INDY Week 11.8.17

raleigh 11 | 8 | 2017

COTTAGE INDUSTRY For years, Raleigh residents have been lobbying the city to allow backyard cottages. Wake County says they’re an integral part of its affordable housing plan.

WHAT’S THE HOLDUP?

BY THOMAS GOLDSMITH P. 10

a new abortion attack

p. 6

the mystery of love and sex

p. 24

6 The and

8 In D leag (It’s

10 In th of fe

12 The in Pi

14 Dur peer

16 At se has r is hi

21 The Arti work

2 | 11.8.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH 6 There are only 13 abortion clinics in North Carolina— and 114 crisis pregnancy centers.

8 In Durham’s East End neighborhood, there’s a horseshoe league that goes by the name Atlantic Coast Conference.

(It’s not the one Duke and UNC play in.)

10 In the 1970s, Raleigh banned backyard cottages out of fear of raucous tenants—including college students.

12 The owners of Sweeties Southern & Vegan Catering in Pittsboro say vegan is the hottest trend in soul food.

VOL. 34, NO. 44

DEPARTMENTS 6 Triangulator 8 News 12 Food 16 Music 21 Arts & Culture

26 What to Do This Week 29 Music Calendar 33 Arts & Culture Calendar

14 Durham’s latest beer emporium stands apart from its peers because, at Pour Taproom, you pour your own.

16 At seventy-five, the jazz fusion avatar John McLaughlin has retained his dazzling guitar skills, but this tour is his last.

21 The youngest member of the Orange County Artists Guild is a high school freshman whose recent work incorporates eggshells.

The Mystery of Love and Sex is playing at North Raleigh Arts and Creative Theatre.

PHOTO COURTESY OF HONEST PINT THEATRE

ON THE COVER: David and Anita Watkins PHOTO BY CAITLIN PENNA

INDYweek.com | 11.8.17 | 3

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Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

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backtalk

Footwear Problems In last week’s paper, Thomas Goldsmith wrote about a joint meeting in which the Wake County Board of Education and Board of Commissioners tried to smooth over their differences stemming from the budget fight earlier this year.

In response, Commissioner John Burns writes: “I found the meeting to be helpful and appreciated the many points made by members of both boards, as we work to meet Wake County’s expectations for its schools within its budget and the restraints imposed by the state legislature. Politics ain’t beanbag, and there are always going to be tensions between these two constitutionally intertwined but distinct bodies. But we are working hard to work together.

“Mr. Goldsmith’s recollection of the discussion regarding telling the legislature that Wake County simply cannot comply with class-size mandates within the timeframe required by the legislature is not accurate. [County attorneys] did not speak to the wisdom of the idea; they said they could not advise on attorney-client issues in an open forum—which is what the county attorney was referring to as ‘not a good idea.’

“The question of whether the General Assembly has imposed an impossibleto-achieve mandate on the schools, which is contrary to good educational practice, is one we should continue to discuss. It may be that the right answer is ‘we understand the requirement and the goal, but we simply cannot achieve the timeline.’”

“I expect the elected leadership of Wake County to move through the ‘bumps and cuts’ of personality quickly and to get to the business of providing a quality education to Wake public-school children—my own grandchildren among them,” writes Randall Kent Stagner. “Should the NCGA be ‘flouted’ in that process, so be it.”

Last week, we also reported that Durham City Council member Cora Cole-McFadden had plagiarized portions of her response to the Durham People’s Alliance questionnaire. (The INDY goes to press on Tuesday afternoon, so we don’t know whether Cole-McFadden won her reelection bid.) Robin Cubbon doesn’t see what the big deal is: “I just can’t get worked up over this. To me it is running a red light. It ain’t

great, but I think it was something that didn’t get followed up on. When brought to her attention, she didn’t deny it, and that counts to me.”

Dolly Butler disagrees: “Cora could have taken more time out of respect for good government and people of Durham. These are the things that we must not just let slide, but [we should] hold people accountable for.”

Robb Fluet adds: “This is another case of Cora being Cora. While Cora has done some fantastic things in the city, her time may have been passed by.”

Moving on. Christina Stableford objects to the Raleigh cover of last week’s Style issue.

“I’m glad [cover model] Natalie Drennon thinks her patent leather mini-satchel is the ‘cutest thing alive,’ because her choice of footwear is disastrous,” Stableford writes. “While highlighting the constraining and constricting historical female fashions in N.C. History Museum’s exhibit, the INDY chooses to prominently feature the current version of same on its cover: constraining and constricting footwear for women.

It is beyond ironic to pair the photo of a woman displaying this type of nonsensical and potentially dangerous footwear with the subheadline, ‘How to dress like a human in the Triangle.’ What ‘human’ activities might a woman wearing pointy-toed high-heeled booties engage in without risking severe mishap?

Doing a little gardening? Not. Joining a protest march (or even toppling a Confederate statue)? Not. Taking a hike through the woods on a sunny day? Not. Serving the hungry in a food kitchen? Not. Running through an airport with a laptop bag and suitcase in hand?

Not. Posing as a nonfunctional display ornament or toddling toward that reserved seat in a pricey restaurant? Perfect!

“Shame on you, INDY, for using visual imagery to reinforce the idea that the fashion-conscious woman happily accepts foot pain, spinal misalignment, and constraints on her ability to function ably in the world as the price for visual validity.”

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showcase and sale event offering lovely seasonal fashions for body, home, and spirit.

Come early for first dibs on special winter clothes, accessories, furniture, and decor!

“Should the General Assemly be flouted, so be it.”

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

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U O Y R O r F o t a l E u g S n a i O tr O H C L ’ L Y E H T L

ast week, the House Judiciary Committee held a hearing on the GOP’s latest pet project: The Heartbeat Protection Act of 2017, a sweeping anti-abortion bill that would effectively ban the procedure after a fetus has a detectable heartbeat, which can occur as early as six weeks into a pregnancy. If passed, it would basically criminalize abortion at six weeks—which, according to bill sponsor U.S. Representative Steve King of Iowa, is pretty much the point.

“If the heartbeat is detected, the baby is protected,” King said during the hearing’s opening statements. He also brought along a sonogram machine, and narrated the sounds of a fetus’s heartbeat for dramatic flair.

The bill has 169 cosponsors to date— all Republican, save for one Dem from Minnesota—including nine of the ten House Republicans from North Carolina (we’re going to assume Virginia Foxx missed the memo).

It’s unlikely to go very far. Even if it does pass the House, it probably won’t clear the Senate—and if it did, it likely wouldn’t pass constitutional muster. Heartbeat laws violate the protections established in Roe v. Wade, which stipulate that states can’t ban abortions before fetal viability, which usually occurs around twenty-four weeks.

Symbolic though it may be, there’s still a purpose behind this effort. After all, the more extreme the anti-abortion bill, the less extreme others may seem by comparison. That could galvanize anti-abortion lawmakers to introduce even more extreme legislation on the state level—including in North Carolina, which already has some of the strictest abortion regulations in the country.

6 | 11.8.17 | INDYweek.com

ABORTION IN N.C.

13: abortion providers in the state (8 independent clinics, 5 Planned Parenthood clinics) 114: crisis pregnancy centers in the state 29,960: abortions in 2014, a 3 percent increase from 2011 90: percentage of N.C. counties without an abortion provider 53: percentage of N.C. women who live in those counties 72: hours a woman must wait after receiving state-mandated information before getting an abortion 1: transvaginal ultrasound a woman must receive before getting an abortion (the provider must also give the woman the option of seeing the ultrasound image)

20: weeks after a woman’s last menstrual cycle after which most abortions are banned ABORTION IN THE U.S.

926,000: abortions in the U.S. in 2014 75: percentage of women having an abortion who were economically disadvantaged 18: percentage of U.S. pregnancies that ended in abortion in 2011 92: percentage of abortions performed at 13 weeks or less of gestation 1.3: percentage of abortions that occur after 20 weeks 8.9 per 1 million: deaths following an abortion performed after 20 weeks 1 per 1 million: deaths following an abortion at 8 or fewer weeks 1: percentage of abortions performed in the third trimester

+ WAKE’S GOLF COURSE QUESTION

The crowd of people in matching green T-shirts at Monday’s Wake County Board of Commissioners meeting left with their mission—approval of a new county park in Fuquay-Varina—partially satisfied.

Commissioners ended more than four hours of discussion by voting 4–3 to enter into an agreement to begin a multimillion-dollar conversion of the former Crooked Creek golf course into a county park.

But many caveats remain—from the dismissal of pending lawsuits, to the negation of restrictive covenants on the land, to a satisfactory environmental assessment, and more. In addition, the acquisition is not outright; instead, it comes in the form of a lease-purchase agreement with the nonprofit Conservation Fund.

“If we don’t take advantage of opportunities like this, we lose them,” urged Commissioner Matt Calabria, who has spearheaded the drive for the park.

Commissioner Jessica Holmes, however, pointed out that the county has many other needs that could use millions of dollars in funding—homelessness, mental health treatment, veterans’ issues, and troubled schoolchildren, for starters.

“There is still on the table an unanswered nine-point-nine-million-dollar request to provide students with counselors and social workers,” Holmes said, referencing a Wake schools budget request that went unfulfilled in the current budget year.

Commissioner James West, meanwhile, pointed out that the county has a problem with upward mobility, which keeps many Wake County residents down.

“In Wake County if you’re born poor, you stay poor,” West said.

During the public comment period, Paulette Jones Leaven, with the North Carolina Association of Educators, noted that the commissioners voting on the park had decided in June against fully funding the county school board’s request for the current school year.

“Meanwhile, here on the agenda I see a fifteen-million-dollar upfit to convert a golf course to a county park,” Leaven said.

Holmes, West, and Commissioner Greg Ford ultimately voted against the motion.

The county estimates that it will take $23.4 million to buy the property, renovate it to county standards, and operate it through 2022. In voting to approve the project, commissioners overruled their own parks staff, which opposed the purchase, citing legal questions and competing priorities.

However, the packed meeting room held more than two hundred residents who have fervently pushed for the park. Some gave impassioned speeches painting the park as a spot for community relaxation; others said it could be home to a facility for children with autism.

“I think it’s pretty clear here what the people want,” park booster Ron Nawojczyk told commissioners. “People are here pleading with you to give us a safe place to exercise and relax.”

+DURHAM’S HQ QUESTION

Retail, office, green space, and housing are among the uses being pitched for the Durham Police Department’s current headquarters.

The building will be vacant beginning in fall 2018, when the police department moves into its new complex on Main Street.

A team of real estate, design, and development consultants have been surveying the public on how to use the four-acre site and will present two concepts to the city council during their Thursday work session.

Both options—which are working concepts intended to jump-start the design process—include market-rate housing, a small amount of affordable units, parking, office space, retail, and a park.

One scenario updates the existing building, which was designed by the mid-century modernist architect Milton Small and built in 1958 to serve as the office of Home Security Life Insurance. Preservation Durham, Preservation NC, and the Durham Appearance Commission support this idea.

The second demolishes the headquarters. It’s more expensive than the first option (about $99 million versus $70 million), but it would bring in significantly more revenue and create more jobs.

On Thursday, city council members will provide feedback on the use of the space.

The next step will be to find a developer. triangulator@indyweek.com This week’s report by Thomas Goldsmith, Sarah Willets, and Thomas Goldsmith.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 11.8.17 | 7

indynews

Horseshoes and Hand Grenades FOR TWO DECADES, DURHAM’S EAST END NEIGHBORHOOD HOSTED HORSESHOE TOURNAMENTS WITH NO COMPLAINTS. THEN DEVELOPERS MOVED IN.

BY SARAH WILLETS

O

n Wednesday night, a small group gathers beneath an orange streetlight at the corner of Gearwood Avenue and Drew Street in northeast-central Durham. Their number fluctuates throughout the evening, as more people appear from the darkness, knowing this is where they can find their friends after work.

Behind them is a gravel portion of Drew Street that extends maybe half a block beyond Gearwood and dead-ends at a fence separating the residential street from what used to be East End School, which opened in 1909 to educate black children and now houses the Bethel Family Worship Center.

It may not look like much, but for about twenty years this has been not only a gathering place for this community, but a hub for a little-known sport in the Bull City.

“Anybody that plays horseshoes in Durham has played right here on this dirt,” says Derrick Gibson, who grew up down the street and has played horseshoes for about fifteen years.

More recently, though, the neighborhood around the horseshoe pitch has changed.

It’s a scene you can find all around downtown Durham as the city’s population grows and new homes and new residents move into traditionally affordable and often historically black neighborhoods. But for those with long-held ties to this area, it feels like a siege—and it’s closing in on the core of this neighborhood. The pitch now sits between two homes under construction and another that just sold for $430,000.

The developers behind these homes have been appealing to the city council since at least April in an attempt to stop the games, saying they draw large, rowdy crowds that turn off potential buyers, clog up the residential street with cars, and create unsanitary conditions just feet 8 | 11.8.17 | INDYweek.com

from the homes they’re constructing. But members of the horseshoe league, who deny these allegations, say they’ve had no complaints until now.

So far, the city, which controls the property thanks to a fifty-year-old record-keeping snafu, has not stepped in. On Thursday, the city council is expected to hear from staff members tasked with learning more about the conflict, as well as people on both sides of the issue. In the meantime, the league has moved most of its equipment into the yard of an adjacent home owned by the church.

“Before we go in and do something very governmental,” says deputy city manager Bo Ferguson, “we want to be sure that’s something we believe is in the best interest of the community, and we still haven’t gotten to that determination yet.”

T

Derrick Gibson, manager of The Intimidators

PHOTO BY CAITLIN PENNA

his neighborhood, known as East End, is wedged between two of the most drastically appreciating parts of the city—Cleveland-Holloway and Old North Durham. Gibson, who still has family on the block, estimates that half of the neighbors he grew up with have left, most in the past two years. Some passed away, some sold their homes, others who rented moved when their landlords sold.

“Everybody on this street that owns their house has been made an offer,” he says.

“This neighborhood has always been affordable for a lot of African Americans and minorities in Durham,” adds Rommell Shipman, who grew up staying with family members who still live around the corner.

“To me, it’s really important because our forefathers and our grandfathers and our grandmothers had to fight through a larger battle to get to where we are today.”

Not everyone who plays or watches horseshoes on Drew Street lives there. But most

have some connection to the place, whether they grew up there, have family there now, or have just been coming to games in the neighborhood for years. Many players got their start on the Drew Street pitch, even before it became part of what they call the Atlantic Coast Conference horseshoe league. (It’s not affiliated with the collegiate conference of the same name.)

“That’s where the competition came to play,” says Ronald Davis, who’s been playing about fifteen years. “That’s where anybody that was anybody was playing.”

The league consists of eight teams, five based in Durham. Players estimate the league includes about one hundred players, men and women ranging in age from eighteen to seventy. Each team has a home court, and games rotate between the sites. The Intimidators claim the Drew Street pitch and are managed by Gibson.

The players are competitive and treat horseshoes as seriously as any sport, trash talk included. This was on display Saturday as members of the Atlantic Coast Conference took on players from a Charlotte league at another Durham site in a backyard off Club Boulevard.

Gibson negotiated the rules with the visiting teams and tracked each of six games in a hand-drawn bracket. Reggie Kersey, who lives across from the Drew Street pitch, grilled up what looked like a hundred chicken wings while also keeping score for his team.

A thirty-plus-year player who goes by the nickname Jackie Boy tied a blue bandana around his eyes and pitched blind. He missed two with his eyes covered, but, sight restored, promptly tossed three ringers.

“I’ve seen him do it before,” Gibson said with a giddy smile.

T

he neighboring property owners don’t necessarily object to the horseshoe games, but rather to the noise, traffic, and litter that come with them.

John Little, one of the men behind the company building on adjacent properties, denies that this conflict is between longtime and new residents, citing cars he sees parked on the small residential street when games are held. He believes the city hasn’t taken action for political reasons.

“There are sympathetic people on the council to the diminishing demographic in this area, and the problem is the people who play in the pits do not live in the neighborhood,” he says. “If it was a few people who live in the neighborhood playing, I probably wouldn’t say anything except quiet down and stop throwing beer cans on my property.”

He also takes issue with a recently removed improvised toilet at the site that funneled urine underground through a PVC

James Mitchell, commissioner of the horseshoe league pipe. Little says he offered to pay for new pits to be built in a nearby park but was turned down. (Players who spoke with the INDY say they were asked about the prospect of moving, but they weren’t aware of an offer to pay.)

Both sides say they’ve been threatened by the other. Little says other neighbors have complained to him but are “too afraid to speak up.” Little and George Bailey, his colleague at J&G Transmogrify Homes, say they’ve called police more than a dozen times.

