INDY Week 1.24.18

CAREFUL WHAT YOU WISH FOR raleigh 1 I 24 I 17

67 new stories every day p. 10

The best burger in Raleigh p. 21

RALEIGH’S STILL IN THE RUNNING FOR AMAZON’S HQ2.

BUT DO WE REALLY WANT THE DAMN THING?

BY JEFFREY C. BILLMAN p. 8

Special Advertising Section: The INDY’s Summer Camp Guide

Rapsody’s Grammy gambit p. 22

2 | 1.24.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK VOL. 35, NO. 4 6 When Javiera Caballero went to a Durham City Council meeting last week, she didn’t think she’d end up on the dais.

8 If Amazon comes to Raleigh, it wouldn’t have to pay corporate taxes for twenty-five years.

10 In Anchorage, author Mary Kudenov had to deal with a “street killer and my brother’s suicide.”

20 In January, you might finally land a reservation at that place people won’t shut up about.

DEPARTMENTS 6 Triangulator 8 News 20 Food 22 Music 28 Arts & Culture 34 What to Do This Week 37 Music Calendar 41 Arts & Culture Calendar

21 To find the best burger around, keep an eye on social media, find a source on the inside, or just go to Stanbury every night and hope for the best.

22 Will Rapsody be the first woman to win a Grammy for Rap Album of the Year?

26 As Nym, Lewis Scaife explores dreamy, ambient soundscapes designed to evoke strong emotional responses.

Rapsody has been nominated for a Grammy (see page 22).

FILE PHOTO BY ALEX BOERNER

ON THE COVER DESIGN BY SHAN STUMPF

INDYweek.com | 1.24.18 | 3

NCDOT TO HOLD PUBLIC MEETING JANUARY 30 FOR THE PROPOSED INTERCHANGE IMPROVEMENTS ON I-40 AT AIRPORT BOULEVARD WAKE COUNTY TIP No. I-5700 The N. C. Department of Transportation will hold a public meeting in January regarding project I-5700 which proposes to make improvements to the I-40 interchange at Airport Boulevard. Two alternatives are being considered at this location, a Diverging Diamond Interchange and a Partial Clover Interchange.

The meeting will be held on Tuesday, January 30th at the LaQuinta Inn and Suites, located at 101 Hospitality Court in Morrisville from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project. Please note that no formal presentation will be made.

Citizens will also have the opportunity to submit comments and questions in writing. Comments received will be taken into consideration as the project develops. Please note that comments should be submitted on or before February 14, 2018.

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf STAFF WRITERS Erica Hellerstein, Sarah Willets MUSIC EDITOR Allison Hussey FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Caitlin Penna CHIEF CONTRIBUTORS Amanda Abrams, Jim Allen,

Elizabeth Bracy, Timothy Bracy, Michaela Dwyer, Katie Jane Fernelius, Curt Fields, Spencer Griffith, Glenn McDonald, Neil Morris, Hannah Pitstick, Noah Rawlings, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Ryan Elizabeth Haar, Caitlin Sloan

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers

CIRCULATION

CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, David Cameron,

Nathan Fellers, Michael Griswold, JC Lacroix, Richard David Lee, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Trudi Vass

ADVERTISING

The public can view maps displaying the location and design of the project as they become available online at http://www.ncdot.gov/projects/publicmeetings.

Anyone desiring additional information may contact Mr. Bob Deaton, NCDOT Project Manager by phone at (919) 707-6017 or by email at rdeaton@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Ms. Diane Wilson via e-mail at pdwilson1@ncdot.gov or by phone at (919) 707-6073 as early as possible so that arrangements can be made.

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

4 | 1.24.18 | INDYweek.com

ADVERTISING DIRECTOR Stephanie Miller SENIOR ACCOUNT EXECUTIVE Sarah Schmader ACCOUNT EXECUTIVE Kim Cordray, Hanna Smith CLASSIFIEDS ACCOUNT EXECUTIVE Kim Cordray

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The INDY’s monthly neighborhood guide to all things Triangle

backtalk

Don’t Hate the Player, Hate the Game

opers the article highlighted. “The piece Last week, we wrote about Raleigh’s ascennever indicated that Mr. Little evicted anysion to the shortlist for Amazon’s HQ2 one. His informed analysis and that of other (and we have more about that on page 8 in knowledgeable folks quoted in the piece is this week’s paper). Reader LH93 respondthat these properties that he is acquiring and ed with some trepidation: “It is still a little rehabilitating were uninhabitable. All the astonishing to me that, given that the most naysayers have assumed, without much eviimmediate problem facing both Raleigh dence, that they have moved folk out. The eviand Durham is a lack of affordable housing, dence seems to be that they are taking vacant, the Triangle region launched this bid. One blighted properties and improving them and doesn’t have to look hard to see the remarkselling them at the new market rate. You need able upward pressure Amazon has imposed to hate the game and not the player. on Seattle rents, among the other deleterious “Mr. Little is not a developer—he’s a house outcomes the company has delivered for the flipper. What he is doing without any governcity’s longtime residents. And now our local mental support is pure capitalism. If we don’t officials may decide to provide incentives like it, we need to develop for such a development, public policies that change potentially sacrificing the tax dollars that make “I know that this is the game. The problem there is that the tools are up one of the few (modexactly what other limited to the limited powest) justifications for the ers of our local governproject. I know that this cities are doing, ment, the limited will of is exactly what other citbut man, this isn’t our state government, and ies are doing, but man, this the limited vision of our isn’t a race we should want a race we should elected officials. For the to win.” want to win.” last three cycles, all of the Lindsey Chester was electeds in Durham—the more optimistic: “The new mayor being the chief transit thing is going to be of this strategy—have claimed to know how a problem, but we do have improved tranto develop affordable housing, yet nothing sit coming, and the area is heavily investhas been done. By affordable housing, I am ed in making that happen. The other cities talking about housing for middle-income on the list are already congested—Atlanta, folks, and not just downtown but all over anyone?—or rich on crime—Newark: realtown. It’s not easy, but it can be done. Let’s fix ly? Housing is great here, land is cheap and the system and not denigrate Mr. Little, who plentiful. I think Raleigh-Durham-Cary seems very knowledgeable and committed to have an excellent chance at scoring this.” improving the housing stock in Durham and Our article about gentrification takmaking a buck.” ing place in Durham’s East End continFinally, john of sparta saw something ued to elicit fiery responses, like this one that spoke to him in last week’s Peripheral from maeveduir: “This is why we had to Visions. “V.C. Rogers’s recent editorial carmove. (Note: we are a Caucasian housetoon reflects a current theme for my social hold, middle-class.) Housing is getting to be life. ‘Could we please try to go a whole (whatridiculously overpriced in Durham. Gentriever) without talking about Donald Trump?’ fication (hate that word) is one thing, but to But scandal sustains a populist, incessant do it without also creating basic affordable commentary about his (fill in the blank) that housing (I don’t mean Section 8; I mean drives the narrative, with Trump holding the three-bed/two-bath for under $200,000) is steering wheel and accelerating.” ridiculous. It prevents the people who make the city happen from enjoying their home Want to see your name in bold? Email us at and creation. It is both racist and elitist. It backtalk@indyweek.com, comment on our is a city giving the finger to its own.”

Facebook page or indyweek.com, or hit us up Chuckde424 came away with a sympaon Twitter: @indyweek. thetic view of John Little, one of the devel-

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The INDY’s monthly neighborhood guide to all things Triangle

Coming February 21: Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com

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

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INDYweek.com | 1.24.18 | 5

triangulator

MEET THE NEW DURHAM CITY COUNCIL WOMAN

The Durham City Council made history last week by appointing its first Latinx member to fill a seat that opened up when Steve Schewel was elected mayor. Javeria Caballero is a mother of three, a former teacher, and a program coordinator with an education consulting firm. She moved to the United States from Chile as a child and has lived in Durham since 2010. Over a plain glazed Monuts donut (she has a discerning sweet tooth after a stint as a baker), Caballero spoke with the INDY about her first city council meeting (which took place just an hour after she learned she got the job), her plans to make City Hall more inclusive, and her love of the Bull City.

ON HER APPOINTMENT AND FIRST MEETING

That was a little surreal. I remember getting home that night and quite frankly being like, What just happened? I did not go into the meeting expecting that I had it. I knew Pilar [Rocha-Goldberg] had a very good shot at it. She definitely has a much higher profile than I did in the community. But I also know that, I guess, the activist Latino community very verbally was supporting me.

ON THE LACK OF LATINX PEOPLE ON DURHAM’S ELECTED BODIES

I was kind of floored that there had never been any representation.

The community is twenty-five years old. That’s a generation.

Our numbers are stabilizing, but when people say fourteen percent of the community is Latino, I’m like, maybe, but in the public schools it’s thirty—so that’s going to increase as that generation gets older.

HER HOPES FOR THE CITY COUNCIL

This is a very progressive council, I would say almost radical city council, and I think that we are in this moment where Durham has just a few years to really figure out the pattern that we’re going to be. Are we going to be like so many other cities? We’re in gentrification mode—everyone knows that—but we’re not at the end of it. We’re in the middle of it. We still have a chance to not just make this city for super-affluent people.

ON MAKING CITY HALL MORE INCLUSIVE

I would actually love to have a meeting where you do simultaneous interpretation and the meeting is in Spanish and it’s the English speakers that have to flip and have to wait. There’s a power in there. There are basic things like translation and interpretation at meetings, agendas, some outreach. Then we get into the deeper level of accessibility, which is how many people in City Hall speak Spanish? And I say Spanish because that’s the largest population. I think that there would be a conversation about what other languages are in our community.

ON WHY SHE LOVES DURHAM

You just meet people who are very genuine and kind and not pretentious, and I had never really experienced that in other places. It’s all kinds of people—all classes, all ethnicities, gay, straight. There was just this openness. And then the kids started school and made friends really easily.

6 | 1.24.18 | INDYweek.com

ON CREATING A SAFE SPACE FOR IMMIGRANT FAMILIES AT CLUB BOULEVARD MAGNET ELEMENTARY SCHOOL, WHERE SHE SERVES AS PTA PRESIDENT

Right after the election in 2016, we had just a routine PTA meeting. We were going to talk about mundane things like a cookiesand-cocoa event coming up in December.

I approached our assistant principal and I said we can’t do that—people are terrified right now. I had already heard kids crying in school, that kids had come home crying, asking are so-and-so’s parents going to get deported? So we had this forum so that people could express their concerns.

We weren’t the only one. Club was first but there was one at Riverside, one at Forest View, and what ended up happening is that DPS crafted policy about what the rules were going to be. There were several messages from our superintendent saying you are welcome, please come to the schools, do not be afraid.

ON JOINING A COUNCIL THAT IS MOSTLY WORKING MOTHERS

You have four working moms under about forty, and I don’t think that happens very often. I find that pretty radical. Regardless of ethnicity or race, working moms get left out of many things in our society. I work for an all-women team in my other job, and it’s a very different place to work. My hope and expectation is that it’s going to be a more collaborative effort. I think women approach work in that way. I know that’s a stereotype, but it’s always been my experience.

+FARR ADVANCES

Raleigh lawyer Thomas Farr’s nomination to the Eastern District Court of North Carolina moved forward last week on a party-line vote in the Senate Judiciary Committee.

Proponents of President Trump’s nominee praised the vote, and Farr’s chances of being approved by the full Senate appear to be good. No date for the floor vote had been set as of Monday.

Meanwhile, North Carolina Senator Thom Tillis said some interesting things to McClatchy reporter Brian Murphy about the controversial nominee. Tillis said that accounts that Farr had advance knowledge of a controversial 1990 postcard mailing by the Jesse Helms campaign were unsubstantiated and from a single source. At the same time, he criticized the campaign’s tactics.

“What was done was despicable. Quite honestly, anyone who had anything to do with the production of the mailer shouldn’t really have a job in political life today as far as I’m concerned, and I happen to know some of those people,” Murphy quoted Tillis as saying.

Who were the people Tillis happened to know? Tillis’s office did not respond to questions on Monday about their identities. Those individuals could presumably provide information about any role Farr had in the postcard campaign.

As the INDY has previously reported, a former Department of Justice attorney who worked on the federal investigation says Farr was involved in planning the campaign, in which postcards were mailed to primarily black voters in an effort to sup-

PERIPHERAL VISIONS | V.C. ROGERS

press the vote. Farr, however, says he had no prior knowledge of the postcards’ content.

Tillis and other Republicans praised Farr during the January 18 committee hearing. Each of the ten Democratic committee members raised questions about his suitability, with a particularly negative assessment from Senator Cory Booker of New Jersey.

+GERRYMANDERING’S WILD WEEK

Last week capped off another eventful week in North Carolina’s redistricting saga—and what a wild ride it’s been.

It started Thursday evening, when the U.S. Supreme Court overturned a lower court’s decision that ordered the state to redraw congressional maps found to be partisan gerrymanders. SCOTUS’s decision effectively blocked the state from drawing new maps before the 2018 election—handing a win to Republicans, who hold a 10–3 majority in the state’s delegation.

The next day, however, victory came for the Democrats.

On Friday, a panel of federal judges ruled that lawmakers must adopt districts drawn by a special master in the state’s upcoming legislative elections. The new plan came in response to a court’s ruling last year that twenty-eight legislative districts were unconstitutionally racially gerrymandered.

Lawmakers were ordered to redraw the maps, and, in August, a redistricting committee offered a new plan that was supposed to fix things.

The key word there is supposed. The plaintiffs in the case were ultimately

unsatisfied with the committee’s redraw.

In response, the court ordered an outside party (known as a special master), Nathaniel Persily of Stanford University, to come up with redistricting plans for nine new districts that the plaintiffs had challenged.

Persily submitted his plans last month, and, on Friday, the court approved his plan and ordered legislators to use the new districts in the upcoming legislative elections.

The new districts are likely—though not certain—to benefit Democrats, who are hoping to chip away at Republicans’ veto-proof supermajorities in the General Assembly.

If Democrats are able to eke out enough wins to break a supermajority in either the House or Senate, then Governor Cooper will have enough power to sustain his vetoes, and Republicans might be forced to occasionally compromise with Democrats.

Republican leaders denounced the decision and vowed to appeal. On Sunday, they filed a request to stay the court’s order to use Persily’s plan pending an appeal to the Supreme Court. They also criticized the three-judge panel—consisting of two Obama appointees and one George W. Bush appointee—that issued last week’s decision.

“If a power-hungry federal court can order that a California-based professor gets to usurp the North Carolina legislature’s constitutional authority to draw election maps, then there is no limit to federal judicial power,” Lieutenant Governor Dan Forest posted on Twitter. “This is nothing short of judicial tyranny.” triangulator@indyweek.com This week’s report by Thomas Goldsmith, Erica Hellerstein, and Sarah Willets.

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INDYweek.com | 1.24.18 | 7

indynews

Careful What You Wish For

DESPITE THE HYPE, THERE’S REASON TO BE SKEPTICAL ABOUT THE TRIANGLE’S AMAZON BID

BY JEFFREY C. BILLMAN

T

here’s been something surreal about watching cities all over the country prostrate themselves before Amazon in hopes of landing HQ2, the company’s second headquarters, which will employ some fifty thousand workers and pump $5 billion into the local economy over the next two decades. Newark has offered the internet behemoth $7 billion in incentives. Philadelphia offered as much as $2 billion over ten years. Missouri offered in excess of $2.4 billion (which wasn’t good enough; Amazon rejected bids from Kansas City and St. Louis). Other cities that have made their incentive packages public aren’t far behind. For those that haven’t—including North Carolina—it’s difficult to imagine that figure not reaching the billions.

For good reason, state and local officials see HQ2 as a game-changer. It will flood the victorious city with a well-educated workforce, expand the tax base, and, in smaller or midsize markets, put the region on the tech-world map. The company’s arrival could lead to a tech cluster with farreaching tentacles, generating as many as five other jobs for every one Amazon creates, according to the economist and author Enrico Moretti.

So when news came on Thursday that Raleigh was included on Amazon’s list of twenty finalists—out of 238 total bids— local leaders were giddy.

“Clearly this would be a big boost to our economy, and our talented workforce, high quality of life, and affordable cost of living are big magnets for any potential employer,” Governor Cooper said in a statement.

Raleigh Mayor Nancy McFarlane echoed that sentiment, saying she was “excited and honored to be included among the finalists for Amazon HQ2.”

For all the excitement, much remains unclear. We don’t have a good sense of just what Raleigh’s chances are—specifically, whether the region’s surfeit of top-shelf universities and relative affordability will 8 | 1.24.18 | INDYweek.com

overcome a deficient mass transit system (though Wake County voters did approve a $2.3 billion transportation bond in 2016).

We don’t know whether Amazon’s decision to select three finalists from the Washington, D.C., area—where owner Jeff Bezos owns a home and The Washington Post—is a tell or a coincidence. We don’t know whether the lingering distaste over HB 2 will drive Amazon to Atlanta or Denver, two cities sometimes mentioned as frontrunners.

We don’t even know whether Raleigh making the cut actually means Raleigh.

Research Triangle Regional Partnership, the

economic development group that handled the Triangle’s bid, submitted seven potential locations to Amazon, spanning from the heart of Raleigh to Orange and Chatham counties. Those potential locations haven’t been disclosed, though Raleigh developer John Kane has said that he pitched a “Prime” corridor—get it?—stretching from the Warehouse District to North Hills.

When Amazon called RTRP last week to confirm that Raleigh had made the cut, “that was pretty much the extent of the communication,” executive director Ryan Combs told the INDY Friday. “We’re still

trying to identify the site they want.” On Monday, Geoff Durham, the president and CEO of the Greater Durham Chamber of Commerce, wrote in an email to Durham officials that Amazon had “confirmed what we had anticipated and it was in fact the entire region (including Durham) that was selected to advance.”

In any event, local leaders are in what Combs describes as a “holding pattern,” waiting to hear from Amazon about what the next steps are.

Chief among those next steps will be cobbling together an incentive package, perhaps Amazon’s top criterion in its decision-making process. RTRP has said that North Carolina didn’t include talk of tax breaks and other incentives in its initial bid, which is not public record.

