INDY Week 10.23.19

RALEIGH October 23, 2019

SO HERE’S

A FUNNY STORY

Trying to break through the Triangle’s crowded comedy scene ain’t no joke BY ERYK PRUITT, P. 11

2 | 10.23.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH VOL. 36 NO. 41

DEPARTMENTS

5 Just as we must stop calling gerrymandering “politics as usual,” we must stop calling what’s happening in Southeast Raleigh “gentrification.”

6 News 14 Food

10 In 2011, 1.7 percent of North Carolina high school students used e-cigarettes. In 2017, nearly 17 percent did.

16 Music 20 Arts & Culture 22 What to Do This Week

11 It took local comic Jeremy Alder two years to cobble together a solid ten-minute set.

25 Music Calendar 29 Arts & Culture Calendar

14 The first fried candy bar appeared in Scotland in 1995.

18 In the America’s Got Talent audition that launched her career, Chapel Hill native Anna Clendening spoke about crippling anxiety and depression.

20 “Indians are the secret sauce that made the transplanted English special, and they knew it.

Without Indians, they were just Brits on a long and mostly miserable camping trip.”

Fried Oreos at the State Fair (see story, page 14) PHOTO COURTESY OF THE NORTH CAROLINA STATE FAIR

On the cover

PHOTO BY JADE WILSON, DESIGN BY ANNIE MAYNARD

INDYweek.com | 10.23.19 | 3

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman ARTS+CULTURE EDITOR Brian Howe STAFF WRITERS Thomasi McDonald, Leigh Tauss ASSOCIATE ARTS+CULTURE EDITOR Sarah Edwards FOOD+DIGITAL EDITOR Andrea Rice EDITORIAL ASSISTANTS Sara Pequeño, Cole Villena THEATER+DANCE CRITIC Byron Woods RESTAURANT CRITIC Nick Williams VOICES COLUMNISTS T. Greg Doucette, Chika

Gujarathi, Alexis Pauline Gumbs, Courtney Napier, Barry Saunders, Jonathan Weiler CONTRIBUTORS Amanda Abrams, Jim Allen, Jameela F. Dallis, Michaela Dwyer, Lena Geller, Spencer Griffith, Howard Hardee, Corbie Hill, Laura Jaramillo, Kyesha Jennings, Glenn McDonald, Josephine McRobbie, Samuel Montgomery-Blinn, Neil Morris, James Michael Nichols, Marta Nuñez Pouzols, Bryan C. Reed, Dan Ruccia, David Ford Smith, Zack Smith, Eric Tullis, Michael Venutolo-Mantovani, Chris Vitiello, Ryan Vu, Patrick Wall INTERNS Hannah Horowitz, Julia Masters

ART+PRODUCTION

CREATIVE DIRECTOR Annie Maynard GRAPHIC DESIGNER Rudi Petry STAFF PHOTOGRAPHER Jade Wilson

CIRCULATION

CIRCULATION Berry Media Group

ADVERTISING

DIRECTOR OF SALES John Hurld RALEIGH SALES MANAGER MaryAnn Kearns MARKETING EXECUTIVES Sarah Schmader,

Hanna Smith

CLASSIFIEDS ACCOUNT EXECUTIVE Amanda Blanchard

WWW.INDYWEEK.COM

P.O. Box 1772 • Durham, N.C. 27702 DURHAM 320 East Chapel Hill Street, Suite 200 Durham, N.C. 27701 | 919-286-1972 RALEIGH 227 Fayetteville Street, Suite 105 Raleigh, N.C. 27601 | 919-832-8774 EMAIL ADDRESSES

first initial[no space]last name@indyweek.com DISPLAY ADVERTISING SALES advertising@indyweek.com RALEIGH 919-832-8774 DURHAM 919-286-1972 CLASSIFIEDS ADVERTISING 919-286-6642 CONTENTS COPYRIGHT 2019 INDY WEEK

All rights reserved. Material may not be reproduced without permission.

4 | 10.23.19 | INDYweek.com

backtalk

INDY VOICES

The Price of Progress

Sorry You Suck Last week, we endorsed Pam Hemminger for Chapel Hill mayor. Her challenger, Joshua Levenson, was not pleased: “I apologize that the INDY team lacks creativity,” he responds, “and does not understand how the town can support our parks and recs program to provide pre-K programs as well as how, when rezoning, we can require developers to also provide a larger payment for more affordable housing if they are not providing it themselves. I understand big sentences might be too hard for your minds to understand, but cutting out the true meaning for voters is irresponsible.”

Leigh Tauss wrote about what we expect to see from the next Raleigh City Council. “A few more items for constituents to consider pushing their city council members on,” writes David Hallen. “1) A broader LGBTQ+ nondiscrimination ordinance passed and enforced as soon as the HB 142 moratorium ends. 2) Action by the city council against the RDU quarry. 3) A more accessible council via fewer restrictions on the way public individuals can speak during meetings, holding meetings at more work-friendly times, and more opportunities for individuals to have their voices heard other than through CACs. 4) Further steps regarding police accountability. 5) An ID program for undocumented residents.

“Also, within the affordable housing discussion, let’s move forward on eviction prevention grants, rehousing support, and increased density, lobbying for changes in the regressive state inclusionary zoning laws, and creating incentives for paying a living wage.”

Finally, local jazz aficionado Peter Burke offers this appreciation of Dan Ruccia’s recent piece on jazz nights at The Fruit and Kingfisher in Durham: “We need more venues for the music, so I’ve been happy that these places provide places for our many good jazz musicians. Your descriptions of the venues were on the mark, especially how you can find space to listen or to talk at Kingfisher. I was also pleasantly surprised to see people at the bar actually turned toward the music instead of bar-chatting. I’ll look for a guy arriving on a bike at The Fruit Monday night.

Want to see your name in bold?

Comment: indyweek.com Email: backtalk@indyweek.com Facebook: @IndependentWeekly Twitter: @indyweek

HISTORY HAS ITS EYES ON THE NEW RALEIGH CITY COUNCIL BY COURTNEY NAPIER

COURTNEY NAPIER is a Raleigh native, community activist, and co-host of the podcast Mothering on the Margins.

NEXT WEEK: BARRY SAUNDERS, a former News & Observer columnist.

I

n 2017, Brent Woodcox, the special counsel to the Republican-run General Assembly, started an organization called YIMBY Raleigh, whose stated mission is to make housing affordable to all. The group sought to achieve this progressive-sounding goal through decidedly conservative means: deregulating the housing industry, creating incentives to develop large infill projects, removing zoning restrictions, and reducing outputs for citizen input such as neighborhood conservation districts.

Accessory dwelling units were the gateway drug to attract millennials.

The real prize, however, is gentrification, and the inevitable victims of this YIMBY progress are the poor.

It’s simply not as profitable to develop a high-rise in, say, the Leesville area as it is in Southeast Raleigh. Leesville residents are rich, white, and know their way around City Hall; the land is also expensive. In areas inhabited by low- and middle-income Black and Brown residents, property is undervalued, and profits are there for the taking.

The adverse reaction some Raleigh residents have to the YIMBY agenda isn’t just about fear of change or boomerism. Across the country, a drive toward density as a remedy for cities’ housing crises has shown mixed results; some areas have actually seen a decrease in subsidized housing. The reason: Density goes where land is cheap and there are few homeowners.

Landlords kick out tenants or hike their rents, and poor people find themselves on the street, a good vantage point from which to watch their former homes become luxury condos. The condos, then, increase property values, which increase property taxes, which drive out the remaining original homeown-

ers. (These neighborhoods are often easy to spot because wealthy NIMBY residents protect their communities from public housing projects and other “undesirable” developments.)

There are political ramifications to YIMBYism, too. State courts are cracking down on Republican gerrymandering, but there’s another practice that has much the same effect: blockbusting.

Traditionally, blockbusting took the form of realtors scaring white homeowners into believing that Black people were attempting to integrate their neighborhood. The homeowners sold their property as quickly as possible, often for less than market value, to move to a more exclusive community.

The realtor then turned around and sold the property at an inflated price to a Black family escaping the inner city.

What’s happening in Southeast Raleigh is a new kind of blockbusting.

Developers are harassing Black and Brown homeowners into selling their homes for cash, sometimes at below tax value. Then, these same developers flip the home and sell it for a 300 percent markup, raising property values and taxes and ensuring the next-door neighbor’s home will be up for grabs by the next valuation.

I have a hard time believing that Woodcox is only interested in providing Raleigh with affordable housing and nothing more. He wants to see the GOP rise again in a blue-trending city.

And he believes he can attract educated millennials by focusing on issues that affect them: housing, traffic, and the desire to make money, including through short-term rentals.

However successful Woodcox is at flipping Raleigh over the next decade, he and his YIMBY stan page affected this year’s election, in which develop-

ment-friendly candidates dominated.

But even under the current council, like many cities, Raleigh has sat idly by while development interests took advantage of Black residents and under-resourced neighborhoods.

Just last week, activists forced the city to discipline a developer who built a larger-than-agreed-upon home in a neighborhood in College Park set aside for affordable housing. Though the developer can no longer build in that neighborhood, the company can keep the home and finish other projects in the city.

Many of the new YIMBY-endorsed council members, who will take office in December, support policies that will allow more of the same.

Just as we must stop calling gerrymandering “politics as usual,” we can no longer call what is happening in Raleigh “gentrification.” It’s instead an attack on the civil rights of underserved communities.

The new council will face many of the same barriers to meaningful housing reform that its predecessor did—including prohibitions against inclusionary zoning and requiring landlords to accept Section 8 vouchers enacted by Woodcox’s friends on Jones Street.

They campaigned on a promise to do things differently and create change.

But whatever their intentions, if they’re not careful, their embrace of YIMBYism could make things worse than ever for Raleigh’s underserved residents. backtalk@indyweek.com INDY Voices—a rotating column featuring some of the Triangle’s most compelling writers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 10.23.19 | 5

indynews

Parking Wars

WHY DID DURHAM SCRAP A PARKING LOT LEASE LONGTIME NINTH STREET MERCHANTS RELY ON WITHOUT BOTHERING TO TELL THEM? BY LUCAS HUBBARD

O

n June 3, Daryn O’Shea discovered an alarming email in his inbox from Kristi Cannistraci, a property manager at Regency Centers.

O’Shea owns The Computer Cellar, one of a string of small local businesses that line the east side of Durham’s Ninth Street. Regency owns the Shops at Ervin Mill complex, which stretches along the street’s west side from Markham to just below Perry Street.

Included in that row of properties is 725 Ninth Street, a forty-five-space parking lot nestled in front of a grassy slope that leads to the offices in the Erwin Mill No. 1 building. For three decades, the city has leased this lot for public use. But now, Cannistraci told O’Shea, the acting president of the Ninth Street Merchants Association, that arrangement had ended.

The merchants were stunned. Though the city had informed Regency of its decision not to renew the lease a year earlier, it never told them. Nor had it alerted the merchants before the change took effect.

“We need the city to care about the fact that we exist,” says Carol Anderson, who has owned and operated Vaguely Reminiscent since 1982.

The merchants say their businesses rely on this lot for customer parking, which isn’t always a sure thing on the busy corridor.

Had they been included in these conversations, they could have helped the city pursue options to pay the $6,875 monthly rent, including soliciting monthly contributions from the merchants or seeking financial assistance from Duke University. The city considered these avenues five years ago soon after it moved the lot from free to $1-per-hour parking.

“But since we weren’t consulted, these options were never explored,” says Tom Campbell, the founder of Regulator Bookshop. (Campbell owns the building but no longer runs the bookstore.) “We supposedly have a progressive city council, but they need to let the staff and the manager know 6 | 10.23.19 | INDYweek.com

Daryn O’Shea, owner of The Computer Cellar that they shouldn’t be treating our citizens this way.”

Now, it looks like the parking lot may turn into a branch of Chase Bank.

It’s not clear why the city never reached out to the merchants. On July 30, some merchants and other interested parties met with parking systems manager Thomas Leathers. They say he blamed “former colleagues” for the miscue.

“During the meeting,” Leathers told the INDY in an email, “the Transportation Department apologized that the decision to terminate the lease was not effectively communicated with the merchants association.

However, the Transportation Department affirmed that the decision to terminate the lease was the correct decision.”

It wasn’t just the merchants caught unaware. On September 24, at a Board of Adjustments hearing concerning the pos-

PHOTO BY JADE WILSON

sible Chase Bank branch, the board asked about the status of the parking lot. A member of the city-county planning department said the lot was “currently subleased to the city,” though that lease had expired almost four months earlier.

Still, the merchants say, while the city’s decision was shocking, it wasn’t altogether surprising. Rather, the lease’s lapse is the logical endpoint of years of Ninth Street parking wars.

Starting in 1985, a company called SEHED II leased the lot to the city for a waiver of its lighting costs and property taxes, worth about $3,000 per year. In May 2012, this agreement ended when SEHED sold the parking lot to Chartwell Property Group, the Raleigh-based developer that partnered on the Erwin Mills retail project with the Florida-based Regency Shopping Centers.

That October, the city drew up a proposal to lease the lot from Chartwell for an “anticipated” twenty-year term, according to an October 12, 2012, memo from then-director of economic and workforce development Kevin Dick to city manager Thomas J. Bonfield and deputy city manager Keith Chadwell. At a city council work session a week later, Dick outlined the proposal as a tenyear lease with two five-year options.

The city planned to pay for the lease— estimated at $77,500 a year—and other improvements along Ninth Street through the increased tax revenues the Shops at Erwin Mill would generate, as well as by charging customers to park, and agreed to set aside about $15,000 a year in a reserve fund to cover any shortfalls. The council approved the proposal 6–0.

But that version of the deal never came to fruition. By June 2013, the rainy-day fund had disappeared, and site-plan diagrams soon showed an almost exclusive focus on improving infrastructure on the street’s west side, not the east, where the longtime small business are clustered. Most notably, the development agreement no longer mentioned incremental tax revenues as a mechanism to pay for the lease.

In February 2014, the city agreed to a sixty-three-month lease on the lot at a rate of $82,500 a year. Days later, the council voted to charge drivers $1 per hour to park there. The change was expected to generate $46,000 annually, but after five years, the total revenue totaled just $86,000, less than 40 percent of the city’s projection.

The merchants blame an awkward juxtaposition between free and paid parking for the deficit. On-street parking along Ninth Street is free. By introducing paid parking, the merchants say, the city falsely limited the parking supply, thus damaging their bottom lines.

In 2015, they lobbied to make the lot free, volunteering to chip in $2,200 a month toward the cause, with Duke matching their

YOU’RE INVITED Pour Taproom and INDYWeek present:

CITY COUNCIL CANDIDATE MEET & GREET This will be an opportunity for Durham residents to meet and interact with candidates in an informal, relaxed setting. Each candidate will be given 3 minutes with a microphone to answer the question “What’s your favorite drink, and what does that say about you?”

Thursday Oct. 24, 5:00-6:00PM Pour Taproom; 202 N Corcoran St. Durham

L CELEBRA T UA N

N IO

Your week.

Every Wednesday.

Public engagement with Durham City Council Candidates who will answer a non-conventional question around their candidacy.

W

IT,

IC

WHEN? WHERE?

Durham City Council Candidates

AN

WHO? WHAT?

OF

contribution, given the school’s “continuing interest in the ongoing success and viability of historic Ninth Street,” Duke vice president of Durham and regional affairs Phail Wynn Jr. told The News & Observer at the time.

That amount would have surpassed the city’s actual take, but it didn’t match its projections. The hourly rate stayed.

The merchants say they suffered as customers refused to pay for parking—and now, they’ve taken a permanent hit to the area’s parking supply.

“We’ve all got eyes, we all can see [the empty lot],” Anderson says. “At some point, it becomes a financially losing proposition.”

The merchants have begun mobilizing.

On September 30, several of them—Anderson; Campbell; O’Shea; Danielle Martini-Rios, co-owner of Blue Corn Cafe; and Larry Wood of Ninth Street Flowers—met with city council members Jillian Johnson and Charlie Reece to press their case.

The discussion was a useful primer on the paths not taken. In November 2008, the planning department compiled a “Ninth Street Plan,” which identified a parking shortage as a key issue. In July 2013, the city commissioned a parking study.

Of the fourteen recommendations in that study, however, only two tweaks have been implemented: a reduction of time limits in on-street parking (from three hours to two hours) and a restriping of the crosswalk that bisects the shopping corridor. More substantial suggestions—an adjustment of lane structures on Markham Avenue to create eight-to-twelve on-street parking spots, for example—have gone unheeded.

“These people, Jillian and Charlie, aren’t responsible for this,” Anderson says. “They weren’t on the council [in 2013].” (Both were elected in 2015.) “It made me feel badly for them, because they’re going to have to clean up this mess that began under another council.”

What the merchants say they really want is respect. In their eyes, they built this corridor, and now they’re watching the city roll out the red carpet for newer businesses at their expense.

“It’s all about ‘new development, new development,’ but the reason why there is new development is because we are here.

