Indy Week 6.24.15 Issue by Indy Week

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6|24|15

THE WAR ON CITIES

What’s driving Republican hostility toward our urban areas? By Jeffrey C. Billman, p. 6

PLUS A CONFEDERACY OF DUNCES 11 • RALEIGH FRISBEE 18 • MICK3+ KEITH, DEAD AT ∞ p. 23 PLUS p.PROMO 1 •ULTIMATE PROMO 2 • p.PROMO

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John Roy Zat Apple Chill Cloggers Tea Cup Gin Branchettes John Dee Holeman Andy Coats 6 String Drag Dark Water Rising TROSA Music Ensemble

Sunday, July 5

1:00 pm 1:15 pm 3:00 pm 4:00 pm 5:00 pm

Faol Laith Big Celtic Fun David Childers and the Serpents Eno River Presentation African American Dance Ensemble Barefoot Movement LiLa the Collection

4:00 pm 5:00 pm

Dot Combo Holland Brothers Paleface Apple Chill Cloggers Too Much Fun Tea Cup Gin Rowdy Square Dance with Five Points Rounders Lowland Hum Barefoot Movement

1:00 pm 1:45 pm 2:30 pm 3:15 pm 4:15 pm 5:00 pm

NC Songwriters with: Isabel Taylor, Dean Driver, and Gray Matter Kirk Ridge and Friends Holland Brothers the Commanderrs Paleface Nick Vandenberg Honey Magpie Band

Grove Stage

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10:00 am 10:45 am 11:30 am 12:15 pm 1:00 pm 1:45 pm 2:30 pm 3:15 pm 4:00 pm 5:00 pm

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Hushpuppies Cane Creek Cloggers Look Homeward Eno Islanders Gospel Jubilators Lightning Wells Onyx Club Boys Jon Shain Trio Bombadil Steph Stewart & the Boyfriends

Nee Ningy Band Carrborators Brett Harris South Carolina Broadcasters the Duhks Mandolin Orange River Whyless Diali Cissokho & Kaira Ba Tom Maxwell & Minor Drag

River Otters Nick Vandenberg Foryst Bruthers Cane Creek Cloggers Chocolate Suede Brett Harris Orquesta GarDel the Duhks Drift Wood Miracle

1:00 pm 1:45 pm 2:30 pm 3:30 pm 4:15 pm 5:00 pm

NC Songwriters with: Dackel, Louise Bendall, Mark Ellsworth, and Bruce Scism Onyx Club Boys Foryst Bruthers Look Homeward River Otters South Carolina Broadcasters Lightning Wells

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2015

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inside 5

31 33

MUSIC CALENDAR

NEWS: Even Jesus needs to park. In creating a parking lot, Blacknall Presbyterian may decide fate of historic mill houses

ARTS CALENDAR

FILM CALENDAR

and film

NEWS: State environmental rollbacks could jeopardize

CITIZEN: The success of Rosenwald Schools

Falls and Jordan lakes

Sounds like socialism NC legislature wants to take money from the state’s cities and give it to the rural areas that aren’t keeping up By Jeffrey C. Billman

PERIPHERAL VISIONS

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F E AT U R E S

WHERE WE’LL BE: The best of the week in music, arts

TRIANGULATOR: You don’t need health care, right? Plus, Athens Drive Public Library off-limits to, well, the public

JUNE 24, 2015

VOLUME 32 NUMBER 25

CALENDARS & EVENTS

NEWS & COLUMNS

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A confederacy of dunces Words commemorating Confederacy could be removed from Hillsborough museum, plus a roundup of the Triangle’s memorials to treason and slavery By Billy Ball and Lisa Sorg

The INDY’s Act Now and Food/Farmers Markets calendars can be found at indyweek.com.

A R T S , C U LT U R E , F O O D & M U S I C 20

MUSIC: Listening to metal with Demon Eye

MUSIC: Assuming Keith Richards and Mick Jagger ever do

MUSIC: Torres eliminates distractions and creates an

DANCE: Antigona puts a Spanish spin on a Greek classic

BOOKS: Architects hold the line for drawing by hand

THEATER REVIEW: Common Enemy, a slam dunk play

Viva Calavera The decor may be wildly cacophonous, but keeping the menu simple and focused pays off for newest Calavera location By David A. Ross

depart this mortal coil, what would happen? excellent album

Discover Ultimate Raleigh is home to a high-flying team in the growing professional American Ultimate Disc League By Neil Morris

about so much more than basketball

“There’s a lot of hostility toward the million residents of Wake County in the Senate.” —p. 6 “When it comes to death metal, I’m very selective of the ones I choose to listen to.” —p. 21 ON THE COVER: Raleigh: ILLUSTRATION Durham: PHOTO BY BY JEREMY M. LANGE

When pigs fly! Sunny, the Raleigh Flyers winged mascot, greets players PHOTO BY JEREMY M. LANGE

BY SKILLET GILMORE

back talk

Raleigh’s wasteland: older than you think

hand, stop throwing his weight around or learn to play well with others.

I’d like to remind the INDY that 10 years ago Raleigh was not a “wasteland” (“A requiem for Tiny Town” June 17). That was 20 years ago and we are all getting quite old :)

Durham’s shitstorm of condo-plexes

Sean Korb, Raleigh

Pubs versus residents

If a city lacks attractions and ambience, then there will be no pedestrians in downtown. No one goes to downtown Raleigh after dark to shop. People want to drink or eat. Many, due to cost of living, budget for beers and snacks. Other cities across the nation have sidewalk cafes; residents and tourists love them. Greg Hatem needs to remove his heavy

Cityfox, via indyweek.com

How many more condo developments are going to go up with zero commercial or retail space on the street level? What ever happened to all that talk about activating the street and sidewalks for a better city? Instead we are getting a shitstorm of multi-story condoplexes going up with nothing on the street level. There are many ways to do a lot better than that in terms of development and planning if we expect Durham to be an interesting place. In addition to the need for affordable

housing, which doesn’t seem to be getting addressed in more than a superficial way, what is being lost is the opportunity to create something approaching affordable commercial space for the many small and micro-scale independent businesses. They used to be a hallmark of Durham but increasingly seem doomed as they are pushed out/priced out and totally left out of the equation (with the exception of those who could buy buildings before the boom). New development needs to have commercial and retail spaces on the ground floor, especially in a downtown neighborhood. The city and Downtown Durham Inc., should be working with developers to help ensure these kind of spaces would be diverse and local and not just corporate crap like Moe’s Grill, Starbucks, Chipotle.

I have run my graphic design, letterpress printing and book production company Horse & Buggy Press from 401 Foster St., from within the Bull City Arts Collaborative, which I co-founded, since 2005. We’ll see where the next workspace for H&B is when our lease ends in 2017. It would be nice to see development and our changing Durham be inclusive so microsized businesses like H&B, and other small companies could continue to run a business in Durham and be around for citizens who might expect more from their town than condos, bars/restaurants and tech startups. Dave Wofford, Durham

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JUNE 24, 2015

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Raleigh Cary Durham Chapel Hill A ZM INDY, INC. COMPANY PUBLISHER Susan Harper

EDITORIAL

EDITOR IN CHIEF Lisa Sorg RALEIGH EDITOR Jeffrey C. Billman MUSIC EDITOR Grayson Haver Currin ARTS & CULTURE EDITOR Brian Howe ASSOCIATE EDITOR Curt Fields COPY EDITOR Curt Fields STAFF WRITERS

Billy Ball, Jane Porter, John H. Tucker STAFF PHOTOGRAPHERS

Alex Boerner, Jeremy M. Lange OPINION Bob Geary CALENDAR EDITOR Allison Hussey THEATER AND DANCE COLUMNIST Byron Woods VISUAL ART COLUMNIST Chris Vitiello CHIEF CONTRIBUTORS

Spencer Griffith, Corbie Hill, David Klein, Jordan Lawrence, Craig D. Lindsey, Jill Warren Lucas, Glenn McDonald, Neil Morris, Chris Parker, Sylvia Pfeiffenberger, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis INTERN Kaitlin Montgomery

OPERATIONS

BUSINESS MANAGER Alex Rogers WEB CONTENT MANAGER Reed Benjamin OFFICE MANAGER Bill Kumpf

PRODUCTION

PRODUCTION MANAGER Skillet Gilmore ART DIRECTOR Maxine Mills GRAPHIC DESIGNER Chris Williams

CIRCULATION

CIRCULATION MANAGER Brenna Berry-Stewart DISTRIBUTION: Joseph Lizana, Anne Roux,

Richard David Lee, James Maness, Laura Bass, Jeff Prince, David Fulcher, JC Lacroix, Gloria McNair, David Cameron, Jeannette Low, Timm Shaw, Freddie Simons

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P.O. Box 1772 • Durham, N.C. 27702 201 W. Main St., Suite 101 • Durham, N.C. 27701 919-286-1972 709 W. Jones St. • Raleigh, N.C. 27605 • 919-832-8774 Email addresses: first initial[no space]last name@indyweek.com

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JUNE 24, 2015

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WELCOME TO THE DEATH SPIRAL Also: No library for you!

BY JEFFREY C. BILLMAN AND JANE PORTER

sTRI

angulator

WCPL, told library patrons that the F YOU PAY ATTENTION TO THE NEWS—AND SINCE county commission and school board YOU READ THIS WILDLY POPULAR COLUMN WITH had decided to shutter the library to THE FEVERED DEVOTION OF A TONGUES-SPEAKER keep students safe. “It became clear that the SECURITY REQUIREMENTS at a tent revival, we’ll assume you do—you know for a school library are greater than the security that in the next week or so, the Supreme Court requirements for a public library,” Burlingame wrote. is going to rule in a case called KING V. BURWELL, The closing will, of course, hurt those in the neighborhood and if the court finds for the plaintiffs, the Affordable who don’t have a car or want to drive five miles to the Cameron Village branch. It will hurt the library staffers Care Act, having survived an earlier court challenge who are about to be, well, canned. It will hurt the kids who and approximately 47.2 MILLION repeal votes in take SPECIAL-NEEDS CLASSES at the library or attend the U.S. House of Representatives, might finally be the on-site preschool the library supports or the summer activities it offers. It will hurt Athens Drive teachers who fatally crippled. used to be able to request books from the library system. This would be a crowning achievement for And it will hurt HANNAH MCKENZIE, who at least once conservatives, who have fought Obamacare a week walks from her home in Avent West to the at every turn and with every DIPSHIT LEGAL library with her 2-year-old son for story time. “It’s a THEORY they could conjure. It would be less huge part of our lives and community,” McKenzie good for the millions of people who would lose says. “There are lots of reasons to keep it open.” their health care when the insurance market went To make matters worse, there’s also the fact into a tailspin. But hey, you can’t make an omelet “This would be, obviously, a tragic result” this decision was made without any sort of public without BREAKING A FEW EGGS, right? hearing or even any advance notice to the library Except that even if the King prevails, the ACA —N.C. Insurance Commissioner Wayne Goodwin staff. And the county isn’t even CONSIDERING won’t be killed everywhere—only in the 34 states A COMPROMISE, like, say, opening the library that declined the federal government’s GENTLE to the public on nights and weekends, when the SUGGESTION to set up their own health insurance students aren’t around. Oh, and this isn’t the exchanges. In the (mostly blue) states that didn’t first time the county has tried to do this: In 2009, stomp their feet and hyperventilate about how the commission yanked the library’s funding, only to WISDOM, deep-sixed the years of preliminary work the EVIL UNIVERSAL HEALTH CARE is, things will go on backpedal after a public outcry. state had done on just such an exchange before 2013. pretty much as normal. For the rest: absolute chaos. School board member JIM MARTIN, whose district But there’s a plan B, Goodwin says: pass a law declaring Guess which camp North Carolina falls into. covers Athens Drive High, says there are two problems HEALTHCARE.GOV the state’s exchange. Correct! with the library: One, NOBODY’S USING IT, which means And even if Republicans don’t want to go that route, Not only does North Carolina not have its own the county has to subsidize its operations. Two, the people this case was argued months ago. Surely by now they’ve exchange, but it also has a law, passed in 2013, that who are using it are maybe getting a little creepers. worked out something. prevents any government agency from even thinking “There have been issues in terms of the public getting into Over to you, N.C. Department of Health and Human about setting up an exchange, because mumble mumble the halls of the school and there has been some STALKING Services spokesperson OLIVIA JAMES: “DHHS is closely OBAMACARE mumble mumble TYRANNY. Which means monitoring the case of KING V. BURWELL and reviewing OF STUDENTS in the library,” he says. “It’s one of the that if the federal subsidies go down, the 458,738 NORTH potential impacts of this complex issue.” LOWEST-USED LIBRARIES in the county, and there was not a CAROLINIANS who rely on them are straight-up fucked. That’s … reassuring. So is this: HOUSE SPEAKER TIM good mechanism to run fewer hours and sustain the library.” That number, of course, is on top of the half-million MOORE’S office declined to comment, and SENATE “[The county] has never wanted a library at Athens,” says poor North Carolinians who’ve already been straight-up PRESIDENT PHIL BERGER’S office didn’t respond to our Public Schools First NC board chair YEVONNE BRANNON, fucked by the Legislature’s refusal to EXPAND MEDICAID, query. Which we’re going to take as: They’ve got nothing. who together with then-City Council member MIRIAM bringing us to a grand total of something approaching Enjoy the death spiral, y’all! BLOCK pushed to get the public library opened at the 1 million people—one in 10 state residents—who might school in 1979. “This community has had a library for be denied health care so lawmakers can go brag to their o last week, Wake County Public Libraries nearly 40 years. It should at least be moved—relocated GADSDEN FLAG-WAVING CONSTITUENTS about how unceremoniously informed residents of a mixedin the community. Just closing it is NOT FAIR to all of the they stuck it to the president. income Southwest Raleigh neighborhood that, residents in this growing zip code.” Democracy, man. Gotta love it. starting July 26, the ATHENS DRIVE HIGH SCHOOL The residents will get a chance to plead their case to the Anyway, you can see why N.C. INSURANCE LIBRARY many of them had come to rely on for bookcounty commission July 6. s COMMISSIONER WAYNE GOODWIN is a little nervous. learnin’ and INTERNET ACCESS would be closed. It’s not just that those 458,738 people would lose their Shockingly, this did not go over well. Reach the INDY’s Triangulator team at triangulator@ subsidies, it’s that most of them would probably drop their In a letter, ANN BURLINGAME, deputy director of indyweek.com. Additional reporting by Kaitlin Montgomery. insurance, leaving only the sickest (and most expensive) in the market. If we’re lucky, this merely DRIVES UP COSTS EXPONENTIALLY, even for those with private insurance. If we’re not, health insurers would leave the state, or at least abandon entire areas within the state. This is what folks in the biz call a DEATH SPIRAL. “That would be, obviously, a tragic result,” says Goodwin, a Democrat. “The King decision, though it turns on a few words, [could have] an INCREDIBLE NEGATIVE IMPACT on the health insurance market in states like North Carolina.” Well, sure. But there’s also a pretty easy fix, even if Congress declines to resolve things like RESPONSIBLE ADULTS (yeah, we know): The General Assembly could always enact its own STATE-LEVEL EXCHANGE. Except it’s not as simple as that. There’s no longer federal funding for such endeavors, and the Legislature, in its INFINITE

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JUNE 24, 2015

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THE WAR ON CITIES

What’s driving the N.C. Senate’s animus toward the state’s metros? T ITS CORE, THE BUDGET REPUBLICANS IN THE STATE SENATE PASSED LAST WEEK IS LESS A FINANCIAL DOCUMENT THAN A MANIFESTO, a Christmas list of conservative pipe dreams.

There are the predictable corporate and income tax cuts (though the regressive sales tax will be expanded and a tax break for nonprofits will be curtailed) and the continuation of the state’s recent tradition of underfunding education. There are efforts to eliminate historic preservation tax credits and retirement benefits for some future state employees, and defund the Human Rights Commission and Office of Minority Health. There are also raw political machinations, including a $3 million-a-year cut to the University of North Carolina-Chapel Hill School of Law, a rather transparent payback for employing hated legislative critic Gene Nichol. But along with the policy grab bag—much of which won’t survive negotiations with the more moderate House—there’s also a more insidious undercurrent, one you don’t have to look too closely to spot: Senate Republicans really, really don’t like North Carolina cities. Or maybe it’s better to say they’re jealous: The Piedmont’s metro counties, especially Wake and Mecklenburg, are growing and thriving and becoming economic powerhouses, even as the rural areas many Republican lawmakers represent languish in poverty. Or maybe they fear the metros’ increasing—and increasingly progressive—political clout. Or maybe it’s all of the above. “I think there can be more than one explanation,” says state Sen. Josh Stein, D-Wake, an unannounced candidate for attorney general. “There’s a lot of hostility toward the million residents of Wake County in the Senate.” The highest-profile example is the Senate’s plan to reallocate a portion of the state’s sales-tax revenue. Right now, most of the money goes to the point of sale—in other words, the county where you bought the thing you’re paying the tax on. The Senate wants to flip that formula, eventually diverting 80 percent of those funds to outlying counties—a move that would cost Wake $40 million a year once fully implemented in 2019, Durham County and its

municipalities $26 million over the next four years, and Mecklenburg at least $63 million over the next five years, according to those counties’ estimates and media reports. That alone would be a devastating blow—in Wake, roughly equivalent to the property tax hike the county commission just passed to fund the county’s schools. But there’s more. The Senate also wants to reconfigure the state’s economic incentives program, called JDIG, to make it harder for projects in Wake, Durham and Mecklenburg— where most of the JDIG money has gone in recent years— to qualify for tax breaks. In addition, in earlier versions of the budget, Senate Republicans wanted to renege on Medicaid funding the state had promised Wake (a $10 million annual hit) and limit Wake’s ability to raise its sales tax to fund mass transit. Both of those proposals died during the amendment process.

All of that comes atop a string of earlier legislative slights to the metros, including: l a statewide redistricting process that marginalized urban and minority voters to the benefit of rural (and conservative) whites; l local bills that rejiggered elections for the county commission and school board in Wake as well as the Greensboro City Council, all to help Republicans get elected by increasingly blue electorates; l attempts to strip Charlotte of control of its airport and Asheville of control of its water system, both of which have been stymied by the courts; l the repeal of business privilege taxes, which cost the state’s municipalities $62 million a year and hit big cities the hardest ($7 million a year just in Raleigh); l the Senate’s ultimately aborted effort to disrupt Raleigh’s deal to purchase Dorothea Dix Park; l and the Senate’s plan, passed last week, to restrict cities’ ability to create bike lanes on some state highways. “The rural areas are firmly in [Republicans’] political control,” says state Sen. Jeff Jackson, D-Mecklenburg. “With that control they are being very aggressive toward urban centers.” Sen. Harry Brown, R-Jones and Onslow, the Senate’s majority leader and main budget writer, did not respond to the INDY’s request for comment. But Chris Dillon, Wake’s intergovernmental relations manager and the county’s point person in negotiations with the General Assembly, says he doesn’t think the Senate’s plans are punitive. Instead, they come from an abiding—and accurate— sense that while metro counties have prospered, rural areas have fallen evermore behind. And rural lawmakers have every reason to be frustrated. Take tiny Scotland County, population 35,806. In April its unemployment rate was 10 percent, almost twice the statewide average. More than a third of its residents live below the poverty line, also nearly double the statewide average, according to the N.C. Budget & Tax Center. By comparison, in April Wake had an unemployment rate of just 4.2 percent; Durham, 4.5 percent; Mecklenburg, 4.9 percent. Throughout the state, rural counties are lagging, suffering from the loss of industries like textiles and manufacturing that aren’t coming back. They’ve also suffered from population ILLUSTRATION BY SKILLET GILMORE

BY JEFFREY C. BILLMAN

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loss, even as the state’s population has nearly doubled over the last four decades. Forty-nine of the state’s rural counties are actually losing people, in some cases by as much 7 percent between just 2010 and 2014, according to Ferrel Guillory, director of the Program on ve slightsPublic Life at UNC. Wake, meanwhile, is the seventh-fastest-growing large county in the United States, and is expected to grow by 9 lized percent by the end of the decade. and Brown, quoted in a press release from Senate President Phil Berger’s campaign, nty frames the Senate’s proposals in just that the light: “When the current, archaic sales tax get system was put in place, North Carolina was port and a different state. But times have changed, hich have and the outdated distribution policy is creating a major obstacle to job creation in ost the rural areas. These reforms strike a balance g cities with our incentives policy and allow all of North Carolina to share in economic prosperity—by giving our rural counties pt a fair shake while making sure our urban centers still benefit from incentives and strict ghways. sales tax dollars as they grow in population.”

litical urg. toward

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ILLUSTRATION BY SKILLET GILMORE

JUNE 24, 2015

Call us today and ask about

economic engines that the state would suffer if these metro economies suffer.” (Gov. Pat McCrory, a Republican from Charlotte, made a similar argument to the Herald-Sun: The sales-tax redistribution “will have a major negative impact on economic centers across the state.”) A better approach, Guillory says, is to focus on rural education—as he points out, there’s nothing in the Senate’s redistribution plan that guarantees that those new revenues would go to schools—and linking rural residents to urban job markets, even if that means they leave their hometowns for greener pastures. “It is simply the right thing for North Carolina to do to give its rural young people the intellectual and social skills to become upwardly mobile and to exercise real choice in pursuing a career and deciding where to live,” Guillory wrote. Besides, it’s not like the fast-growing metros don’t have their own needs: transportation, affordable housing, water supplies, schools—not to mention their own pockets of poverty. In fact, according to

“For the foreseeable future, North Carolina will depend on its major metros for its overall economic vitality”

nate’s —Ferrel espond to n, Wake’s nty’s The underlying idea is that metros are embly, doing just fine, so it’s time for them to share ve. the wealth. And they would: Under the Senate ate— plan, the rural counties that are home to the ural Senate’s five highest-ranking leaders would makers rake in almost $160 million over the next four n April years, with Brown’s Onslow County alone ce the bringing in nearly $36 million, according to a nts live report last week in the Herald-Sun. Guillory, who served on the Rural ewide Prosperity Task Force convened by Gov. ter. Jim Hunt in the 1990s, says the goal of yment improving rural economies is laudable. But klenburg, taking the pine to metro counties may not uffering be the best way to get there. uring that In April, when the Senate rolled out its ulation sales tax plan, Guillory penned an article in EdNC that argued, in essence, that urbanization is the future and lawmakers better get used to it. “For the foreseeable future,” he wrote, “North Carolina will depend on its major metros for its overall economic vitality. To shift tax revenue from urban to rural may end up hurting both urban and rural. … Mecklenburg and Wake each have more than one million residents, and have emerged as such powerful

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Guillory the Durham-based nonprofit MDC’s State of the South report last year, the Raleigh and Charlotte areas each experienced a 90 percent increase in people living in poverty between 2000 and 2012. Raleigh ranks at the bottom for income inequality among Southern cities, and both Raleigh and Charlotte rank low in income mobility. “I understand the rural counties are having issues,” Dillon says. “Wake County has 110,000 people living in poverty right now. If that was a county, [that population would be] the 26th-largest county in the state right now.” As lawmakers focus on rural development, Guillory told the INDY last week, they need to remember something: The past is gone. “It’s important that our policymakers understand what North Carolina has become and come to terms with the real North Carolina,” Guillory says, “not the North Carolina of nostalgia and memory.” s Jeffrey C. Billman is the INDY’s Raleigh news editor. Contact him at jbillman@indyweek. com or on Twitter @jeffreybillman.

