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TRUMP DOE S N ’ T WA N T HER After the Taliban murdered her father-in-law and threatened her family, Salma Salihi escaped to Raleigh. By Jeffrey C. Billman and Erica Hellerstein page 9
HOW BJ BARHAM FAKED IT TILL HE MADE IT, P.14
PHILIP GLASS COMES TO TOWN: THE INDY INTERVIEW, P. 20
2 | 2.1.17 | INDYweek.com
WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 3
6 After protesters took to airports all over the country—including fifteen hundred at RDU—the acting attorney general stopped defending Trump’s executive order on immigration. He fired her. 8 The Trump appointees remaking federal agencies call themselves “beachheads,” a reference to military invasion. 9 After the Taliban murdered her father-in-law for working with the U.S. military and threatened her family, Salma Salihi escaped to Raleigh. 14 American Aquarium’s BJ Barham proves that “fake it till you make it” is more than an encouraging truism. 20 The music of Philip Glass belongs to the world, but the piano pieces, more than the orchestral or film works, still belong to him. 23 There’s more to Philip Glass than concert music, such as his dance collaboration with Lucinda Childs and Sol Lewitt. 26 Pajeon, the pizza-size Korean pancake served at Cary’s H Mart, is a smoky, garlicky, seafood-rich mouthful of heaven.
DEPARTMENTS 5 Backtalk 6 Triangulator 8 Democracy in Crisis 9 News 14 Features 26 Food
Fifteen hundred people showed up at RDU International Airport for Sunday’s protest against Trump’s executive order. PHOTO BY ALEX BOERNER
28 Arts & Culture 30 What to Do This Week
On the cover: Salma Salihi PHOTO BY ALEX BOERNER
32 Music Calendar 37 Arts & Culture Calendar
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backtalk
Plate Expectations On Friday, the INDY published a blog from restaurant critic Emma Laperruque, in which Laperruque recounts being denied service at Crawford and Son, star Raleigh chef Scott Crawford’s new restaurant, apparently because Crawford did not appreciate what Laperruque wrote about his former restaurant, Standard Foods (namely, that it was better without him). Laperruque, it’s worth noting, made the reservation under her dining partner’s name and gave the restaurant staff no indication of who she was or that she was planning to review Crawford and Son; Crawford, it seems, had ordered his staff to be on the lookout for her, and he personally asked her to leave. This story generated lots of comments, both from those who felt Crawford’s behavior was out of line and those who believed he was well within his rights to deny service to a reviewer. We begin with Scott Crawford himself. “The restaurant was fully committed Saturday evening with a reservation list comprised of supportive guests from Raleigh and surrounding communities,” he writes. (Laperruque and her partner were on that reservation list.) “We welcome our guests and their feedback. In addition, I do now, and have throughout my twenty-year career, been welcome to receiving constructive criticism from journalists. “Based upon Ms. Laperruque’s previous coverage and her color commentary on appearances of the staff at Standard Foods (irrelevant to the service and cuisine, which is generally the focus of a review), I felt it was in the best interest of the Crawford and Son team to focus on our non-editorial diners, as I do not believe Ms. Laperruque has the professional experience to review the restaurant. We welcome the opportunity to be reviewed with constructive criticism, but do not feel that Ms. Laperruque’s tenure within the food community justifies her journalistic tone and her approach to covering Raleigh’s thriving culinary community.”
Also rallying to Crawford’s banner, Megan Edge: “Emma Laperruque and INDY Week have done a disservice to Scott Crawford with this piece, but not nearly the disservice they have done to themselves, respectively. Crawford & Son is a private entity well within its rights to refuse participation in a review. It is not a taxpayer-supported entity subject to press scrutiny as a means of public transparency. A restaurant review is also an opinion piece, and its role in the ‘media’ isn’t much more than a credentialed Yelp review.” In the comments section, Norm Tide says Crawford is a hack: “He’s an egotistical, mediocre, lazy cook who pays his PR lady very well to keep the hype up. His tenure at Standard Foods was merely a stepping stone to his own place. He abandoned the SF concept, manipulated the masses, and rarely even cooked a meal there. Oh, and his food is unimpressive to say the least. He could care less about the community, only the chance to be famous. He stayed in Raleigh just for that reason alone, less big fish to compete with here. Also, choosing to not be reviewed isn’t an option for an owner, but when he has a PR person who controls his media, the thought of the truth or one negative word being uttered panicked him.” “That type of behavior makes me want to not eat at his restaurant,” adds commenter Kander. “All artists, musicians, and chefs are reviewed by critics in their area. We may not like the article, or only some or all of it. Regardless, this type of behavior is unwarranted and repulsive.” “Clearly a douche,” writes David Bryan Green on Facebook. “What a chode,” adds Scott Warren. “I won’t be setting foot in the place,” comments Chris Browder.
“This type of behavior makes me want to not eat at his restaurant.”
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. INDYweek.com | 2.1.17 | 5
triangulator +NO BAN, NO WALL
Maybe, just maybe, protests actually work. That was the message both the White House and the U.S. Department of Justice appeared to send to the tens of thousands who converged on airports across the country this weekend—including the fifteen hundred who showed up at RaleighDurham International Airport Sunday—to demand that President Trump abandon a constitutionally dubious executive order signed Friday that bars citizens of seven majority-Muslim countries from entering the United States for 90 days, prohibits refugees from any country from coming for 120 days, and blocks Syrian refugees indefinitely. Acting Attorney General Sally Yates, an Obama administration holdover, told the lawyers under her command Monday to not make legal arguments defending Trump’s order on immigrants and refugees. “My responsibility is to ensure that the position of the Department of Justice is not only legally defensible, but is informed by our best view of what the law is after consideration of all the facts,” she said in a letter. “In addition, I am responsible for ensuring that the positions we take in court remain consistent with this institution’s solemn obligation to always seek justice and stand for what is right.” The president, a psychologically stable human being, responded by firing her and accusing her, in an official statement, of “betray[ing] the Department of Justice by refusing to enforce a legal order and being “weak on borders and very weak on illegal immigration.” In her place Trump installed a lackey to do as he commands until the Senate confirms Senator Jeff Sessions of Alabama, a man whom the Senate three decades ago deemed too racist for the federal bench, to be attorney general. On Sunday, as crowds were amassing at RDU and elsewhere, John Kelly, the secretary of the Department of Homeland Security, announced that people with green cards from the seven countries affected by the executive order—Syria, Iraq, Iran, Yemen, Somalia, the Sudan and Libya— would not be prevented from returning to the United States. Green card holders, it should be noted, are legal permanent residents, and many have been here for 6 | 2.1.17 | INDYweek.com
pick their voters, instead of the other way around, which has for the last several years had the practical effect of guaranteeing Republican dominance of Jones Street— would somehow dilute votN ers’ power and is a “fantasy” being peddled by liberals. This is an asinine argument for any number of ILLUSTRATIO reasons, not least of which is that way back in 2009, when Republicans were in the minority, Civitas had theis former exact opposite opinion onson; he is a the subject. (After the INDYRichard M linked to a 2009 post on Civi-eral Assem tas’s site explaining whycan lawm the state needed redistrict-a change. ing reform, Civitas appearsleads the to have deleted the entry. Inthat does fairness, though, many Tarweek one Heel Dems have altered theirdistricts a positions on the issue since “Everyb power has changed hands,says. “Fro too. In politics, convictionsdoes have Fifteen hundred people gathered at RDU Sunday to protest President Trump’s “Muslim ban.” PHOTO BY ALEX BOERNER are often a matter of conve-to get pas nience.) But it’s undeniablelike when that the state’s legislative dis-things, th tricts—which a federal court ruled last year‘We shou Robert Pittenger, Richard Hudson, and decades. Homeland Security reportedly were unconstitutional racial gerrymanders;[Senate le George Holding all signaled their support, objected to their inclusion in the execution it ordered new special elections this year,Hackney? with Holding telling McClatchy in a stateorder. The DHS was overruled by White though last month the U.S. Supreme Court ment that this was the “right decision.” U.S. House senior adviser/former Breitbart put those on hold—amount to, at the very Representative Virginia Foxx said the order CEO/Trump puppet master Stephen BanPERIPHERA least, incumbent protectors. In November, “caused much uncertainty,” though she also non. That’s not scary at all. just one state senator and two state reprecomplained about “shortcomings in the curPredictably, North Carolina Democrats sentatives lost their reelection bids. rent screening process.” U.S. Senator Thom have pounced. Flanked by two dozen refuMight that be about to change? Despite Tillis, meanwhile, issued a statement that gees at a press conference in Durham Monthe GOP stranglehold on the General both lauds the “immediate action aimed at day, U.S. Representative David Price called Assembly, reform advocates are hopeful. tightening the refugee screening process” the executive order “reckless, irresponsible, Their goal is a bill that would give redisand bemoans the “confusion surrounding disruptive,” as well as “morally reprehentricting power to legislative staff rather the order. … Implementation of the order sible.” “It’s a crisis of our constitutional and than politicians; those staffers would then should be refined to provide more clarity and our national values,” he said, “for those who have to follow strict criteria, such as keepmitigate unintended consequences that do purport to lead our country.” His House ing districts compact and adhering to the not make our country any safer.” Democratic colleagues Alma Adams and Voting Rights Act. This sort of thing passed As best we can tell, U.S. Senator Richard G.K. Butterfield were also critical; Adams the House in 2011 but died in the Senate. It Burr has not said word one about this. joined an airport protest in Charlotte, while was reintroduced in 2015 with a majority of Butterfield derisively characterized the House members cosponsoring it but stalled executive order as a “Muslim ban.” Goverin committee, according to the N.C. Coalinor Cooper piled on, saying the order made tion for Lobbying & Government Reform. American troops less safe and arguing that Gerrymandering is “going to end soon,” Americans could “secure the safety of our In an article on its website last week, the consays David Meeker, the co-owner of Raleigh’s country without separating families.” servative Civitas Institute argued that stripTrophy Brewing who’s been a vocal advocate Also predictably, Tar Heel Republicans ping legislators of the right to draw their own of redistricting reform. (Meeker, of course, largely praised Trump’s move. Congressmen districts—in other words, letting politicians
+LINE DANCE
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is former Raleigh mayor Charles Meeker’s son; he is also the nephew of INDY co-owner Richard Meeker.) The buzz within the General Assembly, he says, is that even Republican lawmakers would be amenable to such a change. Especially since, if Donald Trump leads the GOP to ruin in 2020—something that doesn’t seem all that implausible after week one—Democrats would control how districts are drawn for the next decade. “Everybody is talking about it,” Meeker says. “From what I hear from both sides, it does have a shot. It’s not a sure deal it’s going to get passed, but it has a good shot. Just like when the Dems were gerrymandering things, there were principled Dems saying, ‘We shouldn’t be doing this. It’s bad.’ Will [Senate leader Phil] Berger be the next Joe Hackney?” he asks, referring to the 2009
Plate
Democratic House leader, who chose not to introduce an anti-gerrymandering bill, and then handed control to Republicans in 2011.
+TECHNICAL DIFFICULTIES
When President Trump announced his intention to withhold federal funding from “sanctuary cities,” at least one Durham resident got worried. The city, after all, passed a resolution in October 2003 aimed at protecting undocumented immigrants. The ordinance, Resolution 9046, prohibits police from targeting people based solely on their immigration status. In other words, a person’s immigration status would not be checked unless that person was involved in a “serious crime.”
Worried that this directive could qualify Durham as a sanctuary city, the resident emailed members of the city council to ask whether the city had jeopardized a funding source for light rail. After all, the feds are supposed to kick in half of the project’s $1.6 billion price tag. City attorney Patrick Baker weighed in, via email: “I am not aware that Durham has been classified or perceived by the Federal government as a ‘sanctuary city’ but I am also not aware that the federal government has ever defined the term ‘sanctuary city’ or has maintained such a list of cities.” So, aside from its other funding difficulties—thank you, General Assembly—it seems Durham’s kindness to immigrants won’t be the thing that kills its big mass transit ambitions. Except, it also seems Resolution 9046 isn’t working all that well. In an unrelated email to council members, another citizen revealed that “a neighbor of mine was taken into custody for deportation last week.” He was detained when he “reported to court” over a traffic violation. “I wanted you to know that in our ‘sanctuary city’ young people who are working hard, being good neighbors, and trying to do the right thing are still being seized.” triangulator@indyweek.com This week’s report by Ken Fine and Erica Hellerstein.
PERIPHERAL VISIONS | V.C. ROGERS
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news
Trump’s War on Facts
WITHOUT FACTS, CITIZENS CAN’T MAKE DECISIONS. THAT’S AN ESSENTIAL FEATURE OF TYRANNY. BY BAYNARD WOODS Editor’s note: The INDY and other alternative publications have partnered to bring you Democracy in Crisis, a weekly column covering the Trump administration. The author, Baynard Woods, is an editor at large at Baltimore City Paper.
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T
he teams of President Trump’s temporary appointees laying the groundwork for taking over and remaking federal agencies refer to themselves as “beachheads,” a military term for the point of invasion. Politico reports there were about 520 members of such teams when Trump took office. In any presidential transition, there are tensions between career civil servants and political appointees, but according to experts, this administration’s use of the term may exacerbate those relations. The term was offhandedly used in 2000 by President Bush’s incoming press secretary, Ari Fleischer. It was central to the language of Mitt Romney’s 2012 transition plan, which was provided to the Trump team. But its use here seems systematic, making many within various federal agencies feel like they’re being conquered. “The language of war being used suggests that cooperation is not the primary philosophy dictating this transition period,” says professor Heath Brown, who studies presidential transitions at CUNY’s John Jay College of Criminal Justice. “If the operating philosophy is one of combat rather than cooperation, then we’re in for some trouble with how these agencies are going to function.” Given the fact that Trump was a reality TV star, it’s not surprising that communications is the main focus of these beachhead teams. “[Trump’s people] want to control message in a lot of different ways, and for that reason I think they have made that a priority,” Brown says. “The Trump transition team devoted a lot more staff resources to communications than transition teams in the past.” In fact, ten of the twenty-three members of Trump’s senior transition staff have served some communications function, Brown
says. And they may well be changing what “communications” means—from informing the public, or even spinning the message, to something more like outright propaganda. Democracy in Crisis uncovered a 1996 Cornell Daily Sun article about then-CNN analyst Kellyanne Conway (née Fitzpatrick) that shows she’s been thinking about media and manipulation for at least twenty years. The story paraphrases Conway speaking about “manipulative media and political jargon.”
“In a generation where television and Internet images ‘bombard our senses,’ it is essential, according to Fitzpatrick, to realize that the soundbytes or visuals prepared by the evening news editors do not represent reality,” the story says. While this shows that Conway’s obsession with controlling the narrative is not new, it also underlines how she and her boss are pushing the standard spin of nineties-era Washington into the full-blown denial of reality in the age of Trump. During the Trump campaign, Politifact found that only 4 percent of Trump’s claims could be considered entirely truthful. Some, including President Obama, naively thought the power of the presidency would curb Trump’s tendency to lie. But thus far, truths remain merely occasional. After the inauguration, in the first “unofficial” press conference of the new administration, press secretary Sean Spicer stood in front of reporters and repeatedly lied about things that didn’t matter. Later, in his first “official” press conference, Spicer said, “sometimes we can disagree with the facts.”
