INDY Week 8.16.17

On Monday, demonstrators toppled one of North Carolina’s roughly 100 Confederate monuments.

Now the legislature needs to finish the job.

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WHAT WE LEARNED THIS WEEK 8 Of the forty-one people who’ve donated to Democrat Charles Francis’s campaign for Raleigh mayor, nineteen have been Republicans. Only thirteen are fellow Dems.

9 Several Durham City Council members objected to spending $1.8 million on the Ravenstone and Stone Hill Estates subdivisions. Mayor Bill Bell thinks the city should have spent more.

11 Even household vacuum cleaners exceed the meager decibel level mandated by Durham’s noise ordinance.

DEPARTMENTS

VOL. 34, NO. 31

6 Triangulator 8 News 17 Food 20 Music 24 Arts & Culture 26 What to Do This Week 29 Music Calendar 33 Arts & Culture Calendar

12 With the closing of Manbites Dog Theater, a Durham arts district stands to lose the force that created it.

17 The retail meat business is too tough to sustain, so Rose’s Meat Market and Sweet Shop is getting out of it.

20 According to James Toth, aka Wooden Wand, tacos are the one thing touring musicians will agree on.

24 The fake TV show at the heart of Brigsby Bear exemplifies how entertainment hijacks human consciousness.

ON THE COVER:

DESIGN BY SHAN STUMPF

The statue atop the Confederate monument on Main Street in Durham was torn down by protesters Monday evening.

PHOTO BY ALEX BOERNER

INDYweek.com | 8.16.17 | 3

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf STAFF WRITERS Thomas Goldsmith,

Erica Hellerstein, Sarah Willets

MUSIC EDITOR Allison Hussey COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Alex Boerner CHIEF CONTRIBUTORS Drew Adamek, Elizabeth

Bracy, Timothy Bracy, Michaela Dwyer, Spencer Griffith, Corbie Hill, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Angela Perez, Hannah Pitstick, Noah Rawlings, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Cole del Charco, Sammy Hanf, Maddy Sweitzer-Lammé

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OPERATIONS

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4 | 8.16.17 | INDYweek.com

backtalk Agit-Prop

A number of readers responded to a colIn last week’s Triangulator, we discussed the shifting racial dynamics of North Caro- umn this weekend on the events in Charlottesville and President Trump’s culpability lina politics over the last century-plus.

Writer Terry Duff doesn’t like the insinu- in them. Here’s a quick sampling.

“His unwillingness to call out the white ation of one of the points we made: “I enjoy reading the INDY every week, and I learn supremacists pretty much means he’s sida lot about local and state politics, dining ing with them,” writes David Hewitt.

“By his action, or better yet inaction, and entertainment. The August 9 issue was no different, thank you. Unfortunately, I Trump has clearly shown that those old learned a totally useless fact in the ‘Brief rumors about him being a racist are true,” writes Tim Hergenrader. “If he can’t or History of N.C. Racial Politics.’

“As a voter, I would never vote for some- won’t single out the KKK and Nazis and call one based on race. A candidate must have them for what they are—white supremamy traditional conservative values. But cists, evil to the core—he lacks the moral Triangulator points out that every Repub- fiber to lead this country. If the Republican lican legislator is white. They were elect- Party doesn’t condemn them and him, they are also morally bankrupt.” ed on small government, less In response to our coverage regulation, lower taxes, per“His of Sunday’s anti-racism rally sonal freedom and responsibility, support of police, unwillingness at CCB Plaza in Durham, Dorothea Brooks writes, “For and law and order platforms. to call out some—like the rabid faux-left These are the traits that the white ‘independent’ media—it was made America great and getting back to them will ‘Make supremacists disappointing that the Charlottesville false flag event did America Great Again’ for all means he’s not precipitate race riots and races. Is noticing and pointsiding with further civil strife. Most peoing out someone’s race conple are too sensible to buy sidered racist?” them.” into INDY agit-prop.”

Rhys Botica, who owns OK, then.

Surf Club, responds to a letter On Friday, we also noted that appeared in last week’s Backtalk about Batalá Durham and noise a report that Russia had tried to hack the near the Liberty Warehouse Apartments, electronic voting system used in several in which writer Chris Allen mentioned an North Carolina counties, including Durham.

“If anyone thinks this is the end of voter “outdoor d.j. party” that lasted until two a.m.

“Surf Club received a noise complaint interference, think again,” writes Chris from the Liberty Warehouse,” Botica writes, Jay. “Suffice it to say, if you’re registered “and officers from the Durham Police as a Democrat, live in a Democrat-leaning Department asked us to turn down the out- county, or even are an independent who door speakers. This was not an outdoor has a history of voting Democrat (which event. We are in the process of removing is public record), your vote can easily be our outdoor speakers that face toward the compromised.”

“Russia and the Republicans didn’t need rear of the building because of this. When we have had d.j. fundraisers or events out- to change votes,” adds Andrew Robinson. doors at Surf Club, we have endeavored to “They just needed to create some chaos. If move the performers indoors at eleven, not folks found long waits when they were trying to vote at the beginning the day when two a.m., as you suggest.

“As a business owner who, along with they had to get to work, they may have many others, have helped create the ‘vibe’ given up.”

Liberty sold itself on, it is frustrating to say the least. We support Batalá, and I was at Want to see your name in bold? Email us at Central Park [last] Monday when they were backtalk@indyweek.com, comment on our shut down. This is the tip of the iceberg, and Facebook page or indyweek.com, or hit us up on Twitter: @indyweek. it is affecting all of us.”

INDYweek.com | 8.16.17 | 5

MEMORIAL TO CIVIL WAR SOLDIERS OF THE UNIVERSITY Chapel Hill, UNC campus DEDICATED: 1913 WHAT YOU SHOULD KNOW: “Silent Sam” is a memorial to the 321 UNC alumni who died during the Civil War. (The bronze statue is actually modeled after a former Boston policeman and was sculpted by a Canadian.) During its dedication, former Confederate soldier and industrialist Julian Carr recalled that just one hundred yards away, he had “horse-whipped a Negro wench, until her skirt hung in shreds, because upon the streets of this quiet village she had publicly insulted and maligned a Southern lady.”

DURHAM

HENRY LAWSON WYATT MONUMENT Raleigh, State Capitol Grounds DEDICATED: 1912 WHAT YOU SHOULD KNOW:

CHAPEL HILL

triangulator

Wyatt was the first Confederate soldier to die in the Civil War. He fell on June 10, 1861, in Bethel— a fact in which North Carolinians took great pride. For decades after the war, they argued that Wyatt’s death was a testament to the state’s loyalty to the Confederacy.

TEAR TH EM ALL

CONFEDERATE MONUMENT, DURHAM Durham, Old Durham County Courthouse DEDICATED: 1924 WHAT YOU SHOULD KNOW: Before this fifteen-foot-tall monument to “the boys who wore the gray” was toppled by demonstrators Monday night, it stood alongside smaller monuments to soldiers in World Wars I and II as well as Korea and Vietnam.

MONUMENT TO THE NORTH CAROLINA WOMEN OF THE CONFEDERACY Raleigh, State Capitol Grounds DEDICATED: 1914

WHAT YOU SHOULD KNOW:

This seven-foot statue was erected to honor the hardships faced by Confederate women during the war. It shows an older woman passing along a history of the Civil War to a young boy.

SAMUEL A’COURT ASHE MONUMENT Raleigh, State Capitol Grounds DEDICATED: 1940 WHAT YOU SHOULD KNOW:

Ashe was the Confederacy’s last surviving commissioned officer; he died in 1938 at the age of ninety-eight.

Ashe was also a legislator, newspaper editor—he purchased the Raleigh Daily Observer and merged it with the Raleigh Daily News in 1880—and writer, best known for his book A Southern View of the Invasion of the Southern States and the War of 1861– 1865, in which he called President Lincoln a “usurper.”

CONFEDERATE MONUMENT Raleigh, State Capitol Grounds DEDICATED: 1895 WHAT YOU SHOULD KNOW:

When this seventy-five-foottall monument to the Confederate dead was proposed, Republicans and populists argued that its $22,000 cost would be better spent on education. They also protested a special tax used to subsidize the monument’s construction.

DOWN On Monday, in response to the weekend’s events in Charlottesville, demonstrators in Durham with the Workers World Party and other leftist groups brought down a statue atop a monument to “the boys who wore the gray,” which had stood in front of the old county courthouse since 1924.

While the Durham Police Department seemed content to wash its hands of the matter, the Durham County Sheriff’s Office was not. On Tuesday, the DCSO announced that it would seek charges against those who vandalized the monument.

Even some who believe the monuments should be torn down—including Governor Cooper—chided the demonstrators for their tactics. “The racism and deadly violence in

Charlottesville is unacceptable,” Cooper tweeted, “but there is a better way to remove these monuments.”

Except there’s not.

In 2015—after a white supremacist massacred nine people at a black church in South Carolina—the General Assembly passed a law blocking local governments from removing them without the state’s permission.

There are about a hundred monuments to the Confederacy in North Carolina. They weren’t erected immediately after the war to honor the fallen; rather, most were built decades later to send a message to African Americans about who was really in charge.

They are monuments not to the Civil War’s dead but to

white supremacy itself, and the fact that they exist on government property in 2017 is shameful.

They need to come down— legally if possible, though we’ll not shed any tears for the toppled Durham monument or any others that meet a similar demise. At minimum, the legislature should allow municipalities to reflect the desires of their residents, not force us to “honor” those who fought in service of white supremacy.

The neo-Nazis in Charlottesville—ostensibly marching to protest the removal of a monument to Robert E. Lee—weren’t there for historic preservation.

They were there because they understand what these monuments are really about.

We should, too.

HOLLY SPRINGS

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CONFEDERATE MONUMENT Holly Springs United Methodist Church DEDICATED: 1923

RALEIGH

WHAT YOU SHOULD KNOW:

Erected in front of the Leslie-Alford-Mims House, the twenty-nine-foot-tall monument now sits off to the side of a church parking lot. Inscriptions list the names of the dead, while plaques on the sides remember “their sons who were in” the SpanishAmerican War and First World War.

SOURCE: Documenting the American South, Commemorative Landscapes of North Carolina, University of North Carolina

“SILENT SAM” PHOTO BY JEREMY M. LANGE

+BLOOD ON HIS HANDS

Donald Trump did not murder Heather Heyer, the thirty-two-year-old paralegal who was killed when a car allegedly driven by neo-Nazi James Fields Jr. plowed into a crowd of counterprotesters in Charlottesville. But he shares some responsibility for her death.

After all, Trump lit the fuse.

Sure, there was already a powder keg.

There were racial resentments that boiled to the surface during the Obama presidency, manifesting in the tea partyers and the birthers, both of whom Trump nurtured and “mainstream” Republicans tolerated so long as it suited them.

But from the second Trump announced his candidacy, he’s played footsie (or worse) with white nationalists. He’s elevated racists like Jeff Sessions and Stephen Miller and neo-Nazi sympathizers like Stephen Bannon and Seb Gorka to positions of power. He’s refused to call out bigots who rallied to his banner. He built a campaign rooted in a fear of the other—Mexicans, Muslims, refugees, African Americans— premised on nostalgia for white hegemony.

The losers who marched this weekend, bearing tiki torches and Nazi flags, were there in his name. Trump made it OK for them to step out of the shadows. (Fields’s mother told the Associated Press that she thought her son was traveling from Ohio to Virginia for an event that “had something to do with Trump.” She wasn’t wrong.)

When violence forced Trump to say something on Saturday, all the vainglorious chump could muster was some blather

about blame “on many sides,” as if Nazis and those who don’t like Nazis have moral equivalence. Trump also insisted that we need to “cherish our history,” an unsubtle nod to the KKK types who descended on Charlottesville to defend a monument to Robert E. Lee. It took nearly twenty-four hours for the White House press shop to try to clean that up, publishing an unsigned statement on Sunday saying that “of course” Trump’s condemnation of violence “includes white supremacists, KKK, neo-Nazis and all extremist groups.” On Monday, the president took a third stab at it, begrudgingly reading from a teleprompter that “racism is evil.”

To condemn Nazis after deadly Nazi violence is the easiest political layup imaginable. Yet Trump declined until his hand was forced. This would be inexplicable if the reason wasn’t so patently obvious: Trump is terrified of aggravating his base.

Several prominent conservatives have been more forthright. A few, including Senators Cory Gardner and Marco Rubio, have criticized the president’s tepidity.

Closer to home, Senator Thom Tillis tweeted, “The hate, bigotry and violence on display in #Charlottesville is despicable and represents the complete opposite of what America stands for.” On Facebook Monday, Senator Richard Burr said, “Violence has no place in our society and we must come together as a country to condemn these acts.”

Their words are nice (though, should you really expect a cookie for saying “Nazis are bad”?). Actions would be better.

So long as they enable Trump, Republican leaders are complicit in the moral

stain that he represents. And so long as the stain Trump represents goes unanswered, the more this rot will fester, the more this hatred will boil, and the more likely it is that others will share Heyer’s fate.

At the very least, every Republican—looking at you, Tillis and Burr—should demand that Trump immediately fire Gorka, Miller, and Bannon. Bannon, of course, offered the goose steppers a safe space on Breitbart. Miller, who palled around with white supremacist Richard Spencer at Duke, has been behind the administration’s attacks on refugees and immigrants. Gorka has ties to a right-wing Hungarian group that was allied with Nazis. In any normal administration, histories half that repugnant would have prevented them from getting anywhere near the Oval Office. In Trump’s, they’re top advisers.

That the president hired them is a testament to Trump’s amorality. That Republicans haven’t forced the issue is a testament to their pusillanimity.

For the rest of us, what happened in Charlottesville this weekend should serve as a wake-up call. These voices of virulent hatred and demagoguery aren’t going to go away on their own; they need to be shamed and marginalized and defeated and thrown onto the scrap heap of history.

In her last Facebook post, Heather Heyer quoted the familiar maxim, “If you’re not outraged, you’re not paying attention.”

Let her memory remind us to stay vigilant, to stay outraged, to never lose sight of what we’re up against, to never stop fighting. triangulator@indyweek.com This week’s report by Jeffrey C. Billman.

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indynews

Strange Bedfellows

BIG-SHOT RALEIGH REPUBLICANS ARE BACKING DEMOCRATIC MAYORAL CHALLENGER CHARLES FRANCIS, WHILE TOP DEMS ARE SUPPORTING THE UNAFFILIATED INCUMBENT, NANCY MCFARLANE BY THOMAS GOLDSMITH In late July, the Wake County Democratic Party did something it hadn’t done before: endorse a challenger to Raleigh mayor Nance McFarlane. Instead it backed Charles Francis, a banker and lawyer—and, most important, the first viable Democrat to run against the unaffiliated McFarlane since she took office in 2011.

It was less a rebuke to the mayor than an example of blind partisan loyalty. As party chairwoman Rebecca Llewelin explained to The News & Observer, the party’s “mission should be to elect Democrats to office.”

But before Francis received that endorsement, he raked in substantial campaign donations from high-profile North Carolina Republicans, including former state senator Fred Smith, a sponsor and vocal supporter of Amendment 1, and Kieran Shanahan, a GOP operative and former public safety director under Governor McCrory.

In an interview, Francis says donations from nineteen registered Republicans—compared to only thirteen registered Democrats, out of forty-one total donors— did not signify shared ideology but arose from professional relationships he built.

