INDY Week 11.09.16

raleigh

11|9|16

8 In D ballo the S

10 Whe Nort

12 In th mak of th

14 On N stitc

18 In En or ev “Ang

21 At si lost h

22 Afte mew

28 A de “Dix expe

DEPARTME

5 Back 8 Tria 10 New 18 Food 20 Mus Center G 28 Arts 32 Wha 35 Mus 40 Arts

2 | 11.9.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | DURHAM 8 In Durham County’s primary election, hundreds of ballots went missing. Now the case is in the hands of the State Bureau of Investigations.

VOL. 33, NO. 43

10 When it comes to public infrastructure, Wilson, North Carolina, has long been ahead of the curve.

12 In the best-case scenario, we came this close to making an unapologetic authoritarian the leader of the free world.

14 On North Carolina’s death row, every door and stitch of trim is painted red.

18 In England, women can end a date that’s dreary or even dangerous by asking the bartender for “Angela.”

21 At sixty-five, Chrissie Hynde of the Pretenders hasn’t lost her snarl, songwriting chops, or eyeliner.

22 After fifteen years, it no longer matters whether mewithoutYou is Christian enough.

28 A decade after UNC first admitted black students, “Dixie” was still played at sporting events. All were expected to stand.

DEPARTMENTS 5 Backtalk 8 Triangulator 10 News 18 Food 20 Music Center Give! Guide 28 Arts & Culture 32 What to Do This Week 35 Music Calendar 40 Arts/Film Calendar

On the cover and above: Natasha Wells (right) of Apex, brought her five-year-old daughter Brooklynn Mason (center) to see President Obama’s rally in Chapel Hill last Wednesday. PHOTO BY ALEX BOERNER

INDYweek.com | 11.9.16 | 3

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf RALEIGH BUREAU CHIEF Ken Fine STAFF WRITERS (DURHAM)

Lauren Horsch, David Hudnall

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4 | 11.9.16 | INDYweek.com

backtalk

An Election, in Verse

Because, after this long national nightmare, we wanted to do something completely different, this week’s Backtalk begins with a poem submitted by Matt Valades of Pittsboro, who placed second in the INDY’s poetry contest in 2011, called “Ballad of the Vanquished Donald.”

(A note about the logistics of running a weekly newspaper: we went to press hours before Tuesday’s races were called. So it’s possible that Donald was not in fact vanquished; but as Valades notes, “If somehow he does win, we will all have bigger problems than this poem.”)

Here goes: Of he who would be King, the Donald, son of Fred, a saga unspooled.

Recall, recall the waving weeds that brush against the grave.

Donald who carries a shield of tin and wears a suit of skulls, whose mind can bend like mannequins, orange and on display, and does not know but sees quite well, turning toward the crowds, their eager pain. Pressed to glass, the grin smears away.

Sorcerer of disaster, you thought you knew us all too well.

Let only the jungle judge, for I just whisper it is so.

Hovered above the city, you see it’s one blinking circuit, switch to switch, that cornered empire of fried and frozen, nothing there to smell. As tragic levity raises your helicopter in bad air, the Chinese steel cannot equal your spine and that weight is just too much to bear.

Your shirt of hair was so widely passed around, so wearily worn, but now we take you off.

Of he who would be King, the Donald, son of Fred, a saga unspooled.

Recall, recall the waving weeds that brush against the grave.

On indyweek.com, commenter Montag takes issue with Paul Blest’s essay last week on why millennials shouldn’t bother voting for Libertarian Gary Johnson [“The Spoiler,” November 2].

“Mr. Blest’s article,” Montag writes, “is just another in a long line of logically strained, contradictory, and ultimately failed attempts I’ve heard over the years to argue against and discredit libertarians and the libertarian philosophy. One of the great ironies of our current political environment is that, for all of their differences, the left and the right can come together on one thing; their fear and loathing of libertarians. They have good reason to be afraid. Be very afraid. Maybe not today, or tomorrow, but eventually millennials and the younger generations after them are going to tire of this business-as-usual that the author (and other ‘progressives’ and conservatives) implicitly support in his article.”

“Millennials,” writes commenter tkraw23, “1) Are tired of an interventionist foreign policy.

2) Believe the Drug War is idiotic and unwinnable, and that locking up mass numbers of people of color for nonviolent crimes is a terrible idea that has been long championed by your Democratic nominee. 3) Remember that the Democratic Party was explicitly homophobic just twenty years ago. Look at the president who signed it into law.

“Some remember this track record of establishment Democrats. That is why so many young people have fled to Mr. Johnson. In various polls of millennials, he has been tied with Hillary, which is why the Clinton machine has spent so much effort discrediting him with the goal of getting millennials back in line. The thing about millennials, they don’t like to be told what to do.

This is a real problem for the Democrats.”

By the time this paper hits the streets, we’ll know whether that assessment is correct.

Finally, a correction: due to an editing error, last week’s story on congressional candidate Thomas Mills incorrectly stated that the Eighth Congressional District includes Wadesboro.

Following the court-ordered congressional redistricting, that is no longer the case. We also misstated the counties in the Eighth; they are Rowan, Cabarrus, Stanly, Montgomery, Hoke, and Cumberland.

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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+SMALL PENALTIES

After a lengthy investigation of labor practices at the family farm of state senator Brent Jackson, R-Sampson, an official with the U.S. Department of Labor told the INDY last week that the farm “was found in violation of recordkeeping, disclosure, and wage statement provisions, as well as violations resulting from failure to pay the minimum prevailing wage under the H-2A regulations.”

As a result, Jackson—who is currently embroiled in litigation with seven former guest workers who sued him, his son, and his farm for wage theft and retaliation— was ordered by the DOL to pay twenty-one workers a total of $2,180 in back wages and promise to never do it again.

The INDY has requested records regard-

ing how, exactly, the DOL reached that number, as well as for more information about the nature of the violations. That request has not yet been fulfilled. But considering the history of wage and safety issues at the farm—including the permanent disability of a worker in the late 1990s who suffered a heat stroke and wasn’t taken to the hospital—an average of $103.81 for each worker seems paltry.

“We know there’s been ongoing violations at that farm, particularly since he got out from under the union agreement,” says Farm Labor Organizing Committee vice president Justin Flores, referring to the Jackson Farming Company leaving the North Carolina Growers Association, which has a union agreement with the FLOC, at the end of 2014. “We’re hoping that more workers like his decide to come together and request better working conditions and keep growers in compliance with the law through collective bargaining.”

Jackson is chairman of the Senate budget committee. In 2013, Jackson was a key player in the passage of HB 74, which eliminated farmworkers’ ability to collectively bargain and banned corporations from ensuring fair labor practices from their suppliers. Jackson’s legislative office wouldn’t comment on the Department of Labor’s findings, and a call to the farm went unanswered, as have all of our calls to the farm since we began reporting this story in April [“Crooked Rows, April 28”].

Jackson, who was unopposed for reelection, won his fourth term in office this week.

+THE CASE OF THE MISSING BALLOTS

Last week, the months-long investigation into whether there was any foul play during the March 15 primary elections in Durham County was handed over to state law enforcement officials.

The March primary was called into question after the county board of elections discovered, following an internal investigation, that provisional ballots had gone missing or been counted more than once, leading the State Board of Elections to 8 | 11.9.16 | INDYweek.com

ILLUSTRATION BY SHAN STUMPF

triangulator

launch its own inquiry.

Earlier this month, the state board gave its findings to Durham County District Attorney Roger Echols, who passed them along to the State Bureau of Investigations. While Echols declined to comment on whether or not criminal charges would come from the SBI’s investigation, election tampering is a felony in North Carolina.

In April, the state board was alerted to discrepancies in the provisional ballot count of an election in which two incumbent county commissioners lost. It conducted an audit. In May, an investigation was announced and the public was informed that there were missing votes.

Three candidates contested the results and called for a new election.

In late May, the state board rejected that request but allowed for a recasting of some ballots after it determined that, of 1,039 provisionally approved or partially approved ballots at the center of the investigation, there were only physical records for 980 of them. The number of recast votes was too low to change the results of any of the races.

According to emails sent between Durham County Board of Elections director Michael Perry (who is currently on leave)

and board chairman Bill Brian, the county was about three hundred ballots short and a tote with a “large number of unopened ballots” was missing.

One employee was in charge of the ballots at the time, according to the emails, and that employee became uncooperative with the board staff. He resigned on March 29 via a handwritten note. While the board declined to identify the employee in question, personnel records show only one employee resigned in March—Richard Rawling, an elections administrator.

Rawling has not responded to requests for comment.

+CATCHING UP TO THE WORLD

On Monday, Wake County became the latest North Carolina government to endorse paid parental leave, adopting a policy granting paid leave to its nearly four thousand employees, of whom 62 percent are women and about 31 percent are women in child-bearing years.

MDD Study

The policy, which was proposed by Wake County Commissioner Jessica Holmes and passed unanimously by the Board of Commissioners, will provide six weeks paid time off (and eight weeks in the case of complications) to employees who have worked for the county for at least twelve months. Wake County staff say that, in the last nine months, 34 percent of employees who needed leave didn’t have enough vacation or sick time to cover it; on average, those employees—with newborn or recently adopted children—lost about 203 hours of work without pay.

“I was very proud to lead this initiative and bring it forward to the county,” says Holmes, who in 2014, at the age of thirty, became the youngest commissioner in Wake County history. “It’s a bipartisan initiative—both [presidential] candidates have endorsed some form of paid parental leave— and it produces better outcomes for both mothers and babies. And in terms of the current policy being archaic, it was time for Wake County to be a part of that change and put ourselves into a position to recruit and retain the best talent we can.”

Holmes also points out at the new policy won’t just cover the birth of a child but also adoption and fostering. As someone who was raised by her grandmother, she says

she’s “particularly proud” of that.

“You can’t have family values if you don’t value families,” adds Commissioner John Burns.

The United States is one of just twelve countries in the world that don’t offer federal maternity leave, and just three U.S. states—California, New Jersey, and Connecticut—offer it on a statewide level.

Wake County isn’t the first North Carolina municipal government to offer paid leave to employees. Back in October, the Durham County Board of Commissioners adopted a twelve-week policy, and in August, the Greensboro City Council passed an ordinance granting six weeks of paid leave.

(Orange County allows employees to take up to six months of unpaid leave.)

“Tonight,” Holmes said after the vote, “I feel like Wake County is leading other counties in this state, and other counties in this country.”

Given recent battles between the state and local governments over local control— HB 2 included—creating a family-leave policy for county employees is likely the most the county could do without a challenge in the courts or the legislature.

For Burns, this move was a no-brainer.

“Wake County government is an employer,” he says. “We have to treat our own employees with dignity and provide benefits that attract the best possible talent to serve the people of Wake County. This is a necessary step to doing that.” triangulator@indyweek.com

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Transcranial current stimulation is a technique that delivers a very weak current to the scalp. Treatment has been well tolerated with no serious side-effects reported. This intervention is aimed at restoring normal brain activity and function which may reduce mood symptoms experienced with Major Depressive Disorder. We are looking for individuals between the ages of 18 and 65, diagnosed with Major Depressive Disorder currently not taking benzodiazepines or antiepileptic drugs.

You can get compensated up to $280 for completing this study. If you are interested in learning more, contact our study coordinator at: courtney_lugo@med.unc.edu Or call us at (919)962-5271

This week’s report by Paul Blest and Lauren Horsch.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 11.9.16 | 9

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WHAT’S STANDING BETWEEN RURAL NORTH CAROLINA AND RELIABLE INTERNET SERVICE?

PHOTO ILLUSTRATION BY SHAN STUMPF

indynews

BY DAVID HUDNALL

W

hen it comes to public infrastructure, Wilson, North Carolina, has long been ahead of

the curve.

In the early 1900s, when electricity providers couldn’t be bothered to extend service to rural areas, Wilson’s leaders invested in a city-owned utility so that residents could enjoy lights and power equivalent to what the folks in the big cities were getting. (Today, it sends electricity to four neighboring counties.) And in 1999, Wilson constructed a new dam that dramatically expanded the capacity of its Buckhorn Reservoir, securing its water supply for a hundred years into the future.

“This kind of investment is a constant theme in our history,” says Will Aycock.

10 | 11.9.16 | INDYweek.com

“Once Buckhorn was built, our public officials started looking at what the next priority should be. And they quickly identified broadband Internet as an essential need moving forward.”

Aycock is the general manager of Greenlight, the community broadband network Wilson debuted in 2008, after years of unsuccessful attempts to forge partnerships with local cable and telecom companies to improve service networks in the area. With Greenlight, Wilson was tackling an issue faced by rural communities all across the United States.

“If you’re a big, corporate Internet provider, the profits are in the cities,” says Christopher Mitchell, coauthor of “North Carolina Connectivity: The Good, the Bad, and the

Ugly,” a new report by the Minneapolisbased Institute for Local Self-Reliance. “It’s the same dynamic that necessitated electric co-ops a hundred years ago: it’s expensive to extend infrastructure out to rural areas where there’s not a significant concentration of customers. So AT&T and Time Warner Cable rationally invest instead in urban areas. You just can’t rely on the profit motive to bring good infrastructure to rural areas.”

With Greenlight up and running, Wilson residents—as well as its employers and government agencies—received Internet and cable services with greater speed and reliability than what was being offered by CenturyLink, the primary provider in the area. Neighboring counties—many of the same ones that already enjoy the electric-

ity services Wilson provides—were lining up, eager to get Greenlight extended to their communities.

Then the legislature stepped in.

In 2011, Time Warner Cable, AT&T, and CenturyLink lobbied the newly Republicanled General Assembly to pass a law limiting the authority of local governments to build networks. The bill, HB 129, passed.

Legislators from both sides of aisle supported HB 129. Marilyn Avila, a Republican representing Wake County, sponsored the bill. Campaign finance reports show that Avila has received over $20,000 from Time Warner Cable, AT&T, and CenturyLink since 2010. A cosponsor of HB 129, Democrat William Wainwright, received over $13,000 from those three companies before

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his death in 2012. Another Democratic cosponsor, Becky Carney, has received $12,000 from AT&T, Time Warner Cable, and CenturyLink since 2008. The fourth cosponsor, Julia Howard, a Republican representing Forsyth, received $6,000 from those companies prior to her vote.

After the law passed, Wilson, along with a few other governments that had already developed their own networks, was allowed to continue operating Greenlight.

But it was prohibited from extending its services beyond Wilson County. The city subsequently petitioned the Federal Communications Commission for a preemption of the state law. In March 2015, the FCC ruled in its favor. Citing “state-level red tape” and laws passed “due to heavy lobbying support by incumbent broadband providers,” FCC chairman Tom Wheeler noted that “the area’s top employers all rely on the community broadband network, new companies have located in Wilson because of its network, and residents and businesses in five surrounding counties are all pleading for access to this gigabit-speed connectivity. … The issue is simple: these communities want to determine their own path.”

Victory in hand, Wilson immediately began running broadband services to Pinetops, in Edgecombe County, and to Vick Family Farms, an employer of three hundred people in Nash County that relies on a variety of high-speed automated processes to do its business.

In August, though, the U.S. Sixth Circuit Court of Appeals ruled that the FCC had exceeded the authority granted it by the Telecommunications Act of 1996, which allows the commission to preempt state laws it determines stand in the way of broadband expansion. That meant that, as of October 28, Wilson was once again barred from expanding beyond Wilson County. It also had to shut off the broadband access it had extended to schools, public buildings, and two hundred residential and commercial customers in Pinetops, and flip off the switch to Vick Family Farms.

Reached by the INDY, Vick Family Farms sales manager Charlotte Vick said the company did not wish to discuss its plans about what it will do without Greenlight. But in a separate statement, Vick said: “Our entire operation runs on the Internet. We are desperate for both a short-term and long-term

solution. We can’t grow without broadband.”

A short-term solution arrived on October 20, one week before the cutoff date.

The Wilson City Council voted to continue providing broadband (but not cable) to Pinetops and Vick Family Farms free of charge for up to six months. (Since Greenlight won’t be charging for the service, it doesn’t violate the appeals court ruling.)

The council’s action was undergirded by a commitment by state representatives Susan Martin and Harry Brown to draft a bill in the 2017 session that will allow Greenlight to reconnect its broadband to Pinetops and Vick Family Farms.

Martin, a Republican representing Wilson and Pitt counties, says she doesn’t foresee a repeal of the existing law, but “possibly some adjustments.” “I believe there may be a need to change some of the existing language to better support public-private partnerships,” Martin says.

State Representative Graig Meyer, D-Orange and Durham, tells the INDY he’s been working with Representative Josh Dobson, a Republican in McDowell County, to get rural lawmakers on board with finding ways to expand rural broadband. “We’re looking at a whole range of options, one of which would be for the state to make a huge economic investment in last-mile service all across North Carolina,” Meyer says.

Martin says she’s not so sure about government-run broadband, though.

“The concern over taxpayer-funded systems competing with the private sector is a valid concern, and, while I was not in the legislature at the time, I certainly understand the reason the legislation was put in place,” she says.

In Pinetops, where residents are literally connected to a well-functioning fiber network that the state now says they can’t use, many view such free-market ideals from a different angle.