Lubo Panagonov, who moved into the new house next door about a month ago, says he was unaware of the games when he and his wife bought their home. An immigrant from Bulgaria, Panagonov says he doesn’t want to disrupt neighborhood customs, but the traffic, drinking, and profanity-laden music he says are part of these gatherings are a separate issue.

“If it’s about people having a tradition of getting together, I’m absolutely for that,” he says. “But we’re talking about something that’s a nuisance.”

In Little’s view, the games never should have been allowed to become a tradition in the first place. The land was supposed to be turned over to the neighboring property owners in 1965, when the Durham City Council voted to abandon that portion of Drew Street.

But according to deputy city manager Bo Ferguson, an order to abandon the property

PHOTO BY CAITLIN PENNA

was never recorded, so it remains under city purview. Now Little feels like he is being asked to fix a mistake that wasn’t his. Little can petition to close the Drew Street excess, but needs the support of adjacent property owners—and he doesn’t think it’s fair for him to pay for that process. If the city doesn’t act, he says he’ll take action in court.

“The city has the authority to remove obstructions in the right of way,” Ferguson says. “It does not have an obligation to do so.”

Ferguson said last week that no decision had been made, but it doesn’t appear the games are impeding any use of the rightof-way or presenting an immediate safety threat.

City staffers have found players and longterm residents “had zero complaints or problems” about the gathering. A representative from Bethel Family Worship Center said the same, according to a city memo.

C

ity council member Eddie Davis is hoping to find a middle ground. After hearing complaints about the gatherings, he went to one this summer. He says he was promptly offered a horseshoe and a beer, both of which he declined.

Davis says his concerns about the gatherings stemmed from whether there was illegal, unsafe, or unsanitary activity happening on city property. He doesn’t see this as a conflict of gentrification and argues that

dismissing it as such obscures whether the Drew Street site really is an appropriate location for these gatherings.

Davis would like to see the pits moved to a nearby park—or better yet, a dedicated facility where horseshoes can be “elevated” to a major Durham attraction.

“Let’s make Durham the horseshoe capital of North Carolina,” he says.

The players who spoke with the INDY, however, aren’t interested in relocating the Drew Street pitch. Their games sometimes go too late for park hours, and they worry about competing with other groups for the pits, especially during the busy tournament season. But in a broader sense, they feel like they’re carrying the torch for other changing neighborhoods with their own traditions.

“It’s kind of sad to get run out of your own neighborhood. Our families are here and our friends and our relatives. That’s why we come here. Where else are we going to go?” asks Mac Holman, who lived a few blocks away on Gurley Street for about twenty years and is among the league’s best and longest-playing members.

A dedicated facility though, where all Atlantic Coast Conference teams could play whenever they want, is something they’ve been dreaming of.

“That’s a lot bigger than us,” Gibson says.

“It would be best for the league.” swillets@indyweek.com INDYweek.com | 11.8.17 | 9

news

Cottage Industry

FOR YEARS, RALEIGH RESIDENTS HAVE LOBBIED THE CITY TO ALLOW BACKYARD COTTAGES. WAKE COUNTY SAYS THEY’RE AN INTEGRAL PART OF ITS AFFORDABLE HOUSING PLAN. WHAT’S THE HOLDUP?

BY THOMAS GOLDSMITH

C

all them backyard cottages, granny flats, or detached units—small, livable additions on the same lot as a first house, but unconnected. They’ve existed in some form or another in North Carolina since colonial times and were widespread by the 1800s. In zoning jargon, they’re known as accessory dwelling units, or ADUs. Some Raleigh residents have been lobbying the city since at least 2011 to allow them—for themselves, for renters, or for family members in need of a place to live.

“We’ve gotten questions from people who are interested in building them,” says Charles Dillard, of Raleigh’s long-range planning division. “They’ll say, ‘My mother lives alone and is in her eighties. We want to see if we can build an ADU so she could live with us, but not in the same house.” There’s also room in ADU World for millennials, Dillard adds: “There are millennial children who can’t find jobs, or can find jobs but can’t afford their own dwelling.”

Durham, Charlotte, Greensboro, Asheville, and several other cities across the state and nation have long allowed backyard cottages. In Portland, Oregon, nearly 11 percent of all residential permits between 2009 and 2015 were for ADUs. In California, the legislature passed a law this year requiring cities to allow backyard cottages.

Raleigh is an outlier. And some people want to keep it that way.

Opponents say the units could crowd older neighborhoods and streets, leading to raucous renters, light pollution, and the loss of privacy. Though it’s difficult to put a number on it, some Raleigh houses have ADUs that are grandfathered in because they were built before the city banned the dwellings in the 1970s. The council is said to have passed that ban out of fear of boisterous tenants—including college students.

10 | 11.8.17 | INDYweek.com

Mordecai residents David Cole (L) and David Watkins want to build ADUs on their property.

The issue last came before the city council four years ago. Opponents argued then— successfully—more about the specifics than the overall concept: the city’s proposal would allow too many people to cram into the cottages, wouldn’t ensure construction quality, and had setbacks that allowed the buildings to be too close to other residences. Neighbors also wanted to make sure the design of the new cottages aligned with nearby houses.

Last month, Wake County approved a plan designed to slow the annual loss of nine hundred affordable units to live and to help meet the estimated demand of thirtyseven hundred units. The county’s proposal says the introduction of backyard cottages across Wake could result in as many as five hundred new units a year. To boost affordable housing, the county says it wants to “encourage municipalities to change zoning to enable the construction of ADUs … in sin-

PHOTO BY CAITLIN PENNA

gle-family or low-density neighborhoods.”

For that to happen, the Raleigh City Council would have to change the city’s unified development ordinance. Previous efforts to do so in 2011 in 2013 have gone nowhere. (In 2013, only city council member Bonner Gaylord voted for the change; last month, he lost his reelection bid.) Given council approval, residents would have to set up a district, or overlay, of at least fifteen acres and garner the support of a majority of residents.

“My concern is that I’m the one who’s going to have to go around and collect signatures,” says Philip Bernard, a member of the Mordecai Citizens Advisory Council. “As for me personally, I think there is a plethora of possible uses for it.”

ADUs’ relevance to affordability goes beyond simply building an affordable rental unit. Empty-nesters could live in a cottage on their own lot while renting out their former primary residence, Bernard points out, thus generating an additional source of retirement income.

Backyard cottages can cost from $50,000 on up and range from about five hundred to eight hundred square feet, according to Dillard. (They are not tiny houses, which are more typically about 250 square feet.) For proponents, they’re a means of increasing urban density and offsetting the fact that Raleigh, especially close to downtown, is running out of land for new development.

Indeed, the success of Raleigh and Wake County’s long-planned mass transit program will rely on more transplants moving into dense urban areas.

and design after the council rejected ADUs in 2013.

“I do support ADUs and the proposed ADU overlay,” Roholt told the council in July. “I think more restrictions need to be put on ADUs.” She asked that the city limit ADUs to one story, impose restrictions on lighting, top out square footage at six hundred square feet, and include landscaping requirements.

Those things aren’t currently included in the latest iteration of the ordinance. Neither is parking: backyard cottages would not be required to include a parking spot. Residents could park on the street and walk to their houses.

Whereas Roholt wants the city to keep a tight leash on ADUs, Stuart Cullinan, a Raleigh builder who lives on Heck Street near Oakwood Cemetery, thinks those rules could prevent people from building them altogether.

“I have two parents in their seventies. and thinking about senior care and aging in place are high things that are important to me,” Cullinan says. “I think as written [the ordi-

PEt of the WEEK

“I’m not totally convinced that that’s an affordable housing piece.”

The city’s latest proposal calls for ADUs to include a living room, sleeping area, kitchen, and bathroom, and a lockable entrance door; no more than one ADU per lot; and no more than two unrelated people per lot, among other restrictions. In July, the council held a public hearing and then parked the ordinance in its growth and natural resources committee, where it sits today.

Council member Kay Crowder, who chairs that committee, says members will eventually give the ordinance a hearing, but only after they discuss ordinances that affect projects set for construction in the near term.

“I’m not totally convinced that that’s an affordable housing piece,” she says. “Affordable housing is very complex, and there are a lot of elements that make it up. That’s not to say that in a complete comprehensive plan, ADUs couldn’t be part of the solution.”

The Mordecai neighborhood north of downtown Raleigh has become a testing ground for opinions on expanded cottages.

If the city alters the UDO this year, Mordecai would likely become the first neighborhood to designate an overlay, or an area in which residents could vote on the units.

Mordecai Drive resident Sarah Roholt was part of a group of neighbors who worked with N.C. State design students and others to wrestle with questions of size, function,

nance] has taken a lot concerns into account.

I’m concerned that it gets so overburdened with exceptions and rules [that] it winds up not being a viable choice for different folks.”

Tom Barrie, a professor of architecture at N.C. State, was also a member of the Mordecai project. He also favors the ordinance but says he understands “why we have ended up with somewhat divergent opinions regarding the ordinance.”

Barrie points out that the city’s planning commission passed the proposal unanimously, and 75 percent of 176 Mordecai residents surveyed liked the idea. In addition, he says, Raleigh’s ADU measure would align with other cities’ guidelines in terms of height limitations and the absence of landscaping requirements.

Six years after the first introduction of a backyard cottage measure to Raleigh City Council, there’s yet another potential snag.

In Mordecai, at least, some residents want to be able to customize requirements instead of using one-size-fits-all guidelines.

“Mordecai may or may not decide to request this, and I would hope that they would be able to request changes that reflect the special conditions of their neighborhood,” Barrie says. “There is measurable evidence that ADUs work.” tgoldsmith@indyweek.com

PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

Cheerio! My name is ALBUS, and I am a majestic Lionhead Rabbit.

I’m looking for a magical new home where I can spend time cuddling with my humans/muggles, and enjoying fresh vegetables and hay. Hop over to APS to meet me!

For more information: apsofdurham.org/other_animals/albus/ If you’re interested in featuring a pet for adoption, please contact advertising@indyweek.com

INDYweek.com | 11.8.17 | 11

indyfood

SWEETIES SOUTHERN & VEGAN CATERING

919-428-9925 www.sweetiescateringnc.com

The Anti-Racist Caterer

SWEETIES CONSCIOUSLY CONNECTS SOUTHERN AND VEGAN CUISINE

BY VICTORIA BOULOUBASIS

S

Michael and Stephanie Terry of Sweeties Southern & Vegan Catering with their step-son, Christopher PHOTO BY CAITLIN PENNA

tephanie and Michael Terry sit at the coop cafe in Chatham Marketplace, wearing matching chef ’s coats.

Michael’s is a standard white coat. Stephanie wears a deep cherry red color. The married chefs are sitting across from each other at a table, having a spat because I asked them about grits.

“Oh, that’s a big argument,” Stephanie says, laughing.

“It’s just a Southern thing,” retorts Michael, who was born and raised in Southern Pines.

Stephanie grew up in New York, eating her mother’s take on soul food.

“But how do y’all fix your grits?” I ask.

Michael narrows his eyes playfully on Stephanie and releases a quick sigh. “I let her fix them.”

“It’s because mine are better!”

The Terrys own Sweeties Southern & Vegan Catering, which just last month began officially working out of the kitchen at Chatham Marketplace in Pittsboro.

12 | 11.8.17 | INDYweek.com

Stephanie started cooking and catering fulltime in 2014. Michael is culinary-trained, working in kitchens through college as he slowly wrapped up his studies as a geography major, where, he says, “the more I learned, the more I became intrigued with the food [from other parts of the world].” The couple married a year ago, and dove into business together.

In October, Stephanie spoke on a soul food panel at Terra Vita Food and Wine Festival in Chapel Hill. She was joined by fatherson pitmasters Ed and Ryan Mitchell, who eloquently explained the value of good pork and the joy and precision of cooking with fire. Stephanie admitted she doesn’t eat pork anymore, but stood firm that her food— especially the vegan offerings—is rooted in the Southern traditions.

Claiming similarities within this juxtaposition of two culinary styles—vegan and soul food—may seem far-fetched to modern eaters. But the two have proven to be more connected than we think.

Next to Stephanie sat Adrian Miller, a selfproclaimed “soul food scholar” who wrote the book Soul Food: The Surprising Story of an American Cuisine, One Plate at a Time.

“Everywhere I go,” he said,” I tell people this: vegan is the hottest trend in soul food.”

On a national level, this is evident, especially as Southern food reclaims its position in the culinary world as an expression of not just tradition but high-level technique, and the epitome of seasonal cooking.

It’s a trend we should honor, especially here in North Carolina. And one we should give credit where it’s due.

Miller told the audience that, through this research and his observations, he noticed that, “outside of the South, a lot of soul food restaurants are closing. People are at a point where they are retiring. We’re also in a situation where neighborhoods are gentrifying and pushing black restaurants out.”

Back at Sweeties, Michael is on the same wavelength.

“It’s important for people to see a black couple running a business,” he says.

Prior to cooking full-time, Stephanie worked as a community organizer with Organizing Against Racism (OAR), a North Carolina-based organization. In 2012, Stephanie attended a ten-day leadership summit for community organizers by the Industrial Areas Foundation in Chicago, the same training given to a young Barack Obama.

“We call ourselves the anti-racist caterers,” Stephanie says of her business.

Sweeties caters most of the OAR workshops around the Triangle and in the Triad. She says it’s a fuel she feels honored to provide to participants spending long days doing emotional work for the community.

Stephanie isn’t a strict vegetarian.

Growing up, her dietician mother worked for New York City public schools and hospitals.

Her family ate healthily with foods from scratch (“we always had a starch, a green vegetable, and an orange vegetable on our plate”), reserving sprawling Southern meals for Sunday supper. Stephanie’s journey to veganism began during her first marriage. She married a Muslim, and the two of them had five children together in a vegetarian household in Pennsylvania.

“It was a journey and it was an education,” Stephanie says. “I found myself longing for the familiar foods of my Southern roots, and I was also trying to feed a growing family.”

She scoured the public library and copied recipes out of cookbooks.

“But I’d try the recipes and a lot of them didn’t taste good. I went on a quest. How can I make this sweet potato pie that does not use eggs and butter taste like the sweet potato pie I grew up eating? It took years.”

She began with baking, familiarizing herself with healthier substitutes: Date sugar for brown sugar. Brown rice syrup for corn syrup. Coconut milk instead of dairy.

Sometimes flaxseed meal for eggs.

A CELEBRATION OF GOOD. BLACK. FOOD.

Sweeties’ vegan German chocolate cake PHOTO BY CAITLIN PENNA

She also credits a network of Muslim women who would grow and shop for food together. “I was a woman in my twenties trying to make steak and gravy. I discovered bulgur. If you sautée some onions, you moisten it with some bread crumbs, brown your flour like a roux, make an onion gravy, put in some vegetable bouillon, you can have some nice Salsibury steak with gravy. And a pound of bulgur is less than a dollar, for whole grain fiber that’s good for you. It fascinated me that you can eat healthy and you can eat Southern.”

Today, Sweeties caters to all preferences, often using turkey in popular Southern dishes instead of pork. Stephanie’s vegan cakes are sly ones, so creamy and ambrosial that you forget about the butter.

She’s currently working on packaging her vegan butter, a secret recipe. Even the mac and cheese, though light, and the barbecued jackfruit—tangy, rich—has you going back for seconds.

Before finding footing back in the South as a community organizer and caterer, Stephanie hit a rough patch. After her divorce, the strain of supporting a family as a single mother led her to living in a homeless shelter for a year in Florida in 2001. She spoke out about the subpar living conditions at the home, which was underfunded and understaffed. Soon she found herself at a conference table with then-president George W. Bush and his senator-brother, Jeb, staking claim as a homeless mother and demanding better conditions. This was the start of her organizing—and her determination to live life on her terms.

“There are historical roots in economic inequity,” she says today. Sweeties strives to pay a living wage and to hire employees who have a harder time finding work, including people with criminal records and the disabled.

After surviving two heart attacks and a stroke and living with type 1 diabetes, Michael feels it’s serendipitous that he

met Stephanie, who nourishes him with healthier food and an optimistic mindset. He combines his culinary skill with memories of a Southern childhood—jars of kraut crowding his grandmother’s living room, hunting deer and foraging sassafras with his uncle—to re-create classics like fried chicken, with real meat and substitutes alike. Sweeties caters the meatless Monday buffet at both the Durham Co-op and Chatham Marketplace.

At the soul food panel, Miller highlighted segregation in restaurants before the civil rights era as a tool to disarm human empathy.

“It’s because when you sit at a table with someone, you can’t not recognize someone’s humanity. And when you cook for someone, you are worried about their survival.”

