INDY Week 8.23.17

Raleigh 8 I 23 I 17

N.C. State’s new Gregg Museum highlights a vast, diverse collection that spans Native American art and contemporary painting BY CHRIS VITIELLO P. 18

D U K E PE R F O R M A N C E S

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11 ARTISTS IN RESIDENCE ARTISTS FROM 17 COUNTRIES 13 VENUES ON CAMPUS & IN TOWN 4 WORLD PREMIERES & 2 WORLD-CLASS FESTIVALS

WWW.DUKEPERFORMANCES.ORG 2 | 8.23.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK 6 By July 28, residents had poured more than $280,000 into Raleigh City Council races. Almost all of it went to two candidates.

8 On Friday, the Durham County Sheriff’s Office told people not to pay any attention to rumors that had originated with the Durham County Sheriff’s Office.

13 It’s not entirely clear that Wake County Register of Deeds employees, who are paid by the county, are actually county employees.

VOL. 34, NO. 32

DEPARTMENTS 6 Triangulator 8 News 14 Music 18 Arts & Culture 22 What to Do This Week 25 Music Calendar 29 Arts & Culture Calendar

14 After another area arts promoter is accused of toxic behavior, the Triangle music scene tries to imagine a new way forward..

16 Golden Belt’s new owners want a music venue there, but they sent The Shed packing.

ON THE COVER:

18 The new incarnation of the Gregg Museum of Art & Design is a far cry from a quilts-and-baskets museum.

20 Death row prisoners live in a nine-by-six-foot space, and the lights never go off.

DURHAM/CHAPEL HILL: PHOTO BY VICTORIA BOULOUBASIS RALEIGH: HOPI KATSINAS AT N.C. STATE’S GREGG MUSEUM; GIFT OF DRS. NORMAN AND GILDA GREENBERG. COURTESY OF THE GREGG MUSEUM OF ART AND DESIGN.

Kallyn Boerner watches the eclipse at Ponysaurus Brewery in Durham.

PHOTO BY ALEX BOERNER

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NCDOT TO CONDUCT PUBLIC MEETING AUGUST 24 REGARDING PROPOSED WIDENING OF FALLS OF NEUSE ROAD BETWEEN I-540 AND DURANT ROAD IN RALEIGH, WAKE COUNTY TIP No. U-5826

The N.C. Department of Transportation will hold a public meeting for the proposed widening of Falls Of Neuse Road between I-540 and Durant Road in Raleigh, Wake County.

The meeting will be held on August 24 th at Abbotts Creek Community Center located at 9950 Durant Rd in Raleigh from 4 p.m. to 7 p.m.

Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project. Please note that no formal presentation will be made. All comments received will be taken into consideration as the project progresses.

As information becomes available, it may be viewed online at the NCDOT Public Meeting Website:

http://www.ncdot.gov/projects/publicmeetings/ Anyone desiring additional information may contact Division 5 Project Delivery Team Lead, Ben Upshaw, P.E. at (919) 220-4717 or by email at bjupshaw@ ncdot.gov. Comments should be submitted by September 7, 2017.

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 INTERN Maddy Sweitzer-Lammé

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers

CIRCULATION

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

Michael Griswold, JC Lacroix, Richard David Lee, Joseph Lizana, James Maness, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Marshall Wade, Gerald Weeks

ADVERTISING

ADVERTISING DIRECTOR Shannon Legge SENIOR ACCOUNT EXECUTIVES Lee Coggins,

Ele Roberts, Sarah Schmader

ACCOUNT EXECUTIVES Stephanie Miller,

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting.

Anyone requiring special services should contact Diane Wilson, NCDOT Senior Public Involvement Officer at (919) 707-6073 or by email at pdwilson1@ncdot. gov as early as possible, so that these arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 481-6494.

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

4 | 8.23.17 | INDYweek.com

Joshua Rowsey

CLASSIFIEDS ACCOUNT EXECUTIVE Mike Callahan

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

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Howe

backtalk Monumental Debates

Over the last week, we covered the heck out first quarter or so of the twentieth century of the removal of a Confederate monument was probably the bottom-most for racist senin Durham and the events that followed, and timent in our history, not forgetting the era of slavery itself. A virulent rebirth of the KKK our readers had plenty to say about it.

First up, Edwin M. Yoder thinks we should in the 1920s, largely in Midwestern states, study our history books more: “I couldn’t radically different from its original and feahelp noticing the invitation on your cover of turing anti-Semitic views, was symptomatic; August 17 to ‘tear down’ Confederate monu- it seems now to be reflected among the viobeth ments. I assume that you are not intention- lent rabble who created the disturbance in Spencer ally advocating felonious acts of vigilantism. peaceful Charlottesville.”

Sayaka Commenter Jaddy Baddy seems to have a “I wish the advocates of the cause you is, Angela , Bryan C. support were better versed in N.C. histo- problem with Yankees: “To this day, that the avid Ford ry, and American history generally. If so, South dare stand between the YSA [editor’s ck Wall they would be aware that Reconstruction- note: Yankee States of America, maybe?] and ist sentiment largely prevailed, even in their dreams of world conquest, yet sticks in the South, through the overthrow of the the Yankee’s craw. ISIS brooks no opposition. ms The Yankee brooks no oppoFusionist regimes in the midsition. You are the company and late 1890s. Albion Tourthat you keep. That you live gee’s novel A Fool’s Errand is in fear of statues, that you are a readable primer. Tourgee, “ISIS frightened by an idea, exposa veteran of the Union army, brooks no es how truly fragile and weak worked as a judge and constiart your Union truly is.” tution writer in Greensboro; opposition. avid Lee, and Edmund Wilson’s expliKate Sterling argues that Nair, The Yankee civil disobedience is necescation of his novel in Patriot , sary.

“I support the removal of Gore provides an enlightening brooks no the statues 100 percent,” she supplement on the post-Civil opposition.” says. “I support civil disobeWar situation, for both good dience and thank those who and evil. It was not until the are willing to take the risk of turn of the twentieth century arrest or worse. The removal that neo-Confederate sentiment could or would have flourished—or, of these statues is long overdue, and given han with it, memorial statuary. For that reason, the law made by the legislature, there is no among others, it is beside the point to say other quick and effective recourse.”

On the other hand, commenter Bluetrain that the monuments were of late vintage. It 200 believes that, while the statues should come is an irrelevant truism.

“The motives of those who placed them, down, they should come down legally: “I apart from outbursts of oratory, are inscru- want all those statues down or relocated table and various. It could only have embar- like yesterday. But there is a right way to do rassed many UNC alumni, students, and it and a wrong way. This is the wrong way. k.com friends, including Civil War veterans, that Those who play with anarchy and mob rule eek.com 1972 the unveiling of ‘Silent Sam’ in 1913 was do so at their own peril. Remember at one accompanied by Julian Carr’s brutal and vul- point those mobs were pointed in the other gar remarks. In any case, they offer no useful direction. This kind of behavior was not right e commentary on the merits of the monument then, nor is it now just because some think itself, such as they may be; and as to those, the ends justifies the means. I think the will views varied then and vary now. A mon- is there to get rid of these things. Let’s do it ument speaks for itself, and motives are the right way and not bring ourselves down impenetrably subjective. I myself dislike the to their level.” gratuitous suggestion that a monument dedicated to the war dead has nothing really to Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our do with them.

“Everyone familiar with the long, tragic Facebook page or indyweek.com, or hit us up history of race in America is aware that the on Twitter: @indyweek.

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triangulator

BIG MONEY

Citizens had poured more than $280,000 into the campaigns of candidates for Raleigh City Council by the end of the first disclosure period on July 28. The race-by-race totals show a great divide between those at the top and the five candidates, for instance, who have agreed to raise no more than $1,000. (That agreement keeps them from having to submit detailed accountings.)

Donations, of course, have continued past the cutoff. On July 30, for example, at-large candidate Stacy Miller threw a lavish fundraiser at Figure 8 Island Yacht Club in Wilmington, with a top-end, $5,000 “patron” donation available down to a $25 ticket for somebody’s political child.

The city of Raleigh does many millions of dollars’ worth of business with contractors, in addition to signing off on development, restaurant inspections, street improvements, and the like. Just mentioning that, really.

For a complete look at the people who have already given money to city council candidates, visit the Wake County Board of Elections’ website. (Some records will require a second click to reach the State Board of Elections.) For now, here’s a breakdown of what the council candidates are bringing in and who are some of the honchos cutting the checks.

AT-LARGE RACE

SHELIA ALAMINKHASHOGGI Receipts: $1,396.86 Cash on hand: $99.75

ZAINAB BALOCH

Receipts: $3,161.69 Cash on hand: $2,754.34

STACY MILLER Receipts: $107,765.69 Cash on hand: $37,500.19 Notable donors: Restaurateur Samad Hachby, $5,000; attorney Kieran Shanahan, $4,200

RUSS STEPHENSON (I) Receipts: $26,898.48 Cash on hand: $24,544.59 Notable donors: State Representative Cynthia Ball, $2,500; Capitol Broadcasting CEO Jim Goodmon, $1,000

NICOLE STEWART

Receipts: $45,462.56 Cash on hand: $12,324.81 Notable donors: Public Policy Polling president Dean Debnam, $5,200; philanthropist Easter Maynard, $5,000

ROBERT WARD <$1,000

DISTRICT A

DISTRICT B

DISTRICT C

ALEX MOORE

DAVID COX (I)

JAMES BLEDSOE

Receipts: $100 for filing fee Cash on hand: $0

DICKIE THOMPSON (I) Receipts: $0 Cash on hand: $4,141.37

Receipts: $14,059.08 Cash on hand: $13,369.04 Notable donor: Debnam, $5,100

JOHN ODOM Receipts: $600 Cash on hand: $3,094

DISTRICT D

<$1,000

COREY BRANCH (I)

Receipts: $6,367.59 Cash on hand: $3,475.18 Notable: All donations less than $100

CRASH GREGG Receipts: $0 Cash on hand: $0

DISTRICT E No photo available

No photo available

GUIDE:

• Information based on midyear disclosures.

• Contributions means revenue from all sources, including candidates’ loans to their campaign, in-kind contributions, contributions from PACs, etc.

• Cash on hand is money available to the campaign after expenses are deducted.

• (I) means incumbent.

• <$1,000 indicates that a candidate has

agreed to raise less than $1,000 and thus does not have to detail contributions.

6 | 8.23.17 | INDYweek.com

JEFF STEWART <$1,000

OLEN LEON WATSON III

Receipts: $1,757.62 Cash on hand: $539.86

KAY CROWDER (I)

Receipts: $45,167.12 Cash on hand: $37,783 Notable donors: Goodmon, $5,000; Kimberly Development president Chad Stelmok, $2,500

BOBBY PLOTT JR. <$1,000

BONNER GAYLORD (I)

Receipts: $137,030.45 Cash on hand: $160,599.72 Notable donors: Retired N&O publisher Frank Daniels, $5,000; developer John Kane, $5,000; general contractor Richard T. Gaylord Jr., $5,000

STEFANIE MENDELL

Receipts: $943.80 Cash on hand: $800

DEREK WALKER <$1,000

+ARTS AND SPINACH

The News & Observer will cut back on its performing arts reviews beginning September 1, according to an email sent last week to people in the Triangle performing arts community from the paper’s performing arts correspondent, Roy C. Dicks.

According to Dicks’s email, the paper’s performing arts reviews have low online readership and “therefore are being dropped.”

However, the N&O’s culture editor, Jessica Banov, says that’s not entirely accurate, and there “isn’t a plan to get rid of reviews outright. … We know how important the performing arts scene is to the Triangle and we will continue to write stories about local theater and the arts,” Banov writes in an email.

In an email to the INDY, Dicks tries to reconcile the seemingly contradictory messages: “I can understand that the [N&O] doesn’t want to say it’s absolutely stopping all reviews but, for the purposes of what the theaters and the public have come to expect, reviews will be going from 70 or so in a year down to one or two,” he writes. “So, if my statement of ‘dropping performing arts reviews’ is too finite, then it would have to be stated as ‘no longer doing regular performing arts reviews,’ although that doesn’t really indicate the real drop in numbers.”

The decision to cut down on the reviews comes in the wake of recent news that the paper is making a series of changes to adopt a “digital-first” editorial strategy. Executive editor John Drescher recently published a column titled, “On the new N&O menu: Less spinach, more reader-focused coverage.” In it, Drescher explained that the paper would rely on data and digital readership to guide

decisions about which stories to cover.

In his email to the arts community, Dicks said the decision to cut back on reviews is consistent with the newspaper’s new direction.

“It’s certainly disappointing to find out that performing arts reviews have low readership, but if that’s the basis for ‘stay or go,’ then advocating the need for reviews won’t have any real impact,” Dicks wrote. “Unfortunately, this is a trend in papers all over the country. Most have dropped staff writers in the arts, relying exclusively on correspondents, and a number have dropped reviews altogether. So the N&O and [its parent company] McClatchy are doing nothing new.”

+SOCIAL NETWORKS

Mayor Bill Bell wants a discussion about how city officials use social media after Friday’s spontaneous protest in response to reports of a potential KKK rally that never materialized.

“We, as elected officials, have got to be more responsible, in my opinion, in how we use social media when it comes to instances such as this,” Bell said during the city council’s Monday meeting. “… If I were going to pass something along, I would have gotten in touch with the sheriff or the police chief ... and they probably would have said it’s unconfirmed.”

The remarks were made as council members commended the police department for how it handled the protest, which drew about a thousand people downtown Friday afternoon. There were no reported injuries. One person was charged with failing to disperse.

Council member Steve Schewel asked Chief C.J. Davis about her concerns about

hate groups coming to Durham. Davis said she recently met with Sheriff Mike Andrews about sharing information with “public safety in mind first.”

