INDY Week 9.28.16 by Indy Week

raleighâ&#x20AC;¢cary 9|28|16

Donnie Harrison Loses It, p. 6 Where Your Food Taxes Go, p. 8 Charlotte on Edge, p. 10 Gardens Are for Sharing, p. 23

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A FIFTEEN-YEAR-OLD MOVIE STILL LOOMS LARGE OVER THE IBMA FESTIVAL P. 15

2 | 9.28.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH

VOL. 33, NO.39

6 Wake County Sheriff Donnie Harrison to us: It’s “people like you who are what’s wrong with this country.” 8 Though Cary and Morrisville generate more than a third of Wake County’s hotel taxes, Cary is only guaranteed 5 percent of the revenue, and Morrisville is entitled to none. 9 “In a recent North Carolina poll, Hillary Clinton is leading in a two-person race but is tied when libertarian Gary Johnson is included. 10 “Three shots, man. Three shots done changed this city. Let them break out that gas and them rubber bullets. We ain’t stoppin’.” 14 Bluegrass continues to be unduly influenced by a flick about three wandering bumpkins. 21 Despite common misconceptions, less than one-fifth of Muslims live in the Middle East. 23 A local handyman’s gift of fresh produce enriches the lives of his neighbors. 29 The curtain comes down on a local theater group that flourished in a mall.

DEPARTMENTS 5 6 8 9 23 27 32 35 40

Backtalk Triangulator News Soapboxer Food Arts & Culture What to Do This Week Music Calendar Arts/Film Calendar

Mike Richardson picks okra at a community garden at Asbury United Methodist Church in Raleigh. PHOTO BY BEN MCKEOWN

On the Cover: ILLUSTRATION BY SHAN STUMPF

INDYweek.com | 9.28.16 | 3

Raleigh | Cary Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf RALEIGH BUREAU CHIEF Ken Fine STAFF WRITERS (DURHAM)

Lauren Horsch, David Hudnall STAFF WRITER (RALEIGH) Paul Blest The very fi ASSOCIATE MUSIC EDITOR Allison Hussey the state ( ASSOCIATE ARTS EDITOR David Klein last; we su ASSOCIATE FOOD EDITOR Victoria Bouloubasis “I am di LISTINGS COORDINATOR Michaela Dwyer writes. “Si THEATER AND DANCE CRITIC Byron Woods North Car CHIEF CONTRIBUTORS Tina Haver Currin, Spencer Griffith, Corbie Hill, Laura Jaramillo, that the N Emma Laperruque, Jill Warren Lucas, Republica Sayaka Matsuoka, Glenn McDonald, age to Nor Neil Morris, Angela Perez, Hannah Pitstick, claimed th Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, Dan Schram, Zack Smith, Eric Tullis, Chris we need to Vitiello, Ryan Vu, Patrick Wall, ford to wa Iza Wojciechowska Carol P INTERNS Lily Carollo, Melissa Cordell, Erica Johnson, Jamie Stewart, Sara Kiley Watson nomic car

of North C the discrim PRODUCTION MANAGER Christopher Williams concerned ART DIRECTOR Maxine Mills GRAPHIC DESIGNER Steve Oliva into the la STAFF PHOTOGRAPHERS Alex Boerner, Ben McKeown that little McCrory’ OPERATIONS BUSINESS MANAGER Alex Rogers And, fin WEB CONTENT MANAGER Reed Benjamin Tract”: CIRCULATION ART+DESIGN

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And Now for Some HB 2 Poetry

The very first person to send us a letter in response to our story on how much HB 2 has cost the state (almost $400 million and counting) was Emily Goodman of Cary. She was not the last; we subsequently received nearly a dozen exact replicas. “I am disgusted by the finger-pointing over HB 2,” Goodman (and a bunch of other people) writes. “Since Governor McCrory and the Republican legislature passed this disastrous law, North Carolina has lost thousands of jobs and $395 million. The costs continue to climb, now that the NCAA and the ACC have canceled their tournaments here. Governor McCrory and the Republicans wrote and signed this bill in just twelve hours back in March. Since then, the damage to North Carolina’s economy and our reputation have continued to grow. McCrory initially claimed the whole thing was a vast left-wing conspiracy. Now he says it’s a national issue and we need to wait for the courts to decide. McCrory needs to repeal this terrible law. We can’t afford to wait, and we certainly can’t afford any more of Governor McCrory’s finger-pointing.” Carol Petrie, meanwhile, thinks it’s unfortunate that people are focused on HB 2’s economic carnage and not its rank immorality. “It’s sad that it took the ACC and NCAA pulling out of North Carolina to prompt such HB 2 outrage,” she writes. “Shouldn’t it have been because of the discrimination and lack of ability to sue because of it? Also, to all those parents out there so concerned about their children’s bathroom safety: when you try to take your little boy with you into the ladies’ room or your little girl into the men’s room, you are violating the law! Yes, send that little man into the bathroom of his gender all alone. Now, don’t you feel safe and happy with McCrory’s HB 2?” And, finally on the HB 2 front, there’s this poem from Sue Wong, titled “Page from a Urinary Tract”:

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ILLUSTRATION BY STEVE OLIVA

When the line is long and you’ve got to pee Here’s a tip you can take from me March on over to the door marked “Men” And if guys give you grief, drop your voice an octave And declare that when You left home that morning at half past ten You were late, in a rush, and yourself so beside You forgot the document proving you’re bona fide And, no, they can’t have a peek, though you’ve nothing to hide It’s just a chore to drop panties while hiking a dress So to avoid stares, snide remarks, and all that mess You’ll excuse yourself, duck into a stall Tell them, if they don’t like it, to give McCrory a call.

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. |

+CHILL, DONNIE

Last week, Wake County Sheriff Donnie Harrison told WRAL that he might pull his school resource officers from Wake County Public Schools if the system didn’t set a clear policy for transgender students. “I’m thinking about pulling my school resource officers out of those schools,” he told reporter Sloane Heffernan. “If we can’t have a better relationship, if they can’t work with us, I don’t know how we can work with them.” His beef, it seems, is that there’s no consistent policy across the system. He mentioned one school in which the principal allowed a transgender girl to use the girls’ bathroom: “She had allowed this person, male that is transgender, going to be a female, to go in there as long as he did not take off his underwear,” Harrison told WRAL. What that has to do with the SROs isn’t entirely clear. On Monday morning the INDY sent Wake County a public records request asking for two things: first, Harrison’s communications over the past month that mentioned “school resource officers,” “transgender,” or “HB 2,” in order to see how this issue arose within the sheriff’s office; and second, his emails with the governor’s office over the past three months, because we got a tip that he may be a witness for the state in the HB 2 trial scheduled for next year. Harrison was not amused. Early Monday afternoon, a furious Harrison called us and demanded to know “what HB 2 has to do with anything.” He also wanted to know why we were asking about Governor McCrory, because, in his eyes, “This has nothing to do with politics. This is between Sheriff Donnie Harrison and the Wake County Public Schools.” Over the course of the four-minute conversation, Harrison repeatedly said that his comments and his threat to pull SROs out of the Wake County Schools had nothing to do with HB 2, though the law specifically stated that students must use the bathroom and dressing rooms associated with the sex on their birth certificate. (The Obama administration has said that the law, for this reason, is a violation of Title IX, and in August a federal judge issued a partial preliminary injunction of the bathroom provision.) Harrison told us that it’s “people like 6 | 9.28.16 | INDYweek.com

you who are what’s wrong with this country” and said we were trying to “make [the country] into something that it isn’t. That’s what’s wrong with you guys. It’s people like you who try to spin this stuff.” Worth noting: before this story, we hadn’t written one word about Harrison’s transgender comments; we merely asked for records. In the past, Harrison hasn’t shied away from politics: he endorsed McCrory’s 2016 campaign on September 16, and State Board of Elections records show that he’s donated more than $2,000 in contributions and in-kind donations to McCrory during the governor’s three runs. And, like McCrory, he doesn’t necessarily have the most evolved take on trans issues. “Let me ask you this,” he told us. “If you had a daughter in school and there was a transgender [sic] dressing in the bathroom, wouldn’t you want to know?” No, we wouldn’t care, we responded. “Well, we don’t see eye to eye on that,” he snapped. He did confirm that he would testify if the state asked. And at the end of our conversation, he also confirmed that his office would fulfill our public records request—because, he yelled (like, seriously, yelled), “there’s nothing there!” As of press time, the INDY had not yet received those records.

+CONNECTOR ERRORS

Earlier this year, Durham’s Human Relations Commission recommended that GoDurham restore two stops on the Bull City Connector, including one at Durham Station, which was the connector’s most-frequented station and was often used by low-income minority riders. Despite that, GoDurham, Duke University, and the city—which together manage the connector—decided to eliminate those stops in August 2015 to speed up the line. Due to budget limitations, the $1.1 million-a-year service only runs around downtown and near Duke Hospital, some of the most densely populated parts of the city. That should translate into high ridership, John Tallmadge, GoTriangle’s director of regional

ILLUSTRATION BY STEVE OLIVA

triangulator

services development (GoTriangle operates GoDurham), told the city council last week. But ridership has been lackluster. In 2015 the connector saw a total 2,727 boardings and departures per day. In 2016 that dropped to about 1,900. Because GoDurham eliminated those stops, Tallmadge said, that decline was expected. The council could revert back to the old system, Tallmadge continued, but that might put funding from Duke University at risk. Because Duke contributes a large chunk of the connector’s operating funds—about $350,000 a year—there’s special consideration for the institution’s needs. (Duke’s stated goal in eliminating the stops was to streamline service on Main Street.) While council member Charlie Reece says he understands the desire to make the service more efficient, he wants to see the Bull City

Connector serve all of Durham. “My frustration here is in order to reduce headway, which is obviously a goal, the decision was made to eliminate the very busiest parts, the parts of this system that have the most ridership,” he said. “And it just so happens that it’s the part of the systems that have the most riderships of folks who are poor and use the system in a very robust way. And I understand the goals, as I mentioned, but I had to laugh when I read the bottom-line bullet point that ridership continues to be lower than wanted. Well, that’ll happen when you drop a stop where seven hundred people used to board every day.”

+POT POLITICS

In light of a unanimous Thursday afternoon vote by the Durham City Council authorizing the city manager to work with the Dur-

TL;DR:

ham Police Department to figure out how to have police issue citations and warnings for low-level marijuana offenses in lieu of making arrests—nice work, Durham, for real—we reached out to Raleigh officials to see if the state capital might take a page out of the Bull City’s book. Oddly enough, according to Raleigh Police Department spokesman Jim Sughrue, Oak City cops are ahead of the game. While he could not immediately provide evidence supporting his claim, Sughrue said the vast majority of pot arrests only happen because the arrestee has been charged with something other than possession. “I’ve been here thirteen years, and I do not remember any enforcement project that was targeted at anyone for simple possession of marijuana. By the same token, if marijuana is discovered, the officers would not be in a position where they decide which laws to enforce and which laws they don’t. For simple possession of marijuana, almost everyone receives a citation.” But Police Accountability Community Task Force spokesman Akiba Byrd tells a different story, one in which whites dominate the city’s population—69 percent of residents are white and 21 percent are black—and blacks and whites use marijuana at the same rate, but 67 percent of those arrested on pot offenses in the city are black.

THE INDY’S QUALITY-OF-LIFE METER +2

Fifty-three investors—including the managers of major pension funds—say HB 2 “has troubling implications for the investment climate in North Carolina.” Too bad the governor still denies climate change is man-made.

-3

Citing concerns about transgender students using restrooms that conform to their gender identity, Wake County sheriff Donnie Harrison threatens to pull student resource officers out of schools until the school board develops a “consistent” policy. To be fair, Donnie Harrison is a grown-ass man who goes by “Donnie.”

-2

substance in North Carolina. Any decision to alter enforcement practices would require thoughtful conversation with the Council, Legislature and Wake County District Attorney.” Confused? Yeah, us too. triangulator@indyweek.com

A federal judge dismisses a lawsuit challenging a state law that allows magistrates to not perform same-sex weddings. But if two wasted teenagers decide on a whim to get hitched, God smiles down.

-2

This week’s report by Paul Blest, Ken Fine, and Lauren Horsch.

A poll shows that Donald Trump’s North Carolina supporters like former KKK imperial wizard David Duke more than Hillary Clinton. Because who can resist a man in a white sheet?

The day after Clinton mops the floor with Trump at the first presidential debate, Raleigh mayor Nancy McFarlane finally endorses her. Jesus, Nancy—do you file your taxes on April 14, too? .

ILLUSTRATION BY STEVE OLIVA

“We know from our lived experience that cops are walking up to black people daily and saying, ‘We smell marijuana,’ and they use that as an excuse, whether there’s any marijuana present or not,” he says. Besides, the city’s official stance appears to contradict what Sughrue says RPD’s position is. Asked by PACT to deprioritize marijuana enforcement, the city responded in July: “Marijuana is currently a controlled

PERIPHERAL VISIONS | V.C. ROGERS

-1

A Hillsborough teacher resigns after a conservative blogger reports that she had students compare speeches from Trump and Adolf Hitler. They could only tell them apart because Hitler actually explained his nefarious plans, rather than just saying they were “beautiful.” .

-2

North Carolina congressman Robert Pittinger says protesters in Charlotte “hate white people.” No, Rob—they just hate white people like you.

This week’s total: -5 Year to date: -11 INDYweek.com | 9.28.16 | 7

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

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

PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER

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indynews

Culture Clash

A DIVIDED COUNTY COMMISSION DEBATES WHERE HOTEL AND FOOD TAXES SHOULD GO BY PAUL BLEST In a way, the fund belongs to you. Every time you stay in a hotel or have a meal—or drink—at a Wake County establishment, you’re paying into it. But just where food, beverage, and occupancy tax dollars are spent—and who makes that call—is becoming a burning question in Wake County after the Board of Commissioners sparred last week over funding potential sports, arts, and cultural projects from the food, beverage, and occupancy coffer. Here’s what went down. Fourteen proposals were submitted to the county manager’s office for review after funding for a basketball park in Knightdale fell through. Staff rated the potential projects, and after a lengthy review process, county manager Jim Hartmann recommended that six of them receive about $3.3 million. But Commissioner John Burns wanted to hear more about two projects that scored well but failed to make the short list: Morgan Street Food Hall and the Capital Athletic Pavillion, an indoor sports complex in Raleigh. In a 4–3 vote, Burns’s request was rejected, but he kept working on it. On Friday, the county told the INDY that the two projects would be taken up at the board’s October 10 work session, where the projects’ organizers will present their cases to commissioners. “I just want to learn more about the projects,” Burns says. “We will consider funding at a later meeting. I think these are all very worthwhile and exciting projects for our county and our staff, and the committee did an excellent job reviewing them. I just like to have as much information as I can reasonably have.” “I’m psyched,” says Niall Hanley, the owner of Hibernian and Raleigh Beer Garden who is opening Morgan Street Food Hall, a twenty-one-thousand-square-foot market with more than sixty shops and kiosks. “Our project is great for tourism and great for incubating young restaurant talents that would find it tough to build a restaurant in the booming economy that is Raleigh right now.” The revenue comes from two taxes authorized by the General Assembly in 1995—a 6

Cary

WakeMed Soccer Park and Cary Tennis Park renovations and upgrades

$3,485,000 Morrisville

Lights for Church Street Park cricket fields

$737,000 Raleigh

Outdoor public art and gateway at Marbles Museum

$351,000

Wake Forest Enhancements at the Renaissance Centre for the Arts

$995,800

Raleigh Outdoor renovations at the N.C. Museum of Art

$13,110,000

Fuquay-Varina Fleming Loop Recreational Park

$2,682,549

TOTAL RECOMMENDED FUNDING

$3,323,680 percent hotel tax and a 1 percent food and beverage tax, which together raised more than $45 million last year. After meeting existing commitments, including to the Greater Raleigh Convention and Visitors Bureau, the city and county earmarked the bulk of the money—85 percent of what’s left over—to the convention center. The rest is available for other projects. To date, that money has helped fund the construction of the PNC Arena and the Raleigh Convention Center, as well as Five County Stadium in Zebulon, the IMAX theater in Raleigh, and a one-time allocation of $10 million to Cary for improvements at WakeMed Soccer Park, the USA Baseball National Training Complex, and Cary Tennis Park. Anyone can apply for a grant, be it a munic-

ipality, nonprofit, or for-profit business. But the money is limited “to the construction of sports, cultural and arts-related facilities,” according to state law—and that’s why, after consulting with the county attorney, Hartmann turned down Hanley’s request, according to Wake County spokeswoman Dara Demi. The thing is, the law never defines what constitutes “cultural,” and you could argue that a food market is in fact a cultural facility. That’s not the only pending issue. With the county’s exponential growth over the past few decades, Wake’s smaller municipalities have begun voicing concerns that all of their money is going to Raleigh. Though Cary and Morrisville together generate more than a third of the county’s hotel taxes, according to a News & Observer report, Cary is only guaranteed 5 percent of the occupancy tax’s revenue, and Morrisville is entitled to none. In May, Cary mayor Harold Weinbrecht Jr. sent a letter to county chairman James West and Raleigh mayor Nancy MacFarlane asking them to consider a new funding model. Noting that “many Wake communities, including Cary, have facilities that also need attention,” Weinbrecht wrote, “our recommendation and request is to look at all qualifying contributing facilities needs for continued support to establish a fair, balanced, and holistic plan.” At a May 26 town council meeting, he was less diplomatic: “I am losing patience,” he said then, according to the N&O. “We don’t have a voice. We are funding all of Raleigh’s projects, and I’m getting tired of it.” As for Hanley, he’s aware of the political pressures. A large part of his task at the October 10 session will be convincing the Board of Commissioners that his project can benefit the county as a whole, not just Raleigh. “This is not just about Raleigh,” he says. “This is about people going out into Garner, Wake Forest, and Zebulon, and all of these cool small towns, and they would be adding to the tax base there.” pblest@indyweek.com

soapboxer

Don’t Nader Us

LOATHE HILLARY? FINE. VOTE FOR HER ANYWAY. DEMOCRACY DEPENDS ON IT. BY JEFFREY C. BILLMAN

I didn’t vote in my first presidential election. It was 2000. I’d just turned twenty-one. I’d voted in the primary, for former NBA star and New Jersey senator Bill Bradley, whose Northeastern cerebral style appealed to me, sort of like Jed Bartlet from The West Wing. But he lost. Al Gore won, and I just wasn’t all that into him. I was a college student in Florida but registered several hours away, at my parents’ home. So I needed to vote absentee or switch over my registration. I was politically engaged—a poli sci minor and newbie political reporter, in fact—but the whole thing seemed like a lot of work. Too much work, given my middling feelings toward Gore and my gut certainty that America wouldn’t be so stupid as to elect that bumbling fool from Texas. Besides, what’s one vote in a state of millions? Across Florida, 537 other Democrats didn’t vote in that election, either. That, along with Republicans’ post-election chicanery, was enough to push George W. Bush over the top in Florida and give him the White House. Another ninety-seven thousand progressives voted for Green Party candidate Ralph Nader—again, more than enough to alter the course of humanity. One calamitous terrorist attack, two wars, economic collapse, and the drowning of a major American city followed, along with a host of smaller but no less egregious offenses, things like Abu Ghraib and radical Supreme Court appointments and tax cuts for the rich. All of that because I and a few hundred other progressive minded-folks decided our votes weren’t all that important, or that Gore was too unexciting, or that we would stand up to the corporate political duopoly and throw in with Nader even though we knew he had no chance of winning. Needless to say, I’ve voted in every election since. Sometimes I’ve written checks or knocked on doors, too. Because the 2000 election seared into my brain that these things have consequences, that staying home or pissing away a protest vote could actually

PHOTO FROM WIKIPEDIA

If you care more about the future than nostalgia for a simpler, whiter past, it’s your duty to defeat Trump. matter. We have an imperfect system, granted. But it’s the one we’ve got. This is a fact: come January 20, one of two people will take the oath of office. That person will not be Gary Johnson. That person will not be Jill Stein. That person may very well be Donald Trump, who could sneak into office—like Bush, despite not having a majority or even a plurality—if enough voters in North Carolina and other battleground states stay home or cast protest votes. This is espe-

cially true of younger voters; a third of those under the age of thirty, according to recent Quinnipiac and New York Times national polls, are planning to vote third party. Not coincidentally, these voters were all in middle school—or younger—when apathy and Nader gave us Bush. The same thing could happen this year. In North Carolina, according to an Upshot/ Siena College poll out last week, Clinton edges Trump in a two-way race but ties him when Johnson is thrown into the mix. More than even Bush sixteen years ago, Trump’s election—to say the least—poses a clear and present danger to world stability, democratic institutions, and our very way of life. If you care more about the future than a nostalgia for a simpler, whiter past, it’s your duty to defeat him, and, more than that, to drive the ideological scourge he represents into the dustbins of history. Gary Johnson won’t do that. Sorry. You don’t have to like Hillary Clinton. God knows she has her faults (though, you try spending two decades in an unrelenting partisan meat grinder and see if you emerge unscathed). She tends toward secrecy and interventionist foreign policy and, like Gore, very much embodies the Democratic establishment. She—also like Gore—is wooden and uninspiring on the stump. But she at least acknowledges that climate change is real and that we can remake immigration laws without ripping families apart. She would maintain and expand the Affordable Care Act and has proposed an aggressive college-affordability plan. Most important, she would appoint Supreme Court justices more in the mold of Ruth Bader Ginsburg than Antonin Scalia, which means your vote in November will shape decisions on civil rights and just about everything else for decades to come. Had I and 536 other progressive Floridians not given in to cynicism sixteen years ago, the world would almost certainly be a better place today. Don’t repeat our mistake. l jbillman@indyweek.com INDYweek.com | 9.28.16 | 9