Sweeties is born out of survival, too, and Stephanie shares her vision of an equitable society through her own experiences, one bite of vegan sweet potato pie at a time.

“To be able for this to be my life is incredible.”

Swelling with new restaurants, our cities are bursting with a variety of flavor. Even so, the ownership demographics are skewed.

“There seems to be such a gap in equity and who is getting all the business in the way downtown Durham is changing,” says Erika Smith.

Erika and her sister, Courtney, started Piri (www.piridurham.com), their new family-owned catering business, to combat this evolution. Piri boasts the tagline, “Good.

Black. Food.”

Piri has been taking private gigs since last November, but it officially launched last month at Durham’s Third Friday.

Born and raised in the South, with some travel abroad, the Smith sisters honor their Morganton-born great-grandmother, Sudie Kincaid, with a menu that serves collard greens, “3 cheese mac,” and, soon, an apple-pear sauce that they grew up eating at her table.

“Our idea of Southern is wider because mac and cheese was a treat,” says Courtney.

“Most of what she cooked wasn’t full of fat or sugar. On our menu we do try to incorporate influences that are Southern gourmet, but not laden with pork fat.”

The menu includes lunch and dinner portions of meatloaf, coconut chicken with rice, marinated flank steak, seafood specials, and vegan options.

“The exciting thing is reconnecting to the different experiences we have across the African-American diaspora, how we all have similarities on some level,” Courtney says of the new venture. “So much of what we connect across this experience is that we share being descendants of enslaved folks. Getting little bits and pieces of inspiration from that and tying it back to my roots here in the South.”

Courtney is a baker at Loaf, but she started Piri with her family as a way to get back to cooking over the stove, where her culinary pursuits began years ago.

She stresses seasonal cooking. Erika points out that sourcing local ingredients prioritizes “the farmers who have been here for generations, especially disenfranchised farmers of color.”

On Saturday from eleven a.m. to threethirty p.m., Piri will be serving food on the sidewalk outside of at Exotique on Main Street in Durham. They’ll be back at the space above Loaf on November 17 for Third Friday. food@indyweek.com INDYweek.com | 11.8.17 | 13

food

POUR TAPROOM

202 North Corcoran Street, Durham durham.pourtaproom.com

Pour Choices

IS SELF-SERVICE BEER THE NEW TRENDSETTING SOCIAL NORM?

BY MICHAEL BURROWS

I

n most respects, Pour Taproom has much in common with the new generation of Durham bars. Except, of course, that Pour invites you to step up to the tap and pour your own beer.

Walking in, you’re seemingly in the center of a dining hall in a small Scandinavian airport, with your face to a wall of beer taps and your back to a cash register. Light pine covers the place, with low, four-person wooden booths along the sides and taller communal tables in the center.

For your access to the sixty-plus beers on tap, a cashier hands you a rubber electronic bracelet that you scan at the tap before each pour. Some nights, the bar hosts social events (like cornhole, trivia, and bands), taking advantage of the ample public space outside.

A bar’s spirit is usually manifest in its physical self and the personalities of the people servicing it. So what to make of a bar that asks you to pour your own drink? What is the essence of a self-service bar?

Maybe the beer, which is good. I drank a fresh Bookworm IPA from Foothills Brewing which, at forty-five cents per ounce, came to around seven dollars for a sixteenounce pour (similar prices to Alley Twenty-Six or The Durham, but a dollar or two pricier than many nearby spots). But in a craft beer town like Durham, good beer isn’t exactly a rarity. It’s worth delving deeper into what Pour is trying to offer from its central downtown location.

It’s not the physical space. The Americana-meets-IKEA interior is inoffensive, multipurpose, and capable of hosting a few large groups or many smaller ones. But with a combination of exposed bench seating, wide windows, and unusually bright interior lighting, Pour lacks the physical comforts most bars offer.

“The variety and freedom that you deserve!” touts the bar’s website, clarifying how we are meant to engage with the taproom. Like much of Durham’s new development, Pour views itself as an openended, do-it-yourself consumer experi14 | 11.8.17 | INDYweek.com

Pour your own pint at Durham’s newest taproom. PHOTO BY CAITLIN PENNA ence. (The chain, though, has outposts in six other Southern cities and one in Santa Cruz, California.) You’re unlikely to make it through most of the beers on tap, but if meandering through the many dozens of options to land on a few choice discoveries sounds appealing, then you—like the gleeful out-of-town customers under observation at the time of this writing—will have a great time.

Pour plays to a specific consumer fantasy: that an experience is authenticated by one’s perceived control over it. The actual range of choice might be the same as that of a normal bar, but here the luxury of service is overshadowed by a direct link between person and alcohol.

Are there any meaningful costs to this experience, or is it just a question of aesthetic preference?

The standard bar—putting the establishment at the physical and interactional center of the consumer experience—offers some distinct social characteristics. One might, for example, sit at a counter alone without feeling ostentatious, drink and read a book without feeling exposed. Social groups intersect—and grow or shrink— while ordering and waiting for drinks. The bartender could be a temporary friend, a begrudging counselor, or an ultra-local celebrity. To those who acknowledge and appreciate those roles, the social alienation of bar and bartender from consumer is notable and probably troubling.

And what about the alienation of bartender from bar? Pour isn’t listed as a member of the Durham Living Wage Project, and it’s difficult to imagine that the tip jars complement hourly pay by much. We progressive consumers bemoan the un- and underemployment generated by broader trends in automation, but it is undoubtedly odd to freely take on the work of Durham’s hospitality workers, and to consciously self-automate a simple, transactional process that has for centuries tethered people and classes together.

Pour might be a unique experience in a modern, diverse Durham that aims to please every sort of consumer, or it might hint at the future of social life in a town now wellknown for trend-setting. Maybe it’s just in the past that we went to the bar to be served a beer or two. Today, we stop in to pour ourselves a drink. We pay a premium for a new control probably few of us ever asked for but are encouraged to embrace by peppy signs, cheerful staff, and a vaguely folksy feel.

What about the future? Perhaps what we truly seek is the entirely deconstructed beer experience—some hours of unpaid labor in the alehouse to earn the privilege of purchasing a few nice drinks. It is not an intuitive decision—paying more for less, under the presumed auspices of freedom and choice.

Still, it is an undoubtedly modern and American one. food@indyweek.com

A TASTE OF ETHIOPIA

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N OVE M B E R

TH 9 DEADPHISH ORCHESTRA W/MARADEEN 7:30P

FR 10 GOBLIN SA 11

W/MORRICONE YOUTH 8P

SISTER HAZEL W/JD EICHER 7P

SU 12 THE MAINE

W/DREAMERS/ NIGHT RIOTS 6P

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indymusic

JOHN MCLAUGHLIN & JIMMY HERRING Sunday, Nov. 12, 7:30 p.m., $10–$85 Durham Performing Arts Center, Durham www.dukeperformances.duke.edu

Fusion Farewell

AFTER HALF A CENTURY OF GROUNDBREAKING GUITAR WORK, MAHAVISHNU ORCHESTRA’S JOHN MCLAUGHLIN LOOKS TOWARD RETIREMENT

BY JIM ALLEN

W/ LUKE CHRISTOPHER 7P

THE ORIGINAL WAILERS 7:30P EKALI W/JOSH PAN/Y2K 7P DOPAPOD & THE MOTET 8P MIPSO W/LIL SMOKIES BROTHERS COMATOSE 8P

SA 18 ID W/WAREZ /DOMJJ/ MOJOT + 9P FR 24 CAPITAL CITY REGGAE FEST FEAT. CRUCIAL FIYA 7:30P

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SA 2 KIX W/ THE FIFTH 7P SU 3 NETWORKING SOCIAL 2017 TH 7 WHO’S HAT IS THIS?

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FR 8 OLD HABITS

W/ OLD MAN WHICHUTT 8P

SA 9 WQDR’S CHRISTMAS WISH SU 10 SHOOTER JENNINGS & JASON BOLAND 7P TU 12 JAKE BUGG 7P WE 13 CHATHAM COUNTY LINE ELECTRIC FR 15 BAND TOGETHER HOLIDAY BASH W/ THE CONNELLS 7P SA 16 YARN & THE DUNE DOGS 7P SU 17 ASHEVILLE HOLIDAY HANG 7P FR 22 LIQUID PLEASURE 8P SA 23 SMELL THE GLOVE 9:30P 12/29-31 BIG SOMETHING CO M I N G S O O N

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 16 | 11.8.17 | INDYweek.com

E

ven if John McLaughlin had never released a single solo album or formed his pioneering fusion band Mahavishnu Orchestra, he would still be regarded as a visionary who changed the game for guitarists and profoundly altered the course of rock and jazz. After all, he was the iconoclastic six-string firebrand who provided a good portion of the grit in Miles Davis’s earth-shattering late-sixties and early-seventies jazz-rock recordings.

But thankfully for anyone with ears, after assisting Davis in the invention of fusion on unassailable milestones like 1969’s In a Silent Way and 1970’s Bitches Brew, the dashing Yorkshireman did indeed form one of the first, most influential, and fieriest fusion bands ever. He’s maintained a dazzlingly diverse, endlessly inventive solo career for forty-eight years and counting.

On Sunday, he’ll make a stop in Durham with Jimmy Herring on what he’s declared will be his final tour, offering those whose heads have been turned inside out by his music to catch one last glimpse of the fretboard sorcerer in action (and giving latecomers a last chance to play catch-up).

So, why say sayonara to the States?

Though McLaughlin is seventy-five, even the most cursory listen to his recent output reveals that his fingers can still dart across the strings with the same superhuman speed that helped make his name nearly half a century ago. Anyone who catches up with him on his final American go-round is similarly certain to confirm that the British guitar phenom can still summon up a mighty storm on his classic material.

Unfortunately, McLaughlin has stated that he does have an advancing case of arthritis, and while he’s currently as spry on the strings as ever, the unpredictability of the human frame prevents him from guaranteeing that this will remain the

Jimmy Herring (L) with John McLaughlin (R) PHOTO BY KIM ALLEGREZZA case in the future. So he’s decided to go out on a high note, and to end his touring career in the country that helped shape his musicianship.

American music inspired McLaughlin from the beginning, but it was coming to America and playing with Davis that really put him on the path to realizing his destiny. When McLaughlin formed Mahavishnu Orchestra in 1971 with fellow musical monsters like keyboardist Jan Hammer and drummer Billy Cobham, he kickstarted the fusion revolution. And American audiences embraced the band’s work wholeheartedly.

For these shows, McLaughlin is touring in tandem with Fayetteville’s favorite son, Jimmy Herring, who has distinguished himself with his guitar exploits in Widespread Panic as well as his work with

Aquarium Rescue Unit, Jazz Is Dead, The Derek Trucks Band, Phil Lesh, and even The Allman Brothers Band. Herring, an enthusiastic disciple of McLaughlin, is opening the shows with his band The Invisible Whip. Then, after McLaughlin takes the stage with his own ensemble, The 4th Dimension, the two guitarists and their bands will come together for a blowout final set of Mahavisnhu material.

But whether you’re among the lucky crowds that get to catch McLaughlin’s final run or not, don’t fret too much about him.

He’s got no intention of ending his recording career, and still aims to play the occasional concert (though probably not on our shores). A flame like McLaughlin’s burns way too brightly to just flicker out. music@indyweek.com

RRING

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he lucky hlin’s final bout him. is recordthe occanot on our n’s burns . yweek.com

For more information, please contact Sarah Fallin at 919-932-4966 or sfallin@orangecountync.gov www.orangecountync.gov/ departments/animalservices/ spay_neuter.php

NOV. 17 DEC. 15 JAN. 19

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INDYweek.com | 11.8.17 | 17

24th Biannual

Carrboro

CD & record ShOw Sunday, November 12th • Noon - 6 pm

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Quoth the

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Crowmeat

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For info: 919.260.0661 or gerrycw51@gmail.com

RECYCLE THIS PAPER

SAXOPHONIST BOB PENCE SHARES SOME RULES AND REGULATIONS OF HIS HIGHLY IMPROVISED ARTISTRY

B

BY DAVID KLEIN

ob Pence has gone by Crowmeat Bob for as long as anyone around these parts can remember. When the INDY conferred an Indies Arts Award upon him twelve years ago, praising him for his iconoclasm, inclusivity, and devotion to his art, he was already a scene veteran. Although Pence’s joking prediction of MTV stardom hasn’t panned out, his roots in the area’s music scene have only deepened over the years. He’s loaned his skills on saxophone and other horns to numerous local bands, mostly those of an improvisational bent, like Enemy Waves, Savage Knights, and Polyorchard, and countless side projects, including a recent movement-based collaboration with Ginger Wagg & Wild Actions. In advance of his monthlong residency, er, make that “vagrancy,” at The Cave, we tossed five words his way.

that becomes the tail that wags the dog, where you’re just kind of demonstrating it.

Whatever technique you have, it’s important to throw it out the window when you need to, and not rely on it.

RULES It’s nice to have a set of rules for any given endeavor, and sometimes you’ll be collaborating with somebody and you’re not really playing by the same rules. And the stuff that comes out of it can either suck or be really cool. Rules have their uses. Just like melodies and technique. Technique is sort of learning a series of rules.

SOLOING That’s another interesting kind of dichotomy. It’s a hard line to ride between sort of self-aggrandizing and just kind of trying to

CROWMEAT BOB & FRIENDS

Wednesdays through Nov. 29, 9 p.m., $5 The Cave, Chapel Hill www.caverntavern.com

TECHNIQUE I wish I practiced more and worked on just basic technique kind of stuff because I don’t have enough of a basic foundation of that.

But I do practice certain things and I have certain abilities that I think I use to advantage. There’s a fine line that you’ve got to ride between having enough technique that you’re not just completely bullshitting up there, and having so much technique that 18 | 11.8.17 | INDYweek.com

create art and make an artistic statement.

So I do work in a lot of bands where people take solos, and I do enjoy taking solos, but I also like, especially in a free improvised situation, for there to be just more of a total interaction between the players, where it’s sort of a combination of soloing and interacting and collaborating.

NOISE Noise is glorious. It’s what we all aspire to.

Crowmeat Bob at the first night of his Cave "vagrancy” PHOTOS BY CAITLIN PENNA I love some noise. There’s something about controlled chaos. You can say noise is just this—there’s no real artistic thought behind it, or something like that, but when it’s well done, there’s nothing like it that exists in nature quite like that. It’s an extremely human kind of endeavor to intentionally make controlled chaos. There are different perspectives on it. John Cage believed that the composer should step back and allow the sounds to happen, kind of, which is a completely opposite kind of attitude. But I generally tend to gravitate toward the stuff that’s got more intention.

BIRD I think about bird calls a lot in relation to music. There’s plenty of great performers and composers who have been heavily influenced by birdsong. I haven’t studied it myself to the point where I can tell you what bird is doing what, but I’ve read the literature about territorializing and how birdsong works in terms of that. You can think about a musician’s voice as creating a territory, and when you hear a certain musician, like Eric Dolphy, you know exactly who it is and that’s kind of his song marking his territory in a way. music@indyweek.com INDYweek.com | 11.8.17 | 19

20 | 11.8.17 | INDYweek.com

indyart

ORANGE COUNTY ARTISTS GUILD OPEN STUDIO TOUR Saturday, Nov. 11 (10 a.m.–5 p.m.) & Sunday, Nov. 12. (noon–5 p.m.), free Various venues, Orange County www.orangecountyartistsguild.com/tour.php

Fresh-Cracked Art

TEENAGE ARTIST ELI MELET’S MIXED-MEDIA WORK WITH EGGSHELLS EARNS HIM A SPOT IN THE ORANGE COUNTY ARTISTS GUILD

BY TARA LYNNE GROTH

Mixed-media works with eggshells by Eli Melet PHOTOS COURTESY OF THE ARTIST

O

f the nearly ninety artists on this year’s Orange County Artists Guild’s Open Studio Tour, Eli Melet is the only one forced to squeeze art-making in among high school classes.

Melet, a fourteen-year-old freshman at Chapel Hill High School, is the youngest member of the guild. Yet his age isn’t the only thing that sets him apart from the other members. While he does employ traditional materials, like acrylics and oils, he also enjoys working with the demonstrably untraditional medium of eggshells.

Melet got the idea after he came across an online video demonstrating various ways of creating texture, which gave him the idea of incorporating the thin-shelled

ovum of the domestic fowl. Melet made a series of paintings featuring cracked eggshells, some pulverized in small flaky specks, others retaining their natural domed shape. But these are nothing like Easter eggs. Melet affixes the fractured shells—donated by Elmo’s Diner in Carrboro—to a canvas and paints over them, usually using a single color for each one. The result plays on color, along with how color is affected by texture.