We brought them here,” says Michael Bell, owner of Hunky Dory. “We established Ninth Street as an absolute cool-ass place, and they piggybacked on us, and now we’re getting left by the wayside.”

“It’s a shame to put so much of our life’s work into something that we believe in and to not be felt worthy of investment,” says Martini-Rios. “What we do now is going to dictate the next twenty years on the street.” backtalk@indyweek.com

U LIT AND M

S

Saturday, November 9, 2019 Two great shows! 3pm and 7pm

Special Guests

Novelist ANNA JEAN MAYHEW Public Radio Reporter LEONEDA INGE Musicians LUIS DEL RIO and CRYSTAL BRIGHT

INDYWEEK.COM

Variety Show in the tradition of old-time radio with talented volunteers from around the Triangle All proceeds benefit EL FUTURO

www.murpheyschoolradio.net INDYweek.com | 10.23.19 | 7

news

No Recourse

DURHAM PARKS EMPLOYEES SAY THEIR BOSSES CREATED A HOSTILE ENVIRONMENT

K

ellie McLean’s staff at the Durham Parks and Recreation Department loves her. Her bosses, not so much.

In late September, seventeen employees in the DPR’s school-age-care unit sent a letter to city manager Thomas Bonfield, complaining about the “constant eroding of our working conditions, increased hostility, and alarming employee turnover that is having a major impact on the programs we provide to the children we work with.”

A “central part of this whole situation,” the employees wrote, involved “unjustified criticisms” leveled against McLean, a master program specialist, “primarily by [care program administrator] Danielle Haynes, but also supported and other management.”

McLean didn’t sign the letter, but she told the INDY last week that Haynes subjected her to harsh discipline, unfair criticism, and unfair personnel evaluations.

Prior to this year, she says, her evaluations always said that she met or exceeded expectations. But in January, Haynes—who’d been granted additional authority following a 2018 reorganization, said she was “minimally effective.”

Later, after Haynes chastised McLean because one of her staffers didn’t fine a parent who picked up a child late, McLean went to DPR assistant director Joy Guy to complain, both about that and about ten-hour days with no lunch break.

But Guy, she says, “started yelling at me.”

She filed a complaint. After that, she says, Haynes ordered her to go see human resources.

“When I asked her why, she said, ‘You’ll find out when you get there,’” McLean says.

HR, she says, ordered her to see a psychiatrist.

“I was told I might harm myself, or might be using drugs or alcohol,” McLean says. “I was being referred to a therapist, and if I did not go, I would be penalized because my supervisor made it mandatory. The therapist said I had a healthy outlook, and I was stressed not by the job, but behind what I had been enduring from Danielle.”

She’s not alone, she says. In the last two years, eleven full-time staff members have quit in a department of three-dozen staffers.

In response to the INDY’s requests for comment from DPR director Rhonda Parker, city public affairs director Beverly K. Thompson emailed Monday: “This city is still investigating the matter you referenced and, since it is a personnel-related matter, we’re (all involved employees) not at liberty to discuss it.”

In an email, Bonfield says that although the employees’ letter wasn’t a formal grievance, he forwarded it to Regina Youngblood, the director of human resources. He says the 8 | 10.23.19 | INDYweek.com

DPR employees and UE 150 members protest outside of Durham City Hall on October 21. PHOTO BY JADE WILSON “city takes all complaints and employee concerns related to [a] hostile work environment seriously and fully investigates them,” adding that “there is not any information regarding findings of this investigation to share at this point.”

Dante Strobino, an organizer for UE 150, which represents city employees, says Bonfield is “completely dismissive of the scope of the problem. He is treating each of these cases, impacting over twenty-five workers and hundreds of children, as if it is an individual, one-on-one personnel matter to be solved by human resources.”

Key to the problem, the workers say, is the city’s grievance policy, which only covers claims related to termination, suspension without pay, or demotion. It does not cover harassment, health and safety issues, employee evaluations, or written warnings.

Strobino says that Youngblood “gutted the whole grievance procedure” soon after she became HR director in 2014.

“The first thing she did was roll back city workers’ grievance rights,” says Sarah Vukelich, chief steward for the UE 150. “There are no grievance rights for harassment, bullying.”

Although city policy forbids retaliation that targets employees who participate in the grievance process, Vukelich says those who file complaints often face retaliation and have no recourse.

In practice, Strobino says, “the city is more interested in blaming the workers for the problems, rather than addressing the root causes, which are abusive manage-

BY THOMASI MCDONALD

ment and lack of a strong grievance policy.” All eleven employees who left filed complaints, Strobino says, but HR did nothing with that information.

Because they think the system is broken, the workers say, one of their demands is that someone outside of HR investigate their complaints. The letter singles out three managers—Haynes, Guy, and Parker—they say should be disciplined, perhaps fired, for allegedly creating a hostile work environment.

“We don’t trust anyone in Durham Parks and Recreation or Human Resources to do an honest and complete investigation or make appropriate suggested changes,” the workers told Bonfield.

“There’s a close relationship between human resources, the supervisors, and the department heads,” Vukelich says. “Human resources protects them rather than protect the workers.”

The letter also asks the city to bring the department back up to full staffing and rehire the people who resigned “as a result of this hostile climate.”

The workers’ next move is to garner community support.

That effort began at Monday night’s city council meeting.

In tears, McLean shared her story with council members, telling them about her sleepless nights and anxiety, about co-workers who are now undergoing therapy. She was accompanied by about thirty current and former DPR employees in the audience.

Bonfield assured the council that the matter was under investigation, but he said that, as a personnel matter, it shouldn’t be discussed publicly.

For McLean and other employees in the audience, however, this isn’t a personnel matter. It’s a matter of fairness and equity.

And for Demario Jennette, one of the DPR employees who resigned, having a strong parks and rec department could be a matter of life and death.

Jennette grew up in Durham public housing, he says, and first got involved with DPR when he was fourteen. He credits the department with helping to save his life. Too many of the friends he grew up with are dead or in jail, he says. Parks and rec offered him an escape.

Working for the school-age-care unit gave him a chance to provide young people with the same creative outlets that inspired him.

Blaming unfair working conditions and disciplinary practices, he resigned on August 20, 2018.

“We are going to let it be known as a public issue and a public concern,” Vukelich says. “We are going to increase the pressure.” tmcdonald@indyweek.com

INDYweek.com | 10.23.19 | 9

news

Smoked Out

IS THE CRUSADE AGAINST THE VAPING INDUSTRY REALLY A GOOD IDEA?

BY JULIA MASTERS

O

n September 26, North Carolina reported its first vaping-related death, an unidentified patient at Cone Health in Greensboro who was the eighth person admitted to the hospital in two months with an illness linked to vaping. At the time, the state had received reports of forty such hospitalizations, including two people in their twenties who were put on life support in Winston-Salem.

In the media and among politicians, this is a public health crisis. Since April, at least twenty-six deaths and more than a thousand hospitalizations have been linked to vaping across the U.S. President Trump has called on the FDA to ban the sale of flavored vape juice, an effort to encourage the estimated 3.6 million middle and high schoolers who use e-cigarettes to quit. At least a half-dozen states, including New York and Oregon, have already done do, at least temporarily.

In May, North Carolina attorney general Josh Stein became the first to sue JUUL, arguing that the e-cigarette company “targeted young people as customers” and employed business practices that “are not only reckless, they’re illegal,” he told the INDY last week in an email. “And I intend to put a stop to them. We cannot allow another generation of young people to become addicted to nicotine.”

Last month, Stein’s lawsuit—along with the threat of similar lawsuits from other states and pressure from Washington—led to the collapse of a $200 million merger between the Big Tobacco companies Phillip Morris International and Altria, a key stakeholder in JUUL. JUUL also announced that it would end all e-cig marketing.

But vaping advocates say that, while the industry is an easy target, the opprobrium is misplaced.

“The issue that we have had with the president’s action is that he is equating vaping to a product, and it’s not,” says Sherwin Mena, president of the N.C. Vaping Council.

Mena argues that many of the health concerns aren’t linked to vaping itself, but to elicit THC-infused vape juice.

“Vaping is a delivery method, and the sicknesses and illnesses that you have seen across the United States, ninety percent are attributed to black-market THC cartridges that have been cut with vitamin E acetate, which is an oil.”

Scientists aren’t clear about what’s causing the rash of hospitalizations. But Mena says vaping an oil can cause lipoid pneumonia, a build-up of fat in the lungs.

Mena says politically fueled misconceptions about vaping could lead people who have used votes to quit smoking to go back to cigarettes, which cause 480,000 deaths a year in the U.S. 10 | 10.23.19 | INDYweek.com

Mat DeJesus, manager at The Vape Shop, in 2016.

FILE PHOTO BY ALEX BOERNER

Vaping advocates point to the UK, a country that hasn’t seen the same health vaping-related health problems— something they credit to a regulatory approach that doesn’t “turn health issues into moral crusades,” as Brad Rodu, a professor of medicine at the University of Louisville and expert in tobacco addiction harm reduction, told Vice earlier this month.

With a system focused more on harm reduction than outrage, the UK has created a regulatory structure that assiduously monitors what’s in vaping products, including

nicotine levels. So while U.S. advertising campaigns tell kids how dangerous vaping is, the U.K.’s National Health Service encourages smokers to vape instead.

Stein argues that it’s important to head off the youth-vaping epidemic. Young people’s still-developing brains, he says, are “particularly vulnerable” to nicotine, which studies have linked to a number of health risks as well as “increased risk of addiction to other drugs—cocaine, opioids, meth—in the future.”

There’s no denying that more minors are vaping in the U.S.—and in North Carolina. According to Stein, in 2011, 1.7 percent of North Carolina high school students reported using e-cigs; by 2017, nearly 17 percent did.

“In our high schools, Stein says, “it’s not called a bathroom anymore—it’s called a vape room.”

Mena says the industry is concerned about youth vaping, but it wants a seat at the table. Focusing on policies that target black-market products and distributors would help alleviate the health crisis without harming legitimate vape shops, he argues. And the latest push to ban flavors won’t deter young people from vaping.

“Kids don’t care about flavors,” Mena says. “Unfortunately, you can’t regulate delinquency. They want the nicotine high, unfortunately.”

Boot Bullwinkle, a spokesman for the Campaign for Tobacco-Free Kids, says that’s not accurate. A recent FDA study found that 70 percent of youth said they vape because they like the flavors, he says.

The vaping industry also argues that the government is being hypocritical. While two-dozen vaping-related deaths since April have prompted a crackdown, there’s been no such urgency following 220 deaths as a result of mass shootings in the same time period, according to the Gun Violence Archive.

This is just as much a public health crisis, they say.

Gun-reform advocates agree, saying they’d like the government to be at least as focused on assault rifles as e-cigarettes.

“We mourn the life of any life that is lost, but it can be concerning that we are not tackling both problems at the same time—the opioid crisis, vaping, and other public health concerns,” says Becky Ceartas, executive director for North Carolinians Against Gun Violence. “Anything that is causing American deaths, especially in large numbers, needs to be examined and studied, and then commonsense regulations need to be put into place to protect everyone.” backtalk@indyweek.com

SO HERE’S

A FUNNY STORY

BETWEEN2CLOUDS COMEDY NIGHT WITH JEREMY ALDER Sunday, Oct. 27, 8 p.m., $10 Motorco Music Hall, Durham motorcomusic.com

There isn’t an empty seat in the room. By the time Alder begins his set, the crowd is eager, primed. They receive him well. Every punchline gets a laugh.

Well, almost every punchline.

While riffing about a recent pet adoption—not a rescue, he points out, since he didn’t save the dog from a burning building—Alder opines about the high cost of veterinary care, including vaccinations.

“I don’t even vaccinate my kids,” he deadpans.

Nothing.

He backtracks. “I’m just kidding. I didn’t vaccinate that dog, either.”

Silence.

The bit bombed.

Alder doesn’t have time to wallow. He’s not off the stage thirty seconds before he’s out the door to his next gig.

Trying to break through the Triangle’s crowded comedy scene ain’t no joke BY ERYK PRUITT

W

hat do you call seventy-five comedians crowded outside of Goodnights in Raleigh?

Tuesday night.

As they are every week, the comics, all llocal, ocal, are waiting to see if they’ve been awarded one of twenty coveted spots for the evening’s open mic.

“The local comedy scene works in a cycle,” says Brandy Brown, who’s managed the comedy club since 2015. She got her start here waiting tables and grew to love comedy. She performs less than she used to. Now, she says, she prefers helping budding comics get their start.

Brown speaks with reverence about the “mass exodus” of talent she came up with just a few years ago, as well as the new crowd that’s taken its place. “It’s a different time in comedy,” she says. “If I ask some of these guys how much

time can they do or how many laughs per minute, they look at me like, huh?”

Along with host Taylor Hays, she’s responsible for cobbling together the list, then stepping outside to deliver the news. One by one, the would-be performers find out if they’ll get a spot on stage, and in what order.

One person who will: Jeremy Alder, someone from the old school. He’s thirty-nine and a stalwart of the local scene, a regular at open mics who hosts shows at local bars and breweries. Brown likes Alder because he can “do clean comedy,” she says. “It’s important to have someone who can do clean.”

The earlier, three-minute slots tend to feature newcomers and lesser-known performers; the later spots are reserved for more developed comedians. Alder gets five minutes and lands nineteenth, second to last.

G

oodnights ranks among the most important open mics in the Triangle, but it’s hardly the only one.

Here and across North Carolina, there are comedy clubs, coffee shops, bookstores, and bars that host h ost opportunities for comedians to develop their act.

“Tuesdays are great,” Alder explains as he drives his minivan to Chapel Hill, where he’ll be performing an hour later at Zog’s, “because you can double-dip. If a joke doesn’t do well at the first show, you can try it again during the second.”

As he reworks the joke in his head, he tries to respect the difference between Raleigh and Chapel Hill audiences.

“Chapel Hill is a hard place for comedy,” he says. “It’s a more progressive crowd, so you can’t get away with as much.”

Alder should know. It’s not unusual for him to spend four to five nights a week crisscrossing the state in search of an audience, or at least a microphone. He has many haunts, from The Idiot Box in Greensboro, to The Dead Crow in Wilmington, to Charlotte’s Comedy Zone, and all the joints in between. Alder is in the grind. He pays attention to his audiences. He seeks out clues that offer insight into what might fetch a laugh. This is how you cut through a crowded comedy scene, how you deliver a set that resonates with your audience.

Of course, to do that, you need an audience in the first place.

Soon after he arrives at Zog’s, Alder gets the news from Carrboro comedian Jack Bowen, who sits on a metal folding chair next to a “Po’boys” sign outside the front door.

“It’s a light crowd.”

INDYweek.com | 10.23.19 | 11

“Any civilians?”

Bowen shakes his head. “Mostly comics.”

Alder sighs and sloughs up the stairs. A glance around the room confirms it. The few people in the room are comics awaiting their turn.

“You have to work for it in a room like this,” he says.

His stomach can’t help but tighten after the first couple of sets. There’s an awkward vibe. No one is laughing. Host Josh Rosenstein tries to keep things lively with his mix of comedy and music, but the audience isn’t having it.

Alder focuses on two men in suits near the front. They aren’t comics. He hopes he can feed off their energy, rather than comics who’ve already heard his act.

This time, Alder goes eighth. This time, there’s far less laughter. This time, when he delivers his vaccination punchline, it is not followed with hollow silence, but a smattering of boos.

Alder takes his lumps.

“If you can kill in a room like that,” Alder says, “then you can kill anywhere.”

A

lder doesn’t swing for the offensive. He denies cancel culture and criticizes comedians who, in his view, “punch down,” includiing ng Dave Chappelle. Chapel Hill comic Nic

Jeremy Alder at The Pour House

PHOTO BY JADE WILSON

Frederick calls Alder “literally one of the nicest dudes on the scene.” Brown repeatedly refers to him as “dependable.” He describes his own act as “dumbly smart and darkly sweet.”

“My darkest material,” Alder says, “is my stuff about God.” That much is true. Alder has a bit where his child asks if God is a mommy or a daddy.

He told his son, “I think God is both a mommy and a daddy. Because, like a daddy, God left his son when he was very young.

And he is also like a mommy because, one day, God got really sad and drowned all of his children.”

Before comedy, Alder was a preacher.

Homeschooled in San Antonio, he grew up in a fundamentalist Christian household. After majoring in philosophy at the University of Texas, he attended Duke Divinity from 2005 to 2009. His preaching style used humor to help make difficult ideas more palatable.

However, his doubts weren’t welcomed by his parents or the church, and, as he sought a

more skeptical and progressive experience— and following his divorce in 2014—he no longer felt comfortable in the church.

“I found myself in a negative space, and I needed to lighten up,” he says. “So I googled, “Comedy Chapel Hill” and watched an open mic at DSI. I thought, I can do that, so I signed up the next week. I did OK, well enough to want to keep doing it. So I kept coming back.”

Now, Alder considers this community of comedians his church. One of the temples is Chapel Hill’s The PIT, which hosts open mics and mainstage comedy along with improv shows, classes, and shows like Alder and Will Purpura’s “Fresh Bits,” a highpaced, high-energy show that features two minutes of relatively new material from both emerging and established comedians.

