent of Durham County, according to the planning department. In eleven years, only twentytwo duplexes have been permitted.

To reduce land costs, staffers also want to revisit requirements for how big a lot must be in order to build a single-family home on it, although they acknowledge this could lead developers to tear down existing homes so that they can subdivide properties. A similar proposal creates a new category of homes with smaller lot-size requirements.

The small-house-small-lot type would

include homes smaller than eight hundred square feet but bigger than tiny homes, considered to be under four hundred square feet. Another proposal creates a category for cottage courts, or clusters of small cottages around a central outdoor area.

The last concept is to rewrite standards for “infilling” certain vacant lots so that new homes are in keeping with the surrounding neighborhood—for example, by imposing height limits or requiring a tree canopy, as the city council recently did with the neighborhood protection overlay in Old West Durham.

“This is not the answer to affordable housing,” Jacobson told the council. “We believe that these interventions need to be done as part of a wider strategy for affordability and that they need to be paired with preservation strategies and continued development in support of subsidized housing units that specifically try to protect vulnerable neighborhoods and households. However, I think if nothing is done to accommodate the additional growth, the current problems that we’re experiencing will only continue and likely worsen.” swillets@indyweek.com

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news

Shooting the Bird

RALEIGH MAY REGULATE ELECTRIC SCOOTERS INTO EXTINCTION—OR JUST BAN THEM ALTOGETHER

BY LEIGH TAUSS

ILLUSTRATION BY STEVE OLIVA / PHOTO BY BEN MCKEOWN

A

s quickly as downtown Raleigh’s love affair with Bird began, so could it end if the city council fixates on how to corral the scooters in the name of public safety instead of embracing their possibilities for residents.

The scooters arrived in Raleigh this summer without warning, appearing on sidewalks, ready to ride—as they have in cities all over the country this year. Local governments have reacted to their presence in very different ways. Some have banned them; others enacted regulations to punish the company if its users get out of line.

Citing concerns about public safety, Raleigh’s city council last week gave its staff 8 | 8.29.18 | INDYweek.com

sixty days to craft regulations. For now, the scooters remain—but whether that will be the case two months from now remains an open question. During last Tuesday’s council meeting, some council members seemed especially wary of the technology.

Chief among them was Dickie Thompson, who argued that the scooters should be banned until regulations are put in place.

He warned that the city could be liable if someone got hurt.

“If it’s your child or someone else’s child who gets hit after this meeting today, then I think we’ll have been shortsighted on this,” Thompson chided council member and Bird enthusiast Nicole Stewart.

The brainchild of former Lyft and Uber executive Travis VanderZanden, Bird raised about $400 million by June. Its fundamentals are a lot like those rideshare companies: You download the Bird app to your smartphone, link a credit card, and use the app’s GPS to find the nearest scooter. Then you scan the barcode on the handlebars, lift the kickstand, kick off three times before pressing the throttle, and away you go, up to fifteen miles per hour. The app charges you $1 to get started and fifteen cents per minute after that. (At the end of the night, Bird will pay you between $5 and $20 per scooter to bring scooters home, charge them, and put them out again in the morning.)

There are rules, of course, mostly spelled out in the lengthy user agreement that no one bothers reading. Helmets, for example, are required, and the company will even send you one for the cost of shipping. But you’ll rarely see a rider wearing one. And city code prohibits riding on sidewalks, which nearly everyone does.

“I, like everyone else who rides them, disobey all traffic laws,” says downtown resident Lisa Lauck. “It’s probably only a matter of time before someone dies on one, but I can’t help it. It’s fun.”

Bird isn’t the only company in the emerging dockless scooter space—Spin and LimeBike have their own models—but it may be the most brazen, and for city planners, the most annoying. Part of the company’s strategy banks on the element of surprise: The scooters just show up. Instead of waiting or negotiating for permits or regulations that may never come, Bird has, in essence, decided it’s better to ask forgiveness than permission.

In Raleigh as in other cities, the debate revolves primarily around safety: how to keep riders from colliding with pedestrians and prevent the scooters from blocking sidewalks. Transportation director Michael Moore says residents have voiced “a general concern” about the scooters, though it’s unclear how many complaints the city has actually received.

“I think it’s disappointing we couldn’t start as partners,” Moore says. “In the situation we are [in] now, we have to regulate into a workable partnership, whereas if we had started and had more notice, we could have had a mechanism for them to operate with the licenses they needed.”

In a statement, Bird says it “works with every city in which we operate so that we can provide a reliable and affordable transportation option under a framework that works for everyone.”

Still, this “just show up” strategy has backfired in other cities. In Bird’s hometown of Santa Monica, California, the scooters were quickly banned and later passed over in a

competitive rideshare bidding process. In San Francisco, the scooters were tossed in trees and smeared with feces before being prohibited. Los Angeles issued the company a cease-and-desist order, though it hasn’t been enforced. Denver, meanwhile, allows the scooters so long as they stay on the sidewalks and are parked at bus stops. To keep the city happy, Bird is setting aside money to help build and maintain bike lanes.

(At UNC-Chapel Hill, where the scooters showed up on campus as classes started last week, Bird agreed to temporarily remove them while the school “explores the possibility of a partnership with the company,” Brad Ives, associate vice chancellor for campus enterprises, said in a statement. UNC hopes to reach an agreement by the end of September.)

Raleigh is most likely to emulate Charlotte’s model, Moore says. The Queen City first saw the scooters in May; unlike Raleigh, it already had a pilot program in place for dockless bikes, and scooters were easy enough to tack on. The program ends in October, at which point Charlotte will evaluate its next steps, which could include enacting a permitting process, launching a city-owned dockless ride program, or banning the technology altogether.

Ultimately, the process of “legalizing” Bird may include an encroachment agreement similar to what restaurants need to put seating on the sidewalk, as well as regulations guiding where the scooters can and cannot be ridden and left. Moore hopes to bring the proposed rules back to the council as early as September 4.

Along the way, city staffers will try to figure out “what constitutes success,” Moore says. “If we cannot get folks to generally comply [with the new rules], then we’ll probably start talking about having them removed from the streets.”

Stewart, who rode a Bird to last week’s council meeting, thinks there’s fear-mongering at work.

“We’re hearing a lot of fear—of uncertainty, of concern for how quickly Raleigh is growing—and I get that, and yet I think we also need to balance that with excitement for how we are going to plan for a better Raleigh,” she says. “And you can’t do that if you are only bringing one set of emotions to the table.”

The scooters, she says, can not only fill what’s called the missing mile of a commute after public transit, but also, unlike bicycles, “You don’t have to sweat on them in the summertime, which is kind of amazing.”

“We need to think more holistically about this problem instead of saying no to this one company and one type of transportation,” Stewart says. “I saw a guy on an electric unicycle the other day.”

From Stewart’s perspective, many of the problems detractors associate with the scooters are really problems with the city’s infrastructure—specifically, its shortage of wide, safe bike lanes that could move Bird riders off the sidewalks. And cracking down on the company itself, as the city seems likely to do, has its own inherent flaw: Users, not the company, control where the scooters are ridden and left. No one blames a car when there’s a crash. Here, though, the city wants to point fingers at Bird if its users break the rules.

Last week, Zack Medford, an owner of Isaac Hunter’s Hospitality and a leader of the Keep Raleigh Vibrant effort during the “Drunktown” debate in 2015, spread a proBird public service announcement on social media to educate the masses on how to operate the scooters without endangering the public. As of Monday, the video has been viewed more than forty-five hundred times.

For Medford, Bird was love at first ride.

He now uses the scooters daily to get around the city.

“Whether it’s Bird or LimeBike hoverboards or something, I think the city needs to understand that this is the direction America and the world is moving,” Medford says. “Instead of banning them, we should work to educate our citizens on how to use these technologies appropriately, safely, and adapt them into our community.”

Moore—who hasn’t ridden a Bird and won’t until regulations are on the books— says that Bird is “a good example of the pace of technology kind of outstripping the pace of society to adopt and to adapt.”

“It’s why they call these types of technology disruptive technology—they do change the culture, and they do change our approach to life,” he says. “I don’t know what the next thing is after dockless scooters. Who is to say there is anything that comes differently after [Bird]? It’s difficult to foresee.”

It’s not, Medford counters. Shareable mobility tech like Bird will be “a way of life going forward.”

“These technologies are going to come whether Raleigh likes it or not,” he says.

“I’m excited for the day when the Raleigh City Council sees new uses of public space as an opportunity instead of a threat.” ltauss@indyweek.com

INDYweek.com | 8.29.18 | 9

ague e l W w a

n w O r i the

Ever in the shadow of the Durham Bulls, the Triangle’s other minor league baseball team really wants to get your attention

T

he drive always seems longer than it should be.

You might, on your first or even fifth time humming along the route, check your GPS during that final stretch of N.C. 39 off U.S. 64 in far-eastern Wake County, just to make sure you aren’t being led astray, to a different patch of rural land, to a place without a pop-up baseball field.

But keep driving past the lake, the magnolias, the drive-up houses, the stop signs, and eventually you’ll see the water tower with the baseball seams, and from the trees and green-stretched land, Five County Stadium will appear, carved out on a stretch of land in the town of Zebulon, population 5,159— home, for the last twenty-seven years, to the not-quite-world-famous Carolina Mudcats.

The stadium’s grounds were sold to thenMudcats owner Steve Bryant in 1990 by Avon Privette, whose mother loved the Yankees and used to sit among those tobacco fields on sultry summer nights, listening to her team on the radio. Zebulon wasn’t Bryant’s first choice for the minor league team he’d purchased two years earlier. According to legend, Bryant wanted to relocate the team from Columbus, Georgia, to Raleigh, where PNC Arena is now. But the Durham Bulls, a mighty force in the wake of Bull Durham’s release, put the kibosh on those plans.

Then-Bulls owner Miles Wolff invoked a rule requiring minor league teams to locate no less than thirty-five miles apart from one another. Where Bryant wanted to build 10 | 8.29.18 | INDYweek.com

By Samuel Evers was about half that distance to downtown Durham, so he had to keep going. He and current general manager Joe Kremer, who’s been with the team since day one, got a map, drew a circle around Durham Athletic Park’s home plate and measured every inch of those thirty-five miles (technically, 37.8 miles) until they had a plot of land in sight.

They cut a deal with Privette, and construction began in 1990. Five County Stadium opened midway through the 1991 Double-A Southern League season. The team came equipped with the kind of offbeat name and outré logo (a grayish catfish squished inside an orange letter C) commonplace in today’s minor league ball but viewed then—when names and logos trickled down from major league affiliates—as cutting-edge.