“I don’t even like eggs,” Melet says with a laugh.

His eggshell series is just one way Melet plays with texture. “In my landscapes, I use an acrylic model paste,” he says. “You get a different perspective based on where you look from.”

Melet has been a frequent visitor to the guild’s long-running annual tour, which continues this weekend. For as long as he can remember, his mother has taken him around to tour the artists’ home galleries. But less than a year ago, after taking a private class in landscape painting, Melet joined the guild. And now he is on the tour map himself, in studio twenty-nine.

Gaining membership in the guild is no small thing. Applicants must provide an artist statement and submit to a confidential jury review of their work.

According to guild president Judith Ernst, the main criteria under consideration are competence, confidence, and commitment. Ernst, who was not on the

jury that reviewed Melet, says that age is not a factor.

“Nothing in the bylaws sets limits on age,” she says. “Eli has shown some real individuality and commitment, and has had exhibitions.”

Tour visitors have an opportunity to see Melet’s work and meet him in his home this weekend. More than two dozen pieces will be for sale, but there are some that are just for show. “Some pieces I’ve been sad to let go,” Melet says. “There are a few landscapes I won’t be selling.”

The next time you have an omelette at Elmo’s Diner, consider whether your breakfast might become a future work of art. arts@indyweek.com INDYweek.com | 11.8.17 | 21

indystage

BIG DANCE THEATER: 17C

Thursday, Nov. 9 (7:30 p.m.) & Friday, Nov. 10 (8 p.m.), $10 UNC’s Memorial Hall, Chapel Hill www.carolinaperformingarts.org

Are You There, God? It's Me, Samuel.

A SIXTEENTH-CENTURY OVERSHARING MISOGYNIST’S JOURNALS BECOME TIMELY FODDER FOR BIG DANCE THEATER IN 17C

I

’m a huge sucker for dance theater. The performance form that marries theater and dance has always struck me as having incredible promise. At its best, dance theater tempers theater’s plodding linearity while rejecting modern dance’s tendency toward artifice, and the union creates something deliciously ephemeral, a performance conveying fundamental truths in the way that dreams often do.

That’s in the best of all possible worlds. Unfortunately, I inevitably find myself disappointed by the reality that creating abstract, resonant performance art is tough. Most artists don’t fully succeed. And yet, I keep hoping.

So when I heard about Big Dance Theater, that old excitement arose again—and this time, I’m more hopeful than usual. The New York-based company, which is coming to UNC’s Memorial Hall this week, has won a slew of awards in its twenty-five years, including several Bessies and Obies, the Oscars of the modern dance and offBroadway worlds.

And, after I learned about their creative process, my expectations jumped a little more.

The company’s latest production, 17c, is intriguing.

Commissioned by Carolina Performing Arts, it focuses on Samuel Pepys, a seventeenth-century Englishman known for his chronic journaling. Pepys (pronounced “peeps”) wrote every day about topics large and small in an almost modern fashion, covering the quotidian—his meals, his bunions, the women he wanted to get it on with—and the weighty (the Great Plague, the coronation of Charles II) in equal measure.

In 2003, the diaries were posted online, spawning a humming community of commenters who dissect every sentence.

22 | 11.8.17 | INDYweek.com

BY AMANDA ABRAMS

Among others, Annie-B Parson, codirector of Big Dance Theater, has followed this commentary with interest. “I’ve been reading his diary for way too long, maybe ten years, on and off,” says Parson. “It has a porous quality where you can find your own place in it as well.” One day she was talking about Pepys to her husband and codirector, Paul Lazar, and they realized that his journal could be the basis for a new show.

But 17c isn’t just about Pepys himself; it also features a couple of modern-day commenters who hover over the Englishman’s every word and action. A female playwright who was contemporaneous with Pepys (but never actually interacted with him) is in there, too. And so are references to philosopher Roland Barthes and the late dance critic Jill Johnston.

In fact, finding connections between seemingly incongruous concepts and characters is a hallmark of Big Dance’s work. At heart, it all comes from the directors’ slow, nonlinear creative process, one that relies on trial and error.

“I use a mountain of sources in my work,” Parson says.

She’s a collector, constantly gathering ideas from music, fashion, photography, books. Eventually, she and Lazar take their ideas to company members and try them out.

“I go into rehearsal intentionally with too many ideas, knowing lots of them won’t work,” she says. “It’s almost like you’re giving the group a game to play and you’re watching it. And you ask, How do I feel about this? Do I like this? Do I want to see more? And what would more be?”

Dance plays a starring role in those exercises. In interviews, Parson has repeatedly referred to movement as

17C PHOTO BY IAN DOUGLAS “the sacred object.” Because dance is nonverbal, it has the capacity to convey ideas and emotions differently than a narrative script can—more authentically, perhaps, and more ambiguously. As audience members watching dance, Parson says, “We may feel something in our body in a way that can be a deeper kinetic experience than if we learn it through the teaching of the playwright, who tells us that we should feel a certain way.”

Eventually a structure comes together; Parson, Lazar, and their colleagues add in sound, video, set design, and costumes. In the end, ideally, they have a show in which audience members perceive serendipitous connections between ideas and characters.

That certainly occurred in the case of 17c. When the piece was first being developed, Bill O’Reilly was little more than an annoying right-wing commentator, and Harvey Weinstein was simply a savvy Hollywood producer. Now, of course, both have been outed as serial sexual harassers, and the nation has embarked on a course of communal soul-searching about how men treat women. Which makes this show—starring a misogynist who’s “somewhere between a philanderer and a rapist,” as Parson puts it—inadvertently relevant.

But whether the performance comes together is, at this point, impossible to gauge. Because its storyline is nonlinear, talking to an artistic director or watching a few snippets on YouTube gives little hint of whether its disparate elements genuinely cohere to create that elusive thing: a moving, evocative dance theater performance. Find out Thursday and Friday nights. arts@indyweek.com

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Your week.

Every Wednesday.

INDYweek.com | 11.8.17 | 23

stage

I Conditions May Apply

ACCEPTANCE OF OTHERS STARTS WITH THE SELF IN FAMILY DRAMA THE MYSTERY OF LOVE AND SEX

BY BYRON WOODS

t’s something you do to get out of the house when you go home for the holidays: a slow drive through an old neighborhood or a stroll across the grounds of the schools you went to. But when the community has changed or the students have left, the exercise leaves a bit of a chill, as empty classrooms, dorms, and houses where you once were recognized and welcomed all disclose the temporary nature of the shelter and the context they once provided. Brrrr, right?

Some relationships are like that. I stumbled across one in Honest Pint Theatre’s intriguing production of The Mystery of Love and Sex. Though playwright Bathsheba Doran has called the central liaison between lifelong, college-age friends Charlotte and Jonny a marriage, I cannot agree. From early on, it’s evident that their codependent connection is more of a metaphorical dorm room than anything else, a cloistered staging ground where they can work through some issues while studiously avoiding others.

The most troubling part of this arrangement? Only Jonny (Chris Helton) realizes it’s transitional. Under Dana Marks’s direction, Chloe Oliver portrays the highstrung, emotionally brittle Charlotte, who desperately deludes herself that the pair are life partners despite Jonny’s ongoing lack of sexual interest in her—plus, his string of girlfriends, including current one, Monique.

That idée fixe persists even after Charlotte discovers her attraction to a lesbian student.

Perhaps that’s not so surprising, though, given the nearly childish fascination with which she talks to Jonny about that realization— or her sudden worry, moments later, that it might mean she’s gay. Someone so adolescent clearly has no business considering taking on a life partner. Though Charlotte’s emotional roller coaster first grabs our attention, Jonny’s problems take center stage later on.

A character in Aaron Posner’s Life Sucks., which is still running at Manbites Dog Theater this week, speaks eloquently about our fundamental need for unconditional acceptance and love. In Doran’s world, too, these things are in short supply. For Charlotte’s parents—a grumpy, demanding detective-novel writer named Howard (Mark Filiaci) and a vision of hassled, lapsed Southern aristocracy named Lucinda (Susannah Hough)—and

THE MYSTERY OF LOVE AND SEX

Chris Helton and Chloe Oliver in The Mystery of Love and Sex 24 | 11.8.17 | INDYweek.com

COURTESY OF HONEST PINT THEATRE COMPANY

★★★★ Through Sunday, Nov. 12 North Raleigh Arts and Creative Theatre, Raleigh www.honestpinttheatre.org

for their relationship with their daughter and Jonny, acceptance of one another can’t fully take place until they all accept themselves.

Among this quartet of deep, convincing performances, the only technical note out of place was Helton’s tendency to rush his lines in moments of heightened emotional velocity. Though designer Jen Leiner’s tree-centered set is lovely, it hardly repre-

sents the dorm room where the play’s first scenes take place.

Though more than one character speaks out against the tribal dynamics that divide our culture, all four characters struggle with the stasis that can accompany the comforts of the known and the fear of change. The clues are evident, but the mystery remains unsolved until the final moments. arts@indyweek.com

STAGE BRIEF KILLIAN MANNING: UNCLE SAM WANTS YOU! HH½ Nov. 1–5 Living Arts Collective, Durham | www.didaseason.com

Killian Manning/No Forwarding Address PHOTO COURTESY OF KILLIAN MANNING Choreographers have long used dance as a vehicle for social commentary and protest. As Maguy Marin once put it, dance is “a weapon that disarms. A weapon that does not kill.”

Killian Manning’s Uncle Sam Wants You!, which opened DIDA’s fourth season last week, brandished that weapon with vigor at times. In an opening section set to cellist Jami Sieber’s haunting “Prayer 1,” dyads from Manning’s ensemble, No Forwarding Address, took down strips of white cheesecloth suspended at midstage. As Jehanne Dubrow’s disturbing poem “Syllabus for the Dark Ahead” played, they folded the strips until they ominously took on the triangular form of American flags at military funerals.

Six performers silently held them out to us before Geraud Staton placed his on the floor, turned a crisp ninety degrees, and slowly walked off, stage right.

Other affecting moments were similarly theatrical. As J Evarts and Jonathan Leinbach reenacted grand jury testimony from the trial of Ethel Rosenberg, Manning’s troupe repeatedly shifted in its circle of chairs, their postures indicating boredom, intense interest, or contempt. In another section, more strips of fabric were fashioned into gags, handcuffs, barricades, and nooses.

But, in dance as in Washington, D.C., everything comes down to the optics, which slipped here—more than once. Glimpses of advanced technique were the exceptions in a work that didn’t appear to push far beyond dancers’ comfort zones. The smiling performers and lovely legato spirals and arcs didn’t reflect the gritty characters and situations of Lou Reed’s “Dirty Blvd.” A later sequence set to Simon and Garfunkel’s “America” depicted the youthful exuberance of its opening lyrics, not the disaffection that follows. A Rockettes-style kick line burlesqued easy jingoism to “The Stars and Stripes Forever,” but the lyrical imagery preceding George Michael’s “Hand to Mouth” left the lyrics more critical than the dance accompanying them. —Byron Woods INDYweek.com | 11.8.17 | 25

WHAT TO DO THIS WEEK

FRIDAY, NOVEMBER 10– SUNDAY, NOVEMBER 12

NC COMICON: BULL CITY

NC Comicon’s Durham edition has a great lineup this year. There’s Shelly Bond, who was a major player at DC Comics’ Vertigo line (which gave the world The Sandman) in its heyday. There are self-publishing pioneers like Rick Veitch, who succeeded at the suicide mission of following Alan Moore’s famous run on Swamp Thing. There’s Klaus Janson, who inked some of Frank Miller’s most iconic pages. There are media guests from Arrow and Steven Universe, and there’s Rob freaking Liefeld, the grown-up enfant terrible of nineties comics. But don’t get stuck in the convention center all weekend, as there are also some offsite highlights, like Saturday night’s Guardians of the Gala at the Durham Armory, a mutants-andmonsters cosplay ball and dance party kicked off by DMC of Run-DMC. (You can also catch Dante High, the new project from Lost in the Trees’ Ari Picker, at the Armory Friday night.) And the Comicquest Film Festival at the Carolina Theatre is a chance to recharge and wipe the sweat out of your storm trooper helmet. —Brian Howe DURHAM CONVENTION CENTER, DURHAM Various times, $20–$75, www.nccomicon.com/bull-city

NC Comicon: Guardians of the Gala ILLUSTRATION BY DUSTIN HARBIN & TOMMY LEE EDWARDS

WHAT ELSE SHOULD I DO?

BAR PLAYS 3.0 AT FORTNIGHT BREWING (P. 35), BIG DANCE THEATER AT UNC’S MEMORIAL HALL (P. 22), CROWMEAT BOB AT THE CAVE (P. 18), JOHN MCLAUGHLIN AND JIMMY HERRING AT DPAC (P. 16), JONATHAN WILLIAMS: THE LORD OF ORCHARDS AT FLYLEAF BOOKS (P. 36), THE MYSTERY OF LOVE AND SEX AT NRACT (P. 24), RANDY NEWMAN AT THE CAROLINA THEATRE (P. 31), ORANGE COUNTY ARTISTS GUILD STUDIO TOUR IN ORANGE COUNTY (P. 21), DAVID SHINGLER & JIMMY CRAIG WOMBLE AT ADAM CAVE FINE ART (P. 33), IRMA THOMAS, THE BLIND BOYS OF ALABAMA, AND THE PRESERVATION HALL LEGACY QUINTET AT THE CAROLINA THEATRE (P. 29) 26 | 11.8.17 | INDYweek.com

Jim G

JIM

Jim Jea to s Tha sca to P hila hav his mo the

PNC

SATURDAY, NOVEMBER 11

TORI AMOS

There’s a long, if perhaps under-celebrated, tradition of talented female musicians who have no interest in following traditions. Among their ranks is Tori Amos, who proved to be a musical prodigy before most of her kindergarten peers could even tie their shoes. Like fellow ahead-of-their time artists Joni Mitchell or Kate Bush, Amos made a name for herself by writing songs that push against preconceived notions of sex and gender and, above all, by being brilliant. Native Invader, released in September, was at first inspired by a visit to the Great Smoky Mountains in North Carolina and Tennessee, but like so much art from this year, the 2016 presidential election weighed heavily on the record’s creation, as did a stroke suffered by Amos’s mother in January. Thus, it’s a brooding, multilayered meditation on darkness and pain. Her Durham stop will be a marvelous opportunity to revel in her moody, poignant glory. —Allison Hussey DURHAM PERFORMING ARTS CENTER, DURHAM | 8 p.m., $43–$350, www.dpacnc.com

FRIDAY, NOVEMBER 10

BARTLETT THEATER SEASON KICK-OFF

Two years ago this week, Bartlett Theater’s notable first production, The Glass Menagerie, launched an inaugural season unlike any we’d previously seen around here—a round robin devoted to a central playwright (Tennessee Williams), an earlier dramatist who influenced him (Anton Chekhov), and a playwright he subsequently influenced (Lynn Nottage). Artistic director Jonathan Bohun Brady plans to celebrate the works of Annie Baker this year—a good choice, since we’ve only had two glimpses of her work locally: a five-star 2010 production of Body Awareness and a lackluster version of Circle Mirror Transformation in 2012. Brady pulls back the curtain Friday night for an evening of scenes from Baker’s dramas The Aliens and The Flick, plus sequences from Eugene O’Neill’s A Moon for the Misbegotten, an earlier influence, and Branden Jacobs-Jenkins’s controversial An Octoroon, which Baker influenced in turn. Admission is free; RSVP to jb@ bartletttheater.com for seats. —Byron Woods PSI THEATRE, DURHAM | 7 p.m., free (donations accepted), www.bartletttheater.org

11.8–11.15 Jim Gaffigan

Shilpa Ray

PHOTO BY ERIC LEVIN

THURSDAY, NOVEMBER 9

PHOTO COURTESY OF NORTHERN SPY RECORDS

MONDAY, NOVEMBER 13

JIM GAFFIGAN

SHILPA RAY

PNC ARENA, RALEIGH | 7:30 p.m., $32–$66, www.thepncarena.com

THE PINHOOK, DURHAM | 9 p.m., $10–$12, www.thepinhook.com

Jim Gaffigan has not had a great year. After he and his wife and creative partner, Jeannie, decided to end their successful TV Land series, The Jim Gaffigan Show, to spend more time with their kids, Jeannie discovered she had a brain tumor.

