INDY Week 10.9.19

Women photographers DURHAM | CHAPEL HILL October 9, 2019

from the Arab world smash through stereotypes at the Ackland

by Mitali Routh, pg. 8

2 | 10.09.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 36 NO. 39

DEPARTMENTS

7 Low-performing Durham County schools received millions of dollars from the federal government in 2016.

Is it enough?

7 News 13 Food

8 In the photography exhibit She Who Tells a Story, women from the Arab world dismantle Western stereotypes about their lack of agency.

17 Music 21 Arts & Culture 22 What to Do This Week

13 Saltbox’s Ricky Moore is a celebrated professional chef, but his new cookbook aims to make home cooks less intimidated by seafood.

25 Music Calendar 29 Arts & Culture Calendar

17 Raleigh author Daniel Cook Johnson isn’t sure that Jeff Tweedy has read his Wilcopedia, but he knows Tweedy got a copy.

18 Yair Rubinstein finds life after chillwave in his debut electronic-dance EP as Ssoft.

21 To hear dystopian comedy Waters Rise tell it, none of us are likely to survive destroying the world.

On the cover Ingrid Saddler-Walker, a guidance counselor and yoga teacher (see story, page 7), leads a class of students at Eastway Elementary. PHOTO BY JADE WILSON

“DONT FORGET THIS IS NOT YOU (FOR SAHAR LOTFI)” BY NEWSHA TAVAKOLIAN, COURTESY OF THE ARTIST AND EAST WING CONTEMPORARY GALLERY

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SUNDAY, OCTOBER 13TH Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

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backtalk

INDY VOICES

Declarations of Independence

Cool Kids’ Club “I am a local music lover,” writes Taylor Rives. “I have been so grateful to the INDY for covering local music and nurturing a healthy and diverse scene in the area. Lately, I have been deeply disappointed to see that the INDY is covering more national acts and dedicating less coverage to budding local acts that could benefit hugely from a small share of the limelight. When the INDY does cover local acts, it tends to profile local acts that already have national notoriety. Why not spread coverage around to budding local acts that can’t get traction in national outlets? Is the INDY a cool kids’ club? Please diversify your coverage. It’s your duty if you truly want to serve the community, build inclusivity, and nurture the next generation of up-and-coming artists who need a boost.”

By the time this issue hits the streets, Raleigh’s city elections will have taken place. Terry was disappointed with last week’s profile of mayoral candidate Charles Francis: “While Francis has issues and I won’t vote for him, Mary-Ann Baldwin is taking money from Trump donors like John Kane, who has called Raleigh an eyesore. [Note: Kane has maxed out to Baldwin, donating $5,400. He’s also donated to Francis ($2,500) and Caroline Sullivan ($2,500).] Why is the INDY endorsing people who take money from Republicans? Also, Baldwin is taking money from Kimberlie Meeker, the daughter-inlaw of Mayor Charles Meeker, whose brother owns the paper. A clear conflict of interest. [Kimberlie Meeker donated $500 to Baldwin. Richard Meeker was not consulted on nor did he read the Francis story prior to publication.] Once again, the INDY is defending the same white establishment they proclaim to be against.”

Emma says she “expected better from the INDY. Your bias has grown irresponsible. Your reporting implies that it’s OK for individuals such as Nancy McFarlane and Caroline Sullivan to accumulate wealth and success, but God forbid a person of color dare to do the same. A black man can only support Southeast Raleigh if he’s poor?

Your bias and privilege is tacky and unprofessional. Even though you don’t support Francis, which you’ve made abundantly clear, this was a careless piece of journalism.”

Want to see your name in bold?

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

IN CRAZY TIMES, SOME TRUTHS REMAIN SELF-EVIDENT BY CHIKA GUJARATHI

CHIKA GUJARATHI is a Raleigh-based writer and author of the Hello Namaste! children’s books, whose work can be found on her blog The Antibland Chronicles.

NEXT WEEK: JONATHAN WEILER, a teaching professor in global studies at UNC-Chapel Hill and co-author of Prius or Pickup? How the Answers to Four Simple Questions Explain America’s Great Divide and Authoritarianism and Polarization in American Politics.

T

wo questions run through my head as I assess our political reality: One, how easily can I make a new life in another country that respects my children, the environment, and human rights more than guns, oil companies, and corporations? Two, can I just keep watching reruns of The West Wing and pretend Jed Bartlet is president?

After listening to yet another news cycle filled with commentary that’s quite honestly worse than hearing my kids bicker, I’m fighting my urge for a libation while drafting my very own Declaration of Independence. It has nothing to do with politics and everything to do with things that are vain, pointless, and embarrassing.

Oh, wait.

I hold these truths to be self-evident: That all clothes are created equal.

As long as they are clean, I will no longer let my designation as an adult keep me from wearing things with stubborn stains in prominent places, or items that have wrinkles that I just don’t care to iron. On the same note, if you gift my kids cute yet impractical clothes that need handwashing and ironing, I will kindly heave them back at you.

That putting my kitchen knives in the dishwasher may seem barbaric, and most likely to affect their safety

and happiness, according to foodies everywhere. But I will remind myself, as I jam them in with the dirty spoons and forks, that they aren’t alive, and I am.

That whenever a social media post or picture becomes destructive to my inner photographer and designer, it is my right to yell, “Stop using the stupid filters” as loudly as I can to no one in particular.

That prudence and fear, indeed, have dictated that daily beauty routines must be established around $100 miracle lotions and potions, and should not be changed for light and transient causes like not giving a damn about looking youthful.

But I shall no longer feel guilty for washing my face with hand soap some nights because dammit, it’s right there on the sink, and aren’t I just washing it right off ?

That when a long history of charging women more for the same product than men because of pretty packaging evinces itself on store shelves yet again, it is my right—my duty—to refuse to fall for the marketing sham and to just reach for my husband’s shaving cream instead.

That I am endowed by my Creator with certain unalienable Rights, one of which does not include yelling at others for wearing flip-flops in places other than a beach or pool. But please, don’t you

see there are more comfortable and better choices in footwear?

That whenever gift-giving becomes less about being thoughtful and more about everything else, it is my right to alter or to abolish it, and to institute new rules that only allow for handwritten notes of acknowledgment. In cursive. And should that make you buy gifts for my kids because you feel sorry for them, God forbid, it better not be cute clothes that need handwashing and ironing.

That Life, Liberty, and the pursuit of Happiness would be so much easier if everyone were as hardworking and kind as the people on The Great British Bake Off. I, therefore, the representative of the United States of America in Raleigh, North Carolina, solemnly publish and declare myself free and independent from being bothered.

By anything or anyone.

And for the support of this Declaration, I drink from the keg of glory.

Bring me the finest muffins and bagels in all the land. backtalk@indyweek.com INDY Voices—a rotating column featuring some of the Triangle’s most compelling writers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 10.09.19 | 5

6 | 10.09.19 | INDYweek.com

indynews

Minority Reports

WITH A FEDERAL GRANT, SOME LOW-PERFORMING DURHAM SCHOOLS ARE STARTING TO IMPROVE. IS IT ENOUGH?

BY THOMASI MCDONALD

L

ow-performing Durham County schools received a shot in the arm in 2016 when the federal government awarded millions of dollars to help improve their academic performance.

Eastway Elementary was one of five Durham schools and almost twenty North Carolina schools that received a Schools Improvement Grant. Eastway’s grant was worth $3.2 million over five years.

Like its Durham counterparts, almost all of Eastway’s 552 students are black or Hispanic. All receive free lunch. And like four of the five, it’s seen incremental improvements.

The school’s administrators struggled to get students above an F rating for two years; finally, in the 2018–19 academic year, the school earned a D. (Neal Middle and Merrick-Moore and W.G. Pearson elementary schools also improved from an F to a D last year. C.C. Spaulding Elementary retained an F.) With the SIG, impoverished children are taught resilience. There are classes on yoga and meditation as well as activities like gardening and multidisciplinary teaching methods that encourage different ways of learning. Most of all, children are assured that their school is a safe, caring place—somewhere they are valued.

“What these kids see at home is like defeat, period,” says Reginald Terrell Moore, Eastway’s community liaison coordinator. “It’s like, ‘Why even try?’”

“Eastway has a hierarchy of needs,” says Jonathan Brooks, Eastway’s principal. “Students don’t care how much you know until they know how much you care.”

Moore describes the approach as a “community resilience model” that focuses on imparting wisdom, justice, courage, compassion, hope, respect, responsibility, and integrity.

Those ideals help children struggling with trauma, food insecurity, and poverty.

Moore points out that their parents often have trouble keeping a roof over their heads, which in turn affects their academic performance. They may, for instance, attend Eastway for the first three months of the school year and then relocate. Sometimes, they return just before end-ofgrade testing.

“There’s a number of evictions,” he says. “That meant that their children stayed at a disadvantage. So relationship-building has been the key. Even with the evictions, the parents found ways to keep their child at a school where they are progressing.”

And some Latinx parents have also been “embarrassed” to participate in their child’s learning because they are undereducated, Moore continues.

Ingrid Saddler-Walker, Eastway Elementary guidance counselor and yoga teacher, instructs a class of students. PHOTO BY JADE WILSON “They are struggling to learn English, but they are not that proficient in their own language,” he says. “We have some parents who only have a third-grade education. But the public doesn’t see that. All the people see is the end result—the test scores.”

Faced with those challenges, Moore says, it was important to build trust. He relied on surveys that asked parents what they wanted the school to do. Those surveys led to a school garden in which students and volunteers plant and cultivate vegetables and flowers. Moore says he learned that the children often weren’t eating fresh produce at home.

Moore also hosts monthly classes. There’s been a class on coupon cutting, and administrators brought in a barber and a hairstylist for the students and their parents.

But what if teaching kids resilience only scratches the surface? What if, for Eastway and other minority-majority

schools to truly be successful, their classrooms had to actually be desegregated?

Nikole Hannah-Jones, a staff writer at The New York Times Magazine and UNC-Chapel Hill alumna who spearheaded the acclaimed 1619 Project and is one of the nation’s foremost authorities on race and public education, posited that idea at an event sponsored by the Public Schools Forum of North Carolina last year.

Integration, she said, is the only thing that has proven effective at closing the academic achievement gap. And despite rapid re-segregation, “the South has been and remains the most integrated part of the country. … If we lose the South, we lose the country.”

Michael Hobbs, director of communication at the UNC’s School of Education, says that disparities in school funding played a role in creating the achievement gap—and in narrowing it during desegregation.

With segregation, the lion’s share of public funds went to white schools. “The minority schools were poorly funded,” Hobbs says. “By integrating the schools, the funding tended to follow.”

Tom Scheft, a professor of education at N.C. Central, says it’s misleading to assert that black and Hispanic children can’t read or write at grade level unless they’re in integrated schools. He points to Lakewood Elementary, where Hispanic and black kids account for nearly 90 percent of students.

Lakewood’s improvement was the best in the Durham Public Schools system, says spokesman Chip Sudderth.

“It was an F school, but they’ve gone up to a C,” Scheft says. “They’re doing it there, and I think it’s a combination of good school leadership, great teachers, and an involved community, students that are open and receptive, and parents that are involved.”

The school’s modest improvement in the last academic year isn’t the stuff of dean’s lists and honor rolls, but it might stave off more dramatic possibilities, including a takeover by the State Board of Education, being turned over to a private company, or even closure. And Eastway officials are proud of what their kids have done. Moving forward, Brooks says, the goal “is for Eastway to move from the D to C category” and exceed the state’s expectations.

“The biggest misconception in low-performing schools is you got a bunch of bad students and you got a bunch of bad kids,” Brooks says. “That couldn’t be further from the truth.

We have a bunch of hardworking staff members here and kids who are thirsty for success.” tmcdonald@indyweek.com INDYweek.com | 10.09.19 | 7

“Bullet Revisited #3” by Lalla Assia Essaydi PHOTO COURTESY OF THE ARTIST, MILLER YEZERSKI GALLERY BOSTON, AND EDWYNN HOUK GALLERY NYC

Women photographers from the Arab world smash through stereotypes at the Ackland

SHE WHO TELLS A STORY: WOMEN PHOTOGRAPHERS FROM IRAN AND THE ARAB WORLD Through Sunday, Dec. 1 Ackland Art Museum, Chapel Hill www.ackland.org

he stories about Arab women that the American media has told, especially since September 11, 2001, often focus on the intersecting effects of Islamic religious imperatives and patriarchal state regimes upon women’s rights, with much ink spilled on the hijab and Sharia law as evidence of women’s lack of agency. By and large, these stories have sought to inspire pity, empathy, and fear, often to justify military interventions in the Middle East—and to maintain a narrative about the superiority of Western values.

There is no shortage of hijabs in She Who Tells a Story: Women Photographers from Iran and the Arab World, an exhibition on view at the Ackland Art Museum through December 1, but it ought to disabuse viewers of simplistic ideas about Islamic wom8 | 10.09.19 | INDYweek.com

en’s lives and experiences, complicating not only the reductive stories we’ve been fed, but also inviting deeper reflection on the specificity of their artistic commentary and the significance of storytelling.