In November, The News & Observer reported that Durham city and council officials had discussed an incentive package worth as much as $50 million. Wake County has a standard economic development package and an additional headquarters package that Amazon would qualify for, and county and economic officials have been meeting behind closed doors to discuss other goodies they could throw at the company.

Commissioner Matt Calabria told the INDY that these meetings have happened in closed session, which means he can’t talk about them. “We’re going to look at this with open eyes,” Calabria says. “The nice thing about Wake County is that we don’t have to rely on incentive packages, though I expect that to be part of the mix.”

The bigger incentives will come from the state. In last year’s budget, the legislature made allowances for a “transformative project” incentive package, which enables companies that bring more than five thousand jobs and $4 billion in investment to the state to get up to a 100 percent refund of their corporate tax bill for twenty-five years. Those transformative projects, moreover, wouldn’t be subject to the

state’s incentives cap.

And, says Jon Sanders, director of regulatory studies at the conservative John Locke Foundation, which opposes corporate incentives on the grounds that they distort the free market, this would also enable the state to help finance infrastructure to suit the company. Total it all up, and you’re looking at billions of dollars, paid by taxpayers to a company that could be worth $1.6 trillion (with a t) in less than a decade.

This wouldn’t be worth it, Sanders argues. “I think that [incentives] are not efficient and they end up costing more than the benefits they would bring about,” he says. And, Sanders adds, “it’s going to be brought about by crony capitalism.”

There are reasons for liberals to be skeptical, too. Start with the fact that CEO Jeff Bezos is no fan of labor unions or regulations— both of which, of course, bode well for North Carolina’s bid. Add to it the frequent criticisms of worker exploitation at Amazon’s warehouses in the U.S. and throughout the world— among other things, the company has been sued for not paying workers for time spent waiting in security lines before and after work—in which slim profit margins are exacted by keeping labor costs low. In that sense, Amazon operates more like Walmart than Google or Facebook.

Which raises the question: Is that really the kind of company we want to be subsidizing?

But HQ2 won’t be a factory or warehouse, and it won’t be filled by blue-collar people making subsistence-level wages.

Rather, it will produce a surge of six-figure, white-collar jobs. And this presents its own set of potential problems.

Sanders points out that North Carolina’s urban areas, including Raleigh, are at what economists consider full employment.

“Where are they gonna get the workers from?” he asks.

If they’re coming from elsewhere—meaning fifty thousand well-heeled newcomers are moving to North Carolina—housing costs could go through the roof, and the newbies will strain the area’s schools and roads.

This has already happened in Amazon’s home base of Seattle, where locals refer to the company’s neighborhood, in a formerly industrial area north of downtown, as Amazonia. As Amazon has grown, Seattle, the fastest-growing big city in the U.S., has become increasingly awash in traffic jams

and soaring real-estate prices. Seattle’s median home price is $730,000, up 17 percent from just last year.

As a Seattle Times columnist explained in a cautionary note: “If there’s one thing we know in Seattle, it’s boom and bust. Both the rush, and the relapse, of the fast buck are in our civic DNA. So heads up, Other North American City: Amazon is about to detonate a prosperity bomb in your town.”

The prosperity bomb would be particularly acute in the Triangle. According to an October analysis from the website Apartment List, Amazon’s arrival would jack up rents in Raleigh more than in any other city, with HQ2 increasing rents by as much as 2 percent. And wherever HQ2 goes, a further onslaught of gentrification is almost certain to follow. Much of the Triangle already has an affordable housing crisis, especially in its urban cores. This would only exacerbate the problem.

In October, a month after Amazon announced the bidding process for HQ2, a group of seventythree community organizations across twenty-one states—including the N.C. Justice Center and the N.C. League of Conservation Voters—penned a letter to Bezos laying out “some expectations of our own for Amazon.” Among other things, the letter asked Amazon to eschew tax breaks, support infrastructure that works for the whole community, and make a “significant annual contribution to supporting the development and preservation of affordable housing.”

Amazon is unlikely to forego tax breaks; indeed, incentives will be a key aspect of its decision-making process. Similarly, whatever infrastructure is built for Amazon will primarily benefit Amazon. Already, McFarlane has indicated that Wake County’s transit system could be reconfigured to meet Amazon’s needs.

All of this isn’t to say the Triangle shouldn’t pursue Amazon. There are undeniably farreaching economic benefits if we win. But before we get swept away in Amazon fever, before we lavish a billionaire with billions of dollars, our region’s leaders should be cognizant of—and think critically about— what HQ2 would actually mean and how we would cope with the consequences of its arrival, which would not be insignificant.

As the adage says, be careful what you wish for. You just might get it. jbillman@indyweek.com

“I think that incentives are not efficient and they end up costing more than the benefits they bring about.”

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INDYweek.com | 1.24.18 | 9

THE NEWCOMERS Wake County adds sixty-seven people a day.

Here are some of their stories.

By Thomas Goldsmith Photos by caitlin penna

Fidel Benton

W

ake County adds new residents at the dizzying rate of sixty-seven people per day, a number that often arises as people talk about the region’s future.

City and county leaders tout that number for what it says about the region, but it also comes with problems. Those new folks will contribute to traffic, infill, and crowded classrooms. Wake passed one million resi10 | 1.24.18 | INDYweek.com

dents in 2014 and hasn’t looked back, ranking second among large U.S. counties in the rate of growth. By July 2020, the county will be home to 1,116,912 people, according to state projections, an increase of 138,400 since 2010. That means Wake will have grown in numbers that equal the entire population of Raleigh in 1976.

With all the sturm and drang over the influx of newcomers, we started wondering: Who are these people, why are they here, and what are they bringing with them?

As it turns out, the woman next to you in the checkout line might be a novelistic essayist who’s moved here from Alaska. Or he

could be a philosopher from Rome.

“I hoped to talk to people to get a sense of how American society is faring, and to work a lot,” says Francesco De Luca, twenty-nine, who moved to Raleigh from Italy last year with plans to launch a website that will serve as a platform for political and philosophical debates. “It just so happened that I was at the time of my life when I could do what I needed to do, wherever I was.”

Meanwhile, the millennial ordering coffee at Morning Times could be a solar energy executive who worked in the Obama administration. And the person escorting Raleigh Little Theatre actors to their appearance

on The State of Things at WUNC studios in Durham might be a Fayetteville State graduate who’s only been in town a few months.

“I like it in Raleigh,” says Fidel Benton, the twenty-six-year-old marketing manager at Raleigh Little Theatre. “In my job, you get to meet new people every day.”

It seems the region’s creative energy is a big draw.

“I always felt like I wanted to come back to North Carolina if there was a way,” says Tyler Norris, a twenty-nine-year-old who grew up near Asheville but left the state for more than a decade for education and renewable energy jobs. “I didn’t realize how much

North Carolina was doing in the solar space and how successful it had been.”

People who move here from elsewhere in North Carolina represent the same share of newcomers (minus the babies) as international immigrants—about 20 percent.

To get to that magic sixty-seven figure, demographers count the twenty or more infants born in Raleigh each day. These babies are undeniably new residents, though not of their own choice. Many of them will wind up in Wake County public schools and have to be factored in when the school board and county commission plan for the future.

New adult residents don’t take long to join the voices complaining about the traffic and other issues to which they contribute. A 2016 survey that found that people generally like Raleigh also brought out complaints about traffic and growth.

“I think this is the hardest part of our job,” says Raleigh Mayor Nancy McFarlane. “With the numbers of people that are moving here, we’re building housing, we’re building businesses, we’re building infrastructure. How do we accommodate all the people that are coming here and preserve this sense of place, this quality of life that we like about Raleigh?”

M

ary Kudenov even talks like a writer.

“I was born in a town where they don’t deliver babies anymore,” she says.

Kudenov, thirty-seven, a writer from Alaska, finds Wake County to be quite a contrast from her native state, the scene of Threadbare: Class and Crime in Urban Alaska. The book—a collection of essays that reads like a compelling, finely detailed novel—is harrowing at times and lyrical at others, describing a hard-bitten urban atmosphere beset by violence and substance abuse.

Living in an unincorporated area of Wake County, Kudenov was glad to discover that her neighborhood allows carefree walks with her child.

“I realized that I didn’t need my mace, and I didn’t have to worry about running into a moose,” Kudenov says.

Kudenov is a native of Haines, Alaska, a small town some thirty-eight hundred miles from her new home near Raleigh. Like many other newcomers, she’s here because of the tech world.

Her husband, Peter, is earning a doctoral degree in communications, rhetoric, and digital media at N.C. State. Mary Kudenov’s job entails writing proposals for clinical research, usually spending two days a week at home and the rest in a north Raleigh office. The couple has a son, David, five, who has special needs.

Kudenov enjoys the prosperity and safety she feels in her neighborhood off Ten Ten

Road, where she doesn’t have to worry about human or moose intruders. She’s also found support services for David’s behavioral issues.

“It’s an easy life, compared to where I’m from,” she says. “Everywhere you go, you see new buildings.”

Kudenov describes living a difficult life in Anchorage, and moving beyond it, in Threadbare.

“I was dealing with a street killer and my brother’s suicide,” she says.

Kudenov describes her haunting realization that Christopher Rogers was her neighbor just three years before he hacked his father to death with a machete, then fatally shot a college student in Anchorage. Her brother Seth, who helped raise her, killed himself during the same period.

With her parents absent during much of her younger years, Kudenov was raised by her brothers in the southeastern Alaska towns of Haines, Seward, and Moose Pass until age fifteen, when her mother returned.

She went on to attend the University of Alaska, waitressing her way through undergraduate and MFA degrees.

In Anchorage, she also worked as a writing teacher in a women’s prison and lived among an underground of homeless people, drug dealers, and a spree killer. It’s all in Threadbare, sections of which mirror conditions in many of North Carolina’s downtrodden towns.

In Alaska she also made a place among a supportive community of writers and teachers, something she’s yet to accomplish in Triangle writing circles. It’s another side of being new—the effort it takes to make connections in often-entrenched circles of people, in the arts or elsewhere.

“I’ve been floating around meetup groups, but they seem more into trying to publish and less about the craft,” says Kudenov. “It’s a lot harder here to become part of the community.”

F

idel Benton’s Raleigh workplace stands out from those of his friends in that he passes by a maneating plant every day.

That makes more sense given his job at the Raleigh Little Theatre, where preparations are underway for a production of Little Shop of Horrors, featuring the voracious carnivore Audrey II. “I’m sure other people like my peers don’t walk past something like that,” says Benton, who came to Raleigh from Fayetteville five months ago. The Fayetteville State grad worked as a college radio d.j. and did marketing work for campus organizations. As RLT’s marketing manager, Benton is involved in the organization’s broader-picture programs as well as its theatrical productions.

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Tyler Norris their own schools,” he says. “We have weekly classes, then we have offsite classes as well, in Cary and Wake Forest and Knightdale.”

Those classes engender the same kind of interview and communication skills that Benton had to draw upon to get his job.

“They’re performance-based, just to understand all the skills you acquire to get another job,” he says.

In January, Benton went with an RLT delegation to WUNC studios, where they recreated part of the dialog from the current production, What We’re Up Against. The timely play focuses on a lone woman’s situation in a workplace dominated by males.

When he was first hired, Benton commuted from Fayetteville to RLT, in the University Park neighborhood, but he’s since moved to an apartment off Glenwood Avenue, near the Crabtree mall. As for life in the state capital, he has the same grumble as countless other Triangle residents: traffic.

Benton’s job, like that of many newcomers, combines several key areas: creative work, communications, and business. He’s been impressed by RLT, both its status as a Raleigh mainstay and its work in the community.

“It’s really a staple, not only in the arts community but with people in general,” Benton says. “With the Rose Garden in the back, it’s like a local landmark.”

F

rancesco De Luca had a grand vision in mind when he came to Raleigh last fall.

De Luca is building a website called Zeteo, from a Greek word he translates as “search, inquire, interrogate, desire to know, medi12 | 1.24.18 | INDYweek.com

Mary Kudenov tate.” Designed to appear in English and Italian, the site will contain his own writings on philosophy, culture, politics, and ethics, as well as pieces from collaborators and an emphasis on providing a thoughtful platform for reader response.

Sort of an un-Twitter, in other words.

De Luca, one of the roughly 20 percent of post-birth newcomers who arrive from another country, came to Raleigh for several reasons. For one thing, his mother grew up on Lake Boone Trail; she was a Broughton High graduate who moved to Italy and married decades ago. Thus, De Luca has been here several times for family visits, making the Triangle familiar territory. In addition, he was looking for feedback and support from people in the region.

“The project I’m working for will hopefully be a nonprofit,” he says. “I would benefit from meeting new people, although it’s an early stage in the partnership. So I was here for fundraising and resourcing. I also wanted to broaden the base of potential collaborators.”

De Luca scored housing in return for house- and dog-sitting in Anderson Heights, walking and riding his bike to get around.

He came armed with a bachelor’s degree in European literature and a master’s in epistemology from the University of Rome, plus a second master’s, in global ethics and human values, from King’s College in London.

He’s also worked in Rome for the United Nations World Food Program. His various experiences will be reflected in Zeteo, which is scheduled to appear online this summer with a subscription-based model.

“It will appear on a fortnightly basis and

deal with issues from feminism to communications,” De Luca says. “I find the whole idea of feminism with a Southern twist very interesting.”

T

yler Norris grew up in rural Fairview, a community south of Asheville, and by age twenty-five was a special adviser to U.S. Energy Secretary Steven Chu. Now that the high-achieving Raleigh resident is back in North Carolina, he still makes it home to witness the progress in Fairview.

“We finally have a coffee shop and a little brewery,” Norris says.

Living in downtown Raleigh, Norris is among the roughly 20 percent of Wake newcomers who come from somewhere else in North Carolina. He works as manager of policy and market development at Cypress Creek Renewables in Research Triangle Park, which describes itself as “the largest and fastest-growing independent developer of utility-scale solar in the United States.”

“Everyone in the company is very mission-driven,” Norris says. “The whole mission is to put as much solar as possible on the ground.”

Norris attended the North Carolina School of Science and Mathematics, then embarked on an educational and professional ride that took him to Baltimore, Washington, D.C., Silicon Valley, and New York City, before ending up in Raleigh.

“Compared to New York and D.C., it’s so much more affordable,” he says. “I really like it in Raleigh, being close enough to home to drive to Fairview. My folks are still there.”

Norris attended Johns Hopkins University for a couple of years, then took a break to work at a San Francisco Bay area think tank.

He finished a degree in public policy at Stanford University, absorbing the Silicon Valley culture, which he compares to RTP. “Silicon Valley just sort of happened because of Stanford,” he says. “At RTP, they were prescient at the time to see the growth of knowledge-based industries.”

After another think tank job, he landed in the Obama administration, from 2012–15.

“It seemed like we might have this transformational presidency,” Norris says of his stints as special assistant to Chu and as a tech-to-market adviser in the department.

Looking back, Norris believes the administration’s work in reviving the tanked economy through the American Recovery and Reinvestment Act is underappreciated. Some initiatives didn’t succeed, he concedes. However, “it ended up funding Tesla, which has been one of the big success stories. And the programs office ended up in the black.”

At Cypress Creek, he’s part of the company’s effort to support communities and utilities in their efforts to create more clean energy, including solar farms in North Carolina and beyond.

“North Carolina is number two in installed solar projects,” he points out.

One of many newcomers who elect to live in downtown Raleigh, Norris is witness to the growing vitality there.

“I was really impressed this summer,” he says. “I had a blast seeing the diversity of people who come here from all over the state.” backtalk@indyweek.com

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indyfood In Moderation

WHY EVERYONE ELSE’S DRY JANUARY IS YOUR LUCKY BREAK

BY LAURA WHITE

The bar at Foundation in Raleigh

A

FILE PHOTO BY BEN MCKEOWN

h, January: the month of fresh starts, freezing temperatures, and crawling out from beneath mounds of credit card debt.

It’s also a popular time for a whole heck of a lot of people to go dry.

Maybe you’ve never heard of this, in which case you’ve likely never depended on tips for a living. Or maybe you know it by another name. There’s Sober October (which I appreciate for the rhyme, I suppose), and February is another popular month for giving things up because it’s the shortest. But by and large, it’s all the rage to quit drinking in January, just for the month, just to start the year off on the right foot. Some people do it to purge, some people do it to check themselves, and some people do it to save money. Grandma always said the way you start the New 20 | 1.24.18 | INDYweek.com

Year is the way you spend it, and I can get behind that. But I will never begin it with a dry January.

First of all, I’ve never been one for resolutions. Starting off a whole year with a promise I’m not likely to keep just feels like setting myself up for failure. Hi, 2018—it’s me again, blowing it.

No, thank you.

Secondly, if you make your living in the service industry, when everyone decides all at once to abstain from going out, it can get tricky. One friend jokes that he could take the whole month off and he’d probably make the same amount of money. When I was bartending, Dry January meant scraping through the beginning of a new year on whatever I could manage to set aside during the holiday season. Everyone else deciding to suddenly become frugal cre-

ated a forced frugality for me, which is fine and good, but, you know, there’s rent.

I get it that it’s important to take a break.

It’s important to reset. And if you know other people doing it, it can be a bit easier to join in. New year, new you. But someone out there already likes the you that exists, so why do you need a totally new one? In theory, we should be focused on constant and consistent personal growth, not just setting aside our demons for one little month out of the year to prove that we can.

I’ve seen a lot of people successfully pull off a sober January only to hit it harder than ever once the month was up, and I’m not sure that’s doing anyone any favors.

We should focus less on how cutting back on drinks also cuts calories, or how to have fun on a date without booze, and talk more about why so much dialogue at

the moment revolves around ways to “get through” a month of being sober. I know plenty of people who don’t drink at all, ever, and they’re loads of fun. They still go out and enjoy themselves. It turns out you don’t have to drink to be an active part of a community.