Thankfully, she’s recovered from having the tumor removed, and that health scare now forms part of the material in Gaffigan’s Noble Ape Tour, which comes to PNC Arena this week. Though he’s known as a “clean” comedian, Gaffigan’s hilarious observations about everyday life—often of a self-deprecating nature— have a massive following even among comedy fans used to edgier fare. Because his family is a major focus of his act, this tour has the potential to go to darker, more emotional places than usual, but it will surely provide some belly laughs in the process. —Zack Smith

On her late September LP, Door Girl, Shilpa Ray delivers a fast-paced tour of the nighttime happenings of her longtime home of New York. Her observations are clever and pointed, and at times, even a little rattling: “Act dumb, be numb/So my friends can stand being around me again,” she deadpans on “Revelations of a Stamp Monkey.” Even better, Ray wraps her barbs in complex instrumental packages. “Morning Terrors and Nights of Dread” is laced with a little bit of mid-century pop but takes a hard turn, closing as a screaming punk track; “Add Value Add Time” has an almost tropical sway, even as Ray sings about Klonopin kaleidoscopes. Door Girl feels as though it’s bursting at the seams already; on stage, Ray’s energy is bound to be explosive. Hans Chew performs first with slick, honkytonk-tinged rock, and Raleigh’s Pie Face Girls take the middle slot, serving up raucous, snotty punk. —Allison Hussey

INDYweek.com | 11.8.17 | 27

MO 11/13 & TU 11/14 @DURHAM PERFORMING ARTS CENTER

BON IVER

SU 11/12 SU 11/12 @CAT’S CRADLE BACK ROOM

LUNA

OVERCOATS 11/9 POPUP CHORUS CELEBRATES TOM PETTY

SA 11/11 @CAT’S CRADLE BACK ROOM

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BEATLES TRIBUTE ($12/$15)

11/11 SAINT

MOTEL W/ GIBBZ SOLD OUT

11/12 LUNA W/ ELEANOR FRIEDBERGER ($20/$23) 11/14 COUSIN

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W/LEVI CARTER, BIG LEANO, DANNY BLAZE ($15/$18) 11/15 THE

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11/16 YELAWOLF W/MIKEY MIKE, BIG HENRI, COOKUP BOSS ($25/$28) 11/17 WXYC

90'S DANCE

11/18 CULTS W/SHE-DEVILS, HOLDOUT ($19/$21) 11/30 CUT 12/2 POKEY

12/1 ALLAN RAYMAN ($18/$20)

2/22/18 LIGHTS

12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE W/ MOLLY PARDEN ($15/$17)

W/CHASE ATLANTIC, DCF ($20/$23, ON SALE 11/10)

2/24/18 ANDREA

GIBSON

W/CHASTITY BROWN ($18/$21) 3/6/18 WALLOWS ($15)

4/2/18 UDO

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5/8/18 BAHAMAS ($16/$18;) 5/25/18 PETER HOOK & THE LIGHT ($28/$31)

COPY

LAFARGE

W/ THE EASY LEAVES ($17/$20) 12/9 SOUTHERN

CULTURE

ON THE SKIDS W/ IT'S SNAKES!, DEX ROMWEBER ($13/$15)

12/15 HEARTBROKEN:

CAT'S CRADLE BACK ROOM 11/9 LAZER/WULF W/ CINEMECHANICA, SOLAR HALOS, YOUTH LEAGUE ($8) 11/10 MODERN MEASURE

A TOM PETTY TRIBUTE TO BENEFIT THE VICTIMS OF THE LAS VEGAS SHOOTING*

11/12 OVERCOATS W/ GORDI ($10/$12)

12/17 HORTON’S

11/14 JOHNNY GANDELSMAN, VIOLIN SOLO BACH ($10)

($10 SUGGESTED DONATION)

HOLIDAY

HAYRIDE STARRING REVEREND HORTON HEAT, WITH THE BLASTERS, JUNIOR BROWN, BIG SANDY ($25/ $28)

1/15 THE WOMBATS ($22/$25; ON SALE 11/10) 1/18

THEY MIGHT BE GIANTS ($25/$28)

1/22 AND 1/23/18

TWO SHOWS!

SAY ANYTHING

($22/$27; $40 FOR 2-NIGHT PASS) 1/26 ENTER

SHIKARI

W/MILK TEETH ($18/$20) 1/27/18 TENNIS

1/30/18 DESTROYER W/ MEGA BOG ($20/$23 2/1/18 TYPHOON ($18/$20) 2/10/18 WHY? ($16/$18) 2/11/18 NOAH GUNDERSEN ($15/$17; ON SALE 11/10)

28 | 11.8.17 | INDYweek.com

2/20/18 PHILLIP PHILLIPS ($27.50/$30; ON SALE 11/10)

11/11 ARKELLS W/ IRONTOM ($15) 11/13 DAVID BAZAN W/ MICHAEL NAU ($15)

11/15 MO LOWDA & THE HUMBLE / ATLAS ROAD CREW / LEFT ON FRANKLIN 11/16 CITY OF THE SUN ($10/$12) 11/17 HOWARD IVANS

12/9 COLESLAW W/ RAGWEED BRASS ($7) 12/15 LYDIA LOVELESS (SOLO) $15 12/16 LYDIA LOVELESS (SOLO) $15 1/4/18 MELODIME W/ THE BREVET ($12/$14) 1/31/18 THE DANGEROUS SUMMER ($15) 2/7/18 WILLIE WATSON ($18/$20) CAROLINA THEATRE (DUR) 12/6 THE MOUNTAIN GOATS W/ JENNY BESETZT MOTORCO (DUR) 11/30 THE DISTRICTS W/ SUN SEEKER ($15/$17) DPAC (DUR) TWO SHOWS!

11/13 AND 11/14

BON IVER W/ AERO FLYNN 11/25 ST. VINCENT THE RITZ (RAL) 2/17/18 SNARKY PUPPY (ON SALE 11/10) HAW RIVER BALLROOM 11/5 KISHI BASHI W/ TALL TALL TREES ($20) 11/30 AND 12/1

TWO SHOWS!

(ROSEBUDS, GAYNGS)

HISS GOLDEN MESSENGER

11/18 MODERN ENGLISH

12/16 CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR

AND SKYLAR GUDASZ ($12) W/ THE VELDT, ENTERTAINMENT ($20/$23)

11/24 THE GRAND SHELL GAME W/ EMILY MUSOLINO TRIO, KERISHA ROI ($8/$10) 11/25 PHILSTOCK '17: BENEFIT CONCERT W/ WYATT EASTERLING, MR POTATO HEAD, UNIONTOWN, HIGH WINDS, THE WOOS 11/30 THE WEATHER STATION W/ JAMES ELKINGTON

Your week.

Every Wednesday.

2/1/18 THE DEVIL MAKES

THREE

3/23/18 GODSPEED YOU!

BLACK EMPEROR ($27/$30 ON SALE 11/10)

NORTH CHARLESTON PAC (CHARLESTON, SC) 2/25/18 STEVE MARTIN & MARTIN SHORT W/ THE STEEP CANYON RANGERS AND JEFF BABKO

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

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

INDYWEEK.COM

music 11.8– 11.15 WED, NOV 8

THE ARTSCENTER: Triangle Jazz Orchestra; 7:30 p.m., $5. • THE CAVE: Crowmeat Bob Residency; 9 p.m., $5. • DEEP SOUTH: Get Sad Y’all: Raleigh’s Emo Night; 9 p.m., $5–$10. • LOCAL 506: Matthew Mayfield; 9 p.m., $14–$17. • NEPTUNES PARLOUR: Winstons, The Mumz, Mechabull; 10 p.m., $7. • THE PINHOOK: TJ Kong and the Atomic Bomb; 9 p.m., $10. • POUR HOUSE: Sun Dried Vibes; 9 p.m., $7.

• RUBY DELUXE: Museum Mouth, The Mineral Girls, Case Sensitive; 8 p.m.

• SLIM’S: Stuyedeyed; 9 p.m., $5.

THU, NOV 9 AJJ Formerly known as Andrew Jackson Jihad, these Phoenix folk-punkers celebrate the tenth anniversary of arguably their most popular LP—People Who Can Eat People Are the Luckiest People in the World—by playing the album front-to-back as an acoustic duo. Expect another dozen or so self-deprecating songs full of social commentary, played in stripped-down style. Those Lavender Whales open. —SG [MOTORCO, $18–$20/8 P.M.]

CULT HITS

House of Jealous Lovers In the early DANCE CLEAN aughts, indie rock bands toyed with the kinetic rhythms of disco and dance music. The Rapture’s “House of Jealous Lovers” was one such dance-floor-igniting jam; expect to hear it and other electro-clash, punkfunk, blog-house and indie-disco party starters at this tribute night. —PW [NEPTUNES PARLOUR, FREE/10 P.M.]

Yasmin Levy WORLD One part beguiling MASTER singer, one part musical historian, Israeli-born Yasmin Levy possesses a staggeringly lovely alto and a

rich personal history as the daughter of celebrated composer Yitzhak Levy.

Taking her cues and advancing on her father’s pioneering work, Levy weaves together Spanish and Persian musical traditions while adding elements of centuries-old Middle Eastern and Moorish song. The result is a beguiling and unique sonic tapestry, by turns romantic, transporting, and harrowing. —EB [DUKE’S REYNOLDS INDUSTRIES THEATER, $10–$38/8 P.M.]

Local Band Local Beer: Gray Young Raleigh’s Gray POST POST Young has always straddled the line between post-rock’s cerebral scope and Anglophile arena rock’s immediacy. Like Mogwai employing more traditional song structures or Bloc Party toying with build-and-release anthemics, the trio’s carefully paced compositions tease their way to climactic crescendos, culminating in inevitable, satisfying release.

Pedal-worshipping one-man band 1970s Film Stock makes the way up from WinstonSalem to occupy the middle slot; Raleigh’s Poinsettia opens. —PW [POUR HOUSE, FREE/9 P.M.]

The Lone Bellow DRAMA In the wake of The FOLK Civil Wars and Mumford and Sons, it’s easy to become cynical about another modern folk-leaning outfit whose soaring harmonies aim to stir emotions, but The Lone Bellow delivers with such sincerity that it’s as hard to sneer at the trio’s conviction as it is to shake its hooks. The intoxicating harmonies of its three vocalists are The Wild Reeds’ calling card, though the L.A. quintet underpins its songwriting with dynamic arrangements that update vintage Laurel Canyon with indie rock. —SG [HAW RIVER BALLROOM, $20–$79/8 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Howard Hardee (HH), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), Noah Rawlings (NR), David Ford Smith (DS), Patrick Wall (PW)

A. Savage SIDE OF With the release PARQUET of debut solo LP, Thawing Dawn, Parquet Courts frontman Andrew Savage (cleverly abbreviated here as A. Savage) has gone full singer-songwriter, complete with twangy, rustic instrumentation. Picture listening to songs such as “Wild Wild Horses” or “Buffalo Calf Road”—a lyrical reinvisioning of Custer’s Last Stand—while driving down some back road in Montana, and you pretty much have the idea. Sometimes he sounds like an out-of-key barroom singer, but Savage is not without his charms. Jack Cooper opens. —HH [THE PINHOOK, $10–$12/9 P.M.] ALSO ON THURSDAY CAROLINA THEATRE: An Evening with Randy Newman; 8 p.m., $64–$94.

• CAT’S CRADLE: PopUp Chorus: Four Classic Petty Songs; 7 p.m., $8–$18. • CAT’S CRADLE (BACK ROOM): Lazer/wulf, Cinemechanica, Solar Halos, Youth League; 8:30 p.m., $8. • THE CAVE: The Dream Eaters, Disqo Volante; 9 p.m., $5. • DEEP SOUTH: Caitlin Washburn & the Short Notice Shoes, Hank and Brendan, Savage; 8:30 p.m.

• DURHAM PERFORMING ARTS CENTER: Straight No Chaser; 7:30 p.m. • LINCOLN THEATRE: DeadPhish Orchestra, Maradeen; 8:30 p.m., $12. • LOCAL 506: Jonwayne, Danny Watts, DJ EMV; 9 p.m., $12. • NASHER MUSEUM OF ART: Rare Music Concert: The Sound World of Carlo Dolci; 7 p.m.

FRI, NOV 10 Borgore Brostep kingpin Borgore belches EDM tropes in your face with all the aesthetic subtlety of an Ed Hardy shirt. On maximalist paint-by-numbers trap tracks, he raises various and sundry highbrow philosophical quandaries, like whether he should choose “a porn star or a family.” This kind of crass party music is custom-designed to court

GO DUMB

PHOTO BY JIM HERRINGTON

MONDAY, NOVEMBER 13

IRMA THOMAS, THE BLIND BOYS OF ALABAMA & THE PRESERVATION HALL LEGACY QUINTET Irma Thomas and the Five Blind Boys of Alabama on a bill together is a match made in heaven. But soul and sacred music have always been at odds with each other, with the churchy side accusing the sensual bunch of adapting its music to serve the devil.

When gospel artists like Sam Cooke and the Five Royales started crossing over to secular soul in the fifties, the Blind Boys were recruited as well. The Blind Boys were on Specialty Records with Cooke and Little Richard; Richard’s producer, Bumps Blackwell, wanted the group to cross over, but the Boys said no.

“We would never deviate from what we started out doing because God has been too good to us,” says the group’s current lead singer, Jimmy Carter.

The group has been tested over the years, starting with 2001’s Spirit of the Century, where it initially balked at Tom Waits’s “Jesus Gonna Be Here Soon,” “The Last Time” by the Stones, and performing “Amazing Grace” to the tune of “House of the Rising Sun.” But on their Grammy-winning 2002 release, Higher Ground, the Blind Boys found solace in gospel treatments of songs by secular artists, including the Stevie Wonder title cut as well as songs by George Clinton, Ben Harper, and Prince.

A few years later, with Megafaun’s Phil Cook serving as the arranger and musical director,

2013’s I’ll Find A Way featured Charlie Parr’s “Jubilee” and the Chi-lites “There Will Never Be Any Peace.”

On the group’ latest record, August’s Almost Home, Carter power-washes your sins away with a scalding performance of Ruthie Foster’s “I Was Called,” and the soaring falsetto of former Gospel Keynotes singer Paul Beasley on Dylan’s “I Shall Be Released” earns him his angel wings.

Irma Thomas, on the other hand, cut an allgospel album, 1983’s Walk Around Heaven, but doesn’t incorporate gospel in her show.

“When people are drinking alcohol and partying, why break out into a gospel song?,” she says. “I would rather do an all-gospel show where people come prepared to listen to gospel music and not sing it when someone has come to drown themselves either in their troubles or in their happiness.”

Thomas will be doing her secular hits at the Carolina Theatre, including “You Can Have My Husband,” and “I Wish Someone Would Care.”

But with the Blind Boys in the house, the church will always triumph.

“There are a lot of people that you can get thinking about Jesus Christ that don’t even go to church,” Carter says. “So you gotta go there and try to get ’em. ” —Grant Britt CAROLINA THEATRE, DURHAM 8 p.m., $37–$59, www.carolinatheatre.org INDYweek.com | 11.8.17 | 29

conservative alarmism and admittedly can be entertaining in small doses. Just please don’t mistake this for life advice, lest your life turn to shit after thirty. —DS [THE RITZ, $TK/9 P.M.]

Dirt Band’s hit LP, Will the Circle Be Unbroken, bridged then-current country trends with some of the genre’s best historical figures: the Carter Family, Jimmy Martin, and Doc Watson, to name a few.

The record has held up as a landmark blend of past and present, and was, arguably, the first-ever record that could be called “Americana.”

In Carrboro, Nitty Gritty Dirt Band cofounder John McEuen brings the songs to life again with a new cohort of players.

—AH [THE ARTSCENTER, $34/8 P.M.]

Goblin HORROR Italian prog and RIFFS jazz-rock maestros Goblin exist in that rarified air of film soundtrack legends, partially because they got in early. Nearly four decades ago, the group’s work with old horror masters like Dario Argento and George Romero has ensured continued relevance among cult fans for years. Like the punk band Black Flag, apparently this isn’t the only version of “Goblin” touring, due to interpersonal spats, but it certainly is a fine version to check out. With Morricone Youth. —DS [LINCOLN THEATRE, $24/9 P.M.]

N.C. Symphony: The Music of Star Wars EWOK ’N’ You don’t have to ROLL be a fan of Star Wars to appreciate the works of film music titan John Williams. Oh, who am I kidding? You do, kind of.