Today’s Mudcats have a new league— they moved to the High-A Carolina League in 2012—and a new owner, the Milwaukee Brewers, which purchased the team from Bryant in October 2017, ending three decades of independent ownership. But the endearing mascot is the same. So is the sales pitch: Come enjoy a hassle-free night of wholesome family fun.

Of course, the Triangle’s other minorleague, the one 37.8 miles away, the one featured in a big-time Hollywood flick, the one capitalizing on a booming downtown in a thriving city, is making much the same pitch—except with craft beer and Stranger Things theme nights and a ten-thousandseat stadium that is usually near capacity.

Muddy the Mudcat wrestles a challenger during an in-game skit.

How do the Mudcats hope to keep up?

In short, they don’t. It’s not a fair fight.

One team plays toward the bottom rung of the minor league hierarchy and the other is one step below the majors. One is owned

by Capitol Broadcasting, while the other, until last year, was independent and cashstrapped. (“Steve Bryant would joke that he was a thousand-aire,” says Greg Young, the Mudcats’ broadcaster and director of media relations. “And then [Capitol Broadcasting

PHOTO BY CAITLIN PENNA

CEO James] Goodmon, he’s a millionaire, there’s a huge difference between the two.”)

But that’s not to say the Mudcats haven’t enjoyed success or been iconic in their own right. Their team name and logo, the product of a contest in Columbus in 1989, was at the forefront of the weird-name movement that has spawned the likes of the Akron Rubberducks, the Hartford Yardgoats, the Midland RockHounds, the El Paso Chihuahuas, and the Jacksonville Jumbo Shrimp.

In the beginning, the team’s merch sold like gangbusters. Muhammed Ali and Jimmy Carter got their own Mudcats caps.

The team had a cameo in Space Jam and was once featured in a glowing Sports Illustrated article. (Apropos of nothing, the Mudcats also gave up Michael Jordan’s first home run as a minor leaguer, and at Five County, no less.)

“The Mudcats did quirky minor league baseball better than anybody else, first,” says Evan Moesta, the team’s multimedia manager. Moesta grew up in Raleigh, and his family had a mini-season ticket package to both the Mudcats and the Bulls.

Adds Kremer: “We were the first people to go out away from the norm. People around the country just loved it.”

In recent years, however, that quirky luster has faded. Average attendance at the 6,500-seat stadium has dipped from 3,821 in 2005 to 2,700 so far this year. There are several factors at play: the league change, perhaps; or the Bulls’ growing dominance of the local baseball market; or Bryant’s insufficiently deep pockets, which hindered marketing efforts; or even Zebulon’s failure to grow along with the rest of Wake.

With attendance fading along with the ballpark’s sun-splotched red seats, the Mudcats have found themselves at a crossroads. It’s one thing to define yourself as a different entity than the beloved Bulls; it’s another to gently slip out of the Triangle’s consciousness altogether.

For years, there’s been a need to adapt, and a failure to do so. What can pull the team from Zebulon, the team you’ve maybe forgotten exists, out of the mud?

O

ne thing hasn’t changed, and never will. The Mudcats sell themselves as the mom-and-dad-and-kids experience. Consider Five County’s tagline: “The Family Place.” The parking is easy, and a child won’t be at liberty to wander off, like in, say, a downtown setting.

Inside, there’s an open, breezy concourse with concessions and beer stands. There are no ushers asking for seat numbers, just employees looking to help. The bullpens are nestled along the sides of the foul lines, pressed right up against the third and first baselines’ front row seats, optimal for small fans seeking autographs.

As is typical in the minors, there’s plenty of on-field entertainment throughout the game. Multiple fan cams are projected on the jumbo screen. After the first inning, Muddy the Mudcat drives around the stadium on an ATV, culminating each

NCDOT TO HOLD PUBLIC MEETING FOR THE DIVISION OF AVIATION UNMANNED AIRCRAFT SYSTEMS (UAS) INTEGRATION PILOT PROGRAM IN WAKE COUNTY The N.C. Department of Transportation will hold a public meeting to present information on its Unmanned Aircraft Systems (UAS, or ‘drones’) Integration Pilot Program initiative that proposes to provide commercial drone delivery service for on-demand food delivery and to set up a network of medical distribution centers that can use drones to make medical deliveries.

The meeting will be held on Thursday, August 30 at the Wake Tech Community College Perry Health Sciences Campus located at 2901 Holston Lane, in Raleigh from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. Please note there will be no formal presentation.

At the meeting there will be information and activity stations as well as project team members who will be available to answer questions and receive feedback.

All comments will be taken into consideration as the program progresses. The opportunity to submit written comments will be provided at the meeting or can be done via phone, email, online or mail no later than September 29, 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 UAS Project Manager, Basil Yap, by phone at (919)814-0572 or by email at bkyap@ncdot.gov or PI Project Manager Simone Robinson, by phone at (919)707-6062 or by email at strobinson1@ncdot.gov.

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

Anyone requiring special services should contact Simone Robinson via email at strobinson1@ncdot.gov or by phone at (919)707- 6062 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 | 8.29.18 | 11

time in a pedal-to-the-metal jump over the visitors’ bullpen mound. And between innings, there’s Hayes Permar, the Mudcats’ eccentric PA announcer since 2015, dressed in a blazer and baseball pants, trying to catch T-shirts from Muddy’s cannon with a big fishing net.

In that regard, this year has been good to him.

This year, a walk-up song featuring a dubstepped version of the yodeling Walmart kid made the rounds, and there’s always the steady presence of Vincent Stio, the mini umpire who takes the field for pregame warmups and calls the game from behind the screen.

Those things might not bring the masses back, but, hey, they’re a start.

“It does help when you have moments like that, to remind people that we’re here.

Sometimes people forget.”

“My first year, we caught it seven times in a season,” Permar says. “Past couple years, Muddy lost his gun skills. This is the third Muddy I’ve worked with—he’s really good.

I’ve caught it now four or five times already.”

But before he was handling the catfish net and bursting out of the press box to sing “Take Me Out to the Ballgame,” Permar was a heckler looking for a good time at Five County Stadium.

“At the Durham Bulls now—and I’m not knocking that—but it’s almost a major league experience, which is a credit to them, but it’s also missing a little bit of what I think small-town America thinks of when it thinks of minor league baseball,” he says.

“The Durham Bulls are basically the thirtyfirst major league team, and the Mudcats for me became that minor league team, where you can go, buy tickets anywhere, sit anywhere, sit near the players, and get a ticket and a beer and a dog and still get out of there having spent fifteen dollars.”

Last year, Permar coined the term “The Most Interesting Team in Baseball.” It’s perhaps a subtle dig at the Bulls, and originated amid an uncanny stretch of Mudcat virality. In the span of one week in May, a military homecoming, a patient hidden-ball trick, a well-executed on-field proposal, and a miraculous beer cup catch all blew up online, and were featured on SportsCenter, Around the Horn, The Today Show, MLB.com, and every sportsaggregating website imaginable.

“It went boom, boom, boom, boom,” says Moesta. “It was almost like: What’s going to happen today?”

12 | 8.29.18 | INDYweek.com

“It does help when you have moments like that, to get ourselves back out there again to remind people that we’re here,” Young says. “Sometimes people forget because they don’t come this way.”

W

hat could bring the masses back is a nearly doubled marketing budget.

Under the Brewers’ ownership, and with the pro team’s money behind them, the Mudcats have made a renewed push to get back into public view—on the radio, on TV, promotions on social media.

When the sale went through last year, the Mudcats brought on five new people, four of whom were in sales, hired to peddle tickets to corporate groups.

So far, there’s not much to show for these efforts. Attendance has actually ticked down a hair since last year. But this is a long game. The team hopes to see attendance back up where it was a decade ago within three years—an additional thousand people per game. And, as was the case when Bryant first moved the Mudcats to Zebulon, they’ll keep waiting for the estimated 250,000 people expected to move into Wake County and along the U.S. 64 corridor over the next decade.

“We’ve got an ownership group that wants to make things go,” Kremer says. “I’m getting older now. I want to see it like it will be and can be.”

Time will tell how that pans out. Right now, though, the team is struggling, while

Fans watch the Mudcats play.

PHOTO BY CAITLIN PENNA

their baseball neighbors, the organization that pushed them way out to Zebulon all those years ago, are thriving in a hotbed of hops and hipsterdom.

But magic still happens in Five County Stadium. It resounds longer than the fleeting moments of internet fame. It happens in the charming way that only minor league baseball can conjure.

On June 18, hours before the Carolina League All-Star Game, kids in baseball caps and gloves showed up looking for autographs. On July 4, with the Mudcats players wearing jerseys showing George Washington crossing the Delaware River, attendance was a season-high 6,478.

But perhaps the most counterintuitively magical moment came on July 20. That night, a Friday, the Mudcats did not wow

the crowd with a rousing on-field performance. They did not impress with a wellspun double play or a grand slam to win a once-doomed contest. Instead, they lost 17–0, in the process allowing a franchise record twenty-three hits.

A crowd of 3,783 showed up. They were there before the game started. They stayed for the end. They clapped when the game was over. They watched the fireworks after.

And they found what they were looking for in a night out at the ballpark.

“We’re losing seventeen-zero, and there they are, parents smiling with their kids.

The fireworks show was great,” Moesta says. “You would never know the final score was seventeen-zero. That’s what minor league baseball strives for.” backtalk@indyweek.com

indyfood

AMUSE-BOUCHE

Fried and True

CHAPEL HILL INSTITUTION SPANKY’S IS NO MORE, BUT LULA’S FRIED CHICKEN IS AN INSTANT CLASSIC BY AMY SENTEMENTES

I

n March, UNC-Chapel Hill alums and current students alike mourned the loss of Spanky’s Restaurant, a Franklin Street institution beloved for its classic American food and its wall adorned with quirky caricatures of UNC-Chapel Hill legends. Spanky’s successor, Lula’s, aims to fill the void for nostalgia-inducing Southern fare with its signature shallow-fried chicken and homey Southern staples such as stewed okra, egg salad sandwiches, and tomato plates.

The restaurant is named after executive chef William D’Auvray’s great-grandmother; D’Auvray, formerly of bu•ku and Fins, pays homage to Lula’s cherished family recipes with a menu of what he calls “simple food made the hard way.”

Vibe: Outside tables are at a premium and boast prime Chapel Hill people-watching on the bustling corner of Franklin and Columbia. But the interior offers plenty of natural light, with sun spilling through the windows and reflecting off the exposed brick walls, creating an open, cheery vibe. D’Auvray writes weekly specials on the back wall mirror, nicknamed the “lipstick” specials. Pull up a chair at the intimate, sleek hardwood bar for a solo dinner, or sip a cocktail while you wait for the rest of your crew.