Storytelling is the most human of behaviors: to situate oneself in relation to the experiences of others, communicating not only our affinities but also our differences.

In our desire for connection, we tell our stories in order to invite mutual understanding, empathy, and even affection and love.

But our stories also serve to distinguish us from others, offering important clues about what connects and separates us.

In the late-twentieth century, questions regarding what constituted modern art gave way to questions about who was allowed to be taken seriously an artist—what kinds of experiences and identities were acceptable subjects and themes. In the U.S. and Europe in the 1960s, women and artists of color created experimental artworks and performances that pushed back against the white-male status quo and the discriminatory conservatism of art institutions. Later, in the infamous 1990s culture wars, Jesse

Helms proposed amendments to withdraw NEA funding from artists whom the North Carolina senator and his ilk viewed as a threat to the traditional “values” of white heteropatriarchal culture. These artists brought the identities, bodies, and unique concerns of women, people of color, and queer people to the fore and complicated the criteria for artistic value and beauty.

These struggles for visibility and institutional recognition continue on every front in contemporary art. In recent decades, the centering of “the art world” in North America and Europe—and the tendency of a small yet incredibly powerful coterie of largely white male critics, curators, gallerists, and dealers to ignore groundbreaking work emerging from outside of Western countries—has finally come under siege.

Art professionals have been forced to confront their narrow, shallow frameworks. Art is happening everywhere, all the time, and contemporary art has always been “global.” hich stories are allowed to be told and represented in visual art and media? By and for whom

By Mitali Routh

are these stories being told, and which voices are worth listening to? She Who Tells a Story is a thoughtfully conceived (though by no means intended to be comprehensive) engagement with these questions and should be a guide for educators, museums, curators, and collectors who are committed to reimagining their practices and diversifying their collections. Originally curated for the Museum of Fine Arts in Boston in 2013, the exhibit traveled to several other museums around the U.S. before arriving in North Carolina. It presents more than eighty photographs, created by twelve important and emerging contemporary artists who were born or currently reside in Iran and other countries in the Middle East and North Africa.

The exhibit arrives as part of a broader Ackland initiative to expand its collection of art from the Islamic world. It also comes to Chapel Hill at a charged moment, as the future of the Duke-UNC Consortium for Middle East Studies is uncertain. As The New York Times reported, in August, Trump-administration education department officials published an official letter

criticizing the joint program for what they argue is too “positive” a teaching stance on Islamic culture in the Middle East, without similarly positive approaches to Judaism and Christianity and their cultural impact in the region. Reviving the culture wars, Trump officials threatened to cut off the consortium’s federal funding if it didn’t undertake a massive revision of its programming to reflect a more “balanced” orientation.

But She Who Tells a Story is a moving exhibit that invites new reflections, apart from all that noise. The title is a translation of the Arabic word “rawiya” and the name of a contemporary women’s art collective that formed in Iran in 2009. The medium- and large-format works, created between the 1990s and 2012, range in genre from narrative portraiture and landscapes to still life and documentary. Through a variety of techniques, the artists explore the complexities and contingencies of women’s identities and experiences during three decades of political and cultural upheaval.

A few of the artists will be familiar: Iran’s Shirin Neshat, who has achieved the most international renown among the group by far, is represented with film stills from her Rapture series.

(Neshat is also curating an exhibit of work by Iranian women artists to open at the High Line Nine galleries in New York City next year.) Iran’s Shadi Ghadirian has attracted significant attention for the Qajar series included here; she was once featured on the “The Break” by Nermine Hammam PHOTO COURTESY OF TAYMOUR GRAHNE cover of Art in America. One of the Works such as “Don’t Forget This Is Not You” by Iran’s most visually arresting photographs, “Bullet Revisited #3,”

by Morocco’s Lalla Assia Essaydi, comes from a series that Newsha Tavakolian bear resemblance to the confrontahas already been shown in several major art museums in tional yet oddly ambivalent portraits by Dutch photogthe United States, and has been reproduced and written rapher Rineke Dijkstra, in which characters centered about in recent art-history survey books covering contem- within striking landscapes directly confront viewers with unconcerned gazes. As its title suggests, Tavokoporary Middle Eastern art.

The artists visualize everything from encounters lian’s work pushes back against the idea that photographbetween Islamic cultural traditions and the West to the ic images by and about women from the Middle East persistent presence of national and international con- necessarily “furnish evidence” (to borrow Susan Sonflicts in their communities, as well as the struggles that tag’s phrase from On Photography) of the objective truth emerge in everyday life between the cultural spheres of of their lives, weakening the historical bond between women (especially in domestic spaces) and the heavily photography as an apparatus for surveillance and as militarized domains of men, where masculinity is con- mechanical window into the soul.

Meanwhile, a selection of works from a series entitled tinually reconstituted through the activities and accouToday’s Life and War by Iran’s Gohar Dashti feature charterments of never-ending war.

Though far from uniform in style or theme, the works all acters who cleverly resist viewers’ impulses to decode or highlight and subvert the constraints placed upon women’s speculate upon their emotional landscapes. In one, a couexperiences by Islamic laws and cultural traditions. Most ple dressed in wedding attire are seated in a festively decimportant, they also question the simplistic biases of the orated broken-down car in desolate terrain. Though they Western gaze. The aesthetic and material conditions of are apparently “just married,” they stare blankly toward women’s lives are used to reassert what we think we know, the camera as tanks move across the bleak setting behind only to be diffused through skillful reframing and unusual, them. While their disaffected expressions and the playful composition may initially suggest levity, upon fursometimes defiant, sometimes ironic juxtapositions.

ther consideration, the landscape of the war-torn region barrels into view, reminding us of the incredible emotional strength (and often, dissociation) required to resist the unraveling effects of immense long-term trauma.

In contrast, documentary portraits such as those of Jordan’s Tanya Habjouqa and Lebanon’s Rania Matar show young women at leisure, in a garden or in their bedrooms, thereby complicating the idea that women in the region live from moment to moment in a near-constant state of suffering and oppression.

Instead, they are shown conceiving of and representing themselves as they are or wish to be. Not surprisingly, we observe them doing what young women all over the world do—taking selfies, relaxing, styling their personas and spaces—and indeed, what feminist artists such as Carolee Schneemann, Cindy Sherman, and Carrie Mae Weems have been doing in their pioneering experimental photographs and performances since the 1960s: constructing themselves in and as images, even as they continue to be subjected to the most pervasive and destructive aspects of the male Western gaze. Meticulously selected garments, accessories, and possessions emerge as important visual and cultural signifiers in the young women’s presentations of their identities.

These photos are part of a lineage through all art history, across periods and cultures, in which the material strata of human experience is a vital tool for storytelling. In portraiture, artists rely heavily on the strategic placement of objects and structures, often in motifs that are easily discerned through related associations and repetition, to construct meaning. The most rigorous visual explorations of objects associated with domestic and social life can be seen in the series by Iran’s Shadi Ghadirian and Egypt’s Nermine Hammam, in which artistic genres— Western still life painting and Japanese woodblock prints, respectively—converge with the materials and images of contemporary life to break open assumptions about femininity and masculinity and articulate alternative stories about how identities are recycled and refashioned alongside aesthetic forms.

For as long as humans have sought to tell their stories, visual art has been a primary means of doing so. Artists tell us a lot about their perspectives, interests, and aims through the choices they make—including the ways in which they mean to access or undermine notions of truth. Art is particularly effective at giving shape to ideas, dreams, desires, and identities previously unimagined or untold. But historically, across cultures, including in the West, women have had their voices regularly silenced or dismissed, which makes the self-definiton in this exhibit all the more important. arts@indyweek.com INDYweek.com | 10.09.19 | 9

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i there and thanks for checking out more about Cary Car Care! We’re a family owned and operated business in Cary, NC that has been in the same location since we opened in 1990. Paul Lambdin, my dad, actually opened the business with a partner who has since retired. BJ (my cousin) and I came onboard as owners in 2015. That’s me in the middle, Kelsey (see picture above)! We all enjoy working together to provide full service auto repair for the Cary community! Every service we provide is centered around our core values of communication, trust, relationships, service and community. We’re constantly striving to be the best in the industry and make sure each client has a great experience!

As an ASE Blue Seal Certified shop, you can expect only the best from our team! Our skilled mechanics have the diagnostic tools and experience to solve your particular car problem for good. Additionally, every auto repair and maintenance service is backed by our leading 2 year/ 24,000 mile warranty on most parts and labor. When you come to Cary Car Care, it’s not just about today’s repair or maintenance, but it’s about the overall life of your vehicle. We will explore your vehicle’s complete history and help you prioritize the maintenance schedule to keep your vehicle running for as long as possible. We provide the care your vehicle needs with the most important thing in mind – you!

Stop by and see us or give us a call to get your vehicle scheduled for service. We’d love to serve you and your family! As our motto says “it must be right, or we’ll make it right!”

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indyfood

SALTBOX SEAFOOD JOINT COOKBOOK LAUNCH Tuesday, October 15, 6 p.m., free Motorco Music Hall, Durham

Off the Hook

IN THE SALTBOX SEAFOOD JOINT COOKBOOK, CHEF RICKY MOORE SHARES HIS STORY PLUS SIXTY RECIPES ANY HOME COOK CAN MASTER BY LAYLA KHOURY-HANOLD

“W

here can I get a good fish sandwich?” When chef Ricky Moore realized he didn’t have an answer to that question posed by his wife, Norma, he created her ideal sandwich instead. If you’ve ever had one of Saltbox Seafood Joint’s fish sandwiches—lightly dredged and seasoned local fish, fried till golden and piled on to a roll with coleslaw and tartar sauce—you have Norma’s vision to thank. It was the catalyst for Moore’s beloved Durham restaurant, Saltbox Seafood Joint, a contemporary fish shack focused on doing one thing well: seasonal North Carolina seafood.

Norma also inspired Moore to memorialize his story in the Saltbox Seafood Joint Cookbook (University of North Carolina Press), which comes out on October 14. At the October 15 Motorco book launch, there will also be a special preview screening of The Hook, a half-hour UNC-TV special about Ricky Moore.

In the cookbook, fans get a glimpse into Moore’s path as a chef, from his childhood in the N.C. coastal town of New Bern and time as an art school hopeful to his time in the military and, of course, his illustrious culinary career.

Following Norma’s advice, Moore left the “chefdom” out of the book’s sixty recipes, in hopes that the recipes and techniques will make home cooks less intimidated by seafood. He also hopes that the book will preach the gospel of N.C. seafood.

“I’m speaking to it from a level of Cover of Ricky Moore’s new cookbook PHOTO BY BRIANA BROUGH reverence the same way someone who grew up on the Mediterranean Sea in Provence speaks to ern North Carolina-style clam chowder that’ll have it,” Moore says. “I want you to know that I’m proud of my you whipping out your apron and Dutch oven, stat. seafood heritage. It’s important to recognize that North Carolina is not just a place that’s known for barbecue.”

INDY: Before you joined the military, you considered art In advance of the cookbook launch, the school. You draw a natural parallel between the military and INDY caught up with Moore, who talks “cook- the kitchen; do you see a parallel between art and cooking? ing off the dome” and shares a recipe for an East- RICKY MOORE: Absolutely. Art, in general, can be an

organized activity, or it can be an improvisational activity. That’s the way I see art.

And I tend to teeter on both of those. You have mise en place, [a culinary term for] things in its place; an artist must be mentally organized to be creative. I’m also a big hip-hop fan. You listen to a lot of classic old-school emcees; they were very improvisational. A lot of emcees were very off the cuff—off the dome is the term—so cooking is just that, too.

Writing a cookbook is new territory for you. What informed your approach?

I had to define my team, people who could coach me on how to approach this. [There are a] whole bunch of cookbook authors in my neighborhood in Chapel Hill; people like Bridgette Lacy, Nancie McDermott, Sheri Castle, and Bill Smith. I want to credit Marcie Cohen Ferris for helping me get the ball rolling [with UNC Press]. She wrote a book [Matzoh Ball Gumbo] about her Jewish heritage meeting Southern food. When I read the book, I sent her an email. This was about twelve years ago.

How have you made your recipes approachable for home cooks?

There are a lot of good stories that people can connect with. I broke it down into chapters and I’ve got specific categories, from an all-purpose dredge, to grilling and smoking, to a perfect hominy. I kept the recipes simple. I want people to take it as a base and maybe do their own riff on it. You want to keep it easy and always focus on where you’re sourcing from; the quality, seasonality, and freshness of it. There’s a hundredand-one miles of coastline of native species that we should be eating and supporting.

You use the term native species. You devote a page in your book about not using the terms ‘trash fish’ or ‘ugly fish.’ Why is that problematic?

The term ‘trash’ marginalizes something important and natural. Just because the masses don’t know much about INDYweek.com | 10.09.19 | 13

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it doesn’t mean we should define it as such.

There are native species that you find in different countries where it’s normal. The example I gave in the book is the rouget.

That’s a small, bony redfish, but it’s the main ingredient in bouillabaisse broth.

There’s a level of reverence when they talk about it. I want the same thing when folks from coastal Carolina talk about croaker, spot, hogfish, and butterfish. These are all bony, sustainable fish. Sheepshead is nowhere near trash fish. Lionfish, nowhere near trash fish. Triggerfish—no way. These are rockstar fish, man.