Fortunately, there’s no shortage of those of who consider “The Imperial Death March” from The Empire Strikes Back akin to “Free Bird.” And just as with many concerts, you’ll sit through some newish stuff, too, like a

John McEuen & Friends DIGGIN’ IN DIRT

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Released in 1972, the Nitty Gritty

selection from Lincoln. But just give it a chance. —DK [MEYMANDI CONCERT HALL, $29–$73/8 P.M.] ALSO ON FRIDAY BEYÙ CAFFÈ: Al Strong; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Paul Nelson Band; 9 p.m., $10. • CAT’S CRADLE: Abbey Road Live!; 9 p.m., $12–$15. • CAT’S CRADLE (BACK ROOM): Modern Measure; 8:30 p.m., $10. • THE CAVE: Groove Fetish; 9 p.m., $5. • DEEP SOUTH: Pierce Edens, The Holler and Shout; 9 p.m. • DUKE’S BALDWIN AUDITORIUM: Duke Djembe and Afro-Cuban Ensembles with Pablo Rosario; 8 p.m. • DURHAM PERFORMING ARTS CENTER: The Legend of Zelda: Symphony of the Goddesses; 8 p.m. • KINGS: Standing with Surviors: Concert Fundraiser for RAINN; 9 p.m., $10 donation. • LOCAL 506: The Affectionates, Evel Arc, Owen Fitzgerald; 9 p.m., $8. • THE MAYWOOD: Nikol, Lowborn, Modena, Clever Measures; 8:30 p.m., $10. • MOTORCO: Azizi Gibson; 9 p.m., $10–$12. • MYSTERY BREWING PUBLIC HOUSE: Alan Barnosky; 8 p.m., free.

• NIGHTLIGHT: I Want 2 Believe Techno Party; 10 p.m., $7. • THE PINHOOK: Erie Choir, Transportation, Moon Racer; 9 p.m., $8.

BIG BAND NIGHT

WITH THE TRIANGLE JAZZ ORCHESTRA

JOHN MCEUEN & FRIENDS PRESENT WILL THE CIRCLE BE UNBROKEN

NO SHAME THEATRE – CARRBORO LEAH KAUFMAN CD RELEASE SHOW –

THE ROCKETBOYS

ON TO SOMETHING FINE

WE 10/25

MILE TWELVE (CO-PRESENTED WITH THE COMMUNITY CHURCH OF CHAPEL HILL)

MATTHEW MAYFIELD

CARRBORO FILM FESTIVAL POPUP BROADWAY

WE 11/8 w/ Must Be the Holy Ghost, Brother Cephus

(THE WIZARD OF OZ & RENT)

TH 11/9

THE GIBSON BROTHERS NORTH COUNTRY CHRISTMAS

TH 11/9

WITH NEWBERRY & VERCH

11TH ANNUAL ELF MARKET LAUREL & HARDY

SA 11/11

DAR WILLIAMS TRANSACTORS IMPROV 2ND ANNUAL HOLIDAY CIRCLE SHOW DIRTY DOZEN BRASS BAND NYE PARTY JASON MARSALIS AND THE 21ST CENTURY TRAD BAND

SU 11/12

Find out More at

ArtsCenterLive.org

300-G East Main St., Carrboro, NC Find us on Social Media: @ArtsCenterLive

30 | 11.8.17 | INDYweek.com

w/ Taylor Leopold

W/ DANNY WATTS, DJ EMV

LIVE FILM RE-SCORING BY TIM CARLESS

TU 11/14 WE 11/15

WE 11/15

SAT, NOV 11 AfroPop DURM D.J. GET- Triangle clubs DOWN don’t get enough rotation of Afro-inspired dance music outside of hip-hop, but AfroPop Nation brings those sounds front and center every time they come to Durham. For its fourth installment in the Bull City, AfroPop is bringing DJ Kato and DJ Steel to spin dancehall, soca, and more.

—CM [THE VAULT AT THE PALACE INTERNATIONAL, $5–$15/9 P.M.]

Modigliani Quartet PARISIAN Four musical STRINGS Frenchmen are on their way to Duke’s Baldwin Auditorium to deliver a swirl of strings. The members of

Sister Hazel

the Modigliani string quartet are all graduates of the legendary Paris Conservatory—the school where Claude Debussy, Maurice Ravel, and Erik Satie once studied—and their technical ability and emotional sensitivity bear the marks of this institution. This Saturday the quartet will be performing a range of classical works, ranging from fanciful jubilations by Schubert to melancholic meditations by Puccini. —NR [DUKE’S BALDWIN AUDITORIUM, $10–$38/8 P.M.]

HARD TO Purveyors of SAY winsome, generic jangle-rock since the early nineties, Gainesville’s Sister Hazel draws from the same well of inoffensive sentimentality that once elevated the similarly inclined Hootie & the Blowfish to householdname status. The band’s 1997 smash hit “All For You,” is, confusingly, not a Blues Traveler song. JD Eicher Trio opens. —EB [LINCOLN THEATRE, $20–$30/8 P.M.]

Justin Schumacher

WQDR Reunion

Self-described as HAUS HEAD a “product of nineties hip-hop and rave culture,” d.j. Justin Schumacher revels in the sort of mysterious late-night synth patches and house aesthetics that can codeswitch between chillout rooms and dancefloors. The tunes here are fierce techno through and through, with a decidedly peaceful edge. With K RoX, Billie Blaze, and Aldo.

—DS [NIGHTLIGHT,$5/9 P.M.]

From the early RADIO REVIVAL seventies to the mid-eighties, Raleigh’s 94.7 WQDR served up album-oriented rock rather than its current commercial country format. Tonight, listeners and former staffers gather to reminisce while local artists from QDR’s heyday play.

Arrogance guitarist and vocalist Robert Kirkland opens with a solo performance, and later closes things down fronting the

Teasers 17th Anniversary Celebration

THE AMERICAN INDIE / FONTAINE

JONWAYNE FR 11/10

POUR HOUSE: The Fritz, Bella’s Bartok; 9 p.m. • RUBY DELUXE: DJ LuxePosh; 10 p.m. • SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$20. • SLIM’S: Custom 10, Stephens Pharmacy, Pinto; 9 p.m., $5.

THE AFFECTIONATES

w/ Evel Arc, Owen FitzGerald THE WRECKS w/ Mainland, The Technicolors

THE BALLROOM THIEVES JENNY O. MOON TOOTH w/ Husbandry

MOON TOOTH W/ HUSBANDRY

COMING SOON: AIRPARK, MKR, THE TWO YOUTHS, LIGHT BEAMS, SADISTIK, DEAR DESOLATE, BROADSIDE, WIFISFUNERAL

www.LOCAL506.com

Saturday Nov. 11

MEMBERS IN FREE before 9pm door prizes and heavy hors d’oeuvres special entertainment

919-6-TEASER

for directions and information

www.teasersmensclub.com 156 Ramseur St Durham, NC

Open 7 Days/week • Hours 7pm - 2am An Adult Nightclub

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ALSO ON

BLUE NOT Boys; 8 p.m., CRADLE: S 8 p.m. • THE Randall Bickfo CRADLE ( Arkells, Ironto SOUTH: Ev Sons of Parad 8:30 p.m. • D PERFORM Tori Amos; 8 KRAKEN: C Saints, Mike C LOCAL 50 The Technico MAYWOO Bridge to Bre 8:30 p.m., $15 CONCERT Star Wars; 8 Max, Loote, A NCSU’S S Red Baraat; 8 HOUSE: Jer Band, The Nit

THURSDAY, NOVEMBER 9

RANDY NEWMAN An icon of the strangest sort, singer-songwriter Randy Newman has spent the previous five decades performing a clinical examination of American life from a satirical remove, frequently rendering our darkest national impulses with an insouciant twinkle. Newman is an impassioned humanist with an off-kilter sensibility and a forked tongue that occasionally runs dark and nasty. Louisiana-born and Los Angeles-raised, Newman had a brilliant early run of albums in the late sixties and early seventies, including classics like 12 Songs and Good Old Boys. There, he established a musical template of ebullient New Orleans-influenced piano jazz coupled with a genius intellectual’s capacity for casual cruelty.

Sharing the rage of contemporaries like Loudon Wainwright III and Warren Zevon, but not their propensity for lacerating personal inventory, Newman’s impulse was to look outward for his targets. Political Science, from 1972, is a novel (in both senses) critique of American foreign policy whose “let’s drop the big one and see what happens” refrain is delivered with just enough delicious whimsy to suggest the sentiments of an unreconstructed misanthrope who is only half-way kidding. The 1974 record Good Old Boys is a risky masterpiece, an album daring to archly satirize archetypes of the rural South while still rendering their plight with moving humanity.

For good or ill, it established a new vernacular of condescension and empathy without which it is unlikely that subsequent landmarks like Tom Petty’s Southern Accents or the Drive-By Truckers’ Southern Rock Opera would ever have existed.

For a performer so dyspeptic, it’s both the height of irony and utterly appropriate that Newman has experienced his greatest success as a composer of themes for children’s movies like Toy Story and A Bug’s Life. A droll pessimist with an unquenchable sense of wonder, Newman has a vision that mirrors the charms and terrors of childhood with uncanny acuity. Even crowd-pleasing anthems like “You’ve Got a Friend in Me” are subtly shaded with rough roads, bygone years, and an inexplicable melancholy. As he has aged, the stolid traditionalism always present in Newman’s tunes has only become more pronounced: it is music that seems to exist in a shadow history where rock music never arrived to dominate the popular culture.

Lyrically, however, Newman is more subversive than ever. On the new release, Dark Matter, Newman renders nine wondrously scabrous takes on our contemporary politics that are rich in insight, shot through with hard truths and the typically unsparing in their hard-won pessimism. Long may he kvetch. —Timothy Bracy CAROLINA THEATRE, DURHAM | 8 p.m., $64–$94, www.carolinatheatre.org

PHOTO BY PAMELA SPRINGSTEEN

more aggressive proto-rock of his post-Arrogance crew, Kick the Future. Jefferson Hart and the Ghosts of the Old North State are sandwiched in the middle with a set of Tom Petty covers. —SG [KINGS, $10/9:30 P.M.]

RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Michael D’Angelo Quintet; 8 p.m., $10–$20. • SLIM’S: Laser Witch Queens; 9 p.m., $5. • THE STATION: Blues and Barbecue: Sleeping Dogs & Lightnin’ Wells; 8:30 p.m. Jazz Saturdays; 2 p.m., free.

ALSO ON SATURDAY

SUN, NOV 12

BLUE NOTE GRILL: The Gravy Boys; 8 p.m., $10. • CAT’S CRADLE: Saint Motel, Gibbz; 8 p.m. • THE CAVE: GSO, Brice Randall Bickford; 9 p.m., $5. • CAT’S CRADLE (BACK ROOM): Arkells, Irontom; 8 p.m., $15. • DEEP SOUTH: Evan Button & The Tribe, Sons of Paradise, Smonder Island; 8:30 p.m. • DURHAM PERFORMING ARTS CENTER: Tori Amos; 8 p.m., $43+. • THE KRAKEN: Charles Latham, Milagro Saints, Mike Casey; 9 p.m., free. • LOCAL 506: The Wrecks, Mainland, The Technicolors; 7:30 p.m., $12. • THE MAYWOOD: Theocracy, Knightmare, Bridge to Breakdown, Raimee; 8:30 p.m., $15–$20. • MEYMANDI CONCERT HALL: The Music of Star Wars; 8 p.m. • MOTORCO: Max, Loote, Amir; 8:30 p.m., $15–$18. • NCSU’S STEWART THEATRE: Red Baraat; 8 p.m., $9–$41 • POUR HOUSE: Jerry Garcia Band Cover Band, The Nitrogen Tone; 9 p.m.

The Ballroom Thieves COZY & Boston trio The CLOSE Ballroom Thieves inject bits of gospel-inspired soul and the sweeping elegance of cello into roots-rooted, harmony-rich tunes that envelop listeners with soft warmth. Its rustic notes suggest the fuzzy blanket tossed in the dying moments of a long evening spent around a bonfire. —SG [LOCAL 506, $10–$12/9 P.M.]

Luna Formed in the MOON ROCKS early nineties following the dissolution of the much-fetishized Galaxie 500, Luna was both a

continuation and an expansion upon the moody cool of that earlier act. Led by singer-songwriter Dean Wareham, Luna has long demonstrated an enviable capacity for wringing fresh ideas from a template almost exclusively grounded in the spare, detached beauty of mid-period Velvet Underground. Like the Feelies, with whom Luna has shared a drummer, Luna doesn’t change it up much because it doesn’t need to. Eleanor Friedberger opens. —EB [CAT’S CRADLE, $20–$23/8 P.M.]

Gardener Gardener is the SOLO SYNTHS solo project of modular synthesizer player and general weird soundmaker Dash Lewis, who specializes in eerie, slowburning instrumental epics.

Take, for instance, the glacially paced and ironically titled “Splaashy Entrance” off Gardener’s four-song suite, Heavy Everything, which doesn’t pick up until the twelve-minute mark and even then it never really snaps out

of its trance. Tylake and Soft Power open. —HH [KINGS, $7/8 P.M.]

Lukas Nelson & Promise of the Real Get a load of this: LIKE FATHER... Nelson met his future drummer, Anthony LoGerfo, during a 2008 Neil Young concert, and the band they formed went on to back Neil Young on Young’s thirty-sixth studio album, 2015’s The Monsanto Years.

That all makes sense, given that Nelson is a blues-rock traditionalist, a soulful singer, and, oh, the son of Willie Nelson. He’s also in cahoots with John Fogerty; at worst, Nelson’s music could be dismissed as equally boring dad rock. Nikki Lane opens.

—HH [MOTORCO, $22–$25, 8 P.M.] ALSO ON SUNDAY BEYÙ CAFFÈ: Willie Bradley; 7 & 9 p.m., $12. • BLUE NOTE GRILL: Mr. Wonderful; 5-7 p.m., free. • CAT’S CRADLE (BACK ROOM): Overcoats, Gordi; 8 p.m., $10–$12. • THE CAVE: Early Show: Finnegan’s Keeper; 6 p.m., free. King Monsoon,

The Young Step, Toy Cars; 9 p.m., $5. • DEEP SOUTH: propersleep, Lazarus Wilde, Paperback, Robin; 7:45 p.m. Live & Loud Weekly; 9 p.m., $3. • DUKE’S BALDWIN AUDITORIUM: Duke University String School Orchestra Concert; 6:30 p.m. • DURHAM PERFORMING ARTS CENTER: John McLaughlin & Jimmy Herring; 7:30 p.m. • LINCOLN THEATRE: The Maine, Dreamers, Night Riots; 7 p.m., $25.

• NC MUSEUM OF HISTORY: Matthew Tooni; 3 p.m., free. • POUR HOUSE: Swift Technique; 2 p.m. Last Mic Standing: Red Rose; 8 p.m. • RUBY DELUXE: DJ Rotisserie Gold; 10 p.m.

MON, NOV 13 Bon Iver If you find yourself BEAR HUGS needing to numb yourself or find some comfort in a world gone mad, it’s hard to beat the dense comfort of the super-fuzzy material of latter-day Bon Iver. Settle in for an evening of coccooning yourself in Justin Vernon’s tenderly cooed-and-AutoTuned songs, or at least enjoy a very expensive nap. Aero Flynn opens. —AH [DURHAM PERFORMING ARTS CENTER, $46–$175/7:30 P.M.]

Shawn Colvin CATHAR- Veteran singerSIS CAUSE songwriter Shawn Colvin marks the twentieth anniversary of her breakthrough LP, A Few Small Repairs, featuring her best-known single “Sunny Came Home,” which won her a pair of Grammys. Colvin and her band will play the album—wherein Colvin dealt with the fallout from her divorce—in full, sprinkling in backstories, a few covers, and other originals from her catalog of adult contemporary. Former Bob Dylan and sideman Larry Campbell accompanies Teresa Williams in the opening slot. —SG [FLETCHER OPERA THEATER, $50–$153/8 P.M.]

The Dustbowl Revival MAJOR Americana group DUST-UP The Dustbowl Revival will crowd the stage at the Pour House. Fiddle, bass, brass—this band has it all, and youf toes will be tapping. The group was once named “best live band” by INDYweek.com | 11.8.17 | 31

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BLUE WED: THE HERDED CATS KIRK RIDGE BAND/ INDIVIDUALLY TWISTED DUKE STREET DOGS PAUL NELSON BAND THE GRAVY BOYS DAVID QUICK’S JAZZ COMBO TUESDAY BLUES JAM

8PM 7PM 6-8PM 9PM $10 8PM $10

5-7PM 7:30PM

LA Weekly, and the group’s energy makes it hard to argue with that title. The Jag opens.

—KH [POUR HOUSE, $12–$15/8 P.M.] ALSO ON MONDAY CAROLINA THEATRE: Irma Thomas, The Blind Boys of Alabama and the Preservation Hall Legacy Quartet; 8 p.m., $40+. • CAT’S CRADLE (BACK ROOM): David Bazan, Michael Nau; 8 p.m., $15.