Menu: The lunch and dinner menus are the same (in scope and price) and are divided into five sections—chicken, sandwiches, salads, plates, and sides. For a casual weekday lunch, opt for a sandwich or salad featuring the signature fried chicken. On nights and weekends, plan a relaxing dinner to savor the “lipstick” specials, which incorporate heirloom produce and North Carolina-raised meats, and pair with a seasonal craft cocktail. Drinks are sweetened with house-made syrups in classic flavors like ginger and hibiscus as well as playful takes like Cheerwine, another nod to the Old North State. Dessert options rotate, but don’t miss the homemade cinnamon sugar donuts topped with vanilla bean cream.

Shallow-fried chicken and biscuits with spun sage honey at Lula’s PHOTO BY CAITLIN PENNA What to order: The shallow-fried chicken (dark or white meat) is the star of the show, appearing alongside or atop a biscuit, on a bun with spicy pickle slaw, or as an optional salad topper (go for the kale salad with sweet potatoes and Ashe County cheddar cheese).

My go-to order, which is also a good choice for first-timers, is the quarter chicken and biscuit (I’m partial to the white meat breastand-wing combo). The fried chicken preparation—brining, marinating, drying, and cast-iron skillet frying—spans multiple days and produces perfectly crispy skin. (Deepfried chicken dredged in gluten-free flour is also available.)

Seasonal specials are a sure-bet, such as a watermelon salad scattered with feta cheese and fried peanuts, and then drizzled with white balsamic vinegar. For the friedfood averse, there’s an excellent smoked

pork chop with grilled peaches and a cidermustard glaze. If your meal doesn’t already come with a biscuit, be sure to order at least one. Biscuits are baked throughout the day and served warm, boasting a crunchy exterior that gives way to a fluffy crumb. They’re served with spun sage honey, a creamy, whipped, herb-infused honey that’s so addictive it should be sold by the bottle.

Price point: A quarter-fried chicken and biscuit is $8. Sandwiches and salads are $6 to $8. Large plates are $10-$17 and come with one side; a la carte sides are $3.50. Specials are $5.50-$8.

Perfect for: A leisurely lunch; a casual dinner with friends or family; a Tarheel victory feast; a classic Southern supper food@indyweek.com

LULA’S

101 East Franklin Street, Chapel Hill 919-967-2678, www.lulaschapelhill.com INDYweek.com | 8.29.18 | 13

food

How About Them Apples?

WITH UNGRADED PRODUCE, COURTNEY BELL WANTS YOU TO EAT RESPONSIBLY

BY CHOOSING HOMELY FRUITS AND VEGGIES BY LAYLA KHOURY-HANOLD

W

hen I was in college, I sought out pizza delivery, not kale delivery. Maybe that’s because kale wasn’t yet a superfood, but more likely it’s because I wasn’t classmates with anyone like Courtney Bell.

In 2016, the Duke University senior launched Ungraded Produce, a delivery service that fulfills its mission to reduce food waste and improve access to fresh, affordable produce by rescuing “ugly” produce and selling it at a discount. A handful of Duke students were her first customers; in two years, Ungraded has grown to four hundred and fifty subscribers Triangle-wide, rescued sixty thousand pounds of ugly and surplus produce, and donated nine thousand pounds of food to local food banks.

“Ugly produce is anything that’s atypically sized, shaped, or colored, like a twisted carrot. It’s nothing to do with quality issues, just cosmetic flaws, like light bruising or scarring,” Bell explains. “There’s a belief among retailers that offering these products lowers their value, so a lot of grocery stores reject minor flawed produce.”

As a result, about 20 percent of U.S.grown produce goes to waste annually. The name Ungraded Produce is a cheeky nod to the USDA’s standardized language used to grade, or characterize, produce. Grocery stores typically sell Grade 1, while Ungraded sells Grade 2, the ugly produce that’s been rejected due to cosmetic flaws. But Grade 2 can also include produce that’s beyond the point of sale, so Bell exercises quality control to ensure that she’s only selling the ugly Grade 2 produce.

“I try to source as much ugly produce as possible, but I’m also committed to offering food at accessible prices,” says Bell.

To that end, Bell also sources surplus produce from farmers and packing houses, centralized distribution centers that receive, sort, and package produce for supermarkets.

The idea for Ungraded Produce was partly inspired by a friend of Bell’s who, during a 14 | 8.29.18 | INDYweek.com

Boxes of surplus or slightly damaged produce at Ungraded Produce in Hillsborough PHOTO BY ALEX BOERNER summer 2015 internship in Durham Mayor Bill Bell’s office, discovered alarming statistics concerning food-insecure residents and widespread demand for fresh, affordable produce. Courtney Bell, who had heard about an ugly produce initiative in French supermarkets, saw an opportunity to tap into the U.S.’s ugly produce market to get fresh food to more people.

In 2016, Bell partnered with three local farms and signed up fifteen customers, a mix of her Duke sorority sisters and alumni, and used her SUV to deliver ten-pound produce boxes on campus.

Over the last two years, the customer base has steadily grown, primarily by word of mouth. Up until last April, Bell handled everything—from ordering to packing to delivery (with one driver). Since then, she’s

hired three drivers, an operations manager, Troy Coll, and a marketing intern, allowing Bell to focus on business development. In May, she also launched a new website.

It’s easy to get started. Enter your address, select your product—the medium mixed produce box ($18.49) is the most popular—quantity, and delivery frequency. You can also opt to skip deliveries and note allergies or preferences.

Boxes offer plenty of variety: A small vegetable box includes one starch, one leafy green, and two or three other veggies. This time of year, boxes contain up to 50 percent local produce, such as a recent fruit box with white peaches, plums, and Ginger Gold apples.

Produce is delivered to Ungraded’s warehouse (a shared space in the Piedmont Food

& Agriculture Processing Center) on Thursday, packed on Friday, and delivered over the weekend. Besides saving time, a box of Ungraded Produce ends up being around 30 percent cheaper. And for every box sold, Ungraded donates a portion of fresh produce to local food pantries, fulfilling the company’s mission to feed food-insecure people.

“When you get to hear from the customers about how much they value the service—whether it’s supporting a company with a mission, revolutionizing their grocery shopping experience, encouraging them to try new vegetables, or helping them save money—hearing that makes it all worth it,” Bell says. “And I love to be able to support farmers for growing food that’s delicious and deserves a chance on the table.” laylakh@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming September 19:

DURHAM COUNTY For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 8.29.18 | 15

indymusic

Music Festival Madness

THE TRIANGLE HAS MORE MUSIC FESTIVALS THAN EVER THIS SEPTEMBER—HERE’S HOW TO MAKE SENSE OF IT ALL

BY ALLISON HUSSEY

I

n most of the rest of the country, late spring and early summer make up prime music festival season. But this year, September is host to a slate of music festivals that make for a dizzying four weeks of entertainment in the Triangle. They cover just about every corner of music, from upand-coming hip-hop stars of tomorrow to old folky favorites, and every budget, from free day-long festivities to high-dollar VIP packages. If you’re not sure where to start— or need a refresher on everything that’s going on—we’ve got you covered. Don’t forget your comfortable shoes!

HOPSCOTCH

SEP. 6-8, $35–$299

Various venues, Downtown Raleigh When it comes to current music festivals with “cool” cachet in the Triangle, it’s likely that they wouldn’t have happened without Hopscotch setting the foundation. Now in its ninth year, Hopscotch is a general-taste music festival geared toward those who are interested in independent music, but who may not be full-throttle obsessives. This year’s headliners include funk forefather Nile Rodgers & Chic, Miguel, Grizzly Bear, and The Revolution, and the undercard is packed with acts covering indie rock and pop, plus some hip-hop, folk, and out-there electronic music. Hopscotch also boasts a generous complement of free daytime parties, which are perfect for discovering new bands or packing out your weekend with even more music. There’s a little something for everybody here.

BRAZILIAN DAY SEP. 15, FREE

Durham Central Park, Durham Caique Vidal, who leads Caique Vidal & Batuque as well as the percussion ensemble Batalá Durham, has spent his years in Durham flying the flag for his home 16 | 8.29.18 | INDYweek.com

Jenn Wasner, aka Flock of Dimes, at Red Hat Amphitheater during Hopscotch 2017 PHOTO BY ALEX BOERNER country of Brazil. He’s manifesting that love in festival form this year, with a day that celebrates Brazilian music and culture, with performances from Batalá Durham and others. Fullsteam even made a beer, the açai-infused Batalager, to add to the festivities.

DREAMVILLE SEP. 15, $109–$449

Dorthea Dix Park, Raleigh Hailing from the underdog city of Fayetteville, J. Cole has established himself as one

of the most talented stars of contemporary hip-hop. In Raleigh, he’s throwing a the day-long Dreamville fest as a way of celebrating his home state. As of press time, the festival’s lineup still hasn’t been announced, but Cole’s coterie of associated acts on his Dreamville label includes Bas, Ari Lennox, and Earthgang. More than just a full day of fun, the proceeds from this festival benefit Cole’s Dreamville Foundation, which supports underprivileged youth in Cole’s hometown through school-supply giveaways, career fairs, and more.

GROOVE IN THE GARDEN SEP. 22, $10–$65

Stephen Amphitheater and Rose Garden at Raleigh Little Theatre, Raleigh There’s a growing push to get nonbinary and female performers represented better on festival lineups, but that isn’t a problem for this day-long throwdown at Raleigh Little Theatre. This bill is a smorgasbord of styles, from the raucous, rude punk of Pie Face Girls to the scorching, blues-tinged

rock of Reese McHenry and Emily Musolino.

Blue Cactus, Tres Chicas, Loamlands, and Lydia Loveless all offer varying strains of bold country and folk-rock. You can even pack your own picnic to enjoy in the grassy amphitheater (leave your alcohol at home, though).

ART OF COOL

SEP. 28-29, $100–$321

Various venues, Downtown Durham Though the Art of Cool Festival has taken over Durham once a year since 2014, the 2018 iteration is a year of firsts. Earlier this year, the festival announced that it had been sold to the Dome Group, a Detroit-based entertainment company, and would be moving to late September. The new ownership has helped secure big-ticket headliners like Erykah Badu, Maxwell, and Anthony Hamilton, and the festival will make use of the Durham Bulls Athletic Park as a venue for the first time. The festival hasn’t lost sight of its jazz-focused mission, though, with acts like Sons of Kemet, Meshell N’Degeocello, and Keyon Herrald.

