INDY Week 2.27.19

RALEIGH 2|27|19

The

UPPER

Crust

This issue of Dish is the greatest thing since sliced bread THE GEOGRAPHY OF GRAIN, P. 11

THE BATTLE OF BAGELS, P. 14

THE SECRETS OF SOURDOUGH, P. 16

2 | 2.27.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 9

DEPARTMENTS

5 Twenty years ago, half of Durham’s housing stock was affordable to people earning 80 percent of the area median income. Today? LOL.

5 News 8 Dish 20 Music

6 Nearly half of undergraduate women at Duke University say they’ve experienced sexual assault since enrolling—but only half of them found it upsetting.

21 Arts & Culture 24 What to Do This Week 26 Music Calendar 29 Arts & Culture Calendar

8 In this edition of Dish, we celebrate the Triangle’s golden age of bread.

20 Folk legend Kath Bloom’s back catalog is so dizzying we didn’t even know she released a children’s album.

21 Long before it became a visionary arts center, NorthStar Church of the Arts served a congregation of people with hearing loss.

23 “Our goal was to create kind of a queer version of Slim’s,” says Ruby Deluxe owner Timothy Lemuel.

DISH Vollkornbrot, a German rye sourdough, being shaped at Weaver Street Market’s bakery (p. 11)

On the cover

PHOTO BY BOB KARP

PHOTO BY BOB KARP

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On Friday, a Superior Court judge struck down the voter ID and income-tax-cap constitutional amendments North Carolina voters had approved in November, saying the racially gerrymandered General Assembly was illegitimate and had no right to put those questions to voters.

Patrick Murphy writes that he doesn’t think the ruling will hold up: “As much as I like the result, this ruling is pretty outlandish. How does he conclude that because the legislature is an illegal gerrymander, they can’t put amendments on the ballot? Is there any precedent for this? What about the laws they passed? What of the fact that the referenda passed statewide? I can’t see this surviving appeal. That said, it is an interesting legal question—one that will hopefully be answered as a part of this lawsuit.”

“Those amendments were put up for a vote and voted for by the people, not the General Assembly,” adds Cisco Rivera.

“Whether we agree with the amendments, and whether the General Assembly is illegally constituted or not, is irrelevant to the fact that the voters passed those amendments into law. And if those two amendments are not valid because of the ‘illegal’ General Assembly, why aren’t the other amendments invalid, too? What about every other law the ‘illegal’ General Assembly has passed throughout the time in which it has been illegal?”

Those are good questions, Cisco. May we direct you to our website, where the column “Why Should Cheaters Prosper?” seeks to answer some of them?

Last week, Sarah Willets reported on the new Child Health Report Card, which, among other things, found that suicide was the second leading cause of death for North Carolina youth between the ages of ten and seventeen.

Chelsea Bertel puts the blame on the General Assembly: “Schools are a good place to meet kids where they are, and to meet their mental health needs. Unfortunately, our legislature underfunds essential trained and skilled personnel, such as school psychologists, who have the widest gap between recommended and actual ratios of all support personnel. We have to demand that our legislature and state superintendent make real changes to save lives.”

“Why aren’t the other amendments invalid, too?”

In our coverage of last week’s Durham State of the City address (see page 6 for more), we noted that some residents of Watts-Hillandale and Trinity Park seemed resistant to—or skeptical of—proposed zoning changes that would increase density.

Watts-Hillandale resident Tim O’Brien says that doesn’t include him or his neighbors.

“There is a perception that the neighborhood is against the proposed EHC initiative,” he writes. “This is not true. There are voices on all sides of the issue in our neighborhood. Whether or not the board intended to communicate a stand one way or the other, the public perception is that we are actively working against the proposal. Personally, while I am no expert, I do not see any sinister conspiracy behind the new regulations and agree with the stated intent. While I would like to have more evidence showing what the impact will likely be, I am not sure that evidence exists. So I say that we should support the change and be vigilant.

“It’s a lot like the climate change debate.

We could choose to believe that there is not sufficient science to believe in climate change (i.e., we just need to study the proposal more) or that the climate scientists are out to destroy the economy (i.e., the planning commission is in the pocket of developers), but neither of these is rational. The resistance to both arguments is rooted in the difficulty of convincing someone of something when his/her income (i.e., property value) depends on him/her not believing it.

“As our mayor said in his State of the City address: ‘We have to decide if we as a community really want to do something about gentrification and affordable housing, or if we’re just going to complain about it. Are we going to talk about racial equity a lot but ignore it when it comes to the biggest equity challenge our city faces?’ So I support the EHC proposal.”

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

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The Big Lift

DURHAM MAYOR STEVE SCHEWEL’S LEGACY COULD RIDE ON THE LARGEST HOUSING BOND REFERENDUM IN NORTH CAROLINA HISTORY BY SARAH WILLETS

T

If the bond is approved, Schewel believes The plan also includes moving at least he $95 million affordable housing that $95 million will lead to another $445 seventeen hundred homeless households bond Durham Mayor Steve Schewel million in tax credits and private investment. into permanent housing, creating more pitched during his State of the City “We will act on a scale that few if any than two hundred homeownership address last week would be the largest in the other cities in this country are doing, ceropportunities for low-income families state’s history, city officials say. tainly no other cities of our size,” Schewel by building new units and creating a “It’s a big lift, I know,” Schewel told the audipledged in his address. down payment assistance program, and ence. “But it’s time one city in this nation did it, and I know that city can be Durham.”

In his view, the city’s current funding for affordable housing isn’t enough to keep downtown from becoming an expensive enclave for white people. If residents are serious about preventing displacement, they need to put their money where their mouths are.

In 2000, according to the Planning Department, 49 percent of Durham’s housing stock was affordable to threeperson households earning 80 percent of the area median income, and 26 percent was affordable to households earning 60 percent of the AMI. By 2015, those earning 80 percent of the AMI could only afford about a third of Durham housing units. For those earning 60 percent of the AMI, just 14 percent was affordable.

According to the U.S. Department of Housing and Urban Development, nearly half of Durham households—53,525 to be exact—earn 80 percent of the AMI or less. (In 2018, Steve Schewel gives his State of the City address. PHOTO BY JENNY WARBURG that was about $72,000 for a family of If the bond fails, community developstabilizing housing for at least eighteen three.) Eighteen thousand families earn less ment director Reginald Johnson says many hundred low-income renters by supporting than 30 percent of the AMI, about $21,700. of the projects could still move forward, eviction-court lawyers, financial The city’s housing plan, which would be just at a slower pace. assistance, and home repairs. mostly funded by the proposed bond, seeks This “mammoth” effort, Schewel says, The city estimates all this will cost about to drastically increase the city’s quantity of likely wouldn’t be possible if the housing $157 million over five years. Between a affordable housing, building at least eighteen authority wasn’t already redeveloping dedicated portion of the property tax and hundred new affordable units and preserving its public housing stock—including federal grants, the city already has about or replacing more than eight hundred othfifty prime acres downtown—through $11.6 million a year that it can put toward ers. That would swell the number of incomea federal program that allows the agency that total. That leaves a $99 million gap— restricted, subsidized homes in Durham by at to supplement its federal funding by which is where the housing bond comes least a third. About half of these units would borrowing money and partnering with in. (Schewel says that $4 million of the be on Durham Housing Authority property. developers. In addition to replacing about plan’s expenses, such as extra salaries and (Another four hundred or so affordable units four hundred existing units downtown, homelessness services, can’t be covered by are already in the pipeline between city- and the DHA plans to add about fourteen a bond.) county-backed projects).

hundred new affordable units and nearly seven hundred market-rate units as well as hundreds of thousands of square feet of retail, office, and green space.

The city’s $157 million plan dedicates about $59 million to the DHA’s downtown redevelopment, plus another $20 million for that and other low-income housing tax credit projects. The DHA estimates that its program will cost $566 million.

“The stars are aligned,” Schewel said in his speech. “The only question is this: Do we have the moral commitment and the political will?”

That question will first go to the city council, which will have to vote on whether to put the bond on the November ballot for voters.

Paying back the bond will require a property tax-rate increase—Schewel estimates 2.25 cents, or about $56 per year for a $250,000 home—which will be felt by some of the very people this plan seeks to help. State law prevents the council from targeting higher-value homes or exempting lower-income homeowners with the tax increase.

“I think that the net will be that thousands of people will be positively impacted in terms of the affordability of their housing,” Schewel says. “That will be the net, but this will for sure necessitate a tax increase, and there will be some long-term homeowners that will feel the effects of the tax increase.”

The council hasn’t set a timeline for its decision, but there is support for Schewel’s initiative. During Thursday’s work session, the mayor took an informal thumbs-up poll.

While some council members said they want to hear more about how the plan fits into the city’s budget, there were no objections.

“If I had more thumbs,” said council member Jillian Johnson, “they would also be up.” swillets@indyweek.com INDYweek.com | 2.27.19 | 5

news A Crisis of Consent 48 PERCENT OF UNDERGRADUATE WOMEN AT DUKE SAY THEY’VE BEEN SEXUALLY ASSAULTED

BY JEFFREY C. BILLMAN

F

PHOTO BY ALEX BOERNER

orty-eight percent of undergraduate women at Duke University say they have been sexually assaulted since enrolling, according to a 2018 survey of students released last week. Twenty-two percent reported experiencing sexual assault during the 2017–18 school year alone.

Nationally, about one in five undergraduate women report being survivors of sexual assault, according to the Rape, Abuse & Incest National Network and the National Sexual Violence Resource Center. Most cases—80 percent or more—aren’t reported to the police.

The same is true at Duke, according to the Student Experience Survey, which was first reported by the Duke Chronicle. Only 9 percent of students’ sexual assaults were reported to law enforcement or university officials, the survey says. Another 62 percent of incidents were relayed to roommates, family, or friends.

This news comes less than three weeks after Meredith Watson, a Duke alumna, accused Virginia Lieutenant Governor Justin Fairfax of raping her while they were classmates in 2000. Watson has also accused former Duke basketball star Corey Maggette of raping her. Both men have denied the allegation.

The Student Experience Survey, which replicates a survey of undergraduate, graduate, and professional students conducted in 6 | 2.27.19 | INDYweek.com

2016, defines sexual assault as “any unwanted, nonconsensual sexual contact. It includes both sexual battery”—i.e., nonconsensual sexual fondling or kissing—“and rape.”

Compared to 2016, the 2018 survey found that a higher percentage of undergraduate women reported experiencing sexual assault (48–40 percent) and sexual battery (30–24 percent) since enrolling, while the percentage of women who reported being raped stayed relatively flat (6–5 percent).

The number of male undergrads who reported experiencing sexual assault rose as well, from 10 percent to 14 percent.

Larry Moneta, Duke’s outgoing vice president for student affairs, told the Chronicle he thinks the number of undergraduate women who have experienced sexual assault is actually much higher than 48 percent. After “a lot of conversations with students,” he said, “the consensus answer I got was between eighty and ninety percent.” He added that, contrary to the oft-repeated one-in-five statistic, he doesn’t believe this estimate is unusual compared to other institutions.

Sixty percent of undergraduate women who been assaulted told the Student Experience Survey that their perpetrator was affiliated with Duke, and 63 percent said it was someone they knew. More than 60 percent of these incidents involved drug or alcohol use. As in 2016—and consistent with national data—the 2018 survey found

that most sexual assaults happen in August through November, and first-year students are the most common targets.

About half of undergraduate women who said they experienced sexual assault reported finding the experience “upsetting” or “very upsetting.” This feeling was much greater among women who had been raped than it was among those who had experienced sexual battery. A majority of those in the latter category—but not the former— said the incidents had not affected their schoolwork, jobs, or friendships.

The survey also found that 56 percent of undergraduate women and 24 percent of undergraduate men reported being sexually harassed during the 2017–18 year, up from 45 percent and 16 percent, respectively, two years prior. Most often, especially for women, sexual harassment took the form of unwanted comments, jokes, or advances.

Gay, lesbian, and bisexual students reported the highest rates of harassment.

As the survey points out, it’s difficult to tell whether these numbers show an actual increase in incidents or a greater willingness to report misconduct in the wake of the #MeToo movement. After all, significantly more students reported being sexually assaulted before they came to Duke in 2018 than in 2016.

In addition, the survey notes, most students said they feel safe on campus.

However, a substantial minority of undergraduate women—more than 11 percent—do not feel safe. And only 58 percent of undergraduate women said Duke provided a clear sense of appropriate and inappropriate behavior, only 74 percent believed Duke tried hard to keep its students safe on campus, and just 75 percent agreed that the “Duke administration is genuinely concerned about my well-being.”

Moreover, only 60 percent of undergraduate women said Duke takes sexual assault training and prevention seriously, 56 percent said Duke is doing a good job educating students about sexual assault, and less than half—48 percent—said Duke is “doing a good job of trying to prevent sexual assault.”

And while a majority of male undergrads said Duke handles sexual assault claims properly, less than a third of undergraduate women believed Duke holds people accountable for sexual assault.

Duke’s most recent Sexual Misconduct Report, which was released in September and covered the 2017–18 academic year, says that the Office of Student Conduct received 189 reports of sexual misconduct during that period, up from 139 the year prior. Of those, 179 were closed or resulted in no disciplinary action, either because of a lack of information, because the person making the complaint did not respond to university officials’ outreach, or another reason.

Of the ten cases the university investigated, five resulted in a hearing, and, in three, the accused was found responsible for an act of sexual violence and suspended.

Asked about the university’s plan to address sexual assault on campus, Moneta declined to comment, referring the INDY to the survey’s “Next Steps” section.

That section focuses on connecting students with more resources, coordinating existing programs led by the university and student groups, extending education programming beyond orientation, and developing a “systematic and consistent prevention and education strategy.”

It also asks Duke’s Sexual Misconduct Task Force to create recommendations to enhance “prevention and response efforts” and to identify issues requiring more information that could be explored in future forums and surveys.

One suggestion: “A significant number of undergraduate female students continue to believe that Duke is not doing a good job of trying to prevent sexual assault or of investigating or adjudicating reported cases. How much of this is based on objective information, or does this perception reflect a lack of awareness of what Duke is actually doing?” jbillman@indyweek.com

First Friday Friday, March 1st

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas!

711 W Rosemary St • Carrboro • carrburritos.com • 919.933.8226

6:00pm - 9:00 pm

227 Fayetteville St, Suite 105 Raleigh NC 27601 Featuring artwork from the

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For more information visit www.ncati.org Join the I Heart Art Annual Fundraiser on March 3.

Tunes by

Discotono Varieties from the 60’s to present.

Staff writer Leigh Tauss will be recording a special episode of INDYcast, the INDY Week’s new podcast during the event. Stop by, hang out and see what INDY Week is all about.

INDYweek.com | 2.27.19 | 7

Philosophy Bakes Bread

How two Ph.D. candidates quietly revitalized Ninth Street Bakery’s artisan bread program

BY ADAM SOBSEY

Bread on the

RISE

B

BY LAYLA KHOURY-HANOLD

read is one of the world’s most elemental foods. Whether you make it with flour or corn, call it a baguette or a tortilla, eat it for breakfast or dinner, every culture has a bread-making—and breadbreaking—tradition. It’s a food that not only nourishes us but unites us across borders. Yet, in the U.S., it often feels like bread has become a bad word, whether you blame Big Ag’s mass-produced loaves or gluten-free diets.

Enough of that. Bread is back. And why not? Like many foods valued in our current culinary climate, bread can be crafted with local ingredients, technique, and care. When it is, it represents its time and place, just like craft beer and heirloom vegetables.

And in this edition of Dish, we celebrate the Triangle’s golden age of bread.

Local bakers are using North Carolina–grown grains and local flours to craft bread, bagels, and pastries that are full of rich textures and deep flavors, the kind that can only come from grains grown and milled using traditions that preserve integrity while locking in nutrients and freshness. Bakers here are experimenting with fermentation, tinkering with ratios, and fine-tuning techniques to create a bread-making culture all our own. These loaves are worth seeking out at local bakeries, markets, and restaurants.

So tuck into the bread basket with us to explore bread’s diverse and multifaceted traditions, its magical alchemies, its centuries-old place on Southern tables, and all the ways it nurtures us.

The Dish logo, baked into bread at Ninth Street Bakery 8 | 2.27.19 | INDYweek.com

PHOTO BY BOB KARP

Ari Berenbaum and Alex Ruch

I

PHOTO BY BOB KARP

f Herodotus is to be believed, the first word known by the children of the earliest Western tribe, the Phrygians, was “bread”—before they even knew what bread was. Knowledge of the staff of life is born with us. It’s no surprise, then, that every baker’s-dozen years or so, indifferent to fads of gluten-freedom and even the paleo diets that supposedly predate bread, it has another popular moment.

Ninth Street Bakery’s artisan bread program is likewise old and new—and, like the bakery itself, it hides in plain sight. The bakery has been in business for a third of a century, most of it in a massive space smack in the middle of downtown Durham.

Its retail, pastry, coffee (roasted in-house),

and lunch business are brisk, and its breads are sold all over the Triangle and the Triad.

Yet it’s remarkable how many people have never heard of the place.

Perhaps it’s fitting that the bakery’s artisan breads are also easy to miss, forthrightly but modestly arrayed on shelves right next to the ordering counter. It’s a pity, because they might be the Triangle’s best.

How they came to be there is a story with considerable proofing.

