INDY Week 3.14.18

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TURTLE POWER

NC Comicon guest Kevin Eastman went for a modest career in underground comics but wound up creating a pop-culture dynasty BY BRIAN HOWE, P. 10 GET READY FOR THE TRADE WAR, P. 8

AFRICAN-AMERICAN THEATER ARTISTS UNITE, P. 18

STEAL MONEY, BUY HORSES, P. 21

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 11

6 The book Durham County: A History of Durham County, North Carolina chronicles the history of, well, Durham County. 8 The Triangle generated $5.4 billion in exports in 2015. 10 Kevin Eastman, cocreator of the Teenage Mutant Ninja Turtles, got sued by Buffalo Bob from Howdy Doody over the word “cowabunga.” 14 Some school districts are sticking to Obama-era dietary guidelines for school lunches in order to keep their kids healthier. 16 Despite her English pop and punk pedigrees, Hollie Cook forges her own path in easygoing reggae. 18 The inaugural Bull City Black Theatre Festival is a test run for a more permanent entity devoted to African-American theater artists.

DEPARTMENTS 6 News 12 Food 16 Music 18 Arts & Culture 22 What to Do This Week 25 Music Calendar 28 Arts & Culture Calendar

Douglas Daye prepares to feed his cattle at LM&D Farm (see page 12). PHOTO BY CAITLIN PENNA

On the cover ILLUSTRATION BY CHRISTOPHER WILLIAMS

INDYweek.com | 3.14.18 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED IMPROVEMENTS TO THE U.S. 70 / N.C. 50 AND HAMMOND ROAD (S.R. 2026)/TIMBER DRIVE (S.R. 2812) INTERSECTION IN WAKE COUNTY TIP PROJECT NO. U-5744 The N.C. Department of Transportation will hold a public meeting regarding proposed intersection improvements to U.S.70 / N.C. 50 and Hammond Road (S.R. 2026) / Timber Drive(S.R. 2812) in Wake County. The meeting will be held on Tuesday, March 27, at The Capital Church, 1308 U.S.-Hwy 70 in Garner from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project. Please note that no formal presentation will be made. All comments received will be taken into consideration as the project progresses. As information becomes available, it may be viewed online at the NCDOT Public Meeting Website: http://www.ncdot.gov/projects/publicmeetings Anyone desiring additional information may contact Zahid Baloch, P.E., NCDOT, Senior Project Engineer, at 1548 Mail Service Center, Raleigh, NC 27699, (919) 707-6012 or zbaloch@ncdot.gov. Comments should be submitted by April 27, 2018. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Tamara Makhlouf via email at tmakhlouf@ncdot.gov or by phone at (919) 707-6072 as early as possible, so that these arrangements can be made. Persons who speak Spanish who have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 481-6494. Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

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backtalk

America’s Version of ISIS

Gordon1 makes a similar point: “Union Last week, Sarah Willets wrote about a monuments were also put up at the same Durham judge explaining to local Repubtime, so let’s cut through the opinions and licans why he didn’t convict three of the puffery of the NAACP and every other orgapeople accused of tearing down a Confedernization that wants your grandmother’s ate monument. Some apparent Confederate Social Security check. Elected people today sympathizers were on it in the comments. are not leaders. They are cowards who failed Writes Timothy Simpson, who sounds to enforce the laws of North Carolina for nice: “This ignorant judge and district attorpolitical expediency. The rot in this counney need to be removed. These memoritry started with Obama and worked its way als are dedicated to the brave soldiers who down to local levels. The monument was the sacrificed their lives. Many never returned result of veterans and war widows giving home, having been killed in battle and buried countless bake sales and dimes from their in a shallow mass grave. Whole communipensions. The ignorant who wrecked that ties served together. Some towns lost almost monument showed no respect to the people the entire male population in battle because of all colors who attended the dedication. of this. So these memorials were erected in These convictions would have been a slam honor of the fathers, husbands, brothers, dunk in a court of competent jurisdiction, sons who made the ultimate sacrifice. The but thugs are able to get away with anything trash tearing them down are grave-robbers lest they burn the town to the ground.” at best. America’s version of ISIS, destroyOn to another subject that arouses local ing everything that doesn’t fit their ignorant passions: Grayson Allen. Following the narrative. These acts will not keep being tolUNC-Duke game, Michael erated. God bless the boys Venutolo-Mantovani wrote in gray and God bless Dixie! Deo vindice!” “God bless the boys a wrap-up that called the Duke senior a “dirtbag.” (Deo vindice, or “With in gray and Commenter D1 doesn’t take God as Our Defender,” was God bless Dixie!” kindly to that description: the national motto of the “Nice slander piece, bum. Confederacy.) No one is forcing you or Next up, Greg Pearson: anyone else to watch him play. Grow up. “Why does the writer of the article try to You and others like you are what’s wrong imply some nefarious intent to placing the with the media. Cowards. Ironically, if you veterans’ monuments? Of courses it was or anyone like you actually met Grayson about fifty to sixty years after the war. That’s Allen, you all would be trying to get photo pretty normal. Veterans’ memorials are ops with the kid. Then, of course, posting on commonly placed fifty years after a conflict. social media and taking jabs after the fact. Also it was illegal until about 1870 to display None of you cowards would say anything any Confederate items due to military occunegative to his face.” pation. Any educated individual knows that Finally, Robert Hawkins sees a racial after the war the South was economically angle: “The article is laughable. It was writdevastated, so even after it was no longer ten by a very obvious UNC fan. Grayson illegal to erect such memorials, it often took Allen is a competitive college athlete who, years to raise the funds for them. no matter his behavior, can’t escape the “The Klan of that time period was not scrutiny of the media and opposing fans. He relevant. If one actually studies history, one is singled out because he is a white athlete at will find that the Klan of that era did not use Duke! If he were black, the media would shy Confederate symbolism. It was a ‘national’ away from criticizing him in fear of being organization with huge numbers of memlabeled racists!” bers up north. It had no bearing at all on the erection of veterans’ memorials. The fact that Jim Crow laws were in existence is Want to see your name in bold? Email us at not relevant to the creation of memorials to backtalk@indyweek.com, comment on our men (black and white) who defended their Facebook page or indyweek.com, or hit us up homes and families.” on Twitter: @indyweek.

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indynews

Who Runs the World?

DURHAM SET UP A MAYOR’S COUNCIL FOR WOMEN. WHAT EXACTLY WILL IT DO? BY SARAH WILLETS

L

ast Monday’s meeting of the Durham City Council was—as far as localgovernment meetings go—pretty empowering for the women in the room. It started with the Pledge of Allegiance, led by both Boy Scouts and Girl Scouts. The Girl Scouts then stood at the front of the council chambers, wearing their patchcovered vests, while council member DeDreana Freeman (herself a former scout) proclaimed it Girl Scout Week in Durham. Mayor Steve Schewel then read another proclamation recognizing March as Women’s History Month. In keeping with the theme, former council member Eddie Davis, who now serves as the city’s public

statement—to improve the lives of Durham women—but how it accomplishes that goal is up to the members, explains Johnson, who will serve as the liaison between the women’s council and the city council. “All of the women who were appointed have particular skills and specialties that they’ll bring,” Johnson says. “That was something I was definitely looking for were folks who were already committed to Durham in a variety of ways.” The women’s council consists of seven women covering different geographic and subject areas, as well as two at-large members (see sidebar). It came together at the urging of longtime city council member

make up a majority of the city council. Having a strong female presence on all of these bodies offers an opportunity for a robust discussion about the issues facing women in Durham and to advance solutions brought forward by women themselves. “Having a majority of women on the council also feels really significant to me in terms of moving toward more gender parity,” Johnson says. “[Council members] can’t be everywhere, so having community voices at the table—where people are close to the problems of the community and therefore close to the solutions to those problems—I think is really critical for having a functioning and representative democracy.”

in civic engagement, particularly among women, taking place across the country in response to the Trump presidency and gerrymandering at the state level. “More women are stepping up to run because we have an open misogynist for president,” says Johnson. In last year’s municipal primary, fourteen people, including six women, ran for three Durham City Council seats (two women prevailed). Twenty-three people, including ten women, applied to fill Schewel’s council seat after he was elected mayor (a woman was appointed). And, according to The News & Observer, there are 116 women running for state legislature seats this year.

“Having a majority of women on the city council also feels really significant to me in terms of moving toward more gender parity.” historian, recognized local historian Jean Bradley Anderson, whose book Durham County: The History of Durham County, North Carolina chronicles the history of the Bull City, including the working, religious, and activist lives of Durham women. Then, members of a newly formed Mayor’s Council for Women were sworn in. “It feels significant that we’re here with a proclamation for the Girl Scouts and a proclamation for women’s history and starting our women’s council,” said council member Jillian Johnson. “We’re really excited. It’s a great night.” There’s a palpable sense of excitement around the new women’s council and among its members. But what will they put all that energy toward? The council has a broad mission 6 | 3.14.18 | INDYweek.com

Cora Cole-McFadden after representatives from several women’s organizations came to the city council as part of Cities for CEDAW, which refers to the UN Convention on the Elimination of All Forms of Discrimination Against Women. The formation of a women’s council was among their recommendations for how Durham could improve the status of women. Gloria De Los Santos was part of that group. The Durham director of Action NC and a women’s council appointee, De Los Santos says Durham will be one of just a few cities in North Carolina with such a body. “My whole idea was to give women that live across the city a place to voice their concerns,” she says. Durham County already has a Women’s Commission, and for the first time women

The Council for Women’s first meeting is scheduled for March 26. Johnson anticipates one of the group’s first initiatives will be to examine the status of women in Durham across metrics, like pay, that are known to have disparities. While the appointees were already active in their communities, for some the women’s council will be their first political endeavor. Initially, only six women applied for the volunteer gig, and the city had to readvertise the positions. Johnson and others began spreading the word and sharing the application on social media. The response to the second call for applications was better than she expected; ultimately, thirtyeight women applied. The enthusiasm is indicative of a surge

“Local government seems to me like one of the few places left where people feel like they have any power,” Johnson says. This same phenomenon is happening nationwide. According to the Center for American Women and Politics at Rutgers University, as of late January, there were 446 women, mostly Democrats, seeking congressional seats. About 25 percent of elected officials at the state level and 20 percent of officials at the federal level are women, according to the CAWP. “I commend women for getting out there to do it,” De Los Santos says. “It’s a large commitment, but I think if we had more women running and winning, we’d have a different political landscape, and it would change the narrative of a lot of issues.” swillets@indyweek.com

WHO’S WHO ON THE MAYOR’S COUNCIL FOR WOMEN NANA ASANTE-SMITH will represent the public safety sector. Asante-Smith is a Wake County assistant district attorney and a political action committee coordinator for the People’s Alliance. She has also served as president of the Durham Crisis Response Center board of directors. NIDA ALLAM, a MetLife project analyst, will represent the category of civil rights and justice. She is third vice chairwoman for the North Carolina Democratic Party and previously worked on Bernie Sanders’s presidential campaign. Allam, an immigrant and a Muslim, was one of twenty-three people (including ten women) who applied for the city council seat that opened up when Steve Schewel was elected mayor. ASHLEY CANADY will represent Ward 2. Canady is a mother, community organizer, and president of the McDougald Terrace resident council. In that role and as an active member of the neighborhood group Moms on a Mission, she has advocated against gun violence, helped operate a food bank, and organized programs in the city’s largest public-housing neighborhood. GLORIA DE LOS SANTOS will hold an at-large seat. De Los Santos is the Durham director of Action NC, a grassroots group that works toward social and economic equality. She’s been a community organizer for ten years. “I do hope the women who are on this board have political aspirations to want to run for city, county or state offices,” she says. “We may have a president here one day.” MINA EZIKPE, the Ward 3 representative, is an activist, recent Duke grad, and organizer with You Can Vote, a voting-rights project of the People’s Alliance Fund. As a fellow with WomenNC, Ezikpe conducted a research project on formerly incarcerated women of color in Durham. AMIE KOCH, a family nurse practitioner, will represent the housing and economic-development sectors. Koch conducted her doctorate work on the health of single mothers living in poverty, particularly those facing homelessness. “Health is a component of our economic success, and health is a component of our housing success as well,” she says. “And our housing success and our economic success are directly impacting our health.” MEGAN MCCURLEY, the only applicant for the women’s council who identified as Hispanic on her application, will represent Ward 1. McCurley is the program coordinator for America Reads/America Counts at Duke University, which places tutors in Durham schools. She has a background in anthropology and has researched how Latina mothers in Durham engage with the education system. “All aspects of life for women connect to education in some way or another,” she says. REBEKAH MIEL, an exhibit and print designer who specializes in social justice issues, will represent the arts-and-culture sector. She recently raised more than $60,000 to pay off the debt of Durham Public Schools students who couldn’t afford school lunches. DOLLY REAVES, a formerly homeless single mother and graduate student, will hold the second at-large seat. Last year, she ran in a crowded field for the city council’s Ward 2 office. INDYweek.com | 3.14.18 | 7

news

Steel Trap

PRESIDENT TRUMP ANNOUNCED TARIFFS ON STEEL AND ALUMINUM IMPORTS. HERE’S WHAT THAT COULD MEAN FOR N.C. BUSINESSES. BY NICK GALLAGHER