“CenturyLink is the only other provider here, and at my home their speeds are five times slower than what I was getting with Greenlight,” says Suzanne Coker Craig, a Pinetops town commissioner. “It’s slow, unreliable, and when it drops out—which it frequently does—it takes several days to get your complaint resolved with customer service. All we want is the choice of having better access.” backtalk@indyweek.com INDYweek.com | 11.9.16 | 11

12 | 11.9.16 | INDYweek.com

WE BROKE THE MACHINE THE 2016 ELECTION AND THE FLAILING AMERICAN EXPERIMENT

A

BY JEFFREY C. BILLMAN

s I write this, I don’t know how the election turned out, whether Hillary Clinton maintained her modest lead or Donald Trump rode a wave of white anxiety into the White House, whether Roy Cooper emerged victorious or Pat McCrory’s HB 2 sins went unpunished, whether Deborah Ross gave Democrats a majority in the U.S. Senate or Richard Burr hung on despite (or maybe because of ) his promise of perpetual deadlock, whether my inevitable Wednesday-morning hangover will follow a night of relief or despair. I am, in a sense, the sportswriter who turned off Game 7 of the World Series during the ninth inning: I can see how the contest took shape, but not how it ended.

That in itself is enough to send a chill down my spine.

Put simply, the 2016 election has exposed a cancer in the body politic, a bug in the machine. The American experiment seems perilously close to collapse.

It’s possible—perhaps likely—I’m being overly pessimistic, that this existential crisis will abate and things will eventually coalesce into a new normal, just as they have after all the other existential crises in our country’s 240-year history. After all, we survived the Civil War and the Great Depression. Why would this crisis prove any different? Moreover, the economy is churning along and violent crime is down from its earlynineties peak. In recent years we’ve also expanded civil rights for LGBTQ people, acknowledged the inequities in our criminal justice system, constructed an admittedly imperfect universal health care program, and seen a woman win a presidential nomination. Those are all markers of societal progress.

And yet here we are, in the midst of a long-developing political morass unlike anything in my lifetime, one that’s difficult to even wrap my brain around.

A major political party, overtaken by uncompromising zealots, has made unbridled, unprecedented obstructionism its central organizing principle and fealty to the gun lobby and unfettered corporate greed its number one focus. It’s also gone out of its way to scorn Latinos and Muslims and LGBTQ folks. Thirteen million of this party’s members, including many who fancy themselves moral leaders (looking at you, Franklin Graham), chose as their champion a mendacious, bullying conspiracy theorist who channels George Wallace, flirts with fascism, and boasts of sexually assaulting women.

And tens of millions more Americans think this is acceptable. In the best-case scenario, we came this close to electing an unapologetic authoritarian leader of the free world. Indeed, even with the same ridiculous policy positions, a more disciplined, less-baggage-laden version of Trump could have won this thing easily.

That is, in a word, frightening.

Trumpism predates Trump, to be sure. It was conceived decades ago in the cesspool of Fox News and right-wing talk radio. It came of age in an era of evercoarsening discourse, in which we seek out sources of information that confirm what we already believe. It

That is the politics of Trumpism.

But the rot goes deeper than Trump. metastasized after the election of the first black president, as white aggrievement found a home in the tea party. It calcified through the use of aggressive gerrymandering and blatant efforts to keep minorities from voting.

And so you have a presidential campaign premised on the notions that the election is rigged, free speech is dispensable, and political opponents should be locked up. You have a party that has surrendered its remaining shreds of intellectualism to a ravenous base. You have Republican senators (including Richard Burr in North Carolina) who talk of never letting a Democrat appoint a Supreme Court justice. And you have a North Carolina Republican Party that, in a press release, shamelessly celebrated that early-voting turnout among Afri-

can Americans was down. This, of course, came after Republican apparatchiks gutted early-voting hours and reduced the number of locations in predominantly black areas.

That is the politics of Trumpism. But the rot goes deeper than Trump. It has spread beyond the Republican Party, in fact; while it is most prevalent among the revanchist right, you see echoes of the underlying angst throughout the political spectrum.

Trump, after all, is a symptom, not the disease. The disease stems from an evolving demographic landscape that portends a future in which white males aren’t guaranteed positions of privilege. It has, in recent years, been exacerbated by anxiety over a globalizing economy and a plodding recovery from the Great Recession, by shuttered factories and skyrocketing inequality, by bailouts and culture wars, by the specter or terrorism and unending military conflicts. There’s also an ever-deepening distrust (often deserved!) of societal institutions and a sense (often accurate!) that forces are aligned against the little guy.

Some of these maladies could be treated, if only we had the political will. We could, for instance, invest in better jobs for the working class. We could make education more attainable. We could tackle inequality and strengthen the safety net. We could eradicate a system of campaign finance that doubles as legalized bribery and undermines faith in our politics. We could move congressional and legislative districting out of the hands of self-interested politicians.

But we won’t do any of those things, at least not any time soon. Nor will we address climate change or our massive infrastructure shortcomings or shore up entitlement programs. Instead, the combatants will take up arms and man their trenches. The pundits will fulminate and the politicians will dissemble. And the line between politics and cheap reality-show entertainment will only further erode.

Politics has become tribal, a zero-sum game.

It’s true that Trump’s most stalwart support comes from senior citizens, and that over the next several cycles the electorate will become more diverse. Twenty years hence, a coalition built upon white resentment won’t come anywhere near a majority. But for now, I fear, this will get worse before it gets better. jbillman@indyweek.com

ILLUSTRATION BY STEVE OLIVA AND CHRISTOPHER WILLIAMS INDYweek.com | 11.9.16 | 13

DEAD

MAN

WAITING NORTH CAROLINA HASN’T EXECUTED ANYONE IN TEN YEARS. SO WHY IS CAPITAL PUNISHMENT STILL ON THE BOOKS?

BY KEN FINE

For Lyle May,

the death penalty is not a cause, a protest, or a political debate—at least, not entirely. It’s the sound of prison guards’ boots pinging against the floor as they approach a condemned man’s cell. It’s looking on as a friend packs his few belongings into a cardboard box. It’s hugging his neck during a final goodbye. It’s knowing that after his heart beats for the last time, some other inmate is one moment closer to the day he, too, feels the sting of a needle.

May has been down that particular road dozens of times since he was convicted of killing a woman and her son and disposing of their bodies along the Blue Ridge Parkway near Asheville nearly twenty years ago. And not every man he has seen take the long, lonely walk to Central Prison’s “death watch” block—the solitary section of death row that sits adjacent to the execution chamber—has stoically accepted his fate.

Eddie Hartman was a mentor of sorts, a man May shared countless laughs with over card games. So as his execution date approached in the fall of 2003, May tried his best to be both a shoulder to cry on and a sounding board for the friend who found himself, at long last, contemplating his fleeting mortality.

“At some point, you just have to be OK with being executed, with dying,” May says. “Well, he wasn’t. He said, point blank, ‘I don’t want to die. I don’t want this to end.’ What do you say to someone who you know is about to die? I wanted to be anywhere but this place.”

There’s nothing dignified about those last few days, nothing to signal to the men left on the row that everything will be OK. Just a handshake. A long, emotional embrace. And then, for hours, Shown are the 150 inmates on North Carolina's death row. Lyle May is highlighted on the next page.

14 | 11.9.16 | INDYweek.com

silence—an eerie calm May likens to waiting for a storm to pass.

“You try to find something to take your mind away from what’s happening,” he says.

“And just like a tornado, once it’s over, [dwelling on the aftermath] is useless. There’s nothing you can do.”

It’s the unease that comes with knowing that you, too, will one day take that same final walk that makes living on the row a unique incarceration experience. For May, that wait is his personal hell.

“It’s absolutely torture,” he says. “It’s absolutely on my mind every day I wake up, every time I go to sleep. In here, it’s really difficult to think about having a future. Without that threat—that constant worry that all I’m doing now would be for nothing and that I will eventually die in an execution chamber—life would be incredibly different.”

And in North Carolina, thanks to a de facto moratorium that has been in place for more than ten years, that wait is indeterminate— because, here, the death penalty is a cause, a protest, and a political debate.

N

orth Carolina hasn’t broken out the needle since 2006, when Samuel Flippen was executed as punishment for murdering his two-year-old stepdaughter. But the moratorium—a result of legal challenges stemming from arguments that lethal injection violates the Eighth Amendment’s ban on “cruel and unusual punishment” to the 2009 passage of the Racial Justice Act, which allowed (until its repeal in 2013) death row inmates to challenge their convictions on the grounds of racial bias—has not yet prompt-

ed the state to eliminate capital punishment from the books.

That fact troubles death-penalty abolitionists, who have argued that the costs associated with trying capital cases—the millions spent on both the prosecution and defense and on the many appeals guaranteed to the condemned—is simply too heavy a burden for taxpayers. More important, they note that in the last ten years, murder rates have declined (thus debunking the deterrent argument), four death-row inmates have been exonerated, the State Bureau of Investigations admitted to falsifying evidence in dozens of trials, and a judge found evidence of statewide racial bias in the use of the death penalty.

Meanwhile, public support for the death penalty has plummeted. A Pew Research poll released in September revealed that fewer than half of Americans—49 percent—were in favor of capital punishment, a decrease of 7 percentage points from 2015. In North Carolina, 68 percent of those polled in 2013 were in favor of life in prison without the possibility of parole as the state’s maximum sentence, and the majority of those who think the death penalty is antiquated—61 percent— disagree with the notion that capital punishment deters criminals.

So why, they ask, are men and women still being sentenced to die, even though experts, including many of the district attorneys who try these cases, say the death penalty likely won’t be used for years to come, if ever? And is forcing someone, guilty or not, to wait in limbo for an execution that might not ever come itself a form of cruel and unusual punishment?

INDYweek.com | 11.9.16 | 15

Susanna Birdsong, the policy counsel for the state ACLU, says it is.

“If somebody wakes up every day having to think about that and the gravity of that—the uncertainty of it—it’s certainly psychological torture in a way,” she says.

She continues: “More and more people are saying, we shouldn’t, as a state, be putting people to death and, you know, it’s been ten years since the last execution in North Carolina, and in that time, four more people have been exonerated. And a lot of times people talk about, ‘We need the death penalty. It really helps to lower the crime rate when people know they could be sentenced to death by the state.’ But in the time that there has been this de facto moratorium in North Carolina, the murder rate has, in fact, declined. So it disproves that myth. The state and the people would be much better served by doing away with [the death penalty] completely.”

T

he cost of capital punishment in North Carolina can be measured in more than the toll it takes on the 147 men and three women who are waiting to die. It imposes a substantial economic burden on the state’s taxpayers as well. According to a 2009 Duke University study by Philip Cook, the standard-bearer of rigorous evaluations on capital punishment in North Carolina, death-penalty prosecutions cost taxpayers at least $11 million a year. Why? Because the vast majority of inmates residing on the row have been deemed indigent and, consequently, are guaranteed a legal defense on North Carolina’s dime. These cases require

16 | 11.9.16 | INDYweek.com

two attorneys and a team of investigators and a direct appeal to the N.C. Supreme Court upon conviction.

“On average, defending a capital case costs four times as much as a first-degree murder trial in which the defendant faces a maximum of life imprisonment,” Cook concluded. And that figure doesn’t include prosecution costs, “despite the fact that death-penalty cases can eat up hundreds of hours in state-funded district attorneys’ offices and law enforcement agencies.” An earlier study, conducted by Duke researchers in 2007, found that it costs North Carolina more than $2 million to prosecute a capital homicide and see it through to execution.

“The bottom line is that the death penalty is a financial burden on the state and a resource-absorbing burden on the trial courts,” Cook wrote. “That conclusion is relevant to the debate over whether preserving the death penalty is in the public interest, but surely not among the most important considerations.”

Prosecutors are finding it more and more difficult to justify pursuing the death penalty. In fact, the number of capital cases in North Carolina has been on the decline for the better part of a decade. Since the moratorium took effect, no more than a handful have been tried statewide in any given year.

Many district attorneys shy away from such undertakings because finding jurors willing to send someone to his or her death can be difficult. Others know that a death sentence is, at this point, more symbolic than

THE KILLING

MACHINE

North Carolinians have been debating the constitutionality of the death penalty since 1917, when Rufus Satterfield was electrocuted for more than six minutes before he was pronounced dead. Legislators argued that his death amounted to unconstitutional torture, prompting legislation passed in 1935 that changed the method of execution to lethal gas.

Nearly forty years later, the Supreme Court ruled that the death penalty itself was unconstitutional, but that 1972 decision was later amended, and, in 1976, the court allowed executions to again be carried out, so long as jurors had a choice between capital punishment and life imprisonment.

By 1984, North Carolina’s death row was back in business, but dissent lingered. In 2003, state senator Eleanor Kinnaird, D-Orange, proposed a bill to create a two-year study on the inequalities in capital sentencing. The measure, however, was defeated in the state House.

The first real blow to capital punishment came in 2007, when the North Carolina Medical Board issued an ethics policy prohibiting a doctor from doing anything more than being present at an execution—and threatened disciplinary action against doctors who facilitated one. The order was in direct conflict with the state’s execution procedures, which required that a doctor be present and monitor the inmate’s essential body functions until he or she was dead. That obstacle was cleared in 2009, when the N.C. Supreme Court ruled against the state medical board.

The same year, however, with the passage of the Racial Justice Act, inmates were given an opportunity to appeal their convictions on the grounds of racial bias, complicating matters further. And even though the legislature repealed it in 2013, injunctions and reviews of Racial Justice Act cases have left the state unable to carry out lethal injections. And so, for more than a decade—and probably for years hence—those on death row have been left in limbo. —Ken Fine

anything—not worth the man hours required to see it through. Last year, North Carolina saw zero capital convictions—an exclamation point on a downward trend that has seen the number of new death-row inmates nosedive since the turn of the century.

Durham District Attorney Roger Echols knows all too well what it takes to put together a capital case. His office will soon argue to a jury that Craig Hicks should be sentenced to death for murdering three Muslim students in February 2015. Despite that case— the first capital case he’s tried during his two years as DA—he acknowledges that determining a death sentence is not something to pursue lightly and that current legal hurdles and waning public support have changed the equation. So what does he use as guidance when making the call?

“Are there aggravating circumstances, which is what legally have to be present to seek the death penalty? Are those things present?” he says. “Some people may think that it’s just a decision, whether you want to go for the death penalty or not, but there are legal hurdles. Every case that is charged, and every case that we may think that there is an argument for first-degree murder, does not qualify for death-penalty prosecution.

I think that’s one thing we’re looking at. I’m also looking at the nature of the offense, meaning obviously it’s homicide, but what are the facts involved? How heinous is it?

What effectively makes this case different from any homicide case?”

As required by state law, he also has to consider what the victim’s family wants.

“We consult the victim or the victim’s family in the case of a homicide, and the victim’s-rights case, before we make certain types of decisions,” Echols says. “I’m not going to be seeking the death penalty just because I can. And generally, the public doesn’t want it.”

Of course, not everyone sees it that way.

During closing arguments in Lyle May’s trial, prosecutors argued that for some people, life in prison is too lenient a sentence— and the jury listened.

“I know it’s hard when you sit here and you look at [May] like that in his shirt and sometimes his tie, it’s hard to picture him in a prison yard playing cards with the guys, in a prison gym punching a punching bag, in a prison cell having a snack, watching TV or listening to the radio,” the prosecutor said.

“But if your verdict is life, one day soon, that’s what he’ll be doing, and life will not be worse for him. He isn’t someone who will sit there contemplating what he’s done and where he’s gone wrong. He’ll sit there eating his fireballs, savoring his memory of how much he enjoyed what he did.”

DEATH SENTENCES IN NORTH CAROLINA SINCE 2006 4 3

3 2

3

1

1 0

0 2007

2008

2009

2010

2011

2012

2013

2014

2015

SOURCE: THE DEPARTMENT OF PUBLIC SAFETY’S DEATH ROW ROSTER, NCDPS.GOV

E

very door and stretch of trim inside death row is painted red—a deep burgundy that serves as a reminder for people like May that the end of their story has already been scripted.

“Red is synonymous with death,” May says. “Red. You know, because there’s blood on our hands.”

The paint isn’t the only thing that differentiates death row from Central Prison’s general population. There’s a single TV located in the dayroom that serves those 147 men. In the yard, there’s a dirt lot next to a concrete lot; aside from a beat-up football and two worn basketball goals, there’s not much to engage with during the hour the inmates are permitted to spend outside on days when the weather is fair.

May embraces those sixty minutes. He finds they offer him a sense of normalcy. “I like the smell of the fresh air,” he says, before acknowledging that even that serves as a grim reminder of his circumstance. “I don’t think I’ve seen a night sky in nineteen years.

I’d love to be under one.”

While conditions on the row are quieter and cleaner than one might encounter in a county jail, at every turn May is confronted with a routine he says would be far more bearable if he were serving a life sentence somewhere else.

“If you add into [a life sentence] that threat of death and the fact that you’re isolated from the population and denied the ability to gain access to work programs, school programs, vocational programs, to have contact visits, the ability to engage in discourse with a varying population, there’s nothing to work toward in here,” he says. “I mean, not too long ago, we got to use plastic chairs to bring into the dayroom, and that was a big deal for us.

Those are the things we have to look forward to. And having things to look forward to, you have no idea how humanizing that can be.”

May has spent the better part of his life

on the row, looking for, as he describes it, “something to distract you from the inevitable truth that it means absolutely nothing.”

Little things like phone access—a privilege granted in March that ultimately enabled May and other inmates to contact the INDY for this story—allow the men to feel, if only in bursts, human again. But fifteen minutes on the phone or an hour outside can only do so much.

“You have to really find a way to give meaning to your life,” he says. “Each day is like an obstacle course that starts with that door opening, the lights coming on, and those guards screaming into the intercom, ‘Chow time. Chow time,’ at six a.m.”