The Oak City native had taken in $74,800, including $19,450 he lent to his campaign,

by June 30, a little more than a week after forming his campaign committee June 21.

Additional prominent Francis donors include Burley Mitchell, a retired chief justice of the N.C. Supreme Court who is registered as unaffiliated, and Deborah Holder, a Raleigh Democrat who is the sister-inlaw of Eric Holder, a U.S. attorney general under President Obama.

McFarlane, on the other hand, has received donations from such Democratic stalwarts as Attorney General Josh Stein, Wake County District Attorney Lorrin Freeman, and Wake County Board of Commissioners chairman Sig Hutchinson. In fact, McFarlane had received donations from roughly five times as many Democrats as Republicans through the end of June, records show.

8 | 8.16.17 | INDYweek.com

Charles Francis

PHOTO BY THOMAS GOLDSMITH

“I will continue to share with the Democratic Party the values of inclusivity, support for public schools, protection of the environment, and economic opportunities for all, and I’m proud of the continued support I have from many Democrats across the city,” McFarlane says.

Other Democratic McFarlane donors include Charles Meeker, Raleigh mayor from 2001–11, and former state representative Deborah Ross, a U.S. Senate candidate in 2016. McFarlane, who cofounded the specialty pharmacy company MedPro Rx, took in $76,535 in the first reporting period.

(A third mayoral candidate, Republican Paul Fitts, has previously run for elective office in Wake County. As of filing day, his only spending was the $100 fee he paid to enter the race.)

An INDY analysis of the first batch of donations raises questions about the value of party loyalty and endorsements in a race where affiliation is not supposed to matter and candidates have some level of support from both parties. Complicating the matter—and reflecting a national trend— voters registered as unaffiliated in Wake

County have increased by 48 percent since 2011, when McFarlane was first elected.

Events in the campaign’s early days illustrate the ways in which business ties and other local affiliations can outweigh, but not completely overshadow, the influence of the state’s parties.

Francis offers two reasons for the donations he’s received from Republicans.

“I am a native of Raleigh, and many of the donors are people I have known since I was young,” says Francis, who attended public schools in Raleigh before earning degrees from Princeton University and Duke Law School. “The second reason is the breadth of my relationships since I returned to Raleigh in 1991.”

After serving as a federal prosecutor in Georgia, Francis started a Raleigh law practice and became a founding director of North State Bank, where Fred Smith is chairman of the board. At least six of Francis’s donors are board members at the bank.

“I am proud to have Fred as a colleague and friend,” Francis says.

Veterans of the same-sex marriage controversy in North Carolina remember Smith, then a conservative state senator from Johnston County, as a sponsor of a constitutional amendment banning gay marriage. Amendment 1 was approved by 61 percent of voters statewide in 2012, but a federal judge overturned it two years later.

Francis disclaims any connection with anti-LGBTQ views.

“That's not my position,” he says. “I am a strong supporter of the LBGTQ movement, and I am going to use the bully pulpit to speak on LBGTQ issues.”

Smith declined to comment on policy matters, saying his political life is over.

“Charles and I have a business association at North State Bank,” he says. “And when I ran for Senate about eighteen years ago, right around 2000, I really worked hard to get the African-American vote in Johnston County. Charles, despite the fact that he’s a Democrat, despite the fact that he’s from

Wake, he came down and spoke for me. He is an outstanding man and a man of character.”

Francis also cites a long relationship with Shanahan, who has served as a tough GOP strategist from his days as a strong conservative voice on the Raleigh City Council to his redrawing of Wake County school board and county commission districts for the General Assembly and his brief tenure in McCrory’s cabinet.

Brian Fitzsimmons, a McFarlane supporter and former chairman of the Wake Democrats, says questions about crossparty donations are to be expected.

“If I ran for office and if I were in that position, I would expect that I’d get questions, especially since I’m a registered Democrat,” Fitzsimmons says. “It’s kind of the nature of the beast.”

Asked about Francis’s GOP contributors, McFarlane’s campaign declined to comment directly. “Our campaign will continue to talk about Raleigh’s success, because unlike the federal and state governments, we have been able to rise above partisanship to work together and find solutions,” campaign manager James Sonneman says in a statement.

McFarlane points to her record, including a poll of residents showing a high level of satisfaction about life in Raleigh, brokering a deal to create Dix Park, breaking ground on the new Union Station transport hub, and overseeing hundreds of millions of dollars pouring into the city in new businesses and expansions of existing business.

Francis has criticized McFarlane for being distant and “aloof” from citizens, especially with regard to her handling of the controversy surrounding resident input and the city’s nineteen citizen advisory councils.

Still, McFarlane has chalked up large margins of victory in small-turnout elections in 2011, 2013, and 2015. Whether Francis’s change-oriented rhetoric will be enough to overcome the incumbent’s advantages remains to be seen. tgoldsmith@indyweek.com

news

Unfinished Business

DURHAM WILL SPEND NEARLY $2 MILLION TO HELP HOMEOWNERS LEFT IN A LURCH BY A BANKRUPT DEVELOPER

BY COLE DEL CHARCO After a heated debate last week, Durham City Council members narrowly approved spending more than $2.16 million—of which $1.8 million will come from taxpayers—on improvements in the Ravenstone and Stone Hill Estates subdivisions, after the subdivisions’ developer, MacGregor Development, left that infrastructure unfinished.

The city will now pay 85 percent of the cost of repairing roads and adding stormwater drainage; in a 6–1 vote in 2015, the city council had agreed to pay only 50 percent, with the homeowners paying the rest.

Council members Steve Schewel, Jillian Johnson, and Charlie Reece opposed the decision.

“I do think that the people in the neighborhood had a risk, like we all do, when they moved in, just like we all do when we buy a property,” Schewel said. “So, I do think there’s a good rationale for the fifty-fifty.”

On Facebook the morning after the council meeting, Johnson called the council’s decision “completely bizarre and confusing.”

The city agreed to “give a crap ton of taxpayer money to people who bought houses on spec with unfinished infrastructure and don’t think they should have to contribute anything to finish it.”

After the Great Recession, lots of real estate projects halted when developers went bankrupt, leaving many subdivisions without good roads and drainage. Durham was able to find new developers and locate bond money for most of these projects. In a few cases, however, that didn’t happen. For those developments, the city agreed to pay 10 percent of the cost homeowners would incur.

Ravenstone and Stone Hill Estates were different. The city had underwritten the surety bonds that the companies insuring those developments were supposed to use to pay for the remaining infrastructure costs. But those insurance companies—Surety and Indemnity Company and Selective Insurance Company of America—sued the city instead.

In 2014, a federal court ruled that the bonds the city underwrote only required the

“I do think people in the neighborhood had a risk, like when they moved in.”

insurance companies to pay for sidewalks, one inch of asphalt, and maintenance of the stormwater drainage system, not the developments’ construction or any of the larger costs. (The insurance companies have paid for the asphalt and sidewalks and will maintain the stormwater system once it’s installed. The top layer of asphalt was put in place this summer.)

The federal court’s decision turned on what the city considers a technicality, but even so, the insurers had gotten out of paying for most of the costs. Residents of the subdivision, however, argue that the city messed up, so it should be on the hook, not them.

“It’s important to note that the city is 100 percent at fault in the issues affecting our community, and our families are still being asked to pay an $800 penalty for their mistakes, mismanagement, and intentional neglect,” Michael J. Kerkau, the president of the subdivisions’ homeowners association, writes in an email. “What makes Ravenstone absolutely unique in the history of Durham is that, at the time the developer failed and literally disappeared, all of the required work could still be funded by the surety bonds, which were required. Our

problems began with these bonds.”

For development to proceed, Kerkau says, the city required specific wording to be included in those bonds; it was that wording that led a federal judge to rule that the insurance companies didn’t need to pay to fix the damage.

In 2015, after residents of the subdivisions pleaded for help, the city council decided to go beyond the 10 percent it paid to other developments. Instead, council members voted to pay 50 percent of the costs. Mayor Bill Bell cast the lone no vote, arguing that the city should pick up the entire tab.

Bell, who did not respond to the INDY’s requests for comment, has long argued that the city should shoulder more of the burden.

He was behind the push to revisit the issue last week. At the council meeting, he said the city should “foot the whole bill.”

“It’s not about treating people equal,” he said. “It’s about fairness.”

“Over the past decade,” says Kerkau, “as the unfinished infrastructure degraded and the ill-fated court case languished on [and] bankruptcies and foreclosures peppered our neighborhoods, the city built a posh new city and spent millions on new developments and

rehabilitation projects. … In the time since the developer’s failure, our residents paid more than $9 million in city taxes alone, but received only emergency services and trash pickup. Repeatedly, the Durham police have told me directly that there is virtually no crime in our community. All of this means that Ravenstone has been a cash cow for Durham for years. Yet we are still being asked to pay more to correct the city’s mistakes.”

The 221 homes in the Ravenstone subdivision have been appraised from anywhere from $172,000 to $259,000, according to county tax records, while the 187 townhomes in the nearby Stone Hill Estates range from $84,000 to $92,000. Several homeowners told council members last week that paying 50 percent would be financially disruptive.

If they had to pay half, each homeowner in Ravenstone would have forked over $287.81, which would have been paid in zero-interest installments over eight years, costing $35.98 per year. Homeowners in Stone Hill Estates would have paid $1,503.28, or $187.91 per year, according to city records.

Schewel, Johnson, and Reece thought that was a fair deal. In light of the fact that many residents moved into the neighborhood after it was clear the developer wasn’t going to finish the roads, Schewel said at the council meeting, the homeowners should pick up some of the tab.

“It’s hard to look at a group of people in a bad situation and not give them more,” Johnson added. “But I feel like there are a lot of people in the city who are in bad situations through no fault of their own.”

With the city forking over 85 percent, homeowners in the subdivisions will pay significantly less. Over an eight-year period, each lot in Ravenstone will pay $86.34, or $10.79 a year. Over that same period, each lot in Stonehill Estates will pay $450.98, or $56.37 per year.

That totals $326,400. The city will cover the remaining $1.8 million. backtalk@indyweek.com INDYweek.com | 8.16.17 | 9

10 | 8.16.17 | INDYweek.com

news

Joyful Noise

BATALÁ DURHAM GETS TO STAY DOWNTOWN, SETTING THE STAGE FOR BROADER DISCUSSIONS ABOUT THE CITY’S NOISE ORDINANCE AND PUBLIC SPACES

BY ALLISON HUSSEY To call downtown Durham on Monday night “lively” might be the understatement of the year: shortly after seven p.m., activists pulled down a Confederate memorial statue on Main Street. But a few blocks away, in Durham Central Park, the samba-reggae percussion ensemble Batalá Durham simultaneously hosted its weekly practice.

And, for the first time in several weeks, it was enjoying rehearsal without the threat of police intervention.

“All we want to share is one love,” declared Caique Vidal, the band’s leader, between rolling tides of percussion.

Since late June, the group has struggled with a number of noise complaints phoned in by a resident of the new Liberty Warehouse Apartments, which opened in May and are located across from the park on Foster Street. The band has had permission from DCP to practice there. But calls from one resident—who’s remained anonymous even to other Liberty residents—have resulted in Durham police pausing or outright ending the band’s rehearsals on multiple occasions.

By Friday morning, Batalá Durham had applied for a twelve-week special event permit to continue its Monday night rehearsals at the park through the end of October. City council member Charlie Reece delivered the petition to city manager Thomas Bonfield via email, writing, “The special event permit would allow Batalá Durham to continue their rehearsals at Durham Central Park in full compliance with the noise ordinance—and without putting our police officers in this situation going forward.”

That afternoon, Bonfield responded, noting that the permit was being considered and that Batalá should carry on with its August 14 gathering. He added, “I have asked the police department [that] should a complaint be made to simply respond and document what they find but not disrupt the rehearsal.”

The group is taking next week off, as Vidal and a few other members of the group trav-

Batalá Durham performs outside the Durham Bulls Athletic Park. el to Cuba. As of press time, Batalá hasn’t yet received its permit. But Bonfield’s initial response and support from city officials like Reece and fellow council member Jillian Johnson, as well as from many Liberty residents and other Durhamites, all indicate that Batalá Durham will get to stay.

Batalá’ Durham may be out of the woods, but the group’s struggle marks the beginning of some long-term changes in Durham as the city continues to develop.

“This isn’t the last go-round we’re going to have with this,” says Reece.

Reece notes that noise ordinances are enforced differently than other issues.

Reports and subsequent citations are almost exclusively complaint-driven, and their subjective nature can bring up the question of using the state to enforce taste. The same neighbor who might enjoy hearing a Shostakovich symphony at full blast may not be thrilled to hear a metal band at the same volume, for example. Reece says he’s also concerned about these complaints going to police, rather than neighbors working out the issues among themselves.

PHOTO BY YORK WILSON

And, as one legal expert argues, the current wording of Durham’s noise ordinance may even mean that it’s unconstitutional.

Jonathan Jones, a Durham-based First Amendment lawyer and communications instructor at Elon University, explains that the constitutional problems with noise ordinances are twofold.

“Whenever you’re evaluating a restriction on speech, there’s sort of two questions you ask yourself about the restriction at the beginning of that evaluation: Is this restriction on speech overly broad? Does it capture more than it is intended to capture?” he says.

Durham’s restrictions qualify as being overly broad, Jones says. It’s difficult for a resident with “ordinary sensibilities” to determine what kinds of activities, like a drum ensemble in a park, are or are not prohibited. The second problem, Jones says, is the specific decibel limitation.

“My view is that the sixty-decibel limit during the day creates an overly broad restriction on speech,” Jones says. “I’m no sound engineer, but if you start looking at the limits, things like running your lawn mower

are going to exceed sixty decibels.”

According to the National Institute of Health’s National Institute on Deafness and Other Communication Disorders, normal conversation levels generally register between 50 and 65 decibels. Vacuums and hair dryers operate at 70 decibels; a dishwasher and washing machine run at 75 and 78 decibels, respectively. (Durham’s ordinance caps permissible noise at 60 decibels from eight a.m. to eleven p.m., and 50 decibels during overnight hours.)

When officers arrived to end Batalá Durham’s practice last week, they didn’t have a decibel meter with them—it had been sent away to its manufacturer for a regular calibration, they said. But even if Batalá Durham was violating Durham’s ordinance, the bar to do so is almost shockingly low.

Many noise ordinances across the country have the same potential problems, but as Jones points out, they’re rarely challenged on a constitutional basis because the stakes are so low. Most of these infractions are lowlevel misdemeanors, and challenging them simply isn’t worth the time and financial resources (a violation citation in Durham lands you a $35 fine and $173 in court costs).

In his email to Bonfield, Reece said the city council will be taking another look at the noise ordinance to head off future problems.

But crafting a constitutional ordinance won’t be simple, Jones says. The city will have to craft one that more specifically outlines its criteria, and he suggests that residents get the opportunity to weigh in, too.

In the meantime, Batalá Durham is happy with its outcome, and is eager to help the city develop better practices for handling similar issues. Its members recognize that its struggles are not their own, and that the city council’s next steps will have an even greater ramifications for Durham artists.

For now, though, Batalá gets to keep marching to the beat of its own drums. ahussey@indyweek.com INDYweek.com | 8.16.17 | 11

MANBITES

DUST

Will the closure of Manbites Dog, a trailblazing, essential venue, push independent theater out of Durham?

