INDY Week 9.5.18

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HOPSCOTCH2018

SORRY, SAM, P. 9

BLACK AND WHITE JUSTICE, P. 12

ON THE LIQUOR TRAIL, P. 29

2 | 9.5.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 36

DEPARTMENTS

6 From October 2014 to June 2017, ICE sent two hundred detainer requests to the Durham jail. The Durham County Sheriff’s Office only declined three.

6 News 17 Hopscotch

9 Until last week, UNC-Chapel Hill Chancellor Carol Folt was silent on what to do with the toppled Silent Sam. Then dueling protests forced her hand.

29 Food 32 Arts & Culture 34 What to Do This Week

12 Instead of admitting they were removing black jurors because they were black, North Carolina prosecutors were told to say they were removing them because of “physical appearance” that indicated “resistance to authority.”

37 Music Calendar 40 Arts & Culture Calendar

17 As it approaches nearly a decade of business, the Hopscotch Music Festival proves it’s got way more than nine lives.

29 The only thing that distinguishes gin from vodka is is the juniper berry.

32 The biggest revelation in People Get Ready is small and easy to miss, a couple of unseen works on paper by Barkley L. Hendricks.

Big Boi performs in City Plaza during Hopscotch 2017. This year’s festival begins Thursday. (p. 17) FILE PHOTO BY ALEX BOERNER

On the cover ILLUSTRATION BY J.T. LUCCHESI

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backtalk

Dockless Droppings Last week, we wrote about the Bird scooters that have caused such a commotion in downtown Raleigh, and boy, did some of you have feelings about that.

We begin with OrionMaize, who compares them to dog poo: “When dockless items (bikes, scooters, cars, food wrappers, pet feces) are left on private property—or even public sidewalks—they need to be towed, trashed, or sent to the nearest scrap heap. If a taxi cab was left in my yard or blocking a sidewalk, it would be towed. Why are these smaller items somehow exempt from this basic understanding? In Raleigh’s Seaboard Station area, I recently watched a visually impaired person navigate around Bird scooters left on a sidewalk. These dockless droppings should be banned. Ride a bike and park it appropriately. Heck, you can even buy a scooter and do the same.

Blocking sidewalks and leaving what folks obviously consider disposable property in other people’s yards is not OK.” MahaaFoodie would also like to see the Birds go away: “Having visited my brother in Charlotte a few times, I think these scooters are a mess. People leave them willy-nilly everywhere, and it’s not about ‘learning how to ride them,’ it’s about following the rules.

People are riding these things on sidewalks, where they are not supposed to! If you’re walking, you feel like you’re gonna get run over at any time—and many have.”

Matthew Brown wants us to give them a chance: “I love the scooters! Much quieter and cleaner than cars. And they take up much less room whether riding or parking.

People are just learning how to ride them.

We will get better.”

Over to Chapel Hill, where two weeks ago we ran a story about the town’s affordable housing efforts—specifically, a mandatory inclusionary zoning policy that has thus far yielded few benefits. Matt Jones writes, “It strikes me that there is no such thing as affordable housing. There is only expensive housing that can be subsidized. Pursuit of ‘affordable’ housing is a common theme in San Francisco, New York, Seattle, and now Chapel Hill. Yet all of these places run into the same problem: They’re too awesome.

“When the demand for any product (e.g., living space) increases, the price goes up.

Chapel Hill has complicated that problem

for below-AMI residents by de-incentivizing development and restricting the supply.

It is now at the place that most large, popular cities find themselves: considering publicly subsidized housing. Might I suggest simply removing the handcuffs from those with the means to build, and make Chapel Hill a more attractive place to bring their business?”

Edward Teach adds: “A rural buffer zone is an anti-affordable housing policy. Preventing teardowns of old structures is an anti-affordable housing policy. Limiting the number of units that can be built on a

“Might I suggest simply removing the handcuffs from those with the means to build?” property is an anti-affordable housing policy. Requiring a certain number of parking spaces per unit is an anti-affordable housing policy. Requiring structures be some kind of specific, high-end architecture is an anti-affordable housing policy. Preventing upzoning is an anti-affordable housing policy. Allowing neighbors to kill a project because of ‘traffic and noise’ is an antiaffordable housing policy. Acting as if supply-and-demand doesn’t apply to housing is an anti-affordable housing policy.

“Chapel Hill’s one or two half-assed ‘affordable housing schemes’ are failing due to your smorgasbord of very, very powerful anti-affordable housing schemes.”

Town council member Nancy E. Oates disputes the notion that NIMBYism is hampering Chapel Hill’s efforts: “I’ve attended every Chapel Hill Town Council meeting for a decade, on one side of the dais or the other, and I’ve never heard anyone object to living next to a teacher or firefighter.

Instead, I’ve heard community members pleading for developers to make room for modestly paid workers who keep our town functioning. Citing NIMBYism may sound good, but it doesn’t play out in Chapel Hill.”

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

INDYweek.com | 9.5.18 | 5

indynews

Holding Penalty

DURHAM OFFICIALS WANT TO MAKE SURE NO ONE ENDS UP IN IMMIGRATION DETENTION BECAUSE OF LOCAL POLICIES. SOMEONE SHOULD TELL THE SHERIFF.

BY SARAH WILLETS

E

arlier this month, a group of Durham officials toured the notorious Stewart Detention Center, known for its remoteness and the hunger strikes waged by immigrant detainees against the rural Georgia facility’s conditions.

They walked the same halls as Jairo Garcia del Cid, a Jordan High student who spent ten months at Stewart before being deported in February back to the violence he fled in El Salvador. They passed the same solitary confinement cells where Wildin Acosta, a Riverside High student and one of the few people to leave the place by means other than deportation, was held in 2016, and where Efrain Romero De La Rosa, a Raleigh resident, was found unresponsive following an apparent suicide in July.

Two weeks later, it’s clear the visit left an imprint on the group, who came back determined that no one end up in immigration detention because of local policies. In an open letter last week, Durham city council members Javiera Caballero, Jillian Johnson, DeDreana Freeman, and Vernetta Alston, county commissioner Brenda Howerton, and school board member Natalie Beyer said they “will look to all Durham residents to help us achieve this vision.”

Issues at the Stewart Detention Center, a seventeen-hundred-bed facility privately run by CoreCivic, are well-documented, both by immigrant advocates and the U.S. government itself.

“You need to understand where your folks are ending up,” says Caballero, the council’s first Latinx member. “If we’re going to have these values, we need to understand the end result of these policies locally.”

A review released by the U.S. Homeland Security Department Office of Inspector General in December described “problems that undermine the protection of detainees’ rights, their humane treatment, and the provision of a safe and healthy environment,” at facilities including Stewart. De la Rosa, 6 | 9.5.18 | INDYweek.com

the Raleigh resident, had been in solitary for twenty-one days before his death, according to The Intercept. His death was the third at Stewart in fourteen months; one man killed himself, and the other died from pneumonia.

The Durham delegation toured the medical facilities, the solitary confinement area— where at least four people were being held on suicide watch, they were told—and an empty housing pod. They did not speak to any detainees (they signed forms saying they wouldn’t).

While most detainees from the Carolinas are taken to Stewart, ICE was unable to tell the group or the INDY how many people from Raleigh or Durham are detained at the facility, located in the small town of Lumpkin, Georgia, two hours south of Atlanta.

“It is in the middle of nowhere,” says Beyer.

“People don’t have attorneys because there are no attorneys there. They’re not hiring bilingual staff because there’s no one. It’s so remote. It’s not how people should be treated.”

Most of the detainees they observed wore dark blue, signifying no criminal history. Officers were armed not with guns or batons, but chemical spray, they noted.

“We’re talking about immigrants who haven’t been convicted of any crimes— they’re civil detainees; they’re not criminals—but we are locking them up in the same facility that we lock up people who have been convicted of serious crimes,” says Johnson. “We are all paying to lock these people up in prison when they are no threat to anyone.”

They also sat in on court proceedings and were stunned to watch nearly every man in the room—including one who said he had a newborn, U.S. citizen child—accept deportation. While there was an interpreter in the room, the judge presided via video call. They recalled that just one man had a lawyer.

“It was just really clear that there was no way these people’s rights were actually going to be adequately protected,” Johnson

ILLUSTRATION BY CHRISTOPHER WILLIAMS

says. “They’re just trying to get out of there as quickly as possible.”

For Beyer, who was on the school board when Acosta was detained, it was a reminder of how few people make it out of Stewart. Last fiscal year, about 94 percent of cases that went through the court ended in deportation, according to the Transactional Records Access Clearinghouse at Syracuse University.

Caballero thought of her father, an immigrant from Chile around the same age as a man who visibly shook as he told the judge he wanted to be deported, even though he would be going back to his native country “with nothing” for his family. Howerton, a single mother, thought of children separated from their parents.

Freeman remembered families she works with at East Durham Children’s Initiative whose relatives have been detained

by ICE as far back as 2014, and what their families have gone through to pay for lawyers, phone calls, and visits, only to be separated by glass in the visiting room.

“When I left [Stewart], I had less trust in how our legal system is working,” she says.

“Knowing that someone is going into this system, it’s going to eat them alive.”

Back from the trip, the group wants to engage directly affected residents, other

officials—particularly in the criminal justice system—and the public in a conversation about how to curtail the detention of immigrants in Durham. Their initial ideas include expanding language access, starting a rideshare program, creating a driving certificate to use in lieu of a license, and diverting more people from arrest.

“Once they go to the jail, they get fingerprinted, ICE has access to the records, and then they’re in the system,” Howerton says.

Already, the Durham Police Department has increased the number of U-visas, reserved for victims of crimes, it certifies.

(Caballero and Johnson say older crimes should qualify, too.) The agency has also stopped initiating traffic checkpoints and deprioritized lesser offenses like vehicle equipment violations and drug possession.

Durham public schools do not ask about a student’s immigration status, and school resource officers don’t have access to student information.

“Most of the things we want benefit lots of people in Durham,” says Caballero. “Just because it helps an immigrant community doesn’t mean there aren’t going to be benefits to the community at large.”

But there’s one local policy that has persisted for years, landing more than one hundred people in ICE custody from 2014–

17 alone: a practice at the Durham County jail of honoring nearly all requests sent by ICE to hold people in custody so ICE can pick them up.

From October 2014 through June 2017, ICE sent two hundred detainer requests (also known as ICE holds) to the Durham jail, asking officials there to hold people the agency believes to be removable for up to forty-eight hours after they would have otherwise been released so that ICE can assume custody, according to records obtained by the INDY via a Freedom of Information Act request. The Durham County Sheriff ’s Office declined three requests, records show.

Multiple courts have ruled detainers are unconstitutional on the grounds that continuing to detain a person after their release date amounts to a new arrest and detainer forms themselves don’t support probable cause under the Fourth Amendment. Other rulings have found that local law enforcement must have probable cause of a crime—not deportability— to detain someone. While detainer requests are sometimes accompanied by warrants, they are usually administrative warrants filled out by ICE officials, not judges, attesting that a person is subject to deportation.

The records obtained by the INDY indicate that police “are systematically making unlawful arrests,” says Mark Fleming, associate director of litigation at the National Immigrant Justice Center. “I don’t know how else to put it. Every one of those arrests is a potential liability because it’s a false arrest.”

“The way I think about it is the federal government is sending over a piece of paper—the detainer—and asking the locals to hold somebody, but asking them to do it under circumstances where they don’t have authority to do it,” says professor Chris Lasch, co-director of the Immigration Law and Policy Clinic at the University of Denver.

While the INDY has previously reported on the Sheriff’s Office’s practice of honoring ICE detainers, the recently released records paint a picture of who ICE sought to detain and why. While ICE used to report much of this information regularly to TRAC, under President Trump, much of that data is being withheld.

According to ICE records, 120 people saw their detainers lifted as a result of being booked into ICE detention. Five more were transferred to other facilities.

In addition to the three requests declined by the Sheriff’s Office, six were dropped via prosecutorial discretion, invoked by ICE when a person is eligible for immigration

INDYweek.com | 9.5.18 | 7

“They’re civil detainees.

They’re not criminals.

We are all paying to lock these people up in prison when they are no threat to anyone.” relief or not considered a removal priority, and one because the person was not subject to deportation.

Another thirty-eight are simply marked “lifted” with no further explanation, including seventeen detainers prepared and lifted on the same day. (Multiple attempts by the INDY to get further clarification about the data went unanswered; the INDY based its understanding of the records on detainer request forms, interviews with experts, and reviews of ICE manuals and memos.)

None of the requests came with a warrant stating why ICE officials thought a person was subject to deportation, including six sent after a 2017 directive that all detainer requests be accompanied by such documents. Orders for removal had been issued for at least forty-nine people prior to detainers being lodged.

About half of the people placed under detainers (nearly all men) were from Mexico; others came from Central America, Africa, the Middle East, Russia, and China. Where ethnicity is noted, the only options are “Hispanic” and “not Hispanic.” ICE redacted their identities, citing privacy. The data does not include whether they were ultimately deported.

Contrary to common misconceptions about immigrants, none were marked as having committed immigration fraud, none were considered part of a “criminal street gang,” and just one was believed to have abused America’s visa system.

About one-fifth had previously been convicted of a felony. Seventeen individuals were considered a “significant risk.” Among that group was Garcia del Cid, the deported Jordan High student. He was taken into custody

by ICE last year after being released from the Durham jail when a charge against him for stealing a car was dismissed. Had the charge stuck, it would have been his first conviction.

8 | 9.5.18 | INDYweek.com

Durham County Sheriff Mike Andrews has said he believes not honoring detainers—something the Sheriff ’s Office has done since 2003—would provoke more ICE activity in Durham, putting immigrants at higher risk. (Andrews declined to be interviewed.) ICE detainers became a central issue in the Democratic primary for sheriff in May, in which Andrews lost his reelection bid to Clarence Birkhead, who pledged to only honor detainer requests with a judicial warrant or an outstanding warrant for arrest.

Agencies that systematically reject detainers have faced retribution via raids and courthouse arrests, say Fleming and Lasch. Orange County, whose Sheriff ’s Office has the same policy Birkhead proposes, saw two dozen people swept up in raids in April.

“The retribution has been myriad and ever-evolving,” says Fleming.

Still, Caballero says she’d prefer the DCSO risk possible retribution and not be complicit in honoring detainers. Communities, she says, can protect themselves against ICE raids, whereas people under detainers can be quickly moved to detention centers like Stewart and out of the country.

But, she says, trying to convince Andrews to change his policy before leaving office feels like a lost cause—and until the practice is changed, Durham will not meet the goal that no one end up in immigration detention as a result of local policies.

“If he was going to change his mind about that, he would have already done it,” she says. “We’re stuck, unfortunately, with these detainers.”

Based on last year’s numbers, fourteen people could be taken into ICE custody via detainers before Andrews’s term is up in December. swillets@indyweek.com

.

news

Bye, Sam

n

AFTER DUELING PROTESTS LAST WEEK, UNC-CHAPEL HILL’S CHANCELLOR WANTS TO MOVE THE TOPPLED SILENT SAM PERMANENTLY OUT OF SIGHT

BY COLE VILLENA

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refer the and not ers. Comhemselves ple under detention country.

AndrewsAs a pro-Sam demonstrator is interviewed by a local TV station, an anti-Sam counter-protester throws shade. PHOTO BY COLE VILLENA ing office e practice reverence displayed within. The student Those pro-Sam demonstrators, members aya Little led the charge for t the goal group UNC Students of the Silent Sam Sitof Alamance County Taking Back Alamance anti-racism demonstrators, just detention in had organized a “Silence Sam Dance County, a “Southern heritage” group betas she has time and time again

M

since covering UNC-Chapel Hill’s Silent ind aboutSam with her own blood at a protest in May. e it,” she On Thursday night, the UNC graduate ely, withstudent’s “charge” was more literal: Little

found herself at the front of a crowd of more fourteenthan a hundred protesters and journalists ustody viatrailing a group of pro-Silent Sam demis up inonstrators heading home from a “twilight

service” honoring “our fallen boy soldier,” week.comwho’d been toppled on August 20.

ter known by the acronym ACTBAC, had spent the night behind heavy iron barricades placed around the base of the statue-less monument. After arriving at about 7:45 p.m., they’d unfurled a massive Confederate flag, posed for pictures, and occasionally prayed.

Mostly, they’d just eyed the horde of antiSam protesters just beyond the barricades.

The mood outside the barricades could hardly have posed a starker contrast to the

Party and Speakout” almost immediately after learning about ACTBAC’s plan for a quiet night of remembrance, and speakers pumped out Fall Out Boy’s angsty emopunk, saccharine pop from Ke$ha, and Boots Riley and The Coup’s anti-establishment hip-hop as protesters still energized from another triumph Saturday—when activists, expecting a potentially violent clash with militia types, instead booed away a rather

pathetic group of about twenty Confederate flag enthusiasts—danced and shouted gleefully.

By the time police began moving ACTBAC demonstrators off-campus, however, those punchy choruses had yielded to a familiar indignation. “Go home, Nazis!”

Little chanted with counter-protesters as they moved north. It was unclear if their cries were directed at the Confederate flag wavers or officers from Greensboro, who had maintained a defensive perimeter around the pro-Sam demonstrators all night and who were now surrounding them with a mobile wall of bicycles.

After a ten-minute march from the base of Silent Sam toward Franklin Street, cops funneled ACTBAC members into the parking lot of UNC’s Morehead Planetarium and allowed them to disperse. The chanting of counter-protesters had grown to a roar.

Without warning, there was a hiss. Protesters and reporters staggered backward, coughing and wheezing and frantically wiping tears from their eyes. The more prepared among them produced bandanas to cover their faces. One videographer, a veteran of last year’s rally at Charlottesville, pulled on a gas mask.

“Be brave!” yelled one protester, apparently indifferent to the “pepper fogger” that had been sprayed by police officers just a few feet away.

O

n Friday, UNC-Chapel Hill Chancellor Carol Folt declared her intention to find a new home for Silent Sam, somewhere besides the prominent McCorkle Place location the Confederate monument has called home since 1913.

“The Confederate Monument, known as Silent Sam, has been a focus of conflict for many decades,” Folt wrote in a statement. “As the intensity of that conflict has accelerated, it has become apparent to all that the monument, displayed where it was, is extremely INDYweek.com | 9.5.18 | 9

divisive and a threat to public safety and the day-to-day mission of the University.”