K

laus Becker, the president of Nirosteel LLC, a steel-distribution company based in Charlotte, doesn’t know how he’s going to handle the Trump administration’s new tariffs, which go into effect in two weeks. “Some of our material is on the water right now. What do we do with it?” Becker wonders. “Twenty-five percent is a lot for me. I cannot eat it. In the middle of production, it’s a very hard thing to do.” Becker isn’t alone. Businesses all over North Carolina are bracing for potential losses after President Trump announced that his administration would apply a blanket tax to all steel and aluminum imports of 25 percent and 10 percent, respectively. (For now, the Trump administration has exempted imports from Mexico and Canada from the tariffs.) Some of North Carolina’s largest industries, including aerospace and automotive manufacturing, textiles, and chemical production, rely on steel and aluminum, which means the tariffs could have long-lasting effects on those sectors. Wayne Cooper, chairman of the North Carolina District Export Council, warns that the tariff percentages might seem marginal on the surface, but they become exponentially more significant as they stream through local markets. “When you increase [the price] of the raw material, it isn’t just that raw material,” Cooper says. “It’s extrapolated and multiplied every time that raw material gets processed and shipped. Everybody adds a little bit extra on to it.” That’s significant when you consider how many North Carolinians are employed in companies that rely directly on steel and aluminum: by MarketWatch estimates, around 173,000 people. Further complicating matters, allies and adversaries alike have made clear that the tariffs will be met with swift retaliatory action. Even the European Union vowed 8 | 3.14.18 | INDYweek.com

to place heftier taxes on everything from cranberries to bourbon to T-shirts coming out of the U.S. So exporters in North Carolina aren’t safe either, since a trade war would almost certainly lead to higher taxes on outbound products. That doesn’t bode well for residents of Raleigh, Durham, and Chapel Hill, which generated a combined $5.4 billion in exports in 2015. Retaliatory tariffs wouldn’t only touch wealthy CEOs and one-percenters. There were more than ninety-five hundred small and medium-size goods exporters in North Carolina in 2014, and those businesses account for 88 percent of all of the state’s exports, according to the International Trade Administration. That means that workingclass families and small-scale entrepreneurs may take the brunt of any retaliation. One high-profile local industry that is expected to get dinged by the tariffs: craft brewing. In a press release, N.C. Craft Brewers Guild executive director Andrew Lemley explained, “From equipment costs to packaging-material costs, these proposed increases can put a chill on one of the fastest-growing industries in the state.” Aluminum cans are obviously a huge production cost, but nearly every aspect of production, including fermentation tanks, kegs, and draft equipment, would cost more with the tariffs in place. These increased prices might not put a brewery out of business, but they could reduce a brewery’s ability to expand. And all of those added costs will likely be passed on to consumers. Trump’s tariffs are anathema to many free-market conservatives, including U.S. Senator Thom Tillis, who posted on his website, “Our response needs to be methodical and surgical so we aren’t inadvertently punishing America’s allies and sparking retaliatory tariffs that could slow down our economic momentum.” The president’s decision also prompted his top economic adviser, Gary Cohn, to quit.

While all of this plays out, Becker is trying to figure out how he’s going to keep his company afloat. “I have to gather my thoughts a little bit,” he says. “Especially the [shipments] that are on the water are of big concern, and I have to talk to my suppliers and see whether they can stop the production for the time being. I don’t know yet how to absorb that.” backtalk@indyweek.com

ILLUSTRATION BY STEVE OLIVA

news

BRIEF

FIGHTING WORDS Durham County District Attorney Roger Echols forecefully responded to comments made by Judge Fred Battaglia last week, in which Battaglia asserted that the assistant district attorney who prosecuted the protesters accused of dismantling a Confederate monument last summer is inexperienced and “third string.” Echols put out a press release Monday defending Ameshia Cooper. “These comments were inappropriate, unnecessary, and inaccurate,” Echols wrote. “At a time when women, especially women of color, are still marginalized, it is unfortunate that a member of the judiciary would refer to any woman with such little regard.” Battaglia was explaining to the Durham County GOP why he hadn’t convicted three protesters tried for damaging the monument last month. (He dismissed the cases against two and acquitted a third. The next day,

Echols dismissed the remaining cases.) “She’s a nice lady,” Battaglia said of Cooper, “but you can’t go into the NCAA tournament with your third string.” Battaglia told the Republicans he made his decisions based on evidence and that he stood by his rulings. Two videos shown during the trial didn't allow for the clear identification of any of the three defendants, he said. Cooper has more than five years of legal experience and, since joining the District Attorney’s Office in 2015, has been promoted to the Superior Court property division, according to Echol’s press release. As far as Battaglia's assertion that Cooper had “no help” in the courtroom, Echols said that “any narrative that implies that [assistant district attorneys] are neglected if and when they need assistance is misleading and inaccurate.” —Sarah Willets

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SEEING GREEN

Teenage Mutant Ninja Turtles cocreator Kevin Eastman was just going for an underground comics career. He started an independent pop-culture dynasty instead. BY BRIAN HOWE

Y

ou can’t create a comics dynasty on purpose. In fact, it seems helpful not to try. Spider-Man, Superman, Batman—all were cranked out by middle-aged day-jobbers on deadline. They were intended to fill a bit of newsprint and then make way for the next fantastical character, not to permanently lodge in the pop-culture pantheon. In the eighties, Kevin Eastman set out for a modest career in underground comics, which is a reasonable goal when you’ve cocreated a book about anthropomorphic turtles who learned martial arts from a talking rat and who hang out in a sewer with a pretty TV reporter. Imagining that this premise might birth an enduring multimedia phenomenon would not have been reasonable, to put it mildly. But that’s what happened. Eastman and cocreator Peter Laird revolutionized the comics industry by ducking around the superhero monopolies and selfpublishing in black-and-white with wild success at a time when this was unheard of. They still own the characters to this day, after all the movies and cartoons, the toys and costumes—and the Turtles are still in print, now in color and published by IDW. Eastman is one of dozens of creators, also including indie stars like Brandon Graham and mainstream fixtures like Walt and Louise Simonson, who is heading to the Raleigh Convention Center for NC Comicon: Oak City this weekend. We reached Eastman at his home studio in San Diego, where he was working on sketches for a Batman-TMNT crossover. He discussed how Heavy Metal magazine inspired the Turtles before the Turtles bought him Heavy Metal, getting sued over the word “cowabunga” by Buffalo Bob from Howdy Doody, and his favorite bits of Turtle-abilia.

INDY: You were a reader of self-published comics before you took self-publishing to a new level with Teenage Mutant Ninja Turtles. How did you discover independent comics at a time when they were less easy to find than they are now? KEVIN EASTMAN: I grew up with what was in the spinner racks at the local drug store, but then along came Heavy Metal magazine.

stretched the imagination in so many ways. In my search for Corben material, I went to The Million Year Picnic in Harvard Square and they had this massive underground comics selection. Most important, I found Dave Sims’s Aardvark-Vanaheim, publishing Cerebus. Reprints of underground comics from the sixties and seventies, coupled with what the new guys like Dave Sim were doing, throw in a dash of Heavy Metal—that really pushed me toward what I wanted to do in comics. You bought Heavy Metal in 1991 and edited it for fifteen years, and you’re still the publisher. Was that like a childhood dream come true? Oh my goodness, yeah. I joke that if you think about it, my discovery of Heavy Metal in 1977 led me to self-publishing, and then when Peter and I created the Turtles together, because we owned and controlled all things Turtles, we also profited from it. Heavy Metal helped me create the Turtles, so I could then buy Heavy Metal.

Kevin Eastman PHOTO COURTESY OF NC COMICON In 1977, I bought the first issue. Heavy Metal published some amazing European talents, but they also published American underground comics. I really flipped out over Richard Corben, who’s definitely my number-two influence after Jack Kirby. It was such a fantastic and bizarre style, it pushed and

When you and Peter Laird started publishing the Turtles comics, did you have any inkling they might become multimedia pop-culture icons, or did it just seem like this totally niche and crazy thing you were doing? Oh yeah, we definitely knew. [Laughs] No, of course not. If you look at the first issue, it was a complete story. We didn’t think we’d sell that many copies or do another issue. We just deeply loved the idea and had so much fun doing the kind of comic book we wanted to read. We thought it was a fun homage and parody of comics, something we had to get out of our system. When it started selling, people at comic shops and

NC COMICON: OAK CITY

Saturday, March 17 & Sunday, March 18, $20–$130 Raleigh Convention Center, Raleigh www.nccomicon.com

fans started writing us saying, when are you going to do issue two? It came out in January 1985, and we made enough money—I think we sold about fifteen thousand copies—to pay rent and draw comics full-time. I point to 1985 as the year the dream came true, this lifelong fantasy we used to tell our parents about, drawing comic books for a living, and they look at you with that mortified look, like, oh my goodness, we’re going to have one of those kids who never moves out of the basement. By the time Hollywood came knocking, at the top of the black-andwhite-comics boom, we were selling about a hundred thousand copies an issue, which was mind-blowing.

PEt of the

WEEK

You didn’t make up the word “cowabunga,” but you might as well have. How did that phrase enter the Turtles’ lexicon; how did you make up their slang? It really came out of the animated series. If you look at the comics, there were kind of funky pop-culture references, like Casey Jones saying “Goongala Goongala,” which is something Tarzan said whenever he wanted an elephant or a lion to do something. I remember watching Beach Blanket Bingo and these Saturday morning matinee movies with this California surferdude thing going on. Growing up in the woods in Maine, it was about as alien as you could imagine. We just riffed on that. “Cowabunga” evolved with David Wise, the writer of the early animated episodes, and became the catchphrase that caught on. We got sued by Buffalo Bob from Howdy Doody. Right, I read that’s where the term first came from? Yeah, he said we basically stole it. I had never seen it, it was before my time. We were like, no, we stole it from Annette Funicello! I don’t know if it had transferred into public domain or common usage, but the case was dismissed, let’s put it that way. A lot of our readers will know the Turtles from the movies and the cartoon more than from the comics. How are the comics different? The original comics were really written for Peter and myself, intended for an older audience—though neither of us are huge fans of really gory stuff and swearing— but it had a bit more edge to it than what mainstream comics were doing. When we adapted them into the first cartoon series, we knew this was for a much younger audience and a number of things were softened. The first cover where I painted the Turtles in color, they all had red bandanas. When they wanted to do them as

PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

WATSON is our

Pet of the Week! TMNT sketch by Kevin Eastman COURTESY OF KEVIN EASTMAN toys and cartoons, they said, can we come up with a way to tell them apart better? Peter came up with the idea of differentcolored bandanas, which I thought was awesome. The kids version reached a much wider audience. It was years and years until a lot of those initial fans of the cartoons discovered the comics. We kind of got them at a young age when they were buying the toys and watching the cartoon, and when they got older and still had passion for the Turtles, they discovered this older-audience Turtles. It’s so humbling and cool when we do conventions and see parents who were fans of the original series, and their kids have now discovered the Turtles through Nickelodeon’s cartoon series, all dressed up together.

With the incredible amount of Turtles stuff out there, do you have any favorite toys or properties? Absolutely. The first live-action movie, directed by Steve Barron with incredible costumes by Jim Henson, I thought was a perfect blend of the original black-and-white series and the humor of the animated series. And the first round of toys in 1988. I remember when Peter and I stumbled into a Kay-Bee Toys in Springfield, Massachusetts, and saw them for the first time. They would do Turtles as different characters, and the Star Trek Turtles— I was a huge Star Trek fan growing up, so I loved that. And of course, nothing could take away from what Peter and I originally did, working in the same room passing pages back and forth, because that’s where it all started. bhowe@indyweek.com

I’m a confident guy—hey, if you’ve got it, flaunt it! I’m pretty low key, until you break out a ball. Then I’ll show you my playful side! I can’t wait to find a home of my own. For more information: http://www.apsofdurham.org/

If you’re interested in featuring a pet for adoption, please contact advertising@indyweek.com INDYweek.com | 3.14.18 | 11

indyfood The Caretakers

DOUGLAS DAYE’S FAMILY HAS OWNED HIS FARM FOR MORE THAN A CENTURY. NOW IT WILL BE PROTECTED FROM DEVELOPMENT FOREVER. BY CAITLIN SLOAN

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ucked back off a winding road in Rougemont are twenty-four picturesque acres recognized as a “century farm” by the N.C. Department of Agriculture & Consumer Services. This designation isn’t unique—there are four Durham County farms in the program, and more than two thousand in North Carolina. What is noteworthy, however, is that LM&D Farm is the only century farm owned by people of color in Durham County. According to Andrea Ashby, director of public affairs for the N.C. Department of Agriculture & Consumer Services, the century-farm honor pays respect to the hard work that families put into their farms and the accomplishment of keeping a farm within a family for a century. In order to gain the designation, a farm must have been in the possession of a family for a hundred years or more, with documented proof, although the family doesn’t necessarily have to farm it themselves. “Some no longer farm the land personally, but they know the stories, the struggles, and the triumphs of their great grandparents, grandparents, and parents, and take tremendous pride in that,” Ashby says. LM&D Farm owner and caretaker Douglas Daye knows the stories well. He says his grandfather Lucious Glenn purchased the land from a white family in 1903. His grandfather walked all the way to Durham and back that day, to purchase what Daye was told was then “no more than a rock pile and a big briar thicket.” (The Department of Agriculture & Consumer Services recognizes records dated from 1905.) In the 1920s, prisoners spent time clearing rocks off of the land, Daye says. Despite these efforts, rocks remained a fundamental part of the Glenns’ farm for long afterward. Daye encounters them still. 12 | 3.14.18 | INDYweek.com

Douglas Daye PHOTO BY CAITLIN PENNA “I believe there will always be rocks in these fields,” he says. “Sometimes I think rocks really grow on this place, just like weeds do.” Like the family’s struggle against the rocks, they also battled what Daye refers to as a difficult period of history. “Through the hard times like the First World War and

the Great Depression, when most people— especially people of color—were leaving the farm and going to the cities and North, looking for work,” he says, “Lucious and [his wife] Mary decided to ride it out.” Daye says his grandparents’ farm was successful because Lucious and his wife, Mary, were self-sufficient. While they grew tobac-

co as a cash crop, there were no guarantees their crops would survive or how much money they would bring in. To make sure their family was taken care of, they grew a multitude of other crops and raised animals for their personal use or to trade for other necessities in Rougemont or Durham. Mary also taught in a one-room schoolhouse.