BY BYRON WOODS Manbites Dog Theater managing director Ed Hunt and art director Jeff Storer PHOTO BY ALEX BOERNER

W

e almost didn’t get to spend the last two decades with Manbites Dog Theater, a provocative, entertaining mainstay of the Triangle’s independent theater community. According to artistic director Jeff Storer and managing director Ed Hunt, an ungainly stack of wooden platforms made all the difference.

They built the platforms thinking they’d be portable enough to use as itinerant stages and seating. They learned otherwise after leaving their relatively short12 | 8.16.17 | INDYweek.com

lived venue on Club Boulevard, when lugging the heavy pieces to temporary venues proved more than they bargained for. Nomadic dreams die hard: Hunt says a realtor had to drag the two, kicking and screaming, to buy the now-famous building on Foster Street in 1997.

“It gave us the last twenty years,” Storer says. “We would have had to close down long ago if we hadn’t done it.”

But the future the purchase forestalled is here: Storer and Hunt shocked the regional

arts scene two weeks ago by announcing that Manbites Dog would cease operations as a theater company and venue in June 2018, at the end of its upcoming season.

After producing more than two hundred shows, Hunt and Storer have decided to retire from that side of things. This and their plan for the company to transition into a new role as an artist-support organization has far-reaching implications for local performing artists and audiences.

“Giving ourselves permission to change

has been the one guiding light that has helped us through this last thirty-one years,” Storer says. “Early in our relationship, we literally stated that we would trust our intuition when the time came. This is the time, and the board agrees with us.”

It’s hard to imagine the Triangle theater scene over the last two decades without Manbites Dog. Long before Motorco and Fullsteam, it anchored what would become Durham’s DIY district, as the first in a series of vibrant nightlife, entertainment, and arts businesses to spring up in a neighborhood that had been neglected after the collapse of the city’s tobacco industry.

Since its beginnings in 1987, Manbites has built a reputation for fearlessly addressing the thorniest issues of race, gender, and class head-on. In the company’s third year, it took on Senator Jesse Helms, one of the architects of the eighties culture wars, in high-profile productions staged in Durham and New York. In The Best of Enemies, a play about desegregation in Durham in the sixties, Lakeisha Coffey stood onstage several feet away from Ann Atwater, the black activist she portrayed, who was sitting in the audience. It was a telling moment, for Manbites established itself as a reflection of its surrounding community and a consistent advocate for social justice.

“Communities could see themselves and their concerns reflected on stage,” says arts administrator and historian Devra Thomas, who ran Common Ground Theatre, another former Durham theater mainstay, which closed last year.

“On the stage and in the audience, it looks like Durham,” says playwright Howard L. Craft.

Even with its deep roots in the community, Manbites transcended the usual limitations of community theater. The company racked up almost twice as many five-star INDY reviews as its nearest competitor.

The theater's alumni, including J. Alphonse Nicholson, Heidi Blickenstaff, and Michele Vazquez, have gone on to careers in film, stage, and television.

Now, the neighborhood surrounding the venue, the region’s theater circles, and the communities championed by the company are all being forced to picture the future without it.

The shock has been mitigated by the plan to sell the building and funnel the proceeds into the company’s next incarnation as a funding and support organization for regional theater. Both cofounders are intimately familiar with the realities facing an artistic community accustomed to shoestring support. Manbites never completed original plans to take out the first-floor ceiling of its auditorium, and funding its

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activities season by season—sometimes, show by show—has always been a grassroots effort.

Playwright Tamara Kissane calls the change in mission “a beautiful sign of confidence ... that local theater artists are worth supporting.” Triangle Art Works founder Beth Yerxa says it “tells the community as a whole that we all need to be supporting one another,” while Joseph Megel, artistic director of StreetSigns Center for Literature and Performance, hopes the move will stimulate local corporations and business-

A few of the posters from past performances at Manbites Dog Theater es—large donors that traditionally have not provided support at levels comparable to those found in communities of similar size across the country.

Still, local stage artists remain apprehensive about the closure of Durham’s last independent theater venue, which regularly hosted many of the region’s top itinerant companies and artists, including Little

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NEW THIRD FRIDAY DANCE SERIES COMES TO DURHAM Stumble upon downtown Durham on a Third Friday evening and you could almost imagine you’re in Europe.

Swarms of people rove in and out of galleries and restaurants, clustering in chattering groups on sidewalks and plazas.

Third Friday is about to become even more dynamic thanks to Proxemic Media and Empower Dance Studio. They are presenter and host, respectively, of the new Third Friday Durham Dance Series, which will add a modern dance component to the event’s artistic offerings.

Empower has been informally showing dance performances during Third Fridays for some time, but Proxemic is making it official. “With dance being so prevalent in Durham, this is another way to showcase what’s happening here,” says Myra Weise, director of Proxemic Media.

As curator of the performance series, she’s choosing dance artists who represent the scope of the area’s modern dance scene and

helping them show work that might otherwise be cost-prohibitive to present.

Her organization is running a crowdfunding campaign to pay the artists and keep the shows free, in line with Third Friday traditions.

Performances will occur at eight-thirty and nine-thirty, and the public is free to casually wander in and out.

This Friday, stroll into the Parrish Street studio and catch a piece by Durham luminary Anna Barker of real. live.people.durham, together with a duet by Robin Spohr and Adam Phillips.

Next month, locals ShaLeigh Danceworks and Ginger Wagg will be showing work. And in October, the performance will occur in association with Raleigh’s Black on Black art project. If it works out, shows will continue into November and start up again in March, adding a muchneeded element of kinetic physicality to Durham’s art scene.

—Amanda Abrams INDYweek.com | 8.16.17 | 13

Green Pig Theatrical Concern, the Delta Boys, and Mike Wiley.

“Without Manbites, we don’t have a theater home in Durham,” says JaMeeka Holloway-Burrell, founder of Black Ops Theatre Company.

Though the city owns theater venues at the Durham Arts Council and the Carolina Theatre, the independent companies that form the majority of local practice often find them unaffordable or unsuitable for their needs. The more affordable Living Arts Collective has a sprung floor for dance that limits its theatrical possibilities. And the development boom makes it virtually impossible for an upstart group to find a building in downtown Durham for a price comparable to what Manbites paid in 1987.

The likely outcome is that an art form that helped make one of the most vibrant communities in Durham will be forced out next year, if artists can’t find comparable space near the audiences who’ve been receptive to their work. Of course, theater artists continually innovate, and groups like Little Green Pig have been adapting stagings for unusual venues.

“Underrepresented communities are incredibly resilient. I just wish they didn’t always have to be,” says director and arts activist Monet Marshall, who fears that

Get ready to say goodbye to Manbites, a room you’ve visited for twenty years.

PHOTO BY ALEX BOERNER

Durham is approaching a time when its theater will no longer reflect its cultural identity. “If the only people able to present work are those with the means to rent more expensive places ... the work won’t

speak to and from the wider community.”

Marshall sees the theater’s closing—and the unlikelihood that it will be replaced—as interconnected with Batalá Durham’s struggle to rehearse on public

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land in Central Park. The inaccessibility of downtown real estate is evidence of a city “really wrestling with who it’s going to be in the next five to seven years,” Marshall says.

Citing the neighborhood impact of venues like Triad Stage in Greensboro, Megel says Durham deserves one or more venues where audiences can experience a range of mainstream, off-Broadway, and alternative productions. But making that a reality will require community and municipal support beyond current levels.

“The city needs to work with the community to create smaller, affordable, accessible spaces for emerging artists,” says Yerxa. “The public doesn’t always want to go to DPAC. They need a broader range of options, too.”

Storer and Hunt are confident that Durham theater artists will adapt and overcome; new neighborhoods will be found when old ones become unavailable, new modes of performance will be conceived when circumstances demand it.

“Time, space, and money are the three challenges always facing theater artists,” Storer says, “and you never have all of them solved at the same time. But theater artists are the best problem solvers in the world.” bwoods@indyweek.com

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indyfood

ROSE’S MEAT MARKET AND SWEET SHOP

121 North Gregson Street, Durham www.rosesmeatandsweets.com

Please Be Seated

ROSE’S MEAT MARKET AND SWEET SHOP SWAPS ITS BUTCHER COUNTER AND MEAT FREEZER FOR TABLES, CHAIRS, AND DINNER SERVICE

BY IZA WOJCIECHOWSKA

K

atie and Justin Meddis opened Rose’s Meat Market and Sweet Shop in 2013, serving the unusual double duty of a pastry shop and a butchery. The shop gained a devoted following for ice cream sandwiches, lard caramels, ramen bowls, and homemade sausages.

For the Meddises, this year has been one of bigger transitions: the chef-owners had a baby six months ago and, last week, transformed Rose’s into a sit-down, twenty-seat restaurant.

Both Justin and Katie started working in restaurants as teenagers and carved out remarkable paths in the restaurant industry before moving back to North Carolina. Justin worked at Emeril’s in Orlando, Cypress in Charleston as sous chef, the Michelin-starred, now-shuttered Ame, and the ever-popular Nojo Ramen, both in San Francisco. Katie worked at Magnolia’s Blossom and Cypress in Charleston, and as a pastry chef at the acclaimed Chez Panisse in San Francisco.

“Chez Panisse was fancy but simple,” says Katie, “and I think that we both opened our eyes to that style of food when we were in California. That translates into what we’re doing here—working with really good ingredients and letting those ingredients shine.”

Justin and Katie have been eager to get back to their restaurant roots in the reimagined Rose’s. The menu focuses on local ingredients and fresh approaches. One salad, for example, features thin shavings of pickled pork skin tangled with seasonal greens and fragrant herbs, crisp fried rice, and topped with chopped peanuts. Brothy, rich soups get a base of handmade noodles.

We sat down with Katie before opening to talk about the new venture. The restaurant is open Tuesday through Saturday eleven a.m. to seven p.m. and Sunday eleven a.m. to five p.m.

was like, “Can I still buy meat? Can I still buy my collar steaks?” And no, you can’t, I’m sorry.

All the savory cooks will still be breaking down the meat and still be making sausages, but there will no longer be retail purchases.

We can’t do everything. But it’s exciting to do something different. We hate that we disappointed some folks with switching it up, but hopefully we’ll make other people happy. I’m excited for that moment when you’ve got the place full, people eating, things flowing.

Katie Meddis preps in Rose’s kitchen during dinner service. PHOTO BY VICTORIA BOULOUBASIS INDY: What was your plan and vision for transforming Rose’s into a restaurant?

KATIE MEDDIS: We obviously wanted delicious food and a casual atmosphere, but really solid stuff. A small menu focused on each dish so that it’s well executed. We’ll still be following the same practices with using whole animals, [like] whole pigs for the ramen. We’re focusing on lunch and early dinner and then will move into European-style breakfast, like standing at a counter and eating a pastry, drinking a cup of coffee. After that, we’ll move into dinner until ten p.m. or so.

The ramen has a strong following.

What else can we expect on the menu?

The menu will change regularly. There’ll be a category of small plates or appetizers. We’ve been practicing a lot with different gyozas and dumplings. There’s a smaller seasonal tomato salad. And then there are slightly larger salads—a really nice Szechuan chicken salad, a cold salad with tons of herbs—and

sandwiches. We’re going to keep the sausage roll and then have two other kinds of sandwiches. The bigger dishes will be noodle bowls. The bakery side is going to stay completely the same. It’s kind of like a giant dessert cart. We might warm something up for you or add crème Chantilly or ice cream to it. Over time, whenever we move into proper dinner, we might have [an additional] smallplated dessert menu.

Why did you decide to move into the restaurant model?

The meat business is a tough business to be in. It’s not quite sustainable. Meat’s expensive for us to buy, it’s expensive for us to process, and then it’s expensive for people to buy.

We decided that in order to keep us going, we’d have to change direction.

Is it a sad transition to be doing away with the retail meat and butchery side of things?

It’s a little bit sad. Every single person who came in here that was a hardcore meat buyer

Your shop was always popular around the holidays with special orders of pies and meat. Is any of that still going to be in play?

Everything will be the same with special orders for pies and sweets. But no ham. It’s going to be a rough holiday season with all these phone calls.

Do you think that customers will find the food offerings to be pretty familiar, or surprising?

We had all these things that we make, like marinated meats or gyoza, that people took home and cooked. We’ll still have those things, but [now] actually cook them all the way. So people will see slightly familiar flavor profiles or what they might have seen in the case, but cooked. And there will be surprising flavors. Justin doesn’t stop.

How do you two balance working together and living together?

It’s been great. Honestly, we don’t quite talk at work. It’s kind of funny—we’re in the same room, but I’m managing my side and he’s managing his side. Everything works separately, and at home we have dinner together every night. We’ve always tried to make Monday family day. Now that we have a baby, we’re going to be closed Monday and Tuesday in the beginning. We’re trying to make this work for our family as well. food@indyweek.com INDYweek.com | 8.16.17 | 17

food

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THE WINGS ARE GREAT, BUT M KOKKO’S VEGAN CURRY UDON IS A SURPRISE STANDOUT

BY MADDY SWEITZER-LAMME other dishes on the menu.

My friends and I drove to Durham from ChaLee’s curry udon noodles are based on pel Hill a few weeks ago, solely focused on the instant curry soups that he and his eating M Kokko’s Korean fried chicken. But brother grew up preparing for themselves one of our friends was vegetarian, and I wonwhile their parents worked long shifts at a dered what she would eat. factory when they first moved to the United On M Kokko’s eight-item menu, the States. Japanese curries had become popuvegan curry udon proved to be her only bet. lar in Korea before Lee’s family migrated, We took our food as takeout, which was an so instant curry was a familiar, easy dish apparent misstep for vegetarian ordering. that the brothers could easily heat up.

After a brief tug-of-war with the hostess, who said the restaurant didn’t have the correct containers to send the udon noodles as a to-go item, she finally acquiesced.

We sat down on the curb outside and fell like animals onto our chicken wings, slurping and munching and agreeing that M Kokko had the best wings in town, that they were worth the twentyfive-minute drive and the equally long wait after ordering. We eventually took the food to a public table on Corcoran Street. Our M Kokko’s vegan curry udon PHOTO BY ALEX BOERNER vegetarian friend sat at the edge, savoring her bowl much more qui“I wanted to take foods that I love, that I etly. I felt a little bad—here we all were, want to eat every day, and make them better, slurping away, laughing at the mess we were more special,” Lee says. “I never got tired of making in a happy chicken-induced haze. those curry flavors. It’s still something I eat “How’s your soup,” I asked her, out of guilt. all the time.”

“It’s really good,” she responded. I was The curry is infused with an intense umami impressed by her commitment to vegetarian that derives from a base of onions that Lee ethics in the face of our audibly crisp chicken. caramelizes for two hours. Japanese curry We nearly dragged her here, after all. I ate the typically has a roux base, adding another rich bite she offered me, not wanting her to feel layer to the dish. The udon noodles are thick left out of the free-for-all that was happening and chewy, but also light, carrying the soup’s at the other end of the table. flavor without getting lost. They’re chewier It turns out I was the one being left out. and more toothsome than a pasta noodle.

The soup was spicy and creamy with chewy Lee hints at plans for an all-noodle restauand crunchy bursts from tempura-fried rant in Durham. “We don’t make the udon vegetables. It had an unctuousness that noodles right now, but we plan to open a vegan dishes usually lack. noodle shop and they’ll all be made in-house.”