Back in 2010, Ari Berenbaum met Alex Ruch in the ferment of the Triangle’s graduate philosophy programs, Ph.D. candidates at UNC and Duke, respectively. Both were researching twentieth-century philosophy, including some of the same French

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Scandinavia has long known about rye, In 2017, Ruch, who missed Durham, did post-structuralist theorists. But it was a difand soon, Ruch added to his weekly lineup just that. Ninth Street Bakery’s powerferent chewy Gallic tradition that got them a sweet-and-sour Swedish limpa and a ful but mostly neglected hearth ovens— introduced: a mutual friend knew they were Danish rugbrod. These are both serious, “essential to the crusty European breads both bread aficionados. Berenbaum was complex breads, dense in texture and Alex wanted to make,” Berenbaum notes— moonlighting as Ninth Street Bakery’s head deep in flavor, the kind you contemplate were fired back up, and its program was baker; Ruch was baking intensively at home. as you chew. (He’s also recently offered an reborn.

“I was writing my dissertation, and I was oatmeal spice bread redolent of cardamom, Ruch began with three breads that were looking for something to do that was more a favorite Scandinavian flavor.) They point staples at Bellegarde: a country batard that tactile than sitting at a computer,” Ruch toward a deeper philosophy evident in is addictively delicious and deeply hearty, says. “I was reading the ingredient list from Ruch’s baking: that bread is a proper food, along with elegant baguettes and ciabatta. some good bread I was eating”—by the local not merely an accessory to it, much more As befits a philosopher, Ruch spent months La Farm Bakery, Ruch recalls, “and it was just flour, water, and salt. I thought, ‘That’s an interesting challenge. How do you make great flavor out of something that involves three ingredients?’ I was also trying to live on a budget because I was a grad student.

Cheap ingredients that make delicious food seemed like an appealing prospect.”

In 2011, Berenbaum launched a pop-up bake stand under his last name, in collaboration with Ruch, which set up catty-corner from the Durham Farmers Market on Saturday mornings and quickly developed a following. In 2012, Ruch moved to New Orleans for a five-year postdoc appointment at Alex Ruch gets Cuban baguettes ready for shipping. PHOTO BY BOB KARP Tulane, but he wound than just something with which to bracket studying and experimenting with Ninth up studying bread along with philosophy, a sandwich, or to ignore in an ornamental Street’s equipment and the local Lindley landing a job at the budding Bellegarde, basket during dinner.

Mills flour the bakery uses, using some Graison Gill’s bakery that helped revive This bread is made not only for bread lovtechniques he learned at Bellegarde. artisan baking culture in New Orleans. ers, but to make more of them.

“Long, cold overnight fermentation,” he Ruch continued to teach at Tulane, but “as Despite its low profile, Ninth Street Baksays, “and a little bit of sourdough. It helps it went on, I found that the baking started ery is quietly thriving. Its revenues have douwith the flavor and the color. You want the coming to the forefront.” bled since Berenbaum took over, revitalizing elasticity of high-protein bread flour, but I Meanwhile, in 2013, Berenbaum—who “the oldest game in town,” as Ruch calls it. “It had to balance that with the extensibility of says UNC failed his dissertation at the already has a brand identity”—which paraall-purpose flour to come up with the right proposal stage (“I guess Gilles Deleuze doxically may explain why its relaunched proportions. Once I had the basic setup, I was too interdisciplinary and subversive bread program has flown under the radar. started exploring some of the other things I for them”)—bought Ninth Street Bakery But philosophers, like bakers, are patient hadn’t worked on or hadn’t been able to do. from its founder, Frank Ferrell, and kept by nature, “and not that good at selling,” “I was always really interested in rye. pestering Ruch to come back and reboot Berenbaum says.

It’s gotten a bad rap. People associate rye its artisan bread program, which was He takes pride in the bread alone. with caraway, but the truth is that rye has essentially defunct.

“When I think about what Alex has done its own flavor, often masked with caraway.”

“Literally every year after he left for with the program,” he says, grinning, “I’m (Many people don’t realize that the Tulane, I would say, ‘Alex, hey, you wanna literally kvelling.” taste often associated with rye is actually come back and bake some bread with us?’” food@indyweek.com caraway seed.) he says.

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INDYweek.com | 2.27.19 | 9

Our Daily Bread

A Duke Divinity student navigates her own spirituality and finds solace in baking for others

BY KENDALL VANDERSLICE

I

hard life farming was, and that bread, life’s community in response to the hunger that wake up each Wednesday before the staple, and thus a blessing, has also from surrounds me. It’s a central metaphor of sun, rolling straight from bed into the the dawn of agriculture until recent times my own religious practice—the making and kitchen, where twenty-five pounds been a curse.” eating of it have long been central to my own of dough await me, bubbling up over the It’s no wonder nearly every culture tells awareness of God. When the world appears sides of a plastic tub. In the silence, I wash stories through their bread, nearly every out of control, and my internal anxieties my hands, flour the counter, and methodreligion offering an account of the staff threaten to overwhelm, I find peace in a God ically shape fourteen loaves—half multiof life. that claims to be known in morsels of bread. grain, half cinnamon swirl.

For me, the movements are a form of prayer—not a prayer articulated in words but through my body. My arms express gratitude for the marvelous process that unravels glutinous strands and builds up strength in dough so that I might stretch and fold the entire mass. My nose takes in the pungent scent of fermentation, amazed at the power of microscopic yeasts. My shoulders ache with the stress of a busy week, while my hands rejoice at the touch of flour, tired of all the time spent attached to the keyboard. The process is a wellchoreographed routine, timed so that I can watch the sun rise out the window over the sink while crusts crackle and cool, ready for packing just in time to make it to my ten o’clock class.

“It’s bread day!” remark my classmates as I walk through the halls of Duke Divinity. I make my rounds, distributing the loaves I’ve made for my subscription Multigrain sandwich loaves from the author's subscription bread share PHOTO BY KENDALL VANDERSLICE bread share: four to admissions, In my own religious tradition, we see Bread has been the core of the human four in lecture, and a handful in the stumanna in the wilderness as God’s provision diet since the dawn of agriculture. Its techdent lounge. During the bustle of graduate of a bread that does not require this intense niques are simple enough to continue genschool, where I’m studying the theology of labor. It’s a foretaste of the promise that God eration after generation, and yet its science bread, this weekly ritual grounds me. It’s will reverse the curse upon Adam and Eve— is so complex that not even the five-volume only with flour between my fingers that that there will be a day when the soil no book Modernist Bread can capture it all.

I begin to process all that I’ve read, only longer sprouts thistles or thorns, when we Historian William Rubel writes of bread while shaping batards that I can begin to can feast without the threat of famine linas the simultaneous blessing and curse on write any paper. gering nearby. We chew upon stale wafers humanity: “If you have seen subsistence Baking for me is a point of connection and crusty loaves, which we grotesquely yet farmers working fields by hand with a with generations of women and men who beautifully call Jesus’s body. We believe in scratch stick or even a horse-drawn plough, have followed similar routines, a method our bellies and on our tongues that, in callor seen a wheat crop being harvested by of reflecting on the strength and wisdom ing himself Bread, Jesus transformed the hand scythe, you will understand what a of my own senses, and a tool for creating

DISH

10 | 2.27.19 | INDYweek.com

symbol of painful labor back to a sign of liberation to come. We proclaim in our eating the wild expectation that our lives become inextricably linked in the sharing of a single loaf—that like the flour softened, unraveled, and hydrated upon the introduction of water, our communion transforms us in complex ways, too.

The world and her haunting needs are overwhelming; it seems that everyone is merely grasping for some semblance of control.

While our culture values individualism, speed, and security, while it idolizes technology and prizes constant virtual connection, our bodies and minds long for the slowness of companionship—a community of friends with whom we share bread.

Neither bread nor spirituality offers a simple fix to the myriad fears that assail me, but I know that when I mix together flour and water with a touch of yeast, they will slowly cohere into a cool, sticky dough. First, though, I must step back and wait, admitting my own lack of control. Patience, I’m told, is a virtue. I believe it tastes like the sour bite of rye. I know that when I shape it and bake it, it will flourish into a crusty loaf. And I know that when I hand it off to the people I love, they will feel, for at least a fleeting moment, a sense of respite and delight.

Sometimes this feeling, this flavor, this offering of a bite of hope is all that carries me into another day, because with generations of bread makers and breakers behind me, I know that when I’m baking, I am never alone. food@indyweek.com Kendall Vanderslice is a baker and writer who studies the intersection of food and religion at Duke University. Her first book, We Will Feast: Rethinking Dinner, Worship, and the Community of God, will be released May 14.

Flour Power

Baking with local grains locks in freshness, nutrition, and flavor. ign of lib-Welcome to the Triangle’s our eating s becomeGolden Age of Bread. BY CIRANNA BIRD of a single

d, unravroduction rms us in

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tanding in a commercial kitchen, looking at a spongy substance the color of cardboard, Andrew Ullom hauntingasks if I can smell the boozy flavor of his rye g; it seemspre-ferment. This substance, the starter graspingfor all his rye breads, contains water, lacf control.tic bacteria, wild yeast, and Wrens Abruzzi s individ-rye flour from Carolina Ground. (The smell rity, whileof alcohol is created by the breakdown of nd prizescomplex rye starches into simple sugars ction, ourduring fermentation.) This starter ensures g for thethat his loaves of 100 percent rye bread onship—aferment well, are strong, and develop flaith whomvors that he describes as “acidic, fruity, and effervescent like rosé wine.” pirituality Bakers like Ullom, of the forthcoming he myriadbakery Union Special, can get their hands ut I knowon freshly milled flour from locally grown her flourgrains thanks to North Carolina mills such of yeast,as Carolina Ground in Asheville and Lindnto a cool,ley Mills in Graham. Bakers across the Trigh, I mustangle seek out these flours not only because mitting mythey support local agriculture, but because ience, I’mthey create breads and pastries that are e it tastesfresher, more nutritious, and packed with e. I knowdistinct textures and flavors. bake it, it It’s something that Ullom has long y loaf. Andbelieved, but this notion was reinforced d it off towhen he attended last year’s Asheville ill feel, forBread Festival, where he toured wheat nt, a sensefields and spoke with North Carolina organic grain farmers. avor, this “It is sobering to see the amount of work carries me[it takes] to bring grains to the mill, to mill nerationsthe flour, and to package it to bring to the hind me, Ibaker,” he says. “The advantage for North ver alone.Carolina bakers is that we can make bread week.comthat tastes like North Carolina, particularly eastern North Carolina. Our bread is nd writeraffected by the minerals in our water and food andin our grain.”

Her first Jon McDonald, the bread baker manager g Dinner,at Weaver Street Bakery, also sources flour God, willfrom local mills. He works with twelve bread bakers to make two thousand pounds

of dough a day for the Carrboro, Chapel Hill, and Pittsboro Weaver Street Market locations, using Carolina Ground’s bread flour to produce loaves with superior texture and flavor, such as a moist, rich, dark whole-wheat-walnut-raisin loaf, and a rye bread crafted with 70 percent Wrens Abruzzi rye. Jennifer Lapidus, the founder and general manager of Carolina Ground and one of the organizers of the annual Asheville Bread Festival, describes the Wrens Abruzzi rye grown in the South as a “spicy dark flour [that] is lauded among bakers beyond our borders.”

To retain flavors characteristic to each grain, Carolina Ground stone-grinds and cold-mills North Carolina–grown and certified-organic grains, including hard winter wheat, soft winter wheat, and rye. The stone grinding crushes the germ (the section of the wheat kernel that sprouts) into the rest of the flour, which helps the flour retain its natural oils, nutrients, and flavor.

Weaver Street Bakery also uses flour from Lindley Mills, a family-owned, organically certified mill that uses a stone-grinding technique to make some of its flours and a customized low-heat roller mill for other flour products.

“Very high-heat milling environments sometimes cause concern because of the potential for damaging nutrients in flour,” explains Caroline Lindley, vice president of marketing and sales and a part of the tenth generation to work at the mill. “[It’s believed that] a low-heat environment may better maintain nutrient retention in the transition from grain to flour.”

McDonald uses Lindley Mill’s Malted X flour to make Weaver Street’s number one seller, a baguette, and Lindley Mills Super Sprout whole grain wheat flour to make a sprouted sandwich bread, which has a soft texture like supermarket bread but contains less sugar and more nutrients

DISH Weaver Street Bakery’s Jon McDonald

PHOTO BY BOB KARP

than bread made with non-sprouted flour.

Although Lindley Mills sources the bulk of its wheat from the Midwest, Lindley says that both the Malted X and Super Sprout flours also contain certified organic wheat grown by North Carolina farmers, and the mill also produces a 100 percent North Carolina-grown bread flour.

Both mills find ways to provide a viable market for local farmers who are willing to use organic methods to grow hard winter wheat varieties that are ideal for bread flours. Traditionally, farmers in the South grow a soft winter wheat that is more suitable for pastries and biscuits. Lapidus says that the North Carolina-grown soft winter red wheat that is milled for Carolina Ground’s pastry flour delivers extraordinary vibrancy and tooth, which can be both a boon and a challenge for local bakers.

Shelby L. Smith, of the Durham-based pop-up bakery Whisk and Rye, is known for her scones, cookies, and cruffins (a croissant-muffin hybrid). As part of her mission to use as many local ingredients as possible, she’s recently started making her products with Carolina Ground pastry flour.

“It was a learning curve to work with flour made by Carolina Ground,” Smith says. “It’s different, fresher, and requires more liquid.”

She had to tinker with baking ratios, adding more baking powder and adjusting both the proofing (final rise) and baking time.

Although the scones made with enriched white flour were lighter and fluffier, they tasted empty, whereas the scone made with Carolina Ground pastry flour tasted sweeter, nuttier, and was ultimately more satisfying. food@indyweek.com INDYweek.com | 2.27.19 | 11

Breadwinners

Complimentary bread service used to be a restaurant staple.

These days, it’ll cost you. BY CHRISTINE BYRNE

S

it down to dinner at Elaine’s on Franklin in Chapel Hill, and you’ll be offered a choice of garlic focaccia or sourdough batard (or both). The bread service is on the house, but it’s not an afterthought.

At Crawford and Son in Raleigh, chefowner Scott Crawford and pastry chef Krystle Swenson serve a basket of six malted wheat rolls with hickory butter and sea salt for $6. The rolls are a hybrid of the sweet rolls from Swenson’s native Hawaii

DISH The “Butter and Salt” plate at Alley Twenty Six “We’ve got a century-old sourdough starter I smuggled back from France in ninety-five,” says chef-owner Bret Jennings. “I’m really proud of our sourdough.

I’ve had a lot of help from pastry chefs perfecting the recipe over the years.”

He’s surprised the starter is still alive— between the humidity and the temperature, this isn’t the ideal climate—but he and his team have been using it to bake fresh bread every day since Elaine’s opened in 1999.

This kind of free bread service used to be a staple in restaurants, but these days, it’s scarce. Many chefs and restaurateurs find that the benefits no longer outweigh the costs.

12 | 2.27.19 | INDYweek.com

PHOTO BY BOB KARP

and the Parker House rolls Crawford has always loved.

“We were able to develop the recipe through a lot of testing,” Crawford says.

“Then the question was, ‘Do we give these away to every guest that comes in?’ It was a tough decision, one that we spent days talking about.”

First, the rise of allergies and gluten-free diets had a big impact on bread service.

“When I first started as a chef twenty years ago, we’d get one allergy a week, usually shellfish,” Crawford says. “Gluten wasn’t a factor—everyone got bread, and everyone ate it.” Now, he estimates that 30 to 40 percent of the guests at Crawford and Son are gluten-free.

This played into chef Carrie Schleiffer’s decision to charge for bread, too.

“In the gluten-free era, you start putting bread on the table, and it doesn’t get eaten.

It’s such a waste,” she says. At Alley Twenty Six in Durham, she serves a “Butter and Salt” plate of lemonpoppyseed compound butter, Maldon sea salt, baby radishes, microgreens, and sliced baguette for $6, and says that about half of guests order it.

There are also significant costs to making bread from scratch.

Swenson spends at least an hour each day making and shaping dough (that’s not including rise or oven time), and the rolls take up a lot of space in the small kitchen. Combine that labor cost with ingredients, and Crawford says the rolls come out to about $1 each, which is exactly what he charges for them.

“We realized that if we gave away the bread, we’d need to increase the price of entrees by one or two dollars, and we wanted to keep them below thirty,” Crawford says. “Nothing is really free. You have to build in that price somewhere.” Charging for bread also seems to increase its value to guests, Crawford says.

“People will literally take home the rolls they don’t eat.”

At Alley Twenty Six, the tiny kitchen makes bread baking impossible. Schleiffer gets her baguettes from Loaf in Durham.

“I could get cheaper bread and serve it for free, but there are really good bread makers in town, and I like to support local businesses,” she says.

Jennings faces these same challenges at Elaine’s. “I think [bread service] is

ultimately cutting into my appetizer and dessert sales,” he says.

So why, despite this, does he give his bread away for free?

“I like tradition. I don’t like change,” he says. “It’s a labor of love, but I’m starting to question my business sense.” food@indyweek.com

5 LOCAL BREAD BASKETS TO FILL UP ON The Boot: At this Durham eatery, slices of scratch-made sourdough focaccia are ideal for dipping into the accompanying pool of extra virgin olive oil, and the crispy crust’s scattering of salt, fennel seed, and red pepper flakes adds a savory pop.

Mulino: The dough at Raleigh’s Mulino owes its deep flavor to a long ferment and locally milled sprouted whole grain wheat flour, and the finished loaves’ nutty, toasty notes are further enhanced by a trip through the wood-fired oven.

