INDY Week 1.18.17 by Indy Week

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ALSO: Immigrants in Hostile Territory p. 8 Sideman in the Spotlight p. 18 The Starship N.C. Symphony p. 21

Hillsborough Streetâ&#x20AC;&#x2122;s

Handel

A requiem for David McKnight: prodigy, journalist, politician, homeless street musician

By Ken Fine p. 10

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 1 6 Nearly four dozen congressional Democrats are skipping Donald Trump’s inauguration, including at least two-thirds of North Carolina’s Dem delegation. 8 A mass deportation, like the one originally proposed by Trump, could cost North Carolina upward of $10 billion a year. 10 In 1978, David McKnight—aka Hillsborough Street’s Handel— ran for U.S. Senate. A few years later, he was homeless. 14 Founded in Raleigh and nurtured in Durham, Horse & Buggy Press’s move spells good things for the letterpress printer and art gallery. 16 A rare copy of The White House Cook Book discovered in the Triangle sheds light on the Martha Stewart of the late 1800s 18 Having cofounded the “new wave Beatles” and played with R.E.M. and Hootie, Peter Holsapple is content to just make music. 21 The inclusive music of A Star Trek Spectacular reflects the show’s positive view of mankind and space exploration.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 16 Food 18 Music

Peter Holsapple at his home in Durham

PHOTO BY ALEX BOERNER

22 Arts & Culture 24 What to Do This Week

On the cover: ILLUSTRATION BY ANDREW SPEAR

26 Music Calendar 31 Arts/Film Calendar

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backtalk Appropriate Appropriation We begin with a comment on music editor Allison Hussey’s essay on her childhood obsession with Elvis Presley [“Elvis! Elvis! Let Me Be!” January 4]. “The word ‘appropriation’ in this article is used in a negative sense, leading one to think that singers such as Elvis Presley were stealing music they performed,” writes M.R. Wilcoxen. “This reminded me of a YouTube video playing Big Mama Thornton’s ‘Hound Dog’ back to back with Elvis’s version and stating that ‘Elvis stole the song.’ Actually, the songwriters made much more money from Elvis’s version than they did from Big Mama’s. “If anything, Elvis’s versions of songs from earlier records made many more music buyers aware of artists like Big Mama—and, for example, Arthur Crudup, Roy Brown, and Junior Parker. I bought records by all of these great artists because Elvis’s recordings brought those artists to my attention. Otherwise, it’s likely that I would never have heard of them. “I’m sure that it wasn’t intentional, but if there’s any stealing going on, it’s by Hussey, who didn’t think about the implications of her indicating that her ‘guitar teacher Max Drake’ gave her ‘a CD-R of Thornton’s Hound Dog: The Peacock Recordings.’ Burning a CD-R actually eliminates any chance a recording artist has of collecting any artist royalties from their work. “When introduced to other artists like ‘Memphis Minnie and other lesser-sung heroes,’ hopefully that wasn’t via artist-royalty-free CD-Rs as well.” Commenter Educate1 responds to Paul Blest’s story last week on an incident at Rolesville High School in which a school resource officer threw a teenage girl to the ground [“Deletable Resources,” January 11]— and, specifically, a wish by Jon Powell, the director of Campbell Law School’s Juvenile Justice Project and Restorative Justice Clinic, that Wake County would pull SROs out of its

schools. “I think we might see a reduction in arrests and out-of-school suspensions,” Powell was quoted as saying. “Yep, and there would be an increase in 911 calls,” Educate1 counters. “It’s very easy to say remove this, take this out, and don’t do this when you are not walking the halls with up to three thousand kids a day. And having one SRO on a campus the size of the high schools in Wake is a blessing. There’s a lot of stuff these advocates and supporters don’t see but want to rule on.” Finally, on Byron Woods’s recent story about the closing of Common Ground Theatre and the future of independent theater companies [“Fade to Black,” December 21], ShellByars writes: “I wholeheartedly agree with the position that there should be more structured, civic support for the thriving arts community in Durham. Imagine the growth for our community if there was stable, affordable, available space for this talented, creative group of resilient artists to thrive. “Common Ground Theatre was created with the mission of helping make that happen. For over a decade, it succeeded. It was a space where companies, artists, directors, writers, and musicians could share their talents and hone their crafts. The work that was produced within those four walls was often great, sometimes brilliant. Keeping the space affordable was always the mission. So it wasn’t the most beautiful building, and it was run with a small staff. But we all knew it was the spark of magic that happens when the lights go down, the world that was created through the relationship between the players and the audience that mattered the most.”

“There’s a lot of stuff these advocates and supporters don’t see but want to rule on.””

Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up on Twitter: @indyweek. INDYweek.com | 1.18.17 | 5

triangulator +BOYCOTT PUTIN’S PUPPET

As of Tuesday morning, at least forty-six congressional Democrats—nearly a quarter of the entire House Democratic caucus— have announced that they’re skipping Donald Trump’s inauguration Friday. Their reasons vary, but Representative Don Beyer of Virginia covers most of the bases: “I will not be part of normalizing or legitimizing a man whose election may well have depended on the the malicious foreign interference of Russia’s leaders,” he posted on Twitter, “a person who lies profusely and without apology, who mimics the disabilities of others, who insults anyone who dares disagree with him, who would demonize an entire spiritual tradition, and who has demonstrated again and again a profound disrespect for women.” The boycotters’ ranks swelled over the weekend, after Trump (who claimed a sore foot to dodge the draft) took to Twitter to insult civil rights icon John Lewis (who was beaten during the Bloody Sunday march in Selma, Alabama, in 1965) as “all talk” and characterize his Atlanta congressional district as a crime-ridden slum (it’s not). Lewis’s offense was to call Trump’s presidency illegitimate, on account of Russian meddling, and say he wouldn’t attend the inauguration. Now, nearly four dozen of his colleagues will join him—including U.S. Representative G.K. Butterfield, the former chairman of the Congressional Black Caucus, who told the INDY Tuesday morning that he would skip Friday’s festivities. “Donald Trump’s brand of division and insult, coupled with his lack of knowledge of the magnitude of the office he is about to enter, leads me to the conclusion that President-elect Donald Trump is not prepared for the position of president and commander-in-chief,” Butterfield said in a statement. “In addition, I have grave concerns about the Russian hacking of our election process and the role, if any, Donald Trump played in this unlawful activity.” Soon after the INDY broke that story, Representative Alma Adams, whose district stretches from Charlotte to Winston-Salem, announced her intention to skip the inauguration as well: “I cherish our democracy and have a profound respect for the peaceful 6 | 1.18.17 | INDYweek.com

transition of power,” she said. “However, I cannot in good faith and consciousness pretend to celebrate the inauguration of someone who has spoken so horribly about women, minorities and the disabled.” Among North Carolina’s congressional Democrats, that leaves David Price, whose district includes parts of Chapel Hill, Raleigh, and Durham. His office had not released a promised statement by press time; check indyweek.com for updates . If Price does end up skipping—in solidarity with Lewis, whose activism helped lead to the 1968 Fair Housing Act, which Trump was sued by the feds for violating—here’s an alternative. On Saturday, as hundreds of thousands of protesters march in Washington, the Women’s March on Raleigh will gather at ten a.m. in front of the Marriott on Fayetteville Street. According to Facebook pledges, more than twenty-five hundred people will be there. The march intends to send a “bold message to our new government” regarding women’s and—more generally—human rights. Residents are asked to use the hashtags #WomenMobilizeNC and #NoisyMajority to show their support.

+WOMEN’S WORK

Last week, the N.C. Budget & Tax Center released new data on North Carolina’s gender wage gap, throwing more cold water on former governor Pat McCrory and the General Assembly’s much-touted “Carolina Comeback”—at least for women, and especially for women of color. The report provided a statewide breakdown of North Carolina’s gender wage gap by race and ethnicity, outlining pay data for black women, white women, Asian-American women, Native American women, and Latinas. The results? Although women in the state already make less on average than their male counterparts (collecting 86 cents for every dollar that men make), women of color earn considerably less than that. Black women, for instance, net just 64 cents to the dollar. For Native American women, 58 cents. And Latinas in the state fare even more poorly: they earn just 48 cents for every dollar that men in the state earn. Those averages stay fairly consistent at the county level, with a few notable exceptions. Durham County has the smallest

overall wage gap: white women earn about 97 cents for every dollar that men make. But again, women of color don’t fare as well. Black women earn about 73 cents for every man’s dollar (still better than the state average), while Latinas earn just 41 cents to the dollar (less than the state average). Wake County, meanwhile, is below on all counts: 75 cents for white women, 57 cents for black women, and 40 cents for Latinas. And Alleghany County, in the northwest part of the state, has the most dismal statistic of all: there, according to the BTC, Latinas earn a mere 11 cents to the dollar. These discrepancies add up. If the wage gap were eliminated, the BTC estimates, women would make about $6,000 a year more on average. That could mean a year’s worth of groceries, five months of utilities payments, or almost eight months of rent. Those would not be minor gains for the more than half-million North Carolina families in which women are the primary breadwinners, or the one in four children in the state living in poverty. The wage gap persists as female Tar Heels are weighed down by other economic and social burdens. North Carolina has been named the eleventh-most expensive state for child care in the country—so costly, in fact, that a year of child care for an infant in the state is costlier than a year of college tuition at a public university. And, to add insult to injury, North Carolina (like many states) doesn’t have a law guaranteeing paid family and medical leave. It also doesn’t require employers to provide accommodations for pregnant or nursing women. These factors help make North Carolina one of the least gender-equal states in the country. A 2015 report by the Institute for Women’s Policy Research gave North Carolina a D-plus in measures evaluating Tar Heel women’s poverty and opportunity levels, health and well-being, and work and family culture. And, the report added, if current trends continue, women in North Carolina won’t be paid the same as men until 2064.

+STOP THE PIPELINE

Last spring, when members of the Superintendent’s Code of Student Conduct Task Force presented its recommendations

NORTH CAROLINA’S GENDER-WAGE GAP According to a new report, women make 86 cents per hour for every dollar that men make per hour in North Carolina. Women of color make even less.

Men $1.00

Women $0.86

Asian-American women $0.78 Black women $0.64 Native American women $0.58 Latinas $0.48

to Durham County Public Schools officials, their goal was to address what they described as an alarming disparity between the number of minority and white students disciplined inside and suspended from Durham schools. It’s an exciting plan, says teacher and

Source: N.C. Budget & Tax Center

Durham People’s Alliance education committee member Dabney Hopkins. The problem? The public’s largely unaware of it. Organizers of a meeting hosted by the Durham Committee on the Affairs of Black People and the People’s Alliance, scheduled for Thursday evening at six thir-

ty at the Hayti Heritage Center, hope to change that. School officials will be on hand to address goals that include stopping the school-to-prison pipeline and addressing racial gaps in discipline. “Suspensions have long been a concern,” Hopkins says. “And students of color have been disciplined at a higher rate than white students. That’s true.” According to a draft of the task force’s recommendations presented last year to the Board of Education, the desired outcomes include more explicit expectations for student behaviors and fostering a community dynamic that involves parents and families in an effort to increase graduation rates. The recommendations also call for better support for students with behavioral issues. Hopkins says she’s witnessed changes taking place as a result of the task force’s work, and she encourages residents to attend Thursday’s meeting so they, too, can feel a sense of optimism about the direction DCPS is heading in. “I really have seen some exciting changes on the inside that I think are definitely a good first step,” she says. “But it’s not really getting out there to the public. Everybody wants it to be out.” triangulator@indyweek.com

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aria is emphatic that North Carolina is her home. The native of Guanajuato, Mexico, who asked that her last name not be used, has been in the state for twenty years, longer than anywhere else she’s ever lived. She’s fifty-three years old, with straight dark hair and an easy laugh; she considers herself settled here. Both of her children study at universities in the state, and she’s made plenty of friends. While she’s currently looking for work—the family makes do on her husband’s job at a construction company—she volunteers with the North Carolinabased group El Pueblo as a health educator. She explains that last point enthusiastically: she’s a bashful English speaker, but chatty in Spanish. On serious topics, her voice drops to a whisper. “I love North Carolina,” she says. “I’ve had the opportunity to go to other states, and I don’t feel comfortable.” The only thing stopping Maria from feeling like a full-fledged Tar Heel is that she’s undocumented. And she’s bracing herself for the bitter fight to come over whether, in the era of Donald Trump, she’ll ever really be able to call North Carolina home. Maria’s predicament is not unique. She’s one of an estimated 350,000 undocumented immigrants living in North Carolina, part of the state’s rapidly growing Latino population (the eleventh largest in the nation). Roughly 890,000 Latinos live in the Tar Heel state, according to the Pew Research Center, comprising 9 percent of the state’s population. Like so many of the state’s undocumented immigrants, Maria is sorting through her options, given that the incoming administration and the state legislature are both openly hostile to her continued presence here. Her concerns run the gamut: President-elect Donald Trump’s pledge to deport eleven million undocumented immigrants (he has since backed away from that proposal, vowing instead to deport immigrants with criminal records); the looming threat of immigration raids; and the manifestations of Trump’s anti-immigrant rhetoric in everyday life in North Carolina. “The community is going through a very difficult time,” she says. “And this has so many impacts. Not just socially, but economically. We feel fear. Anguish. Stress. My kids worry about me. In any moment, they can separate us. And now, this stress has grown. I don’t want to go to the store, out the door. I feel like I’m in a corner, and Trump is looking for me, always.” But where Maria sees uncertainty, immigration advocates see a poweful political oppor-

tunity. Organizations like El Pueblo are encouraging immigrants and activists to fight for expanded rights in the halls of the General Assembly. Last weekend, in conjunction with the Global Day of Action to Protect Immigrants and Refugees, El Pueblo held a Know Your Rights Workshop for community members, immigrants, and allies, where speakers from El Pueblo, the ACLU, and the Mexican Consul of Raleigh outlined various state legislators’ positions on immigration and provided legal context on immigrant rights. “The goal of the workshop was, first and foremost, know your rights in the worstcase scenario like an immigrant raid,” says El Pueblo spokesman William Saenz. “But also fight to expand those rights. The General Assembly is going to be getting back to work soon with legislation and whatnot, so we’ll be preparing lobby days and having volunteers go to speak with representatives. The idea is, this is the information, and here is what you can do to act upon that.” They’ll have much to discuss. As Saenz points out, “We have seen a very anti-immigrant General Assembly.” Indeed, in 2015 former governor Pat McCrory signed into law a bill prohibiting municipalities from becoming sanctuary cities, barring government agencies and law enforcement officials from accepting ID cards issued by foreign governments, and expanding employers’ use of the E-verify program. Opponents argued that the bill would have a chilling effect on immigrant communities and dissuade immigrants from reporting crimes to law enforcement for fear of deportation. Elements of the legislature’s antipathy toward immigrants can be traced, in no small part, to massive demographic changes. Between 1990 and 2013, the immigrant population in North Carolina swelled by 551 percent, rounding out at an estimated 750,000. These newcomers have had profound affects on the state economy. A 2014 study by researchers at UNC-Chapel Hill found that immigrants contributed upward of $19 billion to the state’s economy in 2010, thus “underscoring the need for an open-door immigration policy.” On the other hand, a mass deportation, along the lines originally proposed by Trump, could cost the federal government nearly $900 billion over the next decade, according to the left-leaning Center

for American Progress. In North Carolina alone, CAP says, such a policy could amount to an annual GDP hit in excess of $10 billion. Still, proponents of these measures argue that undocumented immigrants hurt the state’s workers. As state representative George Cleveland, R-Onslow, who sponsored the sanctuary cities bill, said at its introduction in 2015: “We’ve allowed a huge illegal population in the state. We’ve taken away employment from our citizens. We’ve lowered the wage base because of the illegals working. Illegal aliens cost the state of North Carolina some $1.7 billion net, after all consideration of what they produce in taxes and whatnot toward government support.” Attitudes like this have led to a palpable sense in local immigrant communities that, documented or otherwise, they’re under attack. That’s why nearly three dozen people packed into El Pueblo’s Saturday-morning workshop, eager to hit the halls of the General Assembly. A young woman burst into tears when she recalled immigration agents stalking her home to nab her undocumented stepfather. She is now anxious at the sight of police cars, she explained, and wants to move. “They don’t even treat us like humans,” someone in the audience muttered. Given the conservative bent of the legislature—and the fact that Republicans have enough votes in each chamber to override a veto from Governor Cooper—it’s unlikely this environment will change any time soon. Despite the odds, Saenz says, activists will push lawmakers to permit undocumented immigrants to obtain drivers’ licenses and access in-state tuition. (Currently, undocumented immigrants—even those who came to the United States as children and as such are spared from deportation under President Obama’s deferred-action program— have to pay out-of-state tuition, which is considerably more expensive.) Maria says lawmakers’ perceived animus won’t stop her from making her second trip to the legislature. She’s determined, she says, to speak with her representatives—and she hopes they’ll listen. “At first it made me scared to have a legislator so close to me, but not all of them are so closed off,” she says. “Some of them even have a little bit of tolerance, and they’ll let you talk.” ehellerstein@indyweek.com INDYweek.com | 1.18.17 | 9

ONE MORE SONG F OR TH E

ROAD

A requiem for David McKnight: prodigy, journalist, politician, homeless street musician BY KEN FINE

ILLUSTRATION BY ANDREW SPEAR

10 | 1.18.17 | INDYweek.com

was despondent as I walked down Hillsborough Street in Raleigh, past the many businesses that reminded me of her. There was the bar where, one New Year’s Eve, she’d had too much to drink, where I held her long, brown hair as she purged in the parking lot. The pizza joint that made a specialty pie I only ate with her. The library where I sequestered myself the night before finals so that I wouldn’t crash at her place. We’d been together for more than five years, through college and graduation, when I accepted my first job as a journalist. But now she was gone, our romance ended with a phone call that revealed little about why things had fallen apart. Head down, I wondered how one recovers from such a loss.