So, a proposal, if you will: This year, instead of cutting out drinking for a whole month and trying to spend less money by eating at home and pinching your pennies so tightly that your fingers bleed, take advantage of everyone else’s resolution to do the exact opposite. Fewer people out means shorter wait times at restaurants and bars and smaller crowds. Maybe you won’t have to fight your way through waves of bodies to get a beer for once.

Maybe you can finally get a dinner reservation at that place people won’t shut up about. The kitchen workers are most likely pretty bored, so there’s a chance the food could be better than ever. I’ve even known some chefs to use the month to test potential menu items as specials, so go on out there and get ahead of the culinary curve.

While everyone else is at home sad, eating tubs of ice cream in their pajamas (which I promise is not nearly as fun as it sounds), you’ll be in the know.

After dinner, treat yourself to a drink, or several! Have a ginger ale or a mocktail if you’re taking a break from booze. The person pouring them is probably feeling a bit lonely and will be glad for the company, and you’ll probably have the entire place to yourself. If you’ve got your own set of resolutions for the year, work them into the game plan. Do some jumping jacks; bring a book to read. Bring a friend and have an actual conversation, because it will be quiet and you’ll be able to hear each other for once. Do cartwheels. Sit for five seconds at every single barstool, just because you can. Do you. Later, snuggled up in bed, you’ll rest easy from a combination of light calisthenics and knowing that every single one of those pennies you were planning to pinch made a difference for the people who took care of you.

And hey, maybe take the opportunity to get to know your bartenders. Do you even know their names? Honestly, how long have you been going to that bar? Probably start there. food@indyweek.com

[ EAT THIS ]

The Best Burger of Your Life HURRY TO STANBURY. ITS ELUSIVE RIBEYE BURGER SELLS OUT NIGHTLY.

BY LAURA WHITE

Ground in-house, the Stanbury ribeye burger is grilled to toothsome perfection. PHOTO BY CAITLIN PENNA The ribeye burger at Stanbury is what dreams are made of, if your dream is the perfect patty of ground ribeye topped with American cheese, lettuce, onions, pickles, and Duke’s mayonnaise—which, if I’m being honest, is a dream I have at least once a week.

But the burger itself can be hard to come by. I had been hearing about it for ages but had never been able to catch it myself until a couple of weeks ago. Stanbury’s menu is rooted in fresh and seasonal ingredients, so it shifts a bit, and the burger is one of those rotating players. It has also amassed a kind of cult following, so once word is out that it’s on the menu for the night, the race is on to get one before they’re all gone.

Once, I arrived shortly after seven p.m. and the last burger was already making its way to a very happy table. The restaurant opens at five, yet this is not unusual. When it snowed last week, a picture of the ribeye burger posted to the restaurant’s Instagram story was followed two hours later with a note written in the snow: “86 burger.” Winter weather advisory be damned.

Ground in-house, the burger is grilled to toothsome perfection and served with a side of long, skinny fries. It comes as it comes: no temperature requests and no substitutions, though you can ask for things to be left off, for instance, if you are a person who doesn’t love onions. But who even is that person? We are certainly not friends.

STANBURY

938 North Blount Street, Raleigh www.stanburyraleigh.com

I also suggest making sure you are good and hungry when you go, and order your own, regardless of whether or not you think you can finish it. You can. Trust me.

You’ll be so disappointed if you spoiled your appetite by having a late afternoon snack—or made the mistake of, let’s say, splitting one with your partner. Because you will want to eat every single bite of this bad boy.

The outside of the patty is crisp, the inside hot and moist. Juice and Duke’s ooze

with each bite; pickles, lettuce and onions slide onto my plate. It isn’t that the burger itself is overly dressed, I just can’t control my mouth, it seems, once I dig in. I swipe clusters of fries through the mess I make, reluctant to miss a single morsel. When I’m finished I lick my fingers blissfully, like I’d never eaten before. My napkin sits untouched on the bar, and I have somehow managed to get Duke’s in my hair. I have no shame and no regrets.

For your chance at this burger you’re going to have to keep an eye out via social media, find a source on the inside, or just eat at Stanbury every night and hope for the best. Given that they don’t always post that they’re serving it, the latter option may be your best bet. So get there early, cross your fingers, and look at the menu— or around you, because if they’ve got burgers that night you can bet that people will already be eating them, and staff members who came in on their night off will likely be among those people. If you’re in luck, order immediately. food@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle Coming February 21:

Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 1.24.18 | 21

JAN UARY

indymusic

FR, JAN 26 • SA, JAN 27 • 8PM

AMERICAN AQUARIUM

MO 29 BROCKHAMPTON @THE RITZ F E B R UARY

FR 2 SA 3 TH 8 TH 8 FR 9 SA 10 SU 11 TH 15

KELLER WILLIAMS 8p PERPETUAL GROOVE 8p AJR: THE CLICK TOUR BIG GIGANTIC @ THE RITZ ID 8p FAR TOO JONES 7p SLEIGH BELLS 7:30p MUMU TUTU W/ DIRTY REMNANTZ SHAMROCK SAINTS 7p

FR 16 THE SHAKEDOWN

(PLAYS TOM PETTY)

SA 17 WHO’S BAD SU 18 FR 23 SA 24 SU 25 WE 28

(MICHAEL JACKSON TRIBUTE) Y&T 7p

EMANCIPATOR ENSEMBLE 8p WEEKEND EXCURSION 7p ERIC JOHNSON W/ARIELLE 7p RAILROAD EARTH 7p

CO M I N G S O O N

3/2 3/3 3/4 3/10 3/11 3/15 3/16 3/21

JAZZ IS PHSH 8p LOTUS 8p J.J. GREY AND MOFRO BOWIE BALL 8p KELLY HOLLAND MEMORIAL 4:30p JOHN KADLECIK BAND 7:30p J RODDY WALSTON & THE BUSINESS NEW POLITICS W/DREAMERS AND THE WRECKS

3/23 COSMIC CHARLIE PLAYS “EUROPE 72” 8p

3/24 RIPE 8p 3/25 BIG K.R.I.T & TY DOLLA SIGN @ 3/27 3/30 3/31 4/6

THE RITZ 8p

BETTY WHO THE BREAKFAST CLUB 7p DELTA RAE 7p RUNAWAY GIN (TRIBUTE TO PHISH) 9p

4/7 DAVID ALLAN COE 7p 4/12 SLIM WEDNESDAY 4/17 4/18 4/19 4/22 4/28 5/2 5/4 5/12 5/26 6/2 6/7

FT. JOJO HERMAN 7p TY SEGALL 7p GHOST LIGHT 7p OLD 97’S 7p ANDERSON EAST 7p

PIGEONS PLAYING PING PONG BLUE OCTOBER 7p CARBON LEAF: 25TH ANNIVERSARY TOUR 7p JUPITER COYOTE 7p JAKE MILLER 8p WHISKY MYERS 7p TASH SULTANA 7p

Rapsody in Gold

GUIDED BY LAILA’S WISDOM, THE SNOW HILL RAPPER GOES TOE TO TOE AGAINST SOME OF HIP-HOP’S BIGGEST NAMES AT THE GRAMMYS THIS WEEKEND

BY CHARLES AARON

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22 | 1.24.18 | INDYweek.com

Rapsody PHOTO COURTESY OF ROC NATION

D

rum-majoring her crew from the driver’s seat of a tricked-out droptop, Raleigh rap icon Rapsody practically incandesces in the video for her 2017 track “Sassy,” fluidly directed by Chad Tennies and Mac Grant, the Atlanta team behind paradigmatic clips for Migos feat. Lil Uzi Vert’s “Bad and Boujee” and Dram feat. Lil Yachty’s “Broccoli.”

Shifting from her more supremely composed persona as a precise rhymer, she plays a party-startin’ Big Sis in a bright “Black By Popular Demand” hoodie. With her kinetic boost of energy, the coolly wiggling funk track—produced by Eric “Eric G” Gabouer from Jamla Records production squad the Soul Council— glows like a neon vernacular bop.

What’s more, in an upset of Valvano-’83 proportions, “Sassy” is nominated for a Best Rap Song Grammy, in a group with Kendrick Lamar, Jay-Z, Cardi B, and Danger Mouse feat.

Run the Jewels and Big Boi. Her overlooked tour de force, Laila’s Wisdom, is also up for Rap Album of the Year, alongside far more highprofile records by Lamar, Jay-Z, Migos, and Tyler, the Creator. In fact, she’s only the fifth woman to be nominated in the category.

So, could this be the year that a woman wins Rap Album of the Year? Yes, you read that right: no woman, in twenty-three years of the Rap Album of the Year category, has ever won. Lauryn Hill’s The Miseducation of Lauryn Hill, a clear analog to Laila’s Wisdom, won Album of the Year in 1999, but was not nominated for Rap Album; instead, it was placed in R&B. Why? For the same reason that fantasizing about murdering a woman (Eminem) has been a better winning rap Grammy gambit than being a woman. There are clearly some nasty viruses in the Recording Academy software—notably racism, sexism, youthism, late capitalism, et al.

But this year, the Academy allowed online voting and instituted a review process for rap nominations to better reflect the fullness of the genre. Those changes likely favored Rapsody. The record industry’s splintering commercial base also probably assisted, especially with a record that’s sold just seventeen thousand equivalent-units thus far. Her label, the Triangle-based indie Jamla, signing a fiftyfifty partnership deal with Jay-Z’s Roc Nation, might’ve tilted some scales. And the cosign of Lamar, a seven-time Grammy winner couldn’t have hurt, either. (Both he and Rapsody have appeared on each other’s albums.) But considering her career, since Kooley High’s debut, The Summer Sessions EP in 2008, has been an extended tease and admitted grind—shouts to Foot Action day jobs!—who cares how she got here?

Laila’s Wisdom is an artistic capstone in the purest sense. Her eighth full-length

record—including mixtapes, sprawling EPs, and proper albums—in just seven years, it both showcases and advances her skills.

Still, slow sales and a certain critical framing have narrowcasted it, which is nothing new for Rapsody. On The Breakfast Club radio show, she called out an emblematic Twitter exchange where a male fan suggested that another man check out her album; the man responded, “What she look like?” Rapsody is hyper-aware that she doesn’t fit cis-het men’s “sexy” hip-hop stereotypes and that that she’s often marginalized as prescriptively “woke.” She knows there are those who think she’s an elitist emcee who only raps for other rappers, and others who see her as woman who only raps for other women, or as a cultural gatekeeper who can’t lighten up.

But on Laila’s Wisdom, instead of squirming against these distortions, she goes deep within, writing virtually every song as if she’s telling her life story up to the moment of recording. For most, that could mean a hot, overstuffed mess. But with ingenious concision and stylistic range, Rapsody creates an album that could be described favorably, per Billboard, as “tackling war, drug abuse, mass incarceration, gender dynamics, and police violence,” but feels like a warm, bantering Saturday-morning convo over coffee with a family member, roommate, friend, or partner.

For example, some might tag “Sassy” as the sort of fun, party track that’s not Rapsody’s lane. The bewitching detail is there, the heartfelt confessions, the arch wordplay, the hoops and sneaker humble-brags, the simmering pissed-offness, the regrets. But none of it pokes out of the songs obtrusively. It’s all seamlessly interwoven, strikingly vivid and affecting, like Faith Ringgold’s “French Collection” story quilts and their complex depictions of black women’s yearning and struggle.

“It depends on what your idea of fun is, I guess,” says mentor-producer and Jamla Records founder Patrick “9th Wonder” Douthit, a 2015 Grammy nominee himself.

“Yeah, we not in the strip club, but she’s made fun records before.”

True, but in “Sassy,” the rapper also breezily reminisces about friends here and gone, tomboy truths, smalltown beef (nodding to her tiny, rural eastern North Carolina birthplace of Snow Hill), her departure for N.C.

State like “a young Denise [Huxtable from The Cosby Show],” and on to the hard-won respect she now owns from lyrical hero Jay-Z and A-list collaborators Lamar and Anderson .Paak. “Visionary, won’t never scared,” goes her unhurried idiom.

Rapsody’s connection to her roots is about more than staying grounded, just like the video’s references to historically black colleges and mid-nineties Atlanta, an era viewed as the “Black Mecca” of African American cultural capital, aren’t just about nostalgia.

For Rapsody, making these connections is about survival. Some have tagged her music as retro for looking back to other eras of hiphop, unlike, say, the teen-streaming trap-rap universe of Atlanta today—but she listens to trap, too (“I was just making it clap to Waka Flocka [Flame] last week” goes a verse in Laila’s “Nobody”). For her, any future, especially for African Americans, means linking past and present, young and old.

“If we separate hip-hop… it hurts the culture,” she told Billboard in a preGrammys interview. “If you take it back to South Africa and apartheid, and how they came in and separated these people based on their languages—you can’t do it by skin color because they’re black, so you separate their language.”

On the “Sassy” chorus, she calmly asserts her poetic swag: “Diamonds ’tween my knees/ Oil wells in my thighs/ Does my sassiness upset you?/Oh, you mad ’cause I survived,” drawing a line to the defiant self-respect of Maya Angelou’s 1978 poem “Still I Rise.” Though asides by rappers about survival aren’t typically placed in the larger context of African-American deprivation—failed criminal justice system, racist drug policy, militarized police, voter suppression, we could go on and on—let’s take a knee and pause.

Between 1991 and mid-2007, parents held in state and federal prisons increased by seventy-nine percent; African Americans made up almost half that number, despite being only twelve percent of the population. In a staggering 2015 study by national nonprofit Child Trends, it was determined that one in nine black children has had at least one parent serve time in prison. Plainly, black families have been broken apart by government policies for centuries. Hence, Rapsody’s sharp focus.

Could this be the year that a woman wins Rap Album of the Year?

Laila’s Wisdom opens as a bittersweet family affair, with the title track’s choral invocation paying respects to “Laila,” Rapsody’s civil rights-era grandmother. Recalling conflicted nods to the African-American church by other rappers (Chance the Rapper, Kanye West, Lamar), but in a less belabored mode, Rapsody begins as if in mid-conversation: “Look, don’t worry ’bout anything they told you… Everything’s a season and some things you gotta go through/Believe me, I done seen it all, you’re young talking to old you.”

“Power” follows, a slinky epic featuring Lamar and Lance Skiiwalker, produced with a majestic twinkle by 9th Wonder (sampling Bootsy Collins’s Rubber Band, plus a drum break from a Christine McVie solo album).

She references positive and negative sources of power: guns, drugs, booty, God, childbirth, but not before giggling and cooing the line with the line “Ooo, I ain’t never read the 48 Laws,” Robert Greene’s devilishly banal selfhelp tome. “Chrome (Like Ooh),” with its summery, thumb piano-buzzing beat, chats playfully and spits gravely on male street violence (“Boys always taught don’t cry, but need to cry”). “Black & Ugly” is steely and soulful, processing her self-image issues, complicated by Graves’ disease, an autoimmune thyroid disorder that Missy Elliott also contracted. “Took all my demons, threw ’em downhill in a buggy/Then stood on top the hill and did the Milly Rock and Dougie/ Screamin’ only God can judge me.”

This is the closest Laila’s Wisdom comes to a singular cry of triumph, a moment of sonic and lyrical arrival where Rapsody metaphorically busts through the door, announcing that she’s now the star. She acts like she’s been here.

So, what if Lamar and Jay-Z split the votes of Grammy traditionalists and Rapsody edges them out? Is such a scenario that unlikely? It could happen, right? It’s been almost twenty years since The Miseducation of Lauryn Hill beat Madonna’s Ray of Light.

You don’t have to be a homer to hope for another upset, especially when you hear how Ms. Hill and her Miseducation inspired a fifteen-year-old Rapsody—by Hill getting over as girlish and tomboyish; by rapping from multiple points of view (on “Lost Ones”); by seriously humbling Jay-Z, the archetypal sexist rap bro, as he’s admitted in his book, Decoded; and by simply being the best rapper in a group with two guys (the Fugees), as Rapsody later would be in Kooley High.

A win for Rapsody could be a similar, if smaller-scale, inspiration to a whole new generation of kids. I can see her now, quoting her elegantly blunt “Nobody”: “Look … this is some marvelous shit!” music@indyweek.com INDYweek.com | 1.24.18 | 23

Roe vs. Wade Anniversary - Jan. 22, 1973 45 Years of Reproductive Choice

“Few decisions are more personal and intimate, more properly private, or more basic to individual dignity and autonomy, than a woman’s decision — with the guidance of her physician and within the limits specified in Roe — whether to end her pregnancy.

A woman’s right to make that choice freely is fundamental.”

Justice Blackman, Thornburgh Decision United States Supreme Court, 1986

We, the undersigned, support a woman’s right to safe, legal, and accessible birth control and abortion. We condemn the acts of violence and intimidation directed at women and their health care providers. We agree that these rights extend to all women regardless of economic status, and, as taxpayers, affirm our support of public funding for family planning services and funding for abortions for indigent women.

This affirmation of a woman’s right to choose was paid for by the North Carolinians whose signatures appear and was organized by the North Carolina National Organization for Women.