• THE CAVE: Poor Pie, Kercheif; 9 p.m., $5. • LINCOLN THEATRE: Hoodie Allen, Luke Christopher, Myles Parrish; 8 p.m., $30. • MOTORCO: J.I.D.; Earthgang; 8 p.m., $15–$20.

• THE PINHOOK: Shilpa Ray, Pie Face Girls, Hans Chew; 9 p.m., $10–$12. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • SLIM’S: Green Aisles, Batboy, Concussion, Heavensend; 8 p.m., $7.

TUE, NOV 14 Cousin Stizz Lyrically floating DARK TRAP on dark, lo-fi trap beats, Cousin Stizz has a flow that fits right in with Atlanta’s rap scene, but he hails from Boston. Even so, his work is far from a copy-and-paste job. His hometown’s personality comes through with a gritty, almost dystopian sound, full of hope. With Levi Carter, Big Leano, and Danny Blaze.

—CM [CAT’S CRADLE, $15–$50/8 P.M.]

Johnny Gandelsman It’s not every day SOLO BACH that you can show up at a rock club and hear classical music, but Johnny Gadelsman, a violinist who’s distinguished himself with the forward-looking classical groups Silk Road Ensemble and Brooklyn Rider, has plenty of experience in crossing boundaries and defying expectations. —DK [CAT’S CRADLE BACK ROOM, $10/7:30 P.M.]

Heartbreakers. Granted, the lineup features a single original Wailer, the sublime guitarist Al Anderson, but with a set list like this, why quibble? —DK [LINCOLN THEATRE, $14.50/8:30 P.M.]

St. Thomas Choir HEAVEN- Originating in the LY VOICES early thirteenth century in Leipzig, the St. Thomas Choir was later led

by Johann Sebastian Bach, whose music and spirit continue to provide a foundation for the venerable ensemble. The program will emphasize hymnal and sacred works by German composers, including three of Bach’s motets and work by Mendelssohn. —DK [DUKE CHAPEL, $10–$52/8 P.M.] ALSO ON TUESDAY DURHAM PERFORMING ARTS CENTER: Bon Iver, Aero Flynn; $46+. • LOCAL 506: Jenny O.; 9 p.m., $10–$12. • POUR HOUSE: Elisium, Sleep Signals; 9 p.m. • RUBY DELUXE: Experimental Tuesday: Brutal Junior; 11 p.m.

WED, NOV 15 Ekali In the lighter, COOL ELECTRO more soothing realm of electronic music, you can find Ekali, who creates a relaxing vibe rather than inciting club raging with his mixes. His dexterous production style gives him the ability to wander outside of his main genre, often remixing gangsta rap tracks, creating interesting polarity.

—CM [LINCOLN THEATRE, $16–$18/8 P.M.]

Jason Narducy A music lifer with INDIE LIFER a sparkling résumé, Jason Narducy has lent his considerable talents to a veritable who’s who of indie-rock royalty including Bob Mould, Guided By Voices, and Superchunk. In Carrboro, he fronts his own band, a rare treat for those looking for further insight into a remarkable career.

Anya Marina opens.

—TB [THE STATION, $12-$15/8 P.M.]

To advertise or feature a pet for adoption, The Original Wailers please contact As the backing JAH BLESS band for Bob eroberts@indyweek.com

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com 32 | 11.8.17 | INDYweek.com

Marley on his classic recordings, The Wailers achieved a measure of musical immortality commensurate with Buddy Holly’s Crickets and Tom Petty’s

Overlake Overlake’s dark CHILLY RIFFS shoegaze sound is perfect for this colder weather: a little bit grim and introspective. With plenty of reverb and effects, echoing vocals, and steady drums, the sound is immersive and drown you in sound. Expect chills. The similiarly dark Lacy Jags opens. —KH [KINGS, $5/10 P.M.]

Squeeze ARE YOU One of the great TEMPTED British bands of the past forty years and arguably underappreciated in contemporary critical reckonings, Squeeze featured two great songwriters who combined the manic intensity of Dr. Feelgood, the literary high-mindedness of Elvis Costello, and the blue-eyed soul of Young Americans-era Bowie on stone classic records like 1980’s Argybargy and 1981’s East Side Story. Recent releases like this year’s generously tuneful The Knowledge have retained a surprising amount of the old magic. —EB [CAROLINA THEATRE, $39.50–$49.50/8 P.M.]

Those Lavender Whales FRIENDLY The auditory FOLKS antics of Those Lavender Whales are indeed familiar: its songs are about shyness, loving one’s friends, and are often rooted around a 3-4 chord guitar progression.

Familiar though these elements are, this doesn’t dampen the spirited warmth that comes through in the Whales’ music. (Disclosure: Those Lavender Whales’ Patrick Wall is a regular INDY freelance contributor.) With Roar. —NR [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/8:30 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE: The Story So Far, Turnstile, Drug Church; 8 p.m., $23–$25. • CAT’S CRADLE (BACK ROOM): Mo Lowda & The Humble, Atlas Road Crew; 8 p.m., $8–$10. • THE CAVE: Crowmeat Bob Residency; 9 p.m., $5. • LOCAL 506: Moon Tooth, Husbandry; 8 p.m., $12. • POUR HOUSE: Hot Buttered Rum; 9 p.m., $12–$15. • RUBY DELUXE: DJ Play Play; 10 p.m.

art

11.8 – 11.15

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SATURDAY, NOVEMBER 11

DAVID SHINGLER & JIMMY CRAIG WOMBLE You don’t have to go to the countryside or the art museum to look at landscapes. After all, you live in one, even if it doesn’t exactly match the bucolic associations of the term. This two-person show by oil painters David Shingler and Jimmy Craig Womble reminds us that there is more to landscapes than rolling meadows and hazy mountains.

Depending on which way you travel to the gallery, you may well pass through views presented in Shingler’s energetic impressions of downtown Raleigh, while Womble’s softer, dreamier hues extend the exhibit’s purview to include Outer Banks docks and Blue Ridge waterfalls. Expect the show to color your perspective for the rest of the evening—after seeing art that looks like the city, the city should look more like art.

Following this opening reception with the artists, the paintings are on view until December 23. —Brian Howe

ADAM CAVE FINE ART, RALEIGH

7–9 p.m., free, www.adamcavefineart.com

“South Wilmington Street, Raleigh, N.C.” by David Shingler PHOTO COURTESY OF ADAM CAVE FINE ART

OPENING

Nov 9-Dec 2. Lump, Raleigh. www.teamlump.org.

2017 UNC Art Open House: Student showcase. Fri, Nov 10, 6-9 p.m. UNC Campus: Hanes Art Center, Chapel Hill. www.art.unc.edu.

ONGOING

Chatham Artists Guild Reception and Tour Gallery: Forty-nine artists.

Fri, Nov 10, 6-8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

Finding Home and Community Through Multi-Media Art: Student projects. Fri, Nov 10, 6-8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

SPECIAL Footnotes EVENT (revisions): Mixed media from various artists.

Nov 9-Dec 5. Reception: Thu, Nov 9, 6-8 p.m. UNC Campus: Hanes Art Center, Chapel Hill. www.art.unc.edu.

Herb Jackson: Paintings.

Sat, Nov 11. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

Night, Day, Night: Deconstruction and reconstruction by Jeff Bell.

And Then the Sun Swallowed Me: Black tape and video installation by Heather Gordon.

Thru Feb 4. CAM Raleigh, Raleigh. www.camraleigh.org.

Anything Goes 2017: Juried exhibit of forty-four artists. Thru Dec 1. Litmus Gallery, Raleigh. www.litmusgallery.com.

Artspace Collectors Gala Art Preview: Thru Nov 17. Artspace, Raleigh. www.artspacenc.org.

LAST Beyond the Front CHANCE Porch 2017: Exhibition by twelve senior undergraduates. Thru Nov 12.

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

Black on Black V2: Performances and art. Thru Nov 25. VAE Raleigh, Raleigh. www. visualartexchange.org.

LAST Blind Field: Sculpture CHANCE by Kelly Johnston.

Thru Nov 11. The Scrap Exchange, Durham. www.scrapexchange.org.

The Boomer List: Photography

by Timothy Greenfield-Sanders.

Thru Dec 31. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

SPECIAL Concept to Gallery: EVENT Six photographers.

Thru Nov 30. Reception: Fri, Nov 10, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

LAST The Coronation of CHANCE the Descendants: Serah. Thru Nov 11. The Carrack Modern Art, Durham. www.thecarrack.org.

Court and Capital: Art from Asia’s Greatest Cities: Thru Dec 10. Ackland Art Museum, Chapel Hill. www.ackland.org.

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.

SPECIAL Drawn Together: EVENT Mixed media drawings and ceramics by Kiki Farish, Jean LeCluyse, Aggie Zed.

Thru Dec 22. Reception: Fri, Nov 10, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

Earth, Water, Air, Fire, Space: Photography by Natalie Ammarell. Thru Nov 30.

Chatham Hill Winery, Cary. www.chathamhillwine.com.

Envision Saint Agnes Hospital: Community and student artists.

Thru Jan 5. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

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

Homebound: Brenda Brokke, Leatha Koefler, Amy Friend. Thru Nov 25. Artspace, Raleigh. www.artspacenc.org.

Flash of Light, Fog of War: Japanese military prints 18941905. Thru Jan 7. Ackland Art Museum, Chapel Hill. www.ackland.org.

Image of Ukraine: Exploring Ukrainian Culture through Embroidery and Painting: Olena Zintchouk. Thru Dec 8. UNC Campus: FedEx Global Education Center, Chapel Hill. www.global. unc.edu.

Freeze!: Installation by Mary Carter Taub. Thru Jan 5. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

Guardians of the Forest: Photography by Susan Jones.

Thru Nov 25. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com.

Hidden Patterns: Wooden art

by Gene Presson. Thru Nov 21.

ERUUF Art Gallery, Durham. www.eruuf.org.

SPECIAL Holiday Salon & EVENT Craft Exhibition: Pottery, glass, jewelry, photography, painting, fibers, books and printmaking by twenty-five artists. Thru Dec 30.

Reception: Thu, Nov 9, 5-8 p.m.

Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.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 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 INDYweek.com | 11.8.17 | 33

Landscapes and Seascapes: Photography. Thru Nov 25. 311 Gallery, Raleigh.

Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps.

Thru Mar 4. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Majesty Incognito: Paintings by Yuko Nogami Taylor. Thru Nov 30. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

More than One Story | Mas de una historia: Photography.

Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc. edu/davis.

Nature’s Enchantment: Rita Baldwin. Thru Nov 26. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

Nevertheless She Persisted: Mixed media by Elissa Farrow Savos. Thru Nov 28. Gallery C, Raleigh. www.galleryc.net.

Reflections Within the Transitioning Grid: Lasercut photography by Merrill Shatzman and libi rose. Thru Nov 22. Power Plant Gallery, Durham.

LAST Orange County CHANCE Artists Guild Open Studio Tour Preview Show: Preview work by the more than eighty participating artists. Thru Nov 12. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

Overtones/Undercurrents: Paintings by Donald Martiny.

Thru Nov 26. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

LAST Path to Liberation: CHANCE saint, sawdust, soul: Paint and mixed media by Lehna Huie. Thru Nov 12.

Meredith College: Weems Gallery, Raleigh. www. meredith.edu/the-arts.

Penelope’s Room: Fiber art installation. Thru Dec 2. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

The Shape of Fashion: Dress trends from 1800s to 1900s.

Thru May 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Shifting Tides: Bringing the NC Coastal Life to Durham:Tony Alderman. Thru Nov 30. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

34 | 11.8.17 | INDYweek.com

Simple/Complex: Weavings by Ann Roth.

Thru Dec 10. Meymandi Concert Hall, Raleigh. dukeenergycenterraleigh.com.

LAST Steinfest: Present CHANCE Day Interpretations: Collection of steins from more than sixty artists. Thru Nov 11.

Claymakers, Durham. www.claymakers.com.

Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

Ackland Art Museum, Chapel Hill. www.ackland.org.

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 Tethered to the Zeitgeist: Mary Ann Anderson. Thru Nov 25.

Artspace, Raleigh. www.artspacenc.org.

SPECIAL Triangle Weavers EVENT Art Exhibition: Fiber art. Thru Jan 6. Reception: Sun, Nov 12, 2-4:30 p.m. Carrboro Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro.

Under the Same Sky: The idea of global communication through art is often a convenient abstraction, but the Mahler Fine Art in Raleigh puts it into concrete practice with its Moroccan/American Artists Residency Exchange.

Next spring, five Trianglebased artists—Thomas Sayre, Pete Sack, Luke Buchanan,

Susan Woodson, and Kathleen Rieder—will travel to Morocco to create and live alongside artists there, five of whom will then come to Raleigh and the Mahler in the fall. The program is directed by Moroccan-born painter Ghany Belmaachi, a former Raleigh resident, whose current solo exhibit at the Mahler is called Under the Same Sky. Aptly for someone who is building a bridge from Raleigh to Morocco, Belmaachi’s striking designs capture universalist themes in bright, flat colors, singing a quiet song of oneness in divisive times. Thru Dec 2. The Mahler Fine Art, Raleigh. www.themahlerfineart.com.

—Brian Howe 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.

Emily Weinstein Open Studio: Oil paintings and prints. Sat, Nov 11 & Sun, Nov 12, 10 a.m.-5 p.m.

Emily Weinstein Studio, Chapel Hill. www.WeinsteinArt.com.

We’ve Met Before: Hand-woven 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 Winter Corridor Artists Exhibition: Dana Ayscue, Cynthia Bickley Green, Stephen Cefalo, Eileen Hendren, Kelly Murray. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

food Caffe Marrone Italian Wine Dinner: With Al’s Burger Shack, Mel’s Commissary, Italian Pizzeria III. Five-course dinner with wine. $50. Wed, Nov 8.

Mel’s, Carrboro.

Dinners with Dolci: In honor of the The Medici’S Painter: Carlo Dolci exhibit and seventeenthcentury Florence, the Nasher Cafe celebrates the flavors and techniques of Italian kitchens during the sixteenth and seventeenth centuries. Thu, Nov 9, 5-8 p.m. Nasher Museum Cafe, Durham. nasher.duke.edu.

Free Wine Tasting: Mon, Nov 6, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev.com.

Much Ado About Cheese: Local cheese festival. $8-$15.

stage

Sun, Nov 12, 1-4 p.m. The Rickhouse, Durham. www. rickhousedurham.com.

Oysters & Bubbles Wine Dinner: Four courses. $65.

Wed, Nov 15, 7-9 p.m. Blu Seafood & Bar, Durham. www. bluseafoodandbar.com.

Pop Up Dinner: Chef Ashleigh Scherman presents a fourcourse meal to benefit TABLE in Chapel Hill. $100. Sun, Nov 12, 5:30-8:30 p.m.

Midway Community Kitchen, Chapel Hill. midwaycommunitykitchen. com.

RSVVP Day: 100 participating restaurants donate 10% of revenue to The Community Kitchen and Food Pantry. Tue, Nov 14. Inter-Faith Council

Community House, Chapel Hill. www.ifcweb.org.

Saving the Harvest with Fermentation: April McGreger of Farmer’s Daughter Pickles & Preserves shares how to create seasonal vegetable ferment (kimchi, sauerkraut, salt-brined pickles, and kvass). $60. Thu, Nov 9, 6-8:30 p.m. Midway Community Kitchen, Chapel Hill. www. midwaycommunitykitchen. com.

Stone Soup Supper: Triangle chefs’ soup competition.

Guests receive one piece of artisan pottery by the Triangle Potters Guild. $30. Wed, Nov 15, 6:30-8 p.m. NCSU Campus: McKimmon Center, Raleigh. www.urbanmin.org/stonesoup-supper.

OPENING 17C: Big Dance Theater. Thu, Nov 9, 7:30 p.m. & Fri, Nov 10, 8 p.m. UNC Campus: Memorial Hall, Chapel Hill. See p. 22.

Vinegar Tom: Play. $15. Nov 9-19. Duke Campus: Sheafer Lab Theater, Durham. www. theaterstudies.duke.edu

Matt Bellassai: Stand-up comedy. Tue, Nov 14, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

wellRED Comedy Tour: Stand-up comedy. Wed, Nov 8 & Thu, Nov 9. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Beowulf, Lord of the Bros: Musical. $27. Nov. 9-119 NCSU Campus: Titmus Theatre, Raleigh. theatre.arts.ncsu.edu.

Danse Macabre: Bellydance. $10-$15. Thu, Nov 9, 7:30 p.m.

The View at Legends, Raleigh. www.legends-club.com.

Ron Funches: Stand-up comedy. Nov 10-12. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Gypsy: Musical comedy.

