INDY Week 9.12.18

RALEIGH 9|12|18

J. COLE! (MAYBE?)

Georgia O’Keeffe, Hilton Als, and Bassem Youssef, oh my!

Bradley Cooper goes Gaga! And some kind of rappingforefather musical? All this and more in the INDY ’s

FALL ARTS & CULTURE GUIDE! THE PEOPLE’S POET LAUREATE, P. 20

THE FOOD HALLS ARE COMING, P. 28

HIP-HOP UNIVERSITY, P. 32

2 | 9.12.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 37

DEPARTMENTS

6 Last week, the Durham jail was holding fourteen sixteen- or seventeen-year-olds who would be held at least temporarily in a juvenile facility under the Raise the Age law taking effect next year.

6 News 10 Fall Arts & Culture Guide

8 Since 2000, Fuquay-Varina’s population has effectively quadrupled.

35 Hopscotch Gallery 38 What to Do This Week

11 Ackland Art Museum director Katie Ziglar has wanted a new building since she arrived. In the meantime, the museum is making the most of the old one this fall.

41 Music Calendar 44 Arts & Culture Calendar

14 An ongoing project aims to transform Northgate Mall into a regional destination for the performing arts.

20 Better late than never, North Carolina gets its first AfricanAmerican poet laureate in Jaki Shelton Green.

24 Anti-blaxploitation film Countdown to Kusini is a lost classic of black cinema.

28 Raleigh and Durham’s new food halls serve high-quality local food in minutes, all without having to reserve a table.

30 Three Tar Heels have earned a hip-hop fellowship at Harvard: Dasan Ahanu, 9th Wonder, and Mark Anthony Neal.

On the cover Blue Cactus performs at Hopscotch (p. 35).

PHOTO BY BEN MCKEOWN

PHOTO BY ANTHONY SUPREME / PHOTO ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 9.12.18 | 3

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backtalk

If It’s Good Enough for The General Lee …

Obviously we haven’t argued enough about Silent Sam, so let’s do that some more.

First up, Mike Paladin: “Sadly, what I am taking away from all this tumult is exactly how hypocritical so many of the protesters are. From what I have seen, anyone not fully in favor of the downing of Silent Sam is automatically a racist, hate-filled supporter of black oppression, while the valiant protesters are fighting the good fight.

If only life were truly that simple!

“Let’s take the Confederate Battle Flag, for example. Originally conceived to be the rallying flag for the Southern forces during the Civil War, it morphed into a representation of the South as a whole. It was certainly not commonly perceived as a symbol of racism and oppression, unless you want to float a conspiracy theory that in 1977, Warner Bros. allowed the Stars and Bars on the roof of The General Lee because they were all a pack of racists.

“What made the Confederate Battle Flag a ‘racist symbol of hatred’ was the theft and abuse of that flag by individuals who were, in fact, rabid, hate-filled racists! They demonstrated that by shooting up churches and engaging in online boasts of their aggressive attitudes while standing in front of the Confederate Battle Flag. Ironically, the original proponents of that battle flag would have had those warped, dysfunctional misanthropes shot for dishonoring that flag.

“Now anyone who stands by that flag as a symbol of the South is, obviously, a racist. Simple, huh? It’s just so easy to slap a nice, trite, all-encompassing label on anyone who does not agree with your agenda.”

“North Carolina was a state of almost one million people during the Civil War and over 150,000 North Carolinians served in the CSA; 40,000 gave their life,” adds Stephen Troup. “Yet almost all today want to spin the Silent Sam statue, erected in the memory of service to the state of North Carolina and specifically students who volunteered, as being about this one guy, Julian Carr, who said some really ugly things, but it was to honor thousands, not this one guy.”

“Whatever their motivation,” vivdis counters, “[Confederates] were fighting explicitly to protect the institution of

slavery. This is a historical fact. The 1860 census shows that 28 percent of the families in North Carolina owned slaves. Which is a much higher percentage than went to college at that time. Considering that those that went to college were likely more wealthy than average, the percentage was much higher among those whom the statue was erected to honor. So at least one in four were in fact fighting to preserve their individual right to own another human being.”

“No doubt their main goal is to make the issue not an issue anymore.”

“Cowards, piece-of-crap police for standing back and letting Silent Sam be torn down,” adds Guillermo61. “It’s pathetic how the police in this country refuse to enforce the law because they are scared of being called racist, but they don’t have a problem constantly shooting black people. Go figure.

But if a white person defaced or toppled an MLK stature, we would be arrested and put in prison for a hate crime.”

“This is all a result of the racial division propaganda being pushed by our political, media, and academic elites,” writes Timothy Oswald. “White supremacists and neo-Nazis are about as much of a threat and wield about as much political power as the Black Panthers or the black Hebrew Israelites or antifa—none.”

Finally, INDEED!, who makes a point with which it’s difficult to disagree: “UNC has around thirty thousand students and manages almost $1 billion in research grants annually. How some people feel about a chunk of metal and stone is just an inconvenient distraction from actual important issues the chancellor and trustees have to deal with. No doubt their main goal is to make the issue not an issue anymore so they can move on.”

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.

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indynews

The New Juvie

NEXT YEAR, RAISE THE AGE WILL MOVE MORE TEENAGE OFFENDERS INTO THE JUVENILE SYSTEM. NOW DURHAM COUNTY NEEDS TO FIGURE OUT WHERE TO PUT THEM. BY SARAH WILLETS

A

t thirty years old, the Durham County Youth Home is in need of some updates.

Engineers say the building itself—a fourteen-bed facility on Broad Street—is in good condition. It has a new HVAC system and door controls. But it also needs new plumbing, a new roof, and a new layout more conducive to separating detainees who are gang-affiliated or have mental or behavioral health issues.

And beginning December 1, 2019—when a new law directing sixteen- and seventeen-year-olds previously prosecuted as adults to the juvenile justice system takes effect—it’s going to need more beds.

When the Juvenile Justice Reinvestment Act, more commonly called Raise the Age, is implemented, North Carolina will no longer be the only state in the country to prosecute sixteen- and seventeen-year-olds as adults.

Department of Public Safety officials estimate at least 181 new juvenile beds could be needed across the state to accommodate the change—about double the current number.

In Durham last week, there were fourteen sixteen- and seventeen-year-olds being held in the county jail who would be held at least temporarily in the juvenile facility under the new system; there were 291 county cases involving sixteen- and seventeenyear-olds that would have been affected by Raise the Age in fiscal year 2017, according to the Administrative Office of the Courts.

Faced with needed renovations and a growing population, Durham County officials had been looking at building a new, twenty-four-bed facility on the current youth home site for about $13 million. But, with Raise the Age approaching, they’re now weighing whether to build even bigger to help meet demand across the state, or start over completely with a new site and a new approach to juvenile detention.

Plans to expand the facility have been delayed since 2000.

“They really don’t have the space to do the kinds of things that need to be done 6 | 9.12.18 | INDYweek.com

to enhance these young folks’ lives,” says county commissioner Brenda Howerton.

“They do a great job with what we have, but we don’t put any resources into that building. We’ve got this beautiful jail here for adults. We owe our young people the same consideration.”

The youth home primarily houses people under sixteen who are awaiting trial, but it also serves older teens who have violated previous release conditions. Director Angela Nunn says teenagers come to the youth home, which provides Durham Public Schools instruction, tutoring, and art programs, from all over the state. The average stay last month was about thirteen days.

Under Raise the Age, criminal cases for all sixteen- and seventeen-year-olds— excluding those charged with motor vehicle offenses—will begin in juvenile court.

Teens charged with misdemeanors and the two lowest classes of felonies will be tried as juveniles and housed in juvenile facilities. Sixteen- and seventeen-year-olds facing more serious felonies will have their cases transferred to adult court once an indictment or finding of probable cause is made, so it’s unclear how long those teens would be held in juvenile detention before their cases are moved. A Juvenile Jurisdiction Advisory Committee set up by the state has recommended that anyone under eighteen be held in a juvenile facility until their case is adjudicated, but until legislators settle that matter, places like the Durham County Youth Home don’t know exactly how much they need to scale up to prepare for the law to take effect.

Not only could those teens require beds for longer periods of time while their cases go through clogged adult courts, they may also require separate accommodations.

“That is also going to be a large group of sixteen- and seventeen-year-olds who are accused of more violent or more serious offenses that can’t be with the adult population but also probably will not be with the population tried in juvenile court,” says

“ We’ve got a beautiful jail here for adults.

We owe our young people the same consideration.”

Peggy Nicholson, co-director of the Youth Justice Project at the Southern Coalition for Social Justice. (Durham County jail director Anthony Prignano told commissioners last week that unless the jail population is greatly reduced, it won’t be possible to construct a youth pod in that facility.)

Nunn says it would be unrealistic to renovate the youth home because the modifications are too extensive for it to remain in use while the work is being done. Instead, she’d like to see a new facility built with additional space to help troubled teens who have not been charged with crimes.

In a work session last week, commissioners asked whether the state should contribute to an expansion. County staffers say they have started “preliminary conversations” with DPS. “We need to go into this with the concept that this is a state responsibility,” says county commissioner Ellen Reckhow. “We need to take the position that we’re not building this, we’re putting forward a concept that could be done with their support.”

Last year, legislators set aside $13.2 million for a new youth development center in

Rockingham County, the bulk of the state’s contribution dedicated to putting Raise the Age into place. That facility, though, isn’t expected to open until 2022.

In the meantime, DPS officials plan to create a “holdover facility” by dedicating an additional thirty beds at the C.A. Dillon Youth Development Center in Butner, says spokesman Matt Jenkins. Jenkins says the agency is also “working with local leaders to explore additional possible detention beds throughout the state,” but didn’t mention Durham.

Howerton—inspired by an effort in Scotland County to turn a former prison into a youth center for justice-involved teens— suggested that county staffers look at what it would cost to revamp the abandoned, state-owned Durham Correctional Center off Guess Road into a youth home equipped with services like job training, life skills, and a garden.

“If it’s just a holding tank, we’re not doing anything to give them the tools when they come out to be effective in the community,” Howerton says. swillets@indyweek.com

INDYweek.com | 9.12.18 | 7

news

Fight the Future

FUQUAY-VARINA WANTS TO PREPARE FOR GROWTH. ITS RURAL NEIGHBORS, NOT SO MUCH.

BY LEIGH TAUSS

A

t his home a few miles outside of Fuquay-Varina in southern Wake County, Jeff Burdine leans over to pet Lily, his golden-haired goat, while his wife and children eat dinner on an enclosed balcony overlooking a pond carpeted in a rich, green algal bloom. Lily, who lives in an electric-fence enclosure along with another goat and eight chickens on Burdine’s sprawling eight-and-a-half-acre property, wags her tail like a dog and nuzzles him.

“They don’t have a mean bone in their body,” Burdine says. “They will chew your clothes though.”

Burdine cares for these animals. More than that, his family uses them for food— eggs from the chickens, hopefully milk and cheese one day from the goats. But he’s worried he won’t be able to do that too much longer. The government might get in the way.

Last month, the town of Fuquay-Varina asked the Wake County Board of Commissioners to expand its extraterritorial jurisdiction, or ETJ, by twenty-two thousand acres. The board isn’t expected to take up the request until later this year or next, but if it agrees, Burdine and more than eight thousand county property owners who live outside of town limits could be forced to abide by Fuquay-Varina’s stricter zoning rules—including ones regarding animals— even though they won’t be able to vote on the town leaders making those rules.

And while the town pitches the expanded ETJ as a way to manage growth, it’s also not difficult to see it as a way for Fuquay-Varina to encourage development in certain areas, annex those properties, and then add them to its tax base.

On August 28, the town sent potentially affected property owners a letter summarizing what the ETJ would mean. At first, Burdine skimmed it, not fully understanding the implications, but after a little research, he grew concerned—and then, after more research, angry.

Although the ETJ won’t come with additional town taxes (or services), it would 8 | 9.12.18 | INDYweek.com

mean myriad new, sometimes obscure zoning regulations. So Burdine launched a website—stopfuquayetj.org—to sound the alarm, and his neighbors rallied to his banner. A scan of Facebook community groups and the neighborhood site NextDoor shows posts with dozens of comments from residents with no interest in having Fuquay-Varina’s ordinances become the law of their land.

“I don’t think Wake County has a vested interest,” Burdine says. “Clearly the town is looking to get our tax base.”

The ETJ would, in essence, allow FuquayVarina to secure property that could eventually be annexed should prospective developers want to link to the town’s utilities. As county planner Bryan Coates points out, that development is already happening, but whether Fuquay-Varina gets a say in how it occurs or whether the town benefits from it depends on whether the county grants the ETJ request.

The ETJ could also enable Fuquay-Varina to force developers who are building close to its urban service area or a town water line to agree to annexation—which is technically voluntary—in order to connect to utilities, Coates says. And that will boost the town’s tax revenues.

One of the fastest-growing communities in the state, Fuquay-Varina’s population doubled between 2000 and 2010, from 7,898–17,996, according to town planning director Samantha Smith. In July, the town’s population hit thirty thousand, Smith says, and it’s expected to reach thirtysix thousand by 2020, effectively quadrupling in two decades. Building permits have also risen, with a record 2,266 new housing lots approved last year, and another 1,146 approved through August of this year.

Fueling growth in the once-rural enclave is the rapacious housing market, with farmers selling acres of land to developers.

Driving around the proposed ETJ north of Fuquay-Varina, where Burdine lives, it’s common to see lush tobacco and soybean fields with deteriorating farm houses

Jeff Burdine with Lily, his goat

PHOTO BY CAITLIN PENNA

quickly give way to pristine subdivisions, which can just as quickly dissolve into dense woods or humble ranches on sprawling parcels.

The town’s growth is mostly driven by migration, says county commissioner Matt Calabria. It requires new schools and transit systems—all of which the town needs to pay for.

“Local governments control growth less than most people think,” Calabria says. The key, he says, is “smart growth.”

Calabria says he hasn’t decided whether he supports the proposed ETJ, and he won’t until he’s heard more from residents and county and town staffers. (Four residents, including Burdine, have already emailed Calabria in opposition to the ETJ.) This growth is good for the bedroom community, Smith argues—fast, but not “in an alarming way.” Fuquay-Varina simply wants to have some control over how it occurs, Smith says. And that’s where the ETJ comes in.

“The ETJ provides transition area between the town limits and the county,” Smith says. “The reason we’re interested in doing this expansion is because it’s no secret that Wake County is growing, and

For the town, this ETJ will ensure that new developments come with infrastructure improvements and contribute to the transportation network, which can help alleviate traffic congestion, Smith says. For residents—at least with those with no big development plans—Smith says it won’t make much of a difference.

Burdine doesn’t buy it. He points to a list of ordinances on the town website, including one whose language he deems less than clear.

“I’ve read this a thousand times, and I still don’t know whether I’m allowed to have goats or not,” Burdine says.

He wouldn’t be. Under Fuquay-Varina’s existing regulations, nondomestic animals such as goats are only allowed on bona fide farms, and Burdine’s property isn’t considered a bona fide farm. Chickens, along with horses and pigs, are permitted with regulations, Smith says.

Burdine’s problem isn’t the number of goats and chickens he can keep on his wooded property. It’s the fact that when he built his dream home on Hilltop Needmore Road three years ago, he didn’t think he’d have to comb through dense municipal code to find out what he could and couldn’t do.

the proposed ETJ—and animal regulations are on the list. “Wake County zoning is a little bit looser on things like nondomestic animals than our regulations are, and we know that,” she says.

County commissioners broached the topic of future development in FuquayVarina last week while approving a request from Fuquay-Varina to reclassify 7,581 acres of its urban service area along the eastern portion of the proposed ETJ from long to short range, a bureaucratic-sounding distinction that signals a significant investment in municipal utilities in that area—one of the least developed near Fuquay-Varina—within ten years.

In other words, it’s an area where you can expect a lot of new homes pop up where farms once stood.

Commissioner John Burns worried that the county’s development plan is “aimed at turning every square inch of property in Wake County into subdivision,” with no incentives in place to increase density.

That, he argued, could make things like transit investments less effective. “We need to make sure when we’re working with one hand, we’re not counteracting that with another,” Burns said. “The more land we open to that, the more ineffective specific expenditures become.”

