INDY Week 2.07.18

RALEIGH 2|7|18

Roots Rock

Rebel

How a punk-rock legend helped Mount Moriah’s Heather McEntire refine her solo country side BY ALLISON HUSSEY, P. 16

2 | 2.7.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK DEPARTMENTS

6 A city Durham’s size should have twenty-three soccer fields. Durham has nine.

VOL. 35, NO. 6

6 News

9 In 2013, the Supreme Court struck down part of the Voting Rights Act. North Carolina pounced.

15 Food 16 Music 18 Arts & Culture

10 Of the 7,187 people held in the Durham jail in 2016, 24 percent had bonds of $5,000 or less.

22 What to Do This Week 25 Music Calendar

15 There’s a theory that the first alcohol made and drunk on purpose is cider.

28 Arts & Culture Calendar

16 To make her first solo country record, Heather McEntire found an unexpected mentor in a punkrock icon. 18 The relocated FRANK Gallery’s new manager has a retail background, which might make her the perfect person to shepherd the gallery to University Place. 21 Antony Hamilton and Alisdair Macindoe’s Meeting wouldn’t have come to Duke without the new Rubenstein Arts Center.

On the cover PHOTO BY HEATHER EVANS SMITH

Bottled cider goes through a shower after being sealed with a cap at Bull City Ciderworks production facility in Lexington (see page 15). PHOTO BY CAITLIN PENNA

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NCDOT TO HOLD PUBLIC MEETING ON FEB.15 REGARDING THE PROPOSED BRIDGE REPLACEMENT ON N.C. 50 OVER U.S. 70 AND IMPROVEMENTS TO INTERCHANGE IN WAKE COUNTY STIP Project No. B-4654 The N.C. Department of Transportation proposes to replace the bridge on N.C. 50 over U.S. 70, as well as make improvements to that interchange. A public meeting will be held at Garner Town Hall located at 900 7th Avenue on Thursday, February 15th from 4 to 7 p.m. The purpose of this meeting is to inform the public of the project and gather public input on the proposed design. Maps of the study area, environmental features and proposed designs will be available on the project website for public review and comment. Project maps are also available online at http://www.ncdot.gov/projects/publicmeetings/. The public may attend at any time during the public meeting hours, as no formal presentation will be made. NCDOT representatives will be available to answer questions and receive comments. The comments and information received will be taken into consideration as work on the project develops. The opportunity to submit written comments will also be provided at the meeting or can be done via phone, email, or mail by March 1, 2018. For additional information, please contact Mr. Elmo Vance, Assistant Project Manager, NCDOT Roadway Design Unit, by phone: (919) 707-6048 or via email at eevance@ncdot. gov; or by mail: 1582 Mail Service Center, Raleigh, NC 27699-1582. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop. Anyone requiring special services should contact Tony Gallagher, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, NC 27699-1598, by phone (919) 707-6069 or by e-mail at magallagher@ncdot.gov as early as possible so that arrangements can be made. Persons who speak Spanish and have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 233-6315. Aquellas personas que hablan español o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 233-6315.

4 | 2.7.18 | INDYweek.com

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

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Elizabeth Bracy, Timothy Bracy, Michaela Dwyer, Katie Jane Fernelius, Curt Fields, Spencer Griffith, Glenn McDonald, Neil Morris, Hannah Pitstick, Noah Rawlings, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Ryan Elizabeth Haar, Caitlin Sloan

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backtalk

Typical Biased Critic

of the Atlantic. Governor Cooper is actually Last week, we reported on a call from gay putting the very county he grew up in at risk. rights activists urging Amazon not to locate This is a horrible shame. After Governor HQ2 in states, like North Carolina, that don’t McCrory, I thought Cooper would care protect LGBTQ residents from discriminamore for the people than for Duke Energy. tion. Commenter Sarahm responds: “While I was so wrong. Look into the people who I agree that is is still important to point out are still living on bottled water due to Duke the ways in which HB 2 is hurting the state Energy’s penny-pinching ways of dumping (beyond discrimination of its citizens, obvicoal ash in unlined pits. Duke Energy ously), I think using Amazon as an example doesn’t give a damn about polluting our of this can be a little dangerous, given the natural resources, and obviously neither do potential negatives of having their new HQ2, the politicians of North Carolina.” their predatory business practices, and the Finally, letter writer Free of PC is superway they treat their workers.” offended by our review of the movie Three On the question of whether HQ2 would Billboards Outside Ebbing, Missouri, which be good for the Triangle, George Doctoroe we gave two-and-a-half stars: “Sir, I would writes: “In a logical world, it would make like to know which writer wrote the movie sense for North Carolina to ask Amazon review?” (That would be Neil Morris—the to build ten thousand lower-cost homes in byline is right there in the review.) “I had order to help with the disastrous housingthe pleasure of seeing this film with my price inflation in the Triangle, should the daughter last week. This web conglomerate choose was a unique and clever to move here. But in the real film with stupendous actworld, we live in a corporate “We live in ing, directing, and screenoligarchy now.” a corporate writing. The storyline was In last week’s paper, we oligarchy easy to follow, and character talked about the planned development was spot on. extension of I-540 around now.” Look at all the awards it has the southern end of Wake received. County. Mark Bahner “What in God’s name is wrong with your argues that that’s a terrible idea: “It’s a movie critic? Was the movie too politicalvery bad time to do any transportation ly incorrect, thus preventing your writer project that is capital-intensive and longfrom giving this movie the five-star review term. The reason is that computer-driven it deserved? Did the language offend? So vehicles will be common within less than what! I’ll bet your writer took no offense at a decade, and with computer-driven the 1987 ‘Piss Christ’ photograph. Yet, the vehicles will come transportation-as-awriter states that Martin McDonagh had service. Both of these developments will ‘tonal problems’ (what the hell does that significantly boost the ability of existing mean?) with the ‘weighty themes’ (what?) roads to handle the movement of people, and ‘discordant plot.’ Is the writer for real? particularly during peak times. “Give me a break! This plot went deep “Don’t build I-540. Don’t build the Durinto amazing character studies, and how ham-Orange light rail. Instead, think each was redeemed and exorcised of their ahead about how to maximize the benenegative, destructive thoughts. This review fits of autonomous vehicles providing was so typical of a biased critic, feeling transportation-as-a-service.” offended in some way, perhaps at the nasty Reacting to news last week that the language, or thinking the work of art as Department of Environmental Quality racist, so he purposely downplays the brilsigned off on a needed water-use permit liance of this film.” for the Atlantic Coast Pipeline, Connie Headrick Crawford writes: “This is a very Want to see your name in bold? Email us at sad time for people who live in the counties backtalk@indyweek.com, comment on our that will be impacted by the Atlantic Facebook page or indyweek.com, or hit us up Coastal Pipeline. Even the name of the on Twitter: @indyweek. pipeline is a lie. It doesn’t go near the coast INDYweek.com | 2.7.18 | 5

indynews

A Field of Their Own

SOCCER IS BOOMING IN DURHAM—IF PLAYERS CAN FIND SOMEPLACE TO PLAY BY SAM BERMAS-DAWES

T

om Wenger cuts a distinctive figure inside Durham’s W.D. Hill Recreation Center. With a head of shiny white hair, the seventy-two-year-old has been playing soccer in Durham longer than many of his teammates have been alive. But Wenger can hold his own. That much is clear from the bleachers of W.D. Hill’s indoor basketball courts, where a handful of friends and family have gathered to watch the championship game of the winter futsal season. Futsal is like soccer, but on a smaller, grassless surface using a smaller ball. As the game begins, the sounds on the center’s basketball court are familiar: players yell for the ball over the squeak of rubber-soled athletic shoes on laminated finish. The red-shirted Olympiakos, Wenger’s team, play well before conceding a string of goals around halftime. Losing the last game of the season is disappointing, but Wenger won’t have to wait long to try his luck again. In a couple days, he’ll strap on his cleats for a weekly pick-up soccer game hosted early Sunday mornings at Old North Durham Park. “To me, soccer feels like a Durham sport,” Wenger says. “The bottom line, though, is that if you look at the size of the community in Durham, we have way fewer soccer fields than we have population.” Wenger’s concerns are mirrored by other members of Durham’s soccer community, which, fueled by rising interest, has grown to encompass new adult and youth leagues, a semi-professional team called the Tobacco Road Football Club, and a chapter of the U.S. national team’s supporters’ group, American Outlaws. Durham should have more than double the amount of soccer fields available, according to Tom Dawson, the assistant director of the Durham Parks and Recreation Department. Currently, Durham has nine fields that could be used for soccer, he says. Judging by metrics from the National Recreation and Parks Association, a national organization that accredits parks 6 | 2.7.18 | INDYweek.com

The location of a proposed soccer field off North Hoover Road in Durham and recreation agencies, a city with Durham’s population should have about twenty-three fields that could be used for soccer. Now, Parks and Rec is looking to tackle that deficiency with expanded athletic facilities around Durham, including a new park near Hoover Road in east Durham and the development of soccer fields at Herndon Park. The proposed site on Hoover Road, across the street from Wheels Fun Park on

Cheek Road, would include multiple grass or turf fields, along with trails, bathrooms, and other park facilities. That sounds fine to Alex Barbee, fourteen, who lives nearby. On a street off of Cheek Road, Barbee shoots hoops into a rundown basketball rim used by the kids in his neighborhood, a quiet, dead-end gravel lane with single-story homes on one side and an empty lot on the other. Barbee is looking forward to football try-

PHOTO BY CAITLIN PENNA

outs at his high school in the spring and playing soccer in the summer. But besides the lone portable basketball hoop, space for athletics outside of school are limited, he says. Barbee’s neighbors agree. Donald Chandler has raised his kids there for the past five years. He says the neighborhood gets a bad reputation because of low-income housing up the street, but his bigger issue is the lack of parks. Sherwood Park, just a

mile down the road, lacks adequate facilities for children, he says. “I actually take my kids way across town to Duke Park, because there are no parks over here,” Chandler says. “It’s needed on this side of town.” Soccer groups in Durham say they’d welcome more venues for the sport. Cedric Burke, head coach and sporting director of Tobacco Road FC, which plays in professional soccer’s fourth division, says the lack of field space can make scheduling time difficult. Usually he has to schedule time on Durham fields six month in advance, and last-minute changes are very hard to make. Burke doesn’t blame Parks and Rec for the trouble. It’s the explosive growth of soccer in Durham and across the country that stretched the existing facilities to the limit, he says. David Fellerath, an active member of Durham’s soccer community (and former INDY arts editor), echoes Burke’s sentiments. He cofounded Durham Atlético, a

During Durham’s early development as a hub of tobacco and manufacturing, train lines and warehouse districts took precedence over parks and trails. Though the Hoover Park proposal is a priority, Dawson says, it is several steps away from becoming real. The plan is currently going through a public input process and then must get approval from the relevant city government committees and find funding. But the city council, Durham’s newly elected mayor, and members of the city’s Recreation Advisory Commission have responded positively to the idea. Asked how likely it is that this new park will come to fruition, Mayor Steve Schewel replies, “Ninety-nine percent.” Schewel’s pitch during the campaign included expanding green spaces and tree canopies. “That means trails and parks,” he says. “It means sidewalks, it means the tree canopy, and all those things that are very, very important to the health and quality of life in the neighborhood.”

RECYCLE THIS PAPER

“I actually take my kids across town because there are no parks over here.” soccer organization that runs the adult soccer leagues in Durham, in which Wenger’s Olympiakos compete. Since 2015, Durham Atlético has added four adult soccer leagues and grown from fifty players to around three hundred. Fellerath and Atlético cofounder Kosta Harlan sit on the city’s Recreation Advisory Commission. Fellerath points to the availability of soccer facilities in surrounding counties as part of the reason for lack of field space. That has helped mitigate demand here in Durham, he says. But the need is still there. “Having more capacity is just vital,” Fellerath says. “And what I love about the new space is that it’s in an underdeveloped and lower-income part of Durham. It’s located in a community that needs quality recreation space and is accessible from most parts of Durham.” That is an important part of the equation for Parks and Rec. The proposed park needs to contribute to the equal distribution of park resources across the city. Durham presents a unique problem in this area, which Dawson says partly stems from the city’s industrial beginnings.

Soccer fields are one of those assets Durham needs to work on, Schewel says. Accessibility, land availability, and cost pose challenges to Durham’s park proposals. And finding flat land large enough area for several soccer fields is difficult given Durham’s explosive growth, Dawson says. In that sense, Hoover Park is ahead of the game. The proposal, one of many projects included in this year’s capital improvement plan, was sent to the Recreation Advisory Commission on January 10 as part of the public input process. The committee has since reviewed the plan and named it a top priority. Simultaneously, the city is seeking additional funds from national and state grants to make the project proposal more appealing, including an NPRA grant in collaboration with the Disney company worth $20,000 and a Park and Recreation Trust Fund state grant. “We just want to show to city council that it is not just them funding everything,” Dawson says. backtalk@indyweek.com INDYweek.com | 2.7.18 | 7

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news

The Preclearance Problem

THE U.S. COMMISSION ON CIVIL RIGHTS WENT TO RALEIGH TO LEARN MORE ABOUT HOW A CONTROVERSIAL SUPREME COURT CASE IS AFFECTING THE RIGHT TO VOTE

RISTO PH ER IO N BY CH

After Shelby, North Carolina, Texas, and several other states quickly moved to enact laws that were immediately contested in lawsuits as racially discriminatory. Peyton McCrary, a former historian in the DOJ’s Civil Rights Division, said that the most dramatic shift wrought by Shelby is “the adoption of laws that burden— designedly or otherwise—the ability of minority voters to vote in person.” McCrary cited North Carolina’s 2013 voting law, often described as the most extreme in the country. It shortened the early-voting period to ten days, outlawed same-day registration and out-of-precinct voting, and implemented a strict photo-ID requirement, among other things. Critics argued that the Republican-led General Assembly designed all of these things to make it difficult for Democratic-leaning minorities to vote. In 2017, the Supreme Court refused to reinstate the law after the U.S. Circuit Court of Appeals struck it down; the appeals court famously held that the law sought to “target AfricanAmericans with almost surgical precision.” Justin Levitt, a deputy assistant attorney general in the Obama administration, argued that the true danger of Shelby lies in the fact that racially discriminatory practices will no longer be headed off ahead of time. With preclearance gone, fighting racist voting laws requires litigation, which in turn requires time and money—“with harm accruing as litigation plods along.” In the meantime, Levitt pointed out, “An election held under conditions later found to be unlawful works its harm immediately.” In North Carolina, this is an especially urgent issue. Bishop William J. Barber II, the fiery former leader of the N.C. NAACP, said that the General Assembly redrew districts by “stacking and packing” black voters into as few districts as possible in order to retain power. Because the existing legislative districts have been declared unconstitutional

IL LUST R AT

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reclearance, a term most familiar to legal wonks and AP history students, was the central topic of a briefing Friday before the U.S. Civil Rights Commission at the Crabtree Marriott in Raleigh. The event space was mostly packed with academics, activists, and others interested in hearing the testimonies of panelists to the commission, an independent, bipartisan body created by the Civil Rights Act of 1957 that helps inform policymakers on civil- and voting-rights issues. Preclearance was the policy that required certain states—mostly Southern states with a history of racial discrimination, as well as parts of other states, including North Carolina—to obtain federal preapproval before making any changes to election laws, as ordered by Section 5 of the Voting Rights Act of 1965. The conversation, then, focused on the significance of the Supreme Court’s 2013 Shelby County v. Holder decision, which struck down Section 4b of the VRA, which contained the formula for how the feds determined which states were subject to preclearance. With Section 4b gone—and with the GOP Congress in no mood to tweak that formula to assuage the Supreme Court—Section 5 was effectively rendered obsolete. States no longer needed the Department of Justice’s permission to reconfigure voting laws, often in ways intended to diminish minorities’ voices. Vanita Gupta, a panelist who headed the Department of Justice’s Civil Rights Division in the final years of the Obama administration, described Shelby as “the most devastating blow to voting rights in the modern era” and a decision that “dramatically weakened the federal government’s ability to prevent unlawful attempts to disenfranchise, harass, and intimidate American citizens as they attempt to exercise their most basic right as Americans.”