PHOTO BY LOGAN CYRUS

CHARLOTTE RISING

ANOTHER BLACK MAN GUNNED DOWN BY THE COPS UNDER DUBIOUS CIRCUMSTANCES. ANOTHER CITY ON EDGE. HOW LONG BEFORE IT HAPPENS HERE?

t was right about the moment two protesters lifted me over the concrete barrier guarding Interstate 277 that I realized just how screwed we were. There were hundreds of people staging a sit-in, blocking traffic in both directions. A few dozen more were shouting down from the overpass and throwing debris at the police lining the roads’ shoulders. A Charlotte police officer who had, 10 | 9.28.16 | INDYweek.com

BY KEN FINE for the previous four hours, marched alongside the crowd broke away from the pack. I saw him talking into his radio. A few protesters approached two officers with hands extended, one shouting, “Man, fuck the police. I ain’t armed neither, motherfucker. You gonna kill me, too?” before a woman wearing a gas mask and a “#BLM” T-shirt pulled him back toward the group. “That’s what they want us to do,” she scolded. “Don’t you go and give him a reason to

shoot you. Don’t you think he’s itchin’ to?” The interstate looked far different than it did when I drove into Charlotte earlier on Thursday. The darkness and cloud cover eliminated the horizon. And the road itself was so vast that this group of hundreds felt small. The crowd was noticeably tense. What began as a well-oiled machine of synchronized cries for justice and equality had transformed into something resembling a middle school dance—a bunch of people standing

around awkwardly, waiting for someone, anyone, to make the first move. Maybe it was the open air around us—how, without buildings and skyscrapers to amplify and unify the soundtrack, no one voice could direct us. Or perhaps, the fuse lit September 20 when Keith Lamont Scott was gunned down by a city police officer had, in that moment, finally met a powder keg that has grown more and more unstable with every black man gunned down by a man or

woman in uniform. What transpired on that interstate was a far cry from what had unfolded hours prior, as darkness fell on Uptown. Impassioned protesters, in between chants and the occupation of one intersection after another, offered hugs to police and thanked members of the National Guard for their service. Here, there was more raw emotion and indecision; arguments erupted between those sitting on the pavement and others who wanted to return to Uptown’s Epicentre. And that dissension in the ranks gave the police an opening. They took it. As white vans sped toward the crowd with blue lights flashing, all I could think about were scenes from the night before: tear gas, gunshots, objects hurled at vehicles, trash cans being set on fire, a man shot and killed. When dozens of riot gear-clad officers filed out of the vehicles and lined up across the interstate, I was hit by a wave of nausea. The cops began rhythmically clanking batons against their riot shields. Then, rubber bullets started flying. The police’s initial offensive didn’t deter those gathered in the middle of I-277. If anything, it was as if the Charlotte-Mecklenburg Police Department’s show of force reunified them. Some secured doctors’ masks and bandanas around their faces. Others shouted and signaled, with wagging middle fingers, that they were ready for a clash. They locked arms and formed a line of their own underneath the overpass. But it wouldn’t last. The pepper spray made sure of that. As long as we’re talking about pepper spray, allow me to state for the record that being momentarily blinded by it ranks among the worst experiences I have endured in my thirty-four years on this planet. The pain is indescribable. And were it not for the kindness of the three protesters who helped me to my feet and poured milk on my face to alleviate the burning, my evening might have ended there. But the worst part is how the loss of one of my senses heightened the others, how I heard, with what I can only characterize as an eerie clarity, chants and shouts giving way to screams and the sound of polycarbonate shields crunching against flesh and bone. And when my vision returned, I watched, through a blur, several men being knocked to the ground and forced off the road, a young woman screaming and desperately trying to wipe chemicals out of her eyes, and police officers puffing out their chests with pride when the interstate had finally been cleared.

PHOTO BY LOGAN CYRUS

Having been fought off I-277, what was left of the crowd returned to the fervent but restrained unit it had been for most of the evening—minus the several dozen men and women rolling on the ground as friends and strangers attempted to relieve their post-pepper spray hell. And I sat there, eyes and face on fire, wondering just how the fuck we got here. For Jamaine Hall, the answer is pretty simple. “Three shots, man. Three shots done changed this city,” he said. “We took the spray. Let ’em break out that gas and them rubber bullets. We ain’t stoppin’. We done had enough.”

hree shots. Three shots after Scott’s wife told police that her husband suffered from a traumatic brain injury and would do them no harm. Three shots after she pleaded with them not to pull the trigger. Police officials say the incident was unfortunate but justified—that Scott was wielding a gun and refused to disarm. But body-cam and dashboard footage released by the city Saturday seems to dispute that assertion. Nobody—no politician, protester, or pundit— claims a gun is visible. And, in the footage, Scott appears to be passively backing away from the officers with his hands at his side. To make matters worse, the police weren’t even there because of Scott. They were at his apartment complex to serve a warrant

“Three shots, man. Three shots done changed this city. We ain’t stoppin’. We done had enough.” on someone else. But they confronted Scott because they allegedly saw him rolling what they “believed to be a marijuana blunt” and, later, “hold up a gun,” according to the police report. Moments later, he was dead. Even without having seen the video, many of those who converged on Uptown Thursday night disputed claims that Scott had a gun. The protesters argued that the lack of transparency up to that point hinted at the motives of those conducting the investigation. “If the police have nothing to hide, that footage would have been released to the public by now,” said Tyrod Williamson. “This is some bullshit. And there wasn’t no gun in that man’s hands. If there was, we would have seen the tapes.” But Williamson wasn’t in Charlotte just to mourn Scott and demand answers. He drove from Durham to remind protesters that this was not the first injustice to unfold in North

Carolina in recent years. He was there for La’Vante Biggs, a friend who was gunned down in the front yard of his mother’s house last September. One especially troubling fact about that incident: during a forty-fiveminute standoff with police, Biggs—a suicidal twenty-one-year-old who’d been released from jail hours earlier and was armed with what the police later determined to be a BB gun—set his weapon down several times, once for as long as three minutes. So why, during those moments, didn’t negotiators find a way to subdue him? “These cops are trigger-happy. That’s why you used to always hear ’bout police killing dogs and shit. Now we the dogs,” Williamson told me. “So if we go by their story, this man is crying out for help and you kill him? You shoot him down when he’s in crisis? That’s some fucked up shit.” Biggs wasn’t the only minority killed by Durham police in recent years. In July 2013, Jose Ocampo, a thirty-three-year-old Hispanic man, was shot moments after officers responded to a stabbing incident. The Ocampo family’s attorney has said Ocampo was waiting to explain to the police what had occurred, but when he took the knife out of his pocket and presented the handle to them, they fired. A few months later, on September 17, Durham police took another life. Derek Walker, a suicidal man who was waving a gun in CCB Plaza, was shot to death, after negotiations failed. A third incident followed that November—one that sparked violent protests in the Bull City akin to what unfolded last week in Charlotte. Jesus Huerta was only seventeen years old when he was shot at close range in the mouth after being arrested for trespassing. The cops claimed that Huerta killed himself, but, with Huerta secured in the back of a police car with his hands cuffed behind him, how could such a shooting have occurred? Durham police would only say that they found a handgun in the back of the police cruiser—and that the officer who arrested Huerta must have missed the gun as he frisked the teen. Many people didn’t buy that explanation. Protesters broke windows at the city’s police headquarters and threw everything from road flares to smoke bombs at the facility. Then-police chief Jose Lopez intensified the situation by suggesting two groups of protesters could be identified: those who showed up for a peaceful gathering and “outside agitators” who wanted nothing but an opportunity to destroy things. INDYweek.com | 9.28.16 | 11

Similar characterizations have been made about those who clashed with police in Charlotte last week, including a glaring lie peddled, and later retracted, by Charlotte-Mecklenburg Fraternal Order of Police spokesman Todd Walther: that 70 percent of those arrested during last Wednesday’s riot were from out of state. In fact, 80 percent of arrestees lived in Charlotte. But Amber Raynor, a college student from Charlotte who held up a sign Thursday night that read, “DARK SKIN ISN’T A BULLSEYE,” said, “They always say shit like that after they kill somebody, to try to distract people. “If there is a way for them to make us look like thugs or tell the rest of the country that all we came to do was break shit and loot and steal, they will,” she told me. “That’s the game they play. They want people to see us as the enemy, so when they shoot us, they look like fuckin’ heroes. Well, I am an educated black woman a year away from my degree. I have a job and both parents raised me. And I am outraged. So what are they gonna say about that?”

kiba Byrd knows something about black men being slain by police. The Raleigh Police Accountability Community Taskforce spokesman stood alongside the mother of Akiel Denkins at a Raleigh City Council meeting back in May and told the board that the twenty-four-year-old didn’t deserve to die just because he fled from police February 29. “This mother is standing here before you right now, holding a picture of her slain child for no other reason than he was evading arrest. That is not a death sentence,” he said then. So, for him, hearing about Scott’s death was a surreal moment. “They are proving us right in the worst possible ways, and they just keep doing it,” he says. “This is what I don’t think people understand. We’re all connected. It doesn’t matter if it’s in a different city, state, or country. The racist treatment of black and brown bodies all over this world impacts us all equally. There’s an intersectionality with housing, education, health care, access to healthy affordable food, clean drinking water, stuff that you think would be human rights, but they’re not. And for it to really change it’s going to take the community to stand up and say they’re not going to have it. It’s going to have to be a mass uprising.” As disturbing as the shootings themselves have been, Byrd continues, it’s the lack of accountability—the fact that most of these officers never end up behind bars—that is more troubling. So after the indictment of 12 | 9.28.16 | INDYweek.com

PHOTO BY KEN FINE

Betty Shelby, the officer who fatally shot forty-year-old Terence Crutcher September 16 after his SUV broke down in the middle of a Tulsa, Oklahoma, roadway, Byrd was skeptical that it would result in a conviction. “How many times have we seen them get indicted and then nothing?” he asks. “When she goes into custody, and she goes to her hearing, and she doesn’t get bond and she has to take her ass to the jailhouse and sit there until she has a fair trial and they give her a fair determination of the law, and she has to sit her ass in prison—not like a halfway house or house arrest, or she just has to resign or some stupid shit like that—they don’t get to do these itty-bitty things.” Byrd gets emotional, emphasizing his anger by punching his fist. “Hell with that,” he says. “We gotta see something end because they are ending people’s lives. They are ending their lives. They’re killing them. Forever. So they don’t get to start something kind of all right and then end it on some bullshit.” The sentiment—that cops involved in questionable shootings invariably get treated with kid gloves—was clear in Charlotte last week. “Let’s get real, man. A black man shoots somebody and he gets life in prison,” Joshua Hinton, a thirty-two-year-old who works at an Uptown hotel, told me. “A cop shoots somebody, and it’s proven that it was unnecessary,

“They want people to see us as the enemy, so when they shoot us, they look like fuckin’ heroes.” and he gets paid to sit at home until things cool down. Can somebody please explain that shit to me? Murder is murder is murder.” He also argued that North Carolina’s new body-camera law, which the legislature passed earlier this year, was nothing more than an attempt to protect “racist cops who harass black people.” “You know why they don’t want us to see those videos,” he said. “Come on, man. All those white Republicans like the fucking governor talk about protecting people’s privacy. That’s bullshit. They want to protect white people’s privacy.” Come October, the law signed this summer by Governor Pat McCrory will require a court order to release footage from police recordings. Supporters say House Bill 972, which passed 88–20 in the state House and 47–2 in the Senate, strikes a “necessary balance”

between protecting law enforcement and the public’s right to know. But Susanna Birdsong, the policy counsel for the state ACLU, says the law violates the very trust between the government and citizens that body cameras were implemented to foster. “When you think about transparency and accountability goals that body cameras are supposed to represent in our communities, HB 972 really strikes the wrong chord,” she says. “What’s the point of body cameras then?” If the public can’t see what the cameras record, she adds, “only one side of that equation is going to actually have access,” which means the cameras aren’t “really serving the purpose they were meant to serve.” (Earlier this year, the city of Raleigh purchased six hundred body cameras, which will be rolled out over the next three years. In Durham, a debate over when and how footage would be released stalled the implementation of a body-camera program; while HB 792 rendered that debate moot, no progress has been made since the law passed.) With Charlotte on edge last week, McCrory fielded an interview with CNN’s Don Lemon, who pressed the governor about concerns voiced by critics: that HB 792’s built-in lack of transparency would only lead to a lack of accountability, that the law denies public access to what should be public records. McCrory abruptly and awkwardly dodged, saying he had to “get back to work” because he had “a lot of work to do.” Standing outside the Omni Hotel in Uptown, Tiffany Blackwell agreed that there’s a lot of work to do in North Carolina. But she’s not sure a Republican majority in Raleigh—or the Republican in the Executive Mansion— has any inclination toward actually doing it, toward bridging the divide between the police and the communities they serve. “Anything the Republicans can do to keep us in chains, they’ll do,” she told me. She wiped the sweat off her brow and looked skyward. “Why does this keep happening?” After a pause, she answered her own question. “I’ll tell you why. They have beaten us down. They have taken our men and put them in prison. They have scared our children and created a system where we are dependent. And then they attack us. They shoot us where we live—where our children play. This must end.” l kfine@indyweek.com Additional reporting by Paul Blest and Lauren Horsch.

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n 2012, the International Bluegrass Music Association announced that Raleigh would be the new host city for its massive World of Bluegrass, an annual trade show, business conference, and music festival. The original agreement extended for three years, with room for renegotiation. The City of Raleigh rolled out the red carpet for IBMA, accommodating the organization and augmenting its celebrations with a free street festival. In May of 2014, well before the second World of Bluegrass convocation in Raleigh, IBMA announced that it would stay in the city through at least 2018. Last year's Wide Open Bluegrass music festival got a bit more complicated when storms from Hurricane Joaquin threatened to undo the carefully planned affair, but the city once again pulled through. Organizers moved the entire outdoor operation—music, vendor booths, and more— into the Raleigh Convention Center. All of the performances at Red Hat Amphitheater were moved into the hangar-like exhibit hall on the center's bottom level—not an ideal setting for acoustic music, but the show went on nonetheless. And while the overall turnout for Wide Open Bluegrass may have been a bit lower, the convention center stayed packed with fans for the entire weekend. What could have been an unmitigated disaster ended up as a well-organized success, proving that Raleigh could handle just about anything the festival could throw at it. This year, the weekend forecast looks to be clear of any natural catastrophes. Some of the big headliners at Red Hat Amphitheater push a little further beyond traditional bluegrass, like the glittery, honky-tonk-inspired Marty Stuart and His Superlatives, or the retrospective country-rock of the Nitty Gritty Dirt Band. Taking the stage Friday night will be the Soggy Bottom Boys, a not-quite-real band brought to life by the Coen brothers' O Brother, Where Art Thou?, which unexpectedly recharged folk music for the twenty-first century—a phenomenon we explore in these pages. We also caught up with Kaia Kater, a young Canadian banjo player who brings social justice messages to the banjo, and picked a few more acts that you can't miss this year. Twang on, y'all. —Allison Hussey 14 | 9.28.16 | INDYweek.com

O Brother, Where Aren't Thou?

FIFTEEN YEARS LATER, BLUEGRASS IS STILL REELING FROM THE COEN BROTHERS’ SMASH HIT BY ALLISON HUSSEY

s the sun begins to dip down over Raleigh on Friday, the International Bluegrass Music Association will be well into its fourth convocation in the state’s capital. The streets of downtown will be crowded with local and out-of-town visitors seeking to soak up as much live bluegrass as they can handle. Meanwhile, the band taking the stage at Red Hat Amphitheater will be a work of fiction. Well, sort of. The Soggy Bottom Boys are indeed a bunch of breathing, tremendously talented humans with honest-to-god instruments that they actually know how to play. But the

caption CREDIT

band itself, an amalgamation of personnel from Alison Krauss and Union Station and the Nashville Bluegrass Band, wouldn’t exist without O Brother, Where Art Thou?, the Coen brothers' 2001 film about a bumbling trio of con men who break away from a chain gang to seek a mysterious treasure. The film’s plot is loosely based on Homer’s epic The Odyssey, set in Depression-era Mississippi. The loveable-hateable protaganists are George Clooney’s motormouth Everett, John Turturro’s angsty Pete, and Tim Blake Nelson’s dim Delmar. Music is central in the story, more

so than in any of the films the Coens had made before. With a guitarist, the Robert Johnsoninspired Tommy, the group pulls a fast con by “singing into a can” for a blind record producer. They take their money and split, on the run from the law again. But unbeknownst to them, their version of “Man of Constant Sorrow” becomes a hit—and eventually their salvation. When Clooney opens his mouth to sing, the voice that spills out belongs to Dan Tyminski. He’ll lead the ensemble known as the Soggy Bottom Boys—Barry Bales, Ron Block, Pat Enright, Stuart Duncan, and Mike Compton— once again late Friday afternoon. Tyminski first auditioned for the soundtrack as the guitarist for Alison Krauss and Union Station, but was called back for a solo audition. “It was a little confusing to me, because I didn’t think that I necessarily sounded like I pictured Clooney’s voice sounding,” Tyminski says. “It was kind of weird, the thought of

ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 9.28.16 | 15

my voice coming out. Looking at it in perspective, it was a Coen brothers movie, and everything’s a little off-center and a little strange." O Brother, Where Art Thou? is plenty strange with its deft combination of classical mythology and the cultural quirks of the rural South. The soundtrack is a perfect expansion of the film's themes—Clooney’s beleaguered Everett probably could’ve written “Man of Constant Sorrow” himself. But putting it together wasn’t an easy project. Venerated producer T Bone Burnett worked closely with the Coens to dig up songs that would fit the feel of the film—its darkness and its lighthearted hope. Bluegrass is, of course, rife with both. “What we found when we went in was that they had done an enormous amount of research, listening to all the recorded music from that era that they could find,” Tyminski says. He remembers box sets of recordings stacked up in the rehearsal hall where he and Union Station auditioned for their parts. Burnett then assembled a cracking team of professionals—the kinds of musicians who’d spent their lives steeped in this stuff— to bring the soundtrack to life. “He was able to find some of these oldtimers who were still alive and still had a great voice and tremendous knowledge, like Ralph Stanley and John Hartford, and bring in young outstanding singers and players that respected this old music and loved it,” says Sandy Wilbur, who worked on O Brother, Where Art Thou? as its musicologist. It was her job to research the origins of each song to ensure that the film had the rights to all of its music. “I think that combination was the magical ingredient that gave [the film] both an authenticity and a contemporary sound that just couldn’t be beat,” she says. Among those younger players was Gillian Welch, O Brother’s associate music producer, who sings “I’ll Fly Away” and “Didn’t Leave Nobody But the Baby” on the soundtrack. (She makes an onscreen appearance as a customer inquiring after the Soggy Bottom Boys’ sold-out single, too.) Though she already had two records to her name by the time of the movie’s release in February 2001, Welch’s O Brother work gave a significant boost to her career. She released her landmark LP, Time (The Revelator), the same year, cementing her reputation as one of the most important contemporary figures in folk music. For others, the soundtrack’s popularity brought about a remarkable late-career

16 | 9.28.16 | INDYweek.com

“It takes some kind of a hit album to cross over into the mainstream, and this was a really important one.” revival. Ralph Stanley, who was an early force in bluegrass with his brother, Carter, as The Stanley Brothers, was one such beneficiary. His chilling a cappella rendition of “O Death” appears in a scene where Everett, Delmar, and Pete stumble into a Ku Klux Klan rally, and the song became a staple of his sets through the end of his career. He died at age eighty-nine in June. But even though the soundtrack focuses on traditional tunes, the Coens and company were surprised to find that some songs they had thought were in the public domain—and thus, free to use in the film—were not, in fact, traditional. They’d been mining discs of music that had often been incorrectly deemed traditional. Wilbur knew that sloppy attributions wouldn’t fly. “I remember my first conversation with Ethan when he showed me the CD, and he said, 'Look, it says right here, 'Traditional,'" Wilbur says. “I said, ‘So what?’” The music was such an important part of the movie’s fabric that it became crucial for the Coens to clear the usage of their chosen songs in order to avoid litigation. Wilbur’s exhaustive research revealed several surprises. She had to navigate several different versions of “Man of Constant Sorrow” to divine its author and clear its use. “Big Rock Candy Mountain” required careful untangling, too, as it existed in dozens of versions with varied

lyrics and melodies. Wilbur also discovered that the chosen version of “I’ll Fly Away,” which everyone had assumed was traditional, not only had a specific author but was also recorded by the Kossoy Sisters in 1956, a full two decades after O Brother’s setting. All that careful work yielded significant results. The soundtrack won the 2002 Grammy for album of the year, and “Man of Constant Sorrow” and “O Death” won trophies in country categories. As of January 2015, it’s sold nearly eight million copies. The popularity of the movie and its soundtrack had a major impact on the bluegrass world, according to Tyminski. Ticket sales to bluegrass concerts went up, venues got bigger, and a massive tour featuring all the artists on the soundtrack sold out venues nationwide. Even festivals that didn’t have any artists connected to O Brother enjoyed the benefits of the bluegrass revival. “We started seeing more diverse crowds, more rock ’n’ roll T-shirts and spiked hair— people of all genres of music that we weren’t as accustomed to seeing,” Tyminski says.

decade and a half later, the current music marketplace still feels the ripples of O Brother’s success. The movie’s wild popularity cracked open a place for bluegrass, folk, and other acoustic music in the mainstream. Welch has said that, at the time, she and collaborator Dave Rawlings joked that they were at the forefront of the “banjo wave,” a prophecy that’s come true as folk-inspired music has enjoyed an increasingly large spot in the sun. Acts like The Avett Brothers were already in operation, but the public’s reinvigorated interest in their sorts of sounds undoubtedly helped turn new ears their way. Tyminski found himself back on the Top 40 landscape as recently as 2013, when he appeared on Avicii’s decidedly not-bluegrass “Hey Brother.” “You could hear the change in music, postO Brother, where people were seeking that stuff out, looking for that way to be as rootsy and real and pure and organic as possible,” Tyminski says. “It brought in new faces that brought new attention to an art form that had been around for such a long time. No one really took a good look at it like they did with the soundtrack." But how did the house band for a fifteenyear-old movie end up in a headlining slot at the biggest annual bluegrass bash? William Lewis is the executive director of Pinecone, Raleigh's council of traditional music. He's also responsible for booking the Red Hat

shows in IBMA grouped together as Wide Open Bluegrass. Lewis explains that the Soggy Bottom Boys are part of the festival's effort to include music fans who aren’t “in the trenches,” as he puts it. “What we do at Wide Open Bluegrass is try to draw out a broad narrative of bluegrass music, in that it’s traditional but it can also be progressive. There are connections to country music and classical music, and it’s got all these fingers and branches,” he says. “Oftentimes, it takes some kind of a hit album to cross over into the mainstream, and this was a really important one.” Tyminski, Bales, and Block all performed with Union Station at Wide Open Bluegrass last year, and Lewis says organizers felt like the time was right to get The Soggy Bottom Boys back together. The movie has held up, after all—Tyminski says he still regularly comes across it on TV, which is always a pleasant surprise for him. The band’s appearance coincides, in spirit, with the Nitty Gritty Dirt Band, the Red Hat headliner Friday evening—a band that has spent 2016 celebrating its fiftieth anniversary. Like the O Brother soundtrack, the Nitty Gritty Dirt Band’s expansive 1972 record Will the Circle Be Unbroken brought revered traditional artists like Doc Watson, the Carter Family, Earl Scruggs, Merle Travis, and Jimmy Martin back into the national spotlight. It remains an important crossover record that bridges revered old-school figureheads with a young, fresh audience. “These albums really helped cross over into the mainstream, and I think remind people how powerful and important the music is,” Lewis says. “It’s kind of cool to have both of those on the same stage, in the same night, to give a nod in the direction of film and of albums that bring traditional music to broader audiences." At the bottom of the cover of Will the Circle Be Unbroken, a line of script reads, “Music forms a new Circle.” A Coen brothers comedy soundtrack seems like an unusual link to continue the chain of American acoustic music, but it made a place for old-time traditions in the new millennium. For all the talk of constant sorrow, O Brother, Where Art Thou?’s spot as a historic high point for bluegrass is delightfully unimpeachable. l ahussey@indyweek.com

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The Less Expected

ON STANDS

As far as booking goes, IBMA seems to be a creature of habit, inviting many of the same acts to return to its stages every year. Here are some artists to catch who aren’t, y’know, The Earls of Leicester.