The One Pot section, which includes soups and chowders, has some great stories. Can you share more about the “Warsh”-Pot Fish Stew recipe?

[The wash pot] is the cast-iron cauldron that was used in a lot of family functions: family reunions, church gatherings, football parties. In coastal Eastern Carolina, everybody would have one when they would do a big function. It’s a means of feeding a bunch of people; it’s a scoop and serve situation.

It’s people cooking together, sharing stories, talking. I wanted to say “warsh” to reference the [Eastern North Carolina] vernacular and micro-regionality of the dish.

Everyone has a different version. To me, boiled eggs, tomato, salt pork or bacon, those are mandatory ingredients. From a traditional standpoint, the whole fish goes in the pot. It’s served with white sandwich bread and it goes in a Styrofoam bowl. It’s very communal. I want people to think about that dish and think about community.

You also shared the recipe for your Hush-Honeys®. Did you feel like you had to include it?

I needed to put that in there. Obviously, I didn’t give out all the secrets. There’s no trademark in a recipe technically—you trademark a name or a title. As I move forward and hopefully put [Hush-Honeys®] in the frozen food section of supermarkets, I’m the only one who can use the name and market it as such.

You have a slate of events coming up, including a book launch event. What can fans look forward to?

It all depends on the event; a lot of times I’ll be doing more readings or Q&A sessions and signings. I’m going to do my best to make sure someone’s being fed, maybe a little sip of chowder, or a fish seasoning or seasoned flour to take home. But the idea is to always have something for people to eat.

That’s important to me. food@indyweek.com

CORE SOUND CLAM AND SWEET POTATO CHOWDER Serves 8

Be sure to clean the clams vigorously and thoroughly. Sand and grit is unpleasant even in the best homemade chowder.

4 cups water 24 cherrystone (medium) clams, rinsed well and scrubbed clean 1 tablespoon unsalted butter 1/4 pound slab bacon or salt pork, diced 2 tablespoons finely chopped garlic 2 medium leeks, tops removed, halved, and cleaned, then sliced into half-moons 3 medium sweet potatoes, peeled and cut into medium dice 1/2 cup dry white wine (such as Pinot Grigio or Sauvignon Blanc) 3 sprigs of fresh thyme 1 bay leaf 2 cups heavy cream Freshly cracked black pepper 1/4 cup chopped fresh parsley Set a large Dutch oven over medium-high heat, pour in the water, and add the clams. Cover and cook until the clams have opened, 10–15 minutes.

Note: Discard any clams that fail to open after 15–20 minutes.

Strain the clam broth through a sieve lined with 2 layers of paper towels and set aside. Remove the clam meat from the shells and set aside.

Rinse out the pot, set it on the stove over medium-low heat, and melt the butter. Add the slab bacon or salt pork and cook, stirring occasionally, until the fat has rendered and the pork has started to brown. Remove the pork with a slotted spoon and set aside.

Add the garlic and leeks to the fat and cook, stirring frequently, until the vegetables are soft but not brown, about 10 minutes. Stir in the potatoes and wine and cook until the wine has evaporated and the potatoes have started to soften, about 5 minutes. Add just enough clam broth to cover the potatoes, approximately 3 cups, reserving the rest for another use. Add the thyme and bay leaf. Simmer, partially covered, until the potatoes are tender, about 10 minutes more.

Meanwhile, chop the clams into pieces about the size of the diced pork.

When the potatoes are tender, stir in the cream, chopped clams, and cooked pork. Season with black pepper. Bring the chowder to a simmer and then remove the pot from the heat. Discard the thyme and bay leaf.

Allow the chowder to cure for about 10 minutes, reheating it to barely simmering before serving. Portion into deep bowls and garnish with the chopped parsley.

Adapted from SALTBOX SEAFOOD JOINT COOKBOOK by Ricky Moore.

Copyright © 2019 Ricky Moore. Used by permission of the University of North Carolina Press.

food

Compliments to the Chef

REMEMBERING THE PASSION, PRECISION, AND WHIMSY OF MAGNOLIA GRILL’S KAREN BARKER

BY ADAM SOBSEY

T

he late Karen Barker was a James Beard Award-winning pastry chef, cookbook author, and co-owner— with her husband, Ben Barker—of the seminal Durham restaurant Magnolia Grill.

She was also the mother of Gabe Barker, chef-owner of Carrboro’s Pizzeria Mercato, where she was also the founding pastry chef.

Although Barker died more than eight months ago, just sixty-one, of cancer, the loss is still fresh. Two interviewees for this article had to pause to collect themselves through tears; another requested an email exchange because it was less emotional.

Among them was Caitlin McCormick, a Barker protégé who is now the pastry chef at FIG, Charleston’s much-decorated bastion of gastronomy. She’ll be in town for TerraVita Food & Drink Festival’s Karen Barker Tribute dinner on Friday night, where she’ll serve her version of Barker’s signature Blackout Cake.

It was a favorite of Barker’s during her childhood in Brooklyn that, as Ben Barker remembers, “Karen worked really hard to recreate.”

Oddly, when she first put the chocoholic’s dream dessert on the menu, around 2005, it “wasn’t selling at her expectation level,” he says. Instead of changing it or taking it off the menu, as many might have done, she renamed it “Chocolate Chocolate Chocolate Blackout Cake.”

It never undersold again.

The birth of the Blackout Cake was a perfect example of Barker’s working methods: roots, passion, and precision in the kitchen; business savvy, simplicity, confidence, and whimsy in the dining room.

The voices assembled here—family, disciples, trusted employees, and carriers of her legacy (all of whom will be at Barker’s tribute dinner)—tell her story.

CAITLIN MCCORMICK: The scope of her repertoire was so vast. And she always knew the desserts’ historical background and cultural significance.

BEN BARKER: She had insatiable curiosity, an extremely analytical mind, and she devoted an extraordinary amount of time and effort to research. She was a relentless seeker of knowledge. And you can’t dismiss intuitive mastery. She developed an ability to taste a dish in your mind that all great chefs possess.

PHOEBE LAWLESS (Pastry assistant and pastry chef, 1999–2005; chef-owner of Scratch Bakery): She changed the way people thought about a cookie. My experience before Karen was: purple scoop, six-pan of oatmeal-raisin, pop it in the freezer till later, and that was baking. At Magnolia we had thirty different cookies, and each had different flavors, processes, textures, purposes on the plate. She didn’t wing anything.

CM: She was the only person I knew who made caramel without putting water in the pan. You [would] stand there for thirty minutes with a wooden spoon and love on it. It takes a lot of patience, a lot of discipline. You really get to know sugar.

TAMMY CARWANE (Office manager and server, 1995-2012; now general manager of The Cookery): Whatever she was doing, she poured all of herself into it. You could tell from the restaurant’s floral arrangements, which she made sure communicated exactly what she wanted. She chose the art on the walls, too. And she was an amazing businesswoman. She did not let any detail go by, and she had the full arc of everything going on. If I become remotely close to the businesswoman she was, I’ll count myself a success.

BB: Karen was fundamentally the reason we succeeded as a business: her unrelenting drive, her push to make us strive to be better. She constantly pushed me to be a better example to our co-workers and our children.

We called her “The Noodge.”

GABE BARKER: Mom was the all-seeing eye both at Mercato and undoubtedly the Grill.

GLENN LOZUKE (Sous chef and chef de cuisine, 1995-2008; now executive chef at Weaver Street Market): When Gabe was young, they had a crib set up in the restaurant. They made it work and for it to work, it’s got to mean everything to you. I was gonna be a restaurateur, and I realized I could not give on the same level that they did.

KELLI COTTER (Server 2000-2007; now co-owner of Dashi and Toast with husband and chef Billy Cotter): She had a great way of balancing her work and her life. Karen Barker in Serralunga d’Alba, Italy PHOTO BY BEN BARKER She was able to have a kid. I don’t know how people do that. And PL: My favorite of her desserts was her she had to be under a lot of pressure, lemon pudding cake. [n.b. Two interviewees but she was always so nice to us, to everybody. named this their favorite; a third had it as runner-up.] Tricky as shit to get it to work.

GB: She was so loving and her smile was You had to have all your ingredients at the incredibly welcoming, but that never stopped same temp, so you took them out of the her from telling someone the right way to do refrigerator in the morning, and depending something. It would be posed in a nice way: on the time of the year you put your dairy “Shouldn’t you wipe the top of that honey in a certain place in the kitchen. You had to bottle before you put it back?” We all knew incorporate the ingredients in a very spethat meant: “Wipe the fucking honey bottle cific order. One of the last steps was usualbefore you put it back.” ly the culprit for trashing the whole batch, and that was folding in the egg whites. If TC: She didn’t take any flak. You wanted to do we had a new baker, I’d find Karen downyour best. stairs: “Hey, we’re almost at the egg whites fold; would you come up and show? And she INDYweek.com | 10.09.19 | 15

could do it perfectly every time. You understood through watching her. Show not tell.

GL: Karen wasn’t there at night, so she had to be a great teacher to communicate her vision to a person working desserts out of one oven in the back. She engaged with her staff, and it showed. Look at the kind of fruit she bore.

PL: She was my first, eager investor in Scratch. It was a huge boost to my confidence, and without it I’m not sure I would have pursued it in the same way. She changed the course of my life.

16 | 10.09.19 | INDYweek.com

CM: She was so generous. It can be hard to let go of your recipes, but Karen wanted to share her knowledge.

GB: At Mercato I watched her work tirelessly to train a guy who spoke no English. At times I would find her frustrated, but always removed from the kitchen where no one could see how she felt. She understood how important attitude and morale was.

BB: She could also party pretty hard. She was famous in our family for her fortieth birthday party quote, “I love to drink!” Loved white Burgundy. Smoked pot all her life. An amaz-

ing Scrabble player, too, undefeated for thirty-five years until our granddaughter and I beat her for the first time. That was the initial indicator of her hidden brain tumors.

GB: What surprised me was her drive to be creative, even after a couple years of being happily retired: new menu ideas, testing cakes or other desserts our pastry guy could execute correctly. She would make ricotta gnocchi with me, explaining the subtle nuances of not using too much flour or they would get “heavy.” She picked strawberries for Mercato even though she was going through cancer treatments, showing an incredible amount of

strength and resilience through what must’ve been an incredibly scary time.

BB: She held on for Gabe’s marriage. We knew she was struggling but didn’t realize how close to the end she was. She died a month to the day after he got married.

PL: Magnolia Grill will be remembered, but her personality transcended that. She’s gonna enter the canon.

CM: Her work won’t be lost. We’ll keep baking her stuff, forever. food@indyweek.com

indymusic

WILCO

Wednesday, Oct. 16, 7 p.m., $35–$55 Koka Booth Amphitheatre, Cary www.boothamphitheatre.com

DANIEL COOK JOHNSON Friday, Oct. 11, 7 p.m., free Schoolkids Records, Raleigh www.schoolkidsrecords.com

W Is for Wilco

A LOCAL WRITER PENNED A WHOLE ENCYCLOPEDIA ABOUT HIS FAVORITE BAND, ONE SONG AT A TIME

BY HOWARD HARDEE

D

aniel Cook Johnson readily admits that creating a song-by-song encyclopedia about his favorite band was a spectacularly geeky endeavor.

The project has its origins in the few years Johnson spent writing about one Wilco song per week for the now-defunct content farm Examiner.com. Eventually, he found he had enough material to start joking with friends about putting together a book called Wilcopedia.

“Somewhere along the line, though, I was like, ‘Why not?

That might be pretty cool.’ I’ve got encyclopedias for Bob Dylan and the Beatles,” Johnson says.

It took the North Raleigh resident several years of working in the evenings, listening to every Wilco bootleg he could find and scouring magazines and message boards for tidbits of insight. As a film buff and a music collector, Johnson is familiar with the compulsion to learn everything about a movie, book, or album, but the eight-hour stretches at his computer often made him question whether it was worth it.

“Of course, I would get discouraged,” he says. “Relatively few people get published, and I was like, ‘What if I’m wasting years of my life on this?’ But something made me think that it would be appealing to fans. I love this kind of reference; I love that some fan is going to read the Wilcopedia and find out there’s some demo on a bootleg they ought to track down.”

Wilcopedia: A Comprehensive Guide to the Music of America’s Best Band was published in September by Jawbone Press, an independent, London-based publisher of music and pop-culture books. Song by song, the book tracks Jeff Tweedy and company—who are touring their new album, Ode to Joy, through Cary with Soccer Mommy on October 16—from their origins in alt-country band Uncle Tupelo and through influential albums A.M. (1995), Being There (1996), Summerteeth (1999), Yankee Hotel Foxtrot (2001), and onward, all the way up to Schmilco (2016). The book is impressively detailed, neglecting no B-side or bonus track.

Super-fans will drink up the minutiae; casual readers will learn more about Wilco than they ever bargained for.

Johnson, who is fifty years old, was born in Chapel Hill.

He works part-time at Barnes & Noble and The Rialto Theatre, and he writes about film screenings for The News & Observer. He first heard Wilco’s debut album, A.M., while working at a CD store in 1995.