W IL LI A M S

BY RYAN HAAR

and new, court-ordered districts will be in place for this November’s elections, Barber says, “We had an unconstitutionally constituted legislature.” In other words, the legislature is making laws even though, in his view, it was illegitimately elected. But in North Carolina and elsewhere, fixing redistricting problems won’t be easy, argued panelist Han von Spakovsky, a senior legal fellow at the conservative Heritage Foundation. “Today,” he said, “five years after Shelby County, there is still no evidence of widespread, systemic, official discrimination by any of the formerly covered jurisdictions or any other state that would justify re-impos-

ing the onerous Section Five preclearance requirement.” Furthermore, Spakovsky said, a downturn in enforcement actions seems to reflect “a reduction in discriminatory actions that would justify a DOJ lawsuit.” Alternatively, it could also reflect a Department of Justice, now led by Attorney General Jeff Sessions, that is turning a blind eye to abuses. The commission will use the panelists’ testimony and public comment heard in Raleigh to form the basis of its 2018 report to Congress, the president, and the American people regarding the state of voting rights across the nation. backtalk@indyweek.com INDYweek.com | 2.7.18 | 9

BAIL IS FOR THE RICH. JAIL IS FOR THE POOR.

LOCAL ACTIVISTS ARE CALLING FOR DURHAM TO JOIN THE GROWING NUMBER OF JURISDICTIONS THAT HAVE CRACKED DOWN ON CASH BAIL BY SARAH WILLETS PHOTOS BY CAITLIN PENNA

J

udge Doretta Walker sounds upbeat as she runs through the docket in the small courtroom at the Durham County Detention Facility. Men and women making their first appearances file onto a bench, their backs pressed against glass that separates them from vacant rows where bail agents, family members, and observers would sit were the courtroom not nearly empty. The details of each case are read aloud: the charges the defendant is facing, previous convictions, failures to appear in court. Then Walker and an attorney from the Public Defender’s office begin to negotiate the price of the accused’s freedom, like some backward, drab version of The Price is Right.

10 | 2.7.18 | INDYweek.com

Chuck Manning James Stanley, the attorney, is trying to get unsecured bonds assigned to as many of the defendants as he can, even if this means asking Walker to assign them a higher dollar amount. Unlike secured bonds, unsecured bonds require no money up front to get out of jail, only that the defendant pay if he or she fails to appear in court. Stanley begins each request by reminding Walker that the defendant is innocent until proven guilty. In most cases, he says the defendant cannot afford the bail that has been assigned. Most of the people in this courtroom last Wednesday were already being held

on low bonds—$1,500 or $3,000—meaning they’ve been unable to pull together a couple hundred dollars to pay the fee of a bail agent. Unless they can find the money or their bonds get reduced, they’ll stay in jail, even though they haven’t yet been convicted of the charges they face. “The bail system,” says a deputy sitting in the back of a courtroom, pausing as he chooses his words, “is weird.” It’s a system known for decades to include racial and economic inequities. And with about a quarter of the people held at the Durham jail in 2016 there on bonds of $5,000

or less, local activists are calling for Durham to join the growing number of jurisdictions nationwide—from Alaska to New Jersey to Maryland, with efforts also underway in California, Connecticut, and New York—that have eliminated or significantly restricted the use of money bail.

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outherners on New Ground is leading the charge. Last year, the queer liberation organization bailed out twenty-three women from the Durham jail for Mother’s Day and in celebration of Black August. “What [cash bail] does is create a system where often the people with the least ability to pay, charged with the most minor offenses, are stuck in jail,” says Serena Sebring, a regional organizing manager with SONG. On Tuesday, the group is teaming up with the People’s Alliance and the Durham Human Relations Commission, which recommended ending money bail in a report on conditions at the jail last year, to host Free From Fear, a forum focusing on bail reform as a means of making Durham’s criminal justice system more equitable. The three groups are studying how money bail is affecting Durham residents, the laws surrounding the practice, and how alternatives could be put into place. SONG has collected about five hundred signatures on a petition to end money bail and will launch a campaign pushing for a change next month. Studies across the country have shown that the bail system has the biggest impact on the poor and people of color, influencing the outcomes of their cases all the way to sentencing. Defendants held before their trial, rather than released, are more likely to plead guilty, be convicted, receive a prison sentence, and face longer sentences, studies suggest. One study of more than thirty thousand cases across the country found that black defendants were 66 percent and Hispanic defendants 91 percent more likely to be detained pretrial than white defendants. This time in jail can affect their employment, bills, and child custody. Inequities in Durham’s system have been known for at least thirty years. Local judges, responding to critical media reports, commissioned researchers from UNCChapel Hill’s Institute of Government to study the issue. Their 1987 report on more than nine hundred cases found that, while black people were assigned lower secured bonds than their white counterparts, they were more likely to be given secured bonds, were less likely to be released pretrial, and spent more time in detention. While it’s difficult to say definitively how many people are in the Durham jail because

of an inability to post bond, hundreds of people are held on low bonds—and this reality is disproportionately affecting black people, who made up about 38 percent of Durham’s population but more than 80 percent of the jail population in 2015, according to the Vera Institute. Delvin Davis, a senior research analyst at the Center for Responsible Lending, analyzed data on every person held at the jail in 2016. Of the 7,187 people detained that year, 4,357 were held pretrial. Of that group, 46 percent had a money bond, including 1,732—about 40 percent of the pretrial population and 24 percent of the total population—with bonds of $5,000 or less. A little less than 5 percent of the pretrial population had a bond of $1,000 or less. The INDY looked at the full jail population for January 29, which included five hundred detainees. This analysis produced a somewhat lower number of people held on bonds of $5,000 or less— about 15 percent of the total population. A majority of those were people of color. According to a 2016–17 annual report from the Sheriff’s Office, it costs $125.59 per day to house one inmate. Which means that, if the nineteen-year-old who has been held since January 5 on a $3,500 bond is detained until his March 6 court date, the county will have spent $7,500—more than double his bond—to house him.

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ntil the very end of her fifty-one-day confinement in the Durham County jail in 2012, Andrea Hudson held out hope that her bond would somehow be lowered. There was no other way, with her out of work, that her two children would be able to pull the money together. Besides, they’d been caught off-guard. Hudson had left for work one day and never returned. An officer pulled her over for a traffic violation, found outstanding warrants for her arrest on charges of fraud and exploiting an elderly person, and took her to jail, where she spent all but one hour every other day confined to a cell. Hudson’s bond was initially set at $10,000, but she says a judge felt that was too low and raised it to $30,000. Pulling together the roughly 10 percent—about $3,000—she needed to pay a bail agent to front the rest was impossible. Her hope ran out. She called a friend and told her to sell her truck for bail money. The friend replied that she had been waiting in the lobby of the detention center for hours. Hudson was free to go, but no one had told her. Hudson, who says the charges stemmed from mistaken identity, had told her attorney

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she would consider pleading guilty if it meant she would get out. Although she says she never went to court—other than a first appearance—court records show a guilty plea was entered for some of the charges and a deal was struck for her release. The rest of the charges were expunged. Hudson now works for the Southern Coalition for Social Justice, which plans to launch a bail fund this month that will use donations to get people out of the Durham jail, and with a program called Participatory Defense that helps defendants navigate the criminal justice system.

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eformers have been raising concerns about the bail system for at least five decades. In fact, it was a North Carolina congressman, Sam Ervin, who introduced legislation saying that “all persons, regardless of their financial status, shall not needlessly be detained pending their appearance to answer charges … when detention serves neither the ends of justice nor the public interest.” Following the passage of the 1966 Bail Reform Act, pretrial detention dropped in cities across the country, and money bail became a final resort in federal courts.

“IT’S SET UP TO PREY ON THE LESS FORTUNATE AND MINORITIES.”

“I had wanted to be a probation officer,” she says. “I don’t want to be a probation officer anymore. I don’t want to oppress people who are already oppressed.” Chuck Manning has a similar tale of incarceration leading to activism. He says he “knew from the jump” of his detention at the Durham jail that he would never make his $500,000 bond. He’d been charged with an assault he says he didn’t commit and that was eventually dismissed in 2015. While Sheriff’s Office records indicate that Manning spent four months in jail, he says it was actually fourteen. “Those were dark times, really dark times. I literally gave up on myself, I’ll be honest,” says Manning, who now does community outreach for a city program that looks at barriers faced by formerly incarcerated residents. “I had a whole lot that was going on positive, and for that to happen, it was devastating.” He didn’t know anyone with fifty grand, and the longer he stayed in jail, the more money his family had to spend to buy snacks and other creature comforts not provided by the jail, all without his income. It’s an experience he thinks someone who hasn’t been in jail couldn’t fully understand. It doesn’t sit right with him that while millions of dollars are spent on policing and jails, the county pays to house inmates, and inmates’ families pay to support them inside, mental health and substance abuse programs are underfunded. “At the end of the day, it’s a setup, and it’s set up to prey on the less fortunate and minorities,” he says. 12 | 2.7.18 | INDYweek.com

But the tide turned with Nixon’s War on Crime and Reagan’s War on Drugs. The Bail Reform Act became a scapegoat in tough-on-crime rhetoric, and the law was amended in 1984 to allow preventative detention. By then, according to the Southern Poverty Law Center, nearly threedozen states had passed laws stating that the danger a defendant may pose should be a pretrial-release consideration. Under North Carolina law, judicial officials can release arrestees with a written promise to appear in court, release them into the custody of another person or organization, assign an unsecured bond, require electronic monitoring as a condition of release, or assign a secured bond. State statutes instruct judges to choose electronic monitoring or a secured bond if the other options don’t ensure that the defendant won’t skip court, harm another person, or try to sabotage the case. Unlike most states, North Carolina law doesn’t stipulate that defendants have a right to bail. (Advocates say this could actually make it easier to stop imposing bail, as it isn’t required by right.) It’s up to judges to determine more specific bond guidelines in their jurisdictions. Durham County’s policy reiterates that the least restrictive nonmonetary option should be used, while ensuring court appearances and public safety. The policy was written in 2011 by Senior Resident Superior Court Judge Orlando Hudson and now-state Representative Marcia Morey, who was then the county’s chief district court judge, and lays out suggested amounts when a secured bond is employed. The

concerns least five Carolina ntroduced persons, tus, shall ding their … when of justicepolicy recommends that people charged with low-level misdemeanors be released 1966 Bailon a written promise to appear. Low-level ropped infelonies range from a $1,000 to $5,000 oney bailsuggested bond. urts. “A magistrate or judge has total discretion to make any conditions. The fallback is if you go with the suggested guideline, that’s kind of a safety net,” Morey says. Morey says judges must balance a person’s presumed innocence with the threat he or she poses to the public, and they may feel pressure to impose a more severe bond on a potentially dangerous person. Indeed, the Pretrial Justice Institute, commissioned by the North Carolina Commission on the Administration of Law ’s War onand Justice to look at North Carolina’s rugs. Thepretrial system, says judges in this state pegoat in“rely heavily” on secured bonds. e law was Depending on whom you ask, the level ventativeof discretion afforded to judicial officials is g to thewhat can make the bail system more fair, rly three-compassionate, and responsive—or the ating thatreason it’s unfair, biased, and inconsistent. should be “You have people making decisions, and science clearly indicates we all are subject judicialto implicit bias,” says James Williams, a with alongtime public defender and board member rt, releasefor the North Carolina Commission on er personRacial and Ethnic Disparities in the red bond,Criminal Justice System. “So decisions conditionrelated to who gets out, who stays, whose d. bond is set high, whose bond is set low, to choosewhom we view as a threat to a society, can red bondall be impacted by implicit bias.” e that the Some jurisdictions have employed riskm anotherassessment tools to try to make pretrial se. Unlikedecisions more objective, but even those w doesn’thave been criticized as perpetuating racial a right todisparities. (SONG is advocating for a actuallyneeds-centered assessment.) bail, as it Durham County uses a risk-assessment score to recommend pretrial-release re specificconditions for people charged with some sdictions.offenses. The county is one of about forty ates thatthat offers a pretrial-release program. In the ry optionlast fiscal year, 94 percent of the program’s ng courtclients—most of whom are released on he policyunsecured bond—did not miss court, and 93 Residentpercent were not charged with new crimes. udson and Mecklenburg County, considered to have a Morey,the state’s most progressive approach to f districtpretrial release, suggests nonmonetary amountsrelease conditions for more offenses than yed. TheDurham does, up to nonviolent felonies.

”

Andrea Hudson Wake County’s policy generally calls for higher bonds than Durham’s. Proponents of the cash-bail system say the money serves as a deterrent to skipping court. Bail agents are an “effective pretrialrelease program that costs taxpayers nothing,” the North Carolina Bail Agents Association’s website says. According to the association, which did not respond to questions by press time, North Carolina bail agents return 98 percent of bondedout defendants to court. However, one study by the nonprofit Pretrial Justice Institute found no significant differences in how often people

released with monetary and nonmonetary conditions return to court or commit new crimes while on pretrial release.