ALICE GERRARD Alice Gerrard should be a household name among folk fans, thanks to her pioneering partnership with Hazel Dickens—together, the two were regarded as the first femaleled bluegrass outfit. But this year, she makes her first Raleigh IBMA appearance, despite residing down the road in Durham. Gerrard’s most recent solo record, 2014’s Follow the Music, earned a Grammy nod with her gorgeous, aching voice. —Spencer Griffith (Friday, 11 a.m., Red Hat Amphitheater; Friday, 4 p.m., Davie Street Stage)

THE GRAVY BOYS Durham's Gravy Boys lump themselves in the Americana category, but with the help of Bill Spagnardi’s mandolin, the band’s cross-cultural sound weds garage rock and country with bluegrass. There's five-part, family-style vocal harmonies, too, but The Gravy Boys are more of the rockin' blues persuasion than high and lonesome. —Grant Britt (Wednesday, 1 a.m., Vintage Church; Thursday, 7 p.m., Architect Bar & Social House; Friday, 1:45 p.m., Hargett Street Stage)

HACKENSAW BOYS As their name implies, Virginia’s Hackensaw Boys built a reputation on picking ragged, rowdy string-band tunes influenced as much by punk as bluegrass. Still rough around the edges in all the right ways, the four-piece string band—featuring a dedicated found percussion player—occasionally lets off the throttle for easygoing back porch jams. —Spencer Griffith (Wednesday, 7 p.m., Pour House; Thursday, 1 a.m., Architect Bar & Social House; Thursday, 3:10 p.m., Masters Workshop Stage)

MALPASS BROTHERS Chris and Taylor Malpass mix the hardcore country of Hank Williams, Lefty Frizzell, and Merle Haggard with some Elvis, a smidgen of bluegrass, a little Johnny Cash, and a chunk of rockabilly. Discovered by Haggard at a show, the brothers were

NOW!

signed to his label and toured with him from 2008 through 2013. —Grant Britt

(Friday, 3 p.m., Hargett Street Stage; Friday, 7:30 p.m., Dance Tent)

DANNY PAISLEY & SOUTHERN GRASS Among the slew of traditionally minded performers who will descend upon Raleigh this week, Pennsylvania’s unapologetic Danny Paisley & Southern Grass stand out thanks to Paisley’s devastatingly emotive croon, which is as imposing and unique a presence as the singer and guitarist himself, and razor-sharp, straightforward pickin’. They even defy expectations by deftly mixing a Beatles cover between well-known standards. —Spencer Griffith (Friday, 1:30 p.m., Davie Street Stage)

SHADOWGRASS The young pickers in Shadowgrass range in age from eleven to sixteen, but elevenyear-old Presley Barker is the one to watch. The Kruger Brothers say the guitarist is already developing his own style on covers, flatpicking at warp speed like a bluegrass demon on a custom Martin D-42 dreadnought that he helped build. —Grant Britt (Friday, 6 p.m., Junior Appalachian Musicians Stage; Saturday, 4 p.m., Youth Stage; Saturday, 6 p.m., Junior Appalachian Musicians Stage)

TOWN MOUNTAIN Rising stars on the national bluegrass scene, Town Mountain is rooted in enough tradition to satisfy all but the strictest purists. With Robert Greer’s distinctive Southern drawl at the forefront, the harddriving Asheville quintet brings enough adventure (like Grateful Dead classics) and attitude to appease the younger set, too. —Spencer Griffith (Wednesday, 9 p.m., Lincoln Theatre; Thursday, 4:20 p.m., Masters Workshop Stage; Sunday, 12:30 a.m., Marriott State Ballroom; Friday, 9:45 p.m., Capitol Stage)

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INDYweek.com | 9.28.16 | 17

Tense Strings ON HER NEW ALBUM, CANADA’S KAIA KATER BRINGS BLACK LIVES MATTER TO THE BANJO BY SPENCER GRIFFITH

Old-time, new school: Kaia Kater PHOTO BY POLINA MOURZINA

aia Kater never wanted to mix her racial identity with her music. The twenty-two-year-old banjo player grew up in a mixed-race Canadian family where folk jams were the norm every Thanksgiving and Boxing Day. Her luthier grandfather made her a guitar when she had barely started elementary school, and her bluegrass-playing fourth-grade teacher gave her a banjo soon after. In her early teens, Kater saw an ascending Carolina Chocolate Drops perform at the Ottawa Folk Festival and learned clawhammer technique from festival consultant Mitch Podolak. After high school, she enrolled in Davis & Elkins College’s Appalachian Ensemble

18 | 9.28.16 | INDYweek.com

program, where, to her surprise, she encountered more race-related hostility than she had experienced north of the border. Midway through her study of folklore and oldtime tradition, Kater was inspired by the Black Lives Matter movement to write her first protest song, “Rising Down.” The song appears on her new album, this year’s Nine Pin, which uses the roots of bluegrass music as a launching point for elegantly arranged, modernized folk tunes. Kater caught up with the INDY about Nine Pin and her ever-growing relationship with her personal and musical roots.

INDY: What is it like performing as a young female African-Canadian banjo player in a genre where none of those demographics tend to make up the majority of the audience or the performers? KAIA KATER: I’m actually mixed race, and my parents always encouraged me to look at it as a blessing, to be able to connect with two races and two sides of your family, where skin color doesn’t matter as much. I was raised to be proud of who I was but not make it the entirety of who I am—I’m mixed but I also like to row and I like to play the guitar. I got a scholarship to study at Davis & Elkins College, which is a little private school in the mountains of central West Virginia. They wanted to start this Appalachian Ensemble program to bring in young, upand-coming players to form a string band and a percussive dance team. The emphasis of our program was really to focus more on the folkloric aspects of West Virginian and old-time traditions, so I was really psyched about that, because I felt like that was a lot of what I was missing. It was really empowering for me to discover Béla Fleck’s documentary Throw Down Your Heart, and getting more into what the Carolina Chocolate Drops were really talking about with Joe Thompson and the black fiddling tradition. It made me have a lot more pride in what I was doing. At the same time, I distinctly remember in the summer of 2014 when the “Hands Up, Don’t Shoot” and Black Lives Matter movements came to be. I said “OK, I need to say something about this. I can’t just watch it happen and feel helpless.” How does your study of Appalachian folklore fit with what you've done on Nine Pin, where you break away from some elements of that musical tradition? I really have a deep respect for traditional forms of music and the traditional fiddlebanjo-guitar-bass old-time instrumentation. When it’s played well, it’s just so good to listen to, and when someone gets up that’s a really good singer and performer, those songs feel timeless. When I did Nine Pin, I went back to Toronto and I was developing very concrete ideas about what part of the tradition we were going to keep and what part of the tradition we were going to set aside. There’s no acoustic rhythm guitar on this record; there’s a lot of baritone electric guitar, but it’s not wanking all over the songs. The foundation became more about how we can best lift up

the music sonically so that the listener can experience it in a new way, but not in a way in which they’re alienated. With some of your more political songs like “Rising Down” and “Paradise Fell,” is there a reason why you chose to take a somewhat subtle approach with one but use more overt lyricism that’s much harder to ignore in the other? I’ve always been pretty against writing prescriptive songs. I think I was very against sitting down and saying, “I’m going to write a protest song about this issue,” because when I write, I usually start with an idea that can go a million different ways. When I wrote “Rising Down,” I wanted to make sure that I was honest about how I felt, but that I wasn’t telling other people how to feel. When I wrote those lines, I wanted them to be very strong and very hard-hitting. “My God is heavy-handed” is almost like a threat because we’ve incurred this much suffering and we haven’t forgotten it. I just really wanted to marry these images of the beautiful and the divine with horrible, traumatizing images of the past and present. It was thinking about these beautiful aspects of human beings, but racism and prejudice cause them to be overshadowed by such darkness. How do you translate that darkness to a page? What has the response been like when you perform “Rising Down”? I haven’t done the song itself that much with my audiences, because I think it requires a lot of trust. For a long time, I never wanted to talk about race because I didn’t feel like it was anybody’s business. I didn’t feel like the questions I would get about race should be part of my music. A lot of the audiences are white and don’t like to be reminded of white guilt or don’t know how to respond, so when I started singing about race, I had to think about how I interact with these people. That’s something I’m still navigating, how I include them in this experience without saying it’s all your fault, which isn’t what I mean. When I introduce it, I’ll say either you are a person of color or you know and love someone who is a person of color, so even though it’s not your pain, it’s your pain by association. That’s seemed to open people up a little bit more to the concept of the song. I’m hoping to bring it to more diverse audiences than just folk music or bluegrass. l arts@indyweek.com INDYweek.com | 9.28.16 | 19

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Muslims Without Borders

CAROLINA PERFORMING ARTS ILLUMINATES ISLAM BEYOND THE MIDDLE EAST IN SACRED/SECULAR: A SUFI JOURNEY BY BYRON WOODS

e already know too well the predominant view of Islam in the United States as a monolithic, menacing Middle Eastern religion. The perception dates back at least to the 9/11 attacks. And it is fundamentally, factually wrong. The latest numbers from the Pew Research Center show that more than 60 percent of the world’s Muslims live in Asia, while less than a fifth are found in the Middle East. Scattered across Western and Central Africa and Western and Southeast Asia are various strikingly diverse cultures that, taken together, represent much more of Islam than the smaller part of the world we’ve come to associate with it. But since they’re not considered a threat, most of them remain virtually invisible in the U.S. Emil Kang, executive director of Carolina Performing Arts, thought he should do something about that. After having conversations

Ajoka Theatre: Dara with UNC professor Carl W. Ernst, a scholar on Muslim civilizations, and trips to Indonesia, Iran, Senegal, and Pakistan, Kang devised Sacred/Secular: A Sufi Journey, a yearlong festival running through Carolina Performing Arts's season that reflects the religious and cultural influences of a broad spectrum of modern-day art from Muslimmajority countries outside the Arab world. The series began earlier this month with a concert by Hossein Alizadeh, an Iranian scholar who devises new instruments to interpret ancient Persian music. It continues this week with a staged reading of The Hour of Feeling, the first in a trilogy of plays by Mona Mansour about the diaspora that resulted from the Six Day War. In October, Memorial Hall will host Senegalese superstar Youssou N’Dour in an evening of Sufi songs with musicians from three of that faith’s main orders in his country. In

"Everyone doesn't look the same; their practices are not the same. They're different, just as people of other faiths are different." February, Philip Glass’s ensemble will perform his settings of the poems of Rumi, the thirteenth-century Sufi mystic. And over the next seven months, fourteen other artists and groups will probe the plurality of Muslim identity and trace the evolution of divergent

ALL PHOTOS COURTESY OF CAROLINA PERFORMING ARTS

cultural and artistic traditions. Kang reflects on the space between two Javanese artists, contemporary shadow puppeteer Eko Nugroho and Nani, a seventh-generation keeper of the topeng losari tradition of mask dance. “When we look at topeng, we don’t see Islam in a way we know how to see it,” Kang says. “But it’s there; it is intermingled with local cultural traditions so strong that its own practitioners don’t know where one stops and the other begins.” Kang’s point is that while the sacred and the secular are frequently viewed, in Western thought, as a dichotomy of conflict, the borders between the two are either blurred or unreadable in a number of Muslim cultures. Often, what lies within one sphere or the other is open to interpretation. Thus, Sufism, which emphasizes interiority, mysticism, and communion, produces voices as varied as the ancient tunes of INDYweek.com | 9.28.16 | 21

THE HOUR OF FEELING

Friday, Sept. 29, 7:30 p.m., $10 Historic PlayMakers Theatre, Chapel Hill www.carolinaperformingarts.org/sufijourney

MORE EVENTS IN SACRED/SECULAR: A SUFI JOURNEY

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Oct. 14–16: Islam and Religious Identity: The Limits of Definition, conference, various locations, www. islamworkshop2016.web.unc.edu Oct. 17: Youssou N’Dour: I Bring What I Love, screening/discussion, FedEx Global Education Center

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Alizadeh and the rock- and R&B-influenced songs of Sanam Marvi. It can be seen in images as diverse as performance artist Sussan Deyhim’s multimedia homage to Iranian filmmaker, feminist, and poet Forough Farrokhzad and Ajoka Theatre’s production of Dara, a classical play detailing a crucial turning point for the faith in the seventeenth century. It’s found everywhere from ancient mask dance to Sidi Larbi Cherkaoui’s new commission for the Martha Graham Dance Company. “There are polar differences in identity,” Kang notes about his guests this season. “Everyone doesn’t look the same; their practices are not the same. They’re different, just as people of other faiths are different.” When Kang asked PlayMakers Repertory Company to coproduce two staged readings in Sacred/Secular, the theater company’s artistic director, Vivienne Benesch, selected works that focus on different aspects of the Muslim diaspora: this week’s production of Mona Mansour’s The Hour of Feeling and a February reading of The Who & the What by Ayad Akhtar, author of Disgraced, the controversial Pulitzer-winning drama that PlayMakers produced last fall. Benesch intends her selections to help “crack open” the complexity of an often stereotyped culture. “Both plays look at different Muslim identities, and the real poles between cultural and religious heritages and the demands of living in the contemporary world,” Benesch says. “Other art forms can give us insight and an emotional response, but theater lets us in. It lets us personalize, make immediate, and access the experience of living with a Muslim identity.” In The Hour of Feeling, the Six Day War

Oct. 25: Youssou N’Dour: Sufi Songs, concert, UNC’s Memorial Hall

Nani

Oct. 27: Sussan Deyhim, community conversation, UNC’s Gerard Hall Oct. 28: Sussan Deyhim: The House Is Black, multimedia performance, UNC’s Memorial Hall Nov. 3–4: Interactive Theatre Carolina/Muslim Students Association: Islamophobia, performance, TBA Jan. 20: Eko Nugroho: Wayang Bocor, shadow puppetry, UNC’s Memorial Hall Jan. 27: Nani: Topeng Losari, mask puppetry, UNC’s Hill Hall Feb. 10: Philip Glass and Laurie Anderson: Words and Music in Two Parts, concert, UNC’s Memorial Hall Feb. 11: Mohammad Moussa: Shattered Glass, spoken word, UNC’s Swain Hall Feb. 16: The Who and the What, staged reading, Historic Playmakers Theatre

erupts while a Palestinian scholar delivers his first major paper at an academic conference in England. He and his new bride are caught in an emotional and intellectual tugof-war as they debate remaining in the UK versus returning to a home that is now in a battle zone. “There’s the pull of the Western world, of acculturation and assimilation, and the pull of loyalty to family,” says PlayMakers associate artistic director Jerry Ruiz, who will direct the reading. “There’s also the richness of the culture they’re potentially leaving behind.” l Twitter: @ByronWoods

Mar. 2: Ajoka Theatre: Dara, performance, UNC’s Memorial Hall Mar. 23–24: Martha Graham Dance Company: Sidi Larbi Cherkaoui, dance, UNC’s Memorial Hall Mar. 31: Sounds of Kolachi, concert, UNC’s Memorial Hall Apr. 1–30: National Poetry Month: Reading Rumi, reading, various locations Apr. 12: Sanam Marvi, concert, UNC’s Memorial Hall

indyfood

The Gift of Produce

NEIGHBORLY AFFECTION THROUGH A GARDEN’S BOUNTY BY BRIDGETTE A. LACY

The doorbell rang early that morning. I was still in my pajamas when I peeked out the window and saw a familiar white truck backing out of the driveway. I ran downstairs and opened the front door to find a cardboard box of home-canned goods and a plastic bag brimming with garden tomatoes, cucumbers, zucchini, and squash. I admired the beauty of homegrown vegetables and mason jars full of peach preserves, bread-and-butter pickles, and fig butter, all for my culinary pleasure. My face lit up as I carried my box of goodies into the kitchen to examine it further. And I knew the person I needed to thank: my handyman, Mike Richardson. More than fifteen years ago, when I first hired Mike to fix small things around the house, I would pay him his fee and give him copies of community cookbooks and kitchen gadgets. At the time, I was working as a features writer for The News & Observer, where I often wrote food stories and reviewed products. One of those cooking tools, a mandoline slicer, became one of Mike’s all-time favorites. “I have an expensive one, but I prefer the one you gave me for making bread-and-butter pickles,” he says. Mike’s gift of produce is garnished with friendship. We share a mutual fondness for that sacred space where vegetables, herbs, and flowers grow. We understand, though, that there’s more to a garden than what’s planted in the earth. The custom of giving canned goods and produce has always been a gesture of affection. My maternal grandfather, Papa, would give each of his dinner guests a jar of something from his pantry. You could not leave my grandparents’ home in Lynchburg, Virginia, without pickled watermelon rinds, pear preserves, or bread-and-butter pickles. After many years of our culinary exchange, I finally visited with Mike in his garden. There, I was transported to my grandfather’s double lot garden all those years ago. My memory takes me to the two apple

Mike Richardson preserves and shares what grows in his Raleigh garden. PHOTO BY BEN MCKEOWN

trees whose branches once met in the sky, forming an endless bridge of hope for me. The goldfish pond glistened with bright orange swimmers. The smoke house, the dog house, and the rabbit cages all snug with their appropriate inhabitants. I can still hear my country cousins and my sisters chattering in the background. But this particular morning, I’m making my way through rows of thirteen-foot-tall tomato vines, basil, thyme, dill, and oregano, which add a sweet perfume to the coolest air of the day in Mike’s garden. He offers me warm, small Sungold tomatoes as we wander. To witness nature in all its splendor is to sense a kind of spirituality. No words need to be spoken as we marvel at the large fig bush, brightly colored sweet peppers, a bounty of crookneck squash, and orbs of lush purple eggplant. Several years ago, Mike progressed to canning. “My wife’s grandmother canned a lot. I wanted to learn. It’s kind of a dying practice.” He started with pickles and then jams and

jellies. “It’s another dimension of gardening.” In the past few years, he’s won several ribbons for his hot pepper jelly and watermelon rind pickles. “They are nice and crunchy,” he says of the rinds. “Plus they are sweet.” During Mike’s childhood, his father had a backyard garden at their East Durham home. “I was always around it and a part of it,” says Mike, now seventy years old. He started to plant his own vegetables around the same time he started his family. Mike has been married forty-six years, with three grown children and eight grandchildren. “[The garden has] always been therapy, a place to go when I wanted to get away from everything else,” he says. Mike earned a degree in industrial engineering from N.C. State University, which led to decades of working jobs in manufacturing and management for General Electric and Mitsubishi Semiconductor America in Durham. As the plants closed, he began working full-time at Home Depot. Today, Mike is retired. But to fill his time,

he has maintained a thirty-year handyman business—one that reinforces a cyclical gift of food. “I would repair things for people, and, instead of paying me, they would give me produce,” he says. He recalls the early days of his business, especially when he visited his in-laws in the LaGrange area. He’d work for folks with little income; they showered him with gifts of homegrown watermelons, cantaloupes, and sweet potatoes. At Asbury United Methodist Church in Raleigh, Mike is known as the collard greens man. He grows them in his plot in the church’s community garden and then cooks them for the church picnic. “I love any kind of greens, beet greens, collards, Swiss chard, and spinach.” He often serves them with his ribbon-winning pickled watermelon rinds. Mike spends some of his mornings in the church’s community garden mowing the grass between the assigned plots. Then he goes around spreading the bounty. One woman loves his greens so much that she gives him free haircuts in exchange for his cooked collards seasoned with ham hocks. “It’s a relationship I enjoy,” he says. “I’ve always been a giver.” He likes bringing containers of his freshly made pesto along with pita bread for the ladies in the shop to snack on. Like her, I appreciate Mike’s generosity, from his garden to my kitchen. My pantry shelf is well-stocked with his homemade preserves, chow-chow, and salsa. My freezer holds several bags of his cooked collards, beet greens, and Portuguese soup with chorizo and kale. I will be eating well through the winter. Even when his garden is bare, the warmth of his gifts remains. I feel forever blessed. l bridgettelacy@att.net

Bridgette A. Lacy is the author of the cookbook Sunday Dinner. INDYweek.com | 9.28.16 | 23

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LITTLER

110 East Parrish Street, Durham www.littlerdurham.com

caption CREDIT

Littler boasts a lamb burger, but an even better potato salad.