Between Spicer’s two statements, Conway baptized Trump-speak with a succinct name: “alternative facts.” A couple of days later, Trump advisor and Lenin wannabe Stephen Bannon called the press the “opposition party” and said the media should “keep its mouth shut.” The attacks on the press, however, are only part of a larger attack on facts themselves—attacks beginning with the communications-obsessed beachheads now inside federal agencies. Trump ordered the EPA to freeze all of its grants, take down the climate change section of its website (although the administration later backed down), and cease all communications with the press. Then, according to an email obtained by Buzzfeed, the U.S. Department of Agriculture’s research division prohibited employees, including scientists, from sharing information with the public. (The USDA later lifted the gag order, saying that it was released “without Departmental direction” and was not sent at the request of the administration.) But information about climate change is not the only information at risk—data, science, and research are all being suppressed. And Trump’s congressional allies are all too happy to play along. Republican senator Mike Lee of Utah and Arizona congressman Paul Gosar introduced bills last week that say “no Federal funds may be used to design, build, maintain, utilize, or provide access to a Federal database of geospatial information on community racial disparities or disparities in access to affordable housing.” This racist bill, which would help maintain the kind of segregation affecting cities all over the country, could still die in committee, but it is of a piece with Trump’s all-out war on facts. Deprived of access to facts, citizens are incapable of making decisions. This is an essential feature of tyranny. As an air of war prevails in Washington, using the term beachhead may in fact be among the minority of things the Trump team is honest about. Twitter: @baynardwoods
YEARNING TO BREATHE FREE Meet the local refugees Donald Trump thinks pose a danger to the United States BY JEFFREY C. BILLMAN AND ERICA HELLERSTEIN
O
n a Sunday afternoon in June 2014, Lenny Ndayisaba finally got the call he’d been awaiting for so long. A longtime inhabitant of a refugee camp in Rwanda, the
twenty-one-year-old Congolese native learned he’d be boarding a plane to North Carolina at one o’clock the next afternoon. He burst into tears. “It took so long,” he recalls. PHOTOS BY ALEX BOERNER
Lenny Ndayisaba
Indeed, Ndayisaba and his family had been living in the Gihembe refugee camp for eighteen years, almost his entire life, crowded among untold thousands of his countrymen. They’d fled the eastern part of what was then called Zaire in 1996 to escape the chaos of the First Congo War and the destabilization wrought by the Rwandan genocide. That wave of refugees was followed by more, and more after them. By 2013 so many Congolese were packed into the five Rwandan camps built to accommodate them—at least twenty-five thousand came in 2012 alone, following unrest in the eastern part of the Democratic Republic of Congo, on top of fortythree thousand already there—that the Rwandan government announced that the camps were full. Conditions were dire. Food and water were scarce. The sick would wait months for medical care. Ndayisaba and his family lived in makeshift tents that flooded during the rainy season, keeping them up all night. “It was a very challenging time,” he says. “We lived a very bad life in the refugee camp.” Ndayisaba, a reed-thin man with a soft voice and softer eyes, has seen big changes in his life since Gihembe, when he would sit and wonder if he would ever make it out. He’s now a Chapel Hill resident, a student at Durham Tech, a comfortable English speaker, and an employee at Christian World Services, one of several local agencies that helps resettle refugees like himself. Despite his own gains, though, he can’t help but think of family and friends still living in that camp—especially given the news of President Trump’s recent executive order, which, among other things, suspends all refugee admissions to the United States for the next 120 days. For Ndayisaba, the implications are personal. His two older sisters still live in Ghimebe. Ndayisaba doesn’t have the heart to tell them about the new policy. “I can’t call them and say, you know what, you’re not coming here,” he says. “They know how we live, they know that now our family is fine, comfortable, and proud of the life we have made in North Carolina. And they wish they could be like us right now. And that’s why I can’t call and explain to them. This is something that is going to make people again feel like they are forgotten by God.” INDYweek.com | 2.1.17 | 9
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he executive order does much more than temporarily block refugees. It indefinitely suspends the Syrian refugee program and prohibits all citizens or nationals of seven majority-Muslim countries—Syria, Libya, Sudan, Yemen, Somalia, Iran, and Iraq—from entering the United States for ninety days. (This originally appeared to include green card holders, but the Trump administration walked that back over the weekend.) It also cuts in half the number of refugees who will be admitted to the United States in 2017, from 110,000 last year to just 50,000 this year. The order, signed late Friday afternoon and quickly derided by critics as a “Muslim ban,” kicked off a firestorm of protest over the weekend. Tens of thousands gathered at airports all over the country—including fifteen hundred at Raleigh-Durham International Airport on Sunday, who chanted, “Refugees are welcome here,” and, “We the people, united, will never be defeated.” RDU protest organizer Mia Ives-Rublee told the INDY Sunday that the effects of Trump’s order will be felt among the Triangle’s immigrant populations. “They’re not going to be able to study, to work, to provide for their families and reunite with their families under this policy,” she said. “I know a couple of LGBTQ people who came here based on the fact they were being persecuted in their countries. They’re scared they could be deported.” So far, the executive order has not fared well in court. At least five federal judges have ruled against parts of the order, and on Monday, then-acting attorney general Sally Yates, a holdover from the Obama administration, instructed lawyers at the U.S. Department of Justice not to defend the ban in court. Trump immediately fired her. Amid the outcry, Trump defended the order on the grounds of national security, saying it was not a Muslim ban but instead that it was “about terror and keeping our country safe.” He blamed the media for the furor and insisted that America under his watch would continue to show “compassion to those fleeing oppression.” These are uncertain times for the world’s estimated twenty million refugees, comprising the largest refugee crisis since World War II, owing in part to massive displacement due to the Syrian civil war and the rise of ISIS. The Obama administration acknowledged the unprecedented nature of the crisis by increasing the U.S. resettlement target for 2017 by more than 30 percent, to more than one hundred thousand refugees. For decades, the United States has been a global leader in refugee resettlement. The program has often boasted
Salma and Manzoor Salihi bipartisan support and has long been a fixture of U.S. foreign policy. Trump’s executive order represents a staggering departure—and the global refugee population is reeling. “We open our arms to refugees. This order flies in the face of that,” says Scott Phillips, director of the North Carolina office of the U.S. Committee for Refugees and Immigrants, which in its decade of existence has resettled about three thousand refugees in the Tar Heel State. USCRI planned to resettled three refugees this week. Two were from banned countries, so the order precluded that. The third is more fortunate; he’s from the Congo. Because he’s already been approved as a refugee and had flight plans, Phillips says, he’s allowed in. But for those the USCRI has already settled, including the 370 it brought here last year, the order raises a number of uncertainties: What’s going to happen to my daughter? My mother? Will they be able to come over? That, Phillips says, is the real “punch in the gut.” “Real Americans are speaking out,” Phillips says. “That’s not who we are. And that’s been really touching to the families that are here, to see one thousand people at RDU.”
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he idea that Salma Salihi poses a threat to national security is, on the face of it, absurd. She’s twenty-three and admittedly uneducated—girls weren’t allowed to go to school, or to do much of anything, in her native Kandahar, a province in eastern Afghanistan that, in the
school the tion with to Kanda for them. In the m paces: pap biometric ing. After the U.S. w And then nant and girl, Tasal When T got the wo “We we she says would fin and also school an opportun There wasn’t pa that, frien cation to would me to leave t mid-nineties, was overrun by the Taliban— Afghanist but her big, bright eyes betray warmth and Manzoor’ tion. So t intelligence. Through a translator, Salihi says that, cation pr despite the restrictions placed on women, expected; she was content to stay in her homeland, had them nav circumstances permitted it. But they didn’t. These thi At age fifteen, she married her husband, Salihi Manzoor. Manzoor’s father worked con- ter a cou struction; under contract with Blackwater, messagin he helped build a U.S. Army facility. For her daugh that, the Taliban murdered him in front of bound by his shop. Then, the Salihis found a letter big, expre in the yard in front of their house—a threat In the from the Taliban to murder the entire fam- Raleigh, t ily. Manzoor, too, worked with the army. for the Sa “If I didn’t receive any threat and if the hotel hou Taliban didn’t kill my father-in-law,” Salihi to learn says, “then I would never leave my coun- maybe to try, because we were good there, and my six-year-o husband was working very well there, and safer tha his income was good. We were happy in more than to be toge our life.” In 2010, the family fled across the bor- That, th der, to Quetta, the ninth-largest city in want—an Pakistan, and sought refuge with the Trump to UNHCR, the United Nations’ refugee “If Mr. agency, which helped them start the long, gees to ge arduous process of applying for refugee Salihi say status in the United States. They wouldn’t refugee I was in th make it until 2016. In Pakistan, however, they were undoc- bad over umented immigrants—unable to legally die someh work, forced to live off the grid and pay in one woul cash, subsisting off cash gifts from Man- is living zoor’s aunt, who lives in North Carolina. worry abo They had a daughter, but she couldn’t go to
school there. They had to avoid any interaction with authorities, lest they be sent back to Kandahar, and the danger there waiting for them. In the meantime, they went through the paces: paperwork, blood tests, fingerprints, biometrics, physicals, photos, endless waiting. After three months, they were told that the U.S. was processing their application. And then, years of silence. Salihi got pregnant and gave birth to her second child, a girl, Tasala, who is now three. When Tasala was twenty days old, Salihi got the word. Her application was approved. “We were really excited to [come] here,” she says, “because maybe my husband would find a good job making good money, and also my children would be getting to school and also maybe I would have the opportunity to learn or get an education.” There was one problem: her new kid wasn’t part of her refugee application. And that, friends told her, might cause her application to be delayed or even denied, which would mean starting over. Better, they said, to leave the girl with her grandmother in Afghanistan, come to live in Raleigh (near Manzoor’s aunt), and apply for reunification. So that’s what she did. That reunification process has taken longer than they expected; they’ve hired a lawyer to help them navigate the byzantine bureaucracy. These things are never easy. Salihi communicates with her daughter a couple of times a week, via Viber, a messaging service. She carries a picture of her daughter with her; the girl, in pigtails bound by bright yellow bands, has Salihi’s big, expressive eyes, her soft features. In the ten months they’ve lived in Raleigh, things have gone reasonably well for the Salihis. Manzoor landed a job as a hotel housekeeper. Salma is making plans to learn English and gain an education, maybe to work in an office one day. Their six-year-old is in school. They’re safe— safer than they ever were at home. But more than anything, they want their family to be together again. That, they say, is what so many refugees want—and that’s what they want Donald Trump to know about them. “If Mr. President will help all the refugees to get to the United States,” Manzoor Salihi says, “it will be great, because as a refugee I came here because my country was in the red zone, and security was so bad over there and we felt that we would die somehow, like by an explosion or someone would come shoot us. So now my child is living with the same insecurity, so I worry about her very much.”
U.S. Representative David Price at a press conference in Durham Monday
L
ike the Salihis, Sufyan Abdullah came to the U.S. after undergoing a rigorous refugee application process. Unlike them, Sufyan hails from one of the seven Muslim-majority countries targeted by the order: Iraq. When the executive order was announced, Sufyan’s mother, who is visiting him in North Carolina until the end of the month, asked if she’ll be able to see him after she goes back to Iraq. A friend whose fiancé is in Iraq agonized over when and how he’ll see her next. “He said, ‘Am I going to continue my life here? Am I going to see her again?’ That’s one of thousands of situations with thousands of families,” Sufyan says. “All of their dreams are crushed.” Sufyan, a graduate of Baghdad University and an English-Russian double major, immigrated to the United States after working for years as a translator with the U.S. military beginning in 2003. After the U.S. invaded, Iraqis who, like Sufyan, worked with the military, found themselves targeted. In 2007, Sufyan’s brother was kidnapped and held for ransom after his captor mistakenly took him for Sufyan. “That’s what made me think about moving,” he says. “It’s not a simple decision to make. You’re leaving behind everything, it’s really hard—your friends, your family, your memories. When I first applied, I told my parents about this program and told them I might leave, and my dad said, ‘Do what you think is right to do,’ and my mom said, ‘I don’t know if I [will] see you again,’ but she
told me to go.” Sufyan was eventually granted a special immigrant visa, under a program designed for translators who worked with U.S. forces. (These, too, are now blocked by Trump’s executive order.) He arrived in the United States in July 2012. Like Ndayisaba, he was resettled through CWS. He got a translator job with CWS and eventually became close with other Iraqi families who were new to the area. While Sufyan has been surprised by many the friendliness of North Carolinians, he knows not everyone is so open. To the fearful, he has a message: “We are not your enemy. We are people like you, but unfortunately, we had to leave our families and countries because we don’t feel safe there anymore. And we’ve come to this country, where we say there is justice for all. We are just looking for a safer place for us and our families. And so, please know that there are thousands of people who are having a dream to come to this country like us. And this division is not a way to make America great. America is great because of its unity.”
A
week before he left office, President Obama issued an executive order lifting some trade and financial sanctions on Sudan, which the United States has listed as a state sponsor of terrorism since 1993. Other sanctions, including on arms sales and U.S. aid, remain, and the country is still considered a terrorism sponsor; indeed, hundreds of thousands
have died and millions have been displaced in a civil war, and the ongoing genocide in Darfur has wreaked unspeakable horror. But as Jalal Osman, a Durham specialeducation teacher of Sudanese descent, points out, “No Sudanese national has been involved in a terrorism attack that I know of, certainly since 2001.” (Indeed, a 2014 State Department report lists Sudan as a “generally cooperative partner.”) Sudan nonetheless found itself on Trump’s list, which “casts a shadow of suspicion” over the whole country,” Osman says. Osman was born in California—he earned a political science degree from Yale—but nearly his entire family is from Sudan, and many members still live there. On Sunday, when he was protesting outside RDU, with a sign that read, “Hug Me, I’m Sudanese,” he wasn’t sure whether he’d ever get to spend another Christmas with his ninety-one-year-old grandfather, who lives in Egypt and has a green card. A few hours later, the Department of Homeland Security announced that Trump’s edict wouldn’t apply to green card holders. But this is still personal, Osman says. He lived in Kuwait for nine years. He’s traveled throughout the Middle East. He knows people—friends—from each of those seven countries. “They’re good people,” he says. “I think about how much they could contribute to the United States.” He doesn’t buy the White House’s argument that the immigration ban is, in the words of Trump adviser Kellyanne Conway, “very narrowly proscribed” and “temporary.” “Ninety days from now,” Osman says, “I’ll say right now, I’ll eat everybody’s hat if [Trump] doesn’t have some kind of extreme vetting that makes it impossible for anyone from those countries to come here. It makes me extremely furious.” Lenny Ndayisaba shares the same uncertainty. As enthusiastic as he is about his life in North Carolina, his enthusiasm wanes when he thinks about refugees’ future under President Trump. “I feel hopeless when I think about the situation with refugees right now,” he says. “I don’t know if, after this one hundred and twenty days, the process will continue as it was before. I don’t know if it will continue, if they think they don’t need refugees. If they don’t need refugees, there would be no hope, I think. I am waiting to see what these four months will bring.” backtalk@indyweek.com Additional reporting by Victoria Bouloubasis and Jane Porter. INDYweek.com | 2.1.17 | 11
SPECIAL ADVERTISING SECTION systems family farms need to thrive, and educating communities about local, organic agriculture.
Volunteer Guide is INDY Week’s annual guide to help Triangle area nonprofits secure smart, capable, committed volunteers. For more information, contact Susan Harper at sharper@indyweek.com
Animals THE GOATHOUSE REFUGE WHAT WE DO - The Goathouse Refuge is a 501(c)(3) nonprofit, no-kill animal sanctuary in Pittsboro, NC, dedicated to providing cage-free care for cats regardless of age, medical issues or disposition until a permanent adoptive home can be found. We raise all our funding. WHAT WE NEED HELP WITH - We need volunteers everywhere -- to organize projects and events, to make repairs, to fundraise, to write grants, to maintain reports and metrics, to clean, to socialize cats and to assist with the adoption process. We are open every day. CONTACT - www.thegoathouserefuge.org online volunteer application or contact GoathouseRefugeOffice@gmail.com | 919-542-6815
ORANGE COUNTY ANIMAL SERVICES WHAT WE DO - Orange County Animal Services is responsible for Animal Control and Animal Sheltering activities within Orange County. Our mission is to meet the needs of residents by working with volunteers and other partners to deliver cost-effective and integrated sheltering and animal control services that ensure the health, safety, and well-being of humans, pets, and the community as a whole. WHAT WE NEED HELP WITH - Volunteers are essential to Animal Services, whether they are stuffing envelopes, cuddling with the cats, walking the dogs, recording information at rabies clinics, or working on special events and community outreach. We especially need morning dog walkers. CONTACT – Sarah Fallin, Program Coordinator: sfallin@orangecountync.gov | 919-942-7387 ext. 224
Environment CAROLINA FARM STEWARDSHIP ASSOCIATION WHAT WE DO - Carolina Farm Stewardship Association is a farmer-driven, membership based non-profit organization that helps people in the Carolinas grow and eat local, organic foods by advocating for fair farm and food policies, building the 12 | 2.1.17 | INDYweek.com
WHAT WE NEED HELP WITH - We need over 100 Volunteers to help with the 22nd Annual Piedmont Farm Tour, April 22-23 from 1:30 - 6pm each day. Volunteers staff registration tables at the farm of your choosing. Get visitors checked in and oriented and help us make sure everyone uses hand-washing devices at farms with animals. Volunteer one day and take the tour for free the other! Plus get a free, limited edition farm tour t-shirt. carolinafarmstewards.org/pft
Carolina. Located at the NC Museum of Art, CMR has established itself as the leading presenter of intimate, exceptional chamber music in the Triangle. Its outreach initiatives with Wake County Public Schools along with free community concerts reach nearly 2,000 children and community members a year.
CONTACT - Leah Joyner: Leah@carolinafarmstewards.org | 919-542-2402
WHAT WE NEED HELP WITH - Volunteer tasks will include supporting the organization through assisting with special events, assist in archiving materials, communicate with community partners, and serving as ambassador between teachers and CMR staff at outreach events. Volunteers will work with ED to tailor tasks to fit the needs of the organization and the individual volunteer. Interest in board relations a plus.
Health & Wellness
CONTACT - Jackson Cooper, Executive Director, info@chambermusicraleigh.org | 919-821-2030
HABITAT RESTORE
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WHAT WE DO - We are a nonprofit home improvement thrift store and donation center that sells new and gently used furniture, home accessories, building materials, and appliances. By volunteering with us, you can support the Habitat mission without ever picking up a hammer! WHAT WE NEED HELP WITH - Volunteers are the heartbeat of the ReStore! We have roles for anyone ages 16 and up, including: donation processing and sorting, customer service, repurposing and more! Enjoy flexible scheduling seven days a week. Groups are welcome, too! CONTACT - Amanda Casella: 919-403-8668 x 103 volunteer@restoredurhamorange.org or restoredurhamorange.org/volunteer
THE SCRAP EXCHANGE WHAT WE DO - The Scrap Exchange is a Creative Reuse Center, a nonprofit organization whose mission is to promote creativity, environmental awareness, and community through reuse. We collect materials from individuals and business and distribute those materials through our retail store and outreach events. WHAT WE NEED HELP WITH - We welcome volunteers to help process and organize materials, clean and maintain the store, and generally keep things running smoothly. Opportunities include: processing materials, warehouse mover and shaker, gallery docent, sewing expert and admin virtuoso. CONTACT - Cappye Mott: Volunteer@scrapexchange.org | 919-401-0552
arts CHAMBER MUSIC RALEIGH WHAT WE DO - Celebrating 76 years in the Oak City, Chamber Music Raleigh presents a mix of world-renowned artists and fostering emerging musicians from around North
TRIANGLE LITERACY COUNCIL WHAT WE DO - The Triangle Literacy Council teaches adults, youth, and families in the Triangle region how to read, write, speak better and improve their lives through the use of volunteer oneon-one tutoring and small group classes. TLC provides literacy programming across a broad spectrum of individuals and families, including court-involved youth, incarcerated women, inmates in county jails, and the unemployed. WHAT WE NEED HELP WITH - All TLC’s services are provided at no cost to our students through the help of our volunteers. We are currently looking for tutors for our adult programs (Adult Basic Education and English as a Second Language) and our Juvenile Literacy Center, which serves court-involved and at-risk youth ages 6-16. CONTACT – Rachel Porter: rporter@triangleliteracy.org Regina Basnight: rbasnight@triangleliteracy.org 919-787-5559
EXECUTIVE SERVICE CORPS OF THE TRIANGLE WHAT WE DO - Executive Service Corps of the Triangle (ESC) provides professional, affordable consulting services to Triangle nonprofits, in order to help them achieve their missions. ESC provides services such as board development, strategic planning, financial assessment, and retreat facilitation for nonprofits in Orange, Wake, Durham and Chatham counties. WHAT WE NEED HELP WITH - We are looking for executives with 10+ years of senior management experience who are retired or have flexible schedules to volunteer as consultants to Triangle nonprofits. Consultants work in teams to help nonprofits build capacity and are provided with tools and training. See www.esctriangle.org for the application process. CONTACT - Anne Saffer: anne@esctriangle.org
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BJ Barham gets tattooed by Shaun Bushnell at Blue Flame Tattoo in Raleigh.