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he bail system requires balancing what can be competing interests: the idea that people are presumed innocent, and that some people may be too much of a flight risk or a danger to society to be released before their trial. But critics say that balance is off. “When you’re talking about pretrial, there’s not a decision made yet whether the person has done anything wrong,” says Williams. “That is something that needs to

be given, I think, much greater weight than it is now. No matter what you do, you’re not going to have a perfect system, but you can’t keep everybody charged with an offense in jail, either.” Williams says the fix is simple: judges need to follow guidance from state law that secured bond should be a last resort, and there should be consequences if they don’t. But until money is out of the equation, the “the system is going to be, I’ll just say, flawed. I could use another f-word.” Morey says Durham’s bond guidelines and pretrial-release program help mitigate the “inherent unfairness” of money bail. “The hard thing is when you then get into how serious is the offense and the safety of the community, and you always balance that with the idea that someone is innocent until proven guilty,” she says. “It will never be perfect.” Sheriff Mike Andrews supports releasing people being held on low bonds with electronic monitoring and an amnesty week, in which individuals with outstanding orders for their arrest because they didn’t come to court for traffic or misdemeanor charges can schedule new court dates and have those orders dismissed. Via a spokesperson, he said he’s pushed judicial officials for these initiatives for two years to no avail. Although prosecutors can only suggest a bond amount to a judge, District Attorney Roger Echols says he could envision a policy that only asks for written promises or unsecured bonds for certain charges. But Echols says more needs to be done to study the problem, and he’s been going through jail data himself to get a better sense of how the current system is playing out. It’s likely that incremental steps would have to be taken to reform that system— for example, eliminating cash bail for misdemeanors and low-level felonies. But reformers believe Durham is ready to tackle the issue. “I think if any city is ready for the conversation, it’s Durham,” says Josephine Kerr, an assistant district attorney and cochair of the People’s Alliance Race Equity Team. “I don’t know about the end of it. I don’t know how that looks, but I know that Durham is definitely the city for the conversation.” swillets@indyweek.com INDYweek.com | 2.7.18 | 13

NCDOT TO HOLD PUBLIC MEETINGS AND A FORMAL DESIGN PUBLIC HEARING FOR THE COMPLETE 540 – TRIANGLE EXPRESSWAY SOUTHEAST EXTENSION PROJECT TIP Project Nos. R-2721, R-2828, & R-2829 The N.C. Department of Transportation will hold three public meetings (open house format) and one formal design public hearing regarding the proposed Complete 540 project. The public meetings will be held on February 20, 21 and 22. The formal hearing will be held on February 22, following the public meeting. The Complete 540 project would extend the Triangle Expressway from the N.C. 55 Bypass in Apex to U.S. 64/U.S. 264 (I-495) in Knightdale, completing the 540 Outer Loop around the greater Raleigh area. NCDOT, in cooperation with the Federal Highway Administration (FHWA), has approved the Complete 540 Final Environmental Impact Statement (EIS). This document contains an explanation of the Preferred Alternative location and a summary of its impacts. The public meetings and formal public hearing provide an opportunity for the public to make formal comments that will be included in the project record. The three public meetings and one hearing are scheduled at the following times and locations: • Tuesday, February 20, 2018 Holly Springs High School Cafeteria 5329 Cass Holt Road, Holly Springs 27540 Public Meeting: 6 – 8 p.m. Note: no formal presentation on this date

• Wednesday, February 21, 2018 Barwell Road Community Center 5857 Barwell Park Drive, Raleigh 27610 Public Meeting: 6 – 8 p.m. Note: no formal presentation on this date

• Thursday, February 22, 2018 Wake Tech Community College Southern Wake Campus, Building L 9101 Fayetteville Road, Raleigh 27603 Public Meeting: 4 - 6:30 p.m., Hearing: 7 p.m. Note: This hearing presentation will be streamed live. See project website, noted below, for details.

NCDOT representatives will be available at the public meetings to answer questions and receive comments regarding the design of the Complete 540 project. The opportunity to provide verbal comments and/or submit written comments and questions will be provided. Interested citizens may attend at any time during the above hours. The formal design public hearing will include an explanation of the Preferred Alternative as well as land acquisition and relocation procedures. Citizens will have the opportunity to comment. The presentation and comments will be recorded and a written transcript will be prepared. Copies of the Final EIS and maps showing design details of the Preferred Alternative are available for review at the following locations, through February 22: • NCDOT District Office – Wake County, 4009 District Dr., Raleigh • Capital Area Metropolitan Planning Organization, 421 Fayetteville Street, Suite 203, Raleigh • Holly Springs Department of Planning & Zoning, 128 South Main Street, Holly Springs • Fuquay-Varina Planning Department, 401 Old Honeycutt Road, Fuquay-Varina • Garner Planning Department, 900 Seventh Avenue, Garner • Clayton Planning Department, 111 East Second Street, Clayton • Knightdale Planning Department, 950 Steeple Square Court, Knightdale The Final EIS and maps are also be available for review on the project website at www.ncdot.gov/complete540. For additional information, please contact Jamille Robbins, NCDOT Public Involvement & Community Studies Group Leader, at 1598 Mail Service Center, Raleigh, N.C. 27699-1598. You may also contact the project team through our toll-free hotline at 1-800- 554-7849, or via email at complete540@ncdot.gov. In addition, comments may be submitted electronically using the project’s website or NCDOT’s “PublicInput” site: ncdot.publicinput.com/complete_540. Comments may be submitted through March 23, 2018. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who want to participate in these meetings. Anyone requiring special services should contact Robbins as early as possible so that arrangements can be made. Interpretive services will be provided at each meeting. Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the hearing by calling 1-800- 481-6494. Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494. 14 | 2.7.18 | INDYweek.com

indyfood

BULL CITY CIDERWORKS

305 South Roxboro Street, Durham www.bullcityciderworks.com

Cider House Rules

WE GO BEHIND THE SCENES AT BULL CITY CIDERWORKS TO GET THE JUICE BY DEBBIE MATTHEWS

I

n my mission to sample every conceivable culinary occupation—from growing food with aquaculture to preparing meals at a zoo—I recently went behind the scenes at Bull City Ciderworks. The business began in 2013 in a building on Elizabeth Street. In 2015, owners Ryan Bogard and John Clowny were informed that they would have to move to make room for the new Durham police station. So they decided on a Kickstarter to raise the funds. The crowdfunding campaign exceeded its original goal of $25,000 by almost $5,000. It also precipitated a happy quandary. With so much attention on the campaign, everyone suddenly wanted to get their hands on some Bull City cider. But the ciderists and ciderers (industry terms for cider makers and cider masters) were preparing to close down their operation to change locations. Bogard and Clowny decided to open a production facility and taproom in Lexington, a town west of the Triangle in Davidson County, where both of them grew up. Ironically, the county was still dry at the time. (The laws changed in 2016 after a county referendum.) Although historians and researchers commonly point to beer and wine as the first intentionally produced and consumed alcohol, there’s a theory among cider folk that the first alcohol made and drunk on purpose is cider. Once a piece of fruit begins to rot, fermentation starts. Because of the ease of production and the wide availability of apples, cider was the most common alcoholic beverage in the country until prohibition took effect in 1920. By the time it was rescinded in 1933, government agents and private prohibitionists had burned and chopped down an unknowable number of trees and rendered many heirloom apple varieties extinct. The industry never recovered. The Bogards, Clowny, and many others have made it their mission to reintroduce cider and educate the public.

Bull City Ciderworks produces the bulk of its cider in Lexington, but its lab and a second taproom are located on the corner of Roxboro and Dillard Streets, two blocks from the Durham Bulls Athletic Park. Bogard and

bar with snacks and clean glasses, checking the taps, and making sure the large screen TV is turned to the State-Carolina game. Bogard takes me into the connecting room, an open space with two large tanks

Joshua Manring (left) bottles cider with Ryan Bogard at Bull City Ciderworks in Lexington, North Carolina. PHOTO BY CAITLIN PENNA Clowny refer to the research space as the Exploratorium. It’s equipped with smaller tanks that can make as little as five gallons at a time. Because of the cidery’s growth and demand (they now buy their apple juice by the eighteen-hundred-gallon tanker load from Michigan), it’s no longer possible to use only North Carolina products in the large batches. On the Saturday morning when I visit, Bogard’s wife and business partner, Courtney, is readying the taproom, stocking the

and a slightly smaller one. The new tanks are being tested before the new location’s first anniversary celebration at the end of February. We talk about their hiring practices— after all, the industry is still very small, so not many people have vast experience as ciderists. Bogard is as enthusiastic about his team as he is about cider. His three nonnegotiable requirements for every employee: they must like cider, they must want to learn, and they must be kind.

Courtney hails from Rhode Island, where those apples were the impetus for a budding business. Since she married Bogard, his parents have become devotees of Rhode Island apples. As a young couple, the Bogards lived in Massachusetts while he studied at Harvard. They procured a very large amount of the fruit with the idea of shipping it to his parents in North Carolina. But they never managed to send them before they began rotting. At that point, the couple made a decision that would change their lives forever: to take those apples and make “hard” cider. They juiced them into a narrow-mouthed, five-gallon brewing jug called a carboy. They placed it into a dark closet with high hopes and went about their lives. After two weeks, they returned to the closet to see what time and fermentation had wrought. They were horrified to find the carboy filled with gallons of cloudy, funky apple jelly. The only solution was to repeatedly jam a long stick down into the jug to break up and shake out the gelled abomination. As Bogard began to research what went wrong (in short, proper procedure calls for an added enzyme to help break down the apple’s pectin), he became curious, then fascinated, then obsessed. The result? Bogard quit his doctoral studies in biochemistry to move back to North Carolina and start Bull City Ciderworks. My brief sojourn terminates at the bar, where I sample six or seven of the twenty or so varieties on tap. I start with Off Main, the flagship cider, and end with something called Sasquash, flavored with butternut squash, maple syrup, and the spectacularly spicy Carolina Reaper peppers. When that first bushel of Rhode Island apples began to rot, the Bogards never dreamed where this passion for cider would take their lives. But Ryan Bogard is not a trifling man of superficial interests. As his wife confides, “He can’t just have a hobby.” food@indyweek.com INDYweek.com | 2.7.18 | 15

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HOW A PUNK-ROCK LEGEND HELPED HEATHER MCENTIRE REFINE HER COUNTRY SIDE ON LIONHEART

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eather McEntire pauses to collect her thoughts at a café table in Durham. It’s a January morning and snow is coming down at a rate that’s alarming to the two Southerners sitting across from each other. The bright, clear light of the snowfall highlights McEntire’s face with stark tranquility as she speaks. “I feel like I’ve been gone a year and a half and I’m coming back, and I’m a little psyched out. All of my friends, their lives have kept going, and I’m trying to play catchup. I’ve been going through this weird head space,” she says. In the summer of 2016, McEntire joined Angel Olsen’s band as a backing vocalist.

Heather McEntire PHOTOS BY HEATHER EVANS SMITH She spent eighteen months traversing North America, Europe, and Australia in support of Olsen’s astounding 2016 LP, My Woman, a once-in-a-lifetime opportunity. But back home, McEntire is still getting her bearings and gearing up for a new chapter marked by a new record: Lionheart, her first solo LP, which she released via Merge Records at the end of January. For more than a decade, McEntire has been an essential figure in Triangle music. With Bellafea, she crafted cutting punk tunes. She built tidy pop-rock songs alongside guitarist Jenks Miller in Un Deux Trois. The Miller-McEntire axis ripened in Mount Moriah, the twangy rock outfit

that’s the closest analog to McEntire’s solo material. The songs on Lionheart hew close to Mount Moriah’s heartfelt, countryinclined songs, rife with some of the same themes of spirituality, sex, and Southern identity. But the songs are more tightly composed, centering McEntire’s voice with fewer instrumental asides. “As a songwriter, it’s been really beneficial to try to write all those different styles, and with different groups of people. It certainly makes doing it on your own pretty terrifying,” McEntire says. McEntire wrote and refined most of Lionheart’s songs in snatches of free time while working with Olsen. When

she had three weeks off in January of 2017—a long spell, considering her hefty touring schedule—she and her recording engineer housemate, Nick Petersen, laid down Lionheart’s basic backing tracks. She recruited a familiar team of locals to back her up, including Phil Cook, Ryan Gustafson, Jeff Crawford, Allyn Love, and James Wallace. Some faraway friends added other touches: harp by Mary Lattimore, violin by Daniel Hart, and additional guitars by William Tyler, plus backing vocals by Olsen and the Indigo Girls’ Amy Ray. McEntire had someone else in her corner who would prove to be an essential force in Lionheart’s creation: riot grrrl titan Kathleen Hanna. The two first connected through Girls Rock NC’s ten-year anniversary throwdown, which McEntire helped organize in 2014. Hanna’s band, The Julie Ruin, headlined, with Mount Moriah on the undercard. Hanna was so impressed with McEntire’s singing voice that she wanted to do anything she could to help her career thrive. “It’s nothing that’s ever been before and nothing that will ever be after. It’s the kind of thing that you stop, and you’re like, What? I had no choice,” Hanna says. She envisioned McEntire putting out a record that put her powerful voice and insightful lyrics in the spotlight. “When you have somebody who’s that good and has worked that hard on her craft, I don’t want to just hear loud guitar leads over her voice,” Hanna says. But it would take a while for the two to fully set their relationship in motion. Two years after the Girls Rock gig, McEntire opened for The Julie Ruin solo. Hanna relayed her enthusiasm for McEntire’s work and invited her to discuss it further next time McEntire was in New York. And so, a few months later, on a day off in New York between gigs with Olsen, McEntire made plans to meet up with Hanna. She was floored to find that Hanna had not only pored over McEntire’s music, but she’d also taken copious notes about McEntire’s strengths and weaknesses. “At that point, she could’ve just sent me on my way and kept in touch a little bit. But that’s when the work really started,” McEntire says. Hanna asked McEntire to send her every unreleased demo she had, and

she picked out her favorites. To McEntire’s surprise, Hanna picked the more countryleaning ones over the punk ones. Hanna grew up listening to the likes of Merle Haggard, Hank Williams, and Hoyt Axton, but country music wasn’t something she could pull off herself, she says. McEntire could, though, and Hanna also felt that McEntire could outshine the current pop country climate with her intimate songwriting. “If you listen to [pop country], ninetynine percent of the time, it’s lists of things. It’s lists of stereotypes of rural America:

honest with each other as artists,” Hanna says. “I felt like there was a lot of good stuff there, and there was a lot of improvement to be made.” Hanna encouraged McEntire to re-cut some vocal takes so that they were less technically perfect but more emotionally affecting. A moment like Beyoncé’s voice breaking in “Sandcastles,” Hanna points out, can be so much more powerful than singing it the “right” way. McEntire’s emotive voice shines brightest—and her words hit hardest—when she leverages that power to her advantage. After re-recording some vocals and some miscellaneous restructuring, McEntire sent Hanna a new version of Lionheart. It was a winner. But Hanna’s thorough guidance meant more to McEntire than just the work that went into Lionheart. Touring as long and hard as she did with Olsen had taken a toll, and McEntire found herself battling depression at times. Though her bandmates had all given their blessings for her to join Olsen’s band, she felt like she was letting them down by not being available to tour hard in support of Mount Moriah’s 2016 album, How to Dance. Hanna’s unflinching support helped illuminate McEntire’s value to herself. “It just felt so powerful, and I kept thinking, why me? At the time, I was struggling with some self-worth—and she didn’t know any of this,” McEntire says. “It was pretty miraculous, is what I can say.” Hanna maintains her steadfast belief in McEntire’s capabilities. “She’s someone who’s very ethical and smart, and she wants to change the world,” Hanna says. “She really believes in her art and in doing it, but she doesn’t want to step over any bodies to get her way.” McEntire isn’t too keen on all of the trappings of hitting the big time—as she saw with Olsen, such success requires some steep personal sacrifices. Hanna and others want her to be a star, but McEntire’s not so sure. “I don’t know what I want. And that’s where I’m at,” McEntire says with a refreshing, peaceful satisfaction. We begin to gather our things and say goodbye as the unrelenting snow cascades from the sky. Even in the day’s sharp, unforgiving light, McEntire finds clarity. Even in a storm, she finds grace. ahussey@indyweek.com