“Typically, when something is planned, there is some chatter about it. So we paid very close attention to the intelligence not just from our area but intelligence that federal entities send our way,” Davis said.

Talk then turned to the “rumors” that prompted the protest.

Schewel asked city staff to think about how to put out factual information faster. City manager Tom Bonfield said staff answered “countless” media inquiries about whether the city had issued a permit to a hate group to march in Durham Friday, but “people didn’t want to believe” the response.

Silent during the nine-minute discussion were council members Charlie Reece and Jillian Johnson, who had been vocal about the demonstration on social media. Friday morning, Johnson shared a tweet from Scott Holmes, an attorney representing people who have been charged with dismantling a Confederate monument last Monday, saying “white supremacists” were arriving in Durham at noon. Holmes says his information came from the Sheriff’s Office.

After Monday’s meeting, Johnson defended her decision to share Holmes’s post.

“I think that the Klan poses an important safety risk to Durham, especially black people in Durham,” she said. “If I get credible information that the Klan is coming to town, I will share that with the community.” triangulator@indyweek.com This week’s report by Thomas Goldsmith, Erica Hellerstein, and Sarah Willets.

PERIPHERAL VISIONS | V.C. ROGERS

VALID ANYTIME

INDYweek.com | 8.23.17 | 7

indynews Quiet Riot

DURHAM COUNTY SHERIFF MIKE ANDREWS COULDN’T HAVE ESCAPED CRITICISM THIS WEEK. STILL, YOU HAVE TO WONDER WHAT HE WAS THINKING.

BY SARAH WILLETS On Monday evening, as a crowd of demonstrators pulled down a Confederate monument on Main Street that had stood for ninety-three years, a sheriff’s deputy, clad in an army-green tactical vest, stood quietly by, filming.

It was the beginning of a week bookended by stunning protests and by puzzling law enforcement responses to those protests.

To be fair, there is probably no way that Sheriff Mike Andrews could have handled the demonstrations in Durham this week and entirely escaped criticism. He’s been chastised for not arresting protesters on the spot Monday, as they toppled the statue with surprising ease, and for sharing information with “leaders in the community” about a potential KKK rally in Durham on Friday. He’s also been criticized for charging Monday’s demonstrators with inciting a riot, and for walking back the Sheriff’s Office’s warnings of a Klan appearance via press releases and a social media campaign, #DoNotSpreadRumorsDurham.

First, let’s rewind to the beginning of what was a remarkable week in the Bull City.

On Monday night, several groups, including the Workers World Party’s Durham branch, Industrial Workers of the World, and BYP100, held a rally in front of a Durham county building in response to a white supremacist gathering in Charlottesville the weekend before. After handing the mic to counterprotesters who had been in Charlottesville, the group surrounded a Confederate monument erected in 1924, pulled it to the ground, and took to the streets to march.

For anyone who spotted the camcordertoting deputy, it was likely no surprise that the Sheriff’s Office had made a decision to forgo trying to diffuse the protest (surely preventing injuries) and pursue charges later. But for those who joined the rally—or watched it in one of many videos taken at the scene—felony charges for participating 8 | 8.23.17 | INDYweek.com

A standoff between demonstrators and Durham police on Friday afternoon PHOTO BY ALEX BOERNER

in and inciting a riot seem like a stretch. Per state statute, a riot entails “disorderly and violent conduct, or the imminent threat of disorderly and violent conduct.”

“The mood was celebratory,” says Scott Holmes, an attorney representing eight people who have been charged in connection with the statue’s demise. “The officers who were standing there didn’t feel the need to intervene to protect anyone’s safety. There was no threat to safety, so there was no riot.”

Holmes believes “there is at least one person who has been charged who is innocent of any crime” and says the Sheriff ’s Office needs “training on how to protect people’s First Amendment, while also keeping them safe.”

Andrews himself said in a press conference last Tuesday that “my agency is tasked with a difficult job in a community that supports peaceful protests at times,

and my office has been a focus of those protests.” Some of the same people who have protested conditions at the Durham County Detention Facility (which is under the umbrella of the Sheriff’s Office) were involved in Monday’s protest, chanting “cops and Klan go hand in hand.”

“I just don’t think we can completely separate what may be his frustrations with them raising awareness of these issues and him now pursuing charges against them for something separate,” says Magan Thigpen, president of the Durham People’s Alliance, which in a statement Friday came out in support of removing the “symbol of horror, terror, violence, and inequality” that was the Confederate monument.

The PAC approved of deputies’ restraint last Monday but called the felony charges “excessive and unjustly punitive.”

“He has already been getting a lot of crit-

icism from people on the left about his transparency and accessibility, and that has already been a conversation that’s been really active,” Thigpen says. “This certainly makes it a lot more high-profile, and we would really like to see him listen to the concerns that people are expressing and always want to leave room for him to be more responsive to these concerns.”

Another PAC, Friends of Durham, supports the sheriff’s handling of the matter.

“He acted responsibly,” says chairwoman Alice Sharpe. “He did not further inflame the situation. Regardless of how any of us feel about whether the statue should come down, we have to obey the law. He doesn’t create the law; he has to follow it.”

But Durham County District Attorney Roger Echols doesn’t seem as gung-ho as Andrews. At the height of a protest downtown on Friday, Echols announced in a press conference that he would not prosecute anyone who wasn’t “directly involved in the destruction of the monument.”

“Justice requires that I must take into account the pain of the recent events in Charlottesville and the pain in Durham and the nation,” Echols said.

Fast-forward to Friday, when county buildings began to close and the street in front of the dismantled monument was blocked off. That morning, Andrews said in a statement that his office was “thoroughly researching the potential of several groups with opposing viewpoints holding demonstrations in Durham.”

By noon, as antiracist protesters filled the streets, the Sheriff’s Office was emphasizing it had no “confirmed” reports of a protest and “urging the public to avoid circulating rumors on social media and instead wait for verified information from officials monitoring the situation.” (City manager Tom Bonfield told staff that city offices would remain open and “there was no credible threat.”)

A Durham resident and member of the antiracist network Redneck Revolt says any information about a KKK rally should have been treated as a serious threat, especially after a man linked to a white supremacist group allegedly drove his car into the crowd in Charlottesville, killing Heather Heyer.

“Armed Klansmen is redundant,” he says, asking only to be identified as Dwayne.

Dwayne said he recognizes the pressure law enforcement was under, but he questions whether authorities were prepared if the KKK had showed up in large numbers.

He says motorcyclists with Confederate flags “buzzed” down Main Street, followed by what he identified as militia trucks.

After seeing the terror attack in Charlottesville, Dwayne came to Friday’s rally armed with a rifle, hoping he wouldn’t have to use it, and made sure people blocking traffic understood the risk they were undertaking as the crowd took over the streets. He hopes that taste of solidarity, autonomy, and “people power” will spark residents into action.

“Durham got high that day,” he says. “For people to get high off of social intimacy like that and political action just warms my cold, cold anarchist heart.” swillets@indyweek.com

THE INDY'S GUIDE TO THE TRIANGLE

“Folks have been receiving messages threatening them and their families.”

FINDER

But as Andrews made clear in a statement Sunday evening, rumors about a possible hate group rally in Durham began with the Sheriff’s Office “notifying leaders in the community” as a “precautionary measure.”

“Sharing that information with key individuals, including a representative of demonstrators who were staged outside the courthouse Friday morning, was in no way a signal for them to independently sound the alarm ahead of law enforcement, potentially triggering needless panic and anxiety,” Andrews said.

Holmes took the alert seriously amid death threats against his clients.

“It’s pretty widespread. Folks have been receiving all kinds of different messages threatening them personally, their families,” says Ben Carroll, who was acting as a spokesman for the arrested demonstrators.

RESERVE NOW! Publication date:

October 4 Deadline: August 30

Contact your INDY ad rep or advertising@indyweek.com for more info INDYweek.com | 8.23.17 | 9

news

History Rhyming

WHAT A 1985 INSURGENCY CAN TEACH US ABOUT DURHAM’S MAYORAL RACE

BY SAMMY FELDBLUM

A

PET of the WEEK

Hi there! My name is FRANK, my buddy here is GUS. We’re looking for a rat-savvy home where we can live out the rest of our days. We might be old, but we’re still fun! I pretty much just like to hang out, look around, have a snack, get a massage...

Gus is the wild man of the bunch, and he looks out for me.

Email diadrascritters@gmail.com if you’re interested!

If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com 10 | 8.23.17 | INDYweek.com

young candidate runs for mayor of Durham, taking on older incumbents and promising a new direction: it’s a common scenario, and one that thirty-three-year-old musician Pierce Freelon hopes echoes earlier iterations. Later this fall, Freelon—who has been endorsed

by Run for Something, a group that encourages millennials to run for office—looks to become Durham’s youngest mayor.

That distinction is currently held by Dan Edwards, a World War II veteran who, at age thirty-five, rode the votes of a coalition of labor and black voters to one term at the helm in 1949.

In more modern Durham history, the title of youngest mayor belongs to Wib Gulley.

In 1985, in something of a sea change for Durham politics, he won the top office—at the stately age of thirty-seven—as part of a biracial slate of progressive candidates.

At that time, the council was made up of a “white, conservative, male establishment” that “worked very closely with the business community,” Gulley says.

On Gulley’s campaign team was Steve Schewel, three years younger than Gulley— and, all these decades later, himself running for mayor. After organizing together for progressive political causes for years, Schewel and Gulley were close personal friends. Gulley remembers returning from a trip up north “and Schewel came over and said, ‘You need to think about running for mayor.’ I said, ‘What, did you run out of candidates?’”

Durham’s landscape has shifted considerably since 1985, when Freelon was two years old. Schewel has spent decades in the city’s politics, morphing from wunderkind to elder statesman. A wider shift has taken place, too. Durham’s city council is now majority black, and achieving citywide office as a conservative is next to impossible. (While the council may no longer be conservative and white, Freelon notes that the average age of council members is sixty-two. Millennials, he says, need to “have

Durham mayoral candidate Pierce Freelon talks with supporters. some skin in the game for the future that we’re building for ourselves.”)

Embodying those changes, to a degree, are the more experienced candidates Freelon is running against. In addition to the progressive Schewel (who founded The Independent Weekly in 1983 and sold it in 2012), Farad Ali spent four years on the city council from 2007–11 and has a wealth of experience in the private sector. He’s chaired the Raleigh-Durham International Airport Authority, the Southern Coalition for Social Justice, and the Greater Durham Chamber of Commerce. Much of his foundation work centers on minority-led businesses, although he says that is far from his sole focus. His campaign has drawn the support and funding of the business and development communities.

Three other candidates have declared for the race: Tracy Drinker, a retired

PHOTO BY ALEX BOERNER

police officer with a particular interest in mental health issues; Shea Ramirez, a tax preparer and talent agency owner who believes talented youth is a key to Durham’s future; and Sylvester Williams, a retired financial analyst who hopes to battle institutional racism.

Gulley notes broad differences in the contours of his campaign and the current race, which is widely viewed as another inflection point in the city’s history. Running against incumbent Charles Markham, Gulley’s campaign was more obviously about a conflict of ideas. They disagreed on how to manage growth, neighborhood preservation and affordable housing, and public transportation. (In that race, the so-called Pickle Building, University Tower, had just been erected by a Texas developer in a more moneyed area out on U.S. 15-501, Gulley recalls, so even wealthier residents were

thinking about protecting neighborhoods.)

Today, the clash of ideas seems less stark, at least explicitly, and the style and experience questions more highlighted. Nearly every candidate this year has some version of a vision of “Durham for all,” and they all hope to extend Durham’s prosperity more widely throughout its population.

In 1985, the tobacco industry was on its last legs in Durham, with nothing apparent coming in behind to replace it. And while there were stirrings of new investment, Gulley says, “Durham felt sort of bypassed, economically stagnant.” Now, after heavy public and private investment—especially downtown—Durham’s economy is humming, with a vibrant arts and culture scene, renowned restaurants, and tech businesses moving in. But that boon for Durham has not been a boon for all Durhamites. Despite a renaissance during Mayor Bill Bell’s fourteen-year tenure, the city’s poverty rate has increased.

And alongside inequality comes its usual handmaidens: gentrification and displacement.

The candidates widely agree on these issues, but their rhetoric in addressing them diverges.

That divergence is instructive in differentiating where the candidates are coming from. Schewel, who spent four years on the school board before his time on city council, points to working groups convened—for equitable tree coverage, for public parks and trails—and to housing plans drafted that have steered recent city housing policy.

“Leadership is the ability to bring people together, with different values and ideas, and help them solve a common problem or meet a common challenge,” he says. “I like to pull people together to figure out how to solve problems. And help them get focused on what we need to do, and then come up with a common way to do it.”

Ali looks around Durham and sees a fragmented problem-solving landscape. Noting the disconnect between the high poverty rates and the rapid economic development, he thinks of the issues in terms of jobs, which he says his business acumen suits him uniquely well to address.

“It’s important that we have a commu-

nity that we really value all of our assets,” Ali says. “And minority businesses and the growth of entrepreneurship is important. Not just to the economic fabric of our community, but also to the social fabric of our community.”

Freelon, by contrast, avoids elevating any particular issue above others, although he’s particularly troubled by Durham’s sky-high eviction rate. He speaks instead in the language of intersectionality, which recognizes that different pieces of identity each shape a person’s relationship with power, and in which “all oppression is connected and our liberation is bound up together.”

He posits a vision, first articulated by Maya Angelou, of “clean and well-furnished schools, safe and nonthreatening streets, and employment that makes use of our talents but doesn’t degrade our dignity.”

Gulley, for his part, sees this as a mark of Freelon’s relative inexperience, noting that the city council and thus the mayor don’t do much of anything with schools.

Gulley points to his early political experience on the city’s Board of Adjustment and Mayor’s Committee for Downtown Revitalization as preparation for his run. Like Freelon, though, he never held elected office in the city before running for mayor.