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McKnight during his 1978 Senate campaign

PHOTO BY BILL POPE

The sound of a Mozart concerto prompted me to raise my eyes. There he was. A heavyset man with shoulder-length hair, the brown curls showing signs of gray, standing outside the Varsity Theatre. His khakis were dirty. The half-tucked button-down he wore over a white T-shirt was wrinkled. The violin under his chin and the bow in his hand were worn. I’d seen him before, playing that same instrument: on Franklin Street in Chapel Hill as a young boy, my hand in my mother’s as we walked to Pepper’s Pizza for a pregame slice; on Durham’s Ninth Street as a teenager, cutting it up with friends outside a tattoo parlor as we dreamed about defying our upper-class parents with fresh ink and piercings. He was a constant to thousands of kids like me, who’d grown up in the Triangle. In the twenty minutes I sat there listening to him—this man I didn’t know, but who wasn’t quite a stranger—on that stormy February afternoon in 2008, I was reminded of happier times. Reminded that life, even in its worst moments, was full of possibility.

Full of hope. When the wind picked up and the sky darkened, I turned to leave. The music stopped. Suddenly I was overcome by emotion, tears welling up in my eyes. The fiddler placed a soft hand on my shoulder. “You gonna be OK?” he asked. “I think so,” I replied. “Well, I know so,” he said, a half-smile forming on the right side of his mouth. “How about one more song for the road?”

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ast week, nearly a decade after a man I only knew then as the Triangle’s ubiquitous homeless violinist sent me on my way with Bob Dylan’s “Blowin’ in the Wind,” I got to thank David McKnight for his kindness. I don’t know if he understood. The sixtynine-year-old’s cancer, an inoperable brain tumor diagnosed on Thanksgiving, is growing so fast that each day he slips away a little more. Family members say it won’t be long now. Days. Certainly not weeks. Perhaps by INDYweek.com | 1.18.17 | 11

RECYCLE THIS PAPER

McKnight, the Mayor of Ninth Street

PHOTO BY BILL POPE

the time you read this, he’ll be gone. So as his last days loomed, I found myself wanting to unwrap the legend of how the man came to be known—depending on where you encountered him—as the Franklin Street Fiddler, the Mayor of Ninth Street, or Hillsborough Street’s Handel. My search revealed a man who was so much more than that unmistakable figure Triangle residents have come to know over the last thirty years. His legacy will be his undeniable musical genius, but before mental illness led him to the streets, I learned, he was a respected journalist known for his thoughtful editorials and keen intellect, a man who unsuccessfully ran for U.S. Senate in 1978. No matter which of his many ambitions he pursued, he took them on with determination. McKnight didn’t know half-measures. “This guy was about living with a purpose,” says longtime friend and former bandmate David King. “And he truly lived how he wanted to. I don’t think a whole lot of people can say that.”

he son of civil rights leader and Charlotte Observer editor Colbert Augustus “Pete” McKnight, David Proctor McKnight was born in the Queen City on December 20, 1947, the youngest of three children. His sister, Carson, says his intellect revealed itself before he started kindergarten, and when he picked up the violin some time around the sixth grade, it became immediately clear just how gifted he was. Before he was old enough to attend school, McKnight absorbed and repeated the lessons Carson and their older brother, Pete, brought home from class. Carson recalls how he and Pete would talk over the day’s news at the table.

12 | 1.18.17 | INDYweek.com

“It was really funny because [they] would do a replay of the Chet Huntley-David Brinkley newscast every night, in a satirical way. They were really good at it,” Carson says. “[David’s] mind just worked in a different way.” And his larger-than-life personality— the humor, fearlessness, and charisma he brought to everything from social interactions and sports to politics and music—made him a magnet for friends, from the boys he played basketball and roller hockey with on Truman Road to classmates inside the Charlotte public schools where he excelled as a student and musician. In high school, he was named by his peers “most likely to succeed,” and he was selected as a finalist for the prestigious Morehead Scholarship. Blake Wilson looks back fondly on the campouts and poker games that defined his childhood friendship with McKnight. And he, too, remembers the music, how McKnight, with little formal training, would pick up difficult pieces with ease—and how the violin quite literally saved his best friend’s life. When McKnight was ten or eleven, Wilson says, “He was riding a bicycle, and he was inadvertently hit by a car and trapped under the car. Well, somehow, the violin was between him and the bottom of the car. I don’t know how the violin protected him, but the legend arose that the violin saved him.” During his senior year, McKnight began showing symptoms of mental illness. (His friends believe he had bipolar disorder or schizophrenia, but Carson says it’s unclear what condition he suffered from.) In the beginning, it wasn’t debilitating, Carson says. But she recalls often “not knowing which David you were going to get.” After high school, McKnight was accepted to Duke University. He took the field as the

university’s mascot, the iconic Blue Devil. But he chose to leave early—he would earn a degree later in life—and travel the world instead. (He spoke twelve languages, Carson says, including Russian, French, and German.) When he returned home after several years, he took up journalism, becoming a reporter for The Durham Morning Herald, The News & Observer, and his father’s paper, The Charlotte Observer. “He was a fabulous writer and was a star at each place and wrote many highly influential editorials,” Wilson says. Like his father, he tackled North Carolina’s post-civil rights landscape and became a voice for the disenfranchised. (His outspokenness continued later in life: if you search for McKnight’s name on indyweek.com, you’ll find dozens of lengthy, sometimes pointedly critical comments on the INDY’s coverage.) Throughout it all, he kept playing music. When he began working as an editorial writer for The Fayetteville Observer in the mid-seventies, he formed a folk band with coworker Jack LeSueur and LeSueur’s then-wife, Pattie. Triangle, as the band was known, stayed together for five years, playing festivals and small venues across the state. (The band’s work can be seen on YouTube.) “We had a great four- or five-year run, and David was and is such a good fiddle player,” Pattie says. “But this was before David really started exhibiting signs of what would later prove to be declining mental health.”

eing the son of a prominent civil rights figure—under his direction, and despite constant death threats, Pete McKnight’s Charlotte Observer was a progressive voice on race relations and urban renewal during the seventies—made an impression on young David. In 1978, he left his post at the Fayetteville paper to run for Senate against incumbent Jesse Helms. He lost in a crowded Democratic primary and garnered only about nine thousand votes. Still, friends say, his campaign was “classic David.” No extensive wardrobe. No prepared talking points. No car. Just a man, his fiddle, and his brain. “He walked across the horizontal length of North Carolina as part of his campaign—and, of course, met many people along the way,” Wilson says. McKnight found inspiration in these people, Pattie adds—and, in them, the way to make his mark on the world. But this optimism was dashed on election night. Pattie remembers sitting in a hotel room with her friend, watching as the returns came in. McKnight was thoroughly disappointed. He went downhill after that. Perhaps it was his rejection at the polls that sent him into decline. Or maybe it was a series of hardships he faced: his parents’ divorce when he

his health wouldn’t permit it; according to his sister, he was essentially in a coma. But the show went on, live-streamed into his hospice room so that, even in his condition, he could bathe in the warmth of his friends’ affection. He would have wanted it that way. About an hour into the show, after the string quartet and the Scandinavian folk group, a friend of McKnight’s announced from the stage that they’d be passing a bucket around, church-style. The money would go toward a statue of McKnight, violin in hand, to be erected on Ninth Street. The bucket was full long before it made its way around the hall.

McKnight plays at the Durham Farmers’ Market. was in his early twenties, his father’s death in 1986, the end of a romantic relationship. Or maybe it was all of these things, or none of them. Maybe it was just the inevitable result of his biology. When the music poured off his instrument, he was at peace. When the strings were still, however, he was withdrawn and embarrassed at his lack of success; he lamented never having married. McKnight recognized that he was off-kilter, Carson says. “But he refused treatment. He refused to take his medicine. I think it was because he thought it would interfere with his ability to play.” Instead, he chose a life on the streets, a life of music and freedom and creation to shield him from the torment of a breaking mind.

e never asked for money. He never had ill words for passersby. Business owners weren’t discouraged by his presence outside their storefronts. With every song, with every half-smile and request granted, his legend grew. Rumor turned into myth. Perhaps, those of us who encountered him hypothesized, he was a Duke professor conducting a social experiment on homelessness. Or maybe he’d had his heart broken and stood there on Ninth Street, on the very spot where she’d left him, to play until his songs drew her back to him. Regardless, we knew one thing: he belonged in a grand concert hall, not on a sidewalk. But we were grateful that he didn’t leave. He was our musician, providing the soundtrack for epic breakups, the conclusion of an unforgettable meal, the long walk to Kenan Stadium on game day. Those who’d known him before, however, knew what was unfolding, and it scared

PHOTO BY BILL POPE

them. How would he make it through cold, lonely nights? What if he were robbed or beaten or killed? He would go for days, weeks—sometimes years—without contacting some family members. “Driving down Ninth Street, I would always just keep my eyes peeled for him, and a lot of times I would see him at the bus station,” Pattie says. “I’d stop and give him a ride. If you needed to find David, you’d find him down there. But through the years, we would talk about [him] and express a lot of worry about what was going on with him. We’d try to sit down and talk to him, but we just weren’t sure how to help him.” “He’s stubborn and self-reliant, and, like any stubborn, self-reliant person, he doesn’t always accept even the best-intentioned advice,” Wilson adds. “He resisted help. We all tried to provide it and to encourage him to seek help beyond the help we laypeople could provide. But to my knowledge, he never did that.” And so McKnight remained on those streets, fiddle in hand. “It didn’t matter where he was or what he was doing, he was always positive and looking forward,” King says. “We’d say, ‘What are you going to do next?’ I kept thinking, ‘Jesus, David are you gonna be OK?’ But he was a true musician. It was all about the music. And you know, [a friend of McKnight’s] once said, ‘David has built a musical village,’ and he has. So by conventional standards, yes, David was homeless. But really, David always had that musical village, and the world was his home.” On Sunday night, that village packed Durham’s Blue Note Grill; hundreds converged on one of McKnight’s favorite venues to pay tribute to their ailing friend. He was supposed to be there, one last hurrah, but

f I didn’t know this room inside Durham’s PruittHealth facility was reserved for McKnight, I wouldn’t recognize him. His once-shoulder-length hair has been cut short and is mostly gray. He isn’t wearing his glasses. The half-tucked button-down and khaki pants have been replaced by an oversize T-shirt and pajama pants. It’s Thursday afternoon, three days before the event at Blue Note. (An hour after I left, his sister later told me, he took a turn for the worse.) He’s sitting in a wheelchair, his fiddle stashed behind the open bathroom door. He speaks in a mumble, a hodgepodge of sounds that only resemble actual words. The walls are bare, save for a picture of a little girl playing the violin at the Durham Farmers’ Market thumbtacked to a corkboard. Nobody seems to know who the girl is or who hung the image. “He’s starting to die now,” Carson says, pausing to collect herself. “It’s almost time.” King tries to trigger a burst of energy in his friend. “He played with, it seems like, everybody. He was in all sorts of groups and played just about everywhere. Right, David?” he says. McKnight tilts his head back and closes his eyes, nodding off with his mouth open. “It’s very sad to see David decline,” King tells me. “We’ll miss the fiddle player—and the friend.” As King continues, when he talks about the songwriting, about how his friend was always composing, something happens. McKnight rights his head and starts tapping his swollen feet. His brain might be losing its battle with cancer, but the sounds won’t leave him. “We’ll hang on,” King says. “We’ll have memories that we’ll revisit. We’ll keep him alive in our own songs and the songs we did with him. We’ll continue to celebrate.” A half-smile creeps out of the right side of McKnight’s mouth. He nods his head and starts to speak. “I wasn’t much today,” he tells me. “But tomorrow, I’ll be back on track.” kfine@indyweek.com INDYweek.com | 1.18.17 | 13

Greener Pastures HORSE & BUGGY PRESS PUTS UP ONE LAST EXHIBIT AT THE BULL CITY ARTS COLLABORATIVE BEFORE MOVING TO BROAD STREET BY BRIAN HOWE

JESSINA LEONARD: THE WEIGHT WE LEAVE BEHIND Friday, Jan. 20, 6–9 p.m., free Bull City Arts Collaborative, Durham www.bullcityarts.org

Dave Wofford with some of the art books he has made at his letterpress studio, Horse & Buggy Press, before it leaves Foster for Broad Street essina Leonard, a twenty-fouryear-old art photographer who lives in Durham, just installed a small but compelling exhibit of her work in the Upfront Gallery at Horse & Buggy Press in the Bull City Arts Collaborative on Foster Street. After completing her postgraduate studies in art and theology at Duke in 2015, Leonard started working at Chapel Hill art gallery Cassilhaus. That’s where she met Horse & Buggy proprietor Dave Wofford, who mounted a two-decade retrospective of his letterpress work there last summer. The exhibit included not only broadsides and posters but also art book collaborations, many with photographers. Leonard was drawn to Horse & Buggy because she has a “similar appreciation for what Dave does with handmade things,” she says. “What frustrates me about photography sometimes is how elusive it is, how hard it is to hold in your hand.” Wofford, in turn, encouraged her to display this exhibit, her first in the area, which opens on Friday. Leonard's digital pictures are compositionally cool yet emotionally warm. One shows the impression of a body on a mattress; another plots stray hairs on a graph of 14 | 1.18.17 | INDYweek.com

bathroom tile. The series was inspired by a Wendell Berry essay, “Faustian Economics,” and American exceptionalism and overconsumption in general. The exhibit is titled The Weight We Leave Behind. “There are two sides of the title,” Leonard explains. “In one, the weight we leave behind is lighter than we imagine—maybe significant things we do aren’t as significant as we like to think. In another sense, it’s heavier, in that we don’t have control over what we leave behind, like how a parent might mark a child or bodies mark the Earth.” Leonard’s title takes on a third, unintended but serendipitous, meaning in this context. Her first exhibit also happens to be the last at Horse & Buggy Press before it leaves its home of the last decade, at 401 Foster Street, and moves to 1116 Broad Street. Wofford’s move leaves 401 Arts, the complex owned by Scientific Properties, very short on the commodity that gives it its name. Branch Gallery has long since departed; a former stained glass artist’s studio is now Rise bakery. But the Durham Central Park neighborhood’s loss will be Watts-Hillandale’s—and, by all indications, Wofford’s—gain.