Down the road from Burdine’s house, the town has already annexed and approved a 185-home subdivision across seventy-seven acres of former farmland. The developer is clearing the land with large tractors, moving dirt and leaving twisted tree roots upended like fallen soldiers across the property.

“It’s sad, but good for them,” Burdine says. “I don’t care other than, well, I won’t even go there.”

Burdine doesn’t pretend he can stop the area from changing—nor, he says, does he want to—but he hopes he can help galvanize opposition to the ETJ by educating residents on what it will mean. Burdine thinks if he can rally a few hundred people to come out to the Wake County Board of Commissioners when it debates the matter, they might stand a chance at avoiding Fuquay-Varina’s zoning laws.

But development, even in Wake’s most rural corners, is something that won’t be avoided.

“We’re seeing growth swoop south,” Calabria says. “The town and the county and others are attempting to be prepared for it. [The area in the proposed ETJ] is going to see a lot of growth, and that’s regardless of any decisions that local government will make. It’s coming.” ltauss@indyweek.com

“I’m still getting forced to live by FuquayVarina’s rules, and the fact that I can’t vote makes it, to me, not the American way.” we’re interested in growing in the most responsible and well-managed way possible. We believe that expanding our ETJ accomplishes that. Folks are selling their property for development whether or not it’s in the town or county’s jurisdiction.”

So the town asked Wake County to increase its ETJ by 22,049 acres, up from its current 8,739 acres. Per state law, municipalities with more than twenty-five thousand residents can extend their ETJs up to three miles from their town limits, according to the letter sent to residents.

“My issue is around my land and the fact that I’m never going to sell, yet I’m still getting forced to live by Fuquay-Varina’s rules,” he says. “That’s just not right. Even if I could get myself to think that was right, the fact that I can’t vote makes it, to me, not the American way. The only people I vote for is the county, and once the county gives away the ETJ, I have no say in what ordinances they pass.”

Smith says she understands Burdine’s frustration. The town is working to retool its ordinances to accommodate people in

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FALL ARTS & CULTURE GUIDE Before the Flood BATTEN DOWN THE HATCHES: FALL IS HERE

BY BRIAN HOWE

Well, folks, we’re starting the fall season with quite a bang this year, aren’t we?

As the INDY’s 2018 Fall Arts & Culture guide was hurtling toward the printer, Hurricane Florence started hurtling toward the Triangle. We’ve noted confirmed cancelations and postponements wherever possible, but be sure to call ahead or look online to confirm anything we’ve listed for the coming week to make sure it’s still happening, as we know more cancelations will be coming down the pike after press time.

One thing that we know for sure is not happening—at least not this weekend—is the debut of J. Cole’s Dreamville Festival at Raleigh’s Dix Park, which, of course, we made the anchor story of the music section of our Fall Guide. But given the resources behind and excitement around this festival, we think there’s a good chance it will get rescheduled. So we hope you enjoy reading about what might have been—and what may yet come to be. But luckily, most of our Fall Guide centers on developements in local arts and culture that are ongoing or further out.

In the world of food, we take a look at the latest culinary trend storming the Triangle, the food cour—um, make that food hall. In visual art, we celebrate the bold new vision driving UNC-Chapel Hill’s sometimes-neglected Ackland Art Museum into the future during its sixtieth-anniversary season. In the performing arts, we wonder if the most viable newcomer to help The Fruit fill the Durham presenting void left by the closures of Common Ground and Manbites Dog Theater might be— Northgate Mall?

In literary spheres, we have an intimate conversation with new N.C. poet laureate Jaki Shelton Green about her drive to amplify muted voices. And on screen, we delve into two film festival, an old one at UNC and a new one at Duke, which fill missing links in black independent film. All of these stories are about new institutions and changes in old ones that will affect your experience of Triangle arts and culture for the better, this autumn and, hopefully, in years to come. But of course, if you’re just looking for a great show, we have editors’ picks in each section highlighting our can’tmiss tickets of the season (oh hi, Hamilton). We’ll see you in the halls and nightclubs, the food halls and bookstores, the museums and theaters—provided we don’t all get blown away.

Now, has anyone seen my ruby slippers?

10 | 9.12.18 | INDYweek.com

fallart

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WITH A FRESH PUBLIC-FACING VISION, A SLATE OF EXCITING SIXTIETH-ANNIVERSARY EXHIBITS, AND AN IMPENDING INTERIOR REMODEL, THE ACKLAND ART MUSEUM BOUNDS INTO THE FUTURE

BY CHRIS VITIELLO

hat’s the museum with the dead guy in it, right?”

This is what my daughter says when I tell her we’re going to an exhibit at the Ackland Art Museum at UNC-Chapel Hill. And it’s true—as part of his bequest, William Hayes Ackland lies in state in an alcove crypt off a narrow gallery. But he’s the only dead thing about the Ackland, an institution that is taking the occasion of its 60th anniversary this fall to reenergize its spaces and staff, recommit to campus and community, and maybe even kickstart the process of getting a new building that fits its current work and ambitious future.

Under the leadership of director Katie Ziglar, who came on two years ago, the Ackland has reconsidered every aspect of its operations, collections, exhibitions, programming, and especially how it uses its modest space. The anniversary celebrations kick off this week with a surprise-laden exhibition of new acquisitions, an artist residency by Lonnie Holley (see p. 39), the RedBall public art project, and the relaunch of ART&, a hybrid community and exhibition space. Add this to a top-to-bottom refreshing of the Ackland’s permanent collection and a flurry of new community partnerships, and it expresses the organizational values that came out of the museum’s deep reconsideration: rigor, responsiveness, and playfulness.

“We’re getting ready to burst forward,” Ziglar says. “I felt, coming in, that our connections with the local community didn’t equal what we have with the university by a long shot. So I really wanted to see us improve in that direction.”

The first thing Ziglar did when she arrived was to create the Terrace Gallery, the previously austere outdoor space along the street frontage of the museum. She brought in Los Trompos, an interactive installation of huge, colorful tops by contemporary Mexican designers Héctor Esrawe and Ignacio Cadena. Students and visitors could climb

and spin on what were essentially giant toys laced with fabric woven in a traditional style

by Mexican artisans, making the Ackland’s front yard into a play space nonetheless charged by art. The terrace is now showing North Carolina artist Patrick Dougherty’s Step Right Up, five stickwork sculptures big enough to get inside, which were inspired by an ancient pouring vessel in the Ackland’s collection.

Ziglar’s goal of a more outward-facing Ackland continues with The RedBall Project, which kicks off with a celebration on Thursday, Sep. 20 at 1:30 p.m. Part Instagram-age public art piece, part scavenger hunt, it consists of a giant red ball that changes locations throughout a city each day. The brainchild of artist Kurt Perschke, RedBall has traveled to more than twenty-five cities around the world. On top of recent partnerships with Flash Chorus, earspace ensemble, and the Film Forum series on women directors at the Varsity Theatre, it marks the Ackland as a champion of community involvement.

While transforming outdoor spaces into galleries, the Ackland is also changing one of its galleries back into a multi-use community space. ART&—a flex room that can be lounge, programming, or exhibition space—returns on Sep. 21 with a commissioned work of “bespoke wallpaper” by Baltimore-based artist and UNC alum Lauren Frances Adams.

ART& will feature artist talks, performances, art-making classes, and film screenings while remaining open to spontaneous meetings and just hanging out.

Adams’s work is timely for UNC and Chapel Hill regarding the toppling of the Silent Sam Confederate statue and the legal proceedings of the activists who toppled it. She ornately juxtaposes racially charged historical imagery—one work combines Google Street View locations in Baltimore where formerly enslaved people lived with the wallpaper pattern from President Andrew Jackson’s home—showing how, for many

The RedBall Project PHOTO COURTESY OF BRIT WORGAN INDYweek.com | 9.12.18 | 11

Americans, racial inequity remains an easily ignored background fact in their daily lives.

Durham-based artist Stacey L. Kirby follows Adams with an ART& installation planned for spring.

The Ackland also opens the exhibition Birthday Presents on Sep. 21, bringing together sixty recent acquisitions from more than thirty donors. The show offers a look at the museum’s broad collecting perspective as well as its emphases on African and postwar work. It includes Rembrandt etchings, drawings and prints by Stuart Davis, Lyonel Feininger, Lee Krasner, Jasper Johns, and Adolph Gottlieb, and video and film work including former art department faculty member Jeff Whetstone’s “The Batture Ritual,” which showed at Prospect New Orleans last year.

Typically, when people think of visionary or vernacular work, it’s by artists from the American South. Working with the American Studies department, the Ackland is challenging the narrowness of those definitions as well as its own collections. Assistant curator Lauren Turner highlights a trio of drawings by Inuit artists, all women, as an indicator of the Ackland’s broadened view toward collecting.

“In many ways, these artists meet the definition of vernacular, but not in ways that you’d expect,” Turner says. “There are things that need to be redressed from years of collecting patterns.”

T

his new thinking won’t simply be highlighted in a temporary exhibition for an anniversary year; it will also transform the Ackland’s permanent exhibition spaces later in the fall. Walls will be relocated and painted more colorfully. A gallery will be devoted to postwar and contemporary art, shrinking the space for the art of the ancient Mediterranean. Much more of the rich collection of works on paper will be on display (with creative solutions for the light-exposure risks), as well as work from throughout the African continent, both classical and contemporary.

Peter Nisbet, deputy director for curatorial affairs, is excited to show some of the museum’s vernacular photography collection, consisting of about forty anonymous works of everyday snapshot photography from around 1900 to the present.

“There are some amazing images that come up when you look at vernacular photography, in a way that’s challenging and

Jeff Whetstone: "The Batture Ritual" (still), 2017 COURTESY OF THE ACKLAND inspiring and irritating all at once, because often the aesthetic power of these works comes about by chance,” Nisbet says. “A photograph taken with a finger partly across the lens ends up being a really interesting composition, or somebody diving into a pool caught at just the right moment can exhibit extraordinary transcendental grace.”

And did you know that the Ackland had a second floor? The museum is rebranding its upstairs Study Gallery—where it presents twelve small exhibits per semester in conjunction with UNC classes—as Ackland Upstairs after realizing that the public, assuming the space was off-limits to nonstudents, almost never climbed the stairs.

Elizabeth Manekin, head of university programs and academic projects, has rethought how to make the small shows more engaging for non-academic visitors, offering framing questions with the class syllabi.

“You might not be in a survey course of nineteenth-century romanticism,” Turner says, “but you can use this to say, ‘Hey, where do you see the sublime in your life?’”

With all the changes inside and outside the galleries, the Ackland has also expanded its staff, bringing on Dana Cowen as the new Sheldon Peck Curator for European and American Art before 1950. A specialist in prints, photographs, and drawings—which make up around two-thirds of the Ackland’s collection—Cowen’s hire is supported by an $8 million endowment from Peck and his wife, Leena, and will be focused partially on their gift of primarily seventeenth-century European masterworks, valued at $17 million.

“Dana is really committed to working with classes and teaching and research and adopting new technologies into exhibition spaces,” Turner says. “She’s going to be very

REDBALL CHAPEL HILL (SEP. 20–26) BIRTHDAY PRESENTS (SEP. 21–JAN. 6) ART&: LAUREN FRANCES ADAMS (SEP. 21–MAR. 10) Ackland Art Museum, Chapel Hill www.ackland.org 12 | 9.12.18 | INDYweek.com

good for us, considering how one of our biggest challenges is that we just don’t have that many galleries to do exhibitions.”

If getting the most out of its space seems to be an obsession at the Ackland, it’s because the museum outgrew it long ago. But as the Triangle has seen the openings of the Nasher Museum of Art at Duke (2005), the North Carolina Museum of Art’s gigantic West Building (2010), the relocation and expansion of N.C. State’s Gregg Museum of Art & Design (2017), and Duke’s launch of the Rubenstein Arts Center this year, the Ackland has plugged along in its brick box sandwiched between the Hanes Art Center and some retail buildings.

“When Katie [Ziglar] arrived, she made no bones about it,” Nisbet says. “She has talked about a new building tirelessly, trying to work out with the university how best to do it. She is unshakeable in this argument.”

“We’ve outgrown our current building any way you want to measure it, from exhibition space to storage and office space,” Ziglar says. “And we’re lacking a lot of amenities that a lot of museums these days have for their visitors—a café, an auditorium. We also don’t have classrooms for the many students who come to look at art during their courses.”

Seeing the potential of the many events of this birthday year as a proof of concept for a new building, Ziglar is also mindful of how slowly such projects move forward—or stall out, as a plan for a new Ackland did in the early aughts.

“This time, we plan to do it in such a way that it will succeed. In the meantime, we have a lot of work to do to get to that point,” Ziglar says. “Maximizing what we can do inside the building is one step, [as is] pushing outside to the terrace. We’ll keep doing interactive art out there so, in a way, we’re open even when we’re not open.”

Ziglar seems to be changing the idea of a new building from an if to a when. In the meantime, the re-energized Ackland is offering plenty of reasons to visit the art museum with the dead guy in it throughout this fall. arts@indyweek.com

EDITOR'S PICKS F I V E FA L L A RT E X H I B I T S

BY BRIAN HOWE Portraying Power and Identity: A Global Perspective One of many cascading effects of our century’s new reckoning with old kinds of representation and power is portraiture’s renewed art-world relevance, and 21c’s challenging new exhibit unfurls it through a global-historical yet contemporary lens, featuring the likes of Anthony Goicolea, Kehinde Wiley, and Lynette Yiadom-Boakye.

Sep. 14–Mar. 31, 21c Museum Hotel, Durham, www.21cmuseumhotels.com/durham Across County Lines: Contemporary Photography from the Piedmont The Nasher has been pushing forward local photography lately. Southern Lens, which complements the autumn exhibit People Get Ready, seems like a teaser for Across County Lines, in which dozens of photographers, both emerging and famed, aim their lenses at life and land in the N.C. Piedmont region.

Oct. 4–Feb. 10, The Nasher Museum of Art, Durham, www.nasher.duke.edu Above the Rim: Courtside at CAM Want to see a basketball hoop made of steel, stained glass, and Swarovski crystal? Victor Solomon’s “Xanadu” is but one example of the roundball razzle-dazzle in this international group show, curated by conceptual artist Phil America and gallerist Jacob Patterson. No dunking. Oct. 5–Feb. 3, CAM Raleigh, Raleigh, www.camraleigh.org Vernon Pratt: All the Possibilities of Sixteen The Gregg unveils a never-before-seen posthumous exhibit by the inimitable Durham art teacher, jazz maven, and mathematical abstractionist Vernon Pratt, whose white granite block sculpture you’ve likely sat on in the Durham Arts Council courtyard. Oct. 11–Feb. 10, Gregg Museum of Art & Design, Raleigh, www.gregg.arts.ncsu.edu The Beyond: Georgia O’Keeffe and Contemporary Art In the season’s blockbuster exhibit, significant sculptures and paintings by titan Georgia O’Keeffe are joined by twenty emerging artists who dare to test her perennial subjects: gigantic flowers, thrusting skyscrapers, refulgent deserts.

American modernism blossoms here.

Oct. 13–Jan. 20, North Carolina Museum of Art, Raleigh, www.ncartmuseum.org

START YOUR WEEKEND WITH MOVIES THAT ROCK/MOVIES THAT SHOCK FRIDAY MUSIC MOJO 9/21 Stop Making Sense 9/28 Nico 1988 10/5 Buena Vista Social Club 10/12 Betty: They Say I’m Different 10/19 Mama Africa 10/26 Purple Rain 11/2 Matangi/Maya/MIA 11/9 Searching For Sugarman 11/16 Marimbas From Hell 11/23 The Last Waltz

SATURDAY FRIGHT NIGHT 9/22 The Shining 9/29 Poltergeist 10/6 John Carpenter’s The Thing 10/13 The Exorcist -Director’s Cut 10/20 The Changeling 10/27 John Carpenter’s Halloween 11/3 Funny Games 11/10 It Follows 11/17 A Girl Walks Home Alone At Night 11/24 The Strangers

MOVIES BEGIN BETWEEN 9:30 – 10 PM www.thechelseatheater.org • 1129 Weaver Dairy Road, Chapel Hill

EDITOR'S PICKS F I V E FA L L A R T S F E S T I VA L S

BY BRIAN HOWE SPARKcon Raleigh’s annual local-artist-led omni-festival returns from the brink of extinction (a recent crowdfunding campaign helped save it) to spark downtown streets and venues with everything from concerts and comedy to circus arts and fashion shows.