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JUNE 24, 2015

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EVEN JESUS HAS TO PARK

In the Ninth Street neighborhood, a church and a million-dollar parking lot BY LISA SORG

HE FAST-GROWING CONGREGATION OF BLACKNALL MEMORIAL PRESBYTERIAN CHURCH HAS ALWAYS TRUSTED GOD TO PROVIDE FOR ITS PARKING NEEDS. And God has apparently answered its prayers, albeit not cheaply.

The historic church in Durham’s crowded Ninth Street neighborhood plans to spend more than $1.6 million to buy and develop two-thirds of an acre on Iredell Street. The three parcels, which include two 90-year-old mill houses that must be either moved or demolished, will become a 39-space parking lot. Do the math, and that comes to $41,000 per space, more than the price of many of the cars that will park there. To buy the properties at 714, 715 and 716 Iredell St., the church is mining its $1 million in anonymous donations earmarked for land acquisition. The parcels are owned by Ken McCullers, also a member of Blacknall Presbyterian. If the congregation votes in favor of the plan this Sunday, the deal could close as soon as Aug. 15. The church’s parking needs are real. Its congregation, once in the mid-200s, has grown to more than 500, with many of them attending not only Sunday services but also weekday activities and meetings. But the price of the land, the dearth of neighborhood parking and the fate of the houses, built in the 1920s for workers at nearby Erwin Mills, underscores the development pressures in this neighborhood. “This block is golden,” says Tim Pennigar, who is on the church’s land-acquisition committee. “Over the next five years the landscape here is going to change dramatically.” It already has. Several luxury apartment complexes—Crescent on Main, Crescent on Ninth and Berkshire Ninth Street—have been built or are under construction. With new commercial and residential development, the west side of Ninth Street has become a glossy counterpoint to the east side’s gritty authenticity and longtime Durham businesses. The new projects have created a parking shortage in the neighborhood, one acutely felt by both businesses and Blacknall Presbyterian. Although the Sunday crowds can park in spaces the church leases from Duke University and in some freebies courtesy of Melton’s Garage, they also consume the lion’s share of on-street slots. But the shortage is worst during the week, when the Duke lot is unavailable to the public. With Whole Foods nearby, on-street parking is scarce along Iredell and Perry. And that parking is limited to two hours, which is not enough time for some members to finish their weekday meetings, workshops or Bible studies, says Jack Simonds, who serves on the land-acquisition committee. The city’s new parking strategy in the Ninth Street area has not alleviated Blacknall’s problems, Simonds says. Along Ninth, the city shortened the number of free hours from three to two, and installed a pay lot where free parking had been previously. Although that lot, which is free on Sundays, is just a block away, elderly Blacknall congregants don’t or can’t walk that far. The city’s Ninth Street pay lot is underused, to the extent that many

A church parking lot could replace this 90-year-old mill house at 714 Iredell St. PHOTO BY LISA SORG

Ninth Street merchants plan to approach Durham officials with a proposal to lease the lot from the city, guaranteeing it more revenue than the lot currently generates. In return for that lease, merchants would revert the parking to free for the first two hours. Blacknall could also contribute parking. The 39-space lot is only a temporary solution, Simonds says. If the church acquires additional land, it could build a parking garage for use by the entire neighborhood, including Ninth Street. Built in 1923, Blacknall served as the primary house of worship for neighboring mill workers, who also flocked there on weekends to buy homemade Brunswick stew. The church, the first mainline congregation to intergrate, has expanded three times, most recently in 2008. The two mill houses on Iredell were constructed around the same time as the church. Although they’ve been used for storage for many years, these homes, at 1,000-square-feet each, could see new life as affordable housing, but they would need to be moved. “Retaining affordable housing in downtown neighborhoods is very important,” says Wendy Hillis, executive director of Preservation Durham, who met with two church officials this week. (The INDY attended that meeting.) “The mill houses are an important component of that. [The houses] and the surface parking will be a hard pill to take.” Iredell Street lies within a half-mile of a proposed light rail station, an area where the city has set a goal of creating or preserving at least 15 percent of the housing as affordable. Hillis acknowledged that, considering the desirability of the property, those mill houses are not long for this world. A commercial developer would probably raze the houses. But the church, Simonds says, would like to find someone interested in moving the homes to another lot. If they have to be demolished, the church would donate any salvageable materials to Habitat for Humanity, which could use them to build new homes. “We’re going to be a player in the neighborhood,” Simonds says. “And we want to be good for the neighborhood.” s Lisa Sorg is the INDY editor. Email her at lsorg@indyweek.com.

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DON’T DRINK THE WATER The General Assembly could gut river protections at the behest of developers BY JANE PORTER

HEN WE THINK OF THE NEUSE RIVER, MOST OF US CONJURE UP IMAGES OF LEAFY BANKS, SANDY BEACHES AND PLACID WATERS ideal for canoeing and kayaking, not thousands of dead fish floating on the surface. But if a provision in House Bill 44—a regulatory reform measure that would allow developers to bulldoze right up to the edges of rivers, streams, lakes and estuaries, with no requirement to preserve the 50-foot vegetative buffers that currently protect waterways—is approved by a joint conference committee of legislators, fish kills could proliferate, bank erosion will accelerate, natural habitats will be destroyed and drinking water may become compromised. “This change is probably the most radical destruction of clean water protections in North Carolina in decades,” state Sen. Josh Stein, D-Wake, who offered a failed amendment to maintain protections for the Neuse and Pamlico-Tar river basins, wrote on his Facebook page. “It never got a single committee hearing. What a joke.” Fueled by real estate interests in coastal counties, H.B. 44 passed the Senate last week on a party-line, 32-16 vote. An amendment to the bill from Sen. Trudy Wade, R-Guilford, allows clear-cutting right up to the water’s edge, with a requirement only to replant up to 30 feet of buffer. The House has passed a version of the bill, though without the Wade amendment, which means a conference committee will decide whether to send it to the governor’s desk. (Gov. Pat McCrory’s office did not respond to the INDY’s request for comment.) Since 2000, mandatory 50-foot riparian buffers—essentially the banks of rivers and streams—consisting of deep-rooted trees, shrubs and grasses have been effective at filtering nutrient pollution out of storm water runoff and preventing soil

erosion along the banks of waterways. Trees also provide shade that keeps water temperatures down and food for the creatures at the bottom of the aquaticecosystem food chain, not to mention habitats for many other species of animals. Upper Neuse Riverkeeper Matthew Starr says that when vegetation is removed from an established buffer, even if plants are eventually replanted, the buffer’s effectiveness is lost, and nutrient loading and sedimentation (i.e., too much dirt in the water) occur—the two biggest sources of pollution impacting water quality. “There’s a pretty far-reaching, very negative impact [with Wade’s amendment],” says Starr. “Buffers are the easiest, fairest, most effective way to protect water quality. If buffers are nonexistent or able to be impacted, they become a lot less effective, if not totally ineffective, at being able to remove nutrients flowing into [waterways].” In the late 1990s, the state established water-quality management rules for the Neuse River (including the Falls Lake watershed), the Jordan Lake watershed, the Pamlico-Tar and Catawba rivers, and the Goose Creek and Randleman Lake watersheds. Stakeholders, including the best riparian buffer scientists in the country, local governments, regulators, developers, the agriculture industry and landowners, were all invited to give their input during the rulemaking process. The rules were constructed so that all parties would share the burden of keeping state waterways clean, as federal law requires states to do, and the 50-foot buffers were considered an equitable, costeffective means of protecting water from runoff from development sites, hog farms and fertilized land. While the first 30 feet of the buffer must remain undisturbed natural growth, the next 20 feet can be graded and replanted. The buffer rules have worked well for years, says Pamlico-Tar Riverkeeper Heather Jacobs Deck. “There really is no need to do this. They couldn’t show a real need for this law.”

But Senate lawmakers have argued that buffers are ineffective. As evidence, they point to an N.C. State University study that looked at the impact of adding an additional 250-foot buffer to an existing 60-to-100-foot buffer. One small problem: They didn’t quite get what the study was actually saying. “The point of the article is that 60 to 100 feet up to the waterway needs to be protected, but extremely wide buffers that extend upslope have a point of diminishing returns,” says Mike Burchell, an associate professor in biological and agricultural engineering at N.C. State who co-authored the study. “If they are using this article to try to show that buffers are ineffective, they have completely misinterpreted this study.” The researchers found the existing buffer was very important to water quality, while the extra buffer added few benefits beyond habitat and land conservation. “Buffers have multiple functions,” adds Deanna Osmond, a water-quality specialist at N.C. State who worked on the study as well. “They are complex biological systems, and the functionality of buffers changes based on topography. If you have to talk about reducing them to one number, then 50 feet is already a compromise.” Indeed, in many states 100-foot buffers are the rule—and according to Osmond, 150-foot buffers are ideal. Nevertheless, lawmakers like Sen. Bill Cook, R-Beaufort, have made the case that

Jordan Lake buffers are ineffective PHOTO BY at filtering nutrients JEREMY M. LANGE from runoff. “We don’t want to penalize the use of property owners [in] upland areas when there is plenty of marsh to take care of the runoff,” Cook wrote to a constituent last week. “This proposed change won’t affect one thing in the areas that don’t have sufficient marsh for a buffer, they will still have the full 50-foot buffer. In addition, there still will be a 30-foot buffer as well.” Cook is wrong, says Deck. At most, the amendment requires only a 30-foot buffer that could be filled with just grass, which offers little protection from erosion or benefits to water quality. Deck argues that if lawmakers want to tweak the rules, the proper venue is the state’s ongoing review of its environmental regulations, as mandated by the 2013 Regulatory Reform Act. That review will be completed by the end of next year, and has already produced some technical tweaks. If Wade’s amendment becomes law, Deck adds, municipalities and farmers may have to reduce the amount of nutrients they discharge into waterways in order for the state to comply with the Clean Water Act. “This bill was pretty much designed for the benefit of the development community,” Deck says. “If you take the rules away for someone, it shifts the burden to someone else. There’s no free lunch.” s

Jane Porter is an INDY staff writer. Email her at jporter@indyweek.com.

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JUNE 24, 2015

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CLEAR HISTORY

A sign commemorating the Confederacy causes a stir in Hillsborough BY BILLY BALL

N THE FRONT OF THE ORANGE COUNTY HISTORICAL MUSEUM, THE WORDS—“CONFEDERATE MEMORIAL”—are out of context, but they could also be

out of time.

This month, museum leaders caused a minor controversy when they asked to remove the words from the building’s portico, a holdover from its construction in 1934. The former public library on North Churton Street was built with federal funding and a $7,000 contribution from the Hillsborough United Daughters of the Confederacy. The group placed a sign on the structure reading “Confederate Memorial Library 1934,” but half of it was removed after the museum moved into the building in 1983. Today, the sign no longer seems appropriate for the front of the museum, says Whitney Watson, co-chair of the Historic Foundation of Hillsborough and Orange County. Watson says some black residents told museum directors they felt uncomfortable entering the building because of that sign. “Our goal is to be open and welcoming to everybody in Orange County,” Watson says. “If we get a few comments with people saying they’re not comfortable, I suspect that stands for a larger population that feels the same.” Hillsborough Mayor Tom Stevens says the museum’s proposal generated pushback from some in the community, as well as from the local chapter of the Sons of Confederate Veterans. “Most of the emails I’ve received say, ‘Don’t change history,’” Stevens says. “I don’t think we’re trying to change history. We’re trying to make it more welcoming.” Museum directors say they want to replace the sign with a full explanation of A monument to the Confederate dead outside the Old Durham County Courthouse the site’s history. PHOTO BY LISA SORG “If we’re going to talk about history, let’s it was an ice cream shop, they’d probably take the lettering down.” talk about the complete framework and not just this one moment The Hillsborough Board of Commissioners is unlikely to decide the in 1934 when it was built,” Watson says. issue until July. s Stevens says the building, which has numerous structural issues, could be sold. If the museum moves, “then it could become Billy Ball is an INDY staff writer. Contact him at bball@indyweek. anything,” Stevens says. “It could become an ice cream shop, and if com. Follow him on Twitter @billy_k_ball.

A CONFEDERACY OF DUNCES Spare us the states’ rights argument: The Civil War was really about secession, treason and, most of all, slavery. Nonetheless, the Triangle has at least 10 monuments or memorials to soldiers who died defending the South’s “right” to keep African-Americans as chattel. Except for the Gettysburg Memorial, which was dedicated in 1997, the other monuments were erected in the late 19th to early 20th century, when blacks were often killed by white supremacists and routinely discriminated against in all forms of public life, including voting, criminal justice, property ownership and education. In other words, a time only slightly less enlightened than today. The war ended 150 years ago. Isn’t it time to dismantle these homages to human bondage? Here’s a list we compiled from the N.C. Department of Cultural Resources database: CONFEDERATE SOLDIERS MONUMENTS UNC Chapel Hill Old Durham County Courthouse, 200 E. Main St. Holly Springs United Methodist Church, 108 Avent Ferry Road Old Chatham County Courthouse, U.S. 15-501 and U.S. 64, Pittsboro Oakwood Cemetery, Raleigh State Capitol Grounds, Raleigh (2) CONFEDERATE WOMEN’S MONUMENT State Capitol Grounds, Raleigh OTHER COMMEMORATIONS Confederate Soldiers Cemetery and Memorial Arch, Oakwood Cemetery Gettysburg Memorial, marking remains of 152 Confederate soldiers who died during the battle, Oakwood Cemetery —Lisa Sorg

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JUNE 24, 2015

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COURAGEOUS CONVERSATIONS

What the Rosenwald schools can teach us about America’s original sin BY BOB GEARY

AN I TELL YOU ABOUT OUR SCHOOL?”

I was looking at pictures of a small wooden schoolhouse in eastern North Carolina, circa 1919, when Carol Jones Shields came by to share its inspirational lineage. Originally called the Hamilton Colored School, this four-room structure hosted grades 1–12 with three well-equipped classrooms plus a storage room. Big enough that, for the first time, the AfricanAmerican children in the rural Martin County community of Hamilton could go to school past the eighth grade. “It was transformational,” Shields told me. It was a Rosenwald school. It was my good fortune to be at the 2015 National Rosenwald Schools Conference in

Durham on Thursday, the day we awoke to the news that a white man killed nine black people in Charleston, South Carolina. Yet again, our country would be split over whether this lone gunman was an aberration or more evidence of a sickness deep in the American psyche. I have no stomach for that debate. Racism is our original sin. We’ve not expunged it. That said, I recognize that my fellow white folks have a certain resistance to history lessons about slavery and lynching. I’m guessing most black folks don’t enjoy them, either. Instead, we yearn for stories of racial uplift, of blacks rising and whites on their side. That’s the Rosenwald story of a century ago, when Julius Rosenwald, a wealthy white businessman who headed Sears, Roebuck and Company, and Booker T. Washington, a black educator whose

parents were slaves, teamed up to build 5,300 schools for African-American children across the rural South. Better, it’s the Rosenwald story today, as black and white activists join hands to restore the few such schools that remain and commemorate the many that don’t. That was the focus of the conference, held under the auspices of the National Trust for Historic Preservation. “Sharing the Past, Shaping the Future,” was an apt title. “Our hearts are heavy, because we again see hatred, because of differences, take innocent lives,” said Bettie Murchison, giving a welcoming speech on behalf of the N.C. Rosenwald Schools Coalition. “But our spirits can be lifted by the work we do here.” Murchison quoted Booker T. Washington, who once said at a forum with Rosenwald: “The time has come when the best colored people and the best people should get together and know each other.” Yet again, Murchison said, it’s time to have “those courageous conversations.”

aving conversations is what Shields has been doing for six years, first as a volunteer for Roanoke River Partners, Inc. and now as the nonprofit’s executive director. When RRP gained ownership of the Hamilton school, Shields set out to find and interview its former students. She’s white, with a bit of Native American mixed in. One of the first doors she knocked on brought her to the Randolph sisters, a foursome who attended the school, moved to disparate places, and came back to own three adjoining houses in Hamilton. They helped her track down 100 other Hamilton Colored alums. “Put it this way,” Shields says, trying to describe the close bond she’s formed with the sisters. “We’ll never be separated in our lives from that day forward.” RRP is a regional group formed to promote the area’s eco-tourism, including camping and, yes, some history. The old Hamilton school sits right on the river. RRP is restoring the original four-room building to be like new. Two rooms added later will become a meeting place for the African-

citiZEN

American community and an interpretative center about the river and Rosenwald lore. “The idea is to preserve the community’s heritage and build on it for economic development,” Shields says. The same impetus drives Joann Artis Stevens, a black activist who foresees the now-deteriorated Snow Hill Colored School being the hub of a developing African-American historic district in Greene County. Unfortunately, the county owns it, and white leaders there have been unwilling to restore the school or let Stevens’ community group do it, she told me. “It’s important to us for economic development and as a source of pride for the African-American community,” Stevens adds. “It connects us to our culture and our history.” After the conference, I found four surviving Rosenwald schools in Wake County, including one owned by St. Matthew’s Baptist Church in northeast Raleigh and another by Juniper Level Baptist Church in Garner. Both are being restored, as is the lone survivor in Durham County, the Russell School in Hillsborough. Every Rosenwald school was built with a grant from Julius Rosenwald, matched or exceeded by funds raised in each black community. Rosenwald also required the school district to contribute. The four-room Hamilton school was among the bigger ones. It cost $4,500 total, according to Shields. No question the Rosenwald schools were transformational. They came at a time, from 1912 to 1932, when the children and grandchildren of slaves, still trapped in Jim Crow, were determined that their kids would be well-educated, able to build strong businesses and communities of their own and to claim equal status with whites. A rich white man helped them succeed. It’s a great conversation-starter as we turn, black and white, to the real challenge: how to make amends for the original sin. s Bob Geary is an INDY columnist. Email him at rjgeary@mac.com.

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VIVA CALAVERA

Carrboro eatery does a few things—empanadas, tequila—and does them well BY DAVID A. ROSS • PHOTOS BY JEREMY M. LANGE

HE WEST FRANKLINCARRBORO CORRIDOR HAS BIRTHED A NATIONAL STORYLINE about the sleepy college town that sets an example of organic, locally sourced cooking for the otherwise hydrogenated South. Though laudable, the program has become a bit prim. At this point, I would happily ship every last fried green tomato to Yucca Mountain. Into this atmosphere of quiet moral purpose roars Calavera—“Skull”—with its blood-red walls, spider-webbing of holiday lights, votive candles and Day-of-theDead frippery. If Under the Volcano were to breathe its spirit into an empanada joint, you’d have Calavera. Flamboyance becomes annoying unless the food is good. And it is. The confidently minimal menu includes salads, guacamoles, salsas, tinga- and pastor-topped nachos and empanadas. Everything is subtle, precise and assertive, suggesting a real kitchen rather than a bar-food conveyor belt. Three hours after dinner I was not chain-guzzling glasses of water at the fridge—a pleasant

reprieve from the salt assault of so much restaurant fare. Calavera, which has a sister restaurant in downtown Raleigh, is not the neighborhood’s only purveyor of Goth Latin Fare. Lucha Tigre (“Tiger Fight”) opened in 2012, displaying a similar Tumblr/Pinterestinfluenced visual pop. The latter’s “LatinAsian fusion cuisine” has its defenders, but continents, like good whiskeys, are best served neat. I prefer Calavera’s tighter focus and cleaner execution. Sarah’s Empanadas, a popular momand-pop cafe in the strip mall wilderness of South Durham, is more sedate. I appreciate an attitude-free zone in my parental middle-age. (“Why are the girl’s lips sewn shut?” my daughter wondered as she scanned Calavera’s lurid wall art.) But food is what counts, and Calavera makes the better empanada. Sarah’s are chewy and heavy while Calavera’s approximate good puff pastry: crisp, flaky and delicately layered without being greasy or rich. Easy on both the stomach and the wallet at $3.50 each, these empanadas dangerously encourage excess. Empanada choices include chicken tinga (paprika-braised chicken, cilantro, tomato), picadillo (ground beef, potato, onion,

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tomato, green chili), The Champ (Portobello, shiitake, cremini, onion, carrot, celery, Oaxacan cheese), Piggly Wiggly (Carolinastyle pulled pork), pastor (guajillo-marinated pork, pineapple), habanero pork (pork, corn, red pepper), Holy Frijoles (black bean, sweet potato, onion, Oaxacan cheese), Poblano Loco (tequilamarinated poblano, onion, Duranguense cheese) and Havana Jerk (jerk chicken, mango salsa). The fillings all deserve loyal followings. The Piggly Wiggly seems to pander to game-day nativism but turns out to be terrific: a pocket of pure smoke. I only wish you could order a mound of the pork with hushpuppies and slaw. The Poblano Loco is perhaps least enticing. The flavor is complex enough, but the relatively wet pepper-onion ragout slightly softens the pastry and lacks texture. The dessert empanadas—Nutella and banana, key lime custard—may be slavish concessions to the American sweet tooth, but they’re undeniably delectable. The menu includes a famous Latin American street snack: a cayenne-, cotija- and mayonnaise-coated corncob on a stick called an Elote. Carrboro wisdom says respect the ingredient. Street wisdom says smother it. Call it a draw. The food, however, is merely preliminary (and likely to become a hazy memory as the evening progresses). Like Lucha Tigre, Calavera is a shrine to the goddess Agave. It serves 63 tequilas and a slew of tequila-based mixological concoctions. Calavera closes at 2 a.m. Fridays and Saturdays, and the nighthawks presumably do not sip seltzer. A full tequila survey—best undertaken following a divorce or with Armageddon clearly visible on the horizon—would cost $673. I decided to blow my entire drinks budget on the Don Julio 1942, Calavera’s most expensive tequila at $25 per dollhouse-scale snifter. Before leaving home, I filled a McCormick garlic powder bottle with Jose Cuervo Especial Gold—an $8.95 bargain at the ABC—in order to measure what a 50X price difference gets you. The Don Julio—the “choice of connoisseurs around the globe,” according to Don Julio himself—has an intense vanilla fragrance and a silky finish that recalls Tennyson at his most euphonious. The Jose Cuervo is caustic and nasal invading by comparison, and the accidental garlic note didn’t help. The distinction is basically honey/turpentine. Add tequila to the list of things—cheese, chocolate, beer, lingerie—that don’t lend themselves to bargain shopping. West Franklin Street and downtown Carrboro haven’t had much luck lately. Venable (2012), Kipos (2013) and Bella’s (2014) came but did not conquer. Mellow Mushroom (2013), Old Chicago (2014) and Spicy 9 (2014) cater to students who’ve never tried the real thing. Miel Bon Bons, wedding European-caliber confections to an inchoate retail plan, migrated to Durham. Bonne Soiree and Panzanella were interred amid teary mourners. Calaveras and Al’s Burger Shack—another recent arrival— have the right idea. Keep it simple; cook it right; don’t skimp or gouge. s David Ross is a freelance food writer.