WIDE OPEN BLUEGRASS SEP. 28-29, $50–$160

Various venues, Downtown Raleigh Since 2013, the International Bluegrass Music Association has called Raleigh home for its annual business conference and attendant World of Bluegrass festival. At Red Hat Amphitheater, some of the biggest names in bluegrass take the stage: Ricky Skaggs & Kentucky Thunder, The Earls of Leicester, Doyle Lawson & Quicksilver, and a special women-in-bluegrass spotlight set that features Alison Brown, Sierra Hull, Molly Tuttle, Rhiannon Giddens, and Gillian Welch. In addition to the ticketed events, the free street festival component features even more up-and-coming bluegrass pickers.

Vocalist Tahraqa Patterson performs with the Revive Big Band in the Carolina Theater during the 2017 Art of Cool Festival PHOTO BY ALEX BOERNER

YOU MIGHT ALSO LIKE…

CENTERFEST SEP. 15-16, FREE

Downtown Durham This longrunning arts festival focuses on celebrating the skills and wares of local artists, with live performances by musicians and dancers as well as plenty of kid-friendly activities.

SPARKCON SEP. 13-16, FREE

CARRBORO MUSIC FESTIVAL

Various venues, Downtown Raleigh Music is just one piece of this wide-ranging festival for all things creative, which includes arts and crafts, circus performances, comedy, fashion, film, dance, and more.

SEP. 29-30, FREE

Various venues, Carrboro Few things feel as representative of Carrboro’s “Feel Free” motto than the annual Carrboro Music Festival, a sprawling weekend of free music happening all over the small town. All told, it’s about two hundred bands performing in twenty-nine venues, like the Weaver Street Market lawn, OpenEye Café, and street stages dotting downtown. A Friday night set from former Crooked Fingers frontman Eric Bachmann in the Cat’s Cradle Back Room serves at the kickoff show.

FIESTA DEL PUEBLO SEP. 23, FREE

Fayetteville Street, Downtown Raleigh

Caique Vidal leads Brazilian Day festivities September 15 PHOTO COURTESY OF THE ARTIST

This Latinx-focused arts and culture festival celebrates a quarter century in Raleigh this year with a full day of food, fun, and music, which includes a headlining performance from Plena Libre. music@indyweek.com INDYweek.com | 8.29.18 | 17

S E PTE M B E R

SA SEPT 1

THE BLACK LILLIES 7:30P 9/6 9/7 9/8 9/14 9/14 9/15 9/21 9/23

HOPSCOTCH MUSIC FESTIVAL 7p HOPSCOTCH MUSIC FESTIVAL 8p HOPSCOTCH MUSIC FESTIVAL 8p CHERUB @ THE RITZ EVERYONE ORCHESTRA 8p TWIDDLE 8p THE BREAKFAST CLUB 8p JUMP, LITTLE CHILDREN

9/25 9/26 9/27 9/28 9/28

IBMA BLUEGRASS RAMBLE 5:30p IBMA BLUEGRASS RAMBLE 6p IBMA BLUEGRASS RAMBLE 6p PERPETUAL GROOVE 8p CLUTCH: BOOK OF BAD DECISIONS TOUR 2018

9/29 9/30

ALBUM RELEASE PARTY feat. MICHAEL FLYNN 7p

w SEVENDUST/ TYLER BRYANT/ w/ THE SHAKEDOWN 6:30P @THE RITZ PERPETUAL GROOVE 8p MOON TAXI W/ RIPE & TRAVERS BROTHERSHIP- LINCOLN STREET STAGE 4:30p O C TO B E R TRAOBA PRESENTS: THE 4TH

ANNUAL NELSON MULLINS BATTLE OF BONKER BAND! 4:45p 10/4 TURNPIKE TROUBADOURS

10/4

@ 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 7 pm 10/27 QDR HOWL-O-WEEN HARVEST BALL FEAT: DANIELLE BRADBERY, RUNAWAY JUNE, CLARE DUNN 7 pm

10/28 WHITEY MORGAN

W/ ALEX WILLIAMS 7p

10/30 CLAUDIO SIMONETTI’S GOBLIN 7p

CO M I N G S O O N

11/1 G HERBO 11/2 11/3 11/4 11/8 11/9 11/10 11/14

W/ SOUTHSIDE & QUEEN KAY 7 pm COREY SMITH 8p ST. LUCIA 8p GWAR 7p PAPADOSIO W/ LITZ 8p THE LACS 8p WILL HOGE 7p

ALLEN STONE

w/ NICK WATERHOUSE 7p

11/16 RUNAWAY GIN11/17 11/28 12/1 12/11

A TRIBUTE TO PHISH 8p WHITE PANDA 7p GHOST LIGHT 7p KIX 7p KHRUANGBIN 7p

ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 18 | 8.29.18 | INDYweek.com

music

First Blush

A RALEIGH RAPPER AND A ROCK LIFER UNEARTH NEW POSSIBILITIES ON TWO FULL-LENGTH DEBUTS PERSONALITY CULT

SHAME



1/2

PERSONALITY CULT DRUNKEN SAILOR RECORDS

Ben Carr doesn’t sit still for long. Over the past decade, the frontman and songwriter has led three bands, each with a distinct angle on garage rock and punk, each of which has thrived on sharp hooks and frenetic brevity.

Initially pegged as something of a garage-rock wunderkind, fronting the precocious trio Last Year’s Men under tutelage from garage veterans like Spider Bags’ Dan McGee and Reigning Sound’s Greg Cartwright, Carr shifted gears with his next project. Even as the core trio of Carr, Ian Rose, and Geoff Schilling remained intact, their sound shifted wildly: as Last Year’s Men, they slung soul-inflected rock ’n’ roll nuggets before turning to sinewy and sinister synth-punk as Natural Causes. And now, with his first solo outing as Personality Cult, Carr makes another stylistic shift, toward the manic punk-pop of acts like The Buzzcocks and Marked Men. Still, as is quickly evidenced by Personality Cult’s self-titled debut, Carr’s knack for quick hooks and bouncing rhythmic lunges is fully intact. The hook-centric approach Carr takes here also masks the self-flagellating confessions that mark many of the albums’ tracks.

Through the course of ten songs and less than a half-hour, Carr claims, “I’m a heart attack waiting to happen,” and “I’m doing worse, each second worse than the first.” On “Hot Head,” he elaborates a bit.

“Just when I thought that I had figured out my plan/I messed it up again/With my hot head.”

But despite the lyrical self-deprecation, Carr’s songs are tightlywound bursts of pure pop excitement. “Doing Worse” rides a power chord riff like Ty Segall used to do, and “Fashionably Late” takes a wiry detour, suggesting the off-kilter post-punk of early Whatever Brains. But for the most part, Carr finds a comfortable space in staccato rhythms, punchy bass lines, and crisp guitars that land closer to the irrepressible catchiness of cult-favorites like Red Dons or any of Mark Ryan’s many different guises.

And even within that template, Carr finds plenty of space to vary his approach. Compare “Functioning Fine,” with its spiky riff, mechanical, Devo-tinged rhythmic patterns, and no-wave sax blast, to the power-pop burst of “Brazen,” which feels melodically fluid and dynamically explosive after the former song’s herky-jerky post-punk.

With Personality Cult, Carr has found a home for his abundant ideas, marrying the finesse of Last Year’s Men with the impulsive punk of Natural Causes, while branching out into further corners of an increasingly expansive garage-rock foundation. —Bryan C. Reed

GENESIS 98 GOLDEN ERA SOUND

An embattled scrapper, Raleigh rapper Shame is no stranger to quarrels with other local rappers and challenges in his personal life, but he’s never tried to pose as the brooding tough guy. After a twoyear stream of respectable mixtapes, singles, and EPs, he’s finally got a full-length record: Genesis 98, inspired by the summer of 1998. The year was a defining era in hip-hop culture, delivering classic albums like Lauryn Hill’s The Miseducation of Lauryn Hill, Outkast’s Aquemeni, and DMX’s It’s Dark and Hell is Hot. Shame’s Genesis 98 acts as his own defining moment, to not only demonstrate that he can make a cohesive project, but to shed some of his baggage and make a statement about himself as an artist. He harnesses his summer of 1998 inspiration in a way that doesn’t sound like a flagrant imitation, rather a solid interpretation. For the first four tracks of Genesis 98, Shame keeps a subdued, moody feel, best displayed in the track “The Edge.” There, producer Arcane employs a steadily eerie horn sample, setting an ominous tone akin to early-nineties Spike Lee films.

However, the middle of the album takes a detour into more modern sounds with more energy, as on “No Smoke,” which features vocals from R&B crooner Ethan Taylor, and “Drink and Smoke.”

The songs are good, but they out of place enough with the rest of the album that it changes the course of the rest of the project. Instead of maintaining the level of energy that “No Smoke” teases, the rest of Genesis 98 returns to a distinct nineties feel, and unfortunately doesn’t come back up for the final three-track stretch. The album’s later tracks comprise its heaviest section, especially in “Broken Souls,” where the rapper unpacks details of a toxic relationship in haunting detail.

Shame’s rap flow is impeccable, which he leverages effectively to sort his way through issues like his relationship with the mother of his daughter, social strife, and how it relates to him as a minority trying to make a mark in America. By the end of Genesis 98, Shame gives listeners a glimpse into his soul with a finished product that’s emotionally heavy and requires multiple listens to fully grasp.

But Shame's lyrical heaviness, combined with his mostly stagnant adherance to a throwback atmosphere, keeps Genesis 98 from getting far off the ground. It’s a well-executed catharsis, but it lacks the energy needed to propel Shame toward bigger, brighter spotlights. —Charles Morse

indystage

THE BANQUET

Aug. 22–26 The Fruit, Durham www.snappeacatering.com

Eating Words

DON'T CALL IT DINNER THEATER—SNAP PEA'S THE BANQUET IS LIKE NOTHING THE TRIANGLE HAS EVER TASTED

BY BYRON WOODS

M

soap and pour water from pitchers over But things have changed by the time we theater—how to fully integrate dining and y hands are slick as I gaze down your hands—another touch in sync with re-enter Macbeth’s castle, where the ghost drinking in the world of the show. Direcon the literally visceral carnage Shakespeare’s script. of murdered Banquo, once Macbeth’s boon tor Akiva Fox, one of the founders of the before me. An exposed bone, “It’s food as character, food as theme,” companion, takes his chair at the feast, new Bulldog Ensemble Theatre, suggested a arctic white, juts from the stubborn clayFox says. There was a delicious frisson as unhinging the murderous monarch. Now foodie version of Macbeth. colored knot of muscle and sinew resisting Durham’s tastefully dressed foodmy dissection. The rest of the roast ie adventurers, who’d paid $110 to pork shoulder is strewn across the $150 apiece, crossed the border porcelain platter I shattered when from essen, the German term for my cleaver missed its mark. But the human food consumption, to somewicked sickle of a ceramic shard thing more akin to fressen, feeding turns out to be just what I need to as animals. As Shakespeare’s moncomplete the evisceration. arch regressed, so did we, tearing I’d say chef Jacob Boehm has given hunks from loaves of wood-fired me a very naked lunch, in the words bread, chastely plucking a finger or of William Burroughs, except that it’s two of whole okra and then drinking the dinner hour at The Fruit, where in the darkness of a 2016 Temprawe’re drawing near the end of the nillo from the Uclés region of centhird act of Macbeth. tral Spain.