She continued: “Three days ago, the UNC System Board of Governors gave the UNC-Chapel Hill Board of Trustees and me a clear path to identify a safe, legal, and alternative location for Silent Sam. We are instructed to present our plan to them by November 15, 2018.”

The announcement should have been a cause for celebration for Sam’s opponents, but the actions of school officials since its fall have cast a pall over the festivities.

Indeed, the Board of Trustees appears to have pushed the limits of at least one state law in crafting its response to Sam’s toppling, and the Board of Governors might have outright broken another.

The Daily Tar Heel reported last week that, during a conference call regarding plans for the statue’s future, the Board of Trustees asked UNC student body president Savannah Putnam to dismiss herself over a supposed conflict of interest that did not, in fact, exist. Conflict of interest laws are designed to prevent board members from voting in ways that benefit themselves financially; Putnam has merely offered public statements calling for the statue’s removal. (Student body presidents are defined as ex officio Board of Trustees

and Board of Governors members and are typically allowed to be present even in sessions in which they cannot vote.)

In addition, the November 15 deadline for a decision on Sam’s future was also instituted via a Board of Governors resolution written behind closed doors—a possible violation of state law that prohibits such resolutions from being crafted in closed session except in a few specific cases.

Meanwhile, the Board of Governors has seen Thom Goolsby emerge as its most outspoken pro-Sam member. The Wilmington-based lawyer has posted several videos decrying the manner of Sam’s removal to his personal YouTube and Twitter accounts, concluding that the statue was downed by outside agitators, not students, and must be replaced by UNC officials.

“We will do all we can … to see to it that the perpetrators are punished, that justice is sought for their felonious criminal acts,” he said in one video. “Also, please be aware that N.C. Statute 100-2.1 requires that the Silent Sam memorial be placed back on the campus within ninety days of it being pulled down.”

That law regulates the replacement of “objects of remembrance” that were temporarily relocated by legal means—for example, to make way for construction or for their own preservation. Silent Sam was

Cops await the dueling protests on Thursday. clearly not removed from its pedestal for its own preservation. That distinction, as UNC law professor Eric Muller wrote in The News & Observer, is critical: Because Sam was taken down illegally, the state is under no obligation to put him back up.

“If [Silent Sam] once again is to stand his northward-facing vigil against invading Union forces trying to take away the right of a state to let one human being own another, that will be because the Board of Governors wants him there,” he wrote. “Not because the law requires it.”

Goolsby hasn’t let that slow him down.

He posted his own “play-by-play documentation of the toppling of the Boy Soldier Monument” to YouTube on August 30, in it calling bandanas worn by anti-racism protesters “reminiscent of the Klan” and condemning UNC and Chapel Hill police for allowing “mayhem” to ensue on UNC’s campus on August 20.

While it’s true that texts from Chapel Hill police chief Chris Blue to officers at the Silent Sam site on August 20 show directives to give protesters “lots of space,” it’s also true that zero injuries were reported that night.

F

olt had avoided speaking directly about the statue’s future before Friday. The dueling protests on Thursday night seem to have forced her hand.

Within twenty-four hours, she’d decided that “Silent Sam has a place in our history and on our campus where its history can be taught, but not at the front door of a safe, welcoming, proudly public research university.” The pro-Sam demonstrators—who had found themselves outnumbered and surrounded by raucous attendees of the Silence Sam Dance Party—had lost.

Theirs was not a complete defeat, however. The entire point of their twilight service was to “respectfully, calmly, and honorably show remembrance to Silent Sam,” and widely circulated footage of ACTBAC demonstrators enduring all 10 | 9.5.18 | INDYweek.com

PHOTO BY COLE VILLENA

manner of verbal abuse from anti-Sam counter-protestors can only have served to energize Sam’s defenders.

“God bless you brave people for standing up to those wicked degenerate hate mongers of the left,” wrote one commenter on an ACTBAC Facebook post summing up the night’s events. “This is what it’s going to take to win this fight; to show up in strong numbers to counter their lies and deception.”

There are three important things to note about Thursday’s protest. The first is that there was no direct violence between ACTBAC and anti-racism counter-protesters.

The second is that the cops were protecting the pro-Sam contingent because they were demonstrating legally; UNC doesn’t require permits for such gatherings. The third is that police officers deployed pepper spray against nonviolent counter-protesters and journalists at least two additional times.

Reports later suggested the cops who deployed it were members of Greensboro’s Civil Emergency Unit. Officers from at least five law-enforcement agencies, including UNC-Wilmington police and the Orange County Sheriff’s Office, were also at McCorkle Place that night.

The last look protesters got at cops on Thursday, though, was that of a group of Chapel Hill officers outside Graham Memorial Hall. The building had been used as a holding area for the night’s three arrestees and, after clearing a path for their extraction down Franklin Street, CHPD officers moved back toward their holding area and slowly backed up a flight of stairs.

A group of fewer than forty anti-Sam protesters remained by this point, neither dancing nor chanting as loudly as they had earlier. By 11:00 p.m., most had left. Given the use of riot control weapons against peaceful protesters and the pro-Sam rhetoric coming from at least one member of the Board of Governors, most figured there’d be more to yell about tomorrow. backtalk@indyweek.com

PAID RESEARCH VOLUNTEERS NEEDED Researchers at NC State University are looking for healthy adults between 25-40 and between 65-85 years of age to serve as paid participants in a research project, funded by the National Institutes of Health, that is focused on identifying factors related to maintained functioning and well-being in adulthood.

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If interested, please call (919) 515-9063 or email: cognitivedevelopment@ncsu.edu

INDYweek.com | 9.5.18 | 11

The

Cheat Sheet

Two decades ago, North Carolina prosecutors were taught how to remove African Americans from juries and get away with it. That fact might save Russell William Tucker’s life.

BY JACOB BIBA

Editor’s note: This story was produced in collaboration with The Appeal, a nonprofit criminal justice news outlet.

O

n December 8, 1994, in Winston-Salem, a twenty-eight-year-old African-American named Russell William Tucker walked out of a Super Kmart wearing a coat and a pair of boots he had just stolen. According to court documents, he was followed into the parking lot by William Maki, an assistant loss-control manager, and another store employee, Travis Church. The store’s security guard, Maurice Travone Williams, trailed close behind. It was his first day on the job.

When Maki approached Tucker in the parking lot and asked for a receipt, Tucker pulled a semi-automatic handgun from his backpack and began firing at him. Tucker missed but quickly took aim at Williams, who was running back toward the store alongside Church. He fired one fatal shot at the security guard, and then he ran. When a marked patrol car with two Winston-Salem Police Department officers approached soon after, Tucker slowed to a walk, turned, and fired five shots into the cruiser, striking both officers. He then fled up an embankment into some nearby woods. He was caught within the hour.

The violent scene that unfolded in the parking lot lasted less than two minutes. Tucker was convicted and sentenced to death a little over a year later. But in the more than twenty years since his trial, Tucker’s case has been marred by a string of inappropriate, and sometimes illegal, moves—including outright sabotage by one of his own lawyers—that have provided ample grounds to challenge his death sentence. Yet, what ultimately saves Tucker’s life could be something as mundane as a single piece of paper: a training worksheet found in a prosecutor’s files.

ILLUSTRATIONS BY RICHARD CHANCE

12 | 9.5.18 | INDYweek.com

T

o understand the significance of that worksheet, it helps to know a little about jury selection. Prosecutors and defense attorneys generally have a lot of leeway when it comes to dismissing jurors.

Many get struck for cause—a strong opposition to the death penalty often suffices in a capital case, as does an admission by a potential juror that he or she would definitely vote in favor of the death penalty if a defendant is found guilty of capital murder.

But with so-called peremptory strikes— of which attorneys are allotted a limited number—jurors can be dismissed without a stated reason, as long as race or gender aren’t determined to be factors.

Before 1986, when the U.S. Supreme Court ruled in Batson v. Kentucky that peremptory strikes based on race violated a defendant’s rights to equal protection under the Fourteenth Amendment, potential jurors were frequently dismissed by prosecutors because they were black, especially in cases involving black defendants.

Prosecutors may have believed, perhaps rightly, that all-white juries would increase the likelihood of conviction.

Three out of the seven black men sent to death row from Forsyth County, including Tucker, were sent there by all-white juries, while two were sentenced to death by juries with only one black juror.

A Michigan State University legal study found that from 1990–2010, prosecutors from Forsyth County were more than twice as likely to strike black jurors from capital cases as whites. Another study conducted

by Wake Forest University found the disparity in strikes of black versus white jurors was even wider when researchers analyzed data from all types of trials that occurred in 2011.

Batson should, in theory, change this by forcing prosecutors to openly justify each peremptory strike with a race-neutral reason if challenged. Yet, in practice, it has proved relatively ineffective because it’s not that difficult for prosecutors to come up with reasons that sound race-neutral.

Since Batson, eligible black potential jurors have been struck for stated reasons that border on the absurd: a pierced left ear, a hyphenated last name, or not seeking counseling after their car stereo was stolen.

Neither the N.C. Supreme Court nor the Court of Appeals has ever ruled in favor of a defendant’s Batson claim, setting North Carolina apart from Virginia, West Virginia, Maryland, and South Carolina.

Elizabeth Hambourger and Mark Pickett, staff attorneys with the Durhambased Center for Death Penalty Litigation, hope to change that. They say Tucker’s case offers clear evidence—not unlike a 2016 U.S. Supreme Court case out of Georgia in

which a conviction was overturned—that after Batson, jurors were still being struck for being black.

“This was a weakness in Batson that was predicted from the very beginning by Thurgood Marshall,” Pickett says, referring to the then-Supreme Court justice’s concurring opinion in the case. “He predicted exactly what happened in Mr. Tucker’s case and what’s happening in other cases.”

The problem in Tucker’s case stems from a training organized by the North Carolina Conference of District Attorneys called “Top Gun II.” Forsyth County attorney Rob Lang, who tried Tucker’s case, was one of several prosecutors in the state who attended the program, held the summer before jury selection in Tucker’s trial. During the training, prosecutors received a worksheet titled “Batson Justifications: Articulating Juror Negatives,” which offered ten explanations prosecutors could use if defense lawyers challenged a peremptory strike they believed was based on race. The list included things like “inappropriate dress,” which may signal a “lack of respect for the system,” and “physical appearance,” said to indicate “resistance to authority.”

The worksheet went undiscovered in Lang’s files on the Tucker case for nearly sixteen years after Tucker’s trial but surfaced in 2012 during discovery in the case of Errol Duke Moses, another Forsyth County man on death row. Moses’s lawyers were given access to prosecutor files from a number of capital cases, including Tucker’s, as a result of the Racial Justice Act, a since-repealed law that gave prisoners on death row in North Carolina a chance to challenge their sentences if they could prove racial bias played a role in their convictions or sentencing.

But Hambourger and Pickett say the worksheet and other documents related to Tucker’s case weren’t shared with Tucker’s team until more than three years later, when they were appointed to represent him.

In October 2017, Hambourger and Pickett filed a motion in Forsyth County Superior Court on behalf of Tucker based on the discovery of the Batson worksheet in Lang’s files.

They argued that Lang unfairly dismissed five jurors because they were black, and the worksheet proves it. If their motion succeeds, it could lead to a whole new trial for Tucker— and potentially save his life.

Pickett and Hambourger refer to the handout as a “cheat sheet,” and Hambourger describes the justifications themselves as “thinly veiled dog-whistle-style code” for race.

“They’re not exactly stereotypes, but they are racial code,” she says. “The fact that it says Batson makes it very clear that it’s about race.”

No one but Lang knows exactly what was in his mind when he struck all the eligible black potential jurors in the pool. But with each of those strikes came an objection from the defense citing Batson and a seemingly race-neutral response from Lang. Now an assistant U.S. attorney for the Middle District of North Carolina, Lang declined to comment for this story, citing the pending litigation.

For Pickett, the existence of the list is, in itself, troubling.

“Regardless of what the reasons it gives are, the list is problematic,” Pickett says, “because the reason the prosecutor gives is supposed to be the actual race-neutral reason that’s in the prosecutor’s mind when he makes the strike.”

T

homas Smalls, then sixty, had lived in Forsyth County for four decades when he was called for jury duty on Tucker’s case. Married with four children and employed by R.J. Reynolds Tobacco Company, Smalls believed in capital punishment but, like many people, had reservations about it.

When pressed by Lang about whether he could actually impose the death penalty, court filings show Smalls was ambivalent— “I guess so,” “I don’t know,” and “I think so” were his responses—and Lang used one of his peremptory strikes to remove Smalls from the jury pool. The defense objected, and Lang offered a lengthy explanation in court that Pickett and Hambourger say seems to draw directly from the worksheet.

For instance, Lang argued, Smalls “put his head down and began talking to the floor. He did not ever make eye contact with me during the death penalty questions. ... We were able to drag some answers out of him, but he was very difficult, and his body language was absolutely horrible in our opinion.”

That language mirrors the fourth and fifth justifications on the Batson worksheet. The fourth mentions “attitude,” arguing that lack of eye contact with a prosecutor signals an “air of defiance.” The fifth references “body language,” just as Lang did, noting that it could convey “anti-prosecution tendencies.”

The worksheet isn’t the only piece of evidence Hambourger and Pickett cite in their claim. A handwritten list titled “Batson” was found in a trial notebook belonging to the prosecution. It listed additional generic reasons that could be used to strike jurors, such as “lack of maturity,” “history of unemployment,” or “has criminal record.”

Tucker’s lawyers had also hoped to review the prosecution’s copies of juror questionnaires and the notes prosecutors may have

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made on them. But at the urging of Lang’s co-counsel David Spence, and with consent from Tucker’s trial attorneys, those copies were collected and destroyed, according to Hambourger and Pickett’s motion.

Spence, who now serves as an assistant district attorney in eastern North Carolina, declined to comment, saying the State Bar Association’s Rules of Professional Conduct prohibit him from doing so.

Smalls wasn’t the only black potential juror Hambourger and Pickett say was unfairly struck from the jury pool. Debra Banner, then thirty-nine, was also cut.

Because Banner wasn’t registered to vote and because she rented her home as opposed to owning it, Lang questioned her “stake in the community.” He cited that as a reason for her dismissal, yet he accepted more than one white juror who wasn’t registered to vote, as well as a white renter, according to Pickett and Hambourger’s motion.

“To me, that’s really offensive,” Hambourger says. “It seems clearly based on race to suggest that this hardworking mother who lived her whole life in the community doesn’t have a stake in the community because she doesn’t make enough money to buy her own home.”

Lang also cited Banner’s job—as a nursing assistant at Forsyth Memorial Hospital—as a reason for striking her. “It has been an experience that those who save lives are often hesitant to make a recommendation for death,” he told the court.

According to Hambourger and Pickett’s motion, Banner “expressed no doubt or hesitation in response to Lang’s death penalty questions.”

14 | 9.5.18 | INDYweek.com

But Lang accepted Brenton Sharpe, a white pharmacist who worked with cancer patients, also a profession that saves lives.

Sharpe, like Smalls, wasn’t sure he could apply the death penalty, but the prosecution did not dismiss him.

“They were willing to take a white man that expressed doubt over the death penalty [over] any African-American juror,” Hambourger says.

A

s Justice Marshall had predicted, Batson never evolved into an ethical guide that would encourage prosecutors to confront their own racial bias in jury selection. Instead, the decision just became another obstacle, one easily circumvented.

“You can’t just treat it like a legal game of back and forth—how do I beat Batson?”

Pickett says. He notes that the damage inflicted by such questionable strikes goes beyond this particular case. “It’s an injustice not just to Mr. Tucker but to the black community in Forsyth County to be systematically excluded from jury service in these cases.”

The Attorney General’s Office declined to comment, citing the pending litigation.

But in a response to Tucker’s motion, which the state filed in May, senior deputy attorney general Danielle Marquis Elder and special deputy attorney general Jonathan Babb outlined several procedural issues that the Attorney General’s Office believed should bar the litigation from further review, stating, for instance, that the worksheet was previously available to Tucker during appeal and post-conviction proceedings, which Tucker’s lawyers deny.

Elder and Babb also argue that the Batson worksheet isn’t real evidence of racial discrimination in jury selection.

“Far from establishing any sort of intent to discriminate on the basis of race, this document establishes that the prosecutors in Tucker’s case were aware of Batson’s prohibition and that all peremptory challenges should appropriately be based on non-racial reasons,” they wrote.

Rather than proving discrimination, the office contends, the worksheet only shows that prosecutors received training in regard to Batson before Tucker’s trial, and that Smalls’s dismissal was because of his hesitancy regarding the death penalty, not his race. Banner’s dismissal, the response claims, was based on evidence that she didn’t want to serve on the jury and said it would be a hardship.

The prosecution also claims both she and Smalls fell asleep during jury selection, though according to Hambourger and Pickett’s motion, the trial court made no finding that they did. Regardless, Hambourger argues, the fact that some of the reasons Lang offered may be legitimate doesn’t discount the others that are less credible and seem to have relied on race.

In their reply to the state’s response filed in July, Hambourger and Pickett argued that the Batson worksheet puts Lang’s justifications into proper context.

“The existence of the document in the prosecutor’s file and the prosecutor’s use on the record of words and phrases obviously taken directly from the document show that the prosecutor did not have valid race-neutral reasons for his strikes,” they wrote. “If he did, he would not have needed to refer to a list of prefabricated reasons prepared by someone else.”

T

ucker could easily have been executed long before Hambourger and Pickett were appointed to represent him. He was scheduled to die on December 7, 2000, almost six years to the day after Williams’s murder. But a little over a week before, the state Supreme Court granted a stay of execution. That’s because Tucker’s courtappointed attorney, David B. Smith, who was representing him alongside another attorney in post-conviction proceedings, admitted in an affidavit that he intentionally sabotaged his client’s case by missing an appeals deadline.

“I decided that Mr. Tucker deserved to die, and I would not do anything to prevent his execution,” explained Smith in an affidavit at the time. “I shared with my therapist my feelings and the consequences of my inaction, but I could not bring myself to act in a professional and responsible manner.”

“I DECIDED THAT MR. TUCKER DESERVED TO DIE, AND I WOULD NOT DO ANYTHING TO PREVENT HIS EXECUTION.” Smith, who still practices law, declined to comment on the case.