“I didn’t it pay it too much mind at first, but somewhere in that first listen, the songwriting struck me,” he says. “Then I kind of drifted away from them, because I was listening to a lot of music, getting all these promos.”

Wilco

PHOTO COURTESY OF THE ARTISTS

Johnson wasn’t totally hooked until the band’s second album, Being There, came out the following year. He came to consider Wilco an amalgam of his musical interests, a band at the intersection of Bob Dylan and The Velvet Underground.

“There’s just something behind the cinema of Jeff Tweedy’s voice,” Johnson says. “There’s this self-deprecation and sincerity. A couple of albums down the line, that earnestness dissolved into abstraction, but initially, I liked how simple it was; it was like a really sweet little Neil Young song. But I loved that they progressed from there. It was a quantum leap from Being There to Summerteeth, and yet another to Yankee Hotel Foxtrot. They really kept me engaged, going from this simple country-folk-rock band to something a lot more elaborate.”

Johnson has remained a devoted listener but recognizes that some have not. In promoting Wilcopedia, which he’ll discuss at Schoolkids Records on October 11 (with moderator Doug McMillan of The Connells), he has encountered a faction of fans who believe that Wilco peaked in the late ‘90s.

He sees their point—the late guitarist and producer Jay Bennett was still in the lineup back then, and the sound has evolved into something much different. Though each of

Wilco’s albums have grown on Johnson eventually, he’s still warming up to Ode to Joy, which just came out October 4.

“It took some listens, as it has with several other Wilco albums, but I have been digging Ode to Joy more and more,” he says. “It’s subdued and mostly whispered, with strangely spare orchestration, but there are solid Tweedy songs there, and some wonderfully restrained performances by his band mates, particularly drummer Glenn Kotche and guitarist Nels Cline. I’m already working on my entry for the album for future editions of Wilcopedia.”

Johnson didn’t try to get the band involved with Wilcopedia, preferring to write it entirely from the fan perspective.

But he sometimes questioned that approach. Even for a self-described “geeky collector,” perhaps he’d gone too deep into the Wilco-verse on his own.

That feeling disappeared, Johnson says, when Wilco’s camp requested several copies of the book for their office loft, and he heard that the band’s manager personally handed one to Tweedy. His passion project was validated.

“It’s pretty cool that the guy I’ve written so much about has a copy,” he says. “Even if he doesn’t read it and just puts it on a table somewhere, he knows about it.” music@indyweek.com INDYweek.com | 10.09.19 | 17

music

BRIEF

AN EXCERPT FROM WILCOPEDIA ON THE MYSTERY OF “THE LONELY 1”

Walker Street

Academy Street

Harrison Avenue

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Who this lovely, haunting acoustic song, which comes towards the end of the band’s second album, Being There (1996), is about is one of the biggest mysteries in all of Wilco folklore.

Many feel that the narrator’s rock idol in “The Lonely 1” is Paul Westerberg of The Replacements, one of Tweedy’s biggest influences. This theory makes sense when considering the lines about writing in his idol’s defense to critics’ pans (Westerberg got a lot of crap from critics over the softer, poppy direction his band took on their last couple of albums), getting home from the show to check the machine for messages (a possible reference to Westerberg’s song “Answering Machine,” from the ’Mats’ 1984 album Let It Be), and the fact that Westerberg has a song called “If Only You Were Lonely.”

But the Austin American-Statesman’s Michael Corcoran wrote in 1996 that “Tweedy swears [the song] is not about” Westerberg, and others have suggested the song’s subject could be Neil Young, another idol of Tweedy’s, whom Uncle Tupelo often covered, and with whom Wilco later toured.

Another repeated theory is that the song is about Jay Farrar, Tweedy’s former partner in Uncle Tupelo, whom Tweedy once idolized, but he has also denied this rumor. As far as Tweedy himself is concerned, the song has just two characters: “The rock star and the fan, and that’s all it is to me.” Explaining the song to Music Monitor’s Melissa Adams in 1996, he continued, “Music means something different to everybody, and the stars are different to everybody.”

—Daniel Cook Johnson

music

O C TO B E R

Life After Chillwave ON HIS DEBUT AS SSOFT, YAIR RUBINSTEIN OF BIG SPIDER’S BACK LETS HIS ACID HOUSE FLAG FLY

FR 11 JUSTIN WEST & JON WOOD 6:30 pm

music

SA 10/12• 7:00P

BRIEF

THEDEEEPEND: VERANO

BY BRIAN HOWE



SSOFT: AIR MAINTENANCE

North Carolina’s extended summer from mid-September to mid-October is a fun time of year when people want to milk out a couple of extra summer activities. Malcolm Brown, also known as TheDeeepEnd, did his part by dropping his new EP, Verano, almost out of nowhere, following up on 2017’s masterful Think Good Thoughts.

The Raleigh emcee described the EP as “something fun to close the summer out,” and with a short-and-sweet runtime of only seventeen minutes, the six-track record does a great job of capturing that fleeting bonus-summer vibe.

One of the Triangle hip-hop scene’s best-kept secrets, Deeep is one of the best independent artists in the state, right up there with the Jooselords and Pat Juniors.

He writes and produces all of his own projects, and Verano shows that he has no intention of letting up in either department.

A lot of rappers and producers stick to an effective formula and can be a bit redundant with their beats and flows, but Deeep avoids that here. Each track has its own timbre, and a flow to go with it.

Brown writes lyrics that plunge into the soul as he examines day-to-day personal struggles. In “Back to the Basics,” he raps, “Back to the basics, now I’m adjacent to everything I can do. The more that you know, the harder to grow, now you’re afraid to move.” It’s an astute analysis of self-doubt. But as the song goes on, he explains why he’s above it, having paid his dues in “blood, sweat, and broken relationships” already.

Brown’s positivity is infectious but not saccharine, and he raps on a level playing -field with his audience rather than from a preachy position of authority. Verano is a solid, laidback project, even if its brevity feels a bit abrupt. This seems to be intentional, though, as Deeep implied on social media that it’s just the start of a wave of new material he’s going to be releasing throughout the year. We’re ready.

—Charles Morse

[UTG; Sep. 2019]



[Self-released; Aug. 2019]

If the words “chillwave survivor” mean nothing to you, congratulations: You are neither a music critic nor a hardcore internet dweller. (This isn’t sarcasm: Seriously, congratulations.)

But those words do mean something to Yair Rubinstein, who, before he left Seattle for a literature PhD at Duke, scored some national looks as Big Spider’s Back in the ‘00s, at the crest of the microgenre that gave us Washed Out, Neon Indian, and Toro Y Moi, and then evaporated as mistily as it had descended.

In one way, chillwave was important as an example of an early internet-bred genre.

In another, chillwave wasn’t anything at all, which somehow strengthens rather than weakens the first claim. The term was coined as a joke on the temporarily inescapable blog Hipster Runoff to poke at a trend in which moody bedroom loners bathed the eighties electro-pop of their youth in sleepy, faded beachy vibes, with medicated vocals and sluggish synths poking through endless fields of stoner reverb. The music sounded like new media dreaming of old media; writers grasped for metaphors about TV-VCRs with vertical hold and tracking issues. The term “glo-fi” was pleasantly bandied about, while “hypnagogic pop” failed to catch on, for obvious reasons.

No one could profess to make chillwave today (and no one ever did)—it was more a moment than a sound. But its scratchy-memory strain has persisted in indie music as our nostalgia wormholes deepen, and its afterimage lingers on Rubinstein’s new dance-music project, Ssoft, which, just to sow mild confusion, was also the title of a Big Spider’s Back record.

Air Maintenance consists of five pert, pliable house-derived tracks with nary a

vocal or lo-fi affectation within earshot, yet it feels consistent with Rubinstein’s pop-based work. It’s melodic, emotive, and wistful, but a little ironic about it, in the chillwave spirit—one song is called “Update No One Knows I’m Dead,” the first word neutralizing the sincerity of the rest. On Bandcamp, the album is RIYL Aphex Twin and Karl Marx, because academics.

The Ssoft palette is clean and minimal, with drum machines finely stitching squishy acid-house basses to slightly melty synths in muted neon hues. The title track evokes a steelpan lost in a magic forest until a sneaky arpeggio slides in to show it the path. Synth pads float around like rain clouds over the fast, beveled basses of tracks like “Thanksgiving Acid.”

The grooves are straightforward but pulsating with activity, webbed with brief filter sweeps and ringing accents. The transitions are tight but understated; you might not leap up and dance, but you’ll at least shake your shoulders. Though kinetic, it’s all a little tender and introspective; the eighties-pop daydream “Hi-Tech Menswear,” in particular, is some kind of sad-eyed utopia.

On this satisfying snack of an EP, Rubinstein advances beyond chillwave, but it still clings, as any nostalgia-based genre should. bhowe@indyweek.com

RUNAWAY GIN (TRIBUTE TO PHISH)

W/MOON WATER (WIDESPREAD PANIC TRIBUTE)

TH 17 SA 19 TH 24 FR 25 SA 26 WE 30

TRAOBA PRESENTS: THE 5TH ANNUAL

NELSON MULLINS BATTLE OF THE BROKER BANDS! 5pm THE DOBRE BROTHERS 11:30am OBITUARY / ABBATH / MIDNIGHT / DEVIL MASTER 6pm RIPE W/ CASTLECOMER 8pm QDR HOWL-O-WEEN HARVEST BALL 7pm MARIBOU STATE: ALBUM LIVE TOUR 7pm N OVE M B E R

FR 1 HOUSE PARTY: THE HOMECOMING KICK-OFF FEATURING DJ SKILLZ “THE MASH OUT KING” 9pm

SA 2 ERIC GALES 7:30 pm MO 4 ALEJANDRO ARANDA ISSOLD OUT TH 7

SCARYPOOLPARTY 7pm LIVE NATION PRESENTS

BIG K.R.I.T.

FROM THE SOUTH WITH LOVE 7pm

FR 8 THE BREAKFAST CLUB 8pm SA 9 HIGH PLAINS DRIFTERS: TU 12

TRIBUTE TO THE BEASTIE BOYS 8PM LINCOLN THEATRE PRESENTS TIFFANY YOUNG – MAGNETIC MOON TOUR – ALL AGES SHOW 7pm PINK TALKING FISH 7pm

WE 13 TH 14/ CHERUB 7pm FR 15 SA 16 SULLIVAN KING 8pm

LETTUCE @ THE RITZ 8pm

FR 22 ATLIENS W/ TBA 9pm SA 23 THE BLUE DOGS 7pm WE 27 NCMM’S FIRST WALTZ

FEAT HANK, PATTIE & THE CURRENT AND MORE. 6pm DECE M B E R

TH 12 SQUIRREL NUT ZIPPERS 7pm FR 13 DELTA RAE W/ RAYE ZARAGOZA 7pm

SA 14 DELTA RAE W/ ALEX WONG / CARRIE WELLING 7pm

FR 20 DILLON FENCE W/ TBA 7pm SA 21 YARN W/ THE DUNE DOGS 7pm SA 28 COMRADES AND NOMADS 8pm SU 29- BIG SOMETHING TU 31 W/ TBA 8pm JAN UARY

WE 1 NASHVILLE WRITERS ROUND BENEFITTING VETERANS

FR 3 SU 12

FEATURING: BEN CAVER/JESSE LEE/EMILY BROOKE/ERIC HOLLJES/ JASON ADAMO/JORDAN JAMES/ BROOKE HATALA 6pm WINTER METAL FEST 6pm DAVID BROMBERG QUINTET 7pm

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com INDYweek.com | 10.09.19 | 19

20 | 10.09.19 | INDYweek.com

indystage

Farce of Nature

DYSTOPIAN COMEDY WATERS RISE DOUBTS WE’LL SURVIVE DESTROYING THE WORLD BY BYRON WOODS WATERS RISE 

Through Sunday, Oct. 13 Shadowbox Studios, Durham www.womenstheatrefestival.com

E

ven after the global environmental disaster that we all know is coming, some things will stay the same— well, at least for a while. Frozen Waters Rise PHOTO BY ASHLEY POPIO burritos, potato chips, and beer will still be available at the dollar store. TV? genders surveilled by a government that is Still around, and with the same inane home supposedly intent on rebuilding the coundecorating specials, wacky ads, and even try with the citizens it values most. Having the news (kind of ). The electrical grid will tricked out the shed she’s commandeered be toast, but portable generators will keep in early-dorm-room décor, central characour phones charged and our shacks lighted. ter Sarah (Jessica Flemming, in a careerAnd there will be a place for everyone best performance) has the consumer part in the new order—except for lesbians, that covered. But when an apparently platonic is. Come to think of it, any women who friend and neighbor, Holly (a solid Sara aren’t interested in or capable of reproduc- Levy), spends too much time there, changing might need to justify their existence to es must be made.

Disturbing as they are, such ham-handed society in other ways. And they certainly injustices ultimately take a back seat to the can’t be allowed to live together.