In Gulley’s first race, as a progressive challenging a more business-friendly incumbent, the battle lines of a biracial slate of progressive candidates against a white, conservative, business-friendly council were clearer. This year, the business-friendly candidate is black, and the progressives are now in Durham’s mainstream.

Still, in many ways, the city’s challenges are similar to those it faced three decades ago. Gulley recalls a campaign ad of his with the punch line, “Not just a great city, but a good city.”

“It’s not enough to just have some economic vitality,” Gulley says. “It’s got to be a city that works for everyone. It’s got to be a city that provides everyone a chance at a better life, economic livelihood, a good job, a safe neighborhood to live in. I think in fundamental ways, that’s still the point in Durham.” backtalk@indyweek.com

RECYCLE THIS PAPER

“It’s not enough to just have some economic vitality.

It’s got to be a city that works for everyone.”

INDYweek.com | 8.23.17 | 11

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news

Who’s Responsible?

QUESTIONS OF ACCOUNTABILITY LOOM OVER THE WAKE COUNTY REGISTER OF DEEDS SCANDAL

BY THOMAS GOLDSMITH

Wake County plans to submit an initial insurance claim next week for the loss of hundreds of thousands of dollars from its Register of Deeds office during at least three years.

The handling of that claim—and other parts of an ongoing investigation—will rest in part on one question: Are people who work at the popularly elected Register of Deeds office considered county employees? More questions underlie that one: Who had ultimate responsibility for the office? The Register of Deeds at the time, Laura Riddick, or the county manager and the Board of Commissioners?

The answers may determine which parts of county government the insurance company—and the legal system—could find responsible.

Known as a “proof of loss” statement, the claim will tell an insurance company, in this case Travelers, what happened, what kind of loss was sustained, and how much money is missing. A Wake County investigation found that the register’s office used sloppy accounting practices and other loose procedures that resulted in losses that could total millions over a period as long as a decade.

Wake County District Attorney Lorrin Freeman has said she expects the investigation to conclude in September. The insurance claim is the first step in the county’s civil effort to regain its lost funds.

“We’ll have to see whether they accept it or ask for more information,” county attorney Scott Warren says of Travelers. “They’ve been very cooperative.”

The question of whether people who work for elected officials such as Sheriff Donnie Harrison or Riddick are county employees would seem to be straightforward, since they’re on the county’s payroll. But things aren’t actually that clear-cut, Warren says.

“We budget them; we pay for them,” he says. “It's kind of a muddled area. It’s not well settled.”

Last year, the state Supreme Court upheld an appeals court decision in a case called McLaughlin v. Bailey, ruling that “employees

of a county sheriff, including deputies … are directly employed by the sheriff and not by the county or a county department.”

The status of Register of Deeds employees is not as clear, but the county could claim that any register employees found at fault were not under the its direct control, which could bolster its insurance claim.

Asked about his employees’ status, Sheriff Donnie Harrison cites case and state law, but he adds that he has sometimes asked the county to audit his office.

“Some people’s take on it is the sheriff has to ask them to come in and do it,” Harrison says. “I don’t care either way. It’s county money and I like to have a good relationship with them.”

In the end, this insurance claim may rest on one more seemingly simple question: Who was at fault?

County officials have been working on a memorandum of understanding with the Register of Deeds office about the relationship between the two entities. An early draft of an August 5 memo included this clause: “Whereas, the County’s financial policies and procedures apply only to employees of Wake County government, its agencies, and departments and not to the offices of elected County officials and their staffs.”

The day after the INDY asked about the intent of the passage, it was dropped from the memo, which is a work in progress.

In another development shaping the ongoing query, county manager Jim Hartmann announced last week that he is stepping down as of October 27. Hartmann says his departure has nothing to do with the Register of Deeds investigation.

Hartmann’s departure date means that he will be at his post next month when the SBI reports on its inquiry into millions of transactions at the Register of Deeds office since 2008. However, it seems likely that legal wrangling over the loss of public funds will continue long after Hartmann has gone. tgoldsmith@indyweek.com INDYweek.com | 8.23.17 | 13

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Sour Notes

AFTER BEING ACCUSED OF RAMPANT MISOGYNY AND MORE, A RALEIGH PROMOTER’S CAREER IS EFFECTIVELY OVER. WHAT COMES NEXT?

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D

iscussions of the Triangle music scene often frame the web of musicians, venues, fans, promoters, and other players as a community—one that’s vibrant, encouraging, and a largely positive environment overall. But last week, a multipronged social-media storm effectively ended the career of one Raleigh promoter, raising questions about how the Triangle’s music scene can get ahead of such conflicts in the future.

On Monday, August 14, Kings show manager Kate VanVorst posted a charged account of her toxic interactions with fellow promoter and longtime scene fixture Craig Reed. Until recently, Reed had served as Director of Events for the Downtown Raleigh Alliance, and in his capacity as head of his own booking agency, Younger Brother Productions, has spent the past few years booking the weekly Local Band Local Beer series and Groove in the Garden, a throwdown scheduled at the Raleigh Little Theatre in October.

Among the specific accusations leveled against Reed in the now-deleted post were his statements to VanVorst that she “would never become anything without him” and “owed him for every success and compliment [she] obtained.” More troubling still are claims that he referred to her as a “desperate slut” and complained about the reverse racism he experienced as a white man. The response to VanVorst’s post detailing a disturbing pattern of bullying and dismissive behavior was an immediate tsunami of support and similar allegations from within the local community, which seemed to corroborate her account of Reed as a toxic presence Within hours of the initial post, Raleigh’s Pour House, which had previously hosted Reed-promoted events like Local Band Local Beer—and, on August 12, Reed’s fifthanniversary party for Younger Brother Productions—cut all ties with Reed.

ILLUSTRATION BY STEVE OLIVA

In another public Facebook post, Pour House owner Adam Lindstaedt was unequivocal about his decision: “We have decided as an organization that it is in the best interest

of our community, patrons, bands and staff to sever ties with Younger Brother Productions.

We do not condone any sort of behavior that makes anyone feel uncomfortable. Period,” he

wrote. Lindstaedt did not respond to requests for further comment.

On Tuesday, August 15, Reed resigned his post at the Downtown Raleigh Alliance. In subsequent days, several local bands sent signals that they would have no further involvement with Younger Brother Productions, and the bands Happy Abandon and Ghostt Bllonde quickly pulled out of Groove in the Garden. The same day he resigned from the DRA, Reed released a statement on the Younger Brother Productions page announcing that he would be taking an indefinite hiatus from promoting local music: “After five years of booking shows and being involved in local music, we are taking a break,” the statement read.

VanVorst told the INDY she was overwhelmed by the circumstances and declined to talk about the controversy. But the situation is less about her lone post than it is about a community coming to terms with a toxic and destructive member in a position of power, and what happens when that community finally says “enough.”

Others who have had their own unpleasant run-ins with Reed over the years have had no such reservations about sharing their experiences. Kristen Hill, the marketing director at the Cat’s Cradle, who has also worked as an independent promoter and manager, was eager to discuss the situation.

“Hundreds of people have had a similar experience with Craig and agree,” she says.

Hill mentioned circumstances in which she had felt condescended to by Reed, and others in which bands she managed felt they were paid less than was appropriate for certain Younger Brother-sponsored appearances. “He made it very evident that he was ‘the man’ and no one would be anything without him.”

Meanwhile, others have already begun picking up the pieces Reed left behind.

Groove in the Garden is still on, with a fully restored lineup for October. Charles Phaneuf, Raleigh Little Theatre’s executive director, is now partnering with the Pour House for the event after Younger Brother ceased activities. Phaneuf describes his relationship with Reed as “arm’s length,” and says they had only worked together twice previously, and without difficulty. Nevertheless, in light of the statement made by VanVorst and in the spirit of cultivating a scene where women’s voices are heard, Phaneuf and Lindstaedt decided to turn the single-day mini-festival TEVE OLIVA into a benefit. A percentage of the proceeds will be earmarked for a prominent nonprofit that supports and empowers young women. nd staff to Whatever else falls out from the discusoductions. sion surrounding VanVorst's post, there’s a avior that palpable sense among bands and promotPeriod,” he ers alike that it is past time for a new, more

accepting paradigm to take hold in the Triangle music scene. Justin Ellis, who fronts the band Happy Abandon and has played in area bands for more than fifteen years, says he was horrified to read VanVorst’s post, but not surprised.

“Speaking as a straight white dude, I personally never experienced any trouble with Craig. But I’ve heard things from others,” he says, adding, “It’s typically been a boys club, and that really needs to change. And at the end of the day, it really boils down to just listening. Don’t speak over someone when she’s trying to make a point. Don’t assume that the girl who arrived with the band is selling merch and not the guitar player. We’ve all been guilty of this stuff, but what we are experiencing currently is a true paradigm shift.”

Reed, in the meantime, won’t address the various accusations levied against him. He maintains that VanVorst’s post took him completely by surprise, as did the ensuing comments of the same tone.

“A lot of things came as a shock to me, and I think my biggest regret is that I never wanted anyone to feel like they couldn’t talk to me and that their voices weren’t being heard. I think with any community, personal communication is very important,” Reed says. “I really care about the local music scene and have dedicated the better part of my adulthood trying to promote Raleigh arts, culture, bands and inclusivity in the city.”

But he confirms that he’s done with Triangle music for the time being.

“At this point I think the best thing for the arts community and for myself, mentally, is for me to step away and let things continue on their own,” Reed says.

What appears inarguable is that the Triangle scene, which prides itself on openness and inclusivity, can stand to improve considerably in both regards. VanVorst spoke out bravely, and now Reed is effectively gone.

But the problem runs deeper than one man.

The constant that emerges from speaking with principals throughout the scene is the need for better, safer, and more transparent communication. With such a deep and thriving music community, it can be easy to become complacent and take it as an article of faith that voices across the spectrum are being heard.

But as last week’s online storm indicated, that isn’t always the case, and it takes consistent introspection and communication to fix these problems before they become painful for all involved. Whether locals can take these hard lessons, learn from them, and grow even stronger is a longer-term commitment with answers that won’t reveal themselves any time soon. music@indyweek.com

MUSIC BRIEF

1970S FILM STOCK Birds Fire Talk Records HHH½

Eddie Garcia never set out to be a guitar hero, but once he turned thirteen and figured out how to record riffs onto the family VCR, his destiny as a forwardthinking musician was essentially set. After earning a degree in audio engineering from a local community college, the North Carolina native joined WFDD, an NPR affiliate based in Winston-Salem, in 2007. Garcia’s insatiable thirst for new sounds and styles—which was only amplified further by college radio’s limitless, steadily expansive oeuvre—led his WFDD coworkers to label him “The Productionator.” Lately, though, Garcia’s gone by a different name, semantically and stylistically, with 1970s Film Stock, his guitar-driven, “psychedeliccinematic exploration of chaos and beauty.” His first two releases under the moniker (2015’s Hand Painted and last year’s Palace Number 3) were essentially avant-garde reflections on youth, Garcia’s youthful experiments ripped into fragments slowly and sinisterly, in stunning HD. With the arrival of 1970s Film Stock's newest album, Birds, Garcia now ventures deeper down the jam-band k-hole: stoned, stoic, and wholly unsubtle.

Once again, texture and tone reign supreme here. “Slack” and “Sing For Skeletons” are carried aloft not by melody but by fretwork-enabled frisson, a mangled junction of ear-pleasing plunks and pops. Of course, as expected for any “productionator,” Garcia is just as comfortable playing to the flip side of the dynamic spectrum, on “We're Not Going Anywhere” and “Walk Away,” two extended forays into low-country folk—and then upturning it entirely for the aptly-titled finale, “Victory Repeating.” For a seven-track effort, the sweeping scale of Birds proves stunning, but we'd expect nothing less from Garcia's latest musical migration. —Zoe Camp INDYweek.com | 8.23.17 | 15

music

Shuttered Shed

DURHAM JAZZ CLUB THE SHED SUDDENLY CLOSES AFTER CONFLICTS WITH GOLDEN BELT'S NEW LANDLORD

BY DAVID KLEIN

T

he Shed has suddenly gone silent.

The owners of one of Durham’s most distinct and independentminded music venues announced Monday, August 13, that the club would be suspending operations immediately but that they hoped to reopen soon with a new alcohol policy and with “stable lease terms to ensure long-term sustainability.”

That optimism was dashed a few days later. By Wednesday, the venue had announced via Facebook that it would be closing for good, and that it would hold a two-day “everything must go” sale that would also serve as a conversation among the community The Shed fostered.

At the root of the abrupt closing is The Shed’s new landlord, LRC Properties. It’s a New York-based investment firm with an office in Charlotte that acquired the Golden Belt campus, where The Shed resided for three years, in July for around $19 million from Scientific Properties. LRC has a history of transforming large districts into commercial and residential attractions, and its plan for Golden Belt is for it to become a destination akin to the American Tobacco Campus.

The Shed was gaining a reputation as a hub for jazz in Durham. And its offerings went well beyond jazz in its many forms: singer-songwriter stuff, hard-to-define fusions of dance and spoken word, poetry—the palette was wide and getting wider.

Stark says he and his wife, Jess, The Shed’s co-owner, met the goals they had sought.

They brought in the cream of local musicians; musicians from New York were coming down to play there, and The Shed had supported a host of new artists.

“We were able to break down some of the boundaries that we were seeing,” he says. “In terms of, What is jazz? What is contemporary music? You can call something a jazz club and have hip-hop shows there. And if people show up and are surprised or pissed about it, then maybe they learned something.”

16 | 8.23.17 | INDYweek.com

Daniel Stark

PHOTO BY ALEX BOERNER

When LRC bought Golden Belt, The Shed was already in a period of transition. Its lease had run out and its insurance policy was about to. Stark was planning to step into a full-time position at Carrboro’s ArtsCenter, and the original idea was that Ernest Turner, a jazz pianist who hosts weekly jam sessions at the club, would take over the venue.