14 | 2.1.17 | INDYweek.com
The
HARDEST-WORKING
HACK in
SHOW BUSINESS How Raleigh’s BJ Barham gamed the system to make American Aquarium a breakout success—even if his hometown still doesn’t quite get it By Ken Fine
I
t’s five o’clock on a Thursday in December. Bradley Justin Barham turns his back to his band to face a virtually empty room. He strums his cherry red Gibson J-45 as he slowly steps across a sticky black floor. This wouldn't be the first time he’s played to no one. But American Aquarium’s founder and frontman seems at peace as he studies a charred guitar hanging on a wall inside the Dallas music venue Trees (the instrument was set ablaze by the Flaming Lips at the end of their set here in 1999). It’s only sound check, and he’s seen the presale numbers. The venue holds more than five hundred; the show is nearly sold out. “Crazy, right?” he says. “After years of getting punched in the face, we’re headlining at fucking Trees. I used to play directly across the street at the LaGrange Theatre for years. They were shitty little gigs—twenty, maybe thirty people—and we would literally be
loading our shit out in the street and see tour buses. It was like, ‘That’s what it’s like to make it.’ In those moments, you want to believe.” For the majority of Barham’s career, nobody did, save the singer-songwriter himself. And why would they? During the band’s lean years, from its first six-show tour in 2006 until the 2012 release of Burn. Flicker. Die., the band lived in vans, coffee shops, and truck stops, driving nearly all day, every day, to play for a handful of people that night. They slept on the living room floors of random fans they’d met only a few hours before. Living off a cut of cover charges and ticket sales only works when hundreds turn out night after night. So when Barham points to the stage and notes the spot from which Kurt Cobain stage-dived, he allows himself to enjoy the moment. He’s pulled it off, detractors—and he’s had a lot of them—be damned.
Photos by Alex Boerner
INDYweek.com | 2.1.17 | 15
Your Week. Every Wednesday. indyweek.com 16 | 2.1.17 | INDYweek.com
Barham got here by keeping “blind faith.” He cut expenses where he could and took on thousands of dollars in debt. His band used its earnings to eat and put enough gas in the tank to make it to the next gig. There would be no hotel stays or equipment upgrades, no fancy dinners or label-sponsored VIP outings. They stayed hydrated with open bar tabs. The band survived those years on its frontman’s ability to sell himself—on his gift of gab and the promise of early-morning drunken debauchery with whichever fan would open his or her home to Barham's crew on any given night. It worked. American Aquarium always had a place to crash. And Barham found that with every floor he slept on, he made a fan for life— no matter how bizarre the situation he had to put himself in to earn it. “Every night, we found a place. And those people still come to shows every single time we come to their town,” Barham says. And when those fans came, they brought a few friends. On the next tour, those friends brought their friends. By 2012, when Barham wrote Burn. Flicker. Die. as the dying breath of his dream, they had thousands of followers on social media—people who'd opened their lives to Barham's band and considered the struggling musicians family. But life on the road had taken its toll. Barham was losing the faith that, despite playing hundreds of shows a year and recording several albums, his break was coming. Music critics characterized Barham as a hack and a misogynist. In 2009, then-INDY music editor Grayson Haver Currin wrote about American Aquarium’s new release, Dances for the Lonely, that Barham was the “sleazy rock ’n’ roll huckster about which parents warn their children.” Others labeled his music cheap and his lyrics—which tended to focus on drinking, drugs, heartbreak, and sex—as clichés. Barham’s in-state fan base was limited mostly to kids from his hometown and former college classmates. So, in 2012, the band made a pact. If Burn. Flicker. Die. failed, it was over. “We were just spinning in circles, playing the same shithole bars every month. Everybody kind of came to the conclusion that, ‘Hey. We tried.’ There is no shame in stepping out and trying something and failing,” Barham says.
A
s I wade through the sea of people who have converged on Trees, I can’t believe he’s pulled it off. I knew Barham when we were both enrolled at North Carolina State University. We were friends. We even lived together for a while. I was one of many who watched him— his shoes propped up on a rickety desk he’d bought from Target, learning to play a handful
Barham performs with his signature Gibson J-45. PHOTO BY CAL QUINN. of guitar chords via the Internet—and urged him to take the safe bet and earn a degree. We would see bumper stickers promoting the American Aquarium website on fastfood windows and gas pumps, and laugh at Barham’s audacity. We attended his first live show at The Brewery in Raleigh and joked with his mother (who was working the merchandise table) about his flippant lyrics and the notion that he might put college on hold. We were on the receiving end of the demos he would slide under dorm-room doors. We thought he was, at the very least, naïve about his chances at real success, but there was something impressive about his ability to spin his dream into an attainable reality. He had charisma. He made you want to believe him. In his mind, he was already there. He was going to be a touring musician. He was at Point Z, and getting there from Point A could be thrown together later. “I believed in it. And the shit I was sliding under [those dorm-room doors] was godawful. It was one part ignorance, one part confidence. Looking back, that was dumb,” Barham says. “Who does that? If somebody slid a demo tape under my door, I’d be like, ‘Who the fuck is this guy?’ I might listen to it though. And maybe something connects.” His strategy was never to write a single hit that would make him a breakout sensation, but to pick up one fan at a time by talking about a breakup the way they wish they could or singing about a drunken, cocaine-fueled night at a bar that ended in a stranger’s bed. He sold them his wildest dreams. And with every new song or album he released, with every two-dozen people he performed for at venues across more than thirty states, those
connections started adding up. When he dropped out of N.C. State in 2006 and hit the road, it raised the question aspiring musicians have been asking themselves for decades. Can an artist with a limited catalog who characterizes himself as “not the best singer or songwriter” make it without a push from a major label? He’d find his answer in his roots, in the small-town mentality fathers in his hometown ingrained in their sons.
T
he oldest of two boys, Barham grew up in Reidsville, North Carolina, a small tobacco town that might have swallowed him had he not taken his parents’ advice. “Reidsville is still the kind of place where you do exactly what your parents do," Barham says. "If your dad was a mechanic, you went to school and learned the trade. Then you came back home and took over for your dad. You didn’t have a choice. It wasn’t, ‘Oh, Dad, I want to go off and become an artist.' My dad sold auto parts, a very blue-collar upbringing. I knew that if I didn’t get out of Reidsville early on, that was my future.” He moved to Raleigh in 2002 and attended N.C. State, not knowing that taking a job at The Record Exchange—a move that, for him, was about his hometown tradition of earning an honest wage to support himself—would inspire his path. Growing up, he was restricted to “shitty nineties music” playing on the radio and his parents’ outlawcountry favorites like Willie Nelson. There were no music nerds in Reidsville, no mentors to expose him to the obscure albums he would later count among the most important
records in his collection. But when he moved to “the big city,” cut loose among The Record Exchange’s near-endless supply of music, he quickly fell in love with independent artists like Ryan Adams and Wilco. “I had no idea that there was a gap between being a guy playing the guitar at your house and Tim McGraw. I thought if you were a musician, you were super famous,” Barham says. “Moving to Raleigh, I realized there was this in-between. There were independent musicians who play a bar gig and get paid a hundred dollars and a beer tab. I thought, I can do this. I can write songs.” And while his earliest attempts were a far cry from the tracks that have now been streamed more than a million times on Spotify, with every day spent inside The Record Exchange, Barham refined the kind of artist he wanted to be. He would hold his guitar like Johnny Cash. He’d throw a Ryan Adams-esque “aw man” into a song after the chorus. On a more local level, he was finding his musical identity by studying the likes of the Backsliders, Six String Drag, and Whiskeytown. Barham, engrossed with these Southern storytellers, decided to make stories the foundation of his songs. “I grew up listening to people talk, to my grandparents telling stories. So, why not me?” he says. But even in those days, years before the existence of an extensive American Aquarium catalog, he did what he has always done: he faked it, fueled by the blue-collar belief that he could attain anything through hard work. So he booked a show at The Brewery when he didn’t even have a demo. “Hell, I booked the show two months in advance and I didn’t even have a band,” Barham says. And he took a page out of one of his hero’s books and told people that, come hell or high water, he was going to succeed. “I’ve heard all sorts of things about Ryan Adams, but no matter who you talk to, it’s, ‘That motherfucker believed in himself.’ He told every single person, ‘I’m gonna get out of here and date Winona Ryder.’ Then, three years later, he’s living in New York City, dating Winona Ryder,” Barham says. “You’ve got to have that cockiness. You have to be confident and believe in what you’re doing. I think that’s something Ryan and I have in common. We were both kids with everybody else saying, ‘You can’t do this.’ We said, ‘Fuck you. Watch me.’”
I
t’s 2009 and Bradley Thompson sits inside a coffee shop at a nameless exit off a Louisiana highway. He hasn't slept much in days. His eyes are heavy from driving hundreds of miles since dawn, and he's still hungover from the night before. He opens his
laptop and spends several hours frantically emailing owners of small-town honky-tonks and dive bars across the nation. He knows how to route a tour and keep his clients on the road long enough that they don’t have time to dwell on years of being broke. He understands that the only way to keep the band together is to make sure it has a stage to play on and an open bar tab tonight and tomorrow. By the time he packs up and heads to that night’s venue, he’s got his artist booked for the next two months. There’s just one catch. Bradley Thompson doesn’t exist. He was a creation of Barham—a Trojan horse used by the aspiring musician to get his foot in the door. If they could just hear the music, he told himself, they would understand.
out the Lincoln to out-of-town fans, who flock to Raleigh like it's Graceland. Barham would tell you it doesn’t really bother him, but when he slowly wrings his hands after he says so, you can tell he carries it with him.“We’re proud of where we’re from. We take up for this city and this state every single day, good or bad. But the bands that feel like the big Raleigh bands are the bands that never leave Raleigh,” Barham says. “It’s not like the Avett Brothers, where, when they come back home to play, they play the fucking coliseums. We don’t have that kind of connection. But I get to wake up every day and play music. I don’t care how. I don’t care where. I’m not going to be bitter. The childish part of me is like, ‘Why can’t I be big in Raleigh? Why
Barham at home in Wendell with Rachael Barham, his wife, and their dog, Bueller “I set up a fake name for our booking agency. I set up fake names for our management. I would email people as management. I would book entire tours that way,” Barham says. “I believed. And when the boys got on board, they believed, too.” Back home, despite having gone from nothing to releasing records and touring, his critics still weren't coming around. Even now, eight years after Dances for the Lonely, and despite being armed with two albums that gained acclaim (Burn. Flicker. Die. broke into Billboard's top forty; 2015's Wolves was among the top sellers on iTunes the week it was released and was favorably reviewed by Rolling Stone), he still isn’t convinced that if his gigs Friday and Saturday night at the Lincoln Theatre were intended for Raleigh residents only, he would sell out his hometown venue. He doesn't have many fans here, but he sells
can’t I be on the cover of the INDY?’ But if it wasn’t for people in Raleigh not believing in what I was doing, I would have never gone on tour. I would have played Raleigh every night and failed and I’d be working at Wells Fargo right now.”
A
t the Trees show, many fans are singing along with Barham word for word, drinks in hand. But Jocelyn Matthews stands alone, her head down as she leans against the wall just inside the venue’s front door. Asked why she came, she looks up, her eyes swollen, and, without lowering her eyes, rolls up her flannel sleeve. “I’m here because of this,” the twenty-twoyear-old says, looking down at three long scars on her left wrist. “The night I tried to kill myself, I was listening to Wolves. I went through a real bad breakup and was stupid,
but at that moment, I was ready for it to be over, and then I heard ‘Losing Side of Twenty Five.’ A little more than halfway through the song, I called 911.” The words: “There are different roads to happiness/I took a different path, I guess/ Came out on the other side just fine. The losing side of twenty five.” “I don’t know what it was about hearing BJ sing those words, but those lyrics saved my life,” Matthews says. “So I show up at every Texas show I can afford. You won’t understand this, but reliving that pain keeps me focused on what a blessing life is.” Those connections mean something to Barham, and that is how he rewrote the playbook for success in the age of digital music. From that very first tour, his gift has been his ability to listen as the brokenhearted share their demons: to make each fan feel like he or she matters. It's happened with fans like Chris Keen, a North Carolinian with cystic fibrosis, who says the band “motivates me to want to get stronger and live as long as I can.” Or countless couples who danced at their wedding to an American Aquarium track. Like Kendra Bragg Harding, who realized, as Barham performed “Man I’m Supposed to Be,” that she loved her now-husband back. Barham, they feel, speaks to them, without hiding behind a wall of pretension. They can, quite literally, reach out and touch him. In that sense, he’s something of a populist—and an anomaly. “When I have fans tell me, ‘I was about to kill myself until I heard this record of yours,’ I know that sounds extremely over the top, but I hear stories like those every night. People talking about our songs saving them—emotionally or physically,” he says. “It’s hard to wrap your head around it sometimes, how much your songs matter to people. I’ve come to terms with the fact that I might never be the hip kid in the obscure music scene, but I can go to bed every night knowing that my songs matter to thousands of people.” The crowd is chanting for one more song, so Barham pays homage to the band’s breaking point. They were broke and spinning their wheels. Success, despite his effort to manufacture it, one listener at a time, wasn’t coming. And then, thanks, in part, to the sudden rise of Jason Isbell, Burn. Flicker. Die.'s producer, in 2013, it happened. So Barham gives the Trees audience one for the road, the title track from what was almost the last album he ever conceived. “It’s the ultimate, ‘We’re still here,’” Barham says, wearing his signature smirk. “This may be the last song, but it’s not the last you’ve heard of us.” kfine@indyweek.com INDYweek.com | 2.1.17 | 17
IN OCTOBER 1982,
composer Philip Glass appeared in an ad for Cutty Sark scotch. Floating above an illustration of Glass with his trademark messy flop of hair, his left hand clutching a brace of musical notes, the tagline reads, “Here’s to those who can make history out of the same 12 notes.” Alongside is a biography that details his rise from a life of odd jobs to his success as a composer with “an audience so large and so diverse it even includes rock fans.”
THE GLASS CEILING
IN A COUNTRY WHERE MOST CLASSICAL COMPOSERS ARE BEST-KEPT SECRETS, HOW DID PHILIP GLASS BECOME A HOUSEHOLD NAME? BY DAN RUCCIA
ILLUSTRATION BY SHAN STUMPF
18 | 2.1.17 | INDYweek.com
The sight of a composer in an ad for a product unrelated to music is certainly unusual, but then, Glass is an unusual figure. As the Cutty Sark biography says, his music has garnered a following far beyond classical music—though it’s telling that having rock fans is the ultimate sign of credibility here. He is one of the few composers who are household names in the twenty-first century, and his brand of pulsating minimalism is heard the world over. Glass turned eighty on January 31, and Carolina Performing Arts is throwing him a huge birthday party, presenting six concerts that encompass all the facets of his work. Glass’s minimalism started
developing while he studied with the famed musical pedagogue Nadia Boulanger— whose students included Aaron Copland, Astor Piazzolla, and Quincy Jones—in Paris in the early 1960s. As he absorbed her rigorous approach to counterpoint, Glass also became interested in Hindustani music and its tension between rhythmic and harmonic cycles. The music he wrote after returning to New York City around 1967 is rigorous and austere, using simple scales or tonal chords to explore complicated, ever-changing rhythmic groupings. Those pieces, which include Music in Fifths, Music with Changing Parts, and Music in Twelve Parts, sit nicely alongside similar, contemporaneous works by Steve Reich, Terry Riley, and Julius Eastman. Change is constant, but it’s often so grad-
Nearly four hours into Einstein on the Beach, Glass does something unexpected: he starts changing chords, churning through progressions at a rapid clip. Organs reel off piles of arpeggios, a saxophone outlines the bass line, and a chorus hovers above it all. It may be the most famous scene in the opera, with a wall of lights operated by dozens of people and elevators flying around as a few dancers make odd gestures around the stage. It’s an ecstatic explosion—one similar, perhaps, to the patterns of tension and release constructed by Larry Levan or David Mancuso at the underground dance parties happening around New York at the same time. Einstein was a sensation, selling out its run at the Met and earning all kinds of national and international press. It also
"Philip Glass" the idea is somehow stuck, in the popular consciousness, on those endless arpeggios. ual, subtle, or submerged within the larger texture that it’s hard to notice. This period culminated with his 1976 opera, Einstein on the Beach, a collaboration with director Robert Wilson and choreographer Lucinda Childs. With no plot to speak of, it uses Einstein and relativity as a metaphor for timelessness by way of trains and spaceships. Throughout the piece, Glass’s music continues to loop and oscillate in lopsided patterns of arpeggios while singers intone random syllables and numbers, a sound that echoes much of Meredith Monk’s work. The amplified ensemble of organs, saxophones, flutes, and a solo violin gives the music a futuristic throb. Because harmonies pass so slowly for much of the opera, it often feels like a kind of charged, hyperactive drone. Glass’s music provides the perfect backdrop for Wilson and Childs’s massive, monochromatic tableaux, full of activity but static in their sense of space.
began the transition from Glass the composer to Glass the star to Glass the public musician and figurehead. The opera’s closing scene became the blueprint for much of the music that would become widespread, propelling Glass’s rise and forming the backbone of his mature style: perpetual-motion arpeggios running in different directions, chord progressions bustling by at dizzying speeds, a vaguely dance-like rhythmic feel full of three-against-two syncopations and lots of repetition. Those drone-like textures still appear in Glass’s subsequent music, but their importance fades. Instead, drama emerges from the high-wire act Glass plays with harmony. Once he establishes the home key, he finds increasingly outlandish ways of wrenching the fabric of tonality nearly to the point of breaking while still finding his way back home. This is the sound-world of Glassworks, his 1982 album aimed at a more general audience; his soundtrack for
the 1983 film Koyaanisqatsi; and much of his music since: a bountiful span of movie scores, string quartets, symphonies, and more. And yet “Philip Glass” the idea is somehow stuck, in the popular consciousness, on those endless arpeggios.
