INDY Week 4.05.17

raleigh 4 I5I17

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 12

6 Between them, Richard Burr and Thom Tillis collected $100,000 from the telecom industry, then voted to let the telecom industry make billions off your browsing history.

8 A lawmaker raised $115,000 from Big Pork, then tried to make Big Pork’s legal troubles disappear.

10 “I don’t think the relevant question is whether this is better than HB 2. I think the relevant question is could folks have worked harder to get a full repeal, and why don’t we have a full repeal?”

25 A diagnosis of bipolar disorder inspired Rachel Hirsh’s new solo LP as Bruxes.

Also Kate Bush and Hanson.

26 In Jessamyn Stanley’s new yoga guide, the models have body shapes that defy the norm.

27 African Americans saw military service in World War I as a step toward societal acceptance, but they were mostly given menial work.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 16 Full Frame Film Festival 22 Food 24 Music 26 Arts & Culture 30 What to Do This Week 32 Music Calendar 37 Arts & Culture Calendar

Rachel Hirsh, singer for the band Bruxes (see page 25)

On the cover: PHOTO ILLUSTRATION BY SHAN STUMPF

PHOTO BY BEN MCKEOWN

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Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf NEWS EDITOR Ken Fine STAFF WRITERS Thomas Goldsmith,

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backtalk

The Word That Shall Not Be Spoken We love this letter. And this writer. Take it away, Glenda Alexander: “I usually enjoy your crossword puzzles. However, in the most recent one, I found the clue ‘old womanish.’ That startled me, as I’m an old woman.

I have been on Medicare for over a year, and I am female. So, an adjective that describes me and my kind in a few letters …

“Last Monday, I hiked in the mountains, almost ten miles, according to my Fitbit, and 13,330 feet worth of changes in altitude. Of course, half of those changes were up and half were down, and they alternated a good bit on a trail through undeveloped land. My brother, who is younger than me by a year, went with me. I suppose he is an old man, but he kept up. Our baby sister, who is not yet ‘old’ but could be considered mature, came along. They kept track of our GPS coordinates and the position of a cabin we were hunting on their smartphones, while I looked at an actual paper map and an analog compass and kept my flip phone in my pocket.

“So, an adjective to describe me—strong?

Fit? Persistent? Analog—which I believe has the Latin root meaning ‘old’ embedded in it? Nope—don’t fit the puzzle.

“Just a day before the hike, we had a fourgeneration family get-together. I suppose some of us are old women. There’s my sister-in-law, who recently retired from a long career in civil service, which she powered through with a lifelong visual impairment.

So, what’s the word—resilient, adaptable, intelligent, dedicated? The one great-grandchild was in the arms of my other sisterin-law, who has raised two children and is now raising a grandchild and looking after her elderly father. Responsible, dependable, tough? Nurturing?

“A couple of days later, we visited our aunts, both widows in their eighties who live alone. They are independent and capable. One of them nursed both her husband

and her daughter through terminal illnesses.

Now she babysits her great-grandchild and keeps an eye on her ailing son. Enduring, energetic, experienced, faithful? None of the above, apparently.

“I gave up and Googled crossword clues for ‘old womanish.’ I found the word, which I shall not repeat, as I will not repeat a word that I find insensitive or bigoted. I will say that the synonyms were doddering, weak, feeble, etc. The authors of the puzzle, Linda and Charles Preston, are invited to kiss my old womanish behind, if they can keep up with me or my kind long enough to manage it.”

For the record, the crossword puzzle comes to us from the Tribune Content Agency.

Meanwhile, writer Constance Keptic takes exception to an entry in last week’s Backtalk, in which commenter Baron Gil suggested that our citizenship be revoked for advising undocumented immigrants on how to avoid immigration authorities: “Do you suppose Mr. Gil understands the concept of civil disobedience? Do you suppose he knows about the First Amendment? Do you suppose he is aware that when he advocates one’s citizenship be revoked for exercising one’s First Amendment rights, he is advocating that the government commit an unconstitutional offense?

“Mr. Gil states it is a ‘darn shame that some people are so liberal that they have lost their common sense.’ In light of his representations described above, I suppose Mr. Gil must be a liberal. Of course he has his First Amendment rights as well. I am not advocating he be punished. It must be punishment enough just to live with the cognitive dissonance in his own head.”

“The authors of the puzzle are invited to kiss my old womanish behind.”

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

INDYweek.com | 4.5.17 | 5

triangulator THE BASICS

In October, the Federal Communications Commission issued a 3–2 ruling blocking ISPs from selling their customers’ personal information to companies that could then use it to create very targeted advertising. Privacy advocates cheered.

Jeffrey Chester of the Center for Digital Democracy called it the “probably best day we’ve had on Internet privacy—commercial Internet privacy—ever.” The deep-pocketed ISPs weren’t so pleased; that data represents tens of billions of dollars of revenue opportunities. So their Republican allies last week passed legislation erasing those new regulations before they took effect, giving telecoms carte blanche to profit off your personal data as they see fit. On Monday, President Trump signed the bill into law.

