INDY Week 12.14.16

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INDIES ARTS AWARDS

raleigh 12|14|16

AL SO Is N.C. Soccer Ready for Prime Time?

p.12 Compost Crusaders

p.22 The Finesse of Folk

p.25

RADICAL

VISION

Kelly McChesney saves Lump, N.C. Opera puts Raleigh on the map, and the Women’s Theatre Festival rebalances local stages MCCHESNEY (PICTURED) p.16 / AWARDS SECTION p.14

10 Seve spec No s

12 Two dent stru

16 In sa will

18 Not your

21 A wo Som

22 Com less

23 Auth Lati and

2 | 12.14.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH 10 Seventeen red wolves—an endangered species—have been shot to death since 2013.

No shooters have been prosecuted.

12 Two years from now,North Carolina FC president Steve Malik wants a stadium under construction and an MLS franchise in the bag.

16 In saving Lump, Kelly McChesney’s new gallery will be driven by culture, not commerce.

18 Not stuffy, not obtuse, and fun? N.C. Opera is not your grandpa’s opera company.

21 A women’s theater festival in Raleigh?

Someone finally said, “Let’s do it.”

DEPARTMENTS 5 Backtalk 10 Triangulator 12 News 14 Indies Arts Awards

VOL. 33, NO. 48 Sarah Shook at The Cave (see page 17) PHOTO BY BEN MCKEOWN

22 Food 25 Music 26 What to Do This Week 28 Music Calendar 32 Arts/Film Calendar

22 Composting is easier, and a lot less smelly, than you think.

23 Author Sandra Gutierrez mixes Southern Latino cooking traditions with kindness and understanding.

On the cover: Kelly McChesney at Lump PHOTO BY BEN MCKEOWN

INDYweek.com | 12.14.16 | 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 NEWS EDITOR Ken Fine STAFF WRITER Paul Blest ASSOCIATE MUSIC EDITOR Allison Hussey ASSOCIATE ARTS EDITOR David Klein ASSOCIATE FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Michaela Dwyer THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS

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backtalk

Monsters Are Loose Let’s empty the vault of comments on our November 16 issue about Donald Trump’s victory, which is set to be ratified by the Electoral College on Monday. On Barry Yeoman’s story on the parallels between 1968 and 2016 [“A Return to Nixonland”], commenter ccroveti writes: “I am so naive to have believed that, since the late sixties, racism was lessening in America. I am a child of that era, alive for the assassinations of John Kennedy, Martin Luther King, and Robert Kennedy. Since the 2016 primaries, watching the hateful language, acceptance of sexism, racism, religious freedoms being taken away, the rate of violence increasing within our youth, and civil liberties taken away, what I feel is that the anti-Semitism, racism, and loss of freedom for some Americans never really changed. The monsters are loose.”

“I am so bothered by this article,” BrandyJRL writes about Troy Herring’s exploration of Trump supporters in rural North Carolina [“Trump’s America”].

“This persuasive and biased writer has already fueled anger from people that has led to racial comments. I was born and raised in Dudley, just barely north of Mount Olive. I attended the same predominately African-American high school as the kids from Mount Olive. Do y’all really think for one second that any racially fueled hate would be tolerated in my school?

In my town? Painting my county in a bad light speaks to the amateur ability of the writer to think ‘liberally’ and consider all viewpoints.”

On Brian Howe’s story about reconnecting with disenfranchised white men [“Poor White Man”], James Coley writes: “In this article I read that ‘white men are a huge problem.’

This is blatantly racist and sexist. It holds an entire group of people responsible for what only some of them have done. It tells me, a white man who supported Hillary Clinton and abhors Trump, that I am somehow responsible for the behavior of other people who share superficial characteristics with me. The essence of racism and sexism is to not see individuals. If the shock of the Trump election is a wake-up call for liberal intellectuals, that

has to go way beyond articles like this one. We liberals, as I have said for those many decades, must stop this delusion that it somehow combats prejudiced judgments about African Americans and women to make prejudiced judgments about white people and men.”

“Since the election of Donald Trump,” writes Chris Burner of Durham. “the ‘altright’ has seized a platform to vocalize white supremacist rhetoric and hate speech. The KKK’s renewed energy is not surprising, as many white supremacist organizations have expressed elation over the success of Trump’s campaign, which emphasized the deportation of immigrants, official registries for Muslims, a wall separating the southern border to Mexico, and enhanced policing in African-American neighborhoods. Donald Trump ran his campaign under the slogan ‘Make America Great Again,’ and to the KKK, this ‘great America’ is one of white domination and supremacy. What is essential to remember is that we have federal laws to defend against bullies of this ilk. These laws cannot and should not be just symbolic legislation that expresses our disdain for hate crimes. We must hold perpetrators accountable.”

Moving on: last week’s Triangulator featured an item on Duke Energy’s stalled plans to build a natural gas-fired power plant on Duke University’s campus. John Trololo takes aim at NC WARN, a critic of the plan: “As always, that holdover from the ‘China Syndrome’ anti-nuke days NC WARN screams the sky is falling, and they are of course wrong once again, and they will be ignored, thank heavens.”

“It might be worth reminding NC WARN they advocated for the same combined heat and power technology three years ago—and wanted Duke Energy to pursue it,” writes Duke Energy spokesman Randy Wheeless.

“What changed?”

“I am so naive to have believed that, since the late ’60s, racism was lessening in America.”

Love ? y d n i e h t

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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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6 | 12.14.16 | INDYweek.com

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DECEMBER 14, 2016

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Hol iday Gift Guid e

Vert & Vogue

The Everyday Necklace by Peppertrain Handmade in Raleigh by Kaitlin Ryan, Peppertrain marries polymer clay beads of different shapes, sizes and textures into a chic and easy statement piece. Copper tubing adds a touch of shine, making it the perfect addition to any outfit.

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The Access Sling by Rough and Tumble | $285

Liberation Threads

Raven + Lily Brass Cuff

This gorgeous and unique statement bracelet, by Raven + Lily, is handmade from upcycled brass by women artisans in Nairoba, Kenya. Give gifts with a purpose this season by shopping at Liberation Threads, Durham’s newest ethically sourced boutique!

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Experience the lovely drape that can only come with the softest leather.

Designed and hand-stitched in Maine in premium leathers, the access has roomy straps, with two deep side pockets, magnetic closure, a luscious suede interior, an iPhone pocket and detachable leather key fob.

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Knights Play Golf Center Gift Certificates

Make your golfer smile all year! Our gift certificates are good for green fees, driving range, golf lessons/ clinics and the Pro Shop. Knights Play is a top golf practice facility - fully illuminated driving range and 27-hole course are open 8 AM- Midnight, weather permitting. Give the gift of golf.

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Pendant Necklace | $520 This whimsical pendant is handcrafted in oxidized sterling silver and 18K yellow gold. It contains a unique orange-brown sapphire and is accented with a small sparkling diamond. The pendant (including the oxidized silver chain) is priced at $520. This is a perfect daywear piece that goes with just about every outfit.

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Community Supported Art Collection $250 members/ $300 non members

PNC Arena Gift Cards

Get your Artspace Community Supported Art collection and support local artists. Each collection includes 6 original works of art by 6 different artists: Tedd Anderson (printmaking), Alexandra Bravar (sculpture), King Nobuyoshi Godwin (painting), Becky Joye (pictured, mixed media) Liz Kelly (ceramics), Sarah West (sculpture). Only 40 collections available.

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Give the gift of live entertainment! Carolina Hurricanes hockey, NC State men’s basketball, concerts, family shows and comedy – there’s something for everyone.

PNC Arena Gift Cards are perfect for Family, Friends or Clients. Redeemable for event tickets,* at participating concession stands, The Eye team store and more. *excluding NC State men’s basketball and select events 1400 Edwards Mill Rd, Raleigh | 919-861-2300 www.thepncarena.com

Gift Card

Give the gift of beer this holiday season! Whether you’re buying for a novice drinker or a beer geek, a House of Hops gift card is the ideal present. Redeem for draft, bottles to go, or tickets to a Cheese & Beer Pairing on Sunday, January 15.

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Prodigal Farm

Artisanal Cheese Collections | $45-$215 A gift of Prodigal Farm cheese shares humanely produced, nationally award-winning and just plain delicious cheeses to brighten holidays for your friends, family, colleagues and customers. We’ve put together five different assortments of our cheeses to ship or for local pickup. Share the taste of North Carolina!

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Scarffish.com

Ocracoke Sunrise | $79 Scarffish.com offers a dazzling array of starfish-themed items: Scarffish, the Scarf with the Starfish; Moby Infinity Scarf; Starkler Garlands; KidsCaps.

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It’s not just a scarf: it’s a Scarffish! www.scarffish.com mrosen@scarffish.com

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triangulator +EXTINCTION EVENTS

The nine members of Congress who penned a letter to Interior Secretary Sally Jewell say they blame the U.S. Fish and Wildlife Service for the state of the endangered red wolf population that calls eastern North Carolina home, citing specific examples of how bad decisions have pushed the species to the brink of extinction.

Representatives Raul Grijalva, Debbie Dingell, Jim Langevin, Mark Pocan, Donald Beyer Jr., Alan Lowenthal, Peter DeFazio, Jared Polis, and Betty McCollum—all Democrats, none from North Carolina—say the government has failed the “iconic animal” by abandoning its responsibility to protect the wolves under the Endangered Species Act. They argued that the USFWS’s ruling this fall on the future of the Red Wolf Recovery Program, one the feds painted as a victory for the species, would actually all but ensure the wild wolf population would end up in captivity.

“Over the last three years, the [USFWS] has failed to follow the best available science, has ignored the management recommendations made by independent analyses, and has undermined the recovery of the red wolf, causing the population to fall by 50 percent,” the letter reads. “The [USFWS] has now proposed to abandon management of red wolves in the wild, and shift focus away from ‘trying to establish a self-sustaining population.’ This is troubling.”

In mid-September, USFWS officials claimed they had figured out a way to save the species from extinction. The feds’ plan would focus on securing the captive population of two-hundred-plus wolves living in zoos and other facilities across the county. As USFWS southeast regional director Cindy Dohner said, “The most stunning data shows the captive population is not secure” and “losing the captive population could mean losing the entire species.”

But wolf advocates say that the populationviability analysis used by the USFWS to chart its path forward was misinterpreted—in fact, the findings were contrary to several actions taken by the feds before they addressed the 10 | 12.14.16 | INDYweek.com

PHOTO COURTESY OF THE U.S. FISH AND WILDLIFE SERVICE

Red Wolf Recovery Program. Clearly, at least nine members of Congress agree.

“Unfortunately, 2012 proved to be the highwater mark in red wolf recovery,” the letter says. “Soon thereafter, likely in response to complaints by a small number of vocal opponents … the [USFWS] eliminated the position of the red wolf recovery coordinator, redirected staff to other programs, ended its successful pup fostering and coyote sterilization activities, halted red wolf introductions into the wild, and suspended the red wolf education program.”

And the feds also have not been “pursuing prosecution of suspected illegal takes, allowing local opponents of recovery to believe that they can kill wolves with impunity. Of the 17 wolves killed by gunshot since 2013, there has not been a single prosecution.”

So the members of Congress asked that Jewell direct USFWS to bring back programs cut since 2012, including landowner education and coyote sterilization. They urged her to see to it that the feds resume reintroductions of captive red wolves into the wild and put an end to a recovery program they say serves the interest of those who want these

wild wolves placed into captivity. And they want to see those who kill members of this endangered species prosecuted.

Those members of Congress aren’t the only friends the wolves have in high places.

This fall, U.S. District Judge Terrence Boyle ordered a temporary injunction that both restricts the feds’ ability to remove the animals from private property and prohibits landowners from shooting them.

+BULLETS AND BADGES On November 30, twenty-eight-year-old Chijoke Kennedy Madueke was shot and injured by Raleigh police officers responding to a call that he was breaking into an apartment from which he’d been evicted.

According to an initial report, Madueke pulled a knife on three officers, who fired their weapons, striking him in the arm, leg, and torso. (During the exchange, an officer

was struck by friendly fire; his bulletproof vest stopped the round.)

This was the third police-involved shooting in Raleigh this year; the first two resulted in the deaths of young African-American men. On February 29, Akiel Denkins was killed near the corner of Bragg and East in southeast Raleigh by Officer D.C. Twiddy, who was cleared of wrongdoing. Then, on August 29, Jaqwan Terry was shot and killed by a police officer after, police say, he shot the officer in the right leg.

According to records, there have been nine times over the past nine years that Raleigh police shot a civilian, including the three this year. Across the state, thirty-one people have been killed by police so far in 2016—tying North Carolina for the fifth-highest tally in the country, according to a Washington Post database. One-fifth of these shootings took place in Charlotte, including the killing of Keith Lamont Scott, which sparked protests. Raleigh was the only other municipality in North Carolina to have multiple police-shooting deaths.

After Madueke’s shooting, the activist group Raleigh Police Accountability Community Taskforce renewed its call for reform.

“We once again call on Raleigh’s elected officials to take much-needed steps to empower community members to be able to review these incidents and help hold officers accountable if they violate their oaths,” PACT spokesman Brandon Douglas said in a statement. “We urge the Raleigh City Council to support and work toward the creation of a Community Oversight Board that has the authority to subpoena witnesses, administer oaths, and compel the production of evidence.”

Presently, state law forbids oversight boards from having these powers, but the activists hope the city will lobby legislators to change that. The city has been noncommittal; instead, it held two “community conversation” meetings between residents and cops; more of those, Mayor Nancy McFarlane has told the INDY, are coming next year.

As of last week, Madueke remained in the hospital in stable condition. According to the city’s report, Madueke’s brother told State Bureau of Investigation officials that he had recorded the shooting on his cell phone, but the report said it “has not yet been retrieved or reviewed.”

Sat., Dec. 17th Lincoln Theatre 2016 Christmas YARN BALL & 12th Annual Dune Dog Holiday Extravaganza

+MONEY TROUBLE Some local residents are urging Triangle officials to keep the hope of the seventeen-mile Durham-Orange Light Rail Transit project alive, despite concerns about the DOLRT’s $1.8 billion price tag. But Durham city council member Charlie Reece, in an email sent Monday to one such resident, said he has “strong reservations about attempting to fund DOLRT without a more robust funding commitment from the state of North Carolina.” And that seems unlikely.

Virtually every elected official in Durham and Orange County has, at one time or another, spoken in favor of light rail. But funding the project—or, as Reece put it, filling the funding gap “created by the General Assembly”—is the main concern.

The plan originally called for Wake, Orange, and Durham counties to cover a quarter of the project’s cost, the state another quarter, and the federal government half—the same way construction of light rail in Charlotte, which opened in 2007, was financed. Durham County passed a half-cent sales tax for this purpose in 2011, and Orange County followed suit in 2012. But the then-Republicanheavy Wake County Board of Commissioners refused to take action. Hence, the proposed rail line from Durham to Chapel Hill.

Featuring:

IMAGE COURTESY OF OURTRANSITFUTURE.COM

As for the remaining three-quarters of the funding, meant to come from the state and feds, no one’s sure if it’ll actually show up.

Last year, the legislature slipped into the budget a last-second provision that capped spending on light rail projects at $500,000—a tiny fraction of the more than $400 million the state was supposed to cough up. That was later repealed, but another cap included in this year’s budget says multicounty transportation services like light rail can’t receive more than 10 percent of their funds from the state. That means the state can only spend $160 million on the Durham-Orange line, which leaves the line some $240 million short. And unless that gap gets filled in, it’s

unlikely that the federal government would pitch in its part.

Faced with this dilemma, GoTriangle has asked local governments to sign letters pledging to find additional funds. Earlier this month, Orange County commissioners voted 5–2 to do just that. On Monday night, the Durham County Board of Commissioners followed suit. Next Monday, the Durham City Council will have its turn.

The question is, in the absence of the state’s help, how deep the city is willing to dig. triangulator@indyweek.com

YARN AND THE DUNE DOGS

This week’s report by Paul Blest and Ken Fine.

PERIPHERAL VISIONS | V.C. ROGERS

“Tape your ankles and wear your good robe” for this seminal Triangle Holiday collaboration!

“Your move.”

lincolntheatre.com INDYweek.com | 12.14.16 | 11

indynews

The Big Pitch

IS NORTH CAROLINA SOCCER READY FOR PRIME TIME?

