raleigh
10|18|17
BACK OF THE HOUSE
Chefs get all the glory. Their teams do all the work.
p. 12
2 | 10.18.17 | INDYweek.com
WHAT WE LEARNED THIS WEEK 6 More than 356,000 North Carolinians receive the costsharing reductions that President Trump just slashed.
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8 What’s that, you say? We just had an election? Another one starts Thursday. 14 If the guy making your sushi is wearing a face mask, maybe it’s because he’s allergic to fish. 24 “I spend more time with my two sous chefs than I do with my fiancée.” 26 Charlie Daniels doesn’t see anything wrong with headlining a Southern rock concert called Carolina Uprising.
DEPARTMENTS
VOL. 34, NO. 41
6 Triangulator 8 Endorsements 12 Dish 26 Music 30 Arts & Culture 34 What to Do This Week 37 Music Calendar 41 Arts & Culture Calendar
30 At the Botataung Pagoda in Myanmar, visitors seeking good luck bring coconuts and bananas as an offering to Bo Bo Gyi, the site’s guardian spirit. 32 The stories of David Sedaris show that being a hilarious, brilliant weirdo is something to aspire to.
ON THE COVER PHOTO BY ALEX BOERNER
Magno Tapia is a sushi chef at M Sushi. He also has a seafood allergy.
PHOTO BY ALEX BOERNER
INDYweek.com | 10.18.17 | 3
Raleigh Durham | Chapel Hill
PUBLISHER Susan Harper EDITORIAL
EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf STAFF WRITERS Thomas Goldsmith,
Erica Hellerstein, Sarah Willets
Celebrating Dizzy Gillespie’s 100th Birthday!
JOHN BROWN BIG BAND — WITH NICHOLAS PAYTON —
Saturday, October 21, 2017 • 8PM • Carolina Theatre carolinatheatre.org for tickets
MUSIC EDITOR Allison Hussey COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Alex Boerner CHIEF CONTRIBUTORS Drew Adamek, Elizabeth
Bracy, Timothy Bracy, Michaela Dwyer, Spencer Griffith, Corbie Hill, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Angela Perez, Hannah Pitstick, Noah Rawlings, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Emma Parna Gomes, Maddy Sweitzer-Lammé
PRODUCTION+DESIGN
PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva
OPERATIONS
BUSINESS MANAGER Alex Rogers
CIRCULATION
CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, David Cameron,
Michael Griswold, JC Lacroix, Richard David Lee, Joseph Lizana, James Maness, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Marshall Wade, Gerald Weeks
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4 | 10.18.17 | INDYweek.com
owe
backtalk
Not a Lot of Nazi Statues in Berlin
Two weeks ago, we ran a letter from Christopher Ross bemoaning the cancellation of the NC Pride parade, which was scheduled for Yom Kippur and thus would exclude the observant Jewish LGBTQ community. “Sadly,” he wrote, “when Pride organizers caved in to the demands of unnamed ‘observant Jews,’ they set a very dangerous precedent.” beth Renee Rauch responds: “As a Jewish perSpencer son who spoke with the Pride committee Sayaka is, Angela when it became apparent that Yom Kippur Bryan C. fell on the same date as the Pride parade, I did avid Ford not and do not know any other Jewish person ck Wall who did want or insist or ask that the parade be canceled. Many of us voiced our disappointment at not being able to participate, as the Jewish community as a whole is greatly ms supportive of the LGBTQ community and certainly wished that the dates did not intersect. But after voicing disappointment that many of us would not being able to attend, I and many others in no art way wanted or expected the parade to be canavid Lee, celed. On the contrary, Nair, many us noted that we , would all be back with support and love next year. We were not eager to demand special treatment. I wonder who the writer listened to or spoke to that he/she came to that conclusion. Could this be based on underlying prejudice of the ‘other’?” 200 In last week’s paper, we ran a story about the Durham City Council trying to assess the value of the Confederate monument that protesters tore down in August. On Facebook, Ayo Wilson writes, “All the Confederk.com ate monuments nationwide aren’t worth an eek.com 1972 ounce of rat shit. If you support those monuments to bullshit, you’re a white supremacist and you need to stay your hate-filled, racist e ass away from me.” Jimmy Cox adds: “Plenty of deserving soldiers who fought and died for the U.S. should be memorialized with monuments. Not one Confederate who fought against our country. There’s not a lot of Nazi statues in Berlin.” Alex Bird points to the council’s findings— that the statue, including the still-standing base, was worth about $71,000— and writes: “Didn’t you guys just report a month ago
that these statues were mass-produced and cheap. Fake news; $100,000 doesn’t sound cheap to me. Sounds like a couple felonies.” “In its current state,” writes Heath Satow, “the statue has far greater historical significance now than before it was pulled down. The city may owe the people who pulled it down money.” Finally, Harold A. Plein offers a helpful suggestion: “Melt it down and recast it into bronze urinals.” Moving on. We had plenty of reaction to our coverage of local elections last week, especially in Raleigh, which, with the retirement of Mary-Ann Baldwin and the defeat of Bonner Gaylord, voted in a new, neighborhood-friendly city council. Meredith de la Vergne takes issue with our characterization of the new council as NIMBYs: “Just because one of our two newly elected council members is pro-neighborhood and natural resources, it does not qualify her to be labeled a NIMBY, which is a pejorative term from the eighties relating to the siting of hazardous waste facilities. How great it is to have more neighborhood advocates on the council!” FONCitizen, meanwhile, has doubts that new at-large member Nicole Stewart will in fact be a neighborhood advocate: “Nicole Stewart was endorsed by Mary-Ann Baldwin, her campaign manager is Nancy McFarlane’s daughter, and she was supported in her campaign by Nancy McFarlane. I will believe Nicole Stewart is a neighborhood advocate when she proves it. “Mary-Ann and Nancy are both very developer friendly and neither one can claim to be neighborhood advocates. So, I am wary of their preferred candidate. Nicole Stewart has an admirable record on environmental stewardship. I commend her on that record and welcome her in bringing that expertise to the council.”
Wednesdays Aug. 2 - Oct. 25 • 5 pm - 6:30 pm Market Plaza between Wilmington & Fayetteville Street
“Could this be based on underlying prejudice?”
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INDYweek.com | 10.18.17 | 5
triangulator
PRESCRIPTION FOR CHAOS How to sabotage North Carolina’s insurance marketplace in five easy steps
L
ast week, President Trump issued an executive order eliminating what are known as cost-sharing reductions, a key aspect of the Affordable Care Act. The CSRs, which amount to about $7 billion a year, are payments made to insurance companies to reimburse them for subsidizing outof-pocket health care costs for those earning between 100 percent and 250 percent of the federal poverty level, which the ACA requires insurance companies to do. As of last week, however, the federal government simply won’t pay them back. Ostensibly, this was a legal decision. Because of a dispute over whether these payments are considered mandatory spending or need to be specifically allocated by Congress, the fate of the CSRs was making its way through the courts. The White House’s argument is that these payments are illegal, so the government’s hands are tied. That might be more persuasive had former Trump adviser Steve Bannon not given the game away this weekend, telling the Values Voters Summit that Trump ended the CSRs to “blow those exchanges up.” Of course he did. There’s no easier way to sow chaos into the Obamacare marketplace, and that’s what Trump wanted to do. Here’s how that will work in North Carolina. 6 | 10.18.17 | INDYweek.com
About 7.1 million
Americans, and 356,560 North Carolinians, receive the costsharing reductions. According to the Kaiser Family Foundation, these payments reduce out-ofpocket costs by $5,587 per person.
Without the payments, insurers will still
have to pay the subsidies. To offset those costs, they’ll raise rates. Earlier this year, Blue Cross Blue Shield North Carolina, by far the largest insurer on the state’s marketplace, sought a 22.9 percent premium rate hike—later reduced to 14.1 percent—which it primarily blamed on uncertainty over the CSRs.
Roughly 90 percent
For the 10 percent
of North Carolina’s 549,158 ACA enrollees won’t pay more in premiums. That’s because they receive federal subsidies that lock in their costs. Rather, the federal government will have to pay more in premium subsidies; according to the Congressional Budget Office, ending CSR payments will increase the federal deficit by $194 billion over ten years.
549,158 total ACA enrollees
BCBSNC, the only insurer offering rates
in all one hundred North Carolina counties, says it might pull out of the marketplace in 2019 if the CSRs aren’t funded. Considering the fact that North Carolina already has one of the least competitive marketplaces in the country, this could be disastrous. Nationwide, the CBO estimates that about 5 percent of the population won’t have access to insurance through the ACA because the CSR elimination will lead insurers to bail.
who buy insurance through the marketplace but don’t receive subsidies, premiums will eventually skyrocket—but, at least in North Carolina, not this year. Insurance companies have already baked the elimination of CSR payments into their rate proposals.
S
t
the ve
ked ments
+HOUSING STARTS
Affordable housing and retail and office space are slated for a two-acre site adjacent to Durham Station. Durham City Council members and staffers, along with a development team composed of Self-Help Ventures Fund and DHIC Inc., have been contemplating how best to use the city-owned site for about a year. On Monday, the council unanimously approved a concept that includes eighty units of affordable housing, sixty-two thousand square feet of office space, parking, and twelve thousand square feet of commercial space. The housing will allow for twenty housing vouchers, which are administered by the Durham Housing Authority and subsidize low-income tenants’ rents. Tucker Bartlett, with Self-Help Ventures Fund, said th\e development team will begin lining up retail and office tenants immediately; rent from those spaces helps this concept have the smallest funding gap of four proposals presented to the council. The city would have to come up with about $2.8 million toward the development. Including the costs of the parking structure, the proposal rings in at just under $15 million. Low-income housing tax credits would cover about $10 million. Housing vouchers would contribute another $920,000, and the office/retail space about $860,000. Development costs don’t include the price of the land, which is valued at about $2.8 million. Under the proposal, the city would sell the property for $1. The proposal is in line with the city’s goals. It would place affordable housing near a transit hub and future light rail station, bring lower rents into a pricey downtown area, and
PERIPHERAL VISIONS | V.C. ROGERS
utilize one of the largest city-owned properties downtown with potential for reuse. All four concepts included eighty units of affordable housing. Michael Rodgers, with nonprofit housing developer DHIC Inc., said that’s the highest number likely to be competitive in the North Carolina Housing Finance Agency’s application process for tax credits. The plans varied in the combination of affordable and market-rate housing, office space, and retail space. Market-rate apartments can help subsidize the cost of the affordable housing developments and discourage isolated pockets of low-income households. But in this case, the development team found those units would actually widen the funding gap because the site is surrounded by high-end market-rate apartments. By law, all units in a mixedincome development must have the same finishes, so market-rate apartments at this project wouldn’t command the same rent and wouldn’t generate enough revenue to cover construction costs. The project is on a tight deadline. A preliminary tax-credit application is due in January, with the full application (and detailed financing commitments) due in May. If all goes to plan, construction would begin in early 2019 and finish in December 2020.
+HOUSING STARTS, PART 2
As many as thirty-seven hundred new households a year in Wake County need affordable housing, yet the supply is slashed by nine hundred units annually, county commissioners heard Monday. The math means that today’s shortage of
56,000 households that can’t afford housing will eventually rise to a countywide shortfall of 120,000–150,000 households a year. A twenty-year affordable housing plan won unanimous approval Monday from the Board of Commissioners. The series of proposed solutions was created by a border-crossing task force at the instigation of Commissioner Jessica Holmes. “A lot of good ideas get put on the shelf, and a lot of good ideas don’t get funded,” Holmes said, urging follow-through. No price tag accompanied the presentation. The next step, said board chairman Sig Hutchinson, is finding funding. The plan sets out three main directions for change: land use, leveraged programs, and additional public resources. Under land use, the plan recommends relaxing development ordinances to allow higher density, especially in areas near current or planned mass transit; the use of “housing incentive overlays,” which would let affordable housing developers follow “alternative standards” when building projects; and a focus on more use of alternative dwelling units, including “granny flats.” Leveraged programs include building or preserving subsidized affordable housing. In addition, programs can be designed to bring together public, private, and nonprofit sources to increase the number of affordable units. In terms of additional resources, that means more money for affordable housing production and preservation from the government. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Thomas Goldsmith, and Sarah Willets.
PEt of the
WEEK
PRECIOUS is our Pet of the Week! Precious has been with APS for three months, and has watched a lot of her friends be adopted. She’s hoping you will come meet her and make her a permanent part of your family! She’s a very sweet girl, who also has a playful side. Taking her home is easier than ever because a generous donor has paid her adoption fee! For more information:
http://www.apsofdurham.org/ cats/precious/
If you’re interested in featuring a pet for adoption, please contact
eroberts@indyweek.com
INDYweek.com | 10.18.17 | 7
GO VOTE (AGAIN)
ENDORSEMENTS
THE INDY’S ENDORSEMENTS FOR THE NEXT ROUND OF LOCAL ELECTIONS
And we’re back.
Just last week, voters in Raleigh, Cary, and Durham voted in municipal elections. In Cary and most of Raleigh, everything was settled: with Bonner Gaylord and Stacy Miller declining a runoff, the Raleigh City Council is set—and will likely be a little less developer-friendly than the current set. But on Sunday, mayoral challenger Charles Francis announced that he would indeed go to November, despite seemingly long odds. (He trailed McFarlane by twelve points in the first round.) In Durham, meanwhile, the primaries narrowed the field to two candidates in each of the four races. This week, we’re endorsing in the Raleigh mayoral runoff, the Durham general election, and races in Orange County. We’ve opted not to endorse in Morrisville, Apex, and other Wake County municipalities holding their elections November 7. Early voting starts Thursday. Get out there and do your civic duty, people.
is not divisive,” he continued, “it’s democracy.” (True again.) “The people of Raleigh deserve an opportunity to speak clearly.” (Fine by us.) Francis has positioned himself as the champion of those left behind by Raleigh’s boom, the people who care less about the newest hot-shit restaurant than about making ends meet. It’s good to have a candidate raise issues of equity. The problem is, Francis hasn’t made a persuasive case that he could do a better job than McFarlane. And while the mayor has shortcomings, the city isn’t on those seemingly endless Best Whatever lists for nothing. Also, McFarlane locking down the deal for Dix Park, despite the state’s footdragging, is nothing to sneeze at. In short, this isn’t the right time to switch horses. That being said, should she prevail, McFarlane would do well to keep Francis’s supporters—those who haven’t shared in the city’s recent prosperity—in mind.
RALEIGH
DURHAM
After some suspense, Charles Francis announced Sunday that he would seek a runoff against three-term incumbent Nancy McFarlane. “The results did not produce a decisive outcome,” he told reporters. (True, as McFarlane got 48.5 percent of the vote, not 50 percent plus one.) “A runoff election
The Durham mayor’s primary shook out about how everyone expected, with Steve Schewel and Farad Ali moving on. The only surprise? Schewel lapped the field, clearing a majority of votes—51 percent to Ali’s 29 percent—and setting himself up as the clear favorite for the general election.
MAYOR: Nancy McFarlane
8 | 10.18.17 | INDYweek.com
MAYOR: Steve Schewel
As we did in the primary, we wholeheartedly endorse Schewel for mayor. (Yes, Schewel founded The Independent Weekly. But he sold the paper before anyone involved in this decision worked here.) Schewel has a wealth of experience, and he’s a living embodiment of Durham’s activist ethos. On the city council, he’s been a leader of a stout progressive bloc, and his knowledge of the issues facing the city is unrivaled. Ali has a decent enough résumé, but Schewel deserves your vote.
WARD 1: DeDreana Freeman
Unexpectedly, DeDreana Freeman—a planning commission member and president of Durham’s InterNeighborhood Council— polled ahead of longtime incumbent Cora Cole-McFadden, 48 percent to 43 percent. In the general election, we are once again endorsing Freeman. Cole-McFadden was a trailblazer in city government, as the first African-American woman to head a city department. However, we believe Ward 1 deserves some fresh blood, if only because Freeman is such an outstanding candidate. A well-regarded community organizer and nonprofit administrator, Freeman was instrumental in helping her Golden Belt neighborhood receive a historic designation and has been an advocate for affordable housing. Given her background, we believe she would be an effective voice for responsible neighborhood development.
WARD 2: Mark-Anthony Middleton
In Ward 2, pastor and activist Mark-Anthony Middleton will face off against engineer John Rooks Jr., who scored something of a coup by snatching the People’s Alliance endorsement. The two candidates espouse similar goals: addressing inequity and affordable housing, for starters. But Rooks loses us when he starts talking about a moratorium on downtown development, as if that’s any sort of solution to the problems the city’s neighborhoods face. Middleton, on the other hand, is experienced and practical, offering detailed proposals on city policing and the Ready Durham initiative, a public-private partnership designed to help the city’s unemployed find good jobs. Middleton is the kind of forward-thinking leader the city council needs.
WARD 3: Vernetta Alston
In Ward 3, challengers Vernetta Alston and Shelia Ann Huggins overwhelmed incumbent Don Moffitt. We believe either Alston or Huggins would do well on the council. And
while Huggins has more direct experience in city government—she’s a business attorney who previously served in several positions in City Hall, including senior administration manager—we’re sticking with Alston, who best represents the city’s values and identity. As an unflinching progressive and a queer woman of color, Alston—an attorney for the Death Penalty Litigation Center—would invigorate the council with fresh perspectives. Throughout the campaign, she has energized voters with a platform centered on immigrant and LGBTQ advocacy, fair policing, and responsible growth, all rooted in a fundamental understanding of why inequality exists in Durham today. We endorse Alston.
CHAPEL HILL
MAYOR: Pam Hemminger
Pam Hemminger, who defeated incumbent Mark Kleinschmidt two years ago, is going to be reelected. After all, her only competition is a write-in candidate. Hemminger, the former chairwoman of the Carrboro-Chapel Hill City Schools Board of Education and vice chairwoman of the Orange County Board of Commissioners, is running unopposed for a good reason: her constituents like her.
TOWN COUNCIL: Ed Harrison, Hongbin Gu, Rachel Schaevitz, Karen Stegman
Chapel Hill voters will pick four candidates out of seven choices (plus some write-ins). Harrison, an incumbent, deserves reelection. He’s smart, versed on the challenges facing the city, and is willing to make difficult decisions on issues like affordability and growth. After that, though, the decisions become more difficult, as there are several qualified candidates. In this race, we’re siding with Hongbin Gu, Rachel Schaevitz, and Karen Stegman—though Allen Buansi, a thirtyyear-old civil rights attorney, merits consideration as well, and would make a fine council member. Gu is a Chinese immigrant who arrived in Chapel Hill two decades ago with $50 to her name and has become an autism researcher in the psychiatry department at UNC. She promises to bring her analytical skills to bear in an effort to make Chapel Hill more inclusive and sustainable. Shaevitz, a social justice filmmaker and postdoc scholar in the public humanities department at UNC, is a relative newcomer to Chapel Hill, having only arrived here two years ago. Yet she has a firm grasp of
INDYweek.com | 10.18.17 | 9
ENDORSEMENTS the issues, understanding that affordability extends beyond housing into transit and planning. She also serves on the town’s task force overseeing the development of the American Legion property and is the town’s cultural arts commissioner. Stegman, a Chapel Hill native, stresses inclusivity as the most important issue: “Will we choose to be a community of including people who might otherwise be marginalized, or will an increasing lack of affordability erode our long-held values?” she asks. She talks smartly about affordable housing, economic development, and land-use planning. It’s worth noting here that we are not endorsing incumbent Maria Palmer, whom we believe to be too deferential to the town’s staff.
CARRBORO
MAYOR: Lydia Lavelle
Lydia Lavelle, a law professor at N.C. Central, is seeking her third term as mayor, having served in that capacity since 2014 and on the Board of Aldermen for six years before that. Under her leadership, the board has pushed back against regressive state policies to show support for immigrants and the LGBTQ community and encourage affordable housing via density bonuses. Lavelle has helped communicate Carrboro’s values as an environmentally conscious, transitfriendly, and welcoming town. Her opponent, former Southern Rail owner Mike Benson, shares many of the same values and stresses issues fundamental to the town’s business community, such as parking. But he can’t match Lavelle’s experience.
BOARD OF ALDERMEN: Barbara Foushee, Jacquelyn Gist, Sammy Slade, Randee Haven-O’Donnell
Five people are seeking four seats on the Board of Aldermen, including three incumbents—Jacquelyn Gist, Sammy Slade, and Randee Haven-O’Donnell. We don’t see a need to replace any of them. They’re all progressive and well-versed in the issues. For the vacant spot, we endorse Barbara Foushee, a senior technologist in a molecular oncology lab who has experience serving on Carrboro’s Human Services Advisory Commission and the OWASA board of directors. She is also branch secretary for the Carrboro-Chapel Hill chapter of the NAACP and pledges to be a voice for the voiceless in Carrboro. 10 | 10.18.17 | INDYweek.com
HILLSBOROUGH MAYOR: Tom Stevens
This one’s pretty simple: Tom Stevens has been mayor for twelve years. Throughout his tenure, Hillsborough has largely prospered, maintaining strong finances, investing in affordable housing, and focusing on local businesses. His opponent, Cindy Talisman, has no relevant political experience and campaigned for office two years ago with Confederate monument preservation at the heart of her platform. No, thank you.