That revelation was “pretty stunning,” Hambourger recalls. “I’ve never heard of another case, not in North Carolina, where a lawyer actually was working against his client’s interest—was actually trying to get his client killed,” she says.

But that’s not the only way in which Tucker’s case has been mishandled, argue Hambourger and Pickett, who were appointed in 2015 after a 2012 U.S. Supreme Court ruling gave state prisoners the opportunity to file motions related to the ineffectiveness of their post-conviction counsel.

Beyond Smith’s well-known deception, Tucker’s new lawyers discovered major holes in their client’s defense. Though Tucker was examined, at the request of his trial attorneys, by a clinical psychologist who testified that Tucker was suffering from a psychotic disorder and was not competent to stand trial, very little of his background or mental health history, which would have supported this claim, made it to the jury before his conviction or during his appeal. And while Tucker showed signs of mental illness during court proceedings, including frequent outbursts so severe

that he was physically restrained, a psychiatrist who testified on the state’s behalf concluded he was faking his symptoms. Without additional mitigating evidence from the defense, the court declared Tucker competent to stand trial.

Hambourger and Pickett wanted to dig deeper. In 2016, they hired a specialist to investigate allegations of severe abuse Tucker suffered at the hands of his adopted family in Queens, New York, and the effect that abuse had on his mental health. They had Tucker’s adoption records fully unsealed and identified his birth mother, who moved back to her hometown of Laurinburg, North Carolina, after her son’s adoption. Hambourger and Pickett traveled to Laurinburg and convinced her family to sign off on releasing her medical records, which showed that she had been treated for schizophrenia.

“Psychotic disorders are inheritable,” Hambourger says. “And what are the chances that this guy who never knew his birth mother, knew nothing about her, is faking mental illness and then it just happens that we go down and talk to his mother’s Laurinburg relatives and find out that she had schizophrenia. What are the chances?”

Having this information could have made a huge difference to the jury that heard Tucker’s case, Pickett says, arguing that Tucker’s original trial lawyers did him a disservice by not requesting his adoption records to learn more about his biological family, according to motions filed in state and federal courts.

“It’s not like they sought the records and were denied, and we just filed a better motion or got lucky in front of a judge or something,” Pickett says. “They just never did it.”

One of Tucker’s trial attorneys, Richard Ramsey, died in 2015. Reached for comment, the other, Thomas Taylor, had difficulty recalling specifics of the case and whether he and his co-counsel pursued Tucker’s adoption records.

“We followed pretty much anything we knew,” Taylor says. “I would be surprised if we didn’t pursue every course of action.”

No new evidentiary hearing has been granted on these claims of ineffective counsel. Meanwhile, Pickett and Hambourger await news of whether they will be granted an evidentiary hearing regarding the “cheat sheet.”

North Carolina hasn’t executed any prisoners since 2006—a de facto moratorium brought about by litigation over the fairness of capital punishment’s implementation— but in recent years lawmakers have sought to restart executions. In 2015, the legislature passed the Restoring Proper Justice Act, which aims to speed up the process. However, with legal challenges still winding their way through the courts, it’s unlikely anyone will be executed in the near future.

Tucker, meanwhile, remains hopeful that he’ll receive a new trial or sentencing hearing.

In phone calls and in statements released through his attorneys, he says he believes the outcome of his case would have been different if the jury had heard more evidence related to his childhood and mental health issues. He also believes the racial makeup of the jury played a role.

“I was surrounded [by white people], but what could I do?” he says. “To me it’s an unjust and unfair thing because they wouldn’t understand my situation and my upbringing. … They can only hear what was presented to them without really ... knowing who I was or what I was about.”

Hambourger acknowledges that it’s hard to know what a diverse jury would have done in this case, but that’s exactly the point.

“I think it would have been important for people who looked like Mr. Tucker to be judging his worth,” she says. “Maybe they would have seen his life story differently.” backtalk@indyweek.com INDYweek.com | 9.5.18 | 15

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HOPSCOTCH2018

NINE LIVES

CLAWS OUT

Thundercat’s ferocious, freewheeling experiments launch him toward exciting new universes

BY LENA GELLER

Nearly a decade in, Hopscotch still hasn’t skipped a beat

W

e’ve long passed the point where we worry about the future of Hopscotch, to the point that we perhaps even take it for granted. Nine years in, Hopscotch has established itself as a linchpin of local music activities. While festivals like Shakori Hills’s twice-yearly party have been around for longer, Hopscotch’s central location in the capital and broad palette of booking has proven to be a winning combination that’s helped it grow from a respectable local novelty to a regional landmark.

This year, the festival returns to kick off a month that’s now packed with music festivals—Hopscotch proved that a multi-day, multi-venue festival was a feasible enterprise for downtown Raleigh. And of course, the festival’s abundant complement of free parties that run from Thursday afternoon through Sunday’s slate of “Hopscotch hangover” shows.

(Hopscotch super-pros can figure out how to hit all the ones that have free food and won’t have to pay for a meal all weekend.)

Here, we explore some of the high points of this year’s festival, from Thundercat’s adventurous jazz exploration to Speedy Ortiz’s energetic, affirming rock. We address the tender intimacy of Lomelda, and what it means to be a classic-contemporary country singer-songwriter like Zephaniah Ohora. Beyond that, we offer a few more recommendations for daytime diversions and other acts to check out along the way, too.

One thing that’s made Hopscotch feel exceptional over the years is that, despite its growth in reputation and programming, it’s never lost its sense of small-town comfort. It feels like a family reunion of sorts, where, for one weekend, a majority of Triangle music nerds gather for a stretch of new experiences with old friends. Here’s to year nine and many more to follow. —Allison Hussey

Thundercat PHOTO COURTESY OF MOTORMOUTH MEDIA

F

rom his music to his outlandish fashion sense to his sometimes too honest Twitter feed (“These farts are getting pretty violent,” read one dispatch from April), Steven Bruner—better known by his stage name Thundercat—is unapologetically himself.

Take “DUI,” the last track on his 2017 album Drunk. The song is quintessential Thundercat—concise, rooted in jazz, simultaneously dark and humorous.

“Sometimes you’re alive, sometimes you are dead inside,” he sings in time with a succession of discordant bass notes.

“Bottom of the glass, at this point you’ve made an ass,” he continues, his voice an ethereal falsetto. “Hopefully you won’t get caught and get a DUI.” He stops singing, giving way to unsettling violins, cascading synth, and the sound of howling wind. It’s a beautiful listen, and a morose counterpart

HOPSCOTCH2018

to the album’s opener, “Rabbot Ho,” where Thundercat pledges to “go hard, get drunk, and travel down a rabbit hole.”

Bruner, 33, is a Grammy-award winning bassist, singer, and songwriter. He was raised in Los Angeles surrounded by two celebrated jazz drummers—his father and brother—who inspired him to start making music at an early age. After learning how to play the bass, a sixteen-year-old Bruner joined his brother in the band Suicidal Tendencies. In an interview with Red Bull Music Academy, Bruner said he successfully maintained his own jazz-driven style even while playing in the punk-metal band.

“They never wanted me to emulate anybody’s sound,” he said. “They would just want me to play the parts and not get them wrong.

I could have my own sound, you know?”

Bruner left Suicidal Tendencies in 2011

THUNDERCAT

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S E PTE M B E R

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and started collaborating with music producer Flying Lotus, a perfect match. Their songs usually stem from freewheeling jazz improvisation sessions, which they record then dissect and augment digitally to provide a canvas for lyrical expression. In an interview with Rolling Stone, Bruner described working with Flying Lotus as “an explosion,” with “flourishing, amazing creative energy.” The two are in constant collaboration; they’ve worked together on numerous albums, toured across the country together, and recently wrote the score for an episode of FX’s Atlanta.

bright splashes of synth—contextually and instrumentally similar to many tracks on Drunk, which Bruner released last February. “‘Drunk’ speaks to more than the literal term,” Bruner said in an interview with Q on CBC. “[It reflects] how lackadaisical and how weird everything is. It feels like that socially. It feels like you’re drunk walking around. Nothing makes any sense.”

On Drunk, Bruner blends jazz, hip-hop, funk, and psychedelic pop while singing about wavering between wanting to com-

bat life’s difficulties (“Let me show you the way, on the edge of dark there’s the brightest light”) versus embracing its pain and absurdity (“Out of the pain and into the fire, the descent into madness”).

As Thundercat, Bruner encourages listeners to join him in pondering, challenging, and changing the ways of the world. He twists jazz into something new and exciting, using his collaborations to springboard him toward exploring yet-untold musical universes. music@indyweek.com

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Bruner soon brought his signature funky bass lines and high croon to the tracks of a slew of big-name artists, among them Erykah Badu, Childish Gambino, and most notably, Kendrick Lamar, who won the Pulitzer Prize for music earlier this year.

He’s frequently commended as the “creative epicenter” of Lamar’s 2015 masterpiece To Pimp a Butterfly, providing inspiration for much of the album’s jazz-heavy instrumentation. Beyond providing his own musical expertise, he often introduced Lamar to records from jazz greats to get his creative juices flowing.

“I played [Lamar] Miles Davis’s ‘Little Church’ and he was like, ‘What the fuck is this?’” Bruner said in an interview with Rolling Stone. “I was like, ‘This is Miles Davis, man—and one of his baddest records.’”

Bruner’s work on To Pimp a Butterfly’s “These Walls” won him a Grammy for Best Rap/Sung Performance in 2016. The song examines sex, death, and the human consciousness, set to a forceful beat with

WHAT TO HIT: HOPSCOTCH ART SHOW

Outside of Pop Art, high fashion, and skate magazines, art and advertisement are seldom more creatively intertwined than they are in rock music, where iconic images from album covers can outlast the music they represent, and photos and flyers create personalities not only for bands, but for whole regions and scenes. People who are only vaguely aware of the Rolling Stones’ music still recognize John Pasche’s lips-and-tongue logo, and people who’ve never been to an indie rock show in Chapel Hill still know the telephone-pole aesthetics of local flyer legends like Ron Liberti and Casey Burns.

Since Hopscotch began nine years ago, it has honored this crucial aspect of music culture in some form or another as Posterscotch, a poster sale that returns to the Raleigh Convention Center this year, where you can cop beautiful, unique screen prints repping your cult-favorite bands and documenting local history.

But this year, the festival is adding a bona fide art exhibit at MOFU Shoppe, the Asianfusion restaurant at 321 South Blount Street. It’s been up since August 24 and runs through October 4, showcasing the work of eight poster artists and eight photographers who’ve worked on Hopscotch during the last eight years. The snappers include Gus Samarco, Robert Pettus, and Willa Stein, while the poster artists include Skillet Gilmore, Kat Lamp, and the INDY’s own Christopher Williams. Catch it during the Hopscotch VIP party on the night of Thursday, September 6—if you’re, you know, very important—or join the hoi polloi for the First Friday reception the next night, September 7, at 6 p.m. —Brian Howe

APPRECIATED VALUE

Lomelda’s Hannah Read offers a tender treatise of gratitude for those closest to her with Thx

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Lomelda's Hannah Read PHOTO BY ADAN CARLO

F

or Hannah Read, growing up in Silsbee, Texas—a town of fewer than 7,000 people—was no more exceptional than most people’s childhoods.

“Just the same old shtick,” Read says. “You play Mario Kart, you try to be in a band, you play open mic nights. It wasn’t extremely remarkable in any certain way.”

Nestled at the intersection of U.S. Highway 96 and State Highway 327, Read has spent a considerable amount of time traveling the lonely roads between Silsbee and the closest surrounding cities. Speaking over the phone, Read noted that she was en route to Norman, Oklahoma for night one of Lomelda’s tour.

“It always kind of feels like a new start,” Read says. “This tour, day one is with a newly configured band, so that’s a new start. We’re playing old songs a little differently, just

HOPSCOTCH2018 based on what we can do together. That’s just kind of the way I want to always engage with music, and with life really. It’s treating the days and experiences and people as a start.”

Despite these sentiments of renewal, a sense of familiarity and intimacy lingers with Read’s music. The moniker itself dates back to her high school years, but has taken on various physical and ideological forms since then. But with her airy, acoustictinged songs, Read ultimately aims to foster interpersonal connections and lament the tragedies of distance, both of which shine on Lomelda’s 2017 album, Thx. Written during a period when Read felt as though she was mostly living out of her car, Thx delicately intertwines verbose melodies and explicit lyricism, exhibited on album opener “Interstate Vision,” as Read croons “Interstates are not what I want; headlights

LOMELDA

Friday, Sep. 7, 10:30 p.m. | Nash Hall

scare me into visions.” Stark instrumentation and Read’s overdubbed harmonies add to the record’s overwhelming sense of manic isolation, but these elements are precisely the reason that Lomelda swiftly transforms first-time listeners from acquaintances to timeworn confidants. At times, Read’s intimate songwriting makes Thx feel like cozying up with a friend over coffee—such as on “Mostly M.E.,” when Read recounts a trip to the coast: “Through the backseat window/The evergreen shadows reminded me of home/Now they remind me of us sitting close.”

Thx began as a collection of Bandcamp demos that Read rounded up for family and close friends to hear. Read listed the songs under the artist name “Thx” rather than Lomelda at first, and the collection served as a letter of affection and gratitude for the

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support that small group had given throughout her music career. But Read had caught the attention of Brooklyn indie label Double Double Whammy, which eventually issued Thx in its final form last September.

“I feel very connected to the arts that they release, so that’s cool,” Read says. “That feels encouraging to be a part of something that supports art that I really admire. The internet is vast, but there are also pathways that are wormholes to the spots you need to be.

This is a Bandcamp love story.”

In addition to Double Double Whammy’s backing, Read worked closely alongside her brother, Tommy Read, who leads the band Hijo del Rio, to co-produce Thx. Following the songs’ overarching themes of growth and displacement, the siblings took to various houses and rooms to record as their parents moved during the process.

“That was pretty special,” Read says.

“There’s no way it would feel and sound the way that it does in any other circumstances, which is cool. I feel lucky that we ended up with something that we like a lot.”

While Read was responsible for tracking the bulk of the album (overdubbed vocals, guitar, piano, bass), her brother played a pivotal role in the development of her favorite track on the record, “Bam Sha Klam”—titled after a Home Run Derby-style game that the siblings thought they had invented.

“My brother wrote that song, and I sort of stole it and changed it a little bit,” Read says.

“That one’s pretty special to me because of the whole process of making the record together, and then getting to attach myself to a song that he wrote.”

“Bam Sha Klam” is derived almost directly from Hijo del Rio’s “Here on Out,” which

WHAT TO HIT ELECTRONIC

appears on 2013’s Waco Demos. For her own song, Read fleshed out the instrumentation, adding layers of electric guitars, bass, and drums—as well as an ambient outro accented by humming synth and reverb vocals.

Despite only being the second track, “Bam Sha Klam” marks the first of Thx’s numerous emotional peaks. “Why are you laughing? Listen here: this is serious,” Read abruptly addresses the listener, before launching into a heart-wrenching belt. The song then softly fades into “From Here,” a tactful reminder that beauty and strength often lie in fragility.

Thx is equal parts painful and comfortable, akin to the nervous yet inviting energy of Read herself. From losing countless baseballs over the fence in the neighbor’s yard while playing Bam Sha Klam, to pleading with a friend on the phone while miles away in Brooklyn, Thx is the contented culmination of family ties, childhood memories, and relationships fragmented by distance. Read’s vocals are persistently arresting throughout the album, drawing a wide audience into the project originally intended for roughly a dozen people.

“The point of it, in that instance, was just that I felt that I wanted to make music and share it,” Read says. “And overwhelmingly, more than anything, I felt thankful that I got to express myself in that way and have this small group appreciate it. When I started finishing up the album, that sort of feeling circled back and I couldn’t imagine titling it anything else. There’s a lot of different emotions expressed in the songs, but the overwhelming thing I wanted to say was thanks.” music@indyweek.com

Despite dance music occupying less and less space on the Hopscotch lineup, the inclusions this year are intriguing. Adventurers looking for serotonin-draining club moods have a number of underground dance zones to explore.

At Neptune’s on Thursday night at 11:30, Brooklyn’s Killbourne hotwires the brawny stomp of early-aughts happy hardcore into a modernist, wildly fun form: raw, sloppy, punk-infused beat chaos. Friday night at 10:30, you might consider heading to the much larger venue The Basement for the eighties pop dreams of Atlanta’s Breathers. One of the finest recent new wave acts, they tastefully fold the zany spirit of Devo and Yellow Magic Orchestra into the slick structures of modern pop songwriting.

Saturday night at Wicked Witch, dive brain-first into a rigorous night of dance experimentation. At 9:30, Asheville’s Alex Brown offers gorgeous and propulsive ambience. His club-ready remix of Frank Ocean “At Your Best” flips the song into moist, thick clouds of dance-floor haze, closer to Slowdive then Steve Aoki. After him, Philadelphia pop maestro W00dy chops more samples than your favorite Top 40 producer into wonderfully maximalist dubby weirdness.

At 11:30, Abdu Ali explodes the sounds of Baltimore club, punk, and noise rap into a stark and brutal performance that stays with you.

Over at Neptunes on Saturday, THOOM tunnels into sound collage and expansive tweakedout drone compositions, which can feel pastoral at times. At 12:30, Negative Gemini closes out the festival with her visceral brand of club pop, the kind of lush, futurist, genre-blurring stuff Grimes would probably be still dreaming up if she never signed to Roc Nation. —David Ford Smith 20 | 9.5.18 | INDYweek.com

FAST TRACK

Speedy Ortiz fine tunes its grunge throwbacks on the staggeringly personal Twerp Verse

BY TAYLOR YSTEBOE

HOPSCOTCH2018

SPEEDY ORTIZ

Saturday, Sep. 8, 5:50 p.m. | City Plaza

deep dive EAT • DRINK • SHOP • PLAY

Speedy Ortiz PHOTO COURTESY OF GROUND CONTROL TOURING

S

ince forming in 2011, Speedy Ortiz hasn’t lost a bit of its wry humor or its knack for wordplay—the band has only leaned into these signature characteristics even more.

Singer Sadie Dupuis has infused her plucky spirit and a refreshing sense of self-awareness into the group’s three albums and three EPs, and the band has continued to become bolder in its sonic palette throughout its discography.