PHOTO BY ALEX BOERNER

Great Expectations DURHAM’S LITTLER NEEDS TIME TO MATURE BY EMMA LAPERRUQUE “Have you ever tried duck tongues before?” our server asks as she sets down the plate. These are chicken-fried, with star anisepickled peaches. Fifteen minutes ago, I didn’t even know ducks had tongues, yet I have the strangest feeling that I’ve seen the dish before. My friend and I shake our heads. “So, there’s a little … piece in the center,” our server says. “I think of it like a cherry pit.” I flash back to second grade when I swallowed a cherry pit and asked my teacher if I would turn into a tree. We suspiciously eye |

the tongues. Barely two inches long, they look like chicken wing scraps. I take a bite. They are startlingly rich, which I initially blame on too-cold frying oil and later learn is the nature of the bird. While more “mainstream” mammal tongues, like cow, are muscular, duck tongues are mostly fat. We nibble a couple, then push them aside, embarrassed by the quantity left behind. “I’m going to count them,” my friend says. “Two, four, six…” she mutters. “Twenty-one.” “Twenty-one tongues?” I ask. “Twenty-one ducks,” she says.

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A poached egg yolk crowns a latke flanked by smoked trout. Days later, I realize why the dish felt familiar: the pig ears at Pizzeria Toro. Deep-fried, piled high, paired with a peach mostarda, it’s the same formula, like a sequel or a copycat younger sibling. So why did Littler fall short? The same question can be asked about

“If Littler is truly ‘dinner party’ in concept, isn’t faith in your host part of the deal?” other aspects of this dinner-only, second venture for owner Gray Brooks, following his wildly popular Pizzeria Toro, which opened in 2012. He hired Amanda Orser—acclaimed for her time at the iconic Magnolia Grill—as chef de cuisine. I was excited about all of it. Littler is barely a few months old, but it’s been making headlines for over a year since Brooks unveiled the working name for the restaurant, “Hattie Mae Williams Called Me Captain,” and the community erupted over its racial implications. The restaurant lives in the original Monuts location, a petite space on Parrish Street, with heavy blackout shades that hover some-

Tuesday, October 4 / 7pm

PHOTO BY ALEX BOERNER

where between chic and “Closed.” Brooks originally described the thirty-six-seat concept to The News & Observer as a “dinner party.” I like to think he meant Betty Draper’s dinner party. Much like The Durham Hotel, Littler oozes mod, with wood paneling and strung lights, floral plates and colossal artwork, Ikea-chic chairs and grandma-chic duck napkin holders. The menu shows less focus than free spirit, flirting with various cuisines but never committing to one for long. Between the four sections—raw, snacks, supper, vegetables— there is Southern American and Italian and French and Mexican and Israeli and Greek. The result is what some would call “American” and others “all over the place.” I still can’t decide between the two. The kitchen often feels out of its element, like a host who tries a shiny new recipe when she should have stuck with her triedand-true. The butter bean falafel offered a creative, Southern update on the chickpea classic but delivered dark, swollen balls with bright green, raw centers. The salad that came alongside—hunks of cucumber and a rainbow of tomatoes garbed in goat yogurt— almost made up for the error (the server offered to omit the dish from the bill). The lamb burger was similarly outshined by its side. (Which reminds me: Dear, dear kashkaval potato salad, I’m sorry to smacktalk your friends. But I love you. Wait for me.) The patty was ground into submission, until all it had left was a chicken nugget texture and zero self-esteem. This is an

The Carolina Theatre / downtown Durham $15 general admission / $10 with school ID carolinatheatre.org/tickets

durhamtech.edu

Sponsored in part by the Durham Library Foundation. Book sales after performance courtesy of Regulator Bookshop. Lodging courtesy of Aloft Hotel, American Tobacco District.

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A y t h t t y p w s

C M w Littler inhabits the tiny former Monuts location on Parrish Street. PHOTO BY ALEX BOERNERt o working its way out of Littler’s system. Thew easy fix, assuming Littler processes the meat shrimp and spoonbread with zucchini andm in-house. nduja, a spreadable salami that tastes bet-d I don’t want to talk about dessert. But, if we ter than it sounds, was good enough to fin-w must, the olive oil cake was dry. The lemon ish but rich enough that you hated yourself curd tart was having an identity crisis and afterward. just wanted everyone to call it “eggy mousse.” t The potted rabbit portion was so giant itt We kept calling it “lemon curd?” and then no raised the question of whether an entire rab-P one was happy. bit was tucked in the jar like in a magician’sS All of this was either made better or more top hat. But the accompanying from-scratcha confusing at the end of my second visit when Ritz crackers were so buttery and crisp ands a plate of tiny, pristine chocolates arrived addictive, I ate a bunny’s worth. unexpectedly at our table. “Recipe testing!” a Similarly, the smoked trout and latkev explained our server. “They are sniffing you Benedict—with a poached yolk that meltedt out!” my friend whispered. And she might into sauce at the touch of a fork—pushed have been right. Still, the candies were lovely the boundary between how much you wanti enough for me to wish that my cover gets to eat and how much you can. In my head, Io blown more often—especially the milk chocwould pair the smoked trout and Ritz crack-h olate filled with a gooey, piquant pepper jelly. ers into their own appetizer and return forc Sometimes, Littler was exactly what I that alone. wanted it to be: humble in approach, impactd If Littler is truly “dinner party” in concept,D ful in flavor. The collard greens, braised with isn’t faith in your host part of the deal? IfA guanciale and showered with crunchy breadBetty Draper burns the casserole but invitesc crumbs, were vinegary and sweet and spicy you back next month, you go, right? Brooksr and completely unassuming. The sort of dish and Orser’s newest project may not exceed you try at home and never make half as good. expectations, but they’re still two standoutu Like the duck tongues, the arugula salad talents in the Triangle. I can only hope thato evoked a beloved Pizzeria Toro dish: the TusLittler is like a duck treading on a pond:t can kale salad. Here, peppery arugula is the stalled from where I sit, but with a lot ofm backdrop for fresh figs and whispers of fenexcitement beneath the surface that we justg nel, fatty almonds, and shards of truly good have yet to see. l Parmesan cheese. d Most of the dishes fall somewhere b between, though, a sign that some kink is still Twitter: @EmmaLaperruque

stageart indy

DRESS UP, SPEAK UP: COSTUME AND CONFRONTATION Through June 2017 21c Museum Hotel, Durham www.21cmuseumhotels.com/durham

Reap What You Sew

ARTISTS UNRAVEL CLOTHING AND ORNAMENT INTO IDENTITY POLITICS AT 21C MUSEUM HOTEL BY CHRIS VITIELLO Almost everyone is a child of colonists, if you go back far enough. Those who have lost their freedom, their homeland, their livelihood, and their family first had those things to lose, which means they probably took them from someone else at some point. Who you are depends upon where you locate your point of origin. It’s likely that you’ve interwoven lines from multiple points in time to sew the fabric of your identity. In Dress Up, Speak Up: Costume and Confrontation, an exhibit at Durham’s 21c Museum Hotel, artists honor, critique, and widely explore the complexities of their histories through the frames of costume and ornament. It’s a visually dazzling show as well as a politically charged one, in this moment of the refugee, the nationalist candidate, and the hotly contested bathroom, when who you are really, really matters. Dress Up, Speak Up gathers more than twenty artists from more than a dozen countries. Its two stars are Jamaica’s Ebony G. Patterson and British-Nigerian artist Yinka Shonibare. Shonibare’s photography, video, and sculpture are included, as are Patterson’s multimedia two-dimensional works and tapestry installations. The museum’s video alcove brings them together to form the epicenter of the exhibition. Colorfully patterned or batik fabric— immediately identifiable as “African”—is omnipresent in Shonibare’s work, but it has a complex colonial past that he complicates even further. Based upon Indonesian designs, the fabrics were produced by the Dutch and British and introduced into West African markets. Shonibare subtly works contemporary iconography, such as corporate logos, into the patterns. In his video, “A Masked Ball,” Shonibare uses the fabric to show the sick fantasies of empire. In a gorgeous yet grotesque pantomime of Victorian manners, a colonial matriarch hosts a party at her manor. The guests’ gowns and jackets could have been designed for a film version of a Brontë novel, but, jarringly, they’re made of African fabric

"Gully Godz in Conversations Revised I, II, III" (2010) by Ebony Patterson instead. Brilliantly colored feathered masks cover the actors’ faces beneath powdered wigs. The visual richness of the costume combines with the wordless action to show the nightmare of contradictory colonial impulses: the dominance of a native race is nonetheless powered by desire. Where Shonibare uses costume to refer to national or general categories of identity, Patterson zooms in on ornament to make finer, more personal or subcultural differentiations. Dress Up, Speak Up features two of her dizzying installations, a wall tapestry covered with glitter, jewels, and beads above a litter of fake flowers, knitted leaves, and ornate shoes. In “Gully Godz in Conversations Revised I, II, and III,” she depicts Jamaican dancehall culture, in which men wear feminine clothing to achieve a high campiness. The scenes take formal art-historical cues from medieval tapestries and from a famous painting by Jamaican artist

Barrington Watson. But Patterson’s subjects selectively co-opt those traditions to transform themselves into pan-gendered creatures, if only for the duration of a night out. Patterson’s “found among the reeds – Dead Treez” offers a very different tableau. She shows part of the body of a victim of racial violence on a surface with a maplike outline. But the tapestry is so densely infested with patterns and glitter that you have to summon attention just to find the imagery. It shows how ornament at once contains and conceals a coded cultural message, which hides ornately in plain view. Other works in the show pose questions about Muslim feminine identity, such as Lalla Essaydi’s photograph of Muslim women nearly overwritten by Arabic script and Vivek Vilasini’s re-creation of the Last Supper with women in black hijabs along a table holding only bread and pomegranates.

PHOTO COURTESY OF 21C MUSUEM HOTEL

Others consider how war and mourning warp identity, as in Mariú Palacios’s shrouded portrait of the Peruvian mistress of her great-great granduncle, a hero in the war with Chile in the late 1800s, or Dinh Q. Lê’s white-on-white embroideries of interrogation photographs of vanished Khmer Rouge victims, with numbers pinned ominously to their chests. Several local artists examine black identity, ranging from Beverly McIver’s deeply personal self-portrait with a blackface doll she loved as a child to Antoine Williams’s angry, monstrous elegy for Freddie Gray, shrouded in a plastic drop cloth and bound in seat belts. Dress Up, Speak Up prompts you to think about the history and experience you wear on your sleeve, to critique your identity toward a more authentic social presence. We’re all naked under our clothes. l Twitter: @ChrisVitiello |

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28 | 9.28.16 | INDYweek.com

indystage

Curtain Call

PAUL FRELLICK DIAGNOSES DEEP DISH THEATER COMPANY’S LASTING LEGACY AND QUIET DEMISE BY ADAM SOBSEY

smaller or even be the same size would have killed us anyway.

In June, Deep Dish Theater Company quietly announced its closure after a fifteen-year run in Chapel Hill’s University Place (née University Mall)—a major loss for the area’s theater scene. Yet the company’s demise received virtually no public notice. That typified the modesty and reserve of founding artistic director Paul Frellick, who “was always happy to have my work disappear in the course of rehearsals,” as he puts it. There was no zero-hour plea for donations, no closing party. The curtain simply dropped. Starting in 2001, Deep Dish produced fifty-eight plays (plus a dozen workshops and coproductions), from classics to world premieres—including, full disclosure, one of mine. Their work always exuded intelligence, warmth, and artistic rigor, often bringing challenging fare to the unusual venue of a mall. I invited Frellick for an exit interview— truly an exit, as he and his family will move at year’s end to Southern California, where his wife, Grace Baranek, has a new job at USC.

Are you upset? [Long pause] It helped a little bit that it was fifteen years. And I couldn’t point to a compromised production. But yeah. Those fifteen years were marked by a belief that the next step was just around the corner. It was always sort of tantalizingly close. It could be next season that we were going to move to that bigger space, that I was going to leave my day job [in UNC’s Public Health Leadership Program]. And it is frustrating, because it comes to be taken for granted that people are going to put on plays whether you pay them or not, whether people come or not. In the theater, you’re always trying to make it look easy. If you call attention to how hard it is, that makes it less fun.

When you started the company, did you have a sense of how long you were going to do it? I certainly didn’t have an end date in mind. I always hoped that it was something I would start out doing in my spare time and would eventually occupy all my time, that audiences would continue to grow and that programming would continue to grow. But I was never approaching it scientifically. So much of it is about hunches. I didn’t know what shape it was going to take. When we came down here [from Chicago in 1996, when Baranek took a job at UNC], it seemed like really fertile ground here with an amazing potential audience. And it seemed pretty underserved.

INDY: I’ll start at the end: Why did you close the theater for good? PAUL FRELLICK: When the movie theater [Silverspot Cinema] came in [to University Place], we were right next to the area they were reconfiguring. Ours was now a space that they were going to need to charge topdollar rental on—they’d always just taken a percentage of our box office. We’d been very fortunate. But the issue ultimately was that we’d grown incrementally for a long time, and the next step had to be a leap in some way.

Why not just stay small? Because it wasn’t a sustainable model. We needed to have a space big enough to be able to take advantage of the shows that took off. If a show did well, we couldn’t extend because we were going right up to the time when we needed to start building the next set. Moving anywhere was going to cost a good deal of money, so to move and grow

"I was always interested in theater as part of daily life."—Paul Frellick PHOTO BY BEN MCKEOWN

How did the mall thing come about? It’s a weird place for a theater. There were no un-weird places. [Laughs] University Mall was one of those places where Grace and I would see these empty shop spaces and think we could do a play in there, although we didn’t know how it would work. There was new management that was really interested in enhancing the nightlife there. So I went in for this meeting that I INDYweek.com | 9.28.16 | 29

thought was just going to be me imagining what it would look like, and that ended with us walking through the mall and denoting a space where we could do it. I was always interested in the theater as part of daily life—that it wasn’t a specialevent kind of thing. And going to the mall was the perfect way to express that: we could be next to Radio Shack and it was the equivalent of picking up batteries. And that worked really well, too. People weren’t intimidated by the experience because we were in a safe place—although we never did glitz well; we never did galas well. People wouldn’t put on their finery to go to the mall. I suppose that hurt fundraising efforts? It was the Bernie Sanders model—so many people giving a little bit of money. But we never had a few people giving a lot of money that would have allowed us to take the bigger leaps. Your inaugural production was [Samuel Beckett's] Endgame, one of the bleakest plays of the twentieth century. I remember one of our neighbors in the mall, who ran the children’s store, saying, “Endgame? That’s not really mall entertainment.” And I said, “No, exactly.” [Laughs] I always thought it was really funny, too. And I’ve always liked the idea of doing the other play by the playwright—the one that people don’t know as well. I don’t like rehashing or confirming people’s preconceived notions. I’m one of those people who can never read a book twice, because I feel like I’m sacrificing time I could be devoting to something I haven’t read. Your second production was the fairly obscure Cat’s Paw, a play about terrorism. We opened right before the towers came down, the first weekend of September, 2001. How do you go back into the theater with a play about terrorists? It meant a lot to me that people were willing to go along with me on that one, and there were people who said to me that they found a platform, a place where they could work through thoughts and feelings, that they hadn’t found anywhere else. It was a way to be at a fictional remove from things that were right in your lap. It reaffirmed for me what the theater can do, and it was the play that really established us. 30 | 9.28.16 | INDYweek.com

“I remember one of our neighbors in the mall, who ran the children’s store, saying, ‘Endgame? That’s not really mall entertainment.’” You produced a wide variety of plays over the years. Do you think there was a Deep Dish “aesthetic”? We did have a mission statement, but it always meant more to me to say that it was human-centered work. Some of that was a bias toward naturalism, but mostly it was an attempt to look at ideas or issues through the human lens: regular people who are trying to find their way through, people the audience could recognize, going through dilemmas they could understand. We did very fanciful plays, very ridiculous plays, and very heartfelt dramas—some of them preachier than others—but with all of those, I felt like you understood the vulnerabilities. I’m thinking about how [New York stage actress] Cherry Jones described great theater: “Human beings comforting one another with their shortcomings.” What the theater does best is show people at their worst. Deep Dish was clearly your brainchild, but it never seemed despotic, or existing to further your style. It’s sometimes been a source of frustration for me, because it’s hard for me to characterize my work as “revolutionary.” Did you want it to be? No, that was the thing. It’s always much more interesting to me to be drawn into a play rather than held up against a wall. That sort of welcoming aspect. Because of the very different kinds of material we were working on from show to show, we never assumed that it would fly. So we did our work from the

moment people walked in the door, welcoming people to the experience.

What surprised you as you went down the road? We had a loyal audience from the get-go. People at Endgame said, “We’re so glad you’re here.” And in retirement communities, word traveled faster than anywhere else I know. That was always a core audience, which was great because it was a demanding audience intellectually. People complain about theater audiences aging, but it’s only a problem where people only want to see a certain kind of play. That was never the case here. Via Dolorosa is a prime example. A one-man show about the Middle East? That’s not a cash cow, but we did just fine with that. We kept trying things that kept paying off. It was surprising to me how successfully we were able to negotiate a nonprofit entity in a commercial space for the first ten years or so; then it felt like it got tougher to sell tickets.

Why do you think that was? Well, there was less advance press, less press in general, so it dwindled down to just reviews. But people don’t really care what somebody thinks about the play. They want to know what it’s about and what kind of experience it’ll be. And I think there’s been a fundamental shift: people don’t connect with producers the same way; they connect with the material. It’s like the way people buy single songs now instead of albums. You’re not asked to make that sort of commitment now. Everybody just assumes that life is too short. There’s also no way to measure how many people are just watching things on their phones. [Laughs]

Plans for California? It’s hard for me to imagine not directing, but I certainly want to do a lot more reading, and a lot more writing as well. For the stage? Maybe. I can tell you that I’m not going to be in any kind of a hurry to start a theater company. But I still have an abiding faith in what the theater can do. I think a play can stay with you in a way that almost nothing else can. l Twitter: @sobsey

indyscreen

Dylan O’Brien and Mark Wahlberg in Deepwater Horizon

DEEPWATER HORIZON Opening Friday, September 30

PHOTO BY DAVID LEE

The Well From Hell

DEEPWATER HORIZON THRILLS BUT LEAVES IMPORTANT QUESTIONS UNANSWERED BY GLENN MCDONALD Deepwater Horizon, the dramatic thriller based on the 2010 Gulf of Mexico oil spill catastrophe, could have gone wrong in a hundred different ways. By reducing events to a disaster movie template—The Towering Inferno on water—the filmmakers take a conspicuous risk. But in the hands of director Peter Berg (Friday Night Lights), the movie never feels exploitative. In fact, the narrow focus serves the film well. This is a story about the human drama of rig workers who survived the worst oil disaster in U.S. history—and those who didn't. It helps tremendously that Berg doesn't dumb things down. The story's first half is packed with flat-out fascinating numbers and details, presented both visually and through rat-a-tat dialogue. We learn that the thirty-story-tall rig—not a fixed structure but a ship—operated a drill pipe that went down 5,000 feet to the sea floor, then another 13,000 feet to oil. For comparison, consider that the world's tallest building is around 2,700 feet tall. Rig workers called it “the well from hell.” These setup details provide critical context and scale for the story. Mark Wahlberg and Kurt Russell lead the cast as our competent and safety-minded rig workers, persuaded to cut corners by BP oil executive John Malkovich, chewing scenery as usual.