Like many chefs, M Kokko’s chef-ownIf his meat noodle dishes are anything like er, Michael Lee, says he never wants to his vegan ones, I’ll be there all the time—with neglect dietary restrictions. Unlike most all my vegetarian friends. chefs, he provides a vegan option that food@indyweek.com is truly as good—if not better—than the

18 | 8.16.17 | INDYweek.com

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That whole process was sort of a learning experience, and like a lot of learning experiences, it came with some pain and struggle.

The way I think about that record is like, everything I ever read about in punk rock magazines like Maximum Rocknroll about major labels sort of came true. It was almost like a one-act play based on those articles. We had more time than we needed and we had a big budget. We could fly people in and work with some really incredible talented people. But when I think about making that record, I think about sitting in the lounge, watching Aqua Teen Hunger Force while handclap overdubs were occurring in the next room.

BY DAVID KLEIN

I

t’s been three years between Wooden Wand records, but James Jackson Toth has used the time. He made a bewitching, drone-filled LP, Under Stars and Smoke, with William Fowler Collins; with his wife, Leah, he launched an independent vinyl record label, Footfalls Records. And as Wooden Wand, Toth released one of his finest records yet in May, Clipper Ship, which is as majestic as its title and a seeming distillation of his ever evolving lyrical and musical discernment.

“I wanted to make like an exploded drawing of a folk record,” he says, “like a postmodern folk record that used all these elements of old-time music and bluegrass and blues,

but I didn’t want to make it like renaissance fair music.”

Toth made his first record in the mid-nineties, and, since 2005, he’s recorded under several different names, in ever-changing permutations. He’s amassed a trove that is startling in its range. Still, he says, one theme runs through it all: time, the ultimate nonrenewable resource.

“I consider myself a time-haunted man,” he says. “I’m obsessed with time. It drives my wife crazy.”

From a Cracker Barrel in Michigan, Toth offered thoughts and reflections on five records culled from nigh on two decades of virtually constant music making.

WOODEN WAND & THE WORLD WAR IV

Wooden Wand & the World War IV Three Lobed Recordings, 2013 Envisioned by Toth and a familiar set of bandmates as a post-hardcore-influenced psych record, this fiery set summons the crackling interplay of Neil Young and Crazy Horse.

That record was an interesting kind of alchemy. It was the third of three records

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Cory [Rayborn, of Three Lobed Recordings] wanted a Wooden Wand-related Record Store Day release, but he wanted to do something kind of special. He said, Who do you want to work with that you haven’t worked with?

Royal Trux were always one of my favorite bands—still are and a very big inspiration—so, without thinking of how impractical it might be I was like, Oh, Neil Hagerty! That would be great. And we made it happen. Surprisingly, he was into the idea. We wrote the songs over email. I would send him lyrics, and he’d put them to music and vice versa. Which is an interesting way to work, but I don’t have a lot of people I really look up to anymore. A lot of the people I look up to are friends of mine, other songwriters I really respect and admire, James Jackson Toth

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WOODEN WAND

Blood Oaths of the New Blues Fire Records, 2013 Here, Toth delivers luminous, doom-tinged narratives from a damaged America.

James & the Quiet Ecstatic Peace!, 2007 This record constituted a hard turn from Toth's early, haze-shrouded LPs, and it includes Toth’s best-known tune, “Spitting at the Cameras.”

Qalgebra Three Lobed Recordings, 2015 This collaboration yielded taut tunes and an epic title track, which cycles through intriguing changes over eighteen minutes.

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but I know them pretty well. Neil was kind of my last Lou Reed, the “buy his records the day they come out” kind of guy. So it was really exciting to work with him.

v

I made with the same group. We had toured together, we had been in Europe together, so we knew each other really well. And when you’re in a group with any five or six people, there’s always different people who are into different things and they introduce you to the stuff that they’re into. The other thing that happens is you hit on the thing that everybody agrees on.

Kind of the equivalent to tacos on tour. Usually whether you’re vegetarian or gluten-free, really hungry or not that hungry, anybody can usually handle tacos. So we were finding those taco type bands among our tastes, and Fugazi was the one that kept coming up. And we all were born around the same time, so that was big for all of us. So we thought, Wouldn’t it be fun to make a psychedelic Fugazi record? And like all best laid plans, it didn’t come out anything like that. But it mutated into something that was singular.

Working with Lee Ranaldo was incredible.

They say never meet your heroes, but I became an even bigger fan of Lee after working with him. But that record was released a little prematurely. I was younger and more naïve and I didn’t realize at the time that if you make a record like I did, which seemed to get a lot of attention and praise in certain quarters, the best thing to do is sit on it, not release anything for awhile. Certain indie rock luminaries have made entire careers out of disappearing for ten years or more. My mistake was following up too quickly. Maybe the record was a little overstuffed; I think you could lose four songs from that record and you wouldn’t miss ’em.

But it’s part of my discography—there are definitely songs on that record I still play live, that people still ask me to play live.

I think that’s probably my favorite Wooden Wand record overall. It was just studio magic first thing. On the first day, the drummer, Brad Davis, brought a harmonium. He always has cool shit, full of weird instruments. We were all talking about harmonium records that we really loved. Obviously the Nico record [The Marble Index], but other things, the Herman Nitsch record Harmoniumwerk, and then next thing you know, it was the sort of thing that threaded the whole record together. And I would have never expected that. On day one in the studio, I had no idea there’d be a harmonium on the record. It adds a certain consistency that I really like. I don’t think it’s a perfect record, but I think if I make a perfect record it’ll be my last one, so I like to be feeling eighty percent about any record I make. I feel like that’s a good number.

But I always want to make another that I can improve upon the one before. dklein@indyweek.com

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PHE R WIL LIAM S ILLU STR ATIO N BY CHR ISTO

music What Music Does the Triangle Love Most?

THE NEW YORK TIMES ANALYZED AMERICANS’ YOUTUBE HABITS—HOW DOES IT LOOK LOCALLY?

L

ast week, The New York Times’ data-focused digital vertical, The Upshot, published an article about the online music listening habits of Americans. Josh Katz looked at a year’s worth of streaming data from YouTube and organized it into color-coded maps. The resulting visuals make for a fun exploration of taste—and speak to some interesting local trends, too.

Katz translated a significant chunk of his data into fifty artist-based maps. Many of those names are, of course, today’s biggest pop stars: Beyoncé, Lady Gaga, plus a few less-expected names like Shakira, Metallica, and Linkin Park. The data is organized like a heat map— the more popular an artist is in a given area, the deeper pink the region is colored.

Hip-hop artists Kodak Black, Migos, Chris Brown, Lil Uzi Vert, Drake, and DJ Khaled all showed strong popularity across North Carolina. Fayetteville native J Cole, whose overall support appears strongest on the West Coast, still makes a strong showing on his former home turf.

The maps also demonstrate how the Triangle is a bit of a bubble when it comes to taste: Katy Perry, Ed Sheerhan, and The Chainsmokers have small, medium-pink blips around the Triangle, but their popularity fades dramatically outside of the area. And others didn’t even fare that well. Except for a stripe near Wilmington and a pocket in the northwest corner of the state, The Weeknd’s North Carolina map is such a light pink that it’s almost white.

Ariana Grande, Selena Gomez, Taylor Swift, Sia, Imag22 | 8.16.17 | INDYweek.com

BY ALLISON HUSSEY ine Dragons, Shawn Mendes, Maroon 5, and Panic! At The Disco are all more or less in that same boat.

The piece also features a tool where you can enter a city or ZIP code, and you get a ten-song YouTube playlist of the most-streamed songs in a specific area. It gives an even more detailed look at the breakdown of Katz’s data.

In some cases, different municipalities get lumped in together: Chapel Hill and Carrboro share a playlist, as do Morrisville, Apex, and Cary. Hillsborough, however, did merit its own list.

Individually, the playlists roughly confirm stereotypes about their respective areas. The lists for Cary and Chapel Hill, both suburban areas, bent more strongly toward white pop artists, especially Coldplay. The band’s bland but sunny single from last January, “Hymn for the Weekend,” topped Cary’s list and appeared on Chapel Hill’s, too (Beyoncé is a guest vocalist on the track, but she’s uncredited). With her languid yet congenial voice, Adele also made both lists, but so did BTS, an all-male Korean pop group.

That’s not to say that Chapel Hill and Cary have identical tastes. Cary prefers Justin Timberlake’s “Can’t Stop the Feeling” and Sia’s “Elastic Heart” over Chapel Hill’s predilection for songs by Ed Sheerhan and former One Direction heartthrob Zayn Malik.

Raleigh, Durham, and Hillsborough also boasted fairly complementary lists. Given that they’re both bigger cities, it’s not surprising that Raleigh and Durham’s lists were similar, but it’s unexpected that quiet Hillsborough had more in common with those areas than its

Orange County neighbors. All leaned strongly toward varying strains of hip-hop and R&B. Hillsborough’s playlist featured heavy doses of Rihanna, plus Lil Yachty, DJ Khaled, and Lil Uzi Vert, with Rae Sremmurd’s “Black Beatles” bringing up the rear. Khaled also got some love in Raleigh, but the capital city seems to like Gucci Mane, J Cole, and Migos more.

Durham YouTubers seem to enjoy more female artists, including Beyoncé, Rihanna, and Nicki Minaj (Chris Brown rears his head as an unfortunate outlier, too). But the Bull City’s most-streamed music video might come as a surprise: the eighteen-minute Martin Scorsese cut of Michael Jackson’s “Bad” sits at the top of Durham’s list. Jackson also made Raleigh’s list, though his appearance was much lower.

The data collection period ran from January 2016 to April 2017, which explains why G Yamazawa’s runaway local hit “North Cack,” which was released in early May, didn’t make the cut. Surprisingly, no country artists made it to the regional-specific playlists, either. Do Luke Bryan and Florida Georgia Line fans simply prefer Spotify or some other streaming platform?

Of course, the Times’ analysis isn’t a referendum on Triangle music tastes; not everyone does the majority of their music listening on YouTube alone, and there are plenty of artists whose work doesn’t rack up hundreds of thousands of regional hits. But if you’ve ever felt afraid to admit your love for the mega-“Bad,” fear not: there are, apparently, a lot of y’all. ahussey@indyweek.com

MUSIC BRIEF

POISON BLOOD Poison Blood Relapse Records HHH½ Neither Jenks Miller nor Neill Jameson are known for playing black metal straight.

Miller’s Horseback, a fervent garden of lightning, has been the aural expression of his many musical passions, using Americana and black metal as part of a base for excursions into gnarly pyschedelic drone, doom, and blasted boogie. With Krieg, Jameson crafted raw, lo-fi American black metal with a caustic primitivism and a noisy streak. So it’s somewhat surprising that Poison Blood, the first fruit of their collaboration of the same name, is so nakedly straightforward.

A dark and lo-fi exercise in mystic, minimalistic black metal, Poison Blood leans more toward Rise of the Imperial Hordes (Krieg’s first and purest record), with Jameson howling and growling, spewing seething, distorted philippics over a heavy bed of punk sludge. But some of its exploratory filigrees make the record feel, in some ways, like an immediate successor to Horseback’s Invisible Mountain. Poison Blood has a rawer feel than Invisible Mountain, but it’s similarly strung-out and epic, albeit at much shorter run times. Drums hit full bore, but the blastbeats don’t hit with machinic precision. They’re remarkably loose and human, often to a great benefit. Guitars are dry but robust—blunter and with more body than the typically razor-sharp, treble-heavy black metal barrage.

The album’s bookends come closest to capturing Invisible Mountain’s textural development. Opener “The Scourge and the Gestalt” unfurls itself in waves of feedback and coasts on a crusty proto-metal groove before whipping into a frenzied rush.

“Circles of Salt” is a majestic psychedelic dirge, and it’s terrifying, with Jameson’s backmasked rasps rushing past the listener like shrieking specters. This is where Poison Blood is strongest. These tracks expand outward; by contrast, the music they flank churns an endless pummel, a salvo of rage and frustration that’s delivered with panache but ultimately feels enervating in its back half.

Still, Poison Blood, Miller has said, is meant to be an outlet for that more straightforward aggression, and the project isn’t intended to be conceptual or intricate. It’s fun to hear Miller and Jameson get gnarly, and Poison Blood satisfies that primal need. But with the musicians tempering their outre impulses in favor of something less complicated (though still entirely atypical of American black metal), one can’t help but wonder if some greater opportunity was missed. —Patrick Wall INDYweek.com | 8.16.17 | 23

indyscreen

BRIGSBY BEAR HHHH Opening Friday, August 18

SCREEN BRIEF FROM THE LAND OF THE MOON HH Opening Friday, August 18

Brigsby Bear PHOTO COURTESY OF SONY PICTURES CLASSICS

Tarter Than the Average Bear

BRIGSBY BEAR CONCOCTS A SWEET DECEPTION TO MAKE AN ACID POINT ABOUT MASS MEDIA

BY NEIL MORRIS Brigsby Bear is a send-up of how popular entertainment coopts our consciousness that also cheekily casts the actor who played Luke Skywalker. Its compelling but sometimes inconsistent narrative layers are the byproduct of a brazenly offbeat comedy that isn’t always attuned to its own satirical rhythms. Holding it together is the idea that the value of art is in the eye of the beholder.

A word of warning: there’s no way to review Brigsby Bear without discussing the reveals that begin in the opening fifteen minutes, so the spoiler-averse should proceed with caution.

Kyle Mooney, the SNL cast member who cowrote the film, stars as James, a twentysomething man-child living with his mom and dad, April (Jane Adams) and Ted (Mark Hamill), in a biosphere buried in the desert. James’s sole connection to the outside world is a cut-rate live-action children’s show called “Brigsby Bear.” He sleeps under a Brigsby bedspread and wears only Brigsby T-shirts. A new episode arrives on videotape every week, offering escapism laced with education and indoctrination. The bear has fantastical adventures one minute, teaches algebraic equations the next, and mixes in life lessons about completing chores and masturbating in moderation,

all while spouting mantras like “Curiosity is an unnatural emotion” and “Prophesy is meaningless, trust only your familial unit.”

But then, James is suddenly whisked away in a nocturnal FBI raid. His parents turn out to be kidnappers who abducted him from the hospital as a newborn, and the show is Ted’s creation, produced solely for James. As the world rejoices, along with the disoriented James’s biological parents (Matt Walsh and Michaela Watkins), all he wants to know is when the next episode will arrive.

James’s family wants him to integrate into society. Meanwhile, as leaked Brigsby Bear shows become YouTube sensations, James and his new friend, Spencer (Jorge Lendeborg Jr.), start storyboarding a film à clef in which Brigsby is rescued by space raiders, moves to a new home he didn’t know existed, and then seeks out his “bear parents”— because “if you think about what they did, it wasn’t even that bad.” A sympathetic detective (Greg Kinnear) even sneaks James some props seized from the Brigsby set.

It’s at this point that Brigsby Bear teeters on brilliance. The backyard basketball games and movie theater trips that James’s parents and psychiatrist (Claire Danes) want him to embrace are no more substantial than the fake children’s show.

They’re all diversions, like the hours we spend binge-watching Netflix or surfing social media. Indeed, it seems like James’s cultural acclimatization is less for his benefit than for the comfort of those around him. But there’s a patent moral conundrum: as James’s birth father rightly points out, Brigsby Bear was the tool used to pacify and imprison their son.

Armed with this provocative plotline, Mooney and director Dave McCary nonetheless guide their masterpiece-inthe-making toward a vexing ending that embraces the very mass-media preoccupation the film otherwise skewers, while relegating ethical complexities to the sidelines.