offord, who learned letterpress printing and bookmaking at the Penland School of Crafts before studying design at N.C. State University, founded Horse & Buggy Press at Raleigh’s Antfarm Studios in 1996. He moved to Durham in 2003, and for a couple of years ran the press out of a barn he rented from sculptor Al Frega. In 2006, Wofford founded the Bull City Arts Collaborative with filmmaker Kenny Dalsheimer, sharing a nine-year lease on the eighteen-hundred-square-foot space on Foster. Still, even sharing rent, Wofford and Dalsheimer found Durham Central Park financially challenging, and Wofford has been looking for a new space for more than two years. The move spells the end of the Bull City Arts Collaborative. Dalsheimer will take his documentary filmmaking company, The Groove Productions, down the street to a suite above that of architect Ellen Cassilly. “I have mixed emotions about leaving,” he says. “The BCAC has been a special place and a unique venue for the arts and downtown working studios in Durham. I’ll miss working in the same space with Dave, where we’ve shared music (mostly good),

PHOTO BY BEN MCKEOWN

growing families, laughter, and each other’s critical eyes. But I also know that change is good and feel the time is right for me to move on to a new page in my work.” Meanwhile, Wofford is rebranding as Horse & Buggy Press and Friends, a rubric that will encompass his letterpress and design business, his art and craft gallery, and two subletters—one of the first of whom will be Jessina Leonard. In others words, it’s the BCAC by a new name, in a new place. “Everybody calls everything ‘Bull City’ now,” Wofford says, laughing. “In hindsight we wished we would have called it something else, and I like the ‘and friends’ component because that’s how I approach my work.” Much like his old space, a former automotive showroom, his new one has a commercial history in which Wofford is steeped. It’s in an old grocery store building, between Watts Grocery and Oval Park Grille, which formerly housed a Revco drug store, a rug store, and the instrument repair shop High Strung. “For me, it’s circling back home in two ways,” Wofford says. “I’ve lived in Watts-Hillandale since I moved to Durham, so now I’m going to be walking to work, which I’m pretty

hundred square feet of dedicated space. “Instead of solo shows like I’m doing here,” Wofford says, “I’ll have work by eight to twelve people at any time—a mix of pottery, glass, painting, photography.” The new space’s landlord is Arthur Rogers of Eno Ventures, who offered Wofford the affordable long-term lease he’d been looking for. In Wofford’s experiUntitled photo by Jessina Leonard PHOTO COURTESY OF THE ARTIST ence, landlords in Durham want to rent for two or three years, knowing stoked about. And one of my very first jobs I that a tech company or bar that can pay more was excited about when I moved to Durham will come along shortly. was designing menus for Watts Grocery. “I’ve been highly inefficient the past two Having worked as a cook through the early years because I’ve probably spent twenyears of setting up the press, I like that I’m ty hours a month looking for studio space,” hemmed in between two restaurant-bars.” Wofford says. “I’m looking to get some seriThough the new location means Horse ous momentum and do stuff I haven’t been & Buggy will opt out of Third Friday art able to do. [Rogers] is interested in the long walks—which Wofford is happy about, as he game. I like to think the stuff I do makes a can finally go see stuff on Third Fridays—he positive impact and is pretty good for a develwants to take advantage of his proximity to oper because he knows I’ll be there twelve lively new neighbors, as befits someone who years-plus. Moving however many tons of is by constitution intensely focused on nurequipment I have, I don’t want to do it every turing micro-communities. two years. I want to put some roots down and “Me and everybody at Craven Allen Galparticipate in the micro-community.” lery are going to talk about doing doubleWofford is aiming for a quick turnover header events to try to set up a new monthly between spaces. After a closing reception for cycle just for Broad Street, and hopefully that Leonard’s show on Third Friday in February, will pull in more people who live in Wallhe has to be out by the end of the month, town, Old West Durham, Trinity Park, Triniand hopes to have Horse & Buggy Press and ty Heights,” Wofford says. “I’ll have dedicated Friends running on Broad Street by early gallery hours, written on the door, and take March. He’s proud of what he accomplished advantage of brunch hours, so if there’s a on Foster Street but looks forward to trying line at Watts you can pop in and check out new things on Broad, a place where his the show.” intimate, long-term vision of community— reflected in his intimate, long-term vision of he Upfront Gallery, a small foyer printed matter—can flourish. space at the BCAC, started casually. “It’s been fun and meaningful to feel I’ve It was mainly open on Third Fridays been a part of a community, gotten to know or when Wofford happened to be working at and work for a lot of great people, gotthe studio to let passersby in. ten to do fun as heck projects like the Full “I’d been there about six months and I realFrame program guide, which I’ve done for ized, oh wow, I’ve got these large storefront seven or eight years now—and working windows and this egress area that’s relatively with so many writers and artists on fine open,” Wofford says. “I started with a group press books,” Wofford says. “As everything show of Raleigh people I knew from my Pengoes digital, you have to make that book land days, and since then it’s been a mishnice enough that when a person gives it to mash of people I like and people I’ve gotten to colleagues, friends, or family, they actuknow because they’ve been coming to open ally read it and care enough about it that it houses here for years.” goes on the shelf. When they move, it gets Though Wofford’s new space quite resempacked up carefully and passed on, and may bles his old one—nearly the same dimenbe read for generations after that.” sions, lightly subdivided but open and airy bhowe@indyweek.com with natural light, with high ceilings and rough-hewn concrete floors—its gallery will be given greater prominence, occupying four

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indyfood

A Real Page Turner

A VINTAGE WHITE HOUSE COOKBOOK BY 1887’S MARTHA STEWART TURNS UP AT A LIBRARY SALE— BUT WAIT FOR THE TWIST BY JILL WARREN LUCAS

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For many bargain lovers, it's all about the thrill of the hunt, that pulse-racing moment when you are the first to spot a keeper among the discarded. As you consider it from every angle, your hands tremble—but not so much that you can't open your wallet to pay the pittance being asked and escape before someone raises an eyebrow. Sean Martin had such a moment in

November when he and a friend visited the semiannual and aptly named Big Book Sale, which helps fund operations at the Chapel Hill Public Library. They drove up from Mebane with a clear plan of making a beeline to the rare and specialized book section, where the musty perfume of handsewn bindings, scuffed leather covers, and fragile pages, sometimes passionately

The White House Cookbook by Fanny Gillette, published in 1887 PHOTO BY ALEX BOERNER 16 | 1.18.17 | INDYweek.com

inscribed, make book lovers swoon. “My friend was the one who picked it up and showed it to me,” Martin says of what appeared to be a self-published collection called The White House Cook Book by F.L. (Fanny) Gillette. Martin, a self-described “inveterate collector of cookbooks,” thought it would suit his existing library. “It looked very interesting and it was only eight dollars,” he says, recalling how he discreetly tucked it under his arm while browsing the rest of the room. “I thought to myself, why not?” It wasn't until Martin got home and went online that he realized he was likely in possession of a rare first edition, produced by the Gillette Publishing Company of New York in 1887. The frontispiece, where the date would have been featured, was missing, but the book was otherwise in very good condition. While the cookbook served to forever link Fanny Gillette—arguably the Martha Stewart of her day—to countless American kitchens, it was her son, King C. Gillette, who achieved even greater success, albeit in the bathrooms of America, as the inventor and manufacturer of the Gillette disposable razor blade in 1901. Martin isn’t the first patron to snag a deal on a rare book, says Susan Brown, director of the Chapel Hill Public Library, although fewer such examples show up these days, now that savvy donors know to check online sources before giving them away. “We do sort through them all, but we don’t find everything,” says Brown, noting that a library volunteer recently came across a diary that has since gone on display in a maritime museum in Virginia. “We always consider book sales to be a sort of treasure hunt. The treasure depends on who finds the book.” Based on emailed photos of Martin’s find, Washington, D.C.-based historian Bruce W. Reynolds believes it has enough key indicators that match a first edition to confirm its authenticity. If it were intact, its value could be as much as five hundred dollars. As is, it’s worth maybe half as much. Reynolds, president of the Culinary Historians of Washington, D.C., says the value of late-nineteenth-century books is generally decreasing because more people now realize their worth, leading to a more crowded marketplace. He also says digitizing makes it less necessary to own a

Sean Martin, of Mebane, found a historic White House cookbook for eight dollars at a Chapel Hill Public Library sale. It could be worth $500. PHOTO BY ALEX BOERNER book to research its contents. “I’d suggest you enjoy the book for its interest value,” he says. That’s fine with Martin, who has found researching its origins almost as thrilling as the purchase. The best clue to its age is a handwritten inscription: “To Bessie,” dated March 1891, the same year that a Chicago publisher produced the first of many reprints of the book aimed at a mass audience. Martin theorizes that his copy

was given as a wedding gift. The collection contained more than just recipes; it included advice on animal husbandry and tips for running a stylish and efficient household—and it became a runaway best-seller. The revised editions named a collaborator, Hugo Ziemann, who is credited as “Steward of the White House.” Adrian Miller, the James Beard Awardwinning author of The President's Kitchen Cabinet, a history of African-American

chefs in the White House, says the role would have put Ziemann in charge of all aspects of executive residence operations, including the culinary department. Ziemann, who served during Chester Arthur’s administration, provided a genuine link to the White House and to the book’s author. But it’s believed that Gillette, a Wisconsin native who raised her family in Chicago, never set foot in the White House or even visited Washington, D.C. While some contemporary sellers claim the collection includes recipes from Martha Washington and Mary Todd Lincoln, originally, the only thing that connected it to the White House was Gillette’s clever imagination. “It was brilliant marketing on the author's part,” says Miller. “The general consensus amongst culinary historians is that the book was never a compilation of actual White House recipes.” Miller owns a 1915 edition. Since no link between its contents and the White House culinary program can be identified, it provided no insights for The President's Kitchen Cabinet, which will be published by UNC Press, appropriately enough, on Presidents’ Day, February 20. On their Beekman 1802 Almanac blog, Josh Kilmer-Purcell and Brent Ridge credit the rise of “American Victorianism” and the growing affluence of the Gilded Age for The White House Cook Book’s mass appeal. Finally able to “turn away from the subsistence living and pioneering that marked [America's] founding,” families and hopeful brides “sought instructions on the art of fine living, looking to the European aristocratic lifestyle and its nearest equivalent here at home—the White House.” Of its many reprints and knockoffs, including a version titled The Presidential Cook Book, Kilmer-Purcell and Ridge add that the book “was in so many homes it became the sort of Yellow Pages of American kitchens.” Martin says he has no plans of parting with his copy of The White House Cook Book. “It's not something I'd ever sell,” he says, although he allows he might gift it to a friend someday. “Ultimately, I think a culinary library is where it ought to be. But not yet.” Twitter: @jwlucasnc INDYweek.com | 1.18.17 | 17

indymusic

Sideman, Front and Center

AFTER SPENDING A FEW DECADES IN OTHER PEOPLE’S FAMOUS BANDS, FORMER DB PETER HOLSAPPLE RETURNS TO SOLO WORK BY JIM ALLEN

“I

’m not sure that an album is the way to present things anymore,” says Peter Holsapple. He ought to know. Over the last three and a half decades, he’s been involved with some of the biggest, most acclaimed albums around and some of the most exceptionalbut-underappreciated ones too. The Winston-Salem-bred singer, songwriter, and multi-instrumentalist first caught the public ear as a leader of eighties powerpop cult heroes The dB’s. As a sideman, he’s all over R.E.M.’s Out of Time as well as Fairweather Johnson, the triple-platinum follow-up to Hootie & the Blowfish’s debut. With their quirky, crafty brand of power pop and two gifted singer-songwriters, The dB’s came off like a new wave Beatles, but never quite grabbed the brass ring. After their split, Holsapple took up with his pals in R.E.M. before joining the Continental Drifters, a sort of underground supergroup including his then-wife, Susan Cowsill, Vicki Peterson of The Bangles, and ex-Dream Syndicate bassist Mark Walton. A few years later, he was tapped to be the auxiliary member of yet another millionselling Southern band: the aforementioned Hootie and company, who were touring in support of Cracked Rear View. But Holsapple—these days a Durham resident—is approaching records a bit differently now as he readies the release of his first solo songs since 1997’s Out of My Way. Instead of an album, he’s putting out a stand-alone single, the kind with a hole in the middle, featuring “Don’t Mention the War” on one side and “Cinderella

18 | 1.18.17 | INDYweek.com

Style” on the other. He caught up with the INDY about the new project and dipping his toes back into solo work. INDY: “Don’t Mention the War” is about the furthest thing from the kind of hookheavy pop tunes we’re used to hearing as a single. What made you want to take that direction? PETER HOLSAPPLE: It’s got everything going against it. It’s six and a half minutes long, slow, it’s got tubas on it, it’s niche marketing for PTSD. I mean, I don’t see people getting up and dancing to it. But that’s not the point. It’s mainly just to say, “Hi, here I am, I’m around if you’re interested, still putting out stuff that I think you might like. You have to come to me to get it now, but that’s great, because I’m happy to send it to you.” Why the two-decade gap between solo statements? I have all the qualities of a successful rock musician except for abiding ambition. And that’s fine with me. I’ve been very fortunate to have records by groups that I’ve worked with, and I’ve been very satisfied with that. You’ve also had a music-related day gig in recent years. My day job is now working off-site for DPAC. I was employed there full-time for a few years, working as an assistant to the general manager. It was cool to be able to experience “the biz” from the other side, having pointedly avoided that all my life. It was really wonderful to get to do that.

“I have all the

started a tour that lasted for ten months. I was sort of the auxiliary musician. I played mostly Hammond and piano and guitar. I played a little bit of bass. I played some accordion also. I got to play the acoustic twelve-string on “It’s the End of the World As We Know It.” I’m really happy to see the twenty-fifthanniversary [edition] of Out of Time; those packages are beautiful. And I’m really proud—I can walk into a grocery store and hear myself playing the rhythm guitar on “Losing My Religion,” and I’m very happy with that.

qualities of a successful rock musician except for abiding

And how did that lead you to Hootie and the Blowfish? Tim Sommer was their A&R person at Atlantic, and they [Hootie] had seen me play with R.E.M. They said to Tim, “Well, if we could get somebody to go out on the road with us like Peter Holsapple did for R.E.M., that would probably be the best thing.” And they decided that they had enough songs that needed organ and mandolin that it’d be a good idea to take me out [on the road]. It’s been a great run. I took a few years off and then I was asked back, and that was extremely cool. They do three or four shows a year, mostly charity things. They’re incredibly good people. They’ve been a punch line for so long that it’s OK, they’re used to it. But they also are just incredibly magnanimous, generous people. I’m as proud of my time with Hootie as I am of my time with R.E.M.

ambition. And that's fine by me.” It was only about eighty miles west of Durham that your life in music began, right? I grew up in Winston-Salem in the sixties and seventies with people like Chris [Stamey, dB’s co-frontman] and Mitch [Easter, Let’s Active founder and R.E.M. producer], and [producer and musician] Don Dixon was around all the time. We had a very active combo scene in Winston. I don’t think there’s a day that goes by that I’m not eternally grateful to have had that kind of petri dish to grow up in. It wasn’t bands that played Allman Brothers and Marshall Tucker, it was bands that wanted to play Mott the Hoople and The Kinks and The Move and Bubble Puppy. Chris had a band down here called Sneakers in 1976 that put out one of the first DIY new wave records. Then he went up to New York and started playing bass for Alex Chilton. At that point, Mitch, the bassist for Sneakers, and I had a band called The H-Bombs, and we played for about a year. Then I moved to Memphis and Chris had The dB’s getting started. Then I got a call from Will [Rigby, dB’s drummer] saying, “Chris wants to know if you want to come

Since then you’ve kept up with your old dB’s buddies, making a second duo album with Stamey and a 2012 reunion album with the band. Have you been playing locally too? I’m the piano player for a group called The Well Respected Men. We are a Kinks cover band and we’re having a ball. We’ve played a bunch of shows and we’ve got a nice repository of mostly early to middle Kinks. Peter Holsapple, at home in Durham PHOTO BY ALEX BOERNER up and try out on keyboards for The dB’s.” I went up and auditioned and that was the beginning of a long and wonderful band. It’s all guys from Winston-Salem, but we basically got the band together in New York.

How did you come to work with R.E.M. after The dB’s? I got a call saying, “I know your band has broken up, would you consider coming out and playing?” So we went to Tokyo and

Will there be any solo shows in the wake of releasing your new material? I think at this point, at my advanced age, I’d better keep every option open. Because you never know, maybe I’ll get called to be second guitar player in Cheap Trick. music@indyweek.com INDYweek.com | 1.18.17 | 19

Advance Sale $20 at www.communitychurchconcerts.org

community church concerts features an evening with north carolina’s own

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To advertise or feature a pet for adoption, please contact eroberts@indyweek.com “It’s a huge help that Carpe Diem takes the cleaning duties off of my plate and allows me to spend more time with my family.” Brenda, Durham

An evening with Jens, Uwe and Joel is always a special musical experience.