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Adults are Needed for Research Study

Douglas Daye holds a family photo of his grandfather Lucious Glenn, sitting with his wife, Mary, among relatives. PHOTO BY CAITLIN PENNA

The US Environmental Protection Agency invites adults (age 18 or older) who are residents of the Raleigh-Durham-Chapel Hill area to participate in a research study of environmental and behavioral factors that affect health status. Participation requires a single visit to the US EPA Human Studies Facility in Chapel Hill, NC where blood and saliva samples will be collected and participants will undergo a simple medical examination and fill out a questionnaire. Participants will receive a $100.00 payment for their time. If you are interested, please call us at 919-966-0604 to learn more about this study or visit www.epastudies.org.

“Sometimes I think the rocks really grow on this place, just like weeds do.” A Marine Corps vet who spent time in Vietnam, Daye never intended to become a farmer. He grew up on the property he now owns, in close proximity to his grandparents, but decided he wanted to see what else was out in the world. Being in Vietnam, however, changed his mind. He decided that if he made it out, he would come home. In 1981, Daye inherited the farm. Since then, he’s worked tirelessly to continue his grandfather’s legacy. When his grandparents’ former home was struck by lightning in 1994, he built a workshop in its place and kept the old chimney as a monument to where his grandparents started their family. Daye remembers how life used to be on the farm. He points out where old trees once stood, where the smokehouse used to be. Today he keeps beef cattle on the land, raises fruit trees, and maintains a garden. The key to keeping a farm, he says, is consistency.

Recently, LM&D Farm received another accolade. Durham County’s Farmland Protection Program has granted the farm a conservation easement. This means that the twenty-four acres of farmland will never be subdivided or sold for development. It will be protected indefinitely. Ashby says century farms provide immense value to their communities. “These farms and the commitment of these families to keep them in the family ensures that future generations have access to the land resources needed for food production,” she says. Daye is doing just that—preserving valuable land for posterity. But he does it for the memory of a past generation. “This isn’t about me,” Daye says. “It’s about my grandfather. He’s the owner of this place. I’m just the caretaker.” food@indyweek.com INDYweek.com | 3.14.18 | 13

food

Against the Grain

TRUMP WANTS TO ROLL BACK HEALTHY DIETARY STANDARDS FOR SCHOOL LUNCHES, BUT SOME LOCAL SCHOOLS ARE STICKING WITH OBAMA’S PLAN BY DEBBIE MATTHEWS

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thing in the sample. He explained that he doesn’t like vegAt the event, a large sign read “quinoa” on one side and had olicy makers, the medical community, and educaetables, not any of them. He likes meat—just meat. A T-Rex the phonetic pronunciation on the other. The plan was to tion officials may have the best intentions and the second grader. show the children how to pronounce the word after their most up-to-date nutritional information for feeding Privette acknowledged the school’s inability to manhilarious, failed attempts. But because of in-class nutrischool kids, but those kids must actually want to put said date healthy standards for lunch boxes, but the policy tion discussions, most of these kids were not completely food into their mouths or it’s all just a giant bureaucratic of teaching about and serving healthy waste of money and effort. foods seems to be working. McDougle Last November, I visited Northside faculty members say that the majority Elementary School in Chapel Hill, which of home-sourced food is actually pretty is part of the Chapel Hill Carrboro City wholesome. Even the snacks are usually Schools system, to write for the INDY fresh fruit and raw veggies. (In elemenabout the history of school lunch and the tary school, I had a Little Debbie brownie ways schools were addressing the 2010 every day.) Healthy, Hunger-Free Kids Act, signed Right around the time my first schoolinto law by President Obama. It set new lunch story was printed, the Trump standards for fruits, vegetables, whole administration, citing food waste and grains, sugar, sodium, and fats in school “schools experiencing hardship in obtainlunches. To meet them, the district hired ing whole-grain-rich products acceptfood-service contractor Chartwells to able to students,” loosened the limits on manage its nutrition programs. fat, salt, and sugars and instituted a proMarch is National Nutrition Month, cedure for states to grant exceptions to and last Thursday, McDougle Elementhe mandate of serving whole-grain-rich tary School held an event to celebrate foods, with the date of full compliance set National Whole Grain Sampling Day, a for the 2020–21 school year. push to expose more Americans to nutriAmerican Heart Association CEO tious whole grains. Liz Cartano, the ChartNancy Brown disagrees with the adminwells director of dining at CCHCS, along istration’s assertions. “In the last five with district chef Jordan Keyser and dietiyears, nearly one hundred percent of the cian Lynne Privette, were joined by Jay nation’s participating schools have comZiobrowski. plied with updated school-meal stan“Call me Chef Jay-Z,” he said. He’s from dards,” she said when the administration InHarvest, a Minnesota company that proproposed the rule modifications. “Kids vides rice, grains, legumes, education, and Students at McDougle Elementary School trying quinoa on National Whole Grain across the country have clearly benefited recipes to food-service institutions and Sampling Day PHOTO BY CAITLIN PENNA from these changes.” sells in bulk to places like Whole Foods. Many districts, including CCHCS, have decided to stick unfamiliar with whole grains, and many had eaten some The entire student body attended the event: 564 kids, from with the more stringent nutritional benchmarks. But it’s varieties at home. The majority was familiar with quinoa’s pre-K to fifth graders. It was a good opportunity to find out more expensive to feed healthier meals. And with budget pronunciation. Many of the kids were nutritionally savvy, how these nutritional efforts were going over with the end cuts coming from all sides, school systems may choose with adventurous palates. Counterintuitively, Keyser said, consumer. The children were served samples of lime cilantro their cafeterias as places to save money. the younger the diner, the more open to experimenting. quinoa with fresh greens, tomatoes, salsa, low-fat cheddar, Aristotle said, “Give us a child till he’s seven and we’ll They’ve learned from past events that older kids are not sour cream, and a couple of whole-grain tortilla chips on top. have him for life.” It’s not only true of philosophy but of nearly so open to new flavors and textures. But did the kids like it? Common wisdom says kids don’t nutrition as well. Unfortunately, by lowering dietary stanOf course, even among the quinoa kids, many list claslike unusual foods. They want to stay in their culinary comdards in schools, that vital window of opportunity may be sics like pizza, hot dogs, and corndogs as favorite cafeteria fort zone of macaroni and cheese, pizza, and chicken nugclosing, and the progress made so far, squandered. foods, and there will always be picky eaters. One little guy, gets. They want artificially colored and flavored, sugary, food@indyweek.com barely nibbling a single chip, declared he didn’t like anyfried, faux food. Different is scary and weird. 14 | 3.14.18 | INDYweek.com

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED ORANGE GROVE ROAD EXTENSION IN HILLSBOROUGH FROM EXISTING ORANGE GROVE ROAD (S.R. 1006) TO U.S. 70A ORANGE COUNTY TIP PROJECT NO. U-5848 The N.C. Department of Transportation will hold a public meeting regarding the proposed project to extend Orange Grove Road from existing Orange Grove Road (S.R. 1006) to U.S. 70A in Hillsborough. The meeting will take place on Monday, March 19, 2018 from 4 p.m. to 7 p.m. at the Orange County Main Library, Large Meeting Room located at 137 West Margaret Lane in Hillsborough. The purpose of this project is to reduce delays for vehicles traveling into Hillsborough, and to improve connectivity by providing a new east-west route through town. The purpose of the public meeting is to provide information on the project and gather input from the public on the proposed designs. The public may attend at any time during the above mentioned hours. NCDOT representatives will be available to answer questions and listen to comments regarding the project. The opportunity to submit comments will also be provided at the meeting or via phone, email, or mail by April 6, 2018. Comments received will be taken into consideration as the project develops. Please note that no formal presentation will be made.

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Project information and materials can be viewed as they become available online at http:// www.ncdot.gov/projects/publicmeetings. For additional information, contact Gene Tarascio, NCDOT Project Planning Engineer by mail: 1582 Mail Service Center, Raleigh, NC 27699-1582, by phone: (919) 707-6046, or via email: gtarascio@ncdot.gov. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Caitlyn Ridge, P.E., Environmental Analysis Unit via e-mail at ceridge1@ncdot.gov or by phone (919) 707-6091 as early as possible so that arrangements can be made. Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494. Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

INDYweek.com | 3.14.18 | 15

MAR C H

FR 16 J RODDY WALSTON & THE BUSINESS SA 17 ID 8p

WE MAR 21

NEW POLITICS

W/DREAMERS AND THE WRECKS

TH 22 THE CRYSTAL METHOD 8p FR 23 COSMIC CHARLIE PLAYS

indymusic

DESPITE HER ENGLISH PUNK AND POP PEDIGREES, HOLLIE COOK CREATES HER OWN WORLD IN EASYGOING REGGAE BY KAT HARDING

“EUROPE 72” 8p THE RITZ 8p

BETTY WHO JGBCB 7:30p THE BREAKFAST CLUB 7p DELTA RAE 7p AP R I L

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EVERYONE ORCHESTRA 7p RUNAWAY GIN (PHISH TRIB.) 9p DAVID ALLAN COE 7p SLIM WEDNESDAY

FR 13

BARCODE SOCIAL EVENTS PRESENTS

FT. JOJO HERMAN 7p

“TRAP APOLLO” 9p

SA 14 THE SOUL PSYCHEDLIQUE & LOVE TRIBE 8p

TU 17 TY SEGALL 7p WE 18 GHOST LIGHT 7p TH 19 OLD 97’S 7p FR 20 GLOWRAGE 8p SA 21 KOOLEY HIGH 8P SU 22 ANDERSON EAST 7p WE 25 TODD SNIDER W/RORY CARROLL 7P

TH 26 ZACH DEPUTY

W/ COME BACK ALICE 7:30 p

SA 28 PIGEONS PLAYING PING PONG MO 30 THE CALIFORNIA HONEYDROPS CO M I N G S O O N

5/2 5/3 5/4 5/7 5/8 5/9 5/10 5/12 5/17 5/18 5/26 5/31 6/1

BLUE OCTOBER 7p MONEY BAGG YO 7p CARBON LEAF 7p KING LIL G 7p AN EVENING WITH BUCKETHEAD 7p MISTERWIVES 7p BILLY STRINGS 7p JUPITER COYOTE 7p STEELDRIVERS 7p THE CLARKS 7:30p JAKE MILLER 8p THE PANCAKES & BOOZE ART SHOW 6p IDLEWILD

(ALLMAN BROTHERS BAND TRIBUTE) 8p

6/2 WHISKY MYERS 7p 6/7 TASH SULTANA 7p 6/9 RECKLESS KELLY 8p

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 16 | 3.14.18 | INDYweek.com

Wednesday, March 21, 8 p.m., $14–$16 Motorco, Durham www.motorcomusic.com

Branching Out

SA 24 RIPE 8p SU 25 BIG K.R.I.T & TY DOLLA SIGN @ TU 27 TH 29 FR 30 SA 31

HOLLIE COOK

Hollie Cook

PHOTO BY OLLIE GROVE

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o know Hollie Cook is, for better or worse, to start with her family tree, although she gets tired of talking about her parentage. “The most boring question is probably about my dad,” she tells me via phone, moments after I’d asked about her family. “I get it; I understand that it is something that interests and intrigues people, but I just don’t think it is hugely relevant to what I do or how my music career has gone. Especially because it is the first thing people ask. I’d rather people ask me ‘Oh, how are you?’ or ‘What did you have for breakfast?’” she says. So who is her dad? He’s Paul Cook, the drummer of the Sex Pistols. Her mother is Jenni Cook, who was a backup vocalist for Culture Club. Her godfather is Boy George himself and Johnny Rotten is a close family friend. However, because of her musical friends and family, there was no doubt she’d go into music herself. Interested in performance, dance, and songs from a young age, it didn’t take long for her to realize that music was her passion. She’s always eschewed any nod to her familial roots, claiming that “making reggae was a subconscious attempt” at striking out on her own. “It was quite unexpected for whatever reason,” she says, laughing. It was another family confidante that got Cook into the recording studio. When Cook was nineteen, The Slits’ Ari Up asked her to sing on a track. From there, Cook joined The Slits, touring with the band and contributing her song “Cry Baby” to their 2009 record, Trapped Animal. Through that experience, Cook gained the confidence and knowledge to launch her own music career, and she’s been on the rise ever since. In 2011, her eponymous debut received high praise, as did her 2014 album, Twice, which landed her in Mojo Magazine’s “50 Greatest Reggae Albums of All Time” list at number thirty-one. Cook was not only one of the few women on the list, but one of the few living artists on it. In January, Cook released her third LP, Vessel of Love. She says the record came out of