This is where, on Thursday night, Alder is billed to appear at “Chet Chats,” a new show hosted by Nic Frederick.

“It’s like a TED talk,” Frederick says, “if it were delivered by a crazy person.”

A modest crowd shows up to watch area comics step into character and deliver jokes via PowerPoint. Alder tight-rolls his jeans and affixes the microphone to his ear like a headset. He channels his character, Chad “Bro” Doucheman, then delivers “Ten Life Lessons I’ve Learned Looking at Goats on the Internet.”

indyweek.com

Your week. Every Wednesday.

217 WEST MILLBROOK RD. 919-787-9894

RECYCLE THIS PAPER

12 | 10.23.19 | INDYweek.com

News • Music • Arts • Food

erience— he no lon-

pace, and So I goowatched n do that, OK, well So I kept

munity of e temples osts open ong with ike Alder ” a hightures two rial from medians. , Alder is new show

says, “if it

“My darkest material is my stuff about God.” One slide shows a “fainting goat” with its feet in the air. Chad explains to the crowd that this goat taught him that, like a fainting goat that seizes up when it’s anxious and scared, it’s OK to quit when you are anxious and scared.

“Because while quitters never win,” Alder’s character explains, “they also never really lose … technically.”

Another slide offers a white goat with a black face. “This is Shane Gilli-goat,” Chad says. “I learned from Shane not to do racisms. Shane did a lot of racisms and lost his job at SNL. Shane is canceled.”

Alder leaves the room in stitches.

A

atch area lder’s vaccination joke still has iver jokes yet to land. his jeans He tried it during his four-set s ear like hosting gig for touring comic ter, Chad D Dusty usty Slay on Friday and Saturday night at “Ten Life the Raleigh Improv. He connects with three Goats on of the four audiences, but that joke never draws laughs. He refuses to let it go. He’ll work and rework it, often furiously scribbling notes at the bar in the moments leading up to his set. He’ll experiment with new deliveries. He’ll try out new tags.

It took Alder two years to cobble together a solid ten minutes. Three years to get fifteen. After five years, he feels confident he can do forty-five. His goal is a dependable one-hour set.

“If you want to make money, you need at least forty-five minutes to headline,” Alder says. “It takes about four to five years for a comic to decide if they have a legitimate shot to do this professionally. At that point, most people move to New York, LA, or Chicago.”

Alder is an exception to that rule, as custody issues keep him headquartered in the Triangle. However, he insists that “there are many more ways to make it in comedy now, because of the internet.”

His material has landed him in many of the area’s top comedy festivals and contests. He’s recently appeared at the Asheville Comedy Festival and the North Carolina Comedy Festival. Earlier this year, he finished in third place at the Carolina’s Funniest Comic competition. He also showcased at Santa Monica’s West Side Standup Show.

This workmanlike approach results in frequent requests from venues looking for a

host or a featured performer to round out a touring talent showcase.

“It’s a marathon, not a sprint,” he says.

“Most people quit. They try it, then after they bomb once or twice, they give in.”

Alder first bombed during his third or fourth show. He was angry, but he says quitting was never an option.

“Too many comics blame the audience, which is stupid,” he says. “You have to acknowledge when a joke doesn’t land. The audience needs to understand that you recognize it, or else it will be awkward.”

Alder does his best to help other comics while paying his dues. He appears in shows hosted by fellow comedians and offers them a spot in his local productions. He first produced “Homegrown” at Local 506, which featured two-to-three-minute acts for local comedians. However, low attendance forced him to move elsewhere. In November 2017, he produced “The Sunday Show” at Hillsborough’s Mystery Brewing, but when the brewery closed down, he moved it across town to Yonder Bar. (Disclosure: The author of this story co-owns Yonder.) The showcase features a diverse, local lineup of eight comics, mostly members of the local scene.

“Overall, the scene in the Triangle is more supportive than competitive,” Alder says.

“Everybody wants everybody else to do better. It’s not at all cutthroat. If you’re putting in the work—going to open mics, appearing in other people’s shows—you’ll make it.”

Alder’s Sunday Show rounds out a long week. As host, part of his job is to greet and mingle with the audience, as well as ensure the comfort of the other comedians. When the lights have dimmed, he greets the room by asking for a show of hands.

“Raise your hand if this is your first time to The Sunday Show,” he instructs.

About twenty hands go up.

“Now raise your hands if you have never been to The Sunday Show before.”

A few more hands.

“That number should be the same,” he tells them.

Uproarious laughter.

With the crowd warmed up, Alder launches into an eight-minute set to kick off the evening.

Once again, he tries the vaccination joke.

It’s the same joke. But this time, for whatever reason, it kills. backtalk@indyweek.com

Pharmacy BOTTLE + BEVERAGE

SATURDAY 10/25

Join us for

Downtown Cary’s Zombiepalooza hosted by The Cary Theater

AND DON’T BE AFRAID TO PARTY WITH US ALL HALLOWEEN WEEKEND!

INDYweek.com | 10.23.19 | 13

indyfood

THE NORTH CAROLINA STATE FAIR

Oct. 17–27 State Fairgrounds, 1025 Blue Ridge Road, Raleigh ncstatefair.org, $13

Fry Me a River

WHAT’S THE STATE FAIR FOR IF NOT TO CLOG YOUR ARTERIES?

BY ANDREA RICE

“D

onut burgers are just so played out,” says Felicia Turrentine-Daniel of Chef ’s D’Lites, a traveling food stand in its twentieth year at the 152nd NC State Fair.

The North Carolina native’s fried food game is strong—mac and cheese, banana pudding bites, cream cheese cinnamon rolls, Oreo funnel cake, and a Cinnamon Toast Crunch apple cobbler have all been forged in the hot, greasy fires of Turrentine-Daniel’s deep-fryer.

This year, she says, she wanted to craft something truly illustrious. The Chickenator, an abominable fried chicken sandwich on a cinnamon bun topped with pepper jack cheese, crisp bacon, and finished with a zing of honey sauce, is among the creative—and sometimes bizarre—new foods, deep-fried and otherwise, being showcased at this year’s fair, which upward of one million people are expected to attend.

The competitive spirit among the fair’s two hundred vendors gives each purveyor the opportunity to express their creativity—and, basically, out-fry each other.

Kent Yelverton, the State Fair manager, says that every year, the offerings boldly go where none have gone before.

“A few years back, we had deep-fried Kool-Aid,” he says.

Yelverton says the fried-food hype started about ten years ago with the advent of the deep-fried Oreo, which vendors have PHOTO COURTESTY OF THE NORTH CAROLINA STATE FAIR tried to one-up ever since—from a fried peanut butter pick- a jerk chicken bowl with plantains and sweet mango salsa le to deep-fried olives to a red velvet cheese enchilada fun- from Cool Runnings Jamaican. The pineapple dole whip nel cake to a deep-fried emu burrito to, of course, Daniel’s from Tropical Delights, a sweet yet sour palate-cleansing show-stopping Chickenator. soft serve, is also not fried, and was the winner of this year’s new fair foods competition.

Not everything at the fair is fried, of course.

LaFarm Bakery’s bread truck will also be on-site with Enter the pumpkin spice corn from Douglas Farms in Sanford, which, albeit dipped in butter and rolled in brown sugar, s’mores and a Cubano sandwich, which is surprisingly light cinnamon, and fall spices, is a departure from the heavier and minimalist as far as Cuban sandwiches go. LaFarm proofferings of previous years, like Cheetos-encrusted corn. Will prietor Lionel Vatinet says the sandwich, which is “brandDouglas, a co-owner of the farm, says that they used to offer ed” with a map of North Carolina, represents the hard work of the state’s farmers. basic roasted corn at the fair but have since upped the ante.

The first State Fair, held in 1853, was a four-day affair There’s also spiced lamb nachos from Neomonde this year, with shredded feta and a labneh-harissa sauce, and organized by the State Agricultural Society. There was a 14 | 10.23.19 | INDYweek.com

well-curated agricultural exhibition, but no food.

“The organizers hadn’t really thought that part of it through,” says Paul Blankenship, the State Fair’s historian for twenty-five years.

Blankenship says that the organizers were more focused on getting land secured and the buildings in place, as well as forming partnerships with Raleigh’s railroad system.

The first fairgoers arrived by rail, he says, and had to walk just over a mile to the fair—and were no doubt hungry upon arrival.

Enterprising households along the route took note, he says, and sold sandwiches and whatever else they had on hand.

Concessions at the fair began the following year, and by the 1880s, there was a notable presence of both food and lager. Blankenship, who’s now retired, says he’s not sure when the fried-food craze took off, though he says he’s had enough to last a lifetime.

The first fried candy bar appeared in Scotland, when a fish and chip shop fried a Mars Bar and sold it to customers in 1995. In the U.S., the fried food mania can largely be attributed to the Texas State Fair. While there’s no shortage of deep-fried delights and other sugary sweets to indulge in, Turrentine-Daniel says not to worry too much. The State Fair only comes once a year.

“I think it’s about the guilty pleasure,” says Turrentine-Daniel, the author of Confessions of a Deep Dry Master.

“Everyone is really health conscious these days, which is a good thing, but it’s all about that splurge—and you have to give yourself permission.” food@indyweek.com

Where

T O E AT AND DRINK THIS WEEK

PRESENTS

TAP TAKEOVER: EPIPHANY CRAFT MALT X BURIAL BEER CO. Oct. 24, 5:30 p.m.

The Roof at The Durham Hotel 315 East Chapel Hill St., Durham thedurham.com In collaboration with Durham’s Epiphany Craft Malt, The Roof hosts a new monthly tap series beginning on Thursday featuring a new small-batch draft by a local brewery that’s brewed with Epiphany’s malts. The new beer will be available on tap until the next rotation. Leading the series is Asheville’s Burial Beer Co. FALL WINE TASTING AT G.58 CUISINE Oct. 25, 7:00 p.m.

G.58 Modern Chinese Cuisine 10958 Chapel Hill Road, Morrisville g58cuisine.com On Friday, Laurence Vuelta from Napa Valley’s Trinchero Family Estates will pour four different wines to be paired with a special tasting menu from the chefs at G.58.

Located in Research Triangle Park, the fine dining establishment’s Chinese cuisine spotlights dishes from all eight culinary regions in China. The wine tasting event is $65 per person (plus tax and gratuity), and advance reservations are required.

NINTH-ANNUAL BEEFSTEAK DINNER Oct. 27, 5 p.m.

Bull City Burger and Brewery 107 East Parrish Street, Durham bullcityburgerandbrewery.com BCBB’s yearly excuse to hone your animal instincts and eat meat with your hands is back with its ninth-annual beefsteak dinner. The tradition reportedly dates back to the mid-1800s, when working-class citizens of New York City would gather around a long banquet-style table for a bona fide beefsteak dinner, devouring all the meat they could eat with their hands while washing it down with plenty of good ale. BCBB promises a similarly caveman-like dining experience, serving up all the meat and beer you can handle. Tickets are fifty bucks and include all food, beer, and gratuity. Advance reservations are required. Wet naps are highly recommended.

—Andrea Rice

O U t N OW !

YO U R G U I D E TO A F U N L I F E I N T H E T R I A N G L E INDYweek.com | 10.23.19 | 15

indymusic

JOAN SHELLEY WITH JAKE XERXES FUSSELL

Wednesday, Oct. 30, 8 p.m., $15–$17 Cat’s Cradle, Carrboro www.catscradle.com

Something in the Water

FOR LIKE THE RIVER LOVES THE SEA, JOAN SHELLEY WENT TO ICELAND TO RECORD A LOVE LETTER TO KENTUCKY BY SARAH EDWARDS

T

he musician Joan Shelley is keen to check on her garden. Midway through a tour for her recent album, Like the River Loves the Sea, she spoke to the INDY about the joy of returning to Kentucky: “Even if we come home in the night, [I] get the flashlight and run out and see what the raccoon has stolen. It’s the drama that I love here: what’s changed and what I’ve been missing. I have to have a garden that can survive.” She’s describing her fall crops—squash, kale, pumpkins, and corn, to be exact—but she could be talking about her music, which charts a tender, resilient course across love’s many undulations.

Shelley, who plays at Cat’s Cradle on October 30, has been recording ruminative folk-rock since 2010. Like the River Loves the Sea is her fifth studio album as a solo artist, although she has taken part in numerous recording projects. A purveyor of traditional Southern music, she keeps time with a handful of close collaborators, including Will Oldham, James Elkington, and Nathan Salsburg, as well as Joan Shelley PHOTO COURTESY OF SHORE FIRE MEDIA The album’s title comes from a song by the Durham’s Jake Xerxes Fussell and Nathan Bowles. In her bio, Shelley is quick to clari- North Carolina activist and singer Si Kahn. “[It] resonated to the deepest core, in fy that she’s not a folk singer; she uses electric instruments, and her music—despite its terms of how I think about love and how I think about loving songwriting,” Shelley says. balladic, centuries-old feeling—is original.

The sounds, sources, and themes of folk “I’m kind of over the rockabilly love song. traditions, though, have a foothold in each ‘Like the river loves sea’ is such an elemental, song. Devotion is one of those themes: On natural law way of talking about love. There’s previous albums, Shelley has articulated the reassurance to letting go of that panicky love long-suffering vagaries of loving another per- that’s like, ‘I need you to be everything I’m son (a low, devastating line from “The Pain missing.’ No, we will gravitate toward each for Your Pleasure” sticks like a burr: “I will other because of love, big love.”

Midway through the album, on “The understand / That will be my curse.”) This new album, which was recorded in Reyk- Fading,” Shelley paraphrases Mark Twain javík, Iceland, at Greenhouse Studios and on wanting to be in Kentucky when the released in August, is not upbeat—just below apocalypse arrives: “And, oh, Kentucky the surface, emotional and ecological threats stays in my mind / It’s sweet to be five years behind /That’s where I’ll be when the reverberate—but constancy buffers danger.

16 | 10.23.19 | INDYweek.com

sea rises / Holding my dear friends and drinking wine.”

There’s reassurance there—a glimmer of community in the face of loss— but Shelley says that in everyday life, she feels more uneasy about the state of the world.

“My daily thoughts are more anxious about [climate change] and … whether we are capable of thinking ahead and doing the right thing. And I don’t know if we are, but music is a filter through my system. That’s what music and art can do, I think: help us process things we can’t think about directly.”

Whatever’s in the water in northeastern Kentucky, it does more than just make good bourbon; it reels people back. Joan Shelley and her garden live in Louisville, just six miles down the road from where she was born. The writer and activist Wendell Berry—who also left the area, only to return and write prolifically about the value of a local economy— lives thirty miles down the road. Not surprisingly, Shelley is an admirer: “He’s got such a clear voice,” she says. “It makes my compass go back to true north. The way he describes his connection to this place is by inviting you in. That’s everything I aspire to.”

The standout track from Like the River Loves the Sea is the tenebrous “Coming Down for You.” At first, I took the song to be about some kind of rowdy romantic heroism (the cover art for the single is of a woman on a horse). After several listens, though, it became clear that a deeper message was at work, as Shelley sings “I’m saving a part of me / Just to come down for you.” Love—of another person, of a place—seems best defined on this album not as an act of possession or heroism, but by accompaniment and attention, by sticking around. sedwards@indyweek.com

music

Stars and Bars

RESURGENT ROCKERS MINOR STARS DEFY DISILLUSIONMENT, ROWDY PERFECTS HIS CHARMING, CONFIDENT FLOW

BY BRYAN C. REED AND CHARLES MORSE MINOR STARS: THROUGH PINHOLES IN THE SKY 

[Self-released; Oct. 25] Release show: Saturday, Oct. 26, 9 p.m., Local 506

W

ith the release of its 2010 debut, The Death of the Sun in the Silver Sea, the Chapel Hill psych-rock band Minor Stars had its sights set on big stages and a career playing rock music. But soon after the album’s release, the original lineup shifted, with new recruits—drummer Iain Watt and bassist Joe Mazzitelli—stepping in to keep the group rolling, before life interrupted in other ways, too.

Nine years later, Minor Stars is looking for a second chance with Through Pinholes in the Sky. “This record almost didn’t get made,” the band says in its press materials. “Death, loss, and mundane everyday life all conspired against its completion.”

ROWDY: BLACK ROYALTY 

[No9to5 Music; Oct. 19] Release show: Sunday, Oct. 27, 6 p.m., Cat’s Cradle

O

ne of the Triangle’s most passionate advocates for hip-hop culture, Rowdy is known for his ability to bring people together with organizations like Blackspace and the Chapel Hill and downtown Durham chapters of Cypher Univercity.

But it’s not just advocacy that Rowdy contributes. He lives up to his name with an explosive stage presence and bars in abundance, which he delivers on his new EP, Black Royalty.

Here we have twenty minutes of smooth Southern-flavored rap music, laid out with conscious lyricism, as Rowdy examines his latest endeavors, insisting on greatness not

The disillusionment of false starts and setbacks is palpable in the first lines of the opening track, “So Many Years Ago.” “Time is not on our side anymore,” Eric Wallen sings.