On Twerp Verse, released in April, the band really hits its sweet spot. Its sound is simultaneously fine-tuned yet grunge-bent, and Dupuis flourishes as a sharp songwriter. Each song becomes its own living, breathing entity, but the album is tied together as a symbol of resistance against the hostile political climate.

Dupuis also demonstrates a staggering vulnerability, especially as she grapples with grave topics such as sexual assault and harassment, but she still artfully navigates that landscape with bright wit. She doesn’t come out of it unscathed, but she does come out of it stronger than before.

Twerp Verse is in itself a rallying cry.

Dupuis hones in on personal and collective anxiety, and she ultimately illuminates the value of a strong community and perseverance. Ahead of the band’s Saturday night slot at Hopscotch—opening for Liz Phair, no less—Dupuis caught up with us about the band’s current work, including its mission to help keep fans safe at shows.

INDY: After releasing Twerp Verse in April, what is it like to play these songs live?

SADIE DUPUIS: When you’re working on the record, you don’t necessarily know what songs people are going to be psyched about live, especially because we’ve moved away from road-testing songs. I’m really into production and studio tricks and weird arrangements. I felt like it was hard to tap into that doing a live-sounding record.

Most of these songs we really hadn’t played live at all.

That’s sort of been a fun thing, seeing what songs people connect to and what songs they know the words to. It’s always nice to know what deep album songs people are into.

The INDY’s monthly neighborhood guide to all things Triangle

Coming September 19:

Durham County For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 9.5.18 | 21

Twerp Verse expertly captures the anxiety and anger a lot of us are feeling about the state of society. At the same time, do you think it’s optimistic?

I’d say the record is pretty optimistic. It think a lot of it is focused on how shit is bad, but there are things you can do to make it better, and there are people who are working to make it better. That was a goal with the record for us. It can be hard to feel optimistic, but I think it’s pretty crucial. Otherwise, it feels like time to give up.

“It can be hard to feel optimistic, but I think it’s pretty crucial.

Otherwise, it feels like time to give up.”

In this same climate of insecurity, the band has taken steps to help people feel safe at your shows. Could you tell me a bit about what steps you’ve taken to do that?

Especially as a woman who goes to a lot of rock shows and plays them, there were certainly times that I felt inappropriately targeted or harassed or touched. There have been times where that happened where I’ve been like, ‘Cool, I’ve played this venue before. I know who to talk to to get help.’ I realized that

that’s a unique position to be in. I have the contacts of who’s running the venue tonight or who’s promoting the show tonight.

If someone in the audience is experiencing the kind of harassment that I’ve undergone at shows, it would be great to be able to connect them with the same resources we have. That was the idea behind making a text hotline.

So if someone’s experiencing harassment and they don’t feel safe to stop it without escalating it or if other people around them aren’t taking the impetus to step in and help them out, they have at least a way to get in direct touch with the venue via us. [Ed. note: Text 574-404-SAFE (7233) to access Speedy Ortiz’s help hotline.]

We also distribute bystander intervention and de-escalation tactics so that people can feel empowered. If they see something and feel kind of weird about it, then they have some concrete ways to go in and help.

With a packed touring schedule and other musical side projects, what keeps you motivated to keep playing music?

I think a lot of people who work in selfemployed creative fields feel this, where there’s this constant internal pressure to work. I’m like, ‘Oh I have a week off, better make a record this week.’ I think all of us suffer from that workaholic neuroses affliction.

It’s really gratifying to get to do this as a day job. The fact that I’m lucky enough to get to do this makes me want to put in extra work. music@indyweek.com

WHAT TO HIT DAY PARTIES

Hopscotch’s tradition of day parties is arguably as popular and as fun as the festival itself, and this year is no exception. Keep your plans flexible as acts and times are subject to change; seek out Facebook events to stay updated.

Action starts off relatively slow on Thursday, though there are still plenty of reasons to skip out of work early. Berkeley Cafe features an excellent local roots slate of Anne-Claire, Rachel Kiel, Hardworker, and Chatham Rabbits—the first of three daytime Guitartown events—while Slim’s and The Pour House offer more eclectic bills. The former hosts The Dirty Little Heaters’ menacing blues rock along with Horizontal Hold and Shelles. The latter’s packed lineup includes Pie Face Girls’ in-your-face punk and Lonnie Walker’s jittery rock.

Decisions are tougher on Friday: The reigning champ of day parties, ¡Que Viva! At Slim’s, pairs Bojangles biscuits with garage rock kingpins Spider Bags—is it really Hopscotch without them? At Kings, Three Lobed and WXDU offer experimental acoustic sets that you can’t find elsewhere from the likes of Grouper and Daniel Bachman, while The Pinhook’s party at Ruby Deluxe is stacked with Moses Sumney, ZenSoFly, Skylar Gudasz, and House & Land. Outside of downtown, seek out Camp Howard at The Night Rider or Youth League at Schoolkids.

Saturday is even busier, including an official outdoor stage starring Wild Child and Israel Nash. Person Street Bar’s twangy benefit for refugees and immigrants features Dylan Earl, Blue Cactus, and John Howie, while Slim’s alternates alt-country icons 6 String Drag and The Backsliders with Jack The Radio’s alt-rock and Grandchildren’s orchestral pop. Find house show favorites Fitness Womxn, Essex Muro, and Indigo de Souza at Wicked Witch or local indie rockers Ghostt Bllonde and Lacy Jags at Crank Arm Brewing.

Wrap the weekend up on Sunday, where your options are largely limited to Slim’s and The Pour House. The latter skews heavy with bands like Bedowyn, Datura, and GROHG, while the former mixes touring acts with local favorites The Vibekillers, S.E. Ward, and Naked Naps. Or, you know, just nap. —Spencer Griffith 22 | 9.5.18 | INDYweek.com

father & son antiques

vintage clothing, records & mid century furnishings

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Open 7 days a week, come see us! Mon-Sat 12-6 and Sun 1-5 fatherandsonraleigh

THE BASEMENT 12:30 A.M.

LINCOLN

NEPTUNES

THE LOVE LANGUAGE

HOLYCHILD

HOPSCOTCH2018 THURSDAY

12:00 A.M. 11:30 P.M.

SLEEP

US GIRLS

MICHAEL RAULT

SHORN SILK

BLANKO BASNET

S.E. WARD

DEEP SOUTH

FLETCHER

WICKED WITCH

WAXAHATCHEE

ANNA ST LOUIS GLENN JONES

THE TOM PETERS THEREMIN ORDER

DEX ROMWEBER

SUN SEEKER

NIGHT SHOP NATHAN BOWLES TRIO

JESSIE AND THE JINX

EVERYTHING IS TERRIBLE!

YAWPERS

JENNIFER CASTLE

BANGZZ ENEMY WAVES

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NASH HALL

HOUSE AND LAND

DAS DRIP

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9:00 P.M. 8:30 P.M.

DEAF WISH

ERICA ESO GROHG

2018

CRIS JACOBS BAND

HATCHIE SKELETONWITCH

POUR HOUSE

T

WARM BODIES

KILBOURNE

10:00 P.M. 9:30 P.M.

SLIM'S

LEE RANALDO

11:00 P.M. 10:30 P.M.

KINGS

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OF

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SPACEHEATER

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CITY PLAZA H.C. MCENTIRE 5:50 P.M. REAL ESTATE 7:15 P.M. THE FLAMING LIPS 8:45 P.M.

INDYweek.com | 9.5.18 | 23

THE BASEMENT 12:30 A.M.

THE REVOLUTION

HOPSCOTCH2018 FRIDAY

12:00 A.M. 11:30 P.M.

MHYSA

BREATHERS

NOSEBLEED

SWEARIN'

NASH HALL

ESCAPE-ISM MOLLY BURCH

SPIRIT OF THE BEEHIVE

PATOIS COUNSELORS

OMNI CIRCUIT DES YEUX BLUEBERRY DRAG SOUNDS

IT LOOKS SAD

WICKED WITCH

BODY/HEAD

LOMELDA

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FLETCHER

JULIE BYRNE PAINT FUMES

GOWN

YOUNG BULL

DEEP SOUTH

SHOPPING

CHARNEL GROUND

LIGHTNING BORN

VACANT COMPANY

POUR HOUSE

HAIRCUT

NANCE

CONTOUR

SLIM'S

NO AGE

MONOLORD

9:00 P.M.

KINGS

ARMAND HAMMER

ALLIE X

10:00 P.M. 9:30 P.M.

NEPTUNES

RED FANG

11:00 P.M. 10:30 P.M.

LINCOLN

YAMANTAKA // SONIC TITAN

ELEPHANT MICAH

CAPS REESE MCHENRY & THE SKULK

ROMANTIC STATES

CITY PLAZA MIPSO 5:50 P.M. THUNDERCAT 7:15 P.M. GRIZZLY BEAR 8:45 P.M. RED HAT AMPHITHEATER M8ALLA 5:30 P.M. DVSN 6:40 P.M. MIGUEL 8:00 P.M.

24 | 9.5.18 | INDYweek.com

THE BASEMENT 12:30 A.M.

VIC MENSA

HOPSCOTCH2018 SATURDAY

12:00 A.M. 11:30 P.M.

9:00 P.M.

KINGS

NEGATIVE GEMINI

GANG GANG DANCE

HAILU MERGIA

NASH HALL

DEEP SOUTH

WICKED WITCH

COMBO CHIMBITA

MARY LATTIMORE & MEG BAIRD

STILL CORNERS

ABDU ALI MIND OVER MIRRORS

PALBERTA

YONATAN GAT

SPOOKSTINA

OCEANATOR

RENATA ZEIGUER

W00DY JOE WESTERLUND

DIASPOURA

KARAOKE INDIGO DE SOUZA

8:30 P.M.

FLETCHER

MOANING

CHAD VANGAALEN

ZEPHANIAH OHORA

BLUE CACTUS

DEAKIN

SNEAKS

PAMELA_ AND HER SONS

MISTRESSES

POUR HOUSE

GROUPER

THOOM

ED SCHRADER'S MUSIC BEAT

SLIM'S

OUGHT

SARAH SHOOK AND THE DISARMERS

10:00 P.M. 9:30 P.M.

NEPTUNES

THE JAYHAWKS

11:00 P.M. 10:30 P.M.

LINCOLN

NICOLAY AND THE HOT AT NIGHTS

BEAUTY WORLD

VANITY PLATES

ALEX BROWN 1970S FILM STOCK

FITNESS WOMXN

CITY PLAZA ZACK MEXICO 5:15 P.M. SPEEDY ORTIZ 5:50 P.M. LIZ PHAIR 7:15 P.M. MC50 8:45 P.M.

RED HAT AMPHITHEATER BOULEVARDS 5:30 P.M. MOSES SUMNEY 6:40 P.M. NILE RODGERS & CHIC 8:00 P.M.

COMING THIS FALL: FOXING / Ratboys / Kississippi, HOT SNAKES / Jacuzzi Boys / Dead Pets, FRANKIE COSMOS / Lomelda / Stef Chura, OLD 97’s, PALISADES, BOMBADIL, PETE YORN, ANDREW W.K., SALES, NOTHING / Swirlies, JEFF The Brotherhood, MURDER BY DEATH, FLYNT FLOSSY AND TURQUOISE JEEP, CLOZEE, ODDISEE, TTNG, THIS WILL DESTROY YOU, AMY RAY AND HER BAND / H.C. McEntire, TITUS ANDRONICUS / TED LEO (Solo), VINYL THEATRE, SUPERCHUNK, MAE, LYRICS BORN / BOULEVARDS, (SANDY) ALEX G / Half Waif, SAVES THE DAY / Kevin Devine (solo) / An Horse, VUNDABAR, MAC DEMARCO, MIKE COOLEY of Drive-By Truckers, WHY?, CLOUD NOTHINGS / The Courtneys

723 RIGSBEE AVE • DURHAM, NC • MOTORCOMUSIC.COM INDYweek.com | 9.5.18 | 25

THURSDAY

FRIDAY

BERKELEY CAFE: NOON – 6:00 P.M.

BERKELEY CAFE: 2 P.M. – 6 P.M.

8TH ANNUAL GUITARTOWN HOPSCOTCH DAY PARTY SERIES RACHEL KIEL / CHATHAM RABBITS / HARDWORKER / ANNE-CLAIRE

BOXCAR ARCADE + BAR: NOON – 5:30 P.M.

SORE THUMB HOPSCOTCH DAY PARTY

JEREMY BURNS & JIMMY FLECK / STRAY OWLS / FALINE / DIM DELIGHTS / OCNS / SHE RETURNS FROM WAR / THE AFFECTIONATES / DRAG SOUNDS FOUNDATION BAR: 4 P.M. – 6 P.M.

MERGE’S HOPSCOTCH HAPPY HOUR

CUSTOM MERGE-THEMED COCKTAILS CREATED BY FOUNDATION’S SUPERB STAFF, 2018 RELEASE LISTENING PARTY, PRIZE PACK GIVEAWAY, RSVP ON FACEBOOK IMURJ: NOON – 5 P.M. 2 SLICES / SL0WGL0W / WEIRD GOD / LAIRS / DAVID D’ANGELO

8TH ANNUAL GUITARTOWN HOPSCOTCH DAY PARTY SERIES BILLIE FEATHER / GRACIE LANE / BLUE CACTUS [DUO] / NANTAHALA

BOXCAR ARCADE + BAR: NOON – 5:30 P.M.

SORE THUMB HOPSCOTCH DAY PARTY

HEAVY FOR THE VINTAGE / JPHONO1 / DISTRIBUTED SYSTEMS / CANINE HEART SOUNDS / HARDWORKER / JANXX / M IS WE / 2 SLICES CIRQUE DU VOL: NOON – 5 P.M. FRUIT SNACK / TOOTHSOME / REESE MCHENRY / CASE SENSITIVE / STEVIE CRANK ARM BREWING: NOON – 5 P.M.

CRANK ARM HOPSCOTCH DAY PARTIES

KARBUNCLE / AUTOSPKR / ACID CHAPERONE / SCHOONER

RUBY DELUXE: NOON – 5 P.M.

IMURJ: NOON – 3 P.M.

HOUSE AND LAND / SKYLAR GUDAZ / ZENSOFLY / MOSES SUMNEY

DOMII / LUVELOVES YOU / CRON [DJ SET] / BIGBABYGUCCI

THE PINHOOK PRESENTS: TO THE FRONT / SINCE FOREVER

SCHOOLKID’S RECORDS: 2 P.M. – 5 P.M. HOME ASTRONOMY / SISTER BROTHER / DEAD PETS / YOUTH LEAGUE / JUXTON ROY SLIM’S DOWNTOWN: NOON – 5:30 P.M.

RESONANCY DAY PARTY

CREATE OR DIE

NO ONE MIND / SMOKE BELLOW / NEST EGG / FLASHER

LUNCHBOX HERO / GLOW / LOWBORN / FEVERSTRIKE / OLD SIOUX SUMMER / WRIGLEYVILLE / HEAVENSEND

SATURDAY

NEPTUNE’S PARLOUR: 12:30 P.M. – 5 P.M.

KINGS: NOON – 5:30 P.M.

CHESSA RICH / CHARITY LANE / CAPS / INDIGO DE SOUZA / NEIGHBOR LADY POUR HOUSE MUSIC HALL: 11:30 A.M. – 5 P.M.

LOCAL BAND LOCAL BEER DAY PARTY

GRANDCHILDREN / AMIGO / VACANT COMPANY / LONNIE WALKER / PIE FACE GIRLS

THREE LOBED RECORDS + WXDU PRESENT: ANNUAL RITUAL OF SUMMONING

DANIEL BACHMAN / MARY LATTIMORE & MAC MCCAUGHAN / LONG HOTS / MEG BAIRD / WET TUNA / GROUPER LEGENDS NIGHTCLUB: NOON – 5 P.M.

RUBY DELUXE: 11 A.M. – 5 P.M.

REVIVAL RECORDINGS PRESENTS: REVIVING RALEIGH DAY 1

FRUIT SNACK / SPOOKSTINA / PEACHELOPE / HENBRAIN / POOL BOY SIDEWALK FURNITURE / FISH DAD

THE NIGHT RIDER: NOON – 5:30 P.M.

SEIZE THE STAGE HOPSCOTCH DAY PARTY

ATLANTIC LUNGS / NOAH CROSS / TELLTALE / DOWNHAUL / EARTHER

SCHOOLKID’S RECORDS: 2 P.M. – 5 P.M. FIVE MILE RADIUS / PINKERTON RAID / SOUL SEEKER / RADAR’S CLOWN OF RADIATION / WATER WINGZ

MYSTIC POP-UP

SLIM’S DOWNTOWN: NOON – 5 P.M.

POUR HOUSE MUSIC HALL: NOON – 5:30 P.M.

DE FONTAINE / GARDENER / KNURR AND SPELL / THE DIRTY LITTLE HEATERS / JOSHUA CARPENTER / SUN STUDIES / ERIE CHOIR / SHELLES / HORIZONTAL HOLD / JPHONO1 AND THE CHEVRONS

ARMANI CAESAR / EMILY MUSOLINO / TANGE LOMAX / DL ZENE / IMANI PRESLEY / NUNAFTERHOURS / LENA JACKSON / ALLY J / HASINA

POTLUCK PRESENTS: 5TH ANNUAL ROCK N’ ROLL PIZZA PARTY

26 | 9.5.18 | INDYweek.com

CHARITY LANE / THE BORN AGAINS / RYAN TRAULEY / NEIGHBORLADY / C A.M.P HOWARD / ECHO COURTS

CAROLINA WAVES X K97.5 PRESENT:

OBJECT HOURS / TEGUCIGALPAN / SNEAKS / JOYERO / ERIC BACHMANN / SPEED STICK

THE WICKED WITCH: NOON – 5 P.M.

SPIDER BAGS / DRAG SOUNDS / PIE FACE GIRLS / STEVIE / DAN MELCHIOR / PERSONALITY CULT / HARRISON FORD MUSTANG

DIGGUP TAPES PRESENTS: ORIENTATION IN SPACE XI BIG MOOD HOPSCOTCH DAY PARTY

MERGE RECORDS / OCSC HOPSCOTCH DAY PARTY LEGEND’S NIGHTCLUB: NOON – 4:30 P.M.