I
t’s strange that Glass, of all the minimalists, was the one to become a household name. Because he’s so prolific and his music has a certain amount of sameness built in, some critique him for only having a few ideas. Fellow minimalists Steve Reich and John Adams have been more consistently innovative, but neither of them have transcended classical music. Michael Nyman’s soundtracks cover similar musical terrain, but it’s Glass who has won Academy Awards. Meredith Monk has pushed even harder at the boundaries between music, film, and dance while remaining a niche figure. It’s Glass who gets parodied on The Simpsons and South Park, who is a punch line in a Gallagher routine and a reference in Gilmore Girls. A few factors account for Glass’s prominence. First, he put himself out there, actively courting an audience and a discourse outside of classical music. In the 1980s alone, he collaborated with David Byrne, Paul Simon, Laurie Anderson, Kronos Quartet, Allen Ginsberg, and Ravi Shankar, among others. His musical vocabulary lends itself to collaborations across the arts and media, and his best works are often buttressed by film or dance. For instance, his score to Errol Morris’s 2003 documentary, Fog of War, is a powerful backdrop for Robert McNamara’s disquieting monologue. It’s also significant that Glass arrived at a cultural moment of realignment within classical music. By the early 1980s, the gulf between “high” and “low” was finally starting to collapse, as composers started to reembrace tonality and popular forms. This is the same moment that Kronos Quartet was recording works by Bill Evans, Thelonious Monk, and Jimi Hendrix. Like the Kronos, Glass was in the right place at the right time to define a certain kind of cutting-edge sound for the public at large. Most important, though, the deceptive simplicity of Glass’s musical language makes it easy to oversimplify and even mock. The sense that “He’s just repeating things over and over” or that he’s writing “record-skipping music” make it really ripe to be ripped on, as when Homer Simpson gets tickets for “An Evening with Philip Glass” and quips, “Ooooh, just an evening?” The obvious absurdity within those extended repetitions is on par with John Cage’s musical treatment of nonmusical sounds
GLASS AT 80 BRUCKNER ORCHESTER LINZ PERFORMS PHILIP GLASS Wednesday, Feb. 1, 7:30 p.m., $10–$39. See p. 20. HEROES TRIBUTE: A CELEBRATION OF THE MUSIC OF PHILIP GLASS, DAVID BOWIE, AND BRIAN ENO Friday, Feb. 3, 8 p.m., $10–$20. See p. 23. THE COMPLETE PIANO ETUDES BY PHILIP GLASS Monday, Feb. 6, 7:30 p.m., $10–$49. See p. 20. LUCINDA CHILDS DANCE COMPANY Tuesday, Feb. 7, 7:30 p.m., $10–$29. See p. 24. PHILIP GLASS AND KRONOS QUARTET: DRACULA Thursday, Feb. 9, 7:30 p.m., $10–$59 PHILIP GLASS AND LAURIE ANDERSON: WORDS AND MUSIC IN TWO PARTS Friday, Feb. 10, 8 p.m., $10–$49 www.carolinaperformingarts.org
and Jackson Pollock’s playful splatters. In another episode of The Simpsons, Marge exhorts the audience at a symphony concert not to leave because “the next piece is an atonal medley by Philip Glass.” The exchange is telling in part because Glass has never written an “atonal medley.” The fact that no other well-known composers have written one either demonstrates classical music’s (and atonality’s) diminished culture stature. Thus, “Philip Glass” has become a metonym for “contemporary classical composer,” an updated version of “John Cage,” the last composer to stand in for an age, irrespective of the sound of his music. John Cage was in his seventies when Philip Glass started becoming “Philip Glass.” As we celebrate Glass’s eightieth birthday, the question of who will emerge as the representation of the next musical era hovers in the background. Classical music is as vibrant and diverse as it has ever been, so it’s hard to predict who that person (or persons) might be. For now, though, Philip Glass, the man and the idea, continues to push at the boundaries of minimalism, finding new ways to surprise us in his sounds. music@indyweek.com INDYweek.com | 2.1.17 | 19
P H I L I P
G L A S S
GLASS AT 80: THE INDY INTERVIEW
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A MASTER COMPOSER ON HIS RESISTANCE TO RETROSPECTION, HIS RENEWED POLITICAL FOCUS, AND THE CODE THAT CONNECTS THE CLASSICAL AND CONTEMPORARY IN HIS MUSIC BY BRIAN HOWE
INDY: Your eleventh symphony is coming to UNC on Wednesday, the day after its premiere in New York and your eightieth birthday. Did working on it cross over with compiling the box set of your first ten symphonies that came out last year? PHILIP GLASS: No, that was earlier. I didn’t start the eleventh symphony until eight or nine months ago, and the box, you know, those things take a little time to put together. When you consider that I began writing symphonies when I was fifty-three, I haven’t written many. [Laughs] I almost escaped without any symphonies at all, and then these commissions started coming in. I was writing almost one a year for a while. It’s been great; I’ve enjoyed it a lot. I didn’t think I was going to be a symphonist at all, but there you are—what do we know? I wonder if immersing yourself in your symphonies that way gave you any perspective on what you had accomplished. Well, when I’m writing I’m not really thinking about that. When I think about the way I’ve been working, there are operas, there are symphonies, there are concertos, there are films— whole categories, and each has a lineage of its own, its own history, though they also have connections with each other. To tell you the truth, I’ve never sat down and listened to all ten symphonies. Maybe you have; that’s why we did it—what was it like? [Laughs] I can conjure them up in my memory, but that’s not the same as going through the experience of listening to them. If, someday, I ever retire, which is unlikely, I will maybe go through and listen to everything I’ve done—but I doubt I’ll actually do that. I haven’t really had the chance to reflect on it in that way, and maybe I don’t want to. I like the idea of living in the near-present rather 20 | 2.1.17 | INDYweek.com
than going into the deep past. So when I think of symphony eleven, I think of eight, nine, and ten; I don’t think of anything before that. In that sense, it does share some ideas that came up in the latter symphonies. But there are big differences between eight, nine, and ten, and you’ll see in eleven, again, there’s a big change. That’s just the way I work, I guess.
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You’re busy working on the next thing while we immerse in the last one. What I do, I go out and play a lot, and that’s usually the piano music. Because of that, the piano music is always very fresh in my mind. I can play pieces from the eighties or nineties anytime. Because I’m out playing those pieces, I’m constantly thinking about them in a certain way. I don’t do that with the symphonies, concertos, or operas. You make me feel like I’ve been deficient! [Laughs] But in a funny way, I’m free of it. By doing it this way, I’m not locked into my own history, and I think that has allowed me to make changes more rapidly. Your music has assumed such a strong artistic and commercial life of its own. Do you maintain a separate personal connection with it, especially something as intimate as the piano pieces? Can you still sit down, play them, and see yourself reflected in them as you change over time? Well, I do. That’s the only place I can do it, because they’re available to me just by sitting at the piano. Reading through music is not so much fun as playing it. When I was a very young guy I used to go to my university classes and if the professor was boring, I’d have the Beethoven quartets with me, and I’d read them during the class. But it wasn’t the same as hearing them. So it’s the piano music where the intimate relationship really comes out—
PHOTO BY STEVE PYKE
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P H I L I P and the ensemble music, which is a whole other category. I’ve been writing music for ensemble for forty years; there’s a huge body of work. That, we also play. Now we’re doing what we call highlights concerts—they’re really retrospective concerts, though I think retrospective is kind of a funny way to think about it, so I just think of highlights. When it comes to the operas, I’ve recently been thinking about them because of the political situation in our country today. I began to ask myself which operas I’ve done are dedicated to the idea of social justice and politics, and it turns out there are maybe six or eight of them. I hadn’t realized there were that many—quite a bit of work that has to do with the way composers have the opportunity to be part of the political conversation. I did this opera Appomattox in Washington, D.C., just a year ago. That was interesting, because it ends up to be about voting rights. I did it for that reason, because the Voting Rights Act that Lyndon Johnson put through was being gutted and taken apart. We did it at the Kennedy Center and two of the Supreme Court justices were there, and I was able to talk to them afterward. And these charged political times have caused you to take special note of political themes in your operas? Oh yes. Waiting for the Barbarians is very much about torture, very much about Guantanamo. And of course, there’s Satyagraha, which is about social change through nonviolence. So there were a lot of these things I was drawn to, and right now, what we’re talking about doing—because I’m also the publisher of my music—is going to opera houses and trying to get them to perform the political operas as much as we can. In other words, the time when they resonate so much with the world we’re living in is the time they should be done. These are things the performing arts in North Carolina have been struggling with. I certainly know about that; it’s part of the national discussion. I know the place where I’m going is a little like Austin was to the rest of Texas in the old days. Now we have this situation in North Carolina, if I’m not mistaken, where Chapel Hill is this center of progressive thinking in a state which is otherwise not that progressive. What happened with the governor was shocking to the whole country. We didn’t realize that seems to have been a bit of a habit in North Carolina—when the new government came in, the old government tried to defang them as much as
possible. It’s funny how we as a country are more interested in party than in country, or the Constitution which everyone claims to be so in love with. Most of us haven’t read it, and the president acting in the White House seems to be ignorant of it. It’s reassuring to hear cultural leaders talking about these things publicly. The interesting thing is that we get to do it because no one pays attention to us. [Laughs] The establishment is not threatened by the artists because the artists aren’t taken seriously; that’s not such a good thing. But it does mean that, these days, we don’t get involved in the kind of censorship that happened when McCarthy was around. I remember what that was like, people losing their jobs because they were accused of being communists. But the arts in America are only taken seriously in terms of how they affect the GNP, which is huge, and the amount we export to other parts of the world. When we heard the NEA was being shut down, it’s a shame of course, it’s terrible— don’t forget it was Nixon who started that, by the way, so it’s very complicated. But the fact is that the arts are going to survive because it never depended on the NEA. It’s not like Amsterdam or London or Berlin or Rome, where there is substantial financial support for the arts. It’s a shame to take it away, because it’s an embarrassment for the country, but in fact the artists and most of the institutions will keep working because most of them are privately supported anyway. But that doesn’t mean it’s OK to shut it down. These things are so complicated, I don’t know. We started out talking about music and we ended up talking about politics.
G L A S S amazed in that time, the mid-1950s, that someone could have had as clear a vision of the social contract as Plato did. I’ve often wondered about the technological side of your music’s cultural influence as well as the artistic side. The repetitive structures you focus on have a historical lineage in music, but they also feel like a prophecy of the digital age of looping, replication, proliferation. We recognize something of our world’s psychic structure in them. Did you have a sense of that? Oh, absolutely. I came under the influence of Ravi Shankar; I was working with him for a long time and was very close to him until he died. I was aware that I had borrowed from Indian music basically a binary structure. We didn’t even know what the word “binary” meant when I was doing this. But I was working in binary language, and that became the basis of the rhythmic structure of the music, and is to this day. I use twos and threes, which is the same as ones and zeros, odds and evens. One of the reasons I think the music has had so much currency with the younger audience is that you can hear it. It’s written the way the comput-
ers are programmed. I’m not a computer, and don’t program it that way, but the basic materials, the nuts and bolts, are binary, and what you do with it is what you do with it. But that was a classical tradition of concert music that had been going on for hundreds of years. When I was a kid at Juilliard, in the music department there were no books about Indian music, no books about African music, no sense of global music at all. Of course that’s very different today. I got involved with Ravi Shankar and, later, African music, music from Australia, music from all over. Now I’m working with some Indian musicians from Mexico. It’s much more common now, and people understand it much better. In 1966 and ’67, if you walked around the East Village in New York, you could hear people playing the sitar, the music coming out of the apartments. It was wild, actually, the effect of his presence in popular music. I don’t know if it’s ever been accurately accounted for. I had already known him for several years by the time the Beatles discovered him; I was a little ahead of them, but that’s the only way—they were ahead of me in many other ways. [Laughs] bhowe@indyweek.com
It seems it all trends toward Trump lately. I did an opera in 2014 about The Trial by Kafka, which was written in 1914. It’s completely about the corruption of bureaucracy, and it’s shockingly modern. How did this guy in 1914, thirty years before Orwell or any of that stuff, before doublespeak and “alternative facts” … you have to laugh about that, it’s like it’s out of a comic book. I’ve been reading Plato, and when he writes about oligarchy, he could easily be writing about Trump. Plato was totally against democracy; he said, if you do that, you’re going to have a bunch of idiots running the country! [Laughs] And here we are. I remember reading Plato when I was in the university fifty years ago … no, sixty years ago … sixty-five years ago! I was INDYweek.com | 2.1.17 | 21
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P H I L I P
G L A S S
THEY CAN BE HEROES A SYMPHONY AND A MERGE RECORDS SUPERGROUP CELEBRATE PHILIP GLASS’S CONNECTIONS WITH DAVID BOWIE BY MAX BRZEZINSKI Philip Glass didn’t premiere his first symphony until 1992, at age fifty-five. To prepare, he turned to David Bowie’s album Low to create his own Low Symphony. A few years later, he returned to another Bowie and Eno record, Heroes, in order to write 1996’s Heroes Symphony. Glass, like fellow minimalist Steve Reich, has long been drawn to rock and pop. In the seventies, he performed alongside no wave groups in New York’s The Kitchen and produced records for new wavers Polyrock. In the eighties he collaborated with musicians like The Roches, David Byrne, and even Paul Simon. Glass was especially drawn to Bowie and Eno, who shared his affinity for combining rock and pop with experiments from the avant-garde and world music. Sonically, they used highly textured and portable repetitions, which Glass could mold into symphonic motifs. And Bowie and Eno were themselves under the influence of Glass’s music during the making of Low and Heroes in Berlin. In the Heroes Symphony, Glass transforms Bowie’s LP into a romantic arrangement, adding
warmth and melodrama to the colder corners of the original record. He effectively manufactures a narrative drive for Heroes, erasing the boundaries between Bowie and Eno’s individual tracks in favor of triumphalist consistency. Carolina Performing Arts’ Heroes Tribute Friday night affords a rare chance to hear a live rendition of the piece by a full orchestra. After a short intermission, a Merge Records supergroup offers an even more direct tribute to Heroes: Destroyer’s Dan Bejar, Mac McCaughan, guitarist William Tyler, Wye Oak’s Jenn Wasner, Megafaun’s Brad Cook, percussionist Joe Westerlund, and saxophonist Ken Vandermark will convene to perform Bowie’s 1977 album in its entirety. McCaughan says the band will focus on playing as a unit, rather than adopting the one-artist, one-song model of a showcase revue. The Superchunk cofounder says he’s generally not a fan of bands replaying classic albums live; thus, the Bowie tribute will aim for something more organic and unpredictable, “not just a slavish, straight cover,” he says. Such an attempt is a balancing act,
ILLUSTRATION BY STEVE OLIVA
of course. McCaughan wants to avoid lulling his audience with the familiar, but he doesn’t want to wrench Bowie’s work out of context. “It is a little stressful to tackle a record which is such a classic. You don’t want to leave anyone thinking, ‘Well, I never needed to hear that version,’ you know?” he says. Seeking neither to mimic nor destroy the source material, the group seems likely to run subtle variations on Bowie's compositions. In preparation, he says, group members have been studying the record to learn it straight on their own. “When it comes time to actually do it, [they] can loosen up and be more themselves and stretch out a little bit,” McCaughan says. That shouldn’t be a problem for this outfit. Though Bejar’s Destroyer occasionally calls Bowie to mind with Ziggy Stardust-era vocal preening, his music has very little to do with the more angular, low-affect stylings of Heroes. It’s exciting to anticipate what Bejar will do with songs like “Sons of the Silent Age” and the title track of Heroes—the results will likely be theatrical and striking. McCaughan and Tyler are both adept guitarists, well suited to take on the alternately lyrical and rhythmic lines played originally by Robert Fripp and Carlos Alomar, and Ken Vandermark is an ideal choice to take on Bowie’s own saxophone parts. The night will prove exciting to casual fans and die-hard fans to note every twist each player gives to the original LP. When Bowie died last January, McCaughan initially felt doubtful about continuing with the Heroes Tribute, which was already underway. A dedicated Bowie fan since he was thirteen, McCaughan says it was hard for him to feel anything but sadness over the artist’s death. But as time passed, McCaughan figured that a Merge band’s performance could be a tribute, both to Bowie the man and to Bowie’s still-living songs and ideas. There was no reason not to do it, he says. Such a statement seems a touch modest, considering the quality of the band he’s put together—many fans would probably kill to see Bejar perform Bowie’s songs solo. To hear him backed by such a complementary set of players will be a legitimately one-of-a-kind one-off. music@indyweek.com
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P H I L I P
G L A S S
of Garner present
Lucinda Childs Dance Company
PHOTO BY NATHANIEL TILESTON
PERPETUAL MOTION LUCINDA CHILDS, SOL LEWITT, AND PHILIP GLASS TRANSFORM CONCERT DANCE IN A POSTMODERN MASTERPIECE BY MIC HAELA DW YER
Feb 3 & 4 at 8 pm, $15 2 pm matinee Feb 4, $12 Tickets at the door Garner Performing Arts Center • 742 W Garner Road GarnerPerformingArtsCenter.com
24 | 2.1.17 | INDYweek.com
In addition to celebrating Philip Glass’s influential compositions, Carolina Performing Arts’ “Glass at 80” programming sheds light on artists in other media who worked with him. Two in particular stand out: the artist Sol LeWitt and the choreographer Lucinda Childs. LeWitt’s work is on display at UNC’s Ackland Art Museum through February 19, while the Lucinda Childs Dance Company performs classic work Dance at Memorial Hall on Tuesday, February 7. LeWitt’s “Incomplete Open Cube 7–11,” from 1974, looks, in a way, like the shape its title describes. The sculpture’s lines are in the right places, as are its junctures—except when they’re not. A blocky bar ends in empty air; the sides don’t always connect. The piece is broken geometry, not quite a hoisted cube. It wants to become another shape while staying exactly as it is. I know of no proof that LeWitt was thinking of dance when he created the piece, but its undercurrent of movement feels inescapable. As I approached it in the small Ackland exhibition For Philip Glass: Joshi/LeWitt/ Close, which also includes work by Deepak Joshi and Chuck Close, my instinct was to walk in a circle, surveying its weird lines from each possible angle. The object may be fixed, but the encounter is all motion; if my limbs weren’t moving to crouch or gander from above, my eyes were working to figure out where the piece ends and begins. Viewing it necessitates a kind of dance. In 1979, LeWitt, Childs, and Glass came together to create Dance, a work now hailed