These are the rules that actor Laurel main dilemmas in Wiesinger’s text. Most Ullman’s razor-sharp character, a disturb- people in Sarah and Holly’s generation have ingly caffeinated and chipper Department never had to build their own shelters or of Defense field agent turned mercan- conveyances, or farm or kill their own food. tile clerk named The Suit, makes clear Holly dutifully trumpets her dairy-only in the early moments of Waters Rise, environmental consciousness as she heats whose rewarding Women’s Theatre Festi- up another frozen entrée in the microwave. val world premiere discomfited audiences “We just can’t keep consuming like that,” at Shadowbox Studios last weekend. Its she says. And yet she does. And so do we.

With echoes of dystopian sci-fi classics dystopian near-future demonstrates the absurdity of the notion that most of us like Soylent Green, the monsters in Waters could suddenly, successfully live off a com- Rise—those supposedly responsible for the promised (and largely underwater) land if titular threat—mirror humanity’s true monthe conventional means of commerce and strosity. Even with the older, wiser Magda (a warm Sandra Wallace) gently urging the transportation abruptly changed.

In Justine Wiesinger’s jet-black comedy, pair to higher, more sustainable ground, the continental coast has been radically Wiesinger convinces us that it’s a Darwinremapped. Following a series of industri- ian joke of the highest order when Sarah al accidents and nuclear meltdowns, the and Holly stand their increasingly saturated citizens that remain have their consumer ground. Still, make no mistake: The laugh’s habits and the amount of time they spend most definitely on all of us. arts@indyweek.com with people of the same and the opposite

20192020

Gina chavez SATURDAY, OCTOBER 19 AT 7:30 P.M. | CARY ARTS CENTER (919) 4622055 WWW.TOWNOFCARY.ORG

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bill.burton.lawyer@gmail.com INDYweek.com | 10.09.19 | 21

10.9–10.16

WHAT TO DO THIS WEEK

FRIDAY, OCTOBER 11

ANDREW TYSON

Durham-born pianist Andrew Tyson’s rise in the classical world has been rapid. Since 2011, the thirtythree-year-old pianist has won numerous major national and international competitions, released three albums, and performed all over the world. His concert kicks off Duke Performances’ piano-recital series this year (which somehow only includes male pianists) and will be Tyson’s first in town since 2016.

The program is a study of variations which leans heavily on French music: Jean-Philippe Rameau, Cécile Chaminade (somehow the only female composer in the entire piano-recital series), and Maurice Ravel, with an appearance at the end by Robert Schumann. Chaminade’s two pieces serve as the musical bridge between Rameau’s formal Gavotte variée and Ravel’s idiosyncratic Miroirs, an impressionistic attempt to illustrate the world on the other side of the looking glass. And Schumann’s Symphonic Études are really a massive variation set hidden within a wickedly hard series of nominally pedagogical pieces. —Dan Ruccia BALDWIN AUDITORIUM, DURHAM 8 p.m., $25, www.dukeperformances.duke.edu

Andrew Tyson PHOTO COURTESY OF DUKE PERFORMANCES

SATURDAY, OCTOBER 12

LANGHORNE SLIM

Singer-songwriter Langhorne Slim’s brassy, bittersweet Americana has aged well over the past two decades. Engine, his first EP, was released in 2006, funneling Slim into the folk-festival circuit and several albums. Now sober, his heartbreak punk has less of the whiskey-soaked lore of his past releases, but there’s the sense of someone newly grounded.

This year’s single “Someone New,” a duo with folk singer Mara Connor, is a catchy, roving meditation on a broken relationship that’s tinged with sadness (“I like what you’ve done with your hair”) but doesn’t seem like it’s going to fall apart at the seams. Lyrics on 2017’s Lost at Last, Vol. 1 strike a similar chord: “What a gift it is just to be still,” he croons on “Bluebird,” and “Let’s fall in love with our telephones off” on “Never Break.” Raleigh’s Kate Rhudy opens.

—Sarah Edwards CAT’S CRADLE, CARRBORO 8 p.m., $18–$20, www.catscradle.com

THURSDAY, OCTOBER 10– SUNDAY, OCTOBER 27

THE CONTAINER

At the height of the Syrian refugee crisis, The Guardian and the BBC published separate interactive simulators online in which readers faced a handful of the bewildering decisions refugees had to make as they fled. Fair warning: The Container is something like that— minus any element of choice and the aesthetic distance of looking at an unfolding humanitarian disaster through a screen. Clare Bayley’s 2007 drama predates the Syrian crisis; in it, an Afghan widow, two Somali women and two Kurdish men are desperate to reach England to seek asylum. In this immersive Burning Coal Theatre Company and CAM Raleigh co-production, you’ll join them in their plight when you enter an industrial shipping container—a conveyance of choice in human trafficking on the European black market—in the CAM courtyard, and the doors will be sealed shut at the start of the show. Anything can happen beyond that point, a circumstance that remains the horrifying norm for immigrants across the globe. —Byron Woods CAM RALEIGH, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $25 www.burningcoal.org

22 | 10.09.19 | INDYweek.com

SUNDAY, OCTOBER 13

BOMBINO & VIEUX FARKA TOURÉ: SONS OF THE SAHARA

It’s been a good month for Tuareg music in the Triangle; Tinariwen and Les Filles de Illighadad performed in Carrboro and Durham, respectively, in late September, and now we have a feast of Tuareg guitar-playing in Carrboro. Touré is the son of the legendary Ali Farka Touré, but he long ago stepped out of his father’s shadow as major force in the desert blues. Bombino (aka Omara Moctar) hails from Niger and has built a reputation over the past decade for his fiery guitar playing. Both men can work wonders with their guitars, unleashing endlessly spiraling lines that manage to simultaneously stay in exactly the same place while flying away in every direction. Bombino’s tone is a little more trebly and distorted, and Touré’s is buzzier, with a little more reverb; after a pair of individual solo sets, the two will join forces for what should be a dizzying guitar duel. —Dan Ruccia THE ARTSCENTER, CARRBORO 8 p.m., $34, www.artscenterlive.org

Scott Avett, “Color Wheel” PHOTO COURTESY OF THE NORTH CAROLINA MUSEUM OF ART

OPENS SATURDAY, OCTOBER 12

SCOTT AVETT: I N V I S I B L E

It’s finally here: Closer than Together, the new album by Concord, North Carolina folk-rock heroes The Avett Brothers, following 2016’s Rick Rubin-produced True Sadness, the creation of which was captured in Judd Apatow’s documentary, May It Last. Given that Rubin is behind the boards again on this album, it is likely to be just as divisive among fans who either appreciate or abhor the pop shine and synths that Rubin lends to the Avetts’ wood-grain sound. Meanwhile, another Avett milestone is taking place at NCMA: Scott Avett, a trained longtime painter and printmaker who has shown little of his work before, makes his big-soloexhibit debut with I N V I S I B L E. A striking printmaker and, more important, a painter of surprising technical skill, Avett’s fans will be fascinated to glimpse scenes from his home and family life rendered at folkloric size; some canvases are nine feet high, as befits his Paul Bunyan stature in music. —Brian Howe THE NORTH CAROLINA MUSEUM OF ART, RALEIGH Various times, $9–$12, www.ncartmuseum.org

WHAT ELSE SHOULD I DO? ANARCHISM AND THE POLITICAL ART OF LES TEMPS NOUVEAUX, 1895–1914 AT THE NASHER (P. 29), THE DAY AT UNC’S MEMORIAL HALL (P. 31), DANIEL COOK JOHNSON AT SCHOOLKIDS RECORDS (P. 18), EXPLOSIONS IN THE SKY AT THE RITZ (P. 25), RICKY MOORE AT MOTORCO (P. 13), SHE WHO TELLS A STORY AT THE ACKLAND (P. 8), SICK CHICK FLICKS FILM FESTIVAL AT THE CARY THEATER (P. 32), WILCO AT KOKA BOOTH AMPHITHEATRE (P. 17), ZINE MACHINE AT THE DURHAM ARMORY (P. 30) INDYweek.com | 10.09.19 | 23

WE 10/16 @ KOKA BOOTH AMPHITHEATRE

WILCO

Chocolate Lounge & Juice Bar

Fri 10/11 Wed 10/16 Fri 10/18 Sat 10/19 Sun 10/20 Fri 10/25

High Clouds Free Wine Tasting 5-7pm Marc Kennedy Chris Titchner Acoustic Jam Session 5pm Lisa Rhodes

W/ SOCCER MOMMY

FR 10/11 @ THE RITZ

EXPLOSIONS IN THE SKY

20TH ANNIVERSARY TOUR

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

SA 10/12 @ CAT’S CRADLE

LANGHORNE SLIM & THE LOST AT LAST BAND W/ KATIE PRUITT AND KATE RHUDY

TH 10/10 @ CAT’S CRADLE

WITT LOWRY W/ XUITCASECITY

10/11 SAT

SUN

MON

10/14 TUE

10/15

FRI

10/18

TUE

10/22 WED

10/23

OLD 11/1 & 2 (TWO SHOWS, FRIDAY SFR/SA T OUSATURDAY) AND BILLY STRINGS W/

HARMONY WOODS

Enforcer / WoR / Sentry

WE 10/2 B BOYS W/FAMILY VISION

FR 11/8 THE DIP ($15/ $18) W/ ERIN & THE

WILDFIRE

TH10/3 BLANCO WHITE W/SHEY BABA

SA 11/9 INFAMOUS

FRI 10/4 VEGABONDS

WE 11/20 KING BUFFALO ($10)

SA 10/5 TYRONE WELLS W/ DAN RODRIGUEZ

SU11/24:BEACH BUNNY W/ANOTHERMICHAEL

x2

WARBRINGER LUCKY DAYE

SOLD OUT

Crank It Loud Presents

SONATA ARCTICA Battle Beast / Vassal

FLASH CHORUS sings “GOOD AS HELL” BY LIZZO & “I FEEL GOOD” BY JAMES BROWN THE HOOK SCREENING & SALTBOX SEAFOOD JOINT COOKBOOK LAUNCH

WXDU presents

(SANDY) ALEX G TOMBERLIN / ARTHUR Duke Science & Society presents

PERIODIC TABLES: BATTLEGROUND STATE: Making US Elections More Secure Cat’s Cradle Presents

THE ALLUSIONIST (Live Podcast)

WE 10/16 @ CAT’S CRADLE

MELVINS/REDD KROSS W/TOSHI KASAI

SA 10/5 ELECTRIC SIX W/DAVETV

VIDEO DJ, GHOSTT BLLONDE, SUNNY SLOPES ($13/$15) SU 10/6 LDBUILT TO SPILL W/PRISM SO OUT

BITCH, LOVE AS LAUGHTER

MO 10/7 LUNA PERFORMS PENTHOUSE W/ OLDEN YOLK TH 10/10 WITT LOWRY W/ XUITCASECITY AND WHATEVER WE ARE ($16/$18)

An Evening With

GRIFFIN An EveningHOUSE With

GRIFFIN HOUSE

10/26

FLEETMAC WOOD Presents FLEETMAC WOOD Presents

RHIANNON’S REVENGE RHIANNON’S A Halloween Disco

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A Halloween Disco COMING SOON: Jeremy Alder, Russian Circles, Superchunk, Nile, Leftover Crack, The Japanese House, G Yamazawa, TR/ST, The Gravy Boys, Chastity Belt, With Confidence, Fruit Bats, Songs From the Road Band, Flynt Flossy, Com Truise, Mikal Cronin, Amigo The Devil, Phutureprimitive, an-ten-nae, Jen Kirkman, Street Corner Symphony, Eric Roberson, The Wusses, Carbon Leaf, Blackalicious, Over The Rhine, David Wilcox, Gnawa LanGus, Black Atlantic

24 | 10.09.19 | INDYweek.com

TU 10/8 ELIZABETH MOEN

TH 12/5 JUMP LITTLE CHILDREN

WE 10/9 ELDER ISLAND W/ DIRTY NICE

FR 12/6 NEIL HILBORN W/ CARACARA

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

TH 10/10 CHARLIE PARR W/ JOSH MOORE ($15)

TH 11/14: TURNOVER/ MEN I TRUST

FR 10/11 AN EVENING WITH HANK, PATTIE & THE CURRENT

TU 2/4/20 CHRIS FARREN, RETIREMENT PARTY, MACSEAL

SA 10/12 O'BROTHER W/ THE END OF THE OCEAN AND HOLY FAWN ($14/$16)

SU 2/23/20 SLOAN ($25)

FR 11/15 ALLAH-LAS W/ TIM HILL ($17/$20) SA 11/16 GAELIC STORM SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20) FR 11/22 OFFICE HOURS ($10/$12)

TU 10/15 MIKE WATT & THE MISSINGMEN ($15)

SOLD

UTLAURA STEVENSON W/ ADULT MOM WE O12/4

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

TU 2/17/20 BAMBARA

WE 10/16 THE CACTUS BLOSSOMS W/ ESTHER ROSE ($15)

ARTSCENTER (CARRBORO) FR 10/25 JONATHAN WILSON W/ THE DEAD TONGUES ($20/$22 ) TH 11/14 ROBYN HITCHCOCK (SOLO) W/DJANGO HASKINS

TH 10/17 WEST END POETRY FESTIVAL/ CURATED OPEN MIC (FREE) FRI 10/18: SWERVEDRIVER W/MILLY

SA 10/12 LANGHORNE SLIM & THE LOST AT LAST BAND W/ KATIE PRUITT AND KATE RHUDY ($18/$20)