PRITHIVI / INA CARINO / SAND PACT / LAUREN HUNTER / ASA / DASAN AHNU / ZENSOFLY / CHOCOLATE RICE

KINGS: NOON – 5 P.M.

KINGS: 12:30 P.M. – 5 P.M.

CHURCHKEY & THE LAYABOUT PRESENT: ¡QUE VIVA! 2018

DEEP SOUTH THE BAR: NOON – 5 P.M.

EMO RALEIGH PRESENTS:

LOST APPEAL AND LIVE NATION CAROLINAS PRESENT: MEMEIFIED

BERKELEY CAFE: 2 P.M. – 6 P.M.

8TH ANNUAL GUITARTOWN HOPSCOTCH DAY PARTY SERIES

HONEY MAGPIE [DUO] / REESE MCHENRY & DAVE BARTHOLOMEW / SARA BELL / LYNN BLAKEY & ECKI HEINS BOXCAR ARCADE + BAR: NOON – 5:30 P.M.

SORE THUMB HOPSCOTCH DAY PARTY

POOR PIE / LINDSAY HOLLER & THE HOLLERETTES / OLD HEAVY HANDS / ECHONEST / OZONE JONES / THE BRONZE AGE / BLUE FREQUENCY / FLASH CAR CRANK ARM BREWING: NOON – 4 P.M. GRAY YOUNG / MICHAEL VM / GHOSTT BLLONDE / JPHONO1 / LACY JAGS DEEP SOUTH THE BAR: NOON – 5 P.M.

CARDIGAN RECORDS PRESENTS:

REVIVAL RECORDINGS PRESENTS: REVIVING RALEIGH DAY 2 BLEED THE DREAM / DODODO / CHARLIE PASO / ALTERAS / JUXTON ROY / OCNS NEPTUNE’S PARLOUR: 12:30 P.M. – 6 P.M.

PERSON STREET BAR: NOON – 6 P.M.

HONKY TONK DAY PARTY

JOHN HOWIE & THE ROSEWOOD BLUFF / DYLAN EARL / BLUE CACTUS / CHATHAM RABBITS / PALE HORSE POUR HOUSE MUSIC HALL: 11:30 A.M. – 5 P.M.

THE POUR HOUSE PRESENTS: BIG ED’S BLOODY BRUNCH + DAY PARTY

JEANNE JOLLY / SOUTH HILL BANKS / CHARLES MINGUS TRIBUTE PERFORMED BY CHRIS BOERNER & FRIENDS / BOBBY FEENO / BRAD BENSON / KATE RHUDY / ARSON DAILY RUBY DELUXE: 11 A.M. – 5 P.M.

G.O.U.G.E. WRESTLING PARTY

THE GOAT VS. WAYLON MAZE / DESY DES LATTIMORE VS. S A.M.ANTHA STARR / SEYMOUR SNOTT AND SNOOTY FOX VS. NO DIRECTION / JIMMY JACK FUNK JR. VS OTTO SCHWANZ SCHOOLKID’S RECORDS: 1 P.M. – 5 P.M. CASE SENSITIVE / ARSON DAILY / TOOTHSOME / BASEMENT LIFE / S A.M. LEIDIG

CLEVER MEASURES / THE RED IS BLUE / EMPTY / PAPERBACK / PROPERSLEEP / YOUTH LEAGUE / ROOKIE OF THE YEAR

SLIM’S DOWNTOWN: NOON – 6 P.M.

FISH MARKET: NOON – 5 P.M.

ALLY J / JIMMY / BRUXES [SOLO] / PALE SPRING / THE REVOLUTIONARY SWEETHEARTS / GRANDCHILDREN / 6 STRING DRAG / ECHO COURTS / JACK THE RADIO / GULL / THE BACKSLIDERS

MYSTIC POP-UP

JULIAN WATTS / SUNSET PALETTE / MOON RACER / FISH DAD / TIRED FRONTIER

SPAZZ PRESENTS AND JACK THE RADIO PRESENT: SPAZZSCOTCH 2018”

DAY

PARTIES THE WICKED WITCH: NOON – 5 P.M.

WKNC X WXYC DAY PARTY

LOCAL FLORA / MIDCENTURY MODULAR / ESSEX MURO / INDIGO DE SOUZA / CASE SENSITIVE / FITNESS WOMXN

SUNDAY POUR HOUSE MUSIC HALL: 2 P.M. – 9 P.M.

THRASHITORIUM & DEVIL’S TRUMPET DAY AFTER HOPSCOTCH PARTY

ADIPOCERE / GREVES / DATURA / BEDOWYN / GROHG / SUPPRESSIVE FIRE RUBY DELUXE: NOON – 5 P.M.

HOPSCOTCH BARBIE: COOK-OUT & POOL PARTY

TROPICAL VIBES, KIDDIE POOLS, AND GRILLED GRUB BY TINY TOWNSEND FEATURING DJ SETS BY AD A.M. ANTIUM & JESSK SLIM’S DOWNTOWN: NOON – 6 P.M.

SLIM’S PRESENTS: HOPSCOTCH HANGOVER

NAKED NAPS / THE PAUSES / OCEANATOR / S.E. WARD / THE VIBEKILLERS SLIM’S DOWNTOWN: NOON – 6 P.M.

SORRY STATE PRESENTS: HOPSCOTCH HANGOVER AIN’T OVER BANDS TBD

A TWANG GROWS IN BROOKLYN

Zephaniah Ohora is flying the flag for classic country in the boroughs and beyond

BY AMANDA WICKS

HOPSCOTCH2018 it as a form of nostalgia writ large, Ohora and his cohort deftly bring the tender touches of traditional country to contemporary life. His particular ear for the bend and twang that best express heartbreak and hard living have set him apart from the revival’s fray.

Ohora released his debut album, This Highway, last year, and quickly turned heads.

There, he details his grievances about big city living (“I Do Believe I’ve Had Enough”) and delivers tips-of-the-hat to the past (“He Can Have Tomorrow (I’ll Take Yesterday)”). His vocals showcase a romantic candor while his tight-knit backing band’s stylistic sensibilities run the gamut from Western swing to rock-a-billy to the Bakersfield sound.

Ohora may not have gone looking for traditional country music when he was younger, but it eventually found him. He grew up in the church, where he came across numerous genres, but when he heard Merle Haggard for the first time, he was practically dumbstruck. Cut to fifteen years later, and

ZEPHANIAH OHORA

Saturday, Sep. 8, 10 p.m. | Lincoln Theatre

he’s naturally absorbed those influences into his music along with several others. “I loved Jimmie Rodgers, Hank Snow, and Marty Robbins, but really became obsessed with the music of Ray Price,” he told Billboard last year.

As to whether or not the rise of traditional country rings authentic to purists held captive by the past, Ohora believes there’s plenty of room for new voices.

“I think that people get a little hung-up on the throwback sound where they want to hear something modern and fresh, but I think country music is unique in the sense that you can still follow the format, and play it how it was initially meant to be played— especially during the sixties, which was the golden era of it.”

Ohora follows the format of his predecessors, but he doesn't content himself with retreading their path. Instead, he finds imaginative ways to infuse country with a bit of his big city cred. music@indyweek.com

WHAT TO HIT HIP-HOP

Zephaniah Ohora PHOTO COURTESY OF CROSSOVER TOURING

F

orget Texas or Tennessee—deep in the heart of Brooklyn is a growing traditional country scene with a slew of artists excited to pay homage to the past while weaving their own tales through its sound. That’s where singer-songwriter Zephaniah Ohora is based, and where he helps cultivate the scene for the Williamsburg honky-tonk bar Skinny Dennis. Beyond playing three-hour Merle Haggard tributes or integrating songs

from Ray Price and Gram Parsons into his sets, Ohora oversees the venue’s booking and has used the opportunity to help country music flourish far from its roots.

The genre’s resurgence, heard in music from Sturgill Simpson, Margo Price, Ashley Monroe, and others, could be seen as a course correction—a chance to put down the red Solo cups and get back to something more emotionally resonant. But rather than view

Leading the pack of hip-hop at Hopscotch is Vic Mensa, Chicago’s own political superhero.

Labeled a “once in a lifetime artist” by Jay-Z, Mensa has proven his commitment to the culture both on and off the track. His catalog of diverse tracks is what sonically sets him apart from his peers.

Festivalgoers who love Mensa will find that Armand Hammer, two emcees who hail from Brooklyn, are cut from the same sociopolitical cloth. The duo offers a hardcore gritty cadence reminiscent of nineties New York hip-hop that remains fitting for festival vibes. On Friday night, two locals have a chance to shine: Nance at Neptunes and M8alla, who opens for Miguel at Red Hat Amphitheater. Nance presents himself as already famous, and he has the talent to back it up. M8alla, meanwhile, offers an R&B blend of Caribbean-inspired tunes mixed with crisp trap beats. Durham’s Young Bull is another strong local contender. After a modest start at the Durham School of the Arts in 2014, the young ensemble has captivated audiences with their Southern sensibilities, which melds trap and old-school soul influences backed by live instrumentation.

On Friday at The Pour House, the Carolina Waves x K97.5 All Women Hopscotch Day Party, curated by Miriam Tolbert, offers an array of talented women across genres. But the hip-hop standouts are local newcomer NunAfterHours and seasoned rapper Lena Jackson. Jackson is a heavy spitter who shows up prepared to compete with everybody. She attacks the mic in the same manner as a battle rapper—her approach is intentional and, with each new opportunity, she delivers. —Kyesha Jennings INDYweek.com | 9.5.18 | 27

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indyfood

Happy Trails

AUTHOR KATHLEEN PURVIS’S DISTILLING THE SOUTH AND NORTH CAROLINA’S CRAFT DISTILLERIES PROVE YOU DON’T HAVE TO GO FAR FOR WORLD-CLASS BOOZE BY LAYLA KHOURY-HANOLD

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nce you have seen something being made, and you’ve gotten up really close with what the process is, you will never drink it the same way again,” Kathleen Purvis says, speaking about her book, Distilling the South: A Guide to Southern Craft Liquors (UNC Press), which came out in May. Purvis, food editor at the Charlotte Observer, has covered food and drink in her home state of North Carolina since 1989, before any “craft” food or drink was a thing. But in the last decade, she’s seen a pronounced shift in craft spirits across the South, with a surge of independent, local distillers entering the market. It’s why she devoted a book to celebrating them, plotting significant distilleries from eleven states across six regional “liquor trails.” Three Triangle craft distilleries are highlighted on North Carolina’s dedicated trail, including gin- and headline-maker Durham Distillery.

Purvis defines “craft distillery” as one that has a small output and a hands-on operation, and one that is a creative expression of a small group of owners without corporate ownership. And craft liquors, like any locally crafted food or drink, are reflective of a place and a time. There’s never been a deeper local well of craft liquor to enjoy, but it hasn’t always been this way.

North Carolina has a complicated past with booze—as Purvis writes, “Much of North Carolina’s attitude and history was shaped by a strong religious culture on the one hand and a proud, defiant culture of moonshining on the other.”

As a result, N.C. has some of the most stringent liquor laws in the country, and the state regulates most of its alcohol sales through the Alcoholic Beverage Control (ABC) store system. Purvis cites grassroots movements such as 2005’s Pop the Cap, led by Sean Lilly Wilson, founder of Durham’s Fullsteam Brewery, for helping reshape liquor regulations by allowing the sale of beers with up to 10 percent alcohol by volume.

“When that first happened, we thought we were going to see an increase in imports [...] Nobody anticipated what was going to happen with craft beer,” Purvis says.

“But as the counties and municipalities started seeing that there was huge demand and a lot of very successful business to be done with this, you see the state realizing, ‘wait a sec, if we make it easier for people to create these new businesses, this is going to benefit everybody.’”

Along with increased interest and revenue potential, two other factors contributed to the rise in N.C. craft distilling, which began around 2010.

First, the local-food movement—a locally produced food system and local-food conscious consumers—allowed distillers to work directly with local agriculture, such as Scott Maitland of Chapel Hill’s Top of the Hill Distillery (TOPO).

“He’s passionate about keeping our money in North Carolina; he calls it ‘keeping our money sticky,’” Purvis says. “He saw distilling as a way to support N.C. agriculture while keeping what’s being made from the things we grow here in N.C., [so] we keep the money, and we get to use it in our economy.”

Except for its spiced rum, all of TOPO’s spirits are made using locally sourced soft red winter wheat, including the first whiskey made with 100 percent N.C.-grown wheat.

The progress also paved the way for niche businesses such as Durham’s The Brothers

Kathleen Purvis PHOTO BY POPROCKPHOTOGRAPHY Vilgalys Spirits, which makes krupnikas, a Lithuanian spiced-honey liqueur. Owner Rim Vilgalys jokes that his is a “fake distillery,” though it’s common practice for distilleries to buy bulk spirits and re-release it under their own name.

The other factor that led to the craft distilling boom is the 2008 recession.

“I don’t want to sound flip—the economic reset was a horrible thing for many people— but what came out of it over and over again in food was, people who couldn’t get a job doing something else, [people who] had a buyout, or [people who had] the opportunity to change their lives said, ‘I want to spend my life making something,’” Purvis says. “Since 2008 we’ve seen this explosion of people making things that are an expression of themselves and the place they live.”

Durham Distillery is a perfect example.

During the recession, Melissa Katrincic, a former marketing executive, was faced with a buyout and decided to take it. On a road trip driving back to Durham, Katrincic and her husband Lee, a pharmaceutical chemist by trade, brainstormed ideas for a new venture that would marry Melissa’s business savvy with Lee’s chemistry knowledge.

Distillation is a chemical process, requiring careful calibration of temperature and timing to convert liquid to vapor and back to liquid again. And the pair have long been gin fanatics, especially Melissa, who got a taste for it early on when her grandfather let her eat his martini olives. Melissa saw an opportunity to apply Lee’s science knowledge to revolutionize the distillation process in an underrepresented category of Southern-distilled spirits.

“When you think about gins, the American South is a little bit of a different animal in terms of their residents and desire to have gin as part of their liquor cabinet,” Melissa says. “There’s a lot [who] still think of vodka and gin in exclusively different categories.

What we’re trying to do is really elevate what gin is. Gin is just naturally flavored vodka.

The only thing that makes a gin, a gin, versus a vodka, is the juniper berry.”

Melissa’s grandmother, who would often tell her “not to throw a conniption” when she misbehaved, inspired the name of their small-batch gins. Since 2013, they’ve produced Conniption American Dry and Conniption Navy Strength out of their Central Park facility to local and national acclaim.

To keep up with demand, Durham Distillery recently expanded its production space, but Gertrude, a two-hundred-thirty-liter, custom-designed German copper pot still, remains the central fixture and star of the distillery’s weekend tours.

Once Gertrude distills corn ethanol into gin, the base gin is then blended with botanicals which have been individually distilled using a lab-like piece of equipment called a Rotovap. Because the botanicals—a mix of INDYweek.com | 9.5.18 | 29

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Gertrude, Durham Distillery’s custom-built copper pot still PHOTO BY CAITLIN PENNA Albanian and Bulgarian juniper plus nine others—aren’t heated, their flavors and freshness are better preserved.

You may think you don’t like gin—Melissa concedes that many taste “like licking a pine tree”—but Conniption American Dry is a gin for gin-haters.

Sure, the modern techniques and science-y equipment are cool, but tasting is what really changed my mind. Post-tour, we gathered in Durham Distillery’s tasting room where the bar is lined with lab-grade bottles of botanicals. But it’s not just the power of suggestion, in addition to juniper I also detected pronounced notes of coriander and cardamom, and a lilting back note of honeysuckle. It’s also incredibly smooth, making it versatile for cocktails. Kingfisher, a forthcoming Durham craft cocktail bar, is featuring Durham Distillery’s gins at a popup at The Durham’s bar on September 12.

“This area is so ripe to be able to enjoy more gin cocktails. It’s the perfect climate for gin; gin doesn’t necessarily have that seasonality to it that whiskeys do. Gin is really evergreen,” Melissa says. “For me, that’s the fun thing too about being a gin distiller in the American South. Because no one’s taken a foothold and said, we’re the gin of the South.”

Durham Distillery is steadily earning that reputation stateside, winning awards for both its Conniption American Dry, 30 | 9.5.18 | INDYweek.com

considered a contemporary style, and Conniption Navy Strength, a 114-proof gin.

In 2017, it was named a top three distillery in the country by USA Today (this year’s poll hasn’t yet concluded).

The Katrincics have also made international headlines. This past May, Lee and Melissa were inducted into the prestigious London-based Gin Guild, just the fourth and fifth Americans to get sworn in (while holding a juniper berry branch, naturally).

And the brand is growing. Durham Distillery is recreating a sweetened gin called Old Tom and will soon release a barrel-rested gin.

It also produces Damn Fine Liqueurs, crafted with local ingredients from Slingshot Coffee Company and Videri Chocolate Factory.

Durham Distillery also recently launched a line of canned cocktails, a gin and tonic made with Conniption American Dry and a cucumber vodka soda made with its Cold Distilled Cucumber Vodka. You can’t knock the convenience, but we’d rather mix up a G&T and really let the Conniption American Dry’s flavors shine, or try our hand at Melissa’s French 75 in the Garden, a riff on the classic gin-champagne cocktail (get the recipe exclusively at indyweek.com).

It’s the perfect late summer tipple, and a fine way to toast North Carolina’s spirited future. laylakh@indyweek.com

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indyart

PEOPLE GET READY: BUILDING A CONTEMPORARY COLLECTION Sep. 1–Jan. 6 The Nasher Museum of Art, Durham www.nasher.duke.edu

Color Vanguard

IN CONTEMPORARY SHOWCASE PEOPLE GET READY, THE NASHER’S PROGRESSIVE VISION SNAPS INTO BLAZING FOCUS BY BRIAN HOWE

C

reated by Guatemalan artist Dario Escobar, who often turns sporting equipment into beautiful but unusable symbols, the silver surfboard stands more than six feet high. Its knobby floral embossing triggers a vivid memory of the faux-Colonial pewter tea set my grandmother, and quite possibly yours, displayed for decades but never used.