Brigsby Bear seems to cop out for the sake of a happy resolution, even though society has long distinguished art from the moral imperfections of the artist. The Brigsby Bear show was born from a monster, but that doesn’t necessarily negate its personal meaning to James and others, however kitschy, compromised, or obsessive. It all strikes close to home.

Now, if you’ll excuse me, I’m gonna livetweet a reality show finale, rewatch Hacksaw Ridge, and then look up the latest rumors about Star Wars: The Last Jedi. arts@indyweek.com

The French romantic drama From the Land of the Moon certainly has the pedigree of a respectable art-house film. Based on a literary novella, it’s a period piece set in France in the 1950s, with privileged young daughters, sweaty field hands, artfully graphic sex, and Marion Cotillard in the lead. Alas, even prestige pictures can be turkeys.

Told in one extended flashback, the film follows the romantic fortunes of Gabrielle (Cotillard), an intense young woman who seems to suffer from erotomania. Gabrielle only wants men she can't have, and when her advances are rebuffed, she cycles between high drama and catatonic depression. Her well-to-do family arranges a marriage of convenience, pawning off their troublesome daughter on José, a good-hearted Catalan laborer (Àlex Brendemühl). Gabrielle informs José up front that she won't sleep with him. He reluctantly accepts the arrangement, although they later negotiate a strange compromise.

When a medical condition lands Gabrielle in a Swiss health spa, she spots her next object of obsession, Andre (Louis Garrel), a wounded soldier. A dark-and-brooding sort straight out of romance-novel central casting, he plays Tchaikovsky on the piano and everything. Nine months after returning from the spa, Gabrielle has a son. Turns out he's good at the piano, too.

Things are not as they seem, however. A ludicrous third-act reveal sends the story spinning off into hopeless melodrama and puts the kibosh on any remaining audience goodwill. Cotillard, effortlessly compelling as ever, isn’t the problem.

The character of Gabrielle is—she’s a romantic sociopath who starts off as little more than a tangle of adolescent urges and ends up there, too. The late plot twist is a momentary thrill, but it leaves the character undeveloped and the story unresolved. This is two-thirds of a script made into two-thirds of a movie. No fair. —Glenn McDonald INDYweek.com | 8.16.17 | 24

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WHAT TO DO THIS WEEK 8.16– 8.23

SATURDAY, AUGUST 19

SIDEWALK SLAM

It’ll be time for Hopscotch in less than a month, so consider Sidewalk Slam an opportunity to start training for those three days of skipping around downtown Raleigh. For one night, three Raleigh venues host a mini-festival with a respectable sampler of bands of different stripes from all over the Triangle. At Slim’s, the metal powerhouse Solar Halos tops a bill that includes the similarly heavy Slime and Gown’s triple-cello metal. Kings features a mix of hip-hop and R & B with Defacto Thezpian, and The Pour House boasts the rough-edged rock of Zack Mexico, Pie Face Girls, and Vacant Company. On top of a stacked evening of excellent music, a dollar from every (very cheap) ticket sold goes to benefit Planned Parenthood’s Raleigh outpost. Everybody wins. —Allison Hussey KINGS/SLIM’S/THE POUR HOUSE, RALEIGH | 8 p.m., $8–$10, www.facebook.com/sidewalkslamfest

THURSDAY, AUGUST 17

RUMBLE: THE INDIANS WHO ROCKED THE WORLD

For the majority of music history, artists of color and their contributions have been relegated to footnotes or written out entirely as mostly white men defined the canon. Fortunately, there have been some strong course corrections in recent years, and this documentary by filmmaker Catherine Bainbridge is part of those efforts. In Rumble: The Indians Who Rocked the World, Bainbridge explores artists with Native North American history who helped shape the course of music, from jazz and blues to rock ‘n’ roll. You’ll recognize names like The Band’s Robbie Robertson (whose Mohawk mother grew up on the Canadian Six Nations Reserve) and Jimi Hendrix (who was part Cherokee), but the film also touches on lesser-known names like the jazz singer Mildred Bailey. And of course, North Carolina’s own Link Wray gets plenty of time in the spotlight, too, for his foundation-laying early guitar work in rock’s earliest days. —Allison Hussey KINGS, RALEIGH | 9 p.m., $7, www.kingsraleigh.com

SUNDAY, AUGUST 20

JAM ROC JAM SESSION

The story of Rapsody’s ascension from N.C. State student in a rap group with her friends to being mentored by hip-hop beat-making legend 9th Wonder to becoming one of Jay Z’s management clients under his Roc Nation imprint is the kind of feel-good tale that makes local music enthusiasts proud to have gotten in on the scene at the ground floor. However, to reduce Rapsody to a local success story takes away from what she symbolizes for the larger hip-hop community.

Women in hip-hop have sometimes been branded as oversexed objects, or hyper-aggressive caricatures that reinforced the “angry black woman” stereotype, with exceptions including MC Lyte, Missy Elliott, and Rah Digga. Rapsody fits in with the latter: equipped with fierce wit, she can go toe-to-toe and bar-for-bar with the boys, conveying her accessible messages of black unity and feminism in a way that doesn’t oversell or water down her main points. With Heather Victoria, Zoocrü, and Tha Materials. —Charles Morse CAT’S CRADLE BACK ROOM, CARRBORO | 8 p.m., $10–$15, www.catscradle.com

Rapsody PHOTO

BY ALEX BOERNER

26 | 8.16.17 | INDYweek.com

SUNDAY, AUGUST 20

BLACK AUGUST IN THE PARK

It’s getting hot this August. The conflicts between Durham’s established communities and new money are being vividly illustrated by Batalá Durham’s struggle to retain its legal right to practice in Durham Central Park, adjacent to the upscale Liberty Warehouse apartments. White supremacist terrorist acts in Charlottesville, Virginia, inspired local protesters to pull down a Confederate monument in front of Durham’s old courthouse. This climate gives important context to Black August in the Park’s mission: “To create an intergenerational opportunity for Black people in Durham to unapologetically celebrate blackness; interrupt white spaces by injecting a black presence in downtown Durham; and facilitate connections with social justice organizations.” Reportedly drawing 3,600 people last year, the third outing of the family-friendly event features DJ SPK and DJ Complex, activities for kids sponsored by organizations like Blackspace, food from black-owned businesses, and more. —Brian Howe DURHAM CENTRAL PARK, DURHAM | 3–8 p.m., free, www.durhamcentralpark.org

Wednesdays Aug. 2 - Oct. 25 • 5 pm - 6:30 pm Market Plaza between Wilmington & Fayetteville Street

Lori Vrba at The Fence in Brooklyn PHOTO

COURTESY OF THE FENCE

FRIDAY, AUGUST 18

THE FENCE OPENING CELEBRATION

Durham is one of seven cities across the nation—the smallest, compared with the likes of Brooklyn, Boston, and Houston—to host The Fence, which for several years in a row now has gathered photography submissions from around the world for a traveling, public exhibition based on themes such as “home,” “nature,” and “food.” While Lori Vrba is the only Triangle-based artist among the fifty included in the touring exhibit, nine area photographers, including Bryce Lankard, Leah Sobsey, Gesche Würfel, and Warren Hicks, are featured in a regional showcase. Though the exhibit will eventually encompass the entire block around the Chapel Hill Street parking garage, where it will be a part of pedestrians’ lives through November, it will begin on the Orange Street Mall, between East Chapel Hill Street and West Parrish Street, with this opening ceremony, which features remarks on the importance of public art by Durham mayor Bill Bell, followed by walking tours and chats with artists. —Brian Howe ORANGE STREET MALL, DURHAM | 4–5:30 p.m., free, www.fence.photoville.com

WHAT ELSE SHOULD I DO?

STANLEY BAIRD AT BEYÙ CAFFÈ (P. 31), EMILY COLIN AT THE REGULATOR (P. 35), CONVERSATIONS WITH HITLER AT SONOROUS ROAD THEATRE (P. 34), SARA GOOD AT THE SCRAP EXCHANGE (P. 33), PALE RIDER & TRUE GRIT AT THE CAROLINA THEATRE (P. 36), AMANDA SHIRES AT MOTORCO (P. 29), THIRD FRIDAY DURHAM DANCE SERIES AT EMPOWER DANCE STUDIO (P. 13), WOODEN WAND AT THE PINHOOK (P. 20)

Wednesday August 23rd:

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9/10 TANK AND THE SO BANGAS LD W/ SWEET CRUDE OUT

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9/1 ROKY ERICKSON W/ DEATH VALLEY GIRLS ($25/$28)

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8/26 BE LOUD! '17 SPRESSIALS 'BROUGHT TO YOU BY THE PRESSURE BOYS' HEGE V, BILLY WARDEN AND THE FLOATING CHILDREN ($20)

9/2 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY ($10)

JAZZ SATURDAY W/ CORASON

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9/12 POPUP CHORUS

9/14 SWERVEDRIVER ($20) 9/16 ACLU BENEFIT: THE WHISKEY HONEYS, TOO MUCH FUN, CYRIL LANCE BAND, THE ALLEN BOYS, BUTCHER AND THE TIN MAN

CAT'S CRADLE BACK ROOM 8/17 THE SEVEN DEADLY BIBS, DURHAM UKULELE ORCHESTRA, SHANE COOLEY & THE MIDNIGHT GIRLS ($8/$10)

8/18 BRICK + MORTAR W/ THE MOMS, LONNIE WALKER ($10/$12) 8/19 THE ROOSEVELTS W/ KATIE ROSE

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8/20 JAM ROC JAM SESSION: RAPSODY, HEATHER VICTORIA, ZOO CRU, THE MATERIALS ($10/$15) 8/22 DURAND JONES & THE INDICATIONS W/ TRIKE ($10/$12) 8/25 ALL GET OUT W/ RATBOYS, WILD PINK ($10/$12)

8/26 THE ORANGE COUNTY OPRY FT. PERFORMANCES BY LESTER COALBANKS & THE SEVEN SORROWS, JOHN HOWIE JR., BLUE CACTUS, THE APPLE CHILL CLOGGERS & MORE ($10)

10/14 MATT POND PA W/ WILD PINK ($25/$28)

10/16 THE NATIONAL PARKS W/ RIVVRS 10/22 PICKWICK ($12/$15) 10/23 TREVOR SENSOR ($10/$12) 10/24 JESSICA LEA MAYFIELD W/ BLANK RANGE ($15)

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11/3 ALL THEM WITCHES W/ KING BUFFALO

11/4 THE HOTELIER W/ OSO OSO, ALEX NAPPING ($13/$15)

11/5 TERA MELOS W/ SPEEDY ORTIZ

9/29 PINBACK AUTUMN OF THE SERAPHS 10TH ANNIVERSARY TOUR

9/2 MCCAFFERTY AND REMO DRIVE W/ ALMOST PEOPLE ($10/$12)

11/7 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE W/ ROZWELL KID, ADJY ($15)

9/30 TIMEFLIES: TOO MUCH TO DREAM TOUR W/ DAWIN, LOOTE ($25/$28)

9/8 THE OBLATIONS CD RELEASE SHOW W/ DARK WATER RISING

11/12 OVERCOATS ($10/$12)

10/2 RAC ($22/$25)

9/9 RIPE

9/13 FRANKIE ROSE W/ SUBURBAN LIVING ($10/$12)

11/13 DAVID BAZAN W/ MICHAEL NAU ($15)

10/4 CAMERON ESPOSITO AND RHEA BUTCHER: BACK2BACK SEATED SHOW ($32.50) 10/7 LANY THE LANY TOUR PART 2 W/ DAGNY ($20/$23)

10/10 MURA MASA W/ JOEY PURP ($17/$20)

10/12 TURNOVER W/ ELVIS DEPRESSEDLY, EMMA RUTH RUNDLE ($17/$20) 10/13 CHELSEA WOLFE** W/ YOUTH CODE ($20/$23)

10/14 RIVER WHYLESS ($14/$16)

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9/26 BONE THUGS N HARMONY ($27/$30)

8/28 SHABAZZ PALACES W/ PORTER RAY ($17/$19)

10/25 THE ALTERNATE ROUTES W/ NICK FRADIANI

10/27 THE MOVIELIFE W/ IRON CHIC ($15/$18)

10/16 KALI UCHIS W/ PHONY PPL ($15/$18)

10/20-21 YEP ROC 20 YEAR CELEBRATION ($14/$16) 10/24 TED LEO AND THE PHARMACISTS ($16/$18)

9/14 JESS KLEIN AND DAVID WIMBISH ($10/$12)

9/16 CRANK IT LOUD PRESENTS: JASON RICHARDSON W/THE REIGN OF KINDO, STOLAS ($13/$15) 9/17 CAAMP W/ DOC ROBINSON ($10/$12)

9/21 COLTER WALL AND TYLER CHILDERS ($12/$15)

9/22 STOP LIGHT OBSERVATIONS ($10/$12)

9/23 CARRBORO MUSIC FEST KICKOFF EVENT URBAN SOIL (FREE SHOW) 9/24 CARRBORO MUSIC FESTIVAL HIP HOP SHOWCASE! 9/25 THE CRIBS W/ PAWS ($18/$20)

11/11 ARKELLS ($15)

12/1 ALLAN RAYMAN ($18/$20)

12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE ($15/$17)

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9/12 BLACK JOE LEWIS & THE HONEYBEARS W/ LIGHTNIN MALCOLM ($15/$17)

11/4 BORIS “DEAR/25TH ANNIVERSARY TOUR” W/ MUTOID MAN, ENDON ($18/$20) 11/30 THE DISTRICTS ($15/$17)

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10/2 THE HEAD AND THE HEART W/ THE SHELTERS

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WED, AUG 16 2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: Albert Cummings Band; 8 p.m., $15–$20. The Herded Cats; 8 p.m. • THE CAVE: August Residency: Spencer Lee; 9 p.m., $5. • COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: John Mayer; 7 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The New Macedon Rangers; 6:30 p.m. • KINGS: Sexual Thunder; 10 p.m., $10. • LOCAL 506: Girls Guns and Glory; 8 p.m., $12. • NIGHTLIGHT: Shimmer, Secret Boyfriend, Chinchorro; 9:30 p.m., $7. • POUR HOUSE: The Elovaters, Sensi Trails, Sons of Paradise; 9 p.m. • RALEIGH CITY MARKET: Music on Market; 5-6:30 p.m. • THE RITZ: The Magpie Salute; 8 p.m. • RUBY DELUXE: Goth Night with DJ Play Play; 10 p.m.

PHOTO BY BRETT WARREN

THU, AUG 17

THURSDAY, AUGUST 17

AMANDA SHIRES Even if Amanda Shires never sang or wrote a note, her fiddle playing still leaves plenty to consider. We’re talking about somebody who was playing with The Texas Playboys (yes, Bob Wills’s Western swing trailblazers) when she was just fifteen. No matter how old you are, you don’t get to fill the fiddle spot with the Playboys unless you’re a mighty musician. And as an adult, Shires has played with everybody from Shovels & Rope and Todd Snider to John Prine and Justin Townes Earle, not to mention being a part of Jason Isbell’s own band (she’s also married to the guy). In summation, the lady can saw a fiddle like nobody’s business.

But then you get around to the singersongwriter side of Shire’s talents—she’s not exactly lacking in that department, either.