“There's the big picture, and then there's the little picture, like you,” he purrs. Then things go to hell. The oil well blowout is utterly terrifying, a sustained crescendo of explosions and structural collapse that unfolds over the entire second half of the movie. CGI effects are deployed throughout, but they never feel phony. By building key parts of the rig to scale, the filmmakers successfully convey the power and weight of this ultimate heavy metal cataclysm. Visceral and ruthlessly paced, the final disaster sequences are literally stunning; I walked out of the theater in a kind of daze. It was only later that the dissatisfaction crept in. For all the technical details it provides, Deepwater Horizon leaves a core question unanswered. According to the film, the lethal blowout was triggered by a single dubious decision. It was a bad call, certainly, but the kind that must be made all the time in this industry. What happened to the rig's extensive fail-safe systems? You won't get the answers in the movie, but you will find them in the document the film is based on—a 2010 New York Times investigative report titled “Deepwater Horizon’s Final Hours.” It's easy to track down online and I highly recommend doing so. Ideally, movies don't require supporting documentation, but this one does. l Twitter: @glennmcdonald1

THE INDY’S GUIDE TO DRINKING BEER IN THE TRIANGLE

ON STANDS NOW! |

09.28–10.5 STARTING SATURDAY, OCTOBER 1

ROLLING SCULPTURE: ART DECO CARS FROM THE 1930S AND ’40S

Automotive design didn’t go Pop Art in the 1960s or take inspiration from Patrick Nagel paintings in the 1980s, but, starting in the 1920s, there occurred a rare confluence of a prevailing artistic sensibility, namely Art Deco, and the industrial design of the day. Eschewing the merely decorative for a functional gorgeousness, Art Deco followed the example of Cubism in emphasizing simple geometric forms, but, with their aerodynamic design, lusciously rounded curves, and sleek horizontal lines, the cars made in this style embody pure luxury and speed. Resembling teardrops and bullets, they were not intended for regular people like you and me—until now. Fourteen of them (plus three motorcycles), including beauties by Packard, Bugatti, and Pierce-Arrow, are driving into this exhibit at NCMA, where they’ll be parked until January 15. —David Klein

SATURDAY, OCTOBER 1

JOHN BROWN QUINTET & “LITTLE” BIG BAND

John Brown is adept at re-creating and paying tribute to jazz musicians past. His big band has revitalized Duke Ellington’s suite Such Sweet Thunder; his quintet has channeled Art Blakey and the Jazz Messengers; his smaller combos have dug deep into the songbooks of Ellington and Billy Strayhorn. Each of those projects is half revival, half reimagination, and the playing is always tasteful and spry. For this 32 | 9.28.16 | INDYweek.com

concert, Brown takes up the music of Errol Garner, a mid-century pianist best known for innovative chord voicings and rhythms, as well as his meandering, improvised introductions to songs. Pianist Cyrus Chestnut, a regular Brown collaborator and skilled creator of sonic “anachronisms,” will play the role of Garner, joining Brown’s quintet and “Little” Big Band. The groups’ versatility, anchored by Brown’s steady bass and saxophonist Brian Miller’s big, flexible tone, should bring an enticing energy to Garner’s staples. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM, DURHAM 8 p.m., $10–$20, www.music.duke.edu

SATURDAY, OCTOBER 1

6 STRING DRAG

Steve Earle produced them. Patterson Hood of Drive-By Truckers loves them. They were Raleigh’s own roots-rock heroes. But none of that stopped 6 String Drag from splitting up at the end of the nineties after only a couple of killer albums. Singer and songwriter Kenny Roby subsequently set out on his own, proving that his work could have a life outside his old band. But more recently, the Americana gods deigned to smile down on us by reuniting Roby with his old bandmates for a new album last

A 1936 Peugeot 402 Darl’mat Coupe in Rolling Sculpture at NCMA

NORTH CAROLINA MUSEUM OF ART, RALEIGH | Various times, $13–$19 (members/children free), www.ncma.org

year, Roots Rock ’N’ Roll. And so far, 6 String Drag has stuck together long enough to keep on bringing its infectious, organic sound to the stage for a whole new crop of fans along with the old ones. Fate being fickle as it is, you should probably come out and catch these guys playing their new tunes and old fan faves while you’ve still got the chance. —Jim Allen POUR HOUSE, RALEIGH | 9 p.m., $8–$10 www.thepourhousemusichall.com

WHAT TO DO THIS WEEK

John Brown

PHOTO BY GLYN STANLEY

THURSDAY, SEPTEMBER 29– SATURDAY, OCTOBER 1

THE CIVILIANS: THE UNDERTAKING

Many a dramaturge has researched the minutiae of history—varieties of footstools in Tudor England, Shang dynasty lacquerware, the manifests of obscure naval ships, that sort of thing. But The Civilians research the amplitude of now, anatomizing contemporary attitudes on big-picture topics—environmental hazard, gentrification, animal cruelty—through extensive interviews with regular folks and field experts. In The Undertaking, the investigative theater company asks the

biggest question of them all: What does it mean to die? The script is built from hundreds of interviews, many with those who have privileged access to last things, like crimescene cleaners and E.R. nurses. The work sifts through the nitty-gritty of death—how we deal with it, how it shapes our consciousness—and the metaphysical realm of souls and afterlives it engenders. The Undertaking is theater as experimental, experiential anthropology, and it comes to Duke Performances straight from its premiere at the Brooklyn Academy of Music. —Brian Howe DUKE’S SHEAFER LAB THEATER, DURHAM 8 p.m. Thurs.–Sat./3 p.m. Sat., $10–$28, www.dukeperformances.duke.edu

WHAT ELSE SHOULD I DO?

TASHI DORJI AND SHANE PARISH AT THE SHED (P. 35), DRESS UP, SPEAK UP: COSTUME AND CONFRONTATION AT 21C MUSEUM HOTEL (P. 27), GASPARD&DANCERS AT REYNOLDS INDUSTRIES THEATER (P. 42), THE HOUR OF FEELING AT HISTORIC PLAYMAKERS THEATRE (P. 21), IBMA’S WORLD OF BLUEGRASS IN DOWNTOWN RALEIGH (P. 14), IVELISSE JIMÉNEZ AT ALLCOTT GALLERY (P. 40), MOVIE LOFT AT SHADOWBOX STUDIO (P. 43), WHITNEY AT DUKE COFFEEHOUSE (P. 37), ALAN WIEDER AT FLYLEAF BOOKS (P. 43) INDYweek.com | 9.28.16 | 33

TH 9/29

FR 9/30

JUDAH & THE LION

AN EVENING WITH

JIM LAUDERDALE TRIANGLE PLAYWRIGHTS SA 10/1 PLAYSLAM TU 10/4 POPUP CHORUS TH 10/13 PIEDMONT MELODY MAKERS NO SHAME THEATRE FR 10/15 CARRBORO FR CALEB CAUDLE 10/21 (CO-PRESENTED BY CAT’S CRADLE)

FR 10/28 FR 11/18 FR 12/2

LEO KOTTKE CHARLIE PARR ALEJANDRO ESCOVEDO A CLASSIC COUNTRY SA 12/3 CHRISTMAS THE BAREFOOT MOVEMENT SA 12/17 CHRISTMAS Find out More at

ArtsCenterLive.org

300-G East Main St. • Carrboro, NC Find us on Social Media

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W/ SAVOY MOTEL ($24/$27)

TH 9/29 JUDAH & THE LION W/ THE LONELY BISCUITS ($16)

MO 10/3 NADA SURF

W/ AMBER ARCADES($17/$20)

WE 10/5 ELEPHANT REVIVAL W/BEN SOLLEE ($15/$17)

TH 10/6 TAKING BACK SUNDAY SOLD

OUT W/YOU BLEW IT, MAMMOTH INDIGO

FR 10/7 THE DEAR HUNTER W/ EISLEY, GAVIN CASTLETON ($18/$20)

SA 10/8 WXYC 90S DANCE ($5 STUDENTS/ $8 GA) SU 10/9 LANY W/ TRANSVIOLET ($15) TU 10/11 THE MOWGLI'S

W/ COLONY HOUSE, DREAMERS ($17/$19)

WE 10/12 DIARRHEA PLANET W/ WESTERN MEDICATION, THE NUDE PARTY ** ($12/$15)

GIRLS($16/$18)

SA 10/15: BRETT DENNEN W/ LILY & MADELEINE ($22/$25)

THE NUDE PARTY / DJ REDBIRD

HANNAH SHIRA NAIMAN / VALERIE SMITH & LIBERTY PIKE / TIM CARTER & BIG BANG TH 9/29 LIVE AT NEPTUNES

90’S BINGO WITH DJ KERI THE RED IBMA WORLD OF BLUEGRASS NIGHT III

BLUE CACTUS / KATE RHUDY / CHRISTIANE & THE STRAYS / ELLIS DYSON & THE SHAMBLES SA 10/1

SWIFT CREEK / HANK PATTIE & THE CURRENT IBMA WIDE OPEN LATE NIGHT SERIES

SU 10/2

THE WUSSES

FR 9/30

THE GINGERSNAPS / ELLIS DYSON & THE SHAMBLES / HONEY MAGPIE

LIVE AT NEPTUNES, OAK CITY SLUMS PRESENTS SUNDAY SHAKE WITH JOOSE LORD / OG SENAPIII / FUGO / MAMBA /TENNIS RODMAN / MIGHTY GAPPA / OAK CITY SLUMS

MO 10/3 TU 10/4

ST. VITUS / THE SKULL / WITCH MOUNTAIN / DEMON EYE AND THE KIDS LIVE AT NEPTUNES

NICK HOOK / MIGHTY MOUZE & NDEEP / NADUS WE 10/5 LIVE AT NEPTUNES

SONGS FROM DOWNSTAIRS WITH

ROD ABERNETHY & GUEST DAVID BURNY (JOHNNY FOLSOM 4)

SYLVAN ESSO, MOUNT MORIAH, MOUTH OF THE ARCHITECT SHOW ME THE BODY, MERCHANDISE, CASPIAN, THE HELL NO GENOCIDE PACT, AZIZI GIBSON

MO 10/17 SOILWORK W/ UNEARTH, BATTLECROSS, WOVENWAR, DARKNESS DIVIDED ($20/$23)

TU 10/18 LUCERO

W/CORY BRANAN ($20/$23)

WE 10/19 BEATS ANTIQUE

W/ TOO MANY ZOO'S, THRIFTWORKS ($26/$29)

TH 10/20 WILLIE WATSON & AOIFE O’DONOVAN**($22/$25; SEATED SHOW)

FR 10/21 THE ORB ($17/$20) SA 10/22 TODD SNIDER W/ ROREY CARROLL ($24/$27; SEATED SHOW) 10/23 BEER & HYMNS PRESENTS: ORANGE COUNTY JUSTICE UNITED FUNDRAISER ($10) 10/25 ROONEY W/ROYAL TEETH, SWIMMING WITH BEARS ($16/$18) WE 10/26 HATEBREED, DEVILDRIVER, DEVIL YOU KNOW ($25/$28) FR 10/28 IAN HUNTER AND THE RANT BAND W/ JD FOSTER($25/$28) SA 10/29 DANNY BROWN

W/ ZELOOPER Z ($22/$25 & VIP AVAIL)

SU 10/30 NF ($18/$21) TU 11/1 THE MOTET W/ THE CONGRESS ($16/$19)

34 | 9.28.16 | INDYweek.com

FR 9/30

OF TRAMPLED BY TURTLES AND CARL BROEMEL OF MY MORNING JACKET

NADA SURF

KISHI BASHI

($18/$20)

SA 10/1 TOWN MOUNTAIN**($12/$15)

FR10/14:BALANCE & COMPOSURE W/FOXING,MERCURY

IBMA WORLD OF BLUEGRASS NIGHT II

MO 10/3

THREE WOMEN & THE TRUTH

($15)

11/13JONATHAN

RICHMAN

FEAT. TOMMY LARKINS ON DRUMS ($15) 11/16: SLOAN "ONE CHORD TO ANOTHER" 20TH ANNIVERSARY TOUR ($20)

FR 9/30 KISHI BASHI W/ TWAIN **

HAIL THE SUN & MORE ($18/$20)

KING CONGO POWERS & THE PINK MONKEY BIRDS /

SA 10/1 @CAT’S CRADLE BACK ROOM

11/10: DAVE SIMONETT

WE 9/28 THE DANDY WARHOLS

TH 10/13 DANCE GAVIN DANCE W/ THE CONTORTIONIST,

WE 9/28 LIVE AT NEPTUNES

MO 10/3 @ MOTORCO

BAND OF SKULLS

WE 10/5

11/17: BRENDAN JAMES ($14/$16)

11/18: BRUXES DEBUT SHOW & EP RELEASE W/BODY GAMES, TEARDROP CANYON, YOUTH LEAGUE ( $7) TU 10/4 LD @ CAT’S CRADLE BACK ROOM 11/20MANDOLIN ORANGE SO OUT CAT'S CRADLE BACK ROOM 11/21: THE GOOD LIFE ($12/$14) 9/28: EARLY SHOW: RUTH B W/ GABRIEL DAVID ($12) 12/2: FRUIT BATS WE 11/2 SNAKEHIPS W/LAKIM LATE: DANDY WARHOLS LD 12/4-5: THE MOUNTAIN GOATS SO OUT ($17/$20) AFTER PARTY W/ DJ RESCUE TH 11/3 LADY PARTS JUSTICE 9/30: SUTTERS GOLD STREAK 12/9,10,11: KING MACKEREL & THE BLUES ARE RUNNING BAND IDLEWILD SOUTH ($10/$13) LEAGUE PRESENTS:“YOU SHOULD SMILE MORE AND 10/1: THREE WOMEN AND THE 12/14: SHEARWATER W/CROSS RECORD ($13/$15) TRUTH: MARY GAUTHIER, OTHER MANSPIRATIONAL ELIZA GILKYSON OBSERVATIONS” STARRING: DEC 30: SHERMAN & THE GRETCHEN PETERS ($25/$28) LIZZ WINSTEAD, HELEN HONG, BLAZERS REUNION ( $10/$15) JOYELLE JOHNSON, BUZZ OFF, ARTSCENTER (CARRBORO) 10/2: SKANKFEST MATINEE FT. LUCILLE ($15/$20) REGATTA69,HIGH&MIGHTIES.&MORE 10/15: JOSEPH W/ RUSTON KELLY LD FR 11/4 PORTUGAL. THE MAN SO OUT ($13/$15) 10/4: HONNE W/ MAX FROST($15) 10/21: CALEB CAUDLE ($16) 10/5: ELECTRIC SIX SA 11/5 ANIMAL COLLECTIVE LD W/ IN THE WHALE ($13/$15) W/ ACTRESS SO OUT 11/8: ANDREW WK 'THE POWER OF PARTYING' ( $20/$23) 10/6: ASTRONAUTALIS W/ SU 11/6 STAND AGAINST CESCHI, FACTOR CHANDELIER MEMORIAL HALL (UNC-CH) HB2 NORTH CAROLINA MUSICIANS ($15/$17) UNITED FOR EQUALITYNC AND QORDS 10/30: REM'S MIKE MILLS' 10/7: GREG HUMPHREYS THE LOVE LANGUAGE, THE VELDT, CONCERTO FOR ELECTRIC TRIO ($12/$15) FABULOUS KNOBS, DB'S AND MORE ROCK BAND NOON -MIDNIGHT CONCERT! ($15/$20) AND STRING ORCHESTRA 10/8:HARDWORKER W/ REED TURCHI & THE CATERWAULS MOTORCO (DURHAM) TH 11/10 MEWITHOUTYOU W/ ($10/$12) YONI WOLF (OF WHY?) $15/$18 10/3 BAND OF SKULLS 10/9: RIVER WHYLESS W/ MOTHERS ($20/$23) FR 11/11 YEASAYER W/ LYDIA W/ HEATHER MCENTIRE ($12/ $15) 10/6: BLITZEN TRAPPER AINSWORTH ($20) 10/11: CINEMECHANICA, W/KACY & CLAYTON**($17/$19) SA 11/12 GUIDED BY VOICES SOLAR HALOS, WAILIN STORMS ($7) 10/14: THE SUMMER SET W/SURFER BLOOD ($26.50) 10/12: CICADA RHYTHM / ($16/$18) SU 11/13 BENJAMIN FRANCIS MICHEALA ANNE ($10/$12) 11/6 TWO TONGUES LEFTWICH ($15/$18) W/ BACKWARDS DANCER 10/13: DAVID RAMIREZ ($16.50/$20) BOOTLEG TOUR ($13/$15) MO 11/14 BOB MOULD BAND ($20/$22) 11/16: MITSKI W/ FEAR OF MEN, 10/14: SAM AMIDON ($12/$15) WEAVES($15) WE 11/16 WET W/DEMO TAPED ($20) 10/15: GRIFFIN HOUSE ($18) KINGS (RAL) LD ADAM TORRES 10/16: TH 11/17 REV PAYTON'S BIG 11/19 MANDOLIN ORANGE SO OUT THOR & FRIENDS ($10/$12) DAMN BAND, SUPERSUCKERS, PINHOOK (DURHAM) JESSE DAYTON ($15/$17) 10/19: MC CHRIS W/ MEGA RAN($14/$16) 11/10: TED LEO ($13/$15) SA11/19 HISS GOLDEN NC MUSEUM OF ART (RAL) 10/21: SERATONES MESSENGER**($15/$17) W/ GHOSTT BLLONDE ($12/$14) 9/28: VIOLENT FEMMES W/ LD ANGELICA GARCIA ( $32-$45) TU11/22PETER HOOK & THE LIGHT OUT 10/27: S U R V I V E SO THE RITZ (RAL) ($25) 10/29: MATT PHILLIPS & THE (TICKETS VIA TICKETMASTER) BACK POCKET W/ WINDOW SU 11/27 HOWARD JONES ($25/$28) CAT, AGES OF SAGES ($8/$10) 10/24:THE HEAD AND THE HEART SA 12/3 BOMBADIL W/ DECLAN MCKENNA 10/30: LERA LYNN W/GOODNIGHT, TEXAS ( $16/$18) 10/28: PHANTOGRAM 11/1: BAYONNE ($10/$12) 2/1/17 THE DEVIL MAKES W/ THE RANGE 11/4 WILD FUR ALBUMRELEASESHOW THREE HAW RIVER BALLROOM 11/5: FLOCK OF DIMES ($22/$25) W/ YOUR FRIEND ($12) 9/30: REAL ESTATE W/ EZTV 2/16/17 THE RADIO DEPT. ($20/$23) 11/6: ALL GET OUT W/ GATES, LD ($15/$17) MICROWAVE ($10/$12) 11/18 MANDOLIN ORANGESO OUT

ELEPHANT REVIVAL

HONNE

FLETCHER OPERA THEATRE (RALEIGH)

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO 10/8: JOHN PAUL WHITE($25/$32) (TICKETS VIA TICKETMASTER)

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

11/20: PATTY GRIFFIN W/ JOAN SHELLEY

music WED, SEP 28 Xenia Rubinos

SULTRY Navigating the SINGER political landscape that consistently questions black and brown individuals, Xenia Rubinos uses music to find her place in the world. Her political lyrics carry a weight delivered playfully, yet deliberately. Like Erykah Badu and Esperanza Spalding, Rubinos utilizes lush instrumentation and deep bass lines to complement her warm voice. —KS [DUKE COFFEEHOUSE, $5/9 P.M.] ALSO ON WEDNESDAY THE ARCHITECT BAR & SOCIAL HOUSE: IBMA’s Wide Open Bluegrass: Zoe & Cloyd, 10 String Symphony, Missy Raines & The New Hip; 7 p.m. • CAT’S CRADLE: The Dandy Warhols, Savoy Motel; 8:30 p.m., $24–$27. • CAT’S CRADLE (BACK ROOM): Ruth B; 7:30 p.m., $10–$12. • KINGS: IBMA’s Wide Open Bluegrass: Hannah Shira Naiman, Valerie Smith and Liberty Pike; 7 p.m. Kid Congo Powers, The Nude Party; 10 p.m., $12–$14. • KOKA BOOTH AMPHITHEATRE: Garrett Newton Band, The String Peddlers; 5:45 p.m., $5. • LINCOLN THEATRE: IBMA’s Wide Open Bluegrass: The Lil’ Smokies, Molly Tuttle Band, Town Mountain; 7 p.m., $10. • LOCAL 506: The Toasters, Corporate Fandango, Sound System Seven; 9 p.m., $10–$12. • NC MUSEUM OF ART: Violent Femmes; 8 p.m., $27–$45. • NIGHTLIGHT: Moms, Golden Retriever, Propan; 9:30 p.m. • POUR HOUSE: IBMA’s Wide Open Bluegrass: Trout Steak Revival, Old Salt Reunion, Hackensaw Boys; 7 p.m., $25– $75. • RALEIGH CONVENTION CENTER: IBMA’s Wide Open Bluegrass; 7 p.m. • THE RITZ: Post Malone, Jazz Cartier, Larry June; 8 p.m., $25. • VINTAGE CHURCH: IBMA’s Wide Open Bluegrass: The Andrew Collins Trio, Steep Ravine, Tellico; 7 p.m.

THU, SEP 29 Ages and Ages NEOFOLK

With populist major-key melodies,

09.28–10.05

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Ryan Cocca (RC), Spencer Griffith (SG), Allison Hussey (AH), David Klein (DK), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), David Ford Smith (DS), Karina Soni (KS), Patrick Wall (PW)

lightly aspirational lyrics, and a surfeit of sing-and-clap-along numbers, it is easy to imagine that Ages and Ages, a Portland based six-piece, was factory assembled in some secret basement at NPR Music. While it’s nearly impossible to imagine anyone being offended by the band’s thoroughly well crafted and sometimes genuinely thoughtful ruminations on self-acceptance, one hopes its evident talent will eventually propel the band past a penchant for Lumineers-like obviousness. —TB [LOCAL 506, $10/8 P.M.]

that fits halfway between Emperor and Cradle of Filth. The “symphonic” flourishes offer some cinematic grandeur, but the bedrock black metal it augments is (corpse)paint-by-numbers orthodoxy, all stiff battery of percussion and static tremolopicking. —BCR [SLIM’S, $10/8 P.M.]

The Old Ceremony

Alesana MILELast year, Raleigh’s STONE Alesana capped off a five-year conceptual trilogy with Confessions, its fifth studio album. In its dynamic pacing and broad scope of influences, which ranged from electronic pop to black metal, Confessions displays the band’s thematic and musical ambitions. That’s especially poignant as the band celebrates the ten-year anniversary of its debut, On Frail Wings of Vanity and Wax, which found the band crafting more straightforward and familiar metalcore. —BCR [SOUTHLAND BALLROOM, $12/8 P.M.]

Judah & the Lion ALT POP What does it mean FOLK HOP to be alternative, anyway? Judah & the Lion are billed as such, but the title of the new LP by this Nashville outfit, Folk Hop N’ Roll, provides a more accurate description of its genre-bending current approach. The reggae-ready band name actually refers to leader Judah Akers, who started the group as a rootsy devotional outfit before steering it toward a more secular path, one lined with bigger stages. —DK [CAT’S CRADLE, $16–$45/8 P.M.]