Stark says he contacted LRC and let them know that The Shed’s insurance policy ran through late August and he wanted to take the opportunity to work out terms for a new lease. He also apprised them know that Turner—The Shed’s artistic director for the last few years and someone with deep local roots and strong resources in the area— would be the operations manager and negotiating the lease. At first, Stark says, LRC didn’t know who he was, believing he was a tenant in the adjacent artists’ loft. Once that had been resolved, the issue seemed to concern alcohol.

A liquor license had not been an issue in The Shed’s three-year history. The venue is zoned as an art gallery; thus it had never “served alcohol,” but rather it provided beer and wine by donation—a common practice in Durham that had drawn no objection from the previous landlord. Stark assured LRC that The Shed was working to get a liquor license and would not be operating in the meantime. In subsequent communications with the Charlotte LRC office, Stark got the sense that once a license had been obtained and an alcohol rider added to its insurance policy, LRC would be willing to start negotiations about lease renewal with The Shed.

But within two days, he heard from LRC Vice President Portfolio Asset Manager Mario Mirabelli that The Shed had no choice but to shutter. LRC’s plans for the complex, he explained, simply did not include an alcohol license and music presentation in that space. (LRC's plans do include an outdoor music venue, set to be overseen by Cicely Mitchell of the Art of Cool Festival, but in a new location in the complex's Cordoba building.) Stark says he offered to make it alcohol-

free, but was told in essence that, because alcohol had been served there in the past, the firm anticipated that a similar scenario would eventually reoccur.

“They didn’t trust us,” he says.

Stark says LRC was unwilling to consider moving The Shed elsewhere within the complex, even with a proper liquor license and an increased rent. The best Mirabelli would offer, he says, was the possibility that in two years or so, a space might become available in an upstairs tower. Reached by phone, Mirabelli declined to offer a comment.

“Whenever someone plays the blues in Durham, they’ll have a bit of The Shed in it.”

The Shed n. Its lease olicy was tep into a rtsCenter, st Turner, m sessions ue. d let them LRC’s lack of interest in maintaining The ce policyShed is surprising, especially considering wanted tothat architects for the next stage of Golden terms forBelt sent a filmmaker to create a promotional em knowfilm to entice investors; the resulting video irector foreven featured a live performance by Ernest with deepTurner at The Shed. Despite the sudden closthe area—ing, Stark speaks with pride about what The and nego-Shed was able to do. says, LRC “I figure we did a hundred and fifty jam sesg he was asions,” he says. “That’s three thousand songs, Once thatand you figure probably five hundred of those ed to con-songs were blues songs,” he says. “We’re hoping that the kind of impact we’ll have is that, n issue inmoving forward, every time that someone sits he venuedown to play the blues in Durham, that they’re had nevergonna have a little bit of The Shed in it, a little vided beerbit of the scene we built, and the kind of aesn practicethetic and cultural impact and the community ction fromwe tried to build.” ured LRC Over the weekend, at the closing sale and t a liquorcommunity gathering, the people behind ng in theThe Shed began physically dismantling that unicationsscene and selling off many items that were rk got thepart of the vibe of the place: stackable chairs, n obtainedturntables that sat behind the bar, several insurancehundred books, and plenty of music equiptart nego-ment, including a 1942 Chickering grand The Shed. piano. Stark says the emptying out of the rom LRCclub and its deconstruction is a performance Managerpiece in its own right. no choice “I think that’s an important message: We complex,built this, now we can take it apart. It’s nothing e an alco-that has to do with Golden Belt. That’s a great on in thatlocation,” he says. “Really, it’s about the people n outdoorwho were involved, the people who came out

by Cicelyto support, week after week, the musicians al, but in awho came out and performed every week. And oba build-all of that is gonna be just fine.” dklein@indyweek.com it alcohol-

MUSIC BRIEF

HAPPY ABANDON Facepaint Schoolkids Records HHH

Reminiscent of both the fussy prog of early King Crimson and the celestial, chorus-driven heights of So-era Peter Gabriel, the talented Chapel Hill three-piece Happy Abandon boasts a full tool kit of influences ranging from folk-rock, psychpop, electronica, and avant jazz. The fun of experiencing the band’s fine full-length debut, Facepaint, is in hearing the group gamely attempt to wrestle its broad swath of influences into a coherent sound. While the results aren’t completely successful, Facepaint’s higher points indicate a promising young outfit.

With its quiet intro and slow-burning melody, the meditative opener, “Ivory Bound,” is half early Bright Eyes and half Vintage Violence-era John Cale, as swelling synths and strings bring the song to a sudden, discordant climax. The lilting “Love Like Language” reads like blue-eyed soul by way of the Warped Tour, a slowmoving lovers lament that builds palpable tension that threatens to metastasize into full-blown rage at any moment.

Elsewhere, the forceful closing track, “Cursed or Worse,” is a witty, self-lacerating confessional, with Pete Vance's soaring vocals bringing to mind everything from Belle and Sebastian's “Stars of Track and Field” to Rufus Wainwright's classic “Foolish Love.”

But not everything works so well. The hectoring “If I Stare,” with its contrived half-whispered, half-caterwauled vocals, takes a stab at melodrama, but lands closer to the repugnant pseudo-populist preciousness of bands like The Lumineers.

All of which makes the future fate of Happy Abandon so fascinating. It’s easy to hear Facepaint as the imperfect echoes of U2’s October and Radiohead’s Pablo Honey—an ambitious but flawed forerunner to what could be a sturdy, innovative career. At other junctures, though, Happy Abandon might seem to be just another trio with their heads turned to the latest trends. Who's to say? The future remains unwritten. —Timothy Bracy

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INDYweek.com | 8.23.17 | 17

indyart

GREGG MUSEUM OF ART & DESIGN GRAND REOPENING

Saturday, Aug. 26, 10 a.m.–3 p.m., free N.C. State, Raleigh www.gregg.arts.ncsu.edu

Beyond Quilts and Baskets

N.C. STATE FINALLY GETS ITS OWN NASHER IN THE NEW, REENERGIZED GREGG MUSEUM OF ART & DESIGN

BY CHRIS VITIELLO

R

oger Manley can finally talk about art again. For more than three years now, the director of the Gregg Museum of Art & Design at N.C. State has been discussing ducts, lighting, and rock drills, ever since the old incarnation of the museum closed when the student union underwent a major renovation.

This Saturday, the Gregg reopens in its new building with a day of family activities, tours, and artist demonstrations. It also launches three new exhibits, including selections from the museum’s collections, a substantial donation of Native American art and artifacts, and a gemlike presentation of N.C.-based painter Herb Jackson’s work.

“For a long time, the Gregg has had a reputation as a quilts-and-baskets museum,” Manley says. “What I’m trying to do in this inaugural installation is suggest something of the spectrum of what we could do.”

The student body at N.C. State barely knows that it has an art museum. Since the Gregg moved into limbo in an offsite storage area in 2013, it has offered only a couple of shows at Meredith College and N.C. State’s African American Cultural Center, though it has hosted classes that leverage its collection of more than 35,000 objects.

Now it trades obscurity for high visibility. The university gave the Gregg its historic chancellor’s residence, with its coveted Hillsborough Street frontage, and the museum partnered with architect Phil Freelon at Perkins+Will to design a contemporary addition on the side of the Georgian-style brick house. Construction began in 2015 with a project cost of $9.5 million, paid for by student fees, the university, the City of Raleigh, Wake County, and $4 million the Gregg raised privately.

The new Gregg, twice the size of the old, is a huge improvement. It’s in a building designed for its purpose, with uncarpeted floors, proper museum lighting, and lots of natural light instead of being jammed into a dim, utilitarian student center. Its spaces are flexible, so the museum no longer has 18 | 8.23.17 | INDYweek.com

A sneak peek at the new Gregg before it opens to the public on Saturday PHOTO BY ALEX BOERNER to shut down completely to change a show.

Nor must it adhere to the academic schedule (the Gregg used to close with the rest of campus over holidays and breaks).

It looks terrific, too, beautifully merging two buildings and incorporating a pollinator garden designed by horticultural science students. The new location is close to neighborhoods and restaurants, part of an emerging arts hub that includes N.C. State’s Pullen Arts Center and Raleigh’s Pullen Park.

The new building positions the Gregg to better fulfill its missions as both a university and community museum. Remember the Duke University Museum of Art? Didn’t think so. It wasn’t until Duke built

the stand-alone Nasher that it acquired a national—heck, even a local—reputation. Now N.C. State also has a stand-alone museum, situated on the edge of campus, where thousands of commuters will pass by daily.

“We’re not embedded in the campus anymore,” Manley says. “We’re sticking out here like Florida. We’re really surrounded on all four sides by Raleigh now.

From a programming standpoint, the Gregg plans to build upon its focus on regional and outsider artists, and will make its diverse, vast collections more visible.

Every museum director has an exhibition wish list, and now Manley and his staff get to check some off.

“I want there to be something for everyone, and that wasn’t so possible in the old place,” he says. “Here we can do a show of customized motorcycles in one room and have landscape paintings in another. The sheer flexibility is the biggest difference to me, and that’s what shaped our whole design process. I didn’t want the building to determine what we could do in it.”

Manley describes the largest of the opening exhibits, Show and Tell, as a “core sample” that shows the range of the Gregg’s collections. Visitors can step on a button to set a Vollis Simpson whirligig in motion, gape at an eleven-foot-high tribal mask from New Guinea, drool over an impressive array of modernist chairs, and resist

laying hands on a lovely cast-glass work

by Rick Beck. Photography, antique fans, ethnographic materials, ceramics, textiles, and much more will appear.

The Herb Jackson show might be the one that people will be talking about, however.

The Gregg created a special lighting treatment for the abstract painter’s work that shouldn’t be spoiled by description. Even if you’ve been admiring Jackson’s work for decades, A Door Is Not a Window will show it to you in an unprecedented way.

The next show in the main space, in 2018, will be a retrospective of N.C.-based sculptor Bob Trotman, whose “Vertigo,” a life-size businessman suspended in freefall, will be borrowed from the North Carolina Museum of Art to hang in the Gregg’s lobby. Other future shows include images of blues musicians from Hillsborough-based photographer Tim Duffy, craftwork and collections from Robert Keith Black and J. Ormond Sanderson (who were substantial donors to

“Here we can show customized motorcycles in one room and landscape paintings in another.” the Gregg renovation), customized motorcycles, surrealist furniture, pareidolia photography from the Southwest, and, as Manley puts it, “the Vernon Pratt show that no one’s ever done.”

Two future collaborations in particular demonstrate the Gregg’s increased capacity for creative partnerships. The museum will team up with the NCSU Libraries and the Genetic Engineering and Society Center on a show about the feedback between biotechnology and art.

It will also partner with the Center for Documentary Studies at Duke and the Halsey Institute of Contemporary Art on a show of Southern photography.

It’s a dramatic re-entry into the Triangle’s art scene for the Gregg, and an opportunity for STEM-heavy N.C. State to build its identity in the humanities. Although the Gregg doesn’t plan to host hallmark group shows like the Ackland’s More Love or feature contemporary art stars, as the Nasher has with Barkley Hendricks and Wangechi Mutu, it now has the platform from which to spring out of undeserved obscurity. arts@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. FOOD • NEWS • ARTS • MUSIC

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Count PHOTO BY KRISTEN CHAVEZ

I

f you wind up on death row anywhere in the United States, one of two things is going to happen, according to playwright Lynden Harris: “Either you go crazy or you go deep.” The paradoxical sense of isolation in a place where one is constantly being watched leads prisoners to numb out or become extremely reflective.

That’s one of the fundamental findings Harris presents in her new docudrama, COUNT, whose premiere opens PlayMakers Rep’s PRC2 season this week. Over the last four years, Harris, the artistic director of the activist arts group Hidden Voices, spoke to and corresponded with nearly seventy of the condemned from California to Maine.

What she learned convinced her that most of us have no idea who is actually on

death row. We’re unaware of the conditions of their incarceration, which inexorably change them. Nor do we know the identifiable—and preventable—trajectories that landed them in a waiting room adjacent to an execution chamber.

We learn more about all of these from the six composite characters we encounter, under the never-ending glare of harsh fluorescent lights, during this Hidden Voices coproduction with PlayMakers. Director Kathryn Hunter-Williams admits that it’s a challenge to bring the physical space of death row to a company of actors and an audience. The prisoners’ cells measure nine feet by six; the lights remain on even at night.

“You’re never alone; you never have a moment of privacy,” Hunter-Williams says.

Inmates live with little or no actual daylight, disconnected from the sights and sounds of the outside world. Literally marked for death by prison dress code, their physicality must remain nonthreatening at all times.

As a result, prisoners “live in a mode of constant performance,” Hunter-Williams says. “You walk around in a very hyperaware state. I don’t think there’s ever a moment to fully breathe out and relax.”

Given the years it takes for death penalty appeals to make their way through the courts, the populations of most death rows remain stable enough for the inmates to form a community, one where the ability to tell a good story is its own form of currency. Sometimes, even less expected things take place. Prisoners who never had the chance in the outside world learn to read well, write well, and develop untapped artistic abilities.

“There’s a weird, wonderful, painful beauty around them,” Harris says, which proves how deep in our psychology creative expression is. “When humans are stripped of everything else, it’s still there.”

Hunter-Williams marveled at some inmates’ journeys toward self-awareness and responsibility. “When someone says

COUNT

Wednesday, Aug. 23–Sunday, Aug. 27, 7:30 p.m., $15–48 Kenan Theatre, Chapel Hill www.playmakersrep.org

CONVERSATIONS WITH HITLER ★★★ Through Saturday, Sep. 2 Sonorous Road Theatre, Raleigh www.sonorousroad.com

of his crimes, ‘Yes, I did do this,’ and can actually see where the things that happened at age five or ten led to where he is, that level of reflection and understanding is amazing,” she says.