a dark emotional time, but she broke through anxiety and heartache and released a group of songs about positivity and affection. The motivating “Angel Fire” kicks off the album, proclaiming, “We’re feeling proud/we make lots of sound,” painting a picture of people who will not back down. “My heart’s desire is strong and true,” she repeats over a laidback reggae beat layered with bright trumpet, glittering chimes, and rolling drums. On “Together,” she sings, “We’re rising higher/we cannot fall. There is no room for the enemy” while echoing synths and drum machines swirl around her gentle voice. “Together we are powerful,” she reminds listeners. The positivity emanating from her songs, along with her fresh approach to reggae, makes Vessel of Love essential for anyone facing burnout from the turmoil of any issue, personal or political. Cook credits her current success to forging her own path rather than succumbing too heavily to the influences of her parents or her peers. “Stand your ground and believe in yourself. It can be really hard, especially when there can be so many people around you,” she says. “It’s a hard balance knowing when to trust others and yourself.” But sometimes, maintaining that balance of trust requires a change of scenery. After working for more than seven years with the label Mr. Bongo, she moved to Merge Records to release Vessel of Love. “It’s a real different experience with an American label that’s really cool,” she says. “They haven’t figured out that I don’t belong there yet. I’m not cool!” With the new label behind her, Cook’s sound has expanded beyond a more traditional reggae classification, including electronic elements, synths, and more. Much of her new sound is owed to producer Martin “Youth” Glover, who has worked with Paul McCartney, the Verve, Depeche Mode, and others. The album feels like a hopeful reassurance in dark times, which Cook says was fairly unintentional. She often starts writing with a melody or instrumentals, adding lyrics to fit the atmosphere of the song later. “The songs wound up falling that way. It’s funny because this album came out of such a dark emotional time. A lot of the subject matter isn’t necessarily light and joyful,” she says. “The process of making the album was therapeutic and cathartic and necessary. I was healing myself at the same time.” music@indyweek.com

music

BRIEF

BLANKO BASNET OCEAN MEETS THE ANIMAL SELF-RELEASED 

When Blanko Basnet released its self-titled debut in the sweltering middle months of 2013, it was easy to mistake the songs for new Hammer No More the Fingers jams. After all, Blanko Basnet is a Joe Hall joint, and his singular playing style—built on a thickly sweet single-coil guitar tone, heavy use of extended chords, and a unique rhythmic approach—is one of the key building blocks for the idiosyncratic Durham indie rockers with the long name. When you hear Hall play the guitar, you know it’s him. Given that and Hammer’s egalitarian songwriting practice, it wasn’t much of a stretch to guess that cuts from Blanko Basnet’s first record could’ve been reclaimed pieces from Hammer’s discard pile. Ocean Meets the Animal, Hall’s second effort as Blanko Basnet, still sounds like a lost Hammer record in passing glances, as with the buoyant “Berry” or “Mother.” But the twelve-track collection is at its best when Hall works against his reflexes. The sunkissed “Get Away” opens like a Sylvan Esso thumper before expanding to an easygoing pop lilt. The skittering “Minnow” is built on a delayed guitar pattern that creates its own rhythmic pull that works against the song’s compound time signature. It’s an alluring effect that elevates an otherwise fine song into a great one. “K9 Haus” also uses delays to great ends, giving the acoustic-led instrumental a glitchtronic feel. On “Every Dollar,” Hall chops his guitar riff to bits, giving it a keen atmospheric bent. The slow-burning, subtle “Yossarian” coaxes pad-like textures out of long reverb trails, deploying a simple but infectious groove accented with fascinating filigrees. On “All We Are,” Hall weaves discursive melodic threads into a sweetly psychedelic polyrhythmic patchwork. It’s aces. Given how he plays the guitar and how he writes songs, anything Hall releases will probably bear at least some traceable link to Hammer No More the Fingers. But the adventurous leaps of Ocean Meets the Animal pay great dividends, extricating him from Hammer’s orbit and further establishing him as one of the Triangle’s sharpest songwriters. —Patrick Wall Blanko Basnet plays a release party for Ocean Meets the Animal on Friday, March 16, at The Pinhook in Durham. Tickets are $5, and the show starts at 9 p.m. The Hot at Nights open.

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

Lee Coggins • Lee has over 20 years experience assisting clients & businesses with their marketing • The Indy’s top revenue generator in the history of the paper • Experienced real estate investor I worked with with Lee through Morgan Imports for 17 years. She is a retailer’s advertising dream! She’s a creative thinker & planner • She’s easy to work with • She’s positively persistent & enthusiastic • She follows through and can find creative solutions to problems She always understood what we needed and made things better than we could have imagined. As a real estate agent I have confidence that she will take these traits & skills and make any relationship & transaction a great one! - Jacqueline Morgan, Morgan imports

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

Lee Coggins, Broker c 919-213-0768 lee@501realty.com www.501realty.com/lee INDYweek.com | 3.14.18 | 17

indystage

Watering the Grassroots

IN THE INAUGURAL BULL CITY BLACK THEATRE FESTIVAL, UNDERSERVED AFRICAN-AMERICAN THEATER ARTISTS GO STRAIGHT TO THE AUDIENCE THEY RICHLY DESERVE BY BYRON WOODS

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aMeeka Holloway-Burrell has to stop and catch her breath for a moment. I’ve caught her between appointments on a busy day, moments before she rushes into a rehearsal for PlayMakers Repertory Company’s upcoming world premiere of Leaving Eden. Over the last month, Holloway-Burrell has been assistant director for that production while also producing what promises to be a groundbreaking two-week festival devoted to developing black theater artists and audiences in our region. You’d be out of breath, too. This weekend and next, the Bull City Black Theatre Festival will fill Manbites Dog Theater with shows, workshops, master classes, seminars, and conversations on stage movement, playwriting, acting, and the past and present of black theater, locally and nationally. Holloway-Burrell is still adding events as we speak, juggling rehearsal schedules and performance slots for almost thirty stage artists in a dozen presentations— all while managing the responsibilities of that gig at PlayMakers Rep. There will be performances, of course: staged readings by the region’s three main black theater troupes (MOJOAA Performing Arts, Black Poetry Theatre, and HollowayBurrell’s own Black Ops) of work by three local black playwrights. But the other offerings are notably different from traditional theater-festival fare. Lakeisha Coffey’s workshop on acting, entitled The Playground, is open to people who’ve never studied acting, and even those who’ve never stepped on stage. Coffey, a veteran actor who’s performed with companies including Little Green Pig and Bartlett Theater, says many people who have the talent to be on stage don’t know it because they don’t have formal training or they’re afraid of auditioning. Rhetta Greene and Robin Carmon Marshall’s session, Next Act, 18 | 3.14.18 | INDYweek.com

JaMeeka Holloway-Burrell PHOTO BY CAITLIN PENNA focuses on raising up the voices and stories of women fifty and older—a demographic for which American theater has had shamefully little use. “We have so much to say and we’ve just not been heard,” says Greene, an Obiewinning stage and film actor who recently appeared in Manbites Dog’s Life Sucks.

These events are meant to provide access to tools, techniques, information, and support, not only for those already in the field, “but for those just beyond the doorway, looking through,” as HollowayBurrell says. She and her co-organizers want the festival to gather, nurture, train, and provide more exposure for black theater

artists while building an audience “who will act as our collaborators.” Director and local black theater historian John Harris calls it “watering the grassroots.” The stakes are high, as the festival could be a protoype for a more permanent regional entity. A group of artists is considering starting an African-American theater

BULL CITY BLACK THEATRE FESTIVAL Thursday, March 15–Saturday, March 24 Manbites Dog Theater, Durham www.bullcityblacktheatrefest.wordpress.com

THURSDAY, MARCH 15

Black Ops Theatre Co.: 12.21.09, staged reading, 7:30 p.m.

FRIDAY, MARCH 16

Black Poetry Theatre: Definition of a Hero, staged reading, 7:30 p.m.

SATURDAY, MARCH 17

Howard L. Craft: playwriting masterclass, 11 a.m. Lakeisha Coffey: The Playground, acting workshop, 1 p.m. Tristan Parks: Soulprovisation, stage movement workshop, 3 p.m. MOJOAA Performing Arts: Raissanour, staged reading, 7:30 p.m.

SUNDAY, MARCH 18

Howard L. Craft: playwriting masterclass, 11 a.m.

THURSDAY, MARCH 22

Monet Marshall: Buy My Body and Call It a Ticket, movement workshop, 6:30 p.m. Thomas DeFrantz: I Am Black: Black Performance Through the Gaze of Whiteness, lecture/performance, 7:30 p.m.

FRIDAY, MARCH 23

Community Conversation: Black Theatre: Then, Now, Locally, 7:30 p.m.

SATURDAY MARCH 24

Kathryn Hunter-Williams: Coffee, Conversation, and Tips for Actors, 11 a.m. Rhetta Green & Robin Carmon Marshall: Next Act, performance workshop for women fifty and over, 1 p.m. Monet Marshall: Artist talkback on Buy My Soul and Call It Art, 3 p.m.

stage

BRIEF

THE_OPER&

½ Thursday, March 8–Saturday, March 10 Von der Heyden Studio Theater, Durham www.dukeperformances.duke.edu

Going into the premiere of John Supko and Bill Seaman’s THE_OPER&, I didn’t know what to expect, despite having spent two weeks studying it for a preview in last week’s INDY. I knew about its intricate, layered wordplay, full of references to Raymond Roussel and Marcel Duchamp, Ada Lovelace and Peter Greenaway. I knew about its creation and destruction of worlds, its vivid naturalistic videos. I knew that difference, change, and randomness were central. And I knew to expect beautiful singing from the Lorelei Ensemble. The work had all these things and more, happening all at once. But I wasn’t prepared for its sheer, overwhelming density: the singers walking around the stage in geometric patterns (including one poor soul cursed to forever pace back and forth), the lights flickering as the voice of the computer contemplated its own existence, and the strangely soothing music burbling through the seams. Four worlds were indeed created and destroyed, though I found their creation to be far more interesting. The computer projected seemingly random strings of words for the singers, which gradually coalesced into mystical incantations. Then, the computer would project an image and describe its constituent parts ("21.73% boat," "8.32% spider web," "0.34% church"), gradually learning to understand—sort of—the visual world. By the fourth cycle, it was predicting the images, often with amusing results (“very very beacon,” “not unlike bridge”). What surprised me was how little actually seemed to change over the four cycles. Many small details varied and evolved, but the larger architecture felt oddly static. In each cycle, the Lorelei sang the same five minutes of music to bring about the fall. Every time, the images fell apart in roughly the same way. Every time, the aftermath of the collapse was an inundation. By the fourth cycle, that sameness overwhelmed my ability to perceive differences. Thus the opera was less an exploration of randomness than a ritualistic study of machine learning, the process by which a computer comes to understand an aspect of the human world. What that aspect is, I’m not totally sure. With so much tightly entwined, wonderfully realized surface, it’s hard to reach the depths that are clearly there. —Dan Ruccia

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Los Angeles before moving to this area in the last decade. “I’m astounded at the talent here,” she says. Greene likens the experience to “being back at Howard [University]. People live, eat, and drink theater here. I haven’t experienced that love and dedication for so long.” As Marvel’s Black Panther leaps over the $1 billion mark in ticket sales, the hunger for black stories told by black people—“for us, by us, about us, and near us,” in the words of W.E.B. Du Bois—is undeniable. “The audience is out there and the money is out there,” Harris says. “The community is ripe to receive it,” Green adds. The lingering question, according to Holloway-Burrell, is how a community of artists historically limited by oppressive or disinterested structures can share resources, find their own direct access to audiences, and function as a holistic community. “We’ll get to the crux of these inside the festival,” she says. “I can’t wait to have those conversations.” arts@indyweek.com

v

collective with its own black box theater, making the festival “a little laboratory for us to see what something more fully fleshed out would look like,” says Holloway-Burrell. It’s painfully obvious that the community of black theater artists needs such an organization. Over the years, the region’s academic, independent, and communitybased theaters have provided inconsistent support at best, through isolated productions and initiatives. During them, the riches of this community have shone, only to fade upon their conclusion. The existing theater infrastructure “hasn’t developed a sustained relationship with black artists and audiences,” Harris says. “Frances McDormand put it best during the Oscars: we need an inclusion rider as well. There’s a critical mass of black performers in our area. But looking at the upcoming season, what is there for them to do?” Greene came of age as an artist through the Black Arts Movement in New York during the seventies, performing on and off Broadway and working as a film and television actor in

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ALL THE QUEEN’S HORSES Monday, March 19, 4:30 p.m., free Park Shops building, Room 210 101 Current Drive, Raleigh www.allthequeenshorsesfilm.com

Wild Horses

HOW A SMALL-TOWN MUNICIPAL EMPLOYEE EMBEZZLED ENOUGH MONEY TO TURN HERSELF INTO A WORLD-CLASS HORSE BREEDER AND GOT AWAY WITH IT FOR DECADES BY DREW ADAMEK

R

ita Crundwell, a comptroller in Dixon, Illinois, embezzled $53 million from the small city’s coffers over the course of decades. The largest municipal fraud ever recorded in U.S. history, it wrecked Dixon’s economy. Even more improbable is what she did with the money. Crundwell, an unassuming government employee by day, turned herself into one of the world’s leading quarter horse breeders by night. A jetsetter who spent millions on luxury motor homes, cars, clothes, jewelry, and ranches, she also owned dozens of world-champion show horses. After her arrest, many media accounts focused on the sensational: the nearly eight hundred trophies, the four hundred horses, the champagne lifestyle of fur coats and lavish parties. After Crundwell pleaded guilty in 2012 and was sentenced to twenty years in prison in 2013, the media furor died down. But how was she able to steal so much money, unnoticed, for so long that the city of Dixon had to slash its budget and borrow to keep afloat? New documentary All the Queen’s Horses, which has a free screening at N.C. State on March 19, aims to answer that question without glamorizing or diagnosing the perpetrator, sidestepping the sensational aspects of the case to explore the conditions that created the opportunity for Crundwell to embezzle so much. According to the film’s director and producer, Kelly Richmond Pope, those conditions aren’t unique to Dixon. They mirror what fraud investigators around the country frequently find: a trusted person controlling all aspects of an organization’s financial management, a lack of institutional financial literacy, and few internal controls. “This is not the Rita Crundwell story. This is the story of how a person can execute a

Above: Rita Crundwell. Below: Kelly Richmond Pope. PHOTOS COURTESY OF KARTEMQUIN FILMS

fraud like this, how it can happen anywhere and be committed by anyone,” Pope says. It’s a story that Pope, a Durham native who is now a professor of accounting at Chicago’s DePaul University, is uniquely suited to tell. Along with her teaching and research, she has worked as a forensic accountant who investigates fraud and embezzlement. At N.C. State, Pope will be present to answer questions after the screening. This is her first foray into long-form documen-

tary filmmaking. She had made some educational films as a teaching aid, but she developed All the Queen’s Horses as part of Kartemquin Films’ Diverse Voices in Docs program. The Chicago-based company coproduced and is distributing the film. Pope hopes it will start a conversation about the dangers of municipal fraud in communities across the country. While it can seem like a distant issue or become obscured by titillating details, it has real impact on citizen’s lives. It’s an issue that has hit close to home in the Triangle recently. Last December, Wake County Register of Deeds Laura Riddick was indicted, along with three others, of embezzling $1.1 million. “These frauds cost us all,” Pope says. “They erode our sense of government and our participation in the processes that we all have to pay for. The powerful message in this film is that we all have a Rita in our organization.” arts@indyweek.com

Your week. Every Wednesday.