Shires released her first album, Being Brave, back in 2005, but that was more focused on her instrumental skills than her songsmith savvy. She developed as a writer over the course of her next couple of records, including one made in collaboration with

FOR OUR COMPLETE COMMUNITY CALENDAR

CONTRIBUTORS: Jim Allen (JA), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), David Ford Smith (DS), Patrick Wall (PW)

Americana heavyweight Rod Picott. It was on 2011’s Down Came the Doves that she finally began to fully realize her own artistic vision. Her blend of alt-country and folk influences, her airy but visceral vocal delivery, and her knack for making poetic observations with a minimum of lyrical fuss came together on that album. She continued to evolve her approach even further with last year’s My Piece of Land.

Toward the end of the year, Shires is hitting with both John Prine and Willie Nelson & Family, following a few other stints with Isbell. But in between those august assignments, she’s giving listeners a brief batch of opportunities to catch her as a headliner, delivering her tunes onstage with all the energy and emotion she can muster. And as has undoubtedly been made clear by this point, that’s something you ought to see happen. —Jim Allen MOTORCO, DURHAM 8 p.m., $14–$17, www.motorcomusic.com

Jarren Benton KILLA Whoever said BARS that trap runs Georgia never heard Decatur’s Jaren Benton. His latest release, The Mink Coat Killa LP, is an impressive show of tough lyrics and boom bap beats that sounds more like something you’d hear from a New York rapper than a Southern one. OC From NC opens. With Chyna.

—CM [THE PINHOOK, $15/8 P.M.]

Seven Deadly Bibs NOT SO This long-running DEADLY Durham-based a cappella attraction brings a kitchen sink approach to the genre, gamely throwing its shoulder into everything from contemporary standards like Gnarls Barkley’s “Crazy” to a surprisingly reverential and moving take on Prince’s “Nothing Compares 2 U” to legitimately funny novelty fare like “My First Lesbian Folk Song (Princess Leia).” At once technically accomplished and cheerfully offhand, Seven Deadly Bibs are a welcome, charming asset. Durham Ukulele

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Orchestra and Shane Cooley & The Midnight Girls open.

—EB [CAT’S CRADLE BACK ROOM, $8–$10/7:30 P.M.]

The Young Step STEP IN This St. Augustine, LINE Florida, threepiece vacillates between hell-raising ruckus on tracks like the Stooges-worthy rave-up “Baby You Know” and loose-limbed, blue-eyed soul on the shimmering strut of “Nature Man.” Frontman Ben Whitson proves equally adept at delivering the material in a casual croon or a throaty roar, the better to expand the band’s near limitless potential. Infielder opens. —TB [LOCAL 506, $7/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • AMERICAN TOBACCO AMPHITHEATER: Acoustic Syndicate; 6-9 p.m., free. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • THE CAVE: Feral Conservatives, Sportsmanship, Dododo; 9 p.m., $5. • DEEP SOUTH: My 3 Sons, Petteway/Krause/Heames; 8 p.m. • IRREGARDLESS: Frankie Alexander Trio; 6-9 p.m. • MOTORCO: Amanda Shires, Boy Named Banjo; 8 p.m., $14–$17. See box, this page. • MYSTIC FARM & DISTILLERY: Milk N’ Honey; 7-10 p.m., $5. • POUR HOUSE: Local Band Local Beer: Fluorescence, Waking April, Iamdynamite; 9 p.m., $5. • RUBY DELUXE: Seize the Stage; 9 p.m.

FRI, AUG 18 Benefit for Greg Klaiber FLIGHT This concert TEST brings together twelve bands united to help a friend in need. Greg Klaiber is a much-loved member of the local music community who is undergoing radiation therapy for cancer; funds are needed to fly his wife from her home in Norway to Greensboro to be with him.

The lineup features an impressive tonnage of

Triangle’s deep metal resources, with Solar Halos, Bitter Resolve, Gates of Endor, and a reunited Tooth on hand to call down thunder, while the sax-fueled romps of The Wigg Report, anxious folk from Charles Latham, and Almost People’s melodic punk will be among the contrasting flavors. —DK [MOTORCO, $10/5 P.M.]

Brick + Mortar POSI POP Hailing from New Jersey, Brick + Mortar delivers lighthearted music that’s motivational, empathetic, and will keep the kids out of trouble. The band’s super-sweet pop features addictive hooks, cheery synths, a twinge of reggae, and anthemic lyrics.

The Moms and Lonnie Walker open. —KH [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.]

Culture REGGAE Traditional reggae ROOTS may not be as widely popular as it was in the seventies, but the band Culture continues to carry the torch with soothing drum and bass grooves and songs about positivity within the struggle of life, led by lead singer Joseph Hill, who has been performing since 1972.

There is nothing new about Culture’s brand of reggae, but the purity of its sound and message has provided the group with the longevity it’s enjoyed. Crucia Fiya opens.

—CM [LINCOLN THEATRE, $12/9 P.M.]

Demon Eye HEAVY Seventies GAZE nostalgia is central to Demon Eye’s artistic vision. Before adopting its current name, the Raleigh outfit was known as Corvette Summer, playing hard rock takes on Black Sabbath, Rainbow, and company. That all changed in the fall of 2011, when INDYweek.com | 8.16.17 | 29

Reserve by Sept. 22

Queer ISSue

+ nC Pride Guide to

frontman Erik Sugg returned from a camping trip with some riffs in tow. Now they’re paving a proto-metal warpath of their own. —ZC [POUR HOUSE, $20/8:30 P.M.]

Flash Car

ISSUE DATE:

SEPTEMBER 27

Queer ISSue + Guide to nC Pride ISSUE DATE:

SEPTEMBER 27

THROW- Baroque pop has BACK ceded a great deal of ground in recent years to smoked-out guitar rock mood music, which is maybe why the music of Carrboro’s Flash Car seems immediately striking. The production is plainspoken and crisp and feels plucked from a dusty pile of 1960s ephemera, and the vocals recall the pop balladry of Belle and Sebastian’s Stuart Murdoch.

Chapel Hill’s Cool Party offers a similar throwback vibe, steeping itself in eighties power-pop bravado. —DS [NIGHTLIGHT, $7/9:30 P.M.]

Rusty Wright Band UNGODLY Rusty Wright BLUES looks like a vengeful Jehovah come down to earth to shred sinners. But the Michigan native’s sermons are more on the devilish side, heated up with scorching blues and rock guitar influenced by Stevie Ray Vaughan and T-Bone Walker, as well as the aggressive electric outpourings of Lightnin’ Hopkins. —GB [BLUE NOTE GRILL, $8/9 P.M.] ALSO ON FRIDAY BEYÙ CAFFÈ: Mark G. Meadows and the Movement; 7 & 9 p.m., $17.

SAT, AUG 19 Tift Merritt and Friends FAMILY Raleigh’s own Tift STYLE Merritt has spent spells in Paris and New York City, but the singer-songwriter still feels a strong bond to her hometown. That’s why she’s coming back to throw a big bash inspired by Bob Dylan’s seventies free-for-all The Rolling Thunder Revue, with the help of some of her most talented friends. Those friends will include members of Hiss Golden Messenger, Dr. Dog, and The Suitcase

Be Steadwell 8 DAYS A Be Steadwell once WEEK made a bet with herself that she could write a song a day for a week. She won. The prize was sharing her ethereal, soulful, and unorthodox creations like “Switch” and “Hold Me” with the world. She calls her music “queerpop,” but it sounds a lot like sultry jazz, too. —GB [DURHAM CENTRAL PARK, FREE/6 P.M.]

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THRASH- You know how you VILLE can tell when a garage rock band is really good?

When it sounds like anyone— even you—could do it. The Tills’ Canon, released via WinstonSalem’s vanguard Phuzz Records label, is marked by a perfect insouciance, a sort of practiced primitivism that makes the Asheville quartet’s ur-rock wild and woolly but wholly approachable. Canon deftly toes the line between rowdy garage rock à la Black Lips or The Sonics and crisp garage pop à la The Strokes. The Tills make it seem so easy, and therein lies the magic. With Drag Sounds and Reese McHenry & the Fox. —PW [THE PINHOOK, $8/9 P.M.]

The Tills PH OTO

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • BYNUM FRONT PORCH: Durham Ukulele Orchestra; 7-9 p.m. • THE CAVE: Tyler Daniel Bean, Boy Rex, S.E. Ward; 9 p.m., $5. • DEEP SOUTH: John Buzby, Katie Rose; 9 p.m., $8–$10. • IMURJ: Heads Up Penny, Nico Zarcone; 8-11 p.m., $5. • IRREGARDLESS: Stephen Anderson Duo; 6:30 p.m.

• KINGS: Telepathy, Oak City Slums, Animal Weapon, Fugo + Zoomo, Miniluv; 10 p.m., $5. • LOCAL 506: War in the Pocket, Console, Command, TYNY; 9 p.m., $7. • THE MAYWOOD:Loose Change Jam: Cancer Benefit for Penny Burke; 7:30 p.m., $10–$15. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SLIM’S: The Cordovas, Nathan Kornegay; 9 p.m., $5. • THE SHED JAZZ CLUB: Dina Maccabee, Janel Leppin; 8 p.m.

HAYE S

BY ALYS SA DE

Junket, and all concerned will be playing and singing on one another’s tunes in a big, bustling hoedown intended as an extended musical hug for Merritt’s old stomping grounds. —JA [N.C. MUSEUM OF ART, $29–39, 6 AND UNDER FREE/8 P.M.]

The Roosevelts BRO With their lightly ROCK strummed, strikingly repetitive odes to feelin’ good, Nashville-based duo The Roosevelts provide the sort of modest pleasures one tends to associate with the most inoffensive elements of mid-nineties, middle-of-the-road radio.

The representative track “Everybody Knows” repurposes the title of one of

SATURDAY, AUGUST 19

STANLEY BAIRD The Triangle jazz scene is energized as never before, but in the early seventies, when Stanley Baird cofounded the Department of Jazz Studies at North Carolina Central University with eminent trumpeter Donald Byrd, there was very little jazz scene to speak of—no venues, and worse, few who cared to play it. In steering the program, Baird’s emphasis on performing was well beyond the norm among the country’s fifteen or so jazz studies programs. Baird sought to ensure that his charges had their chops down along with the requisite skills in arrangement, history, and music business economics, and the impressive array of pros who have come out of the program attest to Baird’s wisdom.

Baird has kept the emphasis on performing in his own life. He put together the band that bears his name in 1991 and together they have issued seven records. This show celebrates the latest, Big Daddy, a quiet storm from beginning to end. But it seems Baird’s heart is in the spark and interplay of live musicians. Over the years, whether sharing stages with an impressive number of legends—Gladys Knight, Stevie Wonder, and Otis Redding among them—or touring with his ensemble in the U.S., Europe, and Asia, Baird is dedicated to live music. In the process he’s become nothing less than an emissary for America’s indigenous art form.

While Baird grew up admiring the saxophone styles of venerable figures like Gene Ammons and Cannonball Adderley, he is hardly a purist; in fact, the kind of jazz he plays with his Baird Band is an extremely approachable brand, reveling in the kind of lugubrious bedroom jams and funky workouts that purists might reject. But the accessibility is what has made his ensemble of deft accompanists such a popular draw. Guitarist James Perry, bassist Christopher “Spanky” Thompson, drummer Carl Gerald, and a pair of keyboardists, Glenn Williams and Jonathan Perry, fall into silky slow jams or sprightly funk with effortless precision, providing subtle fills while vocalist Connie Rodgers adds smooth vocals on covers like the sublime “Betcha By Golly Wow.” Baird’s fluid sax work anchors the sound in jazz but the R & B and Latin elements are crucial, as are the lilt of West Indian rhythms, which Baird fell in love as a music teacher in St. Croix. A lot of jazz can feel intimidating to those whose ears are trained on pop music, but Baird’s intoxicating blend is the kind that puts smiles on faces.

—David Klein BEYÙ CAFFÈ, DURHAM | 7 and 10 p.m., $15, www.beyucaffe.com Leonard Cohen’s most lacerating meditations in the service of a Counting Crows song without the wit, or a Dave Mathews Band jam minus the groove. Katie Rose opens. —TB [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.]

TheOneOff HOUSE What better way PARTY to celebrate the coming lunar eclipse than with some trippy techno and house music? Nightlight will provide it by the pound with sets by Galimaufry, KNLB, Rat Myth, and Yugen. Expect the kind of thumping 808s, highly processed samples, and offbeat cymbals that have kept house music a club favorite. —CM [NIGHTLIGHT, $7/10 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Stanley Baird CD Release Party; 7 & 9 p.m., $15. See box, page 31. • BLUE NOTE GRILL: August Birthday Party: Good Rocking Sam; 8 p.m., $8. • THE CAVE: Shehehe, 3 Body Problem, Reese McHenry & The Fox; 9 p.m., $5. • COASTAL CREDIT UNION MUSIC PARK AT

WALNUT CREEK: Luke Bryan, Brett Eldredge; 7 p.m. • DEEP SOUTH: The Roman Spring, But You Can Call Me John, St. Anthony and the Mystery Train, Brother Galen; 8:30 p.m., $5–$7. • IRREGARDLESS: Andrew Berinson Duo; 6-9 p.m. Zen Groove Funkestra; 9 p.m. • KINGS: Sidewalk Slam; 8 p.m., $8–$10. See page 26. • KOKA BOOTH AMPHITHEATRE: The Night Nation Run; 7 p.m. • LINCOLN THEATRE: 90s Vs. 00’s: Leo Season Finale; 10 p.m., $20–$30. • THE MAYWOOD: Kicking Valentina, Hayvyn, Modena, Breathe New Life; 8:30 p.m., $10–$12. • POUR HOUSE: Sidewalk Slam; 9 p.m., $8. • RUBY DELUXE: DJ Play Play; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): The Fall and Rise of John Elderkin & Moonbeams No Mas!; 5-9 p.m.

• SHARP NINE GALLERY: Dave Finucane Quartet; 8 p.m., $10–$20. • THE SHED JAZZ CLUB: Heartwarmer, Ariel Pocock; 8 p.m., $5–$10. • SLIM’S: Sidewalk Slam; 8 p.m., $8–$10. See page 26. • THE STATION: Jazz Saturdays; 2 p.m., free.

SUN, AUG 20 Cranes Are Flying CRANES Through various IN TH’SKY iterations and lineup changes, Philly’s Cranes Are Flying have been

around for a full decade, gradually refining a moody, meditative sound built around chugging guitars, hook-laden choruses, and frontman Robin Carine’s endearingly plainspoken vocals. The band’s new EP, Code Switching, features the band settling into comfortably anxious groove in tracks like “Don’t Wake Me Up,” a minor-key ode to housebound indecision, and the brooding, darkly funny relationship drama of “The Patriarch.” Werebears open. —TB [SLIM’S, $5/8 P.M.]

Janiva Magness BLUES Janiva Magness HEALING claims the blues saved her life. Growing up in foster care, she snuck into a club, found music, and the rest is history. She’s now twenty-six years into a career in which she’s won a number of Blues Music Awards and been named the B.B. King Entertainer of the Year—only the second woman to snag that title. Expect wailing electric guitar, downtrodden lyrics, and smoky vocals from this decorated singer. Indie

ILLUSTRATION BY STEVE OLIVA

jazz band Tea Cup Gin opens.

—KH [MOTORCO, $15–$29/8 P.M.]