Still, as May reflects on his first few years there, he admits those days were cathartic.

“No matter how much time you spend in prison, whether it’s with a life sentence or a death sentence, you can’t help but go over the mistakes you’ve made in the past,” he says. “Even if you don’t see them as mistakes, you’re going to rethink everything that got you to this point. And there’s gonna be some kind of unintentional rehabilitation that comes with that. … You know, I’m here because I lost my mind. I lost my mind one time and now I’m here. For the first handful of years, it’s all I thought about, but eventually, you’re forced to think about and deal with it because if you don’t, it’s gonna keep coming back to pound you into the ground until you’re dead or crazy.”

But with that realization came a yearning to find a way to make up for his past transgressions. And that, he says, is another aspect of a death sentence people on the outside simply don’t understand—and certainly not something the prosecutor in his case believed him capable of.

“Out there,” he says, “is an opportunity to grow and learn the way you can’t when you’re in death row. We’re capable of change.” kfine@indyweek.com INDYweek.com | 11.9.16 | 17

indyfood

fo

ILLUSTRATION BY CHRISTOPHER WILLIAMS

He

STRON

Your Bartender Is a Feminist

IN THE CASE OF A TINDER EMERGENCY, THE BAR’S GOT YOUR BACK

BY ERYK PRUITT An unorthodox initiative that recently started in Lincolnshire, England, aims to help women out of the kinds of precarious situations that are all too commonplace in bars. By asking for “Angela,” a woman who wants to get away from her date is employing a code word that alerts the bartender 18 | 11.9.16 | INDYweek.com

“Angela” when your safety is not in jeopardy feels overdramatic. After all, this guy simply cropped out the man bun from the profile pic you swiped right. But it won’t seem overdramatic when homeboy whips out his vape pen and blasts you with a cloud of pumpkin-spiced WTF. Ladies, you are not alone. You and I can communicate through a series of safe words and signals to improve your evening.

After all, we are in this together. Imagine if I could have swiped this guy for you.

If he’s more obsessed with the ABV of every craft beer, rather than the flavor …

Swipe left. Drinking is not a sport with participation trophies, and this guy seems too afraid to get his jersey dirty.

If he needs to sample every wine before finally ordering a glass … Swipe left. This behavior is indicative of his fear of commitment, and it’s better to catch this early.

If he calls me “chief,” “sport,” or “boss” … Swipe left. I have a name. Not that he should overuse it to the point at which I hate my parents for naming me, but still. Julia Blain Trust me, the job has taught me to spot all the red flags before it’s too late. Anyone asking me to make him that drink he had that one time he was in here long ago—he can’t remember the name of it, but it was pretty good, can I make him one of those?

Well, I don’t see much of a future for the two of you. Nor do I offer much hope for the fella who asks for a sweet red wine that’s BY EM kind of dry.

A Strong However, if you’d like to keep with the farmers m asking theme, I’ll offer a posse of potential but by the safe words.

Blaine, wh If he talks too much about his ex, ask for just dona Jolene.

Farmer Fo If he talks too much about himself, ask the auctio for a time out. tart—for $ If he says you’d be a lot prettier if you If you’r smile, ask for an ambulance.

Wake For And if he spends too much time clock- urdays fro ing his phone, or the cocktail waitress—or yourself fo worse, your feet—maybe you’re better off for twenty asking for a mulligan. size goes f The point is simple: dating in this day Strong and age can be tricky. You are not alone. If sons—from you find yourself feeling unsafe in any man- pies in th ner, please, by all means, ask for Angela. and butte Or, better yet, ask for me. but the ch Lord knows I’ll know what to do Blaine say with him. customers Twitter: @reverenderyk they’re av

to run discreet interference so that the woman can make her escape. This maneuver is a proven tool for avoiding creepy and potentially unsafe predicaments.

As a bartender, I have served as the third wheel on many Tinder dates. Quite frankly, I’d rather suck dry the spill tub than over-

hear your painful, clumsy exchanges, but I stand ever ready to facilitate your needs for both social lubrication and security.

Perhaps it’s not danger that has you thinking you’d rather chew off your own leg than continue this painfully awkward evening. And maybe the idea of bellowing

food [

EAT THIS ]

Julia Blaine rolls out dough for Strong Arm Baking’s chocolate chess tarts, which she bakes in a wood-burning oven. PHOTOS BY BEN MCKEOWN

Heavy Lifting

STRONG ARM BAKING’S CHOCOLATE CHESS TART ADDS BOOZE TO A DECADENT HEIRLOOM RECIPE

BY EMMA LAPERRUQUE A Strong Arm Baking regular heads to the farmers market to buy a chocolate chess tart, but by the time she arrives they’re gone. Julia Blaine, who started the micro-bakery in 2014, just donated the last one to an auction for Farmer Foodshare. So the regular books it to the auction and begins bidding. She wins the tart—for $100.

If you’re early enough to the Eno River or Wake Forest Farmers Market—both on Saturdays from 10 a.m. to noon—you can win one yourself for way less. An eight-inch tart sells for twenty-four dollars. The petite, personal size goes for six.

Strong Arm’s selection mirrors the seasons—from blackberry turnovers and tomato pies in the summer to brandied apple cakes and butternut-sage pastries in the fall— but the chocolate chess tarts are evergreen.

Blaine says she adjusted the schedule because customers kept coming back for them. Now they’re available at the markets every week,

as well as via special order and Strong Arm’s Thanksgiving menu, both online.

What’s not available is the recipe. That, Blaine says, is a family secret.

“It was my mother-in-law Jean’s recipe to start. Then it got churched up.” In other words? “Booze,” she laughs.

Blaine and her husband, Thomas, were childhood best friends before falling in love and becoming each other’s “partner in everything.” Thomas built his wife the wood-fired masonry oven that sparked the breads and pastries to eventually launch Strong Arm. And Blaine’s passion for baking—honed by her years at La Farm in Cary and Scratch in Durham—turned her husband into a baker himself. He previously served as a U.S. Marine and wildland firefighter before realizing his knack for croissants.

Both are now full-time with Strong Arm, which means their house is as much a home as it is a bakery. Convection ovens share space

with colossal mixers, fridges are stuffed with butter blocks, and speed racks are stacked with tart shells. Amid it all, on a floury work bench, Blaine keeps her tattered, splattered recipe notebook tucked away.

Press her enough at a farmers market and she will confess a few ingredients: sunnyyolked eggs from pasture-raised chickens, sourced from her sister-in-law. Thick, local cream. Sixty-percent dark chocolate. Lots of bourbon. The effect is something like a drunk brownie, or devouring a brownie while drunk: gooey, fudgy, crackly, happy.

According to Blaine, the recipe bloomed through many versions until, one day, her mother-in-law tried a bite and blurted, “That’s it! No more. This is it.”

Even as the tart builds a following, Blaine always remembers its first fan.

“We very, very rarely have one left,” she says. “But if we do? It goes to Jean.”

Twitter: @EmmaLaperruque

Your Week.

Every Wednesday. indyweek.com INDYweek.com | 11.9.16 | 19

indymusic

The Great Pretender FORTY YEARS INTO A ROLLER COASTER MUSIC CAREER, CHRISSIE HYNDE IS CONTENT TO BE ALONE

BY ADAM SOBSEY

“Precious,” the first track on Pretenders— probably one of the greatest debut albums ever made—roars out of London’s punk ferment with a ferocious attack that evokes “motorcycles with guitars,” the sound young Chrissie Hynde had conceived for the band she’d formed. Hynde, “the greatest female rock singer ever,” according to a record executive who would be a vice president at Warner Bros. Records, doesn’t sing on “Precious.” She spits and hisses a down-and-outin-Cleveland rant, circa 1975: sex, probably drugs, certainly rock ’n’ roll, possibly crime, and driving furiously. The guitar solo is a police siren in pursuit. At the end, Hynde declares: “I had to fuck off!”—to London, presumably, where the native Ohioan has lived as an expatriate for forty years.

Flash forward to the first (and title) song on the new Pretenders album, Alone. It’s a rollicking track that sounds like a barroom band from, say, Cleveland circa 1975.

Again, Hynde speaks rather than sings the lyrics, which insouciantly celebrate solitude and self. With her conversational sixty-fiveyear-old voice and dry laconic defiance, she sounds a little like Lou Reed. No driving this time—she left America to escape the multifarious evils of what she called “car culture.”

She walks to the newsagent for a paper. The longtime cinephile checks the film listings: “Ah, there’s one I’ve been wanting to see.

Who’s up for a movie?”

Before you can adjust to Hynde’s disarmingly easygoing mood, let alone answer the question, she adds, with a sort of contented sneer—and laser-perfect comic timing and tone—“I am!”

This might be the first truly funny moment of Chrissie Hynde’s recording career. “She has the sense of humor of your average ayatollah,” rock critic Robert Christgau once wrote of her, although her close friend Morrissey called her “by far the funniest person I have ever met.” He clarified, however, that “this is not to suggest that Chrissie 20 | 11.9.16 | INDYweek.com

has a sense of humor, because she doesn’t appear to.”

Hynde doesn’t care if you’re up for a movie or not. “I like being alone,” she insists, happily, and “Alone” concludes with an f-bomb, just as “Precious” did in 1979: “What are you gonna do about it? Hmm? Absolutely fuck-all.”

Had you forgotten all about Chrissie Hynde? Our Lady of the Eyeliner, the rock legend from Akron who exiled herself to London, almost married two Sex Pistols, and formed the Pretenders, who conquered the radio in the late seventies and MTV in the early eighties with “Brass in Pocket” and “Back on the Chain Gang”? She survived the drug-related deaths of her guitarist and bassist, then mostly disappeared for nearly a decade to be a single mom and raise her two daughters. She reclaimed the spotlight in 1994 with the schmaltzy piano ballad “I’ll Stand by You,” cowritten by the shlockmeisters who wrote “Like a Virgin,” “True Colors,” and other chartbusters.

Perhaps you took note of her occasional activism and arrests for the animal rights cause in the 2000s. (Her songs are licensed for use by PETA after she dies.) Maybe, last autumn, you followed the controversy over Hynde’s memoir, Reckless, in which she took “full responsibility” for a sexual assault she suffered in Cleveland in her “Precious” years (the assault is the basis for the great Pretenders song “Tattooed Love Boys”). Accused of “victim blaming,” she doubled down on her responsibility claim with characteristically feisty comments to the press: “Just don’t buy the fucking book, then, if I’ve offended someone.” That elicited additional public ire—and more victim blaming, ironically.

But the Pretenders? Did they even still exist? They did—they do—as Hynde-pluswhoever for two decades. Both with and without them, she has kept making music, pausing along the way for the band she’s led for nearly four decades to be inducted into

THE PRETENDERS

Sunday, Nov. 13, 7:30 p.m., $45–$75 Durham Performing Arts Center, Durham www.dpacnc.com

Chrissie Hynde PHOTO BY JILL FURMANOVSKY Cleveland’s Rock and Roll Hall of Fame. She called the institution “cheesy,” of course.

The Pretenders’ first-rate 1999 album, ¡Viva El Amor!, was ignored by her own label, Warner Brothers, and it stiffed. The band was unsigned when made its next one, 2002’s accomplished quasi-reggae LP, Loose Screw, which Hynde auctioned off to an indie label. After that, she thought of disbanding the Pretenders. She spent time in South America, collaborating with Moreno Veloso, son of the legendary Brazilian singer Caetano, on music that was never officially released.

At the Pretenders’ 2005 Hall of Fame induction, she met an entrepreneur who talked her into letting him bankroll another Pretenders album, 2008’s ramshackle but wise Break Up the Concrete. The following year, she collaborated with a Welshman named JP

Jones on a gritty roots-rock album they wrote in Cuba and recorded back home in the UK, called Fidelity!. They released it themselves.

Nobody bought that, either.

In 2014, the Great Pretender surprised everyone by making a strong and shapely solo album, Stockholm, with a couple of Swedish producers and her friends Neil Young and John McEnroe guesting on guitar. And then came her memoir, 2015's Reckless, an apparent capstone to the resilient career of a great rock ’n’ roll survivor.

But Hynde is back. “She’ll be rocking till she drops,” Neil Young said when he inducted the Pretenders into the Hall of Fame. She’s a great and greatly underrated songwriter, often in collaboration. Her main conspirator on Alone is producer Dan Auerbach of the Black Keys, from Hynde’s hometown of Akron, where the staunch expat now spends

some of her time. Hynde intended Alone as a solo release like Stockholm, but it morphed into a Pretenders album—not that the difference is clearly measurable anymore.

Nor does it matter that Hynde’s voice— among the most instantly recognizable in music—has both lost and dropped its range, and occasionally wobbles and goes flat. That’s just character. Her vibrato remains rich and expressive, and as that same admiring record executive noted, it’s really “two different voices: one for the ballads and one for the rockers.”

Alone has both. As fierce as she is, Hynde can also be deeply vulnerable. Just listen to “Kid,” “Talk of the Town,” or “Show Me” after the bruising “Precious.” Alone is a collection of good, good-sounding, well-played songs— by yet another new Pretenders lineup that includes the legendary Duane Eddy lend-

ing guitar work—that explore Hynde’s familiar late-life concerns as a lyricist: lost love, war and peace, patience and acceptance, the divide between the body and the spirit (she's a lifelong acolyte of Hinduism).

Hynde’s streak of masochism and often pitiless self-examination is here, too. Try "I Hate Myself," Alone’s de facto Hyde to its Jekyll title track, in which she lists all the reasons why in between repeating the title thirty-eight times. Her moaning delivery fairly drips with angst. Is it a put-on? How can she hate herself if she likes being alone?

It’s hilarious. Or it’s dead serious. What are you gonna do about it? Hmm? Absolutely fuck-all.

Adam Sobsey’s biography of Chrissie Hynde will be published by University of Texas Press in 2017.

Twitter: @sobsey INDYweek.com | 11.9.16 | 21

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Fifteen years ago, Aaron Weiss would’ve imagined he’d be teaching high school by now. Instead, as the mewithoutYou frontman finished his undergraduate degree in English education at Temple University, his band signed to Tooth & Nail Records, sending him on a different trajectory. Weiss expected his career plans to be sidetracked for only a few years following the 2002 release of the band’s full-length debut, [A –>B Life], and subsequent tour. But, he says, the records and attendant opportunities just kept coming.

Weiss now finds himself leading mewithoutYou on its fifteenth-anniversary tour.

These days, the band’s sets include as many

songs from [A–>B Life] as last year’s Pale Horses, its sixth LP. That alone is significant for the outfit; Weiss struggled for years with playing songs from the debut, which largely dealt with the fallout of a relationship that ended.

“It felt strange to keep singing about the same girl after we’d broken up,” Weiss says.

“She’d gotten married, but here I am still shouting about our old relationship. It kind of felt inappropriate in a way.”

Enough time has passed that the singer— now with a wife and daughter—feels comfortable reviving that material.

“When I’m performing, I feel passion and intensity, but it’s not over the exact emotions

the lyrics originally represented. They’re just kind of open-ended now,” he says.

“It took a while to come around to feeling pretty well detached from the specific person, but it’s no longer a specific expression of my feelings for this particular person.”

Beyond relationship dynamics, Weiss has explored philosophical and psychological conceptions with openness and honesty, including personal battles with suicidal thoughts, in his music.

“Part of what I hope our songs accomplish is to make the listener feel some sense of companionship in whatever they’re going through,” he says. “When you talk about it openly, a lot of times you realize that other people struggle with these same things, and we can kind of smile about it and move past it rather than keeping it in a secret place and letting it fester.”

M e w i t h o u t Yo u ’s catalog is rife with songs that seek spiritual answers, incorporating elements of Judaic and Sufi traditions alongside the Christian beliefs with which the band is often misaligned.

“Not everyone in the band is religious, but as someone who has been trying to pursue religious truth for my entire adult life, it’s easy to understand how we appeal to a Christian crowd because I use the words Jesus or God and make use of biblical stories,” Weiss says.

“People looking for someone to affirm their Christian beliefs can find some of that in our lyrics, but people questioning their faith can find that too, in the sense of trying to undermine dogmatism or unreflective, uncritical acceptance of religious doctrines,” he continues. “People who are looking to expand and experience other religious traditions can find references to those traditions in our songs and might find in us—or me in particular as a lyricist—someone who’s interested in looking at a broader picture of spirituality than just one particular religion.”

It’s worth noting that the packaging of 2009’s It’s All Crazy! It’s All False! It’s All a

Dream! It’s Alright garnered a Dove Award nomination from the Gospel Music Association, despite the album's title and songs like closing track “Allah, Allah, Allah,” which refers to the teachings of Sufi sheik M.R. Bawa Muhaiyaddeen. Rife with symbolism, the album’s poetic lyrics—some in Arabic— also draw upon the Tao Te Ching, the poetry of Rumi, and the biblical tales of David and the birth of Jesus.

According to Weiss, this inclusivity is a double-edged sword. The band plays primarily secular clubs to fans from a variety of religious and nonreligious backgrounds.

Early on, the members opted to “stay out of that echo chamber of Christian culture,” Weiss says. For some, the band wasn’t “Christian enough,” while others disliked it for addressing spirituality at all. Weiss recognizes that the band’s stylistic shifts have turned off some devotees, notably the band’s acoustic turn on It’s All Crazy!, which featured more melodic vocal and instrumental work and was a vast departure from its raw, punkinfluenced beginnings.

“We no longer resembled the band that they had come to like,” he theorizes about that folky fourth record, though he notes that the band has mostly returned to its preferred earlier forms.