BY PAUL BLEST

I

f Steve Malik gets his way, the Triangle will leap into the first tier of American soccer by the end of 2018.

Last Tuesday, the Carolina RailHawks owner got his push started with a huge coming-out party. At an event at City Market in downtown Raleigh, Malik announced that the club is rebranding itself with a new name—North Carolina FC—a new logo, and big plans. Plans to secure a franchise in the National Women’s Soccer League within six months, plans to build a twenty-fourthousand-seat stadium, and the crown jewel: an “aggressive public campaign to pursue a Major League Soccer franchise,” and to get it within the next twelve to eighteen months.

So far, city and county officials are hesitant to throw their full support behind a plan that’s big on ambition but, at least publicly, short on particulars.

“I would like to see another major league team in Wake County,” says Wake County commissioner John Burns. “I appreciate the ambition of North Carolina FC and the ownership, but the devil is in the details, and I will wait to see those when they come out.”

Malik’s goals are lofty, but par for the course for the native Welshman who grew up in Kinston and made a mint on Medfusion, a medical software company. Malik made his objectives clear when he bought the team a year ago.

“I said we wanted to play at the highest level,” he says. “I think with most things, it’s not how fast you start, but how fast you get there.”

Malik bought the team from Traffic Sports, whose owners were swept up in the FIFA global corruption scandal that saw former team and North American Soccer League president Aaron Davidson plead guilty to bribery.

In Malik’s first season, the RailHawks started to turn things around. The team broke its attendance record twice this season, and attendance was up 25 percent year over year.

12 | 12.14.16 | INDYweek.com

Above and right: fans at a Carolina RailHawks game Team president Curt Johnson, who played soccer at N.C. State and was later the general manager of MLS’s Sporting KC in Kansas City, says that conversations about a jump to MLS and the NWSL—NCFC does not currently have a women’s team, though in September it trademarked the name NC Courage, a callback to a women’s team that used to play in Cary—started “in earnest” when Malik purchased the team. Since then, the club has been in talks with both leagues, “about a dozen” officials from Triangle municipalities, and countless local business leaders about the move, Johnson says.

Part of the accelerated timeline is due to the fact that time is running out for MLS. League commissioner Don Garber has said that he wants to cap the league at twenty-

PHOTOS BY D.L. ANDERSON

eight teams; currently there are twenty, and four more—in Atlanta, Minnesota, Miami, and a second team in Los Angeles—are set to join by 2018. That leaves four spots, with stiff competition from San Antonio and Cincinnati. By announcing its intention to join MLS, NCFC got a jump on other markets.

Malik said at the announcement last week that a feasibility study showed “a perfect set of demographics” in the Triangle to make an MLS franchise happen.

“One of the things that was very successful for the [Carolina] Panthers in their NFL expansion bid,” Malik said, “was to draw a circle two and a half hours around the market. When you do that for us, we have sixpoint-five million people, and we’re one of the top six or seven markets in the country.”

Beyond that announcement, however, details are sparse. An NWSL spokesman says it is “premature to discuss specifics.” An MLS statement released to the press said the league might release more information about its expansion process after a board meeting on Thursday. “We recently met with [Malik],” the statement read, “and he discussed his exciting vision for growing soccer in the area, including his ambition for an MLS expansion team. We look forward to learning more about his plans as they develop.”

Last week, Malik said he and his investors are prepared to privately finance both the $150 million stadium and the MLS franchising fee, which could reach up to $200 million, but that the team would look for a public investment in infrastructure and parking.

Logo of the newly branded North Carolina FC

Malik and Johnson say the team is looking all over the Triangle for a potential location—not just in Cary, where it currently plays.

Sources peg North Hills and downtown Raleigh, possibly on South Wilmington Street, as potential locations.

“MLS is a big advocate of an urban setting—that’s where the biggest success stories have been,” Johnson says. “I don’t think you’re ruled out if you don’t have that, but it’s certainly something that will help position our bid in the best possible way.”

Gerry Cohen, a longtime legislative aide, says that the public contribution to the project would have to come from the municipality that hosts the new stadium, but the county could allocate money from hotel- and food-and-beverage-tax revenues—though there’s a “long list of requests.”

Local officials say they’ve had no formal conversations with NCFC; officials from Cary, including Wake County commissioner Jessica Holmes and Cary mayor Harold Weinbrecht, say they’d like to see the team stay put—Weinbrecht says there could be room for a new stadium as part of the town’s Eastern Greenway project—while the Raleigh-based Burns and Raleigh city council member Mary-Ann Baldwin wanted to see more details before commenting further.

Still, NCFC says it has the support of the business and political communities.

“I’ve been in communication with business leaders in the Triangle for twenty-plus years, since 1995, which is when I first raised the subject,” Johnson says. “This isn’t something that has been thrown together haphazardly. It would have been ahead of its time twenty-plus years ago, but now the fact is that so many of the leaders in the Triangle are advocates for this. That’s why the time is right.” pblest@indyweek.com

PET OF THE WEEK IS CARMEN! CARMEN IS ENERGETIC, ENTHUSIASTIC AND FULL OF TAIL WAGS FOR EVERYONE! SHE’S ABOUT 3 YEARS OLD, PLAYFUL, AND LOTS OF FUN! SINCE SHE’S VERY FOODMOTIVATED AND QUICK TO PICK UP NEW THINGS, SHE SHOULD BE A WONDERFUL DOG TO TRAIN. SHE LOVES OTHER DOGS! CARMEN WILL DO WELL IN AN ACTIVE HOME WHERE SHE’LL HAVE EXERCISE, PLAYTIME, AND KIND (REWARD-BASED) OBEDIENCE TRAINING. IF YOU’RE INTERESTED IN ADOPTING CARMEN, PLEASE CONTACT APS OF DURHAM AT WWW.APSOFDURHAM.ORG/DOGS/ CARMEN PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 12.14.16 | 13

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A

rt's mandate—especially after HB 2 and Trump—is to change the world not by force, but by enlarging coalitions. After all, art's effects are limited in scope only when its participants are. When the art world includes enough people, it can redraw social norms and cultivate radically empathetic perspectives far beyond galleries and stages. All the Triangle-based arts institutions, collectives, and people the INDY selected as winners of our 2016 Indies Arts Awards, which we have given out annually for more than twenty-five years, have one striking thing in common: this timely goal of widening inclusion and broadening discourse.

Toward that end, each of our honorees has made major moves this year. Kelly McChesney sacrificed her essential Flanders Gallery to keep Raleigh institution Lump alive.

Durham Artists Movement held safe space for and gave voice to marginalized, imperiled groups. Sarah Shook and Erika Libero sought safe spaces in the commercial sphere and made stickers to mark them. N.C. Opera developed intimate relationships to put Raleigh on the opera map.

Culture Mill advanced its research on sustainable artistic cultures, and the Women's Theatre Festival confronted gender-parity problems on local stages. We at the INDY feel proud and humbled to live and work among these people, all of whom found ways of serving and galvanizing communities at a time when they feel more vital than ever. This is our small way of saying thanks. —Brian Howe

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SURVIVAL TACTICS DURHAM ARTISTS MOVEMENT IS A SAFE SPACE AND A STRONG VOICE FOR THOSE WHO NEED IT MOST

BY BRIAN HOWE

T

he Indies Arts Awards often honor outward-facing entities that aim for the broadest audience possible. But the most important thing that happened in the Triangle art world this year happened largely out of public view, and it benefitted the few dozen people who were part of it more obviously than it benefitted the public.

This inward-facing collective, the Durham Artists Movement, did the unglamorous but essential work of consolidating power among artists of color, queer artists, Muslim artists, female artists, and others who are structurally marginalized in the art world.

After DAM moved into the former Carrack Modern Art space on Parrish Street in July, its members could examine their work in a gallery with mutual understanding of its cultural context. More important, they had a place to gather for ongoing succor, present action, and forward planning in dangerous times—a base from which to expand a radically inclusive vision. If art must speak for everyone, the necessity of DAM is axiomatic.

“I've been searching for a radical queer brown community for years,” says DAM member Sufia Ikbal Doucet, who identifies as Pakistani-Cajun and Muslim, among other intersections. Grand artistic projects are often willed into being, but DAM harnesses energy that was there, filling a real need.

“It feels like an undercurrent no one person created,” says Catherine Edgerton at her Durham home, sitting alongside Saba Taj, the other prime architect of DAM’s transition from itinerant collective to rooted organization. “All of a sudden this was happening, and our process has been learning as we go, shapeshifting and fitting.”

Both are artists themselves. Edgerton is currently working on a series of stained glass TV sets, while Taj is making apocalyptic collages dense with Islamic eschatology and science fiction. They were the two DAM members who had the wherewithal to step into leadership roles when the collective suddenly landed a space. When Laura Ritchie decided to move the Carrack to Golden Belt, she had six months left on her old lease. She

FROM LEFT

Catherine Edgerton, Saba Taj, and other DAM members

helped DAM take it over, a turning point.

“When it was a really unstructured informal thing, there was a collective of seven people,” Edgerton says. “As this rent thing started happening, that morphed into a larger, less centralized group. Having the space brought more people into the movement.”

“We needed someone to see us, and Laura did that,” Taj says. “Moving forward, that’s the kind of work we want to do as well: seeing folks, seeing that need. The impact is so much greater when you’re bringing in people that don’t get recognized otherwise.”

One of DAM’s distinguishing features is self-definition, even as it builds coalitions in the art world. “All the structure and momentum comes from the people we’re serving,” Edgerton says. “So much of the art industry is centered around a certain demographic, a typically white audience.”

Doucet’s experience is a case in point.

“Growing up, I was surrounded by the sense that art, healing, and devoting time to creative expression were all things I'd never have access to,” she says. “This is perpetrated by our ivory tower institutions, by capitalism, and by systems of oppression. Creative spaces that shatter these notions are crucial.”

PHOTO BY BEN MCKEOWN

In its time on Parrish Street, which draws to a close this month, DAM has hosted workshops, events, and exhibits. But it has conducted many of its most vital activities, from mental health services to protest work, in more spontaneous ways.

“One unexpected thing is the way we’ve been sharing resources with local organizations,” Taj says. “During the Charlotte uprising, a space was needed to make signs and gather supplies for folks going to protests, and we could offer that.” For a while, it seemed like DAM might again become nomadic after its Parrish Street lease ended. But that changed after the presidential election, even though fundraising is uniquely challenging for these artists.

“A lot of spaces have someone who can contribute all their energy without worrying about paying their bills,” Taj says. “That’s not what we’ve got going on, which means thinking about fundraising in a bigger way. I thought we might need to not have a space.”

But after Trump’s election, DAM convened at the gallery. “Some of us made these banners that were really beautiful,” Taj recalls.

“Others were just writing or doing their artwork. It hit me so hard that we need this, and

it’s not just a fun thing but survival. It feels hard because the system makes it hard, and that’s exactly why we can’t back down.”

For now, DAM will take a break from rent to work on fundraising, enlarging leadership, and figuring out how to pay people. They expect to land in a new space in about six months. In the meantime, they will have a show at the Carrack in February and are working on an alphabet book that serves as a political education tool.

“All of this has been like, it’s here, let’s do it!”

Taj says. “We threw some great parties and made it work. But moving forward we really want to be thoughtful. What we’re thinking now is having more than me and Catherine in this core [leadership] group.”

“We’re trying to articulate structured roles,” Edgerton says. “If that structure is well established, it’s easier for more people to step into leadership.”

Before DAM decamps, it will throw one last party and fundraiser on Dec. 22. It will then move on to the next stage of its life, with all its glinting possibilities. “DAM is a glimpse of the power of the ‘other,’ the ‘marginalized,’ the unknowable,” Doucet says. “I am able to catch a glimpse of the future we are building that will tear apart fascism, misogyny, white supremacy, and transphobia.”

The larger art community is glimpsing it, too. “I get so many emails!” Taj says. “People are realizing we needed someone to be focusing on this stuff. They are seeing and valuing what we’re doing, and that feels really great.”

But it all comes back to uplifting individuals. “So many people who intuitively felt drawn to this movement didn’t identify as artists, but now those people are stepping into their creative instincts,” Edgerton says.

“I see so much beauty in what’s happening in Durham, everything that’s created the climate for DAM,” Taj adds. “We can make this city, transform this state, into something …”

“Some glittery shit,” Edgerton concludes, and everyone laughs. “And art can be a gateway to that. It's critical. It’s not just a commodity or window dressing for the movement.” bhowe@indyweek.com INDYweek.com | 12.14.16 | 15

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THE URGE TO MERGE KELLY MCCHESNEY RETIRES HER VITAL FLANDERS GALLERY TO LEAD RALEIGH INSTITUTION LUMP INTO A BOLD NEW FUTURE S

ome people talk big about art and engagement, scheduling “public” guest talks in unfindable classrooms in the middle of the week. Others walk the walk, making art engaging across all channels— organizing exhibitions, facilitating public projects, and bringing artists and their work together with corporate, governmental, and academic entities.

Kelly McChesney, who anchored a burgeoning Raleigh art scene with her essential Flanders Gallery before merging it, this month, with Raleigh’s experimental mainstay, Lump, is the latter kind of person.

For years, stepping across the Flanders threshold felt like being transported to New York City, as much because of the artwork McChesney showed as the spacious warehouse space she showed it in. Mixing internationally known artists with local ones, McChesney champions difficult work and is often ahead of the curve. She gave Burk Uzzle a solo show five years before the North Carolina Museum of Art, the Nasher, and the Ackland simultaneously featured the photographer's work this year.

But McChesney is much more than a gallerist. Her support of artists is almost legendary. She tirelessly builds relationships with local corporations to develop their collecting programs, teeters atop ladders to hang shows, and trucks artists around the East Coast for deliveries and art fairs. And she often opens her space to experimental, site-specific, noncommercial work. Last month, Flanders closed with a bang—or, perhaps, a squeak— with Alyssa Miserendino’s The Peanut Gallery, an installation consisting solely of a massive dune of foam packing peanuts that visitors were welcome to dive into. Nobody wrote McChesney a check for it, but everybody went home with peanuts in their hair.

“I just enjoy knowing artists,” McChesney says with a laugh. “The art world has really saved my life. Maybe that’s dramatic, but artists opened up my mind. Really, you can explore anything, you can do anything, you can think anything, you can leave everything you’ve known behind and your mind is a 16 | 12.14.16 | INDYweek.com

BY CHRIS VITIELLO

Can't imagine Raleigh without Lump? Thank Kelly McChesney. blank slate to create and think.”

Ask area artists about McChesney, in turn, and it almost sounds like they got their stories straight the night before.

“My first big solo show was at Flanders,” says Damian Stamer, whose May 2014 show, Rummage, came barely a year after he finished the MFA program at UNC-Chapel Hill.

“I wanted to do some large-scale pieces and Kelly trusted me to bring everything together.

She’s not afraid to pick up huge paintings and lift them into a truck. She’s just always there, helping hang everything. It’s a super handson approach that I really appreciate.”

“Kelly never pushed me in a commercial direction,” says Derek Toomes, whose work has been in many Flanders exhibits, most recently last year in a solo show called Equivalent Experience Necessary. “I never felt pressure to make a certain kind of work so she could sell it. She’s always been supportive of my new endeavors and new ideas, and tries to find ways to make those happen.”

After directing commercial galleries in Atlanta, McChesney relocated to Raleigh in

PHOTO BY BEN MCKEOWN

early 2006, looking to plant roots. “There were some good places in Raleigh then, but it wasn’t oversaturated with art,” she recalls.

“In fact, it needed a lot more, and definitely needed more galleries. I thought it could be the perfect place to begin, so I took a big risk.”

She opened Flanders at Seaboard Station before moving to the warehouse space by the railroad tracks at the end of Martin Street three years later. By that time, the recession was in full swing, spelling ruin for a lot of gallerists. But McChesney adapted, finding opportunity instead.

“I had artwork that was much more accessible beforehand, but I was always attracted to work that was more challenging,” she says.

“The recession made it difficult to sell work of any kind, so it freed me to focus on what I was most passionate about.”

“Kelly saw a need in this community for more support for artists who were making work that was more contemporary and experimental,” says Visual Art Exchange director Brandon Cordrey, a former gallery manager at Flanders. “She saw value in the

work that artists here were making, and she expanded that value in bringing outside artists to the Triangle. Kelly really devoted herself to breaking the mold the South has seen for a long time: the landscapes and still lifes.”