as a masterpiece of postmodern dance. Childs and Glass had collaborated previously, in 1976, on Robert Wilson’s formalist, plot-eschewing opera, Einstein on the Beach. It’s fitting that LeWitt, a visual artist with little to no experience working in theater, helped Childs and Glass transform the theater itself. For Dance, LeWitt created a film installation that projects images of dancers— including Childs—performing sequences of her choreography. The movements are almost balletic, but with more swing, hop, and repetition. Dancers scoot across the stage, their timing hewing close to or veering sharply away from Glass’s musical iterations. The film, projected on a scrim, shows the dancers moving across a white grid. This multimedia structure challenges the audience’s relationship with the performers onstage. At one point the grid tilts down diagonally while the live dancers seem to move underneath it, on another plane entirely. When LeWitt’s film features Childs dancing solo, her body spins into something larger and larger—edging out from and beyond the stage—as the live dancer recedes, becoming a miniature. The lines of the grid, and of the proscenium, frame and propel the human figure; the figure, in turn, threatens to escape quadrilateral geometry. Like LeWitt’s “Incomplete Open Cube 7-11,” Childs’s Dance looks like what its minimalist title describes, asking viewers to reconceptualize concert dance and its theatrical infrastructure. Where does the piece end, and where does it begin? calendar@indyweek.com
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food [
EAT THIS ]
SO GONG DONG AT H MART 1961 High House Road, Cary www.hmart.com
The Perfect Pancake
H MART’S SEAFOOD PAJEON BRINGS AN UNAPOLOGETICALLY ASIAN EXPERIENCE TO THE SUBURBAN SOUTH BY SAYAKA MATSUOKA Almost every cuisine around the world includes a pancake-like comfort food. The French have crepes. The Indians have uttapam. We Japanese have okonomiyaki. But my favorite type of savory pancake has to be the Korean jeon. Crispy around the edges and layered with scallion slices, these savory egg-and-flour pancakes are a Korean staple that rounds out a drinking session with friends or shines as a simple side dish in a larger meal. As a street food, jeon entices passersby with the inviting aroma of fried dough and garlicky greens. When the Korean supermarket H Mart opened in Cary last month, it brought with it an overwhelming but gratifying cafeteria. Bustling with eager Asian customers and a surprising number of white ones, the busy Korean food court looks like it’s been dropped in the middle of suburban North Carolina out of a larger metropolis like New York. Watching families with kids, young couples, and college-age patrons fight for seats on a recent Monday afternoon, I was almost moved to tears. Raised in the suburban South, it’s been hard for me to find places that are unapologetically Asian, especially when it comes to eating the food your parents grew up with and passed down to you. In an instant, I knew this would become a regular refuge for me, well worth the thirty-minute trek from Chapel Hill. At H Mart, Thai food stalls dish out plate after plate of noodles and bowls of aromatic green curry. They share friendly competition with more traditional Korean vendors, who dole out Korean fried chicken, boiled dumplings, and bibimbap varieties. Nearby sits an equally popular “don” stall focusing on Japanese-style rice bowls topped with meats and fish. Among the most popular menu items is the seafood pajeon (haemul pajeon) served at So Gong Dong, the first stall you see as you walk into the food court—and the busiest. A ten-minute wait is standard, but the
Fresh char marks a perfect pajeon from So Gong Dong at H Mart. PHOTO BY ALEX BOERNER sought-after haemul pajeon I ordered took twice that long. A version of the broader category of pajeon, a type of jeon pancake that includes scallions, the seafood pajeon comes chockfull of bits of octopus, squid, shrimp, and, of course, scallions. For me, the determining factor in whether a pajeon stands out is the ratio of its doughy base— usually composed of cake flour (which is lighter than all-purpose flour), eggs, and water—to the chewy morsels of protein and its crispy edges. At times, jeon risks becoming too thick and gummy in the middle, with tough, oversize pieces of protein thrown in, requiring too much chewing and not enough savoring of the medley of flavors. The pajeon from So Gong Dong comes out hot and fresh, with char marks from the grill. About the size of a medium pizza—not bad for eleven bucks—it comes cut into eight slices and easily feeds two people. The first bite checks all the boxes: the
smokiness of the scorch marks mixes with the garlicky flavor of the green onion slices, rounded out by the elastic texture of the seafood, making it one of the best I’ve ever had. Perfectly cut pieces of shrimp, octopus, squid, and mussels complement the dish without overpowering it. Don’t forget about the tangy, sweet dipping sauce that comes with several items at So Gong Dong, a perfect marriage of soy sauce, rice vinegar, sugar, and sesame oil, with bits of green onion and sesame seeds floating on top. Dunking the pajeon into the flavorful concoction is a must, like dunking fries into ketchup or sushi into soy sauce—a sacred food ritual. By the time we’ve eaten half of the seafood pancake, my boyfriend and I are both loosening the buttons on our jeans, so we opt to take the rest home. You probably will, too. Don’t forget to ask for extra sauce. food@indyweek.com
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indystage
CENTER FOR THE ARTS PRE-OPENING PARTY Saturday, Feb. 4, 10 a.m.–10 p.m., free (tickets required for select performances) Center for the Arts, Pittsboro www.pittsboroyouththeater.com
Room to Grow
A NEW COMMUNITY-FUNDED ARTS CENTER AND THEATER IS THE TREMOR BEFORE THE EARTHQUAKE OF PITTSBORO’S EXPANSION BY TARA LYNNE GROTH Imagine you’re producing a play and, not long before opening night, you learn the performance space is unavailable. What if, instead of finding a surrogate venue, you decided to create a permanent arts center and theater? That’s how Pittsboro's new Center for the Arts and its Sweet Bee Theater came to be. In 2012, Pittsboro couple Craig Witter and Tammy Matthews launched Pittsboro Youth Theater, an organization without a brickand-mortar space that offers dramatic training for children’s productions in Chatham County. Witter pairs more than twenty years of video-production experience with Matthews’s theater background (she attended the Goodman School of Drama in Chicago). They rotated productions around various venues, including schools, the Pittsboro Roadhouse, the Pittsboro Kiwanis Club, and the Pittsboro Community House. When a miscommunication set a production of The Glass Menagerie adrift last year, Witter and Matthews found a quick replacement in a Chatham Park conference room, but that was only a temporary fix. They faced logistical stress with each production. But the personal pride they took in their work made the musical-chairs routine bearable. Witter and Matthews have watched many of their young actors grow up on stage. “Last year we held our first high school production, and many of these kids we’ve worked with since they started junior high,” Matthews says. She adds that growing with the kids and witnessing how the instruction refines their skills is its own reward. “It’s like being an uncle,” Witter agrees. They run Pittsboro Youth Theater outside of their work hours. Witter owns and operates Craig's Gravel Driveway Repair, and Matthews is an elementary school teacher in Cary. Because of their day-job demands and the theater’s lack of nonprofit status, they decided to ask the community if a need existed for a permanent arts-theater complex in Pittsboro before moving forward. “I sent an email blast to our theater group 28 | 2.1.17 | INDYweek.com
Craig Witter and Tammy Matthews prepare for an upcoming "moosical" PHOTO BY ALEX BOERNER and my gravel customers, anyone we know locally,” says Witter. Within a day of the survey’s release, locals had pledged more than 185 hours of service and nearly ten thousand dollars to the endeavor. “That blew us away. I cried,” Witter says. He and Matthews began work on a concept and business plan, including efforts to eventually acquire a fiscal sponsor and nonprofit status. As the plans developed, Witter continued to share details about the center and solicit donations from people who had pledged. The result was a kind of informal crowdfunding, based not on the power of the Internet but on trust in a local community. Between fulfilled pledges, traditional fundraising efforts, and Pittsboro Youth Theater’s reserves, Witter and Matthews were able to
move forward. They found a space that fit the dramatic and creative disciplines they sought to foster and leased it under the Pittsboro Youth Theater umbrella. By then the concept had grown into the Center for the Arts, a nearly three-thousand-square-foot space at 18 East Salisbury Street with a sixty-fiveseat theater and an overall capacity of about one hundred thirty. Meeting rooms, a gallery, concessions, and a sound booth complement the theater. While Pittsboro Youth Theater focuses on children’s productions, the Center for the Arts is for all ages. The space will host plays as well as weekly movies, concerts, classes, community events, and private affairs. An isolated four-person sound booth will support productions and be rented out for voice-overs, podcasts, music, and more. Demand for the
"Everyone wanted this as much as or more than us."
sound booth prior to the center’s opening has prompted Witter and Matthews to consider adding a second one. Classes by local artists will be held in a dedicated classroom and meeting space, and a gallery and retail section will have an inventory of art supplies both for students and the public. Witter and Matthews’s permit application for serving alcoholic beverages is in process, a big draw for private parties. They also plan to have weekday matinee children’s movies for stay-at-home families, daytime dress rehearsal productions and classes for seniors, and night and weekend classes for all ages. The center’s location in downtown Pittsboro is a boon for a small town on the verge of tremendous growth. Chatham Park, one of the largest planned developments in the state’s history, is predicted to raise Pittsboro’s population more than tenfold in the next few decades. The center fits snugly between a cozy coffee shop and a bank just off Hillsboro Street, the main drag through downtown, which is lined with restaurants, art galleries, music shops, a dance studio, a bookstore, and shops selling locally made wares. From the center's doors, you can see the storefronts of the famed Woodwright’s School and bluegrass legend Tommy Edwards's art, music, and antique shop. Witter and Matthews attribute Pittsboro Youth Theater’s sustenance over the past five years to “overwhelming community support” and “gung-ho volunteers.” They already see the goodwill crossing over into the Center for the Arts. “Everyone wanted this as much as or more than us,” Matthews says. The soft opening is scheduled for Saturday, Feb. 4, from ten a.m. to ten p.m., with free popcorn and soft drinks, art and teacher demos, and two ticketed performances at one and four p.m. of children’s production JungalBook. The night ends with Moo Fair Lady (a take on My Fair Lady), a ticketed “moosical” for adults. arts@indyweek.com
INDYweek.com | 2.1.17 | 29
2.1–2.8 STAGE
FRIDAY, FEBRUARY 3–SUNDAY, FEBRUARY 19
THE GOD GAME
Tom’s the junior Republican senator from Virginia, an up-and-comer with smarts, integrity, and some surprisingly progressive ideas. Fortunately or not, the party’s candidate for president—and leader of its “anti-intellectual, anti-gay wing”—wants him to balance out the ticket as his vice president. Complicating factor: Tom’s agnostic, and principled enough that he won’t want to claim otherwise. Of course, the U.S. Constitution states “no religious Test shall ever be required as a Qualification to any Office or public Trust.” But Suzanne Bradbeer’s timely three-character drama asks if any candidate can be elected without playing the God game. June Guralnick directs David Hudson, Courtney Christison, and Beau Clark in this Sonorous Road production. —Byron Woods SONOROUS ROAD THEATRE, RALEIGH Various times, $8–$18, www.sonorousroadtheatre.com
MUSIC
MONDAY, FEBRUARY 6
MARGARET GLASPY
Last year was bad for many, many reasons, but it was a great one for strong solo records by female artists, from Beyoncé and Solange to Angel Olsen and Jenny Hval. Also in this camp is Margaret Glaspy, whose debut LP, Emotions and Math, found the singersongwriter ruminating on late-twenties vulnerability. Glaspy’s writing hops from pointed—“You haven’t got a clue, so don’t tell me what to do,” she sneers on “Situation”—to poignant, as on “Black Is Blue” and “No Matter Who.” Her lyrics cut straight to the heart, and Glaspy ups the ante with commanding guitar riffs. You don’t have to be an actuary to understand that Emotions and Math yields a wonderful artistic sum. With Bad Bad Hats. —Allison Hussey
CAT’S CRADLE BACK ROOM, CARRBORO I 8:30 p.m., $12–$15, www.catscradle.com
Margaret Glaspy PHOTO COURTESY OF THE BILLIONS CORPORTATION
30 | 2.1.17 | INDYweek.com
WHAT TO DO THIS WEEK THURSDAY, FEBRUARY 2–SUNDAY, FEBRUARY 19
THE LITTLE MERMAID
How do you choreograph a ballet when your principal character has fins and a flipper—but no feet? Guest choreographer Lynne Taylor-Corbett and costume designer David Heuvel figured that problem out when Carolina Ballet premiered Taylor-Corbett’s kid-friendly adaptation of the Hans Christian Andersen tale—no, not the 1989 Disney version—here in 2012. Michael Moricz’s snazzy songs and Jeff A.R. Jones’s set designs gave the Broadway-tinged work some legs; after a subsequent showing by Ohio’s BalletMet, the entire run of Colorado Ballet’s March 2017 production has already sold out. The program opens with artistic director Robert Weiss’s Petit Ballet Romantique, set to music by Leo Delibes. —Byron Woods FLETCHER OPERA THEATER, RALEIGH Various times, $20–$89, www.carolinaballet.com
Margaret SeverinHansen in The Little Mermaid PHOTO BY ARMES PHOTOGRAPHY
MUSIC
SATURDAY, FEBRUARY 4
STAGE
SATURDAY, FEBRUARY 4
HISS GOLDEN MESSENGER
SKETCHES FOR AUGUSTE
In the summer of 2012, Durham’s Hiss Golden Messenger took to The Pinhook’s stage for a modest early-evening set. Four and a half years, four LPs, a mostly new lineup, and many thousands of touring miles later, the band returns to a similar slot at the same venue. This time, though, M.C. Taylor offers two sets of different material backed by a full band in another round of support behind October’s Heart Like a Levee. On that record, the band’s second for Merge, Taylor and company further enrich their warm folkrock foundation with bigger, more polished arrangements. The band’s November show in Cat’s Cradle’s main room almost sold out, so this Pinhook diversion is an opportunity to cozy up even closer to Taylor’s songs. —Allison Hussey
Henry Miller believed clowns were spiritual figures. The title of his 1948 novella, The Smile at the Foot of the Ladder, captures a moment in the act of a famous clown, Auguste, as he pauses to contemplate climbing a ladder that reaches to the moon: “The great favorite had many tricks up his sleeve, but this one was inimitable. Never before had a buffoon thought to depict the miracle of ascension.” Choreographer/performers Murielle Elizéon and Tommy Noonan—the directors of Culture Mill, which presents Sketches—composer/violinists Jennifer Curtis and Pauchi Sasaki, and performer Dohee Lee are at work on a “multidisciplinary chamber opera of sound and movement” based on the novella. For now, they’re presenting a formal showing of their work-in-progress for one night only. —Byron Woods
THE PINHOOK, DURHAM 7 & 9 p.m., $18, www.thepinhook.com
HAW RIVER BALLROOM, SAXAPAHAW 8 p.m., $15, www.culturemill.org
PAGE
THURSDAY, FEBRUARY 2
SAMUEL PETERSON: TRUNKY
The title of Trunky: A Memoir of Institutionalization & Southern Hospitality is a portmanteau of “transgender” and “junkie,” two ways that Samuel Peterson identified when he found himself, not long after a hysterectomy, detoxing from heroin in the men’s ward of a recovery center in Butner, North Carolina. Peterson handles this dire material with irreverent brio, drawing characters with a Hunter S. Thompson-like jaundiced economy. In the first paragraph we meet a “pasty white dude with dyed black hair all roostered and matted in the back” wearing “clothes that looked hopeful; here was another man who didn’t wear sport-affiliated, wicking mesh polyblend.” As our state grapples with acknowledging the basic rights of transgender people, it’s a timely story; it’s also a timeless one of nearsuccess, sudden downfall, addiction, and redemption. After launching the book, recently published by California’s Transgress Press, at Flyleaf, Peterson also shares his stories of creating community as a transgender man in recovery at TEDxUNC on Feb. 4. —Brian Howe FLYLEAF BOOKS, CHAPEL HILL 7 p.m., free, www.flyleafbooks.com
WHAT ELSE SHOULD I DO?
ANSEL ADAMS AT NCMA (P. 37), AMERICAN AQUARIUM’S ROADTRIP TO RALEIGH AT LINCOLN THEATRE AND KINGS (P. 14), GLASS AT 80 AT UNC (P. 18), THE GREAT DURHAM PUN CHAMPIONSHIP AT MOTORCO (P. 39), LONNIE HOLLEY AT KINGS (P. 33), BETTYE KRONSTAD AT THE REGULATOR (P. 40), CENTER FOR THE ARTS SOFT OPENING AT CENTER FOR THE ARTS (P. 28), RICHARD LLOYD AT SLIM’S AND THE CAVE (P. 36), WEINER AT THE CAROLINA THEATRE (P. 40) INDYweek.com | 2.1.17 | 31
FR 2/3
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& THE FIZZ
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POWERS & BRIDGIT MENDLER ($16/$18) 3/22 THE JAPANESE HOUSE
($18/$20)
3/21 NYLON MUSIC TOUR PRESENTS
($15/$18)
5/5 ADRIAN BELEW POWER TRIO W/ SAUL ZONANA ($26/$30)
3/23 SABA W/SYLVAN LACUE ($15/$18)
5/16 WHITNEY ($16)
3/29 CHERRY GLAZERR W/LALA LALA AND IAN SWEET ($13/$15)
TH 2/2
BLACK TIGER SEX MACHINE 4/13 MATT PRYOR AND DAN ANDRIANO ($13/$15) 4/14 KAWEHI ($12/$15) 4/15 DIET CIG W/ DADDY ISSUES ($10) 4/17 SALLIE FORD W/ MOLLY BURCH ($10/$12) 4/19 ACID MOTHERS TEMPLE W/ BABYLON ($10/$12) 4/27 THE WILD REEDS W/ BLANK RANGE ($12/$14) 4/28 SARAH SHOOK & THE DISARMERS ($10/$12) 5/3 CLAP YOUR HANDS SAY YEAH W/ LAURA GIBSON ($16) 5/8 THE BESNARD LAKES W/ THE LIFE AND TIMES ($12) 6/7 GRIFFIN HOUSE ($20/$23) ARTSCENTER (CARRBORO) 3/2 KT TUNSTALL W/ KELVIN JONES ($25) PINHOOK (DURHAM) 2/21TALL TALL TREES ($8/$10) 2/24 SAVOY MOTEL 4/24 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) $13/$15
KINGS (RAL) 5/3 ANDY SHAUF W/ JULIA JACKLIN RED HAT AMPH. (RAL) 5/14 THE XX CAROLINA THEATRE (DUR) 3/7 VALERIE JUNE 3/20 THE ZOMBIES 'ODESSEY AND ORACLE' 50 YEAR TOUR 4/14
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STEEP CANYON RANGERS
CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO
**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 32 | 2.1.17 | INDYweek.com
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CONTRIBUTORS: Jim Allen (JA), Amanda Black (AB), Elizabeth Bracy (EB), Timothy Bracy (TB), Zoe Camp (ZC), Annalise Domeghenini (AD), Allison Hussey (AH), David Klein (DK), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)
WED, FEB 1 Fresh Effect Panel
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THE DEVIL MAKES THREE
music
BEAT In the downtime SA 1/14 (SOLD OUT) & SPEAK SU 1/15 (TIX REMAIN) before its second annual BeatsFLOCKA & Bars Festival later WAKA this year, The Underground FLAME Collective is staying the course as a diligent pacesetter on the Durham hip-hop scene. Now, outside of its usual beatmaker and emcee showcases, the collective is adding an educational element in the form of a panel series. This first one aims to dissect some of the techniques and industry savvy of several area producers: Tony G., JMac, Soul Council hitman KASH, and Dr. Dre collaborator D.R.U.G.S., who also recently provided the entire sample-studded sound direction for Greensboro duo Illpo’s recent debut LP, Worst Case Scenario. As a bonus, you’ll get performances from each producer. —ET [THE PINHOOK, $5–$10/7:30 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE: The Devil Makes Three, Lost Dog Street Band; 8:30 p.m., $23–$25. • CAT’S CRADLE (BACK ROOM): Marshall Crenshaw and the Bottle Rockets; 8 p.m., $20–$35. • THE CAVE: The Paul Swest; 9 p.m. • KINGS: Marching Church, Bernardino Femminelli, Essex Muro; 9 p.m., $10–$12. • LOCAL 506: Homesafe, Life Lessons, Chase Huglin; 6:30 p.m., $12. • UNC’S MEMORIAL HALL: Bruckner Orchestra Linz: Philip Glass Tribute; 7:30 p.m., $19–$79. See page 18.