WE 11/27: LA DISPUTE, TOUCHE

WE 11/20 SAN FERMIN ($18/$20)

SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS

SA11/30 DAUGHTER OF SWORDS AND THE DAWNBREAKER BAND ($15)

GUDASZ ( $10/$12)

WE 10/16 MELVINS/ REDD KROSS

AMORE, EMPATH

FR 12/6 OUR LAST NIGHT

W/TOSHI KASAI

SA 12/7 SOUTHERN CULTURE ON

MO 10/21 WILLIAM WILD W/ CEREUS BRIGHT (SOLO)

TH 10/17 WATCH WHAT CRAPPENS (PODCAST) ($25/$28)

TH 12/12 TWIN PEAKS

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

SA 10/19 MOONCHILD W/DEVIN MORRISON ($22/$25)

SOLD T 10/20 THE SU OU

BAND CAMINO

TU 10/22 NOAH GUNDERSEN W/JONNY G ($17/$20) WE 10/23 ADHOC PRESENTS: OH

SAT

TU 11/12 CURSIVE / CLOUD NOTHINGS / THE APPLESEED CAST

MO 11/25 NEW FOUND GLORY W/HAWTHORNE HEIGHTS, FREE THROW, JETTY BONES ($27 / $32)

W/BAYONNE

FRI

STRINGDUSTERS W/ KITCHEN DWELLERS

TU 11/19 ANNA TIVEL & MAYA DEVITRY

FR 10/11 VIOLET BELL HONEY IN MY HEART ALBUM RELEASE W/ SKYLAR

FR 10/18 RA RA RIOT ($17/$19)

10/25

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

Crank It Loud Presents

10/12 The Painted Tour 2019 with Josh Dean / Ambre 10/13

O’BROTHER

W/ THE END OF THE OCEAN AND HOLY FAWN

RECENTLY ANNOUNCED: THUNDER JACKSON, INTEGRITY, WHILE SHE SLEEPS, ART ALEXAKIS, SARAH SHOOK & THE DISARMERS FRI

SA 10/12 @ BACK ROOM

THE SKIDS

W/ LALA LALA AND OHMME SA 12/14 THE REVEREND HORTON HEAT W/VOODOO GLOW SKULLS, THE 5678'S, DAVE ALVIN ($25/$28) TU 12/17 DAUGHTERS/HEALTH

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BIROCRATIC

W/ THE AVENGERS

WE 01/22, 2020 MARCO BENEVENTO

SA 10/26 KNOCKED LOOSE

01/23, 2020 YOLA

WE 10/30 WIZARD FEST

- A TRIBUTE TO DAVID BOWIE W/SPECIAL GUEST: ELVIS DIVSION

($10/$12); & HALLOWEEN COSTUME PARTY $10/$12

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

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

TU 11/12 TR/ST NORTH CAROLINA MUSEUM OF ART WE 9/25 RHIANNON GIDDENS AND FRANCESCO TURRISI THE RITZ (RAL)

WE 10/30 JOAN SHELLEY W/JAKE XERXES FUSSELL ($15/$17)

($26; ON SALE 9/27)

TH 10/24 KISHI BASHI W/ PIP THE PANSY

WE 10/31 STARDUST TO ASHES

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

FR 01/10 & SA 01/11, 2020 - TWO SHOWS 01/18, 2020 AMERICAN AUTHORS AND MAGIC GIANT ( $25/$28)

W/ ROTTING OUT, CANDY, SEEYOUSPACECOWBOY

KOKA BOOTH AMPHITHEATRE (CARY) WE 10/16 WILCO W/SOCCER MOMMY

TU 29 FUTURE TEENS W/CALICOCO

SEES W/ PRETTIEST EYES, NO WHAMMY

FR 10/25 STIFF LITTLE FINGERS

TH 10/24 DRIFTWOOD

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LOCAL 506 TH 10/17 THE DISTRICTS ( $15/$18) W/COREY FLOOD

TH 10/31 CRYSTAL BRIGHT AND THE SILVER HANDS TU 11/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE W/ HARMONY WOODS ( $15) SOLD WE 11/6 YOKE LORE W/FUTURE OUT GENERATIONS

TH 11/7 BLUE CACTUS ($12/$15) SA 11/9 JACK KLATT ($10-$12)

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FR 10/11 EXPLOSIONS IN THE SKY 20TH ANNIVERSARY TOUR SA 11/23 CAAMP HAW RIVER BALLROOM FR 10/28 ANGEL OLSEN W/ LEAN YEAR ($30/$33) LD SO OUT

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

SU 11/10 PETER HOLSAPPLE COMBO

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

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FR 1/31/20 G LOVE AND SPECIAL SAUCE

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music

10.9–10.16 FRIDAY, OCTOBER 11

EXPLOSIONS IN THE SKY In her essay “An Argument About Beauty,” Susan Sontag suggested that a culture of flashy, conventionally attractive art can flatten our standards for what meaningful art actually entails. Rock snobs often level this sort of criticism at Explosions in the Sky, Austin, Texas’s resident sentimental kings. It’s too saccharine and formulaic!

Other bands did this style first, with more nuance! On the eve of the group’s twentieth-anniversary tour, arguing about them isn’t going to hurt their draw. A common strain of instrumental, emotionally drenched guitar music is virtually synonymous with their band name; alongside Godspeed You! Black Emperor, they spawned a clutch of break-down-in-tears crescendo bands who promptly ran out of ideas. Over the last decade, to EITS’s credit, they have made admirable attempts to remix the formula. In 2016, The Wilderness was an admirable walk towards new territory, dialing back the ESPN highlight guitars for thoughtful electronic experimentation and shorter, punchier songs. —David Ford Smith THE RITZ, RALEIGH 8 p.m., $30–$32, www.ritzraleigh.com

Explosions in the Sky PHOTO COURTESY OF TEMPORARY RESIDENCE

WED, OCT 9

THE PINHOOK Hey Champ!, Lunchbox Hero, Binder; $7. 8 p.m.

CAT’S CRADLE BACK ROOM Elder Island, Dirty Nice; $15. 8 p.m.

THE CAVE Shagwuf, The Medium, Abram Shook; $5 suggested. 9 p.m.

LOCAL 506 Stolen Jars, Gallus Mag; $8. 9 p.m.

POUR HOUSE George Porter Trio, Casey & the Comrades; $20-$25. 9 p.m.

SLIM’S CAMMO, Imelda Marcos, Scarecrow; $7. 8 p.m.

THU, OCT 10

THE MAYWOOD Skullshitter, Bleeding Out, Paezor, Feral Spectre; $7. 8 p.m.

NEPTUNES PARLOUR Vacant Company, Kal Marks, Bethlehem Steel, Brutal Junior; $8. 10 p.m.

CAT’S CRADLE Witt Lowry, Xuitcasecity, Whatever We Are; $16-$18. 8 p.m.

INDYweek.com | 10.09.19 | 25

NIGHTLIGHT 4th Room Entertainment; $10 8 p.m.

POUR HOUSE Local Band Local Beer: Sportsmanship, M is We, Totally Slow; $5. 9 p.m.

UNSCRIPTED Durham Wiley Fosters; 6 p.m.

FRI, OCT 11

DUKE COFFEEHOUSE Stevie, Museum Mouth, Moon Racer; $5. noon.

BLUE NOTE GRILL Spank; $8. 9 p.m.

THE CARY THEATER Beth Wood, Ara James; $20-$25. 8 p.m.

CAT’S CRADLE

Violet Bell [$10–$12, 8 P.M.]

Teeming with life, Violet Bell’s debut LP takes an expansive trip through Americana, marked by Lizzy Ross’s enchanting vocals and soulstirring lyricism and futher strengthoned by Omar RuizLopez’s bold and adventurous instrumental additions.

Celebrating the release of Honey in My Heart, the band is joined by friends Rissi Palmer, Jennifer Curtis, Matt Phillips, Carter Minor, and Daniel Chambo, many of whom recorded on the album. Skylar Gudasz’s arresting, intimate folk opens this partially seated show. —Spencer Griffith CAT’S CRADLE BACK ROOM Hank, Pattie & The Current; $12-$15. 8 p.m.

Charlie Parr performs at Cat’s Cradle on Thursday, October 10. PHOTO COURTESY OF THE ARTIST CAT’S CRADLE BACK ROOM

Charlie Parr [$15, 8 P.M.]

Duluth folk-blues singer Charlie Parr has been recording only since 2002, but his releases since then have picked up plenty of speed: dozens of albums, five soundtracks, and too many compilations and

contributions to count. Despite a setback with a skateboarding accident last year, don’t believe the last third of his Twitter bio: “One man, one guitar, one foot in the grave.” He’s frequently on bills in the Triangle, but it’s rare to catch him solo; this October, he’s on tour for his latest album, the selt-titled Charlie Parr. With Josh Moore. —Sarah Edwards

THE CAVE Coyote VS Acme, Jason Bales, Zach White; $5 suggested. 9 p.m.

KABOOM ART GALLERY Mugshot, Second Death, Katabasis; $8. 6:30 p.m.

LINCOLN THEATRE Nelson Mullins Battle of the Broker Bands; $14. 6 p.m.

LOCAL 506 Dotwav Media, Alo Ver; $8-$10. 8 p.m.

THE CAVE Dot.s, William Kelly, Wayne’s Jetski; $5 suggested. 9 p.m.

DUKE’S BALDWIN AUDITORIUM Andrew Tyson; $25. 8 p.m.

KINGS Michaela Anne, Brothers Egg; $10-$12. 9 p.m.

THE KRAKEN Onyx Club Boys, Ragweed Brass; 8 p.m.

LINCOLN THEATRE Justin West, Jon Wood, Sixteen Penny; $14. 7:30 p.m.

LOCAL 506 TsuShiMaMire, Sex Negative; $10. 9 p.m.

MEYMANDI CONCERT HALL NC Symphony: Rachmaninoff Symphony No. 2; $39+. 8 p.m.

MOTORCO Warbringer, Enforcer, Wor, Sentry; $15-$18. 8 p.m.

THE PINHOOK McQueen, Walker Hays, Treee City; $10. 8 p.m.

POUR HOUSE Funk You, Blue Footed Boobies; $10-$15. 9 p.m.

RHYTHMS LIVE Nantucket; $20. 8 p.m.

THE RITZ Explosions In the Sky, DACS; $30-$32. 8 p.m.

SHARP NINE GALLERY Randy Johnson, Scott Sawyer Quartet; $25. 8 p.m.

SLIM’S Severed Fingers, Willi Carlisle, Chris Frisina; $5. 9 p.m.

UNC’S MEMORIAL HALL UNC Symphony Orchestra; 8 p.m.

SAT, OCT 12 BLUE NOTE GRILL Soule And The Superband; $10-$15. 8 p.m.

CAT’S CRADLE Langhorne Slim and The Lost At Last Band, Katie Pruitt, Kate Rhudy; $18- $20. 8 p.m.

CAT’S CRADLE BACK ROOM O’Brother, The End of the Ocean, Holy Fawn; $14-$16. 9 p.m.

THE CAVE The Yardarm, Gone Ghosts, Owen Fitzgerald; $5 suggested. 9 p.m.

KINGS NANCE, SK The Novelist, Zensofly, Liion Gamble, WONDR; $10$15. 9 p.m.

26 | 10.09.19 | INDYweek.com

Twin House Music Anniversary Party [FREE, 11 A.M.–10:30 P.M.] Independent musicalinstrument retail and repair stores aren’t exactly thriving in this Guitar Center world, so the fact that Carrboro’s Twin House Music has made it through one year of business is especially a cause for celebration. On Saturday, the store’s anniversary party features a bluegrass jam from noon to 3:00 p.m., led by Phillip Clapp; live music from TRIPLE X SNAXXX, C. Albert Blomquist, Alive at 27, and The RocknRoll HiFives starting at 4:00 p.m.; food and refreshments; and a raffle. —Brian Howe SHARP NINE GALLERY Leonore Raphael, Steve Hobbs; $20. 8 p.m.

WALNUT CREEK AMPHITHEATER Luke Bryan, Cole Swindell, Jon Langston, DJ Rock; $39+. 7 p.m.

SUN, OCT 13 THE ARTSCENTER Bombino & Vieux Farka Touré; $34. 8 p.m.

BLUE NOTE Grill Jim Quick and Coastline; $15. 4 p.m.

DUKE COFFEEHOUSE Rosie Tucker, Pretty Crimes; $5. 8:30 p.m.

THE KRAKEN Wiley Fosters, Charles Latham; 9 p.m.

KINGS Oace Spades, Handlez, Kourvioisier; $10-$15. 8 p.m.

LINCOLN THEATRE Runaway Gin, Moon Water; $14. 8 p.m.

MOTORCO Sonata Arctica, Battle Beast, Vassal; Tickets $22+. 6:30 p.m.

LOCAL 506 M is We, Irata, Bitter Resolve; $8. 8:30 p.m.

MEYMANDI CONCERT HALL NC Symphony: Rachmaninoff Symphony No. 2; $39+. 8 p.m.