Now, as Lump cofounder Bill Thelen steps back from the space he’s programmed for twenty years, McChesney, as the new director, plans to expand the gallery into a project space with public art and residency programs.

The new Lump, a nonprofit, will double the number of events, programs, and collaborations with Triangle organizations on a wide range of creative initiatives. McChesney wants to enable risk taking, matching artists with resources to realize projects they don’t know how to pull off by themselves.

“I think that’s necessary to thrive, and to help your community thrive, in the art world now,” she says, quickly adding that she doesn’t plan to water down the famously quirky, grungy space. “I like that Lump’s a little hard to find. There’s some effort in coming here, just like the shows. Several artists and people who’ve been working with Lump for twenty years will serve as a kind of advisory board. They’re going to help keep Lump weird.”

“It’s the final stage of the best merger ever,” Cordrey says of McChesney’s reinvention of Lump. “While being a nonprofit is a job in and of itself, it affords Kelly more flexibility, a wider network, and more collaboration with nonprofit partners that sometimes worry about working with for-profits. We’re going to see an expanded vision of what contemporary art looks like. She’s really a driving force in the Triangle in that, and merging Flanders and Lump gives her more opportunity to show it.”

“That’s what the new gallery model should be more about,” Toomes says, echoing Cordrey. “A way that we can think culturally and artistically without the pressure of a selling market. I don’t want to see consumerism drive the gallery. You hope for the opposite— culture should be driving it. Kelly believes that, and her actions support it.”

Twitter: @ChrisVitiello

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STICKER SHOCK SARAH SHOOK AND ERIKA LIBERO MARK SAFE SPACES WITH RAINBOW DECALS AND AMPLIFY WOMEN IN LOCAL MUSIC W

ander into The Cave in Chapel Hill one night and you might be served by Sarah Shook, a sharp, fiery songwriter who, away from the bar, leads a cracking country band, The Disarmers. This year, Shook and her friend, Erika Libero, who fronts the Carrboro band Henbrain, set out to increase inclusion of LGBTQ people and women in local spaces. Their first project began in early spring, when they met to discuss ways they could help their community.

“It was really iron sharpens iron. We got really excited about it,” Shook says. They had a handful of ideas, but hadn’t picked one to focus on. Then the NCGOP shoved HB 2 through its chambers, and it became abundantly clear which project should take priority: rainbow-flag “Safe Space” decals to affirm businesses as welcoming for LGBTQ people.

“You need to see who your friends are.

When you have laws like HB 2 passed, you suddenly feel like everyone around you is not on your team. It’s important to have something that shows we’re on your side,” Libero says.

Shook and Libero quickly crowdfunded more than $900 to print stickers and vinyl window clings of Miles Murray’s design.

They’re in Carrboro, Chapel Hill, Raleigh, Winston-Salem, Asheville, and other cities around the state. Each sticker comes with a pledge that businesses and their employees understand the work of maintaining safe spaces.

Shook says the value in these stickers doesn’t lie in back-patting for good deeds, but in actively showing support for those who feel marginalized. The response has been overwhelmingly positive.

“I expected that we’d have to do a lot more talking to explain what our mission was.

The most surprising thing was how instantly people were on board with it,” Shook says. “You don’t have to be a member of the LGBTQ community, but you have loved ones and friends. It affects everyone.”

Shook and Libero didn’t stop with stickers, either. Shortly after launching the Safe

BY ALLISON HUSSEY

Sarah Shook is half of the team promoting local inclusion initiatives.

Space initiative, the pair began planning October’s Manifest. The two-day music festival, split between The Cave, Nightlight, and Local 506, focused exclusively on bands

PHOTO BY BEN MCKEOWN

whose members weren’t all men. The idea began as skill-sharing workshops for women to learn different musical instruments. But when the two came across an online post in

which all-male band names had been edited out of several major music festival posters, often leaving behind sparse lineups, they decided to plan their own festival.

As with the stickers, the goal was inclusion, and sending the message to women and nonbinary people that they, too, could be a public force.

“I wanted to create a space where you couldn’t say, ‘Hey, I liked that one band with a chick in it,’ because there wouldn’t be one band with a chick in it,” Libero says.

Cave co-owner Mark Connor, who hired Shook as a bartender about two years ago, saw Manifest as a valuable community asset that held its bands in high esteem rather than tokenizing them.

“Sometimes things like that are put together and it’s made to be a little bit of a spectacle. Like, ‘Check it out, these are all female-fronted bands!’ or whatever,” Connor says. “I’ve had band members that are women say to me, ‘We don’t want to be treated different, or act like this is some kind of sideshow. We just want to fit in.”

Looking toward 2017 and a looming Trump administration, Shook and Libero are figuring out their next move. Shook and the Disarmers will spend a significant amount of time on the road, and she says she’s hoping to spread her values of inclusivity even further.

“I think it’s a really good opportunity to represent what women making music means, and what it is. By that, I mean being a strong, independent woman who is informed, and who is willing to put herself out there as an example,” Shook says. “I think women sometimes need that: You can do this. You want to write songs, you write songs, you want to go out on the road—you can do it.”

“We know what we’re up against, as far as how women are treated, how our queer friends are treated,” Libero adds. “But we can stay strong and hold the line together.”

As long as these two are in that line, you can be sure there’s space for you in it, too. ahussey@indyweek.com INDYweek.com | 12.14.16 | 17

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Eric Mitchko and Timothy Myers PHOTO BY BEN MCKEOWN

HITTING THE HIGH NOTES

N.C. OPERA'S ADVENTUROUS PROGRAMMING CHANGES MINDS— YOURS ABOUT THE ART FORM AND THE NATION'S ABOUT RALEIGH

N

BY DAVID KLEIN

orth Carolina Opera is not your grandparents’ opera company. Last year, the institution kicked off its season with Approaching Ali, a one-act opera about the boxer born Cassius Clay that was as light on its feet as its main subject. The current season opened with a different sort of heavyweight: Wagner’s formidable Das Rheingold, which featured an eighty-three-piece orchestra. Following this canonical work

18 | 12.14.16 | INDYweek.com

came Hercules vs. Vampires, a contemporary musical theater work based on a campy early-1960s cult movie. Look for jazz in January, when vocalist Candice Hoyes and her ensemble present On a Turquoise Cloud, a cabaret-style performance based on recently discovered Duke Ellington compositions.

It’s not an easy task to convince the public, many of whom have never been to the opera, that it’s not a stuffy relic enjoyed exclu-

sively by the rich, the old, and the obtuse.

It is, in fact, one of the great storytelling mediums, more affordable than you would think, and yes, fun. Since 2010, N.C. Opera has proven itself to be the kind of company that’s up to the task of reshaping such deep misconceptions.

“We just want to present fantastic pieces to the public,” says Eric Mitchko, N.C. Opera’s general director. “Opera, with its combination of music and speech, it has this unique affective power. It’s very much an ongoing thing. We want to entertain people with great music, and there’s a lot of great music being written right now.”

It’s not that N.C. Opera isn’t interested in the past. A fervent belief in the great works is a core belief for the company, according to Mitchko, who says that part of N.C. Opera’s responsibility to its audience is to present classic works like Mozart and Wagner. Timothy Myers, the company’s conductor and artistic director, feels a similar duty to honor the centuries-long lineage of the art form itself. He says he believes that just because something’s old doesn’t preclude it from being applicable or relatable to the here and now.

“As soon as we dismiss those myths, then we can get back to the important part of art, and that is: What about this communicates to people? To what parts can people relate?”

Myers says.

“When this happens, we see people who are already opera lovers see their passion reignited and encouraged, and people who are not, being surprised and inspired by what they see and hear. That’s really been our goal at N.C. Opera,” he adds.

In working toward this goal, the company has earned national attention for its willingness to make unorthodox choices: presenting works by contemporary composers instead of comfortable staples, making novel staging decisions, and not relying on familiar works that go down easy.

N.C. Opera most recently took this route with Hercules vs. Vampires, the work of Los Angeles composer Patrick Morganelli. Before its Raleigh debut, the piece had only been performed in Portland, Oregon, and L.A.; Phoenix’s Arizona Opera, and the Washington, D.C.-based Washington National Opera are on deck to present it next.

N.C. Opera, it seems, is on the cutting edge of programming, in an unexpected market hundreds of miles away from the country’s main cultural hubs.

“Not only are they doing the great works of the operatic repertoire, and doing them extremely well, they’re also willing to take a chance on things that are either modern or very unusual or both,” Morganelli says.

“Everyone in leadership with that company

feels that for the art form to flourish, it has to break some new ground, and it has to find the new audience. They’re doing a really good job with that.”

Making opera an accessible commodity doesn’t mean making it easy on the audience—or on itself for that matter. Taking on Wagner’s massive works, as N.C. Opera did with Das Rheingold in September, presents a challenge to any opera company, but the institution turned some of those challenges into sound artistic decisions. Instead of building scenery, for example, the company used video projections, which worked quite well. But a full orchestra was an absolute necessity.

“We haven’t apologized and said, ‘Well, we can’t really do Wagner, so we we’re gonna do it with an eighteen-piece orchestral reduction and hopefully you get the gist of it,’” Myers says, noting that what makes Wagner’s music most thrilling is the volume and weight of the collective sound of a large orchestra. So N.C. Opera went all-in on its production, with eighty-three musicians taking the stage at Meymandi Concert Hall for its season opener.

“When you are in it in a hall with that size of orchestra playing that music, there’s no other experience that can replicate that,” Myers says.

Myers and Mitchko are quick to credit the Triangle community’s open minds and ears with the company’s success and for strengthening its close ties to the area. Through its work, N.C. Opera has achieved national stature, but it is first and foremost an artistic enterprise; the work is what matters most, and the framework is local.

“Our focus is really on Triangle audiences and giving people here who are our supporters and our public what we think is going to be interesting and enriching for them,” says Mitchko. “In some regional markets, there’s the conception that you can only do the top twenty standard operas. I’m happy to say the Triangle is not that place.”

Myers and Mitchko base their artistic partnership on a shared aesthetic; they’re not in lockstep, but both men usually agree when it comes to the singers, directors, and conductors they admire. They maintain a constant, lively dialogue about their work, which fuels the enthusiasm behind the projects they stage.

“In order for us to get our audience excited about something, we have to be excited about it. People really connect to that energy,” Myers says.

“And I’m very aware that when I go and stand in front of that orchestra and with the orchestra and singer, I have to love it. It starts with us generating that love and excitement about what we do.” dklein@indyweek.com INDYweek.com | 12.14.16 | 19

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REINVENTING THE WHEEL CASTING CONCENTRIC RINGS IN GLOBAL WATERS, CULTURE MILL IMPORTS SUSTAINABLE PRACTICES TO SAXAPAHAW W

hen Heather LaGarde met Murielle Elizéon and Tommy Noonan at the bottom of the Haw River Ballroom staircase a few years ago, she just knew. At the time, Culture Mill was only an idea for a nonprofit that LaGarde and her husband, Tom, had after opening the ballroom in 2011. Elizéon and Noonan, both dance artists working internationally, were just visiting.

“I was like, ‘These people have to be sucked into the wonderful vortex of Saxapahaw,’” recalls LaGarde, a Culture Mill board member. “They were so clearly full of ideas and energy, very worldly and also very local.”

Today, as Culture Mill nears its two-year anniversary, it has become one of the most vital, innovative performing arts organizations in the Triangle. Codirectors Noonan and Elizéon are sitting in chairs placed in a semicircle a few feet from the staircase where they first met LeGarde. The arrangement is akin to what you’d see in a post-performance discussion, with two key differences: The chairs are on the floor, not the stage, and there’s no audience.

This is an apt metaphor for Culture Mill, which works behind the scenes, from the ground level, and escapes the confines of stages to connect performers, presenters, and audiences. The nonprofit's work goes far beyond the shows it mounts. It’s driven by a deep desire to create a sustainable ecosystem for artists, holding spaces where they can express their needs and importing lessons learned in Europe, where public art funding is more plentiful and pay rates are more established than they are in the U.S. Culture Mill has made great strides toward this goal in a startlingly short time; it received two grants this year that allowed Noonan and Elizéon to become salaried directors and accelerate their mission to help artists figure out what they’re worth. The organization has a three-pronged approach: residencies, performances, and education and community involvement. The “how” constitutes less showy forms of action: being artist-led and artist-driven. Intentionally building relation20 | 12.14.16 | INDYweek.com

BY MICHAELA DWYER Elizéon and Noonan collaborated with many international artists in Europe, going on to host them here, which diversifies local stages and conversations about creative sustainability. Culture Mill’s 2016 offerings were split down the middle geographically: local and national artists like Little Green Pig Theatrical Concern and New York City’s Simon Lee (who, in August, turned Culture Mill’s biodiesel bus into a camera obscura for the Trust the Bus series of mobile site-specific performances) and international artists like Australia’s The Farm and France’s Cie. Marie Lenfant (who, in October, presented a dual program with Noonan’s unforgettable solo, John).

It’s unusual for a nonacademic arts presenter to draw from adventurous international waters. This local-global ethos benefits artists, whether they live here or are just visiting, by encouraging them to implement elements of Culture Mill’s Culture Mill codirectors Murielle Elizéon and Tommy thoughtful model in their own Noonan focus as much on artistic climate as product. efforts. Take Durham IndepenPHOTO BY BEN MCKEOWN dent Dance Artists, which is fisships with neighbors and other artists, both cally sponsored by Culture Mill and often here and abroad. Listening deeply. Taking incorporates its artists-in-residence into its risks and asking audiences to do the same. seasons.

This work emerges from a fierce com“We often operate with local artists who mitment to place. “One of the things I want are young and starting out in their careers,” to invest in,” Elizéon says, “is how to really DIDA co-organizer Lightsey Darst says. infiltrate, in a good way, the landscape here.” “[Culture Mill] keeps us thinking, 'What are While Noonan grew up near Saxapahaw, he we doing for mid-career artists?' They have attended college in New England. Elizéon, this bigger vision of ways that a small place who is from France, studied in Nice and can be important in a larger world.”

Paris. The couple spent several years makWhen Noonan says that Culture Mill ing and performing work in Europe before wouldn’t be possible without this place, he’s they settled in Saxapahaw, an experience that referring not just to the Triangle’s cultural accounts for Culture Mill’s attunement to the ecosystem but to Saxapahaw specifically. complex social and economic conditions fac“One thing that happens in this town is ing artists in different parts of the world.

a circular exchange,” Noonan says. “It’s the exchange of social capital, goodwill, and actual capital that builds something thicker.” He and Elizéon joke that they often conduct impromptu meetings while walking between the Saxapahaw General Store and the Haw River Ballroom. They facilitate movement workshops for students throughout Alamance County. Saxapahaw residents have volunteered their lawns, equipment, and driving skills for Trust the Bus. This model of mutual generosity has undergirded Culture Mill’s philosophy since the beginning. Its artists-in-residence aren’t simply making work in isolation; they are trying things amid this community, taking in the rural landscape, and drinking coffee with locals.

Noonan and Elizéon continue to seek “creative ways to be present,” as Elizéon says.

“How do we continue to do what we are doing, but stay engaged?” This search takes on new import after the elections, in a county and state markedly lacking in political unity. Culture Mill will embark on longer-term, largerscale projects in 2017 with the aim of sending work developed here out into the world. Look for Articulating Value, an initiative to centralize conversations about the creative economy; an engagement with The Solar Theater Project, initiated by a cross-country trio of theater and lighting artists; and a project bringing together patients with Parkinson’s disease and neuroscientists (among others) to consider movement languages. “[Culture Mill’s model] is intentionally starting here and going out and then coming back here,” Elizéon says. She demonstrates, as she often does, with physical gestures.

Noonan picks up where she leaves off, drawing a shape in the air. “It’s concentric circles,” he says. “You, your home, your community, your region. How does it extend outward?”

I thought about that as we sat on the floor together, with no audience—Culture Mill's invaluable porousness, in which an everexpanding circle of engagement draws more and more people in. calendar@indyweek.com

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BOYS CLUB BEGONE THE WOMEN’S THEATRE FESTIVAL DRUMS UP UNPRECEDENTED SUPPORT FOR GENDER PARITY ON LOCAL STAGES I

t’s rare for an organization receiving an Indies Arts Award not to have existed at the start of the year in which it was honored. But few of the Women’s Theatre Festival’s unorthodox achievements in its first year have gone by the book. After its founder, Raleigh’s indefatigable Ashley Popio, posted on Facebook in early March calling for volunteers to produce the state’s first festival devoted to a full spectrum of female stage artists, from playwrights to technicians, the region responded with an unprecedented outpouring of support.