The piece stands alone in the center of a Nasher gallery, its dim reflectiveness slowly drinking in the pictures on the walls around it. This separate but ephemerally connected placement is apt. Escobar’s surfboard is one of just a couple of pieces in People Get Ready—a new exhibit showing off the contemporary collection the museum has amassed in the last twelve years—that was acquired by the old Duke University Museum of Art, an ad hoc space on campus, before Rafael Viñoly’s fancy turtle-shaped building opened in 2005.

But while the piece is an outlier, its implicit critique of colonial rapine is consonant with the contemporary collection that has put The Nasher on the art-world map—a collection strong in overlooked or under-represented artists of the “global South,” especially the African diaspora, and teeming with volatile issues of race and class, place and taste.

The piece’s inclusion also underlines the curatorial acumen of Trevor Schoonmaker, the Nasher’s founding contemporary (and now, chief ) curator, who masterminded the exhibit. It already gets a lot of mileage on the chance to see new acquisitions for the first time. One showstopper is “‘The Beautyful Ones Are Not Yet Born’ Might Not Hold True for Much Longer” by Nigerian-American artist Njideka Akunyili Crosby, which combines gorgeous painting and collage-like photo transfers to visualize the feeling of living in two worlds.

But in carefully choosing and arraying a fraction of The Nasher’s holdings, Schoonmaker incites an already voluble 32 | 9.5.18 | INDYweek.com

Njideka Akunyili Crosby: "'The Beautyful Ones Are Not Yet Born' Might Not Hold True for Much Longer" COURTESY OF THE NASHER collection to speak more eloquently than the sum of its parts. In this regard, viewers will be reminded of his landmark exhibit Southern Accent, from which People Get Ready cops a couple of moves: Jeff Whetstone’s snake-handling video and Jim Roche’s self-portraits in Floridian wilderness face each other again, locked in a quietly rapturous rural-mystic dialogue.

“There’s no real theme driving this, but it should be seen as a snapshot of our approach,” Schoonmaker told the INDY during a tour of the exhibit. Still, he likes echoes and connections to cascade between nearby pieces in his shows—see how Genevieve Gaignard’s Cindy Shermanlike stagings of race and class archetypes reverberate around a preceding work by

Carrie Mae Weems—and so each gallery at least has a valence, if not a theme.

Every piece carries some political payload, but one gallery in particular is ground zero for protest and provocation. Nina Chanel Abney’s towering “Hobson’s Choice,” which she painted during her Nasher exhibit last year (the rising Chicago-born artist’s first solo museum show), lights

Above: Nina Chanel Abney: "Hobson's Choice" Below: Henry Taylor: "Hammons meets a hyena on holiday" COURTESY OF THE NASHER

up the gallery with incandescent graphic design and pugilistic figuration. “Ain’t Gonna Let Nobody Turn Us Around,” Hank Willis Thomas’s Southern Accent standout, is back, using dull mirrors to implicate viewers in charged scenes from the civil rights movement. And Lyle Ashton Harris’s photograph “Brotherhood, Crossroads and Etc.” is a searing time capsule of taboobusting nineties identity politics. Two nude African-American men kiss while one presses a gun to the other’s chest, grounded in the colors of pan-African identity.

“It’s not nearly as alarming today as it was for people to see this on the wall in ninety-four, but it’s still really pertinent to this moment we’re in,” Schoonmaker explains. “Now, thank god, these issues are at the fore. [Harris] and others were presenting this when they weren’t.”

One piece here particularly demonstrates how sharp curation doesn’t just show us art, but teaches us how to read it, which is especially important regarding the abstract and conceptual. In a different setting, this old-fashioned school desk

made of chalkboard erasers might strike us as a beautiful, skillful kitsch object.

But its surroundings prime us to receive Gary Simmons’s ineffable messages about African-American history and erasure. It’s also no accident that Schoonmaker chose it during an era of rampant school shootings.

“We’re based in the American South, so we want to have a strong foothold in our locality, but with themes that connect anywhere in the world,” Schoonmaker says.

The new acquisitions throughout the exhibit are beacons of this strategy, favoring artists who combine sweeping geopolitical vision with profoundly personal, often playful sensibilities.

Yun-Fei Ji’s Bosch-like flood elegy “The Ba-Don Wonder Cannot Believe What He Sees” speaks as much to New Orleans as China. Maria Berrio, a Colombian artist based in New York, beautifully depicts a metaphor for migration in diaphanous handmade paper in “Syzygy,” which she made for Prospect New Orleans last year, a big art-world to-do that Schoonmaker guest-directed. Moroccan artist Mounir Fatni emblazons circular saw blades—tools that both create and destroy—with Arabic script quoting Muhammad and the Quran.

Henry Taylor’s “Hammons meets a hyena on holiday,” painted two years ago, is dense with laugh-cry art-historical references to conceptual artist David Hammons’s seminal snowball-selling performance and Pieter Hugo’s photos of Nigeria’s itinerant “hyena men.” As the beast sidles up to an alarmed-looking Hammons, it’s hard to project anything fair or kind into its big, foamy grin.

And don’t miss Jaune Quick-to-See Smith’s Jasper-Johns-baiting map of the U.S., with each state painted a slightly different shade of white, interspersed with newspaper clips like “By 2030, this country will be brown again.” For The Nasher, the piece breaks collecting ground in Native American contemporary art, a sadly but predictably neglected field that is just receiving its first major exhibit in Crystal Bridges, Arkansas, in October.

If The Nasher’s collection is at the forefront of art’s future, it also doesn’t neglect its past. People Get Ready includes “Portrait of the Artist & a Vacuum,” a missing link in the stylistic formation of Kerry James Marshall, an important painter of African-American life and interrogator of racial stereotypes.

“This painting was unknown because he’d given it to two friends in the early eighties,” Schoonmaker explains. “He hadn’t signed it, and he made the frame himself. It was never photographed or exhibited. To have that missing nugget, the art-historical work that people want to go back to and think

about how he created his aesthetic, it’s great for us as a teaching institution.”

Schoonmaker and The Nasher had an especially close relationship with Barkley L. Hendricks, bringing him renewed mainstream recognition before his death last year.

The influence of the painter’s life-size portraits of African Americans on today’s leading artists is writ large in a gallery where his incredibly textured “Brenda’s Sister, Barbara Jean” is on loan (we’ve seen all the museum’s Hendricks holdings fairly recently). It presides over works by presidential portraitists Kehinde Wiley and Amy Sherald as well as up-and-coming Houston native Robert Pruitt’s “Mama.” With striking draftsmanship in charcoal and conté crayon, Pruitt incarnates a dizzying diasporic constellation in one casually seated figure. Her shirt features one of Hendricks’s most famous paintings, 1969’s “Lawdy Mama.” Her head is covered with a hood referring to Sankore mosque, a fifteenth-century scholarly center in Mali, capped with a Yoruba headdress honoring women. (You can see one like it in the museum’s African gallery.)

But the biggest revelation is easy to miss.

While Hendricks was creating his iconic oils, he was also making intimate works on paper that were hardly seen outside his inner circle until a show by Hendricks’s New York gallerist, Jack Shainman, this year. They’re wonderful: sparely colored, sardonic little arias combining drawing and stamped typography quoting Dragnet and Buddy Miles. Hendricks’s painted figures assert their life force so strongly we almost forget about him, but here, we see his hand at work and his thought at play more directly than ever before.

The title People Get Ready spans the civil-rights-era Curtis Mayfield song and the later reggae hit by Bob Marley, a shorthand for the kind of soulful, contentious global exchange on which The Nasher has built its collection, which spills beyond the bounds of this exhibit. Southern Lens, a complementary show of newer photography, draws you into the historical galleries, where the contemporary has begun a quiet infiltration, carrying the present’s protest into the past.

Fred Wilson’s “Colonial Collection” now subtly comments on the Arts of Africa Gallery. A Wiley balances the pale portraits in the European Gallery. Pedro Lasch mourns in the Art of the Americas gallery. This willingness to confront the exploitative history and problematic structures of historical art is indicative of the bold, unrestful, progressive vision that Schoonmaker, fellow curator Marshall Price, and director Sarah Schroth have steadily pressed forward. bhowe@indyweek.com INDYweek.com | 9.5.18 | 33

9.5–9.12

WHAT TO DO THIS WEEK

TUESDAY, SEPTEMBER 11

AVA LUNA

Worldbuilding isn’t an unusual thing to encounter in music, be it through a band writing its own mythology (see Oasis, The Beach Boys) or concept records from The Who’s Tommy to Jethro Tull’s Thick as a Brick to My Chemical Romance’s The Black Parade Parade. But with the new Moon 2, Ava Luna take their own crack at such architecture with a pop angle, and the results are unequivocally delightful.

Throughout the record, band members trade off on lead vocals, creating a communal feeling atop squiggly electronic arrangements that are at once impressively slick and ingratiatingly danceable. “Mine” feels like a lost cut from Of Montreal’s sweeping Hissing Fauna Fauna, Are You the Destroyer?, while “On Its Side the Fallen Fire” feels like a heady float through space.

The rest of Moon 2 is a wriggly, unusual thrill, like encountering a massive neon light show in the middle of the darkness.

Desert Secretary opens.

—Allison Hussey KINGS, RALEIGH 9 p.m., $10, www.kingsraleigh.com

Ava Luna PHOTO COURTESY OF CROSSOVER TOURING SATURDAY, SEPTEMBER 8

FRIDAY, SEPTEMBER 7

STORIES ON CITIZENSHIP

TAJ MAHAL TRIO

CURRENT ART SPACE & STUDIO, CHAPEL HILL 6 p.m., free, www.currentunc.org

CAROLINA THEATRE, DURHAM 8 p.m., $40–$60, www.carolinatheatre.org

Though their work is essential in the matrix of progressive forces that push back against reactionary powers, nonprofit organizations get less shine for their efforts than, say, a popular musician might get for one social-justice-flavored tweet. Carolina Performing Arts is changing that, at least for one evening, with Stories on Citizenship: A Convening to Connect Campus and Community, a free-with-RSVP event at Current. The kick-off of a 2018-19 season exploring what it means to be a member of the body politic, the event features people from local nonprofits such as The Jackson Center, Community Empowerment Fund, and El Centro Hispano taking the stage to tell the stories of the people they serve in song, oral history, theater, and other forms. UNC students involved in social-justice work will emcee the proceedings, and Vimala Rajendran, who will also speak about activism through food, provides dinner. —Brian Howe

Henry Saint Clair Fredericks—better known as Taj Mahal—has said that his stage name came to him in a dream, but it’s hard to believe that the young guitarist could have dreamed he’d launch a fifty-year career in music with that name. In that time, the multiinstrumental bluesman has endured as a thoughtful interpreter of the genre, incorporating adornment from Africa, the South Pacific, and the Caribbean—so much so that he’s often credited with helping originate the idea of “world music” for Western audiences. A consistent thread that’s run through Taj Mahal’s career has been a focus on community and human connection, and from his wide-ranging collaborations to his live performances, he’s embodied that vision admirably. With drummer Kester Smith and bassist Bill Rich, Taj Mahal stops in Durham in tight trio form. Jontavious Willis, a protégé of Mahal’s in his early twenties, opens. —Allison Hussey

WHAT ELSE SHOULD I DO?

HOPSCOTCH MUSIC FESTIVAL IN DOWNTOWN RALEIGH (P. 17), PEOPLE GET READY AT THE NASHER (P. 32), SHERWOOD: THE ADVENTURES OF ROBIN HOOD AT PLAYMAKERS (P. 42) LARRY WHEELER AT QUAIL RIDGE BOOKS (P. 44), WILD & SCENIC FILM FESTIVAL AT THE CENTURY CENTER (P. 44) ZIMBABWE ARTIST PROJECT AT COMMUNITY CHURCH OF CHAPEL HILL UU (P. 40) 34 | 9.5.18 | INDYweek.com

SUNDAY, SEPTEMBER 9

WILLIAM PAUL THOMAS: ACHROMATOPSIA PANACEA

The color blue teems with different emotional registers. In author Maggie Nelson’s Bluets, for example, the color embodies a seductive fluidity bound up in anxiety and loss—the condition of “feeling blue.” In William Paul Thomas’s new exhibit, running through September after this opening reception, a steely blue edges into subjects’ faces—a reference to cyanosis, the discoloration that results from oxygen deprivation, a metaphor for the disenfranchisement of African Americans under white supremacy. Thomas, who moved to North Carolina to earn a fine-art degree at UNC-Chapel Hill, is now a visiting professor at Duke University. His work is primarily portraiture, and his oil paintings of men are squared so closely on their faces that you can almost feel their breath. This urgent intimacy is furthered by the fact that most of Thomas’s subjects are friends or community members. His portraits are literally disembodied, but the effect is one of full embodiment: that which is seen, recognized, and carefully evoked. —Sarah Edwards HORACE WILLIAMS HOUSE, CHAPEL HILL 2–4 p.m., free, www.preservationchapelhill.org

“Lindsay’s Friend” by William Paul Thomas PHOTO COURTESY OF PRESERVATION CHAPEL HILL

INDYweek.com | 9.5.18 | 35

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36 | 9.5.18 | INDYweek.com

11/9 TYLER RAMSEY ($15)

10/20 GLORIETTA (DAVID RAMIREZ, NOAH GUNDERSEN, MATTHEW LOGAN VASQUEZ, KELSEY WILSON, ADRIAN QUESADA, JASON ROBERT BLUM)

11/5 PAYLAYE ROYALE W/ BONES, DEAD POSEY

11/10 RIVER WHYLESS W/TAKENOBU ($14/$16)

11/8 BAD BAD HATS

9/9 SLOAN ($22/$25)

9/18 LVL UP W/ YOWLER, INDIGO DE SOUZA

11/4 POLYPHIA W/HAIL THE SUN, COVET ($17/$21)

11/1 NICKI BLUHM W/ GILL LANDRY ($16)

11/7 KWEKU COLLINS W/JOSEPH CHILLIAMS ($12/$15)

9/8 TIM BARRY W/ROGER HARVEY AND JULIE KARR

9/17 WAR ON WOMEN W/ HIRS COLLECTIVE AND COSMIC PUNK

11/3 EMMURE & STICK TO YOUR GUNS ($22/$25)

10/30 ADULT MOM W/DEREK TED ($10/$12)

9/7 DRAG QUEENS ARE COMING

10/16 WILD NOTHING W/ MEN I TRUST

11/1 CURSIVE W/MEAT WAVE, CAMPDOGZZ

10/28 LEMURIA W/ BETHLEHEM STEEL ( $15)

11/5 KING BUFFALO (ON SALE SEPT. 7)

10/15 BOB MOSES W/ MANSIONAIR

10/30 & 10/31 HIPPO CAMPUS W/THE DISTRICTS

10/27 DRIFTWOOD ($14 /$17)

11/3 MAX FROST ($15/$17)

9/16 GABE DIXON

10/27 ROKY ERICKSON W/ WHITE MYSTERY, BAT FANGS ($25/ $28)

10/24 MIKE MATTISON AND SCRAPOMATIC ($15/$20)

9/6 MELODIME W/ YOUNG MISTER (SOLO) AND TROY BATEY ($12/$14)

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

11/2 GHOSTLAND OBSERVATORY W/ GIBBZ ($25/$27)

FRI 9/14

2/1/2019 JOYCE MANOR/JEFF ROSENSTOCK W/REMEMBER SPORTS

9/15 MARK HOSLER (NEGATIVLAND) / AV GEEKS

10/26 ONE FOR DUANE V -- IDLEWILD SOUTH'S ANNUAL TRIBUTE TO THE MUSIC AND LIFE OF DUANE ALLMAN.

HOT SNAKES

12/18 2ND ANNUAL HORTON’S HOLIDAY HAYRIDE: REVEREND HORTON HEAT, JUNIOR BROWN, BLASTERS, BIG SANDY

10/13 DIALI CISSOHKO & KAIRA BA W/ SHANA TUCKER ($10/$12)

10/25 WIZARD FEST

WED 9/12

10/23 WIND + THE WAVE

12/1 AMINE W/ BUDDY ($27/$30)

10/5 COSMIC CHARLIE ($12/$15)

THU 9/6

10/21 KIKAGAKU MOYO ($12/$14)

9/15 DEAD SARA W/ WELLES

10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22)

SAT 9/8

10/20 WILDERADO AND SURE SURE ($15)

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

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

FRI 9/7

11/16 ATMOSPHERE W/ DEM ATLAS, THE LIONESS, DJ KEEZY ($25/$28)

SLOAN

11/28 HANDS LIKE HOUSES W/EMAROSA, DEVOUR THE DAY, YOUNG LIONS ($17/$20)

9/27 CAAMP W/ ONA ($14/ $16)

WHO’S BAD / Trae Pierce & the T-Stones FOXING / Ratboys / Kississippi The Lo$t Generation presents Carnivale Du Freak with acts Spaceman Stuu / Stephen Jailon / Steezie / Buddha MAIMOUNA YOUSSEF / The jonDoe HOT SNAKES / Jacuzzi Boys / Dead Pets FRANKIE COSMOS / Lomelda / Stef Chura Periodic Tables: Everybody’s human: Looking at Star Trek through an evolutionary lens REBIRTH BRASS BAND / Aztec Sun OLD 97’s / Reese McHenry Band Cat’s Cradle Presents BOMBADIL / Chris Frisina An Evening with Pete Yorn You & Me (Solo Acoustic Tour) Cat’s Cradle Presents ANDREW W.K. SALES Art of Cool Fest with Dwele Crank It Loud Presents NOTHING Swirlies / Big BIte / Smut JEFF The Brotherhood / Caseymagic THE WUSSES with KB-50 Crank It Loud Presents DARK TRANQUILLITY, Amorphis, Moonspell, Omnium Gatherum MURDER BY DEATH NEGUINHO DA BEIJA-FLOR Bob Nocek Presents MATTHEW PERRYMAN JONES CLOZEE / Frameworks / Living Light Duke Performances Presents ODDISEE Crank It Loud Presents TTNG: Animals 10th Anniversary Tour

WITH STRING QUARTET

SU 9/9 @ CAT’S CRADLE BACK ROOM

9/8 OHGR W/ OMNIFLUX, LEAD INTO GOLD

9/ 26 THE GROWLERS’ BEACH GOTH TOUR 2018 ($25/$30)

THU 9/6

FIVE FOR FIGHTING

9/19 WILD RIVERS ($10/$12)