Sassool: Baskets of warm, pillowy pita accompany every meal at Sassool, which has locations in Raleigh and Cary, and while it’s tailor-made for dipping into hummus and scooping up salads, it’s also supremely satisfying to snack on solo.

Talullas: Bread at Talullas in Chapel

Hill is plentiful and memorable. The fresh Turkish pide—topped with sesame and nigella seeds—is soft, chewy, and a perfect vehicle for mopping up the red pepper dipping sauce.

Vin Rouge: A panoply of thinly sliced offerings—sourdough baguette, olive-oiland-rosemary focaccia, harvest cheddar, or rustic wheat—along with really good butter, tricks you into putting away even more than you bargained for at this Durham institution.

INDYweek.com | 2.27.19 | 13

Get It Plain

Thanks to Raleigh’s Benchwarmers, you don’t need to go to New York to get a good bagel

BY ELIZABETH SZYPULSKI

I

YOUR WEEK. EVERY WEDNESDAY. FOOD • NEWS • ARTS • MUSIC

INDYWEEK.COM 14 | 2.27.19 | INDYweek.com

n the popular imagination, a great bagel is defined less by its qualities than by its provenance. It’s a food strongly rooted in a sense of place—even if you’ve never been to New York or Montreal, your idea of a bagel is probably connected to one of those cities. Which makes the idea of a great North Carolina bagel that much more complicated.

At least, that was the case for Joshua Bellamy, co-founder of Benchwarmers Bagels in downtown Raleigh.

“I grew up down here,” he says. “Bagels were always just kind of an exotic thing that I never really connected with. The goal was, can I make a bagel that I connect with on a deep level? And can I make something that the kids who come in here would connect with on a deep level, so they might grow up remembering a place that I've missed out on?”

Along with his business partner, Sam Kirkpatrick, he decided to try.

The pair founded Boulted Bread—a bakery focused on high-quality bread and pastries made with fresh, local ingredients—with Fulton Forde in 2014. Benchwarmers, in partnership with Andrew Cash of Jubala Coffee, is their first new venture since. The bagel and coffee shop opened at Transfer Co. Food Hall in February.

To say it’s going well is an understatement. The first few weeks, they sold out of bagels around noon, despite making about a thousand a day. They offer bagel sandwiches (designed by chef John Knox, formerly of Vin Rouge), as well a variety of cream cheeses. The best seller so far is the everything bagel, but Bellamy hopes that will change.

He wants people to try the plain one.

Traditionally, bagels are a chewy, carb-y vehicle for other, more flavorful treats— a slather of cream cheese or a slice of lox, for example. But at Benchwarmers, they’re about the bread.

“There’s this ideal of a bagel in my brain that I probably haven’t ever tasted,” Bellamy says. “It’s a plain bagel, you know, with no seeds on it. No sea salt. But it’s so full of

DISH Above: Joshua Bellamy divides bagel dough. PHOTO BY OWEN JORDAN Below: Maple raisin bagels and cardamom buns PHOTO BY EMILY LYONS

flavor, it stands alone. It doesn't need those other things.”

To create a bagel like that, Bellamy had to revisit what he thought he knew about bagels—and throw out some things that he knew about bread, too.

“The first several batches I baked were just really bad,” he says. “Because I tried to outsmart it, you know, almost sneak up on it as a bread baker, rather than thinking about what an actual bagel is.” Early recipes featured a high-hydration dough like the dough used at Boulted. (In other words, a dough with a high water-to-flour ratio.)

In bread, this creates a crispy crust and a pleasantly holey inside.

But for bagels? “[Bagels] get boiled,” Bellamy says. “That’s a big, violent act I’d forgotten about. I'd put the bagels into the kettle, and they’d just kind of fall apart.”

So he went back to a basic bagel formula of a low-to-medium hydration dough that’s boiled, then baked. Once he mastered that, he was ready to experiment again.

He put back the fresh flour, milled at Boulted Bread, which Bellamy says tastes fattier and creamier than standard flour.

He added pre-fermented flour, which gives the yeast inside the bagels longer to develop a rich, bready flavor. For a hint of maltiness, he mixed in malted barley flour from Riverbend Malthouse in Asheville. He mixed in more water. He figured out a long fermentation schedule to tease out even more flavor from the dough.

He also started baking with fire.

“I didn’t actually believe that the woodfired oven would make as much of a difference as it’s ended up making,” he says.

“We’re baking at higher temperatures. Part of the airiness [of the bagels] is the result of that super robust and quick pop right when they hit that heat.”

The result of all this trial and error? A light, airy bagel with the perfect amount of chewiness, enough for you to savor that first bite without having to work equally hard on each successive one. And whether the credit goes to the fresh-milled flour or the long fermentation, it’s one of the most consistently tasty bagels you’ll find anywhere, even up North.

Bellamy isn’t done experimenting. He’s pushed the idea of highlighting the grains in flour further with a grits bagel, a concoction that uses three forms of Tuxpeño corn, which Bellamy describes as fatty and peanut-y in flavor. (“I’m going through a little bit of a midlife crisis of being really into corn right now,” he says, laughing.)

The corn shines through, but subtly. It’s milder than cornbread, with a soft, rounded flavor and only a little bit of corn’s sweetness. It’s coated with finely milled polenta, which adds a pleasingly coarse texture.

For Bellamy, the bagel comes close to being exactly what he set out to make—a bagel he feels connected to.

“I’m as stoked about it as a thing that I get to eat as I am about what it represents about the future of this place,” he says. food@indyweek.com

5 LOCAL BAGELS WE LOVE Bagel Bar: New Yorkers will never concede that the kettle-boiled bagels made fresh at this

locally owned Durham shop are “NY style,” as advertised, but they’re closer to the mark than the round bread that passes for bagels in much of the Triangle.

Big Dom’s Bagel Shop: Big Dom’s, in Cary, is known for Montreal-style bagels, which are smaller, denser, and slightly sweeter than their New York counterparts. Here, they’re boiled with brown sugar and baked with a schmear of Crisco.

Monuts: With a crisp crust and soft-yet-sturdy structure, the rounds at this Durham

donut shop are ideal for breakfast sandwiches. Try the summer-ready heirloom tomato with chevre and basil pesto.

NY Bagel & Deli and NYBD III: Native New Yorkers Bob and Tom Nurrito operate independent locations of NYBD (in Raleigh and Cary, respectively; another brother owns one in NY), but they’re united by a menu of more than two-dozen bagels baked fresh daily.

Weaver Street Market: Weaver Street Market—now in Carrboro, Chapel Hill, and Hillsborough—started making bagels in-house five years ago, aiming for an authentic New York style and delivering on the coveted tender-crumb-to-pleasant-chew ratio.

INDYweek.com | 2.27.19 | 15

Starter Culture

Everything you know about sourdough is wrong, says master baker Lionel Vatinet BY DEBBIE MATTHEWS

M A Comic Opera !

Directed by Derrick Ivey Musical Direction by Jackson Cooper

March 29-31, 2019 THE CAROLINA THEATRE 309 W. Morgan St., Durham, NC TICKETS 919.560.3030 or carolinatheatre.org INFORMATION durhamsavoyards.org

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TE A N I M O N OW! N E T O AND V Y W E E K.C O M D W W W.I N 16 | 2.27.19 | INDYweek.com

any years ago, I took my child to a playdate. The hostess, another kid’s grandmother, served us warm, homemade cinnamon rolls. When I raved over how incredibly delicious the roll was, she explained that, instead of yeast, she’d made them with sourdough starter.

Completely ignorant of the care and keeping of a sourdough starter, I asked for the recipe. The procedure she'd used to make this treat shocked me.

She explained that a starter is a living colony of wild yeast (which replaces storebought yeast and will make your breads rise) and other bacteria. It must be fed with flour and watered daily. It must never get too hot or too cold, too hungry or too thirsty.

She’d been doing this to keep her starter going for forty years.

“What a crazy person! Who in their right mind would ever go to such ridiculous lengths and tie themselves to a crock full of microbes?” I wondered aloud on the drive home, not giving it a second thought.

Ten years later, I decided to revisit sourdough. I did lots of research. Rather than feeding the starter every day, I learned about dough hibernation, where it’s stored in the refrigerator until three days before baking, taken out and fed daily until ready to use, then re-refrigerated.

But first, I needed a starter. To make one from scratch, I mixed flour and water, fed it daily, and fanned it to expedite the introduction of wild yeast. Yeast, and the other strains of bacteria necessary to make sourdough, are naturally occurring in the air around us. The aim is to get a large enough colony going to act as a leavener. After about three months of feeding and fanning, I finally had living sourdough.

It lived in an old soup crock on my kitchen counter, and I fed it daily. Then, when I made bread, or pancakes, or waffles, I’d remove some (depending on the recipe, usually a cup to a cup-and-a-half ) from the crock and replace what I’d used with daily feedings.

Occasionally, when I didn’t use up enough by cooking, I’d discard a cup or two. But at this point I was finding so many sourdough recipes to experiment with, I had no need to stash it in the chill chest for hibernation.

DISH

Lionel Vatinet

PHOTO BY TAMARA LACKEY

After m with the s erating it weaken. I sleep, fixa dough ba what to d Last we owner an Prior to o starter o rough. It d istic tangy ture was m I was h years of s rescue my Vatinet Farm bre dough bo and Carol starter th of Marie A enough fo 250 years I ask m “How old it from Fr “Ameri ing,” Vati He expla ancient so but mean ing on fla bread, the it. Nobody old the st I ask h bread dou in a parti that leave rise—how when it c are accep amount u I ask ab out of him in the ref starter is slows, the and starv Whoops “What Start a ne “It take starter. If who has neighbor, to the tip all you ne each of fl for baking I tell hi ask him h

After my kid left for college, I didn’t cook with the starter as much, so I started refrigerating it. As time went on, it seemed to weaken. I became obsessed with it. I lost sleep, fixated on it, and shed tears. My sourdough baby was fading, and I didn’t know what to do. It was in decline.

Last week, I met with La Farm Bakery’s owner and master baker, Lionel Vatinet.

Prior to our meeting, I took my sourdough starter out of the refrigerator. It looked rough. It didn’t have sourdough’s characteristic tangy, slightly boozy aroma, and the texture was more slimy glue than bubbly batter.

I was hoping Vatinet would impart his years of sourdough knowledge and help me rescue my starter.

Vatinet uses a starter for his delicious La Farm breads, such as his signature sourdough boule and, my favorites, buckwheat and Carolina Gold rice breads. I pictured a starter that had been around since the time of Marie Antoinette. I was hoping to be lucky enough for a glimpse, maybe even a whiff of 250 years of French breadmaking history.

I ask my first of nineteen questions: “How old is your starter, and did you bring it from France?”

“Americans are the best at marketing,” Vatinet says in response, laughing.

He explains that romantic stories about ancient sourdough strains sell lots of bread but mean nothing. That age has no bearing on flavor. “The more sourdough in the bread, the sourer the flavor will be—that’s it. Nobody can taste a slice and tell you how old the starter was.”

I ask his opinion about supplementing bread dough with yeast. Vatinet gestures in a particularly Gallic manner, explaining that leavening is used to make the dough rise—how you get there is immaterial. And when it comes to yeast, both dry and fresh are acceptable. He’s more interested in the amount used and preventing waste.

I ask about refrigeration. That got a rise out of him. “How would feel if you were put in the refrigerator?” he asks. Turns out, a starter is not meant to be so cold. Action slows, then stops, so it turns in upon itself, and starving, it begins consuming itself.

Whoops.

“What if you’re going out of town?” I ask.

Start a new one, he replies.

“It takes only ten days to make a new starter. If you need it faster, ask someone who has a sourdough starter—a friend, neighbor, or bakery—for some.” He gestures to the tip of his thumb, continuing. “That’s all you need. Each day, feed it a quarter cup each of flour and water. You’ll have enough for baking in three to four days.”

I tell him about my own ailing starter and ask him how to save it. He says six words

that change everything. When I hear them, I feel as if a huge, stressful boulder has been lifted from my shoulders.

“We kill ours all the time. Just make a new one.”

I went home with the worry and anxiety washed away. I’m not sure what happened, but the next morning my starter had transformed. It was lively, frothy, and as healthy looking, and smelling as it’s ever been. It now lives in a small jar out on the counter, stress-free and happy. That makes two of us. food@indyweek.com

THE SOURDOUGH PROJECT How colonies of bacteria and yeast create bubbly, tangy sourdough starters from just a simple mixture of bread and water is one of the most fascinating mysteries in food science. What are these microscopic organisms? What makes the colonies grow the way they do?

These are the driving questions behind the Sourdough Project, based in the lab of Rob Dunn, an applied ecology professor at N.C. State. The research project started in 2016 with a call for home bakers to send samples of their starters to the lab, and bakers responded from across the globe. Researchers on the project’s team extracted the DNA from these samples to determine the species in each starter. The group then analyzed how the location, gender of the baker, type of flour, and other external factors contributed to that profile.

These factors only explained 13 percent of the variation in species, so the Benjamin Wolfe Lab at Tufts University conducted more tests to find out what behaviors in the yeast and bacteria make them more or less prevalent.

To date, the project has received samples from 567 starters (the oldest dates to the 1730s) from 17 countries (the farthest: Australia). The most dominant yeast species has been Saccharomyces cerevisiae (strains 1 and 2), the same yeast sold in grocery stores, which was dominant in 460 samples.

The most dominant bacteria species has been Lactobacillus brevis (strain 1), often found in milk products, which was dominant in 123 samples. Different species of the Lactobacillus genus were found in at least 230 other samples.

Each new discovery gives rise to many more questions, says researcher Erin McKenney. “Sourdough is really exciting,” she says. "This is a mystery that nobody has really solved yet.” —Kaia Findlay

Eat & Drink Almanac

The INDY’s Ultimate Guide to food and drink in the Triangle

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INDYweek.com | 2.27.19 | 17

Best of Both Worlds

Are you Team Biscuits or Team Cornbread?

On Southern tables past and present, there’s a time and place for both.

BY JENN RICE

A

am sweet tea’s biggest admirer, but when few months ago, I returned home it comes to the carb rivals, both deserve to North Carolina from Wyoming equal credit in my book. Must we be forced after a trying divorce. A supto choose? pressed appetite in tow, it was a Bojangles’ In the antebellum South, biscuits were Cajun filet biscuit that breathed life back considered a delicacy and consumed on into my soul. Now a Sunday ritual, I think Sundays by the wealthy. It should also be about the power a buttery, flaky biscuit holds, as small bits and pieces crumble onto the wrapper with each bite.

I’m not religious, but I’ve learned to appreciate the popular refrain from the Lord’s Prayer—“Give us this day our daily bread”—mainly because I’d be lost without bread. In the Bible, bread symbolizes eternal life and is consumed as a gift to nourish the body. I’ll gladly preach to the choir that Southern bread is indeed life—Bojangles’ being my number one witness, with a basket full of hushpuppies from my hometown’s fish camp as backup.

For me, nothing compares to a fluffy, fresh-from-the-oven buttermilk biscuit. Flour, butter (or lard, if you really want to make a Southern statement), baking soda, baking powder, and buttermilk are all readily available pantry ingredients, and on lazy Sunday mornings, biscuits make an ideal start to the day.

Cornbread offers me similar Biscuits at Mandolin PHOTO BY FELICIA TRUJILLO pleasure, but in a crumbly, I’mnoted that biscuits, during this period, were craving-barbecue kind of way. Even though flat and rather bland and a far cry from it’s easier to master than biscuits and uses what they are today. In the nineteenth cenkitchen staples such as cornmeal, flour, tury, biscuits gained a flavorful momentum baking soda, salt, buttermilk, butter, and thanks to advancements in milling techeggs, it’s not something I regularly bake nology and new ingredients such as bak(though I’m not sure why). Cornbread is ing soda, allowing puffy layers to rise to the backbone of Southern cooking; biscuits the heavens above. Cornbread, arguably evolved and aspired over time. more palatable with its dense, fluffy, and But the question remains: Are biscuits or savory characteristics, was consumed in cornbread the best? It’s like asking if you’re the same period by non-wealthy housea Duke or UNC fan. Or if you prefer sweet holds, as corn was a leading crop. Skillet tea over unsweet tea. I bleed Duke blue and 18 | 2.27.19 | INDYweek.com

cornbread became popular during the Civil War, where soldiers would pile beans on top to create filling, easy-to-eat meals.

At the turn of the twentieth century, the milling process became industrialized, and cornmeal began replacing yeast in kitchens due to flour becoming mainstream.

DISH Biscuits were still around, but cornmealcentric dishes such as spoonbread (a soupy, custard-like invention), hushpuppies (fried cornmeal served in various shapes and sizes), and Johnny Cakes (cornmeal pancakes) were born.

At restaurants such as Mama Dip’s in Chapel Hill and the State Farmers Market Restaurant in Raleigh, the best of both worlds collide. If a decision must be made, it boils down to the fixins. With fried chicken? Definitely the beloved biscuit. Is

barbecue involved? Cornbread, no doubt, to soak up juicy sauces.

Cornbread has its own internal rivalry. The sugar-versus-no-sugar debate is controversial throughout the South. Many argue that sweet cornbread is like Jiffy cake mix and a far cry from the original, savory version. Plus, molasses was always at arm’s length, so why would anyone ever dare to further sweeten something so perfect as-is?

Sean Fowler, the chef-owner of Mandolin in Raleigh, added sugar to his version, noting that diners demanded it more with this minor tweak.