Social Distortion VINTAGE Alongside fellow ROCK pioneering L.A. rockers X and The Blasters, Social Distortion spent the late seventies and eighties melding punk rock’s manic energy with a traditionalism rooted in early rock influences. Like many veterans of the underground, the alt rock of the early nineties brought the band unexpected renown, but Mike Ness and company never strayed far from their strengths. They remain the same no-frills force as they approach their fortieth year in existence. Jade Jackson opens. —TB [THE RITZ, $36/8 P.M.]

Socialist Prom DSA The disabilityPARTY rights organization ADAPT and the NC Piedmont Democratic Socialists of America link arms for this timely fundraiser. Their prom theme may be campy, but the goals are

pure. A majority of the sliding-scale ticket proceeds will go to support Medicare For All, a political movement to keep accessible health care in the hands of those who need it most. Advance your politics beyond podcast listening and support positive real-life change in a fun way.

WXYC d.j.s stack the decks.

Prom attire isn’t necessary, but it’s encouraged. —DS [NIGHTLIGHT, $10–$20/8 P.M.]

Viva La Hop MELTING Hip-hop jazz POT ensembles have been gaining traction over the past few years, and Viva La Hop is riding that wave. The nine-person band consists of highly talented instrumentalists and two rappers, Philly G and Bo-Lyriks, who focus on conscious and positive songwriting. Viva La Hop skillfully carries on the tradition of hip-hop’s jazz roots, but the actual rappers are mediocre at best, which is disappointing. Royal Skyyy, Oren Major, and DJ Shahzad open. —CM [POUR HOUSE, $7–$10/7 P.M.]

Zuli SYNTH Ryan Camenzuli, POP the creative engine behind New York’s Zuli, sings in a charmingly imprecise high register, curling his insinuating vocals around deft, genrebending excursions into synth-pop, folk-rock, and psychedelia like the loping, inescapably catchy “Better All the Time” and the woozy, punch-drunk “Keep It Together.” —TB [LOCAL 506, $7/9 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: Adrian Duke & Theresa Richmond; 5-7 p.m.

• CAT’S CRADLE (BACK ROOM): Jam Roc Jam Session: Rapsody, Heather Victoria, Zoocru, Tha Materials; 8:30 p.m., $10–$15. See page 26. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Heather Kenney; 6 p.m. • RUBY DELUXE: DJ Stone Zone; 10 p.m.

DJ Bitchcraft; 11 p.m. • SURF CLUB: That’s All with Hubbble and Gappa; 5-9 p.m. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

INDYweek.com | 8.16.17 | 31

MON, AUG 21 Meatwound FLEXIBLE Meatwound is FORCE less a band than it is the musical equivalent of a wad of Silly Putty flecked with shattered glass. The Tampa band’s scuzzy riffs are affable in the most acrid way possible, hits of puckered melody to sweeten the turbocharged racket lurking in the distance. The results are stunning on last May’s Largo, a murky, post-punkinflected tour de force. With The Ditch and the Delta and Voidward. —ZC [SLIM’S, $5/9 P.M.] ALSO ON MONDAY BEYÙ CAFFÈ: Verses and Versus DJ Series; 6-9 p.m. • EMPRESS ROOM: Gary Brunotte; 8-10 p.m. Gary Brunotte plays and sings from The Great American Songbook; 8-10 p.m. • IMBIBE: Grewen and Griffin; 7-10 p.m., free.

• MOTORCO: Flash Chorus; 7 p.m., $7–$10. • PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10. • POUR HOUSE:

Paul McDonald; 8 p.m. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

• THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, AUG 22 The Frights CALI The Frights are GARAGE pure California dudes—the band’s second record was produced by a member of FIDLAR. Their music sounds like Cali in that some of it is relaxing and sunny and some is way more frantic and seems to be fueled by a whole bunch of drugs. King Shelter and On Drugs open. —KH [LOCAL 506, $12–$15/7:30 P.M.]

Durand Jones & the Indications STAX-Y With their SOUL Stax-influenced production, vintage horn arrangements, and heavily referential throwback album artwork, these soul revivalists run the risk of being a

revival act without a rationale: Why not just stay home and listen to the Meters or Wilson Pickett?

Such concerns are overridden by the extraordinary vocal talent of frontman Durand Jones and some remarkable songs like the socially conscious “Make a Change” and the lover’s lament “Can’t Keep My Cool.” Trike opens.

—TB [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.]

Matchbox Twenty, Counting Crows ‘90S ALT Two of the preeminent hit makers from the nineties alt rock boom, Matchbox Twenty and Counting Crows both logged a seemingly endless stream of Billboard hits by mining the melancholy umbrage of frustrated white dudes near and far. Of the two, headliners Matchbox Twenty were more aggressive and also more embarrassing—singles like the light-grunge tantrum “Push” feel less convincing with every listen. Counting Crows have aged slightly better, as exemplified by the mopey

elegance of lived-in anthems like “Long December.” —EB [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $20–$130/6:45 P.M.] ALSO ON TUESDAY IRREGARDLESS: Marilyn Wienand; 6:30 p.m. • POUR HOUSE: Dr. Joe with Will McBride Group; 9 p.m., $5.

• RUBY DELUXE: Experimental Tuesday: Discotono; 11 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20. • SLIM’S: Casey Magic, Zach Schmidt; 9 p.m., $5.

WED, AUG 23 Goo Goo Dolls PUNKS Thirty years ago, AWRY the Goo Goo Dolls were working-class Buffalo punks with an enjoyably offhand trash rock debut on the indie label Metal Blade. In the next several years, the band transformed from charming, Replacements-addled screwups to hook-savvy alt-rockers to household name balladeers responsible for the ubiquitous hits “Slide” and “Iris.” It’s a remarkable

trajectory, unthinkable in the current music economy.

What’s left of those original punks is unknown. Phillip Phillips opens. —EB [RED HAT AMPHITHEATER, $29–$203/7:30 P.M.]

Raven EARLY Widely regarded METAL as one of the most influential and underrated acts to emerge from the first wave of British heavy metal, Raven is best known for 1985’s “On and On,” a fist-pumping anthem that marked an early merger between thrash metal and hard rock.

More than three decades later, the band has yet to lose an ounce of that historic momentum. With Dead by Wednesday and Knightmare. —ZC [POUR HOUSE, $10/8 P.M.]

Saving Space Showcase: Away Msg BEEP BLOOP

The Triangle has a cool and growing

culture of lady beat makers, and Away Msg is one of the rising names that people should get to know. An originator of Durham’s Raund Haus beat collective, Away Msg has a sound that’s highly experimental but solid. She deploys unique samples of music, normal background noises, and voices, and pairs them with drum loops and synths in offbeat yet soothing sequences. Sarah the Instrumentalist, Trandle, and RGB perform, too. —CM [NEPTUNES PARLOUR, $7/10 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • THE CAVE: August Residency: Spencer Lee; 9 p.m., $5. • EMPRESS ROOM: Court Stewart; 7:30-10 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Craig Thompson Band; 6:30 p.m. • LOCAL 506: The Capitalist Kids, Retirement Party, Pink Drinks, Sneakers Award; 9 p.m., $6–$8.

• THE PINHOOK: Wooden Wand, Nathan Bowles, Jake XerxesFussell; 9 p.m., $10. See page 20.

• RALEIGH CITY MARKET: Music on Market; 5-6:30 p.m.

FINDER THE INDY'S GUIDE TO THE TRIANGLE

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8.16 – 8.23

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FRIDAY, AUGUST 18

SARA GOOD: SEED TO SOIL TO SEED: AD INFINITUM It’s said that some authors continue to speak to our times long after their deaths, and that’s certainly the case with Henry David Thoreau—not just figuratively but literally. The transcendentalist essayist died in 1862 but has continued to publish new works in modern times, such as The Dispersion of Seeds. Thoreau’s final research project, dealing with the natural selection of plants through a Darwinian lens, it was brought out for the first time in the 1990s. The 150-year-old seeds Thoreau dispersed in it continue to blow around and find fertile soil, now sprouting in an instal-

lation in the Scrap Exchange’s Cameron Gallery. Taking inspiration from Thoreau’s treatment of “fly-away seeds,” installation artist Sara Good, of Memphis, Tennessee, festoons the gallery with botanical, found, and handmade matter to illustrate the intersecting loops and lines along which biological life elegantly destroys and creates itself. After this opening reception, the exhibit runs through the ninth of September. —Brian Howe

THE SCRAP EXCHANGE, DURHAM

6–9 p.m., free, www.scrapexchange.org

Seed to Soil to Seed: Ad Infinitum by Sara Good PHOTO COURTESY OF THE SCRAP EXCHANGE

OPENING

Barely Civilized: Folk art by Cher Shaffer. Thru Aug 24. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

and Tyler Jackson is scouting it.

The abstract storyline in his VR exhibit developed in his history as a painter and an animator, but he needed five people to bring it to virtual life: Fabian Marquez, Alisha Hawkins, Doug Kinnison, Derick Childress, and Alex Davis. To explore it, you don VR goggles and grip a haptic-feedback wand. You find yourself immersed in a shadowy, seemingly cavernous space, standing before a table.

Touching the various objects it holds allows you to enter different scenes, adumbrating if not spelling out a story about life and death as seen from some liminal place. When you lean out of a window and see the woods spreading into your peripheral vision, or you look down and see a rope ladder dangling vertiginously into streaming clouds beneath your feet, the sense of having entered another world is profound.

For gamers, it will be instantly familiar. For non-gamers, it will be like nothing they’ve ever experienced before. Thru Sep 16.

Lump, Raleigh. www.teamlump. org. —Brian Howe

Before the War: Virtual reality is the next frontier for artists,

Beyond the Front Porch 2017: Exhibition by twelve senior

Redress Raleigh Fashion Show: Spotlighting the latest in responsibly-produced fashion. $35-$70. Fri, Aug 18, 7 p.m. CAM Raleigh, Raleigh. camraleigh.org.

SPECIAL Three Perspectives: EVENT Paintings by Lolette Guthrie, photography by Eric Saunders, blown glass by Pringle Teetor. Aug 21-Sep 24.

Reception: Fri, Aug 25, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

ONGOING Abstract Vision: Paintings by Sam Ezell. Thru Aug 25. Whitted Building, Hillsborough.

Around the Blue Ridge: Photography by The Focus Group. Thru Aug 30. Seaboard Wine & Tasting Bar, Raleigh. www.seaboardwine.com.

undergraduates. Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Cedar Creek Gallery National Teapot Show X: Thru Sep 5. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

Coastscapes: Paintings by Nancy Hughes Miller. Thru Oct 28. Artspace, Raleigh. www. artspacenc.org.

Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Court and Capital: Art from Asia’s Greatest Cities: Thru Dec 10. Ackland Art Museum, Chapel Hill. www.ackland.org.

The Fabric of Raleigh / The Fabric of Durham: “You were just a face in the crowd,” Tom Petty once sang. “Out in the street, walking around.” If Petty captured the alchemy of a face among many turning specific and significant, photographer Christer Berg, who moved to Raleigh from Sweden in 1995, does it dozens of times in his new photo book, The Fabric of

Raleigh/The Fabric of Durham.

Firefighters and preachers, cobblers and baristas, dancers and construction workers—all leap out of the daily pedestrian flow before Berg’s energetic lens. “I wanted to skip the planning, styling, and scheduling that’s common with portrait projects, instead capturing people in the moment, going about what they do in an unscripted and authentic way,” Berg says. This exhibit of the portraits doubles as a release party for the book, a 120-page hardcover designed by Dave Wofford at Horse & Buggy Press—so you know it’s looking good. Thru Oct 1. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com.

—Brian Howe Fluid: Paintings by MyLoan Dinh. Thru Oct 15. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Group Show: Twenty-five artists and craftspersons. Thru Aug 25. Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com.

Harry Fenn is in the Bathroom Again: Drawings, photographs,

and videos by David Politzer.

Thru Aug 26. Artspace, Raleigh. www.artspacenc.org.

Keul and Hardt: Paintings by Chrystal Hardt and James Keul.

Thru Sep 4. This and That Gift Gallery, Carrboro.

The Long Goodbye...: Sitespecific installation by Eric Yahnker. Thru Sep 10. CAM Raleigh, Raleigh. camraleigh.org.

Looking South: Photography by Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Exploring Water’s Edges: Lori White. Thru Aug. 26. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

Marks of Clarity: Drawings and paintings by Kiki Farish and Erin Oliver. Thru Sep 15. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

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

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

A Morir: Video installation by Miguel Angel Rios. Thru Sep 17.

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

Natura Technica: Paintings by Matt Zigler. Thru Aug 27.

N.C. Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

One Is a Crowd: Collaborative self portraits by Ursula Gullow.

Thru Sep 30. Artspace, Raleigh. www.artspacenc.org.

One of Many: Prints. Thru Sep 10. Ackland Art Museum, Chapel Hill. www.ackland.org.

Rabbits: In April, the INDY reported on Catherine Edgerton’s Carrack exhibit of art journals and kaleidoscopes, which represented different but complementary approaches to the issue of mental health.

It’s one of the artist’s key areas of activism within the Durham Artists Movement, the multivalent, socialjustice-oriented collective she cofounded. As such, Edgerton’s new exhibit, Rabbits, benefits Art Asylum, which employs creative practices to destigmatize and empower people with mental-health and addiction challenges. The collagebased, limited-edition prints on view and on sale at Urban INDYweek.com | 8.16.17 | 33

Durham Realty use the image of the white rabbit to peel back and palpate the layers of white supremacy, a climate in which mentalhealth struggles, especially for people of color and queer people, naturally flourish. Thru Aug 31.

Urban Durham Realty. www. urbandurhamrealty.com.

—Brian Howe

stage

Sara Reynolds: Charcoal, ink, paint, mixed media, and sculpture. Thru Aug 31. The ArtsCenter, Carrboro. www. artscenterlive.org.

LAST Serious Fun: Jewelry CHANCE by Nell Chandler, fiber art by Ali Givens, paintings

by Michele Yellin. Thru Aug 20.

Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

Small to Large: Delight in the Practice of Painting: Paintings

by Margie Stewart. Thru Oct 23.

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

SPECIAL Some Assembly EVENT Required: Can You Build It?: 3-D paintings and sculpture. Thru Oct 10.

Reception: Fri, Aug 18, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Paul Spinak: Metal and wood.

Thru Aug 26. Imurj, Raleigh. imurj.com.

Studio and Porch Paintings: Joan Vandermeer. Thru Oct 27. Mad Hatter Bakeshop & Cafe, Durham. www. madhatterbakeshop.com.

Teens, Inspired: Juried exhibition by N.C. high school students. Thru Sep 10. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Thirty Paintings in Thirty Days: Paintings by Chieko Murasugi. Thru Sep 18. Durham Arts Council, Durham. www. durhamarts.org.

Threading Colors: Works by Nora Phillips. Thru Sep 18.

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

Under Pressure: Prints and performance art. Mondays thru Aug 27. Visual Art Exchange, Raleigh. www. visualartexchange.org.

Watercolor Society of North Carolina: Molly Cassidy. Thru Sep 1. Halle Cultural Arts Center, Apex. www.thehalle.org.

You + Me: Photographs from various artists. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

34 | 8.16.17 | INDYweek.com

SATURDAY, AUGUST 19–SATURDAY, SEPTEMBER 2

CONVERSATIONS WITH HITLER Military sensory deprivation experiments in the fifties proved that when our bodies don’t get enough stimulation, our minds are alarmingly capable of taking up the slack.