Weiss calls the different musical and lyrical paths the band has traveled crucial to mewithoutYou’s evolution as a band, even if those explorations don’t necessarily line up with where he stands now. He can still find meaning in songs that date back to the band’s 2001 EP, I Never Said That I Was Brave.

“I can look back at certain lines, and what those lyrics meant to me at the time may be completely different [than now], but a lot of times they’re open-ended enough to allow those phrases or concepts to be appropriated for different purposes,” Weiss says.

“They now suit where I’m at in a different period of my life.” music@indyweek.com

“It felt strange to keep singing about the same girl after we'd broken up.”

INDYweek.com | 11.9.16 | 23

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music

…TO ME FROM THE EARTH…

Friday, Nov. 10–Sunday, Nov. 13, various times, $20–$50 CAM Raleigh, Raleigh www.camraleigh.org

Earth Works

A COMPOSER AND A POET MINE PRECIOUS ORES FROM THOMAS SAYRE’S CAM RALEIGH SCULPTURES

BY DAN RUCCIA “It’s a really long butterfly effect,” composer D.J. Sparr says of his long history of friendship and collaboration with Shawn and Karen Strittmatter Galvin of New Music Raleigh.

It began when Sparr’s wife, Kimberly, played in Pittsburgh youth orchestras with the Galvins, and it has continued through various commissions, grants, and recordings.

Its latest manifestation is …to me from the earth…, an immersive thirty-five-minute work that grows out of White Gold, Raleigh artist Thomas Sayre’s installation at CAM Raleigh.

Even though Sparr has never lived in the Triangle—he’s from Maryland and lives in West Texas—he seems to have become an important part of its classical scene. His association with New Music Raleigh has resulted in several performances and the 2014 release of an album of his music, 21207. North Carolina Opera performed his opera Approaching Ali in 2015. And a series of unexpected connections led him to score Minnow Media’s documentary about Sayre, Earthcaster.

“No matter what the combination of instruments, large or small, D.J. has an unbelievable ability to write music that is meaningful and intellectual while also being comfortable and compact,” Shawn Galvin observes.

There are many layers to excavate in …to me from the earth…. Most immediate are the four massive pieces that comprise White Gold: “Rows,” “Tracks,” “Thicket,” and “Barn.” The work is a visceral reflection on cotton and the way its cultivation shapes the landscape of the South, though it largely sidesteps cotton’s historic ties to slavery. On three of CAM’s walls, arrays of Masonite panels are covered in black roofing tar, pockmarked with burst26 | 11.9.16 | INDYweek.com

D.J. Sparr PHOTO BY PJ SYKES ing white cotton bolls. In "Rows," thousands of flecks are penned in by isometric furrows in a glowing, muddy bronze.“Thicket” zooms in closer, the bolls becoming scattershot fireworks in an Abstract Expressionist sky.

“Barn” is more austere, with ghostly parallel lines emerging from the tar. In "Tracks," Sayre alludes to his well-known “earthcasting” style, in which he casts sculptures of holes in the ground. The work consists of eighteen small castings of marks made by tires, backhoe teeth, hands, knees, and arms— a catalog of human intervention. But, taken as a whole, the installation feels much more personal and expressive than Sayre’s larger earthcastings.

The next layer is David Dominguez’s 2003 poem “Mi Historia,” which Sayre and CAM director Gab Smith found as they planned the collaboration. Sparr had been leaning toward haiku to complement Sayre’s art, but when he read “Mi Historia,” he felt its free verse would be a good fit for his work, and one line even became the title of the piece.

The bulk of the poem is about a man’s attempt to transcend his past, but its emotive core is a short flashback to his mother working in cotton fields in her youth. The

poem addresses many of the major themes of White Gold in simple, direct language, with lines about the narrator’s mother picking cotton as she drags a burlap sack through the fields, abandoned barns, and the rumble of a beat-up truck. It’s almost as if it had been written for the art (Dominguez is contributing a new poem for the show’s catalog, too), with its focus on history emerging from the earth. Smith and Sayre arranged the poem into a kind of libretto, dividing it into sections that are thematically linked to the sections of the installation.

This text, in turn, forms the backbone for Sparr’s music, the final layer. CAM’s unusual space—physical, acoustical, and psychological—gives him a chance to try out musical ideas he couldn’t try in a more conventional concert hall. The piece spreads eight instrumentalists—all members of the North Carolina Symphony, led by Shawn Galvin—and soprano Aundi Marie Moore throughout the gallery.

“It’s going to begin with three instruments in the downstairs gallery, playing music that will be heard but not seen. To me, that’s actually underneath the earth,” Sparr says.

He describes the music as “mystical mini-

malism of the high plains, Texas,” combining the slow-burning, tonal approach of composers like Arvo Pärt and the gnomic fragments of George Crumb within his own melodic sensibilities. Earth returns as a subliminal metaphor, a point of crossing with Sayre and Dominguez.

From there, the sound gradually moves from the earth to the sky, with the players slowly moving around the space. The ensemble will divide and re-divide, passing unsynchronized vignettes around the hall. Even though Sparr, Sayre, and Smith conceived the work in collaboration, these layers should interact in unexpected ways as the music and poetry flow through the art.

“It is hard not to be moved by the strength of the images in Sayre’s work,” says Shawn Galvin. “I think his art will immediately give the music gravity and context, and that is a special opportunity as a performer.”

It’s an encouraging sign for the continued evolution of the arts in the Triangle that CAM is actively incubating this kind of cross-media collaboration, searching for terra firma in terra incognita.

Twitter: @danruccia

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indystage

Members of the first black class at UNC watched their stories unfold in The Black Pioneers Project on Sunday. PHOTO BY ALEX BOERNER

Pioneer Spirit

THE EMBATTLED FIRST GENERATION OF BLACK STUDENTS AT UNC SPEAKS THROUGH AN ORAL HISTORY AND THEATER PROJECT

J

ohn Sellars will never forget the night of April 4, 1968. He was in his dormitory room at Hinton James Residence Hall when he heard people running up and down the corridor and celebrating on the balconies.

When he went out to see what was going on, someone told him that Martin Luther King Jr. had just been killed. "The reason for the cheering—cheering—was because King just got assassinated," Sellars says.

UNC-Chapel Hill has long enjoyed a reputation for progressivism. But between 1952 and 1972, the first generation of black youth

BY BYRON WOODS permitted to enroll as undergraduate students encountered a campus and a culture all but unrecognizable to us today.

"At basketball and football games, the bands would play 'Dixie,'" recalls Walter Jackson, from the class of 1967. "It was like the national anthem. You were expected to stand up for it." Fraternities and sororities admitted no black pledges, and the campus’s lecture halls provided no reliable sanctuary when professors made their prejudices evident.

"Several were quite open, saying, 'You’ll never get a good grade in my class,'" says

James Womack, who studied medieval literature at UNC in the mid-1960s. "One had a Confederate flag displayed in his classroom."

Journalist Karen Parker, who in 1965 became UNC's first black female graduate, remembers a history professor who "loved to come and stand right by my desk when he talked about lynchings."

Last weekend, those stories and others like them were given voice when UNC’s Process Series staged a reading of The Black Pioneers Project at the Sonja Haynes Stone Center on Homecoming Weekend. The new script,

or at the end of freshman year. Jackson likens edited by Elisabeth Lewis Corley, is based his experience at UNC to his service during on interviews the Southern Oral History the Vietnam War. Program conducted over the past year for "It’s almost impossible for someone to get UNC’s Center for the Study of the American the feel of what it was like to be a war veteran," South. Team members and students spoke he says. "There’s a similarity in getting others with a group of first-generation black to understand what it was like to be an graduates that formed in 2010 out of UNC's African-American student at Chapel Hill." annual black alumni reunions. They called Sandra Burford, from the class of 1969, themselves the Black Pioneers, and Walter puts it bluntly: "If I conquered Carolina, Jackson was their organizer. then I could go just about anywhere and do "They changed history and paved the way anything." To honor for the people who her struggle and that followed them," says of her classmates, Taylor Livingston, a “It's almost director Joseph Ph.D. candidate and Megel assembled a field scholar who impossible for distinguished cast of directed the study at regional actors and SOHP. "Integration at someone to get the alumni including UNC was not like it Thomasi McDonald, was at the University feel of what it was Yolanda Rabun, and of Mississippi. film and television Nobody died here. like to be a war actor Fay Hauser—a But the harrowing black pioneer in experiences of UNC's veteran. There's her own right, who early black students a similarity in graduated from have been largely left UNC in 1971. Their out and untold. That’s getting others to audience included why these stories are the original cast—the so important." understand what men and women who The thirteen alumni lived the tales being included in the script it was like to be an told onstage. repeatedly describe Megel says he having feelings of African-American regularly observes the profound isolation effects of a generation and aloneness that student at of suppressed racism were exacerbated not only in presentby a number of Chapel Hill.” day American politics factors. During the but among the black application process, female students he admissions staff teaches in UNC’s Department of African, would actively discourage black students, African American, and Diaspora Studies. even those with high SAT scores. On-campus "Not one of them doesn’t feel the same housing policies kept black students virtually thing," he says. "They’re made to feel they don’t quarantined in certain residence halls. At the totally belong here. They’re marginalized. library and cafeteria, white students would They’re asked, 'What did you do to get here?' vacate tables when black students would take Their bodies are being objectified. This is a seat. Even after the passage of the Civil happening today on campus."

Rights Act in 1964, restaurants and other After last weekend, Megel plans to public accommodations continued to make develop the staged-reading script into a fullclear who was and wasn’t welcome. length play. "Not only is it a part of our "Everywhere an African-American history, but things about it are still incredibly student went, he or she felt they were under present and true," he says. "We’re not a spotlight," Jackson recalls. Because of as far away from this world as we think that psychological pressure, he says, many we are." black students who were capable of thriving Twitter: @ByronWoods academically dropped out after one semester

Diane Von Furstenburg • St. John Lilly Pulitzer • Citizens of Humanity Kate Spade • Coach • Michael Kors 7 for all Mankind • Marc Jacobs Theory • And more...

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GIMME DANGER ★★★ ½ Thursday, Nov. 10, 9:15 p.m., The Rialto www.ambassadorcinemas.com/the-rialto

Iggy Pop in Gimme Danger PHOTO BY BYRON NEWMAN

Fast as Lightning, Kicks Like a Mule

IN GIMME DANGER, JIM JARMUSCH TOASTS HIS BUDDY IGGY POP’S STOOGES HEYDAY

BY GLENN MCDONALD

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30 | 11.9.16 | INDYweek.com

Has anyone on this planet aged as beautifully as Iggy Pop? Still rocking in the free world at the age of sixty-nine, Iggy continues to look impossibly good in his natural habitat— onstage, shirtless, wielding the mic like a weapon. His deeply lined face is a road map of hard living, but those crystal blue eyes still sparkle with mischief and mojo. Blur any image of Iggy just a little and it’s 1971 all over again.

The estimable Mr. Pop, aka James Osterberg, is the subject of Gimme Danger, director Jim Jarmusch’s adoring, impish documentary on Iggy and the Stooges, generally acknowledged as one of the greatest rock ’n’ roll bands ever convened.

Iggy and Jarmusch are pals (the singer has appeared in several of the director’s films) and the movie has the relaxed feel of a mellow evening reminiscence. Relatively mellow,

anyway—Iggy tells his stories while sitting on a throne-like chair framed by mounted skulls. But that seems about right, doesn’t it?

Anyone likely to seek out Gimme Danger will already be familiar with the Stooges’ legacy as Detroit’s proto-punk prophets of rage. The most interesting bits of the film address the periods just before and just after the band’s initial arc of success in the early 1970s. We learn that, before assembling the band, Iggy was hip to a wide range of musical influences.

“I was the Stooge who knew who John Cage was, or Sun Ra,” he says. A cascade of album covers appears onscreen, detailing Iggy’s list of heroes: The Wailers, Duane Eddy, Link Wray, the Velvet Underground, John Coltrane, the Ventures. Throughout the film, Jarmusch employs such playful visual devices to illustrate Iggy’s storytelling,

maintaining an aesthetic that evokes mimeographed fanzines and fuzzy analog television. Toward the end, he parallels that first list with another avalanche of records by the bands the Stooges inspired: The Clash, The Buzzcocks, Bad Brains, Black Flag, Gang of Four.

What’s particularly cool about Jarmusch’s doc—and “cool” is this filmmaker’s métier— is how the focus stays squarely on the Stooges and their glorious flash-and-fade from the late 1960s to the mid 1970s. Iggy’s subsequent solo success is largely ignored, and Gimme Danger ultimately celebrates the original band’s spirit of collectivist anarchy— all amps and guitars and oil drums and mallets.

“Fast as lightning, kicks like a mule,” Iggy says. It’s poetry, really.

Twitter: @glennmcdonald1

Billy Childs:

Reimagining Laura Nyro featuring Alicia Olatuja & Moira Smiley Join us for a 7pm pre-show conversation with pianist and composer Billy Childs.

Sat, Nov 19 at 8pm Stewart Theatre 919-515-1100 go.ncsu.edu/childs

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MITSKI

BY BEN MCKEOWN

Jamil Rashad of Boulevards reignites something of the seventies with his funky pop blend, whose fiery, unexpected beats land at a sweet spot between Prince and Earth, Wind & Fire. While Rashad’s old-school stylings and dance moves and his expansive vocal range will get your heart racing, emotionally charged lyrics dig deeper than the dance floor: tracks like “Forgot to Mention” and “Sanity” dive into the complexity of human emotions. On the other end of the spectrum, the fun, direct “Move and Shout” will have you doing exactly what the title says. This hometown gig also marks the return of T0W3RS’ electropop prowess—it’s the band’s first show in the area in over a year— with Hotline in the first opening slot. —Erica Johnson LINCOLN THEATRE, RALEIGH 9 p.m., $12, www.lincolntheatre.com

WEDNESDAY, NOVEMBER 16

Mitski’s fourth album, Puberty 2, is a leap forward for the twenty-six-year-old singer-songwriter.

The sounds surrounding her take-no-bullshit wail are more sumptuous, with blooming synths and anthemic churn brought into the mix. Meanwhile, her lyrics describe the slings and arrows that come with outsider status, playing just-elaborate-enough metaphors against startlingly blunt observations. On “I Bet On Losing Dogs,” she compares looking into the eyes of canine also-rans with a sexual partner “looking in my eyes when I cum,” while “Dan the Dancer” spins a yarn about a man hanging off a cliff who gets the chance to connect to a person, not a mass of solid rock.

With the controlled expression of classical training, Mitski’s voice ties it all together, making her flights of fury more bracing. Fear of Men and Weaves open. —Maura Johnston MOTORCO, DURHAM | 8 p.m., $15, www.motorcomusic.com

FRIDAY, NOVEMBER 11 & SATURDAY, NOVEMBER 12

THE OTHER MOZART

Virginia Woolf vividly imagined the life and fate of Shakespeare’s hypothetical sister in A Room of One’s Own. But when it comes to Mozart, no hypothesis is needed; the historical record is clear. By age eleven, his sister, Maria Anna, known as Nannerl, was a prodigy in her own right, “performing the most difficult sonatas and concertos of the greatest composers ... with precision ... incredible lightness, [and] impeccable taste,” according to the papers of the day. But because of her gender, a different future lay in store for her.

Playwright Sylvia Milo dug up the truth about the family’s other musical genius in 2014. She performs it in Magdalena Dabrowska’s outlandish combination costume-and-set-piece amid designer Joshua Rose’s evocative lighting. —Byron Woods KENNEDY-MCILWEE STUDIO THEATRE, RALEIGH | Various times, $30, live.arts.ncsu.edu 32 | 11.9.16 | INDYweek.com

11

WHAT TO DO THIS WEEK Sylvia Milo in The Other Mozart PHOTO COURTESY OF NC STATE LIVE

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FRIDAY, NOVEMBER 11–SUNDAY, NOVEMBER 13

NC COMICON

There was a time, not so long ago, when Triangle-based comics fans had to travel to Charlotte’s HeroesCon for an annual dose of convention mayhem. But since 2009, NC Comicon has grown from a modest enterprise in a Morrisville strip mall to an extravaganza that packs the Durham Convention Center with costumed crusaders, who flock to meet national talent like My Chemical Romance singerturned-comics writer Gerard Way, this year’s returning marquee guest. In addition to mingling with a wide variety of indie and superhero comics creators, you can buy geek stuff to your wallet’s discontent, sit in on panels both practical and philosophical, and branch out into related events like the ComiQuest Film Festival at the Carolina Theatre or the interactive LEGO workshop in the convention center. And since NC Comicon’s website has a tab just for cosplay, you can count on stiff competition for the best Harley Quinn or Doctor Strange get-up of the season. —Brian Howe DURHAM CONVENTION CENTER, DURHAM Various times, $25–$50, www.nccomicon.com

FRIDAY, NOVEMBER 11

FUN DIP: AN EXTENDED AND REMIXED DANCE PARTY

Multi-panel sets of Japanese woodblock prints were popular in the West during the eighteenth and nineteenth centuries. Though the panels collectively told a story, they were not prized as fine art in Japan and often made their way to the U.S. as packing material for pricier items.

Panels that were meant to go together became separated, and the collections on view at museums are often incomplete. For the Ackland exhibit Extended Remix: Contemporary Artists Meet the Japanese Print, six artists were commissioned to fill in the spaces in a set of prints.