Date TBA (postponed for weather), downtown Raleigh, www.sparkcon.com CenterFest Arts Festival The Durham Arts Council’s outdoor arts and crafts festival is a familyfriendly tradition dating back almost half a century, filling downtown with live music and dance as well as more than one hundred forty artists and artisans.

Sep. 15 & 16, downtown Durham, www.centerfest.durhamarts.org La Fiesta del Pueblo A production of Raleigh nonprofit El Pueblo, the Triangle’s biggest and longestrunning Latinx festival celebrates its twenty-fifth birthday with a day of music, arts, and food stretching from City Plaza to the capitol. Sep. 23, downtown Raleigh, www.elpueblo.org CLICK! Photography Festival The Triangle’s largest festival dedicated exclusively to photography turns October into lens lover’s dream, saturating virtually every local gallery with solo and group exhibits, artist receptions, and keynote talks, with lots of auxiliary programs geared toward working photographers both aspiring and established. Oct. 1–31, various venues, Durham, www.clickphotofest.org Festifall Arts Festival A spiritual successor of spring arts and crafts fest Apple Chill, which ran on Franklin Street for decades before it started attracting motorcycle groups and the town shut it down—a long, fraught, interesting story; we’ll tell you about it sometime—Festifall is a concise halfday of art exhibits and vendors, food trucks, and three stages of live performance.

Oct. 7, West Franklin Street, Chapel Hill, www.chapelhillfestifall.com INDYweek.com | 9.12.18 | 13

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THE FLICK

Friday, Nov. 2–Sunday, Nov. 11 Northgate Stadium 10, Durham www.bartletttheater.org

Stage Whispers

WITH MANBITES DOG GONE, THE FUTURE OF DURHAM THEATER MIGHT RESIDE AT—WAIT, REALLY? NORTHGATE MALL? BY BYRON WOODS

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ittle about theater number ten at Durham’s Northgate Mall suggests that it could be a game changer for live performance in the region. The reddish-brown décor, muted runway lights, and 214 plush, rocking seats are typical of a modern movie theater. As the house lights dim and the trailers roll, you might not notice the two modest banks of theatrical LED lights nestled beyond the last pair of speakers on the walls or the unobtrusive gray dais standing eighteen inches off the floor beneath the screen.

But when Bartlett Theater opens its season with The Flick in this room on November 2, both will be unmistakable. In many ways, it’s the perfect venue for Annie Baker’s 2014 Pulitzer-winning drama, which is set in a movie theater undergoing changes in ownership and projection technology. Those shifts influence the relationships and fates of what the Pulitzer committee called “lives rarely seen on stage,” those of three disaffected young adults working jobs at subsistence wages.

But in this case, placing a play about a cinema in a cinema isn’t just another experiment in immersive, site-specific theater, an emerging genre of choice among the area’s younger thespians. It’s also the first trial of an ongoing project to transform this section of Northgate Mall into a regional destination for the performing arts.

As it happens, this project is but one of several initiatives set to roll out over the coming year designed to address a dilemma that has bedeviled regional stage artists for decades: an acute lack of spaces both suitable and affordable to make and present their work.

Across town, The Understudy, a project set in the foundation of The Tower at Mutual Plaza (Carl and Chaunesti Webb’s redevelopment of the N.C. Mutual Insurance Building), will provide studio, shop, and storage space for dance, theater, music, and video artists. Meanwhile, the American Dance Festival recently announced a new subsidy program that will provide choreog14 | 9.12.18 | INDYweek.com

ILLUSTRATION BY STEVE OLIVA

raphers access to its rehearsal studios at $10 per hour, a 75 percent discount from its professional rate.

All of these measures follow the closures in recent years of venues such as Chapel Hill’s Deep Dish Theater and Durham’s Common Ground and Manbites Dog Theater, which has sent cash-strapped artists scrambling for affordable alternatives. The Fruit, Tim Walter’s multi-purpose, multigenre “arts space and creative playground” in Durham, has picked up some of the slack,

hosting recent productions by the Women’s Theatre Festival, Little Green Pig Theatrical Concern, DIDA-affiliated artists, and Snap Pea Underground’s groundbreaking The Banquet. But the need for space—for performance, rehearsal, set fabrication, storage, and offices—among small and emerging performing arts groups clearly outstrips any single initiative or venue.

The Northgate plan involves transforming several of the Stadium 10 theaters and an adjacent storefront into venues suitable

for a spectrum of live performances, including theater, dance, and music. For the mall, the impetus is to redevelop at a time when Credit Suisse predicts that a quarter of all U.S. malls will close by 2022.

“Most regional malls are struggling,” says Virginia Bowman, Northgate’s managing general partner. “Retail is shrinking, so we have to look at better uses of our facilities.

We all have to change, explore, and try new things.”

CONTINUED ON P. 16

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Northgate’s transformation is already underway, with a corporate office and professional tenants such as Measurement Incorporated and Duke Medicine occupying central parts of a mixed-use campus.

The arts have had a presence at the mall at least since the 2011 opening of the Durham Arts Council’s Clay Studio, and Bowman thought, after the closure of Manbites, that the performing arts could be a part of the redevelopment. She hired regional theater designer Shannon Clark, who has managed the arts facilities at Cary Academy, to draw upon his knowledge of the infrastructure demands of live performance and the local creative ecosystem.

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he’s confident a solution exists. “If we can get the seats full, I’m sure we can figure out the funding.”

Meanwhile, Bowman and Clark are soliciting more productions to test and refine their experiment.

“Please approach us,” Clark says. “We need more shows.”

Affordability is also on Carl Webb’s mind regarding The Understudy, as he contemplates the historic role the N.C. Mutual Insurance building has served in Durham.

“The reason there was a cafeteria and an auditorium in the building was because those public facilities were not available for the black community,” he says. “We pay respect to that fact in making it a place

“Most regional malls are struggling. Retail is shrinking, so we all have to change, explore, and try new things.”

But blueprints and projections can only get you so far. Now Clark and Bowman need hard data from actual productions to convince city government of the project’s viability. At stake are potential grants to help upfit the facility with theatrical tech and lighting, plus an expansion of the arts council’s current facility grant program to help cover rental costs.

“This will have to be a collaborative effort with the city and the arts council,” Clark says.

Even if the Stadium 10 can offer its rooms and resources at $300 per day, that still presents a barrier for small companies.

Bartlett Theater director Jonathan Brady says as much when he observes that the projected production costs of The Flick will be no cheaper than they would be if he rented the arts council’s PSI Theatre.

“We’re grateful for the chance to produce there, but financially, it’s a wash,” Brady says. “At present, it won’t be advantageous for groups smaller than us.”

“We haven’t fully solved the problem of affordability yet,” Clark acknowledges.

“The project has to be sustainable in order to continue; we can’t just give it away.” Still,

where all of the community can connect and engage with it.”

The Understudy is planned to include 4,500 square feet of variously sized studios, with green-screen technology for video production and a recording studio. When it opens in the first quarter of 2019, it will offer multiple membership tiers and day rates to keep it accessible and affordable.

Putting a creative space in an office building with leaders of business and industry is important, Webb says.

In cities across the country, the arts have repeatedly been driven out of communities they’ve helped make desirable. The Understudy and the Northgate project represent detailed and systematic plans to counter the squeeze play underway in local live performance.

“We know downtown Durham has transitioned in a very, very dramatic way, and the core of the growth has been driven by creative artists and entrepreneurs,” Webb says. “We’re trying to make sure, as we continue to grow our downtown, that they’re still there when it’s all done.” arts@indyweek.com

EDITOR'S PICKS S E V E N FA L L S TA G E W O R K S

BY BRIAN HOWE Nrityagram Dance Ensemble & Chitrasena Dance Company: Samhāra Ancient movement traditions from India and Sri Lanka converge in this sublime collaboration between Nrityagram, called one of the world’s greatest dance companies by The New York Times, and Chitrasena, which led the way in opening Sri Lanka’s Kandyan dance to women. Sep. 22 & 23, Reynolds Industries Theater, Durham, www.dukeperformances.duke.edu Curve of Departure In the debut production from Bulldog Ensemble Theater, which formed from the ashes of Manbites Dog, Thaddeus Edwards directs Rachel Bonds’s “little gem of a play” (Washington City Paper) about the sorrows and secrets reverberating through an African-American/Jewish family convening at a funeral. Sep. 27–Oct. 14, The Fruit, Durham, www.bulldogdurham.org Skeleton Crew The conclusion of Dominique Morisseau’s acclaimed “Detroit trilogy”—which has earned her comparisons to Arthur Miller, August Wilson, and Tennessee Williams, but with her own “seductive, poetic, comic, tough” voice (The New York Times)—at once brings to life and memorializes the workers of the city’s last automobile plant at the start of the Great Recession.

Oct. 10–28, PlayMakers Repertory Company, Chapel Hill, www.playmakersrep.org Hamilton The mega-musical that freshened up Broadway, gentrified hip-hop, or both, depending on how you see it, is finally beat-boxing its way into Durham on its first national tour. Little more needs to be said about the rapping-forefather musical that rocked the nation, except that if you fail to secure a ticket (or don’t want to spend $78.50 at minimum for one), NC Theatre has cleverly come up with a consolation prize by booking In the Heights, a prior Lin-Manuel Miranda musical—this one centering on a community in New York City’s Washington Heights neighborhood—at Raleigh’s Memorial Auditorium October 16–21. Nov. 6–Dec. 2, Durham Performing Arts Center, Durham, www.dpacnc.com Bassem Youssef: The Joke Is Mightier Than the Sword Middle Eastern TV’s most popular political satirist was like Jon Stewart in a place where being Jon Stewart could get you in serious trouble. Now he’s based in California and sharing his story with American audiences.

Nov. 7, UNC’s Memorial Hall, Chapel Hill, www.carolinaperformingarts.org Camille A. Brown & Dancers: ink This year, Duke Performances will stage the entire trilogy on black identity by the endlessly exciting New York choreographer Camille A. Brown. Packed with a variety of community events, the series begins with ink, in which Brown palpates the spirit of black men with a characteristic blend of pop-culture punch and ancestral power. Nov. 9 & 10, Reynolds Industries Theater, Durham, www.dukeperformances.duke.edu

Hilton Als PHOTO COURTESY OF CAROLINA PERFORMING ARTS Hilton Als: Lives of the Performers Who could resist a first look at the in-progress first play by The New Yorker’s influential, Pulitzer-winning theater critic? Als will be in Chapel Hill to stage The Lives of the Performers, “a provocative work that explores race, the self (and those forces that threaten to destroy it), and sisterhood,” with director Peter Born and actors Helga Davis and Okwui Okpokwasili.

Nov. 16 & 17, Current Artspace & Studio, Chapel Hill, www.carolinaperformingarts.org INDYweek.com | 9.12.18 | 17

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JAKI SHELTON GREEN POET LAUREATE INDUCTION CEREMONY Wednesday, Sep. 19, 4:15 p.m., free North Carolina State Capitol, Raleigh www.ncdcr.gov

Laurels in Bloom

AS POET LAUREATE, JAKI SHELTON GREEN WANTS TO TURN UP THE VOLUME OF NORTH CAROLINA’S MUTED VOICES BY JAMEELA F. DALLIS

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n September 19 at the state capitol, North Carolina native Jaki Shelton Green will officially become the state’s ninth poet laureate—only the third woman to hold the post, and she is the first African American. Her contributions to local literature are substantial: Green has published eight books of poetry and a play, and she has co-edited two anthologies.

In 2014, she was inducted into the North Carolina Literary Hall of Fame after being named the first Piedmont Laureate in 2009.

She teaches writing at Duke’s Center for Documentary Studies, and she is the founder of SistaWRITE, which brings “women and spaces together for writing, community, sisterhood, and shared experience.”

In addition to teaching, mentoring, and collaborating with diverse communities of writers in North Carolina, Green facilitates writing courses throughout the country and as far as Brazil, France, and Morocco. She is an awe-inspiring woman: Even her speaking voice is poetic; it soothes and enthralls, and her propensity for storytelling is arresting.

As we talked for two hours on a hot, humid summer day in Hillsborough, Green guided me through threads of stories that led back to my initial questions and left me both satisfied and hungry for more.

She is a fierce, passionate advocate for the arts, dedicated to holding space for others to share their words, and she especially encourages people who have been silenced to tell their stories through creative writing. We talked about a wealth of subjects, laughing and wiping sweat from our faces, and listening to each other with attention and intention. These are some of the highlights.

INDY: You are the first black poet laureate of North Carolina and the third woman.

What does that mean to you?

JAKI SHELTON GREEN: It means a lot.

Obviously, it’s overwhelming in a very joyous 20 | 9.12.18 | INDYweek.com

way. I am used to being overwhelmed with sorrow, and I am used to being overwhelmed with the challenges of living in this culture.

But this, I feel like I’m holding it not just for myself, but for many generations before me.

I am holding it from the ancestral perspective that this is what my ancestors were preparing me for. This is the “make us proud” message that my grandmother was giving me as a little girl.

It’s not just the pride and joy that my family is holding with me. I’ve had black women, Asian women, Native women, and other women of color—women from all over North Carolina—write me, call me, and say “You don’t know me, and I don’t really know you, but when I saw you on TV, when I heard this, I cried. I wailed with joy.”

With that comes a lot of responsibility.

I can be bold enough to say, I know what Obama felt. For me, it’s that big in this state, given what I know about North Carolina, our history, our shared past. What’s happening right now is a divided Southern legacy. This crisis in Southern amnesia that some of us are allowing ourselves to get caught up in—this joy has transcended that. Friends of mine have said, “You know, we’re on social media, and it’s one scary story after another. One sad story, one intrusive story about the brutality against us, and here’s a story we can celebrate. Here’s something that makes us smile. Here’s something that we can be joyous about, that we can hold, and it’s a live thing.”

So that is a kind of buoyance, because I do feel like I’m being lifted by people I don’t even know. I was in Winston-Salem, and I had to speak to the North Carolina Arts Council Board of Directors, and I remember that some of the women in the room came up to me and said, “You have no idea what this means to me.” I do have an idea, because I know, if it weren’t me, how I’d feel for any of us to be in that space.

CONTINUED ON P. 23

Jaki Shelton Green PHOTO BY SANDRA DAVIDSON/COURTESY OF THE NORTH CAROLINA ARTS COUNCIL

EDITOR'S PICKS F I V E FA L L R E A D I N G S

BY BRIAN HOWE

Blackburn Festival: The Mackey Sessions Y’all know one of the country’s most distinguished contemporary poets is at Duke, right? Presented by the university’s English department, this three-day festival explores myth and music in the poetry of Nathaniel Mackey with workshops, readings, and live jazz. Sep. 20–22, The Durham Hotel/The Rubenstein Arts Center, Durham, www.thedurham.com Sally Bliumis-Dunn with Howard Craft Sally Bliumis-Dunn’s poetry resides “where the best poetry resides, between the thing and the emotion, the swan and the grief,” according to bona fide Famous Poet Billy Collins. In Durham, Bliumis-Dunn will discuss her acclaimed book Echolocation with a local literary light, playwright and poet Howard Craft.

Oct. 2, The Regulator Bookshop, Durham, www.regulatorbookshop.com

Diane Von Furstenburg • St. John Lilly Pulitzer • Citizens of Humanity Kate Spade • Coach • Michael Kors 7 for all Mankind • Marc Jacobs Theory • And more...

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Pete Souza White House photographer Pete Souza was all earnest reverence in Obama: An Intimate Portrait, but his new book, Shade: A Tale of Two Presidents, tartly juxtaposes the dignity of his Obama images with the disgrace of Trumpian tweets and headlines. Shots fired.