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“When you have somebody who’s that good, I don’t want to just hear loud guitar leads over her voice.”

cowboy boots, pickup truck, my girl’s got her jean shorts on,” Hanna says. “It’s not songwriting. It’s not George Strait, it’s not Dolly Parton. It’s just bullshit that sucks.” As McEntire and her crew fleshed out her songs, Hanna continued to offer input via email. She essentially produced the record, but declined an official producer credit in Lionheart’s liner notes. When McEntire sent Hanna some of the final mixes, Hanna wasn’t entirely happy with the results. There was a lot of beautiful instrumentation, Hanna says, but she didn’t feel like McEntire’s voice had enough room to shine. So she carefully wrote back to McEntire with the truth: the songs, at that point, just didn’t work. “We don’t have that much time on the planet to mess around and not be completely

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indyart

FRANK GALLERY’S GRAND REOPENING CELEBRATION Friday, Feb. 9, 6–9 p.m., free University Place, Chapel Hill www.frankisart.com

Th

To Be Frank

AN ART GALLERY FLEES FRANKLIN FOR UNIVERSITY PLACE, RAMPING UP RETAIL AND OUTREACH BY TARA LYNNE GROTH

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ike many local institutions in recent years, Chapel Hill’s FRANK Gallery is transforming. The eight-year-old arts collective and gallery, previously located on Franklin Street, starts 2018 in a new location with a new manager and a redefined mission. But layers of historical continuity lie under all the bright new paint. FRANK’s new home—where it has a grand reopening party on Friday night, with live music by Chapel Hill’s Red Nucleus and an exhibit by FRANK’s member artists— was known as University Mall for decades until it was rebranded University Place in 2015. This repositioned it as a destination for food, fitness, fashion, film, and art, keeping with a national trend as plentiful headlines report the “death” of traditional malls around the country. FRANK’s move from Franklin Street to University Place reflects a local drift in that direction; it follows former Franklin tenants such as the Kidzu Children’s Museum and the Peacock Alley boutique. FRANK moved into a unit previously occupied by Tyndall Galleries, an art gallery that closed its retail space last November and moved online. Natalie Knox is FRANK’s new gallery manager. Her voice bubbles with excitement when she talks about the perks of FRANK’s new home. Heavy foot traffic is a key benefit, with the steady stream of moviegoers at Silverspot Cinema and the routine long waits for tables at Bartaco. The woes of parking on Franklin Street are no more, and Knox hopes University Place’s cultural programs, such as concert series and makers markets, will attract an artsfriendly crowd. 18 | 2.7.18 | INDYweek.com

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“It’s slightly smaller than the last space but much more conducive to a gallery,” Knox says. “The mall itself is going through a revitalization and there are so many new restaurants. People can pop in the gallery while they wait for a table or a movie.” FRANK’s relocation was already underway when Knox was hired as gallery manager, a role for which her background is not entirely standard. She minored in art history and majored in European studies at the University of Texas at Austin. She also has a fashion merchandising degree from the Fashion Institute of Technology. FRANK is the first art gallery she has managed. She formerly worked in management at Anthropologie and Nordstrom. While it’s not a traditional gallery manager’s background, perhaps it’s ideal for running a gallery in an evolving mall. “It’s one thing to sell things, but it’s another to sell things you’re passionate about,” Knox says. A variety of works at a range of prices will be represented in the gallery: painting, mixed media, ceramics, jewelry, and more. But FRANK’s new spot is not just a space to sell art. As a nonprofit arts collective with twenty-four members and frequent guest artists, it also focuses on arts advocacy and an expanded outreach program. For example, FRANK member artist Nerys Levy spearheaded a project with the Karen Youth Group. The five-year-old program is a platform for self-expression through art for Karen and Burmese refugee students in the Chapel Hill area. In 2016, they wrote, illustrated, and selfpublished a children’s book called Transplanting Traditions. In addition to the main gallery across from Planet Fitness, a separate gallery near

THE EI STILL

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h ce ti Woman in opened at week and this week Right we’re in of an “e wears no c age than enlighten but gend feminine ticular—i dissected forcefully ever. Visi the exhib surely ta climate in sideration viewing ex works fro acclaimed vitz Col of eigh century art. Cura Melissa and the la Sheriff, ing a W The new FRANK Gallery at University Place PHOTOS BY CAITLIN PENNA debuted i ber at th national chains. “I feel as though Frank- Museum Southern Season, the Michael and Laura lin Street would be a finer place for the ida. The Brader-Araje Community Outreach Galpost-grad crowd were there more places and Jeffre lery, is dedicated to FRANK’s outreach like FRANK,” says one longtime Carrboro these wor programs. At the grand reopening, it hosts resident who held two events at FRANK’s them are Reflections, which features the top selecformer space and attended many others. other rare tions of student art from a North Carolina “Their move to University Place makes me Organi PTA competition; a partnership with fela little sad. I hope it benefits them and per- themes (“ low University Place tenant Kidzu is also mits them to maintain their base while “Married in the works. acquiring new souls—they deserve as much ly laid ou If there’s a downside to FRANK’s move, success as might come their way.” it’s seeing Franklin Street continue to turn From pai arts@indyweek.com life to wo into a strip of frozen yogurt shops and

art

BECOMING A WOMAN IN THE AGE OF ENLIGHTENMENT: FRENCH ART FROM THE HORVITZ COLLECTION Friday, Feb. 9, 6–9 p.m., free Ackland Art Museum, Chapel Hill www.ackland.org

The Glass of Fashion

THE EIGHTEENTH-CENTURY FEMININE DEPICTIONS IN BECOMING A WOMAN IN THE AGE OF ENLIGHTENMENT STILL REFLECT THE CONTRADICTIONS OF OUR TIMES BY LIZ HULL

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dress, the conversation between these works hough it focuses on the eighteenth and our culture is a reminder that we’re not century, there could hardly be a so different now from how we were back timelier exhibit than Becoming a then. At the entrance, Antoine Vestier’s oil Woman in the Age of Enlightenment, which painting “Allegory of the Arts” (1788) is an opened at UNC’s Ackland Art Museum last interesting marker of changing times. It’s week and remains on view until April 8 after a lovely portrait of the artist’s daughter sitthis week’s Second Friday reception. ting at a desk Right now, and drawing a we’re in more sculpture. She of an “emperor is an active subwears no clothes” ject, not a passive age than one of object, and scholenlightenment, ars believe that but gender—the she even painted feminine in parher own drawing ticular—is being in the work. dissected more Most of the forcefully than works on view ever. Visitors to are by wellthe exhibit will known male surely take this artists such as climate into conBoucher and sideration when Fragonard. But viewing exquisite several female works from the artists are also acclaimed Horrepresented. vitz Collection Though their of eighteenthtalent is on par century French with that of their art. Curated by male counterMelissa Hyde parts, they were and the late Mary relegated to the Sheriff, Becomgentle medium ing a Woman Jean-Michel Moreau: “Les Adieux, from Le of pastel instead debuted in Octo- Monument du Costume” PHOTO COURTESY OF THE ACKLAND of oils. ber at the Harn As digestible as the curation of BecomMuseum of Art at the University of Floring a Woman is, the exhibit portrays the ida. The close relationship between Carol Enlightenment as a tumultuous time as and Jeffrey Horvitz and the Ackland enabled seen through the complex and varied roles these works to travel to Chapel Hill. Some of of women. It was the time of the French them are very fragile, including pastels and Revolution, the repositioning of faith, and other rare works. scientific discoveries. As Immanuel Kant Organized by informative, if kitschy, summed it up, “Dare to know! Have courage themes (“What’s Love Got to Do with It,” to use your own reason!” “Married with Children”), the exhibit is neatSome works shed light on the niceties of ly laid out in the museum’s cozy corridors. women’s domestic life, but several show the From paintings of children and domestic duplicitous demands placed on women: to life to women’s professions and fashionable

be a saint, but also an embodiment of sexual desire; to be in a profession, but only a socially acceptable one; to be both strong and weak. One work in particular depicts both praise and admonition. In “Les Adieux, from Le Monument du Costume,” by JeanMichel Moreau, an upper-class woman is so ornately dressed she can’t fit in the door her husband is leading her through. She glances back toward her lover, who holds her other hand. She’s both proper and improper, ridiculous in her dress and highly fashionable. The exhibit also includes quite a few studies that show the artist’s process, potentially revealing more than the edited final portrait. One such work is Fragonard’s “Standing Young Woman Seen from Behind.” Once again emphasizing the fashions of the day, the woman’s dress is carefully rendered, but her face is a blur. The last room of the exhibit is quite possibly the best. Entitled “Private Pleasures,” it contains a series of intricately wrought

art

pornographic drawings. They embody a frivolity and humor not nearly as prominent elsewhere. While these tiny drawings offer a glimpse into eighteenth-century sexual taste and visual culture, they almost leave the viewer with a cliffhanger. For whom were they made, and were they sold alone or in a series, with or without an erotic text? Speculation abounds, but the patron was likely a male libertine involved in French Revolutionary politics, who possibly used the works as political propaganda during the late-eighteenth century, before the death of Marie Antoinette. It was a time when propaganda often came in the form of literature and artworks, not in a tweet, but the modern familiarity is bracing. Perhaps it’s best that these explicit drawings are in the final room of the exhibit, jarring your senses before you depart from the museum with a sense of connectedness over several generations of culture. arts@indyweek.com

BRIEF

NCMA HIGHLIGHTS FEMALE ARTISTS IN MUSEUM-WIDE MATRONS OF THE ARTS INITIATIVE According to the National Museum of Women in the Arts, the stats are abysmal: while about half of today’s visual artists are women, they earn eighty-one cents for every dollar earned by male artists, and their work makes up a shocking 3 to 5 percent of major collections in the U.S. and Europe. This imbalance and the NMWA’s “Can You Name Five Women Artists?” social media campaign form the backdrop of Matrons of the Arts, a new initiative at the North Carolina Museum of Art. Consisting of programs, exhibits, and acquisitions, the campaign seeks to unbury the global contributions of female artists across history. To the works by women already in its collection—Georgia O’Keeffe, Mickalene

Thomas, Louise Bourgeois, and others— NCMA recently added an 1853 bust of Daphne by Harriet Hosmer, America’s first female professional sculptor. Special programming began on Jan. 28 with a lecture by Bridget Quinn, author of Broad Strokes: 15 Women Who Made Art and Made History (In That Order). To NCMA, “A matron is no longer a passive bystander but a fierce and powerful force,” curator Jennifer Dasal said in a press release. “By working together to make women a priority—and to get both women and men excited to do so—we can really bring about wonderful institutional change.” Visit www.ncartmuseum.org/matrons-of-the-arts to learn more. —Brian Howe INDYweek.com | 2.7.18 | 19

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 21:

Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com 20 | 2.7.18 | INDYweek.com

indystage

ANTONY HAMILTON & ALISDAIR MACINDOE: MEETING 

Thursday, Feb. 1–Saturday, Feb. 3 The Rubenstein Art Center’s von der Heyden Studio Theater, Durham www.dukeperformances.com

Opening the Box

A SPECTACULAR PERFORMANCE BY TWO DANCERS AND SIXTY-FOUR WEE ROBOTS DEMONSTRATES WHAT DUKE’S NEW BLACK BOX THEATER CAN DO BY BRIAN HOWE

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ast weekend, UNC-Chapel Hill and Duke both held grand openings for new venues—Current ArtSpace & Studio and the von der Heyden Studio Theater at the Rubenstein Arts Center, respectively—whose long, unwieldy names bely their virtues of smallness and efficiency. (Current ArtSpace & Studio, everyone will obviously just call Current, and Duke Performances director Aaron Greenwald is already shortening Rubenstein Arts Center to The Ruby in his remarks, which is pleasing. But what are we going to do about von der Heyden Studio Theater? The Vondy?) Current consists of adjoining rehearsal and performance spaces, with big glass walls looking out onto downtown Franklin Street. The von der Heyden (I was kidding about The Vondy, let’s not let that stick) is a more traditional black box theater nestled in the center of The Ruby, Duke’s new multidisciplinary arts center near the Nasher, which encourages crosspollination between dance, theater, film, and visual art students. Both venues opened with shows that served as proof of concept for the small, sleek, adaptable spaces, which both respond to evolving artist and audience demands for intimacy and connectivity. At Current, Carolina Performing Arts presented Paul Dresher Ensemble’s Sound Maze, an installation of huge, one-of-a-kind mechanical instruments that, seen through the glass wall, practically begs passersby to come in. (Visit our arts blog at indyweek. com for an interview and video.) Meanwhile, Duke Performances broke in the von der Heyden with Meeting, a mind-blowing performance by Australian dance artists Antony Hamilton and Alisdair Macindoe and an army of tiny robots that couldn’t have been staged as effectively anywhere else in Durham. On Saturday night, after a reported three thousand people poured through The Ruby for its grand opening, a much smaller crowd

Antony Hamilton and Alisdair Macindoe PHOTO COURTESY OF ANTONYHAMILTONPROJECTS.COM filled the von der Heyden to capacity. Tiered seating flanked by two small balconies swept down toward a dark, open floor space where sixty-four wooden boxes, each equipped with an arm-like pencil, waited in a druidic ring. Into this mechanical Stonehenge—the only set element and sound source in the entire piece—stepped Hamilton, the choreographer and director, and Macindoe, the sound and instrument designer. All around them, the robots began to tap out a sparse, fitful pattern on the floor. The dancers responded with quick jerks, shifting from stiff pose to stiff pose, as if the pencil taps shot jolts of power through their rusty gears. Their movements evoked— what else?—a deconstructed version of the street dance style known as The Robot. For the first ten minutes or so, I thought, there’s no way this is going to hold up for an hour.