Employing various media—ink and watercolor, mixedmedia, Photoshopped drawings—their responses jolt antiquated iconography with the shock of the new. In keeping with the spirit of remixing, the Ackland is throwing a dance party to celebrate the exhibit, with music from WYXC deejays and hosted by Ely Kim, whose digital prints appear in the show. —David Klein ACKLAND ART MUSEUM, CHAPEL HILL 7 p.m., free, www.ackland.org

THURSDAY, NOVEMBER 10–SATURDAY, NOVEMBER 12

STEPHANIE LEATHERS: HOME: THE METAMORPHOSIS

One evening in September atop the Durham Hotel, I watched Stephanie Leathers and Kristin Taylor perform a minimalist dance piece on an adjacent roof. It was part of Leathers’s Sunday SITES project, which, even as it demonstrates art in unusual places’ capacity to startle, also draws attention to the subtle webs of power, class, wealth, access, and ownership that tautly encircle urban spaces. Home: the metamorphosis, which is part of the Durham Independent Dance Artists season, builds on this work as a “roaming multimedia installation and performance.” It’s a literal two-hour journey from Empower Dance Studio at 109 West Parrish Street to 806 West Main Street, the former site of Fishmonger’s.

Leathers teams with Taylor and others—not only dancers, but also musicians, photographers, and visual artists—to animate issues of sustainability, engaging audiences in the kinds of spaces development can leave derelict. —Brian Howe EMPOWER DANCE STUDIO, DURHAM 6:30 p.m., $15, www.didaseason.com

WHAT ELSE SHOULD I DO?

DANIEL BACHMAN AT NIGHTLIGHT (P. 35), FARMER/VETERAN AT THE CAROLINA THEATRE (P. 43), MARTIN LUTHER KING: AN INTERPRETATION AT THE ARTSCENTER (P. 42), MEWITHOUTYOU AT CAT’S CRADLE (P. 22), POETRY WITH WINGS AT THE N.C. BOTANICAL GARDEN (P. 43), THE PRETENDERS AT DPAC (P. 20), SLOAN AT CAT’S CRADLE BACK ROOM (P. 37), SMUT SLAM AT THE STATION (P. 41), ...TO ME FROM THE EARTH… AT CAM RALEIGH (P. 26) INDYweek.com | 11.9.16 | 33

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11/13JONATHAN

RICHMAN FEAT. TOMMY LARKINS ON DRUMS W/ CASEYMAGIC ($15)

11/16: SLOAN "ONE CHORD TO ANOTHER" 20TH ANNIVERSARY TOUR ($20) 11/17: BRENDAN JAMES W/ TYRON ($14/$16) 11/18: BRUXES DEBUT SHOW & EP RELEASE W BODY GAMES, TEARDROP CANYON, YOUTH LEAGUE ( $7) 11/19:KILLER FILLER FAREWELLSHOWW/BEAUTYOPERATORS ($8/$10) 11/20MANDOLIN ORANGE SOLD OUT

11/21: THE GOOD LIFE W/ FIELD MOUSE ($12/$14)

11/30 GHOST

OF PAUL REVERE ($10) 12/2: FRUIT BATS W/ SKYLAR GUDASZ 12/4-5:

SOLD OUT THE MOUNTAIN GOATS 12/6: THE DISTRICTS

W/ TANGIERS, AMERIGLOW ( $15) 12/9,10,11: KING MACKEREL & THE BLUES ARE RUNNING

FEST!

1/14/17: URBAN SOIL W/ GROOVE FETISH ( $8/$10)

CAVE ($15)

1/29/17: AUSTRA KINGS (RAL)

SOLD T

OU 11/19MANDOLIN ORANGE

PINHOOK (DUR) 11/10: TED LEO W/ OUTER SPACES ($13/$15) CAROLINA THEATRE (DUR) 3/7/17: VALERIE 3/20/17: THE

JUNE ZOMBIES

'ODESSEY AND ORACLE' 50 YEAR TOUR THE RITZ (RAL) (TICKETS VIA TICKETMASTER)

1/20/17: RUN THE JEWELS W/ THE GASLAMP KILLER AND SPARK MASTER TAPE HAW RIVER BALLROOM 11/18

SOLD

OUT MANDOLIN ORANGE

12/17

CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR FLETCHER OPERA THEATRE (RAL) (TICKETS VIA TICKETMASTER)

11/20:

PATTY GRIFFIN W/ JOAN SHELLEY

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

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

34 | 11.9.16 | INDYweek.com

music WED, NOV 9

DURHAM PERFORMING ARTS CENTER: Vince Gill; 7:30 p.m., $45–$78. • MOTORCO: Richard Balldenio, Sam Prickett; 9 p.m., $5. • NEPTUNES PARLOUR: Sunwatchers, Enemy Waves, Tescon Pol; 10 p.m., $7. • THE PINHOOK: Quintron and Miss Pussycat, D-Town Brass; 9 p.m., $12. • POUR HOUSE: Headfirst for Halos, Mycah; 9 p.m., $7. • SLIM’S: Bleak, Bask, Trudge; 9 p.m., $8.

THU, NOV 10 Azizi Gibson DEATHLY Between his anime HOLLOW obsession, his three-year run on Flying Lotus’s freewheeling Brainfeeder label and a metal-esque branding flooded with skulls, skeletons, and coffins, Azizi Gibson is in many ways presented as a fresh new voice in hip-hop, yet also as another indie affront to the commercial rap establishment.

His music, however, has yet to truly justify that claim. The L.A. artist’s close ties to Atlanta via 808 Mafia make for an interesting blend, but in an era drowning in trap, Gibson needs more than impressive connections to leave a mark. —RC [KINGS, $10–$12/8:30 P.M.]

Kelley Hunt PIANO Kelley Hunt’s mixed BOOGIE bag of big-boned gospel belted out in the style of Mahalia Jackson over rollicking boogie-woogie piano earned her the title of Queen of the 88s.

Some beach music buffs claim her as their own for “Treat Me Right,” but Hunt’s rocking blues is too unruly to be tied down to one coast. —GB [BLUE NOTE GRILL, $15–$20/8 P.M.]

Eric Johnson GUITAR Austin-based GUY Grammy-winning guitarist Eric Johnson is one of those technical virtuosos so accomplished that we are left to the tender mercies of guitar magazines and fellow ax masters

11.9–11.16

CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Ryan Cocca (RC), Spencer Griffith (SG), David Klein (DK), Charles Morse (CM), Desiré Moses (DEM), Bryan C. Reed (BCR), Dan Ruccia (DR), David Ford Smith (DS), Jamie Stuart (JS), Eric Tullis (ET), Patrick Wall (PW)

to fully explain his boundless skill and style. Alex Lifeson of Rush loves him, and Guitar Player ranked him the forty-seventh best player of all time. —EB [CAROLINA THEATRE, $25–$70/8 P.M.]

FRI, NOV 11 Duke Djembe and Afro-Cuban Ensembles

PHARMA A gifted writer of ROCK pop polemics with a distinct pub rock bent, Ted Leo possesses a deserved reputation as a solo act, alongside his ace band the Pharmacists, or most recently in his ingratiating collaboration with Aimee Mann.

Expect old favorites and new hits during this solo outing. Outer Spaces opens. —TB [PINHOOK, $13–$15/9 P.M.]

DRUM Under the direction STORIES of Bradley Simmons, these two popular student-led groups revel in traditional West African rhythms and instrumentation, creating a joyous, immersive experience that has the pull of the ancient and the immediacy of the here and now. Tonight, the groups unite forces with Africa Unplugged, a sextet that draws from a similar West African well but spruces things up with elements of R&B and funk and pop touches. —DK [DUKE’S BALDWIN AUDITORIUM, FREE/8 P.M.]

Dave Simonett, Carl Broemel

ALSO ON THURSDAY ARCANA: Katharine Whalen, Danny Grewen; 8 p.m. • CAT’S CRADLE: mewithoutYou, Yoni Wolf; 7:30 p.m., $15–$18. See page 22. • THE CAVE: Phatlynx, The Flying Faders; 9 p.m., $5. • DEEP SOUTH: The Corey Hunt Band, Tyler Hatley & The Little Mountain Band Delta Son; 9 p.m., $8. • LINCOLN THEATRE: Tab Benoit, Dead 27s, Mel Melton & the Wicked Mojo’s; 7:30 p.m., $20–$30.

• LOCAL 506: Coyote Vs. Acme, Kitty Box and the Jonnys, Jimmie Ray Swagger and the Fussy Eaters; 9 p.m., $8. • NEPTUNES PARLOUR: Gardener, Tylake, Soft Power; 10 p.m., $7. • NIGHTLIGHT: Horizontal Hold, White Gregg, Reflex Arc; 9:30 p.m., $7.

• POUR HOUSE: Local Band Local

WWW.INDYWEEK.COM Beer: Dim Lights, Shasta Ray; 9:30 p.m., free. • SLIM’S: Naked Naps, Haybaby, Maple Stave; 9 p.m., $5.

Ted Leo

TWANG Favoring fretboard ALLIES fireworks as My Morning Jacket’s longtime guitarist, Carl Broemel puts his impressive instrumental skill on the back burner to spotlight the indie-folk fare of his solo albums.

Dave Simonett leads modern string band Trampled By Turtles on moody roots ballads and bluegrass breakdowns, which he’ll pull from along with tunes from offshoot Dead Man Winter and his Razor Pony EP. Tonight, the duo shares a backing band—and occasionally the stage—as they each lead their own sets. —SG [CAT’S CRADLE BACK ROOM, $15/8 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR

JSWISS

PHOTO BY JESSSE SHEPARD

SATURDAY, NOVEMBER 12

DANIEL BACHMAN If you look at the four LPs Daniel Bachman has released since 2013, you won’t find a clunker in the bunch. Jesus I’m a Sinner, from 2013, and 2014’s Orange County Serenade both shone with rough-aroundthe edges charm, while last year’s excellent River found the guitarist further refining his compositions.

On Bachman’s latest effort, a self-titled LP released last month via Three Lobed Recordings, the young guitarist offers his most careful and thoughtful playing yet.

Bachman is a master at managing both tightly wound flurries and delicate open spaces, but here, he more often mines the latter. Rather than vibrating with anxious energy, these songs feel patient and calm even in moments of doubt; Bachman replaces his nervous melodic chatter with quiet moments of reflection, crafting a significantly more mature album in the process.

The record opens with “Brightleaf Blues (I),” with a scraping drone yielding to spacious, low strums. It’s a tense invocation that feels like a “made ya look” before Bachman drops you back into

his familiar tones. Three tracks later, “Brightleaf Blues (II)” unfolds gradually across fourteen and a half minutes, the hazy drone returning under Bachman’s picking. As the drifting piece meanders, it feels as though you’re following along with Bachman as he wanders through his own foggy cloud of uncertainty.

And though it doesn’t quite feel right to call Bachman a country artist, the country still seeps its way into his earthy playing. “Watermelon Slices on a Blue Border Plate” conjures images of rural summertime, both in its title and Bachman’s wobbly, sliding licks. It feels like all that’s missing is a breeze blowing through a porch chime. Likewise, “Wine and Peanuts” and “Farther Along” paint cozy, comfortable little portraits.

Bachman’s work, even on his more farout pieces, has always felt firmly tied to his Southern roots. Expect those to be unraveled and exposed when he returns to Chapel Hill. Ama Divers and Nathan Golub open. —Allison Hussey NIGHTLIGHT, CHAPEL HILL 9 P.M., $10, www.nightlightclub.com

GOLDEN New York rapper SWISS JSWISS comes back to North Carolina on the heels of his latest release, No Music EP. He executes intricate rhyme schemes with a traditional flow that recalls hip-hop’s golden-era stars.

Phantom Pop, an instrumental funk and R&B ensemble from Brooklyn, serves as his backing band. —CM [DEEP SOUTH, $6–$8/8:30 P.M.]

Damien Jurado MOODY Over the course of a LIFER distinguished two-decade career, songwriter Damien Jurado has been routinely brilliant in execution and utterly protean in identity. A cult figure uneasy to embrace his cult, Jurado has on his countless releases vacillated lyrically between the lonely boy, the spiritual seeker, and the resigned agnostic. The music is much the same, a halfway embrace between the slaphappy melancholia of Nick Drake and the existential deep dives of Neil Young. Doug Keith opens. —EB [MOTORCO, $15–$17/9 P.M.]

INDYweek.com | 11.9.16 | 35

Masego 11 7 W MAIN STREET • DURHAM

11.9 11.10

QUINTRON AND MISS PUSSYCAT / D-TOWN BRASS CAT’S CRADLE PRESENTS: TED LEO / OUTER SPACES

11.11

TH 11/10 FR 11/11 SA 11/12 SU 11/13 MO 11/14 TU 11/15

COYOTE VS. ACME / Kitty Box & the Jonnys Jimmie Ray Swagger & the Fussy Eaters BABY BABY / Roar The Engines / Hyacinth

BUSDRIVER / DEANTONI PARKS COURTNEY MARIE ANDREWS

11.11

SUNFLOWER BEAN THE LEMON TWIGS (PICTURED) / AMERICAN WRESTLERS 11.12

Young Mister

PAPER ROUTE / HALFNOISE SOUND OF CERES / Brothertiger

TH 11/17 CARDIGAN & LOCAL 506 PRESENT:

VICTORY DANCE

11.14 11.15

RAUNDHAUS AND RUNAWAY PRESENT: TEKLUHN / TENNIS RODMAN ZOOMO / OC SEPAIII THAT’S THE JOINT OPEN MIC: BEST IN THE TRIANGLE! TUESDAY NIGHT TRIVIA: WIN TIX TO SHOWS OR A $50 TAB

Faulkner / Lazarus Wilde / Cloud Hands FR 11/18 SA 11/19

PLUTOPIA / FONTANELLES THE SHELTERS

SA 11/19

THE SHELTERS

W/ MAGNOLIA COLLECTIVE AND THE 8:59S MO 11/21 MONDAY NIGHT OPEN MIC MO 11/28 MONDAY NIGHT OPEN MIC TH 11/1 SA 12/3

The Soil & The Sun, Owel ANTiSEEN

TOGETHER PANGEA, PATRIOT, SAM BURCHFIELD & WRENN, GREAVER

11.16

11.17

11.18

11.19 11.20

11.16

DEAD PREZ W/ SHIRLETTE AMMONS PINHOOK 8 YEAR ANNIVERSARY (WHAT?!) AND PIE PUSHERS GRAND OPENING! FEAT: TRUTHERS / THE WIGG REPORT EARLY: TORREY PINES FILM SCREENING: AN ANIMATED FILM ABOUT SCHIZOPHRENIA BY CLYDE PETERSON (YOUR HEART BREAKS) LATE: YOLO KARAOKE: BEST IN THE TRIANGLE ILLEGAL DANCE PARTY PWR BTTM / BELLOWS / LISA PRANK

COMING SOON:

www.LOCAL506.com

SAX IN It’s easy to dismiss THE CITY the nomenclature “trap house jazz” as a contrived claim for an untapped subgenre, but that’s exactly how Masego, a Virginian saxophonist and vocalist, describes his sound. When he showed up as an unofficial performer at this year’s Art of Cool Music Festival, he raided every set he could, including a rooftop rap cipher where he and his saxophone stretched out and sauced on every rapper in the circle. He offers an extended version of these abilities twice on this night.

—ET [BEYÙ CAFFÈ, $15/8 & 10 P.M.]

No BS! Brass Band RVA Expertly weaving BRASS together in-the-moment spontaneity with strikingly visceral musicianship, Richmond’s exhilarating No BS! Brass band has long served as an inspiring middle ground between traditional New Orleans jazz, Mingus-inspired conscience raising, and Parliament-Funkadelic-style rave-ups. Horn heavy and twelve strong, expect things to get raucous. —EB [CAT’S CRADLE BACK ROOM, $13–$15/9 P.M.]

Professor Toon DURM Professor Toon, SK8 RAP the Baltimore native who moved to Durham fifteen years ago, reps the city’s growing music scene as hard as he can while he steadily builds his own career. His brassy voice and old-school beats can distract from this nimble wordplay, but the hype behind his lyrics resonate well in a live setting. With Oak City Slums and Drozy. —JS [DUKE COFFEEHOUSE, $5/9 P.M.]

are nothing to sneeze at. And it was their own album, sans Martin, that finally won Steep Canyon Rangers a Grammy. The modern bluegrassers formed about a decade and a half ago while attending UNC, so you could consider this concert a kind of homecoming gig for them. If one night isn’t enough to get your grassy fix, UNC is hosting a full day of panels and lectures about bluegrass and its many pieces on campus all day Saturday. The Carolina Bluegrass Band opens.

—JA [UNC’S MEMORIAL HALL, $10–$99/8 P.M.]

Sunflower Bean PAISLEY’S Music is cyclical.

BACK What once was cool turned uncool will eventually be cool again. Brooklyn’s sepiatoned, cutesy-named Sunflower Bean aren’t outwardly “paisley underground” revivalists, but the band operates similarly, bending its clean, chiming jangle-pop arpeggios with psychedelic textures. Those who lived through the paisley underground days the first time will probably prefer their old Rain Parade records. The Lemon Twigs’ retro power pop grades out at about a B-minus, like Todd Rundgren’s Something/ Anything without the kooky charm. —PW [THE PINHOOK, $10–$12/9 P.M.]

Sunnyslope(s) INSTRO Don’t mistake ROCK Sunnyslope(s) for a post-rock outfit. The band eschews the genre’s rote build-and-swell for conventionally structured indie rock. The quartet’s instrumentals are loose and limber; twanging guitar lines arc with bristling electricity and drums thrum in a plain-sailing, “Apache”-beat ostinato. There’s more than a sprinkling of Polvo’s lazy comet dissonance in there, too. With Knurr & Spell. —PW [THE STATION, $6/8:30 P.M.]