Boehm has made his name as an Under Fox’s direction, Phillip impresario of immersive culinary Bernard Smith is a Macbeth with events. He launched his Underinsidious charm, while Rebecca ground series of innovative popBossen McHugh maintains an icy up concept dinners three years ago half-smile, half-rictus as his wife. through his company, Snap Pea Trevor Johnson lends integrity as Catering, with some unique ground Ross, and stage veteran Lenore rules. When announcing an UnderField plays Duncan as a monarch ground event to his thousands of touched too easily by false praise. email followers, the unusual locaBut the real star is the concept. tions, which have ranged from the Our region has largely avoided the Old Bynum Bridge above the Haw mediocrity of dinner theater. There River to the butterfly house at Dur- Shawn Morgenlander, Lenore Field, and Rebecca Bossen McHugh in The Banquet PHOTO BY ANNA ROUTH have occasionally been efforts, like ham’s Museum of Life and Science, Women’s Theatre Festival’s Little Women the dining tables are covered in butchWhich brings us back to the carnage before remain a mystery until thirty-six hours and Sonorous Road’s The Gift of the Magi, er’s paper. Stainless steel meat cleavers me in the third act, the second banquet scene before the event. The menu, inspired by the in which afternoon tea or holiday treats are are sunk into uncarved limbs of pork. The Boehm and Fox crafted for Shakespeare’s offbeat venues, isn’t revealed until guests incorporated into a show. But we’ve never unseeing eyes of crispy, blood-red shrimp dark drama, which stands in stark contrast arrive. The Banquet added another layer of seen anything like this, in which food so (heads on) and smoked Spanish mackerel to the first. There, Duncan (Lenore Field) mystery—patrons didn’t know what play fully infiltrates a production it even comstare up from our tables alongside sumptuhad arrived for a night of hospitality at the they’d see, only that they were in for “an epic, ments critically upon the action. By the ous roasted oyster mushrooms and sweet castle of the newly minted Thane of Cawdor. immersive theatrical dining experience.” time we finish that second banquet scene, corn.

On our tables, piquant pickled onions and “People really have this hunger for very our complicit hands are metaphorically as But there are no plates. There is no silsherry vinegar added sharpness to a deliunique experiences,” Boehm says. “Most dirty as Macbeth’s. verware anywhere. In this tactile course, if cate ring of melon and fruit, crowned with dining experiences don’t really try to surFood for thought—and convincing proof you eat meat, you must lay your hands on wispy flower shoots and greens, dotted with prise and delight on as deep a level as I of concept for Boehm’s next theatrical the murdered for your meal. Your fingers whipped feta cheese. Caramelized eggplant try to.” The numbers seem to back him up. exploit. In a post-performance follow-up, get greasy when you’re the one pulling the shortly followed. Both, served on sumptu“They generally sell out within ninety seche admits he has another play in mind. He pulled pork, filleting the fish. Linen napous golden platters with gold flatware, were onds,” he says. won’t say what it is. kins reduce effluvia but don’t remove it; complemented by an astringent 2016 Cotes An itch to push the boundaries of culiarts@indyweek.com that requires a visit to servants who provide de Gascogne Blanc. nary experiences got Boehm thinking about INDYweek.com | 8.29.18 | 19

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indyscreen

Life of the Party

A DURHAM DOCUSERIES SURVEYS NEW KINDS OF QUINCEAÑERAS FOR A NEW GENERATION OF MEXICAN AMERICANS BY ARACELI CRUZ

“U

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

INDYWEEK.COM 20 | 8.29.18 | INDYweek.com

nafraid.” That’s the word local filmmaker Rodrigo Dorfman uses to describe the Durhambased Latinx families in ¡FIESTA! Quinceañera, his new docuseries with codirector Peter Eversoll, available on YouTube from PBS’s Indie Lens Storycast.

That’s a pretty spot-on description, especially for Oscar, a gay Latino. Middle-aged, with blond highlights and an infectious laugh, Oscar makes a living as a choreographer and a drag queen. In one of six thirtyminute episodes, Oscar sits with a huge smile atop Durham’s iconic bull statue wearing a fuchsia quinceañera dress, flailing his arms like a rodeo cowgirl.

Yes, whatever notions you’ve ever had about the Mexican tradition of celebrating a girl’s fifteenth birthday, this series will destroy them.

Oscar’s boldness in hosting his own quince shows how much the tradition has evolved and opened up. But there are traditional elements in the series, too. Many of the teens wear elaborate poofy gowns fit for a princess.

But these young women are coming of age in a world in which their lives can radically change in an instant. They’re enduring economic instability, cultural divisions, and a political climate in which their families are being targeted.

Take Juana, who, on the edge of turning fifteen, lives below the poverty line with her mother, whose cancer is in remission.

Or Fernanda, a Shakira-loving, pink-haired young woman who might have to contribute to her own quinceañera because these parties aren’t cheap. Or Angie, a poised girl whose only wish is not for a quinceañera, but for a trip to Mexico to meet her grandparents for the first time.

In other words, these aren’t entitled young ladies whose parents are looking to throw down thousands of dollars just because it’s their kid’s birthday. Quinceañeras mean much more than that to the Latinx community, now more than ever.

Fernanda in ¡FIESTA! Quinceañera

PHOTO COURTESY OF THE FILMMAKERS

“They had just given the news about the new presidential elections, and for us, it was like, wow,” says Fernanda’s mother, Livia.

“It was weeks of terror and fear because we didn’t know what was going to happen. At the same time, that’s when Fernanda tells us that she wanted a party. So we said, ‘Let’s go, let’s have a party.’ It’s a way to show that nothing can stop us. That we are going to keep fighting till the end.”

Eversoll and Dorfman, who has been documenting the Latinx community in the South for some time, beautifully capture this new generation of Mexican Americans bravely playing by their own rules and creating new traditions, all the while putting family first.

“We went to a dozen quinceañeras looking for characters to see how we were going to develop stories instead of being more anthropological,” Eversoll says. “We didn’t want to focus on the rituals of quinceañeras but the people who are involved.”

Dorfman adds that this is a new kind of quinceañera, for first-generation MexicanAmerican teens growing up outside urban settings and the close-knit ethnic communities found there.

“The dynamics would be different if they were in Chicago, Dallas, or Los Angeles, where you have generations and generations of quinceañeras,” Dorfman says. “To us, the idea of the Nuevo South is the nueva quinceañera.”

“The dynamics would be different if they were in Chicago, Dallas, or Los Angeles.

To us, the idea of the Nuevo South is the nueva quinceañera.”

art

For Latinx teens, who are already juggling American culture and their Mexican heritage, a quinceañera is also indicative of a new set of responsibilities. One tradition is for parents to give their daughter one last doll, which symbolizes that she will never be a child again. But the doll is also a metaphor for the harsh realities that will soon confront her.

“One of my goals is to make her independent,” Juana’s mother, Irma, says while fighting back tears. “First of all, I’m getting old. I’m also threatened by cancer and by life. What if they deport me? And if I die? I want her to be prepared to make decisions. To take actions, and to take her life on the right path.”

Juana’s quinceañera is a testament that Irma, despite being a single mom and overcoming cancer, could give her daughter what her own father could not give her.

“For me, it’s an act of love,” Irma says through tears. “A gift that I give her. For what I could not have. ... I’ve always told Juanita that she is the center of my life and my only purpose. If I survived cancer and God allowed me to continue working, above all for her, I thought I would give her a party.”

Because for some of us, living in a period of critical uncertainty doesn’t mean we can’t have a good time. It means we must. arts@indyweek.com

BRIEF

SPARKCON IS SAVED! BUT WHY DID IT NEED TO BE? SPARKcon’s crisis is over—at least for now. Raleigh’s annual open-source arts festival, founded in 2006 and run by arts nonprofit VAE Raleigh for the last eight years, will fill downtown with a wide array of programming as usual Sep. 13–16. But at the start of August, SPARKcon’s funding was $22,500 short of its operating budget, and its sponsors were markedly down from last year. VAE almost blinked.

“I was just going, ‘Crap, we’re not going to make this,’” says Brandon Cordrey, VAE’s executive director.

But rather than canceling or postponing, he launched a crowdfunding campaign to make up the difference. By August 21, VAE had raised enough to meet SPARKcon’s $65,299 general operating budget, which was pared down from $89,000 for the 2017 festival. For a four-day event that reportedly drew eighty-four thousand people and had a $2.3 million economic impact downtown last year, that’s a lot of bang for the buck. More than two thousand artists are involved in more than two hundred events this year.

There’s no one easy answer to why VAE came up so short. Costs are rising. Programming is expanding. Sponsors are shifting their support around. The city, VAE’s biggest funder, hasn’t released its annual support monies yet. VAE covers the festival’s infrastructure: portable toilets, road closures, parking spaces, City Plaza rental, insurance, tents, signage, permit fees, an accessibility contractor, security, and a fire department presence, because circusSPARK puts fire dancers in the middle of Fayetteville Street.

“It’s mostly slight, annual increases in lots of things,” Cordrey says. “It all adds up over time.”

At press time, VAE’s still-active GoFundMe had raised $9,465 toward a $14,000 goal, which would exceed SPARKcon’s basic needs. Cordrey was able to lower the goal twice during the short campaign, after Raleigh City Council allocated $5,000 from a contingency fund and local company MDO Holdings stepped up with an open-ended sponsorship. He’s relieved but cautious.

“SPARKcon is big, so there’s an inherent risk,” he says. “But there’s also the benefit of people doing things that they don’t get to do on that scale, for that many people, in any other scenario.