Still, the creative team insists that Count is not a play about the death penalty. “All we’re saying is, This is how the guilty live,” Hunter-Williams says—who’s on death row, how they got there, and what society can do to prevent others from joining them.

After the talk-back session at the end of little independent theatre’s production of CONVERSATIONS WITH HITLER, one thing was clear: though the company had spent the past year exploring playwright Steven R. Bond’s prismatic script, the ninety minutes the audience had with it didn’t give us enough time to do the same.

Bond, a winner of two PEN America Prison Writing awards, easily persuades us of his intimacy with cellblock conversations and negotiations of respect, which can spell the difference between walking or being carried out of prison.

Under Julya Mirro’s direction, Roberto Diaz equally convinces in the lead role

of Hagel, a sharp writer in a bogus prison-playwriting class led by a pompous local director (a rewarding John Paul Middlesworth).

To his credit, Bond rejects the bighouse clichés enshrined in actionadventure flicks like Escape Plan and The Longest Yard. But we still get lost in a psychological labyrinth that winds between the enacted, scripted scenarios Hagel and others gin up for their class; real-life exchanges with real-life stakes in prison corridors; and Hagel’s ultimate showdown with an enigmatic shadow character known only as the Fuhrer (a truly disquieting Livian Kennedy).

Mirro appears to still be navigating this maze as well. Though she elicits vivid performances from actors including Justin Peoples and Liza Guzman, her staging choices, including some awkward mobile backdrops, don’t help us distinguish between the functional and dysfunctional ambiguities here.

Despite these difficulties, the dramatic tension and payoff in the final sequences are, well, arresting. A world and characters this intricate deserve further exploration. bwoods@indyweek.com

A Safdie Pair of Hands

CRIME CATASTROPHE GOOD TIME IS A HIGH-VOLTAGE POWER PLAY THAT LEAVES A NEON ACHE BEHIND YOUR EYES

BY GLENN MCDONALD

GOOD TIME HHHH Opening Friday, August 25

E

STAGE BRIEF WANTS UPON A TIME HHH½ Friday, August 25, 6:30 & 7 p.m., free Hillsborough Riverwalk, Hillsborough Sixteenth-century Italy probably isn’t the first place you’d think to look for experimental filmmaker and futuristic multimedia artist Francesca Talenti. Nor might you have imagined the piquant postmodern playwright, who we last saw programming a thespian robot for her 2013 drama The Uncanny Valley, to choose environmental theater for a follow-up, placing her new work, a one-act for children called Wants Upon a Time, in and around Patrick Dougherty’s biodegradable sculpture “A Sight to Behold” on the Hillsborough Riverwalk.

The fantastical two-story castle of woven branches and sticks, situated a stone’s throw from Weaver Street Market, hosts this playful, punny commedia dell’arte take on the fairy tale of Rapunzel. Talenti has chosen her collaborators with care. Former Red Clay Rambler Jack Herrick and scripter Michael Malone have contributed winsome original songs. Though her troupe of performers swaps roles between shows, stage veteran Jeffrey Blair Cornell anchored a

indyscreen

Wants Upon a Time

PHOTO BY KRISTIN PRELIPP OGUNTOYINBO

performance featuring talented actors from the local improv comedy scene in the company’s July dates.

In broad comic performances, Deborah Aronin’s winning Rapunzel languishes in her tower prison but fumes when Kit FitzSimons’s narcissistic Prince Vainglorious tries to take all the credit for her rescue. Talenti’s text interrogates exactly what “happily ever after” actually means, and for whom, when Cornell’s socially inept ogre demands his due.

In a script with enough contemporary in-jokes to keep adults amused, no dashing knight or wonderful witch winds up the real hero. You’ll be surprised when you learn who is. —Byron Woods

ver have one of those late-night moments, after too many drinks and alkaloid derivatives, when you wind up in a truly bizarre situation and ask yourself, What impossible sequence of poor choices did I make to arrive at this specific place and time?

For would-be bank robber Connie (Robert Pattinson), that moment comes about halfway into the crazy-ass crime thriller Good Time, one of the summer’s best and boldest films. After a bank heist gone spectacularly wrong, Connie finds himself in a shuttered amusement park at three in the morning, disguised as a security guard, upending a prop sarcophagus in a frantic search for a Sprite bottle filled with liquid LSD. Yeah, it’s going to be one of those nights for Connie, who is both a terminally dumb criminal and a master improviser, sprinting from one surreal crisis to the next on a bitterly cold night in New York City. Connie’s developmentally disabled younger brother, Nicky (Benny Safdie), was nabbed in the robbery, and Connie needs to rustle up bail in a hurry.

His extemporaneous crowdfunding campaign leads him to harrowing encounters across the city, involving delinquent teens, ex-cons, hair dye, White Castle restrooms, and Jennifer Jason Leigh as an accomplice even more high-strung than Connie is.

Good Time PHOTO COURTESY OF A24 Directed by the up-and-coming filmmaking team of brothers Josh and Benny Safdie, Good Time is a high-voltage cinematic power play with a neon-drenched color palette that leaves an ache behind your eyes. Connie’s desperation is conveyed through jittery handheld cam shots of his face in extreme close-up; the framing is like a vise crushing his addled skull.

The Safdies leaven the pressure, however, with moments of grim humor so deadpan that you might miss them entirely. Good Time generates the kind of laughs you’re instantly ashamed about, a variety I, personally, enjoy.

When a movie makes me laugh against my better judgment, I figure something interesting is going on.

Pattinson tears it up; this is easily the best performance of his career. He’s almost unrecognizable behind his ragged goatee, his gutter-punk hoodie, and his perpetual grimace of amphetamine intensity. The poor guy has been trying to shed those Twilight movies for ten years now. This should do the trick.

Heads up, though: the film’s lockjaw tension is quite intense. Loitering Twilight fans hoping for a glimpse of Pattinson’s mopey vampire character will want to stay away.

This movie is designed to scrape your nerves raw, then make you laugh about it. arts@indyweek.com INDYweek.com | 8.23.17 | 21

WHAT TO DO THIS WEEK FRIDAY, AUGUST 25— SUNDAY, SEPTEMBER 10

CROWNS

The sanctified women of the AfricanAmerican church have known for generations that hair may well be a woman’s glory (according to I Corinthians), but the right hat can propel her into majesty. Crowns, a gospel- and hip-hop-inflected musical, is adapted from the best-seller of the same name, a striking book of photographs and interviews with self-styled hat queens, who’ve expressed their faith—and fashion— every Sunday for centuries in fine, flamboyant millinery. The practice dates back to the colorful headdresses of African cultures, through periods of racial discrimination when church was one of the few public places African Americans could safely dress up. In Regina Taylor’s script, cultures and generations clash when Brooklyn b-girl Yolanda (Chelsey Moore) is forced to flee to her family’s home in smalltown South Carolina. Can she find common ground with the locals? And how’s a backwards baseball cap going to be received among such sophisticated headwear? Terra Hodge directs. —Byron Woods RALEIGH LITTLE THEATRE, RALEIGH 8 p.m. Thurs.– Sat./3 p.m. Sun., $15–$28, www.raleighlittletheatre.org 22 | 8.23.17 | INDYweek.com

FRIDAY, AUGUST 25 & SATURDAY, AUGUST 26

BE LOUD ’17

Since 2013, the benefit concert Be Loud!

Sophie has convened at Cat’s Cradle with a weekend of mostly bracing rock. This year is no different, with a lineup featuring jangle merchants Drivin N Cryin, who came of age alongside R.E.M. in the eighties, The Backsliders, Boom Unit Brass Band, and an all-star crew featuring several Triangle music scene vets, including members of Ben Folds Five and The Veldt. They’ll play The Specials’ seminal 1979 debut and other tracks that defined the socially conscious 2-Tone label’s amalgam of ska, reggae, and punk anarchy.

The spark and good vibes of the event reflect the spirit of the organization’s namesake. As a teenage cancer patient in UNC Hospitals, Sophie Steiner recognized that teenagers need different support options than their younger peers and expressed a wish to create an organization that would provide services geared toward other young teens in her position. That group is going strong, and this is its biggest fundraiser of the year, so be present, and be loud. —David Klein CAT’S CRADLE, CARRBORO 8 p.m., $25–$40, www.catscradle.com

THURSDAY, AUGUST 24

SHEER MAG

There are some wrong-headed people who will insist that there’s no good protest or punk music anymore, but they don’t need to look any further than Philadelphia’s Sheer Mag, which offers both punk and protest in one magnificent package. In July, the band finally released its debut record, Need to Feel Your Love, which kicks off with the inviting and invigorating “Meet Me in the Street.” The song is a fearless call to arms, with frontwoman Tina Halladay sneering, “When you nip at their heels they wanna come on strong/Nothing to do but keep battlin’ on and on and on.” From a solid, guitar-driven punk foundation, the band spices up its songs with seventiessounding grooviness; “Suffer Me” swings with sass as Halladay sings, “You’ve got to let me be and keep me out of your fantasy.”

In a world that feels sorely lacking in love, Sheer Mag’s work feels vital, and live, the band is a forceful thrill. Sheer Mag will surely help soothe what ails you. Haram and Public Acid open. —Allison Hussey KINGS, RALEIGH 9 p.m., $13–$15, www.kingsraleigh.com

Sheer Mag PHOTO

BY MARIE LIN

THURSDAY, AUGUST 24– SUNDAY, AUGUST 27

JAMES DAVIS

After several weeks that have made words like “white supremacist” and “Confederate legacy” a daily part of the news cycle, comedian James Davis will have more material than ever when he comes to Goodnights. The star of the Comedy Central series Hood Adjacent, Davis draws from his own experiences growing up in South Central Los Angeles—but in a relatively safe, not violence-ridden part, where he went to private school in Santa Monica. In his act and TV series, Davis draws on the morbid fascination many have with a mythologized ‘hood (including actual tours people can take), exploring and ridiculing perceptions of it, of his own identity, and of human foibles that are universal no matter your socioeconomic background. —Zack Smith GOODNIGHTS COMEDY CLUB, RALEIGH Various times, $21–$29 www.goodnightscomedy.com

8.238.30 Carlo Dolci, self-portrait, 1674 PHOTO COURTESY OF GALLERIA DEGLI UFFIZI, FLORENCE. SCALA/ART RESOURCE, NY

THURSDAY, AUGUST 24

THE MEDICI’S PAINTER: CARLO DOLCI AND 17TH-CENTURY FLORENCE

When it comes to painters who worked for the Italian bankers and power brokers of the Medici family, you know Michelangelo and Botticelli. But you’re less likely to be familiar with Carlo Dolci, who followed in their brushstrokes a century and a half later. Dolci’s preternatural ability to render infinitesimal details of nature, countenance, and drapery was spotted when he was a child, and he opened his own workshop in Florence at an age when you were just getting your driver’s license. Though celebrated in his day, Dolci fell from favor in the iconoclastic nineteenth century, likely because of his extreme piety—he refused commissions for frescos and such, vowing to paint only religious subjects (he was very slow, in part because he liked to recite litanies between brushstrokes). Still, he made some portraits and still lifes that are also included in The Medici’s Painter, the first U.S. exhibit of his works, whose emotive exactitude is enhanced by the luxe sheen of paints including real gold and lapis lazuli. Ain’t that rich? Meet a new Old Master at this opening reception, after which the exhibit runs through mid-January. —Brian Howe THE NASHER MUSEUM OF ART, DURHAM | 5:30 p.m., free–$7, www.nasher.duke.edu

WHAT ELSE SHOULD I DO?

1970S FILM STOCK AT THE PINHOOK (P. 15), CONVERSATIONS WITH HITLER AT SONOROUS ROAD (P. 20), COUNT AT PLAYMAKERS (P. 20), FRONT COUNTRY AT KINGS (P. 27), GOING SANE AT THE CARY THEATER (P. 32), GREGG MUSEUM REOPENING AT N.C. STATE (P. 18), SABINE GRUFFAT AT NCMA (P. 29), BRUCE MILLER & ROBIN SIMONTON AT QUAIL RIDGE BOOKS (P. 31), SHABAZZ PALACES AT CAT’S CRADLE BACK ROOM (P. 25), SHAKESBEER AT VARIOUS VENUES (P. 30), WANTS UPON A TIME AT THE HILLSBOROUGH RIVERWALK (P. 21) INDYweek.com | 8.23.17 | 23

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CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO **Asterisks 24 | 8.23.17 | INDYweek.com

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

hill

music

8.23 – 8.30

FOR OUR COMPLETE COMMUNITY CALENDAR

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CONTRIBUTORS: Timothy Bracy (TB), Grant Britt (GB), Charlie Burnett (CB), Zoe Camp (ZC), Annalise Domenighini (AD), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), David Ford Smith (DS), Patrick Wall (PW)

2ND WIND: Yeaux Katz; 7-9 p.m., free. • 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. • NEPTUNES PARLOUR: Saving Space Showcase: Away Msg, Sarah the Illstrumentalist, Trandle, RGB; 10 p.m., $7. • THE PINHOOK: Wooden Wand, Nathan Bowles, Jake Xerxes Fussell; 9 p.m., $10.

• POUR HOUSE: Raven, Dead by Wednesday, Knightmare; 8 p.m., $10. • RALEIGH CITY MARKET: Music on Market; 5-6:30 p.m. • RED HAT AMPHITHEATER: Goo Goo Dolls, Phillip Phillips; 7:30 p.m.