THU, FEB 2 Black Marble GLACIAL Black Marble is the GOTH adopted moniker of Chris Stewart, a Brooklyn musician who crafts eerie, apocalyptic synth-pop, a soundtrack for some subterranean gothic rager. Formerly a duo with Ty Kube of electro-punk outfit Team Robespierre, the project has since morphed into a one-man groove machine, slightly more liminal but no less
immediate, especially on his recent album, It’s Immaterial. With Jenny Besetzt and You. —ZC [CAT’S CRADLE BACK ROOM, $8–$10/8:30 P.M.]
Housefire ELECTRO Housefire’s TENSION “Treefeel” opens with the sounds of trees falling, creaking and moaning as they crash to the ground. As the track continues, those sounds are layered with with electronic elements that develop into a dark, swirling cacophony. As a whole, the track feels unsettling, chaotic, and at times, apocalyptic—an appropriate soundtrack for days that themselves feel grave and tumultuous. —AH [THE PINHOOK, $5/9 P.M.] ALSO ON THURSDAY CAT’S CRADLE: Black Tiger Sex Machine, Kai Wachi; 9 p.m., $18–$20. • THE CAVE: The Oblations; 9 p.m., $5. • DEEP SOUTH: Matthew W Charles, Born Again Heathens, The Nevernauts, Raw Dog; 8 p.m., $6. • KINGS: BJ Barham, Field Report; 9 p.m., $15–$20. See page 14. • LOCAL 506: Esme Patterson, Seabreeze Diner; 9 p.m., $12. • POUR HOUSE: Local Band Local Beer: Fireside Collective, The Tan & Sober Gentlemen, Eric Sholz; 9:30 p.m., $3–$5.
FRI, FEB 3 Peter Bradley Adams SOFT Peter Bradley STUFF Adams sings soft and melancholy songs, the kind you might find being played at a coffee shop’s open mic night. If you’re looking to get into Americana music, Adams is a good place to start, resting comfortably on the pop side of the acoustic spectrum. —AD [MOTORCO, $14–$16/8 P.M.]
Allison Crutchfield & the Fizz FIZZY LIFT
”Broad Daylight,” the opening track to
Allison Crutchfield’s new Tourist in This Town, finds the former Swearin’ frontwoman sounding like a lo-fi Florence and the Machine. That’s a good thing: Crutchfield mines a similar streak of shimmery boldness that hooks you immediately. It’s a hell of an opener to a solid record, which finds Crutchfield considering and confessing heartbreak amid endearingly ragged pop-rock arrangements. Radiator Hospital and Pinkwash open. —AH [CAT’S CRADLE BACK ROOM, $10–$12/9 P.M.]
Flash Car LITTLE Chapel Hill’s Flash NUGGETS Car doesn’t exactly work quickly. Morgan Friedman has released just four songs under that name since 2013, and only one—“Dying to Sing,” the B-side of a Cassette Store Day split with No One Mind—in the past twelve months. But perfection takes time, and Friedman’s songs come out as pretty perfectly formed nuggets of off-kilter, out-of-time psych-pop. With Ex-Girlfriends and Fruit & Flowers. —PW [THE STATION, $8/9 P.M.]
G. Love & Special Sauce BLUESThese long-running HOP? Philadelphia-based practitioners of junkyard blues and awkward rap remain best known for their fluky flirtations with the industry mainstream during the nineties. Even so, the band has continued pursuing its idiosyncratic jazzboes-in-the-frathouse muse all the way up to 2015 with the release of Love Saves the Day. Ripe opens. —TB [CAT’S CRADLE, $25–$99/8:30 P.M.]
Nu Soul Revival Tour OLD & NU A sort of throwback to the old bang-for-your-buck revue-style package tours of the sixties, this stuffed bill brings together a host of top-level talents including the vintage-sounding Sly and Stevie
FRIDAY, FEBRUARY 3
LONNIE HOLLEY Teasing apart the remarkable story of famed multidisciplinary artist Lonnie Holley can be a fraught enterprise, given his celebrity and the amount of stories that circulate about him. A rare figure who’s equally man and myth, Holley was born in 1950 as the seventh of twenty-seven children. One of his earliest efforts in sculpture involved crafting junk-metal tombstones for his sister’s children, who had died in a house fire. As an adult, Holley has offered a psychedelic, freewheeling, kitchensink artistic output, which has grown to include sculpture, photography, collage, printmaking, and storytelling. His work is poetic and distinctive and hard to pin down, though much of it still values the juxtaposition of junk materials into vivid, surrealistic shapes. Given Holley’s prolific nature, his late-budding music career shouldn’t be that shocking. Nor should his musical approach, which is often as disarmingly hypnotic as his visual art. His astrally repetitive Casio jams, spacey and modest, are marked by
industrial echo and sci-fi sounds Holley heard working in a movie theater growing up. The lyrics are eclectic, sometimes liturgical and sometimes conversational, reflecting Holley’s interests at any given moment. One song might involve his thoughts on art theory, the next, a sincere, ponderous analysis of religion’s place in his life. His odd style has won him fans among many current independent artists, including Black Lips and Deerhunter, and even Justin Vernon sampled Holley on the most recent Bon Iver record. The value of Holley and his work far exceeds his popularity and accomplishments. Yes, he’s had his work exhibited in numerous museums, and you could certainly lob a ton of genre and art-world label signifiers at him. But by Holley’s own admission, perhaps the best label is also the simplest: he is, more than anything, an American artist. —David Ford Smith KINGS, RALEIGH 9 p.m., $10–$12, www.kingsraleigh.com
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retro soul of Musiq Soulchild, the slice-of-life, neo-realist narratives of Lyfe Jennings, the affirming romantic pledges of Kindred the Family Soul, and the stirring jazz-gospel ruminations of Avery Sunshine. —TB [MEMORIAL AUDITORIUM, $37–$78/8 P.M.]
Torch Runner STILL Greensboro’s Torch RUNNING Runner, probably the state’s best hardcore band, delivers vicious and abrasive surges of grinding downbeat hardcore (see also: Nails, Pig Destroyer). But the trio’s biggest asset is the remarkable dynamism and depth it packs into grindcore’s breakneck pace. Iselia, Guts of the Oven, and Harm open. —PW [LOCAL 506, $8/9 P.M.] ALSO ON FRIDAY THE ARTSCENTER: Cedric Burnside Project; 8 p.m., $22. • BEYÙ CAFFÈ: Terry Hsieh; 7 & 9 p.m., $13. • THE CAVE: Orlando Parker Jr., OG Merge; 9 p.m., $5. • CITY LIMITS SALOON: Granger Smith, Kasey Tyndall; 8 p.m., $15. • DEEP SOUTH: Thick Modine, Lazarus Blue, Bearfoot Monty; 9 p.m., $5. • KINGS: Lonnie Holley; 9 p.m., $10–$12. See box,
TH 2/2 FR 2/3 SA 2/4 TH 2/9 FR 2/10
page 33. • LINCOLN THEATRE: American Aquarium, Hayes Carll, David Ramirez; 9 p.m., $25. See page 14. • THE MAYWOOD: I Am Maddox, Sun of Nile, Nowhere’s Home; 9:30 p.m., $8. • MEYMANDI CONCERT HALL: NC Symphony: All Mozart; noon, $28. • POUR HOUSE: Emma’s Lounge, The Broadcast; 8 p.m. • RUBY DELUXE: Luxe Posh; 10 p.m. • SLIM’S: Richard Lloyd, Jon Lindsay; 9 p.m., $15. See box, page 36. • THE SHED JAZZ CLUB: Mona Dowell, Simone Finally, Dead Sea Sparrow; 8 p.m., $5. • UNC’S MEMORIAL HALL: Heroes Tribute: A Celebration of the Music of Philip Glass, David Bowie and Brian Eno; 8 p.m., $20. See page 23.
SAT, FEB 4 Annabelle’s Curse GOOD Veteran BristolMOODS based quintet Annabelle’s Curse celebrates the release of its Here and Now EP, which promises another batch of dynamic roots rock, heavily inspired by the band’s Appalachian home and rife with soaring harmonies, intricate instrumental arrangements, and an infectious energy. Christiane & the Strays belts out twangy boot-stompers
ONYX CLUB BOYS 9PM FREE FLASH CAR, FRUIT & FLOWERS, THE EX-GIRLFRIENDS 8:30 $8 JAZZ SATURDAYS W/ THE JAZZTONES 2PM FREE THROWBACK DANCE PARTY W/ DJKB 10PM FREE ONYX CLUB BOYS 9PM FREE HONEY MAGPIE W/ JEFF THOMPSON 8PM $6 JAZZ SATURDAYS
WE 2/1 TH 2/2 FR 2/3
TU 2/14 TH 2/16 FR 2/17 SA 2/18
ED BUTLER 2PM FREE
DUMPSTER DIVE CINEMA 9PM FREE TH 2/23 ONYX CLUB BOYS 9PM FREE SA 2/25 AMERICAN EMPIRE W/ MORTAL MAN 7:30 $8 TWIN PEAKS NIGHT EVERY MONDAY! 9PM FREE TU 2/21
OLD Featuring a lineup SCHOOL true to its billing, the evening’s events include a cornucopia of big-ticket R&B and rap stars dating to the Reagan era, including Slick Rick, Doug E. Fresh, Whodini, and Big Daddy Kane. For those of you scoring at home, that means a night of hits ranging from the indelible party starters “La Di Da Di” and “The Show” to the raunchy bounce of “Raw” and the time-honored club anthem “The Freaks Come Out at Night”. —EB [MEMORIAL AUDITORIUM, $37–$102/8 P.M.]
Ciompi Quartet with Jamie Laval REELS IN Composer David THE SKY Kirkland Garner knows how to make a fiddle tune sing in weird ways. His music digs deep into Scottish fiddling traditions, recasting tunes and
San Luis Potosí-Los Angeles group has, like many of its kind, reconfigured its lineup several times and not lost a bit of its popularity—nor its keyboard solos. Los Terricolas de Nestor Daniel and Los Caminantes open. —AB [THE RITZ, $35/9 P.M.]
Dim Delights
DON’T Pugnacious alt-rawk SPEAK trio Headtrip Trauma is looking for a vocalist. Judging by the handful of live clips scattered around YouTube, it’s been looking for one for a while; a host of guest singers appear to lend plebian growls, fully sinking some already leaden nü-metal riffs. Absent a singer, Headtrip Trauma improves: Its punchy riffs land their blows harder, and the trio explores some interesting melodic and rhythmic shifts. Indeed, Headtrip Trauma seems better served as an instrumental act—maybe it should stay that way. —PW [SOUND FACTORY, $10/8 P.M.]
ROCK Self-described in a BLOCK WKNC interview as “stripped down rock and roll shooting from the hip,” upstart locals Dim Delights don’t have music online yet, but that’s OK! You can check out their mysterious ReverbNation-less rock stylings at this Slim’s function, which also features earnest Raleigh rockers Wayleaves, Greensboro alt-country crooners GSO, and Sissypants. —DS [SLIM’S, $5/8 P.M.]
Grupo Bryndis ¡VIVA EL Mexican regional AMOR! music continues its comeback at The Ritz with a night of cumbia hits from Grupo Bryndis. Formed in the early nineties, the
Headtrip Trauma
impossible to predict, the recent craze for a cappella singing presumably dates to the success of Glee and Pitch Perfect, which reintroduced the world to this niche genre. For those so enamored with the human voice they will brook no complicating factors, here are some of the best locked in competition. —TB [CAROLINA THEATRE, $15–$25/7 P.M.]
Gershwin’s Magic Keys KID This children’s FRIENDLY concert imagines a chance meeting between George Gershwin and a newspaper boy on the streets of 1930s New York, and their conversation and burgeoning friendship is surrounded by twenty Gershwin compositions. The family-friendly production is a reminder of the good work the National Endowment for the Arts continues to make possible. —DR [MEYMANDI CONCERT HALL, $22–$25/1 & 4 P.M.]
International Collegiate a Cappella INSIDE VOICES
Compelling proof that trends are nearly
CRANK IT LOUD PRESENTS HOMESAFE Life Lessons / Chase Huglin ESME PATTERSON / Seabreeze Diner TORCH RUNNER / Iselia / Guts Of The Oven / Harm SA 2/4
ANNABELLE’S CURSE MO 2/6 WE 2/8 TH 2/9 FR 2/10
Monday Night Open Mic GOST / Roseclouds UNC vs. Duke on the Big Screen
AIRPARK / LIZ COOPER AND THE STAMPEDE
SA 2/11
ROOM 13 PRODUCTIONS AND LOCAL 506 PRESENT: CRO-MAGS / Fire & Ice / Society Sucker Red Vision / Substance
SU 2/12
SARAH MAE CHILTON
Fredi Sholtz / Sarah Cheung MO 2/13 Monday Night Open Mic TU 2/14 THE TEAR DROPS ON MY TOMBSTONE TOUR:
MICKEY AVALON COMING SOON: SHAGGY 2 DOPE, VIOLENT J, WVRM, SEEKER, LOLO, POLYPHIA
www.LOCAL506.com
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forms with a mix of deference and playful irreverence. This concert features the premiere of a new work, Skye & Glass, which uses a refashioned Scottish medley to juxtapose the sound of the string quartet with the frenetic playing of Celtic fiddler Jamie Laval. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$25/8 P.M.]
ANNABELLE’S CURSE EP RELEASE PARTY:
LUD W/ THE 8:59S 7:30PM $6 CLUB PLAYPLAY 10PM FREE VALENTINE’S DAY REAL ESTATE: A TRIBUTE TO SUNNY DAY REAL ESTATE & ELLIOT SMITH 8PM $6 ONYX CLUB BOYS 9PM FREE THE NC RHYTHM PROJECT 7:30PM $8 JAZZ SATURDAY W/ ROBBIE LINK, ALISON WEINER,
Back 2 the 80s
SA 2/4
W/ ATTICUS REYNOLDS 2PM FREE SA 2/11
and croons sweet folk-pop originals while also drawing upon a diverse pool of covers, from Dolly Parton and Loretta Lynn to Drake and Beyoncé. —SG [LOCAL 506, $8–$10/9 P.M.]
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T0W3RS, Body Games ELECTRO Derek Torres’s PARTY larger-than-life performances as T0W3RS always seem on the verge of overwhelming the too-small stages he occupies; Kings should be bursting at the seams thanks to the theatrics of his bombastic pop powerhouse. Carrboro’s Body Games wraps beautifully warped electronica around massive hooks, ingenious samples, and lyrical vignettes strewn with emotional turbulence. Atlanta’s Breathers, which boasts members of former Greensboro crew Casual Curious, has been bringing back vintage dream fuzz fueled by eighties-era synths since before Stranger Things made it cool again. —SG [KINGS, $8/9 P.M.]
Darnell “Showcase” Taylor STAR Over the course of a SHOW distinguished career, North Carolina-born guitar virtuoso Darnell “Showcase” Taylor has collaborated with Grammy Award winners Anthony Hamilton and Tasha Cobbs, while demonstrating a rare flair for distilling jazz, blues, and funk impulses into his own unique vision. Performing solo, Taylor offers a pyrotechnic display reminiscent of the mind-on-fire psychedelic soul of Funkadelic’s Eddie Hazel, the knotty fusion rabbit holes of John McLaughin, and the joyous bounce of Catfish Collins of the JBs. —EB [BEYÙ CAFFÈ, $15/7 & 9 P.M.]
Reed Turchi SEARING In his youth, this SLIDE N.C.-born slide guitar player fell hard for the hill country blues of folks like Mississippi Fred McDowell. He’s since explored blues-rock, R&B, and the Tuareg music of North Africa, but recent personal trials sent him into a ruminative solo guitar mode on his latest, Tallahatchie. Boxter opens. —DK [CAT’S CRADLE BACK ROOM, $8–$10/8:30 P.M.]
Volume 20: Bill Converse
TEXAS Dance music thrives TECH despite inhospitable surroundings, and DJ Bill Converse is a shining example. Growing up m in Lansing, Michigan, he was rsDurham exposed to techno via the
airwaves of Detroit and Chicago, before eventually decamping to Texas in his teenage years. Over the last two decades, he’s grown a small but loyal cult of freaks in the Austin area, which isn’t typically known for being a hotbed of dance culture. If his Resident Advisor mix from last year is any indication, the attention is well merited. —DS [NIGHTLIGHT, $10/10 P.M.] ALSO ON SATURDAY BLUE NOTE GRILL: The Gravy Boys; 8 p.m., $10. • BULL CITY RECORDS: Catherine Edgerton, The Wigg Report, Charles Latham; 6 p.m. • THE CARY THEATER: Michael Reno Harrell, Ben Bedford; 8 p.m., $10–$25. • CAT’S CRADLE: Bob Marley’s Celebration with Mickey Mills and Steel; 9 p.m., $12–$15. • THE CAVE: Richard Lloyd, Melissa Swingle Duo; 9 p.m., $15. See box, page 36. • CITY LIMITS SALOON: Josh Turner; 8 p.m. • DEEP SOUTH: Penny Draft, Bloody Sabbath, Jehovah’s Witness Protection Program; 9 p.m., $5. • LINCOLN THEATRE: American Aquarium, Will Hoge, Joe Pug; 9 p.m., $25. See page 14. • THE MAYWOOD: Walpyrgus, Final Sign, Hayvyn; 9:30 p.m., $8. • MOTORCO: Dishoom; 10 p.m., $8–$10. • THE PINHOOK: Hiss Golden Messenger; 7 & 10 p.m., $18. See page 31. • POUR HOUSE: Dr. Bacon, Funk Sandwich, Bad Hombres, Kate Rhudy; 5 p.m., $5.