For more information on the North Carolina Organization for Women contact: North Carolina NOW, PO Box 24995, Raleigh, NC 27611 www.northcarolinanow.org 24 | 1.24.18 | INDYweek.com 24 | 1.24.18 | INDYweek.com

Jeanne Abbott-Cheney Barry Abbott-Cheney Jennifer B Albright, MPH Jenn Alexander Jan Allen Amy Alspaugh Joan Ambrosino E. Diane Anderson Sarah Anderson Valencia Applewhite Ann Ashford Carol Atwood Ruth A. Baker Sarah Ball-Damberg Esther Barkley Henry Barkley Deirdre Barlaz Steve L. Barsby Harriet A. Bartnick Becky Battye William Battye Shana Becker Gary Beecham Geoffrey Belet Thomas S. Benton, MPH Marian Bergdolt Debra Bergstrom Dan Besse Evelyn Beverage Patricia Beyle Sue Bielawski Nancy Blood Violette Blumenthal Tolly Boatwright Mary Boldstad Julie Bond-Meers Boyce Booth Laura Rein Booth Monica Bowen Betty Boyd Vicki Vars Boyer Chad Boykin Nancy Brandell Linda Brannon Jim Bray Susan Bray Jennifer Briand John Briand Aliza Bricklin Angela Bridgeman Mary H. Bridges Virginia Bristol Carol Brooke Kimberly Brugh Judith Buchanan Kathy Buchmiller Denise Bundick Lori Bunton Erica Burns Gina Burns Pamela Burns Robin Burrs Nancy Busch Lori Bush James E. Buxton, Jr. Macinda Byrd

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Dana Phil F Risa Clair Mari Wayn Mr. R Mrs. Mich Cave Jenni Joyce Suza Rinah Chris Geor Susan Phelp Teres Jan G Barb Rach Rand Lisa Phyll Dr. Il Kath Dian Dr. D Lyn G Cons Patric Mare Lesli Cynt Eilee Lucy Barb Kare Kim Milto Nanc Ethel Eunic Mary Scott Beve Jerry Marg Chris Willi Kare Marj Linda Sarah Lori Eve H Chris Joel H Franc Janic Brian Eric Sharo Pene M. D

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Dana Rees Folley Phil Fonville Risa Foster Claire Fraleigh Marian Frankin Wayne Franklin Mr. Randal Frazer Mrs. Randal Frazer Michael Freemark, MD Cavett French Jennifer Fuller Joyce H. Gad Suzanne Gaither Rinah Rachel Galper Christine Ganis George Garcia Susan Gardner Phelps Gates Teresa Giles Jan Gittleman Barbara Goldstein Rachel Goldstein Randee Gordon Lisa Lofland Gould Phyllis Gould Dr. Ileana Grams-Moog Kathleen Graves Diana Gray Dr. David .J. Gray Lyn Green Constance Green-Johnson Patricia A. Griffin Marena Groll Leslie Hagarty Cynthia Hanford Eileen Hanson-Kelly Lucy Harber Barbara Harris Karen Hawk Kim Haycraft Milton Heath Nancy Heermans Ethelyn Hegele Eunice Heilig Mary Kay Hennessey Scott Herman-Giddens Beverly Herring Jerry Herring Margaret Herring Christine Hodder William Hodder Karen Holbrook Marjorie Hoots Linda Hopkins Sarah V. Howard Lori Hoyt Eve Hubbard Christine Huber Joel Huber Frances Lynam Huffman Janice Huskey Brian Hutcheson Eric Hyman Sharon Hyman Penelope Ingalls M. Deborah Jackson

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J. Denny McGuire Daphne McLawhorn Randa McNamara Rachel McNeil Peggy McNeill Maren McWilliams Gloria Meares Cathy Medlin Donald Mershon Loretta Mershon Kate Mewhinney Wendy Michener Carolyn Miller Eula Miller Margaret E. Mills Sheila West Misenheimer Lisa Misrok Tom Mitchell Cynthia Mixon Gloria Moncelle Harry Moncelle Sarah Moncelle JoAnn Mount Gwynne Lewis Movius Audrey Muck Jonathan Mull Gail Munde Pauli Murray Susan Murray Theresa Nash Tracy Nash Linda A. Naylor Devon Newton Karen Newton Carole Nicholson Marcie Novick Maureen O’Rourke Emily O’Hare Paul Offen Vivian Olkin Scott Olson Michael Oren Miriam Oren Ciriana Orozlo Linda Orr Maple M A. Osterbrink Sara Oswald Jill Over Dick Paddock Lee Pagel Elise Paliga Gailya Paliga Maurita Paprocki Tina Partner Cheryl Passarelli Sandy C. Pearce Margaret Peeples Amanda Pernell Patricia Pertalion Louise Peters Claudia Ann Peters, MD John Pilutti Judith Pilutti Anne Platsky Marjorie Portwood Cheryl Posner-Cahill

MaryCrav Powell Tonya Powell Suzi Prime Francesca Prince Kathe Rauch Cecilia Redding Jessica Reinholz George Retsch-Bogart Carol Retsch-Bogart Geraldine A. Richards Shannon Richards Douglas Rickert Jillian Riley Barbra Roberman Mary Roberts Patricia Robertson Patricia Robinson Virginia Hill Robinson Miguel Rodriguez Lois Roewade Tara Romano Louise Romanow Ruth Rose Sherri Zann Rosenthal Marlene Rosol Liz Ross Bill Rowe Melba Rubin Kathy Ruffner-Lynn Gloria Russakov Sarah W. Safrit Jack Sanders Leigh Sanders Jill Sansoucy Ann Sargent Dr. Frank Sargent Mrs. Dudley Sargent Elizabeth Schob Wanda Webb Schrader Laurie Scott Kathy Seaton Suzanne Seaton Sandy Seaton Kristi Seiter Shoshana V. Serxner-Merchant Mary Susan Sewell Nancy Shaffer Catherine Shoemaker David Shoemaker Nancy Shoemaker Ames Simmons Ann McNally Sink Cindy Sinkez Susan Skidmore Anne Slifkin Anne Smiley Walter Smiley Amanda Smith Jayne S. Smith Maxine Smith Maxine Solomon Diane Spangler Brenda Sparks Jenna Spencer Jean Spooner Sharron K. St. John

Christina Stableford Dr. Carol Stamm Annabelle Stein Jane Stein Sarah Stein Sophie Steinberg Leigh Stewart Mary Stewart Jim Stolz Blaise Strenn Thomas Strini Betsy Stuart Alyse Sturdivant Brooke Sturdivant Nanci Sturdivant Kristen Swafford Deborah E. Swain Joe Swain Bill Swallow Arlene G. Taylor Buffy Taylor Elizabeth Testa-Vasser Miriam Thompson Cindy Thomson Judy Thorne Julie Thorner Jack Thornquest Julie J. Tomlinson Bill Tucker Jane Tucker Tucker Cheryl Tung Mary Ubegone Eric Vander Elst Gwen Veazey Peggy Vick Dr. Floyd Waddle Julie Waddle Roberta Waddle Brittany Wade Kathy Wade Pamela Wade Dr. LeAnn Wallace Joan F. Walsh Andrew Ward Margot Ward Tammy Ward Shelby Ware Bruce Watson Linda Watson Danielle Boucher Weaver Wendee Wechsberg Hilde Weisert Maureen Wertheim Maria West Betty Jo Whalen Jewel Wheeler Betty Whisnant Jean White Judy Williams Polly Williams Katherine Winslow Felicia Wootsick Dianna Wynn Margaret Young-Weeber Lisbeth Zajac INDYweek.com | 1.24.18 | 25 INDYweek.com | 1.24.18 | 25

music

NYM

Friday, Jan. 26, 8 p.m., free Arcana, Durham www.arcanadurham.com

The Secret of Nym

THROUGH MULTILAYERED ELECTRONIC INSTRUMENTALS, LEWIS SCAIFE MIXES MAGIC INTO HIS MUSIC

BY HOWARD HARDEE

Nym PHOTO BT CAITLIN PENNA

S

ome visual artists find it difficult to start with a blank canvas, so they’ll make a quick squiggle or splatter some paint to get things moving. The downtempo trip-hop artist Nym—real name Lewis Scaife—feels similarly about making beats: He needs something to build upon, like ambient noise or the crackle of vinyl playing in the background.

“It helps get me in the right space,” he says. “Then I’ll start with like, say, just a flute sample. I’ll splice it up note for note so I can place them where I want, fading them into each other, layering them sometimes. And then there’s the matter of adding instrumentation, and that’s where a lot of compositional elements come in.”

Scaife readily delves into his philosophies on instrumental music, creating an 26 | 1.24.18 | INDYweek.com

engaging stage show, and human sensory perception. But first, he traces his path to becoming an electronic music innovator.

Scaife, thirty-two, was born in Fairbanks, Alaska, but grew up on a farm in the countryside outside of Fredericksburg, Virginia. He started learning how to sample and make beats with a music production center in college and, after graduation, decided to move to San Francisco and try to make it as a full-time musician. Finding it nearly impossible to pay rent and also work toward owning a home in the Bay Area, he made the cross-country move and bought a house in Durham about two years ago. He says he’s been impressed with the Triangle area’s open-minded culture and vibrant music scene.

“I also wanted to get back to growing food,

getting dirty, and raising chickens—that sort of thing,” he says. “It just seems right to be out in nature and working on stuff.”

The son of a woodworker, Scaife grew up with tools in his hands. It’s not a coincidence he takes a craftsman’s approach to building songs, despite lacking any conventional music training.

“Everything is just a problem waiting to be solved,” he says. “You take a piece of wood and see something there that doesn’t exist yet; maybe you want to make a whale and the knot in the wood looks like an eye.

In the same way, when I’m sampling I can hear things that need to be teased out, or maybe I make a mistake and it sounds cool.

Once there’s a skeleton, it’s a matter of adding transitions and fleshing out the beat.”

As for live performances, Scaife faces

the same challenges as every solo electronic musician: choosing how much to rely on backing tracks and which elements to play live, and how to keep people engaged without playing a traditional instrument people can readily identify as making the sounds they’re hearing. To that end, he’s increasingly incorporating visual elements on stage.

“I’d like to build some more weird gadgets,” he says. “I don’t want a super-polished laser show or anything like that, but I’d like the [video display] to be like the music itself— found pieces sort of cobbled together. I want it to be half magic act, half music show.”

Scaife’s music has always been a collage of world music samples, occasionally featuring vocalists. But over the course of his last three albums—2011’s Warm Blooded Lizard, 2013’s Trembling in the Stone, and 2015’s Convex—he’s increasingly explored dreamy, ambient soundscapes designed to evoke strong imagery and emotional responses. Whereas several of his electronic music contemporaries favor extreme noises and bass drops, Nym is far more smooth and subtle.

Take, for example, his latest record, the gorgeously rendered Lilac Chaser. As his first production as a full-time musician, it’s his most clearly focused work yet, centering on the theme of sensory illusion. For instance, the ethereal, almost meditative track “Yeocomico” is entirely instrumental, but Scaife says it’s about a place on the Potomac River in West Virginia he used to visit as a child. Over the years, he’s returned several times and witnessed the place slowly fall into decay.

“Toys that were brand-new as a kid are old now and the plastic is cracked,” he says. “But it’s still me looking at them, and my perception of the objects in that place is so different yet so nostalgically similar to when I was a child. Going there still makes me feel like I’m ten years old. It’s sad but also beautiful and difficult for me to put in words, so I think the song does it the best justice.”

Of course, part of the beauty of instrumental music is that it’s entirely subjective.

Without a vocalist telling the listener what to imagine and how to feel, it’s impossible to pick up on the song’s specific meaning exactly as Scaife intended. It’s all a matter of perception. music@indyweek.com

MUSIC BRIEFS

CORROSION OF CONFORMITY No Cross No Crown Nuclear Blast HHH

That Corrosion of Conformity’s tenth album, No Cross No Crown, would mark another distinct chapter in the band’s catalog was a foregone conclusion.

The band has spent more than three decades shifting its roster and its sound to the point where listening to any two albums feels like hearing two different bands. In several senses, you probably are.

No Cross No Crown is the first album in eighteen years to feature the arguably essential lineup of singer-guitarist Pepper Keenan, drummer Reed Mullin, guitarist Woodroe Weatherman, and bassist Mike Dean. Corrosion of Conformity’s fandom is fraught with schism. Some favor prefer the teenage blitzkrieg of the group’s early-eighties hardcore period, while others adhere to the band’s mid-eighties thrash era.

Regardless, it was the Keenan-Weatherman-Mullin-Dean combo that led Corrosion of Conformity to commercial success with surging hard rock albums like 1994’s Deliverance.

Despite the Deliverance-era fandom’s clamoring for Keenan’s return to the fold, No Cross No Crown offers little in the way of nostalgia. The Allmans-gone-metal boogie of “Forgive Me” and “Old Disaster” offer some concession to the band’s Southern rock muses, but the album as a

whole tilts more toward the sort of stoner rock Keenan peddles with the band Down, and which C.O.C. started toward on 2014’s IX. The band does nothing to hide its new inspirations. Behind a cover rife with retro-metal signifiers, C.O.C. delves deep into mammoth riffs and doom grooves. The instrumental opener, “Novus Deus,” a spacey, meandering bit of psych-rock guitar work, bleeds into “The Luddite,” a potent slab of metal that recalls High on Fire’s burly efficiency. “Wolf Named Crow” is a mighty showcase of the band’s veteran chemistry, each member locking into a tight blues riff that coats the band’s Southern rock tendencies in dark sludge before dragging it into a heavy psychedelic bridge. The interlude “Sacred Isolation” drifts in a fog of distortion and echoing chords before the lumbering riff that supports “Old Disaster” punches through.

“E.L.M.” adds a touch of harmony to its groove, while “A Quest to Believe (A Call to the Void)” revels in its thick timbres and dragging tempo. The album ends with a blackened cover of Queen’s “Son and Daughter.”

By now, any avid follower of the band has to expect—if not embrace— the band’s eagerness to abandon its own precedents. Constant change becomes its own sort of consistency.

Corrosion of Conformity doesn’t make fandom easy, but it never gets boring.

(For a Q and A with Pepper Keenan, see indyweek.com.) —Bryan C. Reed INDYweek.com | 1.24.18 | 27

indyart

Rip It Up and Start Again NCMA’S HALF-CENTURY WAIT FOR THE RIGHT TECHNOLOGY TO RESTORE A MANGLED ANCIENT STATUE COMES TO AN END

BY NOAH RAWLINGS

Your Week.

Every Wednesday. indyweek.com 28 | 1.24.18 | INDYweek.com

It’s nine in the morning on a Tuesday, an hour before the North Carolina Museum of Art opens, but one room is already abuzz with activity. In it stands a classical-looking statue, flanked by a projector, two cameras, and a computer. A small group of museum staff, media, and representatives of the Bank of America Art Conservation Project has gathered to witness the latest step in what Caroline Rocheleau, the museum’s curator of ancient art, calls NCMA’s “most daring and complicated project yet.” An operation is underway.

The statue of Bacchus is only partially classical and only kind of Bacchus. It’s actually three or four statues combined: the sculptural equivalent of a patchwork quilt, if the patches were created centuries apart. When it came to NCMA, it consisted of a secondcentury Roman marble torso, attached to a first-to-third-century Roman marble head of Bacchus and a pair of marble legs made in the late Renaissance.

These disparate components might sound like the ingredients for a postmodern arthistory novel or a mystery thriller à la The Da Vinci Code, wherein a scholarly sleuth must track down each fragment’s place of origin. Indeed, determining exactly how the statue came together has required considerable sleuthing on the part of Rocheleau and her colleagues.

The statue was donated by longtime NCMA patron Robert Humber in 1958.

Humber obtained it from J.P. Morgan, who acquired it from the Palazzo Altemps in Rome, where it resided from at least 1620 until the early twentieth century. Not long after the donation, NCMA staff noticed something amiss. As Rocheleau points out, it doesn’t take fancy twenty-first-century technology to discern that Bacchus is not a cohesive whole.

“The proportions are a smidge off. You can tell the head doesn’t quite belong to the torso,” she says, also noting the inconsisten-

before the torso is freed, conservators want to create an exact replica of the statue as it would have looked in the Palazzo Altemps. In this way, museumgoers can see the replica and learn about the odd, fascinating Renaissance practice of fusing ancient fragments with contemporary ones.

This would have been unthinkThe statue of Bacchus at NCMA PHOTO COURTESY OF NCMA able ten to fifteen years ago, before the invention of the structured light scancy between the position of the statue’s right ner, which measures the shape of an object shoulder and its legs. While the naked (albeit by projecting bands of patterned light onto trained) eye can identify these disproporit and capturing 3-D coordinates. This infortions, what does require fancy twenty-firstmation can then be used to generate digital century technology is disassembling it “to images, which can be 3-D printed. NCMA free the important ancient torso,” as Rocheplans to subject the statute and its nowleau writes on NCMA’s blog. detached head to a series of structured light NCMA staff quickly recognized the statscans to create images a contemporary ue’s hodgepodge nature and proposed a sculptor might use to re-create the statue as de-restoration. But Justus Bier, director of it looked in the Palazzo.

NCMA in the 1960s, decided to entrust the “Kill the lights,” Rocheleau says. The scanproject to future generations. The era’s techner shines a sequence of light patterns onto nology was not up to the task of identifying the center of the statue. Moments later, the exactly where and how the various pieces computer screen has rendered a digital repwere combined. In the nineties, the head of lica of the region, a torso capable of being the statue and its attached adornments were rotated 360 degrees and combined with removed, but the torso remained fused to its other scanned regions. Once the statue is post-antique legs and left arm—the ancient comprehensively scanned and enough digimarble “imprisoned” in the late Renaissance. tal data exists to re-create it with certainty, Technology is now up to the task of finishmuseum curators may then work toward ing what was started long ago. In 2015, an detaching the torso from its limbs. Four hunultraviolet exam gave conservators a clearer dred years and four owners later, Bacchus’s picture of where the ancient torso was joined Roman torso is about to be free once more. to the later fragments. Last year, gamma rays arts@indyweek.com gave a glimpse into the statue’s interior. But,

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 1.24.18 | 29

indystage

THE MASTER BUILDER ★★★ Through Saturday, Feb. 3 Mystery Brewing Company, Hillsborough www.littlegreenpig.com

House of Jealous Lovers

TAMARA KISSANE RECASTS IBSEN’S FIN DE SIÈCLE MALE ARCHITECT AS A MODERN WOMAN IN A VOLATILE, AMBIGUOUS ADAPTATION OF THE MASTER BUILDER

BY BRIAN HOWE Maxine Eloi, Thaddaeus Edwards, Rebecca Bossen, and Dana Marks in The Master Builder

L

ocal theater is having a “women in architecture” moment. Raleigh Little Theatre is staging What We’re Up Against, Theresa Rebeck’s dark comedy about a female architect angrily slamming into the sexism of a field clogged with egoistic men. Meanwhile, Little Green Pig is premiering local playwright Tamara Kissane’s The Master Builder—which is not, we should hasten to add, a stage adaptation of The LEGO Movie.