“What was once open road is another detour.

Now it’s dark and I don’t know the way.”

But that disillusionment, combined with a defiant tenacity, propels the band’s delayed follow-up to the musical heights its predecessor aspired to reach.

Minor Stars has always had a knack for layering pop melodies on heavy riffs that showed off its Black Sabbath roots. On songs like “Cavepainter,” they prove they haven’t lost heft, with a fuzz-dragging riff that feels akin to Swedish doomsters Monolord.

But Pinholes also pushes the band’s stadium-rock influences into the foreground.

Lead single “As You Climb from Your Bed,” soars with guitar vamps that sound more like Brian May than Tony Iommi, while Wallen declares, “The sun has finally broken through the dark clouds hanging over you.”

Throughout, the band shifts easily from heavy grit to airy, crystalline pop, suggesting the ethos of heavy-rock shapeshifters like Birds of Avalon or Boris and never settling into a one-dimensional groove. In this fusion of indiepop and vintage hard rock, heavy psych, and hazy shoegaze, Minor Stars successfully avoids an easy RIYL tag. It’s telling that the band has drawn comparisons as disparate as The Melvins, T. Rex, Mastodon, and Dinosaur Jr.—all powerful guitar-centric bands, but each fundamentally different.

Even the band’s decision to record with indie-rock impresario Mitch Easter (Polvo, R.E.M., Pavement) plays against heavyrock clichés. In the sessions with Easter, spread over four years, Minor Stars summoned a powerful album shaded by heavy

metal and heavy circumstances but girded by irrepressible determination. It feels less like a comeback than a fresh start. —Bryan C. Reed

only on the mic and in the boardroom, but in doing so consistently, on his own terms.

One of the most entertaining aspects of Black Royalty is Rowdy’s flow, which he seems to have crafted into perfection, ditching his usual fiery-breathed delivery and adopting a slick Southern drawl that has always been present in his raps, but not at the forefront.

The flow exudes confidence, and where Rowdy has always been the type to express urgency with his delivery, the reworked routine does a better job at getting his point across and showing off his charming nature. One of the best illustrations of this is the second track, “Unlocking Neo,” where he raps over a simple beat consisting of playful trap drums and a light guitar riff, with a catchy melodic chorus, as he explains, “I’m on another level baby … and ain’t nobody holding me down.”

It’s not an uncommon theme in rap music. A$AP Ferg’s similarly themed single

dominated charts a couple years ago, but where Ferg channeled the spirits of the mosh pit, Rowdy hits listeners with some grown-up elegance, as if he’s having a frank and sincere conversation.

However, where songs like “Unlocking Neo” and “Wave(s)” bring a smooth vibe and have heavy replay value, other parts of the album are a bit lacking when it comes to beat selection, especially “Freestyle Friday” and “My Way.” In both cases, the beats have great intros, but they deflate when the drums come in. With as much work as Rowdy has put into crafting his flow, better production would’ve pushed this project over the edge from good to great, and at such a short run time, the couple tracks

that slightly miss the mark are hard to overlook. —Charles Morse INDYweek.com | 10.23.19 | 17

music

Fruit of the Vine

CHAPEL HILL NATIVE ANNA CLENDENING USED VIRAL VIDEOS TO LAUNCH HER CAREER AND TALK ABOUT ANXIETY

BY JULIANNA RESS

F

rom acoustic covers on Vine to a viral America’s Got Talent audition with nearly 30 million views, Chapel Hill native Anna Clendening is a veteran of our ever-changing internet. Clendening had a robust Vine following of one million during the platform’s lifespan, with videos that featured both her singing and cracking personable jokes. Since then, the clips that she’s posted on YouTube have gained hundreds of thousands of views.

In her 2014 America’s Got Talent audition, Clendening spoke about a crippling anxiety and depression diagnosis that she’d suffered from since she was a teenager, which had left her bedridden at points. In the audition, she performed a passionate “Hallelujah,” showcasing her voice’s mature control and range, to rousing applause; she went on to the quarter-finals of the competition.

Even as Clendening’s sound has shifted from acoustic covers to original altpop songs in the vein of Halsey and Julia Michaels, the twenty-six-year-old singer-songwriter has maintained her unique perspective and attention to mental health.

Now based in Los Angeles, Clendening has a recent EP, this spring’s Waves, and a new single, “If I’m Being Honest,” a forthright breakup song directed at a deceptive ex-boyfriend. It’s clear she’s not looking to be pigeonholed as just an internet sensation. She spoke with the INDY about how growing up in Chapel Hill shaped her and the importance of mental health.

INDY: Was your new single, “If I’m Being Honest,” a step forward for you?

ANNA CLENDENING: I would definitely say it’s a step forward. I, for a long time, didn’t know my sound and wasn’t really confident in my voice. Now I know I’m kind of a singer-songwriter pop artist. I still like taking elements of acoustic things—I usually start out with just piano and guitar and then we build around that. Also, what person doesn’t like a big “fuck you” to their ex?

18 | 10.23.19 | INDYweek.com

I just kept putting stuff up. People liked it.

I learned how to network, started doing shows. It took me four years after that to move outside of North Carolina.

I think I was very fortunate to grow up in Chapel Hill. I was exposed to current events and freethinking. Moving out [to LA], anything goes. You can be whatever you want, identify as whoever you would like to be, dress however you want. I think [Chapel Hill] really prepared me for that.

Anna Clendening

PHOTO COURTESY OF PARADIGM TALENT AGENCY

How did you get to a place where you could be vulnerable in your songwriting?

I don’t know when the whole unfiltered thing happened. I think it was when I blew up on Vine and I was a little bit heavier—I just carried a lot of weight in my face. A lot of people started asking, “Hey, are you pregnant?” They would talk about my teeth, the discoloration, how they were crooked. I just got to the point where I was like, I don’t give a fuck about anything.

Why do I need to reserve myself ? It doesn’t matter if you put on makeup or you try to put on this different face, people are going to tear you down regardless, so why not just be yourself? It takes less time, less money, less energy.

How did growing up in Chapel Hill lead you to pursue music and shape you as an artist?

I always liked singing. There was never really a big push behind my parents, which is not their fault. They were just like, “Do what you want.” So I was like, “I want to be a singer.” And I turned eighteen and I was like, “I don’t know how to do that.” I followed a boyfriend to UNC-Charlotte, and obviously , it didn’t last. I went there for two years and stopped singing. I was drinking pretty heavily and dropped out of college after the end of my second year. I got pretty close to alcohol poisoning one night, and that just spiraled me into this agoraphobic state.

I couldn’t leave the house, and I was building my way back to being a normal human. Then I put a video up on Vine, and

Your America’s Got Talent audition is interesting, because anxiety and mental health are abstract concepts but your discussion of them resonated with people.

I blocked a lot of that out. Even then it was still at the point where it was like, “Oh, she’s faking [her anxiety] because she’s making videos online.” I had to bite the bullet on that one for a lot of people because I got a lot of backlash. I don’t edit the show, I don’t produce the show. I went and I sang, that’s what I wanted to do. Every moment I cried, there were three cameras on my face. It was so hard. While I felt like they exploited it, I still get messages that are like, “I just saw your [audition] video and I have anxiety, how did you do that? That’s amazing.”

I don’t know if it was different or groundbreaking but it obviously struck a chord and I’m really glad. That’s the thing: If I can be uncomfortable, and it helps one more person feel comfortable, that’s all that matters.

What are you working on at the moment?

My sanity. I’m signing a new deal so everything’s up in the air. But I would like to put an EP out at the top of the year. That’s the plan.

Are there any goals you’re aiming for with this next release?

I really want to start showcasing my voice.

I think I did that a little bit more in [“If I’m Being Honest”]. And just to make people feel not alone. That’s the main goal. music@indyweek.com

INDYweek.com | 10.23.19 | 19

indyart

ART FOR A NEW UNDERSTANDING: NATIVE VOICES, 1950S TO NOW Through Jan. 12, 2020 Hip-hop concert: Thursday, Oct. 24, 7 p.m.

The Nasher Museum of Art, Durham www.nasher.duke.edu

Living Legends

INDIGENOUS ARTISTS HAVE BEEN COLONIZED, IDEALIZED, FETISHIZED, AND EXCLUDED FROM MODERN ART. A REVELATORY NASHER EXHIBIT IS CORRECTING THE CANON. BY BRIAN HOWE

W

hen museums have approached Indigenous art at all, they’ve usually done so as history rather than as living tradition. As heather ahtone describes in an essay in the Nasher Museum of Art’s exhibition catalogue for Art for a New Understanding: Native Voices, 1950s to Now, no less of a bellwether than the Metropolitan Museum of Art was praised as groundbreaking simply for adding Indigenous art to its American Wing.

This wasn’t a misty, benighted Met of yore. It was 2017.

“How can this continent’s first inhabitants be so late to receive recognition for their art?” ahtone asks, finding one answer in “the presumed imminent demise of Native cultures.” In the twentieth century, American ethnographers raced to salvage the remnants of pre-Columbian cultures before their supposed authenticity became irreversibly tainted. The bitter irony of modernity’s effort to save cultures it had sought to destroy—and submit them to its mania for categorization—hardly needs underlining.

Until recently, Indigenous people in the U.S. and Canada, the exhibit’s purview, were more likely to be represented as objects than as subjects in art contexts, from their corpses being displayed in nineteenth-century history museums to their sentimental representation by twentieth-century painters like Thomas Kinkade. In the white gaze, they have been idealized, infantilized, and fetishized with the unexamined paternalism of conquerors who refuse to see themselves as such.

This is thin stuff to paper over the monstrous crime on which the U.S. was founded. In his lit fuse of an essay, “Indian Art for Modern Living,” Comanche author Paul Chaat Smith identifies our love of Native American kitsch as an “elaborate coping mechanism” that renders the American psyche dissonant, even incomprehensible.

“Indians are the secret sauce that made the transplanted English special, and they knew it,” he writes. “Without Indians, they were just Brits on a long and mostly miserable camping trip.”

Our eagerness to look and our refusal to see is endemic to modern art, as well. Idioms such as Surrealism and minimalism drew inspiration from the patterns and colors of Indigenous art, often through a patronizing primitivistic lens, even while the art world categorized the source material as something other, and distinctly subordinate.

In the exhibition catalog’s title essay, co-curators Mindy N. Besaw, Candice Hopkins, and Manuela WellOff-Man detect Indigenous influences even where they’re all but invisible, such as in the minimalist light 20 | 10.23.19 | INDYweek.com

“Cultural Belongings” by Dana Claxton

PHOTO FROM THE COLLECTION OF EIRA THOMAS/© DANA CLAXTON

sculptures of Donald Judd, whose Marfa studio was filled with Indigenous artworks and artifacts.

Art for a New Understanding launched late last year at the young and fearless Crystal Bridges Museum of American Art in Arkansas before moving to the IAIA Museum of Contemporary Native Arts in New Mexico and then to The Nasher. The exhibit is a powerful corrective. Instead of moribund and pitiable, it showcases Indigenous modern artists in all their vitality, humor, and savvy. It breaks apart the idea that “Native American art” is a monolithic thing, entombed in history, rather than the living work of many different nations with distinct traditions, all interlaced with modernity. And it shows how much Indigenous people contributed to a modern-art world in which white artists took what they wanted and locked the door behind them.

Suddenly, instead of only seeing the traces of Indigenous

art on modern art (behind Jackson Pollock’s drips, the ghost of Diné sandpainting), we also see the influence of modern art on Indigenous artists, which has seldom, if ever, been considered so fully.

I

f Art for a New Understanding has a key work, it’s “Dance of the Heyoka,” a 1954 watercolor by Oscar Howe. Faces and torsos fluidly fragment into glowing pinks and deep blues, not unlike in the more figurative paintings of de Kooning. Aptly, considering what Howe was about to do, the subject is a Lakota spirit who shows people the error of their ways.

Howe, who lived from 1915 to 1983, embodies the cultural evolution of Indigenous modern art. Like many Indigenous artists, he attended Dorothy Dunn’s Studio School in Santa Fe in the 1930s, where white people taught Indigenous art-

ists how to paint in a flat, decorative “Native style” with sentimental themes—the prancing deer, the mighty bison—and, tellingly, without context.

“The studio style usually has a blank background, just figures without depth or perspective,” says Marshall N. Price, the modern and contemporary curator at The Nasher, while touring the exhibit with co-curator Besaw, who had come from Crystal Bridges for the opening at the end of August.

Howe was part of a wave of midcentury Indigenous artists who jettisoned the studio style to drink deeply from the wells of Cubism, Abstract Expressionism, and other modern isms, though he found as much inspiration for them in Indigenous art, which had always been intelligent and profound, as he did in modern art.

“There is much more to Indian art than pretty stylized pictures,” Howe wrote. “...

Indian Art can compete with any art in the world, but not as a suppressed Art.” This was part of a letter that Howe sent to the Philbrook Museum of Art in Oklahoma in 1958, which had rejected one of his paintings from its Annual National Indian Painting Competition because it was not “traditional Indian art.” His complaint became the first manifesto of Indigenous modern art.

Howe was part of a revolution that took place between the well-meaning, wrong-headed federal arts-funding initiatives of The New Deal and the pivotal establishment of the Institute of American Indian Arts in 1962, which replaced Dunn’s outdated studio school in Santa Fe with a site of experimentation and self-definition. Fritz Scholder was one of IAIA’s early leading faculty members. After refusing to paint Indigenous figures early in his career, the Luiseño artist tapped into Pop Art to become one of their most provocative deconstructionists.

Indigenous artists increasingly self-organized and politicized in the 1970s; some also attended prestigious art schools that fed them into the mainstream. By the 1980s, you could find Jenny Holzer-like conceptual art by Hock E Aye Vi Edgar Heap of Birds—whose distinctively furred block capital letters can be seen in one of his famous “wall lyrics” in the exhibit—on an electronic billboard in Times Square.

But inclusion was still the exception to the rule. According to Besaw, Daphne Odjig, the pioneering Indigenous artist and exhibitor from Ontario whose Cubist rendering of the Ojibwe trickster Nanabajou is in the exhibit, was still being rejected by galleries in the 1970s when she submitted under her own name and accepted when she used her hus-

concerns about a stereotypical exhibition but came out with positive impressions.

But the distance between Indigenous and non-Indigenous frames of reference can’t be closed, only plunged into. At the Nasher, you’ll find the impression of a body on a bed of sand and other documentation of James Luna’s pioneering performance-art piece, “The Artifact Piece,” first performed in 1987.

In it, Luna laid in the sand like an exhibit in a Victorian anthropology museum.

“When we showed this to the non-Native groups, they were like, ‘Oh, I don’t know, how will that impact your school tours and sensitivity and things like that?’” Besaw says. “The Native groups laughed and said, ‘That’s so great, James Luna’s famous performance.’ So how do you design an exhibition when you’re responding to completely uninitiated audiences and you’re near the border of Oklahoma, where there are around one hundred federally recognized tribes?”

The answer is that you just do it, in the hope that other institutions will do more, better. Otherwise, it won’t get done. One exhibit won’t heal the wound in America’s heart or the hole in modern-art canon, but Art for a New Understanding builds up a bit more scar tissue around the edges.

G

“Dopamine Regression” by Melissa Cody band’s European name. But by the nineties, Indigenous artists who had once felt compelled to either deeply identify with or deny their heritage were embracing hybrid identities and taking aim at colonial legacies.

This entire trajectory is represented in the exhibit, though half of it focuses on work made after 2000, as befits its effort to pull Indigenous art into the present. The time is ripe, as intersectional identities have come to be prized rather than obscured.

T

he white supremacy inherent in museums has only begun to erode. It instantly problematizes any exhibit that dares to wade into Indigenous art, which is why so few have dared.

As Chaat Smith writes, Arkansas’s Crystal Bridges has been “confounding art critics from the coasts with shows engaging the problematics of American art that are as smart and surprising as any being staged

PHOTO COURTESY OF EDWARD ROBISON III

anywhere.” The museum consulted Indigenous people about how to present national and tribal affiliations.

“It just really felt important to make sure that visitors weren’t seeing this as one monoculture, that this is ‘Native American art,’ because it’s not,” Besaw says. “They all have different cultural identities and backgrounds.”

Crystal Bridges also focus-grouped the exhibit before opening it and found telling divergent reactions among Indigenous and non-Indigenous people. Asked about their expectations, the non-Indigenous groups mentioned beadwork, headdresses, and earth tones, and then came out of the exhibit with keywords such as contemporary, abstraction, and color.

“What that told us is that we had a lot of work to do to help people understand what the exhibition was,” Besaw says, and claims that the Indigenous groups went in with

iven that the show is layered in biases and marinated in painful history, I have a suggestion about how to look at it. Start—perhaps before the concert in the new sculpture garden, headlined by Lakota hip-hop artist Frank Waln, on October 24—by looking at it as a show of modern art. This works great, because it’s a splendid one, full of familiar reference points. You’ll see Van Gogh gone Pop in the T.C. Cannon’s painting, Jasper Johns recast in geometric severity in Kay WalkingStick’s encaustics, a Rauschenberg-like combine by Jaune Quick-toSee Smith, an Op Art tapestry by Melissa Cody, and the Basquiat-like tough virtuosity of Fritz Scholder.