In just six months, more than 250 women and allies donated time, resources, money, and talent to propose, staff, and produce eight mainstage productions, eight hands-on workshops and panels, and twenty-two staged readings—seventy-three events in all, in four cities during the month of August. Eight regional theater groups and venues donated rehearsal and performance space. Another eleven independent “sister shows,” unaffiliated with the festival but meeting its criteria for inclusion, went up the same month.

The Women’s Theatre Festival also departed from the routine financial script in its first outing. In a field where ticket sales regularly fail to cover production costs, the one-month exploit cleared all expenses and reported a profit of $5,000, which has been reinvested into the festival’s future.

“For years, we’ve needed more women on stage, and there have always been articles and comments floating around that we need more than the occasional female playwright and director,” says Judy Dove, a board member with the North Carolina Theatre Conference. “Finally, someone said, ‘Let’s do it.’”

Johannah Edwards, a teacher and director at Raleigh Little Theatre, calls the festival “the best idea anyone here has had in the last ten years. It’s changing careers and giving people chances to work that they didn’t have.” Since the festival, playwright Carol Torian has seen more companies looking for women’s work. “I wasn’t seeing this volume, this level before,” she says.

Four months after the festival, Popio

BY BYRON WOODS

"For years, we've needed more women on stage.

Finally, someone said, 'Let's do it.'"

Ashley Popio, Lorelei Lemon, and Bronwen Mischel with the cast of Little Women at Sonorous Road Theatre PHOTO BY BEN MCKEOWN thinks one of its most important achievements was to connect a group of people who had never been in contact before. After she figured out how regional theater works— “relationships frequently determine who gets cast, who designs and who directs,” she says—the festival helped form many new relationships. The result is “a giant theatrical network of people they know now,” Popio says. She sees the ongoing results in a continuing stream of social media posts from participants “setting up shows and companies, going to classes together, and asking can I use this space or that prop.”

The degree of crossover in the festival’s productions strengthened those relationships. In some cases, says Evelyn McCauley, who is helping the festival with development, a lighting designer on one show would do something different in another, and play another role in a third. Actor and dancer Ra’Chel Fowler says she’s used to the temporary liaisons among performers that last no longer than a production, but to her surprise, when her WTF production of Music and the Mirror closed, “the bond was still there.”

The group has been a hive of activity since August, establishing professional links with regional theater conferences, assembling a board, and seeking official status as a nonprofit organization. But the main work is to assure the festival’s sustainability. Looking back, managing director Bronwen Mischel acknowledges that WTF’s first iteration lacked the proper infrastructure.

“We knew how to put on a play, but we didn’t know how to put on a festival,” she says.

Now, people with experience in needed areas are coming forward. “Once you’ve shown you’re serious, people who are serious are more likely to show up. There’s still a million things to do, but a task that seemed daunting when Ashley and I were doing the majority of the infrastructure now seems much more achievable in a sustainable way.”

The company’s current show involves another step toward sustainability. Following the examples of other successful regional companies, WTF is now staging its first holiday production, a new adaptation of Little Women, at Sonorous Road Theatre. The performances incorporate high tea. The goal is

to help fund shows during the rest of the year, and it appears to be working; the production became profitable by the second day of its run. Ultimately, the festival aims to provide year-round programming.

McCauley has worked in development long enough to know the struggles of building a nonprofit. “It’s always tenuous,” she says. But she sees in WTF what she once saw in the Spoleto Festival in Charleston, South Carolina, which started on a smaller scale and grew to something greater. “[WTF] has a huge amount of potential,” McCauley says. “It depends on who they can partner with and the community support, the financial support, and the artistic support they can get.”

Popio says the blowback a regional women’s directing initiative received last month (read the story, “Slings & Arrows,” in our Nov. 23 issue) demonstrates that gender equity in the theater remains controversial. The November election left Popio convinced that people still aren’t listening to women.

“I couldn’t help but think that hearing women’s voices and stories was more crucial than ever, that women have to tell the truth and be believed—and that the theater is a good place to start,” she says. When a new group moves the gender-parity needle further in ten months than established companies have in years, that's a good start indeed—and this group is far from finished.

Twitter: @ByronWoods INDYweek.com | 12.14.16 | 21

indyfood

Compost Modernism

LOCAL COMPOST SERVICES CAN TURN YOUR FOOD SCRAPS INTO RICH SOIL FOR A HEALTHIER WORLD

BY SAYAKA MATSUOKA

It doesn’t smell as bad as you would think.

I’m standing in the back of a van, surrounded by dozens of four-gallon plastic square bins with snap-on lids. Each is stamped with a teal “CompostNow” logo and lined with a green biodegradable plastic bag. One of these black buckets is mine.

Misha Hoskins weighs my bucket. He works as a trash collector for CompostNow, gathering scraps from Chapel Hill and Carrboro residences and businesses every Thursday, including from my apartment. My weekly kitchen scraps clock in at four and a half pounds. Hoskins claims this is an average haul. It’s his fourth time picking up from my apartment since I joined CompostNow in October. With an interest in composting—and figuring out how to do it in my tiny apartment—I signed up for a two-week free trial. So far, it’s easier than I imagined and leaves me feeling good about reducing my carbon footprint.

CompostNow’s Matt Rostetter faced the same predicament back when he started the company in 2011 and was living in a small apartment. Luckily, three companies in the Triangle offer the service: CompostNow, Tilthy Rich, and Food FWD. “People want to eat local and they care about local farms,” says Noah Marsh of Food FWD. “If they care about where their food comes from, this is the next natural step. They should care about where it goes afterwards.”

The companies offer monthly membership services for weekly pickup at residential locations, businesses, and offices. I pay $25 per month for CompostNow to pick up compostable scraps, like veggies and fruit, paper towels, and meat and dairy products.

By 9 a.m., the back of Hoskins’s van is already packed with more than forty buckets and five large curbside bins that measure about half the size of regular garbage bins.

Empty, clean containers are stacked to the left of the van’s doorway, awaiting drop-off at the next sixty or so remaining stops.

Despite a van full of waste, the smell is 22 | 12.14.16 | INDYweek.com

Riders for Tilthy Rich pedal through Durham picking up compost. PHOTO BY ALEX BOERNER barely an odor. In fact, it’s pretty mild when compared to the trail of stench that garbage trucks often leave behind. But olfactory disgust is still a key factor holding composting back, says Kat Nigro of Tilthy Rich, a compost collection service in Durham.

“People think it’s gross and nasty and smelly, but if you do it right, it doesn’t smell at all,” she says, standing next to a pile of compost at the Geer Street Learning Garden.

Weeds, tea bags, and pumpkin chunks from Thanksgiving decorations stick out of the first pile of the three-bin composting system at the garden. A thick layer of sawdust floats and settles again as Nigro mixes. Next to it, another pile looks more like soil and only has a few scraps, like egg shells, poking out. This second stage, which is how the first one will look in a month and a half, steams as Nigro shifts the contents. Nigro points out that the three piles of scraps represent the process of composting, which takes about three months to complete. The final section is a rich, dark pile of soil that barely exudes a smell.

Started by Chris Russo in 2013, Tilthy Rich works with a similar business model to CompostNow, but stretches its environmental ethos to the max, using bicycles for pickup. The business has grown to fourteen riders who pedal to more than three hundred houses and ten businesses, including Cocoa Cinnamon and Ninth Street Bakery.

Nigro says they hope to service four hundred houses in 2017. Tilthy Rich composts half of its food scraps in local community gardens around Durham. The other half goes to Brooks Contractor, an industrial composting facility in Goldston, about an hour from the Triangle. (Brooks is also where CompostNow takes all of its scraps.)

North Carolina laws are much stricter than in other states, where bigger cities already have comprehensive composting systems in place. Nigro laments local regulations, like not being able to redistribute soil made in community gardens, that prohibit Tilthy Rich from pushing its environmental model further.

Though Amy Brooks of Brooks Contractor agrees, she says getting the public interested in composting has its share of obstacles. Her company grew out of her family dairy farm and currently has over 150 clients around the Triangle. Twenty-four locations are education sites, like elementary and middle schools and universities.

“There’s a weird disconnect between society and nature’s processes,” says Brooks. “But composting is relatively easy. It’s just about working with the public.”

Brooks also notes that farmers understand that “compost is the key element for foundational health in society.”

“Receiving waste from urban areas and returning healthy soil to farm land is essential,” she says. “Once we run out of good, fertile farmland, who knows what will happen.”

Looking forward, she hopes cities will take the lead and educate citizens on the importance of composting and make it easier for people to do it themselves. Durham and Carrboro have already started looking into municipal composting programs.

James Freeman, the Director of Public Works for Carrboro, says the town has hired a consultant to assess the feasibility of implementing a larger-scale, municipal compost program. He says Carrboro is evaluating the costs as well as warm weather’s potential effects on food scraps, and whether the city would use an existing collection service or create its own internal team. According to the international Natural Resources Defense Council, American families throw out approximately 25 percent of the food and beverages they buy; composting can help divert up to half of that waste.

At present, CompostNow has diverted over 1.3 million pounds of waste. Cofounder Justin Senkbeil understands the challenges, but believes the movement can’t be stopped.

“Everyone wants to do good,” he says.

“They just need a path to do it.”

Twitter: @whatsaysaid

food

Nuevo South

“SOUTHERN-LATINO” COOKBOOK AUTHOR SANDRA GUTIERREZ IS HONORED AT THE SMITHSONIAN

BY JILL WARREN LUCAS Two years ago, museum curator Ariana Curtis tasked her team at the Smithsonian’s Anacostia Community Museum with identifying Latino immigrants who had achieved a distinct version of the American dream by explicitly expressing their culture, through anything from creative arts and construction to social justice and celebrations. They came across Sandra Gutierrez, a Cary cookbook writer whose early accomplishment was persuading Cary News that a Latina could manage the food section of a Southern newspaper.

Curtis knew she had struck gold.

Gateways/Portales is all about everyday examples of community change, and changing foodways is a classic example,” Curtis says of the exhibit that opened December 5.

“We learn about a place through the foods we eat. Sandra was doing Southern-Latino food long before she literally wrote the book on the cuisine. She was doing this in North Carolina before it became mainstream and commonplace.”

Gateways/Portales celebrates the work of Latinos in U.S. cities that have experienced rapid population growth since 2000.

Raleigh-Durham’s Latino population recorded an increase of more than 300 percent from 2000 through 2012.

Under a glass display case is a copy of Gutierrez’s first book, The New Southern-Latino Table: Recipes That Bring Together the Bold and Beloved Flavors of Latin America and the American South (2011). Also included are her tortilla press, cast-iron skillet, and biscuit cutters. Together, they are a testament to a growing cultural diversity in Southern foodways.

“Her work comes from a place of kindness and understanding,” says Curtis. “She is able to reach as many people as she does because of the person she is.”

When Gutierrez was first contacted about participating a year ago, she jokes that she dismissed the overture as “a scam.”

“It still seems surreal,” says the author, who this year won a Gourmand International

other ways to think about this,” allows Curtis, who identifies as Latinx.

“But just using this term makes people think.

That’s the best we can hope for, right?”

Several other North Carolinians are included in the exhibit. Representing the struggles of undocumented persons to be admitted and pay for college, the show features the cap and gown that Mexican-born Alma Islas, who arrived in North Carolina as an undocumented six-yearold, wore last spring when she graduated from UNC-Chapel Hill at age twenty-four. “Hispanics, the New Italians,” a painting in which Charlotte artist Rosalia Torres-Weiner transforms the staid Statue of Liberty into a vibrant Latina, was selected as the show’s “Hispanics, the New Italians” by Rosalia Torres-Weiner representative image.

“The exhibit is a kaleidoscope of every struggle, award for her most recent cookbook, Empaevery contribution, every nadas: The Hand-Held Pies of Latin Amereffort—all the different aspects of life that ica. “To have my contribution to foodways Latinos have gone through in the past few acknowledged by the Smithsonian is more decades in these four cities,” Gutierrez says, than I could ever dream of.” noting that it also spotlights people based in Gutierrez was dazzled by the exhibit, Baltimore and Washington, D.C. “You leave which she describes as an exuberant explowith a sense of hope and joy at what we are sion of color that captures the diverse vitalaccomplishing, and what we are contributity of the Latin-American experience. Curtis ing to this country.” uses the term Latinx, which is finding accepCurtis says the exhibit will travel after it tance as a way to “get beyond the black-white concludes on August 6. Locations have not binary of gender”—Latino, Latina—as well as yet been determined, but efforts are underreflect the “different hemispheric experiencway to ensure that it can be presented in each es” of people from many different countries. of the featured cities.

“It’s not a perfect term and there may be Twitter: @jwlucasnc INDYweek.com | 12.14.16 | 23

24 | 12.14.16 | INDYweek.com

indymusic

NC FOLK FUNDRAISER

Thursday, Dec. 15, 7:30 p.m., $20–25 Motorco Music Hall, Durham www.motorcomusic.com

Standing on Tradition

NC FOLK SHINES A LIGHT ON JUGTOWN POTTERS, HARKERS ISLAND MARINERS, AND BURLINGTON LOWRIDERS

BY SPENCER GRIFFITH For more than forty years, the North Carolina Folklife Institute has worked alongside other nonprofits to promote awareness of the state’s shifting cultural practices, covering a broad array of food, music, arts, and vocations. Recently, it worked with the North Carolina Arts Council to present the 2016 and 2017 National Folk Festivals. The former focused on cultural expressions brought to the state by “new” North Carolinians, while the latter will showcase the next generation of torchbearers, who are reinterpreting tradition.

“We aren’t interested in preservation— because that tends to stop the creation—as much as raising the awareness that artwork and expressions people create are valuable demonstrations of who they are and their place in the world,” explains NC Folk’s interim director, Evan Hatch. “There’s art that everyday folks do that’s worth every bit as much as the symphony and the ballet.”

The creation continues this Thursday, when the organization throws a party at Motorco featuring Blue Cactus, Josh Moore Band, John Dee Holeman, and the Five Points Rounders to raise money for a pro-Lumbee initiative in Robeson County. The INDY recently spoke with Hatch about the ongoing importance and vibrancy of regional folk traditions, even in a global digital era.

INDY WEEK: What does the North Carolina Folklife Institute consider to be within the scope of its work?

EVAN HATCH: We cast a wide net. We serve the people of North Carolina, so we want to amplify their voices and what they find important. We want to let people know there are small groups across the state with strong identities doing amazing things, whether that’s a farming community, a group of musicians, or the Latino lowrider group in Burlington called Lowyalty.

The scope is wide-ranging; there are the folks in Jugtown that make pots because their ancestors were taught the techniques of throwing pots a long time ago when they

“Sheetrock Hall of Fame”—the guys who go out there and just do it every day.

I think one of the sticking points now is the definition of community. The idea of community is so broad now that you can have your online community as well.

Evan Hatch, interim director, NC Folklife Institute had a really good source of clay. It could be fiddle tunes and ballads being passed down over the years from generation to generation or it could be the maritime traditions in Harkers Island. But there are also modern trends reflected through hip-hop, spoken-word poetry, or break-dancing. Those dance moves aren’t necessarily taught by sitting down and going through a class, but by learning from other people’s moves and trying to tweak it to show your own.

As a folklorist, have you seen a change in the speed and ease with which different cultures and ideas spread due to technology?

I think that digital technology makes it easy for people to experience art forms from around the world and to be exposed to other forms of self-expression, but I believe that a

PHOTO COURTESY OF EVAN HATCH

community built to serve their purposes is the most viable form of cultural expression.

In that way, it sheds light on the identity of people, what people find important, and how people choose to represent themselves. That can come in the form of song, spoken word, or any number of things that express the identity of the folks practicing it, but those are things people keep coming back to over and over.

If you look at the Lumbee tribe in North Carolina, there are a lot of young people doing work in sheetrock, which just happens to be a tradition that’s carried on in that community. They may also have an interest in music on the side and those things can tie together so they’re a part of multiple communities at the same time. Hoss Cartwright is a hip-hop artist from down there who raps about the

Are the funds from this event earmarked for a specific project?