NIGHTLIGHT Kendra Amalie, Kid Advay, Sweet Home; $7. 9 p.m.

MOTORCO Lucky Daye, Josh Dean, Ambre; Sold Out. 9 p.m.

THE PINHOOK Marika Hackman, Girl Friday, MK Rodenbough; $12-$15.

9 p.m.

POUR HOUSE Snake & the Plisskens, No Anger Control, Ghost of Saturday Night, Snide; $5-$10. 9 p.m.

THE RITZ Shoot to Thrill, Hayvyn; $10. 7 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

TWIN HOUSE MUSIC

POUR HOUSE The Five Nines, Strangelady; $5. 2 p.m.

POUR HOUSE The High Divers, Dragmatic, Edan Archer; $9-$12. 8 p.m.

Violet Bell performs at Cat’s Cradle on Friday, October 11. PHOTO BY KENDALL BAILEY ATWATER

MON, OCT 14 CAROLINA THEATRE

Music Folk for Ocracoke [$28, 7 P.M.]

This great lineup for a great cause features Mipso’s Libby Rodenbough and Joseph Terrell, who perform a unique set of songs from outside the Mipso catalog, along with the genteel folk charms and chemistry of Chatham Rabbits.

Diali Cissokho & Kaira Ba cross West African griot traditions with rock instrumentation while Jonathan Byrd and the Pickup Cowboys add poignant storytelling to twangy arrangements. Proceeds from tickets and concessions benefit hurricane relief via the Outer Banks Community Foundation.

—Spencer Griffith

SLIM’S Dave Arcari, Chip Robinson, Sissy Brown; $5. 9 p.m.

SHARP NINE GALLERY Ernest Turner Trio, Stephen Riley; $20. 7 p.m.

TUE, OCT 15

SLIM’S Radiator King, Ins Kino, Noah Cross; $5. 9 p.m.

CAT’S CRADLE

WED, OCT 16

Mike Watt [$15, 8 P.M.] Eighties DIY heroes are spread to the four winds at this point, but Mike Watt, founder of iconic punk two-piece punk band The Minutemen, still maintains a vigorous touring regimen. The Missingmen, his latest theatrical punk vehicle, are hitting a six-week tour with exactly zero days scheduled off. Seems that years of road dogging haven’t diminished his extreme populist bent. Even if you skipped his chapter in Our Band Could Be Your Life, pay this living legend respect. —David Ford Smith

THE CAVE Dexter Romweber; $5 suggested. 9 p.m.

THE CAVE Cigarette Bums; $5 suggested. 9 p.m.

KINGS The Aquadolls, Morning Eyes; $12. 8 p.m.

LOCAL 506 The Legendary Pink Dots; $25-$30. 8 p.m.

LOCAL 506 Day By Day, Method Of Doubt, Deflect, Invoke, Fake Eyes, Honeymoon; $15. 6:30 p.m.

POUR HOUSE Flipturn, Thirsty Curses; $7-$12. 9 p.m.

MOTORCO Flash Chorus Night: Sing Lizzo, James Brown; $7-$10. 7 p.m.

THE RITZ Coheed and Cambria, The Contortionist, Astronoid; $39+. 8 p.m.

CAT’S CRADLE Melvins, Redd Kross, Toshi Kasai; $25- $28. 7:45 p.m.

CAT’S CRADLE BACK ROOM The Cactus Blossoms, Esther Rose; $15-$17. 8 p.m.

THE CAVE Eli Lev, Clifton Lee Mann, Rock Forbes; $5 suggested. 9 p.m.

KINGS Shamaar Allen; $10-$12. 8:30 p.m.

KOKA BOOTH AMPHITHEATRE Wilco, Soccer Mommy; $35-$55 7 p.m.

NEPTUNES PARLOUR Savage Knights, Floor Model, Acomip; $8. 10 p.m.

THE PINHOOK The Emotron, Yairms, Hi My Name is Ryan, Sister Brother; $7. 9 p.m.

POUR HOUSE Natural Born Leaders Album Release; $7-$12. 8 p.m.

THE RITZ Nahko And Medicine For The People, Nattali Rize; $28. 8 p.m.

SLIM’S Savage Knights, Floor Model, Acomip; $5. 8 p.m.

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM INDYweek.com | 10.09.19 | 27

We are also happy to announce the addition of two new clinicians to our practice, George Nichols, Ph.D. (in January) and Jon Lentz, Ph.D. (in August).

Main Street Clinical Associates We are an interdisciplinary private practice providing comprehensive mental health services to Durham and the Triangle since 1984.

We have reunited at 3326 Durham-Chapel Hill Blvd. while we search for a permanent home.

We are eager to thank our beloved local community for the incredible outpouring of support following the gas explosion on April 10, 2019 that damaged our former clinic facility.

We are particularly grateful for the many offers of free temporary office space around town so that we could maintain our therapeutic relationships with clients.

919-286-3453 www.MainStreetClinical.com

M. Randal O'Wain Meander Belt: Family, Loss, and Coming of Age in the American South 7pm 10.11-12 EDUCATOR CELEBRATION (details online) 10.9

10.13

Fred Chappell As If It Were: Poems 2pm

10.15

Peter Finn A Guest of the Reich 7pm Kwame Mbalia Tristan Strong Punches a Hole in the Sky 7pm

10.16

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

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Member Admission Price 10/13 BOMBINO & VIEUX FARKA TOURÉ: SONS OF THE SAHARA

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10/ 10-12 10/12 10/17 10/18

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28 | 10.09.19 | INDYweek.com

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art

10.9–10.16

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

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

QUESTIONS? spequeno@indyweek.com

THURSDAY, OCTOBER 10

ANARCHISM AND THE POLITICAL ART OF LES TEMPS NOUVEAUX, 1895–1914 In total, the French writer and activist Jean Grave’s anarchist newspaper, Les Temps Nouveaux, put out ninety-four issues during its tenure between 1895 and 1914, with a circulation of 18,000. Translating to “The New Times,” the political and moral issues that the paper dealt with feel evergreen: homelessness, rural and industrial labor, child abuse among clergy, and migration rights. In this exhibit—organized by Mark Antliff, an art history professor at Duke University; and Robin Klaus, a PhD student in art history—original prints and graphics from the magazine are pulled together to paint a picture of what radical political organizing looked like in the years before the 1917 Russian Revolution and the rise of communism. In this exhibition opening, a 5:30 p.m. cash bar precedes a 6 p.m. gallery talk by Antliff and Klaus; the exhibit runs through December 15. —Sarah Edwards

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

Adé Oh: Blakstroglyphs Multimedia. Oct 20-27.

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

NorthStar Church of the Arts, Durham.

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

Oct 10-20. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

ONGOING

Price

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

5pointsgallery.com.

1-20)

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

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

m

rsDurham

“Les Démolisseurs” by Paul Signac PHOTO COURTESY OF THE NASHER MUSEUM OF ART

Kennedi Carter: Godchild Thru Jan 31.

21c Museum Hotel, Durham.

21cmuseumhotels.com/durham.

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

Cary Gallery of Artists, Cary. carygalleryofartists.org.

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

A Certain Uncertainty; from the Cassilhaus Collection Thru Nov 24. Horace Williams House, Chapel Hill. preservationchapelhill.org. conTEXT: A Calligraphic Journey Thru Nov 7. NCSU’s The Crafts Center, Raleigh. crafts.arts.ncsu.edu.

THE NASHER MUSEUM OF ART, DURHAM 6–9 p.m., free, www.nasher.duke.edu

OPENING

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

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

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

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

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

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

Jasmine Best, Laura Little, Aaron McIntosh, Renzo Ortega: Dirty South Group show. Oct 4-Nov 30. Reception: Oct 4, 6-10 p.m. Artspace, Raleigh. artspacenc.org.

Jayne Bomberg: A Unique Journey in Visual Art Thru Oct 20. Skylight Gallery, Hillsborough. skylightgallerync.wordpress.com.

Bill Brown, Jerstin Crosby, Sabine Gruffat, George Jenne, Lindsay Metivier, Alyssa Miserendino, Travis Phillips, Rachele Riley, Derek Toomes, Louis Watts: Another Potato Chip Weekend Group show. Thru Oct 13. Oneoneone, Chapel Hill. oneoneone.gallery

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

José Manuel Cruz: COLORICAN Various media.

Thru Oct 11. NCCU Art Museum, Durham.

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

Owens Daniels: The Power of Music Thru Oct 29.

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

Durham Art Guild, Durham. durhamartguild.org.

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

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

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

INDYweek.com | 10.09.19 | 29

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page

CO NT’D

Larry Favorite, Marcy Lansman, Eric Saunders: Altered Surfaces Thru Oct 20. Hillsborough Gallery of Arts, Hillsborough.

HillsboroughGallery.com.

Feels Warm, Like Things Burning Group show. Thru Oct 26. Lump, Raleigh. lumpprojects.org.

Peter Filene & Bill McAllister Photos. Thru Nov 10.

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

FRANK Gallery, Chapel Hill.

Harriet Hoover, Vanessa Murray, Rusty Shackleford Thru Jan 5. Oneoneone, Chapel Hill. oneoneone.gallery John James Audubon: The Birds of America Ornithological engravings. Thru Dec 31.

NC Museum of Art, Raleigh. ncartmuseum.org.

Jim Kellough: Vine Paintings Thru Oct 10. Durham Convention Center, Durham. durhamarts.org.

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

Andrew Kozlowski: Dark Days Prints and more.

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

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

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

Nathaniel Quinn Paintings.

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

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

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

21cmuseumhotels.com/durham.

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

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

Through This Lens, Durham.

Nathaniel Quinn Paintings.

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

Elissa Farrow Savos Mixed media. Thru Oct 30. Gallery C, Raleigh. galleryc.net

ZINE MACHINE: DURHAM PRINTED MATTER FESTIVAL

Southbound: Photographs of and about the New South Thru Dec 21. Power Plant Gallery, Durham. powerplantgallery.com.

Ahh, zines! Once the copy-shop-enabled terrain of pure personal expression, they spent years in decline thanks to people using the internet to complain about stuff. But now, they are not only recognized as the cornerstone of multiple cultural and artistic movements (archived at Duke’s libraries, no less), they’re also making a comeback because people realize hard-copy media can’t be hacked by malware and spybots. To rejoice in this glorious renaissance, venture no further than the Durham Armory, where an all-out tribute to printed matter is in effect on Sunday, featuring zines, indie books, self-published comics, posters, and other things that won’t vanish when your hard drive crashes or an electronic distributor goes under. Be it music opinions, doodles, unsettlingly personal poetry, or a whole bunch of stuff with skateboards, one of the last true bastions of democratic media will be available in all its two-staple splendor. Enjoy a classic zine, find a new one, or discover the inspiration to start your own. The event is sponsored by the Sallie Bingham Center for Women’s History & Culture at Duke. —Zack Smith

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

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

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

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

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

The ArtsCenter, Carrboro. artscenterlive.org/gallery.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s Photos. Thru Mar 31. UNC’s Wilson Special Collections Library, Chapel Hill. ¡Viva Viclas!: The Art of the Lowrider Motorcycle Guest curator Denise Sandoval. Thru Feb 9. CAM Raleigh, Raleigh. camraleigh.org.

Jan-Ru Wan: You thought you are the center of the universe Found objects. Thru Oct 5. VAE Raleigh, Raleigh. vaeraleigh.org.

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

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

Wojtek Wojdynski: Symbiosis Photos. Thru Oct 12.

Through This Lens, Durham.

30 | 10.09.19 | INDYweek.com

SUNDAY, OCTOBER 13

She Who Tells a Story Thru Dec 1. Ackland Art Museum, Chapel Hill. ackland.org.

DURHAM ARMORY, DURHAM 11 a.m.–6 p.m., free., www.zinemachinefest.com

Art by Caitlin Degnon PHOTO COURTESY OF ZINE MACHINE DURHAM

READINGS & SIGNINGS Clay McLeod Chapman The Remaking. Mon, Oct 14, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Fred Chappell As If It Were: Poems. Sun, Oct 13, 2 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Peter Finn A Guest of the Reich. Tue, Oct 15, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Mardy Grothe Sat, Oct 12, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Karla FC Holloway A Death in Harlem. Wed, Oct 16, 6:30 p.m. Regulator Bookshop, Durham. regulatorbookshop.com.

Randell Jones In the Footsteps of Daniel Boone. Wed, Oct 9, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

John Ketwig Vietnam Reconsidered: The War, The Times, and Why They Matter. Sat, Oct 12, 11 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Kwame Mbalia Tristan Strong Punches a Hole in the Sky. Wed, Oct 16, 7 p.m. Quail Ridge Books, quailridgebooks.com.