We need to make sure this platform is solid for whatever size it needs to be.” —Chris Vitiello INDYweek.com | 8.29.18 | 21

WHAT TO DO THIS WEEK 8.29–9.5 22 | 8.29.18 | INDYweek.com

THURSDAY, AUGUST 30–MONDAY, SEPTEMBER 3

CIRQUE ITALIA

You gotta get a gimmick, Sondheim once sagely observed, if you’re gonna make it in showbiz. Cirque Italia’s is a self-styled “water circus,” a collection of multistory acrobatics, aerial dance, and assorted equilibristics performed on precarious, whizzing gizmos above a thirty-five-thousand-gallon tank of H2O. The wet stuff doesn’t just take the place of a safety net; channeled through hundreds of jets from catwalks along the perimeter of the in-the-round stage, it becomes both a curtain and a screen for projections that complement the death-defying work below. By all means, applaud the flashy contortionists, jugglers, and Commedia-inspired clowns. But don’t forget the engineers who created an aquatic theater designed for constant travel and the technicians who build and strike it in parking lots and empty fields, like the one across from Raleigh’s International Foods, every seven days. There’s the real cirque magic. —Byron Woods 3424 OLYMPIA DRIVE, RALEIGH Various times, $10–$50, www.cirqueitalia.com

Cirque Italia PHOTO COURTESY OF CIRQUE ITALIA

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CAT 8 p.m

SATURDAY, SEPTEMBER 1

GOWN

The low, elegant resonance of a cello makes it a good fit for some corners of the metal world—there’s not that much difference between some extended minor-key bowing and a drawn-out, doomy guitar riff after all. But what about two cellos? What about three?

Gown, a seven-woman, three-cello ensemble, offers one answer. On Skin, its debut album that the band is celebrating at this release show, Gown serves up a muscular crop of songs that are playful, celebratory, and unapologetically aggressive all at once. Songs like “Spark to Rage” and “Videogame” address misogyny while flaunting a proud sense of self. With “Pirate Ship,” the band intersperses rollicking cello riffs with an infectious chorus (the song even recalls some of the same lawless seafaring aspirations of Dorothy Parker’s “Song of Perfect Propriety”). Suffice to say, Gown offers some serious fun in an unusual package. Desert Secretary opens, plus Nora Rogers performing a rare solo set. —Allison Hussey DUKE COFFEEHOUSE, DURHAM 8 p.m., $5, www.dukecoffeehouse.org

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KEN Vario

X

PHOTO BY GARY LEONARD

TUESDAY, SEPTEMBER 4

X

It’s been forty years since X’s first single appeared, introducing perhaps the quintessential Los Angeles band of the post-punk and new wave era, a band possessed of punk’s edge and energy coupled with an uncommon sophistication that set them apart from the pack. Despite a couple of personnel shifts at various points, the original quartet of Exene Cervenka, John Doe, Billy Zoom, and D.J. Bonebrake is on board and making the rounds, reminding the world of X’s potent blend of power and poignancy. And if they haven’t released an album of new material in twenty-five years, maybe it’s because they don’t want to risk sullying their catalog with something that could only suffer in comparison to their classics, no matter how good it might be. Just content yourself with being bowled over by essential X tunes like “I Must Not Think Bad Thoughts,” “The New World,” and “White Girl” in all their gritty glory. —Jim Allen CAT’S CRADLE, CARRBORO 8 p.m., $25–$28, www.catscradle.com

WEDNESDAY, SEPTEMBER 5–SUNDAY, SEPTEMBER 16

ONCE

In significant ways, Once—adapted from John Carney’s critically acclaimed 2007 film—is almost an anti-Broadway musical. Its bristling score for an upstart Irish folk band, performed on stage by musicians who double as actors, sets us squarely in a Dublin pub far removed from Tin Pan Alley. Raw, vulnerable lyrics by Glen Hansard (The Commitments) and Markéta Irglová, which won the film its single Academy Award, repeatedly disclose the emotional sharpness of this story of almosts: an Irish busker who almost gives up his dreams, a diffident Czech pianist who is almost free to love him, a breakthrough album and musical career that almost didn’t happen, and an almost happily-ever-after ending. Director Tim Seib and musical director Joanna Li helm the Theatre Raleigh production starring Dave Toole and Morgan Parpan. —Byron Woods KENNEDY THEATRE, RALEIGH Various times, $33–$35, www.theatreraleigh.com

WHAT ELSE SHOULD I DO?

COCO FIESTA FANTÁSTICA AT NCMA (P. 32), DAVE EGGERS AT THE REGULATOR (P. 32) ANTHONY PATTERSON AT POWER PLANT GALLERY (P. 28), METTLESOME AT MONKEY BOTTOM COLLABORATIVE (P. 30) INDYweek.com | 8.29.18 | 23

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24 | 8.29.18 | INDYweek.com

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11/20 MOUSE ON THE KEYS / TERA MELOS W/DUMB WAITER ($17/$21) 11/30 GABRIEL KAHANE ARTSCENTER (CARRBORO) 9/15 FIVE FOR FIGHTING WITH STRING QUARTET ($49.50/ 53) 10/20 POKEY LAFARGE (SOLO) W/ THE WATSON TWINS MEMORIAL HALL (UNC-CH) 9/14 NEKO CASE W/ THAO (OF THE GET DOWN STAY DOWN) CAROLINA THEATRE (DUR) 11/16 HISS GOLDEN MESSENGER 12/14 DELTA RAE DURHAM PERFORMING ARTS CENTER

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Your Week.

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music 8.29–9.5

The Black Lillies stop at the Lincoln Theatre in Raleigh on Friday.

WED, AUG 29 2ND WIND: Yeaux Katz; 7-9 p.m., free.

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

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

THE MAYWOOD: Incite, Aethere, Outliar, Origin of Disease; 8:30 p.m., $12–$15.

MOTORCO: Joe Mande; 8 p.m., $12–$15.

NIGHTLIGHT: Shueh-li Ong; 9 p.m.

POUR HOUSE: Self Made: The Concert; 8 p.m., free.

PLACE:

O.A.R.

[$28–$35/6:30 P.M.] This Maryland-bred bunch came into their own in the 2000s, giving hope to those who feared that the aesthetic of Third Eye Blind, Tonic, Hootie & The Blowfish, et al. had died out the previous decade. In 2018, the band still shows no sign of diverging

from their chosen path, adding to the short list of things you can count on in this world.

—Jim Allen

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

BLUE NOTE GRILL: Celebration of NC Songwriting: Rod Abernethy, Jess Klein, Carrie Marshall, Bryan Leon Phelps, Kirk Ridge; 7 p.m., free.

CAT’S CRADLE (BACK ROOM): Slaughter Beach, Dog, Thin Lips, Rachel Kiel; 8 p.m., $12–$14.

THE CAVE: The Bennys, Triple Fret; 9 p.m., $5 Suggested donation.

KINGS:

Map the Sky [$10–$12/8:30 P.M.]

This Kings throwdown features an eclectic mix of party rock and heady rap, thankfully without veering over into any red snapback Limp Bizkit business. Michigan rock duo I Am Dynamite guarantees a thunderous party via their simple yet enjoyable beersmeared punk-pop jammers,

PHOTO BY MATCHLESS EXPOSURE

while local rappers Jooselord and Iron Mic add spirited local emcee flavor. A new local indie pop group called Student Health opens, one of the greatest low-effort indie band names in recent memory.

—David Ford Smith THE PINHOOK:

Dark Prophet Tongueless Monk [$7/9 P.M.]

The name “Dark Prophet Tongueless Monk” kind of sounds like a really nerdy dude’s noodling bedroom psych metal project, but don’t be fooled, this is actually much tighter than that. The Winston Salem group’s rich, well-studied psych rock veers closer to seventies AM rock and rainy day shoegazer corners than acid freak rock.

On April’s Insides, they stretch the lessons of Galaxie 500 and Peter Gabriel into some truly memorable psych-pop cuts. With Foxy Gloss and Bandage. —David Ford Smith

POUR HOUSE: Local Band Local Beer: ZenSoFly, Slowglow, Sunset Palette; 8 p.m., $3–$5.

THE FRUIT: The Muslims, DJ Gemynii; 8 p.m., $5–$10.

FRI, AUG 31 APEX TRAIN DEPOT: Brother’s Egg; 7 p.m., free.

BEYÙ CAFFÈ: Lance Scott; 7 & 9 p.m., $13.

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

CAT’S CRADLE: Interstellar Overdrive: A Saucerful of Pink Floyd with Jimmy Robinson; 8:30 p.m., $15–$18.

CAT’S CRADLE BACK ROOM:

The Mattson 2 [$13–$15/8 P.M.]

On their latest album, this guitar-and-drums duo of identical twin brothers attempts to summit a mountain: John Coltrane’s revered magnum opus, A Love Supreme. They talk about it as an attempt to update Coltrane’s masterpiece with a twenty-first-century lens,

to make sure jazz can “grow and evolve.” And yet, their take is all about surf guitars, sixties psych organs, and a feel that was already on the verge of being retro in Trane’s lifetime.

It’s a strange contradiction.

With Astronauts, Etc. —Dan Ruccia THE CAVE: LUD, Lacy Jags; 9 p.m., $5 Suggested donation.

MOTORCO:

The Shoaldiggers [$7/9 P.M.]

Hailing from Hillsborough, The Shoaldiggers are an expansive, ambling outfit that boasts an impressive nine people in its lineup. The band adorns its raggedy, acoustic Americana with mandolin, washboard percussion, and singing saw—and in a video from WHUP, it appears as though one person is even playing a boat motor propeller. What the band sometimes lacks in songwriting chops, it makes up for with earnest effort. Fellow North Carolinians Gave Up the Ghost open. —Allison Hussey

POUR HOUSE: Piece of Time, Mocktallica, Tight Like That; 8 p.m., $15.

POYNER PLACE: Bender Street; 6 p.m.

SAT, SEP 1 CAT’S CRADLE:

Obituary

[$22–$25/7:30 P.M.] Obituary’s 1989 debut, Slowly We Rot, helped shape the sound of the then-nascent death metal subgenre. Taking all the intensity of trash, and giving it a more ominous and murky aesthetic with a return to Black Sabbath’s creeping tempos and an addition of growled vocals and blasts of dissonant guitars, Obituary proved to be an integral part of the influential Florida scene that also spawned Death, Deicide, and Morbid Angel.

Almost three decades later, “old-school” death metal is back in vogue, and Obituary is as brutal as ever. Last year’s self-titled tenth album is as vicious and technical INDYweek.com | 8.29.18 | 25

as Slowly We Rot, only with the added benefit of more powerful production and veteran precision. California’s Exmortus opens.

—Bryan C. Reed DURTY BULL BREWING COMPANY: The River Otters; 4 p.m.

KINGS:

Porch Light Apothecary [$8–$12/8 P.M.]