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music music

N.C. SYMPHONY: A STAR TREK SPECTACULAR

Friday, Jan. 20, 8 p.m. & Saturday, Jan. 21, 3 & 8 p.m., $30–$66 Meymandi Concert Hall, Raleigh www.ncsymphony.org

WHERE STAR TREK BOLDLY GOES, ITS MUSIC DRAWS THE MAP FOR INTERGALACTIC ADVENTURES BY NICOLE BERLAND Fifty years ago, Americans were first introduced to an outer-space television phenomenon that would become a pillar of pop culture: Star Trek. Creator Gene Roddenberry broke from the tradition of dominant science fiction narratives of doom and gloom, noting, “Humanity will reach maturity and wisdom on the day that it begins not just to tolerate, but take a special delight in differences in ideas and differences in life forms.” For Star Trek fans, the show’s theme song serves almost as a Pavlovian trigger, reliably heralding a single bracketed hour in which integrity triumphs and audacity serves a universal good. Its reverberations in later film scores periodically remind us that, at least within the confines of the Star Trek universe, it’s safe to feel hope for humanity’s future. The distinctive sequence of drawn-out notes that introduces Captain Kirk’s monologue at the beginning of every episode comprises Star Trek’s signature opening fanfare. Composed by Alexander Courage for Star Trek’s initial broadcast in 1966, this melodic line would insinuate its way into many subsequent Star Trek scores, but its obscured legacy stretches back centuries through Mahler and Brahms to Ludwig van Beethoven’s Symphony No. 4. Whether accidental or intentional, these echoes of Beethoven provide a neat metaphor for the Star Trek ethos itself. Just as Beethoven bridges the Classical and Romantic eras in music, so does Star Trek’s Federation aim to situate itself somewhere between the Vulcans’ cold rationality and the Klingons’ passionate belligerence. What emerges is a humanity motivated by the courageous

pursuit of difference, a universe made harmonious through diversity, diplomacy, and acceptance. Beginning with Star Trek: The Original Series, each introductory theme provided something of a road map to help audiences navigate the ensuing content. For example, following the opening fanfare Courage’s original score favored classical orchestration, popular brass composition, and jazzy riffs over the spacey sound effects common to contemporary science fiction film scores. The eclecticism of Courage’s work spoke to contemporary transitions in American popular music while urging viewers not to dismiss Star Trek as generic B-rate science fiction; instead, the show demanded recognition as a familiar human drama—both timely and timeless—that happened to be playing out against an interstellar backdrop. In the long hiatus between Star Trek’s original run and the 1987 premiere of Star Trek: The Next Generation, the franchise released several films, the first of which, 1979’s Star Trek: The Motion Picture, featured music from celebrated film composer Jerry Goldsmith. Adapting the Star Trek universe to the silver screen necessitated a more theatrical score. Goldsmith abandoned the jazzy freneticism of Courage’s original theme in favor of epic swells and strings in percussive staccato, and the score earned Goldsmith both Academy Award and Golden Globe nominations. When The Next Generation finally aired, Roddenberry instructed composer Dennis McCarthy to combine Courage’s opening fanfare with a slightly

ILLUSTRATION BY STEVE OLIVA

e a pet ontact k.com

modified version of Goldsmith’s rousing score, setting in place the sprawling romantic mood that would come to characterize nearly all subsequent Star Trek scores. The only notable infringement on Star Trek’s musical motifs was the theme song for 2001’s Star Trek: Enterprise Enterprise. Enterprise’s theme marked the first and only time in Star Trek history in which the franchise featured a vocal theme: “Where My Heart Will Take Me,” performed by Russell Watson. The song was derided as cheesy and tone-deaf, and its unmitigated unpopularity prompted boycotts of Enterprise—a reception that mirrored the series’s overall lackluster reviews that resulted in its aborted run. It therefore came as no surprise when highly celebrated film and television composer Michael Giacchino was hired to score Star Trek’s recent reboots. He returned the franchise’s musical landscape to Star Trek’s earlier interpretations, with a classy twenty-first-century rehabilitation, resulting in scores that treat the high-octane, big-budget reboots on their own terms while paying homage to the daring optimism of Star Trek’s earlier scores. This weekend, the North Carolina Symphony honors the half-century legacy of Star Trek’s most iconic music with A Star Trek Spectacular. Perhaps this is just what we need for these troubling times—somewhere to let sounds of optimism and unity wash over and through us in recognition of the symphonic legacy that helped Star Trek boldly go where no one had gone before. Twitter: @nicwinnik

INDYweek.com | 1.18.17 | 21

indystage

ORLANDO HHHHH Manbites Dog Theater, Durham Through Jan. 28 www.manbitesdogtheater.org

Gender's Game A SUPERLATIVE ADAPTATION OF VIRGINIA WOOLF’S ORLANDO PACKS CENTURIES OF INSIGHT INTO A FLEET EIGHTY MINUTES BY BYRON WOODS

Emily Anderson plays Orlando in the Delta Boys' production at Manbites Dog Theater. In her novel Orlando: A Biography, Virginia Woolf observed that it takes some time to write a decent poem: say, five hundred years. To find a true soul mate? Four centuries, not including the necessary intervals of doubt and self-recrimination. And if you’re trying to genuinely see yourself and others—free of an ancient wardrobe of restrictive clothes and their attendant inflexible gender roles—well, the struggle continues on that one. But it takes a mere eighty minutes to gain these and other insights in the Delta Boys’ triumphant production of Sarah Ruhl’s stage adaptation of Orlando at Manbites Dog Theater. In that time, five self-directed actors sketch striking stage tableaux as they deftly skate across a half-millennium-long history of the human heart. Elsa Hoffman’s intricate set silhouettes and imaginative costume pieces, etched in rusted metal and tin, are equally striking. And Joseph Amodei’s dramatic lighting and Kim Black’s clever costumes fully serve a rewarding production filled with the joy of storytelling. In her 1928 novel, Woolf took a decidedly long view of the advancements in human affairs. A thinly veiled tribute to her 22 | 1.18.17 | INDYweek.com

“A rewarding production filled with the joy of storytelling.” paramour, Vita Sackville-West, it tracks the unusually long-lived title character, as well as British culture from the sixteenth to the twentieth century, as Orlando gains an increasing measure of interpersonal insight and maturity, “losing some illusions, perhaps to acquire others.” Emily Anderson’s forthright portrayal of Orlando embraces and discards various conventions of court and empire as well as their analogues in our relationships. As a favorite of Queen Elizabeth I (played drolly by Rajeev Rajendran), Orlando experiences a poetic cross-wiring of the senses—and the sharp betrayal of first love—in pursuit of the enigmatic Russian princess Sasha (Skylar Gudasz). He flees Europe to avoid the loveless lust of Caitlin Wells’s absurd Romanian

PHOTO BY ALEX MANESS

archduchess and spends the Romantic era cultivating admirers—but no true friends or loves—in Constantinople. Orlando’s subsequent transformation in gender allows her to view relationships from both sides of the gender binary and, possibly, to transcend it altogether. “She knew the secrets and shared the weaknesses of each,” the text’s chorus observes at one point. “Now a thousand mysteries became plain to her.” Still, the spirits of the differing times obscure as much as they reveal. Orlando chafes at women’s dependency in the nineteenth century before the acceleration of the twentieth fundamentally challenges her sense of self. Through these ages, Orlando tries to assess her relationships as she “fling[s] a net of words after the wild goose of meaning.” Woolf sounds an autobiographical note as cycles of depression make Orlando question the validity of her time with her soul mate, Marmaduke (a canny Dale Wolf ). Still, at the last, Orlando remains confident in her search for understanding. An equally confident production puts that quest on the strongest ground, and earns our highest recommendation. Twitter: @ByronWoods

indypage

In Plain Sight

CROOK’S CORNER BOOK PRIZE WINNER HIDE IS A HISTORICAL PORTRAIT OF GAY OPPRESSION INSPIRED BY THE MODERN VARIETY BY JILL WARREN LUCAS As a professor of creative writing at the University of Mississippi, Tom Franklin reads a lot of fiction by aspiring authors. Even when it’s very good, it tends to have a numbing familiarity. That wasn’t the case, however, with Hide, the debut novel by Greensboro native Matthew Griffin, which on Monday won the 2017 Crook’s Corner Book Prize for a debut novel set in the South. “Honestly, it was the one book I hadn’t read before,” Franklin says with an enduring sense of astonishment at the distinctive voice and heartbreaking clarity Griffin achieved in a love story about two men. It was previously praised as “something like a miracle” by Booklist, a critical resource for library-based buyers. “The closest thing I’ve read about this sort of relationship was Brokeback Mountain by Annie Proulx, but this is so much more intimate. I found it incredibly fresh and deeply moving,” Franklin says. “The thing that was most remarkable is that the narrator was so fully realized. It could have been anybody—a man or woman, the person who lives across the street from you. It’s a Southern story, but in so many ways it is universal.” Sponsored by the Chapel Hill restaurant Crook’s Corner, the prize provides $5,000 and, as is traditional with the literary awards bestowed by the Parisian cafes on which it is modeled, a glass of wine every day for a year. Too bad Griffin, now based in New Orleans, can't designate someone to sip it for him. Forty-seven entries competed for this year’s prize, nine of which made the long list. Other finalists included Mulberry by Paulette Boudreaux and Over the Plain Houses by Julia Franks. Past winners are A Land More Kind Than Home by Wiley Cash (2016), Byrd by Kim Church (2015), and The Marauders by Tom Cooper (2014). Hide tracks the decades-long relationship of Wendell Wilson, a taxidermist, and Frank Clifton, a World War II veteran, who build a hidden life together that is jeopardized when one of the partners falls ill in old age.

Crook's Corner Book Prize winner Matthew Griffin received his award at the restaurant Monday night. The New York Times hailed it as “a graceful and understated novel ... A portrait of a particularly repressive period in gay history.” Griffin started working on the book in January 2011. He finished it three years later, before his home state approved controversial legislation limiting protections for LGBTQ people but amid growing hostility toward the last big push for marriage equality, which culminated in the Supreme Court’s landmark decision of June 2015. “Those issues were very much on my mind when I was writing,” says Griffin, who is married to his longtime partner. Concerns like power of attorney, being allowed to

remain bedside, and to make critical health care decisions for one’s partner—a right for married couples long denied to gay partners—are key aspects of Wendell and Frank’s story. “I was very conscious of not getting too technical, as it drained all the energy and creativity,” Griffin adds. “But as Frank gets sicker, it is part of why they don’t go back to the doctor. The situation would be wrested out of their control.” Griffin appreciates Franklin’s description of the narrative as “universal,” as it was his goal to demonstrate that struggles like caring for loved ones late in life affect all cou-

PHOTO BY ALEX BOERNER

ples and families. Griffin has started work on his second novel but has no target date for publication. It also will be based in the South, but in a more contemporary setting. “My experience of the South as a gay man does play into my perspective. I feel both the oppression that many of us experience, because of our sexual orientation and of the history of Southern racism, but also the kindness, the way many people in the South oppose this,” he says. “I think being a Southern writer is feeling both sides of that, the conflicts and the strengths, and telling it in ways that can make a difference.” arts@indyweek.com INDYweek.com | 1.18.17 | 23

01.18–01.25

Tift Merritt PHOTO

MUSIC

COURTESY OF THE ARTIST

FRIDAY, JANUARY 20 & SATURDAY, JANUARY 21

TIFT MERRITT

Almost a year ago, Americana favorite Tift Merritt reissued her 2001 debut, Bramble Rose, first released by a Universal Records imprint, which cracked the top fifty on U.S. country charts. On the occasion of the reissue, just a few weeks after returning to Raleigh following a spell in Manhattan, Merritt told the INDY that the record felt like planting a flag for the person she aspired to be. She has since blossomed into a renowned singer-songwriter, one whose literary approach netted her a Grammy nomination and cemented her reputation as one of the best at her craft. On her new album, Stitch of the World, out on Yep Roc later this month, Merritt reckons with growth and heartache across ten strong songs. In Chapel Hill, she holds court for two nights at a cozy theater on UNC’s campus, giving you ample opportunity to lean into every one of her mesmerizing songs. —Allison Hussey HISTORIC PLAYMAKERS THEATRE, CHAPEL HILL 8 p.m., $10–$35, www.carolinaperformingarts.org

STAGE

FRIDAY, JANUARY 20

SARAH SILVERMAN

For anyone who hate-watched the inauguration, this evening with Sarah Silverman should feel like therapy. The comedian’s outspoken style balances biting truths and silly takes. She’s a feminist who takes pride in blunt-spoken candor and has given up on being defensive about her jokes. She’s the anti-politician, which, these days, might mean she should run for president. But she’s probably too busy with her comedy career and work as an actress, writer, producer, comedian, and author. In her latest film, I Smile Back, Silverman takes on an atypically dramatic role as a suburban mom with depression. Her current TV work includes stints on Masters of Sex and Bob’s Burgers, and with two films set for release next year and her participation in a YouTube comedy collective featuring Michael Cera, Tim and Eric, and Reggie Watts, who has time to run for office? —Ashley Melzer THE CAROLINA THEATRE, DURHAM | 8 p.m., $47, www.carolinatheatre.org 24 | 1.18.17 | INDYweek.com

WHAT TO DO THIS WEEK

Eko Nugroho and Wayang Bocor PHOTO STAGE

COURTESY OF CAROLINA PERFORMING ARTS

FRIDAY, JANUARY 20

EKO NUGROHO AND WAYANG BOCOR: GOD BLISS (SEMELAH)

The ancient Indonesian tradition of shadow puppetry, or wayang, receives an injection of modern politics and perspective in the works of Eko Nugroho and Wayang Bocor. Nugroho, a young artist who came of age during Indonesia’s volatile transition to democracy in the late nineties, and his interdisciplinary collaborators mash up current sociopolitical commentary, Indonesian folk lineage, global pop culture nuggets, and street-art slang into a rich welter of old and new, often tinged with dark satire. God Bliss (Semelah) is about the mingling of Islam with Javanese Hinduism, Buddhism, and animistic religions; the vibrant storytelling combines a shadow play with live theater, visual art, and other disciplines. Witness the power of silhouettes to express the deepest human emotions—because, after all, life’s but a walking shadow. God Bliss will be performed in Javanese and Indonesian with English supertitles. —Brian Howe UNC’S MEMORIAL HALL, CHAPEL HILL 8 p.m., $15, www.carolinaperformingarts.org

STAGE

FRIDAY, JANUARY 20

THE TAMING

Playwright Lauren Gunderson (I and You) wrote her farce The Taming to address her frustration with our obstructionist political patriarchy—and to laugh at the extremism exhibited on all sides. Then she made it available, royalty-free, for performances everywhere on Inauguration Day. In Bare Theatre’s staged reading, Katherine’s a tiara-topped beauty queen about to foist her plans to become Miss America— and give American constitutional government a makeover in the process—on an ultra-conservative senator’s aide (think Kellyanne Conway) and a far-left blogger (think Rachel Maddow) whom she has trapped in a hotel room. Olivia Griego, Kaley Morrison, and Heather J. Strickland star. The show’s free, but donations will be accepted for the ACLU of North Carolina. —Byron Woods VISUAL ART EXCHANGE, RALEIGH 7:30 p.m., free, www.baretheatre.org

STAGE THURSDAY, JANUARY 19– SUNDAY, FEBRUARY 5

HEISENBERG

Is the act of observation enough to change one’s trajectory—or identity? And what exactly do a retired butcher and an enigmatic younger woman have in common with the famed author of quantum mechanics’ uncertainty principle? Those are among the riddles playwright Simon Stephens (The Curious Incident of the Dog in the Night-Time) explores in this two-hander about an unconventional, uncertain romance sparked by a random encounter at a train station. Burning Coal Theatre Company’s regional premiere is a coup, opening one month after the close of its Broadway run. Local hero Emily Ranii returns to direct beloved veteran Tom McCleister and newcomer Sarah Hankins. —Byron Woods MURPHEY SCHOOL AUDITORIUM, RALEIGH 7:30 p.m. Thurs.–Sat./2 p.m. Sun., $5–$25, www.burningcoal.org