These are the questions for one inmate who has a vivid imagination and a real gift for words: Is he participating in a prison playwriting group? If so, why do the scenes he and the students enact in the class appear to melt into real-life encounters elsewhere in the prison—flashbacks with flashbacks embedded within? Is there actually an audience for his disturbing monologues? Or has he never left solitary

OPENING Jordan Carlos, Matt White: Stand-up comedy. $11-$13.

Sat, Aug 19, 8 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

Craig Shoemaker: Standup comedy. Thu, Aug 17-Sat, Aug 19. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Rock Your Body Toprock and Allstyles Battle: Breakdancing. Hosted by Raleigh Rockers MC No Cents. $8-$15. Sat, Aug 19, 4 p.m. Imurj, Raleigh. imurj.com.

The Chuckle & Chortle Comedy Show: Local stand-up comics. $7. Sat, Aug 19, 8:30 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

Comedy Roulette: Improv. $12. Sat, Aug 19, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Comics Against Humanity: Improv comedy. $12. Wed, Aug 16, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

ONGOING

The Dangling Loafer: $5.

Fri, Aug 18, 8 p.m. Kings, Raleigh. www.kingsraleigh. com. www.facebook.com/ TheDanglingLoafer

Anything Goes Late Show: Sat, Aug 19, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Funny Business Live: Pro comedy series. $5-8. Fri, Aug 18, 9 p.m. The Thrill at Hector’s, Chapel Hill. www. funnybusinesslive.com.

confinement? Inmate author Steven R. Bond took honorary mention in the 2014 PEN America Prison Writing awards for Conversations with Hitler. Now Robert Diaz, John Paul Middlesworth, and Livian Kennedy star in this production from ARClitE’s little independent theater, which takes the whole “Is this a dagger before me?” question up a few notches. Julya Mirro directs. —Byron Woods

SONOROUS ROAD THEATRE, RALEIGH

Various times, $10–$15, www.sonorousroad.com

The Harry Show: Ages 18+.

Improv host leads late-night revelers through potentially risque games with audience participation. $10. Fri, Aug 18 & Sat, Aug 19, 10 p.m.

ComedyWorx Theatre, Raleigh. comedyworx.com.

Hush Hush: Summer Brews: Interactive comedy.

Thu, Aug 17, 8 p.m. Beer Study, Durham. www. thisismettlesome.com.  Of Wings and Feet: As Paperhand Puppet Intervention’s eighteenthannual summer show begins, a multigenerational group of performers casually walk onstage and don papier-mâché bird masks. Their body language and gestures subtly change until we’re no longer in the presence of humans or birds, but of some strange amalgam. With whimsy

and gravitas, Donovan Zimmerman and Jan Burger look at American culture through an avian eye: a vivid procession includes herons and terns, vain flamingos and purposeful pigeons in power suits.

The changelings from the opening try to make sense of these odd behaviors before imaginative engineer Chris Carter ultimately gives them flight. And Paperhand’s trademark political advocacy is evident as a ragtag old-time circus troupe stages a slapstick sideshow celebrating dubious achievements including the taming of the wild and the marriage of big business and democracy. $10-$15. Thru Sept. 4. UNC Campus: Forest Theatre, Chapel Hill. www.ncbg. unc.edu. —Byron Woods

LAST The Secret Garden: CHANCE There’s something about librettist Marsha Norman and composer Lucy Simon’s enigmatic opening for this Tony Award-winning 1991 musical that registers on the hairs on the back of your neck.

The sublimated loss and desire in the beguiling opening moments evokes a world in Edwardian England in which an eleven-year-old orphan solves a mystery and helps another shattered family find renewal and healing in what lies beyond the locked iron gates of the forbidden grove of the title.

Skyla Woodard, Keegan Story, and Michael Halling anchor the Theatre Raleigh production of this classic of children’s literature. $25-$150.

Thru Aug 20. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com. — Byron Woods

page

THURSDAY, AUGUST 17

EMILY COLIN: THE DREAM KEEPER’S DAUGHTER A hometown writer made good returns to the fold when former Regulator Bookshop staffer Emily Colin reads from The Dream Keeper’s Daughter, the follow-up to her New York Times best-seller, The Memory Thief. (Neither is to be confused with Kim Edwards’s unrelated book, The Memory Keeper’s Daughter.) In Dream Keeper, Isabel’s boyfriend, Max—the father of her child—has disappeared, but he turns out to be alive. The bad news is that he has somehow traveled back in time to 1816, just before a historic slave uprising. Somehow, they must find a way to keep Max alive and reunite—relationships are never easy. Explore the complexities of love, history, and inexplicable time-slips at this reading to mark the book’s recent paperback release. —Zack Smith

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

READINGS & SIGNINGS Peter Brown: Creepy Pair of Underwear. Fri, Aug 18, 4:30 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Carolina African American Writers’ Collective: Poetry reading by DeLana R.A. Dameron, Lenard D. Moore, L. Teresa Church. Wed, Aug 16, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Curryblossom Conversations: Sacrificial Poets hosts an open mic event for works of music, poetry or anything in between.

Thu, Aug 17, 6 p.m. Vimala’s Curryblossom Cafe, Chapel Hill. www.curryblossom.com.

Clyde Edgerton: Raney: A Novel. Sun, Aug 20, 11 a.m.

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

Stephen Elder: Furies Unleashed. Sun, Aug 20, 2 p.m.

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

Heather Harpham: Happiness: The Crooked Little Road to SemiEver After. Tue, Aug 22, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Sisters in Crime: Carolina Crimes: A collection of short stories by crime writers living in the Triangle. Sat, Aug 19, 11 a.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

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bill.burton.lawyer@gmail.com INDYweek.com | 8.16.17 | 35

screen FRIDAY, AUGUST 18

TRUE GRIT & PALE RIDER This screening of 1969’s True Grit was scheduled before the passing of Glen Campbell, who costars and sings the Oscar-nominated title song, so it’s just a regrettably fortunate coincidence that one of his few acting roles gets a turn on the big screen this week.

The “Wichita Lineman” singer does a decent job in a role originally intended for Elvis in this adaptation of Charles Portis’s novel, which won John Wayne his only Oscar for his portrayal of one-eyed Rooster Cogburn, an over-the-hill U.S. Marshall hired by a young woman (Kim Darby, in a role almost played by everyone from Mia Farrow and Sally Field to Karen Carpenter) to help bring in the outlaw who killed her father. The Coen Brothers’ 2010 adaptation does a better job of capturing the book’s dark, deadpan humor, but there’s plenty of fun to be had here, particularly the classic scene where Wayne blasts away with a gun in each hand while on horseback, the reins in his teeth. This double feature also includes another elegiac Western, Clint Eastwood’s 1985 vehicle, Pale Rider. As a mysterious stranger helps out oppressed miners, the film borrows a good deal from Shane, not to mention Eastwood’s own High Plains Drifter.

But it’s retained a solid reputation over the decades, and has a little poignancy as Eastwood’s next-to-last Western before Unforgiven. —Zack Smith

CAROLINA THEATRE, DURHAM

7 p.m., $9, www.carolinatheatre.org

Pale Rider PHOTO COURTESY OF WARNER BROS.

SPECIAL SHOWINGS Hidden Figures: Sat, Aug 19, 2:30 p.m. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

LEGO: Batman Movie: $2-$5.

Thu, Aug 17, 6 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org.

Miss Peregrine’s Home for Peculiar Children: Outdoor movie. Sat, Aug 19, 7 p.m.

Apex Nature Park, Apex.

Moonlight: Movies by Moonlight. $6. Fri, Aug 18, 8:30 p.m. N.C. Museum of Art, Raleigh. www. ncartmuseum.org.

Rumble: The Indians Who Rock the World: $7. Thu, Aug 17, 9 p.m. Kings, Raleigh. www. kingsraleigh.com.

36 | 8.16.17 | INDYweek.com

OPENING  Brigsby Bear— Reviewed on p. 24. Rated PG-13.

Logan Lucky—Soderbergh’s back with a heist comedy about a real-life robbery at Charlotte Motor Speedway in North Carolina. Rated PG-13.  From the Land of the Moon—Reviewed on p. 24.

Rated R. The Midwife—Great French actors Catherine Deneuve and Catherine Frot appear together at last in a learningto-live-again drama. NR. Wind River—Federal agents investigating a murder (Jeremy Renner and Elizabeth Olsen) face the brutal Wyoming winter.

Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ Annabelle: Creation—The new Conjuring film is an adequate scary movie if you’re in a theater packed with people yelling advice at the screen, but genre connoisseurs might be bored. Rated R.  Atomic Blonde— Despite flourishes of ferocity, this Cold War thriller by John Wick codirector David Leitch often seems to coast on its own glib, quirky coolness.

Rated R. ½ The Big Sick— Married screenwriters Kumail Nanjiani and

Emily V. Gordon’s autobiographical romcom truthfully portrays the shifting cultural and romantic landscape of the U.S. Rated R.  Cars 3—Pixar’s latest is a smooth ride because it mainly runs on cruise control and Rocky references. Rated G. ½ Despicable Me 3— This franchise feels just about washed up, but your kids won’t care, because Minions! Rated PG.

for better and worse, very Terrence Malick—epic, meditative, and portentous.

Rated PG-13.  Landline—Obvious Child’s Gillian Robespierre and Jenny Slate reunite for an ode to nineties anxiety and optimism.Rated R. ½ Maudie—This biopic of the Canadian folk artist Maud Lewis doesn’t go too deep but shines with the light of creativity.

Rated PG-13.

½ Detroit—In a way, Kathryn Bigelow’s bracing take on the 1967 Detroit riots completes a trilogy of war films. Rated R.

 Megan Leavey—The film lavishes love on the bond of a marine and her bomb-sniffing dog but undersells everything else.

Rated PG-13.

½ Dunkirk— Christopher Nolan’s WWII picture is very British and,

½ The Mummy— Tom Cruise’s increasing creepiness is the

biggest impediment to a serviceable creature feature. Rated PG-13.  Spider-Man: Homecoming—Getting back to basics, a fifty-five-yearold superhero feels like a kid again.

Rated PG-13. ½ Valerian and the City of a Thousand Planets— Luc Besson breaks the bank for a visually extravagant, emotionally hollow spiritual successor of The Fifth Element.

Rated PG-13.  War for the Planet of the Apes—A conspicuous phrase scrawled on a tunnel wall beneath the Colonel’s compound says it all: this is basically “Ape-pocalypse Now.” Rated PG-13.

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Outstanding job for the right person. Prior law office experience and an interest in environmental protection are essential. Requires college degree; strong computer, typing, and editing skills; and proven organizational and communication skills. Must be proficient in all MS Office applications. Excellent benefits, competitive salary, paid parking. We are an established organization and EEO employer. To learn more, visit https://www. southernenvironment.org/ about-selc/jobs. Apply by emailing resume, cover letter and 3 professional references to ncjobs@selcnc.org with subject “Administrative Legal Assistant”, or by mailing the same documents to Administrative Legal Assistant, 601 W. Rosemary Street, Suite 220, Chapel Hill NC 27516-2356. No walk-ins or telephone calls please.

BROWN TRUCKING

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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, 919-968-3936 or www.magictortoise.com

massage FULL BODY MASSAGE by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe.

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critters KEEP DOGS SHELTERED Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates.

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1-ACRE LOTS in eco-community, includes 7-acre nature preserve.

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INDYweek.com | 8.16.17 | 37

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Healing Transitions

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TO BE FEATURED IN A GIVE! GUIDE HIGHLIGHT, CONTACT CLASSY@INDYWEEK.COM

2016

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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.

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EMAIL MIKE FOR ADS CLASSY AT INDYWEEK DOT COM 30/10/2005

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

please contact eroberts@indyweek.com

bang for your buck! classy at indyweek To advertise or feature a pet for adoption, dot com please contact eroberts@indyweek.com

COMEDYWORX INTRO TO IMPROV

6/17 12-3PM AND 6/21 7-10PM 919-829-0822 OR COMEDYWORX.COM

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indy week’s

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com

last week's puzzle

Campus advertise on this page! e d i Gu reserve this space for $100!

everything you need to know to get your semester started right on stands august 9 reserve by july 7fi

classy@indyweek.com

contact your rep or advertising @ indyweek.com

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

INDYweek.com | 8.16.17 | 39

YOUR AD HERE Hillsborough artist Sudie Rakusin (www.sudierakusin. com) seeks dynamic professional with wide range of marketing, project management and administrative skills - and the willingness to learn more. Perfect for a selfstarter who loves doing research, brainstorming and solving problems. Must be able to juggle multiple deadlines, while still being open to playful and unconventional idea-generation. Requires maturity, high level of attention to detail and time management skills. The ability to stay focused while working alone, with minimal direction, is essential. Experience with social media, website management, Microsoft Office, Quickbooks and email management required. Must be comfortable around dogs. Starting salary $27,456 for 32hr work-week, plus 3% company match for retirement. Generous paid vacation, holidays and personal days. Location: Hillsborough, NC. To apply, email the following to info@sudierakusin. com: cover letter, resume, writing sample, 3 references, links to any blogs, websites, or social media pages you manage and would like us to consider. Also, describe a project you have managed from beginning to end. Include difficulties you encountered, how you managed them, the final result, and the take-away you got from the project.

Complete applications due Mon Sept 11.

Expected start date is October.

BURCH AVE.

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September 27th at 7pm-10pm and September 30th 12pm-3pm. Be funny, be quick, be confident.

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OLD WEST DURHAM BUNGALOW

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KOL HASKALAH’S ANNUAL OPEN HOUSE

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

Open House: Saturday, August 19th, 2-4PM 2609 W Knox St. MLS#2143994 List Price: $240,000 Ian Kipp, Berkshire Hathaway HomeServices NC Real Estate Broker Lic#268085 (919) 229-3533

Sunday September 10th 10AM until noon, Murphey Hall, UNC Chapel Hill.

Open to all.

Come learn about Humanistic Judaism For more information: kolhaskalah.org

919.286.6642

Open House: Sunday, August 20th, 2-4PM 1605 Angier Ave. MLS#2135617 List Price: $259,000 Ian Kipp, Berkshire Hathaway HomeServices NC Real Estate Broker Lic#268085 (919) 229-3533

See the teaching page of: www.griffanzo.com Adult beginners welcome.

919-636-2461 or griffanzo1@gmail.com

THE INDY'S GUIDE TO THE TRIANGLE

ARTIST MARKETING AND BUSINESS ASSOCIATE

FINDER

Email Mike! classy@indyweek.com

RESERVE NOW! Publication date:

October 4 Deadline: August 30

Contact your INDY ad rep or advertising@indyweek.com for more info

back page

Weekly deadline 4pm Monday • classy@indyweek.com

Back Pa back p

ARTIS MARK AND B ASSOC

Hillsborough (www.sudier dynamic pro range of ma agement an - and the wi Perfect for a doing resea solving prob juggle multip being open ventional ide maturity, hig to detail and skills. The while workin direction, is with social m ment, Micro and email m Must be com Starting sala work-week, p for retireme tion, holiday Location: Hi apply, email sudierakusin resume, writ ences, links or social me and would li describe a p aged from b difficulties y you manage and the take project. Com Mon Sept 1 is October.

BURCH

Short walk 2 3 BR, 1 BA $2100 fincaminor@

DANCE IN SWI BLUES

At ERUUF, D Carrboro. RI 919-724-14 rbadudance

DOWN DURH COMM PROP

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