SUN, FEB 5 Code Orange HXC The members of PUNK Pittsburgh’s Code Orange aren’t just musicians; they’re four mercenaries hell-bent on restoring hardcore to its former glory of the late nineties, when the scene catered to misfits rather than meatheads. Forever, the latest album from these self-identifying “thinners of the herd,” marks the band’s most ambitious, acerbic statement yet: an amalgam of chugging riffs, industrial noise, and catchy choruses. Youth Code and Nicole Dollanganger open, plus Malice at the Palace. —ZC [KINGS, $15/8 P.M.]
Ron Shalom & Austin Vaughn RISKY The Shed has BIZNESS become the nerve center of Durham’s jazz scene, partly because it’s not averse to taking risks and pushing the envelope. Experimental composerinstrumentalist Ron Shalom’s baroque death pop project is a few
clicks away from free jazz. His frequent collaborator, Austin Vaughn, is a percussionist interested in overtones and sympathetic vibration. With Alexander and Durty Dub. —DK [THE SHED, $8/7 P.M.]
W00dy ONE TO One of the most WATCH exciting electronic releases of last year quietly dropped under an unassuming title, from an equally unassuming artist name. The Timberdoodle EP from Philadelphia’s W00dy sliced together thick dub, lo-fi pop, fractured club music, and ambient music into a fascinating, iconoclastic mixture. A full-length is expected sometime this year, but in the meantime, check out her warped pop sensibility on this stacked bill, which also includes Deflector, Repeat Offender, and Drippy Inputs. —DS [KINGS, $7/9 P.M.]
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ALSO ON SUNDAY CAT’S CRADLE: Charlie Hunter Trio; 4 p.m., $18. • THE SCRAP EXCHANGE: Musical Chairs 2017; 4 p.m. • SYLVAN SALON: ANTIPASTI; 3 p.m., $5–$30.
MON, FEB 6 Darsombra PSYCH Darsombra’s DRONE head-caving mixture of avant songcraft and over-thetop atmospherics can at times recollect everything from instrumental Brian Eno at his most aggressively obscure, to the slow-burning rock formalism of Traffic’s “Low Spark of High Heeled Boys,” to the molten, sonic apocalypse of Lou Reed’s The Bells. With songs running to twenty minutes or longer, Darsombra’s immersive enterprise requires a serious commitment from its audience, but that commitment is generally rewarded. Blueberry opens. —EB [THE CAVE, $5/9 P.M.]
Bill Laurance SNARKY In addition to serving FUSION as pianist for the well-loved Texas-based fusion outfit Snarky Puppy, Bill Laurance has earned a formidable reputation for his solo work, including last year’s well-received calypso-psyche treatise, Aftersun. Expanding upon Snarky Puppy’s world music influences, Laurance
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creates polyrhythmic landscapes abetted by atonal strings and insistent piano melodies that suggest both the cool compositional mastery of Keith Jarrett and Weather Report in a particularly avant-garde headspace. Eric Hirsh Quartet opens. —TB [POUR HOUSE, $12–$15/9 P.M.]
draws on its often overlooked experiences, and the struggles associated with them, to form the nexus of its infectious racket. They practice what they preach, and they do it damn well. —ZC [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9 P.M.]
ALSO ON MONDAY
CAT’S CRADLE: Isaiah Rashad, Lance Skiiiwalker, Jay IDK; 9 p.m., $17–$65. • RUBY DELUXE: TyLake; 11 p.m.
CAT’S CRADLE: Isaiah Rashad, Lance Skiiiwalker, Jay IDK; Feb 6, 9 p.m. Feb 7, 9 p.m., $17–$65. • CAT’S CRADLE (BACK ROOM): Margaret Glaspy, Bad Bad Hats; 8:30 p.m., $12–$15. See page 30. • NEPTUNES PARLOUR: Atomic Rhythm All Stars; 8 p.m., $5. • UNC’S MEMORIAL HALL: The Complete Piano Etudes by Philip Glass; 7:30 p.m. See page 18.
TUE, FEB 7 Blind Pilot
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FRIDAY, FEBRUARY 3 & SATURDAY, FEBRUARY 4
RICHARD LLOYD
I was in high school when Richard Lloyd released his first solo LP, Alchemy, in 1979. To me, he was already a guitar hero through his work with Television, the recently broken-up New York band led by Tom Verlaine and associated with CBGBs and the birth of punk. Merely owning a copy of Alchemy made me feel deeply cool inside. The title track, with its luminous riff and Lloyd’s offhand, reedy voice “talking about alchemy and things that explode” was the epitome of New York hip. Hearing that Lloyd was playing a gig, I convinced a friend with a car to drive us across the bridge from Jersey to Hurrah, a dance club that also hosted punk and new wave shows. I had heard that Lloyd had a serious heroin habit, but wasn’t prepared for the reality of it. He was a mess that night, and so was the music. Television had sealed its place in the rock firmament with a single album of unimpeachable brilliance, 1977’s Marquee Moon, which both embraced the punk spirit through adventurous eclecticism, lyrical nihilism, and hatred of hippies, while indulging in such un-punk aspects as extended guitar soloing, intricate song construction, and an overall cerebral air. The two competing guitar sensibilities contrasted in fascinating ways: Verlaine’s work pointillistic, gradual, and mysterious, against Lloyd’s driving rhythmic lines and muscular solos. In true Velvet Underground and Big Star fashion, 36 | 2.1.17 | INDYweek.com
Marquee Moon didn’t sell many copies, but those who did hear it, like U2’s The Edge, Sonic Youth’s Thurston Moore, and R.E.M.’s Peter Buck, went on to shape the next decades of rock music. Lloyd managed to survive what many of his musical peers and fellow scenesters could not, eventually getting clean in 1984. In 1992 Lloyd rejoined Verlaine and the other members in the first of a few Television reunions, which have usually ended in acrimony. He’s also put out solo records of original material, occasionally summoning the thrills of the Television years such as on the nine-minute “Field of Fire,” a staple of his live repertoire. Happily, the Lloyd who has emerged after the notorious era is open-hearted and approachable. For years, he’s taught guitar lessons to dedicated students in New York as well as to people like Wilco’s Jeff Tweedy, and he keeps an active dialogue with legions of fans and guitar freaks on his website. Onstage, he puts all those years of guitar playing on full display as he breaks out a mix of old and new solo material as well some barbed gems by Lloyd’s very first band—the one that hit a home run that still hasn’t stopped traveling. —David Klein FRIDAY: SLIM’S, RALEIGH 9 p.m., $15, www.slimsraleigh.com SATURDAY: THE CAVE, CHAPEL HILL 9 p.m., $15, www.caverntavern.com
STILL It’s been a while FLYIN’ since Blind Pilot’s “Go On, Say It” was a free iTunes single you could pick up at Starbucks. Their sound mixes influences like The Shins and Of Montreal, and on their latest release, And Then Like Lions, they expand on that sound while adding a bit more twang to the vocals. Quiet Life opens. —AD [CAT’S CRADLE, $18–$20/9 P.M.]
Al Di Meola JAZZ Lifelong Jersey guy PLUS Al Di Meola was in his teens when he joined fusion giants Return to Forever. He soon became a major contemporary jazz figure on the strength of his jaw-dropping, intricate fretwork. His repertoire reflects a lifelong affinity for Latin music, and while he’s tempered the jazz elements in favor of a world music focus, this tour commemorates Elegant Gypsy, his solo high-water mark from 1977 and a classic of the fusion genre. —DK [CAROLINA THEATRE, $32–$204/8 P.M.]
Downtown Boys PUNK For a genre founded SPIRIT on principles of inclusivity and protest, punk rock is largely a straight white man’s game. Thus, radical punk crew Downtown Boys is refreshing: its members comprise a bevy of nationalities, gender identities, and sexual orientations. The band
ALSO ON TUESDAY
WED, FEB 8 Excision PREDICT- Here’s what you’re in ION: PAIN for, apparently, at a show by Canadian bass deejay Excision: “A virtual apocalypse of twisting and morphing sounds turn massive crowds into a frenzy, as virtual walls of bass are relentlessly impaled time and time again upon their fragile bodies and ears. Your ears will ring and your eyes will roll into the back of your head as you are suspended in what can only be called a true sensory overload.” Fun? Cookie Monsta, Barely Alive, and Dion Timmer open. —PW [THE RITZ, $30/8 P.M.]
Free Improvised Music Series #3 UNSILENT Guitarist James WAY Gilmore has organized an ever-changing series of improvised music throughout January and February. The shows have been exciting and unpredictable, bringing together unexpected combinations of players. This iteration includes Gilmore, drummer Joe Westerlund, bassist Chris Sharp, and trumpeter Paul Rogers with a vibe rooted in Miles Davis’s In a Silent Way and a recent album by Cuong Vu and Pat Metheny. But then it could go somewhere else entirely, and that’s so much of the fun. —DR [NEPTUNES PARLOUR, $5–$10/8 P.M.]
Nathan Bowles, Jake Fussell, and Casey Toll PRIME Week two of The PAIRINGS Paul Swest’s residency features a star-studded cast of extras. The virtuosic progressive folk team of Nathan Bowles and Jake Fussell, with bassist Casey Toll, offers new
material in the headlining slot with guest appearances from from Mipso fiddler Libby Rodenbough and local pedal steel master Nathan Golub. Clark Blomquist and Ben Felton again pair up their solo ventures—Tegucigalpan and Blood Revenge, respectively—after a debut collaboration in November, while the host trio of Charles Chace, Tony Stiglitz, and Toll improvises on free jazz. —SG [THE CAVE, $5/9 P.M.]
Gost DOOM, Michigan-based KINDA Gost features a unique hybrid of Book of Revelation-style doom metal and Krautrock motorik, seemingly intended to reassure us that our inevitable ten million days of eternal suffering will at least be danceable. Airy synths and chintzy electronic drums tend to undermine any actual sense of menace, but the tunes are cool and catchy. Roseclouds open. —EB [LOCAL 506, $10–$12/9 P.M.]
John Scofield ECLECTIC Jazz guitar giant JAZZER Scofield has been at it since the seventies. Over the course of his long career, he’s dipped into everything from fusion to funk. But on his latest project, Country For Old Men, the idiosyncratic axe man jazzes up versions of classic country tunes. There might be some twangy turns in the road when he hits town with pianist Sullivan Fortner, bassist Vicente Archer, and super-drummer Bill Stewart. —JA [THE ARTSCENTER, $44/8 P.M.]
Papadosio INIs Papadosio an ORGANIC electronica band or a jam band? The answer is yes. The Asheville quitnet blends upbeat, psychedelic jazz-fusion frippery with pulsing electronica. It’s heady, but not afraid to free its mind and let its ass follow, either. With Jaw Gems. —PW [CAT’S CRADLE, $17–$20/9 P.M.] ALSO ON THURSDAY POUR HOUSE: Upstate Rubdown; 9 p.m., $8–$10. • SLIM’S: Inaeona, Beerwolf, Plow; 8 p.m., $8.
art
2.1 – 2.8 ONGOING
SATURDAY, FEBRUARY 4
2-Dimensional Art Show: Group show. Thru Mar 22. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/ library/carrboro. SPECIAL About Place: Greg EVENT McLemore and Barbara Campbell Thomas. Thru Feb 25. Reception: Feb 3, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.
ANSEL ADAMS: MASTERWORKS An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’re willing to make an exception. Adams called this grouping “the Museum Set,” intending it as the ultimate expression of his legacy. And unlike many a great novelist, painter, or musician, who experience a golden age in youth, Adams, who worked as a photographer for five decades, was so devoted to the refinement of his technique that his final work might accurately be called his ultimate creations. These forty-eight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, certainly speak to Adams’s monumental purity of vision. And while his images have become familiar from wall calendars and screensavers, they remain aweinspiring when you see them up close. After this opening-day reception, the exhibit runs through May 7. —David Klein NORTH CAROLINA MUSEUM OF ART, RALEIGH Noon–3 p.m., free, www.ncartmuseum.org
OPENING SPECIAL Ansel Adams: EVENT Masterworks: Photography. Feb 4-May 7. Opening Day: Feb 4, 12-3 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org. SPECIAL Artspace Long Pose EVENT Figure Study Exhibition: Feb 3-25. Reception: Feb 3, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org. SPECIAL Darning Memory: EVENT Fabric works by Leatha Koefler, Mary Starke, and
Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated and contributed to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. Thru Apr 2. City of Raleigh Museum, Raleigh. —David Klein Jarrett Burch: Paintings. Thru Feb 16. ERUUF Art Gallery, Durham. www.eruuf.org. Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham. durhamconventioncenter.com.
Ansel Adams: “Mount Williamson, the Sierra Nevada, from Manzanar, California” (1945, gelatin-silver print) PHOTO COURTESY OF COLLECTION CENTER FOR CREATIVE PHOTOGRAPHY, THE UNIVERSITY OF ARIZONA, © 2015 THE ANSEL ADAMS PUBLISHING RIGHTS TRUST
Ely Urbanski. Feb 1-Mar 24. Reception: Feb 3, 5-7 p.m. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts. SPECIAL Josh Hockensmith EVENT and Mark Iwinski: Mixed media. Feb 5-Mar 27. Reception: Feb 5, 2-4 p.m. Horace Williams House, Chapel Hill. www.chapelhillpreservation. com. SPECIAL In Light of Nature: EVENT Nathalie Worthington. Feb 3-26. Reception: Feb 4, 2-4 p.m. Nature Art Gallery, Raleigh.
www.naturalsciences.org. SPECIAL Location Known: Gail EVENT Biederman, Chad Erpelding, and Travis Head. Feb 3-Mar 11. Reception: Feb 3, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org. SPECIAL Magic Realist: EVENT Paintings. Feb 3-25. Reception: Feb 3, 6-10 p.m. Artspace, Raleigh. www. artspacenc.org. SPECIAL Oil Paintings of EVENT Carolina Vistas: Wyn Easton. Feb 4-28. Reception: Feb 4, 3-5 p.m. Little Art
Gallery & Craft Collection, Raleigh. littleartgalleryandcraft. com. Pick 2: Group show. Feb 3-25. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com. SPECIAL Wood Forms in EVENT Ironwood & Turquoise: Larry Favorite. Feb 4-28. Reception: Feb 4, 3-5 p.m. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.
A Celebration of 100 Years of Solitude: Gabriel García Márquez’s One Hundred Years of Solitude, the story of the rise and fall of the fictional Colombian town of Macondo, is built on a grand pattern of Latin American myth and history, intermeshed with an intimate one of seven generations of a family, and
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both wound by Márquez into shapes of fated repetition and doom. This exhibit by the Artist Studio Project, including twelve artists’ responses to the novel, was curated by Rafael A. Osuba, who put on a similar tribute to Don Quixote last year. The featured artists include Luis Ardila, Cornelio Campos, Ernesto Hernández, Saba Taj, and Antoine Williams. Thru March 10. Durham Arts Council, Durham. www.durhamarts.org. —Brian Howe SPECIAL Collecting Carolina: EVENT 100 Years of Jugtown Pottery: Pottery. Thru May 29. Reception: Feb 3, 5-9 p.m. NC Museum of History, Raleigh. ncmuseumofhistory.org. Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www.ackland.org. Corridor Exhibitions: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, and Don Mertz. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org. LAST Gordon Dean: SiteCHANCE specific installation. Thru Feb 5. Artspace, Raleigh. www.artspacenc.org. Discover Your Governors: Thru Aug 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Fever Within: The Art of Ronald Lockett: Paintings and assemblages. Thru Apr 9. Ackland Art Museum, Chapel Hill. www.ackland.org. Flora and Fauna: Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org. #Greenspaces: Paintings by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. Guin Down the Coast: Photography. Thru Feb 27. Bond Park Community Center, Cary. www.townofcary.org. History and Mystery: 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, 38 | 2.1.17 | INDYweek.com
Noé Katz’s “The Marmaids Game” is on view in A Celebration of 100 Years of Solitude at the Durham Arts Council. PHOTO COURTESY
Raleigh. www.ncartmuseum.org. —Brian Howe Memory & Imagination: Folk art. Thru Feb 23. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library. Moor and Moon: Mary Walker. Thru Mar 10. Durham Arts Council, Durham. www. durhamarts.org. LAST My Favorite Things: CHANCE Group show. Thru Feb 4. Lee Hansley Gallery, Raleigh. www.leehansleygallery. com. LAST Natural Forces: CHANCE Paintings and drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www. frankisart.com.
OF THE DURHAM ARTS COUNCIL
Next Chapter: Paintings by Lori D. White. Thru Feb 22. Village Art Circle, Cary. www. villageartcircle.com. Now & Again: Mixed media group exhibition. Thru Feb 19. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com. Oceans and Moods: Drawings and paintings by Lyudmila Tomova. Thru Feb 26. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill. Orange County Artists Guild Members Exhibit: Group show. Jan 19-March 21. Carrboro Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro. LAST Planting Hope: CHANCE Drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www.frankisart.com. Post Mégantic: Photography by Michel Huneault. Thru Feb 18. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. Potters’ Penguin Project: As tenacious creatures that mate for life, valiantly protect their young, and are perpetually dressed for a party, penguins are easy to romanticize. But there’s nothing whimsical about the plight of the Adélie penguin colonies in East Antarctica, where an iceberg loosened by climate change is blocking access to the sea for the colony there and has decimated its ranks to the point of near extinction. To highlight the dire impact of global warming, the Potters’ Penguin Project unveils a colony of its own—nearly two thousand handmade clay penguins by more than four hundred participants. Thru Feb
11. Claymakers, Durham. www. claymakers.com.—David Klein Regard: An Exhibition of Reciprocal Portraits: When artists look at their own work, it’s like looking in a mirror. But what might their peering faces look like from the back of the glass? That notional space is given intriguing form in an exhibit that divides artists into fifteen pairs—including David Eichenberger and Shaun Richards, Caitlin Cary and Skillet Gilmore, and exhibit curators Sherry di Filippo and Janet Link—and charges them with creating “reciprocal portraits.” They do so through drawing, painting, video, photography, and mixed media, trapped on either side of the glass, saying, this is you, and this is you. Thru Feb 12. Meredith College: Weems Gallery, Raleigh. www.meredith. edu/the-arts. —Brian Howe Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin. Thru Mar 5. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Sense of Scene: Group show. Thru Mar 11. Durham Arts Council, Durham. www. durhamarts.org. Soundings: Protest|Politics|Dissent: You’d be forgiven for taking a break from the post-election news for
your sanity’s sake. But there’s no better way to tune back in than with the opening reception of Soundings, a sound exhibit that features digital audio works by more than twenty artists. This politically charged exhibit covers front-page themes including climate change, migration, and incarceration, and includes a programmed schedule of special listening times for specific artists throughout its run. You’ll hear the album We Lost Half the Forest and the Rest Will Burn This Summer by Postcommodity, a collective based in the Southwest, before its inclusion in this year’s Whitney Biennial. And French Afro-futurist Kapwani Kiwanga’s “Tongue” unpacks the loss and transformation of crosscultural transmission. North Carolina-based artists Kirsten Stolle and Hong-Ân Truong are also included, as well as Duke experimental and documentary arts MFA alumni Jonna McKone and Mendal Polish. Thru Feb
food
1st Anniversary Pig Pickin’: Outdoor pig pickin’, Counterclockwise String Band, and Ponysaurus beer. Sat, Feb 4, 11 a.m. PICNIC, Durham. www.picnicdurham.com.