MUSIC

FRIDAY, JANUARY 20

THE LAST ILLEGAL

All good things come to an end, and so it goes with Party Illegal’s taste-making series of dance parties. For more than four years, the wild, inclusive monthly party spearheaded by a handful of ambitious Durham deejays has been a reliable fixture in the Bull City, booking diverse, genre-agnostic electronic lineups for a queer dance community that was largely being ignored by other regional programming. Illegal’s local curation was always excellent, and its headliners were often a who’s who of underground talent from around the country, with alumni including Philly’s DJ Haram, New Jersey’s UNIIQU3, and NYC’s Jubilee. This final bash looks to maintain Illegal’s high standards of quality and eclecticism with the queer leftfield rapper Abdu Ali, who hails from Baltimore. Ali stews elements of the city’s club music with an aggressive, nearathletic vocal delivery for a sweaty, forwardthinking take on noise rap. Illegal’s organizers aren’t going anywhere, and we hope that the end of the dance party series means the rise of something even better. Still, don’t miss your chance to rage one last time. —David Ford Smith THE PINHOOK, DURHAM 10 p.m., $10, www.thepinhook.com

WHAT ELSE SHOULD I DO? THE BEACH BOYS AT DPAC (P. 29), BIG FROSTY BEER FESTIVAL AT THE RALEIGH BEER GARDEN (P. 33), BLACK IRISH AT THE CARY ARTS CENTER (P. 34), JESSINA LEONARD AT BULL CITY ARTS COLLABORATIVE (P. 14), MACONDO AT THE DURHAM ARTS COUNCIL (P. 32), MEGA COLOSSUS AT KINGS (P. 27), ORLANDO AT MANBITES DOG THEATER (P. 22), NANCY PEACOCK AT THE REGULATOR (P. 35), THE POTTERS’ PENGUIN PROJECT AT CLAYMAKERS (P. 31), A STAR TREK SPECTACULAR AT MEYMANDI CONCERT HALL (P. 21) INDYweek.com | 1.18.17 | 25

music

1/19 "END

OF THE WORLD (AS WE KNOW IT)" COUNTER-INAUGURAL BALL (BENEFIT FOR PLANNED PARENTHOOD) 1/25 TOO MANY ZOOZ W/ BOOM UNIT BRASS BAND ($15) 1/26 YONDER

MOUNTAIN STRING BAND

W/ THE RAILSPLITTERS ($27.50/ $30) 1/27 SAMMY ADAMS ($16/$19 VIP ALSO AVAILABLE) 1/28 COSMIC CHARLIE (GRATEFUL DEAD TRIBUTE) ($10/$13) 2/1 THE DEVIL

MAKES THREE

W/LOST DOG STREET BAND ($22/$25) 2/2 BLACK TIGER SEX MACHINE W/ KAI WACHI ($18/$20) 2/3 G LOVE AND SPECIAL SAUCE W/ RIPE ($25/$30) 2/4 BOB MARLEY'S BIRTHDAY CELEBRATION

W/MICKEY MILLS AND STEEL & MORE 2/6: ISAIAH RASHAD W/LANCE SKIIIWALKER & JAY IDK ($17/$20) 2/7 BLIND

PILOT ($18/$20) 2/8 PAPADOSIO W/ JAW GEMS ($17) 2/10, 11 (TWO NIGHTS!):

RAINBOW KITTEN SURPRISE W/ CAAMP ($15) 2/16 THE RADIO DEPT W/ THE GERMANS ($15/$17)

2/17 STRFKR W/ PSYCHIC TWIN ($20/$23) 2/18 ABBEY ROAD LIVE! TWO SHOWS, 4 PM & 8:30 PM

WE 1/25

TOO MANY ZOOZ 4/21 JUMP,

LITTLE CHILDREN

SOLD OUT

2/26 NIKKI

LANE HIGHWAY QUEEN TOUR

W/ BRENT COBB & JONATHAN TYLER ($15/$17) 2/28 THE ENGLISH BEAT ($18/$20) 3/1 JAPANDROIDS W/ CRAIG FINN ($20/$23) 3/2 THE

GROWLERS ($20)

3/6 COLONY HOUSE W/ DEEP SEA DIVER ($12/$15) 3/9 TIM

O'BRIEN ($22/$25)

3/10 ELECTRIC GUEST ($12/$14) 3/12 SENSES FAIL W/ COUNTERPARTS, MOVEMENTS, LIKE PACIFIC ($15/$18) 3/17 TORTOISE ($15) 3/18 MARTIN SEXTON** ($25/$28) 3/24

3/23 SOHN**($17/$20) JOHNNYSWIM (22/$25)

3/25 HIPPO CAMPUS W/MAGIC CITY HIPPIES ($13/$15) 3/28 THE MENZINGERS W/ JEFF ROSENSTOCK, ROZWELL KID ($17/$20) 4/1 DINOSAUR

JR ($25)

4/2 LAMBCHOP W/XYLOURIS WHITE ($15) 4/11 WHY? ($16/$18) 4/18 CHRONIXX ($22.50/$25) 4/20 FOXYGEN ( $18/$20)

GASOLINE STOVE ALBUM RELEASE PARTY

4/25 PARACHUTE W/ KRIS ALLEN ($18/$20) 5/5 ADRIAN BELEW POWER TRIO W/ SAUL ZONANA ($26/$30) 5/16

WHITNEY ($16) ANYTHING / BAYSIDE

5/20 SAY

W/ HOT ROD CIRCUIT ($20/$23) 6/6 THE

ORWELLS ($18/$20)

TH 1/26

YONDER MOUNTAIN STRING BAND 3/10 TIM DARCY (OF OUGHT) ($10/$12)

CAT'S CRADLE BACK ROOM 1/19 GREYHOUNDS ($12) 1/21 GASOLINE STOVE ALBUM RELEASE PARTY W/ MEMPHIS THE BAND ($8) 1/28 DEAD HORSES W/KATE RHUDY ($10/$12) 2/1 MARSHALL CRENSHAW W/ BOTTLE ROCKETS 2/2BLACK MARBLE W/YOU.,JENNY BESETZT ($8/$10) 2/3 ALLISON CRUTCHFIELD &

THE FIZZ

W/ RADIATOR HOSPITAL AND 2/21 HAMILTON LEITHAUSER PINKWASH ($10/$12) W/ LUCY DACUS ($17/$20) 2/5 (4 PM SHOW) 2/24 NRBQ W/TERRY ANDERSON AND THE O.A.K. TEAM ($25) CHARLIE HUNTER TRIO ($18/$20) 2/25 VEGABONDS W/ATLAS ROAD CREW, LEFT ON FRANKLIN, BAKED GOODS, WILL OVERMAN BAND ($5/$10)

SA 1/21 @CAT’S CRADLE BACK ROOM

2/6 MARGARET GLASPY W/ BAD BAD HATS** ($12/$15) 2/7 ISAIAH RASHAD

SOLD OUT

3/27 NYLON MUSIC TOUR PRESENTS

POWERS & BRIDGIT MENDLER ($16/$18)

3/22 THE JAPANESE HOUSE ($15/$18) 3/29 CHERRY GLAZERR W/LALA LALA AND IAN SWEET ($13/$15) 4/13 MATT PRYOR AND DAN ANDRIANO ($13/$15) 4/27 THE WILD REEDS W/ BLANK RANGE ($12/$14) 5/3 CLAP YOUR HANDS SAY YEAH ($16) 6/7 GRIFFIN HOUSE ($20/$23) MOTORCO (DURHAM) 1/27 COLD CAVE W/ DRAB MAJESTY ($15) 1/29 AUSTRA W/ LAFAWNDAH ($17/$20) PINHOOK (DURHAM)

2/10 NO ONE MIND W/ SUNNYSLOPES, KONVOI ($7)

2/24 SAVOY MOTEL

2/11 STOP LIGHT OBSERVATIONS ($10/$12)

5/3 ANDY SHAUF W/ JULIA JACKLIN

2/12 MARY LATTIMORE ($10/$12) [ MOVED FROM MAIN ROOM] 2/13 KYLE CRAFT ($10/$12) 2/15 DUSTBOWL REVIVAL ($10) 2/18 (NOON) ROCK FOR REYES BENEFIT W/ HAPPY ABANDON 2/18 (8PM) SUSTO ( $10/$12) 2/20 JOHN DOE (SOLO) $16/$18

KINGS (RAL) PLAYMAKERS (CH) BOTH

1/20,21: NIGHTS LD

TIFT MERRITT

SO OUT

CAROLINA THEATRE (DUR) 3/7 VALERIE JUNE 3/20 THE ZOMBIES 'ODESSEY AND ORACLE' 50 YEAR TOUR 4/14

WELCOME TO NIGHT VALE

2/22 EISLEY W/ CIVILAIN, BACKWARDS DANCER ($15)

W/ERIN MCKEOWN (ON SALE 1/20) THE RITZ (RAL)

2/23 THE GRISWOLDS W/ DREAMERS ( $17)

1/20 RUN THE JEWELS

(TICKETS VIA TICKETMASTER)

SOLD OUT

2/24 PENNY & SPARROW W/ COREY KILGANNON ($15)

2/23 SHOVELS & ROPE W/ JOHN MORELAND ($23/$25)

2/25 BLUE CACTUS ALBUM RELEASE SHOW W/ NICK VANDENBERG AND MOLLY SARLÉ ($10)

HAW RIVER BALLROOM

2/26 KEVIN GARRETT THE FALSE HOPE TOUR ($12/$15)

W/ LUKE ROBERTS

3/3 FRONT COUNTRY ($10/$12) 3/4 ALEX DEZEN (OF DAMNWELLS) 3/5 ALL THEM WITCHES W/ IRATA ( $12/$14) 3/7 MOOSE BLOOD W/TROPHY EYES, BOSTON MANOR, A WILL AWAY ($15/$17)

1/27 KURT VILE AND THE VIOLATORS 3/6 COLD WAR KIDS W/ MIDDLE KIDS 3/11 SON VOLT ($22/$25) 4/1 PATRICK WATSON ($20/$22) DPAC (DURHAM 4/20 STEVE MARTIN AND MARTIN SHORT WITH

STEEP CANYON RANGERS

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

**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 26 | 1.18.17 | INDYweek.com

1.18–1.25

FOR OUR COMPLETE COMMUNITY CALENDAR

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CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Zoe Camp (ZC), Annalise Domeghenini (AD), Allison Hussey (AH), David Klein (DK), Desiré Moses (DEM), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, JAN 18

THE ARCHITECT BAR & SOCIAL HOUSE: Brad Benson; 9 p.m. • BLUE NOTE GRILL: James Armstrong Band; 8 p.m., SA 1/14 (SOLD OUT) & $8. 1/15 (TIX TheSUHerded Cats; 8REMAIN) p.m. • HUMBLE WAKA FLOCKA PIE: Peter Lamb & the Wolves; 8:30 p.m.FLAME • IRREGARDLESS: Community Music School Fundraiser; 5 p.m. 15-501music; 6:30 p.m. • LOCAL 506: Hudson Falcons; 9 p.m., $8. • MOTORCO: Enter The Haggis; 8 p.m., $15–$18. • NEPTUNES PARLOUR: TV Girl, Poppet, Real Dad; 10 p.m., $10. • POUR HOUSE: Greyhounds, Bradford Loomis; 9 p.m., $10–$12. • RUBY DELUXE: Goth Night; 10 p.m.

THU, JAN 19 Advance Base ROUND Lo-fi pop owes a TWO great debt to Owen Ashworth, the film school dropout-turned-bedroom-auteur who turned the Casio from a gag to a staple with his solo project, Casiotone For the Painfully Alone. In 2011, Ashworth rechristened himself Advance Base, and his art was born again as lush, expressive art pop with ample nods to rock. The Californian’s most recent album, 2016’s In Bloomington, includes a spacey take on “Stairway to Heaven.” Lisa/Liza and Al Riggs open. —ZC [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9 P.M.]

The End of the World: CounterInaugural Ball NOT MY Counter-inaugural OB-GYN events have a long and storied history. A women’s suffrage parade in March 1913, in which scores were injured by a hostile mob, helped breathe renewed urgency into the issue. In 1969, anti-inaugural protests on the National Mall aimed at Nixon and the Vietnam War included the flinging of fresh manure from police horses at Spiro Agnew’s evening-wear-clad guests and the “in-HOG-uration” of Pigasus, a

guerilla theater group’s porcine mascot. Tonight’s “End of the World As We Know It” dance party-and-costume contest would seem to have its tongue in its cheek, but proceeds will benefit Planned Parenthood South Atlantic, a strong statement in favor of reproductive rights in the true counter-inaugural spirit. —DK [CAT’S CRADLE, $10–$15/8 P.M.]

“Valerie.” Got that? Parker’s version makes use of Ronson’s soulful template, but rather than a boisterous, jazzy approach, Parker favors a stripped-down, smooth soul take. The end result is a little unsteady as Parker strengthens his voice as a singer, but he’s got a strong instrumental foundation to lend him support. The Veldt’s Daniel Chavis opens. —AH [SLIM’S, $5/9 P.M.]

Hey, That’s No Way to Say Goodbye: A Leonard Cohen Tribute

Second Husband

DARK Leonard Cohen left HYMNS us last year, but his rich musical legacy continues to speak more urgently than ever as we enter the coming epoch. This tribute features Josh Kimbrough, who makes gleaming rock with Teardrop Canyon, and multiinstrumentalist and singer-songwriter Jacob Morris, among others who will reanimate Cohen classics like “Suzanne,” “Famous Blue Raincoat,” and the all-too-apropos “Hey, That’s No Way to Say Goodbye.” Proceeds go to the Music Maker Relief Foundation, which helps older Southern musicians. —DK [THE STATION, $5/8:30 P.M.]

Peter Mulvey FOLK Over the span of FELLA twenty years and just as many records, Milwaukee’s Peter Mulvey delivers an amalgamation of Tin Pan Alley jazz and acoustic folk and roots music. He’s played everywhere from the streets of Dublin to the subways of Boston, and now the troubadour is bringing his tunes to Motorco. Ryan Baxter opens. —DEM [MOTORCO, $15/8 P.M.]

FREEK A Second Husband is LEEK a darkly funny folk-punk duo, Tom Sowders and Owen Fitzgerald, from Raleigh, whose songs are a little like Andrew Bird meets Tenacious D. If you’re still with us, the pair’s EP swell. features the humor of earlier songs like “Kiss the Alien” but moves away from the synth-pop of their 2015 debut. These guys are all over the place. With First Persons and Majestic Vistas. —AD [KINGS, $5/10 P.M.]

Dweezil Zappa DWEEZ The inimitably DAYS named scion of the legendary guitarist-provocateur Frank Zappa and a highly distinguished instrumentalist in his own right, Dweezil Zappa has spent the better part of the last two decades in service of the family business, earning a reputation among die-hard Zappa freaks as a worthy interpreter of his father’s idiosyncratic, art-damaged burlesque. Over the past few years, a nasty family feud has threatened to curtail his ability to tour on his father’s material, which would be a tremendous shame—no one is better equipped to honor and embroider upon the Zappa legacy. —TB [LINCOLN THEATRE, $29–$55/8 P.M.]

Orlando Parker Jr.

ALSO ON THURSDAY

YOUNG The latest musical SOUL effort of Raleigh model Orlando Parker Jr. is a reinterpretation of Mark Ronson and Amy Winehouse’s 2007 version of The Zutons’ 2006 song

4020 LOUNGE: African Rhythms; 10 p.m., $5. • ARCANA: Mamis & Papis Latinx Night; $5. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • CARRBORO CENTURY CENTER: Chuck

Champion; noon. • CAT’S CRADLE (BACK ROOM): Greyhounds; 9 p.m., $12–$15. • DEEP SOUTH: Silas Kane & The Citizens, Blue Frequency, The Nitrogen Tone, The Dick Richards; 8:30 p.m., $6. • IRREGARDLESS: Terry Wiley Duo; 6:30 p.m. • THE PINHOOK: Jooselord, DROZY and Trandle, Defacto, PAT Jr. and Tony G, Ace Henderson; 10 p.m., free. • POUR HOUSE: Local Band Local Beer: Debonzo Brothers, Milagro Saints, Blue Footed Boobies; 9:30 p.m., $3–$5. • RUBY DELUXE: K-Pop Dance Party with DJ Glen Koko; 10 p.m.