We’re raising money for an initiative in Robeson County to host classes where leaders of the Lumbee tribe can talk to young community members and students at UNC Pembroke about what it means to be a community leader in Native American culture. We’re also partnering with the North Carolina Folklore Society to bring down an exhibit of photography by Rob Amberg of the funeral and protests surrounding the assassination of Julian T. Pierce, who was a great advocate for Lumbee rights from the 1960s until he was assassinated in 1988.

There’s been a noticeable rise in young folks seeking out what it means to be a Native American in North Carolina, and from what we’ve seen through previous work in Robeson County, that young group has the potential to interview elders and learn what it has meant in past generations to be a leader. We’ll use that photography exhibit as an entry point to talk about what it means to be a community hero as it refers to Lumbee identity and teach the basics of documentation through photography and oral histories. The end goal is to develop a community scrapbook that sheds light on Lumbee identity and help those young people continue to lead in their community.

The community is interpreting itself by showing what’s important to them—we’re not telling them what to do, we’re just providing an infrastructure and folks that can help teach them the ways of documenting this information. The project in Robeson County is the start of this model we’re developing for community inclusion and promotion of community identity. music@indyweek.com INDYweek.com | 12.14.16 | 25

12.14–12.21

Rez Abbasi Invocation PHOTO

BY BILL DOUTHART

SATURDAY, DECEMBER 17

CHATHAM COUNTY LINE’S HOLIDAY ELECTRIC TOUR

Raleigh’s Chatham County Line has been serving up its singular blend of old-school bluegrass roots and modern Americana since the late nineties, continually evolving and refining its approach along the way. But every year, when the holidays roll around, the band breaks out a show that’s a little bit different than what its fans are used to. True to its name, the Electric Holiday Tour introduces some plugged-in axes to the group’s allacoustic universe, along with guests like Johnny Irion, Jake Brown, and Zeke Hutchins. Together, the boys and their friends deliver an extended show that includes not only the usual Chatham County Line staples but also a fun batch of cover tunes and more. It all adds up to a fun way to work up an aural appetite for the holiday season while spending time with a homegrown musical institution. —Jim Allen HAW RIVER BALLROOM, SAXAPAHAW

8 p.m., $20–$22, www.hawriverballroom.com

SATURDAY, DECEMBER 17

REZ ABBASI INVOCATION

Rez Abbasi’s Invocation brings together three of the greatest minds attempting to fuse jazz with the music of the Indian subcontinent: guitarist Abbasi, pianist Vijay Iyer, and saxophonist Rudresh Mahanthappa. For this set, which was originally scheduled for January but got frozen out by an ice storm, Abbasi has written a series of original compositions rooted as much in jazz as qawwali, Sufi devotional music. However, unlike some attempts at jazz fusion, Abbasi doesn’t seek to re-create qawwali, but rather to invoke its ecstatic energy, expansive song forms, and bits of its harmonies within broad jazz structures. His 2013 album, Suno Suno, spins dense tapestries, layering complex polyrhythms in whirling tunes that go all over the place. Songs can settle into expanded versions of Bad Plus grooves only to be diverted by a soloist with something completely different in mind. Abbasi often evokes fellow guitarists Pat Metheny and Mary Halvorson, but his approach to the instrument is consistently his own. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM, DURHAM

8 p.m., $10–$28, www.dukeperformances.duke.edu

FRIDAY, DECEMBER 16

SCRAPIVERSARY

“Time capsule commemorating opening of The Center Theater,” the plaque set in the earth at The Shoppes at Lakewood reads, “placed here in Dec. 1966 A.D. to be opened in Dec. 2016 A.D.” I wonder if those who buried it could guess how much would change, and how much would stay the same. The movie theater had just vacated its downtown location of almost thirty years, which was swiftly torn down and replaced by the Home Savings Bank, whose striking shape and signage survive in the silhouette of The Durham Hotel.

The theater reopened in Lakewood Shopping Center, where a bustling amusement park and other attractions waited at the end of a streetcar line. (Visit the Open Durham website for some great pictures of both sites.) The lights at Lakewood have dimmed since then, as development went ravaging elsewhere. But the Center Theater building remains. Since 2014, it has housed The Scrap Exchange, which likewise landed there after leaving downtown.

Uncannily, the twenty-fifth anniversary of Durham’s essential creative reuse center—talk about the right outfit for the job—aligns with the time capsule’s foreordained opening date. If the plaque carries that much Durham history on its face, just imagine what’s below. Or, see for yourself, when fifty-year-old artifacts are disinterred at 7:30 on Friday night at The Scrap Exchange’s anniversary party. The festivities also include an exhibit and guest speakers exploring the conjoined stories of the center and Lakewood, food and drink, carnival games and costumes, Bulltown Strutters music, and A/V Geeks films.—Brian Howe THE SCRAP EXCHANGE, DURHAM

6–9 p.m., free, www.scrapexchange.org 26 | 12.14.16 | INDYweek.com

WHAT TO DO THIS WEEK

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

1000 W. Main St. Durham (919) 806-3434

2028 Cameron St. Raleigh (919) 803-5414 No appointment necessary • Now accepting seasonal items for consignment

Black Nativity PHOTO

COURTESY OF JUSTICE THEATER PROJECT

SATURDAY, DECEMBER 17–MONDAY, DECEMBER 19

BLACK NATIVITY

Christian scriptures say God was once an infant, born in the most contingent and humble of circumstances. For centuries, the religion has celebrated that singular birth during the darkest days of the year. Metaphorically as well as literally, they are upon us once again. In 1961, poet Langston Hughes brought the nativity to the stage in a work that fused liturgical dance, music, and theater.

Then he released it to the world so that others might add their insights, songs, and choreography.

Justice Theater Project has presented Black Nativity annually since 2011; each year, artistic director Deb Royals, music director Carolyn Colquitt, and dance legend Baba Chuck Davis re-examine various facets of this multigenerational, multicultural gem. This season, renowned African percussionist Bradley Simmons joins the African drumming team; Mac McCord introduces lifesize puppets; and one section gets a rap-battle makeover inspired by Hamilton. Still unchanged are the pageantry, jubilance, and quiet contemplation of God the unfinished, the lingering mystery of God the child. —Byron Woods NCSU’S STEWART THEATRE, RALEIGH

Various times, $18–$27, www.thejusticetheaterproject.org

WHAT ELSE SHOULD I DO?

20 BUCK CHUCK AT SPECTRE ARTS (P. 33), BAND LOTTERY AT LOCAL 506 (P. 29), BLUEGRASS CHRISTMAS AT HILTON NORTH RALEIGH (P. 31), BILL FERRIS AT THE CHAPEL HILL PUBLIC LIBRARY (P. 35), NC FOLK FUNDRAISER AT MOTORCO (P. 25), TUNDE WEY: ABOUT RACE AT THE DURHAM HOTEL (P. 34), YOUR F$CKED UP CHRISTMAS AT DSI COMEDY THEATER (P. 34) INDYweek.com | 12.14.16 | 27

NEW YEAR’S EVE!

SA 12/31

THE LONDON SOULS

NYE PARTY W/SPECIAL GUEST COOL PARTY($15) 1/7/17 ABBEY ROAD LIVE! MATINEE AND EVENING SHOWS ($10/$13) 1/13/17 MIKE DOUGHTY W/ WHEATUS ($18) 1/14/17

WAKA FLOCKA FLAME SOLD W/ WELL$

OUT

1/15/17

WAKA FLOCKA FLAME W/ WELL$ ($22/$25) 1/26/17

YONDER MOUNTAIN STRING BAND

W/ THE RAILSPLITTERS ($27.50/ $30) 1/27/17 SAMMY ADAMS ($16/$19; ON SALE 12/16) 1/28/17 COSMIC CHARLIE ($10/$13) 2/1/17 THE DEVIL MAKES THREE ($22/$25) 2/2/17 BLACK TIGER SEX MACHINE W/ KAI WACHI ($18/$20) 2/3/17 G LOVE AND SPECIAL SAUCE W/ RIPE ($25/$30)

BLIND PILOT ($18/$20) 2/8/17 PAPADOSIO ($17/$20)

2/7/17

2/10, 11/17 (TWO NIGHTS!):

RAINBOW KITTEN SURPRISE ($15) 2/12/17 PARQUET COURTS W/ MARY LATTIMORE ($15/$17) 2/16/17 THE RADIO DEPT ($15/$17) 2/17/17 STRFKR ($20/$23) 2/18/17

CARBON LEAF** ($16/$20) 2/21/17 HAMILTON

LEITHAUSER

W/ LUCY DACUS ($17/$20) 2/24/17 NRBQ ($25/$28) 2/26/17 NIKKI

LANE HIGHWAY QUEEN TOUR

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

GROWLERS ($20/$24)

3/6/17 COLONY HOUSE ($12/$15) 3/9/17 TIM

O'BRIEN ($22/$25)

3/10/17 ELECTRIC GUEST ($12/$14) 3/12/17 SENSES FAIL W/ COUNTERPARTS, MOVEMENTS, LIKE PACIFIC ($15/$18) 3/18/17

MARTIN SEXTON** ($25/$28; ON SALE 12/16)

3/23/17 SOHN**($17/$20) 3/24/17 JOHNNYSWIM (22/$25; VIP ALSO AVAILABLE) 3/25/17 HIPPO CAMPUS ($13/$15) 3/28/17 THE MENZINGERS W/ JEFF ROSENSTOCK, ROZWELL KID ($17/$20)

@CAT’S CRADLE

THE LONDON SOULS W/ COOL PARTY

4/1/17 DINOSAUR

@CAT’S CRADLE BACK ROOM

GARY MITCHELL BAND W/ BOOM UNIT BRASS BAND

JR ($25/$28)

4/2/17 LAMBCHOP ($15) 4/11/17 WHY? ($16/$18) 4/18/17 CHRONIXX ($22.50/$25; ON SALE 12/14) 4/20/17 FOXYGEN ( $18/$20)

SA 12/17 @HAW RIVER BALLROOM

CHATHAM COUNTY LINE

4/21/17

ELECTRIC HOLIDAY TOUR

($25/$30)

2/25/17: BLUE CACTUS ALBUM RELEASE SHOW

JUMP, LITTLE CHILDREN ** 4/25/17 PARACHUTE W/ KRIS ALLEN ($18/$20; ON SALE 12/9)

CAT'S CRADLE BACK ROOM 12/14: SHEARWATER W/CROSS RECORD ($13/$15) 12/16: MANDOLIN ORANGE LD (RESCHEDULED FROM 11/20) SO OUT 12/17: ELIZABETH HADDIX CD RELEASE PARTY W/ SPECIAL GUEST HARDWORKER ($7) 12/20: BIG FAT GAP HOLIDAY

HOMECOMING

12/26: THE MERCH HOLIDAY DANCE PARTY (FREE SHOW!) 12/27:

EMIL MCGLOIN AND FRIENDS 12/ 30: SHERMAN & THE BLAZERS REUNION ($10/$15)

2/26/17: KEVIN GARRETT 3/5/17: ALL THEM WITCHES W/ IRATA ( $12/$14) 3/7/17: MOOSE BLOOD W/TROPHY EYES, BOSTON MANOR, A WILL AWAY ($15/$17) 3/10/17: TIM DARCY (OF OUGHT) ($10/$12) 3/21/17: NYLON MUSIC TOUR PRESENTS POWERS & BRIDGIT MENDLER ($16/$18; ON SALE 12/16) 3/22/17: THE JAPANESE HOUSE ($15/$18; ON SALE 12/16) MOTORCO (DURHAM) 1/27/17: COLD CAVE W/ DRAB MAJESTY ($15) 1/29/17: AUSTRA W/ LAFAWNDAH ($17/$20) KINGS (RAL)

12/31:

5/3/17: ANDY SHAUF W/ JULIA JACKLIN (ON SALE 12/9)

W/ BOOM UNIT BRASS BAND ($10)

PLAYMAKERS (CH)

1/6-7/17: ELVIS FEST! FEATURING: JOHN HOWIE JR & THE ROSEWOOD BLUFF, TCB ’56, THE GTV’S, PHATLYNX, PHANTOM PLAYBOYS, KITTY BX & THE JOHNNIES, WOOLLY BUSHMEN, GREG PHOENIX EXPERIENCE, CLAMBAKE SPINOUT

CAROLINA THEATRE (DUR)

GARY MITCHELL BAND

1/14/17: URBAN SOIL W/ GROOVE FETISH ( $8/$10) 1/15/17: SOUND SYSTEM SEVEN W/ CONTROL THIEF, VANILLA ENVELOPE ($7)

1/17/17: BIG THIEF W/ SAM EVIAN

TIFT

BOTH 1/20,21/17:NIGHTS LD MERRITT SOOUT

3/7/17: VALERIE JUNE 3/20/17:

THE 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, CUZ

1/21/17: GASOLINE STOVE ALBUM RELEASE PARTY W/ MEMPHIS THE BAND ($8)

2/23/17: SHOVELS & ROPE W/ JOHN MORELAND (TIX ON SALE 12/9)

2/2/17:BLACK MARBLEW/YOU.($8/$10)

HAW RIVER BALLROOM

2/3/17:

ALLISON CRUTCHFIELD & THE FIZZ

12/17

CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR

W/RADIATOR HOSPITAL AND PINKWASH ($10/$12)

W/ ZEKE HUTCHINS, JAY BROWN AND JOHNNY IRION

2/6/17: MARGARET GLASPY W/ BAD BAD HATS** ($12/$15)

1/27/17 KURT VILE AND THE VIOLATORS

2/7/17: ISAIAH RASHAD

SOLD OUT

2/15/17: DUSTBOWL REVIVAL 2/18/17: SUSTO ( $10/$12) 2/22/17:EISLEY ($15; ON SALE 12/15) 2/23/17: THE GRISWOLDS W/ DREAMERS ( $17) 2/24/17: PENNY & SPARROW ($15)

W/ LUKE ROBERTS 3/11/17 SON VOLT ($22/$25)

4/1/17 PATRICK WATSON ($20/$22) DPAC (DURHAM 4/20/17:

STEVE MARTIN AND MARTIN SHORT WITH STEEP CANYON RANGERS

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

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 28 | 12.14.16 | INDYweek.com

music

12.14–12.21

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Annalise Domenighini (AD), Allison Hussey (AH), David Klein (DK), Drew Millard (DM), Desiré Moses (DEM), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)

WED, DEC 14

BLUE NOTE GRILL: The Malpass Brothers; 8 p.m., $20–$25. • CAT’S CRADLE (BACK ROOM): Shearwater, Cross Record; 8:30 p.m., $13–$15. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m. • KINGS: Rod Abernethy and Songs from Downstairs Year End Bash; 8:30 p.m., $5. • LINCOLN THEATRE: The New Mastersounds, Turkuaz; 8 p.m., $17. • LOCAL 506: To Speak of Wolves, Iselia, Guts Of The Oven, Mirada; 8 p.m., $10–$12. • PNC ARENA: TransSiberian Orchestra; 7:30 p.m., $45–$75.

• POUR HOUSE: Stammerings, Hank & Brendan; 9 p.m., $5. • THE RITZ: JoJo, Gnash, Charli XCX; 8 p.m., $10–$20. • RUBY DELUXE: Goth Night with DJ Bela Lugosi’s Dad; 10 p.m.

THU, DEC 15 Disqo Volante GLOBAL Disqo Volante is one FLAIR of the Triangle’s key emissaries of Asian-American culture, musical and otherwise.

He’s best known to locals as a cofounder of Kumiho, a Chapel Hill izakaya which boasts an eclectic menu of favorites from Japan, China, and Korea, and his live sets prove equally diverse. He offers a sonic soup of noise, jazz, pop, and punk that, however chaotic, sounds nothing if not natural, especially on his new re: lit EP, the release of which will be celebrated at Local 506. With Lunar Fuzz, TyLake, and MKR. —ZC [LOCAL 506, $7/9 P.M.]

G105 Holiday Social: Gavin DeGraw TOP 40 Since showing up on FLUFF Top 40 radio in 2003 with “I Don’t Wanna Be,” Gavin DeGraw has since released four acoustic pop albums. On his latest, Something Worth Saving, DeGraw blends pop with funk and soul, a noted departure from his usual upbeat, pop-centric songwriting. There, DeGraw focuses on silver linings and finding the positive in the negative

with songs like “Something Worth Saving” and “How Lucky Can a Man Get.” —AD [THE RITZ, $25/8 P.M.]