The Mattson 2 are at the Cat’s Cradle Back Room Friday night.

Raleigh quartet Porch Light Apothecary celebrates the release of its new LP, Weight of the Heart. The record feels immediately comfortable and familiar thanks to warm, rootsy instrumentation that backs the emotive, rugged croon of Brent Jordan as he lets listeners in via revealing storytelling. The well-rounded bill includes lush, jazzy pop from the soulful and expressive Anne-Claire along with folk and bluegrass tunes formed by the banjo and mountain dulcimer of Hank Smith and Michele Gourley.

—Spencer Griffith

PHOTO BY MARK WIITANEN

with an ex genre-cros moves flui The Black Lillies quietude t and from m [$15/8:30 P.M.] to bombas The Knoxville band has 2016 album been purveying its brand earns adje of Americana for nearly a “cinematic decade now, with a sound too closely that combines country twang post-rock’s with rock ’n’ roll punch in ideal or atmosp amounts. Along the way, The washed-ou Black Lillies have been picking a more me up more and more steam with Inter Arma each album. They’re getting of metal— set to unveil another one, and acous Stranger to Me, which is likely on—to cre to amp up that momentum yet and singul another notch or two, so it’s an Tooth reun ideal time to catch them live. show, and Nora Jane Struthers opens. open. —Br —Jim Allen POUR HOU MOTORCO: #ArtOfNoiseDurham; 8 p.m., $10.

9:30 p.m., $10–$15.

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THE PINHOOK:

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“Sonic Red Love Is” ar first wave power cho vocals. An Bators beh Dead Boys attitude of the raw, da The Stooge guitarist C

with an expansive and genre-crossing sound that moves fluidly from spartan quietude to titanic thunder, and from melodic elegance to bombastic brutality. Their 2016 album, Paradise Gallows, earns adjectives like “epic” and “cinematic,” without clinging too closely to tired tropes of post-rock’s loud-quiet routines or atmospheric metal’s washed-out meandering. Like a more menacing Baroness, Inter Arma plumbs the depths of metal—and classic rock, and acoustic folk, and so on—to create a monumental and singular album. Durham’s Tooth reunites to support the show, and Raleigh’s Bvnnies open. —Bryan C. Reed POUR HOUSE: Crave, Joe’s Cousin; 8 p.m., $10.

SUN, SEP 2

CAT’S CRADLE (BACK ROOM): Bumpin’ Uglies, Sons of Paradise ; 8 p.m., $10–$12.

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

DUKE’S EAST CAMPUS QUAD: Duke Symphony Orchestra; 6 p.m., free.

FULLSTEAM: Eden Falling, Elizabeth Avalie; 5 p.m., free.

LOCAL 506: The Minks, Reese McHenry, Shelles; 9 p.m., $8.

POUR HOUSE: Rap Gods; 8 p.m., $15.

WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, SEP 3

and drummer Johnny Blitz are resurrecting the memory of those good old days with their “Still Snotty” tour, commemorating the album’s legacy in middle age. It’s no question the songs hold up, but since Bators—arguably the most iconic member of the iconic band—has been dead since 1990, it’s questionable how much the band can faithfully recreate its lateseventies peak.

—Bryan C. Reed THE PINHOOK: Mama Played Mondays; 7 p.m., free.

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

TUE, SEP 4 CAT’S CRADLE: X; 8 p.m., $25–$28. See page 22.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

G-Eazy

[$22+/6:30 P.M.] It’s impossible to go out to a club or bar on the weekend and not hear “No Limit,” G-Eazy’s collaboration with Cardi B and A$AP Rocky, the hit single from the 2017 album, The Beautiful and Damned. Like Anthony Patch from the F. Scott Fitzgerald’s novel of the same name, G-Eazy unpacks his celebrity lifestyle, lamenting and glorifying his use of drugs and alcohol as a necessary evil in the world he lives in.

—Charles Morse

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

NIGHTLIGHT:

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

[$7/9:30 P.M.]

MOTORCO:

Dead Boys [$17–$27/8 P.M.]

The Dead Boys’ 1977 LP, Young Loud and Snotty, is rightly considered a punk-rock landmark. Classic singles like “Sonic Reducer” and “What Love Is” are emblematic of the first wave of punk, all rabid power chords and sneering vocals. And with the late Stiv Bators behind the mic, the Dead Boys combined the attitude of the Sex Pistols with the raw, dangerous power of The Stooges. Forty years later, guitarist Cheetah Chrome

Shorn Silk This unruly and unrefined lineup features your favorite local techno and noise demolitionists. Atlanta’s Shorn Silk headlines a crew that also includes Chapel Hill DJ/ producer Sponge Bath, plus Raleigh beat mangler Mall Prowler and New Body Tapes impresario Floor Model.

—David Ford Smith POUR HOUSE: Giant Panda Guerilla Dub Squad, Roots of a Rebellion; 8 p.m., $15.

WED, SEP 5 2ND WIND: Yeaux Katz; 7-9 p.m., free.

G-Eazy stops in Raleigh Tuesday night.

THE CAVE:

Tegucigalpan [$5/9 P.M.]

Over the years, Carrboro’s Clark Blomquist has busied himself with a number of projects: the burly, weirdo rock of Waumiss, the glistening grace of The Kingsbury Manx, and even taking up with Spider Bags on guitar for a spell.

His current musical focus is Tegucigalpan, where he toys with far-out electronic textures. On January’s Digestion Digression, Blomquist offers songs that wriggle with erratic energy, from the fuzzy undulations of “A Nillion” to the hurried (and harried) “Anomie, Animus.” Server opens, plus the Floridian outfit Lassyu. —Allison Hussey HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

PHOTO BY BOBBY BRUDERLE

KOKA BOOTH AMPHITHEATRE:

Kaylin Roberson Band [$5/5:45 P.M.] Though just out of high school, Raleigh’s Kaylin Roberson is a pop-country veteran, penning soft ballads and soaring anthems that are often light on twang, mixing those originals with an eclectic array of covers that include Shania Twain, Post Malone, Pink, and Blink-182.

Victor DiMarko brings a modern Nashville sound. — Spencer Griffith THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

POUR HOUSE: CBDB, tomatoband; 8 p.m., $10.

INDYweek.com | 8.29.18 | 27

art

8.29–9.5

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.

OPENING African American Cultural Festival of Raleigh & Wake County: Local, national, and international artists, performers, food vendors, and business owners. Sep 1-2.

Downtown Raleigh, Raleigh. www.aacfestival.org.

The Art of Travel: Pastel Paintings from the Estate of Elsie Dinsmore Popkin: Sep 1-Oct 17.

Gallery C, Raleigh. www.galleryc.net.

SPECIAL Celebration of EVENT Colored Pencil: Featuring local members of the Colored Pencil Society of America. Aug 31-Sep 25.

Opening reception: Fri, Aug 31, 6-9 p.m. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

SPECIAL Lisa N. Hoang and EVENT Susan Woodson: Fashion by Lisa N. Hoang and painting by Susan Woodson.

Reception: Fri, Aug 31, 6-8:30 p.m. The Mahler Fine Art, Raleigh. themahlerfineart.com.

Space Jungle Exotica: Immersive installation

by Jasmyn Milan and collaborators. $5. Fri, Aug 31.

The Mothership, Durham. wearethemothership.com.

ONGOING

THURSDAY, AUGUST 30

ANTHONY PATTERSON Power Plant Gallery’s residency program compresses an artist’s private studio and public display in one gallery space. It offers audiences unusual access to artists in process, revealing the bodies of research and preparatory work that inform what the artist might call finished. The local artist Anthony Patterson is the second of two PPG resident artists this year (Rachel Goodwin was the first), and his #PIGEONHOLED project weighs his finished painted portraits with audio interviews with his subjects—black men who have been convicted of felonies—as well as sprawling, diagrammatic writing on large whiteboards about the politics of American incarceration and its roots in colonialism. Patterson combines these modes in a potent installation that makes its theoretical points more powerful through the personal stories of the men he’s worked with. The show is still running through September 1 after this reception and talk. —Chris Vitiello

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

From Anthony Patterson’s Any Black Man series 28 | 8.29.18 | INDYweek.com

PHOTO COURTESY OF POWER PLANT GALLERY

Arte de la Borinqueña: Comics creator and Marvel Entertainment writer Edgardo Miranda Rodriguez. Thru Sep 21. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

LAST August Summer: CHANCE Acrylic works by Margo White. Thru Aug 31.

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

LAST Beyond The Stars: CHANCE Paintings by Renzo Ortega. Thru Aug 31. The ArtsCenter, Carrboro. www.artscenterlive.org.

LAST Robert Keith Black: CHANCE Mixed media paintings in tandem with Design Duet at the Gregg Museum of Art & Design. Thru Sep 1. Lee Hansley Gallery, Raleigh. leehansleygallery.com.

LAST By the Sea: CHANCE Seascapes and shore living. Thru 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 remembered blogs, is the subject of a new exhibit at The City of Raleigh Museum, which runs through January after a sold-out, wait-listed reception with photographer Chris Seward. His dynamic black-andwhite photos from the scene capture now-famous names and local, proto-indie-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

SPECIAL ColorFull: Paintings EVENT by Chris Graebner and Lolette Guthrie, blown glass

by Pringle Teetor. Thru Sep 23.

Reception: Fri, Aug 31, 6-9 p.m.

Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Existential Distress: Drawings

by Jessica Burke. Thru 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.

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 Journey: New Paintings and Assemblages: Lisa Creed. Thru Sep 27. Horse & Buggy Press and Friends, Durham. www.horseandbuggypress.com.

LAST Jeana Eve Klein: CHANCE 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 Paintings from Haiti: CHANCE Thru Aug 31.

Gallery C, Raleigh. www.galleryc.net.

Raleigh Makers Market: First Saturdays, 10 a.m.-2 p.m. Benelux Cafe, Raleigh. raleighmakersmarket.com.

Reflections of Elegance: Kenneth Paul Block & the Masters of Fashion Illustration: Original works by fashion illustrator Kenneth Paul Block. Thru Oct 20. Alamance Arts Council, Graham. artsalamance.com.

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 wheelthrown red earthenware that embraces a “comicbook 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 LAST Step Right Up: CHANCE Sculpture by Patrick Dougherty. Thru Aug 31.

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

LAST Summer Kiln CHANCE Opening: Pottery by Mark Hewitt. Thru Sep 2. WM Hewitt Pottery, Pittsboro. www.hewittpottery.com.