THU, AUG 24 Atomic Buzz, North by North ROCK Raleigh’s Atomic STRAINS Buzz and Chicago’s North by North coheadline this night of heavy jams. While both bands could qualify as psych rock, the former brings a heavier, punk-inflected tone that’s bolstered by a mighty rhythm section, while the latter takes a less aggressive, more melodic approach, adding elements of glam rock and power pop. Raleigh’s Less Western opens with hazy songs with hooks as direct as the guitars are fuzzy, along with the “roommate punk” of Earther. —CB [NEPTUNES PARLOUR, $7/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m.

• DEEP SOUTH: Josh Brannon Band, Greg Payne & The Piedmont Boys; 8 p.m., $5. • DUKE’S KIRBY HORTON HALL: Ciompi

Quartet Presents 2017 Summer Chamber Music Series At Duke Gardens presented by Fred Raimi; 7:30 p.m., $10–$60. • EMPRESS ROOM: Ed Stephenson; 7:30 p.m.

• IRREGARDLESS: Daniel DeLorenzo Duo; 6 p.m. • KINGS: Sheer Mag, Haram, Public Acid; 9 p.m., $13–$15. See page 22. • MOTORCO: The Jondoe, Tha Materials; 9 p.m., $10. • NCSU’S STEWART THEATRE: The Quadrivium Project; 8 p.m., $5–$10. • THE PINHOOK: 1970s Film Stock, Cantwell Gomez and Jordan, Al Riggs; 9 p.m., $7. See page 15.

• POUR HOUSE: Vacant Company, Wailin Storms, Bedowyn; 9 p.m., $5. • THE RITZ: Sixteen Candles; 8 p.m.

• RUBY DELUXE: *Not Cool with SPCLGST + Friends; 10 p.m.

FRI, AUG 25 All Get Out, Ratboys RAT ROCK All Get Out brings its hook-laden rock to Carrboro for a night, but openers Ratboys may well wind up stealing the show. Julia Steiner’s soothing vocals anchor a bed of ragged, early-ninetiess indie rock, and she delivers whimsical lyrics and melodies that will stay in your head for days. Also, Wild Pink. —CB [CAT’S CRADLE BACK ROOM. $10–$12/8:30 P.M.]

ABACAB GENESIS As tribute acts go, COVERS few undertakings are more ambitious then a Genesis cover band, requiring a band with the capacity to recreate everything from the bonkers-prog of Selling England By the Pound to the slick eighties pop of Invisible Touch. And you need two classic lead singers. Godspeed, ABACAB. Sixteen Penny opens. —TB [LINCOLN THEATRE, $10/8:30 P.M.]

Sam Burchfield & the Soundrels RINGS Sam Burchfield’s HOLLOW paint-by-numbers roots rock essentially marks all of the boxes in the Lumineers and Mumford survey sheet: loud/soft dynamics, slow-building arrangements that metastasize into “majestic choruses,” and a shouty approach to singing that skirts the line of being unhinged without actually daring to go there.

For all of his Pavlovian manipulations, Burchfield remains oddly unpersuasive.

He’s earnest enough, but soulless, even by the standard of the genre. Pip the Pansy opens. —TB [LOCAL 506, $10/9 P.M.]

Decades Rewind TIME TRIP Fear not, “Decades Rewind” has nothing to do with making America great again. Still, it shares a rose-colored-glasses view of America’s musical history and offers the ultimate safe space for baby boomers to revel in nostalgia and an idealized past. The theatrical concert promises a slew of familiar tunes, “from Aretha to Zeppelin,” along with one hundred costume changes. If that’s enough to get you grooving in the aisles, put on your dancing shoes. —DK [FLETCHER OPERA THEATER, $33–$45/7:30 P.M.]

DredNeks PROTECT You hear YA NECK “DredNeks”—and see the spelling—and think some sort of horror-themed rap-rock. But this quintet from the south of New York State speeds through punk, alt country, rockabilly, and thrash, pairing twangy licks

MONDAY, AUGUST 28

SHABAZZ PALACES It’s been eight years since Ishmael “Butterfly” Butler bounced on Digable Planets and changed his name to Palaceer Lazaro, joining forces with instrumentalist Tendai “Baba” Mararie to create the groundbreaking group Shabazz Palaces. With Palaceer’s dexterous flow, the duo’s ethereal sound palette was a fresh new sound in rap music at a time when the genre’s direction was unclear. The pair’s production was dark and avant-garde, utilizing subtle samples like a sound mosaic that brought harmony to occasionally harsh drum patterns.

It was like free-form jazz, but for beat making.

Almost ten years and two projects later, the duo has released two albums back to back this past July, Quazarz vs. The Jealous Machines and Quazarz: Born on a Gangster Star. The two records take listeners on a mind-bending intergalactic journey, with Butler playing the character of Quazarz, a being traveling through “Amurdica” on the planet “Gangster Star.” Both LPs are built in the same storytelling universe, but serve different functions. Gangster Star serves as Quazar’s Star Trek-esque captain’s log, chronicling his time on a hostile planet, a dystopian version of Earth, where the beings have elevated to a language that uses guns instead of spoken words.

PHOTO BY VICTORIA KOVIOS

WED, AUG 23

Jealous Machines serves more as an existential journey that examines our connection and obsession with technology. It’s an emotional observation of how we yearn for one another when we’re not connected.

Butler’s character of Quazarz is unlike anything ever created in hip-hop. Rappers with alien alter egos aren’t exactly new— Outkast came onto the scene over twenty years ago, asserting that they were extraterrestrial beings. But the level of world building Butler employs with Quazarz and the emotion he brings to the character is like something out of a sci-fi fantasy novel, with haunting images of what our world can become.

Musically, the projects are worlds apart from the production of Shabazz Palaces’ earliest work. Take, for example, Gangster Star’s “Shine a Light,” which samples Dee Dee Sharp’s “I Really Love You” in a way that feels like an opening credits scene for an epic movie. Shabazz Palaces holds true to its free-form foundation, but it takes the sounds to another, far grander level that was needed to glue the alternate universe together.

—Charles Morse CAT’S CRADLE BACK ROOM, CARRBORO 9 p.m., $17–$19, www.catscradle.com INDYweek.com | 8.23.17 | 25

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with shock-rock humor. If you’re thinking Primus—well, you’re not far off. With Echo the Aftermath and Sun of Nile. —PW [THE MAYWOOD, $8/9:30 P.M.]

PJ Morton FRESH Away from the R&B trap-influenced stylings of modern R & B, PJ Morton stands in his own lane with a more classic sound that favors ninetiesinspired R & B vocals and live instrumentation over digital production. His newest album, Gumbo, hits a high note with a cover of The Bee Gees’ “How Deep Is Your Love.” Ash opens. —CM [MOTORCO, $15–$20/8 P.M.]

Laila Nur and the Love Riot POLITIC- The final show in AL POP Durham Central Park’s summer concert series is Durham’s Laila Nur & The Love Riot, a politically charged group whose music blends reggae sounds with R & B influences and laid-back pop. Nur was raised Sunni Muslim, has experienced poverty and discrimination, and has put it all into song.

With Durham’s recent fiery stand for social justice, this celebratory concert is a fitting complement to such activism. —KH [DURHAM CENTRAL PARK, FREE/6 P.M.]

Supalit Part 3 PARTY Channel the spirit MODE of Flockaveli in your body and mind for this Friday night of debauchery.

Danny Blaze, Mayday, Kosmonauta, and about a dozen other artists bring the party for this Dionysian night of hip-hop and electronic moods. Entrance is $3 with college ID and $7 otherwise, so don’t leave home without it. —DS [NIGHTLIGHT, $7/9 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • BEYÙ CAFFÈ: Kamara Thomas; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Duke Street Dogs; 6 p.m., free. • BYNUM GENERAL

STORE: The Bluegrass Experience; 7-9 p.m. • CAT’S CRADLE: Be Loud! ‘17 Night One; 8 p.m., $25. See page 22. • THE CAVE: Joseph & The Beasts, Simone Finally, Infielder; 9 p.m., $5. • DEEP SOUTH: Graham’s Number, 5th Middles; 8:30 p.m., $5.

• IMURJ: The Madd American Corporate System; 8 p.m.-midnite. • IRREGARDLESS: Elmer Gibson; 6:30 p.m. • POUR HOUSE: Kabaka Pyramid, Elephant Convoy; 9 p.m., $15.

• RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$20. • SLIM’S: Secretary Pool, Nath Oliver, Knurr & Spell; 9 p.m., $5. • THE STAG’S HEAD: Eilen Jewell, Jeffrey Foucault; 8 p.m., $19–$29.

SAT, AUG 26 Castle Wild TAME Chris Hendricks TURRETS and Andre DiMuzio comprise the Chapel Hill duo Castle Wild. Their 2016 debut, Dream Killers EP, mixes various strains of pop-rock, from the glossy, synth-based “Love and War” to the piano balladry of “Corner,” with lyrics rooted in retaining hope. With Elle Johnson and Mysti Mayhem.

—CB [DEEP SOUTH. $10/8:30 P.M.]

CMP Student Band Album Release SCHOOL For the second OF ROCK time this summer, a trio of local high schoolers makes its onstage debut just five days after meeting as participants in Creative Music Performance’s boot camp. There, area musician Ian Leinbaugh offers band advice while guiding songwriting sessions, rehearsals, and a single-day EP recording. More seasoned local outfits MKR and Poor Pie follow with sets of their own. Proceeds from the door help TABLE provide healthy food aid to Chapel Hill and Carrboro kids. —SG [THE STATION, $10/6:30 P.M.]

Medium Well in Hell III KVLT AS FVCK

A few decades after the crest of

its second wave, the boundaries of black metal have widened to encompass more than corpse paint, and the endemic friction between purists and modernists has sparked arguments about authenticity, image, and metal’s shifting demographics.

Raleigh’s Medium Well in Hell celebrates this dichotomy.

Among its ten acts are bands that certainly don’t play black metal straight: the grinding, sardonic crust-metal of New Jersey’s Pink Mass celebrates perversion and destruction in equal measure; Pennsylvania’s Hivelords offer a darkly psychedelic take on blackened doom. But there’s plenty of room for tradition, too, primarily from the Tar Heels: Greensboro’s Dreaded and Asheville’s Shadow of the Destroyer worship at the altar of true kvlt. —PW [THE MAYWOOD, $15/3 P.M.]

The Orange County Opry PICK & It’s a yeehaw GRIN circus, a country carnival of musical attractions and sideshow denizens herded together for a one-night stand. Western swingers and two-step supporters Lester Coalbanks & the Seven Sorrows lead a scruffy menagerie of down-home good ole boys and girls playing two kinds of music—country and western, naturally—including John Howie Jr., Blue Cactus, and the Apple Chill Cloggers rubbing elbows with comedians and strongmen for a county fair feel. —GB [CAT’S CRADLE BACK ROOM, $10/7:30 P.M.]

Luke Pell POP A Texas native COUNTRY and war veteran, Luke Pell may have lost the love of a lifetime on The Bachelorette, but that doesn’t seem to matter where his music career is concerned.

His latest songs tackle the classic country conundrums—from being broken up with on public television (“Best Thing You’ve Ever Done”) to being satisfied with watching a sunset with a

FRIDAY, AUGUST 25

FRONT COUNTRY Catch Front Country in a small club while you can, because when the band returns to Raleigh next month for IBMA’s World of Bluegrass, the quintet may well be hoisting the association’s trophy for Emerging Artist of the Year.

“I think we’ve been emerging for a while now, so maybe we’ll get an award for it,” quips Melody Walker, the band’s singer, guitarist, and chief songwriter. “Or maybe not. We’ve been kind of pushing the boundaries about as far as [those boundaries] will probably go, but we’ll be stoked whichever way it goes.”

Indeed, while Front County has attended the IBMA festival each year since the conference’s move to Raleigh four years ago, and since its members recently relocated from San Francisco to Nashville, the band’s adventurous string band music remains—as its West Coast pedigree might suggest—on the far fringes of conventional bluegrass. But this year’s award nomination shows that the group’s more expansive reachings have hardly slowed its ascent in the world of the often traditionally minded bluegrass association. Walker has one of the most captivating voices in roots music; she deftly navigates pop-inspired melodies

girl in the back of a truck while drinking wine.With Paige Johnson and Elliot Humphries. —AD [MOTORCO, $15–$40/8 P.M.]

Josh Phillips COUNTRY Josh Phillips CROONS sings about Southern stuff—pickup trucks and Budweiser and the like, but in a less grating way than the usual bro-country suspects. He’s got a velvety smooth voice and typical country acoustic guitar style that’s had him on tour with some of the genre’s contemporary best. —KH [CITY LIMITS, $10–$15/8 P.M.]

Chip Shearin LOW END In playing the THEORY percolating bass line on the Sugar Hill Gang’s “Rapper’s Delight” (for fifteen minutes straight!), Chip Shearin earned an enduring place in the firmament of pop music at

PHOTO COURTESY OF BIG HASSLE PUBLICITY

while delivering emotional and vulnerable lyricism with room-rattling power suggestive of Bay Area quakes. The rest of the versatile,

seventeen—along with seventy bucks for his troubles. After that brush with fame, he studied music at Duke, taught in the music department of NCCU, and worked for decades as a session player. Despite Shearin’s hip-hop pedigree, his style owes more to Stanley Clarke than Chic’s Bernard Fowler, that famous bass line’s author. —DK [BEYÙ CAFFÈ, $18/7 & 10 P.M.]

Cat, Imani Pressley; 9 p.m. • RUBY DELUXE: Maya Songbird, Spraytan, Girl Werewolf; 8 p.m. • SHAKORI HILLS: NC Stars in the Round; 7 p.m., $12–$17. • SLIM’S: Miracles, The Outboards, TV Man and the TV Band; 9 p.m., $5. • THE STATION: Gimme Shelter Dance Party with DJKB; 10 p.m., free. Jazz Saturdays; 2 p.m., free.