And you’ll find American pop culture as you know it, but not as you’ve ever seen it before, from Brian Jungen’s sculptures of Nike sneakers that evoke ceremonial masks to Walter Scott’s existentialist comic strips.

Then, with the works situated in art history, take time to learn more about the artists, each of whom has a story that peels back layers of American illusion over the past century. But don’t mistake the artist for the person or the symbol—hold contradiction in your mind. As the Denesuline artist Alex Janvier said, “I am an artist who happens to be an Indian. I am an Indian self that is identified with the great spirit and not with the art.” bhowe@indyweek.com INDYweek.com | 10.23.19 | 21

10.23–10.30

WHAT TO DO THIS WEEK

“Diego on My Mind” by Frida Kahlo PHOTO COURTESY OF THE NORTH CAROLINA MUSEUM OF ART 22 | 10.23.19 | INDYweek.com

THURSDAY, OCTOBER 24

FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM

NCMA’s Frida Kahlo and Diego Rivera exhibit is the most-anticipated North Carolina exhibit of the season, and for good reason: The duo’s lavish, surreal works made them trailblazers of Mexican modernism, who, along the way, were able to create new ways for artists to identify and exist. Both Kahlo and Rivera are household names, although much of the attention that they have received has involved a good bit of commodification and focus on branding. At NCMA, a series of opening events help serve as correctives, painting a fuller picture of the two artists’ legacy. This October 24 exhibit preview will include light hors d’oeuvres (and two drink tickets); on October 25, the museum hosts a member preview day, which opens at 10 a.m. and is followed by an 8 p.m. screening of Frida, the 2002 film starring Salma Hayek. This exhibit runs through January 19. —Sarah Edwards THE NORTH CAROLINA MUSEUM OF ART, RALEIGH 7 p.m., $50, www.ncartmuseum.org

WEDNESDAY, OCTOBER 30

KEVIN GATES

If you’re one of those Kevin Gates fans who’s kept an eye on him since his early mixtape years, you’ve probably noticed that the Louisiana “2 Phones” rapper is looking quite slim these days. In a recent video for Men’s Health, Gates revealed his weight-loss secret, chalking it up to commitment. “But what really did it for me, I had my shirt off and I was holding my partner’s baby, and his baby tried to suck my breast,” Gates says. “That was the most embarrassing shit.” His candidness should come as no surprise. The self-described “avid truth-teller” applies this same raw, off-kilter approach to his new album, I’m Him, where his Muslim identity, pornographic conquests, goon talk, and self-torment offer a complexity rarely heard from Gates’s sector of fringe trap rap. DPAC does seem like an odd place for Gates to be unpacking such intimate layers, but he’s faced scarier scenarios and beat them all. Watching him shrink the venue into his oddball temple will be 80 percent of the show. With YK Osiris, Rod Wave, and SDoT Fresh. —Eric Tullis DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., $30, www.dpacnc.com

FRIDAY, OCTOBER 24–SUNDAY, NOVEMBER 3

ILLUMINATED DRESSES

Over a year ago, the playwright and producer Debra Kaufman put out a call for monologues from female playwrights. The theme: a dress or other garment that somehow transformed their lives.

More than seventy submissions followed, which Kaufman began curating for a staged reading during the 2018 Women’s Theatre Festival. The first full production by OdysseyStage includes work from North Carolina poet laureate Jaki Shelton Green and local playwrights Amanda Almodovar, Danielle Fenton, and Steffi Rubin. In them, a former Girl Scout remembers the uniform her parents couldn’t buy, an African-American woman relives being surrounded by white dresses, a business woman recalls feeling oppressed by a business suit, and a trans woman commemorates an outfit in her childhood that held a crucial clue. Director Lori Mahl leads an ensemble including Michele Okoh, Julie Oliver, and Melanie Simmons. —Byron Woods BURNING COAL THEATER, RALEIGH 7 p.m. Fri–Sat./2 p.m. Sun., $15–$20, www.burningcoal.org

The Kingdom Choir PHOTO COURTESY OF DUKE PERFORMANCES

SM

t of the Mexican ist. Both ived has ng events 4 exhibit m hosts a a, the

eye on noticed e slim evealed . “But olding east,” His ribed roach ty, offer a e trap o be er venue . With

B SUNDAY, OCTOBER 26

THE KINGDOM CHOIR

I’ll be honest: I had no idea there was such a thing as British gospel music. But it exists, and The Kingdom Choir includes its biggest stars. Formed in 1994 in London by Karen Gibson, the group has had plenty of high-profile performances: at the Queen’s Jubilee, with the Spice Girls and Elton John, and for appearances

by Bill Clinton, Desmond Tutu, and Nelson Mandela. Nevertheless, they were still largely anonymous (intentionally so) until they sang a soulful, stripped-down “Stand by Me” at the wedding of Prince Harry and Meghan Markle last year.

That three-minute performance was enough to launch them to international stardom; the video has been viewed more than nine million times on YouTube.

For their first tour of the U.S., they’ll be presenting the tight-knit musical community they’ve been honing for twenty-five years, bringing together pop songs and gospel classics. —Dan Ruccia DUKE CHAPEL, DURHAM 8 p.m., $25–$34, www.dukeperformances.duke.edu

FRIDAY, OCTOBER 24–SUNDAY, NOVEMBER 3

THE TAMING

They do say politics makes strange bedfellows. That’s literally the case in Lauren Gunderson’s political farce, The Taming, when a top aide to a far-right senator wakes up woozy, in the same bed as a prominent liberal news commentator. Just as both women figure out they’ve been drugged and kidnapped, their host enters: the current Miss Georgia, whose current ambitions include winning the Miss America pageant—and rewriting the United EMBER 3 States Constitution. Clearly, she’s mad, but is her diabolical scheme crazy enough to work?

Gunderson says she wrote The Taming to address “a divided and obstructionist patriarchy, to laugh with the painful truth about extremism on both sides, to toy with our country’s history ufman put and wrestle with its foundational imperfections.” And in it, the smartest women in the room theme: a wind up in charge. Jeri Lynn Schulke directs a cast including Kirsten Ehlert, Qualia Holdereir lives. Cozart, and Heather J. Strickland in this Justice Theater Project production. —Byron Woods an began LEGGETT THEATRE, RALEIGH Theatre Various times, $5–$23, www.thejusticetheaterproject.org des work nd local nd Steffi niform her WHAT ELSE SHOULD I DO? ves being JEREMY ALDER AT MOTORCO (P. 11), ART FOR A NEW UNDERSTANDING: NATIVE VOICES, lls feeling 1950S TO NOW AT THE NASHER (P. 20), CONTRA-TIEMPO AT NCSU’S STEWART THEATRE memorates or Lori (P. 31), HEATHER HAVRILESKY AT THE REGULATOR (P. 30), CHESSA RICH AT NIGHTLIGHT Oliver, (P. 25), JOAN SHELLEY AT CAT’S CRADLE (P. 16), MINOR STARS AT LOCAL 506 (P. 17), ROWDY AT CAT’S CRADLE (P. 17), NUCLEAR VISIONS: THE ATOMIC PHOTOGRAPHERS GUILD AT UNC’S ALLCOTT GALLERY l.org (P. 29), ZOMBIEPALOOZA AT THE CARY THEATER (P. 32)

E S EN E IN THE 2019 INDY

FALL STYLE GUIDE FROM DIY TO DIOR, THIS IS YOUR GUIDE FOR STAYING IN THE KNOW ABOUT THE TRIANGLE’S UNIQUE FASHION SCENE.

BUY AN AD,

CLAIM YOUR PLACE RESERVATIONS DUE 11/1

919-286-1972 • advertising@indyweek.com

INDYweek.com | 10.23.19 | 23

Chocolate Lounge & Juice Bar

Fri 10/25 Lisa Rhodes Sat 10/26 Kristi Lescinski Open Mic with Sun 10/27 Poetry Regina Gale 2pm Fri 11/1 Dead Souls Gothic Lounge 9pm Sat 11/2 Tiny House & John Stevens

FR 10/25 @CAT’S CRADLE

STIFF LITTLE FINGERS W/ THE AVENGERS

Music Performed from 6pm to 10pm Beer & Wine Served Daily Timberlyne Shopping Center, Chapel Hill 1129 Weaver Dairy Rd • specialtreatsnc.com

FR 10/25 @CAT’S CRADLE

TH 10/24 @CAT’S CRADLE

KISHI BASHI

JONATHAN WILSON

W/PIP THE PANSY

WE 10/23 ADHOC PRESENTS: TH 10/24 KISHI BASHI

01/21, 2020 TOO MANY ZOOZ

FR 10/25 STIFF LITTLE FINGERS

WE 01/22, 2020 MARCO BENEVENTO

TU 11/19 ANNA TIVEL & MAYA DEVITRY

W/ PIP THE PANSY

WED

Cat’s Cradle Presents

FRI

Evening AnAnEvening WithWith

10/23 10/25

W/ THE AVENGERS

GRIFFIN HOUSE GRIFFIN HOUSE

10/26

FLEETMAC WOOD Presents

RHIANNON’S RHIANNON’S REVENGE A Halloween Disco

SUN

10/27 12PM

SUN

10/27 8PM THU

10/31

AN AFTERNOON OF HEAD ‘SPLODIN’ HITS

by Metallica, Megadeth, Deep Purple, Muse, Radiohead, and much, much more!!

Between2Clouds Comedy Night with

JEREMY ALDER

featuring: Drew Robertson, Brett Williams and Freddy Valoy.

Hosted by Austin Howard Raund Haus presents

HAUS OF HORRORS HALLOWEEN PARTY RUSSIAN CIRCLES

SAT

Windhand SUPERCHUNK

11/2

Plays “Foolish”: A 25th Anniversary Acoustic Performance with Martin Frawley

SAT

SUPERCHUNK

11/2

9:15PM SUN

11/3 THU

11/7 FRI

11/8

02/1, 2020 JAWBOX

FR 11/22 TRAVERS BROTHERSHIP

WE 10/30 WIZARD FEST

02/14, 2020 THRICE,

MEWITHOUTYOU, DRUG CHURCH ( $26/$30)

SU 11/24: BEACH BUNNY W/ ANOTHER MICHAEL

- A TRIBUTE TO DAVID BOWIE W/SPECIAL GUEST: ELVIS DIVSION ($10/$12); & HALLOWEEN

02/15, 2020 COLONY HOUSE THE LEAVE WHAT’S LOST BEHIND TOUR

WE 12/4 LAURA STEVENSON W/ ADULT MOM

02/17, 2020 KYLE KINANE ($25/$28)

SOLD11/1 & 2 (TWO SHOWS, FRIDAY FR/SA OUT AND x2SATURDAY) BILLY STRINGS

03/11, 2020 DESTROYER

OLD STH 12/5 JUMP LITTLE CHILDREN OUT

WE 11/6 YOKE LORE W/FUTURE GENERATIONS FR 11/8 THE DIP ($15/ $18)

W/ ERIN & THE WILDFIRE SA 11/9 INFAMOUS TU 11/12 CURSIVE/

SOLD OUT

NILE

Terrorizer / False Prophet / Summoned / Extinction Level Event

LA MIGRACIÓN ES HERMOSA

A Benefit for the Border featuring Crystal Bright and the Silver Hands, Quilla and David Wimbish of the Collection Local 506 presents

LEFTOVER CRACK

with Days N Daze, Cop/Out and SiBANNÄC

COMING SOON: The Japanese House, TR/ST, G Yamazawa, The Gravy Boys, Chastity Belt, With Confidence, Fruit Bats, Songs From the Road Band, Com Truise, Flynt Flossy, Mikal Cronin, Amigo The Devil, Phutureprimitive, an-ten-nae, Jen Kirkman, Garcia Peoples, Deeper, Sammus, Street Corner Symphony, Thunder Jackson, Eric Roberson, The Wusses, Sarah Shook & The Disarmers, Integrity, Art Alexakis of Everclear, Carbon Leaf, Blackalicious, Over The Rhine, While She Sleeps, David Wilcox, Gnawa LanGus, Little People, Frameworks, Black Atlantic, Kevin Morby

FR 11/29 PHILSTOCK ‘19

W/NAP EYES

FR 12/6 NEIL HILBORN W/ CARACARA

3/14, 2020 RADICAL FACE

SA 12/21 JON STICKLEY TRIO ($10/$12)

04/3, 2020 SHOVELS & ROPE ($25/$28; ON SALE 10/25)

TU 01/21/20 TALL HEIGHTS W/ANIMAL YEARS ($15/$17)

05/5, 2020 ANDY SHAUF W/ FAYE WEBSTER ($18/$20)

FR 1/24/20 ILLITERATE LIGHT

STRINGDUSTERS W/ KITCHEN DWELLERS

TU 2/4/20 CHRIS FARREN, RETIREMENT PARTY, MACSEAL SU 2/23/20 SLOAN ($25) TU 2/17/20 BAMBARA

CLOUD NOTHINGS/ THE APPLESEED CAST

WE 10/23 CITY OF THE SUN W/ OLD SEA BRIGADE

WE 11/13 KIKAGAKU MOYO W/ MINAMI DEUTSCH ($15/$17)

TH 10/24 DRIFTWOOD W/JON WARD BEYLE

ARTSCENTER (CARRBORO) FR 10/25 JONATHAN WILSON W/ THE DEAD TONGUES ($20/$22 )

TH11/14: TURNOVER/ MEN I TRUST

FR 10/25 HOVVDY, KEVIN KRAUTER, AND CAROLINE SAYS ( $12/$14)

TH 11/14 ROBYN HITCHCOCK (SOLO) W/DJANGO HASKINS

SA 10/26 CAT CLYDE W/JAMIE DRAKE ($12/$15)

WE 11/20 SAN FERMIN W/ WILD PINK ($18/$20)

SU 10/27 CAROLINA WAVES SHOWCASE & OPEN MIC

SA 11/30 DAUGHTER OF SWORDS AND THE DAWNBREAKER BAND ($15)

SA 11/16 GAELIC STORM

Plays “Foolish”: A 25th Anniversary Acoustic Performance with Martin Frawley Sun Crank It Loud Presents

24 | 10.23.19 | INDYweek.com

SU 10/27 ROWDY & THE NIGHT SHIFT / AFRONAUTS ( $5/$10)

FR 11/15 ALLAH-LAS W/ TIM HILL ($17/$20)

RUSSIAN CIRCLE Windhand

6PM

WE 11/20 KING BUFFALO ($10) TH 11/21 THIRSTY CURSES, SICK RIDE, HOUSTERINO ($8/$10)

W/ HARMONY WOODS

School of Rock Cary presents

FRI

11/1

01/23, 2020 YOLA

COSTUME PARTY

A REVENGE Halloween Disco

W/ BIROCRATIC

01/25, 2020 THE ROAD TO NOW PODCAST

WE 10/31 STARDUST TO ASHES

FLEETMAC WOOD Presents

SAT

( $25/$28)

W/ ROTTING OUT, CANDY, SEEYOUSPACECOWBOY

SA 10/26 KNOCKED LOOSE

THE ALLUSIONIST (Live Podcast)

01/18, 2020 AMERICAN AUTHORS AND MAGIC GIANT

SU 11/17 EDDIEFEST HAMMER NO MORE THE FINGERS, TRIPLE X SNAXX, JOHN HOWIE JR., ELVIS DIVISION, NIKKI MEETS THE HIBACHI, LUD, YUNG POLVO & MORE

OH SEES W/ PRETTIEST EYES, NO WHAMMY

RECENTLY ANNOUNCED: Young Bull

W/ THE DEAD TONGUES

SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20) FR 11/22 OFFICE HOURS ($10/$12) MO 11/25 NEW FOUND GLORY W/HAWTHORNE HEIGHTS, FREE THROW, JETTY BONES ($27/$32) WE 11/27: LA DISPUTE,

TOUCHE AMORE, EMPATH FR 12/6 OUR LAST NIGHT SA 12/7 SOUTHERN CULTURE

TU 10/29 FUTURE TEENS W/CALICOCO WE 10/30 JOAN SHELLEY W/JAKE XERXES FUSSELL ($15/$17)

MOTORCO (DUR) WE 10/23 THE ALLUSIONIST ($25/$28)

TH 10/31 CRYSTAL BRIGHT AND THE SILVER HANDS

TU 11/12 TR/ST W/SRSQ

FR 11/1 WXYC PRESENTS...