Jphono1 STRINGS As Jphono1, John SHIMMER Harrison builds songs from knots of acoustic guitar patterns, his smoky vocals waft in a lysergic haze, and his worldview is bemused but benevolent. At The Station, he trades solo sets with S.E. Ward, Spencer Harrison, and JPH, three acts with a similar affinity for drones and ambient folk. —DK [THE STATION, $6/9 P.M.]

Local Band Local Beer: The Beast HOPS & Lately, the jazz and HIP-HOP hip-hop fusion band The Beast has been very quiet about how exactly it plans on following up its 2014 EP, Stories.

And while it’s unlikely that it’ll be unveiling any of those new sounds during this week’s Local Band Local Beer installment, you should still expect frontman Pierce Freelon to try out a few new moves on the crowd, as he’s always inclined to do. Over the last two decades, it’s been amazing to watch Freelon split time between being a global activist, educator, and musician, and watching it all come together on stage with a sharp band behind him is just as rewarding. Blanko Basnet and Flash Car open. —ET [POUR HOUSE, FREE/9:30 P.M.]

Nag ATL PUNX Shifty Atlanta weirdo-punk outfit Nag is the project of Brannon Greene, who previously ripped faces in Predator. His latest project continues to bring it hard, taking his jagged post-punk obsessions to abrasive new zones. New Orleans’s Weapon Man opens, plus Natural Causes. —DS [NIGHTLIGHT, $7/9 P.M.]

Suburban Living PHILLY Synth-laden and GAZE heavy-lidded, Suburban Living’s Almost Paradise inhabits the same haze-ridden wheelhouse occupied by DIIV, the War on Drugs, and others, with a noticeable uptick in whimsy and eighties worship. If John Hughes still made movies, this band would be his go-to for the soundtracks. —ZC [NEPTUNES PARLOUR, $5/10 P.M.]

Zack Mexico PSYCH A l little over a year POP after issuing its Get Rich and Live Forever LP, Kill Devil Hills’ trippiest upstart is set to hit Durham for a night of flower-child revelry. Slack and smooth as songs like “Suzuki” and “O’ Mae” may be on wax, the band’s live set is explosive: two drummers, a cavalcade of guitarists, and a whole lot of hooks. Drag Sounds opens. —ZC [THE PINHOOK, $7/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • BEYÙ CAFFÈ: Baron Tymas; 7 p.m. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • IRREGARDLESS: Jade M; 6:30 p.m. • MOTORCO: NC Folk Fundraiser: Blue Cactus, Josh Moore, John Dee Holeman, Five Points Rounders; 7:30 p.m., $20–$25. See page 25. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • SOUTHLAND BALLROOM: Jazz is Phish; 9:30 p.m., $15.

FRI, DEC 16 Acid Reindeer X-MAS Christmas is a MELT strange time of year, where time can expand and contract in a near-psychedelic way as you reacquaint with high school pals and family. With sets from Liquid Asset, Faster Detail, Housefire, Chula, and Geo Tracker, this gig is one place to experience that feeling and scope

a mix of the area’s recent experimental talent. Proceeds benefit victims of the recent, tragic Ghost Ship fire in Oakland. —DS [NIGHTLIGHT, $8/10 P.M.]

QDR Hurricane Benefit: Luke Combs HELPING After Hurricane HANDS Matthew devastated much of the Southeast in early October, Luke Combs established a fund working with Habitat for Humanity to help hurricane victims rebuild their homes, donating proceeds from streams of his song “Hurricane.” The country newcomer, who burst onto the scene with heartfelt pop country songs like “Let the Moonshine” and “Hurricane” has partnered with QDR to put on a benefit for victims of Matthew.

With Chase Bryant. —AD [CITY LIMITS, $15/7 P.M.]

Drag Sounds

ILLUSTRATION BY STEVE OLIVA

SATURDAY, DECEMBER 17

506 BAND LOTTERY Pitched someplace between heady collaborative salon and full-on mayhem, Local 506 presents the venue’s first-ever Band Lottery. It’s a gathering of Triangle musicians—members of IndioBravo, Campfires and Constellations, and Suppressive Fire, among others—who were assigned the task of forming new bands at random with one another and given one month to assemble a set of three original songs and a cover. The brainchild of The Everymen guitarist-songwriter Mike VenutoloMantovani, the event is a fundraiser for Planned Parenthood as well as a local organization that funds ovarian cancer research. With its emphasis on spontaneous collaboration and the raffles of prize packages from labels like Merge, Loma Vista, and Three Lobed, Venutolo-Mantovani anticipates a festive evening. The diverse and sometimes divergent aesthetics of the players involved adds another layer of intrigue.

“It’s really a wide swath of the local scene, but mainly players in the local underground, which is super exciting,” he says. “Hopefully all of the creative dissonance inherent to the players will make for some amazing music.”

One elephant in the room: Why does an event to benefit women’s health feature no women on the bill?

“The fact that no women signed up for the event is not lost on me, but it wasn’t for lack of trying!”

Venutolo-Mantovani says. “Basically we put out several open calls to Triangle musicians asking for anyone and everyone to sign up, and we made bands based on those who signed up. Unfortunately, we only had dudes answer the call.” This meaningful shortfall aside, Venutolo-Mantovani still approaches these issues with genuine passion.

“Whenever I do a benefit I try and make it as relevant to the goings on in the world as possible. In the last few years, the attack on women and the autonomy they should be afforded over their own bodies has gotten more and more apparent. We wanted to do something with that in mind,” he says.

Whether you’re excited to delve deeper into the Triangle music scene, feel the need to support deserving causes, or are simply attracted to the likelihood of good-natured chaos, the Band Lottery is a great tradition to help establish —Timothy Bracy LOCAL 506, CHAPEL HILL

8 p.m., $10, www.local506.com

AIN’T NO Durham (via DRAG Greensboro and Baltimore) quartet Drag Sounds ain’t no drag; its brand new bag, Sudden Comfort, released back in July, offers dive-bar rock that splices slanted and enchanted nineties slacker vibes onto Beggars Banquet-era Rolling Stones riffs. If that sounds like Pavement circa Wowee Zowee, well, so does Drag Sounds; the woo-woos that run through the exemplary “Messy Life” belong in both “Painted Soldiers” and “Sympathy for the Devil.” Eyesgolightning and Slime open. —PW [SLIM’S, $5/9 P.M.]

Mandolin Orange VICTORY Andrew Marlin and LAP Emily Frantz, better known as the duo Mandolin Orange, have been quietly dominating the bluegrass world since releasing Quiet Little Room, in 2010. Blindfaller, the duo’s most recent record, ruminates on growing older and its ability to make everyday injustices more relevant and recognizable to its subject. “Gospel Shoes” takes aim at politicians’ exploitation of faith, while songs like “My Blinded Heart” remind you to hold on to the importance of the little things.

—AD [CAT’S CRADLE BACK ROOM, $15–$17/8 P.M.]

QDR Hurricane Benefit: Luke Combs HELPING After Hurricane HANDS Matthew devastated much of the Southeast in early October, Luke Combs established a fund working with Habitat for Humanity to help hurricane victims rebuild their homes, donating proceeds from streams of his song “Hurricane.” The country newcomer, who burst onto the scene with heartfelt pop country songs like “Let the Moonshine” and “Hurricane” has partnered with QDR to put on a benefit for victims of Matthew.

With Chase Bryant. —AD [CITY LIMITS, $15/7 P.M.]

See Gulls CAW OF In August, See Gulls THE WILD released its second EP, Curtain Call, which found frontwoman Sarah Fuller offering another robust slate of solid, surfy rock songs. Fuller has a new lineup behind her now, but her guitar blows land just as hard as ever.

Seabreeze Diner, Cosmic Punk, and Faye open. —AH [POUR HOUSE, $5/9 P.M.]

Toys for Tots Benefit: Pipe, Juan Huevos PLAYIN’ Want to get rowdy AROUND for a good cause?

Look no further than Local 506’s fourth annual Toys for Tots benefit, which features the always ebullient Pipe in its headlining slot.

Led by Ron Liberti, Pipe has long been one of the Triangle’s best rock outfits, whose live sets are always massive fun—just be sure to dodge any empty PBR cans that might whiz past your head. You’ll also find Juan Huevos, the goofy and long-dormant Chapel Hill rapper, returning to the stage. Plus Transportation, the excellent Bitter Resolve, and Scriblin’. —AH [LOCAL 506, $10/8:30 P.M.]

Virtual Riot GERMAN Virtual Riot is the EDM stage name of German-based deejay Valentin Brunn, who has managed to foist a remarkably prolific amount of his Skrillex-like populist EDM on his public in only twenty-two short years. It’s good-time music for the easily mollified. DEVIOUS, Illanthropy, and Phrey open. —EB [LINCOLN THEATRE, $15/9 P.M.]

ALSO ON FRIDAY 2ND WIND: Skinny Bag of Sugar.

• ARCANA: Arcana One Year Bash and Hip Hop Party with DJ PlayPlay; 10 p.m., $5. • BERKELEY CAFÉ: Rev Billy C Wirtz; 8 p.m. • BLUE NOTE GRILL: Sam Frazier Band; 9 p.m. Duke Street Dogs; 6-8 p.m., free.

• CARY SENIOR CENTER: Cary Town Band; 7:30 p.m. • THE CAVE: A Calm War, The Kneads; 9 p.m., $5. • DEEP SOUTH: 21st Annual Deep South Entertainment Holiday Party; 8 p.m., $10. • IRREGARDLESS: Small House; 6:30 p.m. • KINGS: The Backsliders; 10 p.m., $8. • THE MAYWOOD: Snake & the Plisskens, Echo the Aftermath, Nevernauts; 9:30 p.m., $8. • THE PINHOOK: Sweatcore: A Queer Dance Party with DJ Bitchcraft, DJ Queen Plz; 10 p.m., $5–$7. • THE RITZ: Slippery When Wet; 9 p.m., $10. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$15. • THE STATION: Boom Unit Brass Band, The Spectacles; 10 p.m., $6.

SAT, DEC 17 The Barefoot Movement NEED NO So maybe the SHOES weather isn’t quite nice enough to warrant kicking off your shoes, but Nashville’s Barefoot Movement will get you feeling plenty cozy. The skilled young quartet specializes in acoustic tunes that pull together threads of bluegrass and Americana. Barefoot Movement is plenty charming in its songwriting, but has the instrumental chops to lend heft to songs like “Anywhere I Plant My Feet.” The band stops in Carrboro in support of its new Christmas album. —AH [THE ARTSCENTER, $25/8 P.M.]

Drowning Pool Drowning Pool—you know, the dudes with that “Let the bodies hit the floor!” song—has gone through three vocalists since original frontman Dave Williams went to the great mosh pit in the sky in 2002. The WWE-match-in-human-form released its latest growly, grunty nü-metal bombast fest, Hellelujah, in February, but if “Bodies” didn’t do it for you the first time around, Hellelujah—full of knuckle-dragging riffs and mookish machismo—won’t change a thing. With Gemini Syndrome, 9Electric, Red Tide Rising, Sixlight, Faith & Scars,

ANGST!

INDYweek.com | 12.14.16 | 29

and Chaos by Candlelight. —PW [THE MAYWOOD, $20–$25/7:15 P.M.]

Mac Miller BIG INDIE Mac Miller, the RAP erstwhile enfant terrible of frat-rap, has shed his party-hardy persona to reveal his true colors as a hip-hop polymath with a flair for the psychedelic, capable of churning out trippy instrumentals to pair with his introspective lyrics. He’s found a new persona as a wide-eyed romantic with newest album, The Divine Feminine. Also performing is producer The Whooligan, of L.A.’s Soulection collective, and Miller’s longtime associate DJ Clockwork.

—DM [THE RITZ, $30/8 P.M.]

Sir Edmund INDIE Playing an angsty ANGST suburban blues pitched somewhere between The Kinks and The Cure, long-running indie contender Sir Edmund is all about anxiety and pop hooks.

While he can be dramatic to the point of exhaustion, Edmund also features a redeeming sense of self-aware humor. TV Knife and Medium Heat open. —TB [KINGS, $8/9 P.M.]

Raleigh Ringers X-MAS Handbells choruses BELLS do actually exist year-round, though they seem to only rise to public consciousness around Christmastime. Maybe it has something to do with the Salvation Army or “Carol of the Bells”? Regardless, these concerts will be filled with holiday cheer and all the carols you can shake a beater at. —DR [MEYMANDI CONCERT HALL, $20/3 & 7 P.M.]

T.O.U.C.H. Samadhi PSYCH Psytrance is one of PARTY the closest things regional electronic music has to a jam band scene, and it gets a lot of the same cultural associations, for better or worse. This particular soiree features Sensoma, Devotee, Hydruzx, Bloodwing, and is dedicated to the memory of Brad Page, who sadly died the night of the last party in this series. —DS [NIGHTLIGHT, $10/9 P.M.]

VOICES: A Celestial Christmas 30 | 12.14.16 | INDYweek.com

HOLIDAY My only encounter PROG? with the music of Karl Jenkins was in middle school strings, playing his suite Palladio, better known as the music from those ads for De Beers diamonds in the early nineties. Here, a chamber orchestra and soprano Andrea Edith Moore will play the Soft Machine member’s Christmas music. —DR [CAROLINA THEATRE, $10–$25/8 P.M.]

The Wusses ME It takes enormous DECADE confidence to name your band The Wusses, but if you had written every great song from the seventies attributed to people like Christopher Cross and Little River Band, you would wear that name like a badge as you ride like the wind. With the Beauty Operators and Billy Sugarfix. —DK [MOTORCO, $10/8:30 P.M.] ALSO ON SATURDAY ARCANA: Dream Pop Dance Party; 10 p.m., free. • BERKELEY CAFÉ: Kenny Roby & Scott McCall Duo; 8 p.m.

• BEYÙ CAFFÈ: Akua Allrich; 8 & 10 p.m., $15. • CAT’S CRADLE: Elizabeth Haddix, Gurley Flynns; 9 p.m., $7. • THE CAVE: Zack Mexico, Drag Sounds, The Tills; 9 p.m., $5.

See Dec. 15 listing at The Pinhook.

• DEEP SOUTH: Ascella Vega, Strange Lady; 8 p.m., free. • DUKE’S BALDWIN AUDITORIUM: Rez Abbasi Invocation; 8 p.m., $10–$28.

See page 26. • HALLE CULTURAL ARTS CENTER: Concert Singers of Cary; 7:30 p.m. • HAW RIVER BALLROOM: Chatham County Line Holiday Electric Tour; 8 p.m., $20–$22.

See page 26. • IRREGARDLESS: Cole Koffi; 11:30 a.m. Gary Brunotte Duo, Beverly Botsford; 6 p.m. Marimjazzia; 9 p.m. • LINCOLN THEATRE: Yarn, Dune Dogs; 8:30 p.m., $12. • LOCAL 506: 506 Band Lottery; 8 p.m., $10. See box, page 29. • MEYMANDI CONCERT HALL: Raleigh Ringers Holiday Concert; 3 & 7:30 p.m., $21. • MYSTERY BREWING PUBLIC HOUSE: Counterclockwise String Band; 8:30 p.m., free. • POUR HOUSE: Machine Funk, Better Off Dead; 9 p.m., $5–$10. • RUBY DELUXE: Natural Causes, Crete, DJ Luxe Posh; 9 p.m. • SACRED GROUNDS COFFEE HOUSE: Dackel; 7:30 p.m., free. • SANDERSON HIGH SCHOOL: Triangle Youth Brass Band; 8 p.m., $5–$10. • SHARP NINE GALLERY: Zen Poets; $10–$15. • SLIM’S: Shake It Like a Caveman; 9 p.m., $5. • THE STATION: Loose Caboose Dance Party with Jaesunel; 10 p.m., free. Jazz Saturdays; 2 p.m., free.

SUN, DEC 18 Delta Rae SHINY Delta Rae’s been FOLK relatively quiet in the Triangle for a spell, but this winter acoustic tour promises a healthy mix of fan favorites and holiday tunes that highlight the band’s powerful harmonies and big, blues-tinged sound. With Penny & Sparrow. —DEM [LINCOLN THEATRE, $25–$35/8 P.M.]

Hurricane Matthew Benefit: The Connells ROCK The damage caused HELP

by Hurricane Matthew is still being felt in the state, which is why people are still pulling together to raise funds to help those most affected by October’s Category 5 hurricane.