Lenard D. Moore One Window’s Light. Wed, Oct 16, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

M. Randal O’Wain & Mesha Maren Meander Belt: Family, Loss, and Coming of Age in the Working-Class South (O’Wain), Sugar Run (Maren). Wed, Oct 9, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

John Russell All the Right Circles. Tue, Oct 15, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Mab Segrest Memoir of a Race Traitor: Fighting Racism in the American South. Thu, Oct 10, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

LECTURES, ETC. GRIT TALK Thu, Oct 10, 6:30 p.m. Knox Street Project Space, Durham. knoxststudiosfallagenda. splashthat.com.

stage TUESDAY, OCTOBER 15

THE DAY

Separation seems the common thread uniting the two sections of THE DAY, the evening-length multimedia work combining the talents of an avant-garde supergroup: cellist Maya Beiser, Bang on a Can composer David Lang, New York City Ballet dancer and artistic director Wendy Whelan, and Judson Church co-founder choreographer Lucinda Childs. The text in Lang’s introspective opening composition from 2016, “the day,” is a list of 301 phrases, each beginning with the words “I remember the day that I...” that the composer gleaned from Google searches. Taken together, the words constitute a look back at experiences from a distance, in what the composer terms “the way we review our lives.” The second section, based on Lang’s 2003 “world to come,” is a meditation on the disaster of September 11, framed through Jewish thought on what occurs after the spirit separates from the body at death. —Byron Woods

UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., www.carolinaperformingarts.org

THE DAY PHOTO BY NILS SCHLEBUSCHO

OPENING

Comedy Club, Raleigh. goodnightscomedy.com.

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

Criminal Podcast Live $30. Sat, Oct 5, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Eric Andre Wed, Oct 2, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Dracula $19-$27. Oct 4-20.

Theatre In The Park, Raleigh. theatreinthepark.com.

Best of Enemies NCCU Theatre.

Play. Oct 4-13. NC Central University Theatre, Durham. nccu.edu.

An Evening with C.S. Lewis Play. Oct 5-6. Sat: 3 p.m. & 7:30 p.m. Sun: 2 p.m. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

John Caparulo Comedy. Oct 3-5. Thu: 8 p.m. Fri-Sat: 7:30 p.m. & 10 p.m. Goodnights

Craig Ferguson Comedy. $38$88. Mon, Oct 7, 7:30 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Rosas danst Rosas Anne Teresa De Keersmaeker & Rosas. Dance. $27. Wed, Oct 9, 7:30 p.m. UNC’s Memorial Hall, Chapel Hill. carolinaperformingarts.org.

Dusty Slay Comedy. $15.

Oct 3-6. Thu: 7 p.m. Fri: 7 p.m. & 9:15 p.m. Sat: 6:30 p.m. & 9 p.m. Sun: 7 p.m. Raleigh Improv, Raleigh. i mprov.com/raleigh.

Doug Stanhope Comedy. Sun, Oct 6, 7 p.m. Raleigh Improv, Raleigh. improv.com/raleigh.

Transactors Improv With Dex Romweber. Sat, Oct 5, 8 p.m.

The ArtsCenter, Carrboro. artscenterlive.org.

Blake Wexler Comedy. $15-$23. Wed, Oct 9, 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

ONGOING Blood at the Root Thru Oct 13.

Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

The Roommate Thru Oct 13. Durham Fruit Company, Durham. bulldogdurham.org.

Joe Zimmerman Comedy. $15.

Wed, Oct 2, 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 10.09.19 | 31

screen SPECIAL SHOWINGS The Addams Family Sun, Oct 13, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Clouds of Sils Maria Fri, Oct 11, 7 p.m. Rubenstein Arts Center, Durham. ami.duke.edu.

Dr. Butcher, M.D. Fri, Oct 11, 10 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Evil Dead Mon, Oct 14, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Film Fest 919 Lineup TBA. Oct 9-13. Silverspot Cinema, Chapel Hill. filmfest919.com.

Heathers $10. Sat, Oct 12, 7:10 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Hocus Pocus $10. Fri, Oct 11, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Home is Distant Shores Full schedule online. Oct 2-16.

7 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

The Host Mon, Oct 14, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Kingdom Of The Spiders $7. Wed, Oct 16, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

The Mummy Fri, Oct 11, 8 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Popstar: Never Stop Never Stopping Wed, Oct 16, 8 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Price of Everything $7-$8. Sun, Oct 13, 2 p.m.

Chelsea Theater Chapel Hill thechelseatheater.com Sick Chick Flicks Film Festival $20-$35. Oct 12-13.

The Cary Theater, Cary. sickchickflicksfilmfestival.com.

SplatterFlix Film Series Full schedule online. $10+. Oct 11-13.

Carolina Theatre, Durham. carolinatheatre.org.

Summer Hours Thu, Oct 10, 7 p.m. Rubenstein Arts Center, Durham. ami.duke.edu.

Too Close to Home Free. Sun, Oct 13, 6 p.m.

Shadowbox Studio, Durham. shadowboxstudio.org.

32 | 10.09.19 | INDYweek.com

Vampire Hunter D Subtitled.

Sun, Oct 13, 11 a.m. Alamo Drafthouse, Raleigh. drafthouse. com/raleigh.

Zombieland Double Screening Wed, Oct 16, 7:30 p.m. Alamo Drafthouse, Raleigh. drafthouse. com/raleigh.

OPENING The Addams Family —In this star-studded new Addams installation, the macabre clan face-off with a reality television show host. Rated PG. The Gemini Man —Will Smith always seems to be being hunted by mutants and/or clones; in this horror flick, the clone killer is his younger self.

Rated PG-13.

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

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

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

Rated PG. Ad Astra—A tortured but calm Brad Pitt traverses the solar system in search of his lost father. Rated PG-13.  After the Wedding— Julianne Moore and Michelle Williams outshine the script, in this gender-flipped remake of the 2006 Danish drama. Rated PG-13. —Glenn McDonald ½ Angel Has Fallen— Secret Service agent Mike Banning is framed for an assassination attempt on POTUS. It’s not as wretched as London Has Fallen, and Nick Nolte as a conspiracy theorist is almost worth it.

Rated R.—Neil Morris Aquarela—Victor Kossakovsky’s documentary about the unruly beauty of water is set to a Finnish heavy-metal score. Rated PG. Brittany Runs a Marathon— This comedy mines body image for laughs but does so with uplift rather than cringes, as a woman makes positive changes in her life by running a marathon. Rated R.

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

Rated R. Downton Abbey—King George V and Queen Mary pay a visit to the abbey and cause a flurry of activity in this spin-off of the television series. Rated PG.  Fast & Furious Presents: Hobbs & Shaw—The testosterone-driven repartee between Dwayne Johnson and Jason Statham is the only reason to endure this cartoonish, logically and temporally challenged CGI fest. Rated PG-13. —NM  The Farewell— A family travels to China to say goodbye to the family matriarch, who is dying of cancer. The twist? They feel that it’s more benevolent to not tell her she’s dying.

Rated PG. —Sarah Edwards The Goldfinch—Jezebel put it best: “Everyone already hates The Goldfinch,” which makes a pretentious muck of Donna Tartt’s Pulitzer-winning novel of art and grief. Rated R. ½ Good Boys—In this Superbad for tweens, a trio of sixth-grade BFFs have misadventures as they try to find the cool-kids party. The profuse profanity is cut by the kids’ infectious charm. Rated R. —NM Hustlers—The true story of strippers drugging and stealing from Wall Street stock traders is the stuff think pieces are made of. Rated R. IT Chapter Two—The mixed reviews for the second part of Stephen King’s killer-clown opus mainly agree that it’s just not that scary. Rated R. Joker—At first, the buzz around this star vehicle for Batman’s greatest villain was all about Joaquin Phoenix’s intense turn in a role Heath Ledger made famous. But as more details of the plot have emerged, there’s been a justified backlash about what sounds like an antihero myth for violent incels. Rated R.

The Road Less Traveled PHOTO COURTESY OF THE FILMMAKERS SATURDAY, OCTOBER 12 & SUNDAY, OCTOBER 13

SICK CHICK FLICKS FILM FESTIVAL

Sick Chick Flicks Film Festival, now entering its fourth year, aims to emphasize films by women who work in the genres of horror, sci-fi, and fantasy. The forty features and shorts this year include tales of haunted vintage organs, robot caretakers, and a supernatural journey through the Trinidadian mangroves. Filmmakers take on the horrors of reality, including commentaries on the #MeToo movement, catcalling, and rape. Even toxic wellness culture and the chaotic potential of outdoor music festivals get spotlights.

Speakers include film-score composer Cristina “Trinity” Vélez-Justo on sound in horror, CongestedCat production company founder Christina Raia on crowdfunding, and a live demo of creature makeup and special effects with the artist and mortician Ceirra Doll.

Part of the festival’s mission is to empower aspiring creators of the spooky and fantastical. Participants will a platform to pitch their film idea to the audience, with the winner receiving a cash award that they can put towards production. —Josephine McRobbie

THE CARY THEATER, CARY Various times, $20–$35, www.sickchickflicksfilmfestival.com Judy—Renee Zellweger, in a role that will likely make her an Oscar frontrunner, plays Judy Garland during the last few years of her life. Rated PG-13. ½ The Lion King— Jon Favreau’s photorealistic palette is the boon and bane of Disney’s “live-action” computer rendering of an animated classic. Rated PG. —NM  Linda Ronstadt: The Sound of my Voice—This rockdoc uses Ronstadt’s vocal range as a stand-in for everything the Queen of Rock has represented: adaptability, doggedness, moral clarity. Unrated. —SE  Once Upon a Time In Hollywood—Quentin Tarantino portrays the late-sixties Hollywood film industry and vaguely mumbles something about the Manson family in this tedious, irrelevant exercise in bland nostalgia for a bygone era of unaccountable hypermasculinity. Rated R. —Marta Núñez Pouzols

 The Peanut Butter Falcon—This heartwarming Tom-and-Huck tale features a breakout performance by Zack Gottsagen, who has Down syndrome, and a soulful Shia LaBeouf. Rated PG-13. —GM

½ Spider-Man: Far from Home—It’s a bedrock truism that a superhero story is only as good as its villain, and Mysterio’s motivations are entirely and conspicuously dumb. Rated PG-13. —GM

 Raise Hell: The Life and Times of Molly Ivins— Reviewed on page 29. Unrated

 Toy Story 4—A spork’s severe ontological distress ballasts a half-daring, half-predictable extension of a beloved animated franchise. Rated G. —NM

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

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BODY • MIND • SPIRIT

NOTICES

NOTICE OF CITY OF DURHAM MUNICIPAL ELECTION TUESDAY, NOVEMBER 5, 2019

The Election for Durham City Council and Mayor will be held in Durham County, NC on Tuesday November 5th. All City of Durham precincts will be open from 6:30 am until 7:30 pm. Precinct 26 – Rougemont will not be open because no city area lies within this precinct.

The following contests will be on the City of Durham ballot: City of Durham Mayor Durham City Council At-Large (3) The following contests will be on the ballot for other municipalities residing in Durham County: City of Raleigh Mayor and/or Council (If necessary) Town of Morrisville Town Council Town of Chapel Hill Mayor and Council ABSENTEE ONE-STOP (EARLY VOTING) LOCATIONS South Regional Library – 4505 S. Alston Ave, Durham North Regional Library – 221 Milton Rd, Durham Criminal Justice Resource Center – 326 E Main St, Durham NCCU Law School – 640 Nelson St., Durham Early voting schedule: Wednesday, Oct. 16th through Friday, Nov. 1, 2019 Hours are consistent at all four early voting sites.

Weekdays: 8:30 a.m. to 6:00 p.m.

Saturdays: 8:30 a.m. to 1:00 p.m. · Sundays: Noon to 4:00 p.m.

ELECTION DAY POLLING PLACE LOCATION CHANGE Precinct 16, previously located at Holy Infant Catholic Church has moved to Jordan High School, located at 6806 Garrett Rd., Durham.

Precinct 19, previously located at the American Legion Post # 7 has moved to Merrick-Moore Elementary School, located at 2325 Cheek Rd., Durham.

Precinct 48, previously located at Christ the King Church has moved to Woodcroft Club, located at 1203 W Woodcroft Pkwy., Durham.

Precinct 53-2, previously located at Triangle Church has moved to Barbee Chapel Baptist Church, located at 5916 Barbee Chapel Road, Chapel Hill.

VOTER REGISTRATION DEADLINE: The voter registration deadline for the November 5, 2019 Election is Friday, October 11, 2019 (25 days prior). Voters that miss the registration deadline may register and vote during the Absentee One-Stop Voting Period (Early Voting). Voters who are currently registered need not re-register. Registered voters who have moved or changed

other information since the last election should notify the Board of Elections of that change by October 11, 2019.

SAME DAY REGISTRATION: Voters are allowed to register and vote during early voting. It is quicker and easier to register in advance, but if you have not registered you can do so during One Stop voting with proper identification. This same day registration is not allowed at polling places on Election Day. Information regarding registration, polling locations, absentee voting, or other election matters may be obtained by contacting the Board of Elections.

Website: www.dcovotes.com Email: elections@dconc.gov Phone: 919-560-0700 Fax: 919-560-0688 PAID FOR BY DURHAM COUNTY BOARD OF ELECTIONS

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The INDY’s monthly neighborhood guide to all things Triangle

Coming October 16:

FIVE POINTS/GLENWOOD SOUTH For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 10.09.19 | 33

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

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this week’s puzzle level:

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

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

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

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

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

34 | 10.09.19 | INDYweek.com

10.9.19

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