DISCO! ($5 NON STUDENTS/ UNC STUDENTS FREE)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

SA 11/2 JULIA/THE MOON UNIT ($5)

RITZ (RAL) SA 11/23 CAAMP HAW RIVER BALLROOM SOLDFR 10/28 ANGEL OLSEN OUT W/ LEAN YEAR ($30/$33)

TH 12/12 TWIN PEAKS W/ LALA LALA AND OHMME

TU 11/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE W/ HARMONY WOODS ( $15)

FR 12/13 THE CONNELLS

TH 11/7 BLUE CACTUS W/ TATIANA HARGREAVES ($12/$15)

SU 11/10 THE NEW PORNOGRAPHERS W/ LADY LAMB ($32/$35)

SA 11/9 JACK KLATT ($10-$12)

SA 12/14 THE REVEREND

SU 11/10 PETER HOLSAPPLE COMBO

FR 1/31/20 G LOVE AND SPECIAL SAUCE

ON THE SKIDS

W/SURRENDER HUMAN AND LEMON SPARKS ($20/$23) HORTON HEAT W/ VOODOO GLOW SKULLS, THE 5678'S, DAVE ALVIN ($25/$28) TU 12/17 DAUGHTERS/HEALTH

W/ SHOW ME THE BODY

FR 01/10 & SA 01/11, 2020 - TWO SHOWS HISS GOLDEN MESSENGER ($26)

TU 11/12 BLACK MOUNTAIN W/ RYLEY WALKER FR 11/15 BLACK MIDI W/FAT TONY ($13) SA 11/16 THE BLAZERS ‘HOW TO ROCK’ REUNION

SOLD FR 11/8 BIG THIEF OUT W/ PALEHOUND ($20/$23)

03/24/20 JOHN MORELAND ($15/$18; ON SALE 10/25) DPAC (DURHAM) FR 11/22 & SA 11/23 SYLVAN ESSO

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

Your Week.

Every Wednesday. indyweek.com

music

10.23–10.30 THURSDAY, OCTOBER 24

CHESSA RICH

Chessa Rich has long worked in service of other musicians. A pianist, guitarist, flautist, and vocalist, she’s lent her keen sense of atmosphere to artists including Skylar Gudasz and Blue Cactus; she’s also a Spanish tutor and a bilingual piano instructor who works with students around the Triangle. This month, Rich celebrates her first solo release, the seven-inch record “All the Love Anyone Ever Gave Me.” On the record’s two songs, produced by Nick Sanborn (Sylvan Esso) and featuring spare, dreamy instrumentation, Rich’s vocal performance is confident against an intimate recording style. The effect is profound, as is the sense of deep emotions being privately shared with the listener. The evening’s festivities will also include a performance by SCRS (Rich, Gudasz, Steph Stewart, and Rachael Kiel performing original compositions as a flute quartet) and a set by soulful North Carolina singer Anne-Claire.

—Josephine McRobbie NIGHTLIGHT, CHAPEL HILL 8 p.m., $13–$15, www.nightlightclub.com

CAT’S CRADLE BACK ROOM Driftwood; $15-$18. 8 p.m.

THE CAVE TAVERN Slack Bird, Little River Creek Police; 9 p.m.

KINGS Waking April, James William; $10-$12. 9 p.m.

LINCOLN THEATRE Obituary, Abbath, Midnight, Devil Master; $28+.

7 p.m.

LOCAL 506 Picturesque, Makari; $12-$15. 6:30 p.m.

NEPTUNES Parlour Hollis Brown, Porchlight Apothecary; $10. 9 p.m.

THE PINHOOK Moon Unit, Sonny Miles; $8. 8 p.m.

WED, OCT 23

THE CAVE Tavern Drunken Prayer, Deadly Lo-Fi, Jimmy and the Teasers; 9 p.m.

THE RITZ Fisher; $38-$43. 8 p.m.

DUKE COFFEEHOUSE

FRI, OCT 25

CAT’S CRADLE Oh Sees, Prettiest Eyes, No Whammy!; $24-$26. 8 p.m.

CAT’S CRADLE BACK ROOM City of the Sun, Old Sea Brigade; $15-$17. 8 p.m.

MOTORCO MUSIC HALL The Allusionist; $25-$28. 8 p.m.

NIGHTLIGHT Shivery Shakes, Toothsome, Screen Time; $7. 9:30 p.m.

THU, OCT 24

THE PINHOOK Aff & Friends; $10-$15. 9 p.m.

ARCANA Vaugh Aed, Low Tide, Janke Seltsam; $8 suggested. 8 p.m.

POUR HOUSE MUSIC HALL Stoop Kids, Honey Hounds; $12-$15.

9 p.m.

BLUE NOTE GRILL The Beauty Operators, Rebecca Newton; $15.

7 p.m.

CAT’S CRADLE Kishi Bashi, Pip The Pansy; $20-$22. 8 p.m.

CAT’S CRADLE Stiff Little Fingers, The Avengers; $25. 8 p.m.

POUR HOUSE MUSIC HALL Old Heavy Hands, Into The Fog, Infielder; $5. 9 p.m.

SLIM’S DOWNTOWN Thunderchief, Red Beard Wall, Darth Kannabyss; $7 suggested. 9 p.m.

Chessa Rich PHOTO BY KENDALL BAILEY

for keeping alive the sunny psych-pop of Laurel Canyon.

His albums are dreamy affairs, bursting with melody and drenched in analog warmth and swirling orchestrations.

It all feels very deliberately pitched backward, recreating some imagined version of the late 1960s. With The Dead Tongues. —Dan Ruccia CAT’S CRADLE BACK ROOM Hovvdy, Kevin Krauter, Caroline Says; $12-$14. 8 p.m.

ARCANA Kubra Coltrane, MONSIEUR, VSPRTN; $5-$10 suggested. 9 p.m.

BLUE NOTE GRILL Adam Ezra Group, Lisa Bouchelle; $15. 9 p.m.

THE ARTSCENTER

Jonathan Wilson

[$20-$22, 8 P.M.] This N.C. native has been at the center of LA’s music scene for fifteen years now, known

Stray Owls, Land Is

[$5, 8:30 P.M.] For Corbie Hill, a leukemia diagnosis in the summer of 2017 seemed like a major setback. Yet, after battling it out, Hill emerged victorious, and took to an acoustic guitar to compose his “Survivor Song.” His latest band, Land Is (with Thomas Baucom, Patrick Edwards, and Jack Gudhart), have expanded this song with a driving rhythm section and flourishes of synthesizers for their self-titled EP. With Stray Owls and Judy Woodall. —Sam Haw

KINGS The Body, Torch Runner, Solar Halos; $12. 9 p.m.

THE KRAKEN The Blue Star Travelers, Amy Davis, Jon Newlin, Terry Burtyk, Stillhouse Bottom Band; 8 p.m.

LINCOLN THEATRE Ripe, Castlecomer; $15. 9 p.m.

LOCAL 506 North Elementary, S.E. Ward, Rachel Kiel; $8. 9 p.m.

THE MAYWOOD Malediction, Deathcrown, Gorbash; $8-$10. 9 p.m.

MOTORCO MUSIC HALL Griffin House; $18-$20. 9 p.m.

THE NIGHT RIDER Blow Bloater, Folk Is People, Sidewalk Furniture; 8 p.m.

NIGHTLIGHT Carlos Souffront, Copula, ZRDJ; $10. 10 p.m.

THE PINHOOK House of Coxx; Sold out. 8 p.m.

POUR HOUSE MUSIC HALL Mama’s Love, Steamroom Etiquette; $12-$15. 9 p.m.

RED HAT AMPHITHEATER Bastille; $30+. 8 p.m.

RHYTHMS LIVE MUSIC HALL Abyss, Tish “Songbird” Martin; $15. 8 p.m.

THE RITZ COLORS Worldwide; $29+. 8:30 p.m.

RUBY DELUXE DJ Yve; 10 p.m.

SHARP NINE GALLERY Zach Gossett And The Za Um; $20. 8 p.m.

SLIM’S DOWNTOWN Harrison Ford Mustang, MSRP, Eyebrows; $5. 9 p.m.

INDYweek.com | 10.23.19 | 25

POUR HOUSE MUSIC HALL Reese McHenry; 3 p.m.

SLIM’S DOWNTOWN The Well, Crystal Spiders; $7 suggested. 8 p.m.

WAKE FOREST LISTENING ROOM Tommy Edwards, Jessie Lang, Carrie Marshall, Kirk Ridge, Bob Head; 1 p.m.

MON, OCT 28 THE CAVE TAVERN Dexter Romweber; 9 p.m.

THE FRUIT Shana Tucker, Brian Horton; $15. 7 p.m.

HAW RIVER BALLROOM

Angel Olsen

Angel Olsen performs at the Haw River Ballroom on Monday, October 28. PHOTO BY CAMERON MCCOOL WAKE FOREST LISTENING ROOM AZULZ, Asher Skeen; 7 p.m.

THE WICKED WITCH The Witches’ Ball; $20. 9 p.m.

SAT, OCT 26 ARCANA Séance: Gothic Halloween Dance Party; $5. 9 p.m.

THE ARTSCENTER Alash, Shodekeh; $24. 12 a.m.

BLUE NOTE GRILL Wiley Fosters: Rocky Horror; $10. 8 p.m. and 10 p.m.

CAROLINA THEATRE Justin Hayward, Michael Dawes; $40+. 8 p.m.

CAT’S CRADLE Knocked Loose, Stick To Your Guns, Rotting Out, Candy, SeeYouSpaceCowboy; $23-$25. 7 p.m.

CAT’S CRADLE BACK ROOM Cat Clyde, Jamie Drake; $12-$15. 8 p.m.

THE CAVE TAVERN the Retinas, Ladygod; 9 p.m.

KINGS

Pie Face Girls

[$10-$12, 9 P.M.] Pie Face Girls is a raucous Raleigh punk trio characterized by their blunt yet playful lyrics and high energy live shows.

Their latest record, Chewin’ the Root, takes on topics ranging from trust-fund Tinder dates to the hypocrisy of pro-lifers. With 2 Slices and Body Games. —Sam Haw THE KRAKEN John Dyers, Grand Shores; 8:30 p.m.

LINCOLN THEATRE Lauren Alaina, Hardy, Travis Denning, Josh Abbott Band; $15+. 7:10 p.m.

LOCAL 506 Minor Stars, Lacy Jags, Zero Stroke; $10. 9 p.m.

THE MAYWOOD Cultus Black, Blatant Disarray, Saint Diablo, Divine Treachery; $8. 8:30 p.m.

MEYMANDI CONCERT HALL The Composer is Dead; 1 p.m. and 4 p.m. $21.

MOTORCO MUSIC HALL Fleetmac Wood; $20-$25. 9 p.m.

POUR HOUSE MUSIC HALL Consider The Source, Chew, Acid Chaperone; $12-$15. 9 p.m.

RHYTHMS LIVE MUSIC HALL Annual Fall Gospel Concert; Full lineup online. $20. 3 p.m.

THE RITZ Sum 41; $34+. 7 p.m.

RUBY DELUXE Bizarre: A Drag Show Oddity Halloween; $7. 10 p.m.

SHARP NINE GALLERY Iris Ornig Quartet; $20. 8 p.m.

SLIM’S DOWNTOWN Mess, Youth League, Ray Gun, Charlie Paso; $7. 8 p.m.

SUN, OCT 27 BLUE NOTE GRILL Mysti Mayhem; 5 p.m.

CAROLINA THEATRE 100 Men in Black Male Chorus; $20-$25. 5 p.m.

LINCOLN THEATRE Joy Lenz, Ryan Cabrera, Wakey! Wakey!, Tyler Hilton; $75+. 8 p.m.

MOTORCO MUSIC HALL School of Rock Cary Mid-Season Showcase; $5-$7. 12 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

26 | 10.23.19 | INDYweek.com

[SOLD OUT, 8 P.M.] Angel Olsen is back, this time with a twelve-piece string section, billowing set designs, and enough cinematic drama to match a Marlene Dietrich film. At the risk of hyperbole— althought it feels appropriate here—the effect is glorious: All Mirrors is a controlled exposition of heartbreak and ambition that’s alternately lusty and rageful; it sweeps you up and refuses to put you down.

—Sarah Edwards LOCAL 506 Fit For An Autopsy; $20-$25. 6 p.m.

NEPTUNES PARLOUR Kelly Hunt, Stas’ Heaney; $10. 8:30 p.m.

THE PINHOOK Laser Background, Surface to Air Missive; $10. 9 p.m.

POUR HOUSE MUSIC HALL Left Outlet, Fruit Snack; 8 p.m.

SLIM’S DOWNTOWN Sammy Kay, Mike Frazier, Almost People; $5.

9 p.m.

Jonathan Wilson performs at the ArtsCenter on Wednesday, October 30.

PHOTO COURTESY OF CAT’S CRADLE

TUE, OCT 29

CAT’S CRADLE BACK ROOM Future Teens, Calicoco; $10-$12. 8 p.m.

THE CAVE TAVERN Yr. Glow, Spectral Herring; 9 p.m.

POUR HOUSE MUSIC HALL Solar Bear, Retro Candy; $6-$8. 9 p.m.

SHARP NINE GALLERY NCJRO; $20. 8 p.m.

SLIM’S DOWNTOWN Cortege, BVNNIES; $5. 9 p.m.

WED, OCT 30 MOESER AUDITORIUM

Golda Schultz & Jonathan Ware [$37, 7:30 P.M.]

Golda Schultz was well on her way to receiving a degree in journalism at Rhodes University in South Africa when her passion for music reached a fever pitch, causing her to change course entirely.

She’s since become a heralded new voice in classical music, an enchanting presence with a show-stoppingly gorgeous soprano. For Carolina Performing Arts, Schultz and the pianist Jonathan Ware will

perform works by composers including Amy Beach, Franz Schubert, and Richard Strauss.

—Josephine McRobbie CAT’S CRADLE Wizard Fest; $15+. 7 p.m.

CAT’S CRADLE Joan Shelley, Jake Xerxes Fussell (Back Room); $15-$17. 8 p.m.

THE CAVE TAVERN The Waymores; 9 p.m.

DUKE ENERGY CENTER FOR THE PERFORMING ARTS The Cory Band, Triangle Brass Band; $28. 7 p.m.

KINGS Jooselord’s Glow in the Dark Birthday Party; $10. 9 p.m.

LINCOLN THEATRE Maribou State; $15. 8 p.m.

LOCAL 506 Islander, The Funeral Portrait, Dropout Kings, 13:7, Headtrip Trauma; $13-$15. 7:30 p.m.

THE PINHOOK Pale Lips; $8-$10. 8 p.m.

POUR HOUSE MUSIC HALL The Kind Thieves, The Wright Ave.; $5-$10. 9 p.m.

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 10.23.19 | 27

10/26

ALASH WITH SPECIAL

GUEST SHODEKEH

10.29

Markus Zusak Bridge of Clay 7pm AN ARTS AND LECTURE SERIES EVENT (SOLD OUT) Ann Patchett The Dutch House 2pm, Jones Chapel at Meredith College Eric Mitchko Wagner’s SIEGFRIED and the Heroic Role 7pm

10.31

CLOSED AT 6PM FOR HALLOWEEN

11.1

Jill Heinerth Into the Planet, My Life as a Cave Diver 7pm

10.24 10.27

11/1-3, 8-10 CAROLYN ADAMS 11/9 NO SHAME THEATRE – CARRBORO 11/ 15-17 CARRBORO FILM FEST 12/6 KELLER WILLIAMS

Get tickets at artscenterlive.org

Follow us: @artscenterlive • 300-G East Main St., Carrboro, NC

www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR PODCAST: BOOKIN’ w/Jason Jefferies

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

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com Present this coupon for

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

919-6-TEASER for directions and information

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

TeasersMensClub 28 | 10.23.19 | INDYweek.com

@TeasersDurham

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

Your Week.

Every Wednesday.

art

10.23–10.30

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

indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

QUESTIONS? spequeno@indyweek.com

TUESDAY, OCTOBER 29

NUCLEAR VISIONS: ATOMIC PHOTOGRAPHERS GUILD UNC-Chapel Hill art professor elin o’Hara slavick is known for work that alternately abstracts and concretizes the U.S.’s atomic bombings of Japan, both the incomprehensible moment of their occurrences and their long aftermaths, visible and invisible. She and Robert Del Tredici, both members of the Atomic Photographers Guild, co-curated this important exhibit at UNC’s Allcott Gallery, which closes on October 31, two days after this lecture by Hiroshima City University nuclear historian Robert Jacobs, which takes place in the Hanes Art Center and is followed by a nuclear-books pop-up in the Sloane Art Library. Among other works from the APG’s large archive, the exhibit includes historical photographs by Yoshito Matsushige, the first Japanese photographer to capture the immediate aftermath of the Hiroshima bombing from inside the city, never before exhibited in North Carolina. You’ll also see Berlyn Brixner’s photographs of the first nuclear bomb test ever, in New Mexico, among other historical horrors that can only begin to be comprehended by looking at them square on. —Brian Howe

UNC’S HANES ART CENTER, CHAPEL HILL 5:30 p.m., free, www.unc.edu

“Trinity, 1945” by Berlyn Brixner PHOTO COURTESY OF THE HANES ART CENTER

OPENING Alamance Artisans Extravaganza Fine art and craft show. Thirty-one artists.