9/26 LOW CUT CONNIE W/ RUBY BOOTS ($15) 9/27 THE VELDT, THE MYSTERY PLAN, LEISURE MCCORKLE 9/28 JOSHUA HEDLEY W/CALE TYSON ($15)

11/11 BAILEN ($10/$12) 11/14 HIRIE ($14/$16) 11/17 TALL HEIGHTS W/FRANCES CONE AND OLD SEA BRIGADE ($13/$15) 11/20 MOUSE ON THE KEYS / TERA MELOS W/DUMB WAITER ($17/$21) 11/30 GABRIEL KAHANE ARTSCENTER (CARRBORO) 9/15 FIVE FOR FIGHTING WITH STRING QUARTET ($49.50/ 53) 10/20 POKEY LAFARGE (SOLO) W/ THE WATSON TWINS MEMORIAL HALL (UNC-CH) 9/14 NEKO CASE W/ THAO (OF THE GET DOWN STAY DOWN) CAROLINA THEATRE (DUR) 11/16 HISS GOLDEN MESSENGER 12/14 DELTA RAE DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ SOLD FARE THEE WELL TOUR OUT MOTORCO (DUR) 9/22 BOMBADIL W/ CHRIS FRISINA ($12/$15) 9/26 ANDREW WK ($20/$24)

9/29 ERIC BACHMANN (FREE SHOW / CMF KICKOFF)

10/23THIS WILL DESTROY YOU($15)

9/30 CMF HIP HOP SHOWCASE HOSTED BY SKYBLEW

10/24 AMY RAY AND HER BAND W/ H.C. MCENTIRE ($20)

10/2 ARSON DAILY, LAIRS AND REESE MCHENRY ($5/$7)

11/17 SAVES THE DAY W/KEVIN DEVINE (SOLO ACOUSTIC) KINGS (R AL) 9/14 ELEANOR FRIEDBERGER W/ PILL THE RITZ (RAL)

10/3 EMILY KINNEY W/PAUL MCDONALD 10/4 SAM BAKER ($15/$17) 10/5STOP LIGHT OBSERVATIONS W/ LOCALFLORA($10/$12) 10/6 ELECTRIC SIX 10/9 PARTICLE ($15) 10/11 THE ARTISANALS W/ THE HIGH DIVERS 10/12 THE VEGABONDS W/ KENDALL STREET COMPANY ($10/ $15 FOR TWO-PACK) 10/14 EDDIE REYES EMO NIGHT 10/15 MIKE YUNG 10/16 MIKAELA DAVIS ($12/ $14) 10/18 SARAH SHOOK & THE DISARMERS DOCUMENTARY SCREENING & LIVE PERFORMANCE ($15)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

9/16 SHAKEY GRAVES W/KATE RHUDY HAW RIVER BALLROOM 11/3 THE LEMON TWIGS 11/5 GUSTER 11/8 LANGHORNE SLIM & THE LOST AT LAST BAND ($18/$20) 11/30 MOUNTAIN GOATS W/DEAD RIDER

12/1 MOUNTAIN GOATS W/DEAD RIDER RALEIGH LITTLE THEATER 9/15 THE CONNELLS W/ DILLON FENCE AND THE MAYFLIES USA 3:30 DOOR/ 4 PM SHOW ($20/$25)

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

music 9.5–9.12

SAT, SEP 8 THE ARTSCENTER: Black Umfolosi; 8 p.m., $19.

BEYÙ CAFFÈ:

Cecily Alexa Bumbray [$14/7 & 9 P.M.]

Cecily Alexa Bumbray augments her neo-soul compositions with a healthy plethora of sounds, from pattering percussion to gliding flute and even the occasional atmospheric ocean noise. But at the center is her most potent tool, a substantive voice that both skates over and grounds the dreamy arrangements.

Bumbray puts faith in “the power that comes from vulnerability,” and she walks this belief with the utilization of her sweet but confident performance style.

—Josephine McRobbie CAFFE DRIADE: Mark Gabriel Little; 8 p.m.

HOPSCOTCH MUSIC FESTIVAL 9.6–9.8 See our coverage, schedule, and picks beginning on page 17.

Thundercat p. 17 What to Hit: Art p. 18 Lomelda p. 19

CAT’S CRADLE:

Saintseneca is at The Pinhook Monday.

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

THE CAVE: Tegucigalpan, Server, Lassyu; 9 p.m., $5 Suggested donation.

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

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

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

THU, SEP 6 2ND WIND: 2 fer; 7:30-9 p.m.

What to Hit: Electronic p. 20

THE ARTSCENTER: PopUp Chorus; 7 p.m., $8–$13.

Speedy Ortiz p. 21

BLUE NOTE GRILL: Nash Street Ramblers; 7-9 p.m.

CAT’S CRADLE (BACK ROOM): Melodime, Young Mister; 8 p.m., $12–$14.

What to Hit: Day Parties p. 22 Hopscotch Schedule p. 23

CAROLINA THEATRE:

Day Parties Schedule p. 26

Chris Isaak

Zephaniah Ohora p. 27

If your main exposure to Chris Isaak was the reverbdrenched 1991 hit “Wicked Game,” you’d be surprised

What to Hit: Hip-Hop p. 27

[$65–$85/8 P.M.]

OhGr, Lead Into Gold

PHOTO BY NICK FANCHER

to hear all the rockabilly greaser grime in his output, a domesticated take on the Cramps’ signature sound.

While he hasn’t done much of note musically since the early aughts—he was last spotted as a judge on The X Factor Australia—he put out a new album in 2015 that he’s apparently still touring.

—Dan Ruccia THE CAVE: Fun Isn’t Fair, Post Hunk, Black Bouquet, Cult Classics; 9 p.m., $10 Suggested donation.

LOCAL 506: Pain in the Yeahs, Roseclouds; 9 p.m., $8.

MOTORCO: Who’s Bad, Trae Pierce & The T-Stones; 9 p.m., $19–$33.

NCSU’S STEWART THEATRE: The Quadrivium Project; 8 p.m., $8–$15.

POUR HOUSE: Local Band Local Beer: Hopscotch Day Party; 12-5:30 p.m., free.

RUBY DELUXE: Seize The Stage Hopscotch Day Party; 11 a.m.-5 p.m., free.

FRI, SEP 7 2ND WIND: Butter; 10 p.m.

618 BISTRO: Randy Reed; 7-9:30 p.m.

ARCANA: Super Secret Dance Party: DJ Forge, DJ Rang; 10 p.m.-2 a.m., $7.

THE ARTSCENTER:

Orange County Living Wage Benefit [$25/7:30 P.M.]

Orange County Living Wage is a nonprofit that supports and encourages workplaces aiming to pay employees the 2018 living wage of $13.70, espousing the benefits of such investments to workers, owners, and the greater community. This fundraiser features a performance by Katharine Whalen’s Jazz Squad, just one of many projects fronted by the ex-Squirrel Nut Zippers’ powerhouse. Expect an upbeat and pleasant evening in support of a serious cause. The Onyx Club Boys Duo open.

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

CAT’S CRADLE: Sayr, Illanthropy; 9 p.m., $17–$20.

THE CAVE: Zoltar’s Fortune, Rude Dude and the Creek-Freaks; 9 p.m., $5 Suggested donation.

LOCAL 506: People of Earth, Greyscale Whale; 9 p.m., $7. Sam Burchfield; 9 p.m., $10.

THE MAYWOOD: Through All This Time, Abstract Manner, Attracting the Fall; 9 p.m., $8.

MOTORCO:

Foxing

[$15/8 P.M.] One of the most successful bands to come out of St. Louis in recent memory, Foxing was already a leading group in the revival of late-nineties emorock before they got together with former Death Cab For Cutie guitarist Chris Walla. He produced the band’s new album, Nearer My God, and the end product is stellar art-rock that will make emo kids go crazy at music festivals, and perhaps find a much broader audience along the way. Ratboys and Kississippi open. —Howard Hardee POUR HOUSE: Carolina Waves x K97.5 All Women Hopscotch Day Party; 11:30 a.m.-5 p.m., free.

RUBY DELUXE: Pinhook Presents: To The Front / Since 4eva Hopscotch Day Party; 11 a.m.-5 p.m., free.

SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$20.

[$25–$30/8 P.M.]

This moody electro-industrial bill is laden with various influential characters from the history of industrial music. OhGr is Kevin Oglive, founding member of industrial icons Skinny Puppy, doing his mall-gloom synthrock side project with fellow SP member Mark Walk. Lead into Gold is former Ministry member and Revolting Cocks collaborator Paul Barker, who traces equally morose territory. This one is probably best left to heads, but if you want an impromptu goth dance night, you could do worse. With Omniflux.

—David Ford Smith CAT’S CRADLE (BACK ROOM): Tim Barry, Roger Harvey, Julie Karr; 8 p.m., $12–$15.

THE CAVE: Hectorina, Purple Skies, JPhono1; 9 p.m., $5 Suggested donation.

DURTY BULL BREWING COMPANY: Ari Pappalardo; 4 p.m.

MAYO LAKE AMPHITHEATER: Pickin’ by the Lake: Lonesome River Band, The Malpass Brothers, Flatt Lonesome, Charlie Oakley & Blazin Grass, Drive Time; 1 p.m., $30, 12 and under free.

INDYweek.com | 9.5.18 | 37

THE MAYWOOD:

Fear the Indifference [$10/8:30 P.M.]

Former Supreme Court Justice Potter Stewart’s oftquoted observation about pornography, “I know it when I see it,” can also be applied to recognizing local metalcore lineups. This EP release show for Raleigh metalcore outfit Fear The Indifference also includes Krosis, Constellation Atlas, Gautama, and Our Savior Remains.

—David Ford Smith

THE BENNYS NASH STREET RAMBLERS DUKE STREET DOGS FR 9/7 JONATHON LONG SA 9/8 THE BACKBEAT SU 9/9 COSMIC COUNTRY BAND THIS TURECYCLE 9/11 TUESDAY BLUES JAM WITH CLARK STERN

[$22–$25/8 P.M.]

LOCAL 506: Tilian, Royal Coda, Sunsleep; 6:30 p.m., $15–$17.

MOTORCO:

Maimouna Youssef [$15–$20/8 P.M.]

Maimouna Youssef, also known as Mumu Fresh, straddles and integrates worlds. She is both a pristine and soulful singer and a precise and intense rapper.

Her work includes excavations into her Native American and African American heritage that showcases bridges and shared histories. In “Say My Name,” she navigates social themes and musical ancestry, with a charming doo-wop musical bed cushioning pointed questions surrounding police violence. The result is sublime and heartbreaking. With DJ Dummy and TheJondoe.

—Josephine McRobbie

Love ? y d n i e h t

7P 7P 6-8P 9P $12 8PM $8 5-7P

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

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

RUBY DELUXE: G.O.U.G.E. Wrestling RUBYMANIA Hopscotch Day Party; 11 a.m.-5 p.m., free.

TH 9/6

Sloan

UNVINED: Angela Bingham; 7:3010:30 p.m.

POUR HOUSE: Empire Hopscotch Day Party & Big Ed’s Bloody Brunch; 11 a.m.-5 p.m., free.

WE 9/5

CAT’S CRADLE BACK ROOM:

SHARP NINE GALLERY: Jason Foureman/Stephen Anderson Duo; 8 p.m., $10–$20.

NCSU’S STEWART THEATRE: The Quadrivium Project; 8 p.m., $8–$15.

PHOTO COURTESY OF THE CODA AGENCY

DUKE’S NELSON MUSIC ROOM: Romantic Highs: Sandra Cotton, mezzo-soprano & Catherine Hamner, piano; 2 p.m., free.

The decades-long career of Canadian power-pop band Sloan certainly hasn’t lacked ambition. The group has tackled multi-part suites and complex vocal arrangements across twelve studio albums, using a democratic songwriting process to highlight each band member’s talents. But somehow they’ve always sounded punctual and potent, rarely wasting their breath even on sprawling epics like the thirty-track double album Never Hear the End of It, which the band released in 2006.

Sloan sounds tight live as well: It’s all about soaring choruses, big guitar riffs, and loud-as-shit drums—not to mention the band’s generally affable onstage demeanor.

—Howard Hardee

MOTORCO: Carnivale Du Freak: Spaceman Stuu, Stephen Jailon, Steezie, Buddha; 8 p.m., $10–$15.

Hovvdy stops at The Pinhook Monday night.

SUN, SEP 9

FR 9/7 SA 9/8 FR 9/14 SA 9/15 FR 9/21 SA 9/22 TU 9/25

Jim Ketch Swingtet Jason Foureman w/Stephen Anderson Duo Brandon Mitchell: A Tribute to the Modern Jazz Quartet Angela Bingham w/Scott Sawyer, Ron Brendle Zen Poets CD Release “For the Love of Big Band” w/Lenora Helm Hammonds NCJRO

Adult, Youth, & Private Classes available!

4608 Industry Lane, Unit L • Durham, NC 27713

(919) 486-JAZZ (5299) www.durhamjazzworkshop.org

e Support th businesses that ... support us

S hop local!

Present this coupon for

Member Admission Price (Not Valid for Special Events, expires 01-19)

919-6-TEASER for directions and information

www.teasersmensclub.com 156 Ramseur St. Durham, NC

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

TeasersMensClub

@TeasersDurham

Price

1-19)

THE PINHOOK:

Hovvdy

[$10–$12/8 P.M.] What do you get when two drummers hook up and start making soft, heartachy music?

Hovvdy is what. Now that they’ve formed the indie rock duo out of Austin, Texas, Charlie Martin and Will Taylor both assume guitar and synthesizer duties as needed and sing through a warm, lo-fi haze that makes the lyrics difficult to distinguish. But it doesn’t really matter: The yearning in Hovvdy’s music is unmistakable, and it’s sure to push your nostalgia button.

Alfred opens. —Howard Hardee POUR HOUSE: Devil’s Trumpet & Thrashitorium Day After Hopscotch Party; 2-9 p.m., free.

RUBY DELUXE: Hopscotch Barbie + Pool Party; 12-6 p.m., $3.

STEEL STRING BREWERY:

Michael Daughtry and the Drift [DONATIONS/4 P.M.]

Not to be confused with American Idol finalist and fellow North Carolina native Chris Daughtry, Fayetteville trio Michael Daughtry and the Drift deal in jangly Southern pop-rock that likely would’ve found them on the same circuit as Hootie & The Blowfish a couple decades ago, though the band’s lightly funky rhythms earn easier comparisons to Hobex. A songwriting veteran, Daughtry’s penned a boatload of earnest, melodic originals that typically mine the wellworn topics of life and love.

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

MON, SEP 10 THE CAVE: Thomas Anderson; 9 p.m., $5 Suggested donation.

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

LOCAL 506:

The Goddamn Gallows, Birdcloud [$15–$18/9 P.M.]

For those who prefer a heavy dose of theatricality with their country, this Monday m night show offers a doublersDurham whammy. The Goddamn Gallows, a scrappy and

enthusiastic crew of former buskers, play metal riffs with carnival-style accordion and speedy banjo. Birdcloud uses country tropes to lampoon racists, pill-poppers, Jesus freaks, and other southern stereotypes. Satire is a delicate art, and the group does not always succeed in punching up. Their fanbase is rabid, detractors equally passionate.

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

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

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

TUE, SEP 11 ARCANA:

Klimchak, 80 Pound Test [DONATIONS/8 P.M.]

Esoteric electronic sounds abound at this night of homespun synth and percussion. Sound journeyman Klimchak feels his way towards the stranger ripples of genre via a number of odd instruments, which have previously included objects like sheet metal.

Retro-futurist 80 Pound Test leans a bit more straightforward, crafting quirky eighties-indebted synth drift with enough texture and movement to keep things propulsive.

—David Ford Smith CAT’S CRADLE (BACK ROOM): Remo Drive, Field Medic, Prince Daddy & the Hyena; 8 p.m., $13–$15.

THE CAVE: Rose Thomas Bannister and the Filthy Unbelievers, Elvis Division; 9 p.m., $5 Suggested donation.

Hot Snakes stop at Motorco Tuesday night.

PHOTO COURTESY OF THE ARTIST

POUR HOUSE:

WED, SEP 12

[$10/8 P.M.]

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

Love & Valor Love & Valor headlines this packed bill with mellow acoustic tunes reminiscent of The Lone Bellow and Vance Joy, gracing tender ballads and gentle toe-tappers with soft harmonies. Fellow Burlington act Julius Tunstall seamlessly incorporates bits of doo-wop, hip-hop, and funk into futuristic R&B that’s smooth and sultry, while adventurous Atlanta trio MammaBear explores fertile, hook-laden territory with psych-tinged power-pop and scruffy garage rock tunes.

Greensboro singer-songwriter Grey Oakes joins.

—Spencer Griffith

THE CAVE: The Basic Unit; 8 p.m., $5 Suggested donation.

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

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

LOCAL 506: Spendtime Palace, The Brazen Youth, Green Aisles; 9 p.m., $8–$10.

MOTORCO:

Hot Snakes

[$20–$25/8:30 P.M.] When Hot Snakes dissolved after the tour for 2005’s Audit In Progress, most everyone

assumed that was the last of it from the band. Frontmen John Reis and Rick Froberg went on to form Night Marchers and Obits, respectively, neither of which really captured the immediacy and blistering pace of Hot Snakes, but were close enough to keep everyone satiated. Then came the one-off reunions through the early 2010s, everyone hoping that one would take. At last, it did: Hot Snakes’ Jericho Sirens arrived in March 2018, pushing what they’ve done even further without shedding its core values of speedy tempos and unabating riffs. Plus Jacuzzi Boys and Dead Pets.

—Christopher Williams POUR HOUSE: Exmag, Modern Measure; 8 p.m., $15.

THE RITZ:

Lil Baby [$30/8 P.M.]

Mumble rap’s latest craze out of Atlanta, Lil Baby only started rapping a year ago but has already hit the Billboard 200 charts this summer with his album Harder Than Ever. He skyrocketed to fame this summer on the heels of his smash single “Yes Indeed,” featuring Drake, whose contribution lent credibility to Lil Baby’s low aptitude for actual songwriting. However, he’s backed up by Atlanta’s most energetic producers, which gives his songs undeniable danceability.

—Charles Morse

THE PINHOOK:

Saintseneca [$10–$12/9 P.M.]