Instead, it focuses on Sully (Dana Marks), an architect successful enough 30 | 1.24.18 | INDYweek.com

for one-name status, who angrily slams into whatever wanders into her blast radius. If Sully steamrolled sexism to reach the pinnacle we find her wobbling on, we don’t learn of it in this contemporized, gender-flipped adaptation of the 1892 play

by Henrik Ibsen. But she probably did and just didn’t notice. It’s hard to imagine anything piercing Sully’s pyrotechnic selfregard. Fame, glory, credit—she wants it all because she deserves it all, and vice versa. Her ambition is an ouroboros that crushes everything inside its compass.

PHOTO BY ERIN BELL/BULL CITY PHOTOGRAPHY

“You gotta have balls. You gotta have boobies. You need both in this business.”

These are the first lines spoken by Sully, a capricious control freak in a messy ponytail and a variety of vintage rock T-shirts that don’t exactly scream “high-powered architect.” She’s building a dream home that her depressive husband, Lionel (Thaddaeus Edwards), doesn’t want, contesting with unreasonable clients, and trying to maintain control of her firm, all while confronting the destabilizing Hildy (Zo Saxton), a figure from her past who

shows up wearing fairy wings and an enigmatic air of childlike all-knowingness.

The ferocity of Sully’s dreams has clearly overpowered Lionel, a nurturer who “has nothing to nurture, so he nurtures his own pain.” Still, he’s the only one allowed to call her Helen, her real name—though even this intimacy contains a tacit barb.

After all, as Sully proclaims, “Helen lives inside the box, Sully outside.” But Kissane leads us to see, far before Sully does, that she has it backward. When she claims she doesn’t want safety, she means she doesn’t think she can have it. So she builds it for others—for a price. Emotional transactions are beyond her. “Happiness is not for us,” she says. “We have to settle for something else.”

Under Kevin Ewert’s direction, Marks is as hilarious and magnetic as usual, but the show relies a bit too much on her charisma at the expense of the development of the cast. The Master Builder teems with activity but is light on plot, with everything whirling too fast around Sully’s cyclonic impulses to settle into a taut dramatic arc.

A less-than-seamless mix of absurd and realistic characters makes some things emotionally implausible or illegible. It can be as difficult for us to orient ourselves in the material as it must be for the actors, who occasionally struggled to find their rhythm in the volatile banter on Saturday night. Sully’s long-suffering assistant, Kaya (Maxine Eloi), and the deer-skittish Doc (Rebecca Bossen) don’t seem to occupy the same theatrical universe as the talk-show grotesque Joan (Jaybird O’Berski, delightfully garish in a magenta wig) and the bizarre character of Hildy, a plot-propelling cipher. He never becomes independently human, which is troubling because his past with Sully involves something at least adjacent to child abuse.

Like the original, Kissane’s The Master Builder resists pat interpretation, but Ibsen’s was essentially a very old story with a very male perspective: grand old man undone by female ingénue. By flipping those genders, Kissane opens the script for a feminist revision but leaves it more implicit than asserted. If you’re expecting a clear treastise on ambition and women, not just ambition itself, you’re more apt to find it in What We’re Up Against. bhowe@indyweek.com

STAGE BRIEFS BLACK IRISH: LIT | HHHH Saturday, Jan. 20 & Sunday, Jan. 21 Cary Arts Center, Cary www.iamblackirish.com Dramatic visual design, killer moves, and enigmatic storytelling are always on the menu when choreographer-designer Ronald West convenes his Black Irish troupe. But, ironically, his latest work, Lit, which premiered last weekend, seemed a darker study than the capricious flights of fancy from last season’s Shade, which opened the evening at Cary Arts Center.

In the compelling opening of Lit, featured guest artist Willie Hinton knelt at center stage, unsmiling, nude from the waist up and holding a black balloon by a string as a circle of oblivious revelers around him counted down to midnight on New Year’s Eve. From there, West took us through a suite of somber sequences as the initial kaleidoscopic notes in designer Ryann Norris’s lights gave way to an Art Deco-influenced arrangement in black, white, and gray.

To the grim musical musings of J. Cole, West and his performers segued between solitary, sinuous, and confrontational stances as company members ripped the sleeves off Emma Briskman’s garment, as if stripping her character’s skin away. Discord and menace increased, set to the dark blues of The Barr Brothers’ “Half Crazy,” as performers romped about in banks of eerie black confetti that carpeted the floor, joyously flinging the dark matter at one another in what seemed a contaminated snow fight.

Amanda Porterfield embodied many of West’s more pugilistic gestures, and Natalie Morton’s characteristically crisp physical negotiations animated the stage. Steven James Rodriguez Velez’s energy constantly simmered and then burst through at key moments. Though the title promised a combination of intoxication and illumination, Lit frequently proved a party where misgivings and manipulation were the main themes. But then again, haven’t the last couple of New Year’s Eves held more of both than we would like? —Byron Woods

THE NORMAL HEART | HHHHH Through Sunday, Feb. 4 Murphey School Auditorium, Raleigh www.burningcoal.org Larry Kramer’s searing 1985 drama, The Normal Heart—currently in a compelling revival from Burning Coal Theatre Company—is an autobiographical look back in anger at the dawn of the AIDS crisis from one of its epicenters: the thriving gay culture in New York City. Historians have documented how, when the HIV retrovirus tore through Manhattan during the early 1980s, its progress was largely unhindered because of homophobic neglect from the mass media and government leaders, disorganization and inadequate funding among medical researchers, and divisive politics within the gay community itself.

The Normal Heart defines Kramer’s unenviable position as a Cassandra figure: an outspoken activist whose dire warnings that the disease was being sexually transmitted were frequently dismissed after an earlier satirical novel of his critiqued the promiscuity of the gay community. Under Emily Ranii’s lucid direction, authoritative performances by Marc Geller as Kramer’s character, Ned, and Julie Oliver as the blunt Dr. Brookner, a physician on the front lines of the epidemic, redeem the opening’s thin expositional scripting and plunge us into a waking nightmare.

As too few people tackle an accelerating catastrophe, we watch Mickey, a city health department worker and freelance journalist, crack under the pressure in a riveting, career-best performance by Michael Babbitt. Preston Campbell adds another nuanced, standout role to his résumé as Kramer’s smart, savvy lover, Felix, and Byron Jennings II ably portrays Kramer’s foil, the conflicted head of a support organization.

As the disaster unfolds, one of Kramer’s most crucial points is easy to overlook. If the past goes unremembered, it doesn’t matter if gay history extends back to the philosophers of ancient Greece. If this recent account remains untaught, unseen, we cannot learn its bitter lessons. Kramer must remind us: what we forget still makes us most vulnerable. —Byron Woods

INDYweek.com | 1.24.18 | 31

indypage

VOICE RISING FEAT. DANIEL WALLACE

Monday, Jan. 29, 7 p.m., free Flyleaf Books, Chapel Hill www.flyleafbooks.com

Rock of Pages

A WORKING MUSICIAN TURNED ASPIRING AUTHOR APPLIES A MUSIC-SCENE ETHOS TO THE NEW FLYLEAF READING SERIES VOICE RISING

BY BRIAN HOWE

W

Your week.

Every Wednesday.

hen Michael Venutolo-Mantovani moved to Chapel Hill from New York City three years ago, he was fleeing the precarious existence of a rock musician for the safer, more stable pastures of … wait for it … freelance writing. (Disclosure: Venutolo-Mantovani has written two freelance pieces for the INDY’s new sports blog.) Armed with a musician’s experience in booking shows, he looked around for a reading series to test out the memoir he hopes to publish and didn’t see what he was looking for. So, with help from UNC English professor Marianne Gingher and Flyleaf Books events manager Amanda Ibarra, he hustled Voice Rising into being.

It’s a series in which established writers headline readings filled out with lessknown writers. The first installment, on January 29, features Big Fish author Daniel Wallace with fiction writer Diana Mellow, essayist Heather Wilson, and VenutoloMantovani himself, who recently brought us up to speed on the venture.

INDY: What led you to do a reading series presenting well-known authors alongside less-known ones?

MICHAEL VENUTOLO-MANTOVANI: Necessity is the mother of invention, right? I was looking for a series to read my own stuff, to be honest. There was stuff around, but it was more workshops or storytelling events.

I mostly write creative nonfiction. I come from a background playing in bands, and, growing up on the Jersey shore, it was like, there’s nowhere to play. So we’d do our own shows in basements or VFW halls or whatever. That’s the ethos I carry on.

INDYWEEK.COM 32 | 1.24.18 | INDYweek.com

How do you lure in the more established authors?

Again, grafting my experience as a musician, that’s how you book a show. If you’re a lesserknown band, you try to get on a bill with a bigger band. The first reader is Daniel Wal-

Michael Venutolo-Mantovani PHOTO COURTESY OF THE AUTHOR lace, and I just found his email on the UNC website and pitched him the idea. He said he loved it, and here we are. The crux is that everyone’s supposed to be reading stuff that’s never been published, so that’s a draw for fans of Daniel’s. It seems like writers, more than any of the other creative endeavors, are much more inclined to help people who are getting started. I don’t know what it is. They have a sense of where they came from.

Because even the successful ones are just clinging to the hem of a viable living, so we all feel like we have to clasp each other!

Yeah, even people who are hugely quoteunquote successful, a lot of them are working day jobs. So now we’re about to announce our second event, and the featured author is Thomas Mira y Lopez, who is a visiting writer at UNC. He recently published The Book of

Resting Places, which is a work of nonfiction about the death of his father. I went to his reading at Flyleaf and we struck up a bit of a friendship. My manuscript is basically about the last two weeks of my mother’s life, so we kind of bonded over that.

So the less-known writers obviously get a nice boost, and the established authors get to test out some new material in a lowstakes setting.

Yeah, and if you look at it like a rock show, Diana is going to be bringing her friends, Heather is going to be bringing hers. My friends and family are going to be exposed to Daniel Wallace’s work. So we’ll have some cross-pollination. That was also at the core of my rock shows—we’re trying to turn our audiences on to other stuff. bhowe@indyweek.com

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yweek.com

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indy week’s

WHAT TO DO THIS WEEK THURSDAY, JANUARY 25

FRIDAY, JANUARY 26

TONI SCOTT

DJ PLAYPLAY

UNC’S SONJA HAYNES STONE CENTER, CHAPEL HILL 7 p.m., free, stonecenter.unc.edu

THE PINHOOK, DURHAM 10 p.m., $7, www.thepinhook.com

#TimesUp. #BlackLivesMatter. #MeToo. #NoBanNoWall. Every day, we are asking anew, what does it mean to be equal and free? Artist Toni Scott examines this question and others in a historical context through her multimedia art installation Aswarm with the Spirits of All Ages Here: Inconceivable Spaces of Slavery and Freedom. Assessing the boundaries and physical bondage of slavery, Scott provides multiple contexts through which the nature of freedom can be examined—and, hopefully, better understood.

Whether they are sculptures or paintings, her works outline the geographies of exiled people and seek to reconnect us to North Carolina’s history with slavery. Scott discusses the exhibit in this artist talk at UNC’s Stone Center on Thursday; the exhibit itself runs through April 30. —Ryan Haar

If you’ve spent any time at Durham dance parties, there’s a high probability you’ve encountered Jess Dilday, aka DJ PlayPlay. A practitioner of eclectic dance music for more than a decade, Dilday cofounded Durham’s esteemed Party Illegal crew, which focused on building queer-friendly dance parties for the better part of four years. At The Pinhook on Friday, Dilday once again takes center stage in support of their new EP, the threetrack It’s Only 3am on Knightwerk Records. It drops on January 29, and Dilday offers a sneak peek of it along with a full d.j. set. Despite the guaranteed Friday night fun, Dilday is relocating to New York for a spell—so catch them behind the decks in Durham before those opportunities become scarce. Fellow Party Illegal alumni Queen Plz and Treee City open, as does Raleigh’s ZenSoFly. —Allison Hussey

The Body Artist PHOTO

COURTESY OF DUKE PERFORMANCES

THURSDAY, JANUARY 25–SATURDAY, JANUARY 27

THE BODY ARTIST

Lauren is something of a shapeshifter. She’s a performance artist who takes on and manifests the bodies of others in uncanny presentations around the world. But her unique relationship with interpersonal boundaries will be challenged when an enigmatic, neuro-atypical figure subjects her to an unexpected analog of her work: exact, pitch-perfect, but randomly sorted renderings of her last conversations with her dead husband, Rey. The New York Times called Don DeLillo’s spare 2001 novella a “metaphysical ghost story.” Still, it’s sometimes hard to determine who’s haunting whom in this meditation on the evanescence of perception, the permanence of loss, and all that lies beyond the permeable borders of the self. Jody McAuliffe directs guest artists Rachel Jett and Tavish Miller in the world premiere of her stage adaptation of the book, a Duke Theater Studies production presented by Duke Performances. —Byron Woods REYNOLDS INDUSTRIES THEATER, DURHAM | 8 p.m., $10–$20, www.dukeperformances.com

WHAT ELSE SHOULD I DO?

AN ACT OF GOD AT NRACT (P. 42), BILL BAMBERGER AT THE NASHER (P. 41), BROCKHAMPTON AT THE RITZ (P. 39), CORROSION OF CONFORMITY AT LINCOLN THEATRE (P. 27), THE MASTER BUILDER AT MYSTERY BREWING COMPANY (P. 30), THE NORMAL HEART AT BURNING COAL (P. 31), NYM AT ARCANA (P. 26), NIC STONE AT FLYLEAF & QUAIL RIDGE BOOKS (P. 44), TAKE ME TO THE RIVER AT THE CAROLINA THEATRE (P. 37), UNEXPOSED AT THE CARRACK (P. 44), DANIEL WALLACE AT FLYLEAF BOOKS (P. 32) 34 | 1.24.18 | INDYweek.com

1.24–1.31

RY 26

urham

d Jess ctitioner ore than Durham’s which endly art of Friday, r stage e threewerk 29, and it along

Dan Bejar PHOTO BY TED BOIS Dilday is pell—so TUESDAY, JANUARY 30 in nities DESTROYER llegal Dan Bejar has loomed large as one of the indie rock world’s most intriguing and enigmatic City figures of the past twenty years, first as a coconspirator in The New Pornographers, and oFly. subsequently at the helm of his own band, Destroyer. (He can also pinch hit as a dead ringer for Bowie, as he demonstrated last year as part of Carolina Performing Arts’ celebration of Heroes).

As Destroyer, Bejar’s lyrics have felt like mystic transmissions wrapped loosely in easygoing, rock-leaning instrumentation. But last fall, Bejar released his twelfth record as Destroyer, ken, on m Merge Records, and it’s his most compact, accessible effort yet. In a respectable forty minutes, Bejar offers a synthy crop of songs that he says were inspired by some of the forgotten favorite records of his youth in the 1980s. Tracks like “Cover the Sun” approach the precipice of radio pop, while others feel like slow-dance deep cuts. Mega Bog opens. —Allison Hussey CAT’S CRADLE, CARRBORO 8 p.m., $20–$23, www.catscradle.com

FRIDAY, JANUARY 26–SUNDAY, FEBRUARY 4

BUY MY SOUL AND CALL IT ART

“On August 12, 1988, Jean-Michel Basquiat died penniless. He was twenty-seven years old. On May 18, 2017, one of Basquiat’s paintings sold for $110.5 million dollars.” This is the sort of chilling clarity with which theater artist Monét Noelle Marshall, the founding artistic director of Durham’s MOJOAA Performing Arts Company, frames the motivation of Buy My Soul and Call It Art, the immersive performance-art experience she and the dozens of local artists she enlisted will premiere this week. In twenty-person groups, visitors will undergo what is likely to be a challenging, even transformative crash course in the relationship between African-American artists and mainstream—which is to say, white-dominated—art spaces and the enduring connection between the art market and American slavery. The labor of African-American artists is so often absorbed and refracted through the filter of whiteness; Marshall turns the prism the other way and asks us all to take a close look at what we see reflected there. —Brian Howe LIVING ARTS COLLECTIVE, DURHAM Various times Fri–Sun., pay what you want, www.livingartscollective.com INDYweek.com | 1.24.18 | 35

1/26 ENTER SHIKARI W/MILK TEETH, SINGLE MOTHERS ($18/$20)

RECYCLE THIS PAPER

1/27 TENNIS W/ OVERCOATS ($16/$18) 1/28 GAELIC STORM (SEATED SHOW) $25/ $28 1/30 DESTROYER W/ MEGA BOG ($20/$23 2/1 TYPHOON W/ BAD BAD HATS, SUNBATHE ($18/$20) 2/3 BOB MARLEY BIRTHDAY BASH: MICKEY MILLS & STEEL, JAMROCK, ZION PROJECT, DJ RAS J ($12/$15) 2/9 WXYC VALENTINES DANCE 2/10 WHY? W/ OPEN MIKE EAGLE ($16/$18) 2/11 NOAH GUNDERSEN ($15/$17) 2/12 DECLAN MCKENNA W/ CHAPPELL ROAN ($15/$17) 2/13 SONS OF APOLLO (FORMER DREAM THEATRE, GNR, MR BIG, JOURNEY) ($25/$28) 2/15 COREY SMITH W/KASEY TYNDALL ($20/$25) 2/16 UNO THE ACTIVIST/ THOUXANBANFAUNI/ WARHOL.SS ($20/ $24) 2/17 THE BLACK LILLIES W/ SAM QUINN 2/20 PHILLIP PHILLIPS ($27.50/$30) 2/21 PEDRO THE LION W/ MARIE/LEPANTO ($20/$22) 2/22 LIGHTS W/CHASE ATLANTIC, DCF ($20/$23) 2/24 ANDREA GIBSON W/CHASTITY BROWN ($18/$21) 3/1 QUINN XCII LD W/ CHELSEA CUTLER SO OUT 3/2 JOYWAVE W/SASHA SLOAN, KOPPS ($15/$17) 3/6 WALLOWS W/FIELD MEDIC ($15) 3/7 LP W/ NOAH KAHAN ($22/$25) 3/9 SENSES FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD 3/13 J BOOG W/JESSE ROYAL, ETANA ($20) 3/16 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12) 3/21 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/23 OF MONTREAL ($17) 3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30 CIGARETTES AFTER SEX ($20/$23) 4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER 4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20) O OWS! 4/10 AND 4/11 SHTW YO LA TENGO ($22/$24) 4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20) 4/16 WOLF ALICE ($18/$20; ON SALE 1/26) 4/18 DR DOG ($27.50/ $30) 4/24 THE MAINE W/THE TECHNICOLORS ($23/$25; ON SALE 1/26)