Oct 26-27. Vailtree Event & Conference Center, Haw River.

Peter Filene & Bill McAllister Photos. Sat, Oct 26. 10 a.m.

FRANK Gallery, Chapel Hill.

Brenda Goldstein Performance art. Fri, Oct 25. 12 p.m. Ruby Lounge at Rubenstein Arts Center, Durham. artscenter. duke.edu.

Orange County Artists Guild Open Studio Tour (Reception) Seventy-eight artists. Fri, Oct 25. 6 p.m. Hillsborough Gallery of Arts, Hillsborough.

HillsboroughGallery.com.

PUSH Fetish Arts Festival Performance art. $25+. Sat, Oct 26. 9 p.m. The Fruit, Durham.

Sydney Steen: Fault Lines Vignettes. Oct 25, 2019-Oct 25, 2020. 21c Museum Hotel, Durham. 21cmuseumhotels.com.

ONGOING 100+ Years of Earth and Fire: A Retrospective of Four Women Working in Clay Pottery.

Reception Nov 15, 6 p.m.-8 p.m.

Thru Dec 7. Durham Art Guild, Durham. durhamartguild.org.

Mark Abercrombie Thru Oct 28. 5 Points Gallery, Durham.

5pointsgallery.com.

All the Rembrandt Drawings Drawings. Thru Jan 20. Ackland Art Museum, Chapel Hill. ackland.org.

Anarchism and the Political Art of Les Temps Nouveaux, 18951914 Prints and graphics. Thru Dec 15. Nasher Museum of Art, Durham. nasher.duke.edu.

Art for a New Understanding: Native Voices, 1950s to Now Contemporary Indigenous art.

Thru Jan 12. Nasher Museum of Art, Durham. nasher.duke.edu.

The Art of Resistance Thru Dec 13. UNC’s FedEx Global Education Center, Chapel Hill.

Art’s Work in the Age of Biotechnology Biotechnology: Shaping Our Genetic Futures With guest curator Hannah Star Rogers. Additional work on view at NCMA. Oct 16-Mar 15. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu.

Scott Avett: INVISIBLE Paintings and prints. Thru Sun, Feb 2. NC Museum of Art, Raleigh. ncartmuseum.org.

conTEXT: A Calligraphic Journey Thru Nov 7. NCSU’s The Crafts Center, Raleigh. crafts.arts.ncsu.edu.

Derrick Beasley: Black Wholes as Possibilities: Photos and sculpture. Thru Oct 31. Durham Arts Council, Durham. durhamarts.org.

Cosmic Rhythm Vibrations Art inspired by music and rhythm. Thru Mar 1. Nasher Museum of Art, Durham. nasher.duke.edu.

Wim Botha: Still Life with Discontent Mixed media. Thru Dec 1. 21c Museum Hotel, Durham. ncartmuseum.org.

José Manuel Cruz: Urban Cultural Footprints Thru Oct 31. Triangle Cultural Art Gallery, Raleigh. triangleculturalart.com.

Kennedi Carter: Godchild Thru Jan 31.

21c Museum Hotel, Durham.

21cmuseumhotels.com/durham.

Cary Gallery of Artists: Art N Learning Thru Oct 23.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

The Atomic Photographers Guild: Nuclear Visions Photography. Thru Oct 31.

UNC’s Hanes Art Center, Chapel Hill. art.unc.edu.

Celebrating Nature Group show.

Watercolor, colored pencil, graphite, and pen & ink. Thru Oct 27. NC Botanical Garden, Chapel Hill.

John James Audubon: The Birds of America Ornithological engravings. Thru Dec 31.

NC Museum of Art, Raleigh. ncartmuseum.org.

A Certain Uncertainty; from the Cassilhaus Collection Thru Nov 24. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Owens Daniels: The Power of Music Thru Oct 29.

Reception: Oct 18, 6-9 p.m.

Durham Art Guild, Durham. durhamartguild.org.

Dirty South Jasmine Best, Laura Little, Aaron McIntosh, Renzo Ortega. Thru Nov 30.

Artspace, Raleigh. www. artspacenc.org.

Suzanne Dittenber: Momentary Memorial Sculptures and video. Thru Oct 26. Artspace, Raleigh. artspacenc.org.

Encantada | Enchanted Thru Dec 20. Duke Campus: John Hope Franklin Center, Durham.

INDYweek.com | 10.23.19 | 29

arts

page

CO NT’D

Fall Back Thru Oct 26. V L Rees Gallery, Raleigh. vlrees.com.

Fantastic Fauna-Chimeric Creatures Thru Jan 26. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Elissa Farrow-Savos: Truth Matters Mixed media. Thru Oct 30. Gallery C, Raleigh. galleryc.net Feels Warm, Like Things Burning Group show. Thru Oct 26. Lump, Raleigh. lumpprojects.org.

Peter Filene & Bill McAllister Photos. Thru Nov 10.

Reception: Oct 11, 6-8 p.m.

FRANK Gallery, Chapel Hill.

Hal Goodtree & Students: Photos. Oct 18-Nov 9. Through This Lens, Durham.

Harriet Hoover, Vanessa Murray, Rusty Shackleford Thru Jan 5.

Oneoneone, Chapel Hill. oneoneone.gallery Frank Konhaus & Ellen Cassily: Cassilhaus Collection Photos. Thru Nov 24. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Andrew Kozlowski: Dark Days Prints and more.

Thru Oct 26. Artspace, Raleigh. artspacenc.org.

Maria Martinez-Cañas: Rebus + Diversions Mixed media. Thru Jan 12. CAM Raleigh, Raleigh.

Momentum @ Hamilton Hill 2D and 3D art. Mon-Fri 11-6 p.m., Sat 11-5 p.m. Receptions: Oct 18 and Nov 16, 5-8 p.m.

Thru Dec 31. Hamilton Hill, Durham.

More Outsider Art in the Visitors Center Folk art. Group show. Thru Nov 29. Alexander Dickson House, Hillsborough. mikesarttruck.com.

New Orleans Second Line Parades Photos. Thru Dec 31. Love House and Hutchins Forum, Chapel Hill. southerncultures.org.

Now It’s Dark Prints.

Thru Nov 15. 10 a.m. Holy Mountain Printing, Durham. holymountainprinting.com.

30 | 10.23.19 | INDYweek.com

Adè Oh: Blakstroglyphs Multimedia. Thru Oct 27.

Reception: Oct 18, 5-11 p.m.

NorthStar Church of the Arts, Durham. northstardurham.com.

Southern Oracle: We Will Tear the Roof Off Interactive sculptures. Thru Oct 31. NC Museum of Art, Raleigh. ncartmuseum.org.

Nathaniel Quinn Paintings.

Thru Nov 1. Reception: Oct 12, 5-8 p.m. Smelt Art Gallery, Pittsboro.

Damian Stamer: Unseen Watercolors and works on paper. Thru Nov 2. Craven Allen Gallery, Durham. cravenallengallery.com.

Orange County Artists Guild Open Studio Tour Seventy-eight artists.

Reception: Oct. 25, 6-9 p.m.

Oct 21-Nov 10. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Fahamu Pecou: DO or DIE: Affect, Ritual, Resistance Thru Nov 21. UNC’s Sonja Haynes Stone Center, Chapel Hill. stonecenter.unc.edu.

Portraying Power and Identity: A Global Perspective Thru Jan 31. 21c Museum Hotel, Durham. 21cmuseumhotels. com/durham.

QuiltSpeak: Uncovering Women’s Voices Through Quilts Thru Mar 8. NC Museum of History, Raleigh. ncmuseumofhistory.org.

Nathaniel Quinn Paintings.

Thru Nov 1. Reception: Oct 12, 5-8 p.m. Smelt Art Gallery, Pittsboro.

Leigh Suggs: No One Ever Makes a Promise in a Dream Thru Nov 3. Oneoneone, Chapel Hill. oneoneone.gallery.

Dawn Surratt & Lori Vrba: (en)compass Mixed media.

Thru Dec 20. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

Teens, Inspired: Home Poems, mixed media. Thru Jan 3. NC Museum of Art, Raleigh.

Trudy Thomson & Dawn Hummer: Fiber ConFigurations Fiber art. Thru Oct 31.

Reception: Oct 11, 6-8 p.m.

The ArtsCenter, Carrboro. artscenterlive.org/gallery.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s Photos. Thru Mar 31. UNC’s Wilson Special Collections Library, Chapel Hill.

John Rosenthal: Other Than Itself Photos. Thru Oct 12.

Through This Lens, Durham.

Trudy Thomson & Dawn Hummer: Fiber ConFigurations Fiber art.

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

Fahamu Pecou: DO or DIE: Affect, Ritual, Resistance Thru Nov 21. UNC Campus: Sonja Haynes Stone Center, Chapel Hill. stonecenter.unc.edu.

¡Viva Viclas!: The Art of the Lowrider Motorcycle Guest curator Denise Sandoval. Thru Feb 9. CAM Raleigh, Raleigh. camraleigh.org.

Philip M. Rosoff: 1+1 Photos.

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

What in the World Is a Grain Mummy? Egyptology and art.

Thru Jan 8. NC Museum of Art, Raleigh. ncartmuseum.org.

Lynn Saville: Photos. Oct 18-Nov 9. Through This Lens, Durham. throughthislens.com.

Elissa Farrow Savos Mixed media. Thru Oct 30. Gallery C, Raleigh. galleryc.net She Who Tells a Story Thru Dec 1. Ackland Art Museum, Chapel Hill. ackland.org.

Southbound: Photographs of and about the New South Thru Dec 21. Gregg Museum of Art & Design, Raleigh, an Power Plant Gallery, Durham. powerplantgallery.com.

TUESDAY, OCTOBER 29

HEATHER HAVRILESKY If you’ve cycled through advice from your best friend, your mom, and the negging daily suggestions of the Co-Star app, perhaps you have found your way to “Ask Polly,” the witty New York Magazine column written by Heather Havrilesky. A Duke graduate and former Durhamite, Havrilesky has mastered the art of doling out advice, with columns that usually begin with some acerbic tough love and trickle down to a gentle “I’ve been there,” which is really what most people are looking for, anyway. Her new essay collection, What If This Were Enough?, takes on the more sprawling, difficult question of “how we ingest and metabolize” the “broader poisons of our culture.”

Nothing—not even Co-Star—can give us a perfect roadmap for navigating the mess of romance and careers and materialism, but Havrilesky’s cultural criticism is a wise balm for confusing times.

—Sarah Edwards

THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

Heather Havrilesky PHOTO BY WILLA SOMA

READINGS & SIGNINGS

Ricky Moore Saltbox Seafood Joint Cookbook. Sat, Oct 26, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Cat Warren What the Dog Knows. Wed, Oct 23, 6 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Pamela Newkirk Diversity, Inc. Mon, Oct 28, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Caroline Watkins Giracula.

Sun, Oct 27, 10:30 a.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Shawn Keller Cooper Drawing Down the Moon. Tue, Oct 29, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Ann Patchett The Dutch House.

Sold out. Sun, Oct 27, 2 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Markus Zusak Bridge of Clay. Thu, Oct 24, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Karla FC Holloway A Death in Harlem. Wed, Oct 16, 6:30 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Ann Patchett The Dutch House. Mon, Oct 28, 10 a.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

LECTURES, ETC.

Kevin M. Levin Searching for Black Confederates. Wed, Oct 30, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Rochelle Riley The Burden.

Thu, Oct 24, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Eric Mitchko Siegfried.

Tue, Oct 29, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com

Mab Segrest Memoir of a Race Traitor. Thu, Oct 24, 6 p.m.

Duke Campus: Rubenstein Library, library.duke.edu.

Camile Andros From a Small Seed: The Story of Eliza Hamilton. Sat, Oct 26, 11 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Li-Young Lee Thu, Oct 24, 7:30 p.m. Regulator Bookshop, Durham. regulatorbookshop.com.

stage OPENING Jeremy Alder, Drew Robertson, Freddy Valoy Comedy. $10. Sun, Oct 27, 8 p.m. Motorco Music Hall, Durham. motorcomusic.com.

Amateur Drag Night Thu, Oct 24, 9:30 p.m.

Ruby Deluxe, Raleigh. rubydeluxeraleigh.com.

Be More Chill NRACT. Musical. $20-$22. Fri: 8 p.m.

Sat: 8 p.m. Sun: 3 p.m. Oct 25-Nov 10, North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

Matt Braunger Comedy. Thu: 8 p.m. Fri-Sat: 7:30 p.m. & 10 p.m. Oct 24-26, Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Michael Casey, Mat AlanoMartin, Dwight Simmons, Lauren Faber Magic and comedy. $10. Wed, Oct 23, 8:30 p.m. Local 506, Chapel Hill. local506.com.

Comedy in the Cave Comedy.

Wed, Oct 23, 7 p.m. The Cave Tavern, Chapel Hill. caverntavern.com.

Dead Parents Society Comedy. $15. Wed, Oct 30, 8 p.m. The People’s Improv Theater (PIT), Chapel Hill. thepit-chapelhill.com.

FRIDAY, OCTOBER 25

CONTRA-TIEMPO Contra-Tiempo PHOTO COURTESY OF NC STATE LIVE

Dracula Ballet. $20$24. Fri, Oct 25, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Rosie Revere, Engineer & Friends $12. Sun, Oct 27, 3 p.m. NCSU Campus: Stewart Theatre, Raleigh.

Friends of Dorothy Comedy. Thu, Oct 24, 9:30 p.m. The People’s Improv Theater (PIT), Chapel Hill. thepit-chapelhill.com.

Paul Rodriguez Comedy. $25+. Fri 7:30 p.m. & 9:45 p.m. Sat. 7 p.m. & 9:30 p.m. / Sun. 7 p.m. Oct 25-27, Raleigh Improv, Cary.

Teo Gonzalez Comedy. Sun, Oct 27, 7 p.m. Meymandi Concert Hall, Raleigh. dukeenergycenterraleigh.com.

Songs of Hope and Peace: A Sing-Along $35. Sun, Oct 27, 4 p.m. NorthStar Church of the Arts, City of Durham. northstardurham.com.

Paint and Punchlines Comedy and paint night. $59. Wed, Oct 30, 5 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

You’re a Good Man, Charlie Brown Raleigh Little Theatre.

Musical. $17. Thu-Fri: 7:30 p.m. Sat-Sun: 1 p.m. & 5 p.m. Oct 25-Nov 3 Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Yuks for Bucks Comedy. Sat, Oct 26, 6 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

ONGOING Aladdin Musical. $30+. Oct 2-26. Durham Performing Arts Center, Durham. dpacnc.com.

Around the World in 80 Days.

Theatre Raleigh. Play. $30.

Fri: 7 p.m. Sat: 2 p.m. & 7 p.m. Sun: 2 p.m. Thru Oct 27.

Kennedy Theatre. Raleigh. dukeenergycenterraleigh.com.

The Container Thru Oct 27, 6:30 p.m. CAM Raleigh, Raleigh. burningcoal.org.

Dairyland Playmakers Repertory Company. Play. $15+. Thru Nov 3. UNC Campus: Center for Dramatic Art, Chapel Hill.

Frankenstein Carolina Ballet.

Thru Oct 27. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Infinite Possibilities Thru Oct 27. Ward Theatre, Durham. wardtheatrecompany.com.

West Side Story NC Theatre.

Musical. Tue-Fri: 7:30 p.m.

Sat-Sun: 2 p.m. & 7:30 p.m.

Thru Oct 20. Memorial Auditorium, Raleigh.

Try to picture a happy warrior. It isn’t easy, is it? Even decades before the present animus threatened to tear the body politic in two, political protest has generally occupied an emotional range between sorrow and outrage. But what would radical joy look like? Could jubilation be an act of social and political resistance?

Choreographer Ana Maria Alvarez pondered the question at the end of the last presidential election and immediately began work on joyUS justUS, a performance piece mixing salsa, Afro-Cuban, hip-hop, and modern dance with spoken word and live music from the East Los Angeles band Las Cafeteras. The work concerns “how we can reframe the world and the way that we have been moving forward … from a perspective that’s not from patriarchy and racism and all these constraints that disconnect us,” Alvarez told the Los Angeles Times in 2018. As in the original iteration, the company collaborates with dancers from our region in a section of the work.

—Byron Woods

NCSU’S STEWART THEATRE, RALEIGH 8 p.m., $30, www.live.arts.ncsu.edu

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 10.23.19 | 31

screen SPECIAL SHOWINGS A Place To Stand followed by Q&A with Jimmy Santiago Baca Donation suggested.

Sun, Oct 27, 4:30 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Autobiography II: Struggle Fri, Oct 25, 7 p.m. Rubenstein Arts Center - Film Theater, Durham.

The Cabin in the Woods Beer Dinner $40. Mon, Oct 28, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Craft $13. Sun, Oct 27, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Crossing Delancey $7. Wed, Oct 23, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Death Becomes Her $5.

Wed, Oct 23, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Dumb Men Thu, Oct 24, 7 p.m.

Rubenstein Arts Center - Film Theater, Durham.