CALAVERA EMPANADA & TEQUILA BAR 370 E. Main St. #180, Carrboro 919-617-1674 www.calaveraempanadas.com Monday–Thursday, 4 p.m.–midnight; Friday–Saturday, 4 p.m.–2 a.m.

This page: A selection of empanadas from Calavera Opposite page: An Elote, a popular Latin American street snack

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JUNE 24, 2015

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JUNE 24, 2015

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cultu

DISC DRIVE

Raleigh Flyers soar in new pro Ultimate league as the sport angles for the mainstream BY NEIL MORRIS

HIS REALLY IS YOUR FIRST TIME WATCHING ULTIMATE, ISN’T IT?” Devon Ericksen asks, looking at me askance. She and her teammates from the Triangle-based Phoenix Women’s Ultimate club team are at Cardinal Gibbons High School on a sweltering Sunday afternoon to watch the Raleigh Flyers, a professional squad playing its inaugural season in the 25-team American Ultimate Disc League. Her question—half sympathy, half rejoinder—typifies the culture of the sport often simply called Ultimate, which eagerly welcomes newcomers, but readily rebuffs anyone who marginalizes it as quirky or trivial. So when I wonder aloud why she travels from her hometown of Richmond, Virginia to Raleigh several times a month “just” to play Ultimate, her silence speaks volumes. But when I ask for a primer on the sport’s terminology, she happily enrolls me as her pupil for the next 10 minutes. The parlance of any sport is a litmus test that differentiates initiates from interlopers. In Ultimate, a throw is a “huck.” The most experienced players, tasked with advancing their team down the field, are “handlers.” Their receivers are “cutters.” Diving or jumping to catch the disc is a “bid,” and out-leaping an opponent means you “skied” them. When a defender intercepts or deflects a disc, it’s a “D.” The two most common offensive formations are a “Ho (Horizontal) Stack” and a “Vert (Vertical) Stack.” The Flyers—already one of the top teams in the AUDL—played their opening game in April at Cary’s WakeMed Soccer Park. It drew an unexpectedly large crowd of about 1,000 spectators and was broadcast on ESPN3. Today, they’re hosting the Nashville Nightwatch, one of the weakest teams in the league. Sunny, the Flyers’ winged pink pig mascot, prances around searching for kids to entertain. Between points, a DJ’s playlist urges the crowd to “Turn down for what!” He’ll be admonished to turn down the watts after the first time-out.

“I played in the highest level of club and college nationals for 10 years, and at no point did I play for a crowd of over 500 people,” says team co-owner Mike DeNardis, the Flyers’ energetic head coach, and one of the most respected in the country. “So when you have these crowds for the pro games, no one has ever experienced that.” Ultimate is a growing sport angling for the mainstream, but this isn’t your father’s Wham-O Frisbee—technically, there’s no Frisbee™ at all, but rather, a Discraft 175-gram Ultra-Star. Teammates throw it in an effort to advance downfield and cross the goal line, scoring a point. A player holding a disc isn’t permitted to run, and has only seven seconds to release it. If a defender intercepts or knocks down a disc, it’s a turnover. Defenders aren’t allowed to make contact with players on offense. Two teams of seven traverse the 120-

yard long Cardinal Gibbons gridiron in constant motion, whether incremental or breakneck. Cutters dart to and fro, probing for openings between defenders. I never imagined there were so many ways to throw a Frisbee—the familiar backhand, the forehand flick and the overhead “hammer,” with its parabolic flight path. Devotees admire a layout D or an extended strategic drive that results in a score. Fans erupt for a sudden 50-yard huck that hangs in the air, seemingly aimed at no one, until a cutter bolts past his opponent to snare the disc without breaking stride. These two teams will face off at Cardinal Gibbons again on June 27 before the Flyers’ regular season closes on July 11 with a home game against the Charlotte Express, a South Division rival. The Flyers must finish in the top two in their division to earn a spot in the AUDL playoffs; they are currently tied for No. 1 with a 9-3 record.

doing my for Ultima “That’s ho Similar statistical trucker ha The Raleigh Flyers, an Ultimate Disc introduce team playing its first pro season, freshman face the Jacksonville Cannons. “The gu PHOTOS BY JEREMY M. LANGE ‘Hey, I’m thing I sig he Flyers’ name captures various want to co aspects of the sport, from the “So it’s m soaring huck to the speed and tank top, t leaping prowess of the players. The former the Frisbe attracted Justin Allen when he discovered introducti Frisbee at high school band camp. “I very session on much appreciated the flight of the disc,” The ran he says. “The way a Frisbee can fly and you medal-wi can manipulate it with pace, angles, spin U-23 Ultim and different touches you can put on it.” The next The 24-year-old Raleigh native is one of from Nort the Flyers’ top players, and ranks among the the AUDL AUDL’s leaders in goals and assists. While junior in c attending Appalachian State, he jettisoned City for th marching band for his new addiction. “I began to p would sit in class all day and, instead of Raleigh’s

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doing my homework, I would search online for Ultimate Frisbee videos,” Allen admits. “That’s how a lot of players get hooked.” Similarly, Jarrett Bowen, an AUDL statistical leader who sports a flat-billed trucker hat on and off the field, was introduced to competitive Ultimate in his freshman year at UNC-Wilmington. “The guy I was supposed to live with said, ‘Hey, I’m going to this Ultimate Frisbee thing I signed up for at orientation. Do you want to come with me?’,” Bowen recalls. “So it’s me in flip-flops, board shorts and a tank top, thinking I’m just going to throw the Frisbee around. I get there, and my introduction was a 45-minute chalk talk session on the whiteboard in a classroom.” The rangy Allen was part of the gold medal-winning USA team at the 2013 World U-23 Ultimate Championships in Toronto. The next year, he and three other players from North Carolina were recruited by the AUDL’s New York Empire, and so, as a junior in college, he got to live in New York City for the summer, for free. Allen also began to play his way through the ranks of Raleigh’s club Ultimate scene, eventually

landing a roster spot with Ring of Fire, the premier amateur club team in the area. The Flyers’ first-year success is attributable to a deep indigenous talent pool. Ultimate Frisbee in the Triangle dates back to the 1970s, with intramural teams sprouting up at Duke, N.C. State and UNC. Darkside, the UNC team formed in 1993, won its first College Men’s Championship last month. And Ring of Fire, active since 1989, is one of the oldest and most competitive amateur club teams in the country. DeNardis is head coach of both, as well as the Flyers, and approximately half the Flyers’ roster also plays for Ring of Fire. But for all of Ring of Fire’s esteem and the Flyers’ new promise, Raleigh’s trophy case still lacks a national championship win. “There are Ring of Fire players who have put in practices six months a year, 10 hours a weekend, and [spent] thousands of dollars, for 20 years, who didn’t get to win a championship,” Allen says. “To win one for those guys would be crazy, whether as Raleigh Flyers or Ring of Fire.”

ast fall, the Flyers’ three principal investors—Casey Degnan, Sean Degnan and DeNardis—purchased franchise rights for the new team from the AUDL. The 34-year-old Casey, a former Ultimate standout in Chicago, works as a day trader. His brother, Sean, owns the Raleigh restaurant Buku. DeNardis, once a VP for Bear Stearns, brokers energy derivatives. And Troy Revell, the Flyers’ general manager and an ex-AUDL player, is a local wine sommelier. But at the Nightwatch game, Sean lugs water coolers. Revell nervously paces the sideline. Casey, who attended Cardinal Gibbons, oversees family members as they run everything from ticketing and parking to the merchandise tent. The emergence of pro Ultimate is something of an insurgence. USA Ultimate is the governing body of amateur club, college and youth Ultimate. According to its 2013 annual report, its membership grew from 24,633 in 2006 to 47,137 in 2013. The AUDL, which began in 2012, separated itself from the strictures of USA Ultimate’s governance to become the first pro

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culture league. (Another, Major League Ultimate, splintered off to begin play in 2013.) Amateur club Ultimate is tournamentbased, with timing and scoring rules that can be confounding to outsiders. But Pro Ultimate has a traditional sports season and is geared toward single games comprising four 12-minute quarters. Pro fields are larger, using football-field lines to provide a sense of size and scale for fans. And unlike in amateur play, which has long held a “spirit of the game” approach that places the onus on players to call fouls on themselves, pro Ultimate uses referees. The pro setup appeals to Bowen’s sporting sensibilities. “Coming from a football and baseball background, I have a one-game mentality,” Bowen says. “I really enjoy the preparation for a single opponent and then executing a game plan for one game. The chance to play under the lights, in front of a crowd, highlight videos, statkeeping … it just has an official feel.” To brand the Flyers and the rest of the AUDL as “professional” stretches the term. Players are paid a pittance—Casey says the Flyers’ players make between $50 and $100 per game. The biggest benefit is the lack of out-of-pocket expenses, a far cry from amateur club competition. Bowen estimates that he’s spent between $2,000 and $4,000 on plane tickets, rental cars, tournament fees and other expenses over his last two years playing for Ring of Fire. But with the Flyers, the team pays for everything, including travel, equipment and meal money for away games. “It’s very minor league baseball-like,” Bowen explains. “It’s not glamorous by any means.”

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ltimate incorporates elements of other sports, most obviously football, soccer and track. The mechanics of a disc throw emulate a forehand swing in tennis. “I see flashes of baseball in reading the flight of the disc, like tracking a baseball in centerfield,” Bowen adds. “Then basketball, with the backdoor cuts and give-and-goes around the goal line.” Still, the sport occupies a unique niche. “Ultimate Frisbee attracts a different sort of crowd,” Allen says. “People who might not excel at ball sports, or people who may not have gotten into sports as a kid but, now that they’re 17 or 18, want to discover a new sport and get to know people who are accepting and willing to help.” The Phoenix team didn’t come simply to cheer the Flyers, who pull away from

Nashville in the second half for a 33-22 win. Jessi Jones, Phoenix’s captain and a 2013 U-23 Women’s national team gold medalist, has been added the Flyers’ roster for the game, touted as the first woman to appear in pro Ultimate. She plays during a handful of points, and the crowd lets out a collective shriek when she nearly snares a short toss for a score. Below the pro level, the history of college and amateur club Ultimate is notably gender-inclusive. There are men’s, women’s and coed competitions at all age levels. Thirty percent of USA Ultimate members are female, a stalwart segment that pro Ultimate cannot ignore, must less ostracize. “That makes Ultimate a unique and special sport,” DeNardis says. “It’s not only about the specifics of the game or team. The whole [Ultimate] community has a bigger sense of duty to themes like gender equity.” But while pro Ultimate is officially coed, it’s functionally all-male. There are calls from some quarters for a female pro Ultimate league, an idea that many view as premature while the nascent AUDL is still finding its footing. “We’re a pro league and understand that, generally, it’s going to be a maledominated league,” DeNardis says. “But there’s a high likelihood there are women who can play professionally, and some of them might not want to play because they don’t think it’s a possibility.” It’s a healthy debate for a growing sport—one that, paradoxically, is both inviting and insular. “There is a culture here,” Allen says. “And once you find it after you’ve already been hooked on the sport, you get hooked even more.” You just have to know how to speak the language. s Neil Morris writes about film and sports for the INDY and others. Twitter: @ByNeilMorris.

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ETERNAL IDOLS

Listening to heavy metal heroes with Demon Eye

BY BRYAN C. REED

EAVY METAL IN 2015 DOESN’T SOUND MUCH LIKE HEAVY METAL IN 1975, except when bands such as Demon Eye play it. Despite the prevailing trends of so-called extreme metal—death, thrash, doom, grindcore and so on— the Raleigh quartet returns the leaden stuff to its roots. Their new sophomore album, Tempora Infernalia, takes cues from proto-metal lords like Deep Purple, Black Sabbath and Blue Cheer. Instead of an onslaught of indecipherable growls and assaultive riffing, Demon Eye divines righteous grooves from strong melodies and succinct songwriting. Demon Eye emerged as an outgrowth of Corvette Summer, a good-times cover band dedicated to excavating hard rock deep cuts of the ’70s. Demon Eye isn’t a cover band, of course, but their attention to a fundamental principle of metal—making a song both heavy and hooky—makes their material feel classic. Before a rehearsal in their Raleigh practice space, all four members of Demon Eye—singer/guitarist Erik Sugg, drummer Bill Eagen, guitarist Larry Burlison and bassist Paul Walz—convened to discuss those elemental attributes and some of the acts that established them. To read Demon Eye’s thoughts on some more modern metal and rock, visit www.indyweek.com. DEEP PURPLE, “DEMON’S EYE” [This cut from Deep Purple’s fifth album, Fireball, was included on the original British release but excluded from international versions, including the one released in the States. Still, it gave Demon Eye their name.] ERIK SUGG: We’ve never heard that song before. [Laughs.] I came up with the band’s name when I was camping deep in the mountains in a town called Bat Cave. It was just me and my dog, so it got kind of creepy at night. The band had kind of gotten used to playing with one another [as

Tue Aug 25

Of Montreal

Corvette Summer]. We were playing a lot of ’70s covers. We were having so much fun doing that, we talked about writing songs more on the metal side. Something about that atmosphere—where it’s sort of dark and ominous, a little unsettling—really lent itself well to coming up with evil guitar riffs. I wanted to reference something that was influential to us and would cover the sound, but I didn’t want to name us “Iron Man” or “Electric Funeral” or something obvious. Deep Purple was definitely a big influence. “Black Night” was another one I thought would be a little too obvious, but “Demon’s Eye” was perfect. We just decided to take the non-possessive form. BILL EAGEN: I was 14 when I got the Best Of with that purple Strat on the cover. Erik and I had that shared love of Deep Purple. They were the kind of band that could cover a lot of ground. That was always very cool because you could lose yourself in different parts of their albums. I got to see the MK II lineup. It was Guns N’ Roses, when they filmed the “Paradise City” video, Deep Purple, and then Aerosmith at Giants Stadium in 1988. That’s always been a huge influence on me. LARRY BURLISON: It’s the kind of thing we were raised on and love a lot. ES: Deep Purple may have been the first heavy band in that late ’60s, early ’70s period that stopped doing things that were straight-up blues-based. They had more of a classical, modal sounding thing. It ended up being the foundation for a lot of that “shredding”-style guitar. BLACK SABBATH, “HOLE IN THE SKY” [This is the opener to Sabbath’s sixth album, 1975’s Sabotage. One of Tony Iommi’s best, its brisk riff is immediate and powerful.] ES: Whenever I do interviews with guys overseas, it seems like they all ask me what

DEMON EYE

With Dorthia Cottrell and Grohg Saturday, June 27, 9 p.m., $7–$10 The Pour House, 224 S. Blount St. Raleigh, 919-821-1120 www.the-pour-house.com

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music visual arts performance books film sports my favorite Sabbath record is. I’ll send them the answer, and then I’m kicking myself because I always regret giving the answer that I gave. It’s hard to choose your favorite Sabbath record. PAUL WALZ: At some point or another, it’s got to be one of the first two records, but you just hear them so much. ES: They’re a band that has almost become a whole genre. When they hear a stoner rock band or a heavy band, people are quick to scoff at them and say, “Oh, they’re just doing the Sabbath thing.” This song is unbelieveable. Actually one of our songs, “End of Days,” the riff is influenced by this riff. INDY: To me, Sabbath is the band of that era that sounds the most metal, not just hard rock. ES: People talk about what makes something heavy. Everyone’s quick to think it’s guttural vocals; loud volume; crunchy, fast riffs. To me, it’s more about the songwriting. Some of my favorite bands—Pentagram, great Swedish bands like Witchcraft and Graveyard—sound really heavy. Those guys are heavy without being over-the-top intense. CANNIBAL CORPSE, “HIGH VELOCITY IMPACT SPATTER” [Taken from the O.G. death metal band’s most recent album, last year’s A Skeletal Domain, it’s a quintessential Corpse cut: guttural, violent and brutal. It’s a model of and for one of the genre’s extremes.] ES: When it comes to death metal, I’m very selective of the ones I choose to listen to. BE: It’s not Deicide or something is it? INDY: It’s Cannibal Corpse. ES: Right around the time I was graduating high school, a lot of my hometown friends started getting really into death metal. Obituary was the first one that was introduced to me. It was a bit too intense for me at the time. It was probably the late ’80s, early ’90s, and my ears were still adjusting to Slayer. These bands just made Out at night: Demon Eye PHOTO BY JEREMY M. LANGE it even more intense, with the speed and the pummeling blast beats and the growling. Either you’re pummeling the listener or you’re not. INDY: At this point, it feels like if you say you listen to metal, people imagine something like this. It seems ELECTRIC WIZARD, “FUNERALOPOLIS” like there’s a real one-upmanship in metal to be more and more extreme. [Taken from Dopethrone, the third album from the English BE: We played a few months ago in Brooklyn on a fivedoom legends, “Funeralopolis” expands upon Black Sabbath’s band bill. Four of the bands were playing grindcore. We legacy with its dark tone, harsh textures and almost geological were like Cheap Trick that night. It went over really well, pacing. It is a deliberate descendant of early metal.] actually. ES: Electric Wizard? “Funeralopolis?” I love this band. LB: Where we talked about Purple and Sabbath, they PW: I’ve heard some, but [Sugg is] the big fan, man. could do whatever they wanted. This kind of stuff, you ES: But as much as I love them, I don’t want to sound don’t have that much range or freedom to travel within it. like them. Not everybody can play slow, long, plodding

songs and make it interesting. It really takes some songcraft and aesthetic. This band is masterful at that. They were very inspirational for me when I started writing songs for this band, and this is one of those songs that I just can’t turn up loud enough. I love Jus Oborn’s singing. I think he’s one of the best singers in a heavy band. I’m not sure if a lot of other listeners care about the vocals too much in metal, but to me it’s a big deal. LB: We all share that. CORROSION OF CONFORMITY, “DELIVERANCE” [By the point of their fourth album, 1994’s Deliverance, COC had given themselves almost entirely over to their love for driving, early-metal riffs, thereby completing their metamorphosis from hardcore punks to hard-rock heroes.] ES: What can we say about these guys? Legendary. BE: Talk about doing your own thing and cutting your own path, and turning on a dime. ES: They were the hardcore band, the punk rock band that made it OK to like Sabbath. Like, if you listen to their Eye For An Eye record [COC’s 1984 debut], there’s a Fleetwood Mac/Peter Green cover on there. There’s Sabbath moments. They were a really amazing band in how they fused classic rock with hardcore, because that was a fucking no-no all the way. They just kept reinventing themselves. DANZIG, “AM I DEMON” [After leading The Misfits, singer Glenn Danzig found his greatest success by resurrecting the sound of blues-based early metal with his eponymous band. “Am I Demon,” from Danzig’s self-titled 1988 debut, is a meat-andpotatoes metal song, highlighted by his powerful vocals and John Christ’s burly guitar playing.] ES: Oh yes, good god—my favorite record in high school. BE: I think the first two albums are required listening. I listened to this record one time for, like, eight hours straight. ES: Every single song could have been a hit. It’s non-stop. PW: The whole band was great, too. BE: It’s these songs—that’s something Demon Eye is all about. Riffs are cool. Jams are cool. But the first two Danzig albums to me are just Classic Songwriting 101. s Bryan C. Reed lives in Chapel Hill. He’s written about music for the INDY since 2008.

• JUNE 24, 2015 • music visual arts performance books film sports INDYweek.com

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AT THE HEAVENLY MAJESTY’S REQUEST

What St. Peter said to Mick Jagger and Keith Richards, deceased BY ZACHARY LIPEZ

ICK JAGGER AND KEITH RICHARDS HAVE DIED IN A FREAK ACCIDENT.

You don’t need to know how, but if you insist, let’s just say it was automobile- or electricityrelated, perhaps with Mick playing superfluous guitar in a thunderstorm while traveling across America for the band’s always reasonably priced ZIP CODE tour. And then … bam, Mick and Keith both dead, something so senseless it makes you think, “Life, right?” Anyway, Mick and Keith are on their way to heaven, flying high on a winged tour bus, where the wings are actually two bright, red tongues, flapping toward the outermost skies. Keith, doing some drug or another, looks at Mick. Even from this great height, their fierce yet brotherly competition shows. Their proximity to the afterlife renders, by divine intervention, both their accents momentarily comprehensible. Every word ends in “ah,” like an aristocratic Juvenile. “Well, this is disappointing, yeah?” Keith says, briefly looking up from his “stash.” Mick preens, wears a half-shirt and remains very famous. “Not how I figured we’d go at all,” he says. “Can’t believe you didn’t go first. Let me do the talking. I’m sure Marge put in a good word for me.” Keith rolls his eyes. The bus approaches a cloud. Angels of indeterminate sex and ethnicity flit to and fro, as members of the 27 Club—both famous and those barely clinging onto the roster’s Wikipedia page— frolic like children, unfiltered cigarettes dangling from their lips. The air tastes like malted-milk-ball dust and honey, and harps play selections from She’s The Boss. The bus vanishes, leaving Mick and Keith alone among the delightful masses. They are suddenly young again, looking as they did at their moments of highest grace—Keith in his finery from the inside cover of Beggars Banquet, plus a head scarf, and Mick in a Studio 54 white suit,

accompanied by the beautiful shadow of Jerry Hall. Keith and Mick find themselves standing before the 12-foot St. Peter, a circle glowing around his head, as advertised. Peter’s hands are clasped, and his eyes somehow gaze more heavenward. An oversized royalty check for “Bittersweet Symphony”—made out to every person ever, living or dead, except Allen Klein—flits in the air behind him, serving as an entrance banner for the pearly gates. A dog-eared copy of Faithfull rests next to Peter’s clipboard. “Keith! Mick! Come on in,” Peter exclaims. Mick and Keith glance at each other. Keith’s headscarf droops into a frown. “Really?” Mick says. “Both of us?” Peter beams down at them, literally. A cherub clad in a factory-distressed Steel Wheels shirt flaps anxiously toward Mick’s pouting face. He hands Mick a note. The note reads, “Yes, both of you.” Mick looks nonplussed. Keith looks at Mick, glaring. “This is your fault, isn’t it? Had to take that bloody medal. Had to be so nice about that bloody awful ‘Moves Like Jagger’ song,” he admonishes. “You neutered us, Brenda.” Mick hisses back: “At least I never had a Disney character based on me. I was the dark prince of pop! I was polyamorous! I was Satan! You’re the one who insisted we go on Jimmy Fallon!” Uncomfortable with Mick’s gusto and over-the-top sexuality, the surrounding angels and perpetually young men swoon and blush. Peter moves to stand between the recently deceased. “I don’t see the problem,” he says. “Do you not want to get into Heaven?” “No, no … we do. We just thought it would be a bit more of a challenge,” Mick explains. “We were awfully naughty, right?” “You were fine,” Peter counters. “We really appreciated you changing ‘Let’s Spend The Night Together’ to ‘Let’s Spend Some Time Together…’” Mick sticks his chest out, does that thing

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music visual arts performance books film sports with his wrists and interrupts: “We didn’t want to.” “But you did. You’re good boys,” Peter assures them. “Never kidnapped any 14-year-old girls, either.” This doesn’t help. Keith appears physically ill, which isn’t so surprising. “Yeah, but what about all the drugs I did?” he manages. “I was so very bad.” When Peter rolls his eyes, as he does now, the heat shimmer that forever surrounds him obscures everyone within a one-mile radius. “Guys, infinite love means infinite. And you were fine,” he continues. “‘Brown Sugar’ wasn’t great, but if being dumb translated into eternal perdition, the heavenly house band would consist solely of Tom Lehrer and former members of The Decemberists. God loves you. You’re in. Now grab a harp.” Mick shrugs and reaches for his harp, but Keith does not look convinced. “So, not to be ungrateful but … whom exactly doesn’t get in?” A look of patience so bright it is almost blinding passes over Peter’s face. “Well, pretty much who you’d expect—your Hitlers and Stalins, unbaptized babies, people who post ‘Classic Rock lyrics vs. Rap lyrics’ memes on Facebook, serial killers, the cast and crew of Garden State…” Keith holds up a bejeweled hand: “Unbaptized babies?” “Yeah,” Peter confirms. “God just doesn’t like ’em for some reason. It’s a ‘You can take the Adonai out of the Old Testament but…’ deal. Go figure.” Now, it’s Mick who looks appalled. Peter and a flock of cherubs burst into laughter, which quickly resolves into thunder. “I’m kidding,” the gatekeeper says, chuckling. “God loves babies! All of them, so cute. They should have called Two blokes about you guys ‘The No-Joke-Getting Stones.’”