FR 1/26

WE 1/31 @CAT’S CRADLE BACK ROOM

THE DANGEROUS SUMMER

SU 1/28

GAELIC STORM 4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18) 4/28 THE AFGHAN WHIGS AND BUILT TO SPILL ($35) 5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28) 5/8 BAHAMAS ($16/$18) 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25) 5/18 DAVID BROMBERG (SEATED SHOW) ($23/$26) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) 5/25 PETER HOOK & THE LIGHT ($28/$31) 6/23 THE FEELIES ($20/$23)

CAT'S CRADLE BACK ROOM

1/25 TRAVERS BROTHERSHIP / TONK / REESE MCHENRY (SOLO) ($6/$7) 1/26 COOPER ALLEN / DISSIMILAR SOUTH / JUSTIN FOUTS / VERONICA SARRIA ($5) 1/27 P3 LVL3 EXP//3 ($7) 1/28 1ST ANNUAL CARRBORO DJANGO FEST FT. STEPHANE WREMBEL AND ONYX CLUB BOYS; & GYPSY JAZZ GUITAR WORKSHOP WITH STEPHANE WREMBEL 1/30 MUST BE THE HOLY GHOST W/ DEAF POETS, NIGHT BATTLES ($8) 1/31 THE DANGEROUS SUMMER

W/MICROWAVE, THE BAND CAMINO ($15)

2/1 BE LOUD! CAROLINA: MKR, PEOPLE OF EARTH, LOCAL FLORA ($5; RESCHEDULED FROM 1/18) 2/2 EMMA'S LOUNGE / MAGNOLIA COLLECTIVE / LESTER COALBANKS AND THE SEVEN SORROWS ( $7/$8 ) 2/3 BAT FANGS RECORD RELEASE PARTY W/ PIPE, SOLAR HALOS ($10) 2/5 CHARLIE HUNTER TRIO FEAT. SILVANA ESTRADA ($18/$20; 7 PM SHOW) 2/6 WAR ON WOMEN ($10/$12) 2/7 WILLIE WATSON W/ANNA TIVEL ($18/$20) 2/9 YARN ($12/ $15) 2/10 AMIGO ALBUM RELEASE PARTY W/ JON LINDSAY, AL RIGGS ( $7/$8) 2/11 ADULT MOM / CHRIS FARREN ($10/$12) 2/13 TINY MOVING PARTS W/ MOM JEANS, OSO OSO ($13/$15)

36 | 1.24.18 | INDYweek.com

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

TH 2/1

TYPHOON

SA 1/27 @THE ARTSCENTER

LLOYD COLE

WE 5/9 @THE RITZ

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO **Asterisks

SA 1/27

TENNIS

ENTER SHIKARI

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DESTROYER 2/16 NORA JANE STRUTHERS W/ CHRISTIANE AND THE STRAYS ($12/ $15) 2/17 HANK, PATTIE & THE CURRENT W/ CAROLINA BLUEGRASS BAND ($7/$10) 2/20 MAGIC GIANT W/ THE BREVET ($12/ $14) 2/22 LARRY CAMPBELL & TERESA WILLIAMS 2/24 CALEB CAUDLE ALBUM RELEASE SHOW W/ JAKE XERXES FUSSELL ($10/$12) 2/27 DIET CIG W/ GREAT GRANDPA, THE SPOOK SCHOOL 3/3 TAN AND SOBER GENTLEMEN W/ TUATHA DEA, CODDLE CREEK ($9) 3/5 KOLARS W/ ESCONDIDI ($12) 3/6 ELLIOT ROOT ($8/$10) 3/7 SONREAL ($15/$17) 3/9/ VUNDABAR W/ RATBOYS ($10/$12) 3/13 JESSICA LEA MAYFIELD W/ T HARDY MORRIS ($15) 3/18 MEN I TRUST ($10/$12) 3/19 BORN RUFFIANS 3/20 SHAME / SNAIL MAIL ($12) 3/21 COURTNEY MARIE ANDREWS ($12/$14) 3/22 MARTI JONES & DON DIXON 3/23 KYLE CRAFT 3/24 URBAN SOIL 3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17) 3/26 S CAREY W/ GORDI ($15) 3/30 MOVEMENTS W/CAN’T SWIM, SUPER WHATEVR, GLEEMER ($13/$15) 3/31 STOP LIGHT OBSERVATIONS ($10/$12) 4/1 NOTHING, NOWHERE. W/ SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15) 4/4 DYLAN LEBLANC AND THE ARTISANALS ($10/$12) 4/5 THAT 1 GUY ( $15) 4/6 GRIFFIN HOUSE 4/12 MO LOWDA & THE HUMBLE ($10/ $15 FOR 2 TIX) 4/17 THANK YOU SCIENTIST ($15) 4/23 DURAND JONES & THE INDICATIONS ($13/$15)

NATHANIEL RATELIFF

& THE NIGHT SWEATS 4/28 LOMA W/ JESS WILLIAMSON CAROLINA THEATRE (DUR)

3/24 LUCIUS MOTORCO (DUR)

4/2 TWIN PEAKS W/ THE DISTRICTS 4/11 WAXAHATCHEE AND HURRAY FOR THE RIFF RAFF ($20/$22) 5/5 ALVVAYS W/ FRANKIE ROSE ($15/$17) 5/7 HOP ALONG ($15/$17) 6/3 POND ($15) ARTSCENTER (CARRBORO)

1/27 AN EVENING WITH LLOYD COLE ($20) 3/3 AN EVENING WITH SOLD COWBOY JUNKIES OUT 3/21 NEIL HILBORN ($15/$20) 4/20 GREG BROWN ($28/$30) THE RITZ (RAL)

2/17 SNARKY PUPPY W/ SIRINTIP 4/7 RAINBOW KITTEN

SURPRISE

5/9 NATHANIEL RATELIFF

& THE NIGHT SWEATS

W/ LUKAS NELSON & PROMISE OF THE REAL (ON SALE 1/26, 10 AM) 5/13 OH WONDER (ON SALE 1/26, NOON) KINGS (RAL)

2/17 PHOEBE BRIDGERS W/ SOCCER MOMMY ($10) 3/30 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20) RED HAT AMPHITHEATRE (RAL)

5/3 FLEET FOXES HAW RIVER BALLROOM

2/1 THE DEVIL MAKES THREE W/ THE HUNTRESS, HOLDER OF HANDS 3/3 BRETT DENNEN ($22/$26) 3/23 GODSPEED YOU!SO BLACK LD EMPEROR W/KGD OUT 5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18) NORTH CHARLESTON PAC (CHARLESTON, SC)

2/25 STEVE MARTIN & MARTIN SHORT W/ THE STEEP CANYON RANGERS AND JEFF BABKO

music 1.24– 1.31

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

CONTRIBUTORS: Grant Britt (GB), Selena Fragassi (SF), Spencer Griffith (SG), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Brittney McKenna (BM), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW), Amanda Wicks (AW)

THURSDAY, JANUARY 25

TAKE ME TO THE RIVER: MEMPHIS SOUL AND R&B REVUE For reasons too varied and involved to be detailed in this small space, Memphis was one of the hottest spots on the planet for classic soul and blues sounds in the sixties and seventies. The old “something in the water” cliché might actually not be so far-fetched in this case either, considering the city’s proximity to the Mississippi Delta.

Now-legendary labels like Stax and Hi Records took the R&B influences of the fiftiess and channeled them into something new, putting a whole generation of soul giants on the map in the process, including Al Green, Otis Redding, The Staples Singers, Booker T. & the M.G.’s, and countless others. Now, inspired by the Memphis soul documentary Take Me to the River, three shining lights of Southern soul are headlining a tour that takes the music back to its source.

William Bell, Bobby Rush, and Don Bryant are true soul survivors, each having a career that reaches back well over half a century. Bell was a central part of the Stax scene—he began performing and recording in the fifties, but when he joined the Stax stable in the sixties, his career soared. Besides releasing immortal singles like “You Don’t Miss Your Water” and “I Forgot to Be Your Lover,” the Memphis native wrote classics for others, including the blues standard “Born Under a Bad Sign,” which Albert King popularized.

Bobby Rush started out on the bustling blues scene of Chicago in the sixties, but by the early seventies he was cutting funky, sexy soul tunes like “Chicken Heads,” which earned him a gold record. He subsequently made his way down south, where he became a linchpin of the burgeoning soul-blues scene and a star of the so-called chitlin circuit, with Memphis being a mainstay on his itinerary.

Rush has gained even more renown over time, winning a Grammy in 2017 for his album Porcupine Meat.

Besides being a powerful vocalist, Memphis-born Don Bryant was at the core of the songwriting team for Hi Records, the label that brought Al Green, Ann Peebles, and others to fame. Bryant co-penned his future wife Peebles’s signature song, “I Can’t Stand the Rain.” Joined by members of the legendary Hi Records house band of the seventies, Bryant, Rush, and Bell—with some younger performers adding a modern touch to the mix as they did in the film—tackle not only their own tunes on this tour but also other Memphis R&B evergreens by the likes of Otis, Al, et al. —Jim Allen CAROLINA THEATRE, DURHAM | 8 p.m., $38–$59, www.carolinatheatre.org

William Bell

WED, JAN 24 BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • THE CAVE: The Worst Residency Ever; 9 p.m., $5. • IMURJ: Green Aisles, Self and Other, Nevtelen; 8 p.m., $10. • IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m. • MOTORCO: Felly, Gyyps, Trip Carter; 8 p.m., $18– $60. • POUR HOUSE: Consider the Source, Zephyranthes; 9 p.m., $10–$12.

• RUBY DELUXE: New Wave Night with DJ Rock Lobster; 10 p.m.

THU, JAN 25 In the Mood If all the current PAST GLORY administration’s winning is making you nostalgic for a time when America was filled with hope and promise, this retro-loving musical extravaganza might just do the trick. That is, if “Chatanooga Choo Choo” floats your boat.

The show is filled to the brim with period gems by the likes of Benny Goodman and Glenn Miller, all delivered with exuberance, period costumes, cunning choreography, and plenty of pizzazz. —DK [MEYMANDI CONCERT HALL, $37–$57/7:30 P.M.]

Emily Musolino MAJOR PIPES

Emily Musolino is known around

PHOTO BY DAVID MCCLISTER

town for her soulful vocals and righteous guitar chops, both of which have earned her attention from major outlets like NPR. She’ll put those talents on display when she plays at the new Wicked Witch, performing with her similarly expert, funky band. If you have some music-loving kiddos in your midst, grab ‘em—this show is all ages. Fruit Snack and Bangzz open. —BM [THE WICKED WITCH, $5/8 P.M.]

Travers Brothership Asheville funk rock JAM FUNK band Travers Brothership has made a name for itself nationally since forming in 2012, sharing stages with artists like Robert Randolph and the late Charles Bradley. Their live show is road-tested and dance-worthy.

Tonk and Reese McHenry open.

—BM [CAT’S CRADLE BACK ROOM, $6–$7/7 P.M.]

ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • BLUE NOTE GRILL: Armand Lenchek & Carter Minor; 7-9 p.m. • CAROLINA THEATRE: Take Me to the River: Memphis Soul and R&B Revue; 8 p.m., $38–$59. See box, this page. • DEEP SOUTH: Roar the Engines, Maldora, NewFaze; 8:30 p.m. • DUKE’S BIDDLE MUSIC BUILDING: Violin Master Class with Sarah Plum; 5 p.m. • IRREGARDLESS: Amber Ikeman and Abigail Dowd; 6 p.m. • NEPTUNES PARLOUR: Boat Jail, Mark Brady, JD Etheridge, Shari Diaz, Brandy Brown, Nik Cartwright; 9 p.m., $5. • POUR HOUSE: Local Band Local Beer: John Howie Jr. and the Rosewood Bluff, Old Heavy Hands, Brice Randall Bickford; 9 p.m., $5.

FRI, JAN 26 American Aquarium REVAMP- This Raleigh ED ROCK alt-country crew has been kicking around for about a dozen years now, developing a sort of post-Wilco sound that eschewed the latter’s more experimental edges while scarcely lacking in atmosphere. Last spring, the band’s long-time lineup dissolved, but a few months later, frontman BJ Barham unveiled a completely retooled edition of American Aquarium.

Now, with some nationwide touring under its belt, the new American Aquarium is bringing it all back home. With John Fullbright and Jamie Lin Wilson. —JA [LINCOLN THEATRE, $25/9 P.M.]

Cold Cream It’s likely with SKIN DEEP great irony that this group of Carrboro punks—which features Montgomery Morris and Laura King of the defunct Flesh Wounds and Ron Liberti INDYweek.com | 1.24.18 | 37

of Pipe—takes its name from a moisturizing beauty product.

And given its pedigree, the quartet’s snarling, sneering punk is delivered with bone-crunching force and adroit aplomb. With fellow punks Pie Face Girls and noisy techno act Housefire. —PW [THE CAVE, $5/9 P.M.]

Enter Shikari ELECTRO Enter Shikari has FLOP left the building with last year’s The Spark, a mid-career-crisis album that buries the Brits’ post-hardcore spunk for a pop wash that veers too far into Passion Pit territory.

It may be their most commercial-sounding album to date, but it leaves original fans with something to desire. Wait for it to pass. With Milk Teeth and Single Mothers. —SF [CAT’S CRADLE, $18–$20/8 P.M.]

program that explores the depth and breadth of its musical world. Works by Thomas Tallis and Ralph Vaughan Williams sit alongside Paul Simon and U2, and there are commissioned new works

by Nico Muhly, John Rutter, and more. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$56/8 P.M.]

Knightmare Old-school heavy SPEED DEMONS metal gets a new spin with North Carolina devotees Knightmare. Songs like the Iron Maiden-inspired saga “Children of Hell” claw through the white noise with a combination of power metal sludge and hair-raising battle cries that are as epic as the Viking vs. bloody beast throwdown depicted in the cover art. —SF [SLIM’S, $5/9 P.M.]

The King’s Singers

N.C. Opera: Rigoletto

This English SING SONG singing institution is celebrating its fiftieth anniversary this year with a

In adapting Victor NO CLOWNS Hugo’s controversial play Le roi s’amuse about a venal king and his truth-

telling court jester into an opera, Giuseppe Verdi knew he was playing with fire.

Censorious authorities initially tried to ban the work but ultimately settled on changing the setting (from Venice to Mantua) and some other minor details. The opera would become one of Verdi’s most famous, and N.C. Opera gives it a loving treatment this weekend.

—DR [MEMORIAL AUDITORIUM, $26–$98/7:30 P.M.]

N.C. Symphony: Schubert Unfinished FEEL THE Leave it to the BERN N.C. Symphony to bury the lede. Yes, they are playing Schubert’s majestic “Unfinished Symphony.” But this is actually as close as the symphony is getting to a celebration of Leonard Bernstein’s hundredth birthday, pairing his jazzy ballet Fancy Free with his Plato-inspired violin concerto, Serenade. —DR [MEYMANDI CONCERT HALL, $18–$73/8 P.M.]

The Old Ceremony This Chapel Hill OLD & OLDER pop noir band is nearly fifteen years into its career, with a handful of albums and a few releases via indie favorite Yep Roc Records. They’re also coming off a residency at Arcana, which wrapped up in December. At this first full-band show of 2018, look for tunes from Sprinter, as well as some older fan favorites. Lemon Sparks and Rachel Kiel open.

—BM [KINGS, $10–$12/7:30 P.M.]

Poor Pie Carrboro’s Poor GET A SLICE Pie is centered around textured, echoey vocals over a combination of grungy and glittery guitar work. “God Is an Alien” is a nice joke in the Bible Belt and the surf beat will get stuck in your head. With openers Henbrain and Hank & Brendan, it’s a true Carrboro show. —KH [LOCAL 506, $7/9 P.M.]

Victor Wainwright & the Train BOOGIE Victor Wainwright’s DOWN specialty is muscular boogie music, but he also puts out a sumptuous spread of blues and soul.

Wainwright shows more restraint than his mentor, the piano-pounding, psuedo-evangelical wildman Billy C. Wirtz, but he gets down-and-dirty juke joint feel to his music thanks to his many gigs in the backwoods of Georgia and Mississippi. —GB [BLUE NOTE GRILL, $20–$25/9 P.M.]

IRA KNIGHT PRESENTS MARTIN LUTHER KING, AN INTERPRETATION SA 1/27 CAT’S CRADLE PRESENTS: LLOYD COLE SA 2/3 THE MONTI SA 2/10 TRANSACTORS IMPROV TH 2/15 POPUP BROADWAY SA 2/24 IRA KNIGHT PRESENTS: THE MAN’S GUIDE TO WRITING LOVE LETTERS TH 3/1 VIEUX FARKA TOURÉ FR 3/2 KAKI KING: THE NECK IS A BRIDGE TO THE BODY TU 3/20 OMAR SOSA & SECKOU KEITA: TRANSPARENT WATER

Rachel Baiman

BEYÙ CAFFÈ: Stanley Baird; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • CARY ARTS CENTER: Lucia Micarelli; 7:30 p.m., $25–$27. • CAT’S CRADLE (BACK ROOM): Cooper Alan and Dissimilar South, Justin Fouts, Veronica Sarria; 8 p.m., $5. • DEEP SOUTH: Deltoid, Drug Yacht, Magician’s Hand Practice; 9 p.m., $5.