With biscuits, he takes a similar liberty. “I gave myself permission to use yeast after finding it in one of Edna Lewis’s recipes,” he says. When it comes to biscuits, he says, “If it’s good, I’m going to eat it.”

And therein lies the beauty of biscuits: No matter what recipe a chef, baker, or at-home cook is referencing, or whether they’re served in their purest form with a thick slab of butter or smothered with gravy, it’s all good.

“There’s a lot of fuss and pretense about biscuits, and I know it’s harder for a novice cook than, say, someone who runs a bakery to pull it off,” says Lindsay Moriarty, a chef-owner of Monuts in Durham. “But it really is such a fun and easy recipe to have in your back pocket for breakfast, lunch, or dinner.”

At the venerable Crook’s Corner in Chapel Hill, chef Justin Burdett personally reserves biscuits for Sunday breakfast and cornbread for the holidays. Case in point: There’s a time and a place for both. But when it comes to matters of my heart, sometimes only a buttery biscuit will suffice. food@indyweek.com

The Great Mother

No matter its shape, color, or occasion: Bread—and its breaking— transcends borders

BY LAYLA KHOURY-HANOLD • ILLUSTRATIONS BY CHRISTOPHER WILLIAMS

T

he first sentence of Bread, part of the classic Time-Life cookbook series, reads: “According to Hindu scriptures, ‘Everything is food, but bread is the great Mother.’”

It’s one of the oldest forms of sustenance and an elemental part of eating around the globe. Whether it’s made with yeast or unleavened, braided or flat, eaten for breakfast or dessert, used as a utensil or a vehicle for toppings, bread unites us all in its nourishment.

Here, we explore five breads from around the globe.

BAVARIAN PRETZELS

CHALLAH

In Germany, soft Bavarian pretzels are eaten throughout the day: for breakfast with sausages, cut horizontally and slathered with butter, as an on-the-go snack, or paired with beer in beer gardens year-round and especially during Oktoberfest. At Annelore’s German Bakery in downtown Cary, owners Norbert and Annelore Gstattenbauer bake traditional Bavarian pretzels. They explain that what makes Bavarian pretzels unique is that they’re dipped into a lye bath (which uses a small proportion of food-grade lye) before baking, which gives them a slightly tangy flavor, their trademark chestnut brown color, and their glossy crust. As is tradition, Annelore’s serves its version topped with coarse pretzel salt, but it also offers a cheese pretzel with a proprietary blend of cheeses baked on top.

Even if you’re unfamiliar with the Jewish faith, you might recognize challah from brunch menus, where the braided, egg-enriched yeast bread is often used to make French toast. More traditionally, challah is consumed for Shabbat (or Sabbath), where every Friday evening, Jewish families prepare a special meal that includes three blessings, one recited over candles, one over wine, and one over challah. The challah is covered with a special decorative cloth during the first two blessings, then uncovered for the third. It’s up to each family to decide how to eat it, but it’s customary to tear off a piece and pass the loaf around the table. What the braids symbolize is also open to interpretation, depending on if it has three, four, or six strands, though it’s generally believed that because the braids look like arms intertwined, they symbolize love. Every Friday at the Levin JCC in Durham, a team of three bakers makes fresh challah by braiding two long strands that are then folded and crossed in the middle (so it looks like a four-strand braid)—to the tune of nearly three hundred loaves a week.

DISH

YOUTIAO TORTILLAS Tortillas are a thin, unleavened flatbread made from ground maize that are common across South and Central America, where they’re topped with various fillings to make tacos, arepas, or pupusas, or eaten plain as a snack. Ex-Voto Cocina Nixtamal, opening in the forthcoming Durham Food Hall, will grind its own yellow, white, and blue corn from Mexico to make hot, fresh tortillas and tamales daily.

The business, founded by Marshall Davis and chef Angela Salamanca of Raleigh’s Centro, takes its name from nixtamalization, the process of soaking, cooking, washing, and hulling corn (nixtamal is the end product). The nixtamal will then be ground with a little water in a custom-built molino, a huge grinder—Davis likens it to a Star Wars AT-AT walker with two big milling stones—that yields a corn dough called masa. The masa will be rolled into balls, pressed in a tortilla press, and quickly cooked on a plancha till puffy, destined for taco fillings such as smoked carnitas with pumpkin seeds and mole verde. Ex-Voto is also experimenting with creating a large, malleable corn tortilla, with the aim of recreating an Oaxacan dish of rolled tacos.

INJERA In Ethiopia, it is common to eat with your hands, so injera, a spongy, porous flatbread, is used as a utensil.

At Goorsha, an Ethiopian restaurant in downtown Durham, owners Fasil Tesfaye and Zewditu Zewdie spent six months perfecting their batter recipe, which is crafted from a mix of fermented teff (a native ancient grain that’s a staple in Ethiopian cuisine) and water, plus rice flour, which gives the bread more structure and helps tame bitterness from fermentation. Batter is poured onto a hot surface and quickly cooked into a thin, pancake-like consistency. Then the injera is rolled out onto a plate and topped with assorted salads, vegetable stews such as yellow chickpeas or red lentils, and tib (strips of meat). Rip off a piece from the outer edge to scoop, daub, and mop. It is customary to finish eating all the injera before a meal is complete—and at Goorsha, you can always ask for more.

Youtiao, also known as Chinese doughnuts, Chinese crullers, or Chinese oil sticks, are golden deep-fried bread sticks eaten throughout China and other East and Southeast Asian cultures.

Katie and Justin Meddis, who own the East Asian-inspired eatery Rose’s Noodles, Dumplings & Sweets in Durham, discovered youtiao on their travels in China, where they are typically eaten at breakfast and dunked into warm, fresh soy milk. Youtiao’s neutral flavor—it’s made from flour, oil, milk, baking soda, and baking powder—lends itself to both sweet and savory applications.

At Rose’s, the breakfast treat is served only on weekends, accompanied by fresh soy milk that can be ordered sweet, mixed with seasonal fruit compote (such as Pink Lady apples and candied yuzu rind), or savory, with pickled vegetables, chili oil, and cilantro. At MOFU Shoppe in downtown Raleigh, owner Sophia Woo dubs youtiao “Taiwanese churros” and gives them a starring turn on the dinner menu.

Here, the fried batons are served in place of grilled bread for sopping up broth in a bowl of Thai green curry mussels, and for dessert with condensed milk and plum sugar. food@indyweek.com INDYweek.com | 2.27.19 | 19

indymusic

KATH BLOOM

Friday, March 1, 8 p.m., $5 Duke Coffeehouse, Durham www.dukecoffeehouse.org

The Power of Balance

AFTER A CAREER FULL OF STOPS AND STARTS, MYTHIC MUSICIAN KATH BLOOM FINDS HER FEET ON SOLID GROUND

BY JOSEPHINE MCROBBIE

“I

and reissues. “People get ahold of me, and her song “Come Here” was prominently guess I write out of pain,” the Conthey want to know what still is underneath featured in the 1995 Richard Linklater film necticut-based musician Kath the bed.”

Before Sunrise—and eventually, Bloom Bloom says by phone in February.

Most recently, Bloom has settled into perbegan to dip her toe back into releasing and “I write out of confusion. And sometimes, out forming and recording as a trio with guiperforming music. Reflecting on the reasons of happiness. I don’t set out to write about tarist David Shapiro and percussionist Flo for her sometimes-tentative approach to a anything in particular really, just what comes Ness. The music is still intense, but Bloom career in music, Bloom says that “it was just to me.” says playing together brings a dimension of a mixture of not believing in myself and not What often comes to Bloom is the expebuoyancy and lightness to the performance. knowing where the opportunities were.” rience of romantic and familial love, both simple and infuriatingly complex.

She explores it from every angle.

It’s humiliated randiness: “Why do you come here with your shirt off? / Why do you tell me that you’re hungry? / I say there’s something in the kitchen / You know without you I’ve been itching.” It’s a window into strained parental exhaustion: “My baby cries when he’s tired / My puppy howls with the moon.” It’s an open-hearted plea for connection and reciprocity: “The key that opens you / And the key that opens me / It’s the same.”

This naked poetry, sung in a wild voice that seems perpetually on the edge of either breakdown or ecstasy, was a potent tool in Bloom’s early collaborations with the avantgarde guitarist Loren Mazzacane Connors.

“In a lot of ways, Loren saved my life,” Bloom says. “His teachings to me were so important.” Connors’s textured playing lent a cagey reserve to Bloom’s openness, and their records from the late seventies and David Shapiro, Kath Bloom, and Flo Ness PHOTO COURTESY OF THE ARTIST early eighties, like the recently reBloom’s back catalog can be dizzying In 2009, a spate of Kath Bloom covers released Restless Faithful Desperate, earned and slippery, including dozens of releases by artists like Bill Callahan, Scout Niblett, Bloom the kind of cult psychedelic-folk folwith varying levels of commercial availJosephine Foster, and Devendra Banhart on lowing afforded to enigmatic musicians like ability and titles that weave and bleed into the Chapter Music tribute album Loving Karen Dalton and Michael Hurley. one another. I was surprised to learn she Takes This Course led to deeper connections Bloom never stopped writing music released a children’s album in 2000, an with patrons and collaborators, including for guitar in the decades that followed, as album that’s nowhere to be found on DisMark Kozelek, who released Bloom’s music she raised her children and lived a scrappy cogs, Allmusic, or Spotify. So much of the on his label, Caldo Verde. existence in Florida. But she wasn’t recording appeal of shadowy folk figures from the “This is what happens,” she says, laughfor public consumption or touring widely. seventies lies in their lack of output and the ing, about the proliferation of new albums Acclaim trickled in over time—most famously, 20 | 2.27.19 | INDYweek.com

potential for rare recordings to be uncovered. Bloom seems happy to simultaneously play into this myth with scarcity and dispel it with a bounty of low-profile releases.

She’s not precious about her discography.

“I have a problem: I can’t look back that much,” she says. “It might be a mechanism for keeping me sane and going forward with things, but I don’t get very sentimental.”

She now writes new music only sporadically, noting that a host of family problems have kept her occupied in recent years. But she’s got plenty from which to pull. Bloom estimates that she has about two hundred demo tapes at home. In this way, she’s tending a fire, rather than building it anew. Often, when an obscure folk hero is dusted off to release new music, the result doesn’t have the same magic as the old stuff. But Bloom’s 2017 duet with Kozelek, the murkily sexy “Oh Baby,” stands up to anything she’s ever released.

Around 2009, Bloom settled into a steady profession of teaching music to children. It’s a way of looking forward rather than backward.

“It gives me so much hope and joy and belief in what we can do all together,” she says. “Music is a giving state of being. It’s about giving back and forth, about listening on the most intimate and intense plane. It’s an emotional and spiritual quest.”

The quest, for Bloom, has been one riddled with personal setbacks, brushes with fame, and now, an easy joy. One happy result of her time off from music is that she still feels fresh to performing live.

“I haven’t been playing long enough to feel burned by it,” she says. “I’m kind of like a kid in a candy store.” music@indyweek.com

indyart+stage True North

A HISTORIC DURHAM CHURCH IS REBORN AS A VISIONARY ARTS SPACE BRIDGING THE SECULAR AND SPIRITUAL

BY ERIC TULLIS

I

drawing in laborers who were able to work Like any arts venue, the church will n early February, NorthStar Church near loud machinery at factories. Ephhpatha offer regular curated programming—such of the Arts opened its doors for an met the needs of a marginalized congregaas the March 12 artist talk by Marcella D. open house. Visitors were asked to fill tion by offering services in American Sign Camara on her current exhibit, MAPS—but out nametags that indicated their name, Language. In 1977, the Ephhpatha congreit will also host monthly Sunday services the pronoun they prefer, and the name of gation moved on to another space, though led by different artists and community an artist or work of art that has inspired them. To the right of the church’s spacious stage, a pew was scattered with a few dozen books that visitors were encouraged to read aloud. In a separate nook, stage right, a board of sticky notes instructed visitors to write down the name of a patron saint from their community. Pauli Murray, Baba Chuck Davis, and Ann Atwater were listed as examples. Without pause, a black thirteen-year-old boy wrote down his grandmother’s name.

These exercises are the genius loci of this revolutionary new space, a spirit that is further transmitted by the phrase “The Way of Peace” chiseled above the door.

“People come in here, and everybody has the same reaction—‘Wow, this place speaks to my spirit,’” says Grammy Award-winning jazz singer Nnenna Freelon, who, along with her husband, the architect Phil Freelon, bought the Gothic Revival-style church in 2017 as a legacy project. They hope to fill a void NorthStar Church of the Arts’ inaugural Sunday service PHOTO BY DALVIN NICHOLS in Durham by creating a space where it would go on to house other congregations leaders. Overall, NorthStar is an endeavor underrepresented voices can flourish, and before it was deconsecrated. toward communitas, or a manifestation of creative expression can be exalted.

When the building went on the market the kind of shared ritual space that W.E.B. “We organized a church on purpose. This in 2013, the Freelons approached the owner Du Bois imagined for society. NorthStar’s is not an accident,” Nnenna continues. with the idea of reopening the space as a creative guides—Nnenna and Phil Freelon, “This is what a church should be—a place healing center. The building was taken off their son Pierce Freelon, and Heather that enhances a community and invites all the market, however, and it wasn’t until 2017, Cook—have taken a holistic approach to people.” when it was listed again—albeit with a highthe interrelationship between artistic NorthStar, named after enslaved people’s er price tag—that the Freelons were able to expression and a communal reverence for guiding star to freedom and the church’s make an offer and acquire the church. the sacred. location at the corner of North Street and That same year, curator and consultant Designed and built in 1930 by Durham West Geer, is not quite a church in the way Heather Cook and her husband had also architect George Watts Carr Sr., Ephphathat the building’s bones might suggest. It explored the idea of repurposing the space for tha (meaning “be opened” in Aramaic) was does not adhere to a linear pastor-congreDurham’s creative community. Upon meeterected as a place of worship for the city’s gation model. As for the scriptures—they ing with the realtor, she discovered that it hearing-impaired community. Industrializamight range, on a given day, from Octavia was no longer available. A week later, though, tion thrived in urban centers like Durham, Butler to Audre Lorde to 2Pac.

during a coffee date with her frequent collaborator, Pierce Freelon—who now serves as artistic director at NorthStar—Cook discovered that his parents had purchased the church and felt a sense of relief: The historic building would be in great hands.

“You start to care about a space,” says Cook, who joined the NorthStar team as executive director. “Even if our dream wasn’t fully articulated or ironed out, the idea [was] that this space was worthy of protecting and claiming for the community and not just for somebody’s loft apartment.”

“Which could have been super hip and cute,” Nnnenna adds. “But it would have benefitted one person, one family, one street. This is the highest and best use of this space—a community space.”

As uncharacteristic as it would have been for Phil Freelon to entertain the idea of replacing the church with anything resembling loft apartments—or office spaces, or a bar, as has become the trend in an increasingly gentrified Durham—he also decided that it would be unnecessary to make any noticeable structural changes to the church.

“Enhancements were not needed,” he says. “We let the space speak for itself.” Other than upgrading the HVAC system and addressing some physicalaccessibility issues, the Freelons have maintained the building’s original integrity.

“I started The Freelon Group in 1990 as a one-person architectural firm, and we’ve always focused on projects in the community and trying to bring beautiful design to enhance the community,” Phil says. “Now, as I head toward retirement, I want to continue in that same vein—to bring beauty and art to our communities. This space is already beautiful architecturally.”

“This is a small space—we say small and mighty. We’re not trying to be DPAC or Baldwin Auditorium,” Nnenna says. “There are certain kinds of things that will fly here and other kinds that will not work. We see INDYweek.com | 2.27.19 | 21

F E B R UARY

WE 27 JJ GREY AND MOFRO W/ CRIS JACOBS BAND 7p

MAR C H

FR 1 UP THE IRONS (IRON MAIDEN TRIBUTE) W/ HARD ROCK REUNION / OUTLIAR 7p

SA 2 WHO’S BAD – THE ULTIMATE

MICHAEL JACKSON EXPERIENCE 7:30p

SU 3/3 • 7P Y

&T

FR 8 WHISKEY MYERS

DIE ROCKIN’ TOUR

W/ BONES OWEN 7p AT THE RITZ

FR 8 JULIA MICHAELS W/ TBA 7p SA 9 CITIZEN COPE 7p MO 11 CRANK IT LOUD & LINCOLN

THEATRE PRESENT: THE DECIBEL MAGAZINE TOUR 2018 6p THE HIP ABDUCTION 7p

WE 13 FR 15 ADRIAN BELEW SA 16 SU 17 TH 21 FR 22 SA 23

W/ SAUL ZONANA 7:30p

WEEKEND EXCURSION 7p KELLY HOLLAND MEMORIAL 5p FAILURE & SWERVEDRIVER TODD SNIDER 7:30p

Phil and Nnenna Freelon

LYRICAL LEMONADE PRESENTS:

LIL MOSEY NORTHSBEST TOUR 7p

TU 26 GETTER PRESENTS VISCERAL 7p WE 27 SHALLOU & SLOW MAGIC: INTO THE WILD TOUR 7p

FR 29 RECKLESS KELLY & PAUL THORN 7:30p

SA 30 BOULEVARDS W/ KOOLEY HIGH/ ZACK MEXICO 7:30p

CO M I N G S O O N

4/1 BUCKETHEAD 7p 4/4 VEGABONDS 7p 4/5 BARCODE SILENT HEADPHONE 4/7 4/10 4/11 4/13 4/14 4/18

PARTY 9p TAB BENOIT 7p ROBERT EARL KEEN 7p BAD SUNS W/ TBA 7p EPIK HIGH 7p WEEDEATER & ASG W/ TOKE 7p THE BAND OF HEATHENS W/ BLUE CACTUS 7p

4/20 420 REGGAE FEST FT. TREEHOUSE & SONS OF PARADISE AND MORE 7p

4/24 BLUE OCTOBER W/ TBA 7p 4/26 DAVID ALLAN COE W/ BIGGINS /

AARON HAMM & BIG RIVER BAND 7p

4/29 JOHNNY MARR 7p 5/9 CRIS JACOBS BAND 7p 5/11 TRAVERS BROTHERSHIP W/ TBA 6:30p

5/12 DA BABY W/ STUNNA 4 VEGAS 7p 5/19 CHRIS ROBINSON BROTHERHOOD 7p

6/19 THE RECORD COMPANY 7p 7/20 LONG BEACH DUB ALLSTARS

W/ AGGROLITES / MIKE PINTO 7:30p

ALSO PRESENTING AT STATE THEATRE IN GREENVILLE

3/8 CITIZEN COPE 7p 3/10 J.J. GREY & MOFRO 7p ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 22 | 2.27.19 | INDYweek.com

Your Week.