Elvira, Mistress of the Dark, Drop Dead Fred $10. Fri, Oct 25, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Fail State Wed, Oct 23, 6 p.m.

Varsity Theatre, Chapel Hill. varsityonfranklin.com.

Frida $7. Fri, Oct 25, 8 p.m.

NC Museum of Art, Raleigh. ncartmuseum.org.

The Infiltrators Wed, Oct 30, 7 p.m. Rubenstein Arts Center Film Theater, Durham.

PBS Kids at the Alamo $5.

Sat, Oct 26, 10 a.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Reading Father Mon, Oct 28, 7 p.m. Rubenstein Arts Center at Duke University, City of Durham.

Rocky Horror Picture Show Halloween Ball 7:30 p.m. $12.

Wed, Oct 30, Carolina Theatre, Durham. carolinatheatre.org.

Shaun of the Dead $8. Fri, Oct 25, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Shaun of the Dead $6. Sat, Oct 26, 7 p.m. The Cary Theater, Cary. thecarytheater.com.

32 | 10.23.19 | INDYweek.com

The Wolf Man $13. Fri, Oct 25, 10 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

OPENING Black and Blue—A rookie cop captures a murder by corrupt cops on a body cam in this timely thriller. Rated R. The Lighthouse—Birds caw, fog looms, and waves crash in this hallucinatory horror film about two lightkeepers, played

by Willem Dafoe and Robert Pattinson, who are trapped in a remote 1890s lighthouse.

Rated R. Countdown—Apps may kill us all, and in this horror film, they do. (The app in question is a countdown clock that predicts your time of death; not surprisingly, it may also be a killing mahine.) Rated PG-13

N OW P L AY I N G The INDY uses a five-star rating scale. Unstarred films have not been reviewed by our writers.

Abominable—A yeti must be reunited with his family in this computer-animated adventure.

Rated PG. Ad Astra—A tortured but calm Brad Pitt traverses the solar system in search of his lost father. Rated PG-13.

The Addams Family —In this star-studded new Addams installation, the macabre clan face-off with a reality television show host. Rated PG.  After the Wedding— Julianne Moore and Michelle Williams outshine the script, in this gender-flipped remake of the 2006 Danish drama. Rated PG-13. —Glenn McDonald ½ Angel Has Fallen— Secret Service agent Mike Banning is framed for an assassination attempt on POTUS. It’s not as wretched as London Has Fallen, and Nick Nolte as a conspiracy theorist is almost worth it.

Rated R.—Neil Morris Aquarela—Victor Kossakovsky’s documentary about the unruly beauty of water is set to a Finnish heavy-metal score. Rated PG.

Brittany Runs a Marathon— This comedy mines body image for laughs but does so with uplift rather than cringes, as a woman makes positive changes in her life by running a marathon. Rated R.

Jexi—A man’s life is ruined by his phone, when an AI program goes haywire. Rated R.

The Death of Dick Long—A couple of ne’er-do-wells in small town Alabama find themselves covering up a crime, when their bandmate bro turns up dead. Rated R.

Joker—At first, the buzz around this star vehicle for Batman’s greatest villain was all about Joaquin Phoenix’s intense turn in a role Heath Ledger made famous. But as more details of the plot have emerged, there’s been a justified backlash about what sounds like an antihero myth for violent incels. Rated R.

Downton Abbey—King George V and Queen Mary pay a visit to the abbey and cause a flurry of activity in this spin-off of the television series. Rated PG.

Judy—Renee Zellweger, in a role that will likely make her an Oscar frontrunner, plays Judy Garland during the last few years of her life. Rated PG-13.

 Fast & Furious Presents: Hobbs & Shaw—The testosterone-driven repartee between Dwayne Johnson and Jason Statham is the only reason to endure this cartoonish, logically and temporally challenged CGI fest. Rated PG-13. —NM

½ The Lion King— Jon Favreau’s photorealistic palette is the boon and bane of Disney’s “live-action” computer rendering of an animated classic. Rated PG. —NM

 The Farewell— A family travels to China to say goodbye to the family matriarch, who is dying of cancer. The twist? They feel that it’s more benevolent to not tell her she’s dying.

Rated PG. —Sarah Edwards The Gemini Man —Will Smith always seems to be being hunted by mutants and/or clones; in this horror flick, the clone killer is his younger self.

Rated PG-13.

The Goldfinch—Jezebel put it best: “Everyone already hates The Goldfinch,” which makes a pretentious muck of Donna Tartt’s Pulitzer-winning novel of art and grief. Rated R. ½ Good Boys—In this Superbad for tweens, a trio of sixth-grade BFFs have misadventures as they try to find the cool-kids party. The profuse profanity is cut by the kids’ infectious charm.

Rated R. —NM Hustlers—The true story of strippers drugging and stealing from Wall Street stock traders is the stuff think pieces are made of. Rated R. IT Chapter Two—The mixed reviews for the second part of Stephen King’s killer-clown opus mainly agree that it’s just not that scary. Rated R.

Lucy in the Sky—This Noah Hawley film gives an existential touch to the story of disgraced astronaut Lisa Nowak (see: every tabloid story in 2007).

Rated R. Maleficent: Mistress of Evil— Angelina Jolie was perhaps born to do many things, but surely playing one of Disney’s greatest villianesses is one of them.

Rated PG.  Once Upon a Time In Hollywood—Quentin Tarantino portrays the late-sixties Hollywood film industry and vaguely mumbles something about the Manson family in this tedious, irrelevant exercise in bland nostalgia for a bygone era of unaccountable hypermasculinity. Rated R. —Marta Núñez Pouzols  The Peanut Butter Falcon—This heartwarming Tom-and-Huck tale features a breakout performance by Zack Gottsagen, who has Down syndrome, and a soulful Shia LaBeouf. Rated PG-13. —GM  Raise Hell: The Life and Times of Molly Ivins—This spirited documentary pays homage to Molly Ivins, a native Texan and the daughter of an oil tycoon who bucked both geography and genealogy to become a leading voice of the liberal left for more than fifty years. Unrated.

Zombiepalooza PHOTO COURTESY OF THE TOWN OF CARY FRIDAY, OCTOBER 25

ZOMBIEPALOOZA Deep inside each living soul, a dead thing stirs each year in Cary, sometime around Halloween. Friday night, when The Cary Theater’s Zombiepalooza celebrates the all-too-corruptible flesh for the fourth consecutive year, the living dead retake the city’s downtown district with rigor (mortis, that is) as citizens decompose themselves, dressing down as their favorite corpse. The evening starts with a showing of a dozen new horror shorts by local filmmakers, including Evan Catlin’s Bustin’ Rhymes: A Zombie Spitacular, Patrick Goodwin’s The Meat Up, and Cameron Bertolini’s A Zombie Cacophony. A cosplay costume contest and a Twinkie break (to satiate the fans of the 2009 film Zombieland) follow. After that, any survivors will screen The Dead Don’t Die, Jim Jarmusch’s recent hipster horror film starring Tom Waits, Bill Murray, Tilda Swinton, and Iggy Pop. —Byron Woods

THE CARY THEATER, CARY 7 p.m., free, www.thecarytheater.com

Rambo: Last Blood—The Vietnam War was a long time ago now, but wily veteran Rambo is still out here, this time waging one-man war on a drug cartel. Rated R. Ready or Not—A new bride is drawn into a brutal game of hide-and-seek with her husband’s wealthy family in this class-ragey, horrorcomedy-thriller. Rated R. Scary Stories to Tell in the Dark—The classic anthology of ghoulish tales gets mined for incidents in this horror throwback. Rated PG-13.

½ Spider-Man: Far from Home—It’s a bedrock truism that a superhero story is only as good as its villain, and Mysterio’s motivations are entirely and conspicuously dumb. Rated PG-13. —GM  Toy Story 4—A spork’s severe ontological distress ballasts a half-daring, half-predictable extension of a beloved animated franchise. Rated G. —NM Zombieland: Double Tap—A heartland sequel to the 2009 cult classic. Rated R.

indyclassifieds FOR SALE

auctions ONLINE ONLY AUCTION

Remaining Inventory & Assets of Safe Express Inc., Begins Closing 10/31 at 12pm, Box Trucks, Pallet Jacks, File Cabinets, Desks and much more, ironhorseauction.com, 800.997.2248, NCAL 3936

AUCTION - ACRAGE IN MONROE, NC

10+/-Acres located on HWY 601 in Monroe, NC, Online Only, Begins Closing 11/7 at 2pm, Rolling Pastures, Outbuildings and Small Private Lake, ironhorseauction.com, 800.997.2248, NCAL 3936

for sale SMART HOME INSTALLATIONS?

Geeks on Site will install your WIFI, Doorbells, Cameras, Home Theater Systems, & Gaming Consoles. $20 OFF coupon 42537! (Restrictions apply) 877-372-1843

NOTICES DURHAM COUNTY BOARD OF ELECTIONS

Notice of Resolution to Adopt a Time for Counting of Absentee Ballots On 8/9/2019, the Durham County Board of Elections met at 201 E Main St., Durham, and adopted a resolution of the following effect: 1. The Board of Elections shall meet at 2:00 p.m. on Election Day, Tuesday, 11/5/2019 at 201 E Main St., Durham (Room 126), to count absentee ballots. 2.

The results of the absentee ballot count will not be announced before 7:30 p.m. on the date of the primary/ election. 3. The Board of Elections shall meet at 9:00 a.m. on Thursday, 11/14/2019 at 201 E Main St., Durham (Room 126), to count additional timely-received absentee ballots prior to the county canvass. 4. Any member of the public may attend these meetings.

NOTICE TO CREDITORS

ALL PERSONS, firms and corporations having claims against JAMES E. GRAHAM Sr., deceased, of WAKE, NC, are notified to exhibit the same to the undersigned on or before JANUARY 20, 2019, or this notice will be pleaded in bar of recovery. Debtors of the decedent are asked to make immediate payment. This TWENTY-THIRD day of OCTOBER, 2019. JAMES E. GRAHAM Jr., Executor, 7304 KRUME CT., APT. 1121, RALEIGH, NC 27613. INDY Week: 10/23, 10/30, 11/6, 11/13.

SERVICES

BODY • MIND • SPIRIT

financial OVER $10K IN DEBT?

Be debt free in 24-48 months. Pay a fraction of what you owe. A+ BBB rated. Call National Debt Relief 844-314-8819.

home improvement BATHROOM RENOVATIONS. EASY, ONE DAY UPDATES!

We specialize in safe bathing. Grab bars, no slip flooring & seated showers. Call for a free in-home consultation: 877-898-3840

computer COMPUTER ISSUES? FREE DIAGNOSIS BY GEEKS ON SITE!

Virus Removal, Data Recovery! 24/7 EMERGENCY $20 OFF ANY SERVICE with coupon 42522! Restrictions apply. 866-996-1581 (AAN CAN)

services ATTENTION TIMESHARE OWNERS!

Were you victim to dishonest sales tactics? Overpromised?! Overpaid?!

We’ll legally resolve your timeshare nightmare and stop the payments!

CALL Timeshare Compliance FREE CONSULTATION! 855-940-1773

EMPLOYMENT AIRLINES ARE HIRING

Get FAA approved hands on Aviation training. Financial aid for qualified students - Career placement assistance. CALL Aviation Institute of Maintenance 866-441-6890

MISC. BECOME A PUBLISHED AUTHOR!

We edit, print and distribute your work internationally. We do the work… You reap the Rewards! Call for a FREE Author’s Submission Kit: 844-511-1836. (AAN CAN)

919-416-0675

www.harmonygate.com holistic health TAI CHI

Traditional art of meditative movement for health, energy, relaxation, self-defense. Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-360-6419 or www.magictortoise.com

massage MICHAEL SAVINO MASSAGE Swedish, deep tissue, stones Great rates/same day Feel better now 919-428-3398 (licence#703)

medical START SAVING BIG ON MEDICATIONS!

Up To 90% Savings from 90DAYMEDS! Over 3500 Medications Available!

Prescriptions Req’d. Pharmacy Checker Approved. CALL Today for Your FREE Quote. 844-290-0096

MEDICAL BILLING & CODING TRAINING

New Students Only. Call & Press 1.

100% online courses. Financial Aid Available for those who qualify.

Call 833-990-0354

BOOK YOUR AD • EMAIL AMANDA: CLASSY@INDYWEEK.COM

misc.

CASH

paid for your unwanted Inogen or Respironics portable oxygen concentrators! Call NOW for top-dollar offer. Agents available 24/7. No CPAP/TANKS. 877-765-3306

HAVE YOU OR YOUR CHILD

suffered serious LUNG ISSUES from JUULing or Vaping? Let our attorneys fight for you! Get the justice you deserve! Call 844-322-6069

SOCIAL SECURITY DISABILITY BENEFITS

Unable to work? Denied benefits?

We Can Help! Strong, recent work history needed. Call to start your application or appeal today! 888351-1231 [Steppacher Law Offices LLC Principal Office: 224 Adams Ave Scranton PA 18503]

products ONE-STOP-SHOP FOR ALL YOUR CATHETER NEEDS

We Accept Medicaid, Medicare, & Insurance. Try Before You Buy. Quick and Easy. Give Us A Call 866-282-2506 (AAN CAN)

AUTO AUTO INSURANCE STARTING AT $49/ MONTH!

Call for your fee rate comparison to see how much you can save! Call: 855-569-1909. (AAN CAN)

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming November 20:

WAKE COUNTY For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 10.23.19 | 33

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

su | do | ku

this week’s puzzle level:

© Puzzles by Pappocom

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

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

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

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

Best of luck, and have fun! www.sudoku.com solution to last week’s puzzle

34 | 10.23.19 | INDYweek.com

10.23.19

CLASSY AT INDYWEEK DOT COM Book your ad • Email amanda: classy@indywEEk.com

chat

PLACE YOUR AD ON THE

#1 CHAT IN RALEIGH

Instant live phone connections with local women & men.

Try it FREE! 18+ 919.899.6800, 336.235.7777 www.questchat.com

100’S OF HOT URBAN SINGLES

are waiting to Chat1 Try it FREE! 18+ 919.861.6868, 336.235.2626 www.metrovibechat.com

back page CONTACT AMANDA: CLASSY@INDYWEEK.COM LAST WEEK’S PUZZLE

Book your ad • Email amanda: classy@indywEEk.com

INDYweek.com | 10.23.19 | 35

EXPERIENCE

THE JAPANESE ART OF

D E E P R E L A X AT I O N

WOMEN'S HEALTH STUDY (PRO00102284)

919-286-1916 @hunkydorydurham CA$H for Records.

Dank beers on tap.

Are you a woman at least 18yrs old & English-speaking?

Were you in a relationship w/a partner who abused you, but have been out of that relationship for at least 1yr?

• Must have smart phone and willing to be sent emails, texts.

NOW HIRING

We want to know— 1) Kind of symptoms you have & any patterns to those symptoms?

2) How easy or difficult it is to change symptoms?

3) What is it like to be in the study?

Financial compensation at the completion of each inperson session. Call 919-720-1294 if interested, for more information.

WEB & COMPUTER SERVICES SING OR SPEAK WITH POWER & CONFIDENCE! www.laureceweststudios.com

DANCE CLASSES IN LINDY HOP, SWING, BLUES At Carrboro ArtsCenter. Private lessons available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

JEFFREY RAFF, PHD "LIVING AN IMAGINAL LIFE" Lecture 7:30PM Friday 10/25/19 $15 Church of Reconciliation 919-604-0427 JungNC.org

Computer Upgrades and Repairs; Web Design & Development FutureWave.info Or call Bruce 984-215-7704 T H E U LT I M A T E

OUTDOOR SPA ASHEVILLE, NC S A LT T U B S , M A S S A G E , W E T CEDAR SAUNA, DOUBLE COLD SHOWERS AND OVERNIGHT AC C O M M O DAT I O N S

828•299•0999

WHAT IS THIS?

beerista Fridays & Saturdays 4-8p

HISTORY TRIVIA: •The president of Guinea, Sékou Touré, visited the Triangle on October 28, 1958. His dinner with Gov. Luther Hodges was likely the first integrated official dinner in the South since Reconstruction.

•Sir Walter Raleigh, the Elizabethan courtier and explorer, was executed in London for treason on October 29, 1618. NC’s capital was named Raleigh in his honor in 1792.

Courtesy of the Museum of Durham History

Well, it’s not an ad, but you’re still reading it!

Contact Amanda at classy@indyweek.com to place YOUR ad

BUSINESS STRATEGY. R.O.I. GUARANTEED. www.easilycreative.com

S H OJ I R E T R E AT S .C O M Starting at 49.00

Advertise with

UPCOMING SPECIAL ISSUES Nov 6

Fall Style

Dec 4

Gift Guide #2

Nov 20

Deep Dive: Wake County

Dec 11

Gift Guide #3

Nov 27

Gift Guide #1

Dec 18

Business Spotlight: Local Brands

Contact advertising@indyweek.com or John Hurld at 919-286-1972

BACK PAGE

Weekly deadline 12pm Monday classy@indyweek.com