TOWN COUNCIL: Kathleen Ferguson, Jenn Weaver
You don’t have much of a choice here: there are two candidates on the ballot seeking two seats. So Kathleen Ferguson and Jenn Weaver will prevail. Ferguson stresses transparency and accountability, while Weaver, a former public policy researcher, offers good ideas on housing and sustainability. They’ll both be fine.
CHAPEL HILLCARRBORO CITY SCHOOLS
BOARD OF EDUCATION: James Barrett, Joal Hall Broun, Mary Ann Wolf, Amy Fowler
Seven candidates are seeking four spots on the Chapel Hill-Carrboro City Schools Board of Education. Seeing as how everyone running seems to think things are moving in the right direction, we see no reason to displace the two incumbents seeking reelection, James Barrett and Joal Hall Broun. As for the two open seats, we’re backing Mary Ann Wolf and Amy Fowler. Fowler, a pediatrician at Chapel Hill Children’s Clinic, has been a volunteer in the school system for more than a decade and has been the leader of the Special Needs Advisory Council for the last two years. She’s focused, among other things, on closing the achievement gap through offering highquality preschool. Mary Ann Wolf, a Ph.D. in education and director of the Professional Learning and Leading Collaborative at The Friday Institute for Educational Innovation at N.C. State, believes in the fundamental importance of arts, music, and physical education instruction and wants to address racial disparities in the school system: “Equity should not be framed as simply equal inputs for all, but rather as ensuring that each student has what he or she needs to reach his or her potential,” she says. backtalk@indyweek.com
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PRESENTS
BACK of the
October 18-21, 2017 4 days / 40+ poets / all free & open to the public
Wednesday / 6:30 / Speakeasy Reception, readings, and a screening of the documentary Truth Underground, about three spoken word poets.
Friday / 6:30 / Flyleaf Books Reception and readings by Fred Joiner, Celisa Steele, Bradley R. Strahan, Jennifer Whitaker, and Mariam Zafar.
Thursday / 6:30 / 2nd Wind Curated open mic and poetry showcase with mahaloJazz, emceed by Paul Richmond, beat poet laureate of Massachusetts.
Saturday / 12 / Century Center Panels on migration and resistance, readings by Jaki Shelton Green; Gary Phillips, Carrboro poet laureate; Tyree Daye; and more.
Find the full line-up of poets and a detailed schedule at
W E S T E N D P O E T RY F E S T I VA L . O R G 12 | 10.18.17 | INDYweek.com
HOUSE
W
hen I told Gabe Barker, the young chef-owner of Pizzeria Mercato, that we'd be focusing Dish on the back of the house, he reply was deadpan: "You mean the people who actually do all the work?" Many of us have had these gigs. We know what's it's like to ache in our shoulders for weeks. We know that a three a.m. nightcap and a cigarette are sometimes necessary. And we know a bunch of curse words in Spanish. But with dining culture on the rise (the fastest growing retail sector, in fact), most people are just eaters at the table, sheltered from what goes on behind the kitchen door—and from the people back there hustling. Restaurant work may seem thankless, but it's still a source of pride for so many, while opening up different worlds to different people. As a teenage immigrant, my grandfather found work as a dishwasher in the segregated South, a formative culture shock that shaped his early understanding of America. Until the end of her life, my grandmother was fixing breakfast sandwiches at our family's diner for mail carriers and Harlem Globetrotters alike. And my father, at seventy, finally retired this year from frying the hushpuppies that put me through college. This Dish issue peeks into the personalities behind our most visited restaurants, with quirky discoveries (p. 14) and surprising kitchen rituals (p. 16). We also talk to the chefs accustomed to the spotlight about how they got their start, whether on the cook line or at the sink, and the life lessons that followed (p. 24). And, of course, tattoos are a thing (p. 20). To everyone in the back of the house, thank you. Y'all run this town. —Victoria Bouloubasis
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ALL IN THE FAMILY “La Comida” at Mothers and Sons brings a shared camaraderie to the back of the house
RECYCLE THIS PAPER
BY VICTORIA BOULOUBASIS Nora Mendez and Lorena Reynoso prepare "la comida" or family meal for fellow staff at Mothers & Sons. PHOTO BY ALEX BOERNER
D
uring the day, the kitchen at Durham’s Mothers & Sons is a crashing cacophony of cooks. Prep cooks arrive at eight a.m. to begin chopping and slicing through the day’s menu. Line cooks and chefs stroll in by ten, stoking the fire under the rotisserie and slamming through stacks of sauté pans sullied by a year’s worth of flames. By midday, dishwashers are scrubbing over sinks, and bodies start bumping up against one another, shuffling and contorting through a maze of knife-wielding artists in crisp white aprons and graphic tees. And then it all begins to sound harmonious. The high shrill of trumpets carries a Mexican banda melody through a cellphone speaker as cooks Nora Mendez and Lorena Reynoso shape pasta on a prep table. Chefowner Josh DeCarolis and a couple of his right-hand men, Jorge “George” Ruiz and Robert Watson, swim past the ladies on a stream of “What’s up, bro” as they head to the stove, dodging Mendez’s playful teasing. “Hey, Gordo!” she yells at DeCarolis. Everyone else calls him Skinny (because he is). A restaurant kitchen, no matter how spacious, demands close quarters. It involves shouting, nicknames, delirium—all the emotions that come with hard work. Or, if you’re being realistic, a family dynamic. And for DeCarolis, it defines the familial ethos with which he created Mothers & Sons.
“I remember I worked at Ritz-Carlton and I felt like a number—because I was a number,” he says. “But here, we keep it pretty tight. We don’t have a lot of turnover. When we’re done with work, instead of wanting to strangle each other, we go get a beer.” The camaraderie translates to the table, even if that table is actually just your knee or your lap as you prop up against a steel prep table or stove range. Anyone who’s worked in a restaurant knows that “family meal” is a back-of-the-house treasure, a time for chefs and cooks to take a break from the daily grind of feeding a community and instead feed one another. In most local kitchens, family meal translates into “la comida,” or a big shared lunch prepared by the immigrant cooks. DeCarolis and Mendez have been cooking for each other for almost twelve years. They’ve worked side by side at various restaurants, beginning at Chapel Hill’s Jujube. “It’s a family business,” says DeCarolis of his relationship with the Mendez family. Mendez’s brother was DeCarolis’s sous chef at a point; her son, his prep cook; her other brother worked the line with him at Mateo. When he opened Mothers & Sons, DeCarolis called on Mendez to be in charge of the prep cooks. “It’s very comforting to know that you have this person who really wants to work, and she knows her stuff,” he says. “Sure, we’re making different food, but she
knows what tastes good. Nothing’s bland. She knows what it needs.” Both DeCarolis and Mendez are playful and charming, in full command of their tasks while reveling in constant wisecracks. Mendez, who I’ve known for years, tells me that this is the best place she’s worked. “No hay distinción a nadie,” she says. Everyone is treated the same. She makes lunches for the crew about four times a week. One Tuesday morning, her first task at eight-thirty a.m. was to assemble the marinade for a chicken barbacoa, using a recipe from Chiapas, Mexico, where her parents are from. (Mendez is from the coast of Veracruz.) In it: a plethora of chiles, including ancho, guajillo, morita; juices from fresh oranges and limes; crushed and chopped garlic and onion; dried avocado leaves; cumin, pepper, cloves. Mendez’s natural inclination to feed comes from the idea that “Mexicans share their food.” DeCarolis shares the same kind of familial connections to food and food traditions as his cooks. “Latino culture and my upbringing, Italian-American, is pretty much the same,” he says. “Kind of old-fashioned. It’s not just about making food and subsisting. It’s ‘Eat, eat, please eat, you’re gonna eat! You look skinny. I’m putting more on your plate.’” vbouloubasis@indyweek.com INDYweek.com | 10.18.17 | 13
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Magno Tapia at M Sushi
PHOTO ALEX BOERNER
DEEP DIVE
Magno Tapia is allergic to fish. He’s also one of the best sushi chefs around. BY VICTORIA BOULOUBASIS
Mesmerizing. Captivating. Dramatic.
If you have never experienced the on-stage performance of storytelling, you owe it to yourself and your family to join us for The Storytelling Festival of the Carolinas, an annual event held this year on Saturday, October 21st and Sunday, October 22nd, 2017. Get ready to be utterly spellbound for two days as internationally renowned performers spin their magic and touch every emotion from laughter to horror to tears. (Yes, they’re that good.) Held at the Storytelling and Arts Center in downtown Laurinburg, NC, the festival has a central stage to assure you’ll hear the best storytelling this side of Garrison Keillor. Single day adult tickets begin at $20. Single day and weekend tickets are available - as are military, senior and family packages.
www.storyartscenter.org 14 | 10.18.17 | INDYweek.com
A
t M Sushi, nothing behind the bar is out of place. The row of sushi chefs in chambray getup dotting each station. Stacks of plastic white cutting boards and handmade porcelain plates. A few $800 knives used specifically for nigiri and sashimi. A neat collection of cookbooks on a back shelf. Condiments are in their respective plastic containers, right by the boxes of latex gloves. And, for top sushi chef Magno Tapia, a face mask, so he can breathe easy. And if he can’t, hidden from view are a pack of antihistamine tablets and a couple of epinephrine pens. “I’m just allergic to finned fish,” he says with a smirk made visible only by the corners
of the paper mask over his mouth lifting ever so slightly. He slices through the belly of a salmon, chuckling at the irony. “Some people that come in probably think I’m sick. ‘Why is he wearing that mask? He’s the only one,’” he says. “Back in the day I used to wrap my hands tight in plastic wrap.” Symptoms of his allergy can range from a rash and hives to itchy throat and anaphylaxis, or severe trouble breathing. Tapia says he’s cautious. He can’t actually taste what he’s making, but with each morsel he cuts and places on a plate, he rattles off its characteristics as if he’s been eating sushi his whole life. “This madai—Japanese sea bream,” he says. “It’s very clean, but at the end it has a
sweet kick to it.” He explains flounder next while he pulls out a blowtorch. “It’s too bland, too plain. I just don’t think it’s good. Now the fin of the flounder—what’s the Japanese word for it? Engawa. If you lightly sear it, then it’s good.” He moves onto kampachi from Hawaii. “I love this, by the way. It’s very creamy. Very creamy.” I ask how he knows that. He filets the iridescent flesh and lifts it up. I’m stumped. “Put these gloves on, get back here.” I oblige and press the filet with my fingers as he tells me to, looking for a crease that may smooth out any oils, an obvious indication of the creamy flavor he describes. I sort of feel it, but I quickly realize that the distinction Tapia can make with his hands, eyes, and olfactory senses comes from nearly a lifetime of experience. Tapia started fileting fish when he was barely out of his teens, at Asuka in Morrisville. “I was doing hibachi then, but they’d ask me at the sushi bar to help cut the cucumbers. And I saw my shot, so I go, ‘Hey, listen, why don’t you just train me at the sushi bar?’” Asuka was pulling one hundred customers a day just during lunch rush, and Tapia began “falling for it,” he says. Looking back, Tapia says it’s the simple tradition of sushi that he’s drawn to, which he absorbs even further through books and YouTube videos about the craft. By 2006 he had moved to Mura in North Hills, where M Sushi chef-owner Michael Lee was leading the sushi menu. Lee noticed Tapia’s potential and took him under his wing. They’ve been working together ever since.
“He was very young and energetic, barely of age to drink, and just a kid back then,” Lee recalls. “There were some old-school Asians who thought he was loud. But you have to ask lots of questions when you’re learning, so it never bothered me. He adapted well and learned to do things people wanted and needed from him without them explaining every single time. He developed street smarts for the kitchen.” That street-smart mentality also meant surviving a fish allergy. Like every newbie, he started by learning to filet salmon. “That’s the reason my hands were getting itchy,” he says. “My hands were always red. Then, if I would get poked by any of the bones, my fingers would swell up. I was really excited about it, and I didn’t care about the allergy. I just thought, I’m OK, I’m not gonna die. I’m just not gonna eat it.” Tapia’s allergy grew over time. Strangely enough, he was born in Veracruz, a coastal region in Mexico where seafood featured prominently on his family’s table in stews and platters of fried fish. It wasn’t until he got to the United States as a teenager that, after a couple of spoonfuls of the stew he grew up with, his lips and face started to swell. Since then, he’s only had a few close calls. With the help of Benadryl and, off-duty, a little alcohol, Tapia says he’ll occasionally have a few bites of fish. But not salmon, the biggest culprit. “I wish I could eat it, but I don’t have the guts to do something crazy like that.” vbouloubasis@indyweek.com
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SERVING THOSE WHO SERVE YOU Absent of any collective voice, service industry professionals often find themselves without benefits such as health care. When we asked a handful of restaurant owners about options for their workers, they offered many justifications. One entrepreneur blamed the transient nature of the restaurant working class. Another lay fault at the feet of simple economics. Another blamed Obama. Rather than excuses, Katie Meddis of Rose’s Meat Market and Sweet Shop prefers to put forth effort. In 2017, she and her husband, Justin, extended their Durham shop into a full restaurant. They implemented their Happy Workplace program, offering traditional benefits to a service class unaccustomed to such coverage.
Rather than increase their prices, a 4 percent surcharge is added to each customer's check to ensure Rose’s entire staff receives a 401K plan, paid vacation, and health care. While the majority of Rose’s customers appreciate the initiative, inevitably there have been a few instances of blowback. Most of these cases have been restricted to the occasional online gripe, but Meddis recalls one customer who demanded the surcharge be removed from her bill. “She said she didn’t have a happy workplace at her job,” Meddis says, “so why should she have to pay so others can have one?” Meddis, always looking to keep others happy, removed that customer’s surcharge. —Eryk Pruitt INDYweek.com | 10.18.17 | 15
BLESSED BE THE EATER Over spring rolls and incense, a prep cook prays for you in Raleigh BY VICTORIA BOULOUBASIS
“If
you keep praying, they won’t see you.” Daravanh “Donna” Sayarath was fifteen years old when her mother gave her this advice. It was 1975, during the civilwar in Laos. Sayarath’s mother pulled her out of class on a sunny afternoon. They lay flat against their backs in a long wooden paddle boat—and fled. Holding her breath down the Mekong River, Sayarath prayed. She remembers soldiers armed with rifles all along the riverbank. Her mother told her to hold her breath as much as she could during the one-hour journey until they reached Thailand. She supposes it was because, in case they were found and shot, the brain would be occupied with breathing, and not register a bullet. If they were to die, her mother wanted them to die in peace. More than forty years later, she remembers not much else about the journey but the prayers she softly chanted while lying in that boat. It’s a series she recites daily in four parts: a prayer to the Buddha, a prayer to his teachings, a prayer to her community, and a prayer to “bida manda,” or the positivity gleaned from one’s parents. So it felt almost serendipitous when, in 2012, she noticed an ad for open positions at a new Laotian restaurant in Raleigh, her adopted home. The name struck her: Bida Manda. She giggles thinking about it now. “I just wanted to go see Lao people,” she says. Vansana Nolintha, one of the restaurant’s owners, translates what Sayarath next articulates in her mother tongue: “She says she felt a sense of pride and dignity that a Laotian restaurant was opening. It’s such a reflection of how Laotian Americans feel about their identity because of the war. Being a Lao person is not a proud thing in the United States.” Sayarath is among 10 percent of Laotians who became refugees between 1975–85 following Americans’ covert involvement in the Laotian civil war during the Vietnam War. In an article for the food journal Gravy, Katy Clune, a local folklorist who researches Lao migration to North Carolina, writes: “In an effort to stanch the spread of communism in Southeast Asia, the United States secretly 16 | 10.18.17 | INDYweek.com
Daravanh “Donna” Sayarath at Bida Manda
PHOTO BY ALEX BOERNER
enlisted approximately 30,000 Hmong—an ethnic minority in Laos—to fight against their countrymen. We also dropped more than two million tons of bombs on the country.” During the war, the CIA backed the royalists and the Hmong against the communists. After the communists won, the Hmong and others—including Sayarath—were hunted down as American collaborators. Nolintha says the bida manda prayer isn’t common in most households. Sayarath offers an explanation, especially as it pertains to the way her life changed on the day she fled: it isn’t the Buddha who is the most sacred figure in one’s life, but one's parents. “The highest form of prayer is remembering your parents’ sacrifice,” she says. For Sayarath, a powerful ritual of prayer brings harmony. This especially resonates at work. Her official position at Bida Manda is to prepare the spring rolls every morning. But first she prays at the front of the restaurant, where warm sunlight streams
through a grand window and dapples onto an altar built by Sayarath’s husband. She lights incense both inside and outside and sets out
tiny glasses of water, the essence of life, as gratitude. Water cups are tucked high on the shelves in Sayarath’s nook of the kitchen, where she shares a narrow space with two other prep cooks: Iris from Honduras and a former monk from Burma. Iris says Bida Manda is the best place she’s ever worked in Raleigh, and that she shares a lot of homemade food and jokes with Sayarath as they work side by side. “I respect her tradition,” she says of Sayarath’s rituals. “Donna is cariñosa [affectionate], and it’s peaceful here.” Sayarath hand wraps fifteen hundred spring rolls per week—one thousand pork and five hundred vegetable. Through Nolintha, she explains that women took charge in her family and says her job empowers her to feed her family and help maintain financial security. She maneuvers the tight space with agility and purpose, not too rushed. Her obsessive attention to detail not only parlays into the gentle mechanics of preparing each roll but in her diligence to pray. Her workspace is almost a makeshift temple. She lifts each tray of fifty-five rolls to her forehead and softly mutters a chant before they go into the cooler. It looks like a blessing of the dish, but when I ask, she realizes I have misunderstood. “I’m not blessing the spring rolls. I’m blessing whoever eats them.” vbouloubasis@indyweek.com
BOOSTED UP FROM BURNOUT The Chapel Hill Restaurant Group does what it can to fight one of the most common side effects for longtime service industry work: burnout. The organization has implemented an innovative system of mining the ranks of its restaurants to find managing partners who will helm the latest ventures of the group’s restaurant empire. This program started in 1986, when Mickey Ewell, Spanky's owner, watched his top three employees grow restless. Rather than lose Greg Overbeck, Pete Dorrance, and Kenny Carlson to their own ambitions, he made them a deal: put up some money, invest sweat equity,
and help get their new restaurant up and running. As a result, Squids became the go-to seafood spot in the Triangle, and a business model was born. Since then, Overbeck, Dorrance, and Carlson have repeated the process and extended the opportunities to other trusted earners from within their ranks. As 411 West, Mez, and Page Road Grill have joined the restaurant group, new partners have ascended from their management roles within the organization. As a result, the new management vacancies are filled from within, and the cycle continues. —Eryk Pruitt
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RAW DEAL A Syrian chef steps into a hot new food trend in Durham— but he’s not about to eat it BY VICTORIA BOULOUBASIS
T
here’s a popular shawarma video from Turkey that made the rounds on Facebook this summer. On his couch at his family’s apartment in Durham, Abdulmouin Mohammad Taib Almubarak pulls out his phone to show it to me. “Look at that,” he says through an Arabic interpreter. “The human beings behind it aren’t even showing.” It’s true. Only one man is visible to the side of the half ton of meat, a wide mound stacked on a rotating spit. The man wears a red apron and, with a serrated knife dwarfed by the shawarma behemoth, shaves pieces onto a disc of pita bread. Shawarma is important to Almubarak, who built his career as a chef in the Middle East making that dish. But today, he's preparing poke bowls in Durham. He pulls up an image on his phone to prove it: he’s wearing a white chef’s coat and a tall chef’s hat. The shawarma in the photo weighs 120 kilos, he says, and reaches as high as his nose on his roughly five-foot-seven frame. “This was in Saudi Arabia,” he says. His first restaurant was in Beirut, a kabob joint he owned with his brother for nearly a decade. They named it Kabob Al Halabi, meaning kabobs in the style of Aleppo street food. He was just twenty-two when it opened. The restaurant paid homage to the style of meat popular in Syria, where they came from—and where Almubarak remembers learning how to cook at his mother’s feet in their home kitchen in Homs, helping her dice vegetables. Those early knife skills helped Almubarak develop his niche as a swift, meticulous chef. “By the time I got to the restaurant, my hand was well-adjusted,” he says. Today, he works day shifts at Melina’s Fresh Pasta, smoothing out dough and pinching ravioli, and night shifts at ZenFish poke bar, using his knife skills to slice through salmon. Almubarak, forty-three, undertook this laborious journey with pleasure. But it also came out of necessity. He was moving in and out of Syria, a country that had been undergoing conflict for years, seeking better opportunities. His family mostly stayed in
Syria while Almubarak did short stints elsewhere. At the beginning of the Syrian civil war in March 2011, however, the live fire and military tanks plowing through Homs only increased. Almubarak left for Saudi Arabia that September, looking for a pathway for his family to join him. “But when we spoke on the phone,” he remembers, “I would hear gunfire in the background. I went back to protect them and
Abdulmouin Mohammad Taib Almubarak be with them. And when I got back to Syria, it was impossible for me to leave.” Soon after, “the missiles and planes intensified. Then we encountered a period of quiet. We knew it was time to get out.” The family briefly found refuge in Jordan. Their home in Homs was eventually looted by rebels. Today, Almubarak, his wife Ronda, and their four children enjoy a different pace of life in Durham. They arrived in 2016 via Church World Service, which resettled twenty-two refugee cases from Syria during the 2016–17 fiscal year. When we meet, Ronda is wearing a tailored navy blazer and a purple leopard print headscarf. The couple talks about cooking on the weekends for friends (“I’m like his sous chef. He makes the big dishes and I do the sweets”) and for catering gigs in which Almubarak teams up with his eldest
son, who is in high school, and a Palestinian friend who runs a catering truck. “It was hard, thinking about coming [here], because of what we’ve been seeing and hearing,” says Almubarak. He remembers watching news reports of gang and gun violence in the United States, which worried him, too. Almubarak has this weeknight off, so he’s staying home with the kids while Ronda attends an English class. He rummages through his spice cabinet to demonstrate the breadth of Syrian cooking while his four-year-old son balances on his toes to grab each spice bottle. Almubarak’s hands gesticulate quickly when he talks about spices: “Our red pepper, we let it dry in the sun. We grow it from the soil. It is fresh. Totally different from what’s sitting on the shelf.” ZenFish owner Janet Lee says she adores Almubarak and his family. “Not only is he the prep PHOTO BY ALEX BOERNER cook, but he’s now become our father figure,” she says, “making sure we’re all fed and taken care of. He’s become family. He’s been here since day one. He’d bring amazing food from home for us to eat—like kabob, tabouleh, rice and chicken, hummus—especially during Ramadan. That’s our favorite part. Yeah, I can’t wait for Ramadan next year.” Almubarak smiles widely, blushing with pride. I ask if he also likes Lee’s food. “Raw fish?” he responds. “No, no, no. We would never eat that.” He’s serious about that. While he loves breaking down fish at work, he prefers to cook it, not eat it raw. He says he’s grateful to have found work in Durham kitchens, where he and Ronda have made friends. His dream, though, is to open his own restaurant. With shawarma, of course. vbouloubasis@indyweek.com In-person interpretation by Sijal Nasaralla.