INDYWEEK.COM INDYweek.com | 3.14.18 | 21

WHAT TO DO THIS WEEK

Porches PHOTO COURTESY OF GROUND CONTROL TOURING TUESDAY, MARCH 20 FRIDAY, MARCH 16–SUNDAY, MARCH 25

PORCHES

Cary’s Page-Walker Hotel building, now home to the city’s arts and history center, celebrates its sesquicentennial this year. It’s a nice place to visit—but you wouldn’t want to spend eternity there. Should you doubt it, consider the three characters who face that very fate in a private, tasteful hell, tucked away on the building’s third floor. In Nobel laureate Jean-Paul Sartre’s classic existential drama, no fire and brimstone await a trio condemned for their specific sins. Instead, they gradually learn how uniquely suited they are to torture one another in perpetuity, just by being themselves. In short, it’s the embodiment of Sartre’s famous dictum, “Hell is other people.” Raleigh theater veteran Kurt Benrud directs Joanna Vickery Herath, Melanie Simmons, and Thom Haynes for Cary Playwrights Forum and Pequod Productions. —Byron Woods

One of my favorite albums of the decade we’re winding down is Pool, a 2016 release by New York-based electro-pop charmer Aaron Maine, who records as Porches. Contrasting soft, fumy stoner moods with dance music so sharp it seems etched in moonlight, Maine crafted a record that was somehow subdued and urgent at once, equally suitable for getting ready to go out clubbing or sinking into a beanbag chair with a hookah afterward. The chiaroscuro palette carries through in his synths and basses, the former high and shimmering, the latter low and black as pitch, creating an impression of ink tumbling and twisting through vast waters, now turbulent, now still. Somewhere in the center is his discreetly louche voice, its just-woke-up languor adding to the songs’ sexiness and sensitivity alike. The House, the album he released this year, trades Pool’s taut arc for more of a dreamy sprawl, but it still flickers ambiguously between pre- and post-coital vibes, between the bedroom and the dance floor. With Girl Ray. —Brian Howe

PAGE-WALKER ARTS AND HISTORY CENTER, CARY Various times, $12–$14, www.caryplaywrightsforum.org

MOTORCO MUSIC HALL, DURHAM 8 p.m., $14–$16, www.motorcomusic.com

NO EXIT

22 | 3.14.18 | INDYweek.com

3.14–3.21

Boléro PHOTO COURTESY OF CAROLINA BALLET THURSDAY, MARCH 8–SUNDAY, MARCH 25

BOLÉRO

As composer Maurice Ravel himself admitted, Boléro, his most famous work, is musically minimal: seventeen nearly identical iterations of the same theme, with little variation or development, aside from the number of instruments gradually joining in the march toward an inexorable climax. Yet the suite has repeatedly fueled the imaginations of choreographers and Olympic ice skaters (not to mention the erotic fantasies of filmmakers) since its 1928 premiere. After backing Bo Derek and Dudley Moore’s steamy sex scene in the 1980 film 10, Boléro finished third in a 2012 Spotify poll for most popular make-out music (behind Marvin Gaye, and two slots ahead of Barry White). Hot stuff. But what does Carolina Ballet guest choreographer Lynne Taylor-Corbett hear in Ravel’s famous theme? These clues come from the subsections in the playbill: “The Couple,” “The Sun,” “The Sea,” and “The Wind.” —Byron Woods FLETCHER OPERA THEATER, RALEIGH | Various times, $32–$91, www.carolinaballet.com

FRIDAY, MARCH 16

PAT JUNIOR

Taking advantage of the momentum that has made him one of the Triangle’s most talked-about emcees, Raleigh’s Pat Junior prepares to release the sequel to last year’s acclaimed black & mild EP at a release show featuring Nance, Tony G, R.J. Hatton, Miniluv, and Marc Anthony Figueras. The rapper has done a remarkable job garnering attention across genres by maintaining the enthusiasm of hip-hop heads through lyricism and tantalizing audiophiles with his eclectic production style. He could produce an instrumental album by himself or make a rap record produced by someone else and both projects would both be thoroughly enjoyable. Musical chops aside, the people who Pat Junior surrounds himself with are integral to his final product, and the release show reflects that. The lineup that looks like an indie Super Friends; everyone involved is individually extraordinary. —Charles Morse NEPTUNES PARLOUR, RALEIGH | 10 p.m., $10–$12, www.kingsraleigh.com

WHAT ELSE SHOULD I DO?

ALL THE QUEEN’S HORSES AT N.C. STATE (P. 21), BLANKO BASNET AT THE PINHOOK (P. 17), MARIA BRITTON & APRIL CHILDERS AT LUMP (P. 28), BULL CITY BLACK THEATRE FESTIVAL AT MANBITES DOG (P. 18), HOLLIE COOK AT MOTORCO (P. 16), FANTASTICREALM AT THE CAROLINA THEATRE (P. 32), GIRL IN SPACE AT N.C. STATE (P. 30), NC COMICON: OAK CITY AT THE RALEIGH CONVENTION CENTER (P. 10), VOICE RISING AT FLYLEAF BOOKS (P. 32) INDYweek.com | 3.14.18 | 23

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

WED 3/14

RECENTLY ANNOUNCED: Bob Schneider, Mad ClownPM, & San E, 29 @Slaughter 8:00 MaimounaWED Youssef,JUN Great Peacock, to Prevail $12/$15 Spring Peoples Alliance PAC candidate mixer

RICHIE RAMONE

w/ POISON ANTHEM RICHARD BACCHUS & THE LUCKIEST GIRLS

THU 3/15

MAC SABBATH

7/1 LOOK HOMEWARD / THE MIDATLANTIC

FRI

W/ MEGA COLOSSUS

TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE FRI 3/16 REBIRTH BRASS BAND / The Get Right Band WAILIN STORMS / HUNDREDFTFACES FRI

FRI 3/16

7/8 SolKitchen & The Art of Cool Project: The Art of Noise #Durham

3/21 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/23 of MONTREAL W/ MEGA BOG ($17) 3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA

3/31 WXYC 2000'S DANCE ($5 UNC STUDENTS/ $8 GA)

Extravaganza/ REBECCA NEWTON with WES COLLINS TUE 7/12St. Patricks DANNYDaySCHMIDT with Duck Duck Goose 5pm (at Parts & Labor) THU3/177/14NS2Storymakers: Durham, CommunityPODCAST Listening Event SAT & Emporium Presents THE NOSLEEP SOLD OUT SUN SAT3/187/16WILDPINKERTON / ST. ANTHONY & THE MYSTERY TRAIN CHILD / FamilyRAID & Friends

4/7 HILLMATIC 2018 FT. BRAND NUBIAN, RAPPER BIG POOH, DJ FLASH ($20 ADV/ $25 DAY OF)

SAT 3/17

WED JUN THE RAGBIRDS

29 @ 8:00

SUN JUL 17 @ 8:00 PM PM, $12/$15 $12/$15

RICHIE RAMONE WILD THECHILD RAGBIRDS SUN 3/18

W/ FAMILY & FRIENDS

w/ POISON ANTHEM TUE 3/20 PORCHES /RICHARD Girl Ray BACCHUS & THE LUCKIEST GIRLS

MON 7/18 MAIL THE HORSE FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC FRI JUL 22 @ TUE8:00 7/5 PMJOHN CrankCOWAN It Loud: NOTHING / CULTURE ABUSE TUE 3/20 $25/$30 WAILIN STORMS / HUNDREDFTFACES

PORCHES W/ GIRL RAY FRI 7/8 SolKitchen & The Art of Cool Project:

JOHN COWAN w/ DARIN & BROOKE ALDRIDGE MON 7/11 Regulator Bookstore presents

WED 3/21

HOLLIE COOK / Dub#Durham Addis plus DJ Bug Spray The Art of Noise

S D R I B G A R E TH SAT 7/23 Girls RockHAVRILESKY: Showcase Ask Polly Live HEATHER

TUE Comedy/ REBECCA Night:NEWTON with WES COLLINS TUE 7/26 7/12 Motorco DANNY SCHMIDT ANDY WOODHULL / ADAM COHEN THU 7/14 Storymakers: Durham, Community Listening Event er s -P op Ma tt FRI 7/29 YOUNG BULL Album Releases"Show tr av el er WED SAT3/217/16 at PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN e ar tis tic "C on su mm w/ ALIX AFF / DURTY DUB W/ DUB ADDIS PLUS DJ BUG SPRAY SUN JUL 17 SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, JARED & THE MILL, @ 8:00 PM THU 3/22 IYA TERRA / Treehouse THE RAGBIRDS HAL KETCHUM, Doors: 7pmNRBQ, LIZ VICE, WINDHAND, $12/$15

HOLLIE COOK

GANGSTAGRASS / Durty Dub’s “Charley Pride BAND Tribute”OF SKULLS, CODY CANADA & THE DEPARTED, RUSSIAN CIRCLES, Show: 8pm SAT 3/24 VESPERTEEN / VINYL THEATRE / The New Schematics SISTER SPARROW & THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM SUN 3/25 LAWSON Cary presents show including hits you DOYLE QUICKSILVER, THEanother RECORDbangin’ COMPANY, ADRIAN LEGG, $15 DAYSchool OFof& Rock andBAND, love byMYAerosmith, various New Wave and Grunge bands, REBIRTHknow BRASS BRIGHTEST DIAMOND, KARLA BONOFF, ! W O N LE and MAIL much more! TALIB KWELI, LOUDON AVIIIAILAB MON 7/18 THE HORSE M UWAINWRIGHT ALB H" T SUNN 3/25 EW R A 9th Incarnation Benefit for Duck KeeTStudios: E H HE &Fox, The LD O FRI JULSchooner, 22 H S Reese McHenry & the Kneads, Good Graces, E R H E TPM "T@H8:00 Tegucigalpan, Stray Owls, Regina JOHNAVE COWAN 723 RIGSBEE - DURHAM, NC C-Hexaphone MOTORCOMUSIC.COM OM $25/$30 I R D S. MON 3/26 .T E R A G BPresents Black Atlantic: JOAN SORIANO HPerformances W W W Duke TUE 3/27 Duke Performances Presents Black Atlantic: EMELINE MICHEL WED 3/28 Duke Performances Presents Black Atlantic: BETSAYDO MACHADO Y LA THU 3/29 Duke Performances Presents Black Atlantic: TRIO DA KALI MALI SAT 7/23 Girls Rock Showcase FRI 3/30 Duke Performances Presents Black Atlantic: AURELIO TUE SAT 3/317/26ThirdMotorco Annual RockComedy Roulette: ANight: Benefit for Girls Rock NC ANDY WOODHULL / ADAM COHEN MON 4/2 Cat’s Cradle Presents er s PEAKS with THEAlbum DISTRICTS / Nude Party -P op Ma tt FRI 7/29TWINYOUNG BULL Release Show av el er s" tis tic tr e ar TUE 4/3 JAPANESE at w/ ALIX AFF / DURTY /DUB BREAKFAST Art School Jocks "C on su mm THU 4/5 The Sol Kitchen presents The Restoration of an American Idol Tour SUN JUL17 COMING SOON: JULIETTE LEWIS,plus YARN, JARED & THE MILL, with TAYLOR BENNETT Special Guests HAL4/6KETCHUM, VICE,y WINDHAND, Doors: 7pmNRBQ, /LIZZensofl FRI BOULEVARDS / N’kogniito CODY CANADA Show: 8pm& THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, COMING SOON: WAXAHATCHEE, HURRAYKING,FOR THE RIFF RAFF, SISTER SPARROW & THE DIRTY BIRDS, $12 ADV 723 RIGSBEE - DURHAM, NC - MOTORCOMUSIC.COM THE WAR & THE TREATY, WALKER LUKENS, THEAVENTH POWER, SURFER BLOOD, LAWSON RECORD COMPANY, ADRIAN $15 DAY OF & QUICKSILVER, THEDOYLE EAST POINTERS, SKINNY LISTER,THECHANTAE CANN, ALVVAYS, HOP LEGG, ALONG, REBIRTH BRASS DIAMOND, TOMORROWS BAD BAND, SEEDS,MY BRIGHTEST FRANKIE ROSE, KID KARLA KOALA,BONOFF, HAMMERFALL, ! W O N LE AB & DANNY, ABORTED, RODDY (OF THEU SPECIALS), AILTRACYANNE TALIBRADIATION KWELI, LOUDON III AVPOND, M LB WAINWRIGHT FRI 3/23