Neither Glimmer Twin smiles. The absence of the choir from “You Can’t Always Get What You Want” is suddenly noticeable and entirely oppressive. Without its emotional guidance, all are left to their own devices. The power of his strut dropping from a 10 to, like, a 3, Mick raises one hand. “I was just nervous that our cheapening of worship by using gospel traditions to prop up half-written songs, which were in turn used by Scorsese ad nauseum to prop up half-written scenes … Well, I was just nervous that there might be some repercussions—you know, ecclesiastically speaking,” he stammers. “Plus, there was all that adultery…” “Pish posh,” Peter says. “Only God can judge you, and

to jam for Jesus

ILLUSTRATION BY CHRISTOPHER WILLIAMS

guess what? He did, and you’re fine.” With his enormous hands and the help of 100 vaping cherubs floating down, Peter starts pulling open the gates to Heaven. “Heaven,” from 1981’s Tattoo You, begins playing, and even Mick and Keith are surprised at how well it holds up. Peter nods smugly and mouths, “I know, right?” Keith removes his top hat: “No disrespect intended of course, uh, but this all seems rather … arbitrary.” “Unconditional and eternal love is arbitrary?” asks Peter, his patience finally losing a bit of its luster. “No, rather, it’s just, I was particularly mean to Brian Jones and I did beat up that journalist …” he says. Peter understands now. “Look, Brian is here, but he was inarguably annoying,” he offers. “And, well, let’s just say you’re not going to run into many music writers up here. So no worries.” Peter tilts his head toward the endless, incomprehensible light pouring from the gates. At the end of the stream, Robert Johnson stands, arms outstretched. Mick and Keith grin at each other, their famous rivalry finally at an end. They link arms and begin to march toward salvation. Mick, looking pleased with himself, looks back at Peter: “Hey, Peter! Thanks! I thought for sure that you were gonna say ‘Hey You …’” “No,” Peter commands, brow furrowed. “Don’t …” “‘… get off of my cloud!’ Hahah …” Mick immediately drops into hell. Keith shrugs, adjusts his scarf and continues toward Robert Johnson’s loving embrace. The Rolling Stones are gone, forever and ever, amen. Charlie Watts, however, remains on Earth, doing something cool and presumably jazz-related. s Zachary Lipez lives in New York and tweets there, too: @ZacharyLipez.

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SOME NEW SKIN

In challenging her old faith and ways, Mackenzie Scott has made one of the year’s most bracing LPs

town of Bridport to work with co-producer Rob Ellis (PJ Harvey, 2:54). Being an outsider in unfamiliar territory allowed her to focus and, eventually, override her old approach. “I was just super lonely, to be honest. I didn’t know anyone there apart from Rob Ellis. It wasn’t a struggle; it was just an alien place to me,” she says. “Being away from the distractions of New York—my day-to“The Baptist in me chose to day, not having the familiar run,” she sings over receding comforts around, not having guitars. “But if there’s still time See the light: Torres’ Mackenzie Scott PHOTO BY SHAWN BRACKBILL my friends around, not to choose the sun, I’ll choose even having Wi-Fi when we “I’ll always be a student in a sense,” she the sun.” Scott’s words form were in the studio—gave me space. Even explains of the guitar. “I’m not a guitar nerd. a fitting musical epigraph for Sprinter, an if I missed the Internet, it was best I didn’t Every time I pick it up, I’m just trying to album in which she re-contextualizes the have it. I had space, and that afforded me figure out how to do something interesting.” dogmas of her youth for more uncertain the freedom to pay attention to what I was Led by Scott’s strong alto and her times. It’s a headspace defined by big doing and think exclusively about that.” crystalline lyrics, Sprinter is one of the questions and unapologetic attitude, where Such isolation helped turn Sprinter into year’s most enigmatic and alluring issues and objections come surrounded by a singular statement. Scott pushed herself albums because it hinges on Scott’s desire menacing music. into an environment that forced her to to keep questioning and exploring her “The last two or three years have been look beyond the constantly pulsing chatter surroundings—intellectually, emotionally, about letting everything I know—or that I provided by the Internet’s always-crowded lyrically, musically. think I know—unravel,” Scott explains from watercoolers and deliver some hard Songs like the churning “A Proper Polish her Brooklyn home. “It’s been a big process revelations of her own. Welcome” and Sprinter’s defiantly stark of unlearning. I’ve tried to forget the way “It’s painful to have to sit back and be by closer “The Exchange” showcase Scott’s I was raised—the stories, the cartoons, the yourself—not just without friends, but also varied instrumental approach. books. I’m looking at the Bible, and it’s more without Twitter and Instagram. I am just And her lines have an economy that majestic than I thought it was.” as addicted to that stuff as anybody,” says could be described as terse. They blend Scott grew up in Macon, Georgia, Scott. “But for the sake of the art, you can’t the everyday and the mythical on songs surrounded by imperious projections of have that around. You just can’t be thinking like “New Skin,” which describes her what God must mean. But at the age of 16, about it when you’re trying to create continued evolution in brief detail. “Lay off guitar lessons (from a “dear, dear classical something new.” s me, would ya?” Scott asks. “I’m just tryin’ guitar teacher named Perry Cantwell,” to take this new skin for a spin.” It’s a stark she says) jumpstarted her long trek out Maura Johnston lives in Boston, where she reduction of her experiences, both past and of town and its ideals. She switched to teaches at Boston College and writes about present. Scott admits her reading habits the electric when she went to Belmont music and culture. She tweets: @maura. help deliver those unadulterated insights. University in Nashville, drawing inspiration “My lyricism is rooted in something I from Joan Jett and her college pals in the know, a truth of some sort,” says Scott. “I band Diarrhea Planet, a four-guitar arsenal like to use literature I’ve read, for the most with a different method for wielding the TORRES part, as a stencil or structure. I had a lot of instrument as a weapon. When talking with See Gulls different literary worlds I was drawing from. about her own approach to guitar, she Tuesday, June 30, 9 p.m., $12 I was reading a lot of J.D. Salinger when I was emphasizes the fact that she’s still learning, The Pinhook, 117 W. Main St. writing, Margaret Atwood and Joan Didion.” despite having studied the instrument Durham, 919-667-1100 To make Sprinter, Scott again fled the for nearly a decade. It’s an essential www.thepinhook.com familiar, shipping to the English market component of her success.

uring the title track of Torres’ absorbing, sometimesstartling second album, Sprinter, bandleader Mackenzie Scott reflects on her religious roots, pulls them into the present and protests them all at once.

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SOPHOCLES IN SPAIN

Soledad Barrio and Noche Flamenca find modern relevance in ancient Greek tragedy BY BYRON WOODS

HEATHED IN RED, SHE WORDLESSLY WALKS TO THE CENTER OF THE STAGE. Antigone, the eternal, who always affirms the human duty to our families and gods above the petty claims of the state. But after rose petals fall from her uplifted palms upon the ruined form of her brother, the arms and body of the despot

Creon’s cousin take on an improbable pose. A Spanish guitar starts a classical lament as Antigone begins a slow flamenco dance. A more unlikely cultural splice is difficult to imagine, but Soledad Barrio and Noche Flamenca have created it in Antigona, a musical, dance and theatrical retelling of the Sophocles tragedy that comes to DPAC as a part of the American Dance Festival. This cultural juxtaposition makes more sense than first meets the eye. Flamenco concerns itself with the deepest of

Soledad Barrio (center) and Noche Flamenca PHOTO BY CHRIS BENNION

passions, pursued at all costs to the end. For choreographer Martín Santangelo, recent Spanish history resonates with a text more than 2,500 years old. In 2010, a heavily financed right-wing publicity campaign convinced the Spanish to oppose efforts to exhume and test the DNA of those killed and buried in mass graves under dictator Francisco Franco. “Their families wanted to bury their loved ones in an honorable way,” Santangelo recalls, “which is the dilemma in Antigone.

The right-wingers actually said, ‘What’s the point of remembering?’ The point of remembering is to reassemble—to re-member—our families.” Though Sophocles’ text has been read politically in translations by Anouilh and Brecht, for Santangelo, its focus is on cultural and individual responsibility to the family. “The whole myth begins when a man does not take responsibility for his actions,” he observes. “From that moment, the gods determined that tragedies would occur and continue to occur, generation after generation. Only when the family loves each other, respects each other, will the tragedies stop. Antigone recognizes that.” The hardest part for Santangelo involved adapting Sophocles’ words into Spanish song. “At first, it was tedious work: building the new lyrics, the new meanings into the traditional songs; trying to find the meaning of the lyrics through the hills and valleys of the voices of the cantaores,” he says. For Santangelo, Antigone “is religion and psychology rolled into one play.” After partial showings in New York, his version has reached its final form. “But I hope I never stop working on it,” he says. “It’s helped me question my life, and become a more compassionate and richer person.” s Byron Woods is the INDY’s theater and dance columnist. Twitter: @ByronWoods.

SOLEDAD BARRIO AND NOCHE FLAMENCA: ANTIGONA 8 p.m. June 26, 1 and 7 p.m. June 27 $19.25–$51.50 American Dance Festival @ Durham Performing Arts Center 123 Vivian Street Durham 919-684-6402 www.americandancefestival.org

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HOLDING THE LINE

New architecture book explores the role of hand-drawing in an age of digital design BY JON LEON

ISTORICALLY, DRAWING HAS BEEN THE LINGUA FRANCA OF ARCHITECTS, but today, software reigns. 3D modeling has displaced hand-drawing and photorealist renderings are the standard—the only way to meet client expectations, gain commissions and win competitions. Thinking with one’s hands risks becoming a precious artisanal aspect of the practice, confined to private ideation sessions among colleagues and clients, as it fades from the public conception of building design. In fact, many innovative new projects are effectively impossible to draw by hand. Wake Forest-based architecture journalist J. Michael Welton, editor of the new book Drawing from Practice: Architects and the Meaning of Freehand, aims to restore the heritage of drawing to the authentic architectural vision it represents. Welton talked to 26 high-profile firms, several of them based in North Carolina, about the importance of drawing to their practice. The conversations prove that at its root, architecture is still an artistic discipline. “Our biggest deliverable is a drawing,” says Erin Sterling Lewis of in situ studio. The work of this bright young Raleigh firm, led by Lewis and Matthew Henning Griffith, is represented in the book by the energy-efficient, light-infused Chasen Residence on East Hargett Street. The firm’s latest project is a local, modern apartment building, The Ten at South Person. Lewis’ participation at the book launch, which took place May 19 at the AIA NC Center for Architecture and Design, was particularly refreshing. She talked about the joy of drawing at client and firm meetings, where there is always a box of pens and pencils on the table for collectively working on a design. The resulting drawings may be indecipherable to an outsider, but they’re essential to the next, more precise, stages of concept development. At in situ, drawings help to contextualize site-scaping, topography and adjacencies—and they foster the client’s engagement. A visit to the firm’s office is comparable to an exhibition where works-in-progress are tacked to a wall that stretches the entire length of the studio.

LEFT Drawing Other local architects in from the book expound on their Practice intention to use drawing as a principal means of ABOVE Sketch communication: Ellen Cassilly by Daniel of Chapel Hill art studio and Libeskind gallery Cassilhaus; Raleigh’s Frank Harmon; Boone’s Chad RIGHT Sketch Everhart; and Phil Freelon of by Deborah Perkins+Will in Durham, one Berke of the biggest names here. IMAGES Best known as one of COURTESY OF the designers behind the THE EDITOR Smithsonian National Museum of African American liberated to use any and all available tools to deliver a History and Culture, Freelon’s compelling solution. Laurinda Spear of Miami-based name has been floating on the Arquitectonica hired a full-time writer to craft proposals, unofficial shortlist to build editorials, brochures and miscellaneous text. Witold President Obama’s presidential library (the President Rybczynski quit architecture altogether to become a already appointed Freelon to the U.S. Commission of successful writer and critic, authoring books on everything Fine Arts). He is also responsible for the notable cyclonefrom Palladio to shopping malls. But even as this toolkit shaped parking structure at RDU International Airport. expands, Drawing From Practice holds the line for the At the launch, he cited Paul Rudolph’s parking decks as an architect’s most basic drive—to physically make a mark—in influence—an estimable reference for a design category its oldest, most essential form. s that is too often overlooked by serious architects. Jon Leon is a writer and critic DRAWING FROM PRACTICE: Reclaiming drawing is an based in Raleigh. His latest book, ARCHITECTS AND THE honorable charge, but the real co-authored with Alex Israel, is MEANING OF FREEHAND takeaway from Drawing From Sheets of Mist. Practice is that despite the By J. Michael Welton currency of medium-specific Routledge, 236 pp. trends, designers should feel

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BLACKBOARD SHATTERING

Common Enemy dramatizes academic scandals in college sports in the Triangle and beyond BY BYRON WOODS

CCORDING TO PRESTON LANE, HIS NEW PLAY, COMMON ENEMY, “IS NOT ABOUT BASKETBALL, YOU UNDERSTAND. NOT REALLY.”

roundball: Galileo Galilei, Charlie Hebdo, Edward Snowden. These name-drops alert us early on that Lane hasn’t written a simple roman à clef based on the recent—and ongoing— unpleasantness over UNC athletics. That would be difficult enough for a North Carolina native and longtime Tar Heel fan. “The controversy has been very painful for me,” the playwright admits. “I find it very

culture. When Professor Lee confronts star point guard Ricky Oliver (Adam Barrie) with an ersatz term paper he didn’t write and cannot read, Oliver unexpectedly goes on the offensive: “I can’t read no bell hooks and I can’t write no damn essay and it don’t matter … bell hooks don’t matter. You don’t matter. All your words and facts and theories ain’t nothing but shit.” Just when we’re ready to write off the

It’s an audacious claim. Designer Fred Kinney’s basketball-court set at Greensboro’s Triad Stage may not be regulation-size—half of it makes a 90-degree turn up the back wall of Pyrle Theater—but the netted hoop and backboard are in the right place. A scoreboard shows a win for the promising, if fictitious, Zebulon Zebras. And characters agonize or gloat over Duke’s latest win over UNC as game footage on giant screens lingers on the martyred expression of coach Roy Williams. Then there are the plot points of Lane’s controversial drama, whose world-premiere run closes this weekend. An obscure liberal arts college in the fictive former mill town of Hawboro, North Carolina—a newcomer to Division I sports—is suddenly catapulted into the public eye when its men’s basketball team makes its first appearance in the NCAA tournament. But on the eve of its first-round game, Patrick Lee (Kurt Uy), a faculty sociologist, reveals damning evidence to the local newspaper. Zebulon’s college administration has been conspiring for years to commit academic fraud within Common Enemy lightly fictionalizes recent NCAA scandals. PHOTO BY VANDERVEEN PHOTOGRAPHERS and beyond the institution. A paper trail has led him to payouts to families, players, hard to face the facts about what’s going on complaints of another disgruntled student surrogate test-takers and private charter in the NCAA. It’s only just now that I think athlete, faculty member Jim Vance (Ben schools: a pipeline, in short, for athletically I’m finally coming to terms with it.” Baker) warns Lee about proceeding with gifted but academically hopeless high We soon realize that Lane is after even his inquiry: “Your interloping, inconvenient school players. bigger game than corruption in college truth is inconsequential when weighed Not about basketball? “No,” says Lane, athletics. As his characters bare their against the balance of history and family the artistic director at Triad Stage. “No souls—and their fangs—during Common and place ... The NCAA is nothing more more than Ibsen’s An Enemy of the People,” Enemy’s two acts, the theater becomes a than indentured servitude … Athletics which Playmakers Repertory Company forum in which the audience deliberates don’t pay for better universities, they pay produced this spring, “is a play about a series of uncomfortable, interlocking for better stadiums and better coaches. We poisoned water.” issues. Anti-intellectualism contends with know, Patrick ... and we just don’t care.” That example isn’t chosen at random. exceptionalism and elitism, as levels of Repeatedly, when characters attempt Early in Common Enemy, Lane mentions social and economic privilege determine to speak truth to power, they find little the author and the work, in which a just how much of the truth different consensus on what the truth is. After whistleblower confronts an angry village characters can afford to tell. Lee confronts Bonnie Lee Abernathy with the truth. Ibsen appears among Even more unsettling is the degree to (Elizabeth Flax), chancellor of the college, a constellation of other figures and which Lane’s characters are unable to with the facts of the corruption, she replies, institutions not generally associated with agree on what still has meaning in our “The truth is we have propelled a third-rate

liberal arts college in a failed industrial community … toward a national profile.” The president of the college’s board of trustees concurs: “Dr. Abernathy’s athletic program is just about the only thing keeping our whole educational mission alive ... This old-fashioned liberal arts education that you think is so important is going the way of the dinosaur. We’re doing whatever we can to protect it.” The assertions have the uncomfortable ring of truth in a country where liberal arts colleges have dwindled by at least 39 percent since 1990, as reported in a widely cited study in the Journal of Liberal Education. “I don’t know that I’m a moral relativist,” Lane says, “but I think the truth is more complex than people make it out to be.” “We want to think everything is so black and white—so red state/blue state,” he continues, “but Rand Paul stands with me on freedom of information and the Fourth Amendment, and a lot of Democrats don’t. He and I part ways in a number of other places. I’m a big fan of Snowden, and I’m appalled that so many Democrats aren’t. The old ‘Us versus Them’ is breaking down.” When lines of different conflicts are simultaneously drawn across the stage in Lane’s drama, his characters and audience can see the contradictions in their own social, political and economic positions. It’s an unexpected, thoughtprovoking outcome—particularly from a play about basketball. “We have to make compromises,” Lane concludes. “If we continue to go around defining everyone by our truth and nothing else, we just wind up drawing battle lines.” s Byron Woods is the INDY’s theater and dance columnist. Twitter: @ByronWoods.

COMMON ENEMY HHHH 1/2 Triad Stage 232 S. Elm St., Greensboro 336-272-0160, www.triadstage.org Through June 28

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FILM

UNEXPOSED: ANNA KIPERVASER

SHADOWBOX STUDIO, DURHAM MONDAY, JUNE 29

Between the PBS Online Film Festival screening at Motorco and the International Screendance Festival at ADF, this is a hopping week for Triangle film-lovers. Add to the mix the 15th installment of Unexposed, the monthly experimental film and discussion series curated and hosted by experimental documentarians Brendan and Jeremy Smyth. This time, the featured filmmaker is Anna Kipervaser, a recent graduate of Duke’s MFA in Experimental and Documentary Arts program, whose feature-length Cairo in One Breath was an INDY favorite at this year’s Full Frame Documentary Film Festival. She’ll be present to screen and discuss 14 short videos in a program she calls “A deer hunt and no mistake.” BYOB for maximum conversational lubrication by the time the intimate Q&A session rolls around. 8 p.m., free, 900 E. Club Blvd., Durham, 352-318-5872, www.durhamunexposed.tumblr.com. —Brian Howe

CALENDARS MUSIC 33 VISUAL ARTS 37 PERFORMANCE 38 BOOKS 39 SPORTS 39 FILM 41

STILL FROM CHORA BY ANNA KIPERVASER

MUSIC

BAND TOGETHER

RED HAT AMPHITHEATER | SATURDAY, JUNE 27

This year’s Band Together Main Event benefits StepUp Ministry, which helps low-income citizens work toward self-sufficiency. There might not be a better modern musical fit than headliner Michael Franti. The optimistic activist contrasts urgent messages about seeking social justice with a relaxed blend of R&B, reggae and hip-hop. Franti tourmates Elliot Root bring bright adultalternative fare with a slight granola crunch. Big Sam’s Funky Nation may well steal the show with carefree party anthems, backloaded with New Orleans brass. Fat Cheek Kat opens. 6 p.m., $20–$195, 500 S. McDowell St., Raleigh, 919-9968800, www.redhatamphitheater.com. —Spencer Griffith

DANCE | HERE AND NOW: NC DANCES REYNOLDS INDUSTRIES THEATER, DURHAM THURSDAY, JUNE 25

The American Dance Festival and the NC Dance Festival join forces to give local dance artists a place among the international greats at ADF. The program, selected by eminent choreographers Carl Flink, Beth Gill and Rosie Herrera, amounts to a lively, challenging and politically engaged evening addressing social dynamics, public policy, sexism and historical memory. Anna Barker presents excerpts from it’s not me it’s you, the hilarious dance-theater duet, with Leah Wilks, which opened Durham Independent Dance Artists’ first season in 2014. ShaLeigh Comerford, another DIDA alum, offers Dedicated to [ ] because of [ ] (and vice versa), a collaboration with dramatist Richard Kirkwood, which explores gender and violence. Kristen Jeppsen Groves’ MFA thesis project, [ME]thod, probes the art of negotiation through the archetypes of political representatives, workers and citizens. And Karola

Luttringhaus offers a duet from Inertia–Remembering the Holocaust, which is informed by interviews with survivors. Though diverse in style, the works are united in their concern with power— how it works, whom it favors and how to bottle it on stage. 7 and 9 p.m., $16.25, 125 Science Drive, Durham, 919-684-6402, www.americandancefestival.org. —Brian Howe