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MARKED FOREVER Cooks share why they got their tattoos, food-related or not BY EMMA LAPERRUQUE
I
Baizley, who’s the frontman for a band called Baroness, and I really dig his artwork. I felt like I needed a tattoo, and it looked cool. There are very few things that I felt like I needed to put on my body since then. And food definitely hasn’t been one of them, even though it’s pretty much been my life for the last decade. This one I got a couple years ago. My all-time favorite band is called Mogwai, from Scotland, and this is their gang symbol. It’s definitely the one I’m most attached to. Which is a weird thing to say about something that's permanently on your body.
got my first tattoo when I was twentyone. This wasn’t kosher in my family, whose older generations associated ink with being rejected from a Jewish cemetery and not getting a job. The catch was, I want to be cremated, and I didn’t buy that the industry I aspired toward—food publishing—would care. After all, most of the tattoos I saw were in food magazines and cookbooks. In many ways, kitchens signify a professional haven for tattoos, an industry where body modifications are common, not contemptible. They signify belonging just as much as checkered pants and rubber clogs, knife calluses and forearm burns. I asked five people who feed the Triangle daily why they got their tattoos. Here are their stories, in their words.
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ANDREW ULLOM, EXECUTIVE PASTRY CHEF AT ASHLEY CHRISTENSEN RESTAURANTS
I have a butcher's diagram of a pig on the inside of my right bicep, which apparently is super fucking cliché. I got it when I was nineteen or twenty. Eventually, I started getting tattoos to cover up burns from baking. Two years ago, I had a really rad piece done by Shaun Bushnell at Blue Flame. It's the three sisters: corn, beans, and squash. It goes from my elbow to my wrist, all the way around, on my left arm. The three sisters are a really traditional way of growing corn, beans, and squash in a field. [My wife and I] do some farming in our front yard and hope to instill a little food knowledge in our son as he grows up. I like farming as much as I like cooking. I think if I won the lottery, I would just buy a farm. It works out pretty well that corn is nitrogen-hungry, beans replenish nitrogen for the next season, corn gives the beans something to grow up, squash provides ground cover for pests and keeps weeds away. It’s a way to utilize as much of what the field can provide and also takes care of the soil. I like to think that our pastry team is very much codependent on each other, along that same vein. So it’s literal and slightly metaphorical, if I try to come up with some bullshit about it.
CARRIE BIRD, BAKER AT LOAF
Andrew Ullom
PHOTO ALEX BOERNER
NICK WEBER, SOUS CHEF AT THE DURHAM
It's been years since I’ve been tattooed, mostly because I haven’t been able to afford it. But I never thought about getting a food tattoo. It’s one thing for Sean Brock to have his multi-thousand dollars of incredible artwork. But a butcher’s blade on one hand, prime cuts of pork on another? That’s a little cookie-cutter. I don’t really identify with kitchen culture, and I’ve been cooking for about a decade. I love food—it’s just not part of my identity in that way. It’s really important and powerful to me. But it’s also not something I need to display on myself. Music is a singular artistic thing I can appreciate. I got this when I was nineteen. It’s a piece of artwork by a guy named John
I’ve been baking on and off for the past ten years. I liked that you could have as many tattoos as you want and wear pajamas to work, and no one was going to look down on you because you didn’t have a college education. You can be as good as you want to be, based on your individual skill. I’ve been at Loaf since February 2016. When I moved here, I really wanted to work there. One day, I went to Dogstar to get these earrings. I was checking out any shop that had decent jewelry for gauges. Shea was busy piercing someone, and he’s the only person who deals with the jewelry. So I was hanging out there for a bit, looking at everyone’s portfolios, and Cohen Myers’s really stood out to me. I loved his line work. So I book an appointment. I had been joking about getting a canelé tattoo because canelés mean the world to me. It just struck me as the most singular, perfect pastry I have eaten to date, because it’s so complex and so simple at the same time. And looking at it, it’s pretty unassuming, but
that I kept as a tribute. In one of the berries, you can very clearly see a side angle of the mermaid’s breast. So she’s still there.
PHOEBE LAWLESS, CHEF-OWNER AT SCRATCH AND THE LAKEWOOD
Carrie Bird
PHOTO ALEX BOERNER
it covers all realms. Crunchy, chewy, creamy, boozy. So I went in saying, I need a canelé to look like a beehive—because of the beeswax in the mold—and gave him the option of five different flowers that honeybees really like. And I let him design it around that. I’ve always embraced pieces that are custom work. Which just makes it more special. You aren’t going to see it on someone else.
KIM HAMMER, OWNER AT BITTERSWEET AND RALEIGH PROVISIONS
The strawberries are a cover-up of another tattoo that I got many, many years ago. The one underneath was very simple—just black lines of a mermaid, much smaller. I got the one on my other shoulder—the “Butter” tattoo—like someone would have a traditional “Mother” tattoo, but mine says “Butter.’ It’s a heart with a wooden spoon where there would be a dagger. That tattoo is full color and a specific size, and I’m weirdly symmetrical about things. Every time I looked in the mirror, it looked unbalanced. I wanted to even it out and the strawberries came to me really quickly. I can explain the difference of eating local with strawberries more than any other produce and they’re so indicative of place. I have this food memory of my son, Max, who was three when I started selling at the Carrboro Farmers Market. I remember him sitting in the back of my station wagon and giving him a little pint of strawberries. My friend Errol owns Blue Flame, so I started to talk to him about the idea. He put all the stages of a strawberry—blossoms and green and full—together as a way to cover up the mermaid. Although, there’s a tiny little piece
It was 1997 or 1998. I was working at Vertigo, which is now Poole’s Diner. Originally it was Poole’s Diner. Then, in the nineties, it was reimagined as a retro diner called Vertigo. I was a line cook and I ran brunch. I always wanted the salt and pepper aspect for a tattoo, but I hadn’t settled on a particular image. I had just started to do some baking parttime, and I felt that I wouldn’t get tired of the salt-and-pepper concept. It would always apply, whether I went sweet or savory. There was a woman I worked with named Michelle Smith. She was a bartender. Her partner at the time was Dale Flattum, and he did clip art. So I approached him about coming up with an illustration for salt and pepper. And I loved it. I got it done at a place that doesn’t exist anymore in Carrboro called Choice Peach. It was teeny—a little studio inside one of those brick millhouses. In the nineties, in this area, it was where you went to get a tattoo. I feel like I was making a statement about my commitment to food. If I’m going to analyze it now, I don’t know if that was to legitimize it, like a public way of saying I really am committed. I’m not one of these people who is going to float through kitchens. I knew that I was going to be in food forever. food@indyweek.com
Phoebe Lawless
PHOTO ALEX BOERNER
INDYweek.com | 10.18.17 | 21
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GET WELL The restaurant biz can wreak havoc on your body. Taking care of yourself is key. BY ERYK PRUITT
H
ave you wondered lately, Is it just me, or is the wait staff at this place getting older? At first glance, this would seem like a good thing. With age comes a maturity not always exhibited by a younger service staff. Gone are the typical hallmarks of the immature set: the late drunken hours after (or during) a shift; the steady procession of hook-ups at the hostess stand; being tardy for work, if they show up at all. What has replaced them would appear to be a more seasoned class of labor, one that understands the value of the cash tip and how far it will go toward paying the mortgage. A creative class, even, that appreciates that the service industry lifestyle can support a second career as an artist, a musician, or a writer. But years of repetitive behavior—humping trays full of food, hefting buckets of ice, standing over a hot stove shaking a sauté pan—take their toll. Wear and tear settle into old bones. And absent a labor force with a collective voice and the benefits it might demand—health care, paid time off, consistent schedules, and worker protections— restaurant employees are often required to seek alternative options for self-care. Aubrey Zinaich-Howell, general manager of Nana’s in Durham, recognized this issue early in her restaurant career. To combat the high-stress environment of front-of-thehouse management, she turned to yoga. “Yoga helped build flexibility, but more important was the mind-body connection,” Zinaich-Howell says. “That’s incredibly helpful when you’re working in the service industry. You always have this sense of urgency while you're working, which creates a high level of stress and cortisol in your body. Your blood pressure goes up. Your reaction time goes up. Part of what yoga does is it really helps your parasympathetic nervous system, which helps you deal with stress better.” Recognizing that the benefits yoga contributed to her fast-paced professional life, Zinaich-Howell saw value in extending it to the rest of the restaurant staff. She went to Global Breath Studio in downtown Durham,
purchased a corporate pass, then made it possible for all her employees to participate in free yoga classes. Nana’s employee Adam Sobsey says he recognized the value of Zinaich-Howell’s offer immediately. Sobsey (also an INDY contributor), was plagued by muscular soreness. He jumped at the opportunity. “Restaurant work is more physically taxing than it looks,” Sobsey says. “You run around for six, seven hours, five nights a week, and never give it much thought until you stop one day to wonder why your body doesn’t feel so hot in the morning, or why it’s become too easy for me to bend over to tie my shoe and throw out my back. It’s by no means cured me of all my little—and sometimes not so little—aches and pains, but it’s helped my body, and also my mind and psyche as well.” Massage is another alternative for wellness. Sarah Pryor, a former Rue Cler hostess who has her own massage practice, understands all too well what specialized attention can do for folks used to the fast-paced
lifestyle of the service industry. “People in the service industry are on their feet a lot, and that's really fatiguing,” Pryor says. “I know, after a long shift, folks may be ready to sit down and feel pretty tired, especially the older we get. Massage is a really good overall health care technique, especially for those carrying heavy trays or performing repetitive motions. It creates a lot of tension, and massage helps take out the tension.” In an industry fueled by alcohol sales and overconsumption, many self-medicate after a shift, often at a neighborhood bar over rounds of Grand Mariner or Fireball. Over time, this leads to other issues. Efforts such as Ben’s Friends—a support group for service industry workers pursuing sobriety— have taken root in the Triangle. Health care continues to dominate national dialogue. But restaurant workers rarely have to keep it moving. And until the general apathy for their well-being is 86’ed, they’ll find substitutions. food@indyweek.com
Your week. Every Wednesday.
HUSTLING FOR TIPS Service industry professionals Andrea Ventura and Camille Wigely grew tired of long, unusual hours that prevented them from participating in events that benefit their community. So they began searching for ways their lifestyles— and work hours—would allow them to contribute. They discovered a likeminded pair, Ritchie Reno and Laura White, who also longed to leave an impact beyond the walls of their respective restaurants. From this, TIPS was born. TIPS (This Is Proper Service) shatters traditional fundraising paradigms. Beyond strictly seeking donations, the group connects restaurant employees to philanthropic organizations that better educate, enhance, and inform their communities, during hours that enable access to other service professionals across Raleigh bars and restaurants. Fundraising events are styled to fit each particular cause. For one
philanthropic organization, restaurant workers may donate their tips. For others, it could be an entirely different approach. Recently, Ventura and company organized an effort to clothe the homeless population with coats and scarves left behind in restaurant lostand-founds. Since its inception five months ago, TIPS has raised nearly $4,000 benefiting organizations such as Planned Parenthood, the ACLU, and the LGBT Center of Raleigh. In September, the group worked with the RaleighWake Partnership to End and Prevent Homelessness, and this week it teamed up with El Pueblo to educate the community on developments with DACA. To find more about TIPS, search for TIPS Raleigh on Facebook, or email Andrea at TIPS.Raleigh@gmail.com. —Eryk Pruitt
INDYWEEK.COM INDYweek.com | 10.18.17 | 23
DISH
PREP WORK
We asked local chefs how their dishwasher and cook gigs prepared them for their dream roles BY VICTORIA BOULOUBASIS not function. Even now, I’m always a couple of noshows away from being a dishwasher.
OSCAR DIAZ, THE CORTEZ AND JOSE AND SONS
Gabe Barker PHOTO BY ALEX BOERNER
I
t takes an incredibly ambitious person to stick it out in the kitchen. Whether at the sink, the salad station, or the stove, the work is meticulous and tedious. And it’s work that the entire restaurant depends on to function, though we diners often give chefs all the glory. Many chefs, though, did prep work in kitchens before landing their own. We asked a few how those jobs prepared them for their dream role.
GABE BARKER, PIZZERIA MERCATO
Growing up, I have always worked serviceindustry jobs. I was a busboy at Magnolia [his parents’ restaurant], and I told my parents that I wanted to go to culinary school. They laughed at me and said, “Fine, but you have to work in a kitchen for a year first.” My first job was at a French bistro in California. It only took me two to three months to realize that I didn’t need to go to culinary school to learn to cook. I started as gardemanger, the salad station. They’d get rid of 24 | 10.18.17 | INDYweek.com
someone’s job and, by process of elimination, I ended up with three stations. It was the first time I realized I’d be successful. And when my family shucks oysters every Christmas. I’m most proud of finally being better at it than my dad. I use the term chef loosely. Cooks are used to saying “Yes, Chef,” but I don’t enjoy that. If you spend a day with us, it’s light and jovial. I have a half-brother, and I’m the only one foolish enough to stay in the restaurant business. We work really hard and a lot, for not a lot of money. I spend more time with my two sous chefs than I do with my fiancée.
BILLY COTTER, TOAST AND DASHI
My first job at a restaurant was as a dishwasher at my stepmom’s restaurant, 7th Street Café, where Watts [Grocery] is now. It had the most colorful barflies around in the history of Durham. That was in 1987. I was about seventeen and worked there a couple of years. I had quit school and was
Billy Cotter PHOTO BY D.L. ANDERSON kind of a screw-up. Ironically, I decided to finish high school so I wouldn’t be stuck in restaurants my whole life. When I eventually went to culinary school, the old French guys loved to answer questions about their days as a dishwasher. That’s how they worked their way up. Dishwashers are the most important part. Without them, you couldn’t do anything. A restaurant would
One of my first jobs was at Alizé in Vegas, an amazing restaurant, and I got put on the line right away. That was a huge mistake on their behalf, because within the first day they found out I didn’t know shit. Every day I was going to work scared and leaving work relieved. My biggest fear was, I’m going to get yelled at all day. Because I genuinely didn’t know anything. I had to get over it. Later, at Patina in Los Angeles, I worked with a sous chef named Santiago. He’d be like, “Are you ready to do some crazy shit? You’re going to have to work a lot harder, show up earlier.” I wanted to be in the industry and, sure enough, became better. Going into work was no longer fear, it was focus. Leaving work was no longer relief, it was achievement. He was like those gym freaks that keep pushing you. You have to be like that as a sous chef. He was a really good mentor. Everyone loved him, and he was really talented, but he was rough and expected a lot out of himself and others. So now I gotta push others. Recently, when I’ve had to train sous chefs, I’m not patting ourselves on the back about a good Yelp review. The minute you reward yourself, you take your foot off the accelerator and get comfortable and
DISH
Oscar Diaz
PHOTO BY BEN MCKEOWN
complacent. I don’t want people coming in scared; that’s not good for anyone. But do you fuck with me or not? No one wants to waste anyone’s time. We’re going to find out real quick. And from there, the real badassery starts. Because when you have camaraderie and discipline together, you have the best crew, you kill it.
CHEETIE KUMAR, GARLAND
My life has been such a strange progression. I didn't have the same kind of evolution as most chefs. I really only started my professional cooking career when Garland opened. I worked in the kitchen at a sandwich shop, the original Rockford, many years ago. I was a line cook and came up with the weekly specials. But I really got my restaurant experience behind the bar and catering on the side. I was in the kitchen for about a year and a half and after our band started touring a lot. I moved to the bar to help me make ends meet! I bartended on and off for ten years, including at the original Kings. The real lesson I learned early on that I still hold onto daily is to make lists! Prep lists, pack lists, order lists—they are a chef's lifeline! When the unexpected always happens, you don't have to rely on a stressed-out brain to remember the tasks at hand.
JOHN MAY, PIEDMONT
Cheetie Kumar
PHOTO BY JEREMY M. LANGE
I was still in culinary school when I first started out in the kitchen at Weathervane in Chapel Hill. School has its benefits, but it didn't prepare me for what it's actually like to cook on a line. That comes with experience, or, if you are lucky, like I was, you get a lifetime cook with compassion as a mentor—or at least as a coworker. At Weathervane, I was thrown onto one of
John May
PHOTO BY ALEX BOERNER
the busiest stations on my first day; I can still point out the permanent scars on my arms and hands from burns I acquired that night. I kept grabbing hot handles barehanded, looking like the amateur I was. A cook whose nickname was Tigre thought it was hysterical. He always worked the station next to mine, and, for like two weeks, he let me flounder. One evening,
I looked over at him laughing at me. He explained that, on the line, you hold tongs in your right hand and a towel in your left. He later admitted that he had to tell me that because I became less funny to him and just more sad. It was such an obvious thing to learn, but I am so happy that Tigre finally let me in on the tricks. vbouloubasis@indyweek.com INDYweek.com | 10.18.17 | 25
indymusic
CAROLINA UPRISING
Saturday, Oct. 21, noon, $40–$90 Koka Booth Amphitheatre, Cary www.boothamphitheatre.com
The Devil in the Details
IS IT A GOOD IDEA TO CALL A COUNTRY AND SOUTHERN-ROCK CONCERT A CAROLINA UPRISING? BY ALLISON HUSSEY
B
orn in Wilmington, Charlie Daniels is one of North Carolina’s most significant cultural exports. He’s a scorching fiddler with an unforgettable voice, and his biggest hit, “The Devil Went Down to Georgia,” remains a country standard. Daniels’s place in country music history cannot be denied, and the Country Music Hall of Fame officially agreed by inducting him last year. This weekend, Daniels headlines a concert in Cary called Carolina Uprising. The language of the billing and its roster—all good ol’ boy country and rock bands, almost all of whom are native Southerners—quickly bring to mind Lost Cause ideology and “the South will rise again” specters. It’s troubling stuff, given that there are proud white nationalists marching in public with the Confederate stars-and-bars to support their message. Even so, Daniels doesn’t think the show’s title is a problem. “I see absolutely nothing wrong with it. I have been and never will be that politically correct,” he says. Daniels is an eighty-year-old superstar whose appearance in Cary might be less remarkable in a different political climate, or even under a different name. But where’s the line between dog-whistle prejudice and simple poor taste? With Carolina Uprising, the answer is complicated. For one, Carolina Uprising is in a unique position due to its venue: the Koka Booth Amphitheatre. It’s owned by the Town of Cary, which raises the issue of local government’s moral and ethical responsibilities in facilitating a potentially controversial event, as well as the possibility for the town to make or lose money on such an event. That answer isn’t simple, either. Koka Booth Amphitheatre operates through two budgets: a maintenance budget, which covers upkeep and repairs, and an operating budget, which covers the cost of some programming, staffing, and more. According to Lyman Collins, the cultural arts manager for the Town of Cary, Koka 26 | 10.18.17 | INDYweek.com
ILLUSTRATION BY SHAN STUMPF, PHOTOS FROM WIKIPEDIA
Booth’s 2016 maintenance budget was $203,000, and the operational budget was just over $233,000. Part of the operational budget covers a contract with Outback Booking, a promotional agency that the town hires to bring in a handful of national touring acts every year. The arrangement is such that Outback Booking assumes all financial risk for its shows. Thus, the Town of Cary isn’t actually out any money if a show sells poorly.