ALSO ON SATURDAY

WINDING Hailing from ROADS Princeton, New Jersey, Joy on Fire offers a distinct mix of pun jazz and fuzzy rock. In the opening slot, Raleigh’s Zephyranthes combine rock ’n’ roll of the math and psychedelic varieties into a compelling, reverbed-out whole. The trio’s knack for a hook will draw you in as much as its knack for taking detours in the middle of a song. The Nitrogen Tone fills out the bill with lo-fi blues rock. —CB [POUR HOUSE. $5/8 P.M.]

BLUE NOTE GRILL: The Tornado Blues Band; 8 p.m., $8. • CAT’S CRADLE: Be Loud! ‘17 Night Two; 8 p.m., $20. • IRREGARDLESS: Zen Poets; 6-9 p.m. Carolyn Mitchell Jazz; 9 p.m. • LINCOLN THEATRE: Delta Rae, Lauren Jenkins; 8 p.m., $25. • LOCAL 506: School of Rock Chapel Hill: British Invasion; 2-4 p.m., free.

Lost Dog Street Band; 9 p.m., $8. • NCSU’S STEWART THEATRE: The Quadrivium Project; 8 p.m., $5–$10.

• NIGHTLIGHT: Volume 23: TX Connect, Ricky Simpson, $tinkworx; 10 p.m., 2 items or $10. • POUR HOUSE: N’Kogniito, Jet Black Alley

SUN, AUG 27 Joy on Fire

progressive outfit packs plenty of instrumental punch on dynamic arrangements that draw from Appalachian traditions and indie rock

influence, as well as each member’s diverse backgrounds in classical, jazz, and even Afrobeat.

Though Front Country’s crossover appeal has acclimated the band to earning fans outside of the bluegrass sphere, the group took it a step further on a recent trip to China, where it played a festival in the Sanjiangyuan region celebrating the opening of the country’s first national park. Front Country also participated in a cultural exchange with three Tibetan musicians while rafting down the Daqu River.

“There were lots of similarities to Appalachian mountain music so we really explored those,” Walker explains. “Some songs were about grasslands and farming, things that rural people sing about no matter where they’re from, and a lot of it is actually in a similar musical mode, so it works really well together, and they were definitely intrigued by the melodies in the songs we shared with them.”

For Front County, that intrigue holds fast, no matter the traditions to which one is normally tied. —Spencer Griffith KINGS, RALEIGH 9 p.m., $10–$12, www.kingsraleigh.com

The Mutineers

Vein

FUN FOLK Husband-and-wife duo The Mutineers have crafted a punky bluegrass sound with sing-along anthems and toe-tapping tunes. Acoustic guitar, harmonies, a little banjo, and some harmonica pepper their tracks with drums crashing all around. You’ll probably want a pint of beer on hand to chase these songs. Morgan Greer and Melissa Swingle Duo open. —KH [THE CAVE, $5/9 P.M.]

WICKED Chaotic and HAAHHD calculated, Boston’s Vein continues in the long tradition of boundary-pushing Massachusetts hardcore. There’s a clear lineage to Converge’s spastic hardcore (last year’s Terrors Realm sounds like a natural successor of Petitioning the Empty Sky) and to the emo-violence outpourings of Orchid, but Vein’s closest compatriots might just be West Coasters Botch—like the seminal Seattle crew, Vein is spastic and vicious, eccentric and imaginative, abrasive and fluid, ferocious and singular. With Invoke, Sanction, and Heavens Die. —PW [LOCAL 506, $10/8:30 P.M.]

Rixe PARISIAN All-ages hardcore, PUNK with a French twist!

Paris’s Rixe shreds a sort of pogo punk that it compares to “eighties French Oi! music.” Whether you can understand the rapid-fire lyrics or not doesn’t matter—the music speaks in a boisterous, universal punk language. Local Sorry State Records alumni Skemata brings up the rear with its furious spin on D-beat. With Unruly Boys and Nu Wriggle.

—DS [NIGHTLIGHT, $8/8 P.M.]

ALSO ON SUNDAY DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • GROWLER GRLZ: Ben Palmer and Martin Eagle; 5-8 p.m. • IRREGARDLESS: Matt Walsh; 6 p.m.

MON, AUG 28 Jealous BIG Carrboro MOOD experimental duo Earthly has a new record coming later this year, and this show features the band’s Edaan Brook performing solo as Jealous. He might be able to shed some light on the Pandora’s box of influences that have seeped into Earthly’s next LP. Even in weird music circles, few beat experiment or sound collage projects sound as truly inventive and bizarre as this stuff. Opener R&R Unlimited is a lo-fi pop savant, sort of like if Ariel Pink wrote to Dam-Funk beats. With Tegham. —DS [NIGHTLIGHT, $7/9:30 P.M.]

Greta Van Fleet POWER Like a strange POSES combination of Robert Plant and Jack White, INDYweek.com | 8.23.17 | 27

Greta Van Fleet’s Josh Kiszka embodies the role of provocative leather-clad frontman in a way that’s almost supernaturally predetermined. Songs like “Lover, Leaver, Taker, Believer” and “Highway Tune” feature roiling riffs and undeniably sick vocal runs. Combined, they’re hard to ignore. Goodbye June and Young Cardinals open. —AD [POUR HOUSE, $10–$12/8 P.M.] ALSO ON MONDAY BEYÙ CAFFÈ: Verses and Versus DJ Series; 6-9 p.m. • CAT’S CRADLE: Shabazz Palaces, Porter Ray; 9 p.m., $17–$19. See box, page 25. • EMPRESS ROOM: 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. • RUBY DELUXE: Monday Noize; 9 p.m. DJ Lord Redbyrd; 10 p.m.

TUE, AUG 29 Bernie and the Wolf DREAMY Chicago’s dreamy DUO bedroom pop duo Bernie and the Wolf features

sweet lyrics sung in wails, a touch of surf-influenced guitar, and rolling drums. It’s a solid little pairing that could fit on Father/Daughter Records. The Lady Comes First and The River Otters are also on the bill. —KH [THE CAVE, $5/10 P.M.]

Bölzer SUPER The extreme HARD metal band Bölzer is named after the German word for a powerful blow slung ruthlessly, carelessly, and they swing for the fences with fists, riffs, and heart.

That pugnacious spirit—manifested most spectacularly on last year’s furious album Hero, which blended black, death, and heavy metal to great effect—has earned the Swiss outfit a rising-star reputation, and for good reason. —ZC [LOCAL 506, $12–$15/7:30 P.M.] ALSO ON TUESDAY IRREGARDLESS: Elliott Humphries of “Be The Moon”; 6:30 p.m. • RUBY DELUXE: Experimental Tuesday: TZYVYX; 11 p.m.

WED, AUG 30 Cranford Hollow MELLOW, Hilton Head’s MAAAAN Cranford Hollow started off as a tradition-minded quartet that redressed classic country and bluegrass sounds in a modern couture (despite its aversion to “Wagon Wheel”).

Along the way, the quintet went widescreen, exploring outsize pop song structures, semipsychedelic textures, and atmospheric filigrees. Last year’s Color/Sound/Renew/Revive is spacious and honed to an electric edge —kinda like U2 if U2 had fiddles and an inclination toward crunchy jams. C2 & the Brothers Reed open. —PW [POUR HOUSE, $6–$8/9 P.M.]

Hanz NIGHT Hanz is back! With MODE new music on the horizon, the Tri Angle Recordsassociated beat king returns to lead a night of thundering sounds and moods. Carrboro’s Chucha specializes in various shades of ambient and broken

club music, while Raleigh’s Floor Model bangs out dissonant techno that seems seconds away from pounding a hole right through the PA. Make it a full night and catch the Naan Violence after-party downstairs at Neptunes afterward. With Gudiya. —DS [KINGS, $10/9 P.M.]

MC Chris WEAK It’s only appropriate RAP that manchild culture would enable an NYU Tisch School of the Arts alumnus to make a career out of rapping like a ten-year-old, but alas, that’s the story of MC Chris. The forty-two-year-old nerdcore rapper, whose trademark is his high-pitched voice, has done voice acting on Adult Swim classics like Aqua Teen Hunger Force and Sealab 2021, but his bars are nothing to write home about. —CM [CAT’S CRADLE BACK ROOM, $14–$16/7:30 P.M.]

Naan Violence AFTER This Neptunes PARTY after-party for the Hanz show upstairs at Kings

features sitar titans Naan Violence. Band leader Arjun Kulharya weaves transcendental melodies on his instrument, complemented by flute and occasional mellow synthesizer. In place of traditional music, he looks to cosmic legends like Sun Ra for inspiration, which comes out in the warping song structures. Sand Pact’s Gudiya sets the comedown mood right with an opening set. —DS [NEPTUNES PARLOUR, $5/10 P.M.]

Sextile SECRETS Combine Trent OF NIN Reznor’s monotone with bleating surf rock riffs and you’ve got yourself a band called Sextile. Members Brady Keehn, Melissa Scaduto, Eddie Wuebben, and Cameron Michel have taken the gothic rock sound established by other L.A. groups like Prayers and added poppier hooks and catchy dance beats on July’s Albeit Living. It’s a darker electronic move from the band’s last record, A Thousand Hands, a dance party for everyone who feels a little too depressed to dance. Sister, Brother opens.

—AD [THE PINHOOK, $10/9 P.M.]

The Winter Sounds VARIED The music of New BLEND Orleans’s The Winter Sounds feels like the mysterious soundtrack to a pitch-black night, and the band’s blend of post-punk, electro-pop, and even a little metal will keep you captivated. Heavy drums and smooth, reverberating croons come together over synths, quickly picked electric guitars, and sparkling keys. The Winter Sounds are tough to pin down, but easy to listen to.

Toyko’s Pinky Doodle Poodle and Carrboro’s Henbrain also play. —KH [LOCAL 506, $7/9 P.M.] ALSO ON WEDNESDAY 2ND WIND: Yeaux Katz; 7-9 p.m., free. • THE CAVE: August Residency: Spencer Lee; 9 p.m., $5. • EMPRESS ROOM: Michael Pelz-Sherman; 7:30-10 p.m. • IRREGARDLESS: The Long Leaf Pine Nuts; 6:30 p.m. • NIGHTLIGHT: 919 Noise August Showcase; 8:30 p.m. • RALEIGH CITY MARKET: Music on Market; 5-6:30 p.m. • RUBY DELUXE: BPM Deluxe: 120 Curated by Calapse; 10 p.m.

• SLIM’S: Minor Moon, Cosmic Punk, Half Gringa, Hank & Brendan; 9 p.m. • WAVERLY PLACE: End-of-Summer Concert: The Embers; 6-9 p.m., free.

THIS YEAR’S EMCEE WILL BE

CAM f. AWESOME

#1 Heavyweight boxer in the US, a motivational speaker, and VEGAN! 28 | 8.23.17 | INDYweek.com

art

8.23 – 8.30

SATURDAY, AUGUST 26

SABINE GRUFFAT: A KISS OF THE EARTH Apt for a work about a season of florid fecundity, Stravinsky and Diaghilev’s epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendarily tempestuous premiere. It supplies the inspiration for A Kiss of the Earth, an experimental video by UNC-Chapel Hill associate art professor Sabine Gruffat, which will be installed in NCMA’s free video gallery from August 26 through January 28.

Gruffat’s interactive three-channel video projection remixes the story of a pagan tribe’s maiden sacrifice with stochastic ele-

Second Annual International Block Party: Music and dance demonstrations from around the world, kids’ activities, local beer, international food, market for gifts and services.

Sun, Aug 27, 3-10 p.m. Raleigh City Plaza, Raleigh. www.

InternationalFestival.org.

SPECIAL Transformation & EVENT Contrast: Jewelry

by Linda Azar. Reception: Fri, Aug. 25, 6-8 p.m. Aug 25-Sep 24. Melissa Designer Jewelry, Hillsborough. www. melissadesigherjewelry.com.

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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 nongamers, it will be like nothing they’ve ever experienced before.

Thru Sep 16. Lump, Raleigh. www. teamlump.org. —Brian Howe

A Kiss of the Earth PHOTO COURTESY OF NCMA

OPENING

submit! Got something for our calendar? EITHER email calendar@indyweek.com

ments: real-time weather data from Paris, the site of the original Rite furor, affects the weather in the animation, and viewers can text to a number on the wall to further alter the proceedings. When you consider the contemporary implications, in a world of virtual warfare, of deciding someone’s fate with a command on a screen, you start to scratch the larger issues Gruffat is probing through colorful mayhem. —Brian Howe

NORTH CAROLINA MUSEUM OF ART, RALEIGH

10 a.m.–5 p.m., free, www.ncartmuseum.org

We’ve Met Before: Cloth and ink by Andrea Donnelly.

Aug 26-Jan 28. NC Museum of Art, Raleigh. www. ncartmuseum.org.

LAST Barely Civilized: Folk CHANCE art by Cher Shaffer.

Thru Aug 24. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

ONGOING

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

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

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

Beyond the Front Porch 2017: Exhibition by twelve senior 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 The Fence: Durham is one of seven cities across the nation— the smallest, compared with the likes of Brooklyn, Boston, and Houston—to host this touring, public photography exhibit, curated from submissions from around the world and based on themes such as “home,” “nature,” and “food.” While Lori Vrba is the only local 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. The exhibit wraps the block around the Chapel Hill Street parking garage in a temporary fence and banner of photos, where it will be a part of pedestrians’ lives through November. Thru Nov 30. Chapel Hill Street, Durham. —Brian Howe Fluid: Paintings by MyLoan Dinh.

Thru Oct 15. Durham Convention Center, Durham. www. durhamconventioncenter.com.

LAST Group Show: CHANCE Twenty-five artists and craftspersons. Thru Aug 25.

Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com.

LAST Harry Fenn is in the CHANCE 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 Locker Project: Mixed media prints by Jack Watson.

Thru Sep 1. SPECTRE Arts, Durham. www.spectrearts.org.

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.