Truth to Power 6: Attending Pleiades annual social-justicethemed exhibit has almost become a civic responsibility, as much to acknowledge and support the spirit of protest inherent in the arts as to see the actual work on the walls. It always provides a reliable core sample of the local political ethos—the left side, anyway— and the gallery becomes a safe space to share emotional reactions to the moment. Now that we’re mired out in the middle of the pit of despair that is the Trump presidency, we should be flocking to share this space with our like-minded neighbors. The work can be a bit colorful and literal for my taste, but critique is better set aside to listen to the messages of these artists (including Mary Kramerer, Alex Clark, Jenny Blazing, and others), which are sincere. Juried by Nasher’s director, Sarah Schroth. Thru Sep 10. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

—Chris Vitiello

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

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

LAST Waxing Poetic: CHANCE Encaustic paintings

by Marcia Streithorst.

Thru Sep 1. Bull City Art & Frame Co. bullcityartandframecompany. com.

LAST The World Around CHANCE Us in Watercolor: MAC (Marie Anne Crock). Thru Aug 31. Jerry M. Passmore Center, Hillsborough. orangecountync.gov/aging.

food & drink Creative Workshops & Food Truck Fridays: A different food truck and craft workshop every Friday. 3-7 p.m.; Thru Aug 31.

Inspirations Home Decor and More, Raleigh.

Harvesting and Preserving Herbs: Learn how to care for, harvest, preserve, and use herbs. $8-$13. Sat, Sep 1, 2 p.m. West Point on the Eno, Durham. www.enoriver.org.

Labor Day Shrimp Boil & Oktoberfest Kickoff: N.C. shrimp, potatoes, corn on the cob. $15-$20. Mon, Sep 3, noon.

Motorco Music Hall, Durham. motorcomusic.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/.

Thursday Night Throwdown: Baristas compete in August TriangleTNT latte art competition.

Free (spectators)/$5 (competitors). Thu, Aug 30, 6:30-9:30 p.m. Ponysaurus Brewing Co. Durham. ponysaurusbrewing.com.

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stage

OPENING

FRIDAY, AUGUST 31

METTLESOME SECOND ANNIVERSARY SHOW There have been major changes in regional comedy since Jack Reitz and Ashley Melzer started the innovative collective Mettlesome two years ago. Once, improv comedians had to be affiliated with one of the region’s major comedy venues to present work. But after the pair billed their first appearances as independent shows—and especially after main player DSI Comedy Theater closed in disgrace last year— there’s been a huge growth of performers creating their work outside the organized regional system. “We went from a community with almost no independent comedy scene to a booming indie scene, and I do believe we’ve played a part in this,” Reitz says. Melzer agrees: “We’ve grown a community; now there’s much more openness and encouragement to participate in different forums, learn from different places, and collaborate.” The upstarts celebrate their second anniversary with a special night featuring not only some of Mettlesome’s best work, but also an open forum for troupes from around the area to shine. —Byron Woods

MONKEY BOTTOM COLLABORATIVE, DURHAM 8 p.m., $5, www.thisismettlesome.com

Jack Reitz and Mettlesome PHOTO COURTESY OF METTLESOME

30 | 8.29.18 | INDYweek.com

Martha Kelly: Stand-up comedy. With Pat Deane and Avery Moor. Hosted by Deb Aronin. $10. Sun, Sep 2, 8 p.m.

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

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Dangling Loafer: $5. Fri, Aug 31, 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: Even the smallest amount of fire has power; the light from a single candle can be seen from more than a mile and a half away. Paperhand Puppet Intervention’s nineteenth annual large-scale summer pageant is a broadranging view of different aspects of this elemental

engine of transformation.

The sequences scripted by cofounders Donovan Zimmerman and Jan Burger include a socially conscious examination of flame’s fundamental dichotomy of creation and destruction, and a colorful, choreographed congress of supernatural fire-based creatures. Dance maker Tommy Noonan builds from an initial quartet of small, dancing flames wearing vivid yellow, orange, and red costumes, gradually joined by two smiling fire demons that fling sparks from fingers tipped with yellow tendrils of flame. These are joined by a firebird, fire monkeys from Chinese astrology, and the eight puppeteers required to animate a breathtaking, two-story-tall, fire-breathing dragon, which leers down upon the front rows before venturing into them during its serpentine dance. $8-$15. Thru Sep 23. UNC Campus: Forest Theatre, Chapel Hill. www. paperhand.org. —Byron Woods Improv at the Varsity: Stand-up, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.com.

 Sister Act: Raleigh Little Theatre’s production of the Sister Act musical has amazing vocals and showstopping spectacle, but the script feels very much like it’s meant for 1992 movie audiences, and the constant location shifts that worked in the film seem to overwhelm the production team. The strongest moments are in music director Michael Santangelo’s gorgeous songs and director Nancy Rich’s farcical choreographed moments. As Deloris, a character immortalized by Whoopi Goldberg, Tyanna West is a consistent comedic and vocal force. The weakest moments come in the timing: actors stumbling over key lines, awkward punch lines, and fight choreography that’s always a little off. But overall, Sister Act is an, ahem, habitforming joy. It’s a story about how art doesn’t have to be about prestige—that it can be about finding a community and making something beautiful, even if it’s a little imperfect.$15-$28. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org.

—Katy Koop

INDYweek.com | 8.29.18 | 31

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page

SPECIAL SHOWINGS Space Week: 2001: A Space Odyssey: IMAX screening. $5-$11. Thu, Aug 30, 10 a.m.

Wells Fargo IMAX Theatre at Marbles Kids Museum, Raleigh. www.marbleskidsmuseum.org.

OPENING Juliet, Naked—Another adaptation of novelist Nick Hornby (High Fidelity, About a Boy), this one a music-world love triangle centered on Ethan Hawke. Rated R.

SUNDAY, SEPTEMER 2

DAVE EGGERS When I think of author Dave Eggers, I always think of musician Conor Oberst, aka Bright Eyes.

In 2000, both made their names with confessional, jaded but earnest works marked by titanic selfobsession they at once indulged and knowingly, if not always convincingly, excoriated themselves for: Eggers’s memoir A Heartbreaking Work of Staggering Genius and Oberst’s album Fevers and Mirrors. And both went on to struggle, with varying success, to buck their reputations for searing white-guy solipsism, as Oberst started singing folk songs about migrant workers while Eggers started writing novels about Sudanese refugees.

His embrace of writing as a kind of public service rather than a personal purge is writ large in What Can a Citizen Do?, his new children’s picture book with artist Shawn Harris. It’s a civics lesson with whimsical (and sometimes confusing, according to Kirkus) rhetorical flourishes. Probably not what A Hologram for the King fans are after, but a Durham appearance by the founder of McSweeney’s is notable. —Brian Howe

THE REGULATOR BOOKSHOP, DURHAM 3 p.m., free, www.regulatorbookshop.com

Dave Eggers

PHOTO COURTESY OF DAVEEGGERS.NET

READINGS & SIGNINGS Hassan Melehy, Elizabeth T. Gray, and David Need: Poetry.

Wed, Sep 5, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Malka Older: With State Tectonics. Tue, Sep 4, 7 p.m.

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

Terry Roberts: With The Holy Ghost Speakeasy and Revival.

Wed, Aug 29, 7 p.m. Flyleaf 32 | 8.29.18 | INDYweek.com

Books, Chapel Hill. www.flyleafbooks.com.

Ken Taylor and J. Peter Moore: Poetry. Sat, Sep 1, 6 p.m. So & So Books, Raleigh. www.facebook. com/soandsobooks.

LECTURES ETC. Precarity: Art and the Humanities: Interdisciplinary panel of humanities faculty on John Akomfrah’s video “Precarity.” Thu, Aug 30, 5 p.m. Nasher Museum of Art, Durham. nasher.duke.edu.

Kin—A recently freed prisoner and his adopted brother are on the run with an alien weapon in this sci-fi action flick. Rated PG-13.

Searching—Like the socialmedia-bound horror of Unfriended? Then try this thriller told through phone and computer screens.

Rated PG-13.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Ant-Man and the Wasp—Marvel takes a goofy, low-stakes break from existential threats. The tone is so agreeable you hardly notice the rickety script.

Rated PG-13. 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.  Crazy Rich Asians— This Asian-American-led rom-com is an undeniable cultural milestone, but put that aside and it’s uttery standard fare. Rated PG-13.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated Spider-Man, the sequel is a controlled detonation of the superhero-movie template: filthy, funny, and cheerfully ultraviolent. Rated R.

Coco PHOTO COURTESY OF WALT DISNEY STUDIOS SATURDAY, SEPTEMBER 1

COCO FIESTA FANTÁSTICA NCMA is celebrating Día de los Muertos early this year with a spectacular evening completely dedicated to this magical Mexican tradition. While the main event will be the screening of Pixar’s Coco, you’ll want to show up early to really experience the beautiful wonders of Day of the Dead. Bring a picture, keepsake, or note of a beloved person that has passed away to honor their memory by placing it on the museum’s ofrenda, a vibrant community altar. Jandy & Co. will be providing colorful skull-face painting—and I highly suggest requesting Miguel’s look during his adventure in the land of the dead, Frida Kahlo, or even Ernesto de la Cruz. Local troupe Baile Folklorico and Mariachi Viva Mexico will take the stage, and there will be several Mexican food trucks. Once your face is done up Muertos-style, and your belly is full of pan dulce, take in the lovely story of Coco under the stars and sing along to “Remember Me,” because how could we ever forget? I’m already crying just thinking about it! —Araceli Cruz

NORTH CAROLINA MUSEUM OF ART, RALEIGH 6:30 p.m., $8–$10, www.ncartmuseum.org

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 Jurassic World: Fallen Kingdom—Murky morals, jump scares, and diminishing returns of digital dinos weigh on this once-mighty franchise.

Rated PG-13.

½ Puzzle—Neither the world of competitive jigsaw puzzles or the soul of a repressed housewife come into full focus in Marc Turtletaub’s film. 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 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.

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INDYweek.com | 8.29.18 | 33

9 7 8 6 4 2 3 5 1

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

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© Puzzles by Pappocom

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

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

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

1 8

6 1 7 9 8 47 6 2 7 3 7 85 7 9 3 2 5 4 2 9 6

8 8 1 5 2

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# 52

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

# 50 5 7 2 4 3 9 6 1 30/10/2005 8

3 2 9 4

HARD

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

8.29.18

solution to last week’s puzzle

8 6 1 |7INDYweek.com 2 5 3 9 4 34 | 8.29.18

4

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2 3your 9 6 ad 5 • Email amanda: classy@indywEEk.com B7ook 8 1 5 3

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advertise on this page!

reserve this space for $100! classy@indyweek.com

last week's puzzle

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INDYweek.com | 8.29.18 | 35

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