FILM | PBS ONLINE FILM FESTIVAL

MOTORCO MUSIC HALL, DURHAM | FRIDAY, JUNE 26

The fourth annual PBS Online Film Festival, which runs from June 15 to July 17, includes three independent films from North Carolina. UNC-TV hosts a free screening of them at Motorco in case you’d rather watch with friends than on the Internet. Un Buen Carnicero, a documentary from Vittles Films with support from the Southern Foodways Alliance, explores the immigrant experience in a setting very familiar to Carrboro readers, Cliff’s Meat Market (you can also view it on the INDY website). And a pair of films that came out of the UNC School of the Arts, Helpless and Kilroy Was Here, are dramatic shorts set, respectively, in a modern high-school library and World War II-era France, where a connection develops between local orphans and an American pilot stuck in a tree. After the screenings, there will be Q&As with casts and crews, prize drawings and a party with Durham band Triple Fret. You can vote for your favorite films at Motorco or online at www.pbs.org/ filmfestival. 8 p.m., free, 723 Rigsbee Ave., Durham, 919-9010875, www.motorcomusic.com. —Brian Howe

MUSIC | NATURAL CAUSES

NIGHTLIGHT, CHAPEL HILL | FRIDAY, JUNE 26

Formed as a snotty, impulsive diversion from its members’ other band, Last Year’s Men, the Carrboro trio Natural Causes has quickly come into its own. A few months shy of its first anniversary, the band is a fixture on local stages, sharpening its

raw punk blasts into anxious, edgy hits. Driven by needling guitar, throbbing synthesizer and sputtering yells, the music references garage-punk peers such as TV Ghost and Ty Segall as much as cult icons The Screamers and The Feederz. At Nightlight, the band celebrates the release of its self-titled debut, a jagged eight-song platter that captures all of its onstage volatility and tension. “Chatter” crumbles from a taut chicken-scratch riff into a trebly bridge; “Hey Grant” gives away the band’s garage-pop roots with its melodic guitar riff and gang-hollered hook; and the strung-out synth drone and meandering psych guitar of “Poppers” take the group well beyond its background. It’s a remarkable effort that reveals Natural Causes’ impulsive origins. With Doom Asylum and Flesh Wounds. 9 p.m., $8, 405 W. Rosemary St., Chapel Hill, 919-960-6101, www.nightlightclub.com. —Bryan C. Reed

MUSIC | JAMEY JOHNSON

THE RITZ, RALEIGH | SATURDAY, JUNE 27

After self-releasing his critically lauded album That Lonesome Song in 2007, Jamey Johnson rode the fast-track to country music outlaw status, leading a modern revival of Waylon Jennings’ spirited shake-up before it was co-opted by Music Row. (Brantley Gilbert, don’t you think this outlaw bit’s done got out of hand?) That success led Johnson to a platinum-selling major-label re-release, a few blips on mainstream country radio and a whole lot of creative freedom to explore modern music marketing no-no’s, including a double-disc release and a posthumous tribute to his favorite songwriter, Hank Cochran. Eight years later, Johnson is embracing that independent spirit again with the launch of his own Big Gassed Records. He writes, records and releases songs as they come to him without much thought to the full-album release cycle. New singles “Alabama Pines” and “You Can” will likely be included in his Raleigh set, rumbling out in his signature baritone drawl. 8 p.m., $27.50, 2820 Industrial Drive, Raleigh, 919-424-1400, www.ritzraleigh.com. —Karlie Justus Marlowe

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8/14: MICHAEL RANK & STAG ALBUM RELEASE SHOW W/ HEATHER MCENTIRE (OF MOUNT MORIAH) $7 8/17: JARED & THE MILL 8/22: THE COLOR EXCHANGE W/ OULIPO, BREAKERS ($5/$7)

WED, J

THE CAVE Dogs Eyes; indyweek.c WE 10/28 PEACHES CHAPEL H "RUB TOUR" UNDERGR (ON SALE 6/26) Elim Bolt, G 10/31 THE DISTRICTS 8/21: ESTON & THE OUTS W/ LADY LAMB 9 p.m., free W/THE SHELLES, JOHN HOWIE JR. ($6) DUKE GAR 8/26: DELLA MAE W/ JON Southland R CAT'S CRADLE BACK ROOM STICKLEY Southland M 6/26: TOO MUCH FUN W/ 8/29: THE GOOD LIFE $5–$10, 12 W/ BIG HARP TORNADO BLUES BAND ($10) indyweek.c 8/30: THE CRY 6//27: GRAND SHELL GAME, 8/31: EARTH **($13/$15) NORTH ELEMENTARY, HUMBLE P HAMELL ON TRIAL ($5) 9/2: NICKI BLUHM & THE Club; 8:30 p GRAMBLERS W/JOHN 7/2: CAROLINE ROSE W/ MORELAND IRREGARD LOOK HOMEWARD ($10/$12) 9/15: EILEN JEWELL Brothers; 6: 7/3: SAGE FRANCIS ($15) ($16/$20) (PRESENTED WITH 7/8: SWIRLIES W/ LOCAL 50 MARIANNE TAYLOR MUSIC ) CREEPOID, WAILIN' STORMS Fem Doms; 9/23: GARDENS & VILLA ($12/$14) 10/6: DAVID RAMIREZ** MEYMAND 7/9: FUTURE THIEVES($6/$8) ($12/$14) Boyz II Men 10/8: PURE BATHING 7/10: LAKES & WOODS/ CULTURE W/ WILD ONES JPHONO1 RELEASE Carolina Sym ($10/$12) PARTY W/ HECTORINA, 10/10 & 10/11: HEARTWOOD $38–$89. S LITTLE BOOKS ($7) -40 YEAR REUNIONUT W/ NEPTUNES 7/11: 2PM: GIRLS ROCK SOLD O WYATT EASTERLING CHAPEL HILL CAMP from Down 10/18: TELEKINESIS AND SHOWCASE Abernethy: SAY HI ($13/415) 9PM DAD & DAD W/ CANINE 10/26: MIKKY EKKO ( $15; $5. See indy HEART SOUNDS, GRANDMA ON SALE 6/26) SPARROW ($7) NIGHTLIGH 11/2: JOANNA GRUESOME 7/12: STEVE FORBERT **($10/$12) Showcase: TRIO ($20/$22) 11/10: NATHANIEL Lost Trail, C 7/13: A.A. BONDY W/ RATELIFF & THE NIGHT STRAY OWLS ($12/$14) SWEATS ($10/$12; ON SALE 8:30 p.m., $ 6/26) 7/14: ANTHONY THE ORIGI RANERI W/ WHAT'S Leroy Savag ARTSCENTER (CARRBORO) EATING GILBERT, p.m., free. 9/24 OVER THE RHINE ALLISON WEISS THE PINHO 7/15: VINYL THEATRE CARRBORO TOWN COMMONS W/ MACHINEHEART 9 p.m., $8. 7/26 FUTURE ISLANDS 1000TH SHOW CELEBRATION POUR HOU 7/16: JON SHAIN, WITH DAN DEACON, DANNY MOLLY MCGINN, Live Interac BROWN, ED SHRADER'S SAM FRAZIER MUSIC BEAT, VALIENT THORR, p.m., $10. (SONGWRITERS IN THE ($20) LONNIE WALKER ROUND) $10/$12 SOUTHLAN 7/17: THE OLD MEMORIAL HALL (UNC-CH) CEREMONY W/ SKYLAR 12/12 STEEP CANYON RANGERS Lauderdale GUDASZ (CELEBRATING NEW p.m., $14–$ CAROLINA THEATRE (DURHAM) RELEASE, SPRINTER!) com. 7/20 ROB BELL 7/18: THE OLD (EVERYTHING IS SPIRITUAL TOUR) STATION A CEREMONY W/ STEPHANIESID (SPRINTER 9/26 YO LA TENGO The Arcadia RELEASE PARTY NIGHT 2!) (FEATURING DAVE SCHRAMM) Horizon; 8 p SALE 6/26)

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TU 9/15: DEATH CAB FOR CUTIE W/ TWIN SHADOW

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9/16 PURITY RING (ON SALE FR. 6/26) 9/28 LORD HURON 9/29 FATHER JOHN MISTY ($25/$28) 10/13 GLASS ANIMALS 10/18 NEW FOUND GLORY, YELLOWCARD, TIGERS JAW

THU, J

2ND WIND

AMERICA CAMPUS ALICE GE THE PIED MAKERS

If you haven Gerrard’s ha the past few another opp stage with t Makers, wh

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INDYweek.com

music WED, JUN 24

THE CAVE: Bleak, Born Hollow, Dogs Eyes; 9 p.m., $5. See indyweek.com. CHAPEL HILL UNDERGROUND: The Wyrms, Elim Bolt, Gold Light, Sam Logan; 9 p.m., free. DUKE GARDENS: Phil Cook’s Southland Revue: Introducing Southland Mission; 7 p.m., $5–$10, 12 and under free. See indyweek.com. HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. IRREGARDLESS: The Holland Brothers; 6:30 p.m. LOCAL 506: Pena Ajena, The Fem Doms; 9 p.m., $7. MEYMANDI CONCERT HALL: Boyz II Men with the North Carolina Symphony; 7:30 p.m., $38–$89. See indyweek.com. NEPTUNES PARLOUR: Songs from Downstairs with Rod Abernethy: Kenny Roby; 9 p.m., $5. See indyweek.com. NIGHTLIGHT: June 919Noise Showcase: Native Eloquence, Lost Trail, Crowmeat, Spednar; 8:30 p.m., $5. THE ORIGINAL Q SHACK: Leroy Savage Group; 6:30-8:30 p.m., free. THE PINHOOK: Caves, Worriers; 9 p.m., $8. See indyweek.com. POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9:30 p.m., $10. SOUTHLAND BALLROOM: Jim Lauderdale, Jeanne Jolly; 8:30 p.m., $14–$17. See indyweek. com. STATION AT SOUTHERN RAIL: The Arcadian Project, The Event Horizon; 8 p.m.

THU, JUN 25 2ND WIND: 2 fer; 7:30-9 p.m.

AMERICAN TOBACCO CAMPUS ALICE GERRARD AND THE PIEDMONT MELODY MAKERS If you haven’t caught one of Alice Gerrard’s handful of local shows in the past few months, here’s another opportunity. She takes the stage with the Piedmont Melody Makers, which includes her

longtime cohorts Chris Brasher, Cliff Hale and Jim Watson. They’ll serve up a set of traditional bluegrass, old-time and folk songs. Local quintet The Gravy Boys open with fine-tuned country and bluegrass tunes. Free/6 p.m. —AH BEYÙ CAFFÈ: Aaron Hill Trio; 7 p.m., free. BLUE NOTE GRILL: Valerie Wood & Friends; 7 p.m. DEEP SOUTH: Adam Pitts & The Pseudo Cowboys; 10:30 p.m., free. IRREGARDLESS: The Commanderrs; 6:30 p.m.

KINGS CEREMONY, TONY MOLINA In five years, Ceremony has come a long way. On this year’s The L-Shaped Man, the former hardcore band fully embraces the Joy Division tribute of their name. With stark cover art, spindly guitars and downcast vocals, The L-Shaped Man comes as close to Ian Curtis as the Californians may ever manage. Another exhardcore kid, Tony Molina, joins this tour. His 2014 solo album, Dissed and Dismissed, is a punchy and economical gem. The record’s 12 songs spin out in 11 minutes, but Molina’s fuzzblasted guitars and easygoing melodies wrangle Dinosaur Jr, the Lemonheads and Weezer. Wildhoney and Silent Lunch open. $12–$14/8 p.m. —BCR

LINCOLN THEATRE STYLES & COMPLETE FEATURING WAREZ This duo calls themselves “Dirty South Hip-Hop Gods,” which is not true. This isn’t UGK, OutKast or Goodie Mob, but rather just two dudes cranking out trap EDM. But hey, they do have a remix with legit Dirty South hip-hop god DJ Paul of Three 6 Mafia. Too bad, though, that Paul has been trying to build his stock as a bad-news DJ, even giving Jason Aldean the EDM treatment. These streetwear-sporting goofs are on their way to their desired god status, I guess? With Bad

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Catholics and Oko Yono. $15–$20/9 p.m. —BS LOCAL 506: Heavy Mind, Henbrain; 9 p.m., $5.

THE MAYWOOD PRIMITIVE MAN, TORCH RUNNER, PRIAPUS Denver’s Primitive Man debuted in 2013 with Scorn, a harsh and oppressive slab of charred doom. Their latest, February’s Home Is Where the Hatred Is EP, continues in the same vein, grinding feedback over torturously slow tempos. The French band Celeste shapes bitter blasts of black metal with post-rock dynamics. Where the headliners favor labored pacing, Torch Runner and Priapus—the pair of Greensboro openers—burst ahead with grindcore frenzy. Torch Runner’s balance of precise lunges and abrupt slowdowns makes them a versatile and vicious standout, and Priapus’ speed-crazy death-grind is a thrill, too. Oakland’s Connoisseur fits neatly between extremes with their crusty thrash. $7–$9/8:30 p.m. —BCR MIDTOWN PARK AMPHITHEATRE: Legacy Motown Revue; 6 p.m., free. THE PINHOOK: Yo! NC Raps!; 9 p.m., $5. PITTSBORO ROADHOUSE: Belmont And Jones; 6 p.m. Tokyo Rosenthal with Mipso and Twin Courage; 8 p.m. THE POINT: Stone Age Romeos; 10:30 p.m.

POUR HOUSE FAT CHEEK KAT, THIRD COAST KINGS Winston-Salem quintet Fat Cheek Kat wraps its month-long Raleigh residency with another hit of high-energy, horn-heavy hybrids. They stretch from spirited soul workouts to shuffling Southern rock. Detroit deep funk revivalists Third Coast Kings share the stage and deliver plenty of dance floor fuel. $5–$8/9 p.m. —SG RALEIGH CITY PLAZA: Trial By Fire, My 3 Sons, I Am Maddox; 5 p.m., free. SLIM’S: Babydriver, Young Cardinals, Drunk On The Regs; 9 p.m., $5. STATION AT SOUTHERN RAIL: Sam Vicari; 9 p.m. SULLIVAN’S STEAKHOUSE: Pete Frederick; 8 p.m.

PHOTO BY REID ROLLS

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MUSIC | WAKA FLOCKA FLAME | SAT, JUNE 27

LINCOLN THEATRE, RALEIGH—Adam Sandler’s upcoming Pixels promises all the flatulent jokes we’ve come to expect from the 48-year-old’s more family-friendly fare. In advance of the near-certain summer blockbuster, though, Earth must face a threat much more menacing than the film’s coin-operated invaders. Good Charlotte and Waka Flocka Flame’s collaborative “Game On,” apparently taken from the Pixels soundtrack, is worthy of a Nintendo Zapper trigger warning. Not since Jay-Z and Linkin Park’s Collision Course have rap and rock come together in such a grossly negligent fashion. This mismatched team-up splices the Madden Brothers’ radio-baiting punk pop with the shouty charms of the Brick Squad Monopoly CEO, all awash in arcade bleeps and bloops. A sloppy showing from the aggressive Atlanta rapper, “Game On” conflates turning up with one’s turn at the game controller. But “Game On” is indicative of Waka’s currently stalled career. Though the mixtapes have dropped steadily, he has yet to issue a proper Atlantic Records follow-up to 2012’s Triple F Life: Friends, Fans & Family. Announced since 2013 yet repeatedly delayed, Flockaveli 2 again missed its most recent release date, June 1. The purportedly star-studded record remains a speculative project. That’s all too bad, as a box-office crossover single on par with Juicy J, Ty Dolla $ign and Wiz Khalifa’s goofy “Shell Shocked,” from last year’s Teenage Mutant Ninja Turtles, might have pushed Flockaveli 2 back on course. But as movie tie-in singles go, “Game Over” isn’t quite as good as MC Hammer’s “Addams Groove” but marginally better than Tag Team’s “Addams Family Whoomp!” At least you’re unlikely to hear this genre mush live. Instead, fans can expect “Hard In The Paint,” “No Hands” and other singles that have made him one of the most recognized voices in contemporary rap music. Having come up under the guiding wrist of magnetic trap music mentor Gucci Mane, the dynamic Waka can deliver the right music to transform a concert into a full-on lituation, not a bad video game simulation. Ben G opens. 9 p.m., $25–$55, 126 E. Cabarrus St., Raleigh, 919-821-4111, www.lincolntheatre.com. —Gary Suarez

TIR NA NOG: Local Band, Local Beer: Old Quarter, The Debonzo Brothers; 9:30 p.m., free. WOODY’S SPORTS TAVERN: Tino Gray; 9:30 p.m.

FRI, JUN 26 618 BISTRO: Randy Reed; 7-9:30 p.m.

BEYÙ CAFFÈ BRAXTON COOK QUARTET Braxton Cook, a semi-finalist in the 2013 Thelonious Monk

International Saxophone Competition, wowed his way into Juilliard with the prestigious Illinois Jaquet scholarship. Now, the 24-year-old is establishing himself as a regular member of Christian Scott’s band, as well as a collaborator with Wynton Marsalis, Butcher Brown and future Late Show bandleader Jon Batiste. $15/8 &10 p.m. —SP

Preslar; 9 p.m., $8. Duke Street Dogs; 6-8 p.m., free. BRASA STEAKHOUSE: Alex Gorodezky & Mutual Friends; 7 p.m. BYNUM GENERAL STORE: Rooster Logic; 7 p.m., $5–$7. CAFFE DRIADE: Twin Courage; 8 p.m. CAROLINA INN: Fridays on the Front Porch; 5-8 p.m.

BIG EASY-RALEIGH: Glen Ingram; 6 p.m. BLUE NOTE GRILL: Josh

CAROLINA THEATRE THE RIPPINGTONS

Contributors Grayson Haver Currin (GC), Spencer Griffith (SG), Corbie Hill (CH), Allison Hussey (AH), David Klein (DK), Jeff Klingman (JK), Jordan Lawrence (JL), Karlie Justus Marlowe (KM), Sylvia Pfeiffenberger (SP), Bryan C. Reed (BCR), Brandon Soderberg (BS), Eric Tullis (ET), Chris Vitiello (CV), Patrick Wall (PW)

If, when you think of the French Riviera, you think casual, sunny style accompanied by the slightly sickening odor of Ban de Soleil, perhaps the latest Rippingtons album, 2011’s Côte d’Azur, is for you. Even better—get a few

INDYweek.com drinks, and catch their smooth jazz act far away from the French Riviera. $42–$94.91/8 p.m. —CV 11 7 W MAIN STREET • DURHAM

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ANOHAT AN EVENING OF TRANCE & HOUSE MUSIC SU 6/28 BENEFIT FOR JIM BURG SA 6/27

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THIRD EYE TOOL TRIBUTE JOE HERO FOO FIGHTERS TRIBUTE SA 7/11 THE FRITZ FEMALE FR 7/17 JUDAS PRIESTESS ALL JUDAS PRIEST TRIBUTE WHITESNAKE STILL OF THE NIGHT TRIBUTE FR 7/10

BOOK YOUR PRIVATE PARTY HERE! southlandballroom.com

919.821.1120 • 224 S. Blount St WE 6/24 COAST 2 COAST LIVE INTERACTIVE SHOWCASE TH 6/25 JUNE RESIDENCY SERIES FR 6/26 SA 6/27

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SU 6/28 THE SETLIST LIVE VIDEO SHOOT

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CAVES / WORRIERS THE UNDERGROUND PRESENTS: YO NC RAPS! OFF THE BOOKS DANCE PARTY W/ DJ RANG SO FLY! A SEND OFF FUNRAISER JAM FOR DASAN AHANU MRS. ADAM SCHATZ (OF LANDLADY) MADE OF OAK (OF SYLVAN ESSO) / SUNLESS REALLY OPEN MIC NIGHT TUE. TRIVIA / WIN A $50 TAB OR TIX TO SHOWS DURTY DUB / GABE FOX-PECK TAHMIQUE CAMERON / SKYBLEW THE CAT’S MEOW DANCE PARTY FIREWORKS ON OUR BACK PATIO! FREE DANCE PARTY AFTERWARDS! BRONZED CHORUS GULFER / PEOPLE LIKE YOU

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THE CARY THEATER: Jeff Black, Katelyn Read; 8 p.m., $20–$25.

CAT’S CRADLE (BACK ROOM) TOO MUCH FUN, TORNADO BLUES BAND Not to be confused with Bill Kirchen’s backing band, veteran locals Too Much Fun deliver originals and covers with a blend of classic rock rollick and vintage R&B swing. Tornado Blues Band is an ace combo featuring several prolific sidemen of the Triangle blues scene. $8/9 p.m. —SG THE CAVE: Alex Bowers; 9 p.m.

DEEP SOUTH MY BROTHER, MY SISTER; JON SEBASTIAN & THE TRESPASSERS; REVOLUTIONARY SWEETHEARTS My Brother, My Sister previews the forthcoming follow-up to its promising debut, a collection of folk-punk charms inspired by the freedoms and frustrations of young adulthood. Jon Sebastian & The Trespassers conjure infectious indie pop with lush textures and dreamy refrains. Revolutionary Sweethearts, meanwhile, muster blustery rock as a duo, with hooks driven deep thanks to harmonies extended over distorted, off-kilter outbursts. With Boone quartet Chrome Scene. $5/9 p.m. —SG FAIRVIEW RESTAURANT: Paul Holmes; 7-10 p.m. HONEYSUCKLE TEA HOUSE: Tokyo Rosenthal; 7 p.m., free. IRREGARDLESS: Stephen Anderson with Chris Wright; 6:30 p.m.

BLOOD RIVER RED 12PM FREE!

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ADAGE / BREAK THE SKYLINE 8PM MO 6/29 POVIC NATION PRESENTS:

RASTA B / KIZZY KREW / ADORIA B

CIRROCKY / GREG COX / NIGE HOOD HOUSE OF WHALES / VILLA*NOVA WE 7/1 SOME TYPE OF STEREO / SNATCH THE SNAIL TH 7/2 EDGE MICHAEL / STREETS A FIRE FR 7/3 FOOTHILLS FREE FIRST FRIDAY:

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THE FUNKY DAWGZ BRASS BAND

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FR 7/4 4TH OF JULY THROWDOWN

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FEARLESS FREAKS / MURKEL FREE TU 7/7 THE DINK DOWN THE BLEEDING HEARTS / RICHARD BACCHUS & THE LUCKIEST GIRLS / DJ PANGEAN FREE WE 7/8

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VON GREY / THE BUSINESS PEOPLE FREE

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KINGS THE DELTA SAINTS Maybe a group of pale dudes from Nashville billing themselves as “psychedelic voodoo rock” will raise suspicion. But it might not be entirely deserved: Despite the dubious assertion, The Delta Saints deliver solid Southern rock. Last year’s Live at Exit/In offers a preview of what the band can deliver from the stage, like the powerful organ-driven opener “Bird Called Angola.” The tunes that follow are a whirlwind of electric guitar riffs and tight rhythms. Locals Season & Snare and Magpie Feast open. $10/8:30 p.m. —AH

THE KRAKEN: Lud, Nocturne Jive; 9 p.m., free.

LINCOLN THEATRE KNIGHTMARE, ALIEN8, THE SEDUCTION, AMERICAN EMPIRE Amid a heavy metal surge, this bill places a premium on melody. With polished and purist power-metal, Raleigh’s Knightmare earns the headlining slot at this local showcase. Alien8 collides classic metal riffs with the grunge echoes of modern rock, and The Seduction riffs on Valient Thorr-like party-thrash. The oddball here, American Empire tilts toward prog-metal extravagance. $10/8 p.m. —BCR

LOCAL 506 END OF LOVE Reunions of bands that broke up 10 years ago are commonplace, but it’s hard to find an analogue for the reappearance of End of Love, a New York trio that gained footing in the early ’00s but disbanded without a recorded legacy. Leader Irwin Menken eventually joined the backing band of Sonic Youth guitarist Lee Ranaldo. He’s one of several notables on the band’s new LP, Ghosts on the Radio, alongside Nels Cline of Wilco and Jody Stephens of Big Star. Live, the core band will reanimate End of Love’s sumptuous Americana/power pop amalgam with help from the ageless Stephens and local heroes Skylar Gudasz and Django Haskins. With Gasoline Stove. See indyweek.com for an interview with Jody Stephens about End of Love. $8–$10/9 p.m. —DK THE MAYWOOD: Enemy in Disguise, A Course Of Action, Raimée, Annandale; 8:30 p.m., $10–$12. MYSTERY BREWING PUBLIC HOUSE: Dragmatic; 8:30-10:30 p.m., free. NC MUSEUM OF ART: Peter Lamb and the Wolves; 5:30 p.m., free. NIGHTLIGHT: Natural Causes, Doom Asylum, Flesh Wounds; 9 p.m., $8. See page 31. OLD ORANGE COUNTY COURTHOUSE: The Debonzo Brothers; 6:30 p.m., free.

PAGE WALKER ARTS & HISTORY CENTER A CELEBRATION OF BLUEGRASS Presented by PineCone, this is a double-header of acoustic goodness. Starting at 6 p.m., young students from PineCone’s bluegrasss summer camps offer their best. An hour later, the

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JUNE 24, 2015

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professionals—Lynda Dawson, Pattie Hopkins, Charles Pettee—take over. They’ll offer pleasant picking to keep you grinning. Free/6 p.m. —AH THE PINHOOK: Off the Books with DJ Rang; 10 p.m., $10. PITTSBORO ROADHOUSE: Idlewild South; 8 p.m., $10. POUR HOUSE: Better Off Dead, Wavy Train; 9 p.m., $8–$10. RAAGA: Viswas Chitnis; 6-9 p.m. REAL MCCOY’S: DJ Fog; 9 p.m. RUGGERO PIANO: Action to Cure Kidney Cancer Benefit Concert: Brenda Casey, Pat Todd; 7:30 p.m. BOND PARK: SERTOMA AMPHITHEATRE: Triangle Brass Band; 7 p.m., free. SITAR INDIAN CUISINE: Daniel Chambo; 6-9 p.m.

SLIM’S TEMPERANCE LEAGUE, SAY BROTHER, MSRP Come for the openers—the barroom rock redeemers of Charlotte’s Temperance League and the howling and choogling twang-rock vagabonds of South Carolina’s Say Brother. They are two of the Carolinas’ best live bands. Stay for MSRP, a good Raleigh group that falls just short of Temperance League’s high standard for slow-burning riffs and booze-fueled revelations. $5/9 p.m. —JL STATION AT SOUTHERN RAIL: Absent Boundaries; 7:30 p.m. DJ Dymacel; 10 p.m. SULLIVAN’S STEAKHOUSE: Russ Thompson; 8 p.m. THE HOUSE BAR AND RESTAURANT: MIdnight Ramblers; 6-8 p.m., free.

THE RITZ GILBERTO SANTA ROSA Known as The Gentleman of Salsa, Gilberto Santa Rosa is a romantic singer with an elegant, yet forceful style. Santa Rosa is a tremendously successful commercial artist who also sports the bona fides of a traditional sonero—a skilled lyrical and rhythmic improviser. $45/8 p.m. —SP THE SHED JAZZ CLUB: Zen Poets featuring Annalise Stalls; 8 p.m., $7–$12. TIR NA NOG: Mic The Prophet; 7 p.m. UNIVERSITY PLACE: The Entertainers; 6 p.m., free. WOODY’S @ CITY MARKET: Johnny Orr; 10 p.m.

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Dawson, s y’ll offer p you —AH

INDYweek.com WOODY’S SPORTS TAVERN: MikeMickXer; 9:30 p.m. WORLD OF BEER: The Rebel Yells; 9 p.m.

SAT, JUN 27

he Books , $10. APEX NATURE PARK: Triangle HOUSE: Brass Band; 7 p.m. , $10. BEYÙ CAFFÈ: Jon Bibbs; 8 & 10 r Off Dead, p.m., $12. 8–$10. BIG EASY-RALEIGH: Glen is; 6-9 p.m.Ingram; 6 p.m. Fog; 9 p.m. BRASA STEAKHOUSE: The Action to Panhandlers; 7 p.m. enefit y, Pat Todd; CAT’S CRADLE

(BACK ROOM)

OMA THE GRAND SHELL GAME, angle BrassNORTH ELEMENTARY Where his old outfit, The New INE: Familiars, traded in Avetts-lite .m. folk-rock, Eric-Scott Guthrie’s new one, The Grand Shell Game, unmoors from earthy Americana for cosmic-leaning roots rock that AGUE, lets loose with limber SRP extemporizations. Carrboro’s —the long-running North Elementary is mers of tighter and fuzzier, owing more ce League to its home city’s angular indie choogling rock. Hamell On Trial opens. $5/8 s of South p.m. —PW . They are best live THE CAVE: Say Brother; 9 p.m. a good ls just shortDEEP SOUTH: Archbishops of Blount Street; 10:30 p.m., free. e’s high ning riffs DEVINES RESTAURANT: elations. Midnight Ramblers; 9 p.m., $5. FAIRVIEW RESTAURANT: Chris Keller; 7-10 p.m. ERN FAROTAGE LOUNGE: DJ ries; 7:30 Freddy de Matchunga; $10. p.m. HONEYSUCKLE TEA HOUSE: HOUSE: Allison Dennis with Kobie m. Watkins; 7 p.m., free. ND IRREGARDLESS: Twin ight Courage; 11 a.m. Nelson Johns ee. and Eric Meyer; 6 p.m. La Feista Latin Jazz Quintet; 9 p.m.

KINGS man of Salsa,ED SCHRADER’S MUSIC a romantic BEAT, ZOMES

ROSA

yet forceful The setup of Ed Schrader’s Music Beat—one hyperactive drummer, ul one bassist with a penchant for also sports dissonance and distortion, one ditional maniacal singer—recalls that of l and another former Charm City 45/8 p.m. export, Double Dagger. But where Double Dagger delivered post-modern political grousing over shrieking post-punk, LUB: Zen Schrader’s wrecking crew keeps it se Stalls; 8 weird, doling out Dadaist imagery over No Wave boogie. Thrill e Prophet; Jockey duo Zomes opens; Hannah Olivegren’s and Asa Osborne’s E: The eerie and alluring drones evolve in ree. slow motion, voices swimming MARKET: alongside mantra-like keyboard passages. $7/9 p.m. —PW

KOKA BOOTH AMPHITHEATRE NC SYMPHONY SUMMERFEST: THE MUSIC OF THE EAGLES I’m all for the North Carolina Symphony engaging a wide summertime audience, so that people pay more attention to the work they do the rest of the year. But the fucking Eagles, or symphonic accompaniment for an Eagles cover band? Have some standards. Show some poise. Don’t take it so very easy. $15–$37, 12 and under free/7:30 p.m. —GC LINCOLN THEATRE: Waka Flocka, Ben G; 9 p.m., $25–$55. See box, page 33.

LOCAL 506 LOCALFEST 2015 This packed day features a double-digit list of area acts, all delivering varied flavors of pop-punk, emo and posthardcore: Headliners Handsome Foxes favor chippy melodicism in the vein of the Midwest’s second-wave scene, while FS’s peppy charges recall Fall Out Boy before they had jock-jam ambitions. The Capital adds polished alt-rock, and Greaver’s intricate screamo arrangements depend on aggressive vocals. Assailant, Friends As Enemies and UNICRON deliver unrelenting metalcore, but Take Heart’s punishing attacks contrast with a pious agenda. Sunnydale and Almost People sprint through catchy ditties as they nod gleefully to nerd culture. $15/1 p.m. —SG THE MAYWOOD: Down By Five, Bumpin Uglies, Signal Fire, Of Good Nature, Medicated Sunfish; 3:30 p.m., $10–$17. MCKINLEY’S: Windsor Oaks Band; 9 p.m. MYSTERY BREWING PUBLIC HOUSE: Del Ward Band; 8:3010:30 p.m., free. NIGHTLIGHT: Volume 13: Sabrina, W00dy, Solid State Entity; 10 p.m.

THE PINHOOK SO FLY: SEND-OFF FUNDRAISER JAM FOR DASAN AHANU Being elite is expensive. That’s why Durham poet, educator and activist Dasan Ahanu launched a $5,000 GoFundMe campaign to help cover the cost of his transition to Harvard University, where, as this year’s recipient of the Nasir Jones Fellowship, he’ll study rap lyricism at Harvard’s Hiphop Archive and Research

Institute. His own lavish lyricism is expertly expressed on his latest spoken-word release, Last Temptation Before Sunrise: the prologue. Whether you’re paying to see him perform several of the project’s pieces live or buying it, your dollars will ensure that Ahanu’s nine-month residency isn’t too rocky. Donations/9 p.m. —ET PITTSBORO ROADHOUSE: Muningu with Sheila Fleming; 8 p.m. THE POINT: The Switch; 10:30 p.m. POUR HOUSE: Demon Eye, Dorothia Cottrell, Grohg; 9 p.m., $7–$10. See page 21. RAAGA: Viswas Chitnis; 6-9 p.m. RED HAT AMPHITHEATER: Band Together NC: Michael Franti & Spearhead, Elliot Root, Big Sam’s Funky Nation, Fat Cheek Kat; 6 p.m., $20–$195. See page 31. RELISH CAFE: Shelby Merchant; 6:30 p.m., free. ROOST: The Holland Brothers; 5 p.m.

SAXAPAHAW RIVERMILL JOHN HOWIE JR. AND THE ROSEWOOD BLUFF Local honky-tonk mainstay John Howie Jr. is just as at home playing sweaty dives like The Cave as he is outdoors, crooning about heartbreak and loss at a farmer’s market in Alamance County’s hippest little village. Showman that he is, Howie recognizes that good country music is universal, no matter if the audience sips wine on blankets or sloshes down PBR in dank bars. Is this one a long drive? Depending on where you live, probably. Is it worth it? Definitely. Free/6 p.m. —CH SCHOOLKIDS RECORDS: Slangston Hughes, Ghost Dog, Mallz; 6 p.m., free. SHARP NINE GALLERY: Thomas Linger Trio; 8 p.m., $10–$15. SITAR INDIAN CUISINE: Daniel Chambo; 6-9 p.m. SLIM’S: Sons of Tonatiuh, Squall, The Asound; 9 p.m., $5. SOUTHLAND BALLROOM: Luneffekt B2B Sunshine, Stricken, Entropy, Ampacity; 10 p.m., $5–$7. STATION AT SOUTHERN RAIL: Twilighter; 10 p.m. DJ Petey Green; 10 p.m. STEEL STRING BREWERY: River Otters; 8-10 p.m. SULLIVAN’S STEAKHOUSE: Adam Pitts; 8 p.m. THE RITZ: Jamey Johnson; 8

p.m., $27.50. See page 31. THE SHED JAZZ CLUB: Africa Unplugged, Muningu; 9 p.m., $10, $5 with ADF ticket stub. TIR NA NOG: Nine Times Around; 7:30 p.m. Mike MickXer; 10:30 p.m. TRINITY LOUNGE: DJ Jason; 10 p.m. UNITY CENTER OF PEACE: Cecilia St. King; 7:30 p.m., $15–$20. WOODY’S @ CITY MARKET: Travis Moss Band; 10 p.m. ZOG’S POOL HALL: Chris Ross & the Something Stupids; 9 p.m.

SUN, JUN 28 BEYÙ CAFFÈ: Andrew Berinson; 11 am-2 p.m. THE CAVE: Ghostwriter; 9 p.m., $3. CORNER TAVERN: DJ Steve Penny; 10 p.m. DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. DUKE’S BALDWIN AUDITORIUM: ADF Musicians Concert; 7-9 p.m., $10–$16.25. FAIRVIEW RESTAURANT: Paul Holmes; 10 am-2 p.m. HONEYSUCKLE TEA HOUSE: The Holland Brothers; 2-4 p.m., free. IRREGARDLESS: Gene O’Neill; 10 am. Emily Musolino; 6 p.m. LONDON BRIDGE PUB: Q Soul; 2 p.m., free. MARCOMS: Bernie Lamb’s Hangover Cafe; 2 p.m. MYSTERY BREWING PUBLIC HOUSE: Tea Cup Gin; 8:30-10:30 p.m., free. NEPTUNES PARLOUR: Gray Young, Poinsettia; 9 p.m., $5.

THE PINHOOK MRS. ADAM SCHATZ Adam Schatz keeps busy with an array of different projects. He’s the leader of Landlady, a brainy and melodic and strange pop-rock band, and a sideman in Philly weirdos Man Man and Nashville country-rockers Those Darlins. He’s a founding member of improvised saxophone collective Father Figures and psychedelic soul nonet The Shoe Ins, and he plays in the Afrobeat band Zongo Junction. As a result, Mrs. Adam Schatz—his solo project built somewhat on improvisation—has a wide skill set to tap. With Made of Oak (Sylvan Esso’s Nick Sanborn) and Sunless. $7/8 p.m. —PW POUR HOUSE: The Setlist Live Video Shoot; 1 p.m., free. Kiss The Curse, Adage, Break The Skyline; 9 p.m., $8–$10.

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JUNE 24, 2015

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PHOTO BY KALEB MARSHALL

MUSIC

DESTRUCTION UNIT | TUE, JUNE 30

NEPTUNES PARLOUR, RALEIGH—Heat has a way of warping your mind. Bake in the sun long enough, and those ripples of light on the horizon might look like water. Bake too long at an outdoor concert, and the tunes get screwy, too. Perhaps it’s the Arizona heat, then, that makes the music of Destruction Unit so damaged. Adrift between Hawkwind’s mythical churning, krautrock’s exacting energy and the bluntforce savagery of straight-ahead punk, the longstanding Phoenix outfit—reborn with a mostly new lineup before the 2013 LPs, Void and Deep Trip—is bruising and immersive. Led by former Reatards member Ryan Rousseau, Destruction Unit contorts walls of burly guitars at unexpected angles. The sound is like a fit of rage so intense that your consciousness blurs. You focus on the smoldering fire of your anger and not on what’s actually making you mad, negative impulses driving you more than mere logic. Maybe it’s the temperature? The desert, guitarist Jes Aurelius told the blog Delayed Gratification late last year, informs everything they do. They’re also captivated by the freewheeling spirit of the Old West— “Living on our own terms and making sure we’re one step ahead of the law is very much an everyday part of our lives,” Aurelius said. But it’s the intensity of the elements around them that seems to impact their music most. “I purposefully leave my guitar and amp in the car every 120plus degree day of summer,” Aurelius added. “That’s where the desert sound comes from. It’s a very conscious thing.” “If Death Ever Slept,” the lead single from Destruction Unit’s forthcoming LP Negative Feedback Resistor, is a ferocious example of these powers. The relentless hardcore rhythm mutates beneath twisting distortion, lending a cosmic edge to the group’s volatility. Though it’s a catchy punk song at its core, Destruction Unit tears it apart, fashioning something new out of the remains. Black Zinfandel opens. 9:30 p.m., $8, 14 W. Martin St., Raleigh, 919-833-1091, www.kingsbarcade.com. —Jordan Lawrence

SMOKIN GROOVES BAR & GRILL: Topmics Tour; 8 p.m., $10. STATION AT SOUTHERN RAIL: Doug Largent Trio; 7 p.m. STEEL STRING BREWERY: The Porchmen; 4-6 p.m.

THE RITZ CHRISETTE MICHELE “It’s been seven years of nothing but music. There has never been a ‘Who is Chrisette Michele?’ moment,” said the Grammywinning soul singer during a 2014 interview with MadamNoire

INDYweek.com

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about being on the reality show, R&B Divas: LA. Michele, however, exited the show mid-season. Good for her, as Michele is much more than a washed-up diva. She’s a working R&B pearl whose movement between the high sights of “A Couple of Forevers” and the resilience of “Be Ok” has added to soul music’s sparkle. Her most recent EP, The Lyricists’ Opus, boasts the string-laden ballad “Together.” The song stands up to her award-winning work and comments on who she is: someone who wants you to be just as close to her music as you would be to your lover. $25/8 p.m. —ET

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Seshollowaterboys is a cobbledtogether assemblage of oddball emcees, working to mix Southern underground rap nostalgia with video-game bleeps, new age beats and occasional folk-punk. Pay attention to Memphis’ Xavier Wulf, who suggests a Triple Six Mafia CD misremembered and remixed by whoever scored Akira. He joins meandering cloudy croon-rapper Bones, plus Eddy Baker and Chris Travis, both connected to Three 6 worshipper SpaceGhostPurrp’s Raider Klan. With Tennis Rodman, ATAN and REFE. $25–$30/8 p.m. —BS

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POUR HOUSE: Rasta B., Kizzy Krew, Adoria B., Cirrocky, Greg Cox, Nige Hood; 9 p.m., $8.

SLIM’S OXENFREE Fire, If We’re Anything is the debut EP of New York City five-piece Oxenfree. A three-track blast of peppy and guitar-heavy indie rock, its songs come with the caffeinated jitters of The Strokes and the ambitious boy-girl

harmonies of New Pornographers and Broken Social Scene. The melodies are hooky and fleeting, hinting at some raw potential you hope this new band will continue to explore. With Lady God and The Wyrms. $5/9 p.m. —PW STATION AT SOUTHERN RAIL: SHAM (Tiger Room); 8 p.m., free. THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, JUN 30 BLUE NOTE GRILL: Mudbones Blues Jam; 7:30-11 p.m., free. GREGORIA’S KITCHEN: Latin Jazz Jam; 7 p.m. IRREGARDLESS: Douglas Babcock; 6:30 p.m. NEPTUNES PARLOUR: Destruction Unit, Black Zinfandel; 9:30 p.m., $8. See box, page 35. THE PINHOOK: Torres, See Gulls; 9 p.m., $12. See page 24. PITTSBORO ROADHOUSE: Dennis Cash; 6:30 p.m. POUR HOUSE: House of Whales, Villa*Nova; 9 p.m., $6. THE SHED JAZZ CLUB: Rising Stars Series; 8-10 p.m., $5. TIR NA NOG: Beer & Banjos: The Quarry; 7:30 p.m. TRINITY LOUNGE: Acoustic Rock with Adam Sampieri; 7-10 p.m.

WED, JUL 1 BEYÙ CAFFÈ: Beyù Jazz Playhouse featuring Kobie Watkins; 7 p.m. BIG EASY-RALEIGH: Glen Ingram; 6 p.m. BLUE NOTE GRILL: Nash Street Ramblers; 8 p.m.

CAROLINA THEATRE PAT BENATAR & NEIL GIRALDO Though no longer young, Pat Benatar still stands heartache to heartache with Neil Giraldo, her husband of more than 30 years. (She fared quite well on love’s battlefield, it seems.) With multiple smash hits in the 1980s, the singer did her part paving the way for the rise of the powerful frontwoman, of which you now will find many in Benatar’s native hood of Greenpoint, Brooklyn. She’s toured regularly in the 21st century, joining forces with veteran acts like Blondie, Cheap Trick, Journey, The Bangles and Cher for national and international jaunts. She remains a solid draw on her own. $40– $208.80/8 p.m. —JK

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JUNE 24, 2015

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CARTER-FINLEY STADIUM: The Rolling Stones, The Avett Brothers; 8 p.m., $69.50–$350. See page 22. THE CAVE: Milk Spot, Oso Oso; 9 p.m., $3. CORNER TAVERN: Chris Overstreet; 9 p.m.

DUKE GARDENS LAURELYN DOSSETT The résumé of Greensboro’s Laurelyn Dossett, a singersongwriter and co-founder of Polecat Creek, checks off nearly all the boxes of a successful roots-music North Carolina artist: Merlefest regular, North Carolina Symphony commission and tour, North Carolina Arts Council songwriting fellowship, title track on a Carolina Chocolate Drops record. Her story extends beyond state lines, however, in frequent A Prairie Home Companion performances and a track on the late Levon Helm’s Grammywinning record, Dirt Farmer—the song “Anna Lee” was originally written for the Triad Stage’s 2006 roots music version of Beowulf, Brother Wolf. $5–$10/7 p.m. —KM HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. IRREGARDLESS: Undermanned String Band; 6:30 p.m. THE ORIGINAL Q SHACK: Leroy Savage Group; 6:30-8:30 p.m., free. POUR HOUSE: Some Type of Stereo, Snatch the Snail; 9 p.m., $8–$10.

SLIM’S LITTLE WAR TWINS Philadelphia trio Little War Twins define themselves by a recipe: a pound of “mystic soul,” a tablespoon of pop and a dash of rock, marinated in electronics. They don’t follow that recipe to the letter, leaning heavier on rock than soul, of which there’s really very little. If there’s any mysticism at work, it’s a byproduct of the counter-rhythmic drumming of Patrick James McConnell pulling against the powerful wails of Gaetana Brown. Love Udder and eleveneven open. $5/9 p.m. —PW TRAVINIA ITALIAN KITCHEN: The Mike McPherson Group; 7 p.m. VIMALA’S CURRYBLOSSOM CAFE: Viswas Chitnis; 7 p.m.

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ADIUM: e Avett 50–$350.

t, Oso Oso;

Chris

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visualarts

boro’s gernder of off nearly all ul olina artist: O P E N I N G h Carolina THE BEEHIVE SALON: Jul n and tour, 1-Aug 22: The Beehive Salon uncil Art Challenge: The 1940s, work , title track inspired by hairstyles of the 1940s. e Drops 102 E Weaver St, Carrboro. 919ds beyond 932-4483, thebeehive-salon.com. frequent A CARY SENIOR CENTER: Jun on ack on the 24-Aug 24: Student Teacher Staff Show. 120 Maury O’Dell Place. 919mmyrmer—the 469-4081, www.townofcary.org. riginally CHAPEL HILL ART GALLERY: age’s 2006 Jul 1-10: Becoming Virtual. 1215 Beowulf, E Franklin St. chapelhillartgallery. 7 p.m. com.

Lamb &

Galleries

CUP A JOE: Jul 1-31: Mandala Manifesto. 2109-142 Avent Ferry Rd, Raleigh. 919-828-9886, cspot. com.

DAYLIGHT PROJECT Band; 6:30 SPACE: Jun 26-Jul 27: Landmark, photography by J.W. Fisher and J.T.

Leonard. — Fri, Jun 26, 6-9 p.m.: HACK: 6:30-8:30 Reception. 121 W Margaret Ln,

Hillsborough. www.daylightbooks.org.

e Type of INDYPICK ENO GALLERY: ail; 9 p.m., Jun 26-Aug 23: Birdland, work by

Tim Turner and Molly Cliff Hilts. — Fri, Jun 26, 6-9 p.m.: Reception. 100 S Churton St, Hillsborough. 919-883-1415, enogallery.net.

War Twins HILLSBOROUGH ARTS a recipe: a COUNCIL GALLERY: Jun 24-Jul 25: Invitation au Voyage, work by ”a a dash of Bernice Koff and Emily Lees. — Fri, Jun 26, 6-9 p.m.: Reception. tronics. recipe to 102 N Churton St. 919-643-2500, ier on rock hillsboroughartscouncil.org. re’s really LEE HANSLEY GALLERY: Jun mysticism 25-Aug 8: Ann Harwell: Looking t of the Skyward, quilted tapestries, plus mming of ceramics by In-Chin Lee. 225 ell pulling Glenwood Ave, Raleigh. 919-828ails of 7557, www.leehansleygallery.com. Udder and SKYLIGHT GALLERY: Fri, p.m. —PW

Jun 26, 6-9 p.m.: Too Much Stuff, one-night-only show with KITCHEN: a free art giveaway. 102 W King roup; 7 p.m. St, Hillsborough. 919-644-8637, LOSSOM skylightgallerync.com.

; 7 p.m.

THE COTTON COMPANY: Thru Jul 5: Justin Helms, abstract art. 306 S White St, Wake Forest. 919570-0087, thecottoncompany.net.

VILLAGE ART CIRCLE: Jun 26-Aug 24: Crossroads, work

submit!

DUKE CENTER FOR DOCUMENTARY STUDIES:

Thru Jul 29: Binnegoed: Coloured & South African Photography. — Thru Oct 3: Beyond the Front Porch 2015. 1317 W Pettigrew St, Durham. 919-660-3663, cdsporch. org.

by JJ Jiang and students. — Fri, Jun 26, 6-9 p.m.: Reception. 200 S Academy St #130, Cary. villageartcircle.com.

ONGOING INDYPICK

ADAM CAVE

Enchanted Forest, sculpture and installation by Greg Carter. 1151/2 E Hargett St, Raleigh. 919-8386692, adamcavefineart.com.

Close to the Earth, photography by Marthanna Yater. 401-B1 Foster St, Durham. 919-949-4847, bullcityarts.org.

CAPTAIN JAMES & EMMA HOLT WHITE HOUSE: Thru Jul 15: On the INDYPICK

Other Side of the Lens: The Photography of Leonard Nimoy. 213 S Main St, Graham.

CARY ARTS CENTER: Thru

Jul 20: Cary Arts Center Faculty. 101 Dry Ave. 919-469-4069, townofcary.org.

CARY TOWN HALL: Thru Jul

27: Paintings on Paper, work by Caroline Coven. 316 N Academy St. 919-469-4000, townofcary.org.

CEDAR CREEK GALLERY:

Thru Aug 16: Summer Still Life, vases and pitchers. — Thru Aug 16: Summer Still Life: A Collection of Vases and Pitchers. Free. 1150 Fleming Rd, Creedmoor. 919-5281041, cedarcreekgallery.com.

CHAPEL HILL PUBLIC LIBRARY: Thru Jul 31: Jim

Toub, works in pen and ink. 100 Library Dr. 919-969-2028, chapelhillpubliclibrary.org.

CLAYMAKERS: Thru Jul 10:

Quiet Earth, ceramics by Natalie Boorman, Charlie Evergreen and Tad Uno. Free. 705 Foster St, Durham. 919-530-8355, claymakers.com.

“HOLDING TWO TRUTHS” BY MEG STEIN

VISUAL ART

MEG STEIN: PUZZLING MARGINS FRIDAY, JUNE 26, DURHAM

THE CARRACK MODERN ART—“There was a time when the dimensions of things modified themselves, leaving a number of puzzling margins,” Marilynne Robinson wrote in her novel Housekeeping, giving Durham-based sculptor Meg Stein the title of her Carrack solo show. Puzzling Margins features 13 new sculptures—surreal, symbolically loaded tableaux made of retail refuse. The pieces disclose paradoxes and radiate gender anxiety. “Holding Two Truths” is a nightgown worn by a golden cloud of light with a jellyfishlike mass for its dark heart. In “Sea Change Laugh,” loofahs on the floor sprout stockings up the wall, suggesting both pistil and phallus. Feet with red cotton swabs for painted toenails hang above them, as if severed in a frantic escape up an imperceptible beanstalk. Stein, a UNC-Chapel Hill MFA graduate, recasts domestic and beauty items that ostensibly represent comforts as cages. Behind the sharpness of that leading edge is a softer, almost folkloric perspective, as if the scenes were almost-erased fairy tales or ghost stories. After this opening reception, the exhibit (which opened June 23) runs through July 4 and has numerous associated events, including an artist’s talk at 12:30 p.m. July 1. 6–10 p.m., free, 111 W. Parrish St., Durham, 704-213-6666, www.thecarrack.org. —Brian Howe

Jul 14: The New Mythology, work by Joe Rizzolo. 633 Corregidor St, Meband. 919-304-3378, www.cityofmebane.com/ artsandcommunity.asp.

MEREDITH COLLEGE JOHNSON HALL: Thru Nov

5: Annual Juried Student Art Exhibition. 3800 Hillsborough St, Raleigh.

MIRIAM PRESTON BLOCK GALLERY: Thru Jul 24: State of

NATURE ART GALLERY: Thru Aug 2: Transparent-Overlapping Images of Nature, work by Trena McNabb. 11 W Jones St, Raleigh. 919-733-7450 x369, naturalsciences.org.

FRANK GALLERY: Thru Jul 5:

BULL CITY ARTS COLLABORATIVE: Thru Jul 31:

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INDYPICK FINE ART CAROLINA GALLERY: Thru Jul

Jul 18: Mike Geary. 505 S Blount St, Raleigh. 919-757-9533, flandersartgallery.com.

Furniture Society Members Exhibit, juried exhibit of work by members from U.S. and Canada. 324 Blackwell St, Durham. 919-433-1570, americantobaccohistoricdistrict. com.

JUNE 24, 2015

the Print, works by contemporary North Carolina printmakers. 222 W Hargett St, Raleigh. 919-996-3610, www.raleighnc.gov/arts.

FLANDERS GALLERY: Thru

AMERICAN TOBACCO CAMPUS: Thru Jul 31: HOME: The

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ERUUF ART GALLERY: Thru Jul 2: Layered Openings, work by Annie Nashold. 4907 Garrett Rd, Durham. 919-489-2575, eruuf.org.

3: The Spirit of Art by Faiq Haddad. 116 W Clay St, Mebane. 919-4555965, FineArtCarolina.com.

FINE ART: Thru Jul 6: The

PHOTO COURTESY OF MEG STEIN

People and Places, oil paintings by Julia Harmon and Carroll Lassiter. — Thru Aug 9: Overtures, multimedia work by various artists. 109 E Franklin St, Chapel Hill. 919636-4135, www.frankisart.com.

GALLERY C: Thru Aug 1: The Magical Realm of Haitian Art. 540 N Blount St, Raleigh. 919-8283165, www.galleryc.net. HALLE CULTURAL ARTS CENTER: Thru Jul 18: Colored

Pencil Society of America, plus photography by Kat Cays and woodwork by Jon Ulrick. — Fri, Jun 26, 6-8 p.m.: Reception. 237 N Salem St, Apex. 919-249-1120, www.thehalle.org.

HERBERT C YOUNG COMMUNITY CENTER: Thru

Jul 27: Remnants of a Technical World, work by Leatha Koefler. 101 Wilkinson Ave, Cary. 919-4604965, www.townofcary.org.

ORANGE COUNTY MAIN LIBRARY: Thru Aug 1: Summer

Art Show, photographs by Bruce Weber; watercolors by Jeeyhun Hoke; acrylic/mixed media by Marie Lawrence. 137 W Margaret Ln, Hillsborough. 919-245-2525, www.co.orange.nc.us/library.

PAGE-WALKER ARTS & HISTORY CENTER: Thru Aug

16: Impressions in Color and Light, work by Karen Meredith. — Thru Aug 16: Visions of Yesteryear, portraits by Kevin Peddicord. — Thru Aug 16: Out of the Flames, ceramics by Andi Dees. 119 Ambassador Loop, Cary. 919-4604963, friendsofpagewalker.org. INDYPICK PLEIADES GALLERY: Thru Jul 25: A Body in

Fukushima, photographs of dancer Eiko Otake in Fukushima, Japan by William Johnson. 109 E Chapel Hill St, Durham. 919-797-2706, PleiadesArtDurham.com. INDYPICK POWER PLANT GALLERY: Thru Aug 22: Phone

JOHNNY’S GONE FISHING:

Home Durham. 320 Blackwell Street, Suite 100, Durham. 919660-3622.

INDYPICK LIGHT ART + DESIGN: Thru Jul 3: Butterflies

THE SCRAP EXCHANGE: Thru Jul 18: Beauty Through Toxicity, work by Denise Hughes. 2050 Chapel Hill Road, Durham. 919688-6960, scrapexchange.org.

Thru Jul 31: Joan Vandermeer, paintings. 901 W Main St, Carrboro. 919-932-5070, carrboro.com/jgf.

are Free: Women in Photography, work by Sarah Cioffoletti, Tama Hochbaum, Leah Sobsey and Barbara Tyroler. Free. 601 W Rosemary St, Chapel Hill. 919-9427077, lightartdesign.com.

LITMUS GALLERY: Thru Jul 24: Bi-Polar Photography, work by Charlie Dickens and Mike Lewis. 312 W Cabarrus St, Raleigh. 919571-3605, www.litmusgallery.com. MEBANE ARTS & COMMUNITY CENTER: Thru

SUNFLOWER STUDIO & GALLERY: Thru Jul 9: Recent

Abstract Photographs: Comforter Series, work by Victoria Powers. 214 E Jones Ave, Wake Forest. 919570-0765, sunflowerstudiowf.com. INDYPICK THROUGH THIS LENS: Thru Aug 1: Photography

of Dance, work by Chris Walt. 303 E Chapel Hill St, Durham. 919-6870250, www.throughthislens.com.

UMSTEAD HOTEL & SPA:

Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent DEADLINE Wednesday 5 p.m. for the following week’s issue. Thanks!

INDYweek.com installation by Allison Hunter. — Thru Sep 13: Director’s Cut: Recent Photography Gifts to the NCMA. 2110 Blue Ridge Rd, Raleigh. Info 919-839-6262, tickets 919-7155923, www.ncartmuseum.org.

NC MUSEUM OF HISTORY:

Thru Aug 2: North Carolina State Highway Patrol: Service, Safety, Sacrifice, highlighting the organization’s history and showcasing vehicles, firearms, uniforms and more from 1929 to the present. — Thru Sep 5: Starring North Carolina!, featuring memorabilia from films shot in North Carolina. $6–$10. — Thru Sep 27: Rural Revival: Photographs of Home and Preservation of Place,

“BIRDLAND V” BY TIM TURNER Tim Turner and Molly Cliff Hilts’ show of paintings and drawings about avian life, Birdland (Eno Gallery, June 26–Aug. 23), has its opening reception Friday, June 26 from 6 to 9 p.m. 100 S. Churton St., Hillsborough, 919-883-1415, www.enogallery.net. Thru Aug 30: Madonna Phillips, mixed media glass work. 100 Woodland Pond, Cary. 919-4474000, www.theumstead.com. INDYPICK

VESPERTINE:

Thru Jul 5: IMPACT. 118 B E. Main St, Carrboro. 919-356-6825.

Art Related

COMMUNE DAY FESTIVAL:

Sat, Jun 27, 12-9 p.m.: picnic, art vendors, live music, farm tours and more. $5–$10, under 6 free. Elodie Farms, 9522 Hampton Rd, Rougemont. 919-479-4606, www. elodiefarms.com/.

FARM TO TABLE: Sun, Jun 28,

2-4:30 p.m.: Meet and greet local artists. Free. Carrboro Branch Library, 900 Old Fayetteville Rd. 919-969-3006, www.co.orange. nc.us/library/carrboro.

THE FOUNDING OF THE FARM AT BLACK MOUNTAIN COLLEGE: Tue, Jun 30, 10:30 a.m. & 7 p.m.: David Silver shares photographs and new research into the origins of the farm at Black Mountain College. James B. Hunt Jr. Library, 1070 Partners Way, Raleigh. 919-513-7031.

Museums

ACKLAND ART MUSEUM:

Thru Aug 9: Potters Four, work by Blaine Avery, Doug Dotson, Bruce Gholson and Samantha Henneke in the museum store. Free. 101 S Columbia St, Chapel Hill. 919-8431611, www.ackland.org.

CAM RALEIGH: Thru Sep 7: The

Nothing That Is, five-part show featuring work by more than 85 artists. $5. — Thru Sep 13: Big Bent Ears: A Serial in Documentary Uncertainty, work exploring the nature and craft of listening. $5. 409 W Martin St. 919-261-5920, camraleigh.org.

NASHER MUSEUM OF ART: Thru Jul 12: Open This

End: Contemporary Art from the Collection of Blake Byrne. — Thru Aug 30: Colour Correction: British and American Screenprints, 196775. 2001 Campus Dr, Durham. 919684-5135, nasher.duke.edu.

NC MUSEUM OF ART: Thru

Aug 2: Field Guide: James Prosek’s Un/Natural World. — Thru Aug 23: The Patton Collection: A Gift to North Carolina. — Thru Sep 13: Zoosphere, animal-based video

PHOTO COURTESY OF ENO GALLERY

MACBETH

photographs by Scott Garlock of abandoned and old buildings in eastern and northeastern North Carolina. free. — Thru Feb 28, 2016: Hey America!: Eastern North Carolina and the Birth of Funk. 5 E Edenton St, Raleigh. 919-807-7900, www.ncmuseumofhistory.org.

NC MUSEUM OF NATURAL SCIENCES: Thru Aug 16: Dig It!

11 W Jones St, Raleigh. 919-7337450, www.naturalsciences.org.

Comedy

COMEDYWORX THEATRE:

Fridays, 8 p.m.& Saturdays, 4 & 8 pm: ComedyWorx Improv Show, 2 teams of improv comedians earn points by making the audience laugh. $6-12. — Fridays, 10 p.m.& Saturdays, 10 pm: The Harry Show, Ages 18+. Improv host leads latenight revelers through potentially risque games, with audience volunteers brought onstage to join in. $10. 431 Peace St, Raleigh. 919829-0822, comedyworx.com.

DSI COMEDY THEATER:

Wed, Jun 24, 8:30 pm: Comedy Lottery. $6. — Thu, Jun 25, 7 pm: Duets. $6. — Thu, Jun 25, 8:30 pm: Harold Night: BASIC, Power Pose, Lost Colony. $6. — Thu, Jun 25, 10 pm: Stranger Danger. Free. — Fri, Jun 26, 7 pm: Primetime. $10. — Fri, Jun 26, 8:30 pm: The Thrill. $10. — Sat, Jun 27, 7 pm: Humor Games. $10. — Sat, Jun 27, 8:30 pm: Spring Loaded. $10. — Tue, Jun 30, 8:30 pm: Casual Sets. $6. — Fridays, 10 pm: Mister Diplomat. Free. — Fridays, 11 pm: The Jam. Free. — Saturdays, 10 pm: Pork, 5 NC comics perform. Free. 462 W Franklin St, Chapel Hill. 919-338-8150, dsicomedytheater.com.

FLEX NIGHTCLUB: Thursdays,

midnite: Trailer Park Prize Night, comedy drag show with gag prize giveaways. 2 S West St, Raleigh. 919-832-8855, www.flex-club.com.

JUNE 24, 2015

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Rd, Raleigh. 919-847-8205, www. sfaraleigh.org.

Theater OPENING WAIT UNTIL DARK: Wed, Jun 24, 7:30 pm: $5–$18. NCSU Campus: Titmus Theatre, 2241 E Dunn Ave, Raleigh.

ONGOING THE COLOR PURPLE: Thu, Jun

25, 8 pm, Fri, Jun 26, 8 pm, Sat, Jun 27, 2 & 8 p.m.& Sun, Jun 28, 2 pm: $24–$29. St Francis of Assisi Catholic Church, 11401 Leesville

performance

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INDYPICK A FEW GOOD MEN: Wed, Jun 24, 8 pm, Thu,

Jun 25, 8 pm, Fri, Jun 26, 8 pm, Sat, Jun 27, 2 & 8 p.m.& Sun, Jun 28, 3 pm: Kennedy Theater, 2 E South St, Raleigh. 919-996-8700, dukeenergycenterraleigh.com.

HARBOR HOPE: June 18-20, 7:30 p.m., Sun., June 21, 2 p.m. and June 25-27, 7:30 p.m. $10–$13. Common Ground Theatre, 4815-B Hillsborough Rd, Durham. 919-3847817, www.cgtheatre.com. INDYPICK MACBETH: Thru Jun 27, 8 pm: $17. Raleigh Little

CARLY AQUILINO

GOODNIGHTS: Thu, Jun 25, 8 pm, Fri, Jun 26, 7:30 & 10 pm, Sat, Jun 27, 7:30 & 10 p.m. & Sun, Jun 28, 7:30 pm: Carly Aquilino. $18– $32. See box, this page. — Wed, Jun 24, 8 pm, Tue, Jun 30, 8 p.m.& Wed, Jul 1, 8 pm: North Carolina’s Funniest Preliminary. $10–$18. — Saturdays, 10:30 pm: Anything Goes Late Show. Free. 861 W Morgan St, Raleigh. 919-828-5233, www.goodnightscomedy.com. LLOYD’S LOUNGE: Second & Fourth Wednesdays, 9 pm: Out & Out Comedy Open Mic, With host B.I.S.H.O.P. Omega. 919-4107575, TAO@JustAskTruitt.com. 704 Rigsbee Ave, Durham. THE COMEDY ZONE CLAYTON: Fri, Jun 26, 8 & 10

p.m.& Sat, Jun 27, 7 & 9 pm: Kurt Green. $10. 8928 U.S. 70 Business #500. 919-879-8349, comedyzoneclayton.com.

TIR NA NOG: Mondays, 8:30

pm: Cure for the Mondays, Weekly comedy night. 218 S Blount St, Raleigh. 919-833-7795, tnnirishpub.com.

TOOTIE’S: Sat, Jun 27, 7:30 pm, Sat, Jul 11, 7:30 pm, Sat, Jul 18, 7:30 p.m.& Sat, Jul 25, 7:30 pm: ComedyMongers Open Mic. $5, free for comedians. 704 Rigsbee Ave, Durham. 984-439-2328.

COMEDY

PHOTO BY RICK WENNER

CARLY AQUILINO

THURSDAY, JUNE 25–SUNDAY, JUNE 28, RALEIGH

GOODNIGHTS COMEDY CLUB—Carly Aquilino is the Mrs. Slocombe of stand-up comedy. Much like the character from the BBC screwball sitcom (and PBS favorite) Are You Being Served?, Aquilino’s hair goes through many shades of the rainbow, from deep magenta to pumpkin-orange to cotton candy-pink. “[Women] change our hair when something traumatic happens to us,” Aquilino once said, “and obviously, I’ve been through a lot of shit.” But more than her unpredictable locks, her comedic take on being a young female Millennial has made her the breakout star of the MTV2’s Girl Code, where a collection of funny girls riff and rant. If you’re a fan of Aquilino on the show (or you just want to see what the hell her hair looks like these days), she’s playing Goodnights for four nights straight this week. 8 p.m. Thurs.; 7:30 p.m. Fri.–Sun.; 10 p.m. Fri.–Sat., $18–$32, 861 W. Morgan St., Raleigh, 919-828-5233, www.goodnightscomedy.com. —Craig D. Lindsey

INDYweek.com Theatre, 301 Pogue St. Office 919821-4579, Tickets 919-821-3111, www.raleighlittletheatre.org. INDYPICK

SEA WALL: Thru

Jun 28: Burning Coal Theatre at the Murphey School, 224 Polk St, Raleigh. 919-834-4001, burningcoal.org.

Dance PA R T I C I PATO RY CIMARRON LATIN NIGHT: Last Fridays: Salsa, merengue, bachata & reggaeton with DJ David Dice. Proceeds benefit enCOURAGE! Durham youth program. $5–$10. Saucy Crab Restaurant, 4020 Durham-Chapel Hill Blvd, Durham.

DURHAM DANCE WAVE:

Mondays, 7:30-9 pm: $7. www. durhamdancewave.com. Murphey School at the Shared Visions Retreat Center, 3717 Murphy School Rd, Durham. 919-616-2190.

ISRAELI FOLK DANCE:

Thursdays, 7-8:30 pm: Beginners welcome. $3. 919-354-4936. Levin Jewish Community Center, 1937 W Cornwallis Rd, Durham. 919-4895335 x16, www.levinjcc.org.

Durham Performing Arts Center, 123 Vivian St. Info 919-688-3722, Tickets 919-680-2787, dpacnc. com.

AWKWARD MAGIC: Sat, Jun

27, 9 pm, Sun, Jun 28, 7 & 9 pm, Mon, Jun 29, 7 & 9 pm, Tue, Jun 30, 7 & 9 p.m.& Wed, Jul 1, 7 & 9 pm: $16.25. Motorco Music Hall, 723 Rigsbee Ave, Durham. 919901-0875, motorcomusic.com.

DYNAMIC DUOS: Mon, Jun 29, 8-10 pm, Tue, Jun 30, 8-10 p.m.& Wed, Jul 1, 8-10 pm: $10–$27. Duke Campus: Reynolds Industries Theater, Bryan Center, West Campus, Durham.

TRIANGLE COUNTRY DANCERS: Fri, Jun 26, 7:30

pm: with caller Chuck Abell. $10. Reality Center, 916 Lamond Ave, Durham. 919-688-7776, realityministriesinc.org.

TRIANGLE FOLK DANCERS: Wednesdays, 7:30-10 pm: Recreational international folk dancing. Lesson at 7:45 pm. $3. Beth El Synagogue, 1004 Watts St, Durham. 919-682-1238, betheldurham.org.

CIMARRON LATIN NIGHT:

Last Fridays, 10 pm: $5–$10. 4020 Lounge, 4020 Durham-Chapel Hill Blvd, Durham.

TRIANGLE SINGLES DANCE CLUB: Sat, Jun 27, 8 pm, Fri, Jul 3, 8 pm, Sat, Jul 11, 8 pm, Fri, Jul 17, 8 pm, Sat, Jul 25, 8 p.m.& Fri, Jul 31, 8 pm: Alcohol-free 50+ singles social club. $5–$8. Northbrook Country Club, 4905 North Hills Dr, Raleigh.

PERFORMANCE ADF CHILDREN’S SATURDAY MATINEES: Sat, Jun 27, 1 p.m.& Sat, Jul 25, 1 pm: $16–$32.25.

JUNE 24, 2015

•

sports

INDYPICK HERE AND NOW: NC DANCES: Thu, Jun 25, 7-8:30

& 9-10:30 pm: four dance works by North Carolina choreographers Anna Barker, Shaleigh Comerford, Kristen Jeppsen Groves and Karola Luttringhaus. $10–$16.25. Duke Campus: Reynolds Industries Theater, Bryan Center, West Campus, Durham.

Spectator

INDYPICK SOLEDAD BARRIO AND NOCHE FLAMENCA: Fri, Jun 26, 8 p.m.&

DURHAM BULLS VS. TOLEDO MUD HENS: Wed,

Jun 24, 1:05 p.m. & Thu, Jun 25, 7:05 p.m.: Durham Bulls Athletic Park, 409 Blackwell St. Info 919687-6500; tickets 919-956-2855, durhambulls.com.

Sat, Jun 27, 7 pm: $10–$51.50. Durham Performing Arts Center, 123 Vivian St. Info 919-688-3722, Tickets 919-680-2787, www. dpacnc.com. See story, page 25.

RALEIGH FLYERS VS. NASHVILLE NIGHTWATCH:

Sat, Jun 27, 7 p.m.: ultimate frisbee. $4.99-$12.99. Cardinal Gibbons High School, 1401 Edwards Mill Rd, Raleigh. cghsnc. org. See story, page 16.

books

SUNDAY SALSA SOCIAL:

Sundays, 6:30-9:30 pm: Every Sunday social featuring mostly Salsa along with Bachata, Merengue, Cha Cha and Kizomba. Lesson: 6:30 p.m. DJ Dance: 7 p.m. $6. www.dancegumbo.com. Triangle Dance Studio, 2603 S Miami Blvd, Durham.

•

Readings & Signing

BOOKS & BEER: DAIVD KLEIN & MARTY SMITH:

Thu, Jun 25, 5-7 p.m.: Roost Beer Garden, 2000 Fearrington Village Center, Pittsboro. 919-542-1239, www.fearrington.com/eateries/ roost-beer-garden.

BRUCE J. HILLMAN: Thu, Jun 25, 7 p.m.: with The Man Who Stalked Einstein: How Nazi Scientist Philipp Lenard Changed the Course of History. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, www.quailridgebooks.com. INDYPICK DR. CHARLES D. THOMPSON, JR.: Wed, Jun

24, 7 p.m.: with Border Odyssey: Travels Along the US-Mexico Divide. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-9427373, www.flyleafbooks.com.

JOEL BOURNE: Wed, Jun 24,

7 p.m.: with In The End of Plenty: The Race to Feed a Crowded World. Regulator Bookshop, 720 Ninth St, Durham. 919-286-2700, www.regulatorbookshop.com. INDYPICK

MATTHEW “Q”

QUICK: with Love May Fail: A Novel. — Wed, Jun 24, 7 p.m.: Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, quailridgebooks.com. — Thu, Jun 25, 7 p.m.: Regulator Bookshop, 720 Ninth St, Durham. 919-286-

2700, regulatorbookshop.com. — Fri, Jun 26, 7-8 p.m.: Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, flyleafbooks.com. See box, this page.

MEGAN GEORGE: Fri, Jun 26,

6-9 p.m.: with Modern Terrarium Studio: Design + Build Custom Landscapes with Succulents, Air Plants + More. Free. West Elm, 6910 Fayetteville Rd , Ste 1375, Durham. 919-248-0865, www. WestElm.com.

MORRIS GLASS: Sat, Jun 27, 7

p.m.: with Chosen for Destruction: The Story of a Holocaust Survivor, with Carolyn Happer. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, quailridgebooks.com.

Literary Related

AUDIO UNDER THE STARS: HAUNTED:

Participatory

CAROLINA GODIVA TRACK CLUB ALL-COMERS TRACK MEET: Wednesdays, 7-9

p.m.; Thru Aug 5: See www. carolinagodiva.org for more information. summertrack2015@ carolinagodiva.org. Fetzer Field, 309 Stadium Dr, Chapel Hill. 919962-6000, www.goheels.com.

READING

MATTHEW QUICK: LOVE MAY FAIL THURSDAY, JUNE 25, DURHAM

THE REGULATOR BOOKSHOP—Sony has already picked up the movie rights on Matthew Quick’s latest novel, released earlier this month. And why not? Quick’s Silver Linings Playbook was an award-winning movie success, and Love May Fail traffics in similarly broken characters who refuse to let life beat them. Written in four distinct sections, the novel begins with Portia Kane fleeing a bad marriage to a Florida porn king and returning home to New Jersey against her better instincts. From there it segues into a series of narrators with varying viewpoints, all marked by Quick’s typical surface froth that masks dark undercurrents, which has landed the Outer Banks-based author on recent reading lists from Cosmo and Marie Claire. Quick also appears at Quail Ridge Books & Music (June 24, 7 p.m.) and Flyleaf Books (June 26, 7 p.m.). 7 p.m., free, 720 Ninth St., Durham, 919-286-2700, www.regulatorbookshop.com. —Curt Fields

INDYPICK

Fri, Jun 26, 8-10 p.m.: stories about obsessions, fixations and otherworldly encounters. Duke Campus: Center for Documentary Studies, 1317 W Pettigrew St, Durham. 919-660-3663, www. cdsporch.org.

musicians & lyricists welcome. All performances a cappella or acoustic. $5. www.citysoulcafe.splashthat. com. Smokin Grooves Bar & Grill, 2253 New Hope Church Rd, Raleigh.

CITY SOUL CAFE POETRY & SPOKEN WORD OPEN MIC:

Wed, Jun 24, 7:30 p.m.: $12. Motorco Music Hall, 723 Rigsbee Ave, Durham. 919-901-0875, www.motorcomusic.com.

Wednesdays, 8-10 p.m.: With host Dasan Ahanu. Poets, vocalists,

THE MONTI STORY SLAM: MISHAPS AND BLUNDERS:

SACRIFICIAL POETS TOUCHSTONES OPEN MIC:

First Wednesdays, 6:30-8:30 p.m.: www.sacrificialpoets.com. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, www.flyleafbooks.com.

GILDAN ESPRIT DE SHE: THE SPIRIT OF HER RACE SERIES: Thu, Jun 25, 7-9:30 p.m.:

Happy hour begins with a fun 5K or 10K run and ends with a postrace market. $25-$55. akbrinson@ rlfcommunications.com. Koka Booth Amphitheatre, 8003 Regency Pkwy, Cary. 919-462-2025, boothamphitheatre.com.

TEAM ON DRAFT BIKE RIDE:

Wednesdays, 6 p.m.: Riders should be able to hold a 15 mph pace for 18 miles, and have your own helmet, water, pump and spare tube. The Glass Jug, 5410 Hwy 55, Durham. 919-813-0135.

UNITY CUP INDOOR SOCCER TOURNAMENT: Fri, Jun 26, 5-11

p.m., Sat, Jun 27, 7 a.m.-11 p.m. & Sun, Jun 28, 7 a.m.-5 p.m.: Indoor soccer tournament for all ages, youth and adult. 6v6 format. 919810-4911, info@play4oneworld. com. XL Soccer World, 5600 Hillsborough St, Raleigh. 919-8104911, www.xlsoccerworld.com.

WEDNESDAY BIKE RIDE:

Wednesdays, 6 p.m.: Crank Arm Brewing Co, 319 W Davie St, Raleigh. www.crankarmbrewing.com.

WEST END RUN CLUB:

Tuesdays, 6 p.m.: DSI Comedy Theater, 462 W Franklin St, Chapel Hill. 919-338-8150, dsicomedytheater.com.

INDYweek.com

BILL BURTON ATTORNEY AT LAW

Un c o n t e s t e d Di vo rc e Separation Mu s i c Bu s i n e sAgreements s Law In c o r p o r a t i o nUncontested / L LC / Pa r t n e r s h i pdivorce Music business law Wi l l s Incorporation/LLC C o l l e c t i o n s Wills

967-6159

(919) 967-6159

The INDY’s Guide to Dining in the Triangle

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JUNE 24, 2015

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INDYweek.com

film Special Showings

APOLLO 13: Thu, Jun 25, 8:30 p.m.: free. Wallace Plaza, 150 E Rosemary St, Chapel Hill. THE BIG LEBOWSKI: Fri, Jun 26, 8 p.m.: $1. 919-682-9145, REArecreation@gmail.com. Village Lanes, 330 N Hardee St. Durham. UNC-TV PRESENTS: PBS ONLINE FILM FESTIVAL SCREENING: Fri, Jun 26, 8-11 p.m.: Free. 919-549-7061, www.unctv.org/content/ pbsfilmfestival. Motorco Music Hall, 723 Rigsbee Ave, Durham. 919-901-0875, motorcomusic. com. See page 31. THE KING OF KONG: A FISTFUL OF QUARTERS: Fri, Jun 26, 8:15 p.m.: free. Raleigh City Plaza, 400 block of Fayetteville St. See box, this page. THE HUNDRED-FOOT JOURNEY: Fri, Jun 26, 9 p.m.: $5, free for members. NC Museum of Art, 2110 Blue Ridge Rd, Raleigh. Info 919-8396262, tickets 919-715-5923, ncartmuseum.org. BIRDMAN: Sat, Jun 27, 9 p.m.: $5, free for members. NC Museum of Art, 2110 Blue Ridge Rd, Raleigh. Info 919-8396262, tickets 919-715-5923, ncartmuseum.org. GUARDIANS OF THE GALAXY: Sun, Jun 28, 2 p.m.: free. Chapel Hill Public Library, 100 Library Dr. 919-969-2028, chapelhillpubliclibrary.org.

befriends a classmate who has been diagnosed with cancer. Rated PG-13. TED 2—This Seth MacFarlane sequel stars Mark Wahlberg and a talking stuffed bear. Ted must prove he’s a person to be allowed to sire a child. Rated R.

COINTELPRO 101: Sun, Jun 28, 5:30 p.m.: documentary about the FBI’s Counter Intelligence Program. Cuban Revolution, 318 Blackwell St, Durham. 919-6874300, thecubanrevolution.com. WHATEVER HAPPENED TO BABY JANE: Tue, Jun 30, 7 p.m.: free. Nightlight, 405 1/2 W Rosemary St, Chapel Hill. 919960-6101, nightlightclub.com. PRETTY IN PINK AND SIXTEEN CANDLES: Tue, Jun 30, 9 p.m.: free. Local 506, 506 W Franklin St, Chapel Hill. 919942-5506, www.local506.com.

Film Capsules

Our rating system uses one to five stars. If a movie has no rating, it has not been reviewed. Signed reviews by Curt Fields (CF), Brian Howe (BH), Laura Jaramillo (LJ), Kathy Justice (KJ), Craig D. Lindsey (CDL), Glenn McDonald (GM), Neil Morris (NM), Lauren Vanderveen (LV), Ryan Vu (RV) and Isaac Weeks (IW).

Opening

MAX—A dog that worked with the Marines in Afghanistan returns to the U.S. and is adopted by a family after suffering a traumatic experience. Rated PG. ME AND EARL AND THE DYING GIRL—High schooler Greg makes parodies of classic movies with his co-worker Earl. His outlook on life changes after he

Current Releases

 AVENGERS: AGE OF ULTRON—Director Joss Whedon’s superior popcorn movie plugs the current A.I. trend (see Ex Machina, Her, et al) into a comic-book template. A rogue A.I. by the name of Ultron, voiced with delicious oiliness by James Spader, is out to destroy the Avengers, all of whom return from Whedon’s summer 2012 hit. Whedon’s script—a marvel of blockbuster efficiency—makes time to dig into each character’s comicbook psychology, including needling Hawkeye about his second-banana skill set. The movie never takes itself too seriously, and Whedon amplifies the jokey tone of its predecessor with funny dialogue and running gags. Of course, superhero movies need epic heroics as well, and the goods are delivered in stunning CGI showcases and inventive action sequences. Rated PG-13.—GM  1/2 CINDERELLA—Disney’s new live-action update is lavish, old-fashioned and frequently dull. Director Kenneth Branagh keeps it reverent and gorgeous, with none of the revisionist flash of Into the Woods or Maleficent. Lily James (Downton Abbey) is likable in the lead, and wily veterans Cate Blanchett and Helena Bonham Carter add flair. Rated PG. —GM DOPE—This well-reviewed comedy follows Malcolm, an African American geek surviving life in a tough neighborhood, whose life changes after a chance invitation

FILM

THE KING OF KONG: A FISTFUL OF QUARTERS

•

JUNE 24, 2015

•

Find times and locations in our Film Calendar at

FRIDAY, JUNE 26, RALEIGH

CITY PLAZA—Video game players now test their skills from home, on elaborate global leaderboards, but in the arcades of the late-20th century—an endangered species now enjoying a retro afterlife thanks to the rise of barcades such as The Baxter—they etched their initials and top scores on the screens of certain cabinets in their hometown malls and stores. Back in the day, I lost countless quarters behind the mirror-paneled, neon-scrawled exterior of Tilt, the arcade at Durham’s long-gone South Square Mall, and I had beef with random Street Fighter II players in the Wal-Mart lobby. Few films have captured the territorial days of competitive gaming better than The King of Kong, which focuses on the ’80s emergence of national scorekeeping organization Twin Galaxies as well as the rivalry between two top Donkey Kong players. Steve Wiebe is the mild family man who, after a lifetime of minor failures and bad luck, buys a Donkey Kong cabinet for his garage, becomes proficient and sets out, in the ’00s, to beat the record Billy Mitchell set in the ’80s. Mitchell is a cocky, oily showman, portrayed by director Seth Gordon almost as a villain you love to hate, and the reigning king makes it clear he’ll be defending his throne. As the competition escalates, it becomes fraught with various accusations of gamesmanship and cheating, and our initial sympathies get deeper and blurrier, as they always do in great documentaries. It’s a poignant double character study clasped in a vivid time capsule from when gamers were a secret tribe, prone to indifferent mullets and track clothes, standing spread-legged and blankly intent for hours in front of bleeping reflex-training machines, searching for arcane glory. 6–10:30 p.m. (movie at sundown), free, 400 block of Fayetteville Street, Raleigh, www. downtownraleighmovieseries.com. —Brian Howe to an underground party puts him in the middle of a Los Angeles adventure. Rated R.  ENTOURAGE—The film suffers from the same flaws the HBO series that inspired it did. Too many subplots centered on trying to get laid, getting laid by the wrong person or getting laid by the right person but screwing it up because of options A and B. Still, there are laugh-outloud moments and dozens of cameos that pop up like celebrity whack-a-mole. It’s all about

the bros—Vinny Chase (Adrian Grenier), Johnny Drama (Kevin Dillon), Eric (Kevin Connolly) and Turtle (Jerry Ferrara). The main plot focuses on Vinny’s directorial debut on a film for Ari (Jeremy Piven, stealing the movie with motormouth insults and rants, just as he did the series). The film is over budget and the Texas money behind it (Billy Bob Thornton and Haley Joel Osment) is tired of writing checks. Ari’s former assistant Lloyd (Rex Lee) is back, and he’s getting married! (The gay wed-

ding storyline is superfluous but everyone loves Lloyd so it’s nice to involve him.) If you liked the show, you’ll love the movie. Rated R. —CF  EX MACHINA—Writerdirector Alex Garland (28 Days Later) fills this film about an artificially intelligent humanoid named Ava with philosophical Find times and locations in our Film Calendar at www.indyweek.com.

INDYweek.com subtext. Ava isn’t just created by man. Her entire being is a digital repository of mankind’s history, including an urge for freedom and intimacy, but also a capacity for survival and deception. The plotline is a virtual point-bypoint update of The Island of Dr. Moreau, including an Eden-esque setting. The roles of deity, hero and villain are deliberately left undefined and rotate between the three main characters as the narrative slowly unspools. Rated R. —NM

FILM SCHEDULE 6/26 - 6/2 FRI, JUNE 26 AT 7 RETROAMORE FILM SERIES

SLEEPLESS IN SEATTLE ARTHUR

ME AND EARL AND THE DYING GIRL

DAILY 2:10, 4:20, 7:10, 9:20

LOVE AND MERCY FR 2 | SA-TH 2, 7

I’LL SEE YOU IN MY DREAMS

FR 4:30 | SA-TH 4:30, 9:30 DOWNTOWN DURHAM

919.560.3030 | carolinatheatre.org

ART

RALEIGH GRANDE

ME & EARL & THE DYING GIRL TED 2 • JURASSIC WORLD SPY • INSIDE OUT DOPE • MAX For times please go to website

THE RALEIGH GRANDE 4840 GROVE BARTON RD • RALEIGH

RALEIGHGRANDEART.COM

Doors open at 4pm Show starts at 5pm until 9pm 1st come, 1st served $15 per person 21 + older $25 per person 18-20 yearsof age Live radio feed from G105 & Adam and Eve Hilariously themed buffet! capitalcabaret.com 919.206.4040 6713 Mt Herman Rd • Morrisville (Located in Brier Creek, adjacent to RDU)

HHHH FAR FROM THE MADDING CROWD—This handsome pastoral romance based on the book by Thomas Hardy is an old-fashioned movie-going pleasure, the kind of film we just don’t get that often anymore. Lead actress Carey Mulligan turns in a stellar performance, as does British actor Michael Sheen, who portrays one of three suitors seeking to win the favor of Mulligan’s character. The other great performance in director Thomas Vinterberg’s film comes from cinematographer Charlotte Bruus Christensen, who treats light like a powdery tactile material. Her English countryside is a place of piercing greens, bruised clouds and buttery sunrises. Rated PG-13. —GM  1/2 FURIOUS 7—The actors fleshing out the wispy plot of the latest installment of the action-driving franchise are just along for the ride. Cars, the real stars, parachute from airplanes and leap between Abu Dhabi skyscrapers. By now, we’re in on the inanity, so a wink absolves the outlandishness, and the film entertains. Rated PG-13. —NM  HOME—In a fun alieninvasion story, this DreamWorks movie about misfit friendship adds Oh (Jim Parsons) to the pantheon of darling, accidentprone, animated outsiders. The voice acting (with Rihanna as Tip) rivals pairs such as Shrek and Donkey. Rated G. —LV I’LL SEE YOU IN MY DREAMS— Brett Haley’s comedic drama stars Blythe Danner as a widowed singer who is putting her life back together with help from her friends and a new love interest. The ensemble includes Rhea Perlman, Martin Starr and Sam Elliott. Rated PG-13.  1/2 INSIDE OUT—Audacious and overflowing with ideas, Inside Out tells the story of 11-year-old Riley and the five color-coded Emotions that live in her head—golden Joy (Amy Poehler), blue Sadness (Phyllis Smith), purple Fear (Bill Hader), red Anger (Lewis Black) and

green Disgust (Mindy Kaling). Director Pete Docter creates a visual extravaganza inside Riley’s mind, where memories are stored in bright orbs and anthropomorphized feelings travel, via the Train of Thought, to notional nooks like Imagination Land, Abstract Thought and the scary Subconscious. The story delivers a parade of delightful concepts— how facts and opinions get mixed up; how brain freeze works—with humor, goofiness and the kind of emotional intelligence we’ve come to expect from Pixar. Rated PG. —GM INSIDIOUS: CHAPTER 3—This horror franchise prequel provides backstory on the character of psychic Elise Rainier. Rated PG-13.  1/2 JURASSIC WORLD— Twenty-two years after the original classic, Jurassic World is a disappointing fossil in which only the tradition of dazzling special effects remains. Chris Pratt and Bryce Dallas Howard play the odd-couple leads (he’s loose, she’s uptight) and a couple of bland kids are put in peril as dinosaurs one again run amok. The action scenes are fun, especially on the big screen (with the big sound). But the rest of the movie is an assembly-line franchise endeavor, with phony emotional swells, dumbeddown dialogue and relentless product placement. The makers of Jurassic World don’t think much of their audience, and it shows. Rated PG-13. —GM LOVE & MERCY—Bill Pohlad’s biopic of Beach Boys visionary Brian Wilson focuses on the 1960s and 1980s, with Paul Dano playing the younger Wilson and John Cusack playing the older one. Rated PG-13.  MAD MAX: FURY ROAD—In Greek mythology, the Furies were goddesses of justice and vengeance. Mad Max: Fury Road takes cues from this feminist allegory while delivering the havoc the title also suggests. Director George Miller paints an immersive post-apocalyptic epoch where societal structure has been upended, and its most susceptible members are natural resources. The film is part superhero flick, part Western. Max (Tom Hardy) is a monosyllabic man-with-no-name until the last act, his taciturn manner hiding the scars of abuse and survivor’s guilt from the family he couldn’t protect. The movie’s most compelling champion, Furiosa (Charlize Theron), falls squarely in the lineage of action heroines Ellen Ripley and Sarah Conner. This is a

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gritty, wild ride. Rated R. —NM PAUL BLART: MALL COP 2—A security guard and his daughter stumble into a Las Vegas heist in this pointless sequel. Rated PG. PITCH PERFECT 2—After becoming the first all-woman group to capture a national title, scandal hits the Barden Bellas, threatening their last year at Barden College. To set things right, they must win the World Championships of A Cappella in Denmark. Rated PG-13. SAN ANDREAS—Dwayne “The Rock” Johnson goes head to head with a massive earthquake. Rated PG-13.  SPY—When she’s on her game, Melissa McCarthy is one of the funniest people on the planet, and her new comedy provides a pitch she can hit. McCarthy plays Susan Cooper, a desk-bound CIA analyst turned semi-reluctant field agent. It’s the Jack Ryan story played for laughs. Rose Byrne is the haughty villain, Jude Law joins in as the suave 007 type, and Jason Statham steals all his scenes as a meathead agent gone rogue. Not all the jokes work, but director Paul Feig (Bridesmaids) is smart enough to maintain an accelerated pace. When a joke doesn’t land, there’s no need to worry, because you know that three more gags are coming in fast. Rated R. —GM TOMORROWLAND—Given that Disney’s live-action film was written principally by Lost’s Damon Lindelof, it’s no surprise that its tantalizing premise fizzles in a flawed finale. Worse, this nostalgic Epcot Theme Park ride taints director Brad Bird (The Incredibles). Casey Newton (Britt Robertson), the precocious daughter of a NASA engineer (Tim McGraw), is jailed for sabotaging the disassembly of launch pads at Cape Canaveral. When she makes bail, she finds a “T”-emblazoned pin that gives her a glimpse into the futuristic Tomorrowland, stocked with the brightest minds. Casey must find Frank (George Clooney), an exile from the city, which has fallen into dystopian disrepair, to save it and our world. Their trip through the looking glass lacks joy and internal logic. With the world’s best dancers and windenergy engineers being recruited to rebuild paradise, couldn’t someone have tossed in a good screenwriter? Rated PG. —NM