FRI, JAN 20 The Gaslamp Killer

SATURDAY, JANUARY 21

MEGA COLOSSUS After more than a decade, the local trad-metal titans of Colossus were ready for a shakeup. The band’s fourth record, HyperGlaive, introduces a new name for the ensemble, and with it, the broadest departure from the Iron Maiden-meets-Thin Lizzy template that formed the band’s foundations. No longer merely Colossus, the band is now Mega Colossus. Announced in November and motivated, at least partially, to avoid confusion with other Colossuses, the name change reflects the band’s joyful embrace of heavy metal grandiosity. At first blush, HyperGlaive has all the trappings of its predecessors. The triple-guitar histrionics, soaring melodies, and lyrical fixation on fantastic realms and epic battles remain. But as each release has moved further away from the throwback-slash-loving parody of the band’s earliest work, HyperGlaive also nods to contemporary hard rockers like Red Fang and metal classics outside the New Wave of British Heavy Metal archetype. “The Judge” merges agile fills and solos with a streamlined vocal melody that occasionally recalls Alkaline Trio’s moody flirtations with the alt-rock mainstream. But as soon as the band threatens to settle into a melodic-rock comfort zone, singer Sean Buchanan unleashes a wail worthy of Bruce Dickinson, as his fleet of guitarists—Bill Fischer, Nicky Nixon, and Stephen Cline—fills the bridge with dive bombs and finger taps. The allegorical anthem “Behold the Worm” injects some surging Metallica riffs and proggy dynamics into a fiery chorus. Buchanan sings the title with a subtle growl, as he delivers the threat of the line that follows: “Beast with human face/Will rule the human race.” Still, Mega Colossus somehow feels restrained. Rather than revel in excess, the freewheeling solos of years past have been reined in. More often, the Mega Colossus guitarists put their instrumental heroics toward melodic counterpoint and powerful dynamic transitions. Buchanan’s vocals, too, are more measured. Rather than push a screaming falsetto, he shows more textural range on HyperGlaive, giving the band a more nuanced and versatile lead. Even as HyperGlaive feels like the most mature album in the band’s catalog, it loses none of the unpretentious joy that has made the group a reliable draw in the Triangle and beyond. Its growth only proves its ambitions lie beyond retro-metal nostalgia trips, and HyperGlaive makes a strong case that the band has the chops and songwriting instincts to realize those aims. Chapel Hill’s excellent heavy psych outfit Solar Halos and Raleigh’s riff-driven Lightning Born (with Mega Colossus drummer Doza Hawes) open the show. —Bryan C. Reed KINGS, RALEIGH 9 p.m., $5, www.kingsraleigh.com

PSYCH Have you ever seen HOP the video of Radiohead’s Thom Yorke dancing to The Gaslamp Killer? If not, you might consider YouTubing that delightful clip. Anyway, The Gaslamp Killer plays zoner experimental hip-hop that sounds like backpack rap remixed by Can at Woodstock. He’s bringing out Run the Jewels at The Ritz earlier in the night, and Kings has this official after-party on deck. There’s also a set promised from Run the Jewels/Killer Mike live beatmaster DJ Trackstar. —DS [KINGS, $12–$15/11:59 P.M.]

Jo Gore JAZZ As a young girl with a MASTERY prodigious voice, N.C. native Jo Gore sang in church and performed with her father, but when she discovered the likes of Nina Simone and Al Green, her world opened to a whole new set of influences. Her singular style does honor to all of her vocal heroes. The Ernest Turner Quartet opens. —DK [THE STATION, $8/7:30 P.M.]

Lairs PSYCH On its first two FOLK songs, Durham’s Lairs projects a laudably weird edge onto the blessed-out noir-blues of “Desert Girl” and the edge-of-insanity nightmare pop of “We Will Be Strangers By Then.” Plainly possessed with a gift for narcotic rhythms as well as a literary flair unique for the genre, it will be fun to see if what transpires from here is more the middlebrow malaise of the Black Keys or the inspired madness of the Meat Puppets. Fluorescence opens. —EB [LOCAL 506, $8/9 P.M.]

Run the Jewels REAGAN Seems unlikely that DEAD Def Jux’s label head and that rapper who got his break featuring on Stankonia would team up for one of the most popular rap duos of 2017, yet here we are. Run the Jewels, the combo of Killer Mike and El-P, is back with its latest rallying cry, RTJ3. Politically barbed but never too didactic, the duo’s populist music continues to rail against inequality in a way that’s vicious, confident, and a ton of fun to take in live. With Gaslamp Killer, Nick Hook, Gangsta Boo, and Cuz. —DS [THE RITZ, $25/9 P.M.]

Supa Dupa Fly WHISTLE Pharrell Williams NOISE hasn’t aged well in recent years. The man physically never grows old, but stomp-clap capitalism anthems like “Happy” seem disheartening from the same mind who brought us icy trunk rattlers like Clipse’s “When the Last Time.” This tribute night to Pharrell’s production duo the Neptunes and fellow producer Timbaland provides an opportunity to zone out and remember his less corny moods.—DS [POUR HOUSE, $10–$15/9 P.M.]

Zoocrü GET WILD This Durham five-piece first gathered amid the flourishing NCCU jazz scene and has gone on to create a unique hybrid of music that incorporates hip-hop, gospel, blues, and R&B elements into its cool electro-bop foundation. By turns reminiscent of the insistent smooth-soul of George Benson and the hard-bitten Afrocentric fusion of Joe Zawinul, Zoocrü dexterously covers a wide swath of musical terrain without sacrificing coherence or identity. The Beast and Durty Dub open. —EB [DEEP SOUTH, $12/9 P.M.] ALSO ON FRIDAY ARCANA: Scalawag CounterInauguration Party: DJ Chela, DJ Yammy; 10 p.m., $5. • BEYÙ CAFFÈ: Lance Scott; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Smitty & The Jumpstarters; 9 p.m. Duke Street Dogs; 6-8 p.m., free. • CAT’S CRADLE: Elvis Fest; 8 p.m., $12. • THE CAVE: Sibannac, Mung Choke; 9 p.m., $5. • CHEF’S PALETTE: The Carolina Sound Committee; 7:30 p.m. • CITY LIMITS SALOON: Jason Michael Carroll, Drake White, Craig Campbell; 7 p.m. • IRREGARDLESS: Doug Largent

Trio; 6:30 p.m. • KINGS: Jooselord, Shame, Danny Blaze, Thedeeepend, Oak City Sluns; 10 p.m., free. • LINCOLN THEATRE: The Band of Heathens, The National Reserve; 9 p.m., $12. • THE MAYWOOD: Knightmare, Children of the Reptile, Avalon Steel; 9:30 p.m., $8. • MEYMANDI CONCERT HALL: NC Symphony: A Star Trek Spectacular; 8 p.m., $30–$76. See page 21. • NC CENTRAL UNIVERSITY: Timothy Holley, Adam Mitchell; 7 p.m. • NIGHTLIGHT: Forced Into Femininity, Yohimbe, Drippy Inputs, Secret Boyfriend, Chinchorro, Oceanette; 9:30 p.m., $7–$20. • THE PINHOOK: The Last Illegal with Abdu Ali; 10 p.m., $10. See page 25. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Al Strong Group; 8 p.m., $10–$20. • SLIM’S: Atomic Buzz, Vacant Company, Drunk on the Regs; 9 p.m., $5. • THE BULLPEN: Cool John Ferguson; 7 p.m., free. • THE SHED JAZZ CLUB: Shaquim Muldrow Quintet, Dupresha Townsend; 8 p.m. • UNC’S HISTORIC PLAYMAKERS THEATRE: Tift Merritt; 8 p.m. See page 24.

SAT, JAN 21 Barnatan, McGill, Weilerstein Trio VARIED The clarinet trio— WOODS clarinet, cello, and piano—is an odd duck, with an unusual sound and a fairly small repertoire. Centered around the world premiere of a new work by the young, Philadelphia-based composer Joseph Hallman, this concert is a step toward expanding that repertoire, . He has a keen ear for timbre and drama. His new piece is surrounded by Beethoven’s youthful, buoyant trio and Brahms’s intense trio, part of his late obsession with the clarinet. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$48/8 P.M.]

The BQs POWER Featuring a surfeit of POP tunes packed with fuzzed-out hooks and memorable riffs, the BQs evoke the true-believer formalism of Sloan and the stoned romanticism of A Catholic Education-era Teenage Fanclub. The buried vocals add up to little more than an insinuating whisper, but the songcraft is admirably accomplished. Magma Opus and Secretary Pool open. —TB [SLIM’S, $5/9 P.M.]

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Elvis Lives! THE KING Elvis Presley IS DEAD would’ve turned eighty-two on January 8. He’s made a lasting impact on American pop culture, one branch of which is a “multimedia journey” stopping in Raleigh this week titled Elvis Lives. Estate-endorsed Elvis look-alikes will take you across every era of the King, from gold lamé tux and “Blue Suede Shoes” to bejeweled jumpsuit and “Suspicious Minds.” It’s hard to imagine how this could be a hit, but go forth if you’re into grasping at straws. —AH [MEMORIAL AUDITORIUM, $25–$65/7:30 P.M.]

It Was You BROAD Featuring a FOLK slow-burning take on ruminative acoustic folk and intricately arranged torch balladry, this traditionally minded Durham trio variously recalls the proggy roots exertions of Fairport Convention and the lovelorn, lightly jazz-inspired balladry of American Music Club. The band’s most distinctive feature is the dramatic, nearly operatic singing

voice of Keelie Jo, whose fully committed, take-no-prisoners vocals range up and down the scale with reckless abandon. Webster and Simone Finally open. —EB [THE CAVE, $5/9 P.M.]

LUD GET THE Nearly three casual LUD OUT and sporadic decades as a band, Orange County institution LUD has settled into a groove, playing Americana in the same noisy and kosmiche way that Chris Forsyth’s Solar Motel Band does. But the quartet can still get weird, as evidenced by November’s wild sound collage “Black Friday Appliance.” Pipe and Some Antics open. —PW [THE KRAKEN, FREE/8 P.M.]

Muuy Biien GEORGIA Move over, Black GLORY Lips: when it comes to striking the perfect balance between attitude and affability, no Georgia-based band does it better than Muuy Biien. The five-man wrecking crew typically packs its stylistic palette like a box of sharps—hardcore, goth rock, garage, sheer noise, sickly

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psychedelia. The band has softened its tools a bit since teaming up with Sugar’s David Barbe for last October’s Age of Uncertainty; there’s more dub and fuzz floating in the mix, which, of course, makes the submerged chaos all the more insidious. With Essex Muro and Drug Yacht. —ZC [THE PINHOOK, $8–$10/7 P.M.]

Pröwess ALL OUT Armed with Marshall stacks, Flying V guitars, and a vaguely tongue-incheek penchant for anthemic, self-mythologizing tributes to anti-social behavior, Charlotte’s Pröwess invests its riff heavy hard rock traditionalism with enough affection and verve to bring a smile to Destroyer-era Kiss fans everywhere. The Fifth, Salvación and KIFF open. —EB [THE MAYWOOD, $8/8:30 P.M.] ALSO ON SATURDAY ARCANA: The Floor; 10 p.m. • BEYÙ CAFFÈ: Connie McCoy & Mo’Jazz; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Smile the Band/Northern High School Reunion Get Together; 8 p.m., $10. • THE CARY THEATER: The Taters, Russ Varnell & His Too Country Band;

7 p.m. • CAT’S CRADLE (BACK ROOM): Gasoline Stove, Memphis the Band; 9 p.m., $8. • DEEP SOUTH: Same Ol Sin, Veronica V, Michael Daughtry Band; 9 p.m., $7. • FORTY ACRES: Jon Shain, FJ Ventre; 8 p.m. • IRREGARDLESS: Matt Kanon; 11:30 a.m. Gen Palmer & Andrew Berinson; 6 p.m. Peter Lamb Quartet; 9 p.m. • KINGS: Mega Colossus, Solar Halos, Lightning Born; 9 p.m., $5. See box, page 27. • LINCOLN THEATRE: David Allan Coe, Chris Bullard; 8 p.m., $20–$30. • LOCAL 506: The Tan and Sober Gentlemen, Rebekah Todd & The Odyssey; 9 p.m., $9. • LORRAINE’S COFFEE HOUSE & MUSIC: Swift Creek; 7:30 p.m. • MEYMANDI CONCERT HALL: NC Symphony: A Star Trek Spectacular; 3 & 8 p.m., $30–$76. See page 21. • NIGHTLIGHT: Proto>; 10 p.m., $5. • THE PINHOOK: Stop the World Funk Disco Hip Hop Dance Party; 10:30 p.m., $7. • POUR HOUSE: FS, 32 Pints, The Concussion Theory, Summer Wars; 1:30 p.m., $10. The Fritz, Litz; 9 p.m., $8–$10. • THE RITZ: Strutter: A Tribute to KISS; 9 p.m., $10. • RUBY DELUXE: Luxe Posh; 10 p.m. • SHARP NINE GALLERY: Eric Hirsh Quartet; 8 p.m., $10–$15. • THE STATION: DJ Aviation Parkway; 10 p.m. Jazz Saturdays; 2 p.m., free. • THE SHED JAZZ CLUB: Aaron Matson Quartet; 8 p.m. • UNC’S HISTORIC

PLAYMAKERS THEATRE: Tift Merritt; 8 p.m. See page 24.

SUN, JAN 22 Reel Big Fish SKANK To (wildly) STANK paraphrase Frank Zappa: Ska isn’t dead; it just smells really, really funny. Indeed, no band has propped third-wave ska’s rotting corpse upright, Weekend at Bernie’s-style, as long or as valiantly as Reel Big Fish. Twenty years after “Sell Out” had its fifteen minutes during the fleeting mid-nineties ska boom, Reel Big Fish still proudly dons its Hawaiian shirts and porkpie hats, even if frontman Aaron Barrett is the only original ichthus still in the pond. Anti-Flag opens. —PW [THE RITZ, $22.50/7 P.M.]