18. Power Plant Gallery, Durham. —Chris Vitiello
Documentary Studies, Durham. www.cdsporch.org.
Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org.
Unpacking the Past, Designing the Future: The Scrap Exchange and Lakewood in Partnership: Stories and artifacts. Thru Feb 11. The Scrap Exchange, Durham. scrapexchange.org.
The Weight We Leave Behind: Photography by Jessina Leonard. Thru Feb 28. Bull City Arts Collaborative: Upfront Gallery, Durham. www.bullcityarts.org. LAST This Land Is Your CHANCE Land: Vaughn Bell. Thru Feb 8. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.
Michael Weitzman: Photography. Thru Feb 28. Duke University Hospital- Art & Health Galleries, Durham. LAST What’s the Story?: CHANCE Site-specific installation by Mary Ann Anderson. Thru Feb 5. Golden Belt, Durham. www. goldenbeltarts.com. LAST William Noland: CHANCE Dream Rooms: Long video takes examining technology and intimacy. Thru Feb 5. NC Museum of Art, Raleigh. ncartmuseum.org.
Allison Tierney: Thru Mar 25. HQ Raleigh, Raleigh. Together: Group show. Thru Mar 5. Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15. Duke Campus: Center for
Cooks & Books: Lunch with Kian Lam Kho: Celebrating Phoenix Claws & Jade Trees. $75. Fri, Feb 3, 1 p.m. The Fearrington Granary, Pittsboro. www.fearrington.com.
Seasons of the Sea: Sustainable NC seafood dinner with Locals Seafood, supporting NC Catch. Guest chef Justin Burdett. $65. Wed, Feb 8, 6:30 p.m. Piedmont
stage WEDNESDAY, FEBRUARY 8
THE GREAT DURHAM PUN CHAMPIONSHIP It’s like those jokes your dad tells that make everyone reach for the bottle, but with actual stakes! Yes, it’s the fifth Great Durham Pun Championship, hailed as one of the top pun competitions in the world by Mental Floss magazine. Those with the sharpest wits and most shameless tongues will convene for a pun-ishing com-pun-tition to see whose pun-stincts will pun out over the long pun. (Clearly, I won’t be competing.) Presided over by George Gopen, Duke Professor Emeritus of the Practice of Rhetoric—aka Judge “Go Pun”—participants have ten seconds to come up with groan-inducing cleverness from a prompt, with the winner being crowned Punster of the Year. Wait, wouldn’t a better acronym be “Pun User of the New Year” or “P.U.N.Y.?” Oh lord, the madness is spreading. The event is pun-sented by the Regulator Bookshop ... OK, that one definitely didn’t work. —Zack Smith
RECYCLE THIS PAPER
MOTORCO MUSIC HALL, DURHAM 7 p.m., $10, www.motorcomusic.com
BILL BURTON ATTORNEY AT LAW Read our story on Lucinda Childs Dance Company’s Chapel Hill performance, part of “Glass at 80,” on p. 24. PHOTO BY SALLY COHN/COURTESY OF CAROLINA PERFORMING ARTS
OPENING
dukeenergycenterraleigh.com. See p. 31.
Bonecracker, Ümläüt: Comedy. $5. Mon, Feb 6, 8 p.m. Kings, Raleigh. www.kingsraleigh.com.
Ali Siddiq: Stand-up comedy. $20-$28. Feb 2-4. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.
Dance: Lucinda Childs Dance Company. $10-$39. Tue, Feb 7, 7:30 p.m. UNC Campus: Memorial Hall, Chapel Hill. www.carolinaperformingarts.org. See box, this page. The God Game: Play. $15-$18. Feb 3-18. Sonorous Road Productions, Raleigh. www. sonorousroad.com. The Little Mermaid: Carolina Ballet. $36-$89. Feb 2-19. Fletcher Opera Theater, Raleigh. www.
Sketches for Auguste: Dance and music. $15. Sat, Feb 4, 8 p.m. Haw River Ballroom, Saxapahaw. www. hawriverballroom.com. See p. 31. Ginger Wagg & Wild Actions: Dance and music. Sat, Feb 4, 3 p.m. Lump, Raleigh. www. teamlump.org.
ONGOING LAST Hedwig and the CHANCE Angry Inch: Musical. $30-$120. Thru Feb 5. Durham Performing Arts Center, Durham. www.dpacnc.com. LAST CHANCE Heisenberg: Play. $5-$15. 7:30 p.m. and Sundays, 2 p.m. Thru Feb 5. Burning Coal Theatre, Raleigh. www. burningcoal.org. See review at www.indyweek.com. Martin Luther King, An Interpretation: Play. $10. Thru Jun 24. The ArtsCenter, Carrboro. www.artscenterlive.org.
Un c o n t e s t e d Di vo rc e SEPARATION Mu s i c Bu s i n e AGREEMENTS ss Law UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e rMUSIC s h i pBUSINESS LAW Wi l lINCORPORATION/LLC s C o l l e c t i o n s WILLS
967-6159
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bill.burton.lawyer@gmail.com INDYweek.com | 2.1.17 | 39
page
screen SPECIAL SHOWINGS Chimes at Midnight: Fri, Feb 3, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org. Defiance: Thu, Feb 2, 7 p.m. Duke Campus: Richard White Auditorium/ Lecture Hall, Durham.
comeback, it’s discovered that there’s a killer video hidden inside the killer video. Zounds! Rated PG-13. The Space Between Us—Can this tale of interplanetary love wash off the taint that Passengers left on the spaceromance genre? Rated PG-13.
February One: Wed, Feb 1, 9:50 & 11:20 a.m. Carolina Theatre, Durham. www.carolinatheatre. org.
A L S O P L AY I N G
I Am Not Your Negro: Wed, Feb 1, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre. org.
A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin, improbable family movie. Rated PG.
The Rock: Mon, Feb 6, 9 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh. Sully: Wed, Feb 1, 7:30 p.m. Halle Cultural Arts Center, Apex. www.thehalle.org. Weiner: Wed, Feb 8, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre.org. William Krisel, Architect: Thu, Feb 2, 7:30 p.m. James B. Hunt Jr. Library, Raleigh.
OPENING The Comedian—Robert De Niro plays an aging insult comic trying to reinvent himself. Rated R. Rings—In this horror franchsie
The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.
20th Century Women— The slippery concept of family is the heart of Mike Mills’s loopy, lovely autobiography. Gorgeous shots and a strong screenplay surround Annette Bening’s compelling performance in an eccentric ode to coming of age in 1979. Rated R. ½ Fantastic Beasts and Where to Find Them—A Rowling-penned, promising start to a new Harry Potter franchise. Rated PG-13. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry
and courage. Rated PG.
BETTYE KRONSTAD: PERFECT DAY: AN INTIMATE PORTRAIT OF LIFE WITH LOU REED
HH½ Passengers—This glossy interstellar vehicle for provocative moral entanglements ultimately implodes from the pressure of its star-driven, crowdpleasing mission. Rated PG-13.
Not many relationships that were meant to last begin with an unprovoked catcall and a firm slap on the rump, but Lou Reed operated under his own laws, and the relationship in question, with thenColumbia University student Bettye Kronstad, actually lasted for five years and even included marriage. Their time together aligned with a crucial period in Reed’s life, straddling the fin de siècle Velvet Underground years; the period just after, when Reed flirted with giving up music and devoting himself to writing; and the couple’s end after Transformer made Reed a star. It’s Kronstad’s proximity to Reed during that middle period, relegated to the margins in many grand biographies, that provides the freshest insight. Kronstad, a public school teacher and writer, doesn’t flinch in giving us the dark side of the man who wrote one of his most touching ballads, “Perfect Day,” about her, but her account is tempered by an intimate knowledge. In this remembrance, she confirms both the genius and the wellchronicled contradictions of her subject. —David Klein
Patriots Day— Mark Wahlberg’s ego singlehandedly avenges the Boston Marathon bombing victims. Rated R. Rogue One: A Star Wars Story—This war flick set in the Star Wars universe takes place just before the first film, and works great as a standalone. Rated PG-13. ½ Silence—Scorsese offers a masterful, reverent tale of seventeenth-century Jesuits traveling to Japan. Rated R. Split—M. Night Shyamalan sticks a killer twist in this tense tale of a kidnapper with multiple personalities (James McAvoy)—but the biggest shocker of all is that the movie’s pretty good. Rated PG-13.
WEDNESDAY, FEBRUARY 8
WEINER
Well, mea fucking culpa. When Weiner, the deep-access documentary about sextingfelled congressman Anthony Weiner, screened at Full Frame before its theatrical run last year, I mounted something verging on an apologia in the INDY, arguing that the PHOTO COURTESY OF THE SUNDANCE FILM FESTIVAL media’s grotesque, incessant fascination with Weiner’s sex life was greater than his crime of sexting between consenting adults. I still hold the newsploitation industry in contempt for its hypocritical, distracting fixation on public figures’ consensual sexual habits, but any possible defense of Weiner went out the window when, last fall, it came to light that one of his sexting partners was fifteen years old. He’s beyond redemption, but the documentary isn’t. It remains a tense, engrossing portrait of a politician managing a humiliating downfall, as it captures the second round of sext leaks that went off like a bomb in Weiner’s comeback bid. It’s also a sharp study of the quivering line between public and private life. The Full Frame Winter Series brings a free screening to the Carolina; get a special prix fixe dinner (reservation required) at the Durham Hotel before or after by mentioning the Full Frame Road Show. —Brian Howe THE CAROLINA THEATRE, DURHAM 40 | 2.1.17 | INDYweek.com
I
THURSDAY, FEBRUARY 2
La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.
7 p.m., free, www.carolinatheatre.org
THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com
READINGS & SIGNINGS Jeff Giles: Discussing The Edge of Everything with Amy Kurtz Skelding. Tue, Feb 7, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Greg Hansbrough: Enduring Strength: The Story of the Other Hansbrough Brother. Wed, Feb 1, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Little Corner Presents: Vi Khi Nao and John Paul Stadler: Poetry. Sat, Feb 4, 8 p.m. The Shed Jazz Club, Durham. Karen Pullen: Cold Heart. Sat, Feb 4, 2 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Richard Rosen, Joseph Mosnier: Julius Chambers: A Life in the Legal Struggle for Civil Rights. Wed, Feb 8, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. John Semonche: Pick Nick:
The Political Odyssey of Nick Galifianakis from Immigrant Son to Congressman. Thu, Feb 2, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. Sat, Feb 4, 11 a.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com. Ali Standish: The Ethan I Was Before. Fri, Feb 3, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Tim Tyson: The Blood of Emmett Till. Wed, Feb 1, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Kevin Wilson: Perfect Little World. Wed, Feb 8, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.
LITERARY R E L AT E D The 2017 Great Durham Pun Championship: $10. Wed, Feb 8, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic. com.
FSP@PPG: Hostile Sounds: With Christopher DeLaurenti, Tina Haver Currin, Jess Dilday, and Rodrigo Dorfman. Thu, Feb 2, noon. Power Plant Gallery, Durham. Cüneyt Özdemir: “The Media under Turkey’s Justice and Development Party.” Wed, Feb 1, 6:30 p.m. Nasher Museum of Art, Durham. nasher.duke. edu. Adam Summers: “From Finding Nemo to Finding Patents: Natural History as Inspiration for Science and Art.” Wed, Feb 8, 6 p.m. UNC Campus: Genome Sciences Building, Chapel Hill. Talking Music: Talib Kweli and 9th Wonder in Conversation: Thu, Feb 2, noon. Duke’s Forum for Scholars and Publics, Durham.
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COMING TO ASHEVILLE? Upscale Spa. private outdoor hot tubs, 26 massage therapists, overnight accommodations, sauna and more. Starting at $42. Shojiretreats.com 828299-0999
We are a Durham couple looking for a reliable birth surrogate to help make our family complete. We prefer not to work with an agency, but rather give our surrogate mother an appropriate fee directly. If interested, please email us at pbeach2014@yahoo.com.
entertainment
are waiting to Chat! Try it FREE! 18+ 919.861.6868, 336.235.2626 www.metrovibechat.com
geothermal heating/ cooling, solar water heater, 1st floor master, prewired solar, 3 bd,2 Ω bath, gym/lake/walking trails, full veggie/fruit/flower garden. Call Cris: 919-260-7673.
OFFICE-STUDIO SPACE
little guy.
MAKE THE CALL TO START GETTING CLEAN TODAY.
own/wake co.
EFFICIENT GREEN HOME
rent/ durham co. office
is a cuddly
DECLUTTERING? WE’LL BUY YOUR BOOKS We’ll bring a truck and crew *and pay cash* for your books and other media. 919-872-3399 or MiniCityMedia.com.
Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.
Madras
SAWMILLS FROM ONLY $4397.00?
medical services
misc.
KEEP DOGS SHELTERED
PURPLE MARTIN GOURDS
DANCE CLASSES IN SWING, LINDY, BLUES, CHARLESTON
NEW TAI CHI CLASSES FORMING IN JANUARY.
housing
critters
LIVELINKS
MEET GAY AND BI LOCALS Browse & Reply FREE! Raleigh 919-882-0800, Durham 919595-9800. Use FREE Code 2707, 18+.
music lessons ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN! See the teaching page of: www.griffanzo.com Adult beginners welcome. 919-6362461 or griffanzo1@gmail.com
INDYweek.com | 2.1.17 | 41
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HIGHLIGHT! ★★★★★★★
K ★ IND EE
Who:
Eyes Ears Nose and Paws
What:
We work with the correctional system to train assistance dogs that we partner with people with 6 disabilities. This is a triple win: 2 our 1 dogs get full-time attention, training, 4 and love; the inmate-trainers develop1interpersonal, 6 7 leadership, and job skills while serving the community despite 3 their incarceration; and our clients receive
6
4
5
8
3 1
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.
5 8 21 8 6 9 7 1 4 64 2 8 5 8 9 3 support 2 6 9life-changing 5 8 1 for their disabilities 5 in 3 4 2 the form of a high7 9 7 9 ly-trained canine 4 partner. 4 1 45 6 8 3 Give: www.eenp.org/main/donate 6 58 7 2 3 8 2 7 9 32 6 2 3 su |MEDIUM do | ku this week’s puzzle level: # 70
3 6 9
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crossword
TO BE FEATURED IN A GIVE! GUIDE HIGHLIGHT, CONTACT CLASSY@INDYWEEK.COM
2016
★★★★★★★
D ★ IN Y W
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# 25
MEDIUM
# 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.
1
4
9 5 6 2
4
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1
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# 27
6
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MEDIUM
7
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# 26
6 4 8 7 9 5 3 1 2
4 2 7 8 5 1 6 3 9
9 8 3 2 6 4 1 7 5
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8 2 7 5 1 9 4 6 3| 42 | 2.1.17 9 4 2 6 7 5 1 3 8 3 5 6
6 4
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9 # 72
8 7 9 6 1 2 4 5 3
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# 27
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Page 7 of 25 # 72 4 9 5 3 1 6 8 6 3 7 4 2 1INDYweek.com 2 7 5 8 9 5 1 6 8 7 3 9 3 8 4 2 1 7 4 2 9 6 5 2 7 4 1 9 8
# 28
2.1.17
solution to last week’s puzzle
# 71
8 4
# 28
MEDIUM 9 2 5 1 4 3 8 7 6
5
4 9 3 2 8 6 1
2 5 1 3 9 7 4
6 8 7 1 5 4 9
8 4 9 6 1 5 7
5 3 2 9 7 8 6
1 7 6 4 2 3 8
9 1 4 8 3 2 5
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7 2 8 5 6 1 3
7 2 8 5 9 6 1 3 4
4 9 5 1 3 8 6 7 2
3 1 6 4 2 7 8 5 9
9 8 7 2 4 5 3 6 1
5 3 2 6 8 1 9 4 7
1 6 4 9 7 3 2 8 5
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2 5 9 3 6 4 7 1 8
30/10/2005
Book your ad • CALL Sarah at 919-286-6642 • EMAIL
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advertising@indyweek.com
RECYCLE THIS PAPER
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Contact your ad rep or advertising@indyweek.com
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919-286-6642
last week's puzzle
Dating Made Easy Always FREE to listen and reply to ads!
Raleigh:
(919) 573-6821 www.megamates.com 18+
Playmates or soul mates, you’ll find them on MegaMates
Always FREE to listen and reply to ads!
Raleigh:
(919) 573-6818 www.megamates.com 18+
CALL SARAH FOR ADS! Book your ad • CALL Sarah at 919-286-6642 • EMAIL
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INDYweek.com | 2.1.17 | 43
POLLS OPEN FOR NOMINATIONS February 13 - march 5 Vote for your FAVORITE LOCAL BUSINESSES in five categories: HEALTH & BODY OUT & ABOUT SHOP SERVICES WINE & DINE
ONLY THE TOP FOUR FINALISTS IN EACH CATEGORY WILL APPEAR ON THE
final ballot
April 17 - may 7 Best Of Winners announced in our June 7th issue WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com
www.indyweek.com TO A DV E R T I S E O N T H E B AC K PAG E : C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M