Oct. 26, Flyleaf Books, Chapel Hill, www.flyleafbooks.com Nell Painter After retiring from a distinguished career at Princeton, historian Nell Painter (known for bestseller The History of White People) enrolled at the Rhode Island School of Design to earn two degrees in painting. Old in Art School: A Memoir of Starting Over is the characteristically scholarly but lively and accessible result. Nov. 8, Quail Ridge Books, Raleigh, www.quailridgebooks.com David Grann The best narrative nonfiction journalists draw long historical lines out of intimate human stories in plain prose that relies on structure, not hard-sell rhetoric, for emotion and suspense. Nobody does it like David Grann (The Lost City of Z; Killers of the Flower Moon), who returns with The White Darkness, another deeply reported tale of obsession—this time, with Antarctic exploration.

Nov. 15, Quail Ridge Books, Raleigh, www.quailridgebooks.com

Nathaniel Mackey FILE PHOTO BY JUSTIN COOK INDYweek.com | 9.12.18 | 21

deep dive EAT • DRINK • SHOP • PLAY

22 | 9.12.18 | INDYweek.com

Coming September 19: Durham County For advertising opportunities, contact your ad rep or advertising@indyweek.com

CONTINUED FROM P. 20

To be a black woman in this culture, we have to have so many masks, and we have to be able to spin so many veils. There are the veils that we hide behind; they are the veils for our protection. And then there are the veils that we are lifting all the time, to show people who we really are. I think we are probably the only people on the planet that have had this task of renaming ourselves over and over again. I always tell my students that if you are going to be an artist, you need to have a museum full of interchangeable masks you can reach for and say, “Oh, I need this one for tonight and this one for the morning,” and yet [you should] know who you are at your core and not get lost. It’s not about becoming the mask but understanding how utilitarian it is for us to know the masks that we need.

I always think of Paul Laurence Dunbar’s poem, “We Wear the Mask.” And we’re still wearing the mask.

And that’s a beautiful thing, the way we come together and support each other.

Right, it’s about how we invest in legacy and how we construct legacy. I tell my students at Duke, “I can care less about what you learned about poetics—if there’s nothing else, you will know that in this class, you learn self-respect, compassionate listening, and how to be in community with folk.” And they sit there, and they get it— they have to get it.

[As poet laureate], I want to make sure that I am opening spaces where those muted voices and those silent voices, and those in small communities, can be heard.

In promoting, expanding, and celebrating literacy and literature, I want to make sure that I’m just not lecturing to people who are going to always show up at writers’ conferences or The Regulator, but also people who’ve never thought of themselves as writers. Where are these voices in North Carolina? They’re everywhere, and I want to help dig them out. As a sociocultural activist, that’s part of my work. One poem, one story at a time—it’s liberating.

In several interviews, you say that you did not intend to become a writer. Rather, you dreamed of becoming an oceanographer.

What does the ocean represent to you— now, as adult, and then, as a child who’d never seen the ocean? When I think about the ocean, I can’t help but think about the Middle Passage, and the depth of memory and history that’s held in that space.

There’s this longing for something you’ve never seen, but you know exists, and you feel connected to it in some way.

PHOTO BY SANDRA DAVIDSON/COURTESY OF THE NORTH CAROLINA ARTS COUNCIL

Good question. So, as a child, I had never seen the ocean. I was obsessed with the Jacques Cousteau stories that came on TV all the time about him exploring the bottom of the ocean, and the ocean represented this whole other universe. And there was a pull to that. It was like there was some kindred-ness with this foreign space that I felt like I was supposed to go and explore. I felt like some piece of me was there that I didn’t know about, some knowledge that would inform more of the life that I was leading as a child or was meant to live.

Of course, now, as an adult, the ocean is a part of my DNA. I understand the historical ramifications of why I identify so much with water and all that is there. The ocean is such a sacred space for me. In all of my times of trouble, sorrow, pain, despair, I run to the ocean; I run to the ocean. Because those bones in the Atlantic do speak to me. They do raise up when I come, and it doesn’t matter whether I’m at the ocean in Brazil, in Ocracoke, or Carolina Beach, or this summer in Morocco—it’s the same Atlantic. For me, it’s another home. It fertilizes my creativity. I go there to be renewed, resurged, cleansed, healed, to make communion. It’s a form of benediction, and it’s a place of grace for me. arts@indyweek.com INDYweek.com | 9.12.18 | 23

fallscreen

AURAL FUTURES

Wednesday, Sep. 12–Friday, Oct. 26, free Various venues, Durham www.ami.duke.edu

COUNTDOWN AT KUSINI Sunday, Sep. 23, 4 p.m., free Varsity Theatre, Chapel Hill www.stonecenter.unc.edu

Foreseeable Futures

A LOST ANTI-BLAXPLOITATION CLASSIC AND A SEASON OF AFROFUTURIST-MUSIC FILMS BEND THE ARC OF HISTORY WITH THE POWER OF CREATIVITY BY KYESHA JENNINGS

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wo upcoming film festivals, one new and one established, highlight independent black filmmakers who amplify black narratives that are often untold, forgotten, or simply ignored.

While Afrofuturism is widely associated with George Clinton and his ParliamentFunkadelic collective, its connection to music can be traced back to Sun Ra, an American jazz visionary, and found in today’s hip-hop and pop. The ancestral relationship of Afrofuturism and multiple genres of music is examined in Aural Futures, a new film festival at Duke University.

Aural Futures started with Ingrid LaFleur, a recent Afrofuturist mayoral candidate in Detroit. Beginning September 12, the festival consists of six weeks of programming around Duke, including a panel discussion, screenings of films and music videos, a night of musical performances, and a talk examining futuristic solutions regarding Detroit’s water problem. And on October 26 at the Franklin Humanities Institute, Pierce Freelon, Durham’s own Afrofuturist mayoral candidate, will join LaFleur in a conversation.

The festival was collectively curated by LaFleur, Duke associate professor Negar Mottahedeh, and Hank Okazaki, who runs the Screen/Society program of public film screenings at Duke. In addition to igniting audiences’ imaginations, the curators hope attendees will “envision a future where we can become other than what we are today,” moving a step closer to decolonizing their minds.

An aesthetic birthed directly from black culture, Afrofuturism mixes science fiction and social justice through surrealism and space travel, spanning dystopian stories and love fantasies, magical realism and alt-history. The term was coined in the nineties

by Mark Dery and popularized through the literary works of Octavia Butler. Scholars began to explore Afrofuturistic sensibilities outside of literature and survey its multimedia nature via music and art.

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“In the context of this programming, we define Afrofuturism as a rising out of the technologies that connect the past with the future,” Mottahedeh says. “Afrofuturism as a movement is really about confronting darkness with light.”

In other words, it has been an avenue for descendants of the African diaspora to reenvision life through a scientific and technological lens, like the way “technologies connect funk with jazz and blues through electronic music, bridging the past sound and the future sound,” as Mottahedeh says.

Janelle Monae’s visual album Dirty Computer, screening October 25 at Full Frame Theater, sonically embodies Afrofuturism with its eclectic sensibility. It continues themes from Monae’s previous projects, but as opposed to the former dystopian society where she was represented as an android, now she builds an Afrofuturist utopia—a place where otherness is accepted.

And Afro-Punk, an hour-long documentary

by James Spooner screening at The Ruby on October 11, examines the otherness that can develop when black youth fall in love with punk music—the double conscious they have to carry when they express interest in a music genre that is not generally associated with a black aesthetic.

LaFleur says these films present an intimate perspective on Afrofuturism that is, at times, surreal, and thus accurately expresses the nonlinear nature of Afrofuturism.

“It must be understood that within Afrofuturism, time is multi-dimensional, where future coexists in the present along with the past,” LaFleur says. In a way, this idea of mingling past, present, and future also relates to a fascinating film screening in the Diaspora Festival of Black and Independent Film, starting September 23 courtesy of the Stone Center at UNC-Chapel Hill.

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tarring Ruby Dee and Ossie Davis in the mid-seventies, Countdown at Kusini aimed to offer nuanced depictions of black people to counter the lackluster stereotypical

Afro-Punk PHOTO COURTESY OF AURAL FUTURES representation of them during the height of Hollywood’s blaxploitation era. It was an early film exploring and connecting black Americans to the struggle of African natives, developed from an amalgam of true stories, including that of Amilcar Cabral, a revered African revolutionary.

Blaxploitation films catered to black audiences and consisted of black casts, but it wasn’t long before they attracted mainstream viewership, promoting imagery of black people as pimps, hoes, and pushers. Countdown at Kusini was produced by the Delta Sigma Theta sorority, a historically black Greekletter organization, which predominantly serves black women. The organization’s goal was to apply a controlled marketing distribution campaign, an idea that was considered by many a guaranteed success. However, after limited theatrical screenings, the film, shelved by Columbia in 1976, has hardly been seen since.

Countdown at Kusini has long been an obsession of Joseph Jordan, the director of the Sonja Haynes Stone Center for Black Culture and History, which is celebrating its thirtieth

anniversary this fall. Jordan is particularly interested in films that were groundbreaking but discounted. He remembers the national excitement throughout the black community surrounding the release of the film.

“It came out at a time when it was difficult for black directors and actors to get their work to screen,” Jordan says.

In Durham, the original film is screening alongside a documentary by S. Torriano Berry. In his documentary, Berry suggests that the Deltas were undermined and sabotaged by Columbia and considers a multitude of “what ifs?” including, “Were the Deltas the Mother of Nollywood?”

Citing Countdown at Kusini as a pioneering production filmed entirely in Africa, Berry considers the possibility that it planted a seed in Lagos, Nigeria, by giving the country a taste of what film production was like.

The film “could have changed the way that Hollywood did business, if they had done business in an honest manner and correctly,” Berry says.

Though he interviewed director Ossie Davis and other participants in the making

EDITOR'S PICKS S E V E N FA L L F I L M S

BY BRIAN HOWE A Star Is Born And so it has come to pass that the heat-seeker of the season is a hoary 1937 Hollywood romance’s third remake, this time with Rocket Raccoon (aka Bradley Cooper) debutdirecting and method-acting with Lady Gaga. (PS, it was almost Eastwood and Beyoncé!) One rapturous early review compared it to Scorsese and P.T. Anderson. Lightning literally struck the Venice Film Festival premiere. Um, what the hell is happening? Oct. 5

A Star Is Born Can You Ever Forgive Me? Though this true story of a failing writer forging letters by dead authors sounds interesting, it’s all about the people behind it: Marielle Heller (The Diary of a Teenage Girl) directing Melissa McCarthy with a script by the great Nicole Holofcener (whose The Land of Steady Habits drops on Netflix Sep. 14) and Jeff Whitty (Avenue Q), who surely saw The Happytime Murders and knows enough to keep puppets away from McCarthy. Oct. 19 Mid90s A nostalgic coming-of-age story by universal charmer and secret hypebeast Jonah Hill, set in nineties LA and starring a skateboarding kid actor (Sunny Suljic) who recently survived Yorgos Lanthimos’s The Killing of a Sacred Deer? This movie is made of my dreams. Oct. 19

of the film, Berry says he had yet to garner a response from the national headquarters of Delta after years of inquiries. He felt he had exhausted all resources, and he walked away from the project. It wasn’t until he received a call from Jordan that he began working on the film again. Both the original film and the documentary offer a wide range of themes and issues to unpack, and Berry will join a panel discussion on them after the Varsity screening.

Not surprisingly, some of the other films in this year’s Diaspora Festival present an Afrofuturist aesthetic, using creativity, magical realism, and alt-history to envision a new world. Supermom, directed by Jason

Honeycutt, is about “a daughter who thinks her mother is a real-life super hero—she might be right.” Rolling in the Deep, directed

by Marcellus Cox, connects past and present through the protagonist’s journey to “achieve a goal for his late father by having a meal at a locally famous Whites Only Diner.”

And Savannah Treena’s The Colored Girls Restroom has black-girl magic written all over it, centering on black girlhood and creativity in the setting of a racist boutique owner’s colored-only restroom, showing the resilience and activism that exists within Afrofuturism. arts@indyweek.com

Suspiria Tis the season of spooky reboots, but forget Predator and Michael Myers (as you likely will soon after seeing their movies, anyway). Luca Guadagnino (Call Me By Your Name) helming a remake of Dario Argento’s 1977 horror-nerd touchstone is apt to leave a more lasting scar. Oct. 26 Widows Oh my god. Steve McQueen (12 Years a Slave) has teamed up with Gone Girl plot-twister Gillian Flynn to craft a screenplay about women cleaning up after their husbands are killed in a bad heist. The widows include Viola Davis and Michelle Rodriguez (Girlfight). This is going to sizzle. Nov. 16 The Favourite Speaking of Lanthimos, your most favorite or most hated absurdist horror-dramedy auteur is back with a new trick, using a historical milieu (two cousins jockey for position in the eighteenth-century court of Queen Anne) instead of a hermetically devised one like in Dogtooth or The Lobster. It’s bound to get weirder than it sounds. Nov. 23 If Beale Street Could Talk Two years after his Oscar-winning expressionistic love story, Moonlight, Barry Jenkins adapts James Baldwin’s novel about a woman in 1970s Harlem trying to unsnarl her wrongly imprisoned husband from a racist justice system. IndieWire calls it a “mesmerizing burst of creative passion.” Nov. 30 INDYweek.com | 9.12.18 | 25

fallfood

All You Can Eat

THE FOOD HALLS ARE COMING! THE FOOD HALLS ARE COMING! BUT WHAT MAKES THEM DIFFERENT THAN FOOD COURTS? BY LAYLA KHOURY-HANOLD

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n a Wednesday at 11:00 a.m., I faced down my toughest decision of the day: what to eat for lunch. I pored over menus as I wandered, debating between butter chicken from Curry in a Hurry or pork chimichurri empanadas from Makus Empanadas, before settling on lotus root salad and summer rolls from MKG Kitchen. While I waited for my food at a communal table, a young couple sitting nearby made me wonder if I should’ve ordered a CowBar burger, while two gentlemen incited a case of order envy, slurping bowls of The Broth’s ramen from their perches in overstuffed chairs.

I can’t think of many restaurants where diners can choose from dozens of different cuisines spanning every meal and satisfying nearly every craving. Or one where it’d be acceptable to change tables mid-meal, or one that served high-quality, local food in minutes, all without having to reserve a table.

At the newly opened Morgan Street Food Hall in Raleigh’s Warehouse District, this dining utopia is a reality. And by early 2019, the Triangle will be home to four food halls, each with its own look, vibe, and vendor mix.

But what makes food halls different than food courts? Whereas a food court is an amenity, a place to grab a bite while shopping, food halls are a destination. All four Triangle food halls put a premium on local businesses, giving many chefs a chance to open their first brick-and-mortar or bring niche offerings to a wider audience.

Food halls also curate ambiance, incorporating greenery, local artwork, lighting, custom acoustics, and comfortable seating. Oh, and did we mention? There’s also booze.

This means that we are going to eat (and drink) very well in the coming months, but the food hall boom also has the potential to satisfy our hunger for connection—connection to our food, to our small business community, and to one another.

“I think we’re seeing a cultural shift in the way people think about social interactions,” says developer Jason Queen. “People are embracing the need for social interactions, 28 | 9.12.18 | INDYweek.com

and I think there’s a hell of an opportunity for food halls to do that and do it well.”

Queen is the founder of Transfer Co. Food Hall, slated to open early 2019 in the historic Carolina Coach Garage and Shop (and former home of the Transfer Co. bus line) in Raleigh’s Old East neighborhood. Besides sitting across the table from someone you might not otherwise share a meal with, Queen says that at Transfer Co., social interaction is built into the food offering. Because each vendor’s production space is open, diners have the chance to say, watch oysters being shucked at Locals Oyster Bar or a bar of chocolate being made at Videri Chocolate Factory. This also sates curious foodies’ yen to know more about their food, and millennials’ desire for food to provide an experience.

Social connection can also extend to vendors. Queen envisions Benchwarmers Bagels, a collaboration between Jubala Coffee and Boulted Bread, offering a bagel topped with smoked fish from Locals Seafood’s fish market, or perhaps having Burial Beer Co. collaborate with Videri Chocolate on a food hall-exclusive chocolate stout. These unique one-offs help make food halls destinationworthy and keeps diners coming back.

Durham Food Hall founder Adair Mueller agrees that fostering collaboration and creativity is key for chefs, too.

“A food hall is like a playground to a chef.