Every Wednesday. indyweek.com

PHOTO BY LISSA GOTWALS

ourselves as true collaborators. If we bring an artist into town who is too big for this space, we will be calling Hayti to see if we can present it there. We will be calling The Pinhook.”

As Phil points out, rising prices in downtown Durham have resulted in many blackowned businesses shuttering. Just recently, the African clothing and crafts shop Ngozi Design Collective was forced to close its Main Street location. A few doors down, Beyù Caffè announced last November that it would be discontinuing its live music offerings. The disappearance of a minority presence in downtown Durham is beginning to look startling.

“It just goes to show you how tenuous the tightrope is that our creative community is on, with the rising cost of downtown and the way that folks of color are being pushed to the margins of the city,” Pierce says.

“NorthStar is at the epicenter of creating those new types of spaces.”

“One of the real intentions of being creative within this space is making sure that at a moment’s notice, when there is a need in the community, we figure out a way that we can support that need,” says Cook.

“We were just having a conversation about bringing [Durham City Council member] Vernetta Alston in here to celebrate her.”

Earlier this month, Immaculata Catholic School’s African-American Heritage Committee invited Alston, an Immaculata alumna and an openly gay Black woman, to speak at the school in celebration of Black History Month. But her invitation was rescinded when the school suddenly closed for the day over alleged threats of protests about a member of the LGBTQ community promoting same-sex marriage. Shortly afterward, Pierce, also an Immaculata alumnus, asked Alston if she would be interested in delivering her Immaculata speech at NorthStar instead. (After an outcry from Immaculata parents and students, the school re-invited her as well.)

“It’s a part of our responsibility to elevate people who are in alignment with our vision,” Nnenna says, referring to people such as Alston and North Carolina poet laureate Jaki Shelton Green, who led NorthStar’s inaugural Sunday service on February 17. “Now, if there is a woman in McDougald Terrace who’s feeding kids all summer out of her pocket when there’s no free school lunch, you can bet that she’ll be up here [speaking] one Sunday, and we’re going to hand her a check and hug her and tell her thank you. We can’t wait for INDY Week to tell us who is important. We know who is important.” arts@indyweek.com

NORTHSTAR CHURCH OF THE ARTS 220 West Geer Street, Durham info@northstardurham.com www.northstardurham.com

indystage

THIS SHOW WILL SELF-DESTRUCT Thursday, Feb. 28, 9 p.m., $5 Ruby Deluxe, Raleigh www.rubydeluxeraleigh.com

To Be Safe

BEING QUEER IN THE SOUTH MEANS CONSTANTLY FACING QUESTIONS OF ACCESS AND SURVIVAL. RUBY DELUXE INVITES LGBTQ PEOPLE AND ALLIES TO LEAVE THOSE CONCERNS AT THE DOOR. BY JAMES MICHAEL NICHOLS

W

hen Timothy Lemuel opened Ruby Deluxe on Salisbury Street in August 2015, he wanted to fill what he saw as a gap in the Triangle’s queer scene while creating another space for creative types to hang out in downtown Raleigh. At the time, staples like Legends and Flex catered primarily to gay men, and bars that created space for queer people of color, such as CC Nightclub and 313, had closed. The result was a fairly homogenous gay scene in which many people felt ostracized. Lemuel wanted to create a space that wasn’t a quote-unquote gay bar—a place that was not only safe for the entire spectrum of the LGBTQ acronym, but that also celebrated marginalized artists, cultivated community, welcomed allies, and didn’t shy away from proclaiming its agenda.

“Bars are notoriously not political because, when you go to a bar, the only things you’re not supposed to talk about are religion or politics,” Lemuel says. “And I decided that was just a thing we made up that we didn’t have to really do if we didn’t want to.”

Being queer in North Carolina means being continually confronted with questions of access, safety, and survival. This makes places like Ruby Deluxe—which grew out of Lemuel’s prior project, the artist cooperative Ruby Red—more important than ever. A few months after Ruby Deluxe opened, the General Assembly passed House Bill 2, the so-called bathroom bill, which made the state the epicenter of protests and boycotts. A year later, the law was replaced with a discriminatory “compromise” bill. Its aftermath is still being felt, and LGBTQ people face other conservative opprobrium and legislative attacks (including the recent HB 65, a not entirely coherent effort to nullify same-sex marriages by declaring secular humanism a religion).

“Our goal was to create kind of a queer version of Slim’s,” says Lemuel, who used to work at that downtown dive, “an option for queer folk to hang out and be celebrated in our format—our events and everything.”

Daniel Tomas and Timothy Lemuel

PHOTO BY MADELINE GRAY

To accomplish this, Lemuel brought in others working in downtown nightlife, including Daniel Tomas, who performs under the drag name Derelict, and who also had concerns about the lack of queer spaces downtown.

“Access to queer-inclusive and queer-run spaces is essential because it’s not always evident which bars or clubs are welcoming for LGBTQ people,” Tomas says. “Given that trans and queer people are still facing murder and hate crimes in 2019, there is still a very real fear that going out might result in harm or even death.”

Tomas oversees booking for Ruby Deluxe and was responsible for the bar’s first major queer-specific event. Dubbed “Viz,” after a Le Tigre song, the 2015 party was headlined by

queer deejays playing music produced by and familiar to the community.

“I’m somewhat of an anti-separatist separatist,” Tomas says. “I think that the more inclusive a space is, the more freedom there is to be yourself, and the bigger the potential is to build a diverse community.”

A diverse slate of programming centered on marginalized people grew out of that party. The Body Party celebrates Black femmes. A weekly open-mic night invites locals to showcase their work. The through line is Ruby Deluxe’s drive to elevate underrepresented voices. This spirit also extends to Lemuel’s other bars, The Night Rider and the music venue The Wicked Witch, which hosts shows too big for Ruby Deluxe and a monthly Goth Night.

On Thursday, Ruby Deluxe kicks off This Show Will Self-Destruct, an apocalypsethemed monthly variety show run by Hunter Gardner, who has described the bar as “the world’s coolest nuclear fallout shelter.” The disaster theme might be played for laughs, but it fits into the larger vision of Ruby Deluxe as a space for people to seek shelter.

Despite being tucked away in an alley, Ruby Deluxe is unmissable. There’s a big rainbow flag flying from a pole on the front patio. A sign informs visitors that “This Is a Queer Space” upon entry, and signs cover the bar condemning HB 2 and the Republicans who thought it was a good idea. If that pissed people off, so be it. Lemuel wanted Raleigh’s queer community to know where he stood.

“This was my first bar, and I decided, ‘We’re only a couple of months in, let’s go in and let everybody know how we feel about [HB 2],’” Lemuel says. “Because I don’t have anything to lose, and all of my customers are queer people. I need them to know that I’m behind them through this thing, even if it costs us business. We were met with all kinds of chaos on both sides. People were really supportive, but also, some people were really violently angry.”

From Stonewall on, bars have always been sites of LGBTQ resistance. But visible queerness is different in the South than in other places. Despite overarching progress, there are disempowering, repressive cultural and political forces at work here that can keep queer people from thriving—or even surviving. And that makes places like Ruby Deluxe as important as ever.

“In comparison to bars and clubs in downtown Raleigh with large cisgender and heterosexual crowds, there aren’t a lot of options for nightlife and social engagements for queer people,” Tomas says. “The more spaces we have, the more we can continue to build and create community among ourselves. Speaking personally, gay bars are not enough when you know you’ve got people under that Pride flag with no place to go.” arts@indyweek.com INDYweek.com | 2.27.19 | 23

WHAT TO DO THIS WEEK 2.27–3.6

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SATURDAY, MARCH 2

DAVID ROUSSÈVE/REALITY: HALFWAY TO DAWN

Duke Ellington didn’t write his band’s signature theme song, “Take The ‘A’ Train.” Billy Strayhorn, the Harlem Renaissance composer who spent his childhood in Hillsborough, did. During the quarter-century that he worked as Ellington’s arranger, collaborator, and sometimes, pianist, Strayhorn also penned “Lush Life,” “Chelsea Bridge,” and a number of other songs now recognized as jazz standards. Choreographer David Roussève spent the last year coaxing the unsung jazz great out of Ellington’s shadow, exploring the gay composer’s friendship with Martin Luther King Jr., his contributions to the civil rights movement, and his mentorship of jazz vocalist Lena Horne. On Thursday and Friday—before the Saturday premiere of Halfway to Dawn, the multimedia dance work based on Roussève’s research—NC State LIVE also presents free performances of local puppet wizard Jeghetto’s An Evening with Billy Strayhorn at Hunt Library. —Byron Woods STEWART THEATRE, RALEIGH | 8 p.m., $28–$33, www.live.arts.ncsu.edu

David Roussève/REALITY PHOTO BY ROSE EICHENBAUM WEDNESDAY, FEBRUARY 27–SUNDAY, MARCH 17

LIFE OF GALILEO

Two infamous anniversaries take place during PlayMakers’ production of The Life of Galileo. Just over four hundred years ago, the Catholic church ordered the famed Italian astronomer to “abandon completely ... the opinion that the sun stands still … and the earth moves.” A week later, the Inquisition would add the heliocentric writings of Copernicus to its Index of Prohibited Books. Bertolt Brecht wrote and revised his historical biography play between 1938 and 1955, as a warning that progress—in science, society, or politics—is never truly irreversible. Artistic director Vivienne Benesch and set designer Jim Findlay follow Brecht’s lead, placing Galileo in a modern-day scientific storage facility similar to the global seed vault in Norway. But why Galileo’s teachings need an underground bunker is the real question. —Byron Woods PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL Various times, $12–$72, www.playmakersrep.org 24 | 2.27.19 | INDYweek.com

FRIDAY, MARCH 1 & SATURDAY, MARCH 2

CAMILLE A. BROWN & DANCERS: MR. TOL E. RANCE

There is an undeniable tenderness in Mr. TOL E. RAncE, the 2012 work that began Camille A. Brown’s trilogy of evening-length works, which concludes the choreographer’s season-long residency at Duke Performances this weekend. We easily sense the love in its acts of retrieval and remembrance, as Brown’s dancers move in tandem with long-dead performers seen in rare footage from the previous century. But the work is just as undeniably a sharp, sometimes scathing work of cultural criticism that closely analyzes a cavalcade of reductive—but socially accepted—representations of African Americans, from the era of minstrelsy (once the most popular form of public entertainment in America) to modern mass media. As Brown’s dancers take on those physical vocabularies, the mask made manifest by poet Paul Lawrence Dunbar slips, and we witness the toll it takes on performers coerced into all but intolerable roles. —Byron Woods REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $10–$25, www.dukeperformances.com

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THURSDAY, FEBRUARY 28–SATURDAY, MARCH 16

TIMON OF ATHENS

Director Dustin Britt had long been looking for a theatrical narrative to counter the themes of gay martyrdom and victimhood arising from the AIDS crisis. “I wanted a story where we fight back, come back, and win,” he says. After finding that the title character in Shakespeare and Middleton’s unfinished 1605 tragedy, Timon of Athens, had been betrayed and rejected by the people he’d trusted and loved, Britt thought of a group with similar experiences: queer and trans teenagers thrown out by their families. In his splashy, flashy, eighties-set adaptation for Bare Theatre, those teens form an army and exact revenge. Britt hopes the production “creates a catharsis that the queer community never gets to see in the arts.” Club shows at The Wicked Witch are interspersed with pay-what-you-can community performances at St. John’s Metropolitan Community Church; see the Facebook invite for dates and times. —Byron Woods VARIOUS VENUES, RALEIGH | Various times, $15–$18, www.baretheatre.org

2/27 WET, KILO KISH W/ HANA VU ($25/$28) 3/1 CEDAR RIDGE BATTLE OF

THE BANDS

3/2 COLE ESCOLA HELP! I’M STUCK! ($20) 3/4 WATSKY W/ BEAU YOUNG PRINCE 3/6 COLD CAVE W/ ADULT AND VOWWS 3/7 STRFKR W/ SHY BOYS ($25) 3/8 CHELSEA CUTLER LD W/ ANTHONY RUSSO SO OUT 3/19 TREVOR HALL W/ DIRTWIRE, WILL EVANS ($22/$25) 3/21 ANDREA GIBSON W/ ASHLEE HAZE ($20/$22)

4/4 BETTER OBLIVION LD COMMUNITY CENTER SO OUT 4/5 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY FT THE TAN & SOBER GENTLEMEN, CRYSTAL BRIGHT & THE SILVER HANDS ($12/$15) 4/8 RIVAL SONS W/ SHEEPDOGS 4/9 of MONTREAL W/ YIP DECEIVER ($17) 4/11 RUBBLEBUCKET W/ MIKAELA DAVIS 4/13 DURAND JONES & THE INDICATIONS W/ DIVINO NINO ($15) 4/14 PHOSPHORESCENT 4/15 BLACK LIPS W/QUINTRON & MISS PUSSYCAT ($15/$17) 4/16 AND 4/17 MITSKI LD W/ JAY SOM SO OUT 4/18 TOM ODELL W/ LUCIE SILVAS 4/19 THE CHURCH ($25/$28)

WILLIAM TYLER

The Nashville guitarist William Tyler has long been praised for his finesse with the instrument. After cutting his teeth as a sideman for the likes of Lambchop and Silver Jews, Tyler embarked on a solo career marked by a sense of welcoming exploration. Where many instrumental acts can feel either anachronistic or brusquely avant-garde, Tyler lets his wandering melodies settle into comfortable grooves and enlists a bevy of collaborators to fill out his ideas. That he remains an in-demand session player speaks to the role collaboration plays in his own music. On his latest album, January’s Goes West, Tyler leads a full band with patient acoustic guitar work that leaves ample space for swells of keys, electric guitars, and gently rollicking percussion. Durham favorite Jake Xerxes Fussell, who breathes new life into old-time folk tunes, opens. —Bryan Reed CAT’S CRADLE, CARRBORO | 8 p.m., $15, www.catscradle.com

WHAT ELSE SHOULD I DO?