Roe Won’t Go HEALTH This month marks HELP the forty-fourth anniversary of the Roe v. Wade Supreme Court decision, which guaranteed women safe and legal access to abortion. The fight for women’s health services still isn’t

over, as the recent election proved, and a handful of local artists are convening at Kings to raise money for Planned Parenthood South Atlantic. Pie Face Girls, ZenSoFly, and Ghostt Bllonde all lend musical support, and Maddy Weiner, Blayr Nias, and Purdy Holsom take the stage with comedy sets. —AH [KINGS, $15–$20, 8:30 P.M.] ALSO ON SUNDAY ARCANA: Juliana Finch; 8 p.m., free. • BLUE NOTE GRILL: James, Pace & Preslar; 5 p.m. • CHAPEL OF THE CROSS: Baroque & Beyond: Echoes of Love; 3 p.m., $18. • DEEP SOUTH: Brayqin Bud Tour; 9 p.m., $5–$8. • DUKE’S BALDWIN AUDITORIUM: Jonathan Bagg, Emely Phelps, Eliza Bagg; 4 p.m. • DURHAM PERFORMING ARTS CENTER: The Beach Boys; 7:30 p.m., $45–$267. See box, page 29. • IRREGARDLESS: Gene O’Neill; 10 a.m. Great Father Whale; 6 p.m. • MOTORCO: School of Rock: Rush and David Bowie Tribute; 11:30 am, $5–$7. • N.C. MUSEUM OF ART: Sights and Sounds on Sundays; 3 p.m. • POUR HOUSE: Shame Sundays: Live Mixtape Release; 9 p.m., $5–$10. • THE SHED JAZZ CLUB: Sahaja Spirit: The Spontaneous Flow of Consciousness

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It would have been hard to predict that the biggest groups of the sixties would remain operational into the next century as bifurcated entities. Amicably, Paul McCartney plays Beatles hits to the masses while Ringo plays the songs he sang on to smaller gatherings; less amicably, David Gilmour tours as “the voice and guitar of Pink Floyd” while Roger Waters goes on as “the creative genius of Pink Floyd.” But in the case of the two current touring versions of the Beach Boys music—one led by Brian Wilson, the other, billed as the Beach Boys, led by Mike Love—it almost feels imperative to choose a side.To advertise or feature a pet for adoption, Thanks to the apotheosis of Pet Sounds, exhaustive rock journalism, andplease the 2014contact biopic, eroberts@indyweek.com Love & Mercy, the creative genius of Brian Wilson and his struggles have become familiar. To a lesser degree, so has the story of Mike Love, who, despite being the band’s lead singer, front man, and cowriter of hits like “California Girls” and “I Get Around,” never enjoyed advertise or feature a pet WE 1/18To lead-singer status or became the band’s focal point. In 1966, when the press started treating HUDSON FALCONS The adoption, Lone Wolves / Midnite Sun contact Brian Wilson like Mozart, Love’s resentment began to calcify, and as the public has cozied for please TH 1/19 FUNNY HOW? AND LOCAL 506 PRESENT: LOCALS AT to the wounded Wilson, Love has emerged as the proud heel. “For those who believe that THEeroberts@indyweek.com LOCAL feat. Zo Myers / Kenyon Adamcik / Brian walks on water, I will always be the Antichrist,” he recently told Rolling Stone. Laura Crawford / Brett Williams / Jeremy Alder FR 1/20 LAIRS / Fluorescence Constantly being confronted with evidence that our artistic heroes hold unpalatable SA 1/21 UNC vs. Boston College on the Big Screen views or have acted reprehensibly is part of the current condition. Jazz critic Nat Hentoff, who died last week, became the object of scrutiny as readers tried to reconcile his music Tan and Sober Live Album Release Party writing with his political views. After Meryl Streep delivered her bold anti-Trump THE TAN AND SOBER GENTLEMEN Rebekah Todd & The Odyssey harangue at the Golden Globes, a video circulated in rebuke, showing her applauding MO 1/23 Monday Night Open Mic filmmaker and child rapist Roman Polanski—a moment she’d doubtless love to take back. WE 1/25 MAMMOTH INDIGO / Mature Fantasy So yes, artists are human, often contradictory, and sometimes they even serve up a song TH 1/26 VITA AND THE WOOLF like “Kokomo.” But make no mistake, if it’s the music of The Beach Boys that you love, don’t FR 1/27 THE LAWSUITS write this off. Just as Wilson does, Love surrounds himself with a crack ensemble to deliver SA 1/28 COMPASS CENTER PRESENTS SA 1/28 these sun-drenched classics with punch and detail and sumptuous harmony. As with the Solar Halos / S.E. Ward / GOWN Wilson show, you’ll hear plenty from that early surf era, as well as selections from Pet Sounds and worthy latter-era tunes. The key difference is the man at center stage. Wilson’s presence is genial and a little bit COMPASS CENTER PRESENTS heart-rending. Love remains energetic, the seasoned frontman doing what comes naturally. As Love unfurls that unmistakable, still-spry reedy tenor of his, it would be churlish to be SOLAR HALOS W/ S.E.WARD / GOWN thinking about the time he called Mick Jagger “chickenshit.” If all else fails, just close your MO 1/30 Monday Night Open Mic eyes—you’re sure to pick up some good vibrations. —David Klein COMING SOON: DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 p.m., $50–$90, www.dpacnc.com

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MON, JAN 23 Dizzyride DRONE The Brooklyn duo ON Dizzyride renders a vague and austere synth drone that can feel irresistibly tuneful at certain times and weapons-grade narcotic at others. In either event, on tracks like the subtly engrossing “Death of a Slow Song,” singer Zoë Kiefl proves herself a compelling and occasionally transporting vocalist. UVB-76 and Big Spider’s Back open. —TB [KINGS, $8–$10/9 P.M.] ALSO ON MONDAY NEPTUNES PARLOUR: Dr. Eugene Chadbourne 2017 IWW Series: Many Friends; 8:30 p.m., $8. • POUR HOUSE: Crow Hollar, DethCadence, Hyper Vyper; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, JAN 24 Boy Harsher CREEP Yr Body Is Nothing, SYNTHS the new record from Northhampton, Massachusetts, coldwave duo Boy Harsher, takes a lot of its juju from the soft, emotionless glow of post-industrial eighties synth-pop. Seduction is surely at work on these tracks, but so is a lingering feeling of paranoia and loss, as if you’re experiencing bliss while simultaneously dissociating because of how empty it seems. Appropriately, the acid techno strafes of Liquid Asset opens. With Housefire. —DS [NIGHTLIGHT, $8/9:30 P.M.]

Doyle Bramhall II

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TEXAS Guitar virtuoso Doyle BLUES Bramhall II has music in his genes. His father was an accomplished blues drummer, and he was raised on the rock ‘n’ roll of his home state of Texas. He got his start playing with childhood friends Stevie Ray and Jimmie Vaughan, and he’s been a close collaborator with Eric Clapton for over a decade. He’s touring in support of his first solo album in fifteen years, Rich Man. Future Stuff opens. —DEM [MOTORCO, $22–$25/8 P.M.]

Ben Davis and the Jetts POP Long-running PUNK Triangle punk fixture Ben Davis began his career as a member of loved and lamented nineties-era scene fixtures such as Sleepytime Trio and Milemarker. Since then, he has remained a vital contributor to the local arts community while navigating the complications of work and family. In the recently assembled Ben Davis and the Jetts project, Davis is in good company, with the tough and lean band providing a sympathetic backdrop for his unfailingly melodic agitprop confections. Ultra Bunny and Jokes&Jokes&Jokes open. —TB [THE STATION, $7/8 P.M.]

Hypnotic Brass Ensemble BRASS Drawing from a deep FAMILY pool of influences, from the interstellar jazz of Sun Ra to hip-hop, big band, and blaxploitation, this troupe of seven Chicago brothers began by self-releasing CD-Rs and promoting themselves until making fans of people like Mos Def and Blur’s Damon Albarn, whose label released the group’s debut in the UK. Bigger audiences, international tours, and collaborations with the likes of Erykah Badu followed. Living up to its name, the ensemble makes a mesmerizing sound and an arresting spectacle. —DK [CAROLINA THEATRE, $22–$54/8 P.M.] ALSO ON THURSDAY IRREGARDLESS: Douglas Babcock; 6:30 p.m. • NEPTUNES PARLOUR: H.O.W., Tzyvyx, Frank Meadows & Tim Matthews; 10 p.m., $5. • POUR HOUSE: Eric Sommer, Emily Stewart, Star FK Radium; 9 p.m., $5. • RUBY DELUXE: DJ PlayPlay; 11 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20.

WED, JAN 25 Reviving Raleigh VARIED A recurring series PAGEANT dedicated to showcasing Triangle artists, Reviving Raleigh puts on semi annual events featuring the best and brightest of the area’s ascendant punk and emo talent. This edition’s slate includes the freighted hard rock of the Ivory, the

militant start and stop of Alteras’ machine-gun metal, and the appealing post-Buzzcocks songcraft of The Second After. Consider it a muscular display of local talent and a tonic for these wearying times. Awake at Last and Little Volcanoes also share the bill. —TB [DEEP SOUTH, $1/8 P.M.]

Too Many Zooz BRASS NYC avant-jazz trio HOUSE Too Many Zooz suggest a sort of middle ground between Rahsaan Roland Kirk at his most antic, and the cerebral, literary incantations of Black Saint and The Sinner Lady-era Charles Mingus. They can transform from frightening to insinuating in the blink of an eye, and most often that’s what they do. Boom Unit Brass Band opens. —EB [CAT’S CRADLE, $15–$17/9 P.M.] ALSO ON THURSDAY BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Nixon, Blevins & Gage; 6:30 p.m. • KINGS: Vermin Supreme, Rob Potylo; 9 p.m., $10–$12. • LOCAL 506: Mammoth Indigo, Mature Fantasy; 9 p.m., $7. • NEPTUNES PARLOUR: Free Improvised Music Series: James Gilmore; Jan 25, 8:30 p.m., $5–$10. • NIGHTLIGHT: January 919Noise Showcase; 8:30 p.m., $5–$7. • POUR HOUSE: Jahman Brahman, Bella’s Bartok; 9 p.m., $6–$8. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. 8 THE BULLPEN: Thomas Rhyant; 7 p.m., free.

art

1.18–1.25 FRIDAY, JANUARY 20

THE POTTERS’ PENGUIN PROJECT As tenacious creatures who mate for life, valiantly secure the safety of their young, and are perpetually dressed for a party, penguins are easy to romanticize. But there’s nothing whimsical about the plight of the Adélie penguin colonies in Commonwealth Bay in East Antarctica, where an iceberg “the size of Rome,” loosened by the rising temperature, is blocking access to the sea for the colony there and has decimated its ranks to the point of near extinction. To highlight the dire impact of global warming on the creatures of the earth, the Potters’ Penguin Project unveils a colony of its own—nearly two thousand handmade clay penguins—at Claymakers in Durham. With more than four hundred participants, the project represents a genuine community effort. Although the organizers laid down pretty specific ground rules regarding height and such, they kept the ethos inclusive (“All species of penguin, real or imagined, are welcome”). The rich variety of the resulting colony speaks to the uncanny allure of penguins while reminding us that one group’s extinction threatens all of us on this crowded planet, whether we swim, fly, walk, or waddle. After this Third Friday opening the exhibit runs through Feb. 11. —David Klein

Liz Paley’s contributions to the Potters’ Penguin Project

OPENING

ONGOING

About Place: Greg McLemore and Barbara Campbell Thomas. Jan 20-Feb 25. Artspace, Raleigh. www.artspacenc.org. SPECIAL A Celebration of 100 EVENT Years of Solitude: Group Show by Artist Studio Project: Jan 20-Mar 10. Reception: Jan 20, 5-7 p.m. Durham Arts Council, Durham. www.durhamarts.org. See p. 32. SPECIAL How Many Licks, a EVENT One-Night Performance/Installation (Communal Creation): Fri, Jan 20, 6 pm. SPECTRE Arts, Durham. www.spectrearts.org. SPECIAL Moor and Moon: EVENT Mary Walker. Jan 20-Mar 10. Reception: Jan 20, 5-7 p.m. Durham Arts Council, Durham. www.durhamarts.org. See p. 32.

2-Dimensional Art Show: Group show. Thru Mar 22. Carrboro Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro. 311 Gallery Annual Small Works Winter Arts Show: Mixed media. Thru Jan 28. 311 Gallery, Raleigh. SPECIAL 6 Artists : Painting, EVENT Collages and Watercolor: Group show. Thru Jan 28. Reception: Jan 25, 6-8 p.m. Pullen Arts Center, Raleigh. Three Old Coots: Art at Its Roots: Pottery, drawings, and paintings by Bobby Kadis, Steve Wainwright, and Abie Harris. Thru Jan 31. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com. Ruth Ananda: Painting. Thru Jan 31. Zola Craft Gallery, Durham. www.zolacraftgallery.com. — Bean & Barrel, Chapel Hill. www. beanandbarrel.com.

LAST Anywhere but here: CHANCE Group show. Thru Jan 20. Lump, Raleigh. www. teamlump.org. Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated into the U.S. and their contributions to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. Thru Apr 2. City of Raleigh Museum, Raleigh. —David Klein “We Can Do It!”: Group show. Thru Jan 31. Local Color Gallery, Raleigh. www.localcoloraleigh. com. Jarrett Burch: Paintings. Thru Feb 16. ERUUF Art Gallery, Durham. www.eruuf.org. Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham.

PHOTO COURTESY OF CLAYMAKERS

www.durhamconventioncenter. com. LAST Cecilia Guitarte, CHANCE Susan Luster: Painting and ceramics. Thru Jan 25. Cary Gallery of Artists, Cary. www.carygalleryofartists.org. Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www.ackland.org.

CLAYMAKERS, DURHAM 6–9 p.m., free, www.claymakers.org

LAST Consummation: St. CHANCE George. Thru Jan 21. Naomi Studio and Gallery, Durham. www. NaomiStudioandGallery.com. Corridor Exhibitions: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, and Don Mertz. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org. LAST Caroline Coven: CHANCE Thru Jan 24. HagerSmith Design Gallery, Raleigh. www.hagersmith.com. Ryan Cummings: Thru Mar 25.

more. Raleigh. www.jmrkitchens. com. Gordon Dean: Site-specific installation. Thru Feb 5. Artspace, Raleigh. www. artspacenc.org. Discover Your Governors: Thru Aug 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Favorite Things: Thru Jan 28. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com. LAST Flag Post: Derek CHANCE Chan. Thru Jan 19.

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SPECTRE Arts, Durham. www. spectrearts.org.

Feb 5. FRANK Gallery, Chapel Hill. www.frankisart.com.

Flora and Fauna: Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org.

Plein Air Painter’s Group Showcase: Thru Jan 28. Artspace, Raleigh. www.artspacenc.org.

The Great Outdoors: Robert Thurston. Thru Jan 29. Nature Art Gallery, Raleigh. www. naturalsciences.org. #Greenspaces: Paintings by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. Guin Down the Coast: Photography. Thru Feb 27. Bond Park Community Center, Cary. www.townofcary.org. History and Mystery: Discoveries in the NCMA British Collection: This is the first time in decades that NCMA has curated an exhibit from its British holdings of Old Master painting and sculpture. Thru Mar 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe Jake and Charlie: Folk Art by Jake McCord and Charlie Lucas: Mixed media. Thru Jan 26. Alexander Dickson House, Hillsborough. www.historichillsborough.org. LAST Lost & Found: CHANCE Paintings by Charles Williams. Thru Jan 21. Artspace, Raleigh. www.artspacenc.org. Memory & Imagination: Folk art. Thru Feb 23. Orange County Main Library, Hillsborough. www. co.orange.nc.us/library. My Favorite Things: Group show. Thru Feb 4. Lee Hansley Gallery, Raleigh. www.leehansleygallery. com. Natural Forces: Paintings and drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www. frankisart.com. LAST Nature on Canvas: CHANCE Brian Moyer. Thru Jan 23. Herbert C Young Community Center, Cary. www.townofcary. org. LAST Nightscapes: Paintings CHANCE by Charles Williams. Thru Jan 21. Artspace, Raleigh. www.artspacenc.org. Oceans and Moods: Drawings and paintings by Lyudmila Tomova. Thru Feb 26. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill. Passing Through: American Landscapes: Photography. Thru Jan 31. Crook’s Corner, Chapel Hill. www.crookscorner.com. Planting Hope: Drawings. Thru 32 | 1.18.17 | INDYweek.com

Post Mégantic: Photography by Michel Huneault. Thru Feb 18. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. Potters’ Penguin Project: Pottery. Thru Feb 11. Claymakers, Durham. www.claymakers.com. See p. 31. Re-Surface: Regional Emerging Artists-in-Residence: Conner Calhoun and Kelly S. Murray. Thru Jan 28. Artspace, Raleigh. www. artspacenc.org. Regard: An Exhibition of Reciprocal Portraits: Mixed media group show. Thru Feb 12. Meredith College: Weems Gallery, Raleigh. www.meredith.edu/ the-arts. LAST Resolutions 2017: CHANCE Group show. Thru Jan 22. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com. Stacy Bloom Rexrode: This resorceful artist puts a sharp feminist critique into her sculptural assemblages, beautiful and awful at once. Dense proliferations of household and craft items associated with “women’s work” express overconsumption and the tidal pullback of valuation. Rexrode’s construction prompts an open-mouthed “How’d she do that?” But it’s her rigor that will haunt you. Thru Jan 30. www. preservationchapelhill.org. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com. —Chris Vitiello LAST Selections from the CHANCE Photography Collection: Thru Jan 22. Nasher Museum of Art, Durham. nasher. duke.edu. Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin. Thru Mar 5. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Soundings: Protest|Politics|Dissent: You’d be forgiven for taking a break from the post-election news for your sanity’s sake. But there’s no better way to tune back in than with this sound exhibit featuring digital audio works by more than twenty artists. This politically charged exhibit covers front-page themes including climate change, migration, and incarceration, and includes a programmed schedule

of special listening times for specific artists throughout its run. You’ll hear the album We Lost Half the Forest and the Rest Will Burn This Summer by Postcommodity, a collective based in the Southwest, before its inclusion in this year’s Whitney Biennial. And French Afro-futurist Kapwani Kiwanga’s “Tongue” unpacks the loss and transformation of cross-cultural transmission. Thru Feb 18. Power Plant Gallery, Durham. —Chris Vitiello SPECIAL Super Shitty Art EVENT Show: Group show. Thru Jan 20. Closing reception: Jan 20, 7-9 p.m. Mercury Studio, Durham. Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www.nationalhumanitiescenter. org. SPECIAL The Weight We Leave EVENT Behind: Photography by Jessina Leonard. Thru Feb 28. Reception: Jan 20, 6-9 p.m. Bull City Arts Collaborative: Upfront Gallery, Durham. www. bullcityarts.org. See story, p. 14. SPECIAL This Land Is Your EVENT Land: Vaughn Bell. Thru Feb 8. Reception: Jan 18, 6-8 p.m./Workshop with the Artist: Jan 18, 2-5 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. Allison Tierney: Thru Mar 25. HQ Raleigh, Raleigh. SPECIAL Together: Group show. EVENT Thru Mar 5. Reception: Jan 20, 6-9 p.m. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch. org. SPECIAL Unpacking the Past, EVENT Designing the Future: The Scrap Exchange and Lakewood in Partnership: Stories and artifacts. Thru Feb 11. Reception: Jan 20, 6-9 p.m. The Scrap Exchange, Durham. www. scrapexchange.org. Michael Weitzman: Photography. Thru Feb 28. Duke University Hospital- Art & Health Galleries, Durham. William Noland: Dream Rooms: Long video takes examining technology and intimacy. Thru Feb 5. NC Museum of Art, Raleigh. www.ncartmuseum.org.