In a full-service restaurant or even a food truck they’re so limited. There are a lot of constraints, so you can’t be quite as creative and constantly changing and maintain a new menu,” Mueller says. “I love that aspect, in that they can truly create. And if an item isn’t working and it flops, you can change it. You haven’t invested that same cost.”

Mueller also sees Durham Food Hall, slated to open early winter 2018, as an incubator for food entrepreneurs. Housed in the former Liberty Warehouse, the Durham Food Hall boasts fifteen-thousand square feet, so it could easily accommodate more than ten vendors. And with two-hundred-fifty applications, there was plenty of interest. But

Above: Blue Dogwood Public Market in Chapel Hill COURTESY OF BLUE DOGWOOD Below: Morgan Street Food Hall in Raleigh PHOTO BY CAITLIN PENNA

Mueller was intentional about finding the right mix; in addition to a high-quality offering, she chose vendors with interesting stories, unique products, and ones with shared values for sustainability and local sourcing.

There’s Lula & Sadie’s, a multi-generational family endeavor focused on seasonal Southern staples with a modern twist (think: eggnog-pecan French toast); couples-owned

businesses such as Afters, specializing in cake and dessert flights; and women-owned businesses such as Ex-Voto Cocina Nixtamal, which uses heirloom corn to make masa and tortillas for its tacos and tamales.

Niche businesses were also a focus for Blue Dogwood Public Market in Chapel Hill, the Triangle’s first food hall which opened in mid-June. Food halls are a way

for small businesses to get started with less investment, and they can test new concepts with less risk. At Blue Dogwood, you’ll find gluten-free baked goods at Pizzelle Bakery, peanut-free chocolates at Chocolatay Confections, vegan tacos and wraps at Vegan Flava, and plant-based tamales and arepas at Soul Cocina.

Blue Dogwood lives up to the “Public Market” part of its moniker, too. In addition to picking up a sandwich from whole-animal butcher Left Bank Butchery, you can also buy fresh sausages, steaks, and charcuterie to take

home, along with cheeses from Chapel Hill Creamery and bread from Pittsboro’s Chicken Bridge Bakery. Blue Dogwood will soon add a produce vendor, making it one of the few places to buy fresh produce in downtown Chapel Hill.

But before you head home with your bounty, if you feel like lingering—and you can, because there are no table vultures hovering with a reservation—head over to Blue Dogwood’s bar and order an afternoon brew. It’s the easiest decision you’ll have to make all day. laylakh@indyweek.com

EDITOR’S PICKS T H R E E FA L L FO O D E V E N T S

BY LAYLA KHOURY-HANOLD Sip+Savor Break out your stretchy pants. Sample dishes from thirty top Triangle restaurants, each paired with celebrated international wines. Spring for VIP tickets to taste exclusive bites and rare beer and wines. A portion of proceeds benefits the 2019 Inter-Faith Food Shuttle and Band Together partnership.

Oct. 14, 4-7 p.m., Durham Performing Arts Center, Durham, www.sipandsavornc.com TerraVita Food & Drink Festival Now in its ninth year, food and sustainability festival TerraVita returns with its signature Fall Fête tasting event, featuring more than sixty N.C. chefs, food artisans, and beverage producers, as well as new events such as an Edna Lewis tribute dinner and a book-signing with Top Chef-alum Carla Hall.

Oct. 17-20, various times and venues around Chapel Hill & Carrboro, www.terravitafest.com Salt & Smoke Festival ACME chef-owner Kevin Callaghan knows how to throw a party. Whole heritage hog barbecue, heaping plates of Southern sides, raw oysters, local brews and booze, plus live music add up to the most fun you’ll ever have on a farm.

Nov. 3, 3-8 p.m., Rock Quarry Farm, Chapel Hill, www.saltandsmokefest.com

EDITOR’S PICKS T H R E E FA L L B A R O P E N I N G S

BY LAYLA KHOURY-HANOLD Vita Vite Midtown North Hills just got a little cooler; Vita Vite’s stunning second location opened September 9. Equal parts wine bar and art gallery, it could easily land in the pages of Elle Decor.

Admire local art and take in the cozy-meets-glam space from a perch at the upstairs bar while sipping on a glass of La Casaccia Grignolino, one of owner Lindsay Rice’s favorite light reds.

200 Park at North Hills Street, Suite 130, Raleigh, www.vitaviteraleigh.com Heirloom Brewshop North Carolina natives and husband-wife team Chuan Tsay and Anna Phommavong will open their coffee shop, tea house, and sake bar in The Dillon in Raleigh’s Warehouse District in late September. The pair will also offer a food menu reflecting their shared Laotian, Taiwanese, and Japanese cultures. 219 South West Street, Raleigh, www.heirloombrewshop.com Kingfisher Husband-wife team Sean Umstead and Michelle Vanderwalker have been preserving produce all summer for their downtown Durham bar’s menu of fruit- and veggie-driven craft cocktails. It’s slated to open in December, but we can’t think of a better way to chase away winter doldrums than with an N.C.-grown strawberry daiquiri. Catch Kingfisher at pop-ups at The Roof at The Durham on 9/12 and at Crawford and Son on 9/18.

321 East Chapel Hill Street, Durham, www.kingfisherdurham.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming September 19:

DURHAM COUNTY

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 9.12.18 | 29

fallmusic Dream Big

J. COLE’S DREAMVILLE FESTIVAL IS PLANTING THE FLAG FOR HIP-HOP’S CRITICAL MASS IN THE TRIANGLE

BY KEVIN J. ROWSEY II

[Ed. note: The Dreamville Festival, which was scheduled for Saturday, was canceled because of weather concerns shortly before press time. It has not been rescheduled yet.]

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hough the unofficial “North Carolina hip-hop month” started early with the Beat N Bars Festival moving to late August, between that, Hopscotch, Art of Cool, and the heavily anticipated Dreamville Festival, a critical mass of hip-hop culture in the Triangle looks closer than ever.

J. Cole’s Dreamville festival is a big move for Raleigh and the Triangle as a whole because it shows a significant cultural shift that is beginning to develop in the area. We haven’t seen a wave of major hip-hop artists on the same stage since the days of Petey Pablo. While Beats N Bars caters to the more underground hip-hop, and Art of Cool targets the more mature jazz audience, Dreamville Fest plants the flag for mainstream, popular hip-hop in the Triangle.

Cole, a native of Fayetteville, has been keeping an eye from a distance on the North Carolina scene. He’s maintained an artist compound in an undisclosed location in the Triangle, signed Charlotte native Lute to his Dreamville label, and also brought the likes of J.I.D. and Earthgang to Motorco for a soldout show—the RocNation signee has obviously been plotting a major move for North Carolina for some time. Who else do you know with the foresight and clout to bring Nelly out of retirement?

During the early parts of his career with RocNation, Cole caught ridicule from North Carolina, with criticism that questioned what he’d done for the community he’d come from. But Cole, previously appearing under the moniker of The Therapist, was noted to be a regular attendee of Microphone Mondays at the Local 506 in the early aughts.

At that time, he was another “local” artist on the scene, and it wasn’t until he left for St. Johns University and made his roots in New York that his artistry was recognized on a national level. Cole stayed rela30 | 9.12.18 | INDYweek.com

tively silent about his involvement with the North Carolina scene, and since releasing Cole World: The Sideline Story in 2011, has been contributing to North Carolina hip-hop through direct action, like bringing Drake and Jay Z to Fayetteville, rather than connecting it with the world of mainstream music through features on songs.

The relationship that Cole has with North Carolina has no doubt been a difficult one.

When he came to Chapel Hill in 2009, he was thoroughly overlooked. Passing out mixtapes to students on campus hoping to connect with the college audience, J. Cole seemed more like the artist we see in the local scene than the megastar that we see today.

His appearances in North Carolina became few and far between, from headlining UNC’s homecoming in 2012, to his own homecoming show in Fayetteville for the release of 2014’s Forest Hills Drive. Cole has made sure that each time he comes home, he makes an impact on the culture.

In Raleigh, J. Cole looks to reveal his master plan that he may have been formulating since the earliest days of his career. His festival’s lineup features Cole alongside luminaries like SZA, Nelly, and Young Thug, hometown heroes Rapsody, King Mez, and Lute, and an undercard of artists on Cole’s Dreamville label, including Ari Lennox, Bas, and Earthgang. Not only has Cole created his own path to be regarded as one of the greatest hip-hop stars of this era, but he has successfully launched a label to pull up rising stars, too. Cole is making history by making it happen in Raleigh over any other larger market.

It took a multiple Grammy-winning artists to bring a hip-hop festival of this caliber to North Carolina, but North Carolina is finally being recognized for its hip-hop scene, and it looks to be a gathering comparable to an A3C in Atlanta or Broccoli City in Washington, D.C. The mainstream movement has made its way to North Carolina, and the gates have opened right here in Raleigh. music@indyweek.com

J. Cole PHOTO BY ANTHONY SUPREME

INDYweek.com | 9.12.18 | 31

fallmusic

HIP-HOP & HIGHER EDUCATION SYMPOSIUM Thursday, Sep. 13-Friday, Sep. 14, Various times, $5–$10 William Peace University, Raleigh www.hiphopedwpu.com

Int’l Scholars Anthem

HIP-HOP IS ENTERING A GOLDEN ERA IN AN ENTIRELY DIFFERENT FIELD: ACADEMIA

BY KYESHA JENNINGS

“I

have a Ph.D. in hip-hop.” These were the words that shifted the trajectory of my career in a split second. As an eager self-identified hip-hop head with personal ties to the culture, I yearned to understand more about a “degree in hip-hop.” What my then-professor and now mentor meant was that his research interests were rooted in hip-hop pedagogy and hip-hop studies.

Hip-hop pedagogy is a strategy of teaching using elements of hip-hop culture, whereas hip-hop studies is a multidisciplinary field which centers hip-hop within a respective focus, like religion, sociology, critical race studies, musicology, gender studies, and more. Both approaches prioritize fostering students’ critical and creative thinking skills, going far beyond simply inserting the newest rap song into one’s curriculum or going viral for performing the trending dance crave. From the streets of the Bronx to the halls of Harvard, hip-hop scholarship is entering a golden era.

Within the past twenty-plus years, scholars have produced a number of seminal texts across disciplines, developed innovative courses, and curated national and global academic conferences focused primarily on hip-hop—students can even minor in hip-hop at the University of Arizona, Columbia College Chicago, and Bowie State University.

Though many continue to question the academic rigor of hip-hop as a result of the skewed attention given to the hyper-violent and misogynistic attitudes embedded in parts of the culture, and others focus on the outdated assumption that the genre is just a fad. But hip-hop garnered the illest co-sign ever by finding a home at Harvard University, America’s oldest institution of higher education. In 2013, Harvard University established the Nasir Jones Hip-Hop Fellowship, named after Queensbridge rapper Nas, to “fund scholars and artists who demonstrate exceptional scholarship and creativity in the arts in connection with hip-hop.”

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Unbeknownst to most, the Triangle area is home to three recipients of this prestigious fellowship: Duke professor Mark Anthony Neal, Grammy-winning producer and Little Brother co-founder Patrick “9th Wonder” Douthit, and poet Christopher “Dasan Ahanu” Massenburg. Furthermore, academic institutions located in North Carolina,

Dasan Ahanu FILE PHOTO BY MELODY KO including Duke, North Carolina Central University, UNC-Chapel Hill, N.C. State, and North Carolina A&T State University have offered an expanding range of college courses and workshops that explore hip-hop culture, history, and production. William Peace University, a small liberal arts college located in downtown Raleigh once known as Peace College, has most recently joined the network of North Carolina institutions invested in hip-hop academia.

Hip-hop’s presence in academia creates an opportunity for the institution and the professor to practice culturally relevant pedagogy. Coined by Dr. Gloria LadsonBillings, this approach to teaching requires educators to use their cultural competence and critical thinking skills to increase student

engagement and retain their attention. The practice also serves as a springboard to integrate social justice themes into the course objectives. From a practical standpoint, hiphop in academia fosters an environment where students can become practitioners.

For example, the University of Virginia’s music department offers a course in writing raps. Similarly, UNC-Chapel Hill’s hip-hopbased course offerings are extensive: The Art and Culture of the DJ, Beat Making Lab, and Rap Lab. Besides using hip-hop within the classroom to introduce specific subjects of learning, as a hip-hop scholar and Ph.D. student, I use the discipline to explore popular topics or issues within the culture with the goal of entering the larger cultural conversations.

My work right now includes pieces titled “There Can Be More Than One: Hip-Hop, Black Feminism, and the Rituals of Rivalry in the Age of Cardi B. and Nicki Minaj”; “Girls Who Make Beats: A Conversation on the Disproportionate Representation of Female Producers in Hip-Hop”; “Wake Up Mr. West: Kanye West, The Sunken Place and the Rhetoric of Black Twitter.”

A brief glance at the number of academic hip-hop spaces in North Carolina alone reveals the transcending capabilities of hiphop. Each of these spaces cultivates a sense of community and equips students with the ability to think critically, reflect on and develop their personal identity, and participate in project-based learning via hip-hop, while simultaneously nurturing their creativity.

From Blackspace and its hip-hop centered workshops to the weekly Cyphers on NC State’s campus, to the curated panels on hip-hop and education at the Beats n Bars Festival, to the blended hip-hop theatrical performances at the Duke Performing Arts Center and Joan H. Gillings Center for Dramatic Art, to the Global Hip-Hop Initiative at UNC—hip-hop is here to stay, and in the words of Diddy: “Ten years from now, we’ll still be on top.” music@indyweek.com

music

BRIEF

J. COLE VS. FESTIVAL CULTURE

“Power, greed, money, molly, weed, percs, xannys, lean, fame.” At the end of “KOD,” the title track on J. Cole’s last album, the rapper rattles off nine words linked to addiction. Leaning heavily on the literal, five of them are drugs that have been put on a pedestal these past few years, especially within popular music. And detrimentally so. Opioids (Percocet, Fentanyl, codeine), Benzodiazepines (Xanax, Valium), and woozy intoxicants like lean have found a home in the lyrics of today's biggest acts, including Migos, Future, Lil Peep, and Mac Miller, who died at twenty-six just a week ago of a suspected overdose.

Five months after his passing, although not because of it, Cole vented via KOD, an album of finger-wagging at those who indulge in and glorify potentially harmful vices. Fittingly, the LP’s acronym has three parallel meanings: Kill Our Demons, King Overdosed, and Kids On Drugs.

However, it’s no secret that festival grounds are playgrounds for potential substance abuse. Coachella and Bonnaroo, two of the largest U.S. fests, both reported drugrelated deaths within the past five years.

Security teams wand attendees before entry, check bags, and pat down pockets, but with an average of tens of thousands of attendees, vices slip through the search. At Dreamville, the outcome might be the same, and the irony of the moment is undeniable.

While Cole’s on-wax PSA was dubbed the voice of reason (although, not without rappeer pushback), will KOD’s message actually make its way through the smog of a high, especially for his homegrown fans? Will this young crowd, a sea of the same people he hopes to steer in the right direction, separate being fans of his work from being fans of his words? —Stacy-Ann Ellis

EDITOR’S PICKS T E N FA L L CO N C E RT S

Flutronix Flutes rarely get much time in the spotlight, but the flute-focused duo of Allison Loggins-Hull and Nathalie Joachim offers a refreshing break from that trend with their mesmerizing, airy compositions. Sep. 21, 8 p.m., UNC’s Memorial Hall, Chapel Hill, www.carolinaperformingarts.org Joshua Hedley If you’re craving the kind of crystal-clear country music that shines like the rhinestones on a Nudie suit, Nashville’s Joshua Hedley will satisfy you with his hard-swinging twang. Sep. 28, 8 p.m., Cat’s Cradle Back Room, Carrboro, www.catscradle.com Serpentwithfeet On his debut LP, June’s soil, serpentwithfeet’s Josiah Wise explores sex, intimacy, and obsession in compositions that are dense and intense—as strange and wonderful as a snake that doesn’t slither. Oct. 11, 9 p.m., Kings, Raleigh, www.kingsraleigh.com Oddisee Equally skilled as a rapper and a beatmaker, Washington, D.C.’s Oddisee is a fast-moving machine; his flexibility with turns of phrase and intriguing rhythms is outright acrobatic.