“We don’t take any risks on those shows, however, those are the shows that generate revenue for the facility through ancillary income. Concessions sales, parking, ticket rebates, merchandising, that sort of thing,” Collins says, adding that the town generally anticipates that each show will make about $30,000 through those channels. A sold-out show will blow that figure out of the water, which can make up for lackluster sales at a concert that doesn’t
sell as many tickets. As for the title, Collins says that the show now billed as Carolina Uprising was originally just booked as a Charlie Daniels concert. The town had nothing to do with the title change. “The Carolina Uprising aspect of it—and I’m not really sure what that means—that was tagged on to the concert as a promotional thing before any of the current events took place. It wasn’t really some-
thing that was factored into our decisionmaking,” Collins says. It’s not clear who, exactly, decided to rebrand the Charlie Daniels allday extravaganza as Carolina Uprising. The poster on Koka Booth’s website has a note that the show is “Powered by David Corlew,” who is Daniels’s manager, but Corlew declined an interview via another member of Daniels’s management team. The Town of Cary didn’t choose the name, and representatives from Outback Booking did not respond to requests for a comment. There’s the additional curiosity of at least one band that has no claim to Southern heritage or pride. The country-rock outfit Poco, the third of Carolina Uprising ’s seven bands, formed in California in 1968. Russell Young, who cofounded the group and is its only original member, says that even though the band played with the likes of Gregg Allman and Gram Parsons in its early years, the band doesn’t consider itself to have any deep Southern influences. “Southern bands haven’t really affected us much—we’re a little different kind of music than Lynyrd Skynrd, outlaws and those guys, although there’s some interplay,” he says. Why, then, would Poco play a show called Carolina Uprising? “Yeah, that is a little unfortunate, isn’t it?” Young admits, not venturing much further than to note that he doesn’t share many of Daniels’s political beliefs. Poco has performed with Daniels and the Marshall Tucker Band, the South Carolina group responsible for the fluteheavy jam “Can’t You See” and Carolina Uprising’s second headliner, dozens of times over the years. Young says he’d rather think of the day as an opportunity to get together with old friends for a good time. “I try and keep out of the politics of that stuff, and look at it as being a fun afternoon of music where we can all be outside, have a good time, and kick up our heels and not get too involved in the poli-
tics of the day,” he says. Daniels’s feelings about Carolina Uprising aren’t a surprise, but they reflect a disappointing cognitive dissonance about the divisions between art and politics. Suggesting that the concert’s language in our current climate could raise a few eyebrows rankled him quickly. “There’s nothing to read in that name. It’s just a musical show,” he says, continuing, “Let me tell you something: that’s one of the problems with the world today. Everybody reads something into something that’s not there. It’s just a musical show! That’s all it is! Look at what it is, don’t look at what it says. It’s a whole bunch of bands getting together to make people happy. It’s just music. That’s all it is. There’s no anything there. Don’t be fooled by that crap.” But his claim that he’s only about the music doesn’t hold water. To his 529,045 Twitter followers, he’s chimed in on his distaste for “the more gun control bunch,” how much he likes Secretary of State Rex Tillerson, and his disapproval of NFL players protesting police brutality by kneeling during performances of “The Star Spangled Banner.” After the Las Vegas shooting on October 1, Daniels floated the idea that ISIS was responsible for the horrific massacre. Every day, he tweets, “Benghazi ain’t going away,” nodding toward debunked conservative conspiracies about the attack on U.S. facilities in Libya that killed four Americans. For someone who says he’s “just about the music,” he has a whole lot to say about decidedly nonmusical issues, and he has hundreds of thousands of fans following along. The shoulder-shrugging around Carolina Uprising seems to be based on a shared idea that music and entertainment exist in a vacuum, and that it’s possible to wholly cleave art and politics. But art influences culture on a larger scale, just as politics and culture influence art. That circle can’t be unbroken, regardless of who’s leading the tune. ahussey@indyweek.com
“I see absolutely nothing wrong with it. I have been and never will be that politically correct.”
MUSIC BRIEFS
O C TO B E R
TH 19 COREY SMITH FR 20
W/ HUDSON MOORE 7P
TURKUAZ
W/CON BRIO 8P
SA 21 CHICANO BATMAN/ KHRUANGBIN W/THE SHACKS WE 25 LINCOLN PRESENTS GREENSKY BLUEGRASS
ZENSOFLY
Sunflowers EP Self-released HHH½ Of the various trends and fads cropping up throughout hip-hop’s four-decade history, hip-house is not one of its best regarded. Though one could argue that trap EDM and even the prevalence of electronic sounds in contemporary rap beats owes the subgenre some small debt, in retrospect the dated eighties and nineties blend of dance-floor and street styles contained far more misses than C+C Music Factory hits. In recent years, however, hip-hop artists like Azealia Banks, Chance The Rapper, and Kanye West have flirted with old-school club sounds to great effect. Lil Yachty even teamed up with Carly Rae Jepsen for a wholesale reimagining of iconic hip-house single “It Takes Two,” albeit for a Target promotion. If there were ever a time to mount a revival, now is as good as any. Whether or not Raleigh rapper ZenSoFly overtly identifies with the bygone sound’s whim, her upbeat Sunflowers EP bears many of its hallmarks. That’s immediately clear from the nostalgic synth bass of “Life at the Funeral,” morbidly cheeky dancepop framed as petty faux-eulogy. “Waves Interlude” goes down a garage avenue, its minute-long diversion awash with snappy if aged kick snare presets. Though the refined throwback approach runs the risk of novelty, Sunflowers benefits from ZenSoFly’s microphone prowess, which at times recalls, though certainly doesn’t mimic, the rapid-fire magnificence of Cakes Da Killa. On the technicolor single “Getting Started” or the more muted “Culprit,” she batters the mic with aplomb. That runs counter to ZenSoFly’s nonchalant, unperturbed flow on “Civic,” which befits the beat’s semiaquatic vibe. Further to that, closer “Something Special” drops the tempo to glide into minimalist R&B mode after an unexpected guitar meander. These outliers from the nightclub set hint at her range and potential beyond the Technotronic-esque crowd pleasers, a telling sign that a broader breakout is within her grasp. —Gary Suarez
AT THE MILLENIUM CENTER IN WINSTON-SALEM
TH 26 RAYLAND BAXTER W/KATE RHUDY 7P
FR 27 RUNAWAY GIN (PHISH TRIB) SA 28 QDR’S HOWL-O-WEEK HARVEST BALL W/ GARY
ALLAN, CANAAN SMITH & LANCO
SU 29 LETTUCE @ THE RITZ TU 31 LIVING COLOUR W/ THE VELDT 7P
N OVE M B E R
FR 3 SA 4 SU 5 TH 9 FR 10 SA 11 SU 12 MO 13
THE DEAD PHISH PANIC DJ KID CAPRI OTEIL & FRIENDS DEADPHISH ORCHESTRA GOBLIN W/MORRICONE YOUTH SISTER HAZEL W/JD EICHER THE MAINE W/DREAMERS HOODIE ALLEN
TU 14 WE 15 TH 16 FR 17
THE ORIGINAL WAILERS EKALI W/JOSH PAN/Y2K DOPAPOD & THE MOTET MIPSO W/LIL SMOKIES
W/ LUKE CHRISTOPHER
BROTHERS COMATOSE
FR 24 CAPITAL CITY REGGAE FEST SA 25 NANTUCKET 7P CO M I N G S O O N
12/1 START MAKING SENSE 12/2 12/3 12/7 12/8 12/10
(TALKING HEADS TRIBUTE) KIX W/ THE FIFTH
NETWORKING SOCIAL 2017 WHO’S HAT IS THIS? OLD HABITS SHOOTER JENNINGS & JASON BOLAND 7P 12/12 JAKE BUGG 7P 12/13 CHATHAM COUNTY LINE ELECTRIC 12/16 DUNE DOGS 12/17 ASHEVILLE HOLIDAY HANG 12/22 LIQUID PLEASURE 12/29-31 BIG SOMETHING 1/5 BIG RIVER BAND + 1/12-13 ZOSO (LED ZEPPELIN TRIBUTE) 1/20 BOULEVARDS W/ KOOLEY HIGH 2/3 PERPETUAL GROOVE 2/10 FAR TOO JONES 2/11 SLEIGH BELLS 2/17 WHO’S BAD (MICHAEL JACKSON TRIBUTE)
2/18 Y&T
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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com INDYweek.com | 10.18.17 | 27
music
YEP ROC 20
Friday, Oct. 20–Saturday, Oct. 21, 8 p.m., $50–$80 Cat’s Cradle, Carrboro www.catscradle.com
Solid As a Roc
HILLSBOROUGH LABEL YEP ROC RECORDS CELEBRATES TWO DECADES OF LEGACY-BUILDING LPS BY DAVID KLEIN
I
physical side is still pretty strong; close to forty percent vinyl and maybe sixty percent CDs. Some things are way more vinyl. Younger acts probably have way more vinyl, while an artist that’s been around for a while is a little more on the CD side.
n 1997, Glenn Dicker was the head of his own small label, Upstart Records, and Tor Hansen was the owner of a new distribution company called Redeye when these two old friends ended up in North Carolina and decided to launch Yep Roc Records. Dedicated to no genre and guided solely by the tastes of its founders, Yep Roc has risen from modest beginnings to the status of a proven winner, flourishing while others fade away. When it celebrates twenty years of existence in a weekend that includes two nights at the Cradle and a free outdoor show in Hillsborough, where the company is currently located, the stages will feature many of the impressive names that continue to grace the Yep Roc roster, including Nick Lowe, Mandolin Orange, Dave and Phil Alvin, Tift Merritt, Tony Joe White, Dressy Bessy, and the Fleshtones. Glenn Dicker spoke with us from New York about changes that have occurred since Yep Roc 15, the “legacy label” label, and the continued glories of owning a successful record company.
How important has Redeye been to your success? It’s been an important part of our model from the get-go: having the ability to have your own content, your own records that nobody can take away from you. And you can also lead the charge with some of those things, whether it be experimenting in new marketplaces and formats, or sometimes you have to lead the way in terms of marketing as well. A lot of the people we worked with at first were just individual artists. They didn’t have any money to spend on marketing, so it was really helpful for us to reinvest our money into marketing, which is what the big chain accounts expected from us. That enabled us to get into places like Tower Records and Borders back in the day. And eventually, it also gave us confidence that we could do the job.
INDY: When we last spoke, in 2012, Yep Roc was 326 albums into its own catalog. On Discogs, including comps and singles, it says Yep Roc has put out over 200 releases since then. What stands out to you in that five-year swath? GLENN DICKER: Well, the entire music industry and market has changed. Five years ago feels like a completely different world now. Streaming has become such an important part of the overall marketplace, so we’re looking at a totally different way of marketing records based on how more and more people are consuming music. I’d think your revenue pie must have undergone a major shift. The digital side has been strong for awhile, but its obviously changed from downloads to streaming. For us, the 28 | 10.18.17 | INDYweek.com
Tor Hansen and Glenn Dicker in Carrboro in 2012 FILE PHOTO BY JEREMY M. LANGE
Yep Roc has a reputation as a legacy label. Is it fair to say that it’s been a challenge signing younger acts? I’m thinking of the Major and Monbacks debacle, where you had to cut ties with a promising band because of its racist name. That was just a bad situation in general. We never had anything like that happen before, so that was an odd one. But when it comes to younger artists, some of our biggest-selling artists are on that up-and-coming level. Mandolin Orange is one of our best-selling artists. We’ve brought on people like The Stray Birds, Jeremy & the Harlequins. We’ve probably signed more new artists than we do
MUSIC BRIEFS P.A.T. JUNIOR AND SINOPSIS Smoke Signals Self-released HHH½
Closing in on the age of thirty and rapping sometimes gets scoffed at as immature, but in fact, it’s probably the best time in one’s life to express the feelings of regret, relief, hope, and uncertainty that come with the age. In the case of P.A.T. Junior, the twenty-nineyear-old rapper has been able to harness that emotion into a personal creative renaissance, which he demonstrated earlier this year with his excellent EP, Black & Mild. But shortly after that project was complete, Kooley High producer Sinopsis approached the rapper with another idea. Sinopsis was so moved by the project that he wanted to collaborate and do a remix of the whole album. The result, titled Smoke Signals is a total reworking of P.A.T.’s original work. Sinopsis is no stranger to this kind of undertaking. He remixed Kooley High’s
“I’m still blown away by the greatness of these people.” legacy artists. It just so happens that the legacy artists continue to put out records. It’s probably three-to-one, for every three developing new artists, we probably sign one legacy type artist. You and Tor Hansen started Yep Roc out of a basement decades ago. How has Tor’s relocation to Berlin affected your working relationship? We talk on the phone at least once a week, so there’s a constant dialogue going on. His focus and concentration right now is the international side of the business, working on relationships with all the different digital partners, physical distributors, and marketing people in the international community. That’s really been useful for us. It’s different, but I have to say, we’re big enough
Heights last year and transformed it from a boom-bap cavort to a darker, grittier project with more attitude, called HeightsRX. On Smoke Signals he did just the opposite, paying careful attention to ensure that he wasn’t only changing the mechanics of P.A.T.’s original music but also pulling out nuances and emotions from lyrics that may have been submerged in the original. Where P.A.T. leaned toward heavier beats on Black & Mild, Sinopsis executes a more lighthearted tone centered around samples. “Better Days Redux” is perhaps the best example of this shift. The lyrics are unchanged, but, in P.A.T.’s original version, the tone of the song was one of triumph after a long-fought battle to see “better days.” Sinopsis’s take on the track feels more like blissful relaxation, as if those better days have already arrived, and haven’t shown any signs of decline. Smoke Signals isn’t just another remix album, it’s an extension of Black & Mild, and the two should be consumed together. The result is getting to hear one of Raleigh’s best producers outdoing himself in real time. —Charles Morse
BILL CALLAHAN SEES HOW LOW HE CAN GO What makes Bill Callahan a mesmerizing performer? He has two expressions—one shyly, slyly neutral, the other a stanky guitar face—and two stage moves. Sometimes he prances a little, like a kitten marching on a duvet, and sometimes he adds a sort of “move away from the mic to breathe in” maneuver, like in “Chocolate Rain.” At his Duke Performances show Saturday night, he told two stories, an incomprehensible bit about a man in tiny running shorts and a dig at a local nightclub that shall remain nameless, because I have to live here. Otherwise, Callahan stood still and stoically played his acoustic guitar on the stage of Baldwin Auditorium. Electric guitarist Matt Kinsey sat over a rack of pedals, scraping his pick and riding the whammy bar, embellishing Callahan’s patient wood grain with glistering squalls. Callahan is not really an Americana musician; he’s a sphinx in homespun. But lyrical, quietly virtuosic musicianship formed a through line with the opening set by modern traditionalists Nathan Bowles, who occasionally let loose his rusted brass voice but mainly provided
popping, rolling drumming, and Jake Xerxes Fussell, who led with his sincere, lonesome singing and his sweet touch on a borrowed Gibson SG. Callahan ranged widely through his eponymous work, from “Jim Cain” to “Drover,” with a couple of beloved ringers from his last Smog record, A River Ain’t Too Much to Love, for good measure (“Say Valley Maker,” “Rock Bottom Riser”). But all gravitated toward the epical vortex of his last two albums, epitomized by a slowly apocalyptic “America.” I confess I could have stood 10 percent less extended harmonica techniques overall, which unbound the spell of his deep, even baritone and implacable guitar. But you can’t stop progress. Callahan’s songs are about change, and the songs themselves are changing. Virtually no trace remains of the tenor voice from his early days; if he ventures the high notes at all now, he does so very softly. His songs are becoming less ingratiating and more profound, each at once lasting a million years and ending before you know it. —Brian Howe
that it’s pretty seamless. Lots of people are involved in the company leadership, and the directors are all making decisions and helping lead and push the company forward every day. He and I are just a part of that; we’re not the only way we move forward. When we last spoke, you said you still get excited just talking on the phone with the musicians on your label. What’s the last moment like that, where you were just like, “I love my life”? It happens a lot, I have to say. I was in New York and got together with Peter Zaremba, and hung out with him for a couple hours and just talked about the Fleshtones and the back catalog. I still remember the influence that those guys had on me as a younger person. I still think they’re one of the best rock ’n’ roll bands ever. That night, I went to see Paul Weller, another of my heroes as a young person. We don’t put out his records anymore, but we’re still good friends. I still get to have the fringe benefits of a ten-year relationship, get to go see his shows and hang out. So I’m still blown away by the greatness of these people, and seeing them live kind of reinforces it every time. dklein@indyweek.com INDYweek.com | 10.18.17 | 29
indyart
YOUSUF ZAFAR
Click! Photography Festival Friday, Oct. 20, 5–8 p.m., free Durham Art Guild, Durham www.clicktrianglephoto.org
Myanmar in Focus
ARTIST SHOWCASE: DURHAM’S YOUSUF ZAFAR INTIMATELY OBSERVES BURMA’S THERAVADA BUDDHISM BY YOUSUF ZAFAR
T
his series, Theravada, completed in 2016, reveals the transforming lives of the Burmese people as the heavy hand of government slowly eases. In Myanmar, the prominent religion is Theravada Buddhism, which touches every aspect of life. Many young Burmese—especially the poor—live as monks or nuns, cloistered from friends and family for a year or more, availing themselves of a free education in monasteries, along with room and board. Temples are found throughout the country, often housing relics in their walls. These temples are open to the public, and Theravada Buddhists can be found practicing freely. The government supports this form of religion. As a Muslim, it was not lost on me that the government has been actively promoting violence and oppression against the Muslim Rohingya minority. My goal was to capture the vibrant practice of Theravada Buddhism as intimately as possible without being a nuisance. This often required spending time in cramped temple corners, half-standing, looking as inconspicuous as possible with a large camera covering my face. See more of Zafar’s work at the Durham Art Guild in the Click! Photography Festival Oct. 20 through Dec. 9.
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MONK IN A DOORWAY. Located in Yangon, the Botataung (or “one thousand military officers”) Pagoda was supposedly built more than two thousand years ago, when seven sacred hairs from the head of the Buddha were brought from India to Burma. As the story goes, the thousand officers were present at the current site of the pagoda, awaiting the arrival of the relics. Today, Botataung is the lesser of the three main temples in Yangon. In this image, a young monk, framed by the bright drapes and walls often seen in pagodas, leaves the main prayer hall to wander across the sunny courtyard.
BO BO GYI. Literally translated as “great grandfather,” Bo Bo Gyi is the guardian spirit of Buddhist temples. At the Botataung Pagoda, Bo Bo Gyi is said to guard the sacred hairs of the Buddha. Good luck supposedly comes to those who bring a gift of coconut and banana, touch their foreheads to Bo Bo Gyi’s outstretched finger, and place money in his hand. Over the past few years, this particular Bo Bo Gyi has become popular with Thai tourists, who travel to Yangon specifically to pray here. This photograph was particularly challenging to take because I had to squeeze myself between the statue and a near wall while a line of worshippers snaked into the small room. I was struck by how the intimacy of the moment is framed in such lurid colors and textures.
DHAMMAYANGYI. Two women pray before a large seated Buddha in Dhammayangyi Temple, the largest temple in Bagan. At the base of this Buddha are common offerings of money, flowers, and incense. For reasons still unknown, the central halls of this temple were bricked off when it was first built in the twelfth century. Today, only the outer halls are accessible. This temple has not been restored as well as others, so the brickwork is clearly visible through the cracked plaster. Legend has it that when the temple was built by King Narathu, he threatened to execute the brick masons if a needle could be pushed between any of the bricks.
INDYweek.com | 10.18.17 | 31
indypage
AN EVENING WITH DAVID SEDARIS Monday, Oct. 23, 8 p.m., $46–$61 Memorial Auditorium, Raleigh www.dukeenergycenterraleigh.com
D
avid Sedaris isn’t a North Carolina native, and he hasn’t lived here in decades—in fact, he lives in England. But he’s surely an honorary North Carolinian, having spent most of his formative years with his family in Raleigh. His books of essays have been some of the most celebrated of this century, and the City of Oaks is a leading character in many of his famous pieces. Sedaris has made a lasting literary impact, but his writing has more intimate effects, too. To a teen girl in Cary who felt isolated, overwhelmed, and trapped, he was more than a great writer: he was proof that you didn’t have to be from a cool big city to live a worthwhile creative life. His work unlocked a door toward beautiful possibilities. In high school, I had few real friends and a mountain of unaddressed anxiety problems. I loved music—“weird” music, by my peers’ standard—and I made a habit of loudly declaring my disdain for sports, makeup, and more, all while being an uptight stickler for rules. I was embarrassed by my suburban Southern hometown, convinced that neither it nor nearby Raleigh had anything of significant cultural value. At the time, I thought my interests were mature and sophisticated; in my mind, I was a young person who was trapped in high school by a mere technicality of age, and I ached with every fiber of my being to get the hell out. (Upon reflection, it’s not surprising that I wasn’t especially well-liked.) Outside of school, I spent as much time as I possibly could in used-book and CD stores, particularly Reader’s Corner and the Hillsborough Street Nice Price, or, closer to home, a store called Mr. Mike’s. Reader’s Corner, with its claustrophobia-inducing stacks, felt like a perfect place to hide. Sedaris titles often appeared on the shelves of these shops, and eventually I took a chance on a seven-year-old paperback copy of Me Talk Pretty One Day. I tore through it, engrossed in every word. Sedaris’s humor was wry and sharp, clever in a way I hadn’t yet found in any other writer. He was openly self-deprecating, deeply aware of his prickliness and pettiness as well as his own occasional charms. Here was someone who, as far as I could tell, shared a lot of my neuroses and pet peeves, despite how different our lives looked. Whereas Sedaris is one of six kids and 32 | 10.18.17 | INDYweek.com
“Maybe I’d be awkward forever, but I wouldn’t be the only one.”