• DUKE’S NELSON MUSIC ROOM: Sarah Plum, violin; 8 p.m. • IMURJ: Youth League, Paperback, Cosmic Punk, Noah Cross; 8 p.m., $8–$10. • IRREGARDLESS: Elmer Gibson; 6:30 p.m. • THE MAYWOOD: Six Shots

On Shame, the STORY SONGS second solo album from 10 String Symphony’s Rachel Baiman, the multi-instrumentalist’s songwriting intertwines with her social justice roots as she takes a stand on reproductive rights and the patriarchy between reflections on empowerment and religion.

Using old-time as a jumping-off point, Shame’s finely crafted tunes prove plenty strong to support Baiman’s weighty messages with easy melodies.

Kate Rhudy’s originals are

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Later, Down By Five, At The Compound; 8 p.m., $8. • MOTORCO: Big Spoon: A Benefit for the McNaught Family; 8 p.m., $10 donation. • THE PINHOOK: PlayPlay, Queen Plz, Treee City, ZenSoFly; 10 p.m., $7. See page 34. • POUR HOUSE: An Evening with Spafford; 9 p.m., $17–$20. • THE RITZ: On the Border: Eagles Tribute; 8 p.m. • RUBY DELUXE: No Dudes Pwr Hr; 10 p.m.

• SHARP NINE GALLERY: Dan Hitchcock Quartet ft. Anne Claire-Niver; 8 p.m., $10–$20.

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MONDAY, JANUARY 29

BROCKHAMPTON and Mary Chain warble make a mighty pair. Plus Case Sensitive and M Is We. —SF [SLIM’S, $5/9 P.M.]

The Nude Party The Nude Party is SLACK ROCK a band of shaggy-haired dudes from Boone who make music that screams “slacker rock.” Picture six Mac DeMarcos in one band, but instead of being obsessed with Shuggie Otis and Steely Dan, the Nude Party favors The Kinks and sixties garage rock.

With Drag Sound, Reese McHenry & The Fox. —NR [KINGS, $10/9 P.M.]

PHOTO BY ASHLAN GREY

The members of Brockhampton say they’re in a boy band, which is as much an earnest statement as it is a provocation.

They know the American public’s idea of boy bands ossified when Lou Pearlman launched the Backstreet Boys and NSYNC. Pearlman’s blueprint posits that such groups must be made up of five white singers who can assume distinctbut-pliable personalities, harmonize to the heavens, and create music as outsize as a summer blockbuster.

Brockhampton doesn’t fit the mold. The multi-ethnic Los Angeles rap-cum-pop collective boasts more than a dozen members, roughly half of whom aren’t vocalists, but rather producers, photographers, visual artists, and a web developer, Robert Ontinient (he’s also a producer, and usually introduces the group’s videos as “Roberto”). This is as much a rejection of and tribute to the legacy of boy bands. The groups that preceded Brockhampton were built on tiny but invisible villages of songwriters, topliners, producers, arrangers, managers, and video directors.

Transparency is key to Brockhampton, sometimes described as “the Internet’s first boy band” because group leader Kevin Abstract recruited some collaborators through a Kanye West fan forum. That narrative has become a bit of a myth—Abstract’s approach to music and their image are couched in the type of transparency that’s celebrated online.

Their lyrics cover overstuffed pop dreams and mostly broke realities, making art on your own for the sake of it, and what it means to be young and queer in a culture that largely prohibits such a thing.

Yes, Brockhampton does rap—and sing, and employ any sound that skews toward pop. And as the industry has conceded that rap genre is the dominant force in pop, Brockhampton showed they’re a force that can make rap music sound like traditional pop and vice versa. After dropping their debut studio album in June, Saturation, they went on to eke out two more full-lengths to complete a Saturation trilogy by the middle of December. What’s more, they elevated their stylistically slippery sound with each release, and Saturation III offers a little something for everyone. There’s throwback funk-pop (“Boogie”), woeful emo rap (“Bleach”), lovesick rock balladeering (“Team”), swooning R&B (“Rental”), and a clutch of sugary vocal harmonies that can win over fans of outmoded boy bands (“Hottie”). To loosely quote Abstract on “Boogie,” the Saturation trilogy makes the case that Brockhampton is the “best boy band since One Direction.” —Leor Galil THE RITZ, RALEIGH | 9 p.m., sold out, www.ritzraleigh.com

Tim O’Brien and the Banjo Tramps FLEETING As the name STRINGS suggests, expect Hot Rize vocalist Tim O’Brien to lean primarily on his bluegrass and string band inclinations rather than his occasional dalliances in folk or country with The Banjo Tramps. This is one of just four dates planned for the unique group, which unites O’Brien with fellow multi-instrumentalist JD Hutchison, mandolinist Jan Fabricius, and banjo player Old Man Luedecke—a trio of singer-songwriters who are some of his most frequent collaborators. —SG [FLETCHER OPERA THEATER, $31–$38/7:30 P.M.]

Punk Rock Smackdown 7 equally exquisite, pairing her plaintive vocals to personal storytelling painted with vivid imagery. —SG [THE PINHOOK, $8/7 P.M.]

Christensen/ Crowmeat/ Westerlund/Toll The last-minute FIRE MUSIC cancellation of Asheville guitarist Tashi Dorji has turned this into a showcase of some great Triangle improvisers.

Casey Toll, Dan Westerlund, Crowmeat Bob, and Jil Christensen headline, promising

a far-reaching set of ferocious, sinewy improvisations. Reptile Room bring the noise, and Ginger Wagg & Wild Actions could be almost anything. —DR [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/8:30 P.M.]

Lloyd Cole ENGLISH English singerINDIE songwriter Lloyd Cole has been crafting arch tunes since the eighties. Last year, he released a box set of old material and revisited those tunes on tour; both endeavors proved hugely successful. In the spirit of giving the people what

they want, he has extended that tour, tackling eighties and nineties tunes that bear his signature mix of alt pop and folk rock. He won’t be digging up his past like this forever, so catch it while you can. —JA [THE ARTSCENTER, $20/8 P.M.]

re-created Tennessee Three, with David Gresham resurrecting Luther Perkins’s distinctive rockabilly guitar licks. —GB [HAW RIVER BALLROOM, $12–$15/8 P.M.]

Johnny Folsom Four

DOOM & The Raleigh GLOOM post-punk/doom outfit Night Battles was made for record store snobs, the kind of band you have to be vetted for to get the under-counter recommendation. It’s the only reason they still remain in the underground—the band’s Jesus Lizard guitar hijinks and Jesus

David Burney has CASH CREW the gravitas of the man he emulates with his Raleigh-based Johnny Cash tribute band. He’s got Cash’s sepulchral tones down, too.

Eleanor Jones provides June Carter Cash harmonies over the

Night Battles

Two bands travel a LAY IT DOWN great distance to take the stage at this, uh, punk rock smackdown: horror-poppunk duo Children of October (sample song: “I Wanna Rip Your Guts Out Through Your Mouth”) trek down from Pittsburgh; Oshawa, Ontario’s Black Cat Attack, another horror-punk act (sample song: “Never 2 Dead 2 Shred”), had to clear customs. Everyone else is from North Carolina: No Anger Control is from Charlotte; Poison Anthem, The Ghost of Saturday Nite, Mechabull, Safe Word, and Machinegun Earl are from Raleigh. —PW [THE MAYWOOD, $8–$10/6:30 P.M.]

Tennis Tennis has, TRUE LOVE basically, been doing one thing for its eight-year career: curating an aural and visual aesthetic steeped in seventies pop music. The nostalgic sounds and sensibilities (Polaroid press photos, fuzzy, taperecorded songs) which inundated indie-pop records between 2008 and 2011 came and (largely) went. But Tennis has unrelentingly clung to making grainy, saturated music videos and wistful, Wurlitzer-led ballads. This said, the band has also never managed to run out of pleasingly hooky tunes. With Overcoats. —NR [CAT’S CRADLE, $16–$18/8:30 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Elijah Bland; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Joe Bell & The Stinging Blades; 8 p.m., $8. • CARRBORO CENTURY CENTER: Tobacco Road Blues Exchange: Bull City Blues Band, John Dee Holeman, Tad Walters & Chuck Cotton; 8 p.m.-midnite, $30. • CAT’S CRADLE (BACK ROOM): P3 LVL3 EXP//3; 10 p.m., $7. • THE CAVE: Secretary Pool, The Dead Bedrooms, The Cannonball Jars; 9 p.m., $5. • DEEP SOUTH: Christiane & The Strays, Louis Waymore, Antique Outlaws; 8:30 p.m., $8. • DUKE’S: BALDWIN AUDITORIUM: Jonathan Bagg, viola & Emely Phelps, piano; 8 p.m. • DUKE’S NELSON MUSIC ROOM: Duke University String School Faculty Recital; 4 p.m. • IRREGARDLESS: John Bass and Greg Brink; 6 p.m. The Boulevard Ensemble; 9 p.m. • LINCOLN THEATRE: American Aquarium, Robert Ellis, Jonny Fritz; 9 p.m., $25. • LOCAL 506: Sound System Seven, Bellflower, The Oatmeal Conspiracy; 9 p.m., $6–$8. • NIGHTLIGHT: Touch Samadhi: Kaleidoscopic; 9 p.m.

• THE PINHOOK: Prance: A Prince Dance Party; 9 p.m., $5–$7. • POUR HOUSE: Fredfin Wallaby, Lazaris Pit; 9 p.m., $5. • RUBY DELUXE: DJ Gemynii; 11 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Newman with Benny Okoto, XTALS, Drozy; 7-9:30 p.m., $5.

• SHARP NINE GALLERY: Al Strong; 8 p.m., $10–$20.

INDYweek.com | 1.24.18 | 39

SUN, JAN 28 Belle Adair Belle Adair is HAZY POP named for a John Steinbeck character, but their music is a bit more contemporary: lightly electronic, hazy, and very laid back indie pop.

—KH [LOCAL 506, $6–$8/9 P.M.]

Django Fest With violinist JAZZ GIANT Stephane Grappelli, the Belgian-born Romany guitar master Django Reinhardt made an insouciant, and unmistakable sound in the thirties and forties with Quintette du Hot Club de France, one that has had an incalculable effect on practitioners of jazz and pop ever since. Tonight’s Django Fest features French guitarist Stephane Wrembel, a Reinhardt acolyte who not only captures the frisson of Reinhardt’s strumming and solos, he can even play using just two fingers on his fretting hand, like his hero, whose hand was badly burned when he was a teen. Organizer Gabriel Pelli leads Onyx Club Boys in an all-Django set, and Wrembel will lead a guitar workshop.

—DK [CAT’S CRADLE BACK ROOM, $15–$30/4 P.M.]

Gaelic Storm

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM 40 | 1.24.18 | INDYweek.com

Blending Irish, FOR REELS Scottish, and Gaelic traditions with modern touches of pop, dance music, and folk, Gaelic Storm has earned international acclaim in a rarified niche. It’s true that the group’s appearance in Titanic as the rough-and-tumble band in steerage launched its career, but in the decades since then, the five-piece has continued to refine its craft and command large audiences with a rousing live show that invites ecstasy among aficionados. —DK [CAT’S CRADLE, $25–$28/8 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: Kyle Lacy and the Harlem River Noise; 5-7 p.m.

• THE CAVE: Burns, Eden Falling, Pretend I’m A Genius; 9 p.m., $5. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • DUKE’S BALDWIN AUDITORIUM: Rachel Niketopoulos & Chris Caudill, natural horns; Vonda Darr, harp; Jacqueline Nappi, piano; 3 p.m. • IRREGARDLESS: Matt Walsh;

6 p.m. • MOTORCO: School of Rock: Cary; noon, $5–$7. • NEPTUNES PARLOUR: Resonancy Night 4; 9:30 p.m., $7. • POUR HOUSE: Young Cardinals, Thick Modine; 2 p.m., $5.

Welshly Arms; 8:30 p.m., $10–$12. • THE RITZ: Black Label Society, Corrosion of Conformity; 7:30 p.m. • RUBY DELUXE: DJ Mindspring; 10 p.m. • SLIM’S: MSRP, Stephen’s Pharmacy, A Very Special Guest; 3 p.m., $5.

MON, JAN 29 Lomelda In early SeptemTHX 4 TUNES ber, Texas’s Hannah Read released Thx, her second LP as Lomelda. Across ten tracks, Read offers insightful numbers backed with gentle guitar and piano. She toes the line between celestial

album, last year’s I Still Am, he picks up on the brooding themes that marked its 2013 precursor, I Am. Focusing on a significant betrayal turned bruise, he weaves together trap, bounce, and other styles alongside Memphis’s crunk and gangster origins, so he can speak truth to his personal pain. With Lil Baby.

—AW [THE RITZ, $50/8 P.M.] ALSO ON TUESDAY CAT’S CRADLE: Destroyer, Mega Bog; 8 p.m., $20–$23. See page 35. • CAT’S CRADLE (BACK ROOM): Must Be the Holy Ghost, Deaf Poets, Night Battles; 8:30 p.m., $8. • IRREGARDLESS: Elliott Humphries; 6:30 p.m. • POUR HOUSE: Little Miss Nasty, Gina and the Eastern Block; 9 p.m., $15–$18.

• SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20.

Hannah Read of Lomelda and slacker, a charming quality that makes her songs feel like four-minute vacations. With Blois. —AH [NEPTUNES PARLOUR, $7/9:30 P.M.] ALSO ON MONDAY THE CAVE: Bummerville; 9 p.m., $5. • MOTORCO: Flash Chorus; 7 p.m., $7–$10. • NEPTUNES PARLOUR: The Atomic Rhythm All Stars Residency; 8:30 p.m., $5. • THE RITZ: Brockhampton; 9 p.m. See box, page 39. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • SLIM’S: Backwoods Payback, The Hell No; 9 p.m., $5.

TUE, JAN 30 Yo Gotti MEMPHIS Many rappers RAP claim to rep for their city, but Memphis’s Yo Gotti struts between his city’s hip-hop past and that genre’s ever-widening present.

Touring behind his newest

PHOTO BY LAURA LEE BLACKBURN

WED, JAN 31 Bruce Katz Band BOOGIE Whether its BURBLES burbling B-3 or frenetic boogie-woogie piano, Bruce Katz has been the go-to guy for Delbert McClinton, Gregg Allman, Barrence Whitfield and the Savages, and Ronnie Earl and the Broadcasters. On his own, Katz gets a bit jazzier and jammier but stays anchored in rip-it-up, soul-soaked blues. —GB [BLUE NOTE GRILL, $10–$12/8 P.M.] ALSO ON WEDNESDAY 2ND WIND: Yeaux Katz; 7-9 p.m., free. • CAT’S CRADLE (BACK ROOM): The Dangerous Sumer, Microwave, The Band Camino; 8 p.m., $15.

• THE CAVE: The Worst Residency Ever; 9 p.m., $5. • IRREGARDLESS: Craig Thompson Band; 6:30 p.m. • POUR HOUSE: Chris Larkin, Jacob Dixon, Rookie of the Year, Bobby Bryson and the Company; 8 p.m., $8–$10. • THE RITZ: NF; 8 p.m.

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FRIDAY, JANUARY 26

COURTSIDE: PHOTOGRAPHS BY BILL BAMBERGER OPENING

Sabine Gruffat, whose interactive three-channel video projection remixes the story of a pagan tribe’s maiden sacrifice: real-time weather data from Paris affects the weather in the animation, and viewers can text to a number on the wall to further alter the proceedings. Thru Jan 28.

NC Museum of Art, Raleigh. ncartmuseum.org. —Brian Howe

Re(f)use: Triangle Book Arts Group. Jan 26-Mar 3. Artspace, Raleigh. www.artspacenc.org.

ONGOING

America Wants: Photography

by Owens Daniels. Thru Mar 8.

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

American Red Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. ncmuseumofhistory.org.

Light Cycles: Photography by JP Trostle. Thru Feb 17. Atomic Fern, Durham. atomicfern.com.

Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps. Thru Mar 4. NC Museum of History, Raleigh. ncmuseumofhistory.org.

Analog Art in a Digital World: Sculpture by Joe Coates. Thru Mar 10. Durham Art Guild, Durham. durhamartguild.org.

And Then the Sun Swallowed Me: Black tape and video installation by Heather Gordon.

Thru Feb 4. CAM Raleigh, Raleigh. camraleigh.org.

Art to Live By: Paintings

by Michael Banks. Thru Apr 22. Alexander Dickson House, Hillsborough. historichillsborough.org.

Black.: Documentary photography by Evan Nicole Bell. Thru Feb 5. Duke Campus: Louise Jones Brown Gallery, Durham. duke.edu.

LAST Bryan Colburn Ellis CHANCE and Linda Prager: Prager and Ellis work in seemingly unlike mediums— clay sculpture and drawing, respectively—but the two local artists covertly meet at the seam of shared concerns, such as the exploration of pure form and the serendipity of unintended outcomes. Prager regards her clay forms as canvases for delicate layers of color and texture, while Ellis calls his drawings “illusory configurations referencing abundance, bodily structure, and landscape” that draw on (without being beholden to) traditional methods such as Japanese woodblock printing.

Thru Jan 28. Horace Williams House, Chapel Hill chapelhillpreservation.com.

—Brian Howe

Michael Weitzman, Bob Dunham, John Parsons: Photography and oil paintings.

Thru Feb 11. Halle Cultural Arts Center, Apex. www.thehalle.org.

Bill Bamberger: “Church Playground, Kinihira, Rwanda, 2013” PHOTO COURTESY OF THE NASHER Officially, the dimensions of a basketball hoop and its surroundings have exact specifications. And yet, as this exhibit demonstrates, there is infinite variety in the look and feel of basketball hoops and courts around the world. In Courtside, Durham photographer Bill Bamberger finds beauty in these often utilitarian settings, presenting alluring images of playground courts devoid of people and imbued with a quiet dignity.

Bamberger, an instructor at Duke’s Center for Documentary Studies, presents these places as both settings for fun and games as well as places that nurture the bonds of community. In one striking image taken in Rwanda, the court is simply a flat dirt expanse devoid of markings, with a net-less hoop attached to a backboard of battered wood planks. You may never look at a playground the same way again. —David Klein

NASHER MUSEUM OF ART, DURHAM | 6 p.m., free, www.nasher.duke.edu

SPECIAL C Note: Original EVENT work for $100.