KATH BLOOM AT DUKE COFFEEHOUSE (P. 20), COLE ESCOLA AT CAT’S CRADLE (P. 31), COSMIC RAYS FILM FESTIVAL AT VARIOUS VENUES (P. 32), ROMEO ORIOGUN AT THE RUBY (P. 30), THIS SHOW WILL SELF-DESTRUCT! AT RUBY DELUXE (P. 23), CHRISTINA LORENA WEISNER AT THE GREGG MUSEUM (P. 29)

2/28 432HZ : VIBEHOUSE 1 YEAR ANNIVERSARY PARTY W/ GOODNITE, LESS THAN FAMILY, KAZE, ALO VER 3/1 WILLIAM TYLER W/ JAKE XERXES FUSSELL ($15) 3/2 FUTURE THIEVES W/ TABLE TENNIS DREAMER 3/6 SRSQ

3/8 MIKE KROL, SPIDER BAGS ($10/$12)

3/31 THE MIDNIGHT ($20/$22)

4/20 THE DRIVER ERA ($20/$23)

4/25 LAURA JANE GRACE & THE DEVOURING MOTHERS W/ MERCY UNION AND CONTROL TOP ($20 / $23)

3/9 MATT KEREKES W/ JETTY BONES, JACOB SIGMAN 3/10 HOT FLASH HEAT WAVE W/ VACATIONS ($13/$15) 3/11 MEN I TRUST W/ MICHAEL SEYER 3/12 BE LOUD! STORYTELLING 3/14 UPSTATE 3/15 THE GONE GHOSTS EP RELEASE SHOW W/THE ANTIQUE HEARTS, OWEN FITZGERALD ( $7/$8) 3/16 NO9TO5 MUSIC/ BLACKSPACE PRESENT: (J) ROWDY & THE NIGHTSHIFT, THE AFRONAUTS, LORD FESS ($5/$10) 3/21 FIRESIDE COLLECTIVE W/ HONEY MAGPIE ($12/$14) 3/26 EMILY SCOTT ROBINSON W/ TATIANA HARGREAVES, SIMONE FINALLY ($8/$10) 3/28 MAX FROST($15/$17) 3/29 PARKER MILSAP ($15/$18) 3/30 SPIRAL STAIRS - PRESTON SCHOOL OF INDUSTRY W/ HAMISH KILGORE FROM THE CLEAN 4/2 OLD SEA BRIGADE 4/3 AARON LEE TASJAN W/ ROREY CARROLL 4/4 JUICE W/RELIABLY BAD AND DYLAN DUNLAP 4/10 CHARLIE HUNTER & LUCY WOODWARD ($20/$23) 4/11 FLOCK OF DIMES W/ NICK SANBORN ($15; ON SALE 3/1) 4/13 CASE SENSITIVE, MUSEUM MOUTH, S.E. WARD ($8/$10)

5/2 FOXING & NOW, NOW W/ DADDY ISSUES ($18/$20)

4/15 BAYONNE W/PALM DAZE ($12/$14)

5/5 JAPANESE BREAKFAST W/ EX HEX AND ETERNAL SUMMERS ($23/$25)

4/17 THE WILD REEDS ($14/$16)

5/6 RIVERSIDE ($20/$25) 5/7 ELI "PAPERBOY" REED ($15/$18) 5/13 THE DRUMS W/ TANUKICHAN 5/14 PUP W/ RATBOYS 5/18 CITIZEN / KNUCKLE PUCK W/ HUNNY AND OSO OSO 5/24 THE JAPANESE HOUSE ($18/$20) 6/2 THE DISTILLERS W/

STARCRAWLER

6/7 FRENSHIP W/GLADES ($15/$17; ON SALE 3/1) 6/9 THE LEMONHEADS, TOMMY STINSON ($25/$28)

WE 3/6

COLD CAVE

MO 3/4

WATSKY

CAT'S CRADLE BACK ROOM 2/27 BILLITONES / RED HERRING REUNION ($15/ $18)

3/23 COSMIC CHARLIE -- HIGH ENERGY GRATEFUL DEAD FROM ATHENS GA

3/30 CARBON LEAF ($20/$25)

FRIDAY, MARCH 1

8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50)

3/7 SEAN MCCONNELL W/CALEB ELLIOT

3/29 SLUGWIFE TAKEOVER TOUR ($20/$25)

PHOTO COURTESY OF THE ARTIST

7/24-7/27 MERGE RECORDS 30 YEAR CELEBRATION

3/22 NOVO AMOR W/ GIA MARGARET

3/25 ADHOC PRESENTS: HOMESHAKE W/ YVES JARVIS

William Tyler

6/27 PARACHUTE W/ BILLY RAFFOUL ($20/$23)

4/16 THIS WILD LIFE ($16/$18) 4/18 TELEKINESIS W/ SONTALK ($13/$15) 4/21 VALLEY MAKER ($12) 4/22 KOLARS ($12/$15) 4/24 THE BROOK & THE BLUFF 4/25 ACID MOTHERS TEMPLE W/ YAMANTAKA, SONIC TITAN 5/1 STEVE GUNN ($15/$17) 5/2 JULIA JACKLIN W/ BLACK BELT EAGLE SCOUT ($14/$16) 5/4 MARY LATTIMORE & MAC MCCAUGHAN 5/6 PEDRO THE LION W/JOHN VANDERSLICE ($20) 5/7 MURS W/ LOCKSMITH ($15/$17)

MO 3/18 @HAW RIVER BALLROOM

TEENAGE FANCLUB MERGE RECORDS 30-YEAR KICKOFF! 5/18 PILE W/ CHEW 5/19 FILTHY FRIENDS W/ DRESSY BESSY 5/21 SHAME ($14) 5/23 MARTI JONES & DON DIXON 5/31 THE SH-BOOMS ($12) 6/8 MATT ANDERSON 6/14 EILEN JEWELL KOKA BOOTH AMPHITHEATRE (CARY) 9/21 MANDOLIN ORANGE W/ MOUNTAIN MAN (ON SALE 3/1!)

LOCAL 506 (CHAPEL HILL)

3/11 MASKED INTRUDER

W/ ALMOST PEOPLE AND POISON ANTHEM CAROLINA THEATRE (DUR)

9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES DPAC (DUR) 11/22 AND 11/23 (TWO NIGHTS) SYLVAN ESSO "WITH" / PLUS MOLLY SARLE (OF MOUNTAIN MAN) MOTORCO (DUR)

3/24 ALL THEM WITCHES ($15) 5/14 THANK YOU SCIENTIST W/KINDO AND IN THE PRESENCE OF WOLVES ($16.50/ $20) FLETCHER OPERA THEATER (RAL)

4/3 GRAHAM NASH NORTH CAROLINA MUSEUM OF ART TIX GO ON SALE MARCH 6 5/17 DAWES 6/14 STEEP CANYON RANGERS WITH CHATHAM RABBITS 6/22 TRAMPLED BY TURTLES WITH DEER TICK 8/31 MIPSO RED HAT AMPHITHEATER (RAL)

4/27 RAINBOW KITTEN SURPRISE 6/7 LAKE STREET DIVE/ THE

WOOD BROTHERS THE RITZ (RAL)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

5/11 SHAKEY GRAVES W/

ILLITERATE LIGHT AND KATE RHUDY

(RESCHEDULED FROM SEPTEMBER 15; ALL TICKETS STILL VALID ) 6/10 LOCAL NATIVES W/ MIDDLE

KIDS

HAW RIVER BALLROOM

3/18 TEENAGE FANCLUB W/ ERIC BACHMANN AND THE LOVE LANGUAGE ($25/$28) 3/31 PATTY GRIFFIN W/ SCOTT MILLER ($35) 4/6 NICK LOWE’S QUALITY ROCK & ROLL REVUE STARRING LOS STRAITJACKETS

5/3 THE JAYHAWKS

5/15 THE SUITCASE JUNKET ($10)

5/9 SON VOLT ($25/$28)

5/16 HENRY JAMISON

11/8 BIG THIEF ($20/$23; ON SALE 3/1)

CATSCRADLE.COM  919.967.9053  300 E. MAIN STREET  CARRBORO INDYweek.com | 2.27.19 | 25

3/1 3/2 3/6 3/7 3/9 3/15-24 3/28 3/29

JEANNE JOLLY RICHARD SHINDELL BIG BAND NIGHT WITH THE TRIANGLE JAZZ ORCHESTRA POPUP BROADWAY (HAMILTON) NO SHAME THEATRE - CARRBORO THE DEVIL AND MARK TWAIN WILLIAM FITZSIMMONS LA PATRONAL

Get tickets at artscenterlive.org

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3/6

THU

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3/12

Member Admission Price 919-6-TEASER for directions and information

www.teasersmensclub.com 156 Ramseur St. Durham, NC

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TUE FRI

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music 2.27–3.6

The Monti StorySLAM: Hearts & Arrows - Stories of Love RYAN MONTBLEAU Jason Adamo Road to Shakori with BELLA’S BARTOK / Emma’s Lounge DJANGO HASKINS and IN THE POCKET (A Benefit for StrongHER TogetHER) The 2019 Great Durham Pun Championship!

Durham Mardi Gras w/ Bulltown Strutters and Phil Cook

CHRISGETHARD CHRIS GETHARD

Duke Performances presents BROTHER ALI LOOK HOMEWARD ALBUM RELEASE SHOW Kate Rhudy SMALLPOOLS Bel Heir / New Dialogue ALICE PHOEBE LOU L.A. Salami Flash Chorus sings “Don’t Worry Be Happy” by Bobby McFerrin and “Trouble” by TV on the Radio Periodic Tables: A Delicious Country: John Lawson’s Carolina Then and Now CHRIS KNIGHT Clovis Draper

COMING SOON: Southern Culture on the Skids, Jared & the Mill, All Them Witches, Marvelous Funkshun, Tobe Nwigwe, Rhett Miller, Strand Of Oaks, The Accidentals, Okilly Dokilly, Family of the Year, Lydia, Girlpool, Gangstagrass, The Murlocs, Xiu Xiu, Tim Heidecker & Gregg Turkington, Bear’s Den, Thank You Scientist, Flotsam and Jetsam, Superorganism, Hot Mulligan, Mono, Mark Farina, The Crystal Method, Cavetown, The Rock*A*Teens, Escape-ism, Sophomore Slump Fest, Sonata Artica Also co-presenting at Cat’s Cradle: Japanese Breakfast, Ex Hex and Eternal Summers (on May 5th)

Skylar Gudasz opens for The Dead Tongues at Kings on Mar. 1.

WED, FEB 27: CAT’S CRADLE: Wet, Kilo Kish, Hana Vu; $25-$28. 8 p.m.

THE CAVE: Clark Stern and Chuck Cotton; 8 p.m.

LINCOLN THEATRE: JJ Grey, Mofrow, Cris Jacobs Band; $27. 8 p.m.

MILLTOWN: Owen FitzGerald, Jesse Boutchyard; 7 p.m.

NIGHTLIGHT: Wailin Storms, Fool’s Ghost, Sunny Slopes; $8. 9 p.m.

POUR HOUSE: Elizabeth Cook, Chris Shiflett, Kendell Marvel; $20-$25.

9 p.m.

RECYCLE THIS PAPER 26 | 2.27.19 | INDYweek.com

THU, FEB 28: BLUE NOTE: Satchmo Babcock; 7 p.m.

CAROLINA THEATRE:

Aaron Lewis [$43-$63/8 P.M.]

Once you stop thinking of Aaron Lewis as the guy from Staind, you’ll realize that he’s been pursuing a solo country career for eight years now.

In fact, Lewis is more of a real-deal country singer than most of what’s coming out of mainstream Nashville these days. His forthcoming album, State I’m In, comes out on Big Machine subsidiary Valory, a label that’s about as mainstream Nashville as you can get—but don’t expect that to change him any.

—Jim Allen CAT’S CRADLE BACK ROOM: 432hz VibeHouse Anniversary Party: GOODNITE, LESS THAN FAMILY, KAZE, and more; $5. 9 p.m.

HAW RIVER BALLROOM:

Marc Broussard [$22-$25/8 P.M.]

Like the characteristic cuisine of his Southern Louisiana stomping grounds, Marc Broussard’s music is a mélange, cooking Southern rock, blues, funk, R&B, and soul into a gumbo he calls “bayou soul.” It’s really not that far-off from prepackaged retro-soul, but

PHOTO BY SOLEIL KONKEL

there’s just enough Dr. John in Broussard’s bouillabaisse to keep his songs from being totally warmed over.

—Patrick Wall LOCAL 506: The Reverend Peyton’s Big Damn Band, Lester Coalbanks and the Seven Sorrows; $15.

8 p.m.

NEPTUNES PARLOUR: Thinkin’ Bout You: Frank Ocean Nite; $2. 9 p.m.

THE PINHOOK: When Neighbors Unite: Danny Blaze, Liion Gamble, Chris Townsend, Young Soul; $15. 8 p.m.

THE POUR HOUSE:

Local Band Local Beer: Reese McHenry, Fruit Snack, Matt Southern & Lost Gol [$5/9 P.M.]

Chapel Hill firecracker Reese McHenry followed up Bad Girl, her soulful 2017 collaboration with garagerock outfit Spider Bags, with the EP High Comma. Released as Reese McHenry and the

POUR HOUSE: Signal Fire, Crucial Fiya; $7-$10. 9 p.m.

RHYTHMS LIVE: Huggy Lowdown & Chris Paul; $25-$50. 8 p.m.

THE RITZ: A Boogie Wit Da Hoodie, Don Q; 8 p.m.

SLIM’S DOWNTOWN: Dune Dogs; $5. 9 p.m.

UNC’S MEMORIAL HALL:

Sammy Miller & The Congregation [$27/8 P.M.]

For those of you who don’t normally get down with jazz because it’s too dense and abstract, drummer and bandleader Sammy Miller just might be your entry point.

With his crew of classically trained (but fun-loving) players, Miller has made it his personal mission to make the Congregation’s shows as entertaining and accessible as possible, alternating between his own compositions and crowd-pleasers such as “What a Wonderful World” and “Maple Leaf Rag.” —Howard Hardee

SAT, MAR 2: ARCANA: The Paco Band; 9 p.m.

Sammy Miller & the Congregation plays at UNC’s Memorial Hall on Mar. 1.

PHOTO COURTESY OF THE ARTISTS

ARTSCENTER:

Richard Shindell Fox, a duo with Stephen Gardner on drums, the record showcases McHenry’s ability to effortlessly leapfrog genres as she moves from project to project. Choppy guitar lines recall Dig Me Out–era Sleater-Kinney, while McHenry’s emotive, Geddy Lee–style vocals are a highlight. —Josephine McRobbie SLIM’S DOWNTOWN: Dan Melchior Band, Ghost of Rock; $5.

10 p.m.

FRI, MAR 1: ARCANA: Super Secret Three-Year Anniversary: Velcro; $7. 10 p.m.

THE ARTSCENTER:

Jeanne Jolly [$18/8 P.M.]

Jeanne Jolly was raised in Raleigh, but her music has taken her everywhere from the New England Conservatory of Music to

the performer, the piece calls for Ravel’s characteristic, unflappable cool nearly throughout. Even at its most unhinged, it doesn’t rage like Liszt or thunder like Rachmaninoff. Instead, it floats like an occasionally demonic watercolor.

—Dan Ruccia

cuts from her forthcoming sophomore album; the fantastic lead single “Play Nice” conceals sharp lyrical barbs beneath a soaring melody and a gentle veneer.

—Spencer Griffith

FLETCHER OPERA THEATER: Della Mae & Lindsay Lou; 7 p.m.

LINCOLN THEATRE: Up The Irons (Iron Maiden Tribute), Hard Rock Reunion, Outliar; $10. 8 p.m.

Barbara Lister-Sink: Gaspard de la Nuit

KINGS:

LOCAL 506: Teglucigalpan, Homebody, Distributed Systems, Spookstina; $8. 9 p.m.

Ravel’s Gaspard de la Nuit is not a piece for the faint of heart. Based on three poems by Aloysius Bertrand, the piano suite features titanic flurries of notes, finger-bending chords and runs, and pummeling repetitions. Ravel meant for the finale, “Scarbo,” to be the most difficult thing ever written for the piano.

Making matters worse for

As The Dead Tongues, former Triangle resident Ryan Gustafson brings a hypnotic otherworldliness to rustic tunes rooted in Appalachian folk and old-time music.

Gustafson’s subtle, stunning songwriting has a weariness that occasionally suggests Dylan, marked by meditative lyricism, fingerpicked guitar, and rambling banjo. Expect Skylar Gudasz to preview

Carnegie Hall. This week, she brings her heartfelt lyrical mix of folk, country, and soul closer to home. It’s good music for a chilly late-winter night, alternately longing, spirited, and reflective.

—Elizabeth Szypulski THE CAVE: Yea(h), DRL Band, Born Again Heathens; 9 p.m.

DUKE’S NELSON MUSIC ROOM:

[FREE/8 P.M.]

The Dead Tongues [$12-$14/9 P.M.]

THE KRAKEN: Zoltar’s Fortune; 8 p.m.

THE MAYWOOD: Soften the Glare, Bruteus, Echonest; $10. 9 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony: Brahms Symphony No. 2; 8 p.m.

MOTORCO: Bella’s Bartok, Emma’s Lounge; $10-$12. 9 p.m.

NIGHTLIGHT: Lacy Jags, Ceremony, Sprit System, Sean Thegan; $7. 9 p.m.

THE PINHOOK: Heartscape Landbreak, Loamlands, Horizontal Hold; $10. 8 p.m.

[$21/ 8 P.M.]

Singer-songwriter Richard Shindell makes his home in Buenos Aires, where he lives with his family, but his songs make a habit of sprawling across borders and decades. Shindell, who has been recording since 1992, writes reflective folk ballads that handle complex moral narratives with care.

Redemption is the reprise in these songs, which land with acoustic ease but reward with depth. —Sarah Edwards BLUE NOTE: Mel Melton & the Wicked Mojos; $12. 8 p.m.

BÖSENDORFER HALL AT RUGGERO PIANO: Raleigh Symphony Orchestra Free Spirits Ensemble; 7 p.m.

CAT’S CRADLE BACK ROOM: Future Thieves, Table Tennis Dreamer; $10-$12. 7 p.m.

THE CAVE: St. Laurence, Yung Citizen; 9 p.m.

CITY LIMITS SALOON: Jason Michael Carroll; 8 p.m.

DUKE’S BALDWIN AUDITORIUM:

Duke Wind Symphony: The Lord of the Rings [FREE/8 P.M.]

Might as well get this out of the way: If you come to this concert expecting to hear bits of Howard Shore’s soundtrack to the Lord of the Rings movies, you’re going to be disappointed.

Instead, this concert focuses on the music of Dutch composer Johan de Meij, who will be on hand conducting. The centerpiece of the concert is his first symphony from 1988, which paints sonic illustrations of five major scenes or characters from Tolkien’s trilogy. —Dan Ruccia GARNER PERFORMING ARTS CENTER: Mike Farris; 7 p.m.

KINGS: Demon Eye, Eldritch Horror, Datura, Widow, Chasomic; $10-$12.

8 p.m.

THE KRAKEN: Patrick Turner; 8 p.m.

LINCOLN THEATRE: Who’s Bad: The Ultimate Michael Jackson Experience, Africa Unplugged; $18-$30.

8 p.m.

LOCAL 506: The Moon Unit, TUB; $7. 9 p.m.

MAYWOOD: Pröwess, Babylon Shakes, Adam Hill Band; $10. 9 p.m.

MEYMANDI CONCERT HALL: N.C. Symphony: Brahms Symphony No. 2; 8 p.m.