Oct. 18, 8 p.m., Motorco, Durham, www.dukeperformances.duke.edu Big Thief Big Thief’s capacity for serving up songs that pack a punch with empathy, introspection, and unforgettable melodies is unmatched by any of the band’s indie-rock peers.

Oct. 24, 8 p.m., Cat’s Cradle, Carrboro, www.catscradle.com Iron & Wine Sixteen years since issuing his first album as Iron & Wine, Sam Beam continues to offer tunes that are gorgeous, gentle, and poignantly poetic. They’ll blossom in the stately Memorial Auditorium. Nov. 10, 8 p.m., Memorial Auditorium, Raleigh, www.dukeenergycenterraleigh.com Kamasi Washington One of the brightest stars of contemporary, future-forward jazz, Kamasi Washington is an inimitable sax player whose recordings feel like dispatches from a particularly thrilling corner of outer space. Nov. 15, 8 p.m., The Ritz, Raleigh, www.ritzraleigh.com

Mountain Man PHOTO BY SHERVIN LAINEZ Mountain Man This incandescent trio—Molly Sarlé, Amelia Meath, and Alexandra SauserMonnig—has returned after a few years’ hiatus to deliver more songs that are breathtaking with their near-supernatural harmonies and delicate charms.

Nov. 17, 8 p.m., Haw River Ballroom, Saxapahaw, www.hawriverballroom.com The Mountain Goats Hail Satan, for the nation’s favorite purveyors of songs about emotional turmoil, goths, and wrestlers take a two-night stand in one of the region’s prettiest venues.

Nov. 30 & Dec. 1, 8 p.m., Haw River Ballroom, Saxapahaw, www.hawriverballroom.com In the Jazz Tradition Before the fall semester comes to an end, Duke Performances presents a string of concerts celebrating women’s contributions to jazz, featuring performances from Nnenna Freelon, Lucinda Williams, Kate McGarry, and more.

Dec. 3-10, Various times, The Fruit, Durham, www.dukeperformances.duke.edu INDYweek.com | 9.12.18 | 33

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HOPSCOTCH2018 IN PHOTOS

The Flaming Lips PHOTO BY CAITLIN PENNA

Boulevards PHOTO BY CAITLIN PENNA

Lee Ranaldo PHOTO BY CAITLIN PENNA INDYweek.com | 9.12.18 | 35

Grizzly Bear PHOTO BY CAITLIN PENNA Miguel PHOTO BY CAITLIN PENNA

Speedy Ortiz PHOTO BY CAITLIN PENNA 36 | 9.12.18 | INDYweek.com

MC50 PHOTO BY BEN MCKEOWN

Nile Rodgers & Chic PHOTO BY CAITLIN PENNA

Thundercat PHOTO BY CAITLIN PENNA

Pamela_ and Her Sons PHOTO BY BEN MCKEOWN

Moses Sumney PHOTO BY CAITLIN PENNA

Shopping PHOTO BY CAITLIN PENNA

Zephaniah Ohora PHOTO BY BEN MCKEOWN INDYweek.com | 9.12.18 | 37

WHAT TO DO THIS WEEK

9.12–9.19

FRIDAY, SEPTEMBER 14–SUNDAY, SEPTEMBER 23

ROBIN FROHARDT: PLASTIC BAG STORE

Anthony Goicolea: “Anonymous Self-Portrait” PHOTO COURTESY OF 21C

FRIDAY, SEPTEMBER 14

PORTRAYING POWER AND IDENTITY: A GLOBAL PERSPECTIVE

21c Museum Hotel unveils a packed contemporary portraiture exhibition featuring work by forty contemporary artists, many of whom pay striking homage to classical portraiture in recasting their own images and experiences. Featured artist Anthony Goicolea, a photographer long interested in digital manipulation and themes of duality and the reclamation of self, nods to John Singer Sargent’s “Madame X” with “Portrait in Negative of a Boy with Harmonica as Madame Gautreau.”

Miguel Ángel Rojas’s series depicting a young, injured Colombian soldier in repose gracefully gestures toward Michelangelo’s “David.” Curated by Alice Gray Stites, the exhibition also includes works by Titus Kaphar, Ori Gersht, and Zanele Muholi. This cocktail reception with Goicolea kicks off the exhibition, which runs through March.

—Sarah Edwards 21C MUSEUM HOTEL, DURHAM 6–9 p.m., free, www.21cmuseumhotels.com/durham 38 | 9.12.18 | INDYweek.com

SUNDAY, SEPTEMBER 16

BUCK MEEK

Buck Meek occupies much of his time as the guitarist for the tender-hearted rock band Big Thief, but this spring, he issued his debut solo album. The self-titled collection is a light, mostly acoustic batch of songs that center Meek’s songwriting over his guitar prowess.

Tunes like “Cannonball!,” “Ruby,” and “Maybe” are lithe and warm, stretching out like a late-summer afternoon. But Meek counters those carefree numbers with songs that take a chillier turn, like “Best Friend” and “Flight 9525,” leaving just enough space in his narratives to leave you hungry for more. Durham’s subterranean Arcana is a surprisingly perfect place for these intimate songs to unfold. Mountain Man’s Molly Sarlé opens with a solo set, plus Names of War. —Allison Hussey ARCANA, DURHAM 8 p.m., $10–$12, www.arcanadurham.com

Count the number of plastic bags it takes to make your lunch. There’s one around the bread and a second, brittle one inside.

Why do the tomatoes always cling inside the green produce bag? The lettuce is in a Ziploc in the fridge, next to the last two wrapped slices of deli turkey. The sandwich goes in a sandwich bag; the chips go in another. Even if you reuse the grocery bag to take your lunch to work, it still went through eight plastic bags.

Because they’re not biodegradable, they’re now a permanent part of our ecosystem.

After researching the environmental impact of plastic bags, the visual artist, director, and puppet-maker Robin Frohardt is transforming Current into a convenience store where all of the products on the shelves—down to the fake sushi and chicken drumsticks—are made from local discarded plastic, creating what Frohardt calls “an endless cacophony of packaging.” Access to the exhibit is free from 10 a.m. to 5 p.m., while ticketed nighttime performances use puppetry and interactive sets to weave a story about the future cultural impact of our eternal wrappings. —Byron Woods CURRENT ARTSPACE & STUDIO, CHAPEL HILL Various times, $27, www.carolinaperformingarts.org

SATURDAY, SEPTEMBER 15

SOULS AJAR: AN EMILY DICKINSON FESTIVAL

Forget what you just saw at Hopscotch— the real festival bangers this fall are coming from a nineteenth-century poet from Amherst, a deeply private person in a white house-chore dress who radicalized and reinvented the wheelhouse of American poetry (what better lines are there for the age of Instagram than “I’m nobody!/Who are you?/Are you nobody too?”). Hosted by Strobilus Arts at Chapel in the Pines, this mini-festival features linked events including close readings, a nature walk, a lecture by UNC American Studies professor Eliza Richards, and a craft talk by Deborah Coclanis. It culminates in the fellowship hall with a dessert buffet featuring the poet’s own recipes. Don’t let the cultural fetishization of her reclusive nature distract you from her alchemical effect on contemporary considerations of death, religion, nature, the self, and the written word—basically, much of what it means to be human. One hundred fifty years later, we still gather to talk about it. —Sarah Edwards CHAPEL IN THE PINES, CHAPEL HILL 3–9 p.m., $10 suggested, www.citppc.org/strobilus

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming September 19:

DURHAM COUNTY

For advertising opportunities, contact your ad rep or advertising@indyweek.com

Lonnie Holley PHOTO BY TIM DUFF Y FRIDAY, SEPTEMBER 14

LONNIE HOLLEY

The music of Lonnie Holley once felt unbothered by the strictures of space and time, concerning itself with the free-flowing energy of the cosmos in spacious compositions written and performed by Holley on Nord keyboards. On MITH, his forthcoming LP due via the indie giant Jagjaguwar, Holley’s songs have kept some of their soothing, spacey qualities, but Holley delivers them with a new sense of urgency and empathy in his voice and arrangements. It’s hard not to listen to a song like “I Woke Up in a Fucked-Up America,” or to hear Holley examining racial injustice in the staggering “I Snuck Off the Slave Ship” and “I’m a Suspect” without feeling a deep ache. Even so, Holley’s music is a uniquely soothing balm for troubled times, as with the unexpectedly upbeat closing track “Sometimes I Wanna Dance.” His five-day residency at UNC-Chapel Hill concludes with this free concert and conversation at the Ackland. —Allison Hussey ACKLAND ART MUSEUM, CHAPEL HILL 6 p.m., free, www.americanstudies.unc.edu

WHAT ELSE SHOULD I DO?

AMONG WOLVES AT THE RUBY (P. 48),

BY THE WAY, MEET VERA STARK AT NRACT (P. 46), TIANA CLARK AT LOVE HOUSE AND HUTCHINS FORUM (P. 48), LISA CREED AT HORSE & BUGGY (P. 44), HIP-HOP & HIGHER EDUCATION SYMPOSIUM AT WILLIAM PEACE UNIVERSITY (P. 32), JAKI SHELTON GREEN AT THE STATE CAPITOL (P. 20) INDYweek.com | 9.12.18 | 39

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10/5 THE DEVON ALLMAN PROJECT

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10/12 DOOM FLAMINGO 10:30p 10/18 LANE 8 LITTLE BY LITTLE TOUR 7p 10/24 THE OH HELLOS W/ SAMANTHA CRAIN 7p

10/25 AN EVENING W/ CHRIS 10/26 ROBINSON BROTHERHOOD 7 pm 10/27 QDR HOWL-O-WEEN HARVEST BALL FEAT: DANIELLE BRADBERY, RUNAWAY JUNE, CLARE DUNN 7 pm

10/28 WHITEY MORGAN

W/ ALEX WILLIAMS 7p

10/30 CLAUDIO SIMONETTI’S GOBLIN 7p

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w/ NICK WATERHOUSE 7p

11/15 PJ MORTON

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THE GROWLERS 9/15 DEAD SARA W/ WELLES 9/19 FIDLAR W/ DILLY DALLY AND NOBRO ($22/$25) 9/21 CAR SEAT HEADREST

W/ NAKED GIANTS

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TO BENEFIT CARRBORO ELEMENTARY SCHOOL PTA ($10) 9/ 26 THE GROWLERS’ BEACH GOTH TOUR 2018 ($25/$30)

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SA 9/15 @ RALEIGH LITTLE THEATER`

THE CONNELLS

WE 9/19 @CAT’S CRADLE BACK ROOM

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11/4 POLYPHIA W/HAIL THE SUN, COVET ($17/$21) 11/5 PAYLAYE ROYALE W/ BONES,

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11/6 THE PSYCHEDELIC FURS ($30/$34) 11/7 HAKEN + LEPROUS W/ BENT KNEE ($22/$27) 11/8 DAVE ALVIN AND JIMMIE DALE GILMORE 11/9 REAL FRIENDS W/ BOSTON

FR 9/14 @MEMORIAL HALL

NEKO CASE

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

SU 9/16 @THE RITZ

SHAKEY GRAVES 11/11 BAILEN ($10/$12) 11/14 HIRIE ($14/$16)

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

11/17 TALL HEIGHTS W/FRANCES CONE AND OLD SEA BRIGADE ($13/$15)

9/30 CMF HIP HOP SHOWCASE HOSTED BY SKYBLEW

11/20 MOUSE ON THE KEYS / TERA MELOS W/DUMB WAITER ($17/$21)

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

11/27 PHRESHER AND Q DA FOOL ($17.50/ $20)

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

10/3 EMILY KINNEY W/PAUL MCDONALD

10/ 6 BLITZEN TRAPPER

W/ OKEY DOKEY

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

10/7 JOEY GRACEFFA:EDEN TOUR

10/5STOP LIGHT OBSERVATIONS W/LOCALFLORA($10/$12)

11/30 GABRIEL KAHANE ARTSCENTER (CARRBORO) 9/15 FIVE FOR FIGHTING WITH STRING QUARTET ($49.50/ 53)

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

10/9 THE STRUTS W/ WHITE REAPER AND SPIRIT ANIMAL ($24/$27)

10/6 ELECTRIC SIX

12/7 STEVE WILSON (OF PORCUPINE TREE) ($30 ADV/ $35 DAY OF SHOW)

9/27 CAAMP W/ ONA ($14/ $16) 9/29 MT. JOY W/ ARLIE ($15/$17) 9/30 CARRBORO MUSIC FESTIVAL (3 PM - MIDNIGHT; FREE SHOW) 10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22) 10/5 COSMIC CHARLIE ($12/$15)

10/10 MINUS THE BEAR: THE LD FAREWELL TOUR. W/ CASPIAN SO OUT 10/11 CRANK IT LOUD PRESENTS:

KNOCKED LOOSE 10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10) 10/13 DIALI CISSOHKO & KAIRA BA W/ SHANA TUCKER ($10/$12) 10/14 GAELIC STORM ($26/ $29; SEATED SHOW)

MANOR, GRAYSCALE, EAT YOUR HEART OUT ($21/$24) 11/10 RIVER WHYLESS W/TAKENOBU ($14/$16) 11/11 COLTER WALL

12/18 2ND ANNUAL HORTON’S

10/4 SAM BAKER ($15/$17)

10/9 PARTICLE ($15) 10/11 THE ARTISANALS W/ THE HIGH DIVERS

HOLIDAY HAYRIDE: REVEREND HORTON HEAT, JUNIOR BROWN, BLASTERS, BIG SANDY 12/19 THE WEEPIES HOLIDAY SHOW ($28/$32)

10/12 THE VEGABONDS W/ KENDALL STREET COMPANY ($10/ $15 FOR TWOPACK)

1/31/19 EL TEN ELEVEN W/ JOAN OF ARC ($15/$17) 2/1/2019 JOYCE MANOR/JEFF ROSENSTOCK W/REMEMBER SPORTS

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

10/14 EDDIE REYES EMO NIGHT 10/15 MIKE YUNG 10/18 SARAH SHOOK & THE DISARMERS DOCUMENTARY SCREENING & LIVE PERFORMANCE ($15)

10/15 BOB MOSES W/ MANSIONAIR

10/20 WILDERADO AND SURE SURE ($15)

10/16 WILD NOTHING W/ MEN I TRUST

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

10/20 GLORIETTA (DAVID RAMIREZ, NOAH GUNDERSEN, MATTHEW LOGAN VASQUEZ, KELSEY WILSON, ADRIAN QUESADA, JASON ROBERT BLUM) 10/22 WE WERE PROMISED JETPACKS ($15/$17) 10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18) 10/25 WIZARD FEST 10/26 ONE FOR DUANE V -- IDLEWILD

9/13 A DIFFERENT THREAD ALBUM RELEASE W/ CHESSA RICH + "DREAMS OF LOSS AND LIGHT"($10) 9/14 RUNAWAY GIN-- A TRIBUTE TO PHISH ($10/$15) 9/15 MARK HOSLER (NEGATIVLAND) / AV GEEKS 9/16 GABE DIXON 9/17 WAR ON WOMEN W/ HIRS COLLECTIVE AND COSMIC PUNK

SOUTH'S ANNUAL TRIBUTE TO THE MUSIC AND LIFE OF DUANE ALLMAN.

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

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

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

10/30 & 10/31 HIPPO CAMPUS

W/THE DISTRICTS

11/1 CURSIVE W/MEAT WAVE,

CAMPDOGZZ 11/2 GHOSTLAND OBSERVATORY W/ GIBBZ ($25/$27) 11/3 EMMURE & STICK TO YOUR GUNS ($22/$25)

9/20 SAM EVIAN W/ KATE VON SCHLEICHER ($12/$14) 9/22 HOWARD IVANS W/ BEAUTY WORLD, SUN STUDIES 9/23 VALLEY QUEEN 9/26 LOW CUT CONNIE W/ RUBY BOOTS ($15) 9/27 THE VELDT, THE MYSTERY

PLAN, LEISURE MCCORKLE

10/23 WIND + THE WAVE 10/24 MIKE MATTISON AND SCRAPOMATIC ($15/$20) 10/25 WIZARD FEST 10/26 GREG HUMPHREYS ELECTRIC TRIO ($12/$15) 10/27 DRIFTWOOD ($14 /$17) 10/28 LEMURIA W/ BETHLEHEM STEEL ( $15) 10/30 ADULT MOM W/DEREK TED ($10/$12) 11/1 NICKI BLUHM W/ GILL LANDRY ($16) 11/3 MAX FROST ($15/$17) 11/5 KING BUFFALO 11/7 KWEKU COLLINS W/JOSEPH CHILLIAMS ($12/$15) 11/8 BAD BAD HATS 11/9 TYLER RAMSEY ($15) 11/10 VETIVER (SOLO) AND FRUIT BATS (SOLO) ($14)

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) 10/23THIS WILL DESTROY YOU($15) 10/24 AMY RAY AND HER BAND W/ H.C. MCENTIRE ($20) 11/17 SAVES THE DAY W/KEVIN DEVINE (SOLO ACOUSTIC) KINGS (R AL) 9/14 ELEANOR FRIEDBERGER W/ PILL 11/20 QUEEN NAIJA ($20) THE RITZ (RAL)

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music 9.12–9.19

Eleanor Friedberger headlines Kings in Raleigh on Friday.