Paintings, sculpture, fabric, glass, clay, metal, wood, jewelry.

Thru Feb 18. Reception: Fri, Jan 26, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Austin Caskie: Artspace satellite exhibition. 3-D models.

Thru Mar 31.

HQ Raleigh, Raleigh.

LAST Character Space: CHANCE Text-based art by Scott Hazard and Stephanie Strange. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

Colors of Latin America: Paintings by Yholima VargasPedroza. Thru Mar 26. Durham Arts Council, Durham. www.durhamarts.org.

LAST DREAMers: DACA, CHANCE Deportation Defense, and the American Dream: DACA is so embattled that we have no idea what its status will be when you read this. That’s why this show is so vital and timely. A collaboration emerging from conversations among Pleiades artists, Alerta Migratoria NC, and the NC Dream Coalition, it features

work by Cornelio Campos, Manny Perez, Erick Saavedra, Michelle Valladarez, and many others, probing the durability of an American dream that becomes a nightmare when it isn’t available to all. Thru Jan 29. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

—Brian Howe LAST Exterminati Sunt CHANCE Mechanica: John Elliott. Thru Jan 28. NC Museum of Natural Sciences, Raleigh..naturalsciences.org.

Folk Art in the Library: Bailey Jack, Eric Legge, Irene Tison,

Cher Shaffer, Michael Banks.

Thru Feb 25. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library.

Gutter Box: Ben Alper: Photography. Thru Feb 1. Lump, Raleigh. www.lumpprojects.org.

LAST A Kiss of the Earth: CHANCE Apt for a work about a season of fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere.

It’s the inspiration for this experiment by UNC-Chapel Hill associate art professor

Mike’s Attic: Partnership with Mike’s Art Truck. Self-taught artists. Thru Feb 28. Durham Technical Community College (Orange County Campus), Hillsborough. www.durhamtech. edu/orangecountycampus.htm.

More Than One Story | Mas de una historia: Photography.

Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc.edu/davis.

LAST Mute Music: CHANCE Drawings and poems by Jenny Eggleston.

Thru Jan 31. The ArtsCenter, Carrboro. artscenterlive.org.

LAST New Growths: CHANCE Watercolors by Michelle Podgorski. Thru Jan 31. The ArtsCenter, Carrboro. www.artscenterlive.org.

Paintings from the Estate of Wladimir de (Wlodzimierz) Terlikowski: Thru Feb 13.

Gallery C, Raleigh. www.galleryc.net.

Renzo Ortega: Paintings. Thru Feb 18. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

INDYweek.com | 1.24.18 | 41

Packaging Space: Multimedia community-engagement installation by Calvin Brett and The Bull Meets Bayou. Thru Feb 10. The Scrap Exchange, Durham. www.scrapexchange.org.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com.

LAST Processing: Megan CHANCE Bostic and Davis Choun. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

RESOLUTE: Mixed media paintings by Antuco Chicaiza.

Thru Mar 8. Durham Arts Council, Durham. www.durhamarts.org.

SPECIAL Sentience: Paintings EVENT and drawings by Adam Cohen. Thru May 25.

stage

Reception: Sat, Jan 27, 2-3:30 p.m. National Humanities Center, Durham. nationalhumanitiescenter.org.

LAST Serving Life: CHANCE ReVisioning Justice: By death row inmates. Thru Jan 25. Visual Art Exchange, Raleigh. www.visualartexchange.org.

The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

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

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

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural

explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.”

Is a luxury hotel an odd site for post-capitalist critique? Sure.

But, as we’ve said, what seams?

Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham.

—Brian Howe

Test of Faith: Signs, Serpents, Salvation: Photographs by Lauren Pond. Thru Feb 4. Duke Campus: Rubenstein Library, Durham.

LAST We’ve Met Before: CHANCE Hand-woven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded.

Andrea Donnelly holds this contrast in tension. The images on her large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory.

Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.”

Thru Jan 28. N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

—Brian Howe LAST Winter Corridor CHANCE Artists Exhibition: Dana Ayscue, Cynthia Bickley Green, Stephen Cefalo, Eileen Hendren, Kelly Murray. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

The Woman Who Made Snow: Photography

by Anna Exum Snow.

Thru Mar 31. Durham History Hub, Durham. museumofdurhamhistory.org.

OPENING.

Arts Center, Durham. www.dpacnc.com.

Alvin Ailey American Dance Theater: Tue, Jan 30 & Wed, Jan 31, 7:30 p.m. UNC Campus: Memorial Hall, Chapel Hill.

Les Miserables: Musical. Jan 30-Feb 4. Durham Performing Arts Center, Durham. www.dpacnc.com.

The Body Artist: Play. Thu, Jan 25-Sat, Jan 27, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham. See p. 34.

AN ACT OF GOD

Play scripts can come from any number of sources, including novels, biographies, and films. But An Act of God, whose two New York runs starred Jim Parsons (The Big Bang Theory) and Sean Hayes (Will and Grace), was adapted from a Twitter account. Former The Daily Show with Jon Stewart head writer David Javerbaum started the @TheTweetofGod account in 2010 to satirize religion, politics, and pop culture. (A sample post suggests the flavor: “Every day a billion people call My name seeking help and a billion more call it seeking orgasm. I don’t know which is more awkward.”) After gaining more than two million followers and generating a best-selling book (The Last Testament: A Memoir by God), Broadway was the obvious next step, in a show where the fabled First Source sets the record straight and settles a few scores in the process. Stage veteran Bunny Safron directs this Actors Comedy Lab/NRACT co-production starring Alison Lawrence, Tom Barbieri, and Chris Maxwell as the Almighty. —Byron Woods

NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH | 8 p.m. Fri. & Sat./3 p.m. Sun., $17–$20, www.nract.org 42 | 1.24.18 | INDYweek.com

Hungry Harvest Launch Celebration: Small plates by Ashley Christensen. Thu, Jan 25, 2-4 p.m.

The Bridge Club, Raleigh.

Triangle Restaurant Week: Special three-course offerings at participating restaurants. $15-$35.

Thru Jan 28. The Triangle, Raleigh, Durham, Chapel Hill. trirestaurantweek.com.

Bizarre: A Drag Show Oddity: Drag. $5-$7. Sat, Jan 27, 10 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

FRIDAY, JANUARY 26–SUNDAY, FEBRUARY 11

Free Wine Tasting: Mondays, 5:15-7:15 p.m.

Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev.com.

Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15.

Carrboro Branch Library, Carrboro. co.orange.nc.us/ library/carrboro.

And Then There Were None: Play. $13. Thu, Jan 25-Sat, Jan 27. Holly Springs Cultural Center, Holly Springs. stageworkstheatrenc.com.

An Act of God PHOTO COURTESY OF NRACT

food

In the Mood: 1940s musical revue. Thu, Jan 25, 7:30 p.m.

Meymandi Concert Hall, Raleigh. dukeenergycenterraleigh.com.

Jess Hilarious: Stand-up comedy. Wed, Jan 24, 8 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Joe Rogan: Stand-up comedy.

Sat, Jan 27, 8 & 10:30 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com.

John Mulaney: Kid Gorgeous: Stand-up comedy. Fri, Jan 26, 7 & 10 p.m. Durham Performing

Mark Normand: Stand-up comedy. Thu, Jan 25-Sat, Jan 27, 7:30 & 10 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Martin Luther King, An Interpretation: One-man play. $20. Thu, Jan 25, 7 p.m.

The ArtsCenter, Carrboro. www.artscenterlive.org.

Marvel Universe Live: Age of Heroes: Stunt performance. Thu, Jan 25-Sun, Jan 28. PNC Arena, Raleigh. www.thepncarena.com.

The Riot House Party: Hip-hop stand-up comedy. $10. Thu, Jan 25, 9 p.m. Local 506, Chapel Hill. www.local506.com.

The Second City: Look Both Ways Before Talking: Sketch comedy and improv. $35. Sat, Jan 27, 8 p.m. Carolina Theatre, Durham. carolinatheatre.org.

ONGOING

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

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Thaddaeus Edwards and Dana Marks in The Master Builder (reviewed on p. 30) PHOTO BY ERIN BELL/BULL CITY PHOTOGRAPHY

The Harry Show: Ages 18+.

Improv host leads potentially risque games with audience volunteers. $10. Fridays, 10 p.m. & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Hush Hush: Audience confession comedy show. Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. thisismettlesome.com.  The Master Builder: Reviewed on p. 30. Thru Feb 3. Mystery Brewing Company, Hillsborough. www.mysterybrewing.com.

The Miraculous and the Mundane: Award-winning playwright Howard L. Craft has been busy since a workshop version of his Durham-based family drama received four stars from us last spring.

Tweaks and rewrites inevitably followed; then came word that his 2015 play, Freight: The Five Incarnations of Abel Green, would be produced off-Broadway. Its critically acclaimed run closed just before Thanksgiving. Two actors from the workshop production anchor this world premiere of Craft’s latest work. The seldom-seen Trevor Johnson returns as the show’s compelling central character, Percy, a rough-edged Vietnam vet and an aging single parent whose struggles with the early stages of Alzheimer’s disease shake his family. Lakeisha Coffey reprises her striking performance as his troubled daughter, Chloe. Stage veteran Gil Faison joins them as Percy’s lifelong friend, Bone, and comedian Amadio Perez takes on Percy’s son, Junior, in a work that examines the endurance of relationships and the resilience of an African-American family. $5-$20. Thru Feb 3.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org.

—Byron Woods

The Monti Storyslam: Secrets: Storytelling. $12. Thu, Jan 25, 7:30 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.  The Mound Builders: In Ward Theatre Company’s Durham debut, 2016’s Jacuzzi, we couldn’t pick the two students making their stage debuts out of the quartet of actors. We can’t say the same of The Mound Builders, in which several actors didn’t convince us. In Lanford Wilson’s drama, dangerous schisms arise between selfabsorbed researchers and poor, uneducated farmers in the backwoods of Illinois.

We savored Evit Emerson’s work as Dan, a charismatic young anthropologist who rhapsodizes about the enigmatic Native Americans referred to by the play’s title.

Emma Jo McKay anchors this troubled enclave of academics in the supporting role of Cynthia. But Rick Skarbez seemed nearly a generation too young to play a pompous senior anthropologist, and Margery Rinaldi was an improbably polite and circumspect as what was supposedly an ultra-high-maintenance jetsetting character. $25. Thru Feb 19. Ward Theatre, Durham. wardtheatrecompany.com.

—Byron Woods  The Normal Heart: Reviewed on p. 31. $15-$25.

Thru Feb 4. Murphey School Auditorium, Raleigh. www.burningcoal.org.

LAST  What CHANCE We’re Up Against: You could tell the women in the audience had heard these rationalizations before. One snorted audibly as Stu Wilson, the sexist managing architect at a prominent

design firm, pontificated on women’s place in his field at the outset of Theresa Rebeck’s potent office drama.

Stu briefed his underling, Ben, on why he was denying Eliza, a bright young hire, any chance of doing meaningful work. “The experience isn’t there,” Stu said impatiently, to which an unimpressed voice from the audience replied, “Uh-huh.” Moments later, Stu’s one-word explanation of how Eliza is supposed to gain experience without being given work—”initiative”— elicited groans and dark laughter throughout the house. Rebeck’s drama is set in the early nineties, but it’s hardly a period piece. Still, it needed something more than an indictment of persistent workplace sexism to keep it from being a game of theatrical whack-a-mole.

Rebeck provides it in Eliza’s complex relationship with Janice (a solid Benji Taylor Jones), hired several years before. Janice advises Eliza (a vital, volatile Samantha Corey) to patiently appease the male egos surrounding her. When she asks how long that approach took to work, Janice replies, “If you have to ask, you’re not being patient enough.” Director Heather J. Strickland deftly probes the factors that can alienate the first women in a field from those who follow them. It’s easy to hiss Stu (an able Simon Kaplan), but when the women throw each other under the bus, the ethics of the struggle for gender equality are examined anew in this rewarding production. $15-$24. Thru Jan 28.

William Peace University: Leggett Theatre, Raleigh. theatre.peace.edu.

—Byron Woods

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page

screen SUNDAY, JANUARY 28

UNEXPOSED: POTAMKIN Though its adventures in holding down a dedicated space for experimental microcinema lasted only a year, the Unexposed series has started popping up again in various spaces for one-off screenings, and we’re glad for it. Its proprietors, the Smyth brothers, are experimental documentarians; this screening at the Carrack touches on an adjacent, even more rarified form: the experimental biopic. Harry Alan Potamkin died young of an ulcerated stomach, but not before he became a globally noted leftist film critic in the early twentieth century. In his hour-long 16mm film, Potamkin, Stephen Broomer edits distortPotamkin by Stephen Broomer ed fragments of movies Potamkin wrote about into a controlled nightmare explosion of black-and-white images and drilling, droning sound. You might not come away from it knowing much more about Potamkin himself than you did when you arrived, but you’ll at least intuit something unforgettable about the raw physicality of film and the restive decay of its history. —Brian Howe

THE CARRACK MODERN ART, DURHAM | 8 p.m., free, www.thecarrack.org

NIc Stone

PHOTO BY JONATHAN JIMÉNEZ PÉREZ

SUNDAY, JANUARY 28 & TUESDAY, JANUARY 30

NIC STONE: DEAR MARTIN

Maybe you spent Martin Luther King Jr. Day relaxing in your sweats instead of thinking about its namesake. If so, here’s your chance to make up for it. Nic Stone’s debut novel, Dear Martin, has done the heavy thinking and feeling for you so that you can take another look at one of American history’s most prominent figures in a dynamic, modern way. The ongoing relevance of King’s teachings in a world of racial profiling and hate crimes is revealed through the letters a young African-American man named Justyce McAllister—a high-achieving student who nevertheless runs afoul of prejudiced police— writes to King to try to make sense of his place in history. Stone has two readings in the Triangle for her instant New York Times best-seller this week; the one at Quail Ridge Books is a conversation with Nyxia author Scott Reintgen. —Ryan Haar

QUAIL RIDGE BOOKS, RALEIGH | 4 p.m. Sun., free, www.quailridgebooks.com FLYLEAF BOOKS, CHAPEL HILL | 7 p.m. Tue., free, www.flyleafbooks.com

READINGS & SIGNINGS Mick Herron: This is What Happened. Sat, Jan 27, 2 p.m.

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

Daniel Raimi: The Fracking Debate: The Risks, Benefits, and Uncertainties of the Shale Revolution. Thu, Jan 25, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Voice Rising reading series: Featuring Daniel Wallace, Diana 44 | 1.24.18 | INDYweek.com

Mellow, Heather Wilson, and Michael Ventuolo-Mantovani.

Mon, Jan 29, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com. See story, p. 32.

Barbara Claypool White: The Promise Between Us. Sat, Jan 27, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

LECTURES ETC. Holy Land Archeology: Where the Past Meets the Present: Eric M. Meyers, PhD. Sponsored by the Shared Learning

Association. Fri, Jan 26, 11 a.m.

Celebration Assembly of God Church, Chapel Hill.

Lives Lived and Lost in Memory of Golda and Haim Finkler: Lecture from Kaja Finkler. Mon, Jan 29, 5:30 p.m. UNC Campus: Dey Hall, Chapel Hill.

Tell About the South: Lecture from Javier Arce Nazario on water quality and environmental justice. Thu, Jan 25, 12:30 p.m. Love House and Hutchins Forum, Chapel Hill. south.unc.edu.

SPECIAL SHOWINGS

finds the hero searching for the cure for a deadly disease.

Rated PG-13.

Abacus: Small Enough to Jail: Full Frame Road Show. Wed, Jan 24, 7:30 p.m. Carolina Theatre, Durham. www.carolinatheatre.org.

N OW P L AY I N G

Chasing the Sun: $11. Mon, Jan 29, 7:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

½ Call Me by Your Name—If you can accept how walled off from the larger context of LGBTQ history it is, then this love story is nearly perfect. Rated R.

Meredith College Documentary Film Festival: Vivian Bowman-Edwards and Camden Watts moderate discussions. Showings begin at 2 p.m., 3:30 p.m., and 4:30 p.m.

Sun, Jan 28. Meredith College: Carswell Concert Hall, Raleigh. www.meredith.edu.

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

 Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG.

Star Trek II: The Wrath of Khan: Fri, Jan 26, 7 p.m. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.

The Ties That Bind: Screening and discussion. $15. Mon, Jan 29, 7 p.m. Silverspot Cinema, Chapel Hill. www.silverspot.net.

 I, Tonya—This kinetic, sympathetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.

What About Me: Thu, Jan 25, 7 p.m. Shadowbox Studio, Durham. www.shadowboxstudio.org.

 Jumanji: Welcome to the Jungle—You’d need an awful lot of nineties nostalgia to see this reboot as anything but a utterly generic jungle adventure. Rated PG-13.

OPENING Maze Runner: The Death Cure—The third installment of the film trilogy based on the popular YA dystopian novels

½ Justice League— Uneven but much better than Batman v. Superman: Dawn of Justice, this collision of Zack Snyder’s bombast and Joss

Whedon’s wit actually kind of works. Rated PG-13.  Lady Bird—Greta Gerwig’s nostalgic coming-ofage debut as a writer-director is winning and alert to class but falters on race. Rated R.  Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t, and he really lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene.

Rated R. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press.

Rated PG-13.  The Shape of Water— For better and worse, Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic.

Rated R. ½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale.

Rated R.

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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.

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.

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46 | 1.24.18 | INDYweek.com

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solution to last week’s puzzle

Page 11 of 25

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1.24.18

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30/10/2005

3

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last week's puzzle

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 21:

Downtown Raleigh

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

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STEVEN & JOSIE WANT TO ADOPT Expenses Paid.

Call Josie: 1.800.717.8753 Anytime.

We are certified and approved to adopt.

Preplacement Assessment was completed by Lori Kling, LSMSW of Adoption Options in June 2016.

THOUSANDS OF EYES ON YOUR AD EVERY WEEK

deep dive

EMAIL KIM! CLASSY (AT) INDYWEEK (DOT) COM