MOTORCO: Django Haskins, In The Pocket; $8-$10. 8 p.m.

POUR HOUSE: The Mother Hips, Leon III, Raelyn Nelson Band; $15-$20.

9 p.m.

RHYTHMS LIVE: Carnival of All Rhythms; 8 p.m.

THE RITZ: Cypress Hill, Hollywood Undead, Xzibit; 7 p.m.

SLIM’S DOWNTOWN: A Fragile Tomorrow, Balderdash Ltd, Mitch Easter; $5. 9 p.m.

SUN, MAR 3: ARCANA: The Mothmen, Ophelia; 8 p.m.

THE CAVE: Fat Randy, Snake Shaming, Eyeball; 9 p.m.

DUKE’S BALDWIN AUDITORIUM: Choral Society of Durham: Itaipu and Deep Field; 3 p.m.

DUKE’S NELSON MUSIC ROOM: Eric Pritchard, Randall Love, & David Heid; Free. 5 p.m.

INDYweek.com | 2.27.19 | 27

FLETCHER OPERA THEATER: N.C. Opera: Leah Crocetto; 2 p.m.

LINCOLN THEATRE: Y & T; $25.

8 p.m.

LOCAL 506: Greet Death, Woodvamp; $8-$10. 9 p.m.

NEPTUNES PARLOUR:

Matt Douglas & Anne-Clair [$10/8 P.M.]

Anne-Clair is ostensibly a singer-songwriter, but her blend of electronics, arty pop, and soul influences ensures that she isn’t too beholden to that term. When he’s not out doing his own thing, Matt Douglas is a multi-talented musician who has been known to lend his woodwind and keyboard skills to the Mountain Goats.

Like Anne-Clair, Douglas forges a sound that hardly heeds the existence of genre boundaries.

—Jim Allen THE PINHOOK: Sneaks, Joyero, Desert Secretary; $10-$12. 8 p.m.

POUR HOUSE: Sound System Seven; $5. 2 p.m.

THE RITZ: Quinn XCII, Ashe, Christian French; 8 p.m.

SLIM’S DOWNTOWN: Pool Boys, Dares, Charlie Paso; $5. 9 p.m.

ST JOSEPH’S PERFORMANCE HALL: Jazz Vespers; Free. 4 p.m.

UNC’S HILL HALL: UNC Music Faculty Recital: Stefan Litwin and Ensemble Ascolta; 7 p.m.

MON, MAR 4: CAT’S CRADLE:

Watsky

[$20-$23/8 P.M.] You may know slam poet Watsky from his albums, his appearance on Def Poetry Jam, or his bestselling book, How to Ruin Everything. But YouTube was the true accelerant of his career, thanks to the video “Pale Kid Raps Fast.” Posted six years ago, it boasts more than a million views and earned him an appearance on The Ellen DeGeneres Show. In an open letter announcing his recent release, Complaint, Watsky wrote that it included both darkness and light because “without pain, joy has no context.” Expect even the darkness to be enjoyable at his energetic live show.

—Curt Fields 28 | 2.27.19 | INDYweek.com

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THE CAVE: Dexter Romweber; 8 p.m.

NEPTUNES PARLOUR: Autospkr, Sea Moya, Miles Francis; $8.

9 p.m.

POUR HOUSE: Birdgangs, Gardeners, Bergenline; $7-$10. 8 p.m.

TUE, MAR 5:

OPEN

Pierce Bos of a Conce Guard: Pain Reception: 1-21. Litmus litmusgaller

BLUE NOTE: Durham Mardi Gras: Lester Coalbanks & the Seven Sorrows, Ragweed Brass; Time TBA. DURHAM PERFORMING ARTS CENTER: James Bay, Noah Kahan; $30. 8 p.m.

Martha Cli Paints, fiber 3-31. Horac Chapel Hill

KINGS: Lawrence, Matt Phillips; $12-$15. 8 p.m.

LOCAL 506:

Weakened Friends

Brett Morr 1-30. Recep Artspace, R www.artsp

[$8/9 P.M.]

On its hooky debut LP, Common Blah, Weakened Friends clearly worships at the altar of nineties-alt-rock aggression and indie-rock riffage—single “Hate Mail” even features a J Mascis guest spot. But that does little to prepare you for the true shredfest that the Maine trio delivers live.

And spunky Jersey quartet Well Wisher transforms the intimate, poetic details of journal entries into triumphant catharsis via catchy, dynamic power pop. Infinity Crush also opens. —Spencer Griffith

New Horiz Landscapes Expressions Addison Pa David Griev Guavo. Fri, Centerpiec

ONGO

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MOTORCO: Durham Mardi Gras: Phil Cook, Bulltown Strutters; Free. 7 p.m.

The Beaut Drawings y Cajal: Th Art Museu ackland.or

POUR HOUSE: Mardi Gras Party: Boom Unit Brass Band, The Balkun Brothers; $10-$20. 9 p.m.

THE RITZ: Zhu; 8 p.m.

WED, MAR 6: THE ARTSCENTER: The Triangle Jazz Orchestra; $5 suggested. 7 p.m.

CAT’S CRADLE:

Cold Cave [$18-$21/8 P.M.]

This goth-pop gig feels abreast of current dark-electronic trends, despite the multi-decade pedigree of the primary acts.

Cold Cave offers emotionally brick-walled, theatrical industrial rock, like Depeche Mode filtered through campy Viper Room fashion. While less bombastic, Detroit’s Adult survived the desert of early-aughties electroclash and has kept up a steady stream of icy, low-tech minimal synth records, an admirable underdog act. With Vows. —David Ford Smith

Cold Cave performs at Cat’s Cradle on Mar. 6.

PHOTO COURTESY OF CATSCRADLE.COM

CAT’S CRADLE BACK ROOM: SRSQ; $10. 8 p.m.

THE CAVE: Exit Mice; 9 p.m.

DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra: Beethoven’s Symphony No. 5; Free. 8 p.m.

KINGS: Miya Folick, Barrie; $12-$14. 8 p.m.

NEPTUNES PARLOUR: Anemone, Super Doppler; $10. 10 p.m.

POUR HOUSE: Jontavious Willis; $15-$20. 8 p.m.

THE WICKED WITCH: Night Battles, Damn Jackals, Little Vicious, Girl Werewolf; 9 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

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art

2.27–3.6

OPENING

Pierce Boshelly: Confessions of a Concentration Camp Guard: Paintings and sculptures.

Reception: Mar 1, 6 p.m. Mar 1-21. Litmus Gallery, Raleigh. litmusgallery.com.

Martha Clippinger: Interwoven: Paints, fibers, and fabrics. Mar 3-31. Horace Williams House, Chapel Hill.

Brett Morris: Monoliths: Mar 1-30. Reception: Mar 1, 6 p.m.

Artspace, Raleigh. www.artspacenc.org.

New Horizons: Abstract Landscapes and Environmental Expressions: Natalie Georgem Addison Paige, Brad Robertson, David Grieve, and Lena Guavo. Fri, Mar 1, 6 p.m. The Centerpiece, Raleigh.

ONGOING All the Pop: Thru Jun 2. Nasher Museum of Art, Durham. nasher.duke.edu.

Marie Arondeau: HagerSmith: Photos. Thru Feb 28. VAE Raleigh, Raleigh. vaeraleigh.org.

The Beautiful Brain: The Drawings of Santiago Ramón y Cajal: Thru Apr 7. Ackland Art Museum, Chapel Hill. ackland.org.

Beyond Despair: An Environmental Call for Art: Work from 33 artists about, including, and referencing the environment. Thru Jun 22.

National Humanities Center, Durham. vaeraleigh.org.

Calvin Brett: General Labor: Trash agglomerations. Thru Mar 16. Lump, Raleigh. lumpprojects.org.

Carrboro Town Hall Group Exhibition: Paintings, mixed media, and glass mosaics from local artists Chrystal Hardt, Robert Votta, and Kim Campbell. Thru March.

Carrboro Town Hall, Carrboro. townofcarrboro.org.

Dorrie Casey: I He(art) Art: End date TBA. The Chatham Arts Council, Pittsboro. chathamartscouncil.org.

Color and Light: Susan Filley, Sasha Bakaric, Sudie Rakusin, and Peg Bachenheimer. Thru Apr 6. FRANK Gallery, Chapel Hill. frankisart.com.

Scott Eagle: Lost in the Liminal See: Thru Mar 9.

Durham Arts Council, Durham. durhamartguild.org.

Arsis Fruritch: Thru Feb 28.

United Arts Council of Raleigh & Wake County, Raleigh. vaeraleigh.org.

Ian Griffin: Sutured Compositions: Thru Mar 9.

Durham Arts Council, Durham. durhamartguild.org.

Ben Hamburger: Medicine Cabinet: Paintings and mixed media. Thru Feb 28.

The ArtsCenter, Carrboro. artscenterlive.org.

I AM A MAN: Civil Rights Photographs, 1960-1970: Thru May 31. Center for the Study of the American South, Chapel Hill. south.unc.edu.

It’s Complicated: Twenty-eight artists and storytellers with works exploring themes of love and intimacy. Thru Mar 3.

Reception and artist talks: Mar 1, 6 p.m. The Carrack Modern Art, Durham. thecarrack.org.

John James Audubon: The Birds of America: Ornithological engravings.

Thru Dec 2020. NC Museum of Art, Raleigh. ncartmuseum.org.

John Kayrouz: Devotional: Paintings. Thru Mar 11. Golden Belt, Durham. durhamartguild.org.

Left-Handed Liberty: Multiple artists. Thu Jun 23. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Eric Legge: Off the Grid: Thru Mar 15. Alexander Dickson House, Hillsborough.

Roxanne Lorch: Faces of Durham: Paintings. Thru Mar 23. Bull City Art & Frame Co., Durham. bullcityartandframecompany. com.

Marlowe: DIMENSIONALIA: Mixed media. Thru Mar 1.

Gallery C, Raleigh. galleryc.net.

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

https://indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

MEGAGRAPHIC: Drawings.

Thru Feb 28. Durham Arts Council, Durham. durhamarts.org.

National Print Invitational: Curated by Bill Fick and Judy Jones. Thru Apr 6. Reception: Mar 1, 6 p.m. Artspace, Raleigh.

No Citation Needed: Jessica Burke, Melinda Fine, Rene Galvan, Denise Holland, Bridget Leslie, and Cara Smelter. Thru Mar 23. VAE Raleigh, Raleigh. vaeraleigh.org.

Other Dimensions: Hillsborough Gallery of Arts members. Thru Mar 24. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border. Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Paintings from the Estate of Wladimir de (Wlodzimierz) Terlikowski: Thru Mar 27.

Gallery C, Raleigh. galleryc.net.

Hobson Pittman and His Contemporaries: End date TBA. Lee Hansley, Raleigh.

Pop América, 1965-1975: Latin American pop art. Thru Jul 21. Nasher Museum of Art, Durham. nasher.duke.edu.

Portraying Power and Identity: A Global Perspective: Thru Mar 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com. reNautilus: Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Barbara Rohde: French Connections: Paintings. Thru Feb 28. Durham Arts Council, Durham.

Susannah Sayler and Edward Morris: Their World Is Not Our World: Video installation.

Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org.

The Secret Ingredient: Thru Mar 31. Pleiades Gallery, Durham.

THURSDAY, FEBRUARY 28

CHRISTINA LORENA WEISNER: EXPLORATIONS Christina Lorena Weisner makes found objects her muse. An assistant professor of fine arts at The College of the Albemarle in Elizabeth City, Weisner is interested in the processes that humans use to answer scientific inquiries and capture Earth’s most intimate reverberations.

Her large-scale installations include a functional sculpture made out of nine ocean-bottom seismometers. Every time seismic activity is detected through a live data feed, a rigged mallet strikes glass. This marriage of sound and sight “alters the space physically and psychologically,” according to Weisner, allowing viewers a real-time experience of the earth’s movements. “The objects I choose,” Weisner says, “simultaneously reflect the nature of matter itself and humanity’s determination to make use of and understand it.” After this February 28 artist talk, in which Weisner will discuss the process behind her work, Explorations runs at the Gregg Museum through the end of July. —Sarah Edwards

GREGG MUSEUM OF ART & DESIGN, RALEIGH | 6 p.m., free, www.news.ncsu.edu

Sculpture by Christina Lorena Weisner SENTINELS [l]: INFILTRATE: Amy Sacksteder, Christopher Martin, Eli Gfell, Emily Swanberg, Everything Is Collective, Marc Mitchell, Prerna, and Rebecca Steele.

Thru Mar 16. Lump, Raleigh. lumpprojects.org.

Signals: Photos. Thru Feb 28.

Atomic Fern, Durham. japenet.net.

Susie Silver: Paintings. Thru Apr 15. Aloft Hotel, Chapel Hill. vaeraleigh.org.

Some Twilight Land: Laura Charlton, Harrison Haynes, and Louis Watts Various media.

Thru Apr 6. Oneoneone, Chapel Hill. oneoneone.gallery.

Mariam Stephan: In the Arches, We Cave: Paintings.

PHOTO COURTESY OF THE GREGG

Thru Apr 6. Reception: Mar 1, 6 p.m. Artspace, Raleigh.

Thru Mar 24. Cary Arts Center, Cary. janruwan.com.

SuperGraphic Print Lab: Thru Apr 6. Artspace, Raleigh. artspacenc.org.

Jan-Ru Wan: Observing the Inner Voice: Thru Mar 5.

Meredith College: Weems Gallery, Raleigh. meredith.edu.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s: Photos. End date TBA. UNC Campus: Wilson Special Collections Library, Chapel Hill.

Douglas Vuncannon: Ladyboys: Photos. Thru Mar 12. Through This Lens, Durham. throughthislens.com.

Telvin Wallace: Portraits.

Thru Feb 28. The ArtsCenter, Carrboro. artscenterlive.org.

Jan-Ru Wan: The Noise We Make and the Shadow We Create: Mixed media.

Where We Find Ourselves: The Photographs of Hugh Mangum, 1897-1922: Thru May 19. Nasher Museum of Art, Durham. nasher.duke.edu.

Tom Willis: Journey: Paintings.

Thru Apr 12. Durham Convention Center, Durham. durhamarts.org.

Within the Frame: Photos. Thru Jul 21. NC Museum of Art, Raleigh. ncartmuseum.org.

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READINGS & SIGNINGS Barbara Bennett & Belle Boggs: Smoke Signals from Samarcand and the Terrible History of Eugenics in N.C. Tue, Mar 5, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

THURSDAY, FEBRUARY 28

NEW AFRICAN POETRY: A READING BY ROMEO ORIOGUN “We do not want pity, no eyes boring holes in our bodies, no eyes raising us into museum pieces, no boy mocking our bodies, no officers arresting boys for love, no one asking how a kiss feels like, no one hitting batons on soft joints, no one giving us freedom because of bribes,” writes the defiant poet Romeo Oriogun, who identifies as queer. Homosexuality is criminalized in Nigeria, where Oriogun is from, but that fact alone doesn’t capture the real stakes of queerness in Nigeria, where religiosity is Romeo Oriogun as much of a threat as is the law. The act of PHOTO COURTESY OF THE RUBENSTEIN ARTS CENTER writing is the act of outing himself, not just to the law, but also to his community. His poetry vibrates with that inherent risk, talking about the colonial legacy of violence in “When My Master Rapes Me” and a tender nighttime encounter in “Because Love Is What We Knew Through Darkness.” Indeed, Oriogun’s poetry is also a testament to joy, community, and escape. It speaks to possibility amid the promise of violence. Oriogun has been awarded the Brunel International African Poetry Prize and the W.E.B. Du Bois Research Institute fellowship at Harvard University. —Katie Fernelius

RUBENSTEIN ARTS CENTER, DURHAM | 8 p.m., free, www.artscenter.duke.edu

3.1 3.3 3.5

3.6

Nina LaCour, “We Are Okay” 7pm Sundry Poets w/ Pam Baggett, June Barasovska, and Valerie Nieman 2pm Etaf Rum ”A Woman is No Man” 7pm Scott Huler “A Delicious Country: Rediscovering the Carolinas Along the Route of John Lawson’s 1700 Epedition” 7pm

www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR NEW PODCAST: BOOKIN’ w/Jason Jefferies

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Adam Federman: Feasting and Fasting. Thu, Feb 28, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Etaf Rum: A Woman is No Man. Tue, Mar 5, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks. com. — Wed, Mar 6, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Frank Hyman: Hentopia book signing and demonstration. Sat, Mar 2, 10 a.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

LECTURES ETC.

Seth Kotch: Lethal State: A History of the Death Penalty in North Carolina. Mon, Mar 4, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Nina LaCour: We Are Okay. Fri, Mar 1, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Bill Ferris: The Voices of Mississippi. Sun, Mar 3, 3 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

Dorianne Laux Poetry Reading: Free. Wed, Feb 27, 7 p.m.

NCSU’s Talley Student Center, Raleigh. english.chass.ncsu.edu.

Annelies Gentile: From Chaos to Calm: Leading Change From the Inside Out. Sat, Mar 2, 10 a.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Ruth Moose: Going to Graceland. Sat, Mar 2, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com

NC Poet Laureate Jaki Shelton Green: Workshop and reading.

Thu, Feb 28, noon. Durham Technical Community College, Durham. durhamtech.edu.

Romeo Oriogun: New African poetry. Reception with Duke’s Tsitsi Jaji to follow. Thu, Feb 28, 3 p.m. Ruby Lounge at Rubenstein Arts Center, Durham. fhi.duke.edu.