ILLUSTRATION BY SHAN STUMPF
Man in the Mirror TO AN ANXIOUS, ISOLATED TEEN GIRL, DAVID SEDARIS OFFERED FAR MORE THAN FUNNY ESSAYS BY ALLISON HUSSEY gay, I’m the oldest of two and bumblingly straight. He’s old enough to be my father by a respectable margin. But he wrote about Cameron Village and Crabtree Valley Mall, places that I, too, hated! I was bushwhacking my way through high school Spanish, and here was David, documenting the same struggles to express himself in another tongue in “See You Again Yesterday” and “Make That a Double.” It felt like someone had pulled out my thoughts and untangled
them for me on the page. Something about reading Me Talk Pretty One Day—followed in quick succession by Naked, Barrel Fever, Dress Your Family in Corduroy and Denim, and When You Are Engulfed in Flames—made me understand that North Carolina wasn’t a permanent affliction. The revelation doesn’t make a ton of sense now, because I had access to the internet and already knew, on some level, that I didn’t have to stay
here forever. But, as Sedaris demonstrated, I could keep it as an important part of me and carry it anywhere else I wanted. That lightbulb moment was liberating. Sedaris also offered insight and empathy about feeling out of place, and it was like someone had thrown a rope down the well of dissatisfaction that I’d built myself. As he wrote about his social ineptitude, it shattered the illusion that adulthood was a gleaming promised land in which all my wildest dreams would come true. Through his writing, he revealed the truth that life could be messy, difficult, and weird, and that was just a part of it. Maybe I’d be awkward forever, but I wouldn’t be the only one. His books also led me to his sister, Amy Sedaris, who would teach me a few lessons of her own. I fell in love with her immediately in David’s essay “Shiner Like a Diamond,” in which Amy, fed up with her father’s uninvited commentary about her body, pulls a vicious prank on him. As I learned more about her, the more I wanted her to be my freaky godmother. Here was a woman who has built a successful life out of being a loud, hilarious, brilliant weirdo. If Amy could do it, why couldn’t I? The Raleigh that exists now is dramatically different from the one Sedaris sketches in his books, and even from the one I kicked around in. Cameron Village remains, but with almost none of the same stores, as does the oft-renovated Crabtree Valley Mall. Hillsborough Street is nearly unrecognizable, and perhaps the most tragic monument is the shell of the IHOP on Hillsborough Street. Once an endearingly ramshackle landmark, and a getaway for a young David Sedaris, it now advertises a real estate agency, surrounded by identical, cheaply built apartment buildings. It’ll continue to grow and change, and so will Sedaris, and so will I. I haven’t made a long leap away from home yet. But, thanks in large part to Sedaris, when the time comes, I’ll know how to find my way out. ahussey@indyweek.com
indystage
THE LEGEND OF SLEEPY HOLLOW HHH½ Through Sunday, Oct. 29 Fletcher Opera Theater, Raleigh www.carolinaballet.com
The Legend of Sleepy Hollow PHOTO BY CHRIS WALT
Spooky Action
CAROLINA BALLET’S HALLOWEEN TREATS TWEAK THE CLASSICS INTO AN ACTUAL DANCE MACABRE BY BYRON WOODS The Legend of Sleepy Hollow, The Raven, and The Lady in the White Veil are all tales of protagonists who stray too near the shadowlands, so they make an obvious enough collection for a Halloween run from Carolina Ballet. But among these new works, we also find an improbably thought-provoking interpretation of an October classic. Though resident choreographer Zalman Raffael’s headlining Legend of Sleepy Hollow mainly sticks to the surfaces of Washington Irving’s story, it still provides sly social commentary with imaginative, repurposed musical selections from Camille Saint-Saëns and Aaron Copland. Yevgeny Shlapko’s diffident Ichabod Crane is a vivid portrait of geeky awkwardness two centuries ago, as a man of learning finds himself out of his element in the rural culture of Tarrytown, New York. The townspeople’s theme is the Shaker hymn “‘Tis a Gift to Be Simple,” and similarly pointed sections from Saint-Saëns’s Carnival of the Animals—including “The Cuckoo” and the donkeys in “Characters with Long Ears”—accompany depictions of social interplay. But the most unexpected and touching part of this work lies in Raffael’s new vision of Crane as he realizes that prospective bride Katrina Van Tassel (Alyssa Pilger) has rejected him. It’s set to a song
known to ballet lovers the world over—a spoiler we can’t reveal. Among the haunting technical notes that grace the opening of artistic director Robert Weiss’s Lady in the White Veil, Ross Kolman’s lights and Jeff A.R. Jones’s set design help portray the title character as a dark beauty who is literally lighter than air. As dancer Richard Krusch pursues his veiled desire (Lily Wills) across the stage, his insistent character unwisely convinces her of his sincerity, prompting a permanent change in their relationship. In The Raven, the evening’s triumph, Weiss more deeply probes the destabilizing psychology of grief. In this imaginative retelling, Nikolai Smirnov’s black bird doesn’t travel the night’s Plutonian shore alone. When he invades the one-room dwelling of a scholar (Sokvannara Sar), the raven brings with him a spectral but all too real Lenore. Margaret Severin-Hansen’s performance suggests Rossini’s “Beata Beatrix”: a woman somehow alive in death. The memory and presence of the scholar’s love should comfort him. But, as she is manipulated in a ghastly tug of war, Lenore’s sylphlike presence only underscores his loss, amplifying his torment in an unlikely dance of death for three. bwoods@indyweek.com INDYweek.com | 10.18.17 | 33
WHAT TO DO THIS WEEK THURSDAY, OCTOBER 19
LOOK & SEE: A PORTRAIT OF WENDELL BERRY
You might know Wendell Berry for his poetry, novels, activism, or agrarian values. If you’ve found comfort in his musings, you won’t want to miss the first documentary about him. And if you’re new to the eighty-three-yearold writer’s literary and cultural contributions, award-winning filmmaker Laura Dunn’s documentary Look & See: A Portrait of Wendell Berry will get you up to speed. Dunn’s eighty-minute film highlights how Berry’s Kentucky community is changing due to agricultural demands, encouraging viewers to examine how these effects might ripple into their own lives. The film centers on industrial agriculture’s impact on land and values, which is why this screening is cosponsored by N.C. State’s Center for Environmental Farming Systems and NCSU Libraries. Combined with the work of cinematographer Lee Daniel (Dazed & Confused, Boyhood) and sound recording by Justin Hennard (A Scanner Darkly), Dunn’s film also features a notable production team, including Terrence Malick, Nick Offerman, and Robert Redford. —Tara Lynne Groth NCSU’S HUNT LIBRARY, RALEIGH 7 p.m., free, www.cefs.ncsu.edu
Shanelle Nicole Leonard and Rishan Dhamija in Sense and Sensibility PHOTO BY HUTHPHOTO
THURSDAY, OCTOBER 19–SUNDAY, OCTOBER 29
THE EXONERATED
Delbert Tibbs was certain the jury would catch the discrepancies in the testimony. The eyewitness said the murderer was 5’6”; Tibbs stood 6’3”. He had a light complexion; the murderer was described as dark. But an allwhite Florida jury took less than two days to convict Tibbs of rape and murder in 1974, and he stayed on death row until the state Supreme Court overturned the conviction three years later. Since 1976, 1,461 people have been executed via the death penalty—and 153 have been exonerated. Do the math: for every ten people killed by capital punishment, one death row inmate has been found innocent and set free. Jessica Blank and Erik Jensen’s thought-provoking documentary play introduces us to six of the falsely accused in this student production at N.C. State. —Byron Woods NCSU’S KENNEDY-MCILWEE STUDIO THEATRE, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $6–$18, www.theatre.arts.ncsu.edu
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WEDNESDAY, OCTOBER 18–SUNDAY, NOVEMBER 5
SENSE AND SENSIBILITY
By all accounts (and a surprising YouTube video or two), last year’s smash off-Broadway production of Sense and Sensibility was a cinematic whirlwind that swept through Jane Austen’s novel of social intrigue in eighteenth-century England. It kept the Dashwood sisters and their community of suitors, supporters, and detractors in perpetual play—and motion—as actors propelled them about on rolling chairs through equally mobile set pieces. “We wanted to make it not all porcelain teacups and politeness, but fun and exciting and unexpected,” said adapter Kate Hamill, who also starred as Marianne, in a 2016 interview. The PlayMakers production occurs between that run and a scheduled Broadway engagement next year; Durham native Taibi Magar directs a cast including Shanelle Nicole Leonard and Emily Bosco as Elinor and Marianne Dashwood, and Ray Dooley as Mrs. Jennings. —Byron Woods PAUL GREEN THEATRE, CHAPEL HILL Various times, $15–$57, www.playmakersrep.org
10.18–10.25 THURSDAY, OCTOBER 19–SATURDAY, OCTOBER 21
SOUTHERN FRIED QUEER PRIDE
Queer pride and the South have historically been oxymoronic, but Southern Fried Queer Pride, a group based in Atlanta, Georgia, is looking to change that for the better. SFQP is a queer/ trans arts and advocacy group that aims to create safe, open spaces for the celebration of “vibrant communities of the Southern United States.” Its three-day festival, with a variety of arts events focusing on queerness as a political identity, began in Atlanta and now expands into Durham for the first time, targeted at all age groups and demographics. The offerings include a DIY art party at the Mothership (Thursday, 6 p.m.), a queer dance party at the Pinhook (Friday, 10 p.m.), an afternoon of workshops and skill-shares at the LGBTQ Center of Durham (Saturday, 1 p.m.), and a queer variety show at The Bar (Saturday, 6 p.m.). Although there is a suggested sliding cover charge, those who are interested in participating will not be turned away for lack of funds. —Aditi Dholakia VARIOUS VENUES, DURHAM Various times, $7–$20, www.southernfriedqueerpride.com/sfqpdurham2017
SATURDAY, OCTOBER 21
GROOVE IN THE GARDEN
For the third year running, Groove in the Garden returns to Raleigh Little Theatre for a full, casual day of music and fun—and, thankfully, this year’s big party is in late October rather than midAugust. Raleigh’s favorite Americana band, American Aquarium, headlines on the main stage, following various strains of folk, roots, and pop rock from Toubab Krewe, Bombadil, Lonnie Walker, Rebekah Todd & the Odyssey, Dark Water Rising, Ghostt Bllonde, and Hank, Pattie, & the Current. Curtis Eller, Sinners & Saints, Kate Rhudy, and the Boom Unit Brass Band all hit the smaller Garden Stage, too. On top of all the entertainment, a portion of the proceeds benefits Girls Rock NC, so you can support a good cause and have a good time all in one. —Allison Hussey
GUITAR LESSONS Beginner, Intermediate, Advanced - all ages
GURU GUITARS 5221 Hillsborough St, Raleigh, NC 27606 (919) 833-6607 www.guruguitarshop.com
ON STA
NDS
NOW!
FINDER NDER THE INDY'S GUIDE TO THE TRIANGLE
STEPHENSON AMPHITHEATRE, RALEIGH 1 p.m., $20–$25, www.thepourhousemusichall.com
SATURDAY, OCTOBER 21 & SUNDAY, OCTOBER 22
MONK@100: MONK SONGBOOK
The mission of these two MONK@100 shows is simple: make sure all the sixty-plus compositions that Thelonious Monk wrote across his lifetime are performed at least once during the festival. Of the five featured pianists, three boast Durham connections: Chris Pattishall grew up here before moving to New York; Jeb Patton went to Duke and worked with Monk sideman Paul Jeffrey; and Ernest Turner is a centerpiece of the Durham jazz scene. They’re joined by festival cocurator (and former member of The Bad Plus) Ethan Iverson and the great Orrin Evans. The format is a kind of round robin: one pianist will play a Monk tune solo. Another will join for a piano duo. Then, the new pianist will play a solo. Yet another will join for a duo. And so on. Sparks should fly as all these dynamos collide, and the duo format will let them venture deep into Monk’s most complicated musical waters. —Dan Ruccia DURHAM FRUIT & PRODUCE COMPANY, DURHAM Free, 1 p.m., www.dukeperformances.duke.edu
WHAT ELSE SHOULD I DO?
THE CINEMA TRAVELLERS AT THE CARY THEATER (P. 44), PETER HOFFMAN AT SPECTRE ARTS (P. 41), THE LEGEND OF SLEEPY HOLLOW AT FLETCHER OPERA THEATER (P. 33), OLD CROW MEDICINE SHOW AT MEMORIAL AUDITORIUM (P. 39), OPEN MIKE EAGLE AT KINGS (P. 37), DAVID SEDARIS AT MEMORIAL AUDITORIUM (P. 32), SUNDAY SITES FEAT. THE BIPEDS AT MANBITES DOG THEATER (P. 43), VISITATIONS AT FRANK GALLERY (P. 44), YEP ROC 20 AT CAT’S CRADLE (P. 28), YOUSUF ZAFAR AT THE DURHAM ART GUILD (P. 30), ZENSOFLY AT THE CAVE (P. 27) INDYweek.com | 10.18.17 | 35
10/2010/21 10/2010/22 TH 10/26 10/2710/29 SA 10/28 TH 11/2 SA 11/4 SA 11/4 FR 11/10 SA 11/18 11/1811/19 FR 12/1 WE 12/13 SU 12/31
BUMP IN THE NIGHT
PRESENTED BY METTLESOME IRA KNIGHT PRESENTS:
MANDELA, AN INTERPRETATION POPUP BROADWAY
(THE SOUND OF MUSIC & LES MISERABLES)
FR 10/20
YEP ROC 20: NICK LOWE
THE WILD PARTY
PRESENTED BY COMPANY CAROLINA
TRANSACTORS IMPROV: FOR FAMILIES! RANKY TANKY (ARTSPARKS! FAMILY SHOW)
MISTER G (ARTSPARKS! FAMILY SHOW) TRANSACTORS IMPROV JOHN MCEUEN & FRIENDS PRESENT WILL THE CIRCLE BE UNBROKEN
MILE TWELVE (CO-PRESENTED WITH
THE COMMUNITY CHURCH OF CHAPEL HILL)
CARRBORO FILM FESTIVAL THE GIBSON BROTHERS NORTH COUNTRY CHRISTMAS WITH NEWBERRY & VERCH
DAR WILLIAMS DIRTY DOZEN BRASS BAND NYE PARTY Find out More at
ArtsCenterLive.org
300-G East Main St., Carrboro, NC Find us on Social Media: @ArtsCenterLive
TU 10/24
SA 10/21
YEP ROC 20:
DAVE ALVIN AND PHL ALVIN W/ THE GUILTY ONES 10/20 YEP ROC 20 -- NICK LOWE, JOSH ROUSE, LOS STRAITJACKETS, ELI PAPERBOY REED, SPECIAL GUEST TBA 10/21 YEP ROC 20 -- DAVE ALVIN AND PHIL ALVIN WITH THE GUILTY ONES, CHUCK PROPHET WITH THE MISSION EXPRESS, JEREMY & THE HARLEQUINS, DRESSY BESSY, THE FLESHTONES 10/24 TED LEO
AND THE PHARMACISTS
W/ IAN SWEET, THE STARS EXPLODE ($16/$18) 10/25 JOSH RITTER & THE ROYAL CITY BAND W/GOOD OLD WAR ($27.50; INCLUDES ALBUM DOWNLOAD)
10/26 SAN FERMIN W/ GRACIE AND RACHEL ($15) 10/27 AMINE W/ TOWKIO
SOLD OUT
10/28 DEADHEAD MASQUERADE BALL FT COSMIC CHARLIE ($12/$15) 10/29 GRYFFIN W/AUTOGRAF (DJ SET), AYOKAY ($17/$20) 10/31 JR JR W/ CHAD VALLEY ($16/$18)
TeasersMensClub
@TeasersDurham
36 | 10.18.17 | INDYweek.com
4/2/18 UDO DIRKSCHNEIDER 5/25/18 PETER HOOK & THE LIGHT ($28/$31)
CAT'S CRADLE BACK ROOM 10/18 SH-BOOMS W/ FLASH CAR
PICKWICK 11/13 DAVID BAZAN W/ MICHAEL NAU ($15) 11/15 MO LOWDA & THE HUMBLE / ATLAS ROAD CREW
11/16 CITY OF THE SUN ($10/$12) 11/17 HOWARD IVANS (ROSEBUDS, GAYNGS) AND SKYLAR GUDASZ ($12) 11/18 MODERN ENGLISH
CELEBRATION
W/ THE VELDT, ENTERTAINMENT ($20/$23)
10/22 PICKWICK W/ THE ELWINS ($12/$15)
11/30 THE WEATHER STATION W/ JAMES ELKINGTON
10/19-21 YEP ROC 20-YEAR
10/23 TREVOR SENSOR D W/ LEAN YEAR CANCELLE
BLANK RANGE
CANCEL
10/26 THE SOCIAL ANIMALS 10/27 THE MOVIELIFE W/IRON CHIC 10/28 ELLIS DYSON & THE SHAMBLES W/THE OBLATIONS ($5) 10/29 (1PM-5PM): ONE FOR DUANE IV/ BENEFIT FOR THE SOUTHERN ROCK HALL OF FAME FT. IDLEWILD SOUTH, TRIPLE FRET, & MORE. ($10)
10/29 (8PM) MUMZ, THE NITROGEN TONE, TRIKE, SPAGHETTI ($5)
11/9 POPUP CHORUS
10/31 RATBOYS W/ DAGS
($13/$8 WITH STUDENT ID)
11/2 LARRY KEEL EXPERIENCE W/ JON STICKLEY TRIO ($!6/$20)
11/11 SAINT SO MOTEL W/ GIBBZ LD OUT
11/12 LUNA W/ ELEANOR FRIEDBERGER ($20/$23) 11/14 COUSIN STIZZ W/SWOOSH, BIG LEANO ($15/$18) 11/15 THE STORY SO FAR W/TURNSTILE, DRUG CHURCH ($22.50/$25) 11/16 YELAWOLF W/MIKEY MIKE, BIG HENRI, COOKUP BOSS ($25/$28) 11/18 CULTS W/SHE-DEVILS, HOLDOUT ($19/$21)
An Adult Nightclub Open 7 Days/week • Hours 7pm - 2am
2/24/18 ANDREA GIBSON W/CHASTITY BROWN ($18/$21)
11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25)
11/10ABBEY ROAD LIVE! BEATLES TRIBUTE ($12/$15)
156 Ramseur St. Durham, NC
1/27/18 TENNIS 1/30/18 DESTROYER W/ MEGA BOG ($20/$23
SU 10/22 @CAT’S CRADLE BACK ROM
12/1 ALLAN RAYMAN ($18/$20)
12/15 LYDIA LOVELESS (SOLO) $15
CELEBRATES TOM PETTY
for directions and information
($22/$27; $40 FOR 2-NIGHT PASS) 1/26 ENTER SHIKARI W/MILK TEETH ($18/$20)
10/25 THE ALTERNATE ROUTES W/ NICK FRADIANI
11/6 WAX TAILOR: SOLO SET & GUESTS W/ DIRTY ART CLUB ($20/$23)
www.teasersmensclub.com
TWO SHOWS!
SAY ANYTHING
W/SORORITY NOISE, GREAT GRANDPA
11/4 KNUCKLE PUCK W/ MOVEMENTS WITH CONFIDENCE, HOMESAFE 11/5 JOYCE MANOR / WAVVES W/ CULTURE ABUSE ($20/$23)
919-6-TEASER
1/22 AND 1/23/18
10/24 JESSICA LEA MAYFIELD / LED
11/3 JD MCPHERSON W/ NICOLE ATKINS ($16/$18)
(Not Valid for Special Events, expires 01-18)
PHARMACISTS
EMILY SALIERS
11/1 CRANK IT LOUD PRESENTS: 11/2 THE ENGLISH BEAT ($18/$20)
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CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Katie Hjerpe (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)
THURSDAY, OCTOBER 19
OPEN MIKE EAGLE
WED, OCT 18 BLUE NOTE GRILL: Tommy Castro and the Painkillers; 7:30 p.m., $20–$25. • CAT’S CRADLE (BACK ROOM): The Sh-Booms, Flash Car; 8:30 p.m., $10. • THE CAVE: Zensofly; 9 p.m., $5. • DEEP SOUTH: propersleep, Icaria, An Author, A Poet, So Soon; 8 p.m., $8. • DORTON ARENA: Sleeping Booty, Liquid Pleasure; 7:30 p.m. • DURHAM FRUIT COMPANY: JD Allen Trio & Dave Douglas; 7 & 9 p.m., $10–$25. • LOCAL 506: The Rocketboys, Must Be the Holy Ghost; 9 p.m., $10–$12. • POUR HOUSE: The Rad Trads, Steve Hartsoe Band; 9 p.m., $8. • THE RITZ: Blues Traveler; 8 p.m.