But I had no idea what was coming. The scattered clicks coursing through the robots built into rococo polyrhythms that, at various times, evoked everything from the global funk of Talking Heads to the machined glitches of Autechre, and the movement vocabulary elaborated itself apace. The precise, accelerating clockwork of Hamilton and Macindoe’s physical rapport fused them into one being. They traded lightning-fast gestures that were nevertheless controlled and composed, as though the two men were flickering figures in a frieze. I kept thinking up silly names for their moves: The Funky Air Traffic Controller, the Postmodern Hand Jive. That means I was having fun. The dancers’ close interplay was especially spectacular during a long central set piece in which they recited long strings of digits in tandem. How they even memorized them is

beyond me, let alone how they were able to overlay them in such leafy, sonorous patterns while performing intricate choreography. At this midpoint in the piece, a transposition of natures that has been covertly developing all along becomes clear. The humans have turned into inerrant machines spouting numbers, while the robots have started to seem rather human, with personalities. They’re smug little bastards, tapping their pencils impatiently, like, come on, step it up. Meeting easily could have been a mere technical expo and gotten by just fine. What makes it more than a dazzling curiosity is the emotional and narrative arc its creators inscribe through the limited scenario. From its peak of virtuosity, the piece then descends into rudimentary and ritualistic realms, the movements melting, the robots hissing out something monastic and forested. The ring that binds the dancers is broken down, the relationship complicated. At the end, of man and machine, only one remains on stage. After the show, I asked Greenwald where he would have placed Meeting if the von der Heyden didn’t exist. How would it have worked differently in, say, Sheafer Lab Theater? Would it have worked? “We would not have [presented it],” Greenwald said. Sheafer, tucked away in a student center on campus, would have cramped the piece with its shallower stage depth, and the old black box feels like it belongs to the Duke Theater Studies department more than to the public—a different story than The Ruby, which is off-campus, easy to park at, and invitingly lit and open. “While we might have been able to offer the piece in Reynolds, I felt that offering it unamplified and for an audience of roughly one hundred and fifty was the best way to show the piece,” Greenwald said. If the von der Heyden brings us more shows like this, we don’t even mind typing out its name. Unless y’all are down with The Vondy? bhowe@indyweek.com INDYweek.com | 2.7.18 | 21

WHAT TO DO THIS WEEK FRIDAY, FEBRUARY 9

WEDNESDAY, FEBRUARY 14

EVEN THE LOSERS: A TOM PETTY TRIBUTE

In early October, the hugely influential songwriter Tom Petty died suddenly, just a few weeks shy of his sixtyseventh birthday, leaving behind his band the Heartbreakers and millions of fans around the globe. Beyond his many celebrated hits, Petty had a knack throughout his career for capturing the restlessness of the human condition. For Valentine’s Day, a crew of locals is posting up at The Pinhook to celebrate Petty’s inimitable work and soothe those hearts that might still be healing. Guests include Shirlette Ammons, Phil Cook, Kym Register, Molly Sarlé, Hiss Golden Messenger’s M.C. Taylor, Mipso’s Libby Rodenbough, and others. Such a large, varied ensemble will undoubtedly be capable of exploring the many nuanced facets of Petty’s beloved songs—be sure you’re ready to belt the chorus of “Free Fallin’” along with everyone when the time comes. —Allison Hussey THE PINHOOK, DURHAM 8 p.m., $10–$12, www.thepinhook.com

URBAN BUSH WOMEN: HAIR AND OTHER STORIES

For more than thirty years, the Brooklyn-based company Urban Bush Women has pushed the frame of contemporary dance beyond its normative whiteness. In original choreography that lifts up disenfranchised voices, particularly those of African-American women, the company finds the seam where social justice and spectacular performance meet. In its newest dance theater work, Hair and Other Stories, UBW weaves an exploration of race and gender inequality from the concept of African-American hair, a site of much cultural baggage and projection. There are also ample opportunities to engage beyond the stage, whether it’s the pre-show talk and after-show dance party in Talley Student Union, the community sing-along of AfricanAmerican vocal traditions at St. Ambrose Episcopal Church on February 7, or the “Hair Party” at Chavis Community Center on February 8, where the troupe offers guided movement and art-making activities. —Brian Howe NCSU’S STEWART THEATRE, RALEIGH 8 p.m., $7–$32, www.live.arts.ncsu.edu

WHAT ELSE SHOULD I DO?

Urban Bush Women PHOTO BY HAYIM HERON SATURDAY, FEBRUARY 10

HOME BREW: JOHN ALLORE

You might know John Allore from any number of roles: as an actor in Honest Pint Theatre’s The Night Alive, Burning Coal’s Blue Sky, or PlayMakers Rep’s An Enemy of the People; as the former managing director of Deep Dish Theater Company; or as the podcaster behind Who Killed Theresa? It’s this last item that will fund his appearance in Home Brew, a new series from Honest Pint that features North Carolina artists sharing personal stories over beer in a casual atmosphere. Allore’s tale, “Bad Dream House,” is about how the unsolved murder of a Chapel Hill resident named Deborah Key literally landed on his doorstep (the police showed up at the house Allore and his wife had bought to search for the body after the prior owner’s son came under suspicion) and led him to delve into the unsolved murder of his sister, Theresa Allore, who became the namesake of his victim-advocacy podcast about unsolved murders in Quebec in the 1970s. —Brian Howe SONOROUS ROAD THEATRE, RALEIGH 7:30 p.m., free, www.honestpinttheatre.org

BECOMING A WOMAN IN THE AGE OF ENLIGHTENMENT AT THE ACKLAND (P. 19), JOHN DARNIELLE AT FLYLEAF BOOKS (P. 29), FRANK GALLERY GRAND REOPENING AT UNIVERSITY PLACE (P. 18), JANE AT THE CAROLINA THEATRE (P. 32), LITTLE SHOP OF HORRORS AT RALEIGH LITTLE THEATRE (P. 30), TIM LYTVINENKO AT ANCHORLIGHT (P. 28), H.C. MCENTIRE AT THE PINHOOK (P. 16) 22 | 2.7.18 | INDYweek.com

2.7–2.14

Jason Isbell and the 400 Unit

PHOTO BY DANNY CLINCH

SATURDAY, FEBRUARY 10 & SUNDAY, FEBRUARY 11

JASON ISBELL AND THE 400 UNIT

At the end of January, Jason Isbell and the 400 Unit’s 2017 record, The Nashville Sound, beat out Iron & Wine, Gregg Allman, Brent Cobb, and The Mavericks for a Best Americana Album Grammy—quite a victory, considering that Isbell and company were up against a bona fide giant of the genre with Allman. But Isbell’s victory was well deserved: while The Nashville Sound is a shining example of technical excellence, more importantly, it frankly addressed disparities in race, class, and gender. Isbell’s earnest reckoning is exceptionally rare in his corner of the music industry—few white artists operating under the big tent of folk/country/ Americana/etc. have publicly wrestled with their privilege in the current moment. “There’s no such thing as someone else’s war/Your creature comforts aren’t the only things worth fighting for,” Isbell sings on “White Man’s World.” If you’re looking for a twangy dash of inspiration from a talented source, Isbell’s a good place to start. —Allison Hussey DURHAM PERFORMING ARTS CENTER, DURHAM | 8 p.m., $33–$117, www.dpacnc.com

FRIDAY, FEBRUARY 9–SUNDAY, FEBRUARY 18

BENT

Two gay men are talking over bowls of soup in the corner of a garrison in Dachau. “You didn’t think I’d make it, did you? Off the train?” the first man asks. “I’m going to stay alive ... because of you. You told me how.” The second man replies, “Yes. I did.” Then, after a moment’s silence, he adds, “I’m sorry.” Bent, Martin Sherman’s 1979 drama, follows Max, a performer and grifter, from the gay nightclubs of Berlin down through the nightmare world of Germany in June 1934. Hitler has ordered for homosexuals to be purged from the army. Storm troopers are rounding up social undesirables and placing them in “protective custody” in Dachau. In Sherman’s gripping play, we bear witness as prisoners resist a regime’s attempts to strip away their identity and humanity before it takes their lives. Joel Rainey directs this Justice Theater Project production starring Sean Wellington and Justin Brent Johnson. —Byron Woods UMSTEAD PARK UCC, RALEIGH | Various times, $15–22, www.thejusticetheaterproject.org INDYweek.com | 2.7.18 | 23

2/9 WXYC VALENTINES DANCE

MO 2/12

2/10 WHY? W/ OPEN MIKE EAGLE ($16/$18) 2/11 NOAH GUNDERSEN ($15/$17) 2/12 DECLAN MCKENNA W/ CHAPPELL ROAN ($15/$17) 2/13 SONS OF APOLLO (FORMER DREAM THEATRE, GNR, MR BIG, JOURNEY) ($25/$28) 2/15 COREY SMITH W/KASEY TYNDALL ($20/$25) 2/16 UNO THE ACTIVIST/ THOUXANBANFAUNI/ WARHOL.SS ($20/ $24) 2/17 THE BLACK LILLIES W/ SAM QUINN 2/20 PHILLIP PHILLIPS ($27.50/$30) 2/21 PEDRO THE LION W/ MARIE/LEPANTO ($20/$22) 2/22 LIGHTS W/CHASE ATLANTIC, DCF ($20/$23) 2/24 ANDREA GIBSON W/CHASTITY BROWN ($18/$21) 2/26 POP UP CHORUS CRANBERRIES, U2, CURE SONGS ($8/$13) 3/1 QUINN XCIISOLD W/ CHELSEA CUTLER OUT 3/2 JOYWAVE W/SASHA SLOAN, KOPPS ($15/$17) 3/3 ABBEY ROAD LIVE! 2 SHOWS: 4 PM FAMILY MATINEE, 8:30 PM LATE SHOW ($10/$13) 3/6 WALLOWS W/FIELD MEDIC ($15) 3/7 LP W/ NOAH KAHAN ($22/$25) 3/9 SENSES FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD

azz

Valentine’s Day

The 15th Annual

Festival

Sunday Feb. 11th, 2PM

at Baldwin Auditorium at Duke University

Featuring Jazz Ensembles from

3/21 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/23 OF MONTREAL ($17) 3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30 CIGARETTES AFTER SEX ($20/$23) 4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER 4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20) 4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14; ON SALE 2/9) 4/10 AND 4/11 YO LA TENGO ($22/$24) 4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20) 4/16 WOLF ALICE W/ THE BIG PINK ($18/$20) 4/18 DR DOG ($27.50/ $30) 4/20 SUSTO ($12/$15) 4/21 YUNG GRAVY (RESCHEDULED FROM 1/17) 4/24 THE MAINE W/THE TECHNICOLORS ($23/$25)

5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28)

NCCU

5/8 BAHAMAS ($16/$18)

Ira Wiggins, Director

5/9 PANDA BEAR W/ GEOLOGIST ($22/$25)

UNC

5/10 WYE OAK ($16/$18) 5/18 DAVID BROMBERG (SEATED SHOW)

Jim Ketch, Director

24 | 2.7.18 | INDYweek.com

3/16 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12)

4/28 THE AFGHAN WHIGS AND BUILT TO SPILL ($35)

John V. Brown, Director

WNCU FM 90.7 & INDY Week

3/13 J BOOG W/JESSE ROYAL, ETANA ($20)

4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18)

DUKE

Sponsored by:

3/10 A TRIBUTE TO DOLORES O'RIORDAN WITH THE MUSIC OF THE CRANBERRIES

$15 general, $10 students & senior citizens Tickets.duke.edu

SA 2/10 WHY?