WED, SEP 12 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.

THE PINHOOK: Jacuzzi Boys, Dead Pets; 9 p.m., $8–$10.

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

THU, SEP 13 THE ARTSCENTER: Astor Piazzolla Quintet; 8 p.m., $15.

CAT’S CRADLE (BACK ROOM): A Different Thread; 8 p.m., $10.

THE CAVE: Andrea and Mud, Lester Coalbanks and the Seven Sorrows; 9 p.m., $5 Suggested donation.

NCSU’S CENTENNIAL CAMPUS: Sidecar Social Club; 5 p.m., free.

RED HAT AMPHITHEATER:

4 U: A Symphonic Celebration of Prince [$19–$85/7:30 P.M.]

Last summer, the North Carolina Symphony did its best take on Minnesota’s sexiest Jehovah’s Witness.

Here’s a slightly different, officially sanctioned orchestral take on Prince’s music by the North State Orchestra. Questlove was in some way involved, helping select tunes and make the arrangements (though he won’t be here in person), and unlike the NC Symphony’s performance last year, which included a singer, this seems to be purely instrumental.

Hopefully Questlove knows how to orchestrate purple.

—Dan Ruccia

PHOTO COURTESY OF GROUND CONTROL TOURING

FRI, SEP 14 BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

CAT’S CRADLE (BACK ROOM): Runaway Gin; 10 p.m., $10-$15.

DUKE CAMPUS: BALDWIN AUDITORIUM: Jennifer Curtis & The Melodic Refuge Orchestra; 8 p.m.

KINGS:

Eleanor Friedberger [$15–$17/8:30 P.M.]

Eleanor Friedberger sometimes performs with a splashy full band, sometimes in a somewhat unadorned style—just her, a Stratocaster, a small amp, maybe a drummer. Occasionally she simply plays pre-recorded backing tracks off an iPhone and sings. Whereas The Fiery Furnaces were an indulgent joyride through noisy rock and experimental pop, Friedberger solo brims with the clear-eyed rock ’n’ roll charisma and swaggery precision of Lou Reed

or Carrie Brownstein. The songs are less complex but just as (if not more) compelling. With PILL. —Josephine McRobbie

while Stef Chura’s melancholic moods are conjured by urgent howls and lo-fi riffs.

—Spencer Griffith

LORRAINE’S COFFEE HOUSE: Lorraine Jordan & Carolina Road; 7:30 p.m., $8.

THE PINHOOK:

THE MAYWOOD: Cloak, All Hell, Antenora, Ose; 9 p.m., $10-$12.

MOTORCO:

Frankie Cosmos [$15–$18/9 P.M.]

Frankie Cosmos leader Greta Kline has long been economical with both her words and song length. But on March’s Vessel, the charming bedroom pop project arrives with more punk spirit than ever while retaining the disarming honesty and breezy melodies that became hallmarks of her dozens of DIY releases. Lomelda embodies lonesomeness thanks to sparse, dusty twang matched with stark lyricism and near-whispered vocals,

SUMAC [$12/9 P.M.]

To call SUMAC an avantmetal supergroup is accurate but increasingly incomplete.

The trio of drummer Nick Yacyshyn (also of Baptists and Erosion), Russian Circles bassist Brian Cook, and veteran multitasker Aaron Turner (also of Old Man Gloom, Isis, Mamiffer, Split Cranium, et al) on guitar and vocals have all, individually left their mark on the realms of experimental and heavy music. But as SUMAC, the trio seems most apt to posit heavy music as high art. To wit, the brand new Love in Shadow twists and writhes through four long-form tracks of dense, dynamic, and utterly captivating

compositions contemplating the superficially not-metal theme of love. In this band’s hands, though, the intensity and nuance of a complicated emotion is given a new artistic imagining. The tangled, tumultuous death metal band Infernal Coil and the dark, experimental hip-hop outfit Dälek open. —Bryan C. Reed SHARP NINE GALLERY: Brandon Mitchell: A Tribute to the Modern Jazz Quartet; 8 p.m., $10-$20.

THE VAULT AT THE PALACE INTERNATIONAL: Ultra Bad Behavior Dance Party; 10 p.m.-2 a.m., $10.

UNC’S MEMORIAL HALL:

Neko Case [$19–$49/8 P.M.]

On Neko Case’s seventh solo album, June’s Hell-On, she sings, “So I left home and faked my ID/I fucked every man that I wanted to be/I was so stupid then/Why should mystery give its life for me?” Her voice INDYweek.com | 9.12.18 | 41

9/13 9/15 9/22 9/22 9/27 10/4, 5,7 10/6

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Buck Meek performs at Durham’s Arcana Sunday evening. sounds, as it often does, timeless, as if echoing over hills from a place unknown, putting words to painfully familiar feelings. This sensory impact is partially due to mic settings—Case once said that reverb “is kind of like the importance of having breathing in between words: You want to hear the space you’re in, and reverb makes it more alive, makes it breathe more.” Case’s music is very much alive, and it’s worth experiencing live as well.

Thao opens.

—Josephine McRobbie

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Your Week.

Every Wednesday. indyweek.com

WENDELL FALLS: Mark Gabriel Little; 7 p.m.

SAT, SEP 15 THE ARTSCENTER: Five for Fighting with String Quartet; 8 p.m., $50-$53.

BARLEY LABS: Curtis Stith; 7 p.m.

CAT’S CRADLE: Dead Sara, Welles; 8 p.m., $12-$15.

THE CAVE: The Affectionates, Drunken Prayer, Colin Sneed; 9 p.m., $5 Suggested donation. Shark Quest, Paul Swest; 9 p.m., $5 Suggested donation.

DURTY BULL BREWING COMPANY: Pete Pawsey; 4 p.m.

KINGS:

Sugar Candy Mountain, Madeline Kenney [$10–$12/9 P.M.]

With hooks peeking out of sluggish wafts of haze, Sugar Candy Mountain imagines such peak sixties hypotheticals as Phil Spector and Brian Wilson dabbling with psychedelics while directing a tropicaliatinged Velvet Underground record. Produced by Wye Oak’s Jenn Wasner, Madeline Kenney’s forthcoming LP is considerably more modern, filled with layers of lush synths and dreamy guitars that create a fuzzy foundation for Kenney to explore evocative themes with her striking voice.

—Spencer Griffith

PHOTO BY ADRIANNE LENKER

LORRAINE’S COFFEE HOUSE: Brandon Lee Adams; 7:30 p.m., $8.

THE MAYWOOD: Deathcrown, Chaosmic, Noctomb; 9 p.m., $8.

MEYMANDI CONCERT HALL:

NC Symphony: The Music of Queen [$37–$77/8 P.M.]

It might be splitting hairs a bit to say that Queen’s biggest album wasn’t called A Night at the Symphony. Yet here we are. Fronted by singer Brody Dolyniuk, the North Carolina Symphony will attempt to channel all the soaring vocals, thundering guitar solos, and everything else Freddie Mercury and company accomplished. —Dan Ruccia MYSTERY BREWING PUBLIC HOUSE: Louis Landry; 8 p.m., free.

RALEIGH LITTLE THEATRE: The Connells, Dillon Fence, The Mayflies USA; 4 p.m., $15-$25.

SHARP NINE GALLERY: Angela Bingham Trio; 8 p.m., $10-$20.

woods to escape modern life and make some Very Deep Art is strongly associated with the analog. This Behavior, the new record by dance punks Adult., goes off-grid in a deliciously different way. At a remote cabin in Michigan, the duo presided over a kitchen table chock-full of drum machines and synths to demo the highenergy record.

—Josephine McRobbie THE RITZ:

Kaleo

[$35/8 P.M.] Kaleo is an Icelandic bluesrock band that hit it big on the strength of 2015 single “Way Down We Go,” which peaked at No. 1 on Billboard’s Alternative Songs chart. The band’s somber, soulful sound is punctuated by frontman J.J. Julius Son’s striking vocal delivery and muddy Delta blues riffs. —Howard Hardee

ARCANA: Buck Meek, Molly Sarlé, Names of War; 8 p.m., $10–$12. See page 38.

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

DUKE CAMPUS: BALDWIN AUDITORIUM: Flute4; 12:30 p.m.

Flute4: Carla Copeland-Burns, Erinn Frechette, Caroline Ulrich & Amy Orsinger Whitehead; 5 p.m., free.

THE PINHOOK:

Tigers Jaw [$16–$18/8 P.M.]

Jangly indie-rock instrumentation and the charmingly unsteady vocals of keyboardist Brianna Collins and guitarist Ben Walsh are calling cards of emo-rock revival band Tigers Jaw, who hail from Scranton, Pennsylvania. Despite a lineup turnover in 2013, Collins and Walsh pressed forward as a duo, signed with a major label—a rarity among scrappy emo bands—and released a couple of solid records, Charmer (2014)

and spin (2017), loaded with memorable harmonies.

—Howard Hardee THE RITZ:

Shakey Graves [$27/8 P.M.]

The Austin, Texas, singersongwriter Shakey Graves is perhaps best known for his solo act, for which he sings, plays guitar, and beats a kick drum with his heel. Adding to the image of a vagabond musician, he’s often blearyeyed and sweating through an undershirt, appearing very much hungover and wrung-out. But there’s no denying he plays his gritty brand of blues and folk with authentic emotion, and that it’s captivating. He’s touring to support his hauntingly beautiful new album, Can’t Wake Up, and plays about half his set with a full band. Kate Rhudy opens.

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

MON, SEP 17 CAT’S CRADLE BACK ROOM:

War on Women [$10–$12/8:30 P.M.]

There’s a lot to be angry about these days, and Baltimore’s War on Women is happy to lead you toward righteous catharsis with its invigorating songs about laying ruin to white patriarchy. Show up ready to scream. HIRS Collective opens.

—Allison Hussey COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Niall Horan [$30–$130/8 P.M.]

Niall Horan may be one of the less tabloid-worthy members of One Direction, but you’ve likely heard his breezy hits “On The Loose” or “Slow Hands” if you frequent pop radio. Attendees of Horan’s upcoming concert might be surprised to see that he has decided to make a detour from the hardline pop aspirations of

Rebirth Brass Band [$20–$25/8 P.M.]

THE WICKED WITCH: Crunk Witch, Sidewalk Furniture, Sith Clan; 8 p.m., $10.

CAT’S CRADLE: FIDLAR, Dilly Dally, NOBRO; 8 p.m., $22-$25.

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. his former bandmates, instead walking the well-trodden path of Mumford and Sons, down to the porkpie hat and that irritatingly pervasive four-on-the-floor kickdrum beat.

—Josephine McRobbie

MOTORCO:

Darren Jessee is best known as a founding member of

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

SUN, SEP 16

LINCOLN THEATRE: Raleigh Day: Loso Corleone, DJ Ty Pack; 9 p.m., $10-$20.

Darren Jessee

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

PHOTO COURTESY OF ANTI- RECORDS

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

If ever there’s an excuse to party on a Wednesday night, it’s the exultant blasts of horns and thumping bass drum of a New Orleans brass band.

Rebirth Brass Band serves as a vital link between more traditional brass outfits and the youthful, cutting-edge ensembles rising up through the Crescent City’s ranks, as the mighty, Grammywinning veterans add plenty of hard-hitting funk and a bit of hip-hop to a repertoire of second-line staples. Aztec Sun opens. —Spencer Griffith

WED, SEP 19

Neko Case stops at UNC’s Memorial Hall Friday night.

Ben Folds Five, and he has since become an in-demand drummer for the likes of Hiss Golden Messenger and Sharon Van Etten. He has steadily built a catalog of his own music, first as Hotel Lights and now under his name. As you might expect given his particular pedigree, Jessee has a knack for gentle arrangements and vulnerable songwriting, both of which he shares on his new album, The Jane, Room 217.

—Josephine McRobbie

KINGS:

[$8–$10/8 P.M.]

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

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

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

PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10.

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

TUE, SEP 18

CAT’S CRADLE (BACK ROOM): LVL UP, Yowler; 8 p.m., $12-$14.

THE PINHOOK:

Adult.

[$10/9 P.M.]

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The Walden Pond fantasy of taking refuge in a cabin in the INDYweek.com | 9.12.18 | 43

art

9.12–9.19

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.

THURSDAY, SEPTEMBER 13

LISA CREED: JOURNEY Durham artist Lisa Creed lived in Sweden for a year when she was a child. Fifty-five years later, she returned, rediscovering the magic of Scandinavian landscapes and design aesthetics both medieval and modern, but now armed with an adult’s insight. She also made her first visit to Iceland.

“Back home in my studio, I studied my own work with fresh eyes,” she writes. “I saw Viking designs, Scandinavian colors and patterns, and runestone markings everywhere in my paintings.” Likewise, she perceived Nordic design tropes in her assemblages. Isn’t it amazing what the smallest childhood experience can plant in us forever? These paintings and assemblages are the focus of Journey, Creed’s Horse & Buggy exhibit, which remains on view through September 27 after this reception.

—Brian Howe

HORSE & BUGGY PRESS (AND FRIENDS), DURHAM 5:30–8 p.m., free, www.horseandbuggypress.com

Art by Lisa Creed

PHOTO COURTESY OF HORSE & BUGGY

OPENING Alternative Images: Pleiades artists in conjunction with the Click! Photography Festival.

Sep 13-Nov 5. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

Art @ the Center: Unique As We Are Alike: Exploration of contemporary Lumbee identity.

Fri, Sep 14, 5:30 p.m. Love House and Hutchins Forum, Chapel Hill.

Bothways Opening Reception: American artists Thomas Sayre, Susan Woodson, Janey Gregory, Luke Buchanan, and Kathleen Rieder with Moroccan artists Ghany Belmaachi, Mohamed Mourabiti, Sanae Arraqas, and Amina Benbouchta. Sat, Sep 15, 6-8 p.m. The Mahler Fine Art, Raleigh. themahlerfineart.com.

SPECIAL Kindred Lines: EVENT Brenon Day and Ophelia Staton. Sep 15-Oct 15.

Reception: Sat, Sep 15, 3-5 p.m. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

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SPECIAL Portraying Power EVENT and Identity: A Global Perspective: Sep 14-Mar 31. Reception: Fri, Sep 14, 6-8 p.m. 21c Museum Hotel, Durham. 21cmuseumhotels. com/durham.

Robin Frohardt’s Plastic Bag Store: Art installation and performance. Thru Sep 23. Current ArtSpace + Studio, Chapel Hill. carolinaperformingarts.org.

SPECIAL Thirtieth Annual EVENT Sculpture in the Garden: Outdoor sculpture show. Sep 15-Dec 9. Preview party: Sat, Sep 15, 4:30-6:30 p.m. ($30) North Carolina Botanical Garden, Chapel Hill. www.ncbg.unc.edu.

Visionary Aponte: Art & Black Freedom: Opening reception.

Wed, Sep 19, 6-9 p.m. Power Plant Gallery, Durham.

Wear What You Are 2018 Fashion Show: Fashion show in SPARKcon. Fri, Sep 14, 8:30 p.m.

Fayetteville Street, Raleigh.

ONGOING Achromatopsia Panacea: The color blue teems with different emotional registers.

In author Maggie Nelson’s Bluets, for example, it embodies a seductive fluidity bound up in anxiety and loss. And in William Paul Thomas’s new exhibit, 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’s 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 his 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. Thru Sep 30.