Yeasayer Steep Canyon To advertise or feature SINGLE Yeasayer’s 2012 LP, Rangers SERVING the clunky,

a pet for adoption, inconsistent Fragrant World, a rift between the please contactopened kitchen-sink psych-poppers and its label, Secretly Canadian. That eroberts@indyweek.com

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com 36 | 11.9.16 | INDYweek.com

UNC Sure, you could GROWN argue that these guys got a leg up in attaining a position of prominence by backing a movie star. But don’t forget that Steve Martin has been playing banjo since before this bunch was born, and he knows a thing or two; the albums they recorded together

breakup facilitated a label change and some necessary self-examination for the band. This year’s Amen & Goodbye, released via Mute, finds Yeasayer handily

breathing new life into its sound, eschewing glossy production and cool kid signifiers. It’s a bummer that the record gets a bit too fidgety with genre and drives home Yeasayer’s status as a singles band, occasionally striking gold but usually striking pre-laid pipe. With Lydia Ainsworth. —DS [CAT’S CRADLE, $20/9 P.M.] ALSO ON FRIDAY ARCANA: Moldover, Jannx; 7:30 p.m. • BLUE NOTE GRILL: Roger “Hurricane” Wilson; 9 p.m., $8. Duke Street Dogs; 6-8 p.m., free.

• THE CARY THEATER: PreThanksgiving Benefit Jam; 8 p.m., $20. • KINGS: Consensus Reality, Mama Strange; 10 p.m., $8. • THE KRAKEN: The Piedmont Four, Pete Pawsey and Friends; 8 p.m. • LINCOLN THEATRE: Boulevards, T0W3RS, Hotline; 9 p.m., $12. See page 32. • LOCAL 506: Baby Baby, Roar The Engines; 9 p.m., $8. • THE MAYWOOD: Hexxes, Apes with Fire, Sun of Nile; 9:30 p.m., $8. • MEYMANDI CONCERT HALL: NC Symphony: Bach Double Violin Concerto; noon, $28. • OPEN EYE CAFE: Tasty Possum; 8 p.m. • POUR HOUSE: Giant Panda Guerilla Dub Squad, Roots of a Rebellion, Treehouse!; 9 p.m., $15–$18.

SAT, NOV 12 Sergei Babayan CHOPIN & Armenian pianist BEYOND Sergei Babayan has a close connection with Chopin’s music. He talks about Chopin as an intuitive philosopher whose music punishes insensitivity or insincerity. You can’t do too much within the composer’s delicate complexity or you’ll fall flat. This concert sees Babayan presenting a small pile of Chopin’s dances and impromptus, as well as Bach’s epic Goldberg Variations and a fantasia by Russian composer Vladimir Ryabov, a contemporary of Babyan’s. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$38/8 P.M.]

Anderson East SOUL Much of the recent REVIVAL buzz about Anderson East comes from the fact that he’s become Miranda Lambert’s beau. But instead of getting distracted by gossip, people should be paying more attention to his husky, soulful pipes and his old-school R&B sound. The guy didn’t cut his latest album at legendary Fame

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11/11

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11/12

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11/13

PIMPIN AIN’T DIED TOUR FEATURING:

DO OR DIE W/ JOE “PISTOL” PETE, SAMSON,

SA 11/12

JOHN MAINLANDER, AND BRITTANY CARLSON *

DJ DAMU, HOSTED BY SOFAB KIM 11/14 11/15 11/16 11/17

11/18 11/19

JEFF BEAM COAST 2 COAST LIVE INTERACTIVE SHOWCASE BIG MEAN SOUND MACHINE SHAMBLES, CAMPFIRE & CONSTELLATIONS, MAGPIE FEAST FREE RUNAWAY GIN - A TRIBUTE TO PHISH JONATHAN SCALES FOURCHESTRA

FR 11/18

TORANAVOX

W/ GHOST OF SATURDAY NITE, DISSIN’ TERRY 11/23 11/24 11/25 11/29

PHOTO COURTESY OF THE FELDMAN AGENCY

W/ VOIDWARD, BROTHERS, PLOW TRAVERS BROTHERSHIP W/FUNK YOU

“IN CONVERSATION: FOUR FILMMAKERS”,

PLUS MUSIC BY LADYFINGERS! FREE FR 12/2

SA 12/3

CRUCIAL FIYA

W/ SOUND SYSTEM SEVEN (2PM) JAZZ SATURDAYS FEAT SCOTT SAWYER FREE (7PM) THE STARS EXPLODE W/ LEMON SPARKS (10PM) DARK ENTRIES: A GOTH/INDUSTRIAL WINTER SOLSTICE CELEBRATION W/ FIFI HI-FI & PLAY PLAY

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WEDNESDAY, NOVEMBER 16 Sloan exists on a rarefied level in its home country of Canada. If the Toronto-based fourpiece were to show up for a festival crowd and not play “If It Feels Good Do It,” “Money City Maniacs,” and about ten other Canadian indie rock staples, it would be like Tom Petty skipping “American Girl” or the Stones without “Brown Sugar.” But those gems don’t ring many bells stateside.

Sloan has been a regular touring presence in the U.S. since the mid-nineties, yet, as Spinal Tap manager Ian Faith might have said, the band’s appeal in the Triangle is more selective— despite eleven almost uniformly excellent LPs, a cracking two-hundred-plus song catalog, and an unusually engaging live show. Part of this muted success stems from Sloan’s chosen genre of power pop, a rare enough presence on the pop charts. Thus, the average Sloan fan here gets tipped by a friend who “knows,” or else knows not.

In more than a quarter century, Sloan has steadfastly adhered to a model that rarely works in rock: a democratic, frontman-free, “each guy is the boss of his own song” approach that somehow continues to inspire great writing and playing, whether propulsive power pop, shapeshifting suites, or visceral, crunching rockers that nick the best and dopiest parts from Kiss and Cheap Trick.

The band’s current tour commemorates the release of 1996’s One Chord to Another, a landmark in its evolution. In 1992, Sloan’s

W/ ELIZABETH HADDIX & THE GURLEY FLYNNS

BAD CHECKS W/ THE SECOND WIFE (2PM) JAZZ SATURDAYS FEAT THE JIM ROBERTS TRIO FREE

LOCAL BAND LOCAL BEER 3RD ANNUAL

SINGER-SONGWRITER SHOWCASE FREE BLACK FRIDAY BLOWOUT HORSESKULL

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SA 11/19 (7:30PM) CARRBORO FILM FEST PRESENTS

ELISE TESTONE

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SLOAN

TU 11/15

W/ BOOM UNIT BRASS BAND

FEATURING: ROBERT “SPUT” SEARIGHT OF SNARKY PUPPY, MONONEON OF PRINCE & WEEDIE BRAIMAH OF THE NTH POWER W/ THE FUNKY KNUCKLES 11/20

(10PM) LUXE POSH FREE TH 11/17

LOCAL BAND LOCAL BEER ELLIS DYSON & THE

CAMERYN MOORE SMUT SLAM COMEDY SHOW KNURR AND SPELL W/ SUNNYSLOPE(S) (2PM) JAZZ SATURDAYS FEAT JIM CRISP QUARTET FREE (7:30PM) JOE WALSH FEAT. COURTNEY HARTMAN,

debut for Geffen imprint DGC reflected eraappropriate tropes, but the members soon chafed at sonic strictures. They ditched the grunge sound for burnished pop surfaces on the follow-up, Twice Removed, but the label balked, buried the record, and dumped the band. When the time came to record a third LP, storms had been weathered, both contractual and internecine, and each member was primed to prove himself.

Recorded for a fraction of the cost of its predecessor, One Chord to Another served as both a comeback record and a watershed, the sound of a band happily finding itself, unfettered by music-biz B.S. and catapulting from its sixties influences into a blazing roar unbeholden to any era.

Starting with the audience shrieks that introduce “The Good in Everyone,” (another Canadian must-play), One Chord is powered by the blunt force of Robert Scott’s drums, recorded on the cheap on a four-track. Over twelve songs, the mood shifts in cannily modulated shades.

Chris Murphy’s “Take the Bench” boogies like an outtake from Big Star’s Radio City; Jay Ferguson’s beguiling “Junior Panthers” and tragic “The Lines You Amend” swoon with longing. And Patrick Pentland’s “Everything You’ve Done Wrong,” is pure, giddy uplift. On this tour, it’s a must-play and a win for the States. —David Klein CAT’S CRADLE BACK ROOM, CARRBORO 9 p.m., $20, www.catscradle.com

Teasers 16 Year Anniversary Celebration

Saturday Nov. 12

MEMBERS IN FREE before 9pm door prizes and heavy hors d’oeuvres special entertainment www.teasersmensclub.com 156 Ramseur St Durham, NC

919-6-TEASER

for directions and information

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

INDYweek.com | 11.9.16 | 37

TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES 7/8 SolKitchen & The Art of Cool Project: The Art of Noise #Durham

FRI

MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS WE 11/9 BLUE WEDNESDAY W/ THE HERDED CATS TH 11/10 AN EVENING WITH KELLY HUNT FR 11/11 SA 11/12 SU 11/13 WE 11/16 TH 11/17 FR 11/18

DUKE STREET DOGS ROGER “HURRICANE”WILSON AND THE HURRICANE HOMEBOYS SPANK LUIS DEL RIO ALBUM RELEASE LAZER LLOYD SAMANTHA FISH THE NIGHTHAWKS

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TUE 7/26 Motorco Comedy Night: ANDY WOODHULL / ADAM COHEN

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OUT NOW! 38 | 11.9.16 | INDYweek.com

Playing for Pets

Studio in Muscle Shoals, Alabama, for nothing. This twentysomething soul crooner has got a voice beyond his years and an aesthetic to match. —JA [POUR HOUSE, $15–$18/9 P.M.]

HEAVY This five-band bill of HELPERS heavy locals gathers to raise funds for the Garnerbased Paw Prints Animal Rescue, and burly sounds abound. Outliar offers groove-driven thrash, while Red Dog’s hard choogle revives classic rock touchstones.

Motrendus blends melodic hard rock and classic metal, and Behind the Wheel flexes modern-rock muscle in its gruff anthems. Thundering Herd opens with driving hard rock. In addition to the bands, the event features a raffle, a silent auction, and an opportunity to swing a sledgehammer at a junk car—for charity, of course.

—BR [THE MAYWOOD, $10/8 P.M.]

Guided By Voices HEARING As indie rock’s VOICES long-running poet laureate of rampant proliferation, Robert Pollard possesses the fascinating distinction of having released some of the finest music of the past quarter century as well as a fair amount of the most tedious. Having resumed using the GBV moniker in 2011 following a multiyear hiatus, the band is now several releases into its second incarnation. Even as a revolving, largely interchangeable ensemble, Guided By Voices continues to dispense inescapable gems and exhausting indulgences in near equal measure. Surfer Blood Opens. —TB [CAT’S CRADLE, $27/9 P.M.]

Tek.Lun

Joe K. Walsh

$10 advance /

RIDIN’ Durham’s Raund ROUND Haus beat cartel is fairly new to presenting out-of-town talent, but they’re starting off nicely with Baltimore producer Tek.Lun, whose tastes—as heard on his most recent SoundCloud single, “Aburoy”—have bloomed into an uptempo Afrobeat realm, even upfitted from the rapid, plink-laced “Wurly.” He’ll still have some competition in the house with local hitters like Tennis Rodman, Zoomo, and OG Senpaiii, but this Flying Lotus disciple shouldn’t have a hard advance time dealing with $10 that. —ET [PINHOOK, $10/10 P.M.]

Jeremih CAPTAIN Despite widespread OF HOOK acclaim, Jeremih still seems to be viewed as something other than a whole artist—either as the frontman for poppy, smash-hit party songs, like last year’s “Oui,” or a go-to hook singer for Top 40 rap songs. But dive into his apparently two-weekrecorded Late Nights: Europe album from this past summer and you’ll find a project with all the potency of a first-rate rap album—and on this one, the rapper can sing the hooks himself.

Partynextdoor headlines. —RC [THE RITZ, $40/8 P.M.]

STRING The slick, progresSAVANT sive picking of Joe K. Walsh pairs with inventive and eclectic songwriting influences as the young mandolin maestro sources material from shape note $12 day of tradition, and the singing, old-time catalog of folk singer Phil Ochs.

Elsewhere, Walsh draws inspiration from the life of explorer S. A. Andrée and the poetry of Henry Timrod and W.B. Yeats.

—SG [THE STATION, $8–$10/8:30 P.M.] ALSO ON SATURDAY ARCANA: Blood Sweat and Tears: A Scorpio Dance Party; 9 p.m., $5–$10. • BEYÙ CAFFÈ: Outside Soul; 8 & 10 p.m., $10. • BLUE NOTE GRILL: Spank; 8 p.m., $8. • BROUGHTON HIGH SCHOOL: Raleigh Concert Band: Standard Deviations; 7 p.m., $5–$10. • CARY ARTS CENTER: Triangle Wind Ensemble; 7:30 p.m., $5–$15. • CAT’S CRADLE (BACK ROOM): No BS! Brass Band; 4 p.m., $13–$15. The Remarks, Seabreeze Diner, Tangible Dream; 8:30 p.m., $5. • CITY LIMITS SALOON: Michael Ray, Filmore; 8 p.m. • DEEP SOUTH: Last Call Messiahs Hayvyn DethCadence; 9 p.m., $10. • DUKE’S NELSON MUSIC ROOM: Duke University String School; 4 p.m. WireTap New Music; 8 p.m., $5. • THE KRAKEN: Lee Gildersleeve, & the Bad Dogs; 8 p.m. • LINCOLN THEATRE: Moon Taxi, ELEL; 9 p.m., $20–$25. • LOCAL 506: Busdriver, Deantoni Parks; 9 p.m., $12–$15. • MOTORCO: In The Pocket, XIV Hours; 8 p.m., $8–$10. • NIGHTLIGHT: Daniel Bachman, Ama Divers, Nathan Golub; 10 p.m., $9. See box, page 35. • SHARP NINE GALLERY: Virginia Schenck Quartet, Kevin Bales; 8 p.m., $10–$20.

• SOUTHLAND BALLROOM:

/ $12 day of

Dear Desolate, Friends As Enemies, Mourning After, Unicron, Even Chains, Gateway; 6 p.m., $10–$12. • THE STATION: Luxe Posh; 10 p.m. • UNC’S KENAN REHEARSAL HALL: Mallarme Chamber Players; 3 p.m., $15.

SUN, NOV 13 Davidians HXC Tonight, Davidians NUANCE celebrates the release of its long-anticipated LP debut, City Trends. Delayed in label limbo and pressing-plant slowdowns, City Trends arrives bearing the imprint of Raleigh’s perennial punk-rock stronghold, Sorry State Records. In line with the label’s boundary-blurring aesthetic, Davidians fuses hardcore intensity with richly textured tones and post-punk dynamics, producing a sound that is as moody as it is muscular. The stark and insistent electronic duo Bodykit and the dynamic psych-punk outfit Essex Muro open. —BCR [KINGS, $8/10 P.M.]

Jonathan Richman MODERN For more than four LOVE decades Jonathan Richman’s singular vision has made him one of rock ’n’ roll’s beloved cult figures, dating from his justifiably fetishized early work with the Modern Lovers through the countless classics he’s released as a solo artist. A heart-on-sleeve miniaturist with a broad absurd streak, Richman has a meticulous eye for the mechanics of human relationships, and his wry cultural commentaries are abetted by an intimate performance style. Frank Bango opens. —TB [CAT’S CRADLE, $15/8 P.M.]

To Write Love on Her Arms Benefit POP To Write Love on PUNK Her Arms is a nonprofit movement that aims to provide support and hope for those who battle depression, addiction, self-harm, and suicidal thoughts. The movement seeks to impart one very crucial message: your story is important. In partnership with StickerYou, Amped Sounds Magazine’s benefit concert features Raleigh pop-punkers The Oh Whales at the top of the bill, with Summer Wars, Ghosts Again, Eyes Eat

Suns, and Messenger Down in opening slots. —DM [KINGS, $8–$10/5:30 P.M.] ALSO ON SUNDAY ARCANA: Discotoño; 8 p.m., free.

• BLUE NOTE GRILL: Luis Del Rio; 5 p.m. • CAT’S CRADLE: Benjamin Francis Leftwich, Brolly; 8 p.m., $15–$18. • DUKE’S BALDWIN AUDITORIUM: Duke University String School; 6:30 p.m. • DUKE CHAPEL: Erik Suter; 5 p.m.

• DUKE’S KIRBY HORTON HALL: Mallarmé Chamber Players: Family Concert; 1 p.m., $5–$10. • DURHAM PERFORMING ARTS CENTER: Pretenders; 7:30 p.m., $45–$75. See page 21. • FEARRINGTON BARN: Tommy Edwards & The Bluegrass Experience; 3 p.m., $8–$20. • MEREDITH COLLEGE’S CARSWELL CONCERT HALL: Free Spirits Ensemble of the Raleigh Symphony Orchestra; 3 p.m., $10–$12. • MOTORCO: Adrian Legg; 8 p.m., $20–$25. • NC MUSEUM OF HISTORY: Lloyd Arneach; 3 p.m. • NEPTUNES PARLOUR: Brad Linde’s Gumshoe; 9 p.m., $7. • POUR HOUSE: Do Or Die, Joe “Pistol” Pete, Samson, DJ Damu; 9 p.m., $15–$20. • RUBY DELUXE: Mercury Rising: A Celebration of the Life and Music of Freddie Mercury; 8 p.m.