THE RAGBIRDS

The Threshold & The Hearth THE RAGBIRDS

JOHN COWAN w/ DARIN & BROOKE ALDRIDGE

S D R I B G A R E TH

A BOWIE’S TALKING DREADS, DARK TRANQUILITY NEW MYSTIC HEARTH" OLD & THE H S E R H T "THE The Threshold & The Hearth

723 RIGSBEE AVE - DURHAM, S. NC C- MOTORCOMUSIC.COM OM

THE RAGBIRDS

W W W .T H E R

AGBIRD

24 | 3.14.18 | INDYweek.com

SU 3/18 @CAT’S CRADLE BACK ROOM

4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER 4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20)

MON 7/11 Regulator Bookstore presents

TU 3/20 @CAT’S CRADLE BACK ROOM SHAME AND SNAIL MAIL

3/30 CIGARETTES AFTER SEX ($20/$23)

REBIRTH BRASS BAND HAVRILESKY: Ask Polly Live W/ THE GET RIGHTHEATHER BAND

FR 3/16

DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY

MEN I TRUST SA 3/24 @CAROLINA THEATRE (DURHAM) LUCIUS (ACOUSTIC)

4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14)

4/10 AND 4/11 YO LA TENGO ($22/$24)

WE 3/21

MOOSE BLOOD

BORN RUFFIANS

4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20)

CAT'S CRADLE BACK ROOM

4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22)

3/16 KYLE PETTY W/ DAVID CHILDERS ($20)

4/15 SABA ($16/$18) 4/16 WOLF ALICE W/ THE BIG PINK ($18/$20) 4/18 DR DOG ($27.50/ $30) 4/20 SUSTO ($12/$15) 4/21 YUNG GRAVY

SOLD OUT

4/22 JOEY BADA$$ W/ BUDDY AND BOOGIE ($26) 4/24 THE MAINE W/THE TECHNICOLORS ($23/$25) 4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18) 4/28 THE AFGHAN WHIGS AND BUILT TO SPILL W/ ED HARCOURT ($35) 5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28) 5/7 MELVINS ($20/$22) 5/8 BAHAMAS ($16/$18)

5/10 WYE OAK ($16/$18) 5/12 NORTH MISSISSIPPI ALLSTARS ($20/$23) 5/18DAVID BROMBERG (SEATEDSHOW) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29)

6/3 POND W/ FASCINATOR ($15)

3/18 MEN I TRUST W/ DEAD BEDROOMS($10/$12)

4/13 TYRONE WELLS W/ GABE DIXON ($15)

3/21 NEIL HILBORN ($15/$20)

3/19 BORN RUFFIANS W/ FLEECE

4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10)

LOCAL 506 (CHAPEL HILL)

4/15 SPLIT ENDS - A BAD NEWS MEDIA FILM ($5)

5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12)

3/20 SHAME / SNAIL MAIL W/ SPECIAL GUEST BAT FANGS ($12) 3/21 COURTNEY MARIE ANDREWS W/ MAT DORRIEN ($12/$14) 3/22 MARTI JONES & DON DIXON ($15- SEATED SHOW) 3/23 KYLE CRAFT W/ERIE CHOIR ($10/$12) 3/24 URBAN SOIL W/ TENNESSEE JED ($10) 3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17) 3/26 S CAREY W/ GORDI, XOXOK ($15)

3/29 THE BLUEGRASS EXPERIENCE ($10) 3/30 MOVEMENTS W/CAN’T SWIM, SUPER WHATEVR, GLEEMER ($13/$15) 3/31 STOP LIGHT OBSERVATIONS ($10/$12) 4/1 nothing, nowhere. W/ SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15)

5/25PETER HOOK & THE LIGHT ($28/$31)

4/5 THAT 1 GUY ($15)

6/3 TYLER CHILDERS ($18/$20)

4/6 GRIFFIN HOUSE

6/19 STEPHEN MALKMUS & THE JICKS ($20/$23)

4/7 JPHONO1 AND THE CHEVRONS W/SHELLES, HECTORINA, AND HONEY DUCHESS ($6/ $8)

6/23 THE FEELIES ($20/$23)

5/7 HOP ALONG W/SAINTSENECA ($15/$17)

3/17 THE BAD CHECKS AND DEX ROMWEBER ($8 /$10)

4/4 DYLAN LEBLANC AND THE ARTISANALS ($10/$12)

10/11 APARNA NANCHERLA ($22/$25; ON SALE 3/16)

SOLD OUT

5/5 ALVVAYS W/ FRANKIE ROSE

6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) ($18/$20)

5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20)

6/21 MANCHESTER ORCHESTRA ($23 /$28)

4/11 TRAVIS MARVIN WITH JAKE JANDREAU ($20)

5/3 BOB SCHNEIDER ($20/ $23; ON SALE 3/16)

4/12 MO LOWDA & THE HUMBLE W/ ARSON DAILY AND LEFT ON FRANKLIN ($10/ $15 FOR 2 TIX)

3/27 MARC RIBOT'S CERAMIC $10 advance / $12 day of DOG ($18/$20)

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

MO 3/19 @CAT’S CRADLE BACK ROOM

4/9 KATE RHUDY AND THE BROTHER BROTHERS ($8/$10) 4/10 MESSTHETICS W/THE BRONZED CHORUS, ELVIS DIVISION ($10)

$10 advance / $12 day of

4/17 THANK YOU SCIENTIST ($15) 4/19 WEAVES W/ STEF CHURA ($10/$12) 4/23 DURAND JONES & THE INDICATIONS ($13/$15) 4/26 PATRICK SWEANY ($12/ $15) 4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14)

ARTSCENTER (CARRBORO)

4/20 GREG BROWN ($28/$30)

THE RITZ (RAL)

4/6 RAINBOW KITTEN SURPRISE

SOLD OUT

4/7 RAINBOW KITTEN SURPRISE

SOLD OUT

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKAS LD NELSON & PROMISE OF THE REAL SO OUT 5/13 OH WONDER 5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA

SOLD OUT

5/4 CAITLIN ROSE W/ THE KERNAL ( $10/$12)

6/27 BEACH HOUSE

5/5 THE COLLECTION W/ THE PINKERTON RAID($12/$14)

3/30 SORORITY NOISE LD W/ REMO DRIVE, JELANI SEI SO OUT

5/9 GIVERS ($15)

4/5 THE MESSTHETICS W/ MOTHERFUCKER, PATOIS COUNSELORS ($10/$12)

5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA 5/11 THE MOTHER HIPS 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) 5/20 ICEAGE ($14/$16) 6/3 SUNFLOWER BEAN ($12) 6/5 POST ANIMAL ($12/$14) 7/13 PIERCE PETTIS ($15)

KINGS (RAL)

RED HAT AMPHITHEATRE (RAL)

5/3 FLEET FOXES HAW RIVER BALLROOM

3/23 GODSPEED YOU! BLACK LD EMPEROR W/KGD SO OUT 4/20 JEFF TWEEDY -- SOLO

SOLD OUT

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

CAROLINA THEATRE (DUR)

NORTH CAROLINA MUSEUM OF ART

3/24 LUCIUS (ACOUSTIC) W/ETHAN GRUSKA

6/8 FIRST AID KIT W/ JADE BIRD

MOTORCO (DUR)

8/18 TROMBONE SHORTY'S VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON

4/2 TWIN PEAKS W/ THE DISTRICTS, NUDE PARTY 4/11 WAXAHATCHEE AND HURRAY LD FOR THE RIFF RAFF SO OUT

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

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

6/23 MANDOLIN ORANGE

DURHAM PERFORMING ARTS CENTER

9/29 JOAN BAEZ FARE THEE WELL TOUR.

music 3.14 – 3.21

WED, MAR 14

2ND WIND: Yeaux Katz; 7-9 p.m., free. CAT’S CRADLE (BACK ROOM): Brew Davis, The High Top Boys; 8 p.m., $10–$12. THE CAVE: Reese McHenry Residency; 8 p.m., $5–$7. HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

The River, they collaborate with Pueblo musician Robert Mirabel to tell a story about water and its importance to life. Mirabel often leads the way, singing, reciting, and playing his custom-built flutes while Ethel knit a tight, shifting web of sound that draws inspiration from around the world. —Dan Ruccia

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

THE PINHOOK: Alex Aff, Danny Blaze, Kamus Leonardo, Kelly Kale, Chelsea Inspire, Ducee Droptop; 9 p.m., $15.

NIGHTLIGHT: Allison de Groot & Tatiana Hargreaves, Andy Cahan & Joseph Decosimo; 8 p.m., $10–$12.

POUR HOUSE: Local Band Local Beer: Foxture, Ages of Sage, TYNY; 8 p.m., $5.

THE PINHOOK: Free Improvised Music: James Gilmore, Ned Ferm, Butler Knowles, Donovan Cheatham; 8:30 p.m., donations.

FRI, MAR 16

POUR HOUSE: Dr. Beardface & The Spaceman; 8 p.m., $5–$7.

618 BISTRO: Randy Reed; 7-9:30 p.m.

THU, MAR 15

THE ARTSCENTER:

2ND WIND: Skinny Bag of Sugar.

Ned Ferm

2ND WIND: 2 fer; 7:30-9 p.m.

[$12/8:30 P.M.]

4020 LOUNGE: African Rhythms; 10 p.m., $5.

Saxophonist and singer Ned Ferm is one of the rare players equally comfortable unleashing waves of paint-peeling free jazz one minute and glittering, intimate country the next. His most recent album, Spent All the Money, is all limber country tunes that show off the sweeter side of his saxophone playing. Over a handful of shows in the Triangle this week (he performs Sunday at Neptunes Parlour in Raleigh), he’ll team up with Greensboro guitarist James Gilmore and some of the best bassists and drummers in the area to explore every aspect of his expansive sound. —Dan Ruccia

BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. THE CAVE: Cosmic Punk, Fawn, Hayden Arp, Brent Pontillo; 8 p.m., $5. LINCOLN THEATRE: John Kadlecik Band; 7 p.m. MOTORCO: Mac Sabbath, Mega Colossus; 8 p.m., $15–$30. N.C. STATE’S STEWART THEATRE:

Ethel with Robert Mirabel [$6–$32/8 P.M.]

Back in the seventies and eighties, it was revolutionary for string quartets like the Kronos Quartet to engage with music outside the classical canon in a serious way. In the Kronos’ wake, countless groups have appeared pushing and blurring those boundaries, with Ethel leading the next generation of genre-crossers. For this project,

BERKELEY CAFÉ: Charles Latham & the Borrowed Band; 8 p.m. BEYÙ CAFFÈ: #Epitome Band; 7 & 9 p.m., $15. BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. THE BULLPEN: Abe Reid, Harvey Dalton Arnold; 8:30 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM Weedeater performs Friday at Local 506.

PHOTO BY SCOTT KINKADE

INDYweek.com | 3.14.18 | 25

CAT’S CRADLE:

Diali Cissokho & Kaira Ba, The Old Ceremony [$10–$12/8 P.M.]

Sometimes you still can find plenty of fun in going with what you know, which is the case with this particular gig. It’s a bit of an unusual bill: the West African leanings of Diali Cissokho & Kaira Ba paired with the florid rock of The Old Ceremony. Even so, the local staples can still get you to kick up your heels or pause and think. The Old Ceremony is at work on new material, and you may be able to get a preview of the band’s next chapter here. —Allison Hussey THE CAVE: Karol Peril, Joe Romeo and the Juliets, Continuous Wave; 9 p.m., $5. LINCOLN THEATRE

J Roddy Walston & The Buisness [$15/9 P.M.]

Favoring a glossier arena rock approach reminiscent of Kings of Leon, on last year’s Destroyers of the Soft Life, J Roddy Walston and

FR 3/16 3/16-18

the Business continued to distance themselves from the hallmarks of its swaggering early work: beefy Southern rock riffs backed by R&Binfluenced grooves and howled vocals atop pounded piano. Fortunately, the Baltimore band still brings it live, as raucous, shout-along refrains rule the night while Walston thrashes his about the stage. —Spencer Griffith LOCAL 506:

Weedeater

[$22–$25/8:30 P.M.] Released in 2007, God Luck and Good Speed, the third record from sloth-like Wilmington trio Weedeater (and their first for vaunted metal label Southern Lord), betrayed a fondness for typical stoner-metal subject matter. There’s some schlocky, expected humor (“Wizard Fight”) and some cannabis enthusiasm (“Weed Monkey”), sure. But Luck’s more frequent fuck-offs cemented Weedeater as indignant individualists set on self-sovereignty: Consider their cover of Skynyrd’s “Gimme Back My Bullets,” and the title track, on which “Dixie” Dave Collins sings, “Untied,

Palm performs Wednesday, March 21st, at The Pinhook.

PHOTO BY DYLAN PEARCE

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we stand/Long live dirt weed/ Mankind is unkind, man,” spitting the double entendre with vim and venom. For all its bongwater stench and chestrattling volume, Luck is angry and daring, intelligent and dynamic; it’s hard to argue that Weedeater was ever better than on that record. They play it front to back tonight. Bask and Hyborian open. —Patrick Wall THE MAYWOOD: Tony Dio’s Birthday Bash: Lexx Luthor, Cerebus, Knightmare; 9 p.m., $10.

SUN, MAR 18 BEYÙ CAFFÈ: Frank McComb; Mar 6 & 8 p.m., $20. CARY ARTS CENTER: Championship Brass; 4 p.m., $5–$10. CAT’S CRADLE: Men I Trust with Dead Bedrooms; 8 p.m., $10–$12. THE CAVE: Stammerings, Matthew Carroll, Five Mile Radius; 9 p.m., $5. DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. HAYES BARTON UNITED METHODIST CHURCH: Stephen Aber; 3 p.m., free.

MOTORCO: Rebirth Brass Band, The Get Right Band; 8 p.m., $20–$40.