DECLAN MCKENNA

5/25 PETER HOOK & THE LIGHT ($28/$31) 6/19 STEPHEN MALKMUS & THE JICKS ($20/$23; ON SALE FEB 9 ) 6/23 THE FEELIES ($20/$23)

CAT'S CRADLE BACK ROOM 2/7 WILLIE WATSON W/ANNA TIVEL ($18/$20) 2/8 CATCH THE CAROLINA-DUKE GAME ON OUR BIG SCREEN!(NO COVER) 2/9 YARN W/ JOHN HOWIE JR. & THE ROSEWOOD BLUFF ($12/ $15) 2/10 AMIGO ALBUM RELEASE PARTY W/ JON LINDSAY, AL RIGGS ($7/$8) 2/11 ADULT MOM / CHRIS FARREN ($10/$12) 2/13 TINY MOVING PARTS LD W/ MOM JEANS, OSO OSO SO OUT 2/16 NORA JANE STRUTHERS W/ CHRISTIANE AND THE STRAYS ($12/ $15) 2/17 HANK, PATTIE & THE CURRENT W/ CAROLINA BLUEGRASS BAND ($7/$10) 2/18 SCREENING OF "WILMINGON ON FIRE" W/ SPECIAL GUEST -- KAZE 2/20 MAGIC GIANT W/ THE BREVET ($12/ $14) 2/22 LARRY CAMPBELL & TERESA WILLIAMS W/ JON SHAIN 2/23 DRAG QUEENS ARE COMING (DRAG SHOW) $10 2/24 CALEB CAUDLE ALBUM RELEASE SHOW W/ JAKE XERXES FUSSELL ($10/$12) 2/27 DIET CIG W/ GREAT GRANDPA, THE SPOOK SCHOOL 3/3 TAN AND SOBER GENTLEMEN W/ TUATHA DEA, CODDLE CREEK ($9) 3/5 KOLARS W/ ESCONDIDO ($12) 3/6 ELLIOT ROOT ($8/$10) 3/7 SONREAL W/ DAVIE AND NANCE ($15/$17) 3/8 PRONOUN AND MICHAEL NAU & THE MIGHTY THREAD (COTTON JONES) 3/9 VUNDABAR W/ RATBOYS ($10/$12) 3/10 JON STICKLEY TRIO ($10/$12) 3/13 JESSICA LEA MAYFIELD W/ T HARDY MORRIS ($15) 3/14 BREW DAVIS W/THE HIGH TOP BOYS ($10/$12) 3/16 KYLE PETTY W/ DAVID CHILDERS ($20) 3/17 THE BAD CHECKS AND DEX ROMWEBER 3/18 MEN I TRUST ($10/$12) 3/19 BORN RUFFIANS 3/20 SHAME / SNAIL MAIL W/ SPECIAL GUEST BAT FANGS ($12) 3/21 COURTNEY MARIE ANDREWS W/ MAT DORRIEN ($12/$14) 3/22 MARTI JONES & DON DIXON ($15- SEATED SHOW) 3/23 KYLE CRAFT 3/24 URBAN SOIL 3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17)

FR 2/9 @ CAT’S CRADLE BACK ROOM

YARN 4/4 DYLAN LEBLANC AND THE ARTISANALS ($10/$12) 4/5 THAT 1 GUY ( $15) 4/6 GRIFFIN HOUSE 4/12 MO LOWDA & THE HUMBLE ($10/ $15 FOR 2 TIX) 4/13 TYRONE WELLS W/ GABE DIXON ($15) 4/17 THANK YOU SCIENTIST ($15) 4/23 DURAND JONES & THE INDICATIONS ($13/$15) 4/26 PATRICK SWEANY ($12/ $15) 4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) CAROLINA THEATRE (DUR) 3/24 LUCIUS MOTORCO (DUR) 3/3: ELLIS DYSON & THE SHAMBLES W/ BOOM UNIT BRASS BAND ( $10/$12) 4/2 TWIN PEAKS W/ THE DISTRICTS 4/11 WAXAHATCHEE AND HURRAY FOR THE RIFF RAFF ($20/$22) 5/5 ALVVAYS W/ FRANKIE ROSE

SOLD OUT

5/7 HOP ALONG ($15/$17) 6/3 POND W/ FASCINATOR ($15) ARTSCENTER (CARRBORO) 3/3 AN EVENING WITH SOLD COWBOY JUNKIES OUT 3/21 NEIL HILBORN ($15/$20) 4/20 GREG BROWN ($28/$30) LOCAL 506 (CHAPEL HILL) 5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12) THE RITZ (RAL) 2/17 SNARKY PUPPY W/ SIRINTIP 4/6 RAINBOW KITTEN SURPRISE SOLD 4/7 RAINBOW KITTEN SURPRISE OUT

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKAS NELSON & PROMISE OF THE REAL 5/13 OH WONDER 610: TASH SULTANA KINGS (RAL) 2/17 PHOEBE BRIDGERS LD W/ SOCCER MOMMY SO OUT 3/30 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20) RED HAT AMPHITHEATRE (RAL) 5/3 FLEET

FOXES

HAW RIVER BALLROOM 3/3 BRETT DENNEN W/ DEAN LEWIS ($22/$26)

3/26 S CAREY W/ GORDI, XOXOK ($15)

3/23 GODSPEED YOU! BLACK SOLD EMPEROR W/KGD OUT

3/30 MOVEMENTS W/CAN’T SWIM, SUPER WHATEVR, GLEEMER ($13/$15)

4/20 JEFF TWEEDY -- SOLO ($30/$33; ON SALE FEB. 9)

3/31 STOP LIGHT OBSERVATIONS ($10/$12)

5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18)

4/1 NOTHING, NOWHERE. W/ 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15)

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

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

music 2.7 – 2.14

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

WED, FEB 7

MEMORIAL AUDITORIUM:

Robert Plant [SOLD OUT/8 P.M.]

BLUE NOTE GRILL: Marcia Ball Band; 8 p.m., $30–$35. CAT’S CRADLE (BACK ROOM): Willie Watson, Anna Tivel; 8 p.m., $18–$20. DURHAM PERFORMING ARTS CENTER: The Temptations, The Four Tops; 7:30 p.m., $45–$175.

Archetypal rock god Robert Plant has come a long way from his Led Zeppelin days, but every step of the journey he’s made has informed the artistic area he occupies today. Plant’s latest album, Carrying Fire, bears traces of rock, folk, blues, and world music, all delivered in a swirling, sensual atmosphere. The helium wail of the Zeppelin era is long gone, but his deeper, darker tones better serve what he’s doing today. And while solo material rightly dominates his sets, you can still expect to hear a few intriguingly rearranged Zep tunes too. —Jim Allen

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. IRREGARDLESS: Mysti Mayhem; 6:30 p.m. POUR HOUSE: Leaders of the Shift; 9 p.m., $8–$10. THE RITZ: Excision; 8:30 p.m.

THU, FEB 8 2ND WIND: 2 fer; 7:30-9 p.m. ARCANA: Danny Grewen Residency: Yeaux Katz, Foster Wiley; 8 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony: Symphonic Stories; 8 p.m., $18–$60.

DEEP SOUTH: The Corey Hunt Band, Tyler Hatley; 9 p.m., $8.

MOTORCO:

IRREGARDLESS: Terry Wiley Duo; 6:30 p.m.

[$13–$15/9 P.M.]

John Maus

LINCOLN THEATRE: AJR; 7:15 p.m., $18–$79. MOTORCO:

Murs, 9th Wonder [$10–$28/8 P.M.]

Despite a proven history in the work of Gang Starr or Eric B. and Rakim, rapperproducer duos like Murs and 9th Wonder seem antiquated in these tumultuous times of twenty-four song trap epics and surprise SoundCloud singles. But there’s something special that happens when these two get together, as evinced by their underground classics for influential hip-hop indie Definitive Jux. It’s been a minute since their last full-length team-up, and while Murs’ forthcoming solo album is produced by someone else, this tour stop will no doubt include its share of verbose bars over 9th Wonder beats. Signed to 9th’s Jamla imprint, Charlotte’s Reuben Vincent opens. —Gary Suarez NEPTUNES PARLOUR: Morning Bells, Silver Skates; 10 p.m., $5. POUR HOUSE: Local Band Local Beer: Youth League, Raid the Quarry, Pictures of Vernon; 9 p.m., $3–$5.

John Maus performs at Motorco Friday night

PHOTO COURTESY OF GROUND CONTROL TOURING

THE RITZ: Big Gigantic, shallou; 8:30 p.m., $27.

BOTTLE REV CHAPEL HILL: Brett Harris; 7 p.m., free.

RUBY DELUXE: 128 KBPS; 10 p.m.

THE BULLPEN: Boom Unit Brass Band; 8 p.m.

THE WICKED WITCH: DJ Gemynii, Tori; 9 p.m.

FRI, FEB 9 ARCANA: Ally J & The Wiley Fosters; 9 p.m. BEYÙ CAFFÈ: Kidé; 7 & 9 p.m., $15. BLUE NOTE GRILL: Tea Cup Gin; 9 p.m. Duke Street Dogs; 6-8 p.m., free.

C GRACE: Jim Ferris Quartet; 9 p.m. THE CARRACK: The Sit-In Series; 7 p.m., $10. CAT’S CRADLE: WXYC Valentine’s Day Dance; 9 p.m., $5–$8. CAT’S CRADLE (BACK ROOM): Yarn, John Howie Jr. and the Rosewood Bluff; 8 p.m., $12–$15. THE CAVE: Volk; 9 p.m., $5.

DEEP SOUTH: The Affectionates, Lady Empire, Coytah; 9 p.m., $8. DUKE’S BALDWIN AUDITORIUM: Duke Jazz Ensemble with Tim Warfield; 8 p.m., $5–$10, students and youth 17 & under free. IRREGARDLESS: The Doug Largent Trio; 6:30 p.m.

The California Institute of the Arts has nurtured a number of generational talents—John Lasseter, Tim Burton, John Maus? Though he hasn’t directed a blockbuster children’s film yet, Maus’s postgrad career as a solo musician has garnered a fan base arguably as obsessive and cultish as that of his fellow alumni. Absurd and claustrophobic and exquisitely crafted, his records can work on several levels: as forwardthinking surrealist synthpop, as throwback new wave kitsch, as pop commentary. The sprawling interviews that usually accompany his album releases are often just as compelling and confounding, touching on obscure composition theory, political praxis, and Maus’ idiosyncratic musings on life. Gary War opens. —David Ford Smith NIGHTLIGHT: Server, Brutal, Disyt; 9 p.m., $7.

LINCOLN THEATRE: ID; 9 p.m., $5.

THE PINHOOK: H.C. McEntire, Durty Dub’s Charley Pride Tribute, Christy Smith; 8 p.m., $15.See page 16.

LOCAL 506: Wonky Ton, Nick Shanahan; 9 p.m., $8–$10.

POUR HOUSE: Urban Soil, Dangermuffin; 9 p.m., $10–$13.

THE MAYWOOD: Omnislash, Shell Shock; 9:30 p.m., $8.

RUBY DELUXE: Fck Luv, Gimme $; 10 p.m., $5.

SHARP NINE GALLERY: Sam King and the Directions Band; 8 p.m., $15. SLIM’S: Chew; 9 p.m., $5. ST STEPHEN’S EPISCOPAL CHURCH: Mozart & Bach: Music from Dresden; 7:30 p.m., $15. THE STATION: Foxture, Uruguay, Animalweapon; 9 p.m., $7–$9.

SAT, FEB 10 ARCANA: Janxx, Nym; 9 p.m., $5. BEYÙ CAFFÈ: Carol Riddick; 7 & 9 p.m., $18. BLUE NOTE GRILL: Randall Bramblett & Band; 8 p.m., $20–$25. THE BULLPEN: Bull City Blues Band; 8:30 p.m. CAROLINA THEATRE:

Arlo Guthrie [$40–$75/8 P.M.]

While Woody Guthrie’s music has certainly never gone out of style, it feels particularly timely in our current moment. His son Arlo caught the songwriting bug, too, though his politics have, at times, veered a little closer towards center than his left-leaning father’s. Still, there’s a strong current of social justice running through the younger Guthrie’s tunes, which he’ll put on display at the Carolina Theatre Saturday night. It’s been nearly a decade since Guthrie released a solo LP, so look for an assortment of tunes spanning his fifty-plus-year career. —Brittney McKenna CAT’S CRADLE: Why?, Open Mike Eagle; 8:30 p.m., $16–$18. CAT’S CRADLE BACK ROOM:

Amigo

[$7–$8/8:30 P.M.] If the likes of Lynyrd Skynrd, the Marshall Tucker Band, Molly Hatchet, and .38 Special didn’t make enough loud, looselimbed boogie bar rock for you, Charlotte’s Amigo is eager to help you get another fix. In Carrboro, the trio celebrates the release of And Friends, the band’s third full-length record. Amigo goes full tilt on every track, packing every moment with in-your-face guitars and groovy bass lines. “(When I Fool) You (Into) Loving Me INDYweek.com | 2.7.18 | 25

(Again)” sounds like a longlost Jimmy Buffet track, while “Own Trip Now” is a springy country number. What the band sometimes lacks in lyrical deftness or instrumental nuance, it makes up tenfold in spirit. Jon Lindsay and Al Riggs open. —Allison Hussey CITY LIMITS SALOON: The Cadillac Three; 9 p.m., $20. DEEP SOUTH: Lounge Fly, Rattle & Hum; 8:30 p.m., $5. DURHAM PERFORMING ARTS CENTER: Jason Isbell & the 400 Unit; 8 p.m., $33–$117. See page 23. IRREGARDLESS: Bruce Emery; 11:30 a.m.. J.Clarence Crew, Jr & Aaron Bittikofer; 6 p.m. Sidecar Social Club; 9 p.m. KINGS: Johnny Folsom 4, The Louis Waymore Band; 8:30 p.m., $10–$12. LINCOLN THEATRE: Far Too Jones, Lauren Nicole; 8 p.m., $20. LOCAL 506: Uni, Starbenders; 9 p.m., $10–$12. THE MAYWOOD: Birth the Wretched, A Light Divided, Raimee, Obsidian Darling, Henbrain, Past Tense of Never; 8 p.m., $10. MEYMANDI CONCERT HALL: N.C. Symphony: Symphonic Stories; 8 p.m., $18–$60.

MOTORCO: Brazilian Carnaval Party; 9 p.m., $12–$15.

David Lang corpus is a depth and the standa violin can d century. “S indeed. Sh of the colle February 11

NIGHTLIGHT: Club Cupid: Khara Vassell, DJ Stu, DJ Dilemma, DJ Chooch, Entropie; 10 p.m., $5–$7. THE PINHOOK: H.C. McEntire, Phil Cook, Kamara Thomas; 6 p.m., $15. See page 16. POUR HOUSE: Morose Vitality, Deathcrown, Malediction; 3 p.m., $5. Stooges Brass Band, Opposite Box; 8 p.m., $10–$12.

RUBY DEL SHARP NI Bingham Trio

THE RITZ: Shoot to Thrill; 8 p.m., $10.

SLIM’S: Fe

VON DER HEYDEN STUDIO THEATER:

THE STAT $6–$8.

Jennifer Koh: Shared Madness

STEEL STR Engler Quarte PEACE UN RECITAL H Master Chora Romance in t

[$10–$28/8 P.M.]

At some point along the way in her music career, Jennifer Koh was struggling to pay off the loan for her violin. Then, Justus and Elizabeth Schlichting swooped in and agreed to take over that debt, just so long as Koh commissioned a bunch of new works for solo violin. Thirty-two, to be exact. So Koh commissioned her friends, including some of the greatest composers of our time: Augusta Read Thomas, Vijay Iyer, Philip Glass, Kaija Saariaho, Julia Wolfe, and

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David Lang. The resulting corpus is astounding in its depth and breadth, resetting the standard for what the solo violin can do in the twenty-first century. “Shared Madness,” indeed. She performs part two of the collection on Sunday, February 11. —Dan Ruccia RUBY DELUXE: DJ Luxe Posh; 10 p.m. SHARP NINE GALLERY: Angela Bingham Trio; 8 p.m., $10–$20. SLIM’S: Feverest; 9 p.m., $5. THE STATION: Gino Fanelli; 8 p.m., $6–$8. STEEL STRING BREWERY: Hal Engler Quartet; 5 p.m. PEACE UNIVERSITY’S KENAN RECITAL HALL: North Carolina Master Chorale Chamber Choir: Romance in the Air; 4 p.m., $10–$20.