Necronomicon METAL On March’s Advent BASICS of the Human God, Montreal’s Necronomicon trots out a familiar mix of synth symphonies and brittle blast beats for a melodic metal rush

PHOTO COURTESY OF SHANE PARISH

FRIDAY, SEPTEMBER 30

TASHI DORJI & SHANE PARISH Asheville guitarists Tashi Dorji and Shane Parish are musical omnivores. On their latest album, Expecting, flashes of flamenco brush into free-improvised splatter that become rolling walls of glimmering harmonics. Those pieces are interrupted by bursts that are abstracted gamelan gongs. Those are then reconfigured into sunny, American primitive ramblings, which then dissolve into spacious gagaku imitations. Hiding in the background are the ethnic forgeries of the Sun City Girls and the pantheistic naturalism of mid-aughts freak folks like the Jeweled Antler Collective or Pelt. Likewise, the duo’s acoustic guitars encompass a huge sonic gamut: they buzz and clatter, they chime and thump. Over the course of the past decade, Parish and Dorji played together in all kinds of different contexts, and it shows. When they play together, they have a way of finishing each other’s musical sentences, and you often can’t tell who is playing what. One will come up with an idea, and the other hops in immediately with a perfect addition. Expecting’s fourteenminute “Storm Sinks Boat,” for example, begins with a wall of obsessive strumming around a single wobbly note, with each thorny, unfurling figuration gradually ratcheting up the tension. It’s a subliminally charged drone; the sounds of picks and fingers hitting strings tell as much of the story as the pitches. Just when it seems the drone will resolve into some dark John Fahey-isms, everything dissolves into taps and swishes, interrupted by the occasional chord to remind us where we came from. When the drone returns, it picks up a nasal tone before settling into more gentle undulations. Though the music is completely improvised, the two sound wholly fused, their complementary visions resulting in wonderfully variegated soundscapes. Both players make frequent stops in the Triangle. Most recently, Dorji had a couple of memorable sets with drummer Tyler Damon at Hopscotch, while Parish played at The Shed with his group Ahleuchatistas—but this will be a rare duo set. It should be an opportunity to expand on some of the intriguing fragments from the album. More likely, the duo’s restless energy will unspool into something new and equally engrossing. —Dan Ruccia THE SHED, DURHAM 8 p.m., $12, www.shedjazz.com

POP NOIR This installment of Music on the Porch perfectly syncs up with a band whose very name could be applied to the series’ enactment of a time-worn American musical tradition. The literate, textured songs of Django Haskins and his sympathetic crew ought to sound extra sweet wafting across a swath of lawn at dusk. —DK [UNC’S CENTER FOR THE STUDY OF THE AMERICAN SOUTH, FREE/5:30 P.M.]

Darrell Scott, Molly McGinn FOLKIN’ Singer-songwriter COUNTRY Molly McGinn’s latest project, Wurlitzer Prize, started as a writer’s round hosted by Dave Willis of Possum Jenkins. The band is most of Possum Jenkins: Willis on guitar, bassist and pedal steel player Jared Church, and harmonica player Brent Buckner, with McGinn on vocals. She joins Darrell Scott, whose catalog is mostly country and includes hits penned hits for Brad Paisley, Sam Bush, and the Dixie Chicks. —GB [BLUE NOTE GRILL, $30–$35/7 P.M.] ALSO ON THURSDAY THE ARCHITECT BAR & SOCIAL HOUSE: IBMA’s Wide Open Bluegrass: Three Jack Jenny, The Gravy Boys, Grass Street; 7 p.m. • THE CAVE: Skulls & Whiskey; 9 p.m., $5. • DEEP SOUTH: IBMA After Hours: Magnolia Still, The Carmonas, Three Jack Jenny; 9 p.m., free. • KINGS: IBMA’s Wide Open Bluegrass: Blue Cactus, Kate Rhudy, Christiane and the Strays, Ellis Dyson and the Shambles; 7 p.m. • LINCOLN THEATRE: IBMA’s Wide Open Bluegrass: The Clydes, Sideline, Big Fat Gap, Hank, Pattie, and the Current, Peter Rowan; 7 p.m. • POUR HOUSE: IBMA’s Wide

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM Open Bluegrass: Fireside Collective, Dwight Hawkins & the Piedmont Ramblers, Counterclockwise String Band, Hope Valley Drifters; 7 p.m. • RALEIGH CONVENTION CENTER: IBMA’s Wide Open Bluegrass: Various Artists; 1 p.m. • RUBY DELUXE: Eddie Taylor, Wahyas; 9 p.m. • THE STATION: Sunnyslope(s), Majestic Vistas; 8:30 p.m., $5. • VINTAGE CHURCH: IBMA’s Wide Open Bluegrass: Nixon, Blevins & Gage, Salt & Light, Edgar Loudermilk; 7 p.m.

FRI, SEP 30 Jason Aldean COUNTRY The closest Jason ANTHEM Aldean gets to name-checking North Carolina in his cringe-worthy, career-making hit “She’s Country” is the lyric “She’s a party-all-nighter from South Carolina.” We’ll consider that a win, and instead focus on the country rocker’s sweeter side, like the endearing Rhett Akins co-write, “When She Says Baby.” —KM [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $30–$75/7:30 PM]

Simone Dinnerstein GRAND Simone DinnerPIANISM stein’s recording of Bach’s Goldberg Variations, a formerly esoteric work that was wholly resurrected via Glenn Gould’s 1955 recording, brought her early acclaim. Since then she’s balanced the classical canon with modern sounds, whether in a collaboration with alt-country’s Tift Merritt or the Philip Glass etudes that alternate in this program with later works of Schubert, including the final work in his brief but productive life, Sonata D.960. —DK [DUKE’S BALDWIN AUDITORIUM, $10–$42/8 P.M.]

Kishi Bashi WARM & Kishi Bashi’s live WINNING chamber-pop cover of Talking Heads’ “This Must Be the Place (Naive Melody)” has almost five million plays on Spotify, and it is stirring proof of the performance skills of this Georgia musician. He’s played the |

we 9/28

The Toasters / Corporate Fandango

th 9/29

Ages and Ages / Cereus Bright TreeHouse! Jordan Esker & The Hundred Percent

Sound System Seven

fr 9/30 su 10/2

Dragmatic / Raid the Quarry

mo 10/3 tu 10/4 we 10/5 th 10/6 fr 10/7 sa 10/8

Monday Night Open Mic The Legendary Pink Dots / Orbit Service Palm / And the Kids Yuna / Ńÿłø Free Candy / Ferris and the Wheels

Blue Footed Boobies SALES / Real Dad / Just Jess

COMING SOON: PUP, Set it Off, Yuna, Matt Wertz, Clipping., Vanna, Patrick Sweany

www.LOCAL506.com

THU 9/29 Music Documentary Night: WED JUN 29 @

8:00 PM, $12/$15

DANNY SAYS: A Documentary on the Life & Times of Danny Fields

RICHIE RAMONE

FRI 9/30 The Art Of Cool & Sol Kitchen present

THE ART OF NOISE: The Best of 90’s Hip Hop & R&B

SU 10/2 Flash Chorus (1pm)

w/ POISON ANTHEM “Sweet Jane” RICHARD - The Velvet Underground / “Fever” - The Black Keys “ BACCHUS & THE LUCKIEST GIRLS SUN 10/2 RUSSIAN CIRCLES / HELMS ALEE

FRI

10/2HOMEWARD / THE MIDATLANTIC 7/1 SUNDAY LOOK

TUE

7/5 Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES

FRI

HELMS ALEE 7/8 W/ SolKitchen & The Art of Cool Project:

RUSSIAN CIRCLES

MON 10/3 Cat’s TheCradle Art of Noise #DurhamBAND OF SKULLS / MOTHERS presents WED 10/5 GANGSTAGRASS / KAMARA THOMAS & THE NIGHT DRIVERS

MON 7/11 Regulator Bookstore presents

THU 10/6 Cat’s Cradle presents BLITZEN TRAPPER HEATHER HAVRILESKY: Ask Polly Live

SONGBOOK: A Night Of Stories & Songs with Kacy & Clayton

TUE10/77/12SISTER DANNY SCHMIDT / REBECCA FRI SPARROW & THE DIRTYNEWTON BIRDSwith WES COLLINS HOUND SMITH THU 7/14SMOOTH Storymakers: Durham, Community Listening Event

SAT 10/8 Fifth Annual Durham Oktoberfest with LITTLE GERMAN BAND

SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUNDAY 10/9

919.821.1120 • 224 S. Blount St 9/28

IBMA BLUEGRASS RAMBLE:

SPECIAL CONSENSUS, SWIFT CREEK, 9/29

9/30 10/1 10/2 10/4 10/5

10/7

MO 10/10 Flash Chorus

FIRESIDE COLLECTIVE, DWIGHT HAWKINS &

WE 10/127/18BRONZE RETURN / AIR TRAFFIC CONTROLLER MON MAIL RADIO THE HORSE

IBMA BLUEGRASS RAMBLE:

THE PIEDMONT RAMBLERS, COUNTERCLOCKWISE STRING BAND, HOPE VALLEY DRIFTERS MCLOVINS W/ GROOVE FETISH 6 STRING DRAG W/MALDORA LAYZIE BONE (OF BONE THUGS-N-HARMONY) W/MO THUGS, JUSTUS, RICO SWAIN, SHAME TWEED W/ DURTY DUB

EDDIE TAYLOR

LOCAL BAND LOCAL BEER FOOTHILLS FREE FIRST FRIDAY:

MAJOR & THE MONBACKS

W/BLUE WATER HIGHWAY BAND, THREESOUND FREE! 10/9

ANDY TIMMONS BAND W/TRAVIS LARSON BAND

10/10

VIVA LA MUERTE

W/THE BENJAMIN MATLACK QUARTET 10/11 10/12 10/13 10/14 10/15

THE RAGBIRDS

THE LIL’ SMOKIES, TROUT STEAK REVIVAL W/ OLD SALT UNION, HACKENSAW BOYS

W/ THE SECOND WIFE (SOLO), JOSH FIEREMAN 10/5

SUN JUL 17 @ 8:00 PM $12/$15

LA THE RAGBIRDS SANTA CECILIA

ISTANDARD PRODUCER SHOWCASE JAHMAN BRAHMAN W/ FONIX (LAST SHOW!!) LOCAL BAND LOCAL BEER DARK WATER RISING W/FREEWAY REVIVAL, THE FORGOTTEN MAN BACKUP PLANET W/ ROXY ROCA

facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com

“Crazy” - Gnarls Barkley / “Sweet Disposition” - The Temper Trap

TH 10/13 PETE ROCK Feat. SUPASTITION, RAPPER BIG POOH & SKYZOO in

FRI JULThe 22 Black Wall Street: Underground @ 8:00 PM

JOHN COWAN FR 10/14 Cat’s $25/$30 Cradle presents THE SUMMER SET Made For You Tour 2016 with HUDSON THAMES SU 10/16 Film Screening & Panel Discussion: Love Should Never Be Abusive

JOHN COWAN w/ DARIN & BROOKE ALDRIDGE

TU 10/18 Duke Science & Society’s Periodic Tables with BILL ADAIR / DS&S’s Movie Night: PREDICT MY FUTURE WE SAT10/197/23Museum Girls of Rock LifeShowcase & Science Presents

S D R I B G A R THE TINKERING & DRINKERING TUE 7/26 Motorco Comedy Night:

TH 10/20 SNEAKERS / LITTLE DIESEL ANDY WOODHULL / ADAM COHEN FR 10/21 The Art of Cool Project & Sol Kitchen present er s -P op Ma tt FRI 7/29KING YOUNG BULL Album Releases"Show / NICK HAKIM tr av el er ar tis tic e at mm w/ ALIX AFF / DURTY DUB su URBAN SOIL / FREEWAY REVIVAL SA 10/22 "C on SU 10/23 THE STEEL WHEELS / THE GRAVY BOYS SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, JARED & THE MILL, TU 10/25 UNWRITTEN LAW / RUNAWAY KIDS HAL KETCHUM, Doors: 7pmNRBQ, LIZ VICE, WINDHAND, TH 10/27 The Carolina Theatre of Durham & Motorco present

CODY CANADA Show: 8pm& THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, CRIMINAL at Carolina Theatre SISTER SPARROW & THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM COMING SOON:LAWSON WALKER LUKENS, DOYLE LAWSON THE RECORDADRIAN COMPANY, DOYLE & QUICKSILVER, THE& QUICKSILVER, RECORD COMPANY, LEGG, $15 OFREBIRTH ENTER DAY THE HAGGIS, BRASS BAND, TWO TONGUES, TRASH TALK, REBIRTH BRASS BAND, BRIGHTEST DIAMOND, KARLA BONOFF, DAMIEN JURADO, ADRIAN LEGG, MY MITSKI, HELMET, LOCAL H, DRIFTWOOD, W MYTALIB BRIGHTEST DIAMOND, KARLAWAINWRIGHT BONOFF, REDV FANG, JOHNA MCCUTCHEON, BLE NO ! AIL LOUDON III M A THE STRAYKWELI, BIRDS, TALIB KWELI,U LOUDON WAINWRIGHT III LB " A W E N E HEARTH HOLD & TH S E R H T E "TH The Threshold & The Hearth

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Jim Lauderdale JONES Although Jim CLONE Lauderdale is very much his own man, you still feel the presence of George Jones clinging to him. On his latest, This Changes Everything, he’s shaken most of that off, sprinkling a Texas flavor around with a corral full of Texas troubadours including Hayes Carll and including “We Really Shouldn’t Be Doing This,” a tune he wrote for George Strait’s 1998 album, One Step at a Time. —GB [THE ARTSCENTER, $22/8 P.M.]

The Plate Scrapers JAMMY While Raleigh GRASS overflows this week with bluegrass bands of various flavors, The Plate Scrapers allow Carrboro-ites to scratch their itch for nontraditional ‘grass without hopping on Interstate 40. For those who want some staying power behind their string band tunes, though, this Maryland quartet’s meandering jams— carefree and spirited though they $10 advance may be—may find merit in that thirty-mile trek east. Boone’s Kate Rhudy pairs somber folk songs with a voice that shoots straight to the heart. —SG [THE STATION, $6/8:30 P.M.]

Real Estate

Member Admission Price

An Adult Nightclub Open 7 Days/week • Hours 7pm - 2am

supporting role with Regina Spektor, of Montreal, and others, but over a series of LPs and singles, he’s developed a distinct sensibility with sharp, world-beattinged songs, and a winsome, wide-eyed sensibility that has more than a touch of David Byrne. —DK [CAT’S CRADLE, $18–$75/9 P.M.]

@TeasersDurham

KHAKI If beige is your POP favorite color, perhaps Real Estate is your favorite band. The New Jersey quintet is perfectly pleasant, with a breezy and amicable aesthetic that’s like a stoned daydream built on lazy grooves and patchwork psychedelia. Real Estate exists in the decades-long lineage of wistful, jangly indie rock without doing much push it forward, but the band’s brainy beigecore is accomplished, if not terribly

exciting. —PW [HAW RIVER BALLROOM, $20–$23/8 P.M.] ALSO ON FRIDAY BEYÙ CAFFÈ: Dasan Ahanu; 8 & 10 p.m., $10. • CAT’S CRADLE (BACK ROOM): Sutter’s Gold Streak Band, Idlewild South; 8 p.m., $10–$13. • THE CAVE: Paper Dolls, Nikol, Stammerings; 9 p.m., $5. • DEEP SOUTH: IBMA After Hours: GrassStreet, The Outliers, The Dowdy and Chandler Band; 9 p.m., free. • DUKE COFFEEHOUSE: Hectorina, The Wyrms, Brett Harris; 9 p.m. • KINGS: Swift Creek, Hank Pattie and the Current; 10 p.m., $5. • THE KRAKEN: Twilighter, Slomo Dingo; 9 p.m., free. • LINCOLN THEATRE: PULSE: Electronic Dance Party; 9 p.m. • LOCAL 506: TreeHouse!; 9 p.m., $8. • THE MAYWOOD: The Second After, Six Shots Later, Eno Mountain Boys, and The Water Between; 8 p.m., $8. • MOTORCO: Growing Up in the 90’s: The Best of 90’s Hip Hop and R&B; 9 p.m., $10–$15. • THE PINHOOK: Thirsty: A Queer Dance Party; 10 p.m., $5. • POUR HOUSE: McLovins, Groove Fetish; 9 p.m., $5–$7. • RALEIGH CITY PLAZA: Wide Open Bluegrass Street Festival; noon, free. • RALEIGH CONVENTION CENTER: IBMA’s Wide Open Bluegrass; 10 a.m. • RED HAT AMPHITHEATER: IBMA’s Wide Open Bluegrass: Earls of Leicester, Marty Stuart & His Fabulous Superlatives, Nitty Gritty Dirt Band, Peter Rowan Band, Ricky Skaggs & Kentucky Thunder, Soggy Bottom Boys; noon. • SHARP NINE GALLERY: Lovell Bradford Quartet; 8 p.m., $10–$20. • SLIM’S: Dirty Remnannts, Hayvyn, Knightmare; 8 p.m., $6. • SOUTHLAND BALLROOM: Love Notes, Falling 4; 8 p.m., $15. • THE SHED JAZZ CLUB: Tashi Dorji and Shane Parish; 8 p.m., $12. See box, page 35.

/ $12 day of

SAT, OCT 1 Bull City Block Party FISH FRY Celebrating local seafood, NC Fresh Catch presents concerts across the state to encourage North Carolinians to engage with their state’s natural resources. This weekend in Durham, the organization presents the Bull City Block Party, a family-friendy affair

stocked with an eclectic assortment of local bands. Trumpet titan Al Strong joins Matt Phillips and the Philharmonic, while Wahyas offers punchy garage rock. Durham institution The Wigg Report arrives with its raucous, sax-driven songs for what should be a fun fall evening. —AH [DURHAM CENTRAL PARK, $8–$10, 12 AND UNDER FREE/5 P.M.]

Gross Reality FALL Thousands of music METAL fans consider soft acoustic acts like Nick Drake to be the gold standard for soundtracking these brisk autumn months. But what’s more metal than nature slowly withering away? Roaring thrash metal outfit Gross Reality rings in October alongside the thrash/death idiosyncracies of Final Sign, Everthrone, and Bloodwritten. —DS [THE MAYWOOD, $8/8:30 P.M.]

Maradeen LATE Featuring a rollicking ROCK guitar-based attack alongside the discreetly clever sentiments of frontman Whit Murray, Nashville’s Maradeen is the spiritual prodigy of the Stones as refracted through great but relatively obscure acts like the Liquor Giants and the Pontiac Brothers. Inescapable tunes like the piano-driven “Always Want What I Can’t Have” and the horn-heavy Sticky Fingers homage “She Treat Me Like a Real Man” are can’t-miss hits of the seventies. They’re too late on arrival, but more admirable for it. —TB [SOUTHLAND BALLROOM, $8/8 P.M.]

Persona 13: Via App NU Synth nerds who TECHNO surfed around the smaller undercard shows at Moogfest in May might remember Via App, the effervescent 1080p-affiliated producer who makes choppy, prismatic, genre-hopping techno with a defiantly clubby bent. Her long-awaited debut record, Sixth Stitch, is dropping this fall on Yep Roc imprint Break World Records, so consider this an intimate

opportunity to get acquainted if you missed her back in spring. —DS [NIGHTLIGHT, $10/10 P.M.]

Back, Knives of Spain, Zoocrü, Lonnie Walker, Trandle, and more on deck. —AH [SPECTRE ARTS, $15/2 P.M.]

Safe Word

ALSO ON SATURDAY

VINYL Safe Word has spent PARTY the past six years forging its fusion of street punk and thrash, embracing the shout-along hooks and B-movie horror fixation of the latter-day Misfits and frantic guitar solos of neo-crossover acts like Municipal Waste. Tonight, the band celebrates the release of its vinyl debut, a seven-inch single. The A-side and title track, “Old at Heart,” is perhaps the best summation of Safe Word’s thrashhappy songs. Singer Allen High sneers, “I gotta find another way to be free,” while the band cuts into a crossover riff that wouldn’t sound out of place on the Misfits’ Earth A.D. —BCR [SLIM’S, $5/9 P.M.]

Three Women and the Truth

GIRL The pen behind the POWER Martina McBride megahit “Independence Day”? Gretchen Peters. The songwriter with a track on Rolling Stone’s list of saddest country songs of all time, right behind Patsy Cline weeper “I Fall to Pieces”? Mary Gauthier. Two-time Grammy nominee Eliza Gilkyson rounds out this touring power trio, a powder keg of folk, Americana, and country truth-telling. Like traveling Nashville songwriters in the round, these performers share the stage with a mix of originals from their own albums, cuts for other artists, and behind-thescenes stories and commentary. —KM [CAT’S CRADLE BACK ROOM, $25–$28/8 P.M.]

Varipop Music Festival

POP GOES This all-day affair at THE SHED Golden Belt isn’t as much of a music festival as it is a big block party. The Shed’s Daniel Stark and James Gilmore have assembled a bash that finds shimmery pop slotted among hip-hop, rock, and more. It’s an expansive and impressive slate, with Beauty World, Big Spider’s

BEYÙ CAFFÈ: Nikeita Crichlow; 8 & 10 p.m., $11. • CAT’S CRADLE: Town Mountain; 8:30 p.m., $12–$15. • DEEP SOUTH: IBMA After Hours: Christiane & The Strays, The Outliers, Wood & Wire; 9 p.m., free. • DUKE’S BALDWIN AUDITORIUM: John Brown Quintet, “Little” Big Band; 8 p.m., $10–$20. See page 32. • KINGS: IBMA’s Wide Open Bluegrass Late Night Series: The Gingersnaps, Ellis Dyson and the Shambles, Honey Magpie; 10 p.m., $5. • LINCOLN THEATRE: IBMA Afterparty: Greensky Bluegrass; 11:15 p.m., $20. • POUR HOUSE: 6 String Drag, Maldora; 9 p.m., $8–$10. See page 32. • RALEIGH CITY PLAZA: Wide Open Bluegrass Street Festival; noon, free. • RALEIGH CONVENTION CENTER: IBMA’s Wide Open Bluegrass: Various Artists; 11 a.m. • RED HAT AMPHITHEATER: IBMA’s Wide Open Bluegrass: Becky Buller Band, John Cowan, Larry Sparks & The Lonesome Ramblers, Steep Canyon Rangers, The Del McCoury Band, The Kruger Brothers; noon. • THE RITZ: Face 2 Face; 9 p.m., $10. • SHARP NINE GALLERY: Baron Tymas Group; 8 p.m., $10–$15.