MON, NOV 14 Bilal MAD FOR The most SOUL unforgettable moment of this year’s BET Awards was during the Prince tribute when Philly soul singer Bilal performed a gut-wrenching rendition of “The Beautiful Ones” and wound up writhing around on the stage floor like a love-torn caterpillar. “When I made the decision to do it, I decided I was gonna go all out from the jump,” he later told Billboard. Of course, there were those who thought that his emotional performance was a bit over the top, just like there were those who, after Bilal’s first Motorco appearance back in 2013, were disappointed that they got the screaming rock-star Bilal instead of the neo-soul, incense-burning Bilal. Hopefully, by now, everyone knows exactly what to expect. Laura Reed opens.

—ET [MOTORCO $28–$45/8 P.M.]

Elle King TOP 40 Ascendant R&B singer-songwriter Elle King’s occasionally ribald take on contemporary blues and R&B shares sonic terrain with the Black Keys, but unlike that band’s frequently faceless identity, she fills in the picture with a fully formed persona pitched somewhere between femme fatale and self-effacing comic foil.

Her lively writing and energetic, knowing vocals compensate for the occasional moments where paint-by-numbers production threatens to subsume King’s musings in a miasma of modern rock tics. Paul Cauthen opens.

—EB [THE RITZ, $25/8 P.M.]

Bob Mould SUGAR Bob Mould has been MAN crafting chiseled, cathartic songs for decades, from the buzz-saw wail of Hüsker Dü to his fiery solo work. Dave Grohl happily admits to modeling Foo Fighters on the sound of Mould’s nineties trio, Sugar, and while the tempos have drifted toward “mid,” the roar remains unabated.

The man who sang “59 Times the Pain” hasn’t exactly mellowed, but these song seethe with a strange kind of jubilation, and this year’s Patch the Sky is one of his best.

With Birds of Avalon. —DK [CAT’S CRADLE, $20–$23/8 P.M.] ALSO ON MONDAY LOCAL 506: Paper Route, HALFNOISE; 8 p.m., $12–$14. • NEPTUNES PARLOUR: Glass, Crete; 9 p.m., $5. • POUR HOUSE: Jeff Beam; 9 p.m., $5. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, NOV 15 Diiv NOT DEEP Yes, 2016’s Is The Is Are wasn’t the all-American generational statement that Zachary Cole Smith often talked it up to be. If we’re talking brass tacks, it scarcely altered the intricate, narcotized krautgaze formula that his band DIIV pioneered on 2012’s Oshin. Overlooking that, ITIA is a great record that, besides being a bit overlong, contains several of the band’s greatest songs and holds immense promise for future releases. With Moon King. —DS [MOTORCO, $16–$20/8:30 P.M.]

ALSO ON TUESDAY LINCOLN THEATRE: The Meditations, Pure Fiyah; 9 p.m., $15. • LOCAL 506: Sound Of Ceres, Brothertiger; 9 p.m., $10.

• NEPTUNES PARLOUR: Lawsuits, Kate Rhudy; 10 p.m., $6–$8. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m. • RUBY DELUXE: Daniel Chavis; 11 p.m.

WED, NOV 16 Dead Prez BLM RAP It’s no coincidence that the pro-black hip-hop duo Dead Prez, which delivered the groundbreaking militant Let’s Get Free LP in 2000, is resurfacing at the height of the Black Lives Matter movement and during the sendoff of the nation’s first black president. Yes, it’s still bigger than “Hip-Hop,” and “We Want Freedom,” remains a mantra that rings true for many of stic.man and M-1’s fans. If Dead Prez burns an American flag on stage, as they’ve done at past shows, consider it a revolutionary act of truth-telling rather than treason. —ET [THE PINHOOK, $25/9 P.M.]

Lazer Lloyd ISRAELI American-Israeli BLUES singer and guitarist Lazer Lloyd’s journey to Israel started with a homeless man in Central Park, who introduced Lloyd to Judaism and “the singing Rabbi,” Shlomo Carlebach. Invited to Israel by Carlebach, Lloyd has called the country home for more than two decades, spreading the gospel of his healing blues throughout the world. His blues is truly world-class, using Arabic tuning to translate American blues into a language that is universally understood. —GB [BLUE NOTE GRILL, $8/8 P.M.] ALSO ON WEDNESDAY THE ARTSCENTER: Triangle Jazz Orchestra; 7:30 p.m. • CAT’S CRADLE: Wet, Demo Taped; 9 p.m., $20. • CAT’S CRADLE (BACK ROOM): Sloan; 9 p.m., $20. See box, page 37. • KINGS: Eldritch Horror, Occultist, Noctomb, Suppressive Fire; 8:30 p.m., $8. • MOTORCO: Mitski, Fear of Men, Weaves; 8 p.m., $15. See page 32. • POUR HOUSE: Big Mean Sound Machine, Boom Unit Brass Band; 9 p.m., $7–$10. • RUBY DELUXE: Play Play; 10 p.m.

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art OPENING

Annual Holiday Exhibition: Local artists. Nov 9-Dec 21.

Visual Art Exchange, Raleigh. www.visualartexchange.org.

Constants and Unknowns: Mixed media by Randy McNamara. Nov 11-Jan 13.

Durham Arts Council, Durham. www.durhamarts.org.

SPECIAL Bill Drewitz: EVENT Photography. Nov 11-30. Reception: Nov 11, 6-9 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Inventing History: Cherished Memories of Good Times That Never Happened: Drawings

by Richard Chandler Hoff.

Nov 11-Jan 13. Durham Arts Council. www.durhamarts.org.

SPECIAL The Mobile: EVENT Composition in Motion: Group show. Nov 9-19.

Reception: Nov 11, 6-9 p.m.

The Carrack Modern Art, Durham. www.thecarrack.org.

SPECIAL Marcela Slade: EVENT Paintings. Nov 11-Dec 9. Reception: Nov 11, 7-9 p.m. salon 2eleven, Carrboro. salon2eleven.com.

ONGOING Night Comes Creeping: Group show. Thru Nov 29. Glas, Raleigh. www.glas.work.

Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated into the U.S. and their contributions to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. The artifacts range from images of nineteenthcentury Indian railroad workers and anti-Hindu propaganda to twentieth-century small-town life and today’s Silicon Valley.

Thru Apr 2, 2017. City of Raleigh Museum, Raleigh. —David Klein

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM 40 | 11.9.16 | INDYweek.com

11.9–11.16 Background: Lauren Clay, Julia Gartrell, and Angelina Gualdoni. Thru Nov 27. Lump, Raleigh. www.teamlump.org.

art.unc.edu.

Finding Each Other in History: Stories from LGBTQ+ Durham: Personal narratives.

Thru Jan 15, 2017. Durham History Hub, Durham. www. museumofdurhamhistory.org.

Backwoods to Bayou: Southern folk art. Thru Nov 17. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

LAST Bathroom Humor: CHANCE National Cartoonists Take on HB2: Group show. Thru Nov 11. The Assembly, Raleigh.

FREEDOM: The Experiment: Candy Carver, Raj Bunnag, Kenia Brea, Darius Quarles, and William Paul Thomas. Thru Nov 25. Cary Visual Art, Cary. www. caryvisualart.org.

Beauty by Nature: Sol Levine.

Thru Dec 1. ERUUF Art Gallery, Durham. www.eruuf.org.

Groundlessness: Julie Cardillo. Thru Nov 27. Nature Art Gallery, Raleigh. www. naturalsciences.org.

LAST Harvest: Member CHANCE exhibition. Thru Nov 13. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Carolina on My Mind: Group show. Thru Nov 26. Village Art Circle, Cary. www. villageartcircle.com.

Cascading Color: Elizabeth Kellerman. Thru Apr 16, 2017. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Ellen Hathaway: Thru Dec 17.

Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com.

Kim Herold: Mixed media.

Thru Nov 30. Looking Glass Cafe, Carrboro. www. lookingglasscafe.us.

Collections: Leah Sobsey. Thru Dec 31. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

History and Mistory: Discoveries in the NCMA British Collection: This is the first time in decades that NCMA has curated an exhibit from its British holdings of Old Master painting and sculpture. Thru Mar 19, 2017. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe

The Contemporaries: Carrie Alter, Jeff Bell, Charles Chace, Casey Cook, Lynda Curry, Warren Hicks, Jimmy Fountain, Heather Gordon, Harrison Haynes, Soleil Konkel, Leigh Suggs, and Steve Walls. Thru Nov 19, 6-9 pm. Light Art + Design, Chapel Hill. www. lightartdesign.com.

Shelton Cooper Hodge: Thru Dec 17. HQ Raleigh, Raleigh.

Discover Your Governors: Thru Aug 6, 2017. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Dress Up, Speak Up: Costume and Confrontation: In this visually dazzling, politically charged exhibit, artists of international renown and local legends alike unravel clothing, costume, and ornament into identity politics, especially those pertaining to race. Ongoing.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Chris Vitiello Eight is Enough: A Kick Ass Group Show: John Geci, Elijah Leed, Ben Galata, Jean

Imagination Architectures: Eric Mack. Thru Jan 6, 2017.

UNC’s Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

TITUS KAPHAR’S “AN ICON FOR DESTINY” IN DRESS UP, SPEAK UP AT 21C MUSEUM HOTEL PHOTO COURTESY OF 21C MUSEUM HOTEL

Christian Rostagni, Abie Harris, Peter Milne, Claire Ashby, and Peter Dugan. Thru Dec 23.

Bull City Arts Collaborative’s Upfront Gallery, Durham. www. bullcityarts.org.

Elsie Dinsmore Popkin: The Art of Carolina: Landscape images.

Thru Nov 17. Gallery C, Raleigh. www.galleryc.net.

LAST The Enchanted CHANCE Arcana of Greg Carter: Sculptural forms and prints. Thru Nov 14. Meredith College’s Gaddy-Hamrick Art Center, Raleigh. meredith.edu.

Exchanged and Revealed: Luna Lee Ray and Shelly Hehenberger. Thru Dec 10.

Durham Art Guild, Durham. www.durhamartguild.org.

Familiar Strangers: Arjan Zazueta. Thru Dec 2. UNC’s Hanes Art Center, Chapel Hill.

Interstitial: Photography by David Hilliard. Thru Dec 11.

Cassilhaus, Chapel Hill.

LAST Journey: Catharine CHANCE Carter. Thru Nov 12.

Tyndall Galleries, Chapel Hill. www.tyndallgalleries.com.

LAST Levitas: Thomas CHANCE Konneker, Bruce Mitchell, and Zoe Sasson. Thru Nov 13. Arcana, Durham. www. arcanadurham.com.

Luminous Creatures: Digital images by JP Trostle. Thru Jan

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

6, 2017. Atomic Fern, Durham. www.atomicfern.com.

A Man Singing To Himself: Jill Snyder. Thru Dec 30. Durham Arts Council, Durham. www. durhamarts.org.

Lucia Marcus: Mixed media.

Thru Nov 27. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

Eric McRay: Thru Dec 17. more.

Raleigh. www.jmrkitchens.com.

LAST Midnight Sun: Lori CHANCE Vrba. Thru Nov 12.

Through This Lens, Durham. www.throughthislens.com.

New Corridors Exhibition: Marnie Blum, Kristan Five, Shawn Hart, Chieko Murasugi, Pete Sack, and Pat Scull. Thru Nov 26. Artspace, Raleigh. www.artspacenc.org.

On the Wing: Alicia Armstrong, Molly Cliff Hilts, Tinka Jordy, and Marlise Newman.

Thru Nov 20. Eno Gallery, Hillsborough. enogallery.net.

On the Wings of Birds: Emma Skurnick. Thru Nov 30.

Joyful Jewel, Pittsboro. www. joyfuljewel.com.

Oppressive Architecture: Photographs by Gesche Würfel.

Thru Dec 4. CAM Raleigh, Raleigh. camraleigh.org.

The Peanut Gallery: Installation

by Alyssa Miserendino.

Thru Nov 27. Flanders Gallery, Raleigh. www. flandersartgallery.com.

Permutations, Progressions + Possibilities = The Art of Vernon Pratt: Thru Nov 28.

Gregg Museum of Art & Design, Raleigh.

Photographs by Hugh Morton: An Uncommon Retrospective: Photographs of North Carolina.

Thru Sep 4, 2017. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Places In Mind: Ann Howe, Barbara Rohde, and Sherry Nicholson. Thru Nov 22. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

Printing Realities: Sergio Sánchez Santamaría. Thru Dec 6. Duke’s Fredric Jameson Gallery, Durham.

Quadrivium *when four roads cross: Sue Edmonson, Cole+Cole jewelers, and Jonathan Davis. Thru Nov 30. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

Regional Emerging Artist in Residence Exhibition: Caitlin Cary, who has been playing

music and making art in Raleigh for more than twenty years, was awarded a Regional Emerging Artist Residency by Artspace last year. In this shared exhibit, she shows her unique fiber art, in which recognizable Raleigh buildings are depicted in repurposed upholstery sewn to paper. Gesche Würfel is a native of Germany who moved here in 2009; she brings an outsider’s eye to Southeast Raleigh in new photographs of domestic and commercial spaces in various states of decay, supplemented by drawings made on bus rides during her own Artspace residency. Thru Nov 26. Artspace, Raleigh. www. artspacenc.org. —Brian Howe Rockford Files Paintings: Paul Friedrich. Thru Nov 28.

Personify, Raleigh.

Rolling Sculpture: Art Deco Cars from the 1930s and ’40s: On one hand, these ostentatious cars are the obscene baubles of the interwar industrialists whose progeny are today’s rogue traders, junk bond kings, and profiteering Wells Fargo executives. On the other hand, the cars offer a nuanced look at how design aesthetics responded to the production line and its consumerist culture with a mixture of fantasy and faith.

Thru Jan 15, 2017. NC Museum of Art, Raleigh. www.ncartmuseum. org.—Chris Vitiello Siglinda Scarpa, Ida Trisolini: Ceramics and repurposed books. Thru Nov 28. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

Scent of the Pine, You Know How I Feel: North Carolina Art from the Jonathan P. Alcott Collection: This exhibit shows how depictions of the mountain, Piedmont, and coastal regions of North Carolina have changed over two centuries in the hands of seventythree painters: Impressionists, realists, folk artists, futurists, postmodernists, and more. Thru Dec 4. NC Museum of History, Raleigh. www.ncmuseumofhistory. org. —David Klein Sisters: 10 Years and Counting: Mary Beth Owen and Virginia Owen. Thru Nov 26. Local Color Gallery, Raleigh. www. localcoloraleigh.com.

Southern Accent: Seeking the American South in Contemporary Art: This is less a simple exhibition than a speculative and critical archive of Southern identity. Slavery, the Civil War, racism, and their complex inheritances?

Much of the work explores and interrogates that. Connections to place so deep that land and body become the same thing?

Many artists unravel the warp and weft of that. The dissonance of the past’s intrusion into the present? The exhibit shimmers with that temporal disorientation. It’s powerful work by supremely capable artists, and the intensity of their proximity is life-changing. Thru Jan 8, 2017. Nasher Museum of Art, Durham. nasher.duke.edu.

—Chris Vitiello LAST Steinfest: Ceramic CHANCE beer steins. Thru Nov 14. Claymakers, Durham. www.claymakers.com.

Susan Jones: Fire Dance: Thru Nov 19. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

Mary Carter Taub: Thru Dec 17.

Red Hat Gallery, Raleigh.

The Jemima Code: Photographs

by Toni Tipton-Martin. Thru Nov 23. Duke’s Center for Documentary Studies, Durham. www.cdsporch.org.

THIS CAMPAIGN IS YUUUGE!: Cartoonists Tackle the 2016 Presidential Race: Collection of 2016 election cartoons. Thru Dec 2. Duke’d Rubenstein Hall, Durham. sanford.duke.edu.

food

FOOD EVENTS

10, 7 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

90th Anniversary Food Truck Dinner: Local food trucks. $90. Wed, Nov 16, 6 & 8 p.m.

Carolina Theatre, Durham. www. carolinatheatre.org.

Competition Dining Statewide Championship: Singleelimination tournament featuring local food, agriculture, and culinary talent. Nov 11-20.

Dorothy & Ray Park Alumni Center, Raleigh.

Cider Class with Mattie Beason: $25. Sat, Nov 12, 3 p.m. & Sat, Dec 10, 3 p.m. Black Twig Cider House, Durham. www. blacktwigciderhouse.com.

City Kitchen Happy Hour: Benefiting The Compass Center for Women and Families.

Tue, Nov 15, 5:30 p.m. City Kitchen, Chapel Hill. www. citykitchenchapelhill.com.

Classic Cars, Classic Cocktails: In conjunction with Rolling Sculpture. $40-$50. Thu, Nov

DURHAM ROOTS Farmers’ Market: Saturdays, 8 a.m.; Thru Nov 19. Northgate Mall, Durham. www.northgatemall. com.

Raleigh Downtown Farmers Market: Wednesdays, 10 a.m.

Raleigh City Plaza, Raleigh.

Stone Soup Supper: Soups from Triangle chefs. Funds raised will go toward shelter and healthcare for low income individuals.

$5-$25. Wed, Nov 16, 5:30 p.m.

NCSU Campus: McKimmon Center, Raleigh.