THU, OCT 19 Big Spiders Back GAUZY Durham-viaGOD Brooklyn transplant Big Spiders Back made a name for himself a few years back with gauzy synth-pop
releases, plus a collaboration with forgotten chillwavers Universal Studios Florida. His recent music still hits that pocket of bliss, though he’s stretched beyond the Instagram filter textures into house-influenced zones. —DS [THE PINHOOK, $7/9 P.M.]
Leftover Salmon Colorado’s ZESTY GRASS Leftover Salmon blends string band and rock instrumentation on jammy hybrids of newgrass and roots rock, dusted with enough Cajun seasoning to rival Bojangles. While flexing serious instrumental chops on lighthearted originals and covers, the veteran Colorado outfit can test attention spans with its marathon live performances. Hank, Pattie & the Current open. —SG [HAW RIVER BALLROOM, $22–$24/8 P.M.]
Eagle has consistently demonstrated an insigtful understanding of causation with his lyrical content and make-your-body-feel-good production. And with simplicity and sincerity, he pushes boundaries to make his music a tool for good. —Katie Hjerpe
PHOTO BY EMARIE TRAFFIE
Open Mike Eagle (aka Michael Eagle) is a real family man, offering hip-hop for all ages—but he’d rather be known for his explicitly unique style than any preexisting label or condition. Music is often a bare expression of an artist’s own personal emotions, but Eagle has taken it upon himself to empathetically use music to heal ailing communities, following the paths of Tupac, Laraaji, and Sun Ra. His emotional albums address real-world issues in a way that sends seeds of hope and understanding to those who might feel trapped in darkness. His particular concern is children of the African diaspora and an empowerment long overdue. Eagle’s earlier works demonstrate a monk-like mindfulness and dedication to improving the quality of life for his listeners and himself. But on his newest record, Brick Body Kids Still Daydream, Eagle addresses the children of Chicago’s recently demolished Robert Taylor project buildings with gospel-influenced production and jovial, fantastic rhymes proclaiming the holiness of all lives, even if the economy depreciates the value of those lives. His selfassuredness is contagious, a confidence boost and a smile delivered via smooth flow and mellow rhymes. With superhero motifs and clever quips, Eagle wears family values on his sleeve like a coat of armor against stark inequities. He, a thirty-six-year-old black man, leads by example. Rest on laurels? Nay, he has a long career ahead.
KINGS, RALEIGH 9 p.m., $12–$14, www.kingsraleigh.com
Marcy Playground & CANDY Textbook one-hit APPLES wonder Marcy Playground followed “Sex & Candy” with a string of generic, barely registering singles that seem perpetually stuck in the late nineties. Largely dormant since breaking up a dozen years ago, Greensboro’s Athenaeum opens with its Southerntinged power pop. —SG [DORTON ARENA, FREE/7:30 P.M.] ALSO ON THURSDAY CAT’S CRADLE (BACK ROOM): YR20 Kickoff Party: Nick Lowe, Tift Merritt, Grant-Lee Phillips; 8 p.m. • DEEP SOUTH: The Geb, Whit Grumhaus; 8:30 p.m., $5. • DURHAM FRUIT COMPANY: JD Allen Trio & Kris Davis; 7 & 9 p.m., $10–$25. • KINGS: Open Mike Eagle, Billy Woods, P.A.T. Junior; 9 p.m., $12–$14. See box, this page. • LINCOLN THEATRE: Corey Smith, Hudson Moore; 8 p.m., $20.
• LOCAL 506: Reed Turchi and his Kudzu Orkestra; 9 p.m., $8–$10. • THE MAYWOOD: Albannach, Born Again Heathens; 8 p.m., $13–$16. • MEMORIAL AUDITORIUM: Old Crow Medicine Show; 7:30 p.m. See box, page 39. • MOTORCO: Daley, Tiffany Gouche; 8 p.m., $20– $30. • POUR HOUSE: Local Band Local Beer: Hustle Souls, Funktion; 9 p.m., $5. • SLIM’S: Richard Bacchus & The Luckiest Girls, Mean Siders; 9 p.m., $5.
FRI, OCT 20 Nest Egg Nest Egg’s PSYCH OUT krautrocky psych is warm and resonant, but heavy as hell, too. Consider “Burlington Coke Factory,” from the Asheville quartet’s 2015 LP, Respectable. Propelled by a metronomic motorik beat, the song coasts like a vessel unmoored in outer space, reverberating
vocals and synth swells swirling like faraway quasars. But when the band kicks fuzz pedals, the song rockets to light speed, spinning into blurry motion. That control of its heavy dynamic is Nest Egg’s calling card. With Smoke Bellow and Drag Sounds. —PW [KINGS, $5–$7/10 P.M.]
Emily Saliers Best known as SOLO INDIGO one-half of the Indigo Girls, Emily Saliers has kept busy as a solo performer, but she has only just released her first solo LP. Murmuration Nation sounds a more dance-friendly note than one might expect, but Saliers’s pointed social commentary at intolerance and hypocrisy is right in line with her main group’s stance. —DK [HAW RIVER BALLROOM, $20–$23/8 P.M.]
Jake Shimabukuro In 2006, someone UKE WHIZ uploaded a video of Hawaiian ukulele wizard Jake Shimabukuro to YouTube. The video, a rendition of “While My Guitar Gently Weeps,” quickly became one of the first-ever viral videos, bringing this virtuosic four-string interpreter of Queen, Leonard Cohen, The Beatles, and many more to a global audience. —NR [FLETCHER OPERA THEATER, $43–$103/8 P.M.]
MONK@100: Tyshawn Sorey & Jason Moran A polymath and PRIZE PAIR recipient of a 2017 MacArthur “genius award,” thirty-seven-year-old Tyshawn Sorey is younger than most of his fellow INDYweek.com | 10.18.17 | 37
honorees. A composer, trombonist, drummer, and Wesleyan professor, Sorey transcends his jazz orientation in his own work and in collaborations with figures like Vijay Iyer and John Zorn. As part of MONK@100, he’ll be drumming along with pianist/composer Jason Moran in a program that celebrates a forebear of both musicians. —DK [DURHAM FRUIT & PRODUCE COMPANY, $10–$25/7 & 9 P.M.]
Tamisha Waden POWER- With a sultry alto HOUSE and a multi-octave range, local jazz and R&B stalwart Tamisha Waden evokes everything from the enchanted phrasing of Ella Fitzgerald to the acrobatic pyrotechnics of Mariah Carey. On tracks like “Good for Me”, she judicially allows the band to inhabit the tune before cutting loose on some stunning vocal runs. —EB [BEYÙ CAFFÈ, $10/8 & 10 P.M.] ALSO ON FRIDAY ARCANA: Ally J; 9 p.m., free. • BLUE NOTE GRILL: Dwayne Dopsie &
The Zydeco Hellraisers; 9 p.m., $20. • CAROLINA THEATRE: Alasdair Fraser & Natalie Haas; 8 p.m., $20–$25. • CAT’S CRADLE: YR20: Nick Lowe, Josh Rouse, Los Straitjackets, Eli Paperboy Reed, Darren Hanlon; 5-7 p.m. • THE CAVE: Smoke From All the Friction, Newfaze, Jacob Lutz; 9 p.m., $5. • DEEP SOUTH: Rod Abernethy and Friends; 8:30 p.m., $8. • DORTON ARENA: Chairmen of the Board; 7:30 p.m. • DUKE’S BALDWIN AUDITORIUM: Duke Djembe Ensemble, Duke Jazz Ensemble, Nicholas Payton; 8 p.m., free–$10. • DURHAM COHOUSING: John Smith; 7:30 p.m., $20. • LOCAL 506: Wailin Storms, Pujol, Minor Stars; 9 p.m., $8–$10. • LINCOLN THEATRE: Turkuaz, Con Brio; 9 p.m., $15. • THE MAYWOOD: Runaway Cab, Retro Candy; 9 p.m., $10. • MEYMANDI CONCERT HALL: Beethoven & Mendelssohn; 8 p.m. • MYSTERY BREWING PUBLIC HOUSE: Eno Islanders; 8 p.m., free. • THE PINHOOK: Hawt Sauce: A Queer Dance Party; 10 p.m., $7. • POUR HOUSE: Signal Fire, Edge Michael, Amani Smith, GTB; 9 p.m. • THE RITZ: Lecrae; 7 p.m. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): The Canines with Black Bouquet; 7 p.m. • SLIM’S: Echo Courts, The Remarks, Seabreeze Diner; 9 p.m., $5. • THE STATION: Porch Light Apothecary, Hank & Brendan, & Simone Finally; 9 p.m., $6.
7:30PM BLUEadvertise WED: TOMMY CASTROor & feature To $25 SEATED/ THE PAINKILLERS $20 STANDING TH 10/19 CAROLINA LIGHTNIN’ a pet for adoption, 7PM 6-8PM DUKE STREET DOGS FR 10/20 DWAYNE please DOPSIE & contact 9PM $20 THE ZYDECO HELLRAISERS COOL JOHN FERGUSON BAND eroberts@indyweek.com SA 10/21 REUNION SHOW
SAT, OCT 21 John Brown Big Band BIG BAND Led by Durham BEBOP bass man John Brown, this ensemble is full of fiery soloists, but like any big band worth its salt, the players know that the most important thing is the sound they make when they’re all working as one. They’re teaming with trumpet titan Nicholas Payton for a centennial salute to Dizzy Gillespie in a benefit for the Duke University Cancer Institute. —JA [CAROLINA THEATRE, $25/8 P.M.]
Chicano Batman Los Angeles’s L.A. PARTY Chicano Batman adds to the psychedelic rock canon in a new landscape, channeling Curtis Mayfield through tropicália and marrying musics of all people, with bilingual lyrics, too. The band’s new album, Freedom Is Free, is socially conscious down to an art and speaks truth to “business as usual” in
the United States. Khruangbin opens. —KH [LINCOLN THEATRE, $17, 8 P.M.]
MONK@100: Gerald Clayton & Ben Wendel YOUNG Sax man Ben LIONS Wendel and pianist Gerald Clayton have developed a musical language that incorporates the essence of bebop but isn’t afraid of pushing things in a more progressive jazz space. And when they join together to take part in the ongoing centenary tribute to Thelonious Monk, they approach the master’s music with just the right combination of a disciple’s deeply rooted knowledge and a seeker’s willingness to use welllearned lessons as the fuel for a journey to someplace new. —JA [DURHAM FRUIT & PRODUCE COMPANY, $10–$25/7 & 9 P.M.]
John Davis & the Cicadas In his youth, John UNIMPLODE Davis found fame
with Folk Implosion but left the music world behind for a long stretch in the early aughts. He released his proper comeback record, El Pulpo, in August, and it’s a complex, rhythmic concoction that addresses commodification and the many-tentacled colossus of capitalism. In its hip-hop influence and ambitious production, it’s a hard turn away from his old sound, which is just how he wants it. With Delphinium and Evil English. —DK [LOCAL 506, $10/9 P.M.]
Dillon Fence Equally adept at HOME BOUND sharp power pop and R&B-tinged Southern soul, Greg Humphreys’ Dillon Fence was one of the great treasures of the Triangle rock scene during the eighties and nineties. Listening back to the band’s Curtis Mayfieldby-way-of-Elvis Costello sound, one hears a great group that never found its place. Preeesh! opens. —TB [DORTON ARENA, FREE/7:30 P.M.]
Earlfest ‘17 The Earl in HELLO EARL question is Raleigh punk outfit Machinegun Earl, which celebrates drummer Chris Dunn’s birthday at this punk rock party. Machinegun Earl offers a streamlined update of classic hardcore, blurring the line between harsh snarl and fist-pumping melody. Wilmington’s Slomo Dingo infuses a little glam into its hard-rocking punk. No More Tomorrow leans toward the punk side of punk ‘n’ roll; so does Raleigh’s The Ghost of Saturday Nite. If slick, rawkish punk ain’t your thing, hey, there’s barbecue courtesy of the Big Mikes BBQ truck. —PW [THE MAYWOOD, $10/8:30 P.M.]
Louis the Child CHILDISH Chicago-based R&B bros Robby Hauldren and Freddy Kennet are responsible for the dishwater-dull take on contemporary R&B that is Louis the Child. With obligatory middling tempos
WE 10/18
8PM $12
SU 10/22 TU 10/24
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THE ROCKETBOYS
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w/ Must Be the Holy Ghost, Brother Cephus
REED TURCHI AND HIS KUDZU ORKESTRA WAILIN STORMS + PUJOL w/ Minor Stars JOHN DAVIS & THE CICADAS
TH 10/19 FR 10/20 SA 10/21
w/ Delphinium, Evil English SU 10/22
SU 10/22
SUMMER WARS w/ Messenger Down, propersleep
EXTINCTION A.D. MO 10/23
MONDAY NIGHT OPEN MIC MO 10/23
DANCE WITH THE DEAD W/ GOST
TU 10/24
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A WILHELM SCREAM w/ Such Gold, After
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and tedious tales of wildlife, the group adequately captures the spirit of former in tour mates and similarly n is Machine- insufferable malefactors The Chainsmokers. Lauv and Win brates & Woo open. —EB n’s [THE RITZ, $25/8 P.M.] k rock Earl offers e of urring the Quatuor Mosaïques snarl and EARLY The string quartet y. STRINGS is not your o Dingo prototypical period-instruinto its ment ensemble. But when No More you play string quartets ward the written in the late-eighteenth ’ roll; so and early-nineteenth Ghost of centuries on instruments ck, with gut strings, the music our thing, sounds different—warmer, e richer, more intimate. Mikes Quatuor Mosaïques has been reinvigorating this repertoire :30 P.M.] for thirty years now. For this matinee concert, the group will bring to life one of d Haydn’s genre-defining opus 20 quartets alongside two -based works from Mozart’s set of bby quartets dedicated to Haydn. y Kennet —DR [BALDWIN AUDITORIUM, he $10-48, 3P.M.] on that is ALSO ON SATURDAY h tempos ARCANA: Four on the Floor; 10 p.m., free. • BLUE NOTE GRILL: Cool John Ferguson Band Reunion Show; 8 p.m., $12. • CAT’S CRADLE: YR20: Dave Alvin & Phil Alvin with The Guilty Ones, Chuck Prophet and the Mission Express, The Fleshtones, Jeremy and the Harlequins, Dressy Bessy; 8 p.m. • THE CAVE: Sunny Slopes, Wing Dam, Drag Sounds; 9 p.m., $5. • DEEP SOUTH: Mickey Factz, Stallone & Weathers, Kaze, King Draft, Special Guests; 9 p.m., $12–$15. • DUKE’S BALDWIN AUDITORIUM: Duke Chorale, Duke Symphony Orchestra, Duke Wind Symphony; 8 p.m., free–$10. • DURHAM FRUIT COMPANY: Monk Songbook: Chris Pattishall, Ernest Turner, Jeb Patton, Ethan Iverson, Orrin Evans; 1 p.m., free. See page 35. • KINGS: Ace Henderson with Dom, N’Kogniito, Social Contract; 9 p.m., $10–$12. • KOKA BOOTH AMPHITHEATRE: Carolina Uprising; noon, $40–$90. See page 26. • MEYMANDI CONCERT HALL: Beethoven & Mendelssohn; 8 p.m. • MOTORCO: Lil Debbie, Raven Felix; 9 p.m., $15–$18. • MYSTERY BREWING PUBLIC HOUSE: Porchlight Apothecary; 8 p.m., free. • NIGHTLIGHT: Dyssembler’s Ghost; 10 p.m. • POUR HOUSE: The Producers, The Fabulous Knobs; 9 p.m., $25–$30. • RIVER PARK: YR20: Mandolin Orange, Jim Lauderdale, The Stray Birds, Kim Richey, Tony Joe White; noon, free. • RUBY DELUXE: DJ Bitchcraft; 10 p.m. • SLIM’S: Savage Master, Tower, Old Scratch; 8:30 p.m., $10.
THE STATION: Jazz Saturday: James Gilmore Trio; 2 p.m., free. Van Gordon Martin, Tha Materials; 8:30 p.m., $8–$10.
SUN, OCT 22 Beach Slang Beach Slang is 4EVR YOUNG preoccupied with, almost to a point of obsession, the energy, drama, and attitude of youth culture, which the band explores and celebrates in raucous rock songs. The fixation of these adult rockers upon teenage feels slides on a spectrum from regressive and redundant to hope-inducing and insightful. With Pet Symmetry and Positive No. —NR [MOTORCO, $16–$18/8 P.M.]
MONK@100: The Como Mamas An all-female gosPURE GOSPEL pel trio from the Deep South might seem like an odd addition to a festival celebrating one of jazz’s all-time great figures. But as a teenager, Thenlonious Monk toured the Midwest for a spell with a traveling evangelist who called himself “the Texas Warhorse.” The Como Mamas are a mighty ensemble of women, all of whom offer powerful, pure gospel that’ll move even the most rigid nonbeliever. They’ll offer a peek at some of the hard-hitting spiritual stuff that informed Monk’s early musical life. —AH [DURHAM FRUIT & PRODUCE COMPANY, $10–$25/7 P.M.]
Jump, Little Children ALT-FOLK Charleston’s KIDS Jump, Little Children recently reunited after a decade-long hiatus, reviving its unique, regionally popular brand of ornate, folk-inflected pop anthems that swell with sweeping strings between occasional moments of guitar-driven alt-rock crunch. Fellow Chucktown outfit She Returns From War adds poignant, poetic vignettes rich in raw emotion and suggestive of cosmic Americana but steeped in swampy lowcountry ambience. —SG [DORTON ARENA, FREE/7:30 P.M.]
Microkingdom The last time Microkingdom played in the Triangle, they offered one of the most ravishing versions of Glenn Campbell’s “Wichita Lineman” ever. It was all propulsive drumming and sharp-edged guitars. But for their new album, Return to the Valley of the Jeep Beats, Will Redman, Marc Miller, and John Dierker plumb the depths of the groove. Redman’s drums clatter and boom, as Miller’s guitar and Dierker’s sax carve weird, ambient sculptures in the air. With Cantwell, Gomez & Jordan.—DR [NEPTUNES PARLOUR, $5–$7, 8P.M.]
NEU DUB
THURSDAY, OCTOBER 19
OLD CROW MEDICINE SHOW PLAYS BLONDE ON BLONDE
Gabe Pelli & Will Ridenour SAVE THE Wafting an EARTH intoxicating blend of violin and kora, these two Chapel Hill musicians aim to entice the senses and stir souls with their musical alchemy. Proceeds from this show go to support Kay Blada, a Haitian recycling initiative that provides crucial employment and environmental benefits to locals. —DK [HAW RIVER BALLROOM, $15/3 P.M.]
Pickwick Pickwick is GOTTA LIKE IT aggressively difficult to dislike. The Seattle sextet boasts a grab bag of slow-burning grooves, bounding synths, and a sound pitched someplace between Curtis Mayfield’s galvanizing soul and MGMT’s suburban psych rock. Whether the band ever becomes truly indispensable will turn on the accruing quality of its songwriting, which to date has been appealing but superficial. On tracks like the transporting “Hacienda Motel,” the potential for greater things is apparent. The Elwins open. —TB [CAT’S CRADLE BACK ROOM, $12–$15/9 P.M.]