SUN, FEB 11 BLUE NOTE GRILL: Ann Arader; 5 p.m. CAT’S CRADLE: Noah Gundersen, Aaron Gillespie; 8 p.m., $15–$17. CAT’S CRADLE (BACK ROOM): Adult Mom, Chris Farren; 7:30 p.m., $10–$12. DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. DUKE’S BALDWIN AUDITORIUM: Valentine’s Weekend Jazz Concert; 2 p.m., $15. DURHAM PERFORMING ARTS CENTER: Jason Isbell & the 400 Unit; 8 p.m., $33–$117. See page 23.

APER APER APER APER HAW RIVER BALLROOM: Marc APER Broussard, Jamie McLean Band; 8 p.m., APER $22–$27. IRREGARDLESS: Larry Hutcherson; APER 10 a.m.. Emily Musolino; 6 p.m. APER THE KIRK OF KILDAIRE: Cobley & her Jazz Trio; 3 p.m., APER Michelle donations. APER LINCOLN THEATRE: APER Sleigh Bells APER [$21/8:30 P.M.] 2009, Poison the Well APER In guitarist Derek E. Miller and APER vocalist Alexis Krauss teamed to release their first EP as APER up Sleigh Bells. That self-titled EP APER and Sleigh Bells’ subsequent LP, 2010’s Treats, were explosive,+ APER energetic noise-pop gems. By they sounded hyperAPER design, compressed and fuzzed out, APER like your stereo had already out within five seconds APER blown of hitting Play. But as it goes, APER the mostly myopic band lost of the buzz that gave APER much its career its kickstart. In APER November, the band released Kid Kruschev, a seven-song

“mini-LP” that’s significantly more mellow than the band’s earliest material. Opener “Blue Trash Mattress Fire” starts with gentle electronic notes before swerving into some crunchy guitar riffs, and later, “Florida Thunderstorm” sounds like a muddled, off-kilter pop song. If you show up craving a dose of early-aughts nostalgia, you’ll probably disappointed, but there’s still a good chance it’ll be plenty loud. Sunflower Bean opens. —Allison Hussey LOCAL 506: Feeding Fingers, M Is We, Konvoi, 20th Century Boy; 8 p.m. MOTORCO: Roots of Creation, Kash’d Out, The Elovaters; 8 p.m., $12–$15. NEPTUNES PARLOUR:

Resonancy: Tegucigalpan [$7/9:30 P.M.]

Carrboro’s Clark Blomquist has done plenty of time in a whole bunch of bands. With WAUMISS, he contributed to scatterbrained psychedelia; he lent his guitar talents to Spider Bags for a spell; he plays drums in the fierce punk band Cold Cream. As Tegucigalpan, though, Blomquist’s focus is more on dreamy, fluid electronica. His newest record, Digestion Digression, is a slouchy, sometimes sleepy concoction that meanders through myriad hazy landscapes. Who knows what route he’ll take in the fifth installment of Neptunes’ percussion-based Resonancy series. The evening also features the Membership Drum Masse, plus films by Haviland and Colagiovanni. —Allison Hussey THE PINHOOK: Common Woman Chorus; 5:30 p.m. Art Funds Art Tour; 8 p.m., $5–$20. POUR HOUSE: 11 Echos, The Kneads; 2 p.m., $5. RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: Jennifer Koh: Shared Madness; 3 p.m., $10–$28. See Feb. 10 blurb. SLIM’S: Disparager; 8 p.m., $5.

MON, FEB 12

TUE, FEB 13 BEYÙ CAFFÈ: Ti Harmon; 6 & 8 p.m., $45. BLUE NOTE GRILL: The Wiley Fosters, Coleslaw; 8 p.m. CAT’S CRADLE: Sons of Apollo, Sifting; 8 p.m., $25–$28. CAT’S CRADLE (BACK ROOM): Tiny Moving Parts, Mom Jeans, Oso Oso; 7:30 p.m., $13–$15. IRREGARDLESS: Marilyn Wienand; 6:30 p.m. MOTORCO: Durham Mardi Gras; 7:30 p.m., free. POUR HOUSE: Empire Strikes Brass, Boom Unit Brass Band; 9 p.m., $8–$10. SHARP NINE GALLERY: Heart of Carolina Jazz Orchestra; 8 p.m., $10. SLIM’S: Sister, Brother, USA Nails, Prayer Groups; 9 p.m., $5. UNC’S HILL HALL:

Attacca Quartet [$10–$25/7:30 P.M.]

Formed at Julliard and honed on the road, the Attacca Quartet makes short work of livening up composers from Beethoven to John Adams. Frequently crowned with laurels such as “vibrant” and “vigorous,” the quartet bows their strings vivaciously. Their albums feature the work of Adams, Haydn, and Michael Ippolito. At their concerts, though, other composers have been known to show up—even the dead ones. —Erin Martin

WED, FEB 14 2ND WIND: Yeaux Katz; 7-9 p.m., free. ACKLAND ART MUSEUM: Heartland Baroque Concert: Baroque’n Hearted; 7:30 p.m., free. BLUE NOTE GRILL: David Quick Jazz Band; 8 p.m. THE BULLPEN: Thomas Rhyant’s Sam Cooke Soul Revue; 8:30 p.m. HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

indy week’s

IRREGARDLESS: Bobby Moody; 6:30 p.m.

bar + beverage magazine

LOCAL 506: propersleep, Commonwealther, Ol’ Sport; 8 p.m., $8. NEPTUNES PARLOUR: Earther, Salt Creek, Sparrows; 10 p.m., $5.

CAROLINA THEATRE: Marillon; 8:30 p.m., $40–$65.

NIGHTLIGHT: Valentines Blues Dance; 7:30 p.m., $10.

CAT’S CRADLE: Declan McKenna; 8 p.m., $15–$17.

THE PINHOOK: Even the Losers: A Tom Petty Tribute; 8 p.m., $10–$12. See page 22.

IMBIBE: Grewen and Griffin; 7-10 p.m., free. MOTORCO: Flash Chorus; 7 p.m., $7–$10.

D R I N K

POUR HOUSE: Cory Wong & Mr. Talkbox; 9 p.m., $15–$20.

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RUBY DELUXE: Dream Date 90s INDYweek.com | 2.7.18 | 27

art

2.7 – 2.14

submit! Got something for our calendar? Submit the details at:

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

OPENING

Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps. Thru Mar 4. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Cary Photographic Artists: Photography discussion with Catharine Carter. Wed, Feb 14, 7 p.m. The Cary Theater, Cary. www. thecarytheater.com. SPECIAL Distance: Works EVENT using São Paulo’s subway system as subject. Feb 10-Mar 10. Reception: Sat, Feb 10, 6-9 p.m. Anchorlight, Raleigh. anchorlightraleigh.com

Peter Marín: Paintings. Thru Feb 25. Horace Williams House, Chapel Hill. chapelhillpreservation.com. MC Hues Iris Art Alumnae Exhibition: Thru Mar 11. Meredith College: GaddyHamrick Art Center, Raleigh. www.meredith.edu.

Downtown Cary Food & Flea: Locally made goods, antiques, crafts, food, and art. Sun, Feb 11, noon-4 p.m. Fidelity Bank Plaza, Cary. www.dtcfoodandflea.com. SPECIAL William Goodson EVENT Mangum: Paintings. Feb 11-Mar 30. Reception: Sun, Feb 11, 2-5 p.m. Lee Hansley Gallery, Raleigh. leehansleygallery.com.

Mike’s Attic: Partnership with Mike’s Art Truck. Selftaught artists. Thru Feb 28. Durham Technical Community College (Orange County Campus), Hillsborough. www.durhamtech.edu/ orangecountycampus.htm.

ONGOING Acadia, The Badlands and Other National Parks: Photography of U.S. national parks. Thru Feb 25. Nature Art Gallery, Raleigh. www.naturalsciences.org. America Wants: Photography by Owens Daniels. Thru Mar 8. Durham Arts Council, Durham. www.durhamarts.org. American Red Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. ncmuseumofhistory.org. Analog Art in a Digital World: Sculpture by Joe Coates. Thru Mar 10. Durham Art Guild, Durham. durhamartguild.org. Art to Live By: Paintings by Michael Banks. Thru Apr 22. Alexander Dickson House, Hillsborough. historichillsborough.org. Business as Usual: This is big all around—the largest exhibit ever mounted of large-scale sculptures by a large-looming North Carolina artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works include motorized mechanisms 28 | 2.7.18 | INDYweek.com

A work from Liminality

PHOTO COURTESY OF TIM LYTVINEKNKO

SATURDAY, FEBRUARY 10

TIM LYTVINENKO: LIMINALITY To be liminal is to be between two fixed states: neither this nor that, here nor there, but somewhere in the middle. It’s the interstice where some of the most vivid and challenging moments of our lives take place. Raleigh artist Tim Lytvinenko evokes this intermediate space in several ways in his new exhibit at Anchorlight, inspired by the personal transitions that accompanied his mother’s passage from life to death last year. Large-scale photo transfers on wood panels tremble on the boundary between photography and sculpture. After this opening reception, you can linger at the threshold through March 10; Lytvinenko also has an artist talk at noon on February 17. —Brian Howe

ANCHORLIGHT, RALEIGH | 7–10 p.m., free, www.anchorlightraleigh.com that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might think you glimpse them moving in the corner of your eye. Thru Jul 1. Gregg Musuem of Art & Design, Raleigh. gregg.arts.ncsu.edu. —Brian Howe C Note: Original work for $100. Paintings, sculpture, fabric, glass, clay, metal, wood, jewelry. Thru Feb 18. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Austin Caskie: Artspace satellite exhibit. 3-D models. Thru Mar 31. HQ Raleigh, Raleigh. Colors of Latin America: Paintings by Yholima VargasPedroza. Thru Mar 26. Durham Arts Council, Durham. www.durhamarts.org.

Folk Art in the Library: Bailey Jack, Eric Legge, Irene Tison, Cher Shaffer, Michael Banks. Thru Feb 25. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library.

Contemporary South ‘18: Artists from the South. Thru Mar 24. VAE Raleigh, Raleigh. www.visualartexchange.org.

SPECIAL Fred Good and EVENT Friends: Group exhibition by Triangle Visual Artists in memory of Fred Good. Thru Feb 28. Reception: Fri, Feb 9, 6-8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

Desire is Covetous: Paintings by Linwood Hart. Thru Feb 28. Joe Van Gogh, Durham. www.joevangogh.com.

Light Cycles: Photography by JP Trostle. Thru Feb 17. Atomic Fern, Durham. atomicfern.com.

Modern Japanese Shin-Hanga and Sosaku-Hanga Prints: Woodblock prints. Thru Mar 8. Gallery C, Raleigh. galleryc.net. LAST Paintings from the CHANCE Estate of Wladimir de (Wlodzimierz) Terlikowski: Thru Feb 13. Gallery C, Raleigh. www.galleryc.net. Renzo Ortega: Paintings. Thru Feb 18. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. LAST Packaging Space: CHANCE Multimedia installation. Thru Feb 10. The Scrap Exchange, Durham. www.scrapexchange.org. Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com. SPECIAL Reflections: Chapel EVENT Hill-Carrboro schools PTA art competition. Reception: Fri, Feb 9, 6-8 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com. Re(f)use: Triangle Book Arts Group. Thru Mar 3. Artspace, Raleigh. www.artspacenc.org. RESOLUTE: Mixed media paintings by Antuco Chicaiza. Thru Mar 8. Durham Arts Council, Durham. www.durhamarts.org.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

SPECIAL The Ridge: A EVENT Journey of Durham History in Vintage Postcards: Vintage postcards from the collection of John Schelp. Thru Feb 28. Reception: Thu, Feb 8, 5-8 p.m. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com. SPECIAL The Seizing of Joy: EVENT Mixed media by Jane Cheek. Thru Feb 28. Reception: Fri, Feb 9, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org. Sentience: Paintings and drawings by Adam Cohen. Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org. The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31. Ackland Art Museum, Chapel Hill. www.ackland.org. The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Matt Tomko: Thru Mar 1. Artist at work on location Feb 19 and 24 from 10:30 a.m. to 2:30 p.m.

page READINGS & SIGNINGS

Bull City Art & Frame Co, Durham. bullcityartandframecompany. com. LAST Michael Weitzman, CHANCE Bob Dunham, John Parsons: Photography and oil paintings. Thru Feb 11. Halle Cultural Arts Center, Apex. www.thehalle.org. The Woman Who Made Snow: Photography by Anna Exum Snow. Thru Mar 31. Durham History Hub, Durham. museumofdurhamhistory.org. Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/library/ carrboro. Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12. ERUUF Art Gallery, Durham. www.eruuf.org.

Boozy Poetry Night: Local poets read their work. Second Mondays, 8:30 p.m. The Stag’s Head, Raleigh.

John Darnielle

PHOTO BY BRANDON EGGLESTON

TUESDAY, FEBRUARY 13

JOHN DARNIELLE: UNIVERSAL HARVESTER John Darnielle’s Universal Harvester, newly published in paperback, is set at the end of the 1990s, when corporate chains were finishing off small-town video rental stores like the one where Jeremy works. His mother’s death has bound him into a kinship of grief with his father. But his inert life is disrupted when customers start seeing weird bits of film spliced into rental tapes like She’s All That—cryptic snippets, shot in a dark shed. Found-footage horror has thoroughly infested cinema, so why shouldn’t it metastasize into novels? But this feint toward literary torture porn isn’t what it seems. Cloaked in light horror, it’s really a book about families navigating absences, and how we all long to edit our own stories. —Brian Howe

FLYLEAF BOOKS, CHAPEL HILL | 7 p.m., free, www.flyleafbooks.com

Kate Bowler: Everything Happens for a Reason: And Other Lies I’ve Loved. Tue, Feb 13, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Crazy Love: With Barbara Claypole White and friends. Wed, Feb 7, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Arnie “Tokyo” Rosenthal: Our Last Seder. Wed, Feb 7, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Ansley Herring Wegner: This Day in NC History. Sat, Feb 10, 11 a.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

Colson Whitehead: Weaver Memorial Lecture. Wed, Feb 7, 6 p.m. Duke Campus: Page Auditorium, Durham.