Horace Williams House, Chapel Hill. chapelhillpreservation.com.

—Sarah Edwards

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.

SPECIAL Arte de la EVENT Borinqueña: Comics creator and Marvel Entertainment writer Edgardo Miranda Rodriguez. Thru Sep 21. Colloquium at Hanes Art Center: Fri, Sep 14, 4 p.m.

Reception at Allcott Gallery: Fri, Sep 14, 6-8 p.m. 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, protoindie-rock bands such as The Fabulous Knobs and Arrogance in their primes. More than two hundred photos are featured in the exhibit, along with flyers, videos, and other artifacts. Thru Jan 31. Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

—Brian Howe 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.

SPECIAL Convergence: Austin EVENT Cathey, Shelly Hehenberger, and Luna Lee Ray. Thru Sep 30. Reception: Fri, Sep 14, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

LAST Existential Distress: CHANCE 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.

Fall Corridor Exhibition: Artspace members Jason Bryant, Ryan Fox, Trish Klenow, Frank Kreacic, and Susie Silver.

Thru Oct 27. Artspace, Raleigh. www.artspacenc.org.

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

Food of the Gods: New York photographer Lydia McCarthy.

Thru Oct 27. 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 Janks Archive: Research Triangle: Jerstin Crosby, Ben Kinsley, and Jessica Langley.

Thru Oct 6. Lump, Raleigh. www.lumpprojects.org.

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

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

Reception: Thu, Sep 13, 6-9 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

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

Chelsea Raflo and Summer Rezeli: Regional Emerging Artist Residency exhibit. Thru Sep 29. Artspace, Raleigh. www.artspacenc.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.

Seems Like Home: Raleigh landmarks and landscapes.

Thru Sep 29. V L Rees Gallery, Raleigh. vlrees.com.

Strange New World: Largescale paintings by Jennifer Davis. Thru Oct 27. Artspace, Raleigh. www.artspacenc.org.

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

Zimbabwe Artist Project: The Community Church of Chapel Hill Unitarian Universalist 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 Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

—Sarah Edwards

Celebrate the Stone Center’s 30th Anniversary Exhibition Opening

With Us Comes the Parallax September 13th Reception 7pm-8:30pm

POSTPONED Featuring past visiting artists dating back to 2004, schedule includes talks from participating artists.

Some pieces will be auctioned off in support of the 30th anniversary fundraising campaign.

Free and Open to the Public

Rosie by Tim Okamura, 60”x40”, Oil on canvas

The Pathway Home by Michael Platt, 36”x54”, Pigment print on paper

The Sonja Haynes Stone Center for Black Culture and History 150 South Road Chapel Hill, North Carolina 919-962-9001 stonecenter@unc.edu INDYweek.com | 9.12.18 | 45

stage

FRIDAY, SEPTEMBER 14–SUNDAY, SEPTEMBER 30

BY THE WAY, MEET VERA STARK A lacerating critique of racial representation in motion pictures set in a 1930s screwball comedy? If Pulitzer-winning playwright Lynn Nottage’s wicked 2011 satire stopped there, it would still be an unlikely achievement. But By the Way, Meet Vera Stark follows the title character over seventy years between 1933, when she’s a headstrong actor looking for a break in a Hollywood where African Americans are only cast in insulting, stereotypical roles, and 2003, when self-serving scholars are looking back at her career. We’ve seen Young Jean Lee’s controversial work The Shipment and Camille A. Brown’s Mr. TOL. E. RAncE take on such endless revisions to socially palatable racial identities in popular culture throughout the twentieth century. But Nottage is funnier, even as she dips her pen in acid to lampoon a smarmy talk-show debacle and narcissistic academics. Tina Morris-Anderson directs and plays the title role.

—Byron Woods

NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH Various times, $15–$22, www.nract.org

Rebekah Holland and Terra Hodge in By the Way, Meet Vera Stark PHOTO BY NATASHA JACKSON

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

46 | 9.12.18 | INDYweek.com

OPENING

heavies, Prince John and Sir Guy. Red Clay Rambler Jack Herrick contributes an original score. $15+. Various times. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

—Byron Woods

Crimes of the Heart: Presented

by Forest Moon Theater. $13$15. Fri, Sep 14-Sun, Sep 23.

Wake Forest Renaissance Center, Wake Forest. www.wakeforestnc/ renaissance-centre.aspx.

ONGOING

Family-Friendly Transactors Improv: “Back to School!” $6-$10. Sat, Sep 15, 6 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Luxury Standup Showcasional: Kathleen McDonald with Jody Oakley, James Terrl, Reid Pegram, and Janeen Slaughter.

Sat, Sep 15, 9 p.m. Zog’s Art Bar & Pool Hall, Chapel Hill. zogsbar.wordpress.com.

Bulltown Comedy Series: Free.

Third Tuesdays, 9 p.m. Fullsteam, Durham. www.facebook.com/ BulltownComedySeries.

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 nonnobility, 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 henchman, the Sheriff of Nottingham. Ken Ludwig takes a lighter look at the fabled British champion in his swashbuckling 2017 comedy. Guest artist Joshua David Robinson plays the title character. Christine Mirzayan is Maid Marian. Ray Dooley and Jeffrey Blair Cornell are the

The Harry Show: Ages 18+.

Potentially risque games improv games with audience volunteers. $10. Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Durty Anniversary: The Second!: New and small-batch beers, axe-throwing, live music

by Pete Pawsey, food trucks. Sat, Sep 15, noon-11:45 p.m. Durty Bull Brewing Company, Durham.

Eighth Annual Durham Oktoberfest: With music by Little German Band. Sat, Sep 15, noon. Motorco Music Hall, Durham. motorcomusic.com.

Improv at the Varsity: Stand-up, sketch, and improv comedy. $6.

Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.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 broad-ranging 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 firebased creatures. Dance maker Tommy Noonan builds from an initial quartet of small, dancing flames wearing vivid yellow,

Once: In significant ways, Once—adapted from John Carney’s critically acclaimed 2007 film—is almost an antiBroadway 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 happilyever-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

Fall Oyster Roast: With Ryan Bethea of Oysters Carolina. $35. Sun, Sep 16, 1-3 p.m.

Botanist & Barrel, Cedar Grove.

Omakase Dinners: With Satoshi Katakura. $65.

Sep 17-20, 5-9 p.m. Dashi, Durham.

Jeddah’s Tea Pop-Up: Artisan iced teas, live music. Sep 13-15, 8 a.m.-4 p.m. The Pinhook, Durham. www.thepinhook.com.

A Recipe From the Ground Up: Dinner with Dan Barber + Row 7 Seed Company. $48. Mon, Sep 17, 6-9 p.m.

The Durham Hotel, Durham. thedurham.com.

food & drink Champagne Billecart-Salmon Wine Dinner: Two-hundredth anniversary celebration hosted

by Goffrey Loisel. $245. Thu, Sep 13, 5:30-9 p.m. The Fearrington House Restaurant, Pittsboro. www.fearringtonhouse.com.

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

Kingfisher on the Fly: Durham Distillery pop-up. Wed, Sep 12, 6-9 p.m. The Durham Hotel, Durham. thedurham.com.

Kingfisher Pop-Up: Spirit-free cocktails for charity by Sean Umstead. Tue, Sep 18, 5 p.m.

Crawford and Son, Raleigh.

Third Annual Mac Throwdown & Bartender Showdown for Hope: Mac-and-cheese and cocktail competition for charity sponsored by Relish Craft Kitchen & Bourbon Bar. $25.

Sun, Sep 16, 5-8 p.m. Market Hall, Raleigh.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com INDYweek.com | 9.12.18 | 47

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page TUESDAY, SEPTEMBER 18

POETRY ON THE PORCH: TIANA CLARK Released this year, Tiana Clark’s widely lauded debut collection I Can’t Talk About the Trees Without the Blood is lyrical and aesthetically inventive, churning with lush, charged imagery. Clark is in steely command of each verb, often zeroing in on everyday experiences of racism, especially in a new South openly nostalgic for the old. Clark, who also published a chapbook on Durham’s own Bull City Press, is a poetry fellow at the Wisconsin Institute PHOTO COURTESY OF TIANACLARK.COM of Creative Writing whose work has been published everywhere from The New Yorker to American Poetry Review, and she is a contributor to event sponsor Southern Culture’s forthcoming issue on “Music & Protest.” It’s no secret that music and porches go hand-in-hand; less well advertised is how indelible a combo poetry and porches make. Come for a wide lawn and summer’s last kiss; stay for a set from a punch-packing poet on the rise.

—Sarah Edwards

LOVE HOUSE & HUTCHINS FORUM, CHAPEL HILL 5:30 p.m., free, www.south.unc.edu

READINGS & SIGNINGS Elements of Suspense: Nora Gaskin Esthimer. Thu, Sep 13, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

Craig Johnson: With Depth of Winter. Sat, Sep 15, 11 a.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

John Larison: With Whiskey When We’re Dry. Sat, Sep 15, 2 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

The Poetry Fox & Ricky Garni: Poets Chris Vitiello (The Poetry Fox) and Ricky Garni. Thu, Sep 13, 6 p.m. Gregg Museum of Art & Design New Location, Raleigh.

Second Thursday Poetry: Adrian Rice and Iris Tillman.

Thu, Sep 13, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

48 | 9.12.18 | INDYweek.com

LECTURES ETC. BugFest: Insect-related exhibits, crafts, games and activities.

Sat, Sep 15, 9 a.m.-7 p.m. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

In Conversation: Jason Moran & Dasan Ahanu: Musician Jason Moran and Durhambased spoken word artist Dasan Ahanu. Fri, Sep 14, noon. The Pinhook, Durham. www.thepinhook.com.

In Just One Evening … Getting to the Heart of Twins: Panel discussion hosted by Marilyn Shannon. Thu, Sep 13, 6 p.m.

American Institute of Health and Fitness Conference Center, Raleigh.

The Life Cycle of Denim: FashionSPARK and Redress Raleigh panel discussion. Sat, Sep 15, 2 p.m. The Mahler Fine Art, Raleigh. www.themahlerfineart.com.

SUNDAY, SEPTEMBER 16

AMONG WOLVES Before it comes to Winston-Salem’s RiverRun International Film Festival next year, director Shawn Convey’s Among Wolves gets a look in the Triangle at the Rubenstein Arts Center.

The documentary focuses on Lija, a man in a small mountain town who heads the Wolves, a humanitarian motorcycle club that provides security and charity to a small mountain town (and its wild horses) in Bosnia-Herzegovina, an area still suffering and neglected two decades after the war. Convey says he sold everything he owned and bought a one-way ticket to BosniaHerzegovina to find a hopeful, humanizing perspective on the region and make this film, an obsession of his dating back a decade. The result is “a meditative mood piece [that] builds an arresting power,” says Matt Fagerholm at RogerEbert.com.

—Brian Howe

RUBENSTEIN ARTS CENTER, DURHAM 2 p.m., free, www.artscenter.duke.edu

SPECIAL SHOWINGS Alamo Encore: Clueless Movie Party: Interactive screening. $12. Wed, Sep 12 & Thu, Sep 13, 6:30 p.m. Alamo Drafthouse, Raleigh.

Ghost: Screening. $10. Fri, Sep 14, 7:30 p.m. Alamo Drafthouse, Raleigh.

Global Film Series: Harvest of Empire: Documentary. Tue, Sep 18, 6:30 p.m. NCSU Campus: DH Hill Library, Raleigh. www. lib.ncsu.edu.

Jennifer’s Body: Screening. $5.

Mon, Sep 17, 7:30 p.m. Alamo Drafthouse, Raleigh.

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 Predator (2018): Screening. $12. Thu, Sep 13, 7 & 9:45 p.m. Alamo Drafthouse, Raleigh.

Suspiria (1977): Terror Tuesday screening. $5. Mon, Sep 17, 8 p.m. Alamo Drafthouse, Raleigh.

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

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 A Simple Favor—A mommy blogger (Anna Kendrick) investigates her best friend’s disappearance in Paul Feig’s neo-noir. Rated R.

Monuments for the Future: The Visible Spectrum: Film series. Tue, Sep 18, 7 p.m.

Rubenstin Arts Center - Film Theater, Durham.

The Predator—Early reviews are mixed for Shane Black’s reboot of the sci-fi franchise about warrior aliens using Earth as their hunting ground.

Rated R.

Napoleon Dynamite Movie Party: Interactive screening. $12. Sat, Sep 15, 2:30 p.m.

Alamo Drafthouse, Raleigh.

White Boy Rick—This crime drama in 1980s Detroit tells the true story of a teenage FBI informant. Rated R.

The Wife—Glenn Close makes her belated-Oscar bid in this adaptation of Meg Wolitzer’s brilliant, furious novel about a gifted writer who subordinates her career to her mediocre husband’s.

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 Eighth Grade—A brilliant first act and a more staid second split the difference in internet star Bo Burnham’s film about young life online. Rated R. ½ Incredibles 2—Dialing up socially progressive themes fourteen years after the original, Pixar’s sequel is fun, funny, and timely but not quite transcendent.

Rated PG. ½ Jurassic World: Fallen Kingdom—Murky morals, jump scares, and diminishing returns of digital dinos weigh on this once-mighty franchise. Rated PG-13.

½ 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.

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.

 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 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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85

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7

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1 6

6 5 2 8

2

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6 7 3

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MEDIUM

# 14

# 50

© Puzzles by Pappocom

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

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

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

7 2 4 4 8 3 6 6 7 9 3 1 2 34 1 7 7 2 96 88 1 34 33 4 89 2 1 73 8 49 8 9 2

5

MEDIUM

# 15

1 7 3 5 9 8 4 6 2

6 5 8 4 2 1 7 3 9

2 9 4 6 3 7 8 1 5

4 6 1 1 7 6 2 1 5 2 8 6

MEDIUM

# 16

2

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9

4 1 9 3 8 7 1 5 2 5 7 4 9 7

2 6 1

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# 52 8 1 6 3 7 5 2 9 4

9 3 2 8 4 6 1 5 7

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3 2 1 9 5 4 6 7 8

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4 6 9 7 8 3 5 2 1

solution to last week’s puzzle

# 51 www.sudoku.com 4 7 8 5 3 2 1 6 9 6 2 9 | 8INDYweek.com 1 4 5 7 3 50 | 9.12.18 1 3 5 9 7 6 8 2 4 3 9 2 1 4 8 7 5 6 7 6 1 2 5 3 4 9 8 5 8 4 7 6 9 3 1 2

# 14

2 4 9 5 3 6 7 1 8 If you just6 can’t 7 1 9 wait, 8 4 3check 5 2 out the current 3 5 8week’s 1 2 7 answer 6 9 4 4 2 6 7 1 9 8 3 5 key at www.indyweek.com, 8 9 7 3 5 2 4 6 1 and click “Diversions”.

5 1 3 6 4 8 2 7 9 Best of luck, 9 6 and 4 2 have 7 1 5fun!

8 3 1 8 5 4 6 3 9 2 7 www.sudoku.com 7 3 2 8 9 5 1 4 6

# 52

9.12.18 3 8 5 4 6 1

2 4 6 8 7 9

7 1 9 2 3 5

9 7 8 1 5 3

5 2 1 6 4 7

6 3 4 9 2 8

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# 15

4 of 25 8 Page 4 6 5 7 3 5 7 9 1 2 6

3 5 2 6 7 9 8 1 4

7 4 1 5 8 2 9 3 6

9 8 6 4 3 1 2 5 7

2 7 5 1 9 8 4 6 3

4 9 3 7 5 6 1 2 8

6 1 8 2 4 3 5 7 9

1 2 7 9 6 4 3 8 5

5 3 9 8 1 7 6 4 2

8 6 4 3 2 5 7 9 1

# 16

4 2 3 7 8 6 9 5 1

6 5 1 3 9 2 4 7 8

9 8 7 1 5 4 3 2 6

3 9 8 5 6 1 7 4 2

5 7 6 2 4 9 1 8 3

1 4 2 8 7 3 6 9 5

7 3 4 6 2 8 5 1 9

8 6 5 9 1 7 2 3 4

2 1 9 4 3 5 8 6 7

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INDYweek.com | 9.12.18 | 51

GUY TIME

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