MOTORCO:

THE PINHOOK: Blanko Basnet, The Hot at Nights; 9 p.m., $5. See page 17.

[$14–$16/8 P.M.]

POUR HOUSE: LITZ, Hustle Souls, The Up & Up; 8 p.m., $10. ROCK HARBOR GRILL: Bruce Clark Trio; 9 p.m.-midnite, free. ST ANDREWS PRESBYTERIAN CHURCH: Forte Handbell Quartet; 7 p.m., free.

SAT, MAR 17 BEYÙ CAFFÈ: Frank McComb; 7 & 9 p.m., $20. THE BULLPEN: Andrew Alli; 8:30 p.m., free. CAT’S CRADLE: The Bad Checks and Dex Romweber; 9 p.m., $8–$10. THE CAVE:

Trippers & Askers [$5/9 P.M.]

Durham-based Jay Hammond crafts soft, shadowy music under the name of Trippers & Askers. Equally interested in the straightforward arc of a pop song as the amorphous amblings of ambient music, Trippers & Askers is most enjoyable when Hammond is getting lost in textural nuance. His collages of pure sound— composed of synths, shakers, samples of birds cooing— create more immersive musical. With Chessa Rich and Names of War. —Noah Rawlings

WILD CHILD You might expect a band out of Texas called Wild Child to play fast-and-loose, raucous Southern rock. That’s not quite the case with this Austin quartet, which offers pleasant and polite pop-rock. The group’s latest record, February’s Expectations, is a clean-cut record of polished tunes that are adorned with touches of ukulele, piano, and trombone for an extra dash of likability. Local fans of laterperiod Holy Ghost Tent Revival will find plenty to love with Wild Child’s tunes. Family & Friends, from Athens, Georgia, opens with similarly polished radio-ready songs. —Allison Hussey THE PINHOOK:

Dwight Hawkins & The Piedmont Highballers [$5/8 P.M.]

THE PINHOOK: Soft Kill, Choir Boy; 9 p.m., $10.

If you missed the recent Nightlight gig from Dwight Hawkins & the Piedmont Highballers, consider this your mandatory make-up date. The band specializes in high-quality, straight-ahead interpretations of old-time music and prewar string band music. The quartet’s sprightly, toe-tapping picking is immediately infectious, and Hawkins’ flourishes on the singing saw add an extra element of delight. Even when they’re playing the blues, it all sounds pretty sweet; arrive ready to hoot and holler. Ragweed Brass opens with peppy Dixieland and ragtime-inspired tunes. —Allison Hussey

POUR HOUSE: Sound System Seven; 1 p.m., $5. Dr. Bacon, Arson Daily; 8 p.m., $7–$10.

POUR HOUSE: Down By Five and At The Compound; 1-5 p.m., $5. Milagro Saints, Kenny Shore; 7:30 p.m., $7–$10.

LINCOLN THEATRE: ID; 9 p.m. THE MAYWOOD: Outliar, Gross Reality, Era Gone; 9 p.m., $10. MOTORCO: St. Patrick’s Day Extravaganza; 11:30 a.m., free.

Yamantaka//Sonic Titan performs Monday at Duke Coffeehouse. WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, MAR 19 CAT’S CRADLE: Born Ruffians and Fleece; 8 p.m., $15–$17. DUKE COFFEEHOUSE:

Yamantaka// Sonic Titan, Tundrastomper

[$5, FREE WITH DUKE ID/8:30 P.M.] The collective Yamantaka // Sonic Titan cheekily call their idiosyncratic rock style “Noh Wave,” after the anarchic seventies downtown NYC movement and the traditional style of Japanese masked drama. On the heels of a new album Dirt, which they claim is “the soundtrack for an unreleased Haudenosaunee and Buddhist-themed Anime,” they return to the Triangle as a brawny fivepiece to showcase more operatic freak-rock. Western Massachusetts art rockers Tundrastomper are just as weird, but in a brainier way. Their songs pack all the standard punch of modern northeast Double Double Whammy indie rock, only

to spiral out into strange unexpected fractals, like experimental prog gone lo-fi. Thankfully, they never quite lose themselves to fuzz or full wankery. Fans of theatrical rock will enjoy this one. —David Ford Smith IMBIBE: Grewen and Griffin; 7-10 p.m., free. MOTORCO: Flash Chorus; 7 p.m., $7–$10. PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10. RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, MAR 20

PHOTO COURTESY OF PAPER BAG RECORDS

recently called the group “2018’s angriest, shoutiest young British guitar band.” In the middle of the bill, Baltimore’s young Snail Mail serves up loose, heartfelt tunes that belie frontwoman Lindsay Jordan’s eighteen years; Jordan’s more relaxed songwriting sensibilities complement Shame’s sharpness well. Bat Fangs open with their heavy-hitting and infectious glam-inspired rock. —Allison Hussey

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

DUKE’S BALDWIN AUDITORIUM: Duke Chorale; 8 p.m., free.

[$12–$14/9 P.M.]

MOTORCO: Porches, Girl Ray; 8 p.m., $14–$16. See page 22.

THE ARTSCENTER: Omar Sosa & Seckou Keita; 8 p.m., $28.

WED, MAR 21

CAT’S CRADLE BACK ROOM:

2ND WIND: Yeaux Katz; 7-9 p.m., free.

[$12/8:30 P.M.]

BLUE NOTE GRILL: The Herded Cats; 8 p.m.

Shame, Snail Mail

THE ARTSCENTER: Neil Hilborn and Many Rooms; 8 p.m., $15–$20.

If you’re in dire need a smorgasbord of rougharound-the-edges rock, this weeknight bill is worth rallying for. Hailing from London, Shame slings moody post rock that seethes and swings—The Guardian

CAT’S CRADLE: Moose Blood and Lydia & McCafferty; 8 p.m., $18–$22. CAT’S CRADLE (BACK ROOM): Courtney Marie Andrews and Matt Dorrien; 8 p.m., $12–$14. THE CAVE: Reese McHenry Residency; 8 p.m., $5–$7.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free. LINCOLN THEATRE: New Politics, Dreamers, The Wrecks; 6:30 p.m. MOTORCO: Hollie Cook, Dub Addis, DJ Bugspray; 8 p.m., $14–$16. See page 16. THE PINHOOK:

Palm

Last month, Philadelphia’s Palm released Rock Island, their second record in as many years for Washington, D.C.’s Carpark Records. The title is oddly fitting, as the group’s inexplicably feels like experimental rock infused with tropical sensibilities. “Composite” starts off sounding like a lost, warped Beach Boys tune, but fidgety guitar riffs spin it in another direction entirely. The band’s unusual approach is a consistent thrill—trying to keep up with Palm as their songs unfold means staying on your toes, but that’s much of the fun. The Spirit of the Beehive and Earthly open. —Allison Hussey INDYweek.com | 3.14.18 | 27

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OPENING The Art of War: Art about contemporary military experience by Trish Brownlee, Alicia Dietz, and Folleh Tamba. Thru May 12. Artspace, Raleigh. www.artspacenc.org. SPECIAL The Found Object EVENT Collection: Collages by Sam Lasris and works on paper by Hendrika Vande Kemp. Mar 16-Apr 14. Reception: Fri, Mar 16, 6-9 p.m. The Scrap Exchange, Durham. www.scrapexchange.org. I Heart Art 2018 Community Fundraiser: Art Therapy Institute fundraiser with live music, refreshments, cash bar, art-making, silent auction, and a performance by Imagine Circus. $25 suggested donation. Sun, Mar 18, 1-3 p.m. Top of the Hill, Chapel Hill.

“Corrected Grammar” by April Childers

“Melt” by Maria Britton

PHOTOS COURTESY OF LUMP

FRIDAY, MARCH 16

APRIL CHILDERS & MARIA BRITTON There’s been a changing of the guard at Lump, Raleigh’s best gallery for weird art, with Kelly McChesney handing over the directorship to April Childers. To get a sense of the perspective Childers will bring to the gallery, you could hardly do better than to check out her show (which was booked by McChesney before the leadership change), Sensitive Situation, which runs through April 28 after this opening reception. Childers’s work integrates objects and images from pop culture and her personal life to shatter and

rebuild the context of the everyday. Her show opens alongside one by Maria Britton, Childers’s partner in the itinerant LOG (Low Occupancy Gallery) project; Britton’s work in Low Relief blends painting, sewing, and sculpture to probe “femininity and feminism, high and low forms of art making, and dreams and disasters.” —Brian Howe

LUMP, RALEIGH | 6–9 p.m., free, www.lumpprojects.org

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM 28 | 3.14.18 | INDYweek.com

I was a kid: Paintings by Marcela Slade. Fri, Mar 16, 6-9 p.m. Golden Belt, Durham. www.goldenbeltarts.com. SPECIAL Low Relief: Maria EVENT Britton. Mar 16-Apr 28. Reception: Fri, Mar 16, 6-9 p.m. Lump, Raleigh. www.lumpprojects.org. Seeing is Believing: An Immersive Media Festival: Virtual and augmented reality exhibit. $10. Fri, Mar 16, 6-10 p.m. Augmentality Labs, Durham. augmentalitylabs.com. SPECIAL Sensitive Situation: EVENT April Childers. Mar 16-Apr 28. Reception: Fri, Mar 16, 6-9 p.m. Lump, Raleigh. www.lumpprojects.org.

ONGOING American Red Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Art to Live By: Paintings by Michael Banks. Thru Apr 22. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

As·sem·blage: Ceramic sculpture by Raleigh artist Rosalie Midyette. Thru Mar 31. Claymakers, Durham. www.claymakers.com. Awakening: Paintings by local artists Stephen Moore and Susan Hecht. Thru Mar 31. ArtSource Fine Art, Raleigh. www.artsourcefineart.com. Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection: We’re in more of an “emperor wears no clothes” age than one of enlightenment, but the feminine gender is being dissected more forcefully than ever. Visitors will surely take this into consideration when viewing exquisite works from the Horvitz Collection of eighteenthcentury French art. Most are by well-known male artists such as Boucher and Fragonard. But several talented female artists are also represented, though

they were relegated to the gentle medium of pastel instead of oils. Antoine Vestier’s “Allegory of the Arts” (1788) is a marker of changing times, a lovely portrait of the artist’s daughter sitting at a desk and drawing a sculpture. She is an active subject, not a passive object, and scholars believe that she painted her own drawing on the canvas. Several works show the duplicitous demands placed on women: to be a saint, but also an embodiment of sexual desire; to be in a profession, but only a socially acceptable one; to be both strong and weak. Thru Apr 8. Ackland Art Museum, Chapel Hill. www.ackland.org. —Liz Hull Between Dirt and Sky: North Carolina sculptor Thomas Sayre (you might have caught his exhibit White Gold at CAM Raleigh in 2016) is nationally renowned for his large-scale outdoor sculptures, but you can get a more intimate look in this

small gallery show, featuring mixed-media works inspired by the cotton fields and farm buildings of the rural South as well as Sayre’s iconic earthcasts. Thru Apr 21. Craven Allen Gallery, Durham. cravenallengallery.com. —Brian Howe Business as Usual: This is big all around—the largest exhibit ever mounted of large-scale sculptures by a large-looming North Carolina artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works include motorized mechanisms that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might think you glimpse them moving in the corner of your eye.

Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu. —Brian Howe C o a s t s c a p e s: Coastal landscape paintings by Nancy Hughes Miller. Thru Apr 2. Liquid State, Raleigh. www.liquidstateraleigh.com Austin Caskie: Artspace satellite exhibition. 3-D models. Thru Mar 31. HQ Raleigh, Raleigh. Colors of Latin America: Paintings by Yholima VargasPedroza. Thru Mar 26. Durham Arts Council, Durham. www.durhamarts.org. Contemporary South ‘18: Artists from the South. Thru Mar 24. VAE Raleigh, Raleigh. www. visualartexchange.org. Earth Consciousness and Cultural Revelations: Mixed media artist Alyssa Hinton. Thru Apr 29. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

SPECIAL Electric Avenue: EVENT Pleiades artists. Thru Mar 31. Reception: Fri, Mar 16, 6-9 p.m. Pleiades Gallery, Durham. PleiadesArtDurham.com. Exposed: Nudes in Art 2018: Nudes by twenty-five artists. Thru Mar 29. Litmus Gallery, Raleigh. www.litmusgallery.com. SPECIAL Eyecentennial: Nate EVENT Shaeffer. Thru Mar 31. Reception: Fri, Mar 16, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s

own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe In Other Words: Portraits of local non-gender-conforming people by Libby O’Daniel. Thru Mar 31. Artspace, Raleigh. www.artspacenc.org. It’s All About the Story, Volume VI: Nancy Peacock: The gallery’s artists respond to Nancy Peacock’s book A Broom of One’s Own. Thru Mar 25. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

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William Goodson Mangum: Paintings. Thru Mar 30. Lee Hansley Gallery, Raleigh. leehansleygallery.com. On Press: Woodcuts by Ann Conner. Thru Mar 31. The Mahler Fine Art, Raleigh. www.themahlerfineart.com. Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com. Red Summer: Wendell A. White’s large-scale prints combining contemporary landscape portraits and historic newspaper accounts. Thru Jun 2. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. Redress Papers: Mixed-media on paper about unresolved issues of civil rights by Tyler Starr. Thru Apr 14. Artspace, Raleigh. www.artspacenc.org. Sentience: Paintings and drawings by Adam Cohen. Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org. The Shape of Fashion: Dress trends from the 1800s to the 900s. Thru May 6. NC Museum of History, Raleigh. ncmuseumofhistory.org. Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. www.gallerya-nc.com.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canonmakers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit. Thru Jul 15. Nasher Museum of Art, Durham. nasher.duke.edu. —Brian Howe Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31. Ackland Art Museum, Chapel Hill. www.ackland.org. The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape

the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Brian Howe The Wild: Leah Sobsey, Joy Meyer, and Jeff Whetstone videos in downtown Raleigh’s Market Plaza. Thru Jun 27. BLOCK2 Video Series, Raleigh. The Woman Who Made Snow: Photography by Anna Exum Snow. Thru Mar 31. Durham History Hub, Durham. museumofdurhamhistory.org. Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. co.orange.nc.us/library/carrboro. Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12. ERUUF Art Gallery, Durham. www.eruuf.org.