LAST Natura Technica: CHANCE Paintings by Matt Zigler. Thru Aug 27. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM INDYweek.com | 8.23.17 | 29

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, social-justiceoriented 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 collage-based, limited-edition prints on view and on sale at Urban Durham Realty use the image of the white rabbit to peel back and palpate the layers of white supremacy, a climate in which mental-health struggles, especially for people of color and queer people, naturally flourish. Thru Aug 31.

Urban Durham Realty. www. urbandurhamrealty.com.

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

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—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 installation 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.

Thru Sep 9. The Scrap Exchange, Durham. www.scrapexchange.org.

—Brian Howe Small to Large: Delight in the Practice of Painting: Paintings by Margie Stewart.

Thru Oct 23. Durham Arts Council, Durham. www. durhamarts.org.

Some Assembly Required: Can You Build It?: 3-D paintings and sculpture.

Thru Oct 10. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

LAST Paul Spinak: CHANCE 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. N.C. 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.

SPECIAL Three EVENT Perspectives: Paintings by Lolette Guthrie, photography by Eric Saunders, blown glass by Pringle Teetor.

Thru Sep 24. Reception: Fri, Aug 25, 6-9 p.m.

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

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.

N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

30 | 8.23.17 | INDYweek.com

stage OPENING Count: Play. $15+. Aug. 23-27. PlayMakers Repertory Company, Chapel Hill. www. playmakersrep.org.

See story, p. 20.

Crowns: Gospel musical.

Aug 25-Sep 10. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. See p. 22.

Decades Rewind: Fri, Aug 25 & Sat, Aug 26, 7:30 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

James Davis: Stand-up comedy. Aug 24-27. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

See p. 22.

John Evans: Stand-up comedy. $12-$20. Wed, Aug 30, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Miss Hispanidad Gay 2017: Latinx Drag Queen Pageant to support El Centro Hispano’s LGBTQ Support Groups. $10.

Fri, Aug 25, 7 p.m. Durham Arts Council, Durham. www. durhamarts.org.

ONGOING Anything Goes Late Show: Sat, Aug 26, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

The Best of the City Roundup: Stand-up comedy. $12. Wed, Aug 23, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.  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 confinement? Inmate author

Natalie Sherwood, J. Robert Raines, and Jonathan Kyle Mears in ShakesBEER PHOTO COURTESY OF BARE THEATRE

MONDAY, AUGUST 28–MONDAY, SEPTEMBER 11

SHAKESBEER

Sir John Falstaff walks into a bar. So do Andrew Aguecheek, Sir Toby Belch, and a certain inebriated porter employed by Lord and Lady Macbeth, among others. No, it isn’t the setup for a gag in a stand-up routine; it’s the production concept of the latest itinerant show from Bare Theatre. Adaptor Chuck Keith rounds up six of Shakespeare’s most beloved drunkards and sets them loose in an offbeat series of Monday-throughWednesday shows, stumbling into Durham’s Fullsteam Brewery (Aug. 28 & 29/Sep. 4 & 5), Raleigh’s Imurj (Aug. 30 & Sep. 6), and Hillsborough’s Mystery Brewing Public 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 little independent theater. $10-$15. Thru Sep 2. Sonorous Road Theatre, Raleigh. www. sonorousroad.com. —Byron Woods The Harry Show: Ages 18+.

Improv host leads late-night revelers through potentially risque games with audience participation. $10. Fri, Aug 25 & Sat, Aug 26, 10 p.m.

ComedyWorx Theatre, Raleigh. comedyworx.com.

Hush Hush: Summer Brews: Interactive comedy. Thu, Aug 24, 8 p.m. Beer Study, Durham. www. thisismettlesome.com.

Improv Noir: Improv comedy. $15-$40. Sun, Aug 27, 6 p.m. The Vault at The Palace International, Durham.www.improvnoir.com.

Locals at the Local: Stand-up comedy with Mike Mello, Mark

House (Sep. 11). Director Dustin Britt insists he’s in full fidelity with the original scripts: “There is no fabrication. Every single one of them was shit-faced in Shakespeare’s texts.” But wait—did we say full fidelity?

Then why’s the Twelfth Night scene being played by boozy pirates? And is that really Peter Lorre in Othello? Hmm. This could take more than one round to figure out.

Bartender? —Byron Woods

VARIOUS VENUES, TRIANGLE-WIDE 8 p.m., free (donations accepted), www.baretheatre.org

Brady, Kenyon Adamcik, Nik Cartwright, Maddie Weiner. $5-$7. Thu, Aug 24, 9 p.m.

Local 506, Chapel Hill. www. local506.com.

The Monti Storyslam: Roommates: Competitive storytelling. $12. Wed, Aug 23, 7:30 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.  Of Wings and Feet: As Paperhand Puppet Intervention’s eighteenthannual summer show begins, a multigenerational group of performers casually walk onstage and don papiermâché 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 Rampage: Improv. $8. Fri, Aug 25, 8:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. ½ Wants Upon A Time: Reviewed on p. 21. Fri, Aug 25, 6:30 & 7 p.m. & Fri, Sep 29, 6:30 & 7 p.m. Riverwalk, Hillsborough.

ILLUSTRATION BY CHRISTOPHER WILLIAMS

page

THURSDAY, AUGUST 24

BRUCE MILLER & ROBIN SIMONTON: HISTORIC OAKWOOD CEMETERY Learning about the people who lived and died in a place tells us a great deal about its history. In Historic Oakwood Cemetery, a new book by Robin Simonton, the cemetery’s executive director, and historian Bruce Miller, the authors excavate the biographical details of those interred in one of the area’s oldest burial grounds, adding flesh to our decayed understanding of the past.

The Oakwood cemetery, a self-described “cemetery full of life” where many of those

who built Raleigh ended up, is particularly full of interesting people. So the book’s accounting of the lives of the site’s earliest permanent guests has a wealth of riches to pick from. Amid the current fever pitch surrounding Confederate symbols, exploring the stories of some from that era is a thought-provoking prospect. —David Klein

QUAIL RIDGE BOOKS, RALEIGH

7 p.m., free, www.qualridgebooks.com

READINGS & SIGNINGS

LITERARY R E L AT E D

August NCPS Reading Series: Tim Mattimoe, Jane Shlensky, Irene Blair Honeycutt. Sun, Aug 27, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

Stephanie Elizondo Griest: All the Agents and Saints: Dispatches from the U.S. Borderlands. Tue, Aug 29, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Audio Under the Stars: Wild: Audio documentaries about nature. Fri, Aug 25, 8 p.m.

Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Jessica Bandel: North Carolina and the Great War 1914-1918.

Wed, Aug 23, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Dawn Reno Langley: The Mourning Parade: A Novel.

Thu, Aug 24, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

In the Wings: Members of PlayMakers Repertory Company discuss The Cake.

Mon, Aug 28, 7 p.m. South Regional Library, Durham. www. durhamcountylibrary.org.

Michele Berger: Reenu You. Sat, Aug 26, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

Kevin McLaughlin: Innocent: A Spirit of Resilience. Tue, Aug 29, 6 p.m. Stanford L Warren Branch Library, Durham. www. durhamcountylibrary.org.

INDYweek.com | 8.23.17 | 31

screen

SPECIAL SHOWINGS Jaws: The original film and a discussion of the science of shark behavior with an expert speaker, pre-show science stations. $5. Fri, Aug 25, 5:30-9:30 p.m. NC Museum of Natural Sciences, Raleigh. www.naturalsciences.org.

I Called Him Morgan: Fri, Aug 25, 7 p.m. Ubuntu Art Space, Durham.

Beauty and the Beast (2017): Outdoor movie. $6. Sat, Aug 26, 8:30 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

OPENING  Good Time— Reviewed on p. 21. Rated R. Ingrid Goes West—This comedy sounds something like Single White Female but with Instagram. Rated R. Leap!—Last year’s Ballerina, a French animated kids movie, comes to the states with a splashier title. Rated PG. Whose Streets?—A documentary on the shooting of Michael Brown and the Ferguson protests. 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 32 | 8.23.17 | INDYweek.com

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.  Brigsby Bear—A sweet deception veils an acid point about mass entertainment in this offbeat comedy starring SNL’s Kyle Mooney. Rated PG-13. ½ Despicable Me 3— This franchise feels just about washed up, but your kids won’t care, because Minions! Rated PG. ½ Detroit—In a way, Kathryn Bigelow’s bracing take on the 1967 Detroit riots completes a trilogy of war films. Rated R. ½ Dunkirk— Christopher Nolan’s WWII picture is very British and, for better and worse, very Terrence Malick—epic, meditative, and portentous.

Rated PG-13.  From the Land of the Moon—This romantic drama has the pedigree of a

respectable art-house film.

It’s set in 1950s France, with privileged daughters, sweaty field hands, artfully graphic sex, and Marion Cotillard.

Alas, even prestige pictures can be turkeys.

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.  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 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.

FRIDAY, AUGUST 25

GOING SANE The Triangle’s array of film series just got richer with a new one at the Cary Theater devoted to premiering works by local filmmakers. There are plans for four showings this year, the first being a screening of Going Sane, a documentary that examines the rise of mental illness amid America’s robust mental-health industry. Though experts promise “safe and effective” treatments, the film demonstrates that practitioners who guide patient care often base their treatments on their personal preference rather than on best practices, eschewing the evidence-based model that the medical field has embraced for roughly a half-century. Focusing on the accounts of family members whose children are suddenly and tragically incapacitated by mental illness, the filmmakers cast an unflattering light on a widespread industry practice of excluding family from involvement in their loved one’s psychiatric care, which has proven tragically counterproductive. A Q and A will follow. —David Klein

CARY THEATER, CARY

7 p.m., $6, www.thecarytheater.com

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2016

D ★ IN Y W

Y WEEK ND

HIGHLIGHT! ★★★★★★★

K ★ IND EE

Who: Southerners on New Ground

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6What:3 4 on New 4Southerners 7 Ground is an LGBTQ liberation organization 5 that fights for racial and 3economic 9 justice across the South, founded 2 in Durham 3 nearly 25 years ago.

1 In commemoration of Black August, a 6 month of celebration of Black resistance 3and8liberation, we7 7are bailing out Black

women, trans, and gender non-conforming people from the Durham Co. Jail to draw attention to the crisis of cash bail -- where people sit in cages pre-trial just because they cannot afford to pay.

Give: https://bit.ly/blackaugustbailfund # 34

su | do | ku

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

this week’s puzzle level:

© Puzzles by Pappocom

7

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.

5 6

3 6 3 4

4 7

32

9

5 28 8 8 7 1 7 9 2

5 2

6 3

1 9 4 3 4 1 8 7 4 6 1 1 8 4 3 9 5 8

# 36

4 9 MEDIUM 8 7 2 1 5 4 9 6 3

6 3 1 9 7 8 4 5 2

# 36

# 86

4 3 7 9 1 2 8 5 6 8 9 1 7 5 6 3 2 4 2 5 6 3 8 4 7 9 1 5 8 4 6 2 7 1 3 9 1 7 3 4 9 5 2 6 8 6 2 9 1 3 8 4 7 5 9 4 5 2 7 1 6 8 3 3 1 2 8 6 9 5 4 7 7 6 8 5 4 3 9 1 2 solution to last week’s puzzle

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

Best of luck, and have fun! www.sudoku.com

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30/10/2005

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34 | 8.23.17 | INDYweek.com

5

8.23.17

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EMAIL MIKE FOR ADS CLASSY AT INDYWEEK DOT COM 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

Even better than the real thing CARRBOROVIRTUAL.COM

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 Guide

Bolinwood Condominiums Affordability without compromise

Convenient to UNC on N bus line 2 & 3 bedroom condominiums for lease

www.bolinwoodcondos.com • 919-942-7806

everything you need to know to get your semester started right on stands august 9 reserve by july 7fi contact your rep or advertising @ indyweek.com

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

INDYweek.com | 8.23.17 | 35

YOUR AD HERE Email Mike! classy@indyweek.com

ARTIST MARKETING AND BUSINESS ASSOCIATE

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.

Short walk 2 Duke, 3 BR, 1 BA, $2100 fincaminor@mindspring.com

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI At ERUUF, Durham & ArtsCenter, Carrboro.

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

INTRO TO IMPROVISATION

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

919-829-0822 or www.comedyworx.com

RENOVATED SOUTHSIDE CHARMER

Open House: Sunday, August 27th, 2-4PM 1114 Scout Dr. MLS#2118600 List Price: $299,900 Ian Kipp, Berkshire Hathaway HomeServices NC Real Estate Broker Lic#268085 (919) 229-3533

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

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

919-636-2461 or griffanzo1@gmail.com

www.frankhyman.com

GARDENING CLASSES www.frankhyman.com

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

Open to all.

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

ADMIN LEGAL

Nonprofit env seeks an exp legal assista of lawyers in the environm Outstanding son. Prior la and an intere protection ar college degre typing, and e organizationa skills. Mus MS Office ap benefits, com parking. We organization learn more, v ernenvironme Apply by ema letter and 3 to ncjobs@se ìAdministrati by mailing th Administrativ W. Rosemary Chapel Hill N walk-ins or te

ARTIST MARKE AND B ASSOC

FORAGING CLASSES

KOL HASKALAH’S ANNUAL OPEN HOUSE

Back Pa back p

919.286.6642

back page

Weekly deadline 4pm Monday • classy@indyweek.com

Hillsborough (www.sudiera dynamic prof range of mar agement and - and the will Perfect for a doing resear solving probl juggle multip being open t ventional ide maturity, high to detail and skills. The a while working direction, is with social m ment, Micros and email m Must be com Starting sala work-week, p for retiremen tion, holidays Location: Hil apply, email sudierakusin resume, writi ences, links or social me and would lik describe a p aged from be difficulties yo you managed and the take project. Com Mon Sept 11 is October.

BURCH