Astronomy on Tap: Science presentations. Tue, Mar 5, 7 p.m. Fullsteam, Durham. astronomyontap.org.

Brother Ali: Muslim-American hip-hop artist Brother Ali in conversation with Duke Divinity School’s Jospeh Winters. Free. Wed, Mar 6, noon. The Pinhook, Durham. thepinhook.com.

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Carnival Of music by C Batuque, da and more. S p.m. Rhythm rhythmslive

The Koch Network and Academic Integrity: Is there Comedy Ni a conflict?: Panel discussion Thu, Feb 28 featuring Duke faculty and Chapel Hill community leaders. Wed, Feb 27, 7 p.m. Duke’s Sanford Cole Escola School of Public Policy, Durham. $20. Sat, M Cradle, Car humanrights.fhi.duke.edu. catscradle.c Orange Literacy: Writers for Fabulous Fa Readers: John Grisham in conversation with Gene Nichol Review: Trib about poverty in N.C. Wed, Feb $25. Sat, M 27, 6 p.m. UNC’s Carolina Club, Raleigh. leg Chapel Hill. orangeliteracy.org. Chris Geth $18-$20. W p.m. Motor motorcomu

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Hal Crowther: Freedom Fighters and Hell Raisers: A Gallery of Memorable Southerners. Thu, Feb 28, 7 p.m. Regulator Bookshop, Durham. regulatorbookshop.com.

Scott Huler: A Delicious Country: Rediscovering the Carolinas Along the Route of John Lawson’s 1700 Expedition. Wed, Mar 6, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

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Nikki Glase Feb 28-Ma Comedy Cl goodnights

The Good H Mazany, Ju Brandy Bro 8 p.m. The themaywoo

David Rous Halfway to Mar 2, 8 p.

Theatre, Ra live.arts.ncs

Houn’ Daw Big Mama T comedy. Fr p.m. UNC’s Stone Cent sonjahayne

ICHSA and Quarterfin college a ca $25-$35. M Carolina Th carolinathe

Life of Galil 17. UNC’s P Chapel Hill

Shane Mau comedy sh Mar 3, 8 p. kingsraleigh

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stage OPENING Carnival Of All Rhythms: Live music by Caique Vidal and Batuque, dance performances, and more. Sat, Mar 2, 8 p.m. Rhythms Live, Durham. rhythmslivenc.com.

Comedy Night and Drag Show: Thu, Feb 28. 7 p.m. The Cave, Chapel Hill. caverntavern.com.

Cole Escola: Help! I’m Stuck!: $20. Sat, Mar 2, 8 p.m. Cat’s Cradle, Carrboro. catscradle.com.

Fabulous Fakes Las Vegas Review: Tribute performers. $15$25. Sat, Mar 2, 7 p.m. Legends, Raleigh. legends-club.com.

Chris Gethard: Comedy. $18-$20. Wed, Mar 6, 8 p.m. Motorco, Durham. motorcomusic.com.

Nikki Glaser: Comedy.

Feb 28-Mar 2. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Good Hour: Comedy. Sam Mazany, Justin Scranton, and Brandy Brown. $10. Thu, Feb 28, 8 p.m. The Maywood, Raleigh. themaywoodraleigh.com.

David Roussève/REALITY: Halfway to Dawn: $8-$33. Sat, Mar 2, 8 p.m. NCSU’s Stewart Theatre, Raleigh. live.arts.ncsu.edu.

Houn’ Dawg: Life and Times of Big Mama Thornton: Musical comedy. Free. Fri, Mar 1, 7 p.m. UNC’s Sonja Haynes Stone Center, Chapel Hill. sonjahaynesstonectr.unc.edu.

ICHSA and ICCA A Cappella Quarterfinals: High school and college a cappella competitions. $25-$35. Mar 1-2, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Life of Galileo: Play. Feb 27-Mar 17. UNC’s Paul Green Theatre, Chapel Hill. playmakersrep.org.

Shane Mauss: Science and comedy show. $15-$18. Sun, Mar 3, 8 p.m. Kings, Raleigh. kingsraleigh.com.

The Racket: Improv comedy.

Fri, Mar 1, 9 p.m. Monkey Bottom Collaborative, Durham. thisismettlesome.com.

Story Street: Eight comics telling true stories on a monthly theme. $5. Sun, Mar 3, 7 p.m.

The Peoples Improv Theater, Chapel Hill. thepit-chapelhill.com.

The Sunday Show: Comedy.

With Alex Garretson, JD Etheridge, Dusty Cagle, Brandy Brown, and host Jeremy Alder.

Free. Sun, Mar 3, 7 p.m. King Street Bar, Hillsborough.

This Show Will Self Destruct: Variety show. $5. Thu, Feb 28, 9 p.m. Ruby Deluxe, Raleigh. rubydeluxeraleigh.com.

Timon of Athens: Venues and showtimes online. Feb 28-Mar 15. baretheatre.org.

ONGOING Documentary: Improvised documentary. $10. Thu, Feb 28, 8 p.m. The Peoples Improv Theater, Chapel Hill. thepitchapelhill.com.

Eyes Up Here Comedy Showcase: Female comics. With host Erin Terry. $7. Fri, Mar 1, 8 p.m. Neptunes Parlour, Raleigh. neptunesparlour.com.

Junie B. Jones: Thru Mar 3.

Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

SATURDAY, MARCH 2

COLE ESCOLA: HELP! I’M STUCK! The characters comedian Cole Escola plays are at once wildly inventive and instantly familiar: Some are women; many are demented variations on a person who corners you at an office party to talk about the South Beach Diet. Take, for instance, Ellen, the suburban mom he plays in a fake commercial that begins with him proselytizing about the nutritional value of orange juice and ends with him sinking deeper and deeper into the world of dog-fighting. There’s also the “goblin commuter from Hoboken” and a character he has described as “an author who had one book in the eighties that was really big, about eating right for your star sign.” Escola, who grew up in a trailer park in Oregon, moved to New York after high school, where he paid rent by performing at children’s birthday parties. With recurring spots on Difficult People and At Home with Amy Sedaris, he no longer needs to perform at children’s parties, but his unhinged gender-bending performances very much display the spirit of someone who once played Clifford the Big Red Dog at a party for Mary-Louise Parker’s son. His sketch comedy show, Help! I’m Stuck!, is currently on a five-city tour. —Sarah Edwards

CAT’S CRADLE, CARRBORO | 8 p.m., $20, www.catscradle.com

A Need Fulfilled: $15 suggested.

Thru Mar 3. NC Central University, Durham. nccu.edu.

Third Date: Improv comedy.

Sat, Mar 2, 8 p.m. Walltown Children’s Theatre, Durham. walltownchildrenstheatre.org.

The Wolves: $14-$20. Thru Mar 3. Sonorous Road Theatre, Raleigh.

Cole Escola PHOTO COURTESY OF CATSCRADLE.COM

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 2.27.19 | 31

screen SPECIAL SHOWINGS

Audition: Wed, Mar 6, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh.

Blue Valentine: Wed, Feb 27, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Crazy Heart: Mon, Mar 4, 7 p.m. Schoolkids Records, Raleigh. schoolkidsrecords.com.

Jackie Brown: Mon, Mar 4, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh.

Kill Bill Double Feature: Sun, Mar 3, 4 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Lifeforce and Xtro: Fri, Mar 1, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

The Matrix: Wed, Mar 6, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Perfect Blue: Sun, Mar 3, 1 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Remember to Remember: Sylvain Chaussée & Niagara Custom Lab: Free.

Q&A to follow. Sun, Mar 3, 7 p.m. Rubenstein Arts Center, Durham. ami.duke.edu.

Robocop: Tue, Mar 5, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

VIDEO NASTY BLASTY!: Fri, Mar 1, 10 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Wandering Soap Opera: Mon, Mar 4, 7 p.m.

Rubenstein Arts Center, Durham. ami.duke.edu.

OPENING Everybody Knows—Javier Bardem and Penélope Cruz costar in Asghar Farhadi’s psychological thriller set at a wedding in Spain gone wrong. Rated R. 32 | 2.27.19 | INDYweek.com

Greta—Chloë Grace Moretz and Isabelle Huppert square off in Neil Jordan’s suspenseful tale of a maternal connection turning darker. Rated R. A Madea Family Funeral— The eleventh installment in Tyler Perry’s popular franchise finds Madea’s clan traveling to the Georgia backwoods. Rated PG-13.

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 Aquaman—This ludicrous DC Comics film runs on seawater and flop sweat. Rated PG-13.  Arctic—This slowbuilding story of Arctic survival provokes tension and thought without words.

Rated PG-13. ½ Capernaum—This Cannes Jury Pize winner tells the story of a young Lebanese boy who runs away from home. Rated R.  The Favourite— Yorgos Lanthimos (The Lobster) infuses this lurid period melodrama with his unmistakable sensibility of cruelty and absurdity.

Rated R. ½ Glass—In the conclusion of Shyamalan’s sort-of superhero trilogy, the big reveal is that there was never much to reveal at all.

Rated PG-13. ½ The Lego Movie 2: The Second Part—Though there’s a live-action subplot, the little plastic people and their incessant pop-culture references remain the heart and soul of the franchise.

Rated PG.

THURSDAY, FEBRUAY 28–FRIDAY, MARCH 1

COSMIC RAYS FILM FESTIVAL This Thursday and Friday, the Cosmic Rays Film Festival graces Chapel Hill with its interdimensional presence for the second year in a row. Spread across three venues, the festival showcases avant-garde shorts which “eschew convention.”

Of particular interest is Thursday’s program, “The Optics of Space,” at Morehead Planetarium. Curated and commissioned

by Aily Nash, the two short films by James N. Kienitz and Lucy Raven are billed, repectively, as a “speculative essay film” and an exploration of an “adaptive optics system.” Both are specially produced for the dome. Eleven short films will follow, in the second program of the evening, at a screening at The Varsity. Opening night will close out with a party at Nightlight featuring an “immersive audiovisual performance project” from Canadian artists Sylvain Chaussée and Adrian Gordon Cook. The festival picks up the momentum on Friday with three packed programs at The Varsity at 5:00 p.m., 7:00 p.m., and 9:00 p.m.; local filmmakers on the bill include Jim Haverkamp, Ellen Hemphill, and Anna Kipervaser. —Sarah Edwards

VARSITY THEATRE, CHAPEL HILL | Various times, free, www.cosmicraysfilmfest.com

Cut Copy Sphinx by Virginia Lee Montgomery PHOTO COURTESY OF COSMIC RAYS

 Mary Poppins Returns— While charming, the new version of the beloved Disney film apes the original so much that it’s hard to see the point.

Rated PG. ½ Never Look Away—Loosely based on the biography of German painter Gerhard Richter,

who condemned it, Florian Henckel von Donnersmarck’s film discards truth for sensationalism. Rated R ½ Spider-Man: Into the Spider-Verse—Not only is it a good Spider-Man story, this animated film introduces welcome diversity to the tale of Peter Parker. Rated PG.

food & drink Beer, Beads, & Beignets: Mardi Gras celebration with live music, food, and drinks.

Sun, Mar 3, 3 p.m. Durty Bull Brewing Company, Durham. durtybull.com.

Pinhook Presents: Weekly Pop-Up Series: Jeddah’s Tea and The Purple Fence, guest vendors. 8 a.m.-4 p.m. Thu-Sat. The Pinhook, Durham. thepinhook.com.

Farmhouse Cider & Wine Tasting: Saturdays and Sundays, 2-6 p.m. Botanist & Barrel, Cedar Grove. botanistandbarrel.com.

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

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FTCC NOW ACCEPTING APPLICATIONS Fayetteville Technical Community College is now accepting applications for the following positions: Barber Instructor - Engineering Instructor (10-month contract) Industry Training Instructor (CATV) Industry Training Instructor (Electrical Systems) Network Management: Microsoft & Cisco Instructor For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/ Human Resources Office Phone: (910) 678-7342 Internet: http://www.faytechcc.edu An Equal Opportunity Employer

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INDYweek.com | 2.27.19 | 33

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

5 4 9

7 32

5

3 4 62

6 8 58

7

1 6 2 7 6 4 38 3 9 3 2 9 1 8 7 2 6 4 5 7 1 649 3

6

9 4 5 8 6 2

6 8 63 2 7 7 8 2 9 3 8 9 su |MEDIUM do | ku this week’s puzzle level: # 54 MEDIUM

3 2 6 7 8 4

# 25

3

8 4 1 7 5

8 4 7 5 9 2

1

1

7

MEDIUM

# 26

© Puzzles by Pappocom

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

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

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

4

9 3 6

8

1 8

2 1 8 7 79 9 9 81 7 5 26 8 2 9 6 2 5 3 7 8 9 3 8 2 5 2 4 6 9 7

9

3

MEDIUM

3

6 9 # 25

MEDIUM

5 1 6 4 9 3 2 8 7

4 9 3 2 8 7 5 6 1

2 7 8 1 6 5 9 3 4

9 6 4 8 5 2 1 7 3

8 2 1 3 7 4 6 9 5

7 3 5 6 1 9 8 4 2

1 4 9 5 3 6 7 2 8

3 8 7 9 2 1 4 5 6

9

9 7

2

3 2

1

5 2 # 27

4 6 9

7

6

8 7 6

3

1 8

3

9 4

8

2 7 5

MEDIUM

# 28

7 3 5 1 9

6 5 2 7 4 8 3 1 9

# 26

# 56

5 7 4 1 3 2 6 8 9

If you just2 can’t 3 6 7 wait, 9 8 5check 4 1 out the current 9 8 1week’s 5 6 4 answer 7 2 3 4 5 8 2 7 1 9 3 6 key at www.indyweek.com, 6 1 7 3 pages.”

4 9 2 5 8 and click “puzzle “Puzzle Pages.”

www.sudoku.com 6 9 7 8 2 4 3 1 5 | 34 | 2.27.19 3 5 1 7INDYweek.com 6 9 8 4 2 2 8 4 5 3 1 7 9 6 5 7 2 9 4 6 1 3 8 9 1 3 2 7 8 6 5 4

# 27

3 2 9 6 8 5 4 1 7

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

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

8 6 2 1 7 4

2.27.19

solution to last week’s puzzle

# 55

5 3 2

# 56

6 3 4 7 5

5 9 1 8 2

8 2 7 6 3

1 8 6 9 4

7 5 3 2 8

9 4 2 5 1

2 1 5 4 7

Page 7 of 25 3 4 7 6 9 8 1 3 6 9

7 2 6 4 9 1 5 8 3

4 3 1 5 7 8 9 6 2

5 8 9 3 6 2 7 1 4

1 4 5 8 2 9 3 7 6

8 7 3 1 4 6 2 9 5

9 6 2 7 3 5 1 4 8

3 5 7 9 8 4 6 2 1

6 9 4 2 1 3 8 5 7

2 1 8 6 5 7 4 3 9

# 28

1 7 4 6 2 8 5 9 3

6 3 9 4 5 7 1 8 2

5 2 8 9 1 3 7 4 6

3 1 6 7 8 2 4 5 9

2 9 7 3 4 5 6 1 8

8 4 5 1 6 9 2 3 7

7 6 1 8 9 4 3 2 5

9 5 3 2 7 1 8 6 4

4 8 2 5 3 6 9 7 1

CLASSY AT INDYWEEK DOT COM 30/10/2005

Book your ad • Email amanda: classy@indywEEk.com

PLACE YOUR AD ON THE

advertise on this page!

back page

reserve this space for $100! classy@indyweek.com

CONTACT AMANDA: CLASSY@INDYWEEK.COM last week’s puzzle

Book your ad • Email amanda: classy@indywEEk.com

INDYweek.com | 2.27.19 | 35

SUPPER IN THE BUFF

Men’s naked supper club, Triangle, NC http://www.meetup.com/Triangle-Men-s-Naked-Supperclub

DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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SMOKY MOUNTAIN WHISKEY CRACKERS ® available at: Saxapahaw General Store Southern Season Special Treatsl

INDEPENDENT JEWELRY APPRAISER Graduate Gemologist 919-260-3686 www.ncjewelryappraiser.com

LEARN COMEDY WITH METTLESOME!

Improv 101 starts March 20. thisismettlesome.com/lab

TRANSGENDER TRANSITION COACH Voice, nonverbal, 18 years’ experience New Podcast! https://transgendertransitioncoach.com/

HISTORY TRIVIA: * On March 3, 1915, the General Assembly appropriated $20,000 to purchase Mount Mitchell, the highest peak east of the Mississippi River, and to create the first state park in NC. * On March 3, 1988, Vera Carr Twaddell, who had run a well-known music school on South Duke Street, died in Durham. The Duke Street building was demolished in the 1960s to make way for the Durham Freeway.

Courtesy of the Museum of Durham History

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Now pouring ten taps of dankness.

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CECI N’EST PAS UNE PUBLICITÉ!

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SHOUTOUT TO GO DURHAM

RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE

THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS

PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER

Thank you to the GO Durham 6B driver for sending a shuttle to pick me up at my stop during the train incident on 2/21!

Cheers, Amanda Blanchard

back page Weekly deadline 4pm Monday classy@indyweek.com

contact amanda for ads!

classy at indyweek dot com

W

WEDDING GUIDE

The INDY’s guide for whomever, wherever, however saying “I Do” means to you.

Highlighting wedding possibilities around the Triangle

ISSUE: 3/13 • RESERVATIONS: 3/8

CONTACT YOUR AD REP OR ADVERTISING@INDYWEEK.COM

Hi pos

CO ADVE