stage THURSDAY, MARCH 15–SATURDAY, MARCH 17

GIRL IN SPACE

Peter Lalush had never seen a sci-fi comedy with a female hero in the lead, so he wrote one last year as a senior at N.C. State. In his comic one-act, Girl in Space, Lana is the spunky IT systems analyst aboard the spaceship Underdog. She wakes to three dilemmas: the Underdog’s computer is buggy. The rest of the crew has gone missing. And although there’s plenty of food, water, oxygen, and fuel, the countdown to disaster starts when Lana learns the ship is almost out of an equally crucial resource: coffee. Lalush’s comedy won the 2017 Arts NC State Creative Artist Award, which led to its first full production this weekend. Lindsey Veros directs the premiere. —Byron Woods

KENNEDY-MCILWEE STUDIO THEATRE, RALEIGH | 7:30 p.m., $6–$10, theatre.arts.ncsu.edu 30 | 3.14.18 | INDYweek.com

BILL BURTON OPENING The Green Show: Transactors improv for families featuring Anoo Tree Brod, Bart Hubbard, and Juliet Kaplan. $6-$10. Sat, Mar 17, 6 p.m. The ArtsCenter, Carrboro. artscenterlive.org. Homegrown: A Comedy Showcase: Nationally touring comedian Brian Herberger with locals Lauren Faber, Vishal Krishnasami, Justin Scranton, and Mary Kate Morookian. Hosted by Jeremy Alder. $5-$7. Wed, Mar 14, 8 p.m. Local 506, Chapel Hill. www.local506.com. Murder Ballad: First production by Two Way Street Theatre. $17. March 16-18. Mystery Brewing Company, Hillsborough. www.mysterybrewing.com. No Exit: Play by Jean-Paul Sartre, presented by Pequod Productions. $12-$14. March 16-25. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org. Spring Works: New, Classical, and Contemporary Repertoire: Cary Ballet Company. $15-$20. March 17-18. Cary Arts Center, Cary. www.townofcary.org.

ONGOING Ain’t Misbehavin’: The Harlem Renaissance jazz pianist Thomas “Fats” Waller was larger than life: “Mama Waller’s 285 pounds of jam, jive, and everything,” he called himself on an early phonograph recording of the song that gives this Tony-winning 1978 musical revue its title. On stage and in films, Waller affected the persona of a mischievous, derby-sporting man about town, delivering arch repartee and song lyrics at an upright piano. At NRACT, a quintet of musicians sells the sophisticated sizzle of Waller’s greatest hits in a late-night club. Liz Grimes Droessler saw enough good auditions to cast the show twice, with a “blue” cast including Aya Wallace and Juan Isler and a “green” cast featuring Babs Watson and Stan Williams in alternating performances. $17-$20. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. —Byron Woods

Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com. Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. www.facebook.com/ BulltownComedySeries. The Dangling Loafer: $5. Third Fridays, 8 p.m. Kings, Raleigh. www.facebook.com/ TheDanglingLoafer. Framing the Shot: Did you catch the recent Facebook video in which a cat was carefully petting a bird? Framing the Shot is a bit like that: a comedy about characters playing against their perceived type. In its original version, which playwright Allan Maule directed in 2006, a professional gunman indulged in some male bonding and unlikely sensitive-guy behavior before committing a professional faux pas that made him reexamine his choice of careers. Now, when Sonorous Road artistic director Michelle Murray Wells read the script, she wondered what would happen if the gender of the main characters were flipped, and the work became an inquiry into the finer points of etiquette among women with guns instead. $20-$25. Thru Mar 25. Sonorous Road Theatre, Raleigh. www.sonorousroad.com. —Byron Woods The Harry Show: Ages 18+. Potentially risque improv games with audience volunteers. $10. Fridays & Saturdays, 10 p.m. ComedyWorx, Raleigh. www.comedyworx.com. Hush Hush: Audience confession comedy show. Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. www. thisismettlesome.com. Improv @ The Varsity: Sketch, improv, and stand-up. $6. Thursdays, 7:30 p.m. & Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com. A Midsummer Night’s Dream: Shakespeare play. $10-$15. Thru March 19. Kennedy Theater, Raleigh. dukeenergycenterraleigh.com.

The Sunday Show: Featuring Brian Herberger, Micah Hanner, Josh Rosenstein, Kathleen McDonald, and Drew Robertson. Sun, Mar 18, 7:30 p.m. Mystery Brewing Public House, Hillsborough. www.mysterybrewing.com. The Wizard of Oz: Name recognition is the main factor that entices theatrical talents to take on The Wizard of Oz. But it also makes most them think twice. How do you hold your own against the iconic performances or the budgetbusting sets and special effects of the beloved 1939 MGM film? That’s why a very conspicuous few, including Andrew Lloyd Webber, have attempted a stage version in recent years. The touring production copresented this week by NC Theatre and Broadway Series South isn’t Webber’s recent revamp. Instead, it’s the Paper Mill Playhouse production, which starred Mickey Rooney as the Wizard and Eartha Kitt as the Wicked Witch of the West during its month-long stand at Madison Square Garden in 1998. A cast of young New York actors pumps fresh blood into the classic tale. $25+. Thru Mar 18. NC Theatre, Raleigh. www.nctheatre.com. —Byron Woods

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food

Hair of the Dog Downtown Dog Walk: Dog parade, Bond Brothers beer, Crispy Gyoza truck food, Bone Appetit dog treats. Sun, Mar 18, noon-3 p.m. Bond Brothers Beer Company, Cary. Holly Springs Indoor Farmers Market: Sat, Mar 17, 9:30 a.m.noon. Holly Springs Cultural Center, Holly Springs. www.hollyspringsnc.us. Ten Bourbons and Whiskeys Tasting Dinner: Taste ten Bourbons and whiskeys with a five-course meal served at a communal table. $50. Mar 16 & 17, 7 p.m. La Residence Restaurant & Bar, Chapel Hill. www.laresidencedining.com.

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page

screen MONDAY, MARCH 19

VOICE RISING Each outing of the new Voice Rising reading series at Flyleaf Books pairs an established author with a crop of emerging ones, with the idea that all involved will give a brief reading of unpublished material followed by a Q and A. The second edition features Randal O’Wain, who teaches creative writing at UNC-Chapel Hill and has published essays and Randal O’Wain short stories in general magaPHOTO COURTESY OF THE AUTHOR zines and literary journals such as The Oxford American, Guernica, and Crazy Horse. Check out his prose piece in the online journal The Pinch, “Superman Dam Fool,” for a taste. It’s a nimble personal essay and meditation on Superman comics emanating from a piece of graffiti. O’Wain will be joined by Durham fiction writer and poet Michelle Dove, Chapel Hill fiction writer Larissa Wood, and Durham speculative-fiction writer Claire Allegra Sorrenson. —Brian Howe

FLYLEAF BOOKS, CHAPEL HILL

7 p.m., free, www.flyleafbooks.com

FRIDAY MARCH 16–SUNDAY, MARCH 18

FANTASTICREALM

It’s going to be like a French door-slamming farce for hardcore genre-film fans in the Triangle this weekend. With NC Comicon’s Oak City show going on in Raleigh (see page 10) and the FantasticRealm film series happening at the Carolina Theatre in Durham, split-second scheduling and a lot of mileage will be required to maximize one’s geekery. Highlights among the fifteen films at FantasticRealm include established classics such as The Princess Bride, The Nightmare Before Christmas, and the original Planet of the Apes; rarer fare includes the Roger Corman production Battle Beyond the Stars (with effects by a young James Cameron), the traumatic sequel Return to Oz, and, most intriguing, several 35mm screenings of 3-D camp from the format’s eighties boom, including Jaws 3-D, which stars Dennis Quaid and cinema’s least-convincing shark. In these days of digital 3-D, it’s a chance to look back fondly at some old-school adventures whose goofiness is part of their charm. —Zack Smith

THE CAROLINA THEATRE, DURHAM Various times, $10, www.carolinatheatre.org

READINGS & SIGNINGS Michael Chitwood: Poetry book Search and Rescue. Wed, Mar 21, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Terri Greco, Beth Copeland, and Pam Baggett: North Carolina Poetry Society Gilbert-Chappell Distinguished Poet Series. Sun, Mar 18, 4 p.m. Orange County Main Library, Hillsborough. co.orange.nc.us/library. Voice Rising: Randal O’Wain with Michelle Dove, Larissa Wood, and Claire Allegra Sorrenson. Mon, Mar 19, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

LECTURES ETC. Discussion of Frederick Douglass’s 1845 Narrative: Hosted by Chapel Hill-Carrboro NAACP. Led by Tony Frazier, Assistant Professor of History at North Carolina Central University. Tue, Mar 20, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. 32 | 3.14.18 | INDYweek.com

Happy Hour at Vert & Vogue: Raleigh’s Charman Driver discusses art, fitness, and making an impact. Fri, Mar 16, 5:30-6:30 p.m. Vert & Vogue, Durham. vertandvogue.com. Hutchins Conversation: Jason Oliver Chang on Anti-Chinese Racism in Mexico: Jason Oliver Chang, Assistant Professor of History and Asian American Studies at the University of Connecticut, shares his recent research. Tue, Mar 20, 4:30 p.m. UNC Campus: Hyde Hall, Chapel Hill. In the Wings: Discussion with members of production of Mike Wiley’s Leaving Eden. Mon, Mar 19, 7 p.m. South Regional Library, Durham. www.durhamcountylibrary.org. John Hope Franklin Lecture: Natasha Trethewey: Pulitzer Prize-winner and former U.S. poet laureate Natasha Trethewey. Free with RSVP. Wed, Mar 21, 5 p.m. Nasher Museum of Art, Durham. nasher.duke.edu. The NoSleep Podcast: Live podcast recording. $20-$25. Sat, Mar 17, 8 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

The Nightmare Before Christmas is screening in the FantasticRealm film festival.

SPECIAL SHOWINGS All the Queen’s Horses: See story, p. 21. Mon, Mar 19, 4:30 p.m. NCSU Campus: Park Shops Bldg, Raleigh.

OPENING 7 Days in Entebbe—The true story of a daring 1976 hostagerescue operation by Israeli commandos. Rated PG-13. Happy End—Bourgeoisie provocateur Michael Haneke’s family drama (starring Isabelle Huppert) is set against the backdrop of the European refugee crisis. Rated R. Love, Simon—In this YA novel adaptation, a closeted gay high schooler deals with family, friends, and attempted blackmail. Rated PG-13. Tomb Raider—Alicia Vikander plays heroic explorer Lara Croft in this video-game adaptation. 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 A Fantastic Woman—In Sebastián Lelio’s superb Oscar winner, a bereaved transgender woman in Chile fights for her right to mourn with dignity. Rated R.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13. ½ Call Me By Your Name—If you can accept how walled off from the larger context of LGBTQ history it is, then this love story is nearly perfect. Rated R.  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG.

½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  I, Tonya—This kinetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need a lot of nineties nostalgia to see this reboot as anything but a generic jungle adventure. Rated PG-13.

½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press. Rated PG-13.  The Shape of Water— Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R.

 Lady Bird—Greta Gerwig’s nostalgic coming-ofage debut as a writer-director is winning and alert to class but falters on race. Rated R.

½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with this vengefulmother tale. Rated R.

 Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t. He lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene. Rated R.

 A Wrinkle in Time— Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds. Rated PG.

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FOSTER’S MARKET IS NOW HIRING for an Assistant Kitchen Manager. The responsibilities of the assistant kitchen manager include: Assisting with set up and execution on the breakfast line, creating and preparing salads, fulfilling all catering orders, placing food orders, controlling labor and food costs, and conducting inventory. Morning and weekend availability is required. Please send your resume to customerservice@ fostersmarket.com

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auctions

International Road Tractors, Cobalt Boat, Minivans, Cars, Zero Turn Mowers, Street Sweeper and More sold at Auction, Online Only, Begins Closing 3/27 at 12pm, ironhorseauction.com, 800.997.2248, NCAL 3936

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KEEP DOGS SHELTERED Beyond Fences seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.

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notices

NOTICE FOR DIVORCE

I, Berecia Christopher Morris of 4230 Garrett Rd apt 6M, Durham, NC am attempting to contact Basil Winston Morris to inform you of a request for absolute divorce. You are required to respond no later than 40 days following April 1, 2018. I can be reached indefinitely at 919-951-9797 and/ or by email jahcoyamane@ yahoo.com

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INDYweek.com | 3.14.18 | 33

4 1 5 9 8 6 2 7 3

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

1 8 6

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© 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.

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CLASSY AT INDYWEEK DOT COM

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

# 42 8 9 2 6 7 1 4 5 30/10/2005 3

7 6 3 9

5

6 7 4 3

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

3.14.18

solution to last week’s puzzle

4 5 6 |2INDYweek.com 9 3 1 8 7 34 | 3.14.18

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please contact advertising@indyweek.com

advertise on this page!

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

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

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last week's puzzle

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM Book your ad • Email kim: classy@indywEEk.com

INDYweek.com | 3.14.18 | 35

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ArtsCenter, Carrboro. Private lessons also available. RICHARD BADU, 919-724-1421, rbadudance@gmail.com

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