SUN, OCT 2 Layzie Bone OLD For a group as THUG storied and foundational to hip-hop as Bone Thugs-N-Harmony, it is understandably disheartening to see members pursuing individual projects with an underwhelming level of presentation. But that’s exactly what Layzie Bone is doing, touring in support of an album that, after first being announced in 2013, was set for an April 2016 release. It still hasn’t dropped. Forgive us if our enthusiasm has. Mo Thugs, Justus, Rico Swain, and Shame open. —RC [POUR HOUSE, $20-25/9 P.M.]

Russian Circles LOUD Heavy instrumetal LUMBER trio Russian Circles is a bit like an aging power hitter. The band has lost a bit of agility

since its rookie season (2006’s excellent Enter), but when it gets ahold of one—see the amp-exploding “Vorel” and the iridescent “Afrika” from this year’s very good Guidance—the group knocks it out of the park. —PW [MOTORCO, $15–$17/8 P.M.]

The Wusses HAVE A The only thing you NICE DAY need to know about the Wusses is that they wrote every cheesy seventies song you think Christopher Cross wrote, and several more. They take their yacht rock seriously, and carry on is as if the Me Decade were still in full swing. And these days, how can you blame them? Ride like the wind, captains. —DK [KINGS, $5/6 P.M.] PHOTO BY SANDY KIM

WEDNESDAY, OCTOBER 5

WHITNEY A few months back, I drove home to Columbia, South Carolina, for a friend’s birthday party at a large colonial-style house. The back porch opened up to a short wooden pier that overlooks a small pond filled with fish and turtles. It was a quiet get-together at the beginning of the summer, friends and family hanging out, sweating, drinking, shooting the shit. As afternoon bled into evening, the host put on a record he was particularly excited about: Whitney’s Light Upon the Lake. The horn-laden intro of “No Woman” hit just as the sun was going down; shot through with strings, the song’s bucolic chorus drifted into the evening, into the trees, and rested in the thick air above the pond. If there were a better song for the moment, I cannot think of it. Summer’s gone now, but Whitney is still marked with that casual, estival insouciance. Born out of a series of laid-back, early-morning songwriting sessions between guitarist Max Kakacek (Smith Westerns} and singing drummer Julien Ehrlich (Unknown Mortal Orchestra) during one of Chicago’s harshest winters, Whitney nonetheless evokes the endlesssummer vibes of California: The Band’s hideout in Malibu, Neil Young’s Topanga Canyon; the Dead’s San Francisco. Whitney’s carefree indie folk is dulcet and inviting. Light Upon the Lake is music for waterfront gatherings, for latenight cruising, for casual make-outs. It’s not so much saturated in nostalgia, though it is, for the fuzzy heyday of the Laurel Canyon scene, for skipping high school to get stoned. Rather, it simply sounds timeless, treading in clever arrangements and thorny emotions. “I wanna take you out,” Ehrlich sings on “No Matter Where We Go.” “I wanna drive around/With you with the windows down.” And, man, do you ever want to go with him. Elsewhere, Ehrlich sings of searching for golden days, his voice abetted by a subtle ripple of something that sounds like hope. And, man, do you want him to find them. —Patrick Wall DUKE COFFEEHOUSE, DURHAM 9 p.m., $5, www.dukecoffeehouse.org

ALSO ON SUNDAY CAT’S CRADLE (BACK ROOM): SkankFest Sunday Matinee; 5 p.m., $10–$12. • LOCAL 506: Jordan Esker & The Hundred Percent, Dragmatic, Raid the Quarry; 8 p.m., $7. • NEPTUNES PARLOUR: Oak City Slums: Sunday Shake; 10 p.m., $5.

MON, OCT 3 Band of Skulls ROCK With white blues RIFFS inflections, heavy riffing, and tales of light debauchery, England’s Band of Skulls qualify as something of a genuine seventies throwback, evoking a simpler time when bands like Bad Company and Humble Pie saturated the airwaves with outlaw rock. They’re good at it too, for better or worse. —TB [MOTORCO, $20–$22/7 P.M.]

Nick Hook MOVING Once a small-time ON UP NYC party promoter and Glassjaw side project member, producer, and DJ, Nick Hook has earned considerable cachet among the rap underground through his recent collaborations with Hudson Mohawke, A$AP Ferg, and Run The Jewels. His recent Fool’s Gold single, “Can’t Tell Me Nothing,” straps up grime-influenced

production to a hard-hitting performance by rapper Novelist for a truly memorable ride. —DS [THE PINHOOK, $8/9 P.M.]

Nada Surf SURF’S UP The evolution of Nada Surf from apparent one-hit wonders into a beloved rock institution is one of nineties music’s most charming and unexpected narratives. Seemingly oblivious to trends, Matthew Caws and company have thrived by staying in their lane, creating tightly coiled, expertly crafted guitar pop whose rich melodicism and romantic intrigue dexterously skates the precipice between universal and pandering. The addition of Guided By Voices guitar ace Doug Gillard only ups the ante on Nada Surf’s formidable showmanship. —EB [CAT’S CRADLE, $17–$20/7 P.M.]

Saint Vitus DOOM Intermittently active LEGENDS in various incarnations since 1979, the Southern California doom veterans of Saint Vitus have proven their endurance. But even if the band had flamed out a quarter century ago, it would still have its spot cemented as cult metal royalty. On seminal albums like 1986’s Born Too Late, Saint Vitus helped define the Sabbath-worshipping, sludgy-aspunk and torturously slow template of doom metal. Evolving alongside punk icons like Black Flag, Saint Vitus played a hardcore foil, dragging the tempos and divining deep grooves from their riffs without losing any of their peers’ intensity. Modern-day acolytes The Skull, Witch Mountain, and Demon Eye open. —BCR [KINGS, $18–$20/7:30 P.M.] ALSO ON MONDAY DEEP SOUTH: Troubadours on the Run; 8 p.m., $15.

TUE, OCT 4 And the Kids INDIE POP This Massachusettsbased three-piece’s INDYweek.com | 9.28.16 | 37

we 9/28

The Toasters / Corporate Fandango

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Monday Night Open Mic The Legendary Pink Dots / Orbit Service Palm / And the Kids Yuna / Ńÿłø Free Candy / Ferris and the Wheels

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recent full-length, Friends Share Lovers, is a handsomely produced showcase for the band’s finely crafted indie pop, demonstrating an unmistakable flair for efficiently rendered laments regarding all things wonderful and crazed about post-adolescent love. The thematic scope is narrow, but the execution is impressive. Palm and SMLH open. —TB [KINGS, $7/7:30 P.M.]

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FUTUREBIRDS EYES UP COMEDY SHOW THIRSTY: A QUEER DANCE PARTY W/ BITCHCRAFT & PLAY PLAY YOLO KARAOKE! BEST IN THE TRIANGLE PARTY ILLEGAL PRESENTS: NICK HOOK / NADUS / PLAYPLAY TUESDAY TRIVIA WIN A $50 TAB OR TIX TO SHOWS FUTUREBIRDS / HIGH DIVERS EARLY: WILLIAM FOWLER COLLINS JAMES TOTH (WOODEN WAND) CLEAR PLASTIC MASKS BAND AND THE BEAT THAT’S THE JOINT OPEN MIC! BEST IN THE TRIANGLE

COMING SOON: PSYCHIC TWIN / PWR BTTM / KARL BLAU / LAKE ALLISON CRUTCHFIELD /SHONEN KNIFE / AMANDAX / NAKED NAPS QUINTRON AND MS. PUSSYCAT / / CLEAR PLASTIC MASKS / LE SERA SHIFTING SANDS / DEAD PREZ / THE MOUNTAIN GOATS

FREAK This installment of FOLKS The Carrack’s Free Improv Tuesday series finds former Triangle trombonist Jeb Bishop reuinted with masterful violist and Cyanotype leader Dan Ruccia (who is also an INDY contributor). Their free-form improvisations will be odd and open-ended, but certainly compelling. —AH [THE CARRACK, FREE/8 P.M.]

Disturbed METAL Since its 2000 FORCE debut, Sickness, the Chicago heavy metal band Disturbed has honed its raucous roar. Yet the band’s biggest hit, an audacious cover of Simon & Garfunkel’s “The Sound of Silence,” showed a subtlety not often associated with its chosen genre. Heck, Paul Simon even got in touch to say how much he liked it. Now back from a hiatus, Disturbed will no doubt bring the silence as well as the loud. —DK [RED HAT AMPHITHEATER, $22–$225/6:30 P.M.]

Honne POP The British soul-pop ESCAPE duo HONNE evokes a pitched-down Duran Duran or a better-produced, less sophisticated version of the Magnetic Fields’ early lo-fi synth classics. On lifestyle triptychs like “Take You High” and “It Ain’t Worth Loving You” Andy Clutterbuck’s melodramatic, vaguely comical baritone makes a compelling case for the band’s escapist charms. —EB [CAT’S CRADLE BACK ROOM, $15/7 P.M.]

38 | 9.28.16 | INDYweek.com

The Legendary Pink Dots PINK There is something PROG utterly sui-generis about Legendary Pink Dots, the English iconoclasts who have been foisting their uniquely weird and frequently compelling brand of proggy synth-pop on a largely indifferent public for the better part of thirty years. Comically prolific in the manner of an art project gone haywire, the band’s releases number in the hundreds, veering from ambient Eno-esque soundscapes to Can-like grooves to plainspoken minimalist goth. But at least they’ve never been boring. Orbit Service opens. —EB [LOCAL 506, $25/7 P.M.] ALSO ON TUESDAY NEPTUNES PARLOUR: Nick Hook, Mighty Mouse; 10 p.m., $8–$10.

WED, OCT 5 Acoustic Manner STRING Koka Booth’s Pickin’ SPINOFF in the Pines series continues with Acoustic Manner, a spinoff acoustic group of the jam band Barefoot Manner. Like standard-bearer outfits New Grass Revival and Leftover Salmon, the five-piece acoustic band bakes roots, reggae, and rock into bluegrass basics in a mix of covers and originals. —KM [KOKA BOOTH AMPHITHEATRE, $5/5:45 PM]

Palm FRACTAL I didn’t see Palm at FUN this year’s Hopscotch, and from what people have told me, I missed out. The avant-punk outfit perpetuates Deerhoof’s offbeat legacy. Palm’s angular songs often threaten to collapse in on themselves, but the band sneaks in moments of beauty in the controlled chaos. It’s fractal math-rock, for sure, but not by the numbers; where the genre’s originators could be cold and cerebral, Palm’s knotty songs seem weirdly warm. —PW [LOCAL 506, $10–$12/9 P.M.].

Richie & Rosie TIME HOP Although he favors fancy cowboy show-date shirts that would have been at home on Ray Price or Webb Pierce at the Grand Ole Opry in the fifties, the music of banjoist and singer Richie Stearns leans more toward high and lonesome, accompanied by old-time fiddling from his partner, Rosie Newton. Stearns cofounded Donna the Buffalo and confounded critics on tunes like “Last Train to Rajasthan” with the Middle Eastern, rock, and bluegrass sounds of his band The Horse Flies. —GB [THE STATION, $8–$10/7 P.M.]

Svetlanas MOSCOW Svetlanas have lived BANNED the past two years in exile, banned by the Russian government for their anti-authoritarian stance. Since then, though, the international renown of these punks has only grown. Last year, Queens of the Stone Age bassist Nick Oliveri joined the band, giving a low-end bump to Svetlanas’ Dwarves-esque brew of melody and confrontation. “I Must Break You,” from 2015’s Naked Horse Rider, turns the Ivan Drago quip into a street-punk anthem. Philly punks GASH and local shock-rockers KIFF open.—BCR [THE MAYWOOD, $8/8 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE: Elephant Revival, Ben Sollee; 7 p.m., $15. • CAT’S CRADLE (BACK ROOM): Electric Six, In the Whale; 8:30 p.m., $13–$15. • LINCOLN THEATRE: Moe.; 8 p.m., $25. • MOTORCO: Gangstagrass, Kamara Thomas & The Night Drivers; 8 p.m., $12–$15. • NEPTUNES PARLOUR: Songs from Downstairs; 7:30 p.m., $6. • THE PINHOOK: Futurebirds, High Divers; 9 p.m., $10–$12. • POUR HOUSE: Eddie Taylor, The Second Wife, Josh Feierman; 9 p.m., $5. • THE RITZ: 21 Savage; 8 p.m., $42.

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art

OPENING

SPECIAL Closer Than You EVENT Appear: Work by Christine Holton. Sep 28-Oct 29. Reception: Oct 1, 5-7 p.m. Naomi Gallery and Studio, Durham. naomistudioandgallery.com. SPECIAL Cuba Now: EVENT Photography by Elizabeth Matheson. Ongoing. Reception: Oct 1, 5-7 p.m. Craven Allen Gallery, Durham. www.cravenallengallery.com. Jillian Goldberg, Susan LaMantia, Constance Pappalardo: Oct 1-31. Village Art Circle, Cary. www. villageartcircle.com. Rolling Sculpture: Art Deco Cars from the 1930s and ’40s: Oct 1-Jan 15. NC Museum of Art, Raleigh. www.ncartmuseum. org. See p. 32. Steinfest: Ceramic beer steins. Sep 30-Nov 14. Claymakers, Durham. www.claymakers.com. SPECIAL Ana Sumner, Lynn EVENT Patton: Fiber art and painted porcelain. Sep 30-Oct 25. Reception: Sep 30, 6-9 p.m. Cary Gallery of Artists. www.carygalleryofartists.org. SPECIAL Under the Burning EVENT Sun: Work by Kenneth Nkosi. Reception: Sep 30, 6-9 p.m. Eno Gallery, Hillsborough. enogallery.net. Zanele Muholi: Faces and Phases: Photography. Oct 1-Jan 8. NC Museum of Art, Raleigh. www.ncartmuseum.org.

ONGOING

Against the Wall: Paintings by Katherine Armacost. Thru Oct 9. FRANK Gallery, Chapel Hill. www.frankisart.com. LAST Liz Bradford: Oil CHANCE paintings. Thru Sep 30. Chapel Hill Public Library. www.chapelhillpubliclibrary.org.

Chihuly Venetians: From the George R. Stroemple Collection: Dale Chihuly has taken blown glass into the upper echelons of

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM 40 | 9.28.16 | INDYweek.com

09.28–10.05 fine art. This private collection of Chihuly’s works focuses on vessels inspired by Venetian art deco vases from the 1920s and ’30s, almost fifty of which are arrayed around the centerpiece of the Laguna Murano Chandelier, a tour de force made of more than 1,500 pieces. Thru Oct 15. Captain James & Emma Holt White House, Graham. —Brian Howe LAST Claude Howell: CHANCE Master Painter; Carson Tredgett: Master Printer: Collaborative show. Thru Sep 29. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com. LAST Continuum: Work CHANCE by Martha Clippinger, Joy Drury Cox, Susan Harbage Page, Tom Spleth, and Hillary Waters. Thru Oct 1. Light Art + Design, Chapel Hill. www.lightartdesign.com. LAST Copy That: Neon art CHANCE by Nate Sheaffer. Thru Oct 2. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. Dissection of Color: Paintings by Sara McCreary. Thru Oct 15. The Scrap Exchange, Durham. www.scrapexchange.org. Dress Up, Speak Up: Costume and Confrontation: Mixed media group show. Ongoing. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. See review, p. 27. Dwane Powell: The Art of Politics 40 Years of Editorial Cartoons & Then Some: Dwane Powell retrospective. Thru Oct 8. Power Plant Gallery, Durham. Flowers + Water + Color: Work by Capel States. Thru Nov 6. Durham Arts Council, Durham. www.durhamarts.org. SPECIAL Go Figure!: Paintings EVENT by Linda Carmel and Marcy Lansman; sculpture by Lynn Wartski. Sep 26-Oct 23. Reception: Sep 30, 6-9 p.m. Hillsborough Gallery of Arts. www.hillsboroughgallery.com. Kim Herold: Mixed media. Thru Nov 30. Looking Glass Cafe, Carrboro. lookingglasscafe.us.

History and Mistory: Discoveries in the NCMA British Collection: This is the first time in decades that NCMA has curated an exhibit from its British holdings. Thru Mar 19, 2017. NC Museum of Art, Raleigh. www.ncartmuseum. org. —Brian Howe LAST Hometown CHANCE (Inherited): Photographic and mixed media work by Moriah LeFebvre. Thru Oct 2. Durham Arts Council. www.durhamarts.org. LAST How I Learned to CHANCE Draw: Cartoons from Five Decades: V.C. Rogers retrospective. Thru Sep 30. Bull City Arts Collaborative: Upfront Gallery, Durham. www.bullcityarts.org. LAST Blaine Janas: CHANCE Metal flower arrangements and animal sculptures. Thru Sep 30. United Arts Council of Raleigh & Wake County, Raleigh. www. unitedarts.org. Daniel Johnston: Pottery installation. Thru Oct 20. The Mahler Fine Art, Raleigh. www. themahlerfineart.com. Levitas: Work by Thomas Konneker, Bruce Mitchell, and Zoe Sasson. Thru Nov 13. Arcana, Durham. www. arcanadurham.com. Local Landscapes, Local Color: Paintings by Sally L. Sutton. Thru Oct 15. Tyndall Galleries, Chapel Hill. www. tyndallgalleries.com. LAST Los Jets: Playing CHANCE for the American Dream: Thru Oct 2. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Luminous Creatures: Digital images by JP Trostle. Thru Jan 6, 2017. Atomic Fern, Durham. www.atomicfern.com/. LAST Matins to Verspers: CHANCE Paintings by Ruth Ananda. Thru Oct 2. Vespertine, Carrboro. Natural Lines: Furniture by Jim Oleson. Thru Oct 9. FRANK Gallery, Chapel Hill. www. frankisart.com.

ART BY IVELISSE JIMÉNEZ PHOTO COURTESY OF THE ARTIST

MONDAY, OCTOBER 3

IVELISSE JIMÉNEZ Ivelisse Jiménez explodes the lineaments of abstract painting into three-dimensional space. In her installations, bright swipes and patterns of paint on the walls are augmented with hovering, tensile compositions of plastic, wire, and thread. Jiménez, a graduate of the University of Puerto Rico and New York University who has shown in galleries around the world, adds a short but carefully worked length of Z axis to most abstractionists’ X and Y, resulting in pieces that change not only depending on the viewer but on where the viewer physically stands. The artist leads a workshop from two to five p.m. before this opening reception from six to eight, after which the exhibit is on view through Oct. 28. —Brian Howe UNC’S ALLCOTT GALLERY, CHAPEL HILL 6–8 p.m., free, www.art.unc.edu

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LAST NC to NYC: Work by CHANCE Jim Hallenbeck. Thru Oct 1. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com. LAST OFF-SPRING: New CHANCE Generations: This exhibit, mostly photography, makes “ritual” its theme, and the offerings are alternately revelatory and rehashed from big-box postmodernism. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Chris Vitiello LAST On Today: Charcoal CHANCE drawings by Louis Watts. Thru Oct 1. Lump, Raleigh. www.teamlump.org. Oppressive Architecture: Photographs by Gesche Würfel. Thru Dec 4. CAM Raleigh, Raleigh. camraleigh.org. Paintings, Photographs, Friendship: Works by Clyde Edgerton and John Rosenthal. Thru Oct 9. FRANK Gallery, Chapel Hill. www.frankisart.com. Permutations, Progressions + Possibilities: The Art of Vernon

Pratt: Thru Nov 28. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. Photo-Manipulation: The First One Hundred Years: Photography. Thru Oct 15. Through This Lens, Durham. www.throughthislens.com. LAST The Process of CHANCE Seeing: Paintings by Lisa Creed and William Paul Thomas. Thru Sep 30. American Tobacco Campus, Durham. LAST Remembrances: The CHANCE Peru’s Silvia Paz incorporates imagery from her subconscious into striking, luminous oil paintings. Though her work is marked by realistic rendering, something in the light, perspective, and especially the iconography transmits the visceral sense of being in a dreamworld. Paz juxtaposes the ordinary and the fantastical in a way that calls to mind Surrealists such as Magritte, while her spooky landscapes have a de Chirico flavor. Thru

Sep 30. Gallery C, Raleigh. www. galleryc.net. —David Klein Reverie: Work by Kathy Cousart and Gina Strumpf. Thru Oct 20. ArtSource Fine Art, Raleigh. www.artsource-raleigh.com. Rorschach: Photographs by Titus Brook Heagins. Thru Oct 29. Artspace, Raleigh. www. artspacenc.org. Scent of the Pine, You Know How I Feel: North Carolina Art from the Jonathan P. Alcott Collection: This exhibit shows how depictions of the mountain, Piedmont, and coastal regions of North Carolina have changed over two centuries in the hands of seventythree painters: Impressionists, realists, folk artists, futurists, postmodernists, and more. Thru Dec 4. NC Museum of History, Raleigh. www.ncmuseumofhistory. org. —David Klein Selections from Uelsmann Untitled: Photographs by Jerry Uelsmann. Thru Oct 15. Through This Lens, Durham. www. throughthislens.com.