CO M M O D IF IE D

YOU

going Trumped it, what with the on You might have miss , but last week HB 2 repeal goat rope Russia fiasco and the vote, passed cans, on a party-line congressional Republi t-related legicant pieces of Interne one of the most signif unced by big telecoms and deno islation ever. Hailed by 34 will allow nate Joint Resolution privacy advocates, Se personal inforiders to bank off your Internet service prov a reversal of the rtant, it could signal mation. Just as impo e power of n’s efforts to curtail th Obama administratio e net neutralincluding initiatives lik ISPs in the digital age, blicans also oppose. ity, which many Repu

THE MONEY

S.J. Res. 34 passed the Senate 50–48, with no Democratic support. It passed the House 215– 205, again with no Democratic votes. In North Carolina, both Republican senators voted for the measure. Eight of the Tar Heel State’s ten Republican U.S. representatives supported it.

(Robert Pittenger did not vote, and Walter Jones was one of fifteen Republicans to vote nay.)

Given how big a victory this was for the telecoms, we took stock of how much money the industry funneled into their coffers and those of their PACs during their most recent election cycle, according to the National Institute on Money in State Politics (followthemoney.org).

U.S. SENATE U.S. Senator Richard Burr

THE ARGUMENTS

U.S. Senator Thom Tillis

$41,220

PRIVACY ADVOCATES

Privacy advocates argue that the FCC’s nowrepealed rules gave consumers more control over how ISPs use the data they collect—geolocation histories, app data, browsing habits, etc.—by requiring consent from consumers if sensitive data, including financial and health information, was up for sale. And they warn that the data the ISPs would sell could be used for something more nefarious than annoying ads. When the FCC regs were passed last year, ACLU senior legal analyst Jay Stanley told The Washington Post, “If this was not done, it could have really hard-wired a surveillance infrastructure into the Internet itself.”

U.S. HOUSE Patrick McHenry (District 10)

$51,000

Richard Hudson (District 8)

$45,400

George Holding (District 2)

$31,100 Bradley Walker (District 6)

$16,750

VER SUS

David Rouzer (District 7)

$15,000

ISP S The ISPs counter that the new, more targeted ads will be more relevant to, and thus better benefit, consumers. In addition, they argue that they were being treated unfairly, as the FCC’s ruling didn’t affect Google and Facebook, which mine data based on what users click. (Streaming-video sites also collect usage data.) The difference is ISPs have access to all of a consumer’s Internet activity, not just information on how consumers interact with links.

6 | 4.5.17 | INDYweek.com

$58,500

Virginia Foxx (District 5)

$13,250

Tedd Budd (District 13)

$10,000 Mark Meadows (District 11)

$4,000

Graphic by Shan Stumpf

Sources: followthemoney.org, theverge.com

+“EXECUTED ON THE STREET”

The family of a man shot by Durham police in February says Kenneth Bailey Jr. was “was judged and executed on the street” and pleaded “for his life in between shots.”

In a statement released Friday, the family detailed accounts it gathered from people who were in the Club Boulevard neighborhood when Bailey, who went by the nickname Simba, was shot February 15. Their review paints a much different picture than the narrative put out by the Durham Police Department, in which the twenty-fouryear-old pointed a gun at officers.

The family agrees that Bailey ran from the cops, who had an order for his arrest for violating pretrial release terms.

But, contra the DPD’s account, witnesses told the family that “officers never issued any orders to Kenny nor made any attempt to de-escalate the situation.” DPD says a stolen gun was found near Bailey’s body, but no one who spoke to Bailey’s family reported seeing him point a gun at officers.

“Kenny did not have to die. Yes, he failed to check in as he knew he should with the Criminal Justice Resource Center,” the family’s statement says. “But the City of Durham and Durham County’s justice system failed Kenny in a deeper and irreversible way. Kenny’s death demands that we do everything in our power to address the policy failures that created the situation in

which Kenny was killed” You can read the family’s full statement and the DPD’s five-day report on the shooting at indyweek.com.

+DEATH AT THE JAIL

On Friday, outside the Durham County Detention Center, chants of “shut it down” and “no justice, no peace” echoed against the jail’s exterior. Orange blurs pressed against the building’s barred windows and waved. Down below, the family and friends of Uniece Fennell, who eight days earlier was also behind those bars, waved back.

Fennell, who was seventeen, was found dead at the jail March 23. The Sheriff’s Office says she committed suicide by hanging herself with a sheet tied to a bar on the window in her cell. Her family doesn’t buy it.

The State Bureau of Investigation is investigating Fennell’s death, but the family wants the inquiry taken beyond the SBI. They’re also asking that the county sheriff be held accountable for failing to fix what they call “the long-known problem of the risk of the bars in certain cells and all other unsafe conditions.”

About two dozen people gathered Friday morning to make these demands and remember Fennell. Some commemorated “the Fennell Twins”; Fennell’s twin brother, Demoraea, was shot and killed in November. “My daughter, Niecey Fennell, was a minor being held in an adult facility that could not provide the basic necessities for

a minor, including safety,” Julia Graves said in a statement released Friday morning.

“Niecey [would] not harm herself, due to her religious beliefs.”

Fennell was jailed last summer after being charged with the murder of a nineteen-year-old. Her friends and family say she was not a murderer but was threatened and forced to go along on a July 10 driveby shooting committed by another person who has not yet been apprehended.

Talking on speakerphone from California, Graves said she is seeking an independent autopsy. “She has what appears to be a broken nose, black eye, and bruising everywhere on both sides of her body. Not consistent with the way they said she killed herself,” says the family’s fundraising site, which seeks money to transport Fennell’s body to California.

Fennell’s mother also finds it strange that her daughter’s