Sunday Supper: Fighting the Floods with a Fork: Supporting businesses and families impacted by the flooding in Eastern North Carolina. $20.

Sun, Nov 13, noon. Fayetteville Street, Raleigh.

Supper Club: Josh DeCarolis: $78. Sun, Nov 13, 7 p.m.

The Cookery, Durham. durhamcookery.com.

Wine Tasting at Mandolin: Exploring Terroir with Pinot Noir: Wednesdays, 6 p.m.

Mandolin, Raleigh. www. mandolinraleigh.com.

stage

Town and Country: Will Goodyear. Thru Nov 26. Adam Cave Fine Art, Raleigh. www. adamcavefineart.com.

Transgender USA: Mariette Pathy Allen: Photography. Thru Dec 22. Power Plant Gallery, Durham.

LAST Under the Burning CHANCE Sun: Kenneth Nkosi.

Thru Nov 13. Eno Gallery, Hillsborough. enogallery.net.

SPECIAL View from the Edge: EVENT Caroll Lassiter. Thru Dec 4. Reception: Nov 11, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

Walden Pond in Four Seasons: Selections from Transcendental Concord by Lisa McCarty: Photographs and text.

Thru Nov 26. Bull City Arts Collaborative’s Upfront Gallery, Durham. www.bullcityarts.org.

William Noland: Dream Rooms: Cideos examining technology and intimacy. Thru Feb 5, 2017.

NC Museum of Art, Raleigh. www.ncartmuseum.org.

Zanele Muholi: Faces and Phases: Photography. Thru Jan 8, 2017. NC Museum of Art, Raleigh. www.ncartmuseum. org.

CAMERYN MOORE

PHOTO BY CALEB COLE

THURSDAY, NOVEMBER 10

CAMERYN MOORE: SMUT SLAM If the thought of writing about a profound, personal sexual experience and sharing it with a bunch of people you don’t know gives you a visceral shudder, that’s not only OK, it’s kind of this show’s raison d’etre. Organizer Cameryn Moore, a writer, actor, speaker, activist, and on-the-street writer of on-the-spot smut, has turned this series of erotically charged open-mics into a thriving, or perhaps throbbing, sex-positive franchise. Turns out that sharing all your NC-17 exploits with the masses is freeing—and a lot of fun. So what have you got to lose, if everyone else is doing it too? Just search your mind for that one incident that you flash back to at the weirdest times, write it down without changing the embarrassing parts, and show up ready to share it. Just pray a coworker doesn’t stroll in as you’re getting to the good part. —David Klein THE STATION, CARRBORO 8:30 p.m., $10, www.stationcarrboro.com INDYweek.com | 11.9.16 | 41

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FRIDAY, NOVEMBER 11–SUNDAY, NOVEMBER 13

IRA KNIGHT: MARTIN LUTHER KING: AN INTERPRETATION “Whenever we think of Martin Luther King, the things that come to mind are almost automatic,” says playwright Ira Knight. “He’s this icon, in outer space, that we can’t reach or touch.” Knight felt it was important to reconnect with the human aspects of the civil rights leader, with “the frailties and concerns that connect us all.” This weekend, he directs local actor John Ivey in the world premiere of his new one-person show, an interpretation that deliberately doesn’t take us to the mountaintop, but which brings us down to meet the man himself instead. —Byron Woods THE ARTSCENTER, CARRBORO 8 p.m. Fri. & Sat./4 p.m. Sun., $10, www.artscenterlive.org

OPENING Michael Blackson: Stand-up comedy. $25. Thu–Sat, Nov 12, 7:30 & 10 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

An Ideal Husband: Play. $12$20. Nov 10-19, 7:15-10 p.m.

NCSU Campus: Thompson Hall, Raleigh.

Guns of Ava: Play. $15-$40.

Thu, Nov 10, 7:30 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

Home: the metamorphosis: Dance by Stephanie Leathers.

Begins at 109 W. Parrish St., Durham. $15. Thu, Nov 10–Sat, Nov 12, 6:30 p.m. See p. 33.

42 | 11.9.16 | INDYweek.com

comedy. $40. Sat, Nov 12, 7 p.m.

Meymandi Concert Hall, Raleigh. www.dukeenergycenterraleigh. com.

Demetri Martin: Stand-up comedy. $40. Wed, Nov 9, 8 p.m. Carolina Theatre, Durham. www.carolinatheatre.org.

Martin Luther King, An Interpretation: Play. $10. Fri, Nov 11, 8 p.m., Sat, Nov 12, 8 p.m. & Sun, Nov 13, 4 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

Monty Python’s Spamalot: Musical. $20-$85. Nov 15-20.

Memorial Auditorium, Raleigh. www.dukeenergycenterraleigh. com.

Labels: Play by Joe SellmanLeava. $20. Wed, Nov 16 & Thu, Nov 17, 7:30 p.m. UNC’s Historic Playmakers Theatre, Chapel Hill.

The North Star: Dance. Sat, Nov 12, 7:30 p.m. & Sun, Nov 13, 3 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

The Laramie Project: Play. $5-$15. Nov 10-20. William Peace University’s Leggett Theatre, Raleigh. theatre.peace. edu.

The Octonauts and the Deep Sea Volcano Adventure: Play. $30-$40. Fri, Nov 11, 6 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com.

Manns World Concert and Comedy Show: Music and

The Other Mozart: Play. Fri, Nov 11, 8 p.m. & Sat, Nov 12, 3 & 8 p.m. NCSU’s Stewart Theatre,

Raleigh. See p. 32. portrait of myself as my father: Dance by Nora Chipaumire. $20.

Thu, Nov 10, 7:30 p.m. UNC’s Memorial Hall, Chapel Hill. www.carolinaperformingarts.org.

The Wild Duck: Play. $10-$15.

Nov 11-20, 8-10 p.m. Duke’s Sheafer Lab Theater, Durham.

ONGOING A Charlie Brown Christmas and Jingle Bell Jukebox: Play. $15-$20. Thru Nov 13. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

LAST  The Open CHANCE House: Play. $5-$20.

Thru Nov 12. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. Read Byron Woods’s review at www. indyweek.com.

Richard III: Play. $10-$18.

Thru Nov 20. Sonorous Road Productions, Raleigh. www. sonorousroad.com.

Two Turtle Doves: Play. $12$16. Thru Nov 12. Common Ground Theatre, Durham. www. cgtheatre.com.

atic,” ht felt it ies and emiere of ntop, but

screen SPECIAL SHOWINGS

Banana Panel Movie Night: ConAir: Mon, Nov 14. Ruby Deluxe, Raleigh. www.facebook. com/RubyDeluxeRaleigh.

Being Mortal: Thu, Nov 10, 7 p.m. Durham Main Library, Durham. www. durhamcountylibrary.org.

Dorothea Lange: Grab a Hunk of Lightning: Wed, Nov 16, 6 p.m.

Gregg Museum of Art & Design, Raleigh. www.ncsu.edu/gregg.

Revolve on Camera: The Performances: Thu, Nov 10, 7 p.m. Duke Campus: Richard White Auditorium/ Lecture Hall, Durham.

Trails in Motion Film Festival: Sun, Nov 13, 4:30 p.m. Full Frame Theater, Durham.

Jackson Hole Festival Showcase: Thu, Nov 10–Sat, Nov 12. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

SUNDAY, NOVEMBER 13

OPENING

comic character deserved a better comeback. Rated R.

Almost Christmas—The likes of Danny Glover and Omar Epps fill out this Christmas comedy.

Rated PG-13.

 Deepwater Horizon— This account of the oil spill thrills but skimps on context.

Rated PG-13.

Arrival—Humans and aliens make contact on Earth in Denis Villeneuve’s sci-fi drama. Rated PG-13.

 Doctor Strange— Marvel’s magic master’s feisty cape is the most vibrant character in his movie. Rated PG-13.

Shut In—A psychologist (Naomi Watts) isolated with her paralyzed son believes something bad is with them in the house. Rated PG-13.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read our reviews of these films at www.indyweek.com.

 The Accountant—Matt Damon—er, Ben Affleck’s autistic assassin character doesn’t quite add up. Rated R.  ½ The Birth of a Nation—This Nat Turner biopic overturns the conventions of white Hollywood. Rated R.  ½ Bridget Jones’s Baby— Renée Zellweger’s loveable

A poet who’s never written about a bird is like a rock singer who’s never belted about his baby—a rare fowl indeed. From Edgar Allan Poe’s trochaic raven and Wallace Stevens’s faceted blackbird to Robert Duncan’s portrait of the artist as a young falcon, poems cling to our winged friends because their forms are so alike: small, delicate, precarious and improbable in flight, like a little wish ascending through all that worldly air.

In “Poetry with Wings” at the North Carolina Botanical Garden, a group of local poets who often write about nature set their efforts loose among the feathers and fronds. The readers are Ralph Earle, Jay Bryan, Melissa Dowland, Bill Ross, and Jeffery Beam, a former UNC botanical librarian who is the author of more than twenty books of poetry and criticism, including The Broken Flower, Gospel Earth, and The New Beautiful Tendons: Collected Queer Poems 1969– 2012. A warming, gracious performer, Beam also composes songs, and is apt to weave some into his reading, like updrafts lifting his serenely ecstatic verses.

—Brian Howe

 ½ The Girl on the Train— Emily Blunt’s vulnerable performance almost redeems a trashy, lurid film. Rated R.  ½ Hacksaw Ridge—Mel Gibson clearly identifies with the religious persecution of conscientious objector Desmond Doss. Rated R.  The Handmaiden—Sex does much more than sell in Park Chan-wook’s twisty erotic thriller. Unrated.  ½ The Magnificent Seven—Despite an able cast, this remake adds little to the “band of disreputables” trope.

Rated PG-13.

N.C. BOTANICAL GARDEN’S REEVES AUDITORIUM, CHAPEL HILL 2:30 p.m., $16–$18, www.ncbg.unc.edu

THURSDAY, NOVEMBER 10

page

FARMER/VETERAN

Five years in the making, Durham-based my father: Vittles Films’ documentary about postumire. $20. traumatic stress in rural North Carolina . UNC’s receives its hometown premiere at the l Hill.

Carolina Theatre after racking up awards at ingarts.org. festivals from Brooklyn to Macon, Georgia. $10-$15. Co-directed by Alix Blair and Jeremy M. Duke’s Lange (disclosure: Lange is a former INDY Durham. photographer, as is producer D.L. Anderson), Farmer/Veteran follows Alex Sutton as he tries to settle into a peaceful life of farming and family after three combat tours in Iraq. tmas But as much as Sutton wants to focus on his ox: Play. . Raleigh new vocation and relationship, the traumas of war have powerful aftershocks, and . www. . they sometimes jar him out of consensus reality. The film is an intimate portrait of e Open ay. $5-$20. the external pressures and internal battles with prescriptions, ingrained impulses, and es Dog murky memories many soldiers face, too w. rg. Read often alone, when they return from battle.

If you miss this Veteran’s Day screening, at www. you might catch the film at the Cucalorus Film Festival in Wilmington the next day. $18.

If all else fails, Farmer/Veteran is slated to us Road roll out nationally on PBS on Memorial Day www. next year. —Brian Howe THE CAROLINA THEATRE, DURHAM y. $127 p.m., $11, www.carolinatheatre.org mmon

ham. www.

POETRY WITH WINGS

READINGS & SIGNINGS Jon Batson: Adventures of a Space Bum Book 4: The Palace Guard. Sun, Nov 13, 3 p.m. Brio Tuscan Grille, Raleigh.

Lee Child: Night School. $30.

Fri, Nov 11, 7:30 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

Howard Craft: Raising the Sky. Wed, Nov 9, 7 p.m. Letters Bookshop, Durham.

Ben Ehrenreich: The Way to the Spring. Wed, Nov 16, 7:30 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Charlie Engle: Running Man. Thu, Nov 10, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

FARMER/VETERAN

PHOTO COURTESY OF THE FILMMAKERS

Clare Hanrahan: The Half Life of a Free Radical: Growing Up Catholic in Jim Crow Memphis.

Tue, Nov 15, 7 p.m. Highland United Methodist Church,

Raleigh. www.highlandumc.org.

Wed, Nov 16, 7 p.m. Durham Main Library, Durham. www. durhamcountylibrary.org.

Sheryl Monks: Monsters in Appalachia. Fri, Nov 11, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Scott Savitt: Crashing the Party: An American Reporter in China.

Mon, Nov 14, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Margot Lee Shetterly: Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race. Wed, Nov 9, 7 p.m. Duke Campus: Reynolds Industries Theater, Durham. Thu, Nov 10, 7 p.m. Morehead Planetarium & Science Center, Chapel Hill. www.moreheadplanetarium.org.

Tue, Nov 15, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Susie Wilde, Stacy McAnulty: Beautiful. Tue, Nov 15, 7 p.m.

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

Nicola Yoon: The Sun is Also a Star. Sun, Nov 13, 3 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

LITERARY R E L AT E D Eric Mitchko: “Tristan und Isolde Through the Years,” presented by the Triangle Wagner Society.

Sun, Nov 13, 7 p.m. www. trianglewagnersociety.com.

UNC Friday Center, Chapel Hill. www.fridaycenter.unc.edu.

Ralph Snyderman: A Chancellor’s Tale: Transforming Academic Medicine. Wed, Nov 9, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

INDYweek.com | 11.9.16 | 43

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1 5 3 4 7 6 2 9 8 If you just can’t wait, check 9 6 2 8 1 3 7 4 5 out the current 4 7 8 2 week’s 5 9 1 6answer 3 key at 8www.indyweek.com, 9 6 3 2 5 4 1 7 3 4 1 9 8 7 5 2 and click “Diversions”. 6 7 2 5 6 4 1 8 3 9 Best of2luck, and 3 7 1 6 8have 9 5 4fun!

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massage FULL BODY MASSAGE by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe.

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If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS).

What’s Required?

• One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60 Who Can Participate?

• Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control.

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tech services GOT A MAC? Need Support? Let AppleBuddy help you. Call 919.740.2604 or log onto www.applebuddy.com

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Raleigh

(919) 833-0088

Durham

Chapel Hill

(919) 595-9888 (919) 869-1299 For other local numbers:

FIND REAL GAY MEN NEAR YOU Raleigh:

(919) 829-7300 Durham:

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

claSSy@indyweek.com

Chapel Hill:

(919) 869-1200

www.megamates.com 18+

INDYweek.com | 11.9.16 | 47

CLASSES FORMING NOW

Programs in Massage Therapy, Medical Assisting, and Medical Office. Call Today!

THE MEDICAL ARTS SCHOOL

Raleigh: 919-872-6386 • www.medicalartsschool.com

JEWELRY APPRAISALS

COMING TO ASHEVILLE?

BARTENDERS NEEDED MAKE $20-$35/HOUR

DANCE CLASSES IN SWING, LINDY, BLUES, CHARLESTON

While you wait. Graduate Gemologist www.ncjewelryappraiser.com

Raleigh’s Bartending School 676.0774 www.cocktailmixer.com 1-2wk class

GOT A MAC?

Need Support? Let AppleBuddy help you. Call 919.740.2604 or log onto www.applebuddy.com

T’AI CHI

Traditional art of meditative movement for health, energy, relaxation, self-defense.

Classes/workshops throughout the Triangle.

Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936. www.magictortoise.com

Upscale Spa. private outdoor hot tubs, 26 massage therapists, overnight accommodations, sauna and more. Starting at $42.

Shojiretreats.com 828-299-0999

At ERUUF, Durham & ArtsCenter, Carrboro.

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

BRITISH GUITAR VIRTUOSO RICHARD SMITH IN CONCERT

November 18, 7:00 pm at High Strung Violins & Guitars 1803 W. Markham Ave. Durham. Tix $15/$10(students) Limited seating; call 919-286-3801 to purchase. www.richardsmithmusic.com Also collecting donations for Project Fight.

Visit www.highstrungdurham.com for details.

EXLEY HOME IMPROVEMENTS

For all repairs and upgrades. Your every need is covered: Electrical, Plumbing, Carpentry, Fencing, Additions, Decks and more. New lighting? Cabinets? Sinks? 30+ years experience. Call Greg at 919-791-8471 or email exley556@gmail.com

Golden Horizons Adult Day Care, LLC • Convenient Hours (7:30am-5:30pm) • Directly off 147 • Affordable Fees • Stimulating Activities for All Interests • Delicious, Nutritious Meals • Compassionate, Certified and Accomplished Staff Call now for a confidential family assessment. Spaces are limited. www.goldenhorizons.net • 919-412-0185

HILLARY CLINTON COLLECTIBLES

T-Shirts, Buttons, Magnets, Totes etc. Retail or Wholesale We Ship Anywhere in U.S. www.PresidentHillaryGear.com 919-638-0050

To a a

erob

MASSAGE BY MARK KINSEY

Swedish & deep tissue massage for stress relief. If you’re tense, I can help you relax.

Near Duke. MassageByMarkKinsey.com.

NCLMBT#6072. 919-619-6373.

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

INTRODUCTION TO BEEKEEPING CLASS

Jan 9 to Mar 6 - nine Monday evenings 6:30-8:30.

VFW Post, Reedy Creek Rd, Cary - Details and sign up www.baileybeesupply.com 919-241-4236

KEEP DOGS SHELTERED

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

To ad plea

KLIPSCH QUALITY SURROUND SOUND SPEAKER SYSTEM

(with sub-woofer and boxes).

Excellent condition!!! Moving, must sell. Call Joe 919-967-5232.

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

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

919.286.6642

Weekly deadline 4pm Monday • classy@indyweek.com