To advertise or feature a pet for adoption, please contact rgierisch@indyweek.com Selma to Montgomery: A

March for the Right to Vote: Photographs by Spider Martin. Thru Mar 5, 2017. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. SPECIAL The Silence We EVENT Speak: Work by Erin Canady. Thru Oct 8. Reception and talk: Sep 30, 6-9 p.m. The Carrack Modern Art, Durham. www.thecarrack.org. Southern Accent: Seeking the American South in Contemporary Art: This is less a simple exhibition than a speculative and critical archive of Southern identity. Slavery, the Civil War, racism, and their complex inheritances? Much of the work explores and interrogates that. Connections to place so deep that land and body become the same thing? Many artists unravel the warp and weft of that. The dissonance of the past’s intrusion into the present? The exhibit shimmers with that temporal disorientation. It’s powerful work by supremely capable artists, and the intensity of their

proximity is life-changing. Thru Jan 8, 2017. Nasher Museum of Art, Durham. nasher.duke.edu. —Chris Vitiello Studio Touya: The Pottery of Hitomi and Takuro Shibata: Pottery. Thru Oct 30. Tiny Gallery at the Ackland Museum Store, Chapel Hill. LAST Synesthesia: LED CHANCE artwork by Lile Stephens. Thru Oct 2. Flanders Gallery, Raleigh. www. flandersartgallery.com. The Jemima Code: Photographs by Toni Tipton-Martin. Thru Nov 5. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

To advertise or feature THIS CAMPAIGN IS YUUUGE!: Cartoonists Tackle the 2016 a pet for adoption, Presidential Race: Collection please contactof 2016 election cartoons. Thru Dec 2. Duke Campus: rgierisch@indyweek.com Rubenstein Hall, Durham. sanford.duke.edu.

LAST Up Close and CHANCE Personal: The Beauty of Tiny Insects: Photographs by Stan Lewis. Thru Oct 2. Nature Art Gallery, Raleigh. www.naturalsciences. org. LAST Joan Vandermeer: CHANCE Travel paintings. Thru Sep 30. Mad Hatter Bakeshop & Cafe, Durham. www.madhatterbakeshop.com. William Noland: Dream Rooms: Long video takes examining technology and intimacy. Thru Feb 5, 2017. NC Museum of Art, Raleigh. www.ncartmuseum.org. Within - Without: Sculpture by Jeff Bell. Thru Oct 7. SPECTRE Arts, Durham. www.spectrearts. org. Wonders of Space and Time: Astrophotography: Photographs by Tim Christensen. Thru Nov 6. Durham Arts Council, Durham. www.durhamarts.org.

The Ties That Bind: Work by Precious Lovell. Thru Jan 8, 2017. CAM Raleigh, Raleigh. camraleigh.org.

QUEEN OF KATWE SNOWDEN SULLY To advertise or feature a pet for adoption, please contact rgierisch@indyweek.com

THE INDY’S GUIDE TO DRINKING BEER IN THE TRIANGLE To advertise or feature a pet for adoption, please contact rgierisch@indyweek.com

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ON STANDS

NOW!

INDYweek.com | 9.28.16 | 41

THURSDAY, SEPTEMBER 29 & FRIDAY, SEPTEMBER 30

GASPARD&DANCERS

Gaspard Louis’s dance bona fides are in order. You can glimpse in his choreography the playful geometrics—and the poignancy, at times—of the works he co-created as a member of Pilobolus Dance Theater. In recent years, he’s memorialized the plight of his native Haiti after the devastating earthquake of 2010. His 2016 company concert draws inspiration from three new sources: the raw intensity of neo-expressionist Jean-Michel Basquiat in the world premiere of Portrait; the work of noted regional choreographer Justin Tornow in Forbidden, a new duet he made for her; and a new work by choreographer Ronald West in a guest appearance by Black Irish Contemporary Hip Hop Company. The night closes with two repertory works: Anemone (2009) and Tota Pulchra Es/ You Are All Beautiful (2015). —Byron Woods DUKE’S REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $15–$28, tickets.duke.edu

GASPARD&DANCERS

stage

food

OPENING

ONGOING

Clear & Sweet: Dance work by zoe | juniper. $10-$20. Wed, Oct 5, 7:30 p.m. & Thu, Oct 6, 7:30 p.m. UNC Campus: Memorial Hall, Chapel Hill. www.carolinaperformingarts.org.

 Detroit ‘67: Play. $15-$52. Thru Oct 2. UNC’s Paul Green Theatre, Chapel Hill. www. playmakersrep.org. Read Byron Woods’s review at www.indyweek.com.

Emergence: An Evening of Dance Celebrating Choreographers In The Triangle: Dance. $10. Sat, Oct 1, 3 & 8 p.m. PSI Theatre, Durham. www.durhamarts.org.

LOVE/SICK: Play. $12-$20. Thru Oct. 2. NCSU’s Thompson Hall, Raleigh.

The Hour of Feeling: Staged reading. $10. Thu, Sep 29, 7:30 p.m. UNC Campus: Historic Playmakers Theatre, Chapel Hill. See story, p. 21. Lysistrata: Play. Meredith Ensemble Theatre. $5-$10. Thru Oct 2. Meredith College: Jones Hall, Raleigh. The Monti Storyslam: Fear!: $15. Tue, Oct 4, 7:30 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

La Mer: $32-$73. Thru Oct 2. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com. Mothers and Sons: Thru Oct 9. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org.  A Public Reading of An Unproduced Screenplay About the Death of Walt Disney: Play. Thru Oct 1. Manbites Dog Theater, Durham. www.manbitesdogtheater.org. Read Byron Woods’s review at www.indyweek.com.

PlaySlam! 2016: Mini plays. $10-$12. Sat, Oct 1, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

FOOD EVENTS

Market: Wednesdays, 10 a.m. Raleigh City Plaza, Raleigh.

9th Annual Pepper Festival: $5-$20. Sun, Oct 2, 2 p.m. The Great Meadow Park at Briar Chapel, Chapel Hill.

Sustainable Sunday: Don’t Waste Durham Sustainable Food Truck Certification Program kickoff event. Sun, Oct 2, noon. Fullsteam, Durham. www.fullsteam.ag.

Chapel Hill Downtown Pop Up Farmers’ Market: Thursdays, 3:30 p.m.; Thru Oct 27. The Plaza at 140 W Franklin St, Chapel Hill. Chatham Street Chowdown: Food truck rally in downtown Cary. Sun, Oct 2, 4 p.m. DURHAM ROOTS Farmers’ Market: Saturdays, 8 a.m.; Thru Nov 19. Northgate Mall, Durham. www.northgatemall. com. Hops for Hope: $25-$75. Sat, Oct 1, 2 p.m. CAM Raleigh, Raleigh. camraleigh.org. NC Fresh Catch “Pop-Up” Seafood and Music Festival: Local music, seafood, and beverages. $8-$10. Sat, Oct 1, 5 p.m. Durham Central Park, Durham. www. durhamcentralpark.org.

The Undertaking: Play by The Civilians. $10$28. Thu, Sep 29, 8 p.m., Fri, Sep 30, 8 p.m. & Sat, Oct 1, 8 p.m. Duke Campus: Sheafer Lab Theater, Durham. See p. 32. John Witherspoon: Stand-up comedy. $24. Thu, Sep 29–Sat, Oct 1. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com.

Oktoberfest Party: Thu, Sep 29, 5 p.m. The Glass Jug, Durham.

DETROIT ’67 PHOTO BY JON GARDINER 42 | 9.28.16 | INDYweek.com

PHOTO COURTESY OF THE ARTIST

Raleigh Downtown Farmers

TerraVita Food and Drink Festival: Dinners and educational activities at various locations in Chapel Hill. Sep 28-Oct 1. terravitafest.com. Wine Tasting at Mandolin: Exploring Terroir with Pinot Noir: Wednesdays, 6 p.m. hallie.deyton@phase3mc. com. Mandolin, Raleigh. www. mandolinraleigh.com. Wine Walk For The Kay Yow Cancer Fund: $10. Fri, Sep 30, 5 p.m. & Fri, Oct 28, 5 p.m. Waverly Place, Cary. www. waverlycary.com. Winetoberfest: Fri, Sep 30, 6 p.m. Chatham Street Wine Market, Cary. chathamstreetwine.com.

F O O D R E L AT E D Jennifer Brulé: Learn to Cook 25 Southern Classics 3 Ways. Fri, Sep 30, noon. The Root Cellar,

Chapel Hill. Thu, Sep 29, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Carolina Food Summit: Wed, Sep 28 & Thu, Sep 29. Rock Quarry Farm, Chapel Hill.

Love & Liberation: A History of LGBTQ+ Durham: Online exhibition launch with spaghetti dinner and community conversation. Sat, Oct 1, 5 p.m. St Philip’s Episcopal Church, Durham. www.stphilipsdurham. org. DG Martin: North Carolina’s Roadside Eateries. Sat, Oct 1, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Tue, Oct 4, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. Wed, Oct 5, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Fred Thompson, Jennifer Brulé: Discussing Bacon and Learn to Cook 25 Southern Classics 3 Ways. Wed, Sep 28, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

page READINGS & SIGNINGS Christophe Boltanski: The Safe House (La Cache). Bi-lingual reading with Laura Marris. Wed, Sep 28, 5 p.m. Duke Campus, Durham. Arnold Johanson, Valerie Macon, Maureen Sherbondy: Poetry reading. Sun, Oct 2, 2 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Kerry Maniscalco: Stalking Jack the Ripper. Sat, Oct 1, 3 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Mary Parry: Sadie McGrady Runs for President. Sun, Oct 2, noon. Flyleaf Books, Chapel

Hill. www.flyleafbooks.com. Patrick Phillips: Blood at the Root. Fri, Sep 30, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Sat, Oct 1, 11 a.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Angela Pisel: With Love from the Inside. Fri, Sep 30, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Peter Rizzolo: Judging Laura. Sat, Oct 1, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Rebecca Brewster Stevenson: Healing Maddie Brees. Thu, Sep 29, 5:30 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. Trenton Lee Stewart: The Secret Keepers. Thu, Sep 29, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Sherry Turkle: Reclaiming Conversation. Wed, Oct 5, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

THURSDAY, SEPTEMBER 29

MOVIE LOFT: WANDA Shadowbox Studio, which has previously brought us screening series dedicated to things like samurai-film deep cuts, tries out a new concept with Blastco Productions in Movie Loft: cult films, complementary records, and hot dogs. Always hot dogs. The monthly series begins with Barbara Loden’s classic indie drama Wanda (1970), a great American road movie for beleaguered housewives, widely known as the first film written, directed by, and starring a woman. Though it won an award at the Venice International Film Festival, it received little attention stateside, and chances are decent you haven’t seen it. DJs Carl Pants and Next Time will spin country and soul records by women from the sixties and seventies, and in addition to tube steaks, there’s free popcorn for the herbivores and cheap bevvies for the drinkavores. —Brian Howe SHADOWBOX STUDIO, DURHAM 7 p.m., free, www.facebook.com/MovieLoftz

Alan Wieder: Studs Terkel: Politics, Culture, but Mostly Conversation. Tue, Oct 4, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

LITERARY R E L AT E D In the Wings: The Crucible: Discussion with PlayMakers cast members. Mon, Oct 3, 7 p.m. South Regional Library, Durham. www. durhamcountylibrary.org. Jerry Uelsmann: Sun, Oct 2, 3 p.m. Nasher Museum of Art, Durham. nasher.duke.edu. Simon Winchester: $10-$15. Tue, Oct 4, 7 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

TUESDAY, OCTOBER 4

ALAN WIEDER: STUDS TERKEL: POLITICS, CULTURE, BUT MOSTLY CONVERSATION

screen

SPECIAL SHOWINGS

120 Days: Undocumented in America: Thu, Sep 29, 7 p.m. Durham Academy, Durham. www.da.org. Anaconda: Fri, Sep 30, 6 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org. Danny Says: Thu, Sep 29, 8 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

Studs Terkel transformed the art of the interview by speaking with thousands of ordinary Americans on his long-running radio show, according their experiences an unprecedented level of respect. The kind of intimate Q-and-A now synonymous with NPR owes much to the garrulous Chicagoan, who didn’t discriminate; he also spoke with the famous and soon-to-befamous. In a 1963 interview with the young Bob Dylan, whom most interviewers treated with bemused condescension, Terkel got the singer to open up just by asking interesting questions and listening thoughtfully. Alan Wieder, an oral historian who was inspired to take up his métier by the work of the Pulitzer Prize-winning journalist, only met his subject once, but Terkel was a friend of his father and the seeds of this biography took root over decades. “I had been scripting Studs’s story in my head for many years,” he says. In Wieder’s book, Terkel emerges as both a pioneer and a man who lived by the populist principles he proudly espoused. —David Klein

Five Star Final: Fri, Sep 30, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

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

Queen of Katwe—David

Gabo: The Creation of Gabriel García Márquez: Thu, Sep 29, 6 p.m. UNC’s Nelson Mandela Auditorium, FedEx Global Education Center, Chapel Hill. THE HURT BUSINESS: A Deeper Look into MMA: Thu, Sep 29, 7 p.m. Brier Creek Stadium 14, Raleigh; Thu, Sep 29, 7 p.m. Crossroads 20, Cary. In Jackson Heights: Thu, Sep 29, 6 p.m. Ackland Art Museum, Chapel Hill. www.ackland.org. Sonic Sea: Wed, Oct 5, 7 p.m. NCSU Campus: Talley Student Center, Raleigh.

OPENING  Deepwater Horizon—See review, p. 31. Rated PG-13.

Oyelowo and Lupita Nyong’o star in this biopic of Ugandan chess prodigy Phiona Mutesi. Rated PG. Masterminds—This ensemble heist comedy is based on a 1997 bank robbery in Charlotte, North Carolina. Rated PG-13. Miss Peregrine’s Home for Peculiar Children—Tim Burton’s latest is based on Ransom Riggs’s YA novel about supernaturally gifted kids. Rated PG-13. Starving the Beast—This documenatry explores how market forces undermine liberal education at public universities including UNCChapel Hill. Unrated.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read our reviews of these films at www.indyweek.com.  ½ Bad Moms—It’s The Change-Up and The Hangover for women. You’re welcome? Rated PG-13.  Ben-Hur—Wow, who thought the director of Abraham Lincoln: Vampire Hunter needed a crack at BenHur? Rated PG-13.  ½ Bridget Jones’s Baby— Renée Zellweger’s loveable comic character, now in her forties and pregnant, deserved

a better comeback. Rated R.  ½ Florence Foster Jenkins—Meryl Streep and Hugh Grant carry their tunes, but this biopic of an opera singer who couldn’t sing never finds its melody. Rated PG-13.  Hell or High Water— Two texas antiheroes try to make the best of their bad hand in this bleak but brilliant neo-Western. Rated R.  Jason Bourne—Matt Damon’s amnesiac assassin returns in an efficient, effective genre exercise with a disposable plot. Rated PG-13.  The Light Between Oceans—This period romance delivers some Old Hollywood magic. Rated PG-13.  ½ The Magnificent Seven— Despite an able cast, this remake adds little to the wellworn “band of disreputables” trope. Rated PG-13.  ½ The Secret Life of Pets—This charming, beautifully crafted family movie falls apart in the final act. Rated PG.  Suicide Squad—The plot is throwaway thin, but this team of antiheroes brings much-needed levity and breadth to the DC Extended Universe. Rated PG-13.

INDYweek.com | 9.28.16 | 43

indy classifieds

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FTCC Fayetteville Technical Community College is now accepting applications for the following positions: Accounting Technician-Accounts Receivable For detailed information and to apply, please visit our employment portal at: https://faytechcc.peopleadmin. com/ Human Resources Office Phone: (910) 678-7342 Internet: http://www.faytechcc.edu An Equal Opportunity Employer

GET PAID TO FIGHT HB 2! You’ve read about how this discriminatory law forced businesses to flee our state. Get paid to fight for repeal! Planned Parenthood Votes is hiring staff immediately to knock on doors so we can win elections - no sales required. Pay starts at $15/ hr+ with bonuses and opportunity for advancement available. Flexible schedules available. Apply today! Call (919) 578-7349 or email jessica.deahl@communityoutreachgroup.net.

NEW DAIQUIRI BAR OPENING IN CHAPEL HILL Experienced Bartenders for amazing new daiquiri bar located in Chapel Hill. We are looking for energetic personalities who are professional and engaging, but can also work in a lively and fun atmosphere. Send resume with references to zellsdaiquiris@gmail.com

RECORD STORE SEEKS PART-TIME CLERK Downtown Durham’s Carolina Soul Records seeks clerk for Saturday shifts. Love/knowledge of vinyl a plus: for details, email contact@carolinasoul.com.

misc. notices NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA DURHAM COUNTY In the District Court Division Mukesh Maheshwari v. Sneha Mundhra; 16 CVD 1062To Sneha Mundhra: Take notice that a pleading seeking relief against you has been filed in the aboveentitled action. The nature of the relief being sought is as follows: absolute divorce. You are required to make defense to such pleading not later than October 30, 2016 and upon your failure to do so the party seeking service against you will apply to the court for the relief sought.This the 12th day of September, 2016. Judy Tseng Wake Law Office 3800 Paramount Pkwy. Ste. 130 Morrisville, NC 27560

music lessons ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN! See the teaching page of: www.griffanzo.com Adult beginners welcome. 919-636-2461 or griffanzo1@gmail.com

CALL SARAH FOR ADS! 44 | 9.28.16 | INDYweek.com

THE INDY’S GUIDE TO DRINKING BEER IN THE TRIANGLE

ON STANDS NOW! Book your ad • CALL Sarah at 919-286-6642 • EMAIL

claSSy@indyweek.com

crossword

critters

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To adopt: 919-403-2221 or visit animalrescue.net

Choc 6Chunk 7 1

9-year-old super friendly neutered male, declawed orange tabby needs a home as I cannot take him with me. Needs a urinary diet for cystitis and has very rare and mild asthma issues. Good with children and has lived with two small dogs and other cats. Beautiful kitty who has been spoiled! Great cat for adding love in your home! (919) 810-6500 - Sherry

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11 2 is the best 9 8 8 puppy 9 ever! 6 2 7 8 6 5 3 6 5 Sponsored 3 6 by 1 9 9 7 1 9 23 6 3 31 7 2 5 3 7 1 28 74 9 7 8 5 su | do | ku this week’s puzzle level: # 25

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There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

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7 # 26

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2 5

8 6 5 1 7 8 2 5 6 6

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HARD

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1 # 64

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7 6 2 1 3 4 5 9 8 If you just can’t wait, check 3 1 4 8 5 9 2 6 7 out the current 5 8 9 6week’s 7 2 1 answer 3 4 key at 2www.indyweek.com, 5 1 9 8 6 7 4 3 4 8 7 1 3 9 2 5 and click6 “Diversions”.

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INDYweek.com | 9.28.16 | 45

housing rent/wake co.

body • mind • spirit studies new age

STUDIO APARTMENT FOR RENT ALL UTILITIES INCLUDED IN RENT

1st Month Rent Free w/Full Deposit. - studio apartment available on Boylan Ave. one block from Glenwood Ave, St Mary’s Street, and Hillsborough Street in the desirable Glenwood South area of Raleigh. Local transit available with lots of choices for food and entertainment. Large eat in kitchen with new cabinetry, full bath, large living/sleeping space with closet. All utilities included (lights, water, gas, basic cable). $1050 per month. $750.00 Deposit is required. No Smoking. No Pets - no exeptions! Email to:legionblockade@ gmail.com

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RECYCLE THIS PAPER 46 | 9.28.16 | INDYweek.com

LIFE ALERT 24/7. One press of a button sends help FAST! Medical, Fire, Burglar. Even if you can’t reach a phone! FREE Brochure. CALL 800-316-0745. (NCPA)

classes & instruction T’AI CHI SPIRITUAL FRONTIERS FELLOWSHIP AT UNITY OF THE TRIANGLE NEW LOCATION: 5570 Munford Road, Raleigh, 1 mile west of Crabtree Valley Mall off Glenwood. At Spiritual Frontiers Fellowship, we sponsor a wide variety of speakers and broad-ranging topics. Our goal is to help our audience enhance their spiritual, mystical and metaphysical awareness. We hope to enhance the consciousness of our community by facilitating programs that promote personal growth and development and a holistic approach to health and living. We meet the first Thursday of each month. Arrive early for free meditations. spiritualfrontiers.com, meetup.com/ spiritualfrontiersfellowship, unitytriangle.org.

products ACORN STAIRLIFTS The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800-291-2712 for FREE DVD and brochure. (NCPA)

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massage FULL BODY MASSAGE by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe. Schedule an appointment with Pavel Sapojnikov, NC LMBT. #1184. Call: 919-790-9750.

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misc. XARELTO Xarelto users have you had complications due to internal bleeding (after January 2012)? If so, you MAY be due financial compensation. If you don’t have an attorney, CALL Injuryfone today! 1-800-4198268.(NCPA)

If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS). What’s Required? • One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60 Who Can Participate? • Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control. For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

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INDYweek.com | 9.28.16 | 47

CLASSES FORMING NOW

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919.286.6642

DONATE TO DURHAM SOLIDARITY CENTER’S FREEDOM FIGHTER BOND FUND

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Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need. To donate, please contact Amanda at director@unchaindogs.net.

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WANT TO WORK FOR

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MASSAGE BY MARK KINSEY

DIRECTING FOR THE STAGE Taught by Burning Coal’s Jennifer Markowitz. October 10 - November 14, 2016. www.burningcoal.org

LOTUS LEAF GIFTS & APPAREL LIQUIDATIONS SALE! (EVERYTHING MUST GO!)

Salt lamps, yoga accessories & apparel, books, bohemian clothing, stones & crystal, oils & more. 410 W. Geer St (next to Cocoa Cinnamon’s) (512)350-3250 phone