LECTURES ETC. Femmes Fatales: Skylar Gudasz & Lindsey Andrews in Conversation: Sun, Feb 11, 8 p.m. Arcana, Durham. www.arcanadurham.com. The History of Vintage Baseball Cards and Sports Memorabilia: Michael Osacky. Sun, Feb 11, 3 p.m. Southwest Regional Library, Durham. www.durhamcountylibrary.org. Ruba Katrib: Hanes Visiting Artist Lecture Series with MoMA PS1 curator Ruba Katrib. Thu, Feb 8, 6-7:30 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Duke Jazz Ensemble directed by John Brown featuring saxophonist

Tim Warfield Friday, February 9th • 8pm Baldwin Auditorium Duke University tickets.duke.edu $10/$5(seniors) free to students

INDYweek.com | 2.7.18 | 29

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stage

FRIDAY, FEBRUARY 9–SUNDAY, FEBRUARY 25

LITTLE SHOP OF HORRORS

“Feed me, Seymour!” It’s one of those references you probably recognize even if you don’t know where it comes from. But you’ll never forget it after you see Raleigh Little Theatre’s production of Little Shop of Horrors, the musical based on Roger Corman’s cult movie about a nebbishy florist who accidentally grows a man-eating, doo-wop-singing plantmonster and names it Audrey II after his unrequited crush. “In our age of instant gratification coupled with rampant consumerism, the play reminds us that there is a huge cost to feeding our unchecked desires,” says director Patrick Torres. That sounds like a bit of a stretch. But who needs contemporary relevance from a carnivorous camp classic, anyway? —Brian Howe

RALEIGH LITTLE THEATRE, RALEIGH 8 p.m. Thu.–Sat./3 p.m. Sun., $15–$28 www.raleighlittletheatre.org

OPENING

Little Shop of Horrors PHOTO BY AREON MOBASHER PHOTOGRAPHY

30 | 2.7.18 | INDYweek.com

Bad Jews: Play by Joshua Harmon. $10-$18. Feb 8-25. The Levin Jewish Community Center, Durham. abigwigproduction. brownpapertickets.com.

Locals at the Local Comedy Showcase: Sam Mazany, Britt Spruill, Nik Cartwright, Mark McPartland, and Brandy Brown. Hosted by Jeremy Alder. $5-$7. Tue, Feb 13, 8 p.m. Local 506, Chapel Hill. www.local506.com.

The Five Ages of Love: Transactors Improv. $10$15. Sat, Feb 10, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Sylvia: Play by A.R. Gurney, presented by Forest Moon Theater. $13-$15. Feb. 9-18. Wake Forest Community House, Wake Forest.

The Home Brew Series: Featuring John Allore. Sat, Feb 10, 7:30 p.m. Sonorous Road Theatre, Raleigh.

Urban Bush Women: Dance. $7-$32. Fri, Feb 9, 8 p.m. NCSU Campus: Stewart Theatre, Raleigh. live.arts.ncsu.edu.

Eyes Up Here Comedy Showcase: Comedy by NC women. First Wednesdays, 8 p.m. Neptunes Parlour, Raleigh. www.neptunesparlour.com. The Harry Show: Ages 18+. Improv host leads potentially risque games with audience volunteers. $10. Fridays, 10 p.m. & Saturdays, 10 p.m. ComedyWorx, Raleigh. www.comedyworx.com. Hush Hush: Audience confession comedy show. Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. www.thisismettlesome.com. Moliere’s Tartuffe: Adapted by David Ball. $15+. Thru March 12. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

The Vagina Monologues: V-Day Raleigh and ARClitE benefit reading. $12-$20. Tue, Feb 13-Thu, Feb 15, 8 p.m. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. Valentine’s Day Comedy Variety Show: Virginia Wallace, Grant Sheffield, Bry Bowden, Reid Pegram, Eric Clayton, Jody Oakley, Tank Smith. Hosted by Kathleen McDonald and Josh Rosenstein. $8-$10. Wed, Feb 14, 9 p.m. The Peoples Improv Theater-Chapel Hill, Chapel Hill. www.thepit-nyc.com.

ONGOING LAST An Act of God: Play CHANCE scripts can come from any number of sources, including novels, biographies, and films. But An Act of God, whose two New York runs starred Jim Parsons (The Big Bang Theory) and Sean Hayes (Will and Grace), was adapted from a Twitter account. Former The Daily Show with Jon Stewart head writer David Javerbaum started the @TheTweetofGod account in 2010 to satirize

religion, politics, and pop culture. (A sample post suggests the flavor: “Every day a billion people call My name seeking help and a billion more call it seeking orgasm. I don’t know which is more awkward.”) After gaining more than two million followers and generating a best-selling book, Broadway was the obvious next step, in a show where the fabled First Source sets the record straight and settles a few scores in the process. Stage veteran Bunny Safron directs this Actors Comedy Lab/NRACT co-production starring Alison Lawrence, Tom Barbieri, and Chris Maxwell as the Almighty. $17-$20. Thru Feb 11. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. —Byron Woods Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com. The Christians: By Lucas Hnath. $15+. Thru Mar 12. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

 The Mound Builders: In Ward Theatre Company’s Durham debut, 2016’s Jacuzzi, we couldn’t pick the two students making their stage debuts out of the quartet of actors. We can’t say the same of The Mound Builders, in which several actors didn’t convince us. In Lanford Wilson’s drama, dangerous schisms arise between selfabsorbed researchers and poor, uneducated farmers in the backwoods of Illinois. We savored Evit Emerson’s work as Dan, a charismatic young anthropologist who rhapsodizes about the enigmatic Native Americans referred to by the play’s title. Emma Jo McKay anchors this troubled enclave of academics in the supporting role of Cynthia. But Rick Skarbez seemed nearly a generation too young to play a pompous senior anthropologist, and Margery Rinaldi was an improbably polite and circumspect as what was supposedly an ultra-high-maintenance jetsetting character. $25. Thru Feb 19. Ward Theatre, Durham. wardtheatrecompany.com. —Byron Woods Under The Bridge Comedy Night Open Mic: Second Thursdays. London Bridge Pub, Raleigh. thelondonbridgepub.com. WIT: An Improvised Game Show: Improv. $5. Sat, Feb 10, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

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

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 21:

Downtown Raleigh

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 2.7.18 | 31

screen

SPECIAL SHOWINGS Buzz One Four: Documentary in the PPG Nuclear War Film Series. Thu, Feb 8, 6:30 p.m. Power Plant Gallery, Durham. powerplantgallery.com Darrel and Kopy Kings: Motion For Pictures Screening Series. $5. Wed, Feb 7, 7 p.m. The Cary Theater, Cary. Home Movie Day: International celebration of amateur films. Sat, Feb 10, 2 p.m. Southwest Regional Library, Durham. durhamcountylibrary.org.

OPENING The 15:17 to Paris—Clint Eastwood directs this biographical thriller about three Americans who helped foil an attack on a Parisian train in 2015. Rated PG-13. Fifty Shades Freed—The third and (please, god) final Fifty Shades film finds Anastasia and Christian keeping it hot as newlyweds. Rated R.

THURSDAY, FEBRUARY 8

JANE

What’s left to say about household-name primatologist Jane Goodall? A lot, it turns out, at least if you’re Brett Morgen (director of inventive documentaries The Kid Stays in the Picture and Kurt Cobain: Montage of Heck) and you were granted access to more than a hundred hours of unseen footage from the National Geographic archive, shot by the chimpanzee expert’s late ex-husband. Combining this treasure trove with original interviews with Goodall and music by Philip Glass, Morgen portrays a brilliant scientist who was too busy changing the course of human knowledge to worry that much about the sexism she blew through early in her career. See it in the Full Frame Road Show’s winter series. —Brian Howe

THE CAROLINA THEATRE, DURHAM | 7:30 p.m., free, www.fullframefest.org

32 | 2.7.18 | INDYweek.com

Peter Rabbit—Can Beatrix Potter’s classic character successfully follow Paddington Bear to a big-screen mix of 3-D animation and live action? No, probably not. Rated PG.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ Call Me By Your Name—If you can accept how walled off from the larger context of LGBTQ history it is, then this love story is nearly perfect. Rated R.  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.

 I, Tonya—This kinetic, sympathetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need an awful lot of nineties nostalgia to see this reboot as anything but a utterly generic jungle adventure. Rated PG-13. ½ Justice League— Uneven but much better than Batman v. Superman: Dawn of Justice, this collision of Zack Snyder’s bombast and Joss Whedon’s wit actually kind of works. Rated PG-13.  Lady Bird—Greta Gerwig’s nostalgic coming-ofage debut as a writer-director is winning and alert to class but falters on race. Rated R.  Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t, and he really lets it rip in this

directorial debut about the high-stakes world of L.A.’s underground poker scene. Rated R. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press. Rated PG-13.  The Shape of Water— For better and worse, Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R. ½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale. Rated R.

food 2018 Tet Vietnamese New Year Festival: The VietnameseAmerican Association of Raleigh’s annual Tet celebration. Traditional Vietnamese food, cultural performances, and children’s games. $5-$25. Sat, Feb 10, 10:30 a.m.-11:30 p.m. Dorton Arena, Raleigh. www.ncstatefair.org. Belly Up! Duke vs UNC: Food from American Meltdown & Crumbs, Joe Van Gogh coffee. Free. Thu, Feb 8,

7:30-11:30 p.m. The Cookery, Durham. durhamcookery.com. Fair Trade Chocolate Tasting: Chocolate and hot cocoa tasting. Sat, Feb 10, noon-6 p.m. One World Market, Durham. www. oneworldmarket.info. Free Wine Tasting: Mondays, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev. com. Mardi Gras Beer Dinner: Beer dinner. Costumes, masks, and

beads encouraged. $50. Tue, Feb 13, 6:30-8 p.m. Mystery Brewing Public House, Hillsborough. mysterybrewing.com. Paws and Pours: Wine tasting to benefit Second Chance Pet Adoptions. $20. Sat, Feb 10, 3-6 p.m. BottleMixx, Raleigh. www. bottlemixx.com. Winesday: Linger Long on Love Street: Early Valentine’s day wine tasting. Wed, Feb 7, 5-7 p.m. Durham Co-op Market, Durham. durham.coop.

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notices NOTICE TO THE PUBLIC NORTH CAROLINA INDUSTRIAL COMMISSION I. C. File: 15-744362; GERARDO TELLEZ VAZQUEZ, Employee Plaintiff v. SANCHINELLIS PAINTING, LLC and DAVID SANCHINELLI, Uninsured Employer/Defendants. NOTICE OF SERVICE OF PROCESS BY PUBLICATION. TO: SANCHINELLIS PAINTING, LLC and DAVID SANCHINELLI, PLEASE TAKE NOTICE that a pleading seeking relief against you has been filed. Plaintiff has filed a Form 18 Report of injury with the North Carolina Industrial Commission in Raleigh, NC against you for medical expenses, disability payments, and all benefits due under NC Workers’ Compensation laws. You are required to file a response with the NC Industrial Commission on or before the 19th day of March, 2018, and appear for the above-captioned action which has been scheduled for hearing to determine benefits with Deputy Commissioner Adrian Phillips of the NC Industrial Commission on March 23, 2018 at 9:30 a.m. in the Durham County Courthouse, Courtroom 5B, located at 510 Dillard Street, Durham, NC 27701. You are required to file a response to Plaintiff’s Report of Injury and appear at the hearing. Upon your failure to do so, Plaintiff will apply to the Commission for the relief sought. This the 7th day of February, 2018. Russell W. Johnson, Attorney for Plaintiffs DIENER LAW, P.A. 209 E. Arlington Blvd., Greenville, NC 27858 Telephone: 252.747.7400 NC State Bar No.: 32751

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INDYweek.com | 2.7.18 | 33

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

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

3 9

6

6 2 4 7 5

1 8 6

3

4 1 8 82 9 3 1 4 1 2 3 1 9 5 3 6 9 2 7 1 1 5 7 4 2 1 5 9 8 1 9 4 8

# 44

MEDIUM 9 7 6 8 2 1 5 3 4

3 2 5 9 6 4 8 7 1

# 44

7 2 3 8 4 9 6 1 5

1 4 9 6 2 5 8 7 3

5 8 6 7 3 1 4 2 9

3 7 8 2 5 6 1 9 4

# 98 9 5 1 4 8 7 3 6 2

4 6 2 1 9 3 5 8 7

2 1 4 5 7 8 9 3 6

6 3 7 9 1 4 2 5 8

8 9 5 3 6 2 7 4 1

If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions”. Best of luck, and have fun! www.sudoku.com

solution to last week’s puzzle

30/10/2005

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2 4 7 8

5 3 1 4

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CLASSY AT INDYWEEK DOT COM Book your ad • Email kim: classy@indywEEk.com

please contact advertising@indyweek.com

advertise on this page!

reserve this space for $100! To advertise or feature a pet for adoption, classy@indyweek.com

please contact advertising@indyweek.com

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

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

last week's puzzle

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PROFESSIONAL SINGING & CAREER INVIGORATING SPEAKING LAURECEWESTSTUDIOS.COM

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DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI At ERUUF, Durham & ArtsCenter, Carrboro. RICHARD BADU, 919-724-1421, rbadudance@gmail.com

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The Adam Dickinson Group at 501 Realty is pleased to welcome their new broker,

Lee Coggins • Lee has over 20 years experience assisting clients & businesses with their marketing • The Indy’s top revenue generator in the history of the paper • Experienced real estate investor “Having hired and then worked with Lee for 17 years, I can attest to her tenacity and professionalism as a sales professional. Her people skills and innovative approach to challenges inspired me to nominate her for the top NC professional advertising sales person award in 2006 which she went on to win that year. Lee is detail oriented, trustworthy, friendly and fun to work with! She builds relationships with clients and is rock solid with her commitment to excellence with all aspects of who she comes in contact with, and you can relax that no ball will be dropped along the way.” –Sioux Watson, Publisher, Independent Weekly 1999-2012, Advertising Director 1989-1999

Contact Lee for assistance with selling your home or helping you find the perfect home

Lee Coggins, Broker c 919-213-0768 lee@501realty.com www.501realty.com/lee

W W W

W W W

STEVEN & JOSIE WANT TO ADOPT Expenses Paid.

Call Josie: 1.800.717.8753 Anytime. We are certified and approved to adopt. Preplacement Assessment was completed by Lori Kling, LSMSW of Adoption Options in June 2016.

THOUSANDS OF EYES ON YOUR AD EVERY WEEK

EMAIL KIM! CLASSY (AT) INDYWEEK (DOT) COM

36 | 2.7.18 | INDYweek.com