The lineup for this benefit alternates the alt-rock flavors of such stalwart area figures as Chip Robinson of The Backsliders and alt-indie kings The Connells with some inspired cover outfits, namely The Whom, a tribute to The Who’s early-seventies era, and The Cinnamon Girls, who will reanimate Neil Young’s underappreciated Zuma. —DK [KINGS, $10/4:30 P.M.]

Gold Light INDIE POP Gold Light arose LOVE from the mind of Joe Chang, an Asheville multi-instrumentalist who, prior to devoting his time to lush, layered baroque pop, served as axe man for the likes of Kovacs and Polar Bear. In 2014, he expanded his solo efforts into a proper band; the project’s dynamic and melodic heft exploded accordingly, and in March, the band released its sprawling Visions LP, followed up a few months later with a collaborative track with Charleston musician Grace Joyner. Majestic Vistas opens. —ZC [THE CAVE, $5/9 P.M.] ALSO ON SUNDAY BERKELEY CAFÉ: Dexter Romweber; 5 p.m. • BEYÙ CAFFÈ: Marcus Henderson; 5 & 7 p.m., $25. • BLUE NOTE GRILL: Michelle Belanger & The Mystery Hillbillies; 5 p.m. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3.

• IRREGARDLESS: Larry Hutcherson; 10 a.m. Zach Wiley; 6 p.m.

• MEYMANDI CONCERT HALL: Raleigh Ringers Holiday Concert; 3 p.m.,

$21. • THE PINHOOK: Russell Lacy School of Music Showcase; 3:40 p.m. • RUBY DELUXE: Eunyce Raye’s Drag Showcase; 11:30 p.m. • SHARP NINE GALLERY: Adrian Duke Christmas Show; 7 p.m., $10–$15. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, DEC 19 Nick James Scavo, Frank Meadows, and Alec Sturgis PARLOUR Neptunes’ recent ART bookings in the weirder corners of electronic music have been surprising and particularly thoughtful, and so it goes with this selection of sound art. NYC’s Nick James Scavo teams up with Frank Meadows and Alec Sturgis for a series of original sound compositions inspired by “dirt gauze plastic,” a video piece by Graham Schaafsma. —DS [NEPTUNES PARLOUR, $5/9 P.M.]

Lil Uzi Vert NURSERY If Philadelphia RAPS sing-songy trap-rapper Lil Uzi Vert is a self-proclaimed “rock star,” then I’m the Queen of England.

Because, let’s face it—just because his music is a hit in both a ten-year-old’s birthday party and a strip club, that doesn’t mean he’s the second coming of Prince. Nice try, little mockingbird. Stick to being a Snapchat dancer. Leave rap alone. Lyquin opens. —ET [THE RITZ, $35/8 P.M.] ALSO ON MONDAY MOTORCO: Flash Chorus; 7 p.m., $7–$10. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, DEC 20 Big Fat Gap ‘GRASS As far as Triangle GLEAM bluegrass bands go, it’s tough to beat Chapel Hill’s Big Fat Gap. The quintet consistently offers some of the sharpest, most straightforward picking in the area, and it’s a delight to behold. The band’s “holiday homecoming” stop in Cat’s Cradle’s Back Room stands to be a fine affair. —AH [CAT’S CRADLE BACK ROOM, $10/8:30 P.M.]

Cube LABEL A holiday gathering PARTY for anyone who traditionally hates them, this night corrals Oakland’s Cube, Cleveland’s Marcia Custer and Machine Listener and Secret Boyfriend into a sort of holiday gathering for Carrboro experimental label Hot Releases. You won’t get “Mary Did You Know,” but you will get a freaky lineup of the sort you won’t see anywhere else.

—DS [NIGHTLIGHT, $7/9:30 P.M.]

Mannheim Steamroller Christmas WELL This popular WORN ensemble fulfills the role that the Boston Pops Orchestra once did, a dependable dispensary of the familiar and the contemporary rendered with a touch of classical panache and dash of spectacle. Its stock in trade is Christmas music, a canon that lends itself well to a bit of bombast and sentimentality. —DK [DURHAM PERFORMING ARTS CENTER, 55–$75/7:30 P.M.]

The Rescue Jam GOOD From delivering CHEER turkeys on Thanksgiving to giving toys to needy kids around the holidays, Raleigh Rescue Mission is a nonprofit whose work does a heart good. This benefit collects donations of canned goods and toys while serving up an impressive roster of local talent, including members of Urban Soil, Big Something, and Chit Nasty Band. —DK [POUR HOUSE, DONATIONS/9 P.M.] ALSO ON TUESDAY IRREGARDLESS: Russell James Pyle; 6:30 p.m. • NEPTUNES PARLOUR: Blueberry, Shampoo; 9 p.m., $8. • RUBY DELUXE: Magician’s Hand Practice; 11 p.m. • ST MATTHEWS EPISCOPAL CHURCH: Jim Watson’s Holiday Concert; 7:30 p.m., $10.

WED, DEC 21 Evil Wiener Christmas Extravaganza SAUSAGE The time has come, PARTY once again, for one of two annual Evil Wiener shows.

According to Billy Sugarfix, who

has led Evil Weiner for the better part of two decades, the band often needs external motivation to get going and playing a show, and Christmas and the Fourth of July offer the strongest incentives to do so. Expect plenty of silliness, but a good time, too. —AH [THE CAVE, $5/9 P.M.]

Zoocrü NO The Durham-based CAGES jazz-jam quintet Zoocrü already gave us the goods with the release of this year’s Lucid LP, but the bunch remains busy, with each member always working different niches of the Triangle’s jazz, funk, and soul brackets. Back in August, the crew received a nod of approval from The Foreign Exchange frontman and soul authority Phonte Coleman. He described them as “homegrown dopeness” on the strength of “Out of Reach,” the album’s Jamiroquai-esque jam, which featured area vocalist Myk’l Hanna gracefully riffing on such thoughts as “permission for pleasure.” If Hanna gets the band’s permission to show up in Raleigh, expect extra pleasure. Also with The 4 Korners. —ET [POUR HOUSE, $8–$10/9 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: The Herded Cats; 8 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

• IRREGARDLESS: The Holland Bros.; 6:30 p.m. • MEYMANDI CONCERT HALL: Triangle Brass Band: Holiday Stories; 7 p.m., $5–$10.

• NEPTUNES PARLOUR: Bloodworth Combo; 9 p.m., $5.

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A BLUEGRASS KINDA CHRISTMAS It’s not easy to bring high and lonesome down to sea level. A native of coastal Mann’s Harbor, North Carolina, Corey Hemilright had bluegrass in his blood, passed down from his grandfather, Delbert Ambrose, who played the banjo at festivals on the Outer Banks when Hemilright was growing up. Hemilright left Mann’s Harbor for Tennessee after high school, and, upon his return several years later, couldn’t find much of a music scene. Thus, he decided to create his own, throwing the first Outer Banks Bluegrass Festival in Manteo in 2012. Held on Roanoke Island Festival Park, the festival hit its twelve-thousand-person capacity in just three years, and these days tickets to the annual event sell out shortly after it’s announced.

Buoyed by his hometown success, Hemilright decided to extend the festival to Raleigh for the holiday season. The three-day affair features headliners Rhonda Vincent and Doyle Lawson, and western North Carolina’s Balsam Range, winners of two International Bluegrass Music Association awards for entertainer and vocal group of the year in 2014, will host the festivities.

“We’re excited about the young, vibrant music scene in Raleigh, new people discovering bluegrass,” says Balsam Range mandolinist Darren Nicholson. “We looked at this as an opportunity to grow our music and do it in a great place.”

Even though it’s indoors, Hemilright tried to create a standard festival feel, offering rooms available exclusively for late-night jamming throughout the hotel.

“Bluegrass is the only genre of music I know where probably at least sixty percent of the people who are fans play at some level,” Nicholson says. “From the early days of festivals, that’s always been the culture. You not only go to see your favorite bluegrass stars, but you also get to pick and jam.”

As with other bluegrass gatherings, Nicholson says there’s a very good chance you’ll see Balsam Range as well as some of Doyle Lawson’s guys in the hotel picking, if you just wander through the halls and keep your ears open. —Grant Britt HILTON NORTH RALEIGH, RALEIGH

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INDYweek.com | 12.14.16 | 31

art

OPENING TO SPEAK OF WOLVES / Iselia / Guts Of The Oven / Mirada

WE 12/14 CARDIGAN AND LOCAL 506 PRESENT TH 12/15

SPECIAL Flag Post: Derek EVENT Chan. Dec 16-Jan 19.

Reception: Dec 16, 6-9 p.m.

SPECTRE Arts, Durham. www. spectrearts.org.

Supported by the Power: Sculptures by Lonnie Holley. Dec 15-Feb 26. Duke Campus: John Hope Franklin Center, Durham. fhi.duke.edu.

SPECIAL Unpacking the Past, EVENT Designing the Future: The Scrap Exchange and Lakewood in Partnership: Stories and artifacts. Dec 16-Feb 11.

Reception: Dec 16, 6-9 p.m.

The Scrap Exchange, Durham. scrapexchange.org. See p. 26.

“re: lit” EP Release Show DISQO VOLANTE / TyLake / MKR

PIPE / Juan Huevos / Transportation /Bitter Resolve / Scriblin’

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W/ THE SECOND AFTER / RESCUE DAWN / MOURNING AFTER

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MKR / GABRIEL DAVID / Dissimilar South VITA AND THE WOOLF THE LAWSUITS COMPASS CENTER PRESENTS SOLAR HALOS

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CRANK

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LOUD PRESENTS

HOMESAFE

ONGOING

Life Lessons / Chase Huglin

Randy Ada: Photography. Thru Dec 31. Cup A Joe, Raleigh. cspot.com.

COMING SOON:

ESME PATTERSON, CRO-MAGS, MICKEY AVALON, SHAGGY 2 DOPE, VIOLENT J www.LOCAL506.com

FINDER

Ruth Ananda: Painting. Thru Jan 31. Bean & Barrel, Chapel Hill. www.beanandbarrel.com. Zola Craft Gallery, Durham. www. zolacraftgallery.com.

Annual Community Art Exhibit: Group show. Thru Dec 31. The ArtsCenter, Carrboro. www. artscenterlive.org.

Annual Holiday Art Gallery Exhibit: Group show. Thru Jan 5. ERUUF Art Gallery, Durham. www.eruuf.org.

LAST Annual Holiday CHANCE Exhibition: Local artists. Thru Dec 21. Visual Art Exchange, Raleigh. www. visualartexchange.org.

Anywhere but here: Group show.

Thru Jan 20. Lump, Raleigh. www.teamlump.org.

on stands

now

THE INDY'S GUIDE TO THE TRIANGLE 32 | 12.14.16 | INDYweek.com

The Art of Giving: Mixed media.

Thru Dec 31. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

12.14–12.21 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.

Chinese Lantern Festival: This holiday spectacular returns to Koka Booth Amphitheatre to celebrate the Chinese New Year. More than twenty LED displays illuminate the woods surrounding Symphony Lake, including a fiery dragon, a pair of intricate swans, and a forest of trees with Santa and Frosty in the middle. While many of these works of art were shipped overseas from China, others were crafted on site by Chinese artisans. The festival also hosts cultural performances and sells artisan crafts. $10-$15. Thru Jan 15. Koka Booth Amphitheatre, Cary. www.boothamphitheatre. com. —Erica Johnson Christmas at Captain White’s: Local, national, and international artists. Thru Dec 24. Captain James & Emma Holt White House, Graham.

Claymakers Instructors’ Holiday Showcase: Pottery. Thru Jan 7. Claymakers, Durham. www.claymakers.com.

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

durham.

SPECIAL Constants and EVENT Unknowns: Mixed media by Randy McNamara.

Thru Jan 13. Reception: Dec 16, 5-7 p.m. Durham Arts Council, Durham. www.durhamarts.org.

Consummation: St. George.

Thru Jan 21. Naomi Studio and Gallery, Durham. www.

NaomiStudioandGallery.com.

Caroline Coven: Thru Jan 24.

HagerSmith Design Gallery, Raleigh. www.hagersmith.com.

Gordon Dean: Site-specific installation. Thru Feb 5.

Artspace, Raleigh. www. artspacenc.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 Christian Rostagni, Abie Harris, Peter Milne, Claire Ashby, and Peter Dugan. Thru Dec 23.

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

Fiber Art of the 21st Century: Ralph Wileman. Thru Dec 31.

Horace Williams House, Chapel Hill. chapelhillpreservation.com.

Finding Each Other in History: Stories from LGBTQ+ Durham: Personal narratives. Thru Jan 15. Durham History Hub. www. museumofdurhamhistory.org.

SPECIAL Flight Lessons: Mixed EVENT media by Kim

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!

Wheaton. Thru Jan 1, 2017.

Reception: Dec 16, 6-9 p.m.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

FREEDOM: The Experiment: Candy Carver, Raj Bunnag, Kenia Brea, Darius Quarles, and William Paul Thomas. Thru Dec 30. The Cary Theater, Cary.

The Great Outdoors: Robert Thurston. Thru Jan 29. Nature Art Gallery, Raleigh. www. naturalsciences.org. #Greenspaces: Paintings

by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com.

LAST Ellen Hathaway: CHANCE Thru Dec 17.

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

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. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe LAST Shelton Cooper CHANCE Hodge: Thru Dec 17. HQ Raleigh, Raleigh. hush, hush,: Anthony Ulinski and Kiki Farish. Thru Dec 31. Artspace, Raleigh. www. artspacenc.org.

Art for 20 Buck Chuck by Warren Hicks

PHOTO COURTESY OF SPECTRE ARTS

FRIDAY, DECEMBER 16

20 BUCK CHUCK Every year around this time, the folks at SPECTRE Arts go a little bit insane, grab one another by the shoulders, fix one another with burning expressions, and simultaneously scream, “Oh my god, let’s sell all the art!” That, at least, is the impression given by 20 Buck Chuck, the Golden Belt-area gallery’s annual art sale and family-friendly holiday party, where a motley crew of local artists break out the good stuff for a good price and give half of the take to charity. This year you can bring home originals, made just for the show, by the likes of Warren Hicks, Martha Clippinger, Rachel Goodwin, and Bill Fick. The sale supports North Carolina’s Arts for Life, a nonprofit for people with serious illnesses and disabilities, and you can also purchase twenty-dollar artworks by children at Duke hospital, for which they keep all the profits. Bring your own kids to enjoy cardcrafting with Happymess Arts, not to mention caroling, a campfire, cocoa, and marshmallows to toast. The event doubles as a birthday party for gallery owner Alicia Lange, so there should be plenty of fun for adults, too. The sale includes art by INDY staffers Steve Oliva and Christopher Williams. —Brian Howe SPECTRE ARTS, DURHAM 6–9 p.m., free, www.spectrearts.org

Imagination Architectures: Eric Mack. Thru Jan 6. UNC Campus: Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

SPECIAL Inventing History: EVENT Cherished Memories of Good Times That Never Happened: Drawings by Richard Chandler Hoff. Thru Jan 13, 2017.

Reception: Dec 16, 5-7 p.m.

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

Jake and Charlie: Folk Art

by Jake McCord and Charlie Lucas: Mixed media. Thru Jan 26. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

SPECIAL Janie Kimmel: Mixed EVENT media. Thru Dec 23.

Reception: Dec 16, 6-9 p.m.

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

Luminous Creatures: Digital images by JP Trostle. Thru Jan 6. Atomic Fern, Durham. www. atomicfern.com/.

A Man Singing To Himself: Jill

Snyder. Thru Dec 30. Durham Arts Council, Durham. www. durhamarts.org..

My Favorite Things: Group show. Thru Feb 4. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

Natural Forces: Paintings and drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www. frankisart.com.

Nature as My Camera Sees It: Bobby Nicks. Thru Dec 31. Bond Park Community Center, Cary. www.townofcary.org.

Nature on Canvas: Brian Moyer.

Thru Jan 23. Herbert C Young Community Center, Cary. www. townofcary.org.

Nightscapes: Paintings by Charles Williams. Thru Jan 21. Artspace, Raleigh. www. artspacenc.org.

Planting Hope: Drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www.frankisart.com.

Plein Air Painter’s Group Showcase: Thru Jan 28.

Artspace, Raleigh. www. artspacenc.org.