Nov 14-19. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com.

Jim Gaffigan: Stand-up comedy. Thu, Nov 9. PNC Arena, Raleigh. www. thepncarena.com. See p. 27.

The Night Before Christmas: Dance performance. $15-$30.

Sat, Nov 11 & Sun, Nov 12.

Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

ONGOING

Anything Goes Late Show: Sat, Nov 11, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

The Harry Show: Ages 18+.

Improv host leads late-night revelers through potentially risque games with audience participation. $10. Fri, Nov 10 & Sat, Nov 11, 10 p.m.

ComedyWorx, Raleigh. www. comedyworx.com.

Hush Hush: Secret Brew: Interactive improv comedy.

Thu, Nov 9, 8 p.m. Beer StudyDurham, Durham. www. thisismettlesome.com.

LAST ½ Life CHANCE Sucks: Don’t believe the declarative period in the title. Aaron Posner’s self-aware update of Chekhov is relentlessly interrogative. Five of the seven characters in this

lively, freewheeling adaptation of Uncle Vanya seem to be constantly, anxiously questioning one another and themselves, usually over whether their own lives suck as hard as they believe they do. On top of that, they also regularly ask the audience for judgment calls: What does a word mean, is a certain character sexually desirable, is X a fruit or a vegetable? The whole affair teeters on the brink of being a full-fledged inquest on the phenomenology of suckage. The characters and structure are familiar despite the changes in the original text, but Posner gives his characters gifts that Chekhov’s could only dream of. $5-$20. Thru Nov 11. Manbites Dog Theater, Durham. www. manbitesdogtheater.org.

—Byron Woods LAST  The CHANCE Mystery of Love and Sex: Charlotte and Jonny are such a cute young couple.

They’ve known each other since they were nine, and they’re still spending all their time together in college. She’s white, he’s black. She’s Jewish, he’s Baptist. She’s bisexual (well, theoretically); he’s a virgin.

She wants to sleep with him; he really isn’t after that. Her parents, a Southern mother and a liberal Jewish father from New York, approve. Somewhat. Aside, that is, from Dad’s latent racism and homophobia. Can any of these relationships be saved?

Certainly, since people change so much in their twenties—and forties—when they finally learn something big about one another and themselves. Director Dana Marks takes on what The New York Times calls the “almost dizzying momentum” of playwright Bathesheba Doran’s work in this Honest Pint Theatre production. $14-$17.

Thru Nov 12. North Raleigh Arts & Creative Theatre, Raleigh. www. nract.org. —Byron Woods

No Shame Theatre: Short plays. $5. Sat, Nov 11, 8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

LAST  Perfect CHANCE Arrangement: Under Patrick Torres’s nuanced direction, the walls of a 1950s living room start closing in on gay couple Bob and Jim and lesbian couple Millie and Norma in Topher Payne’s enigmatic play. In adjoining townhouses where two supposedly heterosexual married couples can live with their partners in secret, Bob harbors ambitions for advancement at the State Department. But as the government, goaded by Senator Joseph McCarthy, starts to

hunt down “sexual deviants” in its ranks—and Bob and Norma, his secretary, are placed in charge of that effort—a deficit of trust transforms a twohouse safe room into a psychological vacuum chamber. As Payne ups the stakes, the metaphorical closet we see on stage becomes so pressurized that something has to give—the conditions that would birth the impending gay liberation movement. $15+.

Thru Nov 12. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org.

—Byron Woods Under The Bridge Comedy Night Open Mic: Thu, Nov 9.

London Bridge Pub, Raleigh. thelondonbridgepub.com.

BILL BURTON ATTORNEY AT LAW Bar Plays 3.0 ILLUSTRATION BY KHOA PHAM TUESDAY, NOVEMBER 14–THURSDAY, NOVEMBER 16

BAR PLAYS 3.0

A bunch of playwrights walk into a bar—again—in the new iteration of Cary Playwrights Forum’s beery theatrical happening, which features seven short plays (out of thirty-three submitted), all set in a drinking establishment. Some seem pensive; in Mark Cornell’s Endings, two unlikely contemporaries, Henrik Ibsen and Abraham Lincoln, meet on a fateful night. Then there’s the fanciful In Heaven There Is No Beer, in which Marie Curie gives Dionysus, Athena, and Artemis a very good talking to about the dangers of alcohol. Ambivalence in relationships is examined in Finally—in which two moms with differing views on their sons’ upcoming wedding lock horns at the reception site—and in Timing Is Everything, in which two longtime will-they-or-won’t-theys finally come to a decision (sort of ). And comedy’s on tap when a lack of eligible spouses forces a woman who wants a family to examine other options in The Donor Agency. Familiar names on stage and in the directors’ chairs include Laurel Ullman, Kirsten Ehlert, Doug Kapp, Noelle Barnard Azzarello, and Michael Parker. Check, please? —Byron Woods

FORTNIGHT BREWING, CARY

8 p.m., $10 suggested donation, www.caryplaywrightsforum.org

Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com INDYweek.com | 11.8.17 | 35

screen

page READINGS & SIGNINGS Boozy Poetry Night: Local poets read their work. Mon, Nov 13, 8:30 p.m. The Stag’s Head, Raleigh.

Mark Bowden: Hue 1968.

Tue, Nov 14, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Cynthia Connolly: Banned in DC: Photos and Anecdotes from the DC Punk Underground (79-85). Sat, Nov 11, 7 p.m. Schoolkids Records (Raleigh), Raleigh. www.schoolkidsrecords.com.

Nishani Frazier: Harambee City: The Congress of Racial Equality and the Rise of Black Power Populism. Thu, Nov 9, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Jeff Goodell: The Water Will Come: Rising Seas, Sinking Cities, and the Remaking of the Civilized World. Mon, Nov 13, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Layton Green: Written in Blood. Wed, Nov 8, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Elizabeth Snoke Harris: 365 Weird & Wonderful Science Experiments. Sat, Nov 11, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Thomas Mira y Lopez: The Book of Resting Places: A Personal History of Where We Lay the Dead. Tue, Nov 14, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Marissa Meyer: Renegades, Book #1. Sun, Nov 12, 2 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Michael Parker: Everything, Then and Since. Wed, Nov 15, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

RCWMS 40th Anniversary Reading: With Jeanette Stokes and friends. Fri, Nov 10, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

MONDAY, NOVEMBER 13

Hollis Robbins: 19th Centry African-American Women Writers Anthology. Sun, Nov 12, 3 p.m. Burwell School Historic Site, Hillsborough. www.burwellschool.org.

Phillip Shabazz, Ebeth Scott-Sinclair, Stephanie Smith, Cindy Stevens: Poetry. Donations.

Sun, Nov 12, 3 p.m. St. Matthews Episcopal Church, Hillsborough. www. stmatthewshillsborough.org.

Community Lecture: Gertrude Weil’s Fight for Suffrage: A Southern Lady and New Jewish Woman: Leonard Rogoff. Mon, Nov 13, 7 p.m. UNC Friday Center, Chapel Hill. www.fridaycenter.unc.edu.

Failure: Friend or Foe: Dr. Jason Cho, MD Duke Child and Adolescent Psychiatry Fellow. Thu, Nov 9, 7 p.m.

JONATHAN WILLIAMS: THE LORD OF ORCHARDS When I hear the word “bluets,” I tend to think not of Maggie Nelson’s widely adored lyric essay, but rather of Jonathan Williams. His 1985 book, Blues and Roots/Rue and Bluets: A Garland for the Southern Appalachians, is a paean to the landscape that held and compelled him, a compendium of careful attention to the nuances and the lilt of a place. (Originally from Asheville, Williams, who died in 2008, attended Black Mountain College in the 1950s and lived in Scaly Mountain, N.C., for much of his life.) With Richard Owen, the Hillsborough-based poet Jeffery Beam coedited Jonathan Williams: The Lord of Orchards, a new anthology of “essays, images, and shouts” in response to Williams’s fifty-plus years of poetry, photography, Southern folk-art collecting, and publishing (he ran famed independent press The Jargon Society). Fittingly, Beam and Owen bring together a cadre of interdisciplinary artists and writers to celebrate the collection at Flyleaf on Monday, with another event to follow at the Regulator in Durham on Nov. 18.

—Michaela Dwyer

FLYLEAF BOOKS, CHAPEL HILL

7 p.m., free, www.flyleafbooks.com 36 | 11.8.17 | INDYweek.com

PANIQUE

Between World War II and the communist witch hunts, director Julien Duvivier made one of the most subtly political of all French thrillers. Panique, filmed in 1946 and released in 1947, tells of a murderer who casts suspicion on the one person who can identify him: a Jewish neighbor already distrusted by the community, played by French cinema legend Michel Simon (Boudu Saved From Drowning). Panique is not as well known as Monsieur Hire, the acclaimed 1989 film based on the same novel by Georges Simenon, author of the Inspector Maigret series. However, it has a unique take on the material, with more focus on the ugliness of mob mentality than on the isolated, lonely man at the center of the book and the later film. Panique has inspired different readings—is it a critique of those who collaborated with the occupying Nazis, or even of the violence of the French Revolution?—but one thing is sadly obvious: it’s still relevant today. —Zack Smith

Scott Reintgen: Nyxia. Tue, Nov 14, 7 p.m. NC School of Science & Math, Durham. www.ncssm.edu.

LECTURES ETC.

FRIDAY, NOVEMBER 10

NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $5–$7, www.ncartmuseum.org

SPECIAL SHOWINGS Alice Adventures in Wonderland with the Royal Opera House: Festival of the Arts on Screen. $16-$25.

Sun, Nov 12, 7 p.m. Silverspot Cinema, Chapel Hill. www.silverspot.net..

AV Geeks Present: So You Want to Work in Food Service: $5 donation. Tue, Nov 14, 8 p.m. Kings, Raleigh. www.kingsraleigh.com.

A Tribute to the Three Tenors: Festival of the Arts on Screen. $16-$25. Wed, Nov 15, 7 p.m.

Silverspot Cinema, Chapel Hill. www.silverspot.net.

OPENING Daddy’s Home 2— Mismatched dads (Will Ferrell and Mark Wahlberg) and their mismatched fathers (John Lithgow and Mel Gibson) have a super awkward Christmas.

Rated PG-13.

Company: Festival of the Arts on Screen. With music and lyrics by Stephen Sondheim. $16-$25. Sat, Nov 11, 7 p.m.

Silverspot Cinema, Chapel Hill. www.silverspot.net/Ticketing.

Murder on the Orient Express—Kenneth Branagh brings Agatha Christie’s definitive murder-on-a-train mystery novel to the screen.

Rated PG-13.

Hans Zimmer Live from Prague: Festival of the Arts on Screen. $16-$25. Fri, Nov 10, 7 p.m.

Silverspot Cinema, Chapel Hill. www.silverspot.net.

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

Kick Out the Flicks: Blade of the Immortal: $8. Thu, Nov 9, 8:30 p.m. & Sun, Nov 12, 4 p.m.

Kings, Raleigh. www.kingsraleigh.com.

Once in a Lifetime: Film festival series. $3. Thu, Nov 9, 7 p.m.

Levin Jewish Community Center, Durham. levinjcc.org.

A L S O P L AY I N G

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.

Our Heavenly Bodies (Wunder der Schopfung) with Coupler: $10. Wed, Nov 15, 8:30 p.m.

Kings, Raleigh. www.kingsraleigh.com.

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.

Titus Andronics: By the Royal Shakespeare Company. Festival of the Arts on Screen. $16-$25.

Tue, Nov 14, 7 p.m. Silverspot Cinema, Chapel Hill. www.silverspot.net.

 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.  The Florida Project— Tangerine creator Sean Baker chases sparks of vitality on the neglected margins of the Magic Kingdom. Rated R.  Goodbye Christopher Robin—This biopic of Winnie the Pooh creator A. A. Milne is just too squishy to bear.

Rated PG.  It—Blend classic Spielberg with Stranger Things and you get this scary, heartfilled new version of Stephen King’s magnum opus. Rated R.  The Killing of a Sacred Deer—The latest from the director of The Lobster is an enigmatic, merciless ethical thought experiment.

Rated R.  The LEGO Ninjago Movie—Expect weak puns, weary pop-culture references, and a waning sense of discovery. Rated PG. ½ Loving Vincent—The first fully painted animated film is a sort of prodedural about Vincent Van Gogh that is visually stunning but weak on story. Rated PG-13.  The Snowman—Less a whodunit than a “who cares,” this senseless adaptation of one of Norwegian crime author Jo Nesbø’s Harry Hole books is truly abominable.

Rated R.  Thor: Ragnarok—A stodgy, self-serious franchise springs to life with demigods delightfully out of their element. Rated PG-13.

indy classifieds employment employment

CORPORATE SUPPORT ASSOCIATE FOR UNDERWRITING NORTH CAROLINA PUBLIC RADIO WUNCFM North Carolina Public Radio-WUNC, the public radio station licensed to the University of North Carolina at Chapel Hill, is hiring a Corporate Support Associate to join its underwriting sales team.

This is a salaried position.

The Corporate Support Associate will meet individual sales goals on a monthly and annual basis. These goals will be achieved by researching, locating and contacting national, regional and local businesses, organizations and agencies to present on-air and digital sponsorship opportunities.

The Corporate Support Associate will report to the Corporate Support Manager.

The ideal candidate for the position will have 2 or more years of professional media sales experience (or experience in a related position) and an understanding of public media’s significance in the world of marketing. A bachelor’s degree is required.

WUNC is headquartered in the Triangle area (Raleigh, Durham, Chapel Hill) of North Carolina. It’s often rated among the top areas to live in the country. The ocean and mountains are just a few hours away.

WUNC is ranked among the top radio stations in the Raleigh/Durham metro and is also ranked among the top public radio stations in the country. Salary is based on experience and qualifications and includes a competitive benefits package.

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Interested candidates must apply online at: http://unc. peopleadmin.com/postings/128579 Candidates should be prepared to attach a current CV and cover letter. The position is open until filled.

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THE INDY'S GUIDE TO THE TRIANGLE

C L A S S Y AT I N D Y W E E K D O T C O M

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2 1 5 3

9

7 3

MEDIUM

su | do | © Puzzles by Pappocom

RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER 5 6 RECYCLE THIS PAPER RECYCLE 9 3 2THIS PAPER RECYCLE 5THIS 3 PAPER RECYCLE THIS PAPER 4RECYCLE 9 2 PAPER THIS RECYCLE THIS 5PAPER RECYCLE 1 6THIS PAPER 1RECYCLE THIS PAPER 6RECYCLE 8 3 THIS 4 7PAPER RECYCLE THIS PAPER 4 6 THIS 5 PAPER RECYCLE 90 RECYCLE THIS #PAPER RECYCLE THIS PAPER THIS PAPER kuRECYCLE this week’s puzzle level: RECYCLE THIS PAPER

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.

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.

9 3 2

8 7 4 1

3

8

7

7 8 9 8 43

5 5 1 92 6 4 2 5 7 8 8 3 75 75 5 2 7 3 6 2 6 3 4 9 3 1 7 8 1 4 5 3

1

23

MEDIUM

# 92

MEDIUM 9 7 3 2 1 8 6 4 5

8 6 1 3 5 4 2 7 9

# 91

4 7 5 6 3 9 8 1 2

1 9 6 8 2 5 7 3 4

2 3 8 1 4 7 9 6 5

9 2 4 5 1 6 3 7 8

# 38 6 1 7 3 8 4 2 5 9

5 8 3 9 7 2 1 4 6

7 6 2 4 9 3 5 8 1

3 4 1 2 5 8 6 9 7

8 5 9 7 6 1 4 2 3

solution to last week’s puzzle

Page 23 of 25

5

2 2 4

38 | 11.8.17 | INDYweek.com

# 92

7 6 1 5 4 9 3 2 8 If you just3 can’t 9 8 7 wait, 6 2 4check 5 1 out the current 2 5 4week’s 1 3 8 answer 9 6 7 6 4 5 2 7 1 8 9 3 key at www.indyweek.com, 8 3 7 9 5 6 1 4 2 and click “Diversions”.

9 1 2 3 8 4 6 7 5 Best of luck, 5 2 and 6 8 have 9 3 7fun!

1 4 1 8 9 4 2 7 5 3 6 www.sudoku.com 4 7 3 6 1 5 2 8 9

11.8.17

1 4 8 6

CLASSY AT INDYWEEK DOT COM

30/10/2005

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on this page!

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last week's puzzle

s d n sta

! w o n

on

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DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ERUUF, Durham & ArtsCenter, Carrboro.

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

MICHAEL A. SAVINO MASSAGE See ad on pg. 37