Swiss Army Though ostensibly SHARP KNIFE named for the multipurpose pocket tool, Pittsburgh’s Swiss Army operates in one mode: thick,
PHOTO BY DANNY CLINCH
Over the last decade or so, as the album has held increasingly less impact as a framework for music (at least to those who pontificate publicly about such things), it has nevertheless become more important to live presentations. Huge and small venues alike are filled with artists performing their classic albums from beginning to end and other performers paying live tribute to their heroes’ seminal LPs. Enter neo-folkies Old Crow Medicine Show, who are trotting out to salute Bob Dylan’s double-length 1966 masterpiece, Blonde on Blonde. Old Crow first mounted its tribute last year for Blonde on Blonde’s fiftieth anniversary, performing the album at Nashville’s Country Music Hall of Fame and Museum. This spring, the band put out a live album documenting that performance, and it’s currently supporting that release in the only way that really makes sense—going from town to town and doing it again. While Blonde on Blonde has been influential to generations of musicians in the realms of folk, rock, country, pop, and more, Old Crow is particularly well suited for the task of bringing it to life on stage from beginning to end. Not only has the Crow crew been obsessing over Dylan for decades, but a few of the group’s finest moments have come from the dustier corners of Dylan’s catalog. The band created something of a modern country standard by putting finishing touches on a Dylan song fragment band members first heard on a bootleg, which ultimately became “Wagon Wheel.” In 2014, Old Crow repeated the process with “Sweet Amarillo.” But for as much of a connection as they obviously feel to Dylan’s work, Ketch Secor, Critter Fuqua, and company probably would never have undertaken this project at all if they were simply going to parrot the original album’s arrangements. After all, it’s the spontaneity of Blonde on Blonde’s sound that helped make it what it is, and when they play the songs, Old Crow puts its own stamp on them. With fiddle and banjo at the fore, the band sets out to put plenty of its idiosyncratic string-band style into the tunes, making for a vital concert experience rather than just some sort of historical statement. —Jim Allen MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m., $31-52, www.dukeenergycenterraleigh.com leaden alt-punk. No surprise, really, that the band got snapped up by A-F Records, the vanity press of Steel City alt-punk band Anti-Flag. Hammer No More the Fingers opens. —PW [DUKE COFFEEHOUSE, $10/9:30 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: Satchmo Babcock; 5-7 p.m., free. • DURHAM FRUIT COMPANY: Monk
Songbook: Chris Pattishall, Ernest Turner, Jeb Patton, Ethan Iverson, Orrin Evans; 1 p.m., free. See page 35. • IRREGARDLESS: Daniel DeLorenzo Duo; 6 p.m. • KOKA BOOTH AMPHITHEATRE: Chris Tomlin; 7 p.m. • LOCAL 506: Extinction A.D.; 9 p.m., $8–$10. • SLIM’S: Earther; Wolves, Wolves, Wolves, and Wolves; The Run Up; 7 p.m., $5. • WHITE MEMORIAL PRESBYTERIAN CHURCH: North Carolina Bach Festival Benefit Concert; 4-6 p.m., Donation.
MON, OCT 23 MONK@100: Ethan Iverson Trio & Melissa Aldana This enticing ALL 4 MONK pairing brings together Melissa Aldana, a boundary-breaking jazz vocalist who won the 2014 Thelonious Monk International Jazz Competition, and INDYweek.com | 10.18.17 | 39
Ethan Iverson, a pianist and New York jazz veteran who leads a trio with bassist David Williams and drummer Victor Lewis. Aldana is an arresting vocalist; with her interpretive skills coupled with the Iverson outfit’s swinging rhythm, Monk’s music is sure to take flight. —DK [DURHAM FRUIT & PRODUCE COMPANY, $10–$25/7 & 9 P.M.] ALSO ON MONDAY
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THE CAVE: Cold Wrecks, Freya Wilcox, Cosmic Punk; 9 p.m., $5. • DUKE’S NELSON MUSIC ROOM: Steven Stusek; 5 p.m., free. • LOCAL 506: Dance with the Dead, Gost; 7:30 p.m., $13–$15. • NEPTUNES PARLOUR: Westerlund, Wallace, and Toll; 8 p.m., $6. • POUR HOUSE: Tatanka, Lovely Budz; 8:30 p.m. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.
TUE, OCT 24 Ted Leo and the Pharmacists As frontman for the WHAT AILS YA great, long-running Pharmacists and one half of the beguiling electric-folk duo The Both, Ted Leo is one of the mineral elements in contemporary rock, a true lifer who has somehow lived to tell you about it. His recently released LP, The Hanged Man, is a remarkable career culmination, wedding his instinct for Clash-like urgency with a witty and sad worldview. —EB [CAT’S CRADLE, $16–$18/8 P.M.]
Michael McDonald SMOOTH A one-time a DUDE member of Steely Dan and The Doobie Brothers—and, more recently, a collaborator with Thundercat and Grizzly Bear—this smoothsinging blue-eyed-soul maven boasts one of the most fascinating careers in modern music. Through it all, the constant remains McDonald’s uncannily recognizable and raspy tenor, the engine room for such classics as “What a Fool Believes,” “I Keep Forgetting,” and the Patti Labelle duet “On My Own.” Marc Cohn opens. —EB [DURHAM PERFORMING ARTS CENTER, $45–$210/7:30 P.M.]
Toadies POSSUM Austin’s Toadies KINGS found commercial
success in the nineties, when its particular brand of bare-bones, confessional rock dovetailed conveniently with the grunge panic that followed Nirvana and eventually metastasized into Weezer’s extended adolescence. Toadies still sound like both bands at times, which, depending on your point of view, is either a recommendation or a warning. Local H opens. —TB [MOTORCO, $25/8:30 P.M.] ALSO ON TUESDAY ARCANA: Sister, Brother; 9 p.m., free. • DURHAM FRUIT COMPANY: Ethan Iverson Trio with Chris Potter & Houston Person; 7 & 9 p.m., $10–$25. • LOCAL 506: A Wilhelm Scream, Such Gold, After the Fall, We Were Sharks; 7:30 p.m., $15–$18. • NEPTUNES PARLOUR: Pop Empire, Thick Modine; 10 p.m., $5. • THE PINHOOK: She Keeps Bees; 9 p.m., $8. • POUR HOUSE: Black Pistol Fire, Blackfoot Gypsies; 9 p.m. • RUBY DELUXE: Experimental Tuesday: Speedating x DJ Pothole; 10 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20. • SLIM’S: Truth Club, Peaer, Sinai Vessel (Solo); 9 p.m., $5.
WED, OCT 25 Good Music Fest EAGLES Kicking off NCCU’s NEST homecoming weekend, local promotion company First Class Lifestyle brings a lineup of North Carolina-based artists who might be unfamiliar if you’re used to hip-hop events hosted by curators like Mir.I.Am and Crystal Taylor. The exception is DJ Fannie Mae, who’s always a crowd-pleaser when she’s behind the turntables. Come for the reunion, stay for the d.j., but you won’t miss much if you skip this one. —CM [THE PINHOOK, $10/6 P.M.]
Las Rosas Garage psych trio FUZZ FRIENDS Las Rosas hails from Brooklyn but is easily traced to the Triangle. The band recorded its excellent debut record, Everyone Gets Exactly What They Want, in North Carolina under the guidance of local producer Missy Thangs. It’s overstuffed with bomb-shrapnel hooks and tense refrains, meaning it’s a lot of fun to listen to. With 300 Dog Night. —DS [NEPTUNES PARLOUR, $7/10 P.M.]
Microwave Microwave insists WOE IS ME upon its sadness, but the fact that it’s making songs about it suggests a refusal to succumb. Singer Nathan Hardy sings lines like, “I gave up on love ’cause I’m too apathetic,” “I’m far too cynical for faith,” and “forget it I’m fine,” crafting a woeful, detached persona. Contrasting such self-effacing lyrics, however, are the huge guitars, bass, and drums that prop them up, transforming the tracks into self-propelling chants. With Big Jesus and Blis. —NR [LOCAL 506, $12–$15/8 P.M.]
Josh Ritter & the Royal City Band A gifted singerLIT SONGS songwriter whose talents skew literary, Josh Ritter recalls Bruce Springsteen both in his devotion to an earnest persona and his contrarian impulse to puncture it. While his trad rock can be classicrock-devotional to the point of becoming quotidian, there is something oddly desperate in laments like “When Will I Be Changed,” which suggests a troubled soul worth saving. Good Old War Opens. —TB [CAT’S CRADLE, $27.50–$129/8 P.M.]
András Schiff Wordsworth was PIANO MASTER once quoted as saying, “Big things happen to everybody—it’s the finer details that make the difference.” So, after two years working with largescale sonatas, knighted pianist András Schiff is spending time with more minimal pieces by Mendelssohn, Brahms, and Bach. The intricacies of music via melodic dialogues that push the limits of compositional form showcase both the idea and its execution. —KH [UNC’S MEMORIAL HALL, $25–$109/7:30 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE (BACK ROOM): The Alternate Routes & Nick Fradiani; 8 p.m., $12–$15. • THE CAVE: Zensofly; 9 p.m., $5. • DURHAM FRUIT COMPANY: Ethan Iverson Trio and Joshua Redman; 7 & 9 p.m., $10–$25. • NIGHTLIGHT: 919Noise Showcase; 8:30 p.m. • POUR HOUSE: Aqueous, Electric Love Machine; 9 p.m., $10–$12. • RUBY DELUXE: BPM Deluxe: 160 Curated by CALAPSE; 10 p.m.
art
10.18 – 10.25
OPENING SPECIAL Blind Field: Sculpture EVENT by Kelly Johnston. Oct 20-Nov 11. Reception: Fri, Oct 20, 6-9 p.m. The Scrap Exchange, Durham. www. scrapexchange.org. SPECIAL Bookapalooza: Nine EVENT photographers sign their recent books. Sat, Oct 21, 2-4 p.m. Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com. SPECIAL In the Footsteps Of...: EVENT Group photography exhibit by The Image Salon. Part of the CLICK! Photography Festival. Oct 20-Nov 2. Reception: Fri, Oct 20, 5 p.m. Durham Arts Council, Durham. www.durhamarts.org. Iridescent: Paintings by Florence Alva. Oct 22-24. Immaculate Conception Roman Catholic Church, Durham. immaculateconception-church.org. SPECIAL Islands of EVENT Authenticity: Photography by Shreepad Joglekar. Part of the CLICK! Photography Festival. Oct 20-Nov 2. Reception: Fri, Oct 20, 5 p.m. Durham Arts Council. www.durhamarts.org. SPECIAL Lagos: Articles of a EVENT City’s Visual Code: Photography by Uche OkpaIroha. Reception: Tue, Oct 24, 5-6:30. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. SPECIAL Path to Liberation: EVENT saint, sawdust, soul: Paint and mixed media by Lehna Huie. Oct 20-Nov 12. Reception: Thu, Oct 19, 4:306:30 p.m. Meredith College: Weems Gallery, Raleigh. www. meredith.edu/the-arts. SPECIAL Untitled: Works from EVENT the Loop 2013-2017: Photography by Peter Hoffman. Oct 20-Nov 3. Reception: Fri, Oct 20, 6-9 p.m. SPECTRE Arts, Durham. spectrearts.org.
Color Gallery, Raleigh. localcoloraleigh.com. And Then the Sun Swallowed Me: Black tape and video site installation by Heather Gordon. Thru Feb 4. CAM Raleigh, Raleigh. camraleigh.org. Art in Times of Crisis: Twoand three-dimensional abstract pieces by Joumana Medlej. Thru Oct 30. NCSU Campus: The Crafts Center, Raleigh. www.ncsu.edu/crafts. Beyond the Front Porch 2017: Exhibition by twelve senior undergraduates. Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. LAST Beyond the CHANCE Surface: Paintings by Marcy Lansman and Pat Merriman, carved wood by Larry Favorite. Thru Oct 22. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com. Black on Black V2: Performances and art. Thru Nov 25. VAE Raleigh, Raleigh. www. visualartexchange.org. Blooms and Lagoons: Floral and landscape collection by Sue Scoggins. Thru Oct 31. Little Art Gallery & Craft Collection, Raleigh. www. littleartgalleryandcraft.com. The Boomer List: Photography by Timothy GreenfieldSanders. Thru Dec 31. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Carefully Cut: Tin can collage by Thomas Graham. Thru Nov 2. Alexander Dickson House, Hillsborough. www. historichillsborough.org.
FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM
Court and Capital: Art from Asia’s Greatest Cities: Thru Dec 10. Ackland Art Museum, Chapel Hill. www.ackland.org. Deer, Oh Dear: Paintings by Shannon Bueker. Thru Oct 31. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org. Developing Landscapes: The joy and the terror of the Click! Photography Festival both derive from its sheer volume. So much photography in so many places for the whole month of October! Here’s one not to miss: a selection of work from the advanced photography program at Johannesburg’s Market Photo Workshop, in which perspectives of South Africa’s physical landscape are inevitably shaped by the fallout from Apartheid’s long lifespan and arduous demise. In a world of forced removals and contested property rights, land is more than land; it’s a currency of identity. See it through the eyes of Nkosinathi Khumalo, Tshepiso Mazibuko, Tegobo Moche, and others. Thru Nov 2. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. —Brian Howe Dining Out: Ceramics. Thru Nov 5. FRANK Gallery, Chapel Hill. www.frankisart.com. The Disaster Paintings: Donald Sultan. Thru Dec 31. NC Museum of Art, Raleigh. www. ncartmuseum.org. Don’t Quit: The Nello Teer Sr. Story: History of the Teer family in Durham. Thru Dec 15. Durham History Hub. www. museumofdurhamhistory.org.
ONGOING
Allison Chambers and Charlotte Foust: Paintings. Thru Oct 27. ArtSource Fine Art, Raleigh. artsource-raleigh.com.
Download: Paintings and mixed media by Leatha Koefler and Jayne Walther. Thru Oct 24. Litmus Gallery, Raleigh. www. downloadexhibit.com. SPECIAL Envision Saint Agnes EVENT Hospital: Community and student artists. Thru Jan 5. Reception: Wed, Oct 25, 5-7 p.m. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.
Across The Horizon: Mixed media by Adrien Montoya and stained glass by Lizzie Bailey. Thru Oct 28. Local
Coastscapes: Paintings by Nancy Hughes Miller. Thru Oct 28. Artspace, Raleigh. www.artspacenc.org.
Expressions of Nature: By Karin Neuvirth and Sharon Barnes. Thru Oct 31. This and That Gift Gallery, Carrboro.
Celebrating George Bireline: Paintings. Thru Oct 28. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.
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FRIDAY, OCTOBER 20
PETER HOFFMAN: WORKS FROM THE LOOP: 2013–2017 Just from reading the title and glimpsing the work, you might guess that Peter Hoffman’s exhibit at SPECTRE Arts is documenting— through a glass, brightly—Durham’s downtown loop. (I did.) But the Durham-based MFA candidate at UNC-Chapel Hill is actually refracting an area of downtown Chicago through his photographs and illuminated digital collage. This underscores the essential sameness beneath the superficial variety of the urban pedestrian’s experience, as buildings, streets, and other walkers weave complex lines and parallax perspectives into an ungraspable sensory medium of form, motion, and space. The difference between looking at Hoffman’s photos and his digital collage, where the code from original photos is smashed and reassembled, is like the difference between walking with a destination and walking without one, with paths of necessity decaying into enclosing abstractions of color and shape. After this opening reception, get in the loop through November 3. —Brian Howe
SPECTRE ARTS, DURHAM
6–9 p.m., free, www.spectrearts.org The Fence: Durham is one of seven cities across the nation— the smallest, compared with the likes of Brooklyn, Boston, and Houston—to host this touring, public photography exhibit, curated from submissions from around the world and based on themes such as “home,” “nature,” and “food.” While Lori Vrba is the only local artist among the fifty included in the touring exhibit, nine area photographers, including Bryce Lankard, Leah Sobsey, Gesche Würfel, and Warren Hicks, are featured in a regional showcase. The exhibit wraps the block around the Chapel Hill Street parking garage in a temporary fence and banner of photos. Thru Nov 30. Chapel Hill Street, Durham. —Brian Howe Forbidden Fruits and the Next Nemesis: Collages by Kathryn DeMarco. Thru Oct 30. Crook’s Corner, Chapel Hill. www. crookscorner.com.
Fragile Foundations: Mixed media by Ivana Milojevic Beck. Thru Oct 28. Artspace, Raleigh. www.artspacenc.org. SPECIAL Freeze!: Installation EVENT by Mary Carter Taub. Thru Jan 5. Reception: Wed, Oct 25, 5-7 p.m. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts. From Isolation to War: Native veteran story quilts. Thru Oct 31. Love House and Hutchins Forum, Chapel Hill. Hidden Patterns: Wooden art by Gene Presson. Thru Nov 21. ERUUF Art Gallery, Durham. www.eruuf.org. Homebound: Brenda Brokke, Leatha Koefler, Amy Friend. Thru Nov 25. Artspace, Raleigh. www. artspacenc.org. Hyperactive: Found materials by Leigh Suggs and Garry Noland. Thru Oct 27. Artspace, Raleigh. www.artspacenc.org.
From Works from the Loop
PHOTO COURTESY OF SPECTRE ARTS
Image of Ukraine: Exploring Ukrainian Culture through Embroidery and Painting: By Olena Zintchouk. Thru Dec 8. UNC Campus: FedEx Global Education Center, Chapel Hill. www.global.unc.edu. Juxtaposition: Paintings by Celia Johnson and Donald Martiny. Thru Oct 27. Artspace, Raleigh. www.artspacenc.org. SPECIAL Ecology & Artifact: EVENT Paintings by Kimberly Wheaton. Thru Nov 1. Reception: Fri, Oct 20, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com. A Kiss of the Earth: Apt for a work about a season of fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere. It’s the inspiration for this experiment by UNCChapel Hill associate art professor Sabine Gruffat, whose interactive three-channel video INDYweek.com | 10.18.17 | 41
projection remixes the story of a pagan tribe’s maiden sacrifice with stochastic elements: real-time weather data from Paris affects the weather in the animation, and viewers can text to a number on the wall to further alter the proceedings. Thru Jan 28. NC Museum of Art, Raleigh. www.ncartmuseum.org. —Brian Howe More than One Story | Mas de una historia: Photography. Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc. edu/davis. Near and Far: This Click! Photography Festival exhibit by Alex Harris is representative of the festival’s national-caliber, local-focus bent. Harris, a founder of Duke’s Center for Documentary Studies who has been collected from MOMA to NCMA, has photographed the American South for four decades, and looks through a distinctly Southern perspective even when shooting in Alaska, Havana, or Mumbai. This self-selected retrospective palpates the theme of distance, a paramount concern for photographers
both technically and ethically. The lenses of a photographer’s eyes can distort reality as easily as the lens of a camera; Harris has spent a lifetime exploring those complexities. Thru Nov 4. Craven Allen Gallery, Durham. www.cravenallengallery.com. —Brian Howe
cut photography by Merrill Shatzman and libi rose. Thru Nov 22. Power Plant Gallery, Durham. powerplantgallery.com.
Nevertheless She Persisted: Silkscreen prints by Kelly Bodie. Thru Oct 31. Perch Studios, Carrboro. perchstudios.net.
Rubber Creatures from Outer Space: Sculpture and clothing by Tom Buhrman. Thru Oct 31. Durham Art Guild, Durham. www.durhamartguild.org. LAST Saved: Objects of the CHANCE Dead: Photography and poetry by Jody Servon and Lorene Delany-Ullman. Part of the Click! Photography Festival. Thru Oct 24. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.
One World: The Art of Jesse Kalisher & Friends: Photography by Jesse Kalisher. Thru Oct 31. The ArtsCenter, Carrboro. www. artscenterlive.org. Photographs, Books, and Broadsides: Christer Berg, Catharine Carter, Gail Goers, Raymond Goodman, Bryce Lankard, Rob McDonald, and Jean Christian Rostagni. Part of the Click! Photography Festival. Thru Oct 31. Horse & Buggy Press and Friends, Durham. www.horseandbuggypress.com. Play is Universal: Photography by Barbara Tyroler. Thru Nov 5. FRANK Gallery, Chapel Hill. www.frankisart.com. Reflections Within the Transitioning Grid: Laser-
Refugee: Multimedia art exhibit from the Annenberg Space for Photography exploring the lives of refugees. Thru Nov 3. UNC Friday Center, Chapel Hill. www. fridaycenter.unc.edu.
The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Silk Road: Hand-painted silk by Jill Hunt. Thru Oct 28. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com. LAST Small to Large: CHANCE Delight in the Practice of Painting: Paintings by
food Dinners with Dolci: In honor of the THE MEDICI’S PAINTER: Carlo Dolci exhibit, the Nasher Cafe celebrates the flavors and techniques from Italian kitchens during the 16th & 17th centuries. Thu, Oct 19, 5-8 p.m. Nasher Museum Cafe, Durham. nasher.duke.edu. Fork + Bottle: Starpoint Brewing: Four-course dinner prepared by executive chef Thomas Card paired with beers from Starpoint Brewing. RSVP. $75. Thu, Oct 19, 6 p.m. Counting House, Durham. Free Wine Tasting: Mon, Oct 23, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. www. bottlerev.com. Inaugural Chili Cook Off: Chili competition. Sun, Oct 22, 1-5 p.m. Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev.com. Grand Tasting on the Green: Edibles from more than forty chefs and artisans from across the state and more than eighty sustainably produced beverages 42 | 10.18.17 | INDYweek.com
Margie Stewart. Thru Oct 23. Durham Arts Council, Durham. www.durhamarts.org. LAST Studio and Porch CHANCE Paintings: Joan Vandermeer. Thru Oct 27. Mad Hatter Bakeshop & Cafe, Durham. www. madhatterbakeshop.com. SPECIAL Selfie: Pleiades EVENT member artists. Thru Nov 1. Reception: Fri, Oct 20, 6-9 p.m. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce—though we sometimes imagine we are crossing a boundary when we take thousand-dollar bikes into deceptively wild woods with our smartphones and moisture wicking socks. The SuperNatural wades into this liminal zone, exploring how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob
Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation, for the exterior vitrines. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, and lamps. Thru Mar 4. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Visitations: Photography by Barbara Tyroler and poetry by Jaki Shelton Green. Thru Nov 5. FRANK Gallery, Chapel Hill. www.frankisart.com. War Experience: Personal artifacts, medals, uniforms, maps, letters, photographs, and more. Thru Nov 29. Raleigh City Museum, Raleigh. www. cityofraleighmuseum.org.