Columbus, Ohio’s Saintseneca features the nasal, lilting vocals of former teenage preacher Zac Little front-andcenter. On ramshackle tracks like single “Ladder to the Sun” (off new album Pillar of Na), the band pretty much sounds like the Violent Femmes; on others, the sound is rooted in ancient folk melodies but given a futuristic rock polish. In both cases, the vocal hooks are liable to get stuck in your head.

Black Belt Eagle Scout opens.

—Howard Hardee

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM INDYweek.com | 9.5.18 | 39

art

9.5–9.12

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

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

SPECIAL Janks Archive: EVENT Research Triangle: Jerstin Crosby, Ben Kinsley, and Jessica Langley. Sep 7-Oct 6.

Reception: Fri, Sep 7, 6-9 p.m.

Lump, Raleigh. lumpprojects.org.

Local Color Redux: Artist reception with Lori White.

Fri, Sep 7, 6 p.m. Local Color Gallery, Raleigh. localcoloraleigh.com.

SPECIAL Chelsea Raflo and EVENT Summer Rezeli: Regional Emerging Artist Residency exhibit. Sep 8-29.

Reception: Fri, Sep 7, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.

Seeing Music: Folk art assemblages by Sleepy Tom. Fri, Sep 7, 7-10 p.m. Crafty Beer Shop, Raleigh.

SPECIAL Seems Like Home: EVENT Raleigh landmarks and landscapes. Sep 8-29.

Reception: Fri, Sep 7, 6-9 p.m.

V L Rees Gallery, Raleigh. vlrees.com.

SPECIAL Strange New World: EVENT Large-scale paintings by Jennifer Davis. Sep 8-Oct 27. Reception: Fri, Sep 7, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.

ONGOING

The Art of Travel: Pastel Paintings from the Estate of Elsie Dinsmore Popkin: Paintings

by Elsie Dinsmore Popkin. Thru Oct 17. Gallery C, Raleigh. www.galleryc.net.

SATURDAY, SEPTEMBER 8–SUNDAY, OCTOBER 28

ZIMBABWE ARTIST PROJECT

The Community Church of Chapel Hill Unitarian Universalist has hosted a variety of arts programming, including comedy by Cheryl Wheeler and folk music by the Kruger Brothers. This fall, it features original paintings and fabric art, mostly by female artists, who live in Weya, a town in Zimbabwe’s Makoni North district. The Zimbabwe Artist Project celebrates and supports the talent of these women—whose income from agriculture can be unreliable, and who often support whole households—by buying art from them directly to exhibit and resell in the U.S. Textiles are integral to Zimbabwe’s culture, and tapestry is a medium of meticulous visual storytelling; the works on display and for sale until Oct. 28 run in a variety of sizes and feature dynamic, richly colored, detailed stories of community life in Weya. —Sarah Edwards

COMMUNITY CHURCH OF CHAPEL HILL UU, CHAPEL HILL Various times, free, www.c3huu.org

An uncredited work from the Zimbabwe Artist Project PHOTO COURTESY OF COMMUNITY CHURCH OF CHAPEL HILL UU

40 | 9.5.18 | INDYweek.com

OPENING SPECIAL Achromatopsia EVENT Panacea: Paintings

by William Paul Thomas. Sep 6-30. Reception: Sun, Sep 9, 2-4 p.m. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

The Bazaar Craft & Art Market: Handmade crafts by more than thirty local makers.

Food from Merry Franksters, Baozi, Thai Box Zing Catering, Yee Haw Doughnuts, Bull City Ciderworks, Mystery Brewing,

Boro Beverage, and Carrboro Coffee Roasters. Sun, Sep 9, noon-5 p.m. Carrboro Town Commons, Carrboro.

Fast Fashion Fiasco: The High Price of Cheap: Joyce Watkins King. Thru Oct 2. Meredith College: Gaddy-Hamrick Art Center, Raleigh. meredith.edu.

SPECIAL Food of the Gods: EVENT New York photographer Lydia McCarthy.

Sep 7-Oct 27. Artist talk: Sat, Sep 8, noon. Artspace, Raleigh. www.artspacenc.org.

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

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

because of concerns about safety, The Village Subway— aka the Raleigh Underground— roiled with nightclubs such as The Frog and Nightgown and The Pier, where Sonic Youth recorded the cover of “I Wanna Be Your Dog” that appears on Confusion Is Sex. This rich history, mostly lost beyond some hazily remembered blogs, is the subject of a new exhibit at The City of Raleigh Museum, which runs through January after a sold-out, wait-listed reception with photographer Chris Seward.

His dynamic black-and-white photos from the scene capture now-famous names and local, proto-indie-rock bands such as The Fabulous Knobs and Arrogance in their primes.

More than two hundred photos are featured in the exhibit, along with flyers, videos, and other artifacts. Thru Jan 31.

Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

—Brian Howe Celebration of Colored Pencil: Featuring local members of

the Colored Pencil Society of America. Thru Sep 25. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

ColorFull: Paintings by Chris Graebner and Lolette Guthrie, blown glass by Pringle Teetor.

Thru Sep 23. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Existential Distress: Drawings

by Jessica Burke. Thru Sep 16.

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

Expressions of Life: Jenny Jones B, Amy Gardner Dean, and Hello Pottery. Thru Sep 20.

Litmus Gallery, Raleigh. www.litmusgallery.com.

SPECIAL Fall Corridor EVENT Exhibition: Artspace members Jason Bryant, Ryan Fox, Trish Klenow, Frank Kreacic, and Susie Silver. Thru Oct 27.

Reception: Fri, Sep 7, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.

Hotel Theory: Around the time he stepped away from his twenty-year tenure

as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life.

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

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Journey: New Paintings and Assemblages: Lisa Creed.

Thru Sep 27. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

Louisiana Trail Riders: Jeremiah Ariaz’s photographs of African-American trailriding clubs in Louisiana. Thru Sep 22. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

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

Reflections of Elegance: Kenneth Paul Block & the Masters of Fashion Illustration: Original works by fashion illustrator Kenneth Paul Block. Thru Oct 20.

Alamance Arts Council, Graham. artsalamance.com.

LAST Ronan Peterson, CHANCE Peg Bachenheimer, and Paul Hrusosvsky: Though it’s full of abstract forms, what could be more concrete than nature? This quiet paradox beats at the heart of the new triple show at Durham’s Craven Allen Gallery, which runs through September 8 after this opening reception.

But the three formally diverse exhibits become one in the

resonances of their titles and themes. In Layered, FRANK Gallery member artist Peg Bachenheimer shows her imaginative landscapes and abstractions in encaustic wax.

In Fecundity, Ronan Kyle Peterson displays wheel-thrown red earthenware that embraces a “comic-book interpretation of ... the perpetual organic comedy of growth and decay.”

And in Embellished, former Craven Allen director Paul Hrusovsky comes home with a clutch of new paintings, complicated with stencils and silk screens, which portray organic shapes in what the artist calls “a cacophony of excessive adornment.” Thru Sep 8. Craven Allen Gallery, Durham. www.cravenallengallery.com.

—Brian Howe LAST Truth to Power 6: CHANCE Attending Pleiades annual social-justice-themed exhibit has almost become a civic responsibility, as much to acknowledge and support the spirit of protest inherent in the

arts as to see the actual work on the walls. It always provides a reliable core sample of the local political ethos—the left side, anyway—and the gallery becomes a safe space to share emotional reactions to the moment. Now that we’re mired out in the middle of the pit of despair that is the Trump presidency, we should be flocking to share this space with our like-minded neighbors.

The work can be a bit colorful and literal for my taste, but critique is better set aside to listen to the messages of these artists (including Mary Kramerer, Alex Clark, Jenny Blazing, and others), which are sincere. Juried by Nasher’s director, Sarah Schroth. Thru Sep 10. Pleiades Gallery, Durham. pleiadesartdurham.com.

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

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stage

WEDNESDAY, SEPTEMBER 12–SUNDAY, SEPTEMBER 30

SHERWOOD: THE ADVENTURES OF ROBIN HOOD The times are dark. A greedy autocrat has taken power, instituting taxes that favor the wealthy while slowly starving the working class. Indeed, twelfth-century England was no paradise for the non-nobility, as Richard Lionheart waged a disastrous crusade abroad and his corrupt brother John milked the monarchy and his countrymen for all they were worth. Such times call for a hero, and legend still has it that one came forth: Robin of Loxley, friend to the powerless, partisan to the absent king, and sworn enemy of the usurper on the throne and his local henchman, the Sheriff of Nottingham. Playwright Ken Ludwig takes a lighter look at the fabled British champion in his swashbuckling 2017 comedy. Guest artist Joshua David Robinson (Three Sisters) plays the title character. Christine Mirzayan is Maid Marian. Ray Dooley and Jeffrey Blair Cornell are the heavies, Prince John and Sir Guy. Red Clay Rambler Jack Herrick contributes an original score.

—Byron Woods

PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL Various times, $15+, www.playmakersrep.org

Joshua David Robinson and Christine Mirzayan in Sherwood PHOTO COURTESY OF HUTHPHOTO

42 | 9.5.18 | INDYweek.com

OPENING Are You Lonesome Tonight?: Written and performed by Shelby Hahn. Thu, Sep 6, 8 p.m. Alley Twenty Six, Durham. www.alleytwentysix.com. — Fri, Sep 7, 8 p.m. Myers House, Hillsborough. — Sat, Sep 8, 8 p.m. E Franklin St. Post Office, Chapel Hill.

Drag Queens are Coming: Featuring Stomie Daie, Ben Ether, Margaret Snatcher, Dustin Reams, ASA, and DJ Yammy. Hosted by Naomi Dix. $10. Fri, Sep 7, 10 p.m. Cat’s Cradle, Carrboro. www.catscradle.com.

Once: In significant ways, the stage musical adapted from John Carney’s critically acclaimed film is almost an anti-Broadway musical. Its bristling score for an upstart Irish folk band, performed on stage by musicians who double as actors, sets us squarely in a Dublin pub far removed from Tin Pan Alley.

Raw, vulnerable lyrics disclose the emotional sharpness of this story of almosts: an Irish busker who almost gives up his dreams, a diffident Czech pianist who is almost free to love him, a breakthrough album and musical career that almost didn’t happen, and

an almost happily-ever-after ending. Director Tim Seib and musical director Joanna Li helm the Theatre Raleigh production starring Dave Toole and Morgan Parpan. $33$35. Kennedy Theater, Raleigh. dukeenergycenterraleigh.com.

—Byron Woods

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Harry Show: Ages 18+. Potentially risque games improv games with

audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.  In the Heart of the Fire: Even the smallest amount of fire has power; the light from a single candle can be seen from more than a mile and a half away. Paperhand Puppet Intervention’s nineteenth annual large-scale summer pageant is a broadranging view of different aspects of this elemental engine of transformation.

The sequences scripted by cofounders Donovan Zimmerman and Jan Burger include a socially conscious examination of flame’s fundamental dichotomy of creation and destruction, and a colorful, choreographed congress of supernatural fire-based creatures. Dance maker Tommy Noonan builds from an initial quartet of small, dancing flames wearing vivid yellow, orange, and red costumes, gradually joined

by two smiling fire demons that fling sparks from fingers tipped with yellow tendrils of flame. These are joined by a firebird, fire monkeys from Chinese astrology, and the eight puppeteers required to animate a breathtaking, two-story-tall, fire-breathing dragon, which leers down upon the front rows before venturing into them during its serpentine dance. $8-$15. Thru Sep 23.

UNC Campus: Forest Theatre, Chapel Hill. www.paperhand.org.

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

LadyBits Open Mic: Five-minute comedy sets by women. Second Saturdays, 5:30 p.m. The Pinhook, Durham. www.thepinhook.com.  Sister Act: Raleigh Little Theatre’s production of the Sister Act musical has amazing vocals and show-stopping

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

—Katy Koop

food & drink Chefs for Change: Fundraising dinner series benefitting homeless families. $75.

Mon, Sep 10, 6-9 p.m.

The Rickhouse, Durham. rickhousedurham.com.

Downtown Cary Food & Flea: Locally made goods, antiques, crafts, food, and art. Sun, Sep 9, noon-4 p.m. Fidelity Bank Plaza, Cary. www.dtcfoodandflea.com.

Kingfisher on the Fly: Durham Distillery pop-up.

Wed, Sep 12, 6-9 p.m. The Durham Hotel, Durham. thedurham.com.

Raleigh Greek Festival: Greek food, live music, traditional folk dances. Sponsored by the Holy Trinity Greek Orthodox Church. $3. Fri, Sep 7-Sun, Sep 9. Jim Graham Building, Raleigh. www.ncstatefair.org/ events/calendar.htm.

INDYweek.com | 9.5.18 | 43

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SPECIAL SHOWINGS 2001: A Space Odyssey 4K Restoration: Screening. $12.

Wed, Sep 5, 2:30, 6:30 & 9:30 p.m.; Thu, Sep 6, 7 & 9:30 p.m.

Alamo Drafthouse, Raleigh.

Outgoing North Carolina Museum of Art director Larry Wheeler discusses the museum’s past and future at Quail Ridge Books in Raleigh on Thursday, Sep. 6 at 7 p.m.

READINGS & SIGNINGS The Ethics of Now: Novelist Marlon James in conversation with Duke history professor Adriane Lentz-Smith. Kick-off event of Kenan Institute for Ethics discussion series “The Ethics of Now.” Fri, Sep 7, 7 p.m. Durham Arts Council, Durham. durhamarts.org.

LECTURES ETC. Periodic Tables: “Everybody’s Human: Looking at Star Trek Through an Evolutionary Lens.” $5. Fri, Sep 7, 7 p.m.

Motorco Music Hall, Durham. motorcomusic.com.

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

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

Alamo Encore: Clueless Movie Party: Interactive screening. $12. Fri, Sep 7-Thu, Sep 13.

Alamo Drafthouse, Raleigh.

AnimeSun: Akira: Anime film. $8. Sun, Sep 9, 2 p.m. Alamo Drafthouse, Raleigh.

Champagne Cinema: Grease 2 Movie Party: Interactive screening. $12. Sat, Sep 8, 5:30 p.m. Alamo Drafthouse, Raleigh.

Ephraim Asili: Diaspora Suite: Films on the African diaspora.

Tue, Sep 11, 7 p.m. Rubenstin Arts Center - Film Theater, Durham.

Last Angel of History & Black Star: Rebirth is Necessary: Films by John Akomfrah and Jenn Nkiru in the Aural Futures series. Wed, Sep 12, 7 p.m. Full Frame Theater, Durham.

The Outsiders: Screening. $8. Thu, Sep 6, 8 p.m. Alamo Drafthouse, Raleigh.

PBS Kids at the Alamo: Odd Squad: $1-$5. Sat, Sep 8, 10:30 a.m. Alamo Drafthouse, Raleigh.

Terror Tuesday: The Fly: Screening. Tue, Sep 11, 7:45 p.m.

Alamo Drafthouse, Raleigh.

This Is Home: Full Frame Road Show Fall Series. Thu, Sep 6, 7:30 p.m. Alamo Drafthouse, Raleigh.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

44 | 9.5.18 | INDYweek.com

The Virgin Suicides: Ackland Film Forum. $7. Tue, Sep 11, 7 p.m. Ackland Art Museum, Chapel Hill. www.ackland.org.

Visionary Aponte: Three short films related to the exhibit Visionary Aponte: Art & Black Freedom at Power Plant Gallery.

Wed, Sep 12, 7 p.m. Full Frame Theater, Durham.

Weird Wednesday: Liquid Sky: Screening. $8. Wed, Sep 12, 8 p.m. Alamo Drafthouse, Raleigh.

OPENING The Bookshop—In this period piece, Florence Green (Emily Mortimer) opens a bookshop in a small English town in 1959.

Rated PG. The Nun—The Conjuring horror franchise turns to a mid-twentieth-century Romanian convent for fresh scares. Rated R. Peppermint—Jennifer Garner goes full vigilante to avenge the murder of her family.

Rated R.

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

The tone is so agreeable you hardly notice the rickety script. Rated PG-13. ½ Christopher Robin— After you get used to them being 3-D plush toys, Winnie the Pooh and friends charm, but Christopher Robin is the least interesting thing in this movie.

Rated PG.  Crazy Rich Asians— This Asian-American-led rom-com is an undeniable cultural milestone, but put that aside and it’s uttery standard fare. Rated PG-13. ½ Eighth Grade—A brilliant first act and a more staid second split the difference in internet star Bo Burnham’s film about young life online. Rated R. ½ Incredibles 2—Dialing up socially progressive themes fourteen years after the original, Pixar’s sequel is fun, funny, and timely but not quite transcendent.

Rated PG.

THURSDAY, SEPTEMBER 6

WILD & SCENIC FILM FESTIVAL This national touring festival showcases films with explicit environmental warnings alongside more lighthearted fare that fosters an appreciation of the natural world that all the activism defends. Coming to the Carrboro Century Center courtesy of the Haw River Assembly, the films whisk us from rural Appalachia and Baltimore to the Amazon and the farmlands of Peru, awakening viewers to a variety of environmental issues around the globe. There’s The Wild President, a short documentary about the lasting impact of a pre-presidential Jimmy Carter’s death-defying run down some Chattooga River rapids, as well as slices of life about Nepal’s most famous female climber and a punk rocker on a mountain expedition. Steel String Brewery will be there, slinging beer and wine, and Boro Beverage provides kombucha and other nonalcoholic fermented drinks. —Brian Howe

CARRBORO CENTURY CENTER, CARRBORO 6:30–9:30 p.m., $20–$30, www.hawriver.org PHOTOS COURTESY OF THE FESTIVAL

½ Jurassic World: Fallen Kingdom—Murky morals, jump scares, and diminishing returns of digital dinos weigh on this once-mighty franchise.

Rated PG-13. ½ Mission: Impossible – Fallout—This Tom Cruise vehicle isn’t a good action film; it’s a great one, rivaling

genre exemplars and drawing upon the previous entries in franchise. Rated PG-13. ½ Puzzle—Neither the world of competitive jigsaw puzzles or the soul of a repressed housewife come into full focus in Marc Turtletaub’s film.

Rated R.

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

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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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46 | 9.5.18 | INDYweek.com

8

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solution to last week’s puzzle

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6 1

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last week's puzzle

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