Post Mégantic: Photography

by Michel Huneault. Thru Feb 18. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

SPECIAL Quiet Season: Group EVENT show. Thru Dec 26.

Reception: Dec 16, 6-9 p.m.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

JJ Raia: Photography. Thru Jan 14. Through This Lens, Durham. www.throughthislens.com.

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. NC Museum of Art, Raleigh. www.ncartmuseum.org.— Chris Vitiello 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 Super Shitty Art Show: Group show. Thru Jan 20. Mercury Studio, Durham.

Dawn Surratt: Photography.

Thru Jan 14. Through This Lens, Durham. throughthislens.com.

Taking Flight: Stephen White.

Thru Dec 31. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

LAST Mary Carter Taub: CHANCE Thru Dec 17. Red Hat Gallery, Raleigh.

The Ties That Bind: Precious Lovell. Thru Jan 8. CAM Raleigh, Raleigh. camraleigh.org.

Traces: Drawings, photography, and sculptural objects by Angela Eastman and Sonja Hinrichsen.

Thru Jan 14. Artspace, Raleigh. www.artspacenc.org.

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

LAST What Was Film: Tom CHANCE Whiteside, a filmmaker and historian of film technology, treads a thin strip of celluloid between screenings and art installations with his Durham Cinematheque series.

He fully embraces the latter in W H A T W A S F I L M. The exhibit features forty-eight “narrative objects,” or strips of 16mm film pressed between glass, some more than a hundred years old—a reel-toreel history, forty-four frames at a time. Other analog motion picture ephemera plays on windows and lightboxes. The best time to visit is during one of the many associated events; see the Carrack’s website for details. Thru Dec 17. The Carrack Modern Art, Durham. www.thecarrack.org. —Brian Howe Zanele Muholi: Faces and Phases: Photography. Thru Jan 8. NC Museum of Art, Raleigh. www.ncartmuseum.org.

INDYweek.com | 12.14.16 | 33

stage

food FOOD

SATURDAY, DECEMBER 17

FRIDAY, DECEMBER 16

TUNDE WEY: ABOUT RACE In an essay on the Oxford American website in June, Nigerian-born chef Tunde Wey wrote, “My cooking has always been political. It began as an Tunde Wey PHOTO BY MOYO OYELOLA oppositional response to foodie culture, nauseatingly self-referential and boastful.” Wey’s cooking, via Nigerian pop-up dinners around the country, seized the attention of a mostly white food elite that savored a chance to be saved. But, as Wey remarks, white privilege’s best intentions “have been scrubbed with a dirty washcloth.” At his Blackness in America dinners, Wey captures audiences in their own discomfort, probing them with insistent questions—some pointed, others rhetorical, but all gently demanding an answer. Seated at long tables dappled with brimming bowls and platters of jollof rice, goat stew, and grilled whole fish, guests embrace a shared black space, as Wey calls it. The dinners spark the kind of hard, necessary conversations that awaken only when we’re passing around plates of food. On the Durham Hotel’s mezzanine on Friday, Wey gives a free talk, titled About Race, that extends the theme of his dinner series. It’s a discussion, not a lecture, where everyone may speak freely. It might be uneasy, but it could be what we need to start rinsing out the dirty washcloth. Visit The Durham’s website to sign up for the free event; the discussion at seven p.m. follows cocktails and snacks at six.—Victoria Bouloubasis THE DURHAM HOTEL, DURHAM I 6–9 p.m., free, www.thedurham.com

FOOD EVENTS Feast of Seven Fishes: Dinner with chefs Teddy Diggs and Barton Seaver. $135. Thu, Dec 15, 6:30 p.m. Il Palio Ristorante, Chapel Hill. www.ilpalio.com

screen SPECIAL SHOWINGS

Chungking Express: Sun, Dec 18, 5 p.m. Union Camp Collective, Raleigh.

How the Grinch Stole Christmas: Wed, Dec 21, 9:45 a.m.

Northgate Mall, Durham. www. northgatemall.com.

It’s a Wonderful Life: Thu, Dec 15, 2 p.m. The Cary Theater.

The Secret Life of Pets: Thu, Dec 15, 6 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org.

White Christmas: Fri, Dec 16, 7 p.m., Sat, Dec 17, 2 & 7 p.m & Sun, Dec 18, 2 p.m. The Cary Theater, Cary.

OPENING

Collateral Beauty—An all-star ensemble cast fills out this drama about an ad exec’s recovery from personal tragedy. Rated PG-13.

Rogue One: A Star Wars Story— This standalone tale takes 34 | 12.14.16 | INDYweek.com

a l’ ART Culinary Series: Sat, Dec 17, 9 a.m. The Art Institute of Raleigh-Durham, Durham.

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

Raleigh City Plaza, Raleigh.

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

YOUR F$CKED UP CHRISTMAS

DSI Comedy Theater’s locally trained improv team, Stranger Danger, is ready to turn your crappy Christmas into laughable speeches, skits, and stand-up. In this profane yuletide throwdown, experienced comedians invite the audience to share not-so-perfect holiday memories, and then weave in their own tales to make you laugh, cringe, and cry.

The performers this year include Andrew Aghapour, who is a Ph.D. student in UNC’s department of religious studies as well as an instructor at DSI’s comedy school; he shares likeable stories of growing up as a nerdy stoner with anxiety. And Jennifer Tomforde, as a mom, should have plenty of disastrous holiday experiences to share, accompanied by fellow comedians Lisa Jolley and Sigue Hoffman. DSI residents Davis Tate, Sam Di, and James McMahon round out the team. Restore your holiday cheer with this inclusive, interactive show; just be sure to leave the in-laws at home. — Jamie Stuart DSI COMEDY THEATER, CHAPEL HILL 8:30 p.m., $10, www.dsicomedy.com PHOTO COURTESY OF DSI COMEDY THEATER

Ian Bagg: Stand-up comedy. $16-$24. Dec 15-17. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Tragedy with a (Somewhat) Happy Ending: Play. $8-$10.

Sat, Dec 17, 7:30 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Barriskill Dance’s The Nutcracker Ballet: Dance. $10$30. Dec 16-18. Dukes’ Reynolds Industries Theater, Durham.

Hush Hush: Improv comedy. $5.

Fri, Dec 16, 10 p.m. Manbites Dog Theater, Durham. www. manbitesdogtheater.org.

Black Nativity: Musical. $18$27. Dec 17-19. NCSU’s Stewart Theatre, Raleigh. See p. 27.

Moscow Ballet’s Great Russian Nutcracker: Dance. $40-$70.

Wed, Dec 14, 7 p.m. & Thu, Dec 15, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre. org.

OPENING place right before the original Star Wars. 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 Allied—Sexual tension, spousal spying, and glossy WWII nostalgia from director Robert Zemeckis. Rated R.  Arrival—Denis Villeneuve’s thoughtful aliens-to-Earth film is less about first contact than first communication. Rated PG-13.  Doctor Strange— Marvel’s magic master’s feisty cape almost steals his movie.

Rated PG-13.  ½ Fantastic Beasts and Where to Find Them—A promising start to a new Harry Potter franchise. Rated PG-13.

 ½ Hacksaw Ridge—Mel Gibson clearly identifies with the religious persecution of conscientious objector Desmond Doss. Rated R.  ½ Manchester by the Sea—Casey Affleck’s brilliantly restrained performance powers Kenneth Lonergan’s quotidian tragedy. Rated R.  ½ The Magnificent Seven—Despite an able cast, this remake adds little to the “band of disreputables” trope.

Rated PG-13.

Campaneria Ballet Company’s The Nutcracker and My Favorite Things: Dance. Tue, Dec 20-22.

Cary Arts Center, Cary. www. townofcary.org.

 Moonlight—Barry Jenkins’s must-see drama deals with a gay black man’s coming of age. Rated R.

Carolina Ballet’s The Nutcracker: Dance. $27-$112.

Dec 16-24, 7 p.m. Raleigh Memorial Auditorium, Raleigh.

 Nocturnal Animals— Amy Adams’s emotional authenticity elevates fashion mogul Tom Ford’s glam pulp noir. Rated R.

Cary Ballet Company’s The Nutcracker: Dance. Dec 15-18.

Cary Arts Center, Cary. www. townofcary.org.

 Office Christmas Party— This holiday comedy follows in the National Lampoon tradition, but dirtier. Rated R.

CUT&PASTE: Draft 1: Dance. $10. Sun, Dec 18, 7 p.m. The Carrack Modern Art, Durham. www.thecarrack.org.

Hillary: A Modern Greek

Theatre In The Park’s A Christmas Carol: Musical comedy. $31-$96. Dec 15-18, 7-10 p.m. Durham Performing Arts Center, Durham. www. dpacnc.com.

Andy Woodhull: Standup comedy. $12-$18. Dec 21-23. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

ONGOING LAST A Christmas Carol: CHANCE Play. $14-$25. Thru Dec 18. Temple Theatre,

Sanford. templeshows.com.

Rudolph the Red-Nosed Reindeer: The Musical: Musical. $13-$24. Thru Dec 24. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

LAST The Santaland CHANCE Diaries: Play. $18$24. Thru Dec 17. Theatre In The Park, Raleigh. www. theatreinthepark.com.

LAST A Trailer Park CHANCE Christmas: $21-$23.

Thru Dec 18. Common Ground Theatre, Durham. www. cgtheatre.com.

LAST Little Women: $15CHANCE $25. Thru Dec 18.

Sonorous Road Productions, Raleigh. sonorousroad.com.

LAST  The CHANCE Typographer’s Dream: $5-$20. Thru Dec 17.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org.

Reviewed at www.indyweek.com.

LAST  Written On CHANCE the Heart: $5-$25.

Thru Dec 18. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.

Reviewed at www.indyweek.com.

page READINGS & SIGNINGS

THURSDAY, DECEMBER 15

BILL FERRIS: THE SOUTH IN COLOR As a child of twelve in 1954, Bill Ferris received a camera as a gift. He and his brother built a darkroom, and he documented life on his family’s farm in Warren County, Mississippi, where he was nurtured by familiar comforts: reading stories, singing hymns, and home-cooked meals.

He captured images of workers, black and white, working alongside one another, but inevitably his photos picked up fractures in the civil landscape as he documented the changing South over the course of the sixties and seventies.

Now a UNC history professor specializing in folklore and Southern studies, Ferris has two previous collections to his name. In The South in Color, he draws from more than six thousand photos, which he culled down to one hundred.

Unlike the work of most concurrent documentarians, Ferris used color film, which adds a fascinating glow to this lost America, with familiar themes of hope, defiance, and resilience shining through its contradictions. —David Klein CHAPEL HILL PUBLIC LIBRARY, CHAPEL HILL 4 p.m., free, www.friendschpl.org

Bill Ferris: The South in Color: A Visual Journal. Thu, Dec 15, 4 p.m. Chapel Hill Public Library, Chapel Hill.

Marcia Zug: Buying a Bride: An Engaging History of Mail Order Matches. Wed, Dec 14, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

LITERARY R E L AT E D

The Bill of Rights: How North Carolina Saved the Constitution: With Linda R. Monk. Wed, Dec 14, noon. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Donald Davis: Storytelling. Sat, Dec 17, 11 a.m. & Sun, Dec 18, 1 p.m. Fearrington Barn, Pittsboro. www.fearrington.com.

The Monti: God: $20. Wed, Dec 14, 7:30 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

Art + Activism + The Archive: Discussion with Hong-An Truong, Stacy Lynn Waddell, Joey Orr, and Nsenga Knight.

Sat, Dec 17, 6 p.m. Stanford L Warren Branch Library, Durham. www.durhamcountylibrary.org.

Blackspace Youth Slam: Slam poetry. Tue, Dec 20, 6:15 p.m.

Beyù Caffè, Durham. www. beyucaffe.com.

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FINDER

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LIVING KITCHEN opening its third location in Chapel Hill in February 2017! Currently hiring General Manager with at least 2-3 years of experience supervising/managing the front of the house staff in a high-end restaurant establishment.

Please send cover letter and resume to jobs@livingkitchen.com

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W Y D E N E I

36 | 12.14.16 | INDYweek.com

EEK ★ W Y D

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BOOK YOUR AD • CALL SARAH AT 919-286-6642 • EMAIL

★ INDY W

Your guide to 44 ESSENTIAL Triangle nonprofits

K

THE ARTSCENTER • DURHAM CENTRAL PARK • KIDZNOTES • MUSIC MAKER RELIEF FOUNDATION PINECONE-PIEDMONT COUNCIL OF TRADITIONAL MUSIC • RALEIGH PUBLIC RECORD SOUTHERN DOCUMENTARY FUND • WALLTOWN CHILDREN’S THEATRE • WHUP 104.7 FM CAROLINA TIGER RESCUE • ELLERBE CREEK WATERSHED ASSOCIATION • ENO RIVER ASSOCIATION • FALLS WHITEWATER PARK COMMITTEE • PAWS4EVER • SAFE HAVEN FOR CATS • CENTER FOR CHILD AND FAMILY HEALTH • CITY OF OAKS FOUNDATION • EL FUTURO JOSH’S HOPE FOUNDATION • POSTPARTUM EDUCATION AND SUPPORT • THRESHOLD • TROSA ABUNDANCE NC • BENEVOLENCE FARM • COMMUNITY EMPOWERMENT FUND • COMPASS CENTER • COUNCIL FOR ENTREPRENEURIAL DEVELOPMENT • DEMOCRACY NC • DURHAM LIVING PROJECT • HABITAT FORYOU HUMANITY OF DURHAM COUNTY FINDWAGE OUT WHAT YOU GET WHEN GIVE AT 2016• HABITAT FOR HUMANITY OF ORANGE COUNTY • INTER-FAITH COUNCIL FOR SOCIAL SERVICE • NORTH CAROLINA JUSTICE CENTER • PLM FAMILIES TOGETHER • RALEIGH CITY FARM • TRANSPLANTING TRADITIONS COMMUNITY FARM • URBAN MINISTRIES OF DURHAM • CHILD CARE SERVICES ASSOCIATION • DURHAM’S PARTNERSHIP FOR CHILDREN • NC ARTS IN ACTION • SEEDS CLASSY@INDYWEEK.COM

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critters

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

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

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# 66

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this week’s puzzle level:# 25

2 3 4

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# 26

© Puzzles by Pappocom

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

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

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

8 6 9 1 8

3 8

16

3

48

2

7

5

8 6 7 9 5

1

1

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8

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# 68

6 9 1 3 8 2 4 7 5

# 68

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HARD 1 2 5 4 8 7 9 3 6

4 7 9 3 1 6 5 2 8

8 6 3 9 2 5 4 7 1

6 1 2 7 9 8 3 5 4

9 4 8 5 3 1 2 6 7

3 5 7 6 4 2 1 8 9

7 3 4 2 6 9 8 1 5

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solution to last week’s puzzle

# 25

3 6 9 4 8 B5ook 7 2 1 9 6 5 2 7

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# 28

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

Best of luck, and have fun! www.sudoku.com

30/10/2005# 26 1 4 9 5 8 3 6 2 •7 CALL Sarah at 8 3 5 6 7 4 9 2 1 3 1 6

12.14.16 8 4 2 3 7 9 5 9 5 1 2 8 6 3 7 3 6 4 1 5 2• 919-286-6642 4 8 3 6 2 1 7 2 1 9 5 3 7 8 6 7 5 9 4 8 1 3 9 4 1 5 2 6

# 27 6 1 7 6 2 1 3 4 5 7 4 3 1 4 8 5 9 2 9EMAIL 8 8 9 6 .7com 2 1 claSSy@5 indyweek 5 9 2 5 1 9 8 6 7 4 6 6 4 8 7 1 3 9 2 3 9 3 7 4 2 5 8 8 7 4 7 5 2 6 1 3

9 6 3 4 2 1 8

8 7 4 3 5 6 9

# 28

1 9 4 8 3 7 2

5 6 7 9 4 2 3

3 2 8 6 1 5 7

4 8 2 3 9 6 1

7 1 5 2 8 4 6

6 3 9 5 7 1 8

2 7 1 4 5 8 9

9 4 6 1 2 3 5

8 5 3 7 6 9 4

INDYweek.com | 12.14.16 | 37

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classes & instruction 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 or www.magictortoise.com

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

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A E M C, Inc.

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).

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• 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.

For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

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38 | 12.14.16 | INDYweek.com

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home improvement

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