Wanderers: Paintings by Jeff Joyce. Thru Dec 2. Light Art + Design, Chapel Hill. www. lightartdesign.com. We’ve Met Before: Handwoven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded. Andrea Donnelly holds this contrast in tension. “Cloth, in its infinite variety and varied significance, is deeply linked to our histories and emotions through the body,” she writes in her artist statement. “Whether it’s woven to hang on the wall or to grace the neck and shoulders, I make cloth that creates connection.” The images on these large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory. Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.” Thru Jan 28. N.C. Museum of Art, Raleigh. www. ncartmuseum.org.—Brian Howe You’ve Reached the Office of Stuart Ullman: Replication of office from The Shining by George Jenne. Thru Nov 4. Lump, Raleigh. lumpprojects.org
stage from around the globe. $80. Sat, Oct 21, 1-4:30 p.m. Southern Village Green, Chapel Hill. terravitafest.com. Oktoberfest Beer Garden: Sausages from Steve George and beer from Starpoint Brewing. Mon, Oct 23, 5-9 p.m. Kitchen, Chapel Hill. www. kitchenchapelhill.com. TerraVita’s Hill Fire: Coastal Roast: Scott Crawford (Crawford and Son), Annie Pettry (Decca), Ian Boden (The Shack VA), Kevin Johnson (The Grocery) Dean Neff (PinPoint Restaurant), Cheetie Kumar (Garland), Gabe Barker (Pizzeria Mercato), Teddy Diggs (Il Palio), Bruce Moffett (Moffett Restaurant Group), Chelsea Raby (Stuart). $85. Thu, Oct 19, 6-8:30 p.m. Carrboro Farmers Market, Carrboro. terravitafest.com. TerraVita’s Into the Wild: Feasting on the Foraged: Foraging for wild edibles, followed by cocktailing. $65.
Thu, Oct 19, 10 a.m.-2 p.m. Barn of Chapel HIll, Chapel Hill. terravitafest.com. Seasoned in The South: A Tribute to Bill Smith: Familial dinner with chefs (Sheri Castle, Vivian Howard, Elizabeth Karmel, Sam McGann, Matthew Register and Chris Stewart) who consider Bill Smith a mentor. $120. Fri, Oct 20, 6-9:30 p.m. Barn of Chapel Hill, Chapel Hill. www. terravitafest.com. Sono Wine & Sake Social: Chef Hyunwoo Kim serves complimentary sushi; certified sake advisor James Yang pours wines and sakes. Tue, Oct 24, 5-6:30 p.m. Sono, Raleigh. www. sonoraleigh.com. Trick or Eat Food Truck Rodeo: Fourteen food trucks, three craft breweries, street music, and local artisans. Sun, Oct 22, noon-5 p.m. Historic Downtown Garner, Garner. www. downtowngarner.com
OPENING
Theatre, Raleigh. www.theatre. arts.ncsu.edu. See p. 34.
Sense & Sensibility: Actors from the American Shakespeare Center (ASC). $10. Wed, Oct 18, 7:30 p.m. Meredith College: Jones Auditorium, Raleigh. www.meredith.edu.
Mandela, An Interpretation: Theater. $10. Oct 20-22. The ArtsCenter, Carrboro. www. artscenterlive.org.
Doug Benson: Stand-up comedy. $22. Thu, Oct 19, 9:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Doug Loves Movies: Live podcast. $22. Sat, Oct 21, 4:20 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. An Evening With David Sedaris: Readings, recollections, storytelling. $45-$60. Mon, Oct 23, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh. www.dukeenergycenterraleigh. com. See p. 32. The Exonerated: Play. $18. Oct. 18-29. NCSU Campus: Kennedy-McIlwee Studio
The Monti Storyslam: Fear: Storytelling. $12. Wed, Oct 25, 7:30 p.m. Motorco Music Hall, Durham. motorcomusic.com. Sam Morril: Stand-up comedy. Oct 19-21. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Sense and Sensibility: Play. $15+. Oct 18-Nov 6. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org. See p. 34. So You Think You Can Dance: Season 14 finalists. $45+. Wed, Oct 25, 7:30 p.m. Durham Performing Arts Center, Durham. dpacnc.com. Wit: An Improv Comedy Game Show: $5. Sat, Oct 21, 9:30 p.m. Varsity Theatre, Chapel Hill. www.thisismettlesome.com.
World of Dance: Dance competition. Sun, Oct 22, 8 p.m. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.
ONGOING LAST Bump in the Night: CHANCE A Spooky Sketch Comedy Revue: In a world full of ghoulish legislators who creep through our laws by night, here’s a chance to face your fears with laughter at the latest Mettlesome sketch comedy show, which promises to confront the real monsters of our world—Gordon Ramsay, D.C. senators, and possessed ventriloquist’s doll Jeff Sessions. $10-$12. Oct 20 & 21, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org. —Katie Jane Fernelius The Dangling Loafer: Comedy. $5. Fri, Oct 20, 8 p.m. Kings, Raleigh. www.kingsraleigh.com. Darkside: When he was commissioned to write a radio play for the BBC to mark the
fortieth anniversary of Pink Floyd’s The Dark Side of the Moon, Tom Stoppard devised this dramatic comedy, in which a philosophy student falls into a looking-glass world of philosophical thought experiments. Whimsy meets gravitas as story and soundtrack both probe diverse facets of the human experience. Pálína Jónsdóttir directs. $5-$25. Thru Oct 29. Burning Coal Theatre, Raleigh. www.burningcoal.org. —Byron Woods LAST Disney’s The Little CHANCE Mermaid: The mouse house scored instant hits with Broadway adaptations of Beauty and the Beast and The Lion King, but The Little Mermaid took longer to find its sea legs. The initial production team couldn’t quite figure out the whole underwater thing, so they stuck the actors in Heelys and called it a day. It didn’t go over very well. But by 2012, new director Glenn Casale had rearranged the songs and replaced the roller-shoes with flying harnesses, and Bob Crowley had built a new set. The forestalled Tonys, Grammys, and Broadway.com Audience Awards followed. You’ll stay for the stagecraft, which has
gadgets and gizmos aplenty, whozits and whatzits galore. But if you were a nineties kid, you’re showing up for the songs, to revel once again in the ultimate lonely-tweenager ballad, “Part of Your World,” and to marvel that you will never unremember Caribbean travesties like “Under the Sea” and “Kiss the Girl.” You poor, unfortunate souls. $30+. Thru Oct 22. Durham Performing Arts Center, Durham. www.dpacnc.com. —Brian Howe Funny Business Live: Pro comedy series. $5-$8. Fri, Oct 20, 9 p.m. The Thrill at Hector’s, Chapel Hill. www. funnybusinesslive.com. LAST Grace for President: CHANCE Play. $10+. Thru Oct 22. Daniels Auditorium, Raleigh. Hush Hush: Secret Brew: Interactive improv comedy. Thu, Oct 19, 8 p.m. Beer Study-Durham, Durham. www. thisismettlesome.com LAST ½ Romeo & CHANCE Juliet: In this Bare Theatre production, director Lucinda Danner Gainey focuses on the social schism that so divides two families they pass their hatreds down through generations. There is much to
praise in Maegan MercerBourne’s authoritative Prince, Tara Nicole Williams’s joyous Mercutio, and Emily James’s good Benvolio. But we caution companies again about the treacherous acoustics of the Forest Theatre’s stonewall stage, which left some voices doubled and others inaudible throughout the performance, adding to intelligibility problems when Juliet (McKenna Waldron) sped through certain passages. She and our Romeo (Christopher McBennett) are clearly young actors of talent, but with questionable range. I expect both will grow in this show. $10$18. Thru Oct 22. UNC Campus: Forest Theatre, Chapel Hill. www. baretheatre.org. —Byron Woods Ryan Higgins Crowdwork Show: Stand-up comedy. Sat, Oct 21, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. ½ Sleepy Hollow: Reviewed on p. 33. Thru Oct 29. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com. A Soldier’s Play: Play. $10-$22. Thru Oct 29. Umstead Park United Church of Christ, Raleigh. www.upucc.org.
The Bipeds PHOTO BY JAYCE WILLIAMS/COURTESY OF TOBACCO ROAD DANCE PRODUCTIONS SUNDAY, OCTOBER 22
SUNDAY SITES FEAT. THE BIPEDS If you caught Little Green Pig Theatrical Concern’s immersive choose-your-own-adventure, This Is Not a Novel, in March, you probably passed by two sets of Durham’s most resourceful dance artists. In one room, Stephanie Leathers wound herself in ropes while performing a durational piece; in another, dancer-choreographer Stacy Wolfson and banjo player-songwriter Curtis Eller, who together make up The Bipeds, carved out a song and dance with a chair, taunting passersby with knowing glances. This weekend, Leathers lends The Bipeds her roving site-specific platform, Sunday SITES, and lets them roll with it. “Sunday Sites featuring ______” will repeat through the fall; artists choose the place and the timespan of the performance. (The series will feature Anna Barker and Northern High School’s dance company, among others.) On Sunday, The Bipeds hold court outside Manbites Dog Theater, a gesture toward Eller’s long history with the theater and to the venue’s impending closure. —Michaela Dwyer
Join INDY Week and Farm Sanctuary for “Meet Your Neighbors: Seeing the ‘Pig Picture’ in North Carolina,” a solutions-oriented conversation about the state’s hog industry and the environmental and social justice problems it presents, moderated by editor Jeffrey C. Billman and staff writer Erica Hellerstein, co-author of “Hogwashed,” the INDY’s acclaimed three-part investigation into Big Pork. Joining them will be Gene Baur, president and cofounder of Farm Sanctuary; Rick Dove, a senior adviser to the Waterkeeper Alliance; and Elsie Herring, a Duplin County resident and activist who is currently suing pork producer Murphy-Brown LLC. There will also be a screening of the short film On the Road in Duplin County.
Thursday, October 19, 7 p.m. Carolina Theatre, Cinema One $10.50/$7.50 with valid student ID
Tickets available at the box office or at carolinatheatre.org
MANBITES DOG THEATER, DURHAM
6–8 p.m., free, www.facebook.com/sundaysites INDYweek.com | 10.18.17 | 43
page READINGS & SIGNINGS
Thu, Oct 19, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.
Kia Caldwell: Health Equity in Brazil: Intersections of Gender, Race, and Policy. Mon, Oct 23, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.
Christina Baker Kline: Orphan Train. With the Pitchforks. $30. Thu, Oct 19, 7 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com.
Wiley Cash: The Last Ballad. In conversation with Lee Smith. Fri, Oct 20, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. — Sat, Oct 21, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com. Charles Clotfelter: Unequal Colleges in the Age of Disparity. Wed, Oct 25, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Dana Coen: Dramatic reading from Twenty-Five Short Plays. Mon, Oct 23, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Jamie DeMent: The Farmhouse Chef. Sat, Oct 21, 3 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Joseph Fink and Jeffrey Cranor: It Devours! A Welcome to Night Vale Novel. $24. Wed, Oct 25, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com. David Goodwin: Left Bank of the Hudson: A History of Jersey City.
Adam Lucas, Steven Kirschner, Matt Bowers: Redemption: Carolina Basketball’s 2016-2017 Journey from Heartbreak to History. Wed, Oct 18, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks. com. — Mon, Oct 23, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com. Jeffrey Meyer: A Call to China. Tue, Oct 24, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. NCPS Reading Series: Susan Adler George, Priscilla Webster-Williams, Aruna Gurumurthy. Sun, Oct 22, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Mike Wallace: Greater Gotham: A History of New York City. Wed, Oct 25, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Heather Webb: Last Christmas in Paris. Sat, Oct 21, 3 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.
LECTURES ETC. Community Conversation with Peter Martin: Ethnobotanical Art and Mexican Culture: Thu, Oct 19, 6:30 p.m. Artspace, Raleigh. www.artspacenc.org. Educating Citizens and Reforming Generations: Historian Alan Taylor. Wed, Oct 25, 7 p.m. National Humanities Center, Durham. nationalhumanitiescenter.org. Harrison Haynes: Local visual artist and drummer discusses his work and favorite music. Fri, Oct 20, 5:30 p.m. Vert & Vogue, Durham. ertandvogue.com. Over There! Over There! America in WWI: Bill Melega. $25. Thu, Oct 19, 6 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com. Science Cafe: Tackling Postpartum Depression: With UNC’s Dr. Samantha MeltzerBrody. Thu, Oct 19, 7 p.m. NC Museum of Natural Sciences, Raleigh. naturalsciences.org. The US Constitution and Guns: Duke Law students debate a recent Second Amendment case. Tue, Oct 24, 6:30 p.m. Hayti Heritage Center, Durham. www.hayti.org.
SATURDAY, OCTOBER 21
VISITATIONS
Jaki Shelton Green, a North Carolina Literary Hall of Famer for her collections of poetry, has had many triumphs in her life. But, like all of us, she’s also had travails, perhaps none more severe than the loss of her thirty-seven-year-old daughter, Imani, to cancer in 2009. Though it took some time, Green eventually did what poets always do: she turned her grief into art in a poem called “i want to undie you.” And art, like grief, is an ongoing process, as is demonstrated in this collaboration between Green and Chapel Hill photographer Barbara Tyroler, who brings her distinct brand of lovingly abstracted photo-collage to portraits of “Imani, Back Door 3” by Barbara Tyroler Imani and her family, extending Green’s PHOTO COURTESY OF FRANK GALLERY poem into space. This special evening also features live jazz by mahaloArts’ Alison Weiner, Beverly Botsford, Robbie Link, and Shana Tucker. The group will improvise with readings by Green and audience members, who will both participate in the event and meet the artists afterward. The collaboration affirms that, though death may linger, life—that is, change—goes on. —Brian Howe
FRANK GALLERY, CHAPEL HILL | 7:30–9 p.m., $25, www.frankisart.com 44 | 10.18.17 | INDYweek.com
screen The Cinema Travellers PHOTO COURTESY OF CAVE PICTURES THURSDAY, OCTOBER 19
THE CINEMA TRAVELLERS For most of the twentieth century, going to the movies, like air travel, was cause for excitement. But in the digital age, the thrill is harder to locate, though not completely gone. In India, where cinema has been a major cultural force for more than a century, an annual, almost ritualistic tradition involves showing movies in the nation’s distant, impoverished regions. In the prize-winning documentary The Cinema Travellers, we meet three people who have dedicated their lives to sustaining these creaky mobile theaters, driving rickety trucks, maintaining crumbling analog equipment and ever-scarcer film reels, and bringing zeal to the effort to keep the tradition alive. We also meet the recipients of their efforts: inhabitants of rural India who lack wall-to-wall pixelated stimuli, for whom “the magic of the movies” is not a cliché. Watching their faces, we recover a sense of wonder, too. —David Klein THE CARY THEATER, CARY | 7 p.m., free with RSVP, www.thecarytheater.com
SPECIAL SHOWINGS Alice’s Ordinary People: Sat, Oct 21, 2 p.m. Warren Branch Library, Durham. www. durhamcountylibrary.org. Dead Again: $5-$7. Fri, Oct 20, 8 p.m. NC Museum of Art, Raleigh. ncartmuseum.org. Dracula: Sat, Oct 21, 7 & 9 p.m. SPECTRE Arts, Durham. www.spectrearts.org. Expo 67, Fifty Years On: Three short films. Wed, Oct 25, 6:45 p.m. Chapel Hill Public Library. The Hobbit: A/V Geeks. $5. Tue, Oct 24, 8 p.m. Kings, Raleigh. www. kingsraleigh.com. Hocus Pocus & Shaun of the Dead: With costume contest. Sat, Oct 21. Dorthea Dix Hospital Campus, Raleigh. My Brooklyn: The Real Story Behind the Takeover of America’s Hippest City: Tue, Oct 24, 6:30 p.m. Warren Branch Library, Durham. www. durhamcountylibrary.org. Raising Bertie: Fri, Oct 20. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.
OPENING Boo 2! A Madea Halloween— Madea and family vacation at a haunted campground. Rated PG-13. Breathe—Andrew Garfield plays pioneering disability advocate Robin Cavendish. Rated PG-13. Geostorm—Astronauts battle manmade climate calamaties in this not-so-sci-fi disaster film. Rated PG-13. Loving Vincent—The first fully painted animated film is a Van Gogh biopic. Rated PG-13. Mark Felt: The Man Who Brought Down the White House—Liam Neeson plays Deep Throat, the FBI agent who brought down Nixon. Rated PG-13. Only the Brave—A drama about the firefighters who suffered heavy losses in the Yarnell Hill Fire. Rated PG-13. The Snowman—Michael Fassbender plays Harry Hole, crime author Jo Nesbø’s beloved detective. Rated R.
A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ American Made—It’s Top Gun with Tom Cruise
flying for cocaine instead of country—fun enough, but it mostly rides on Cruise’s resilient charm. Rated R. ½ Battle of the Sexes— The true story of the 1973 tennis match between Billie Jean King and washed up champ Bobby Riggs reminds us how much common wisdom about female athletes has evolved. Rated PG-13. Blade Runner 2049— This satisfying sequel to Ridley Scott’s seminal sci-fi noir reminds us that it works best to mess with the classics when there’s actually something wrong with them. Rated R. It—Blend classic Spielberg with Stranger Things and you get this scary, heartfilled new version of Stephen King’s magnum opus. Rated R. The LEGO Ninjago Movie— Expect weak puns, weary pop-culture references, and a waning sense of discovery. Rated PG. mother!—A harrowing speed-walk through Genesis, the Gospels, and the Book of Revelation, and a lot of frustration for an explosive payoff. Rated R. Spider-Man: Homecoming—Getting back to basics, a fifty-five-year-old superhero feels like a kid again.
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misc. notices NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA WAKE COUNTY IN THE GENERAL COURT OF JUSTICE NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA WAKE COUNTY IN THE GENERAL SUPERIOR COURT DIVISION 17 SP 894FOR THE ADOPTION OF: TRISTIN MICHAEL CLARK BY: TIFFANY NICOLE CLARK and ADAM BRETT CLARK TO: ANDREW JEFFRIES TAKE NOTICE that an Amended Petition for Adoption was filed by TIFFANY NICOLE CLARK and ADAM BRETT CLARK on the 7th day of September 2017, with the Clerk of Superior Court for Wake County, Raleigh, NC, in the above-entitled special proceeding. The Petition relates to a male child born on April 1, 2017 in Raleigh, North Carolina. The birth mother’s name is TIMEKA TAI BELL. TAKE NOTICE that you are required to make defense to such pleading no later than forty (40) days after the date of the first publication of this notice, exclusive of such date. Upon your failure to do so, the Petitioners will apply to the Court for relief sought in the Petition. Any parental rights that you may have will be terminated upon the entry of the decree of adoption. This the 3rd day of October 2017. ANGELA L. HAAS NC BAR NO. 28552 ATTORNEY FOR PETITIONERS HAAS THARRINGTON, P.A. 5540 MCNEELY DRIVE SUITE 301 RALEIGH, NC 27612 WAKE COUNTY CLERK OF COURT SPECIAL PROCEEDING DIVISION (12th FLOOR) 316 FAYETTEVILLE STREET RALEIGH, NC 27601
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INDYweek.com | 10.18.17 | 45
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Pathways for People, Inc. is looking for energetic individuals who are interested in gaining experience while making a difference! Positions available are:
crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions” at the bottom of our webpage.
Full Time Day Program Instructors Full Time Art Instructor and Full Time General Instructor needed for Day Program in Cary. Monday through Friday from 9:00am – 4:30pm. Experience with individuals with Intellectual Disabilities a must and college degree preferred. Please submit resume with cover letter to Rachael at rachael@pathwaysforpeople.org. No phone inquiries please.
2 6 7 4 9 8
2 5 6
3 8 6
2 9 1 3
1
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For a list of other open positions please go to:
www.pathwaysforpeople.org
# 38
su | do | ku
this week’s puzzle level:
© Puzzles by Pappocom
There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.
4
6
8 7 4
7
8
9
4
5 2
1 2 7
6
5 6 9 3
1 59
9
7 3 1 6
1
6
8
7
3
1
4
2 5 3 2
3
# 40
8 3 4 6
4 7 5
MEDIUM 3 7 9 4 2 5 6 1 8
6 1 5 9 8 3 7 4 2
# 40
3 7 9 8 5 4 1 2 6
1 5 6 9 7 2 3 4 8
4 2 8 1 3 6 5 7 9
2 9 3 5 6 7 4 8 1
5
# 90 7 1 4 3 8 9 2 6 5
6 8 5 2 4 1 9 3 7
8 4 2 6 1 5 7 9 3
9 3 1 7 2 8 6 5 4
5 6 7 4 9 3 8 1 2
solution to last week’s puzzle
If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions”. Best of luck, and have fun! www.sudoku.com
30/10/2005
46 | 10.18.17 | INDYweek.com
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10.18.17
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last week's puzzle
s d n sta
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on
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