”Queen Charlotte of Mecklenburg in Macondo’s World” by Luis Ardila PHOTO COURTESY OF THE DURHAM ARTS COUNCIL

+ FRIDAY, JANUARY 20

MACONDO: A JOURNEY THROUGH MAGICAL REALISM The Durham Arts Council’s galleries will be abuzz on Third Friday with a multidisciplinary extravaganza of visual art, music, and dance performances swirling around a pillar of literary magical realism on its fiftieth anniversary. Gabriel García Márquez’s One Hundred Years of Solitude, the story of the rise and fall of the fictional Colombian town of Macondo, is built on a grand pattern of Latin American myth and history, intermeshed with an intimate one of seven generations of a family, and both wound by Márquez into shapes of fated repetition and doom. An exhibit by the Artist Studio Project, including twelve artists’ responses to the novel, was curated by Rafael A. Osuba, who put on a similar tribute to Don Quixote last year. The featured artists include Luis Ardila, Cornelio Campos, Ernesto Hernández, Saba Taj, and Antoine Williams. Meanwhile, downstairs, Pavelid y su Grupo and Takiri Folclor Latino perform folkloric music and dance. And you can also slip into DAC’s Allenton Gallery to cool down with Mary Walker’s minimalist, modern-dance-inspired prints in her new exhibit, Moor and Moon. Both shows are on view until March 10. —David Klein DURHAM ARTS COUNCIL, DURHAM 6–8 p.m., free, www.durhamarts.org

FOOD EVENTS The Big Frosty: Winter beertasting festival. $35. Sat, Jan 21, 2 p.m. Raleigh Beer Garden, Raleigh.

Larry’s Lab: Central and South American Coffee: Free. Wed, Jan 25, 6 p.m., Wed, Feb 8, 6 p.m. & Wed, Feb 22, 6 p.m. 42 & Lawrence, Raleigh.

FINDER

food

Winter Food Truck Rodeo: Sun, Jan 22, noon. Durham Central Park, Durham. www. durhamcentralpark.org.

on stands

FOOD SATURDAY, JANUARY 21

THE BIG FROSTY BEER FESTIVAL

So far, this winter has bounced from extremely cold to unusually warm. But winter brews kill the blues. No matter the temperature, adventurous drinkers are bound to find something to love at Raleigh Beer Garden’s Big Frosty Beer Festival. The event promises a total of fifteen breweries (including one cidery) offering rare and specialty brews. These include tastes from Oak City stalwarts like Big Boss, Lonerider, and Trophy, as well as western N.C. favorites Wicked Weed, Appalachian Mountain Brewery, and Bold Rock Cider. Our favorite flavors from the greater Triangle region include Durham’s Durty Bull, Cary’s Bond Brothers, Wake Forest’s White Street, Apex’s Brüeprint, and Clayton’s Deep River. The price of admission includes a mug for sampling. Andy Lyle Hall will soundtrack the affair with a selection of live cover tunes, while the beer garden’s upscale comfort food menu leaves no excuse for drinking on an empty stomach. —Bryan C. Reed RALEIGH BEER GARDEN, RALEIGH 2 p.m., $35, www.theraleighbeergarden.com

THE INDY'S GUIDE TO THE TRIANGLE

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INDYweek.com | 1.18.17 | 33

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us... t r o p p u s o esses wh in s u b e h t Support

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PHOTO COURTESY OF THE ARTIST

FRIDAY, JANUARY 20–SATURDAY, JANUARY 21

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BLACK IRISH: GOWN

Most garments present you with options. White shirt? Formal or casual. A little black dress goes with—all together now—just about everything. But a gown will only take you in one of two directions: toward the heights of society or a hospital bed. In Gown, choreographer and designer Ronald West, whose Black Irish Contemporary Hip Hop Dance company dazzled us during Gaspard&Dancers’ October showcase, premieres his most personal work to date. The piece segues from high and low fashion, mingling different dance forms in a multigenerational staging based on company members’ family narratives about identity and mental illness. Guest dancers Killian Manning and Courtney Owen-Muir also perform in the evening-length work.—Byron Woods CARY ARTS CENTER, CARY 7 p.m. Fri./2 p.m. and 7 p.m. Sat., $10–$20, www.iamblackirish.com

OPENING Always... Patsy Cline: Musical. $20-$50. Jan 20-29. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com. Tim Hawkins: Stand-up comedy. $19. Fri, Jan 20, 7 p.m. Durham Performing Arts Center, Durham. www.dpacnc. com. Heisenberg: Play. $5-$15. Jan 19-Feb 4. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org. See p. 25. Tim Lee: Stand-up comedy. $9-$30. Sat, Jan 21, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

“Rad in Plaid” Comedy Tour: Tyler Wood, Nick Alexander: Sun, Jan 22, 8 p.m. 106 Main, Durham. Sarah Silverman: Stand-up comedy. $47. Fri, Jan 20, 8 p.m. Carolina Theatre, Durham. www.carolinatheatre.org. See p. 24. The Taming: Staged reading. Fri, Jan 20, 7:30 p.m. Visual Art Exchange, Raleigh. www. visualartexchange.org. See p. 25. Josh Wolf: Stand-up comedy. $16-$24. Jan 19-21. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

ONGOING LAST  Blackbird: CHANCE Play. $14-$18. Thru Jan 22. Sonorous Road Productions, Raleigh. www. sonorousroad.com. See review at www.indyweek.com  Orlando: Play. $5-$20. Thru Jan 28. www. manbitesdogtheater. org. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. See review, p. 22. The Whipping Man: Play. $15-$24. Thru Jan 29. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

page

screen SPECIAL SHOWINGS The BFG: Thu, Jan 19, 6 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org. Hell or High Water: Sat, Jan 21, 2:30 p.m. Chapel Hill Public Library, Chapel Hill. Journey to Italy: Fri, Jan 20, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org. Meredith College Documentary Film Festival: Sun, Jan 22, 2 p.m. Meredith College: Carswell Concert Hall, Raleigh. www. meredith.edu. Roméo et Juliette: Various theaters in the Triangle. Sat, Jan 21, 12:55 p.m. www.metopera. org/Season/In-Cinemas/ Theater-Finder/?.

OPENING 20th Century Women—Mike Mills’s dramedy is based on his childhood in California in 1979. Rated R. The Founder—Michael Keaton plays McDonald’s founder Ray Kroc in this creation myth for an American institution. Rated PG-13. Split—M. Night Shyamalan returns with a psychological horror film about a kidnapper with multiple personalities. But could there be ... a twist? Rated PG-13.

xXx: Return of Xander Cage— After a hiatus of more than a decade, Vin Diesel’s action franchise returns for a third outing. Rated PG-13.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Monster Calls—This visually dazzling animated fable is alternately honest and manipulative in dealing with a child’s suffering. Rated PG-13.  Arrival—Denis Villeneuve’s thoughtful aliens-to-Earth film is less about first contact than first communication. Rated PG-13. ½ Elle—Careening from light comedy to horror and back again, Paul Verhoeven’s rape-revenge film is an unusually complete cinematic experience for viewers with the fortitude to handle it. Rated R. ½ Fantastic Beasts and Where to Find Them—A Rowling-penned, promising start to a new Harry Potter franchise. Rated PG-13. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG.

HH½ Jackie—Natalie Portman’s exceptional impersonation of Jackie Kennedy is cramped by a film that locks her in a tragic orbit. Rated R.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13. ½ Manchester By the Sea—Casey Affleck’s brilliantly restrained performance as a traumatized handyman returning home after his brother’s death powers Kenneth Lonergan’s quotidian tragedy. Rated R.

HH½ Passengers—This glossy interstellar vehicle for provocative moral entanglements ultimately implodes from the pressure of its star-driven, crowd-pleasing mission. Rated PG-13.  Patriots Day— Mark Wahlberg’s ego singlehandedly avenges the Boston Marathon bombing victims. Rated R.  Rogue One: A Star Wars Story—This war flick set in the Star Wars universe takes place just before the first film. Rated PG-13. ½ Silence—Scorsese offers a masterful tale of seventeenth-century Jesuits traveling to Japan. Rated R.

WEDNESDAY, JANUARY 18– SATURDAY, JANUARY 21

NANCY PEACOCK: THE LIFE AND TIMES OF PERSIMMON WILSON In two previous works of fiction, Nancy Peacock, a lifelong N.C. resident who teaches writing classes and workshops in the Chapel Hill area, has become known both for her skills as a storyteller and the beauty of her prose. Her latest, The Life and Times of Persimmon Wilson, is an ambitious work of historical fiction, a tale of justice denied set in the still-unsettled world of Texas in 1875 as a former slave seeks to set the record straight about the circumstances that led to his arrest and looming execution. Taking the form of a letter written by the accused, the book has earned praise for its vivid characters, immersive writing, and the voluminous research that Peacock wields to pull readers into bygone milieus ranging from the sugar cane plantation in southern Louisiana where the protagonist toils to his life among the western Comanche, whom he joins in battle. After kicking off an N.C. book tour at Flyleaf Books in Chapel Hill, Peacock heads for the Orange County Library on Wednesday, The Regulator Bookshop in Durham on Thursday, and McIntyre’s Books in Pittsboro on Saturday. —David Klein VARIOUS BOOKSTORES, TRIANGLE-WIDE Various times, free, www.nancypeacockbooks.com

READINGS & SIGNINGS Lynne Branard: Traveling Light. Thu, Jan 19, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Carla Buckley: The Good GoodBye. Thu, Jan 19, 4 p.m. Chapel Hill Public Library, Chapel Hill. Judy Hogan: Formaldehyde, Rooster: The Fourth Penny Weaver Mystery; Nuclear Apples?: The Third Penny Weaver Mystery. Tue, Jan 24, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

See Hell or High Water at the Chapel Hill Public Library this week.

Dmitry Orlov: Shrinking the Technosphere: Getting a Grip

on Technologies That Limit Our Autonomy, Self-Sufficiency and Freedom. Wed, Jan 25, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Nancy Peacock: The Life and Times of Persimmon Wilson: A Novel. Thu, Jan 19, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Sat, Jan 21, 11 am. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

LITERARY R E L AT E D Jim Holman: “Wagner and the Movies.” Wed, Jan 25, 7:30 p.m. UNC Friday Center, Chapel

Hill. www.fridaycenter.unc.edu. Islamaphobia Panel Discussion: Juliane Hammer, Abdul Waheed, and Manzoor Cheema. Thu, Jan 19, 7 p.m. Emerson Waldorf School, Chapel Hill. www. emersonwaldorf.org. Sister Cities: Exploring the World’s Literary Traditions: Sat, Jan 21, 3 p.m. Southwest Regional Library, Durham. www.durhamcountylibrary.org. WAKE Up and Read Kickoff: Sat, Jan 21, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

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body • mind • spirit classes & instruction BEGINNING ZEN PRACTICE Chapel Hill Zen Center with David Guy. Monday evenings, 7:30-9. 6 weeks, Jan. 23 - Feb. 27. $60. Scholarships available. 919.286.4952. davidguy@mindspring.com www.davidguy.org

DANCE CLASSES IN SWING, LINDY, BLUES, CHARLESTON At ERUUF, Durham & ArtsCenter, Carrboro. RICHARD BADU, 919-724-1421, rbadudance@gmail.com

NEW TAI CHI CLASSES FORMING IN JANUARY. Learn not only the form, but what the moves mean. Apply the form to PUSH HANDS + Tai Chi sword. $35/mo. redsunacademy2.com

TAI CHI Traditional art of meditative movement for health, energy, relaxation, self-defense. Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936 or www.magictortoise.com

massage FULL BODY MASSAGE by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe. Schedule an appointment with Pavel Sapojnikov, NC LMBT. #1184. Call: 919-790-9750.

MASSAGE BY MARK KINSEY Ten years helping clients feel at home in their bodies. Swedish & deep tissue massage for stress relief. Near Duke. MassageByMarkKinsey. com. NCLMBT#6072. 919619-6373.

medical services MAKE THE CALL TO START GETTING CLEAN TODAY. Free 24/7 Helpline for alcohol & drug addiction treatment. Get help! It is time to take your life back! Call Now: 855-7324139 (AAN CAN)

misc. XARELTO Xarelto users have you had complications due to internal bleeding (after January 2012)? If so, you MAY be due financial compensation. If you don’t have an attorney, CALL Injuryfone today! 1-800-4198268.(NCPA)

products ACORN STAIRLIFTS The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800-291-2712 for FREE DVD and brochure. (NCPA)

products ATTENTION SMOKERS Stop smoking with TBX-FREE! Clinically proven. More effective than patch or gum! Fast acting! No Side Effects. 88% success rate! Just $1.67 per day with 1 month supply. CALL 1-888-437-1556

auctions

of McCorkle Concrete, Trucks, Trailers & Finishing Equip, Gastonia, NC - Gaston Co., Begins Closing 1/23/17 at 2pm, Iron Horse Auction Company, Inc., ironhorseauction.com, 800.997.2248, NCAL3936

housing

critters

FREE: TWO YORKIES

To adopt: 919-403-2221 or visit animalrescue.net

Emma

stuff Purple Martin Gourds $3.95 each, reg $5.97 or mention this ad for 6 for $21.95. 9.5” diameter, lifetime warranty, Call 1-800-764-8688, www.skmfg.com

is a big cuddler!

CASH AND CONSIGNMENT FOR BOOKS.

They are both AKC registered and home raised,contact me for more info at bobhawkins150@gmail.com

KEEP DOGS SHELTERED Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.

MAKE & SAVE MONEY with your own bandmill- Cut lumber any dimension. In stock ready to ship! FREE Info/DVD: www.NorwoodSawmills.com 1-800-578-1363 Ext.300N

DECLUTTERING? WE’LL BUY YOUR BOOKS

ROOMMATE WANTED 2-bdrm 2-bthrm Raleigh apartment off Falls of Neuse. Non-smoker. Gym and pool. $470 plus half utilities. Call Craig for interview at 919-610-9836.

We’ll bring a truck and crew *and pay cash* for your books and other media. 919-872-3399 or MiniCityMedia.com.

notices Defendant. : TO: BARBARA W. BRANCH 400 Courtney Creek Blvd. Apt. 634 Durham, NC 27713 (Last Known Address) TAKE NOTICE that a pleading seeking relief against you has been filed in the above entitled action. The nature of the relief being sought is Equitable Distribution and Absolute Divorce. YOU ARE REQUIRED to make defense not later than forty (40) days following January 11, 2016, and upon your failure to do so, Plaintiff will apply to the Court for the relief sought. This the 11th day of January, 2017. THE LINEBERRY LAW FIRM, P.C. _______________________ ______________ CHAS. M. LINEBERRY, JR. Attorney at Law N.C. State Bar No. 13018 3602 Wrightsville Avenue Wilmington, North Carolina 28403 Telephone: (910) 798-0600 Facsimile: (910) 798-0401 Attorney for Plaintiff

Book your ad • CALL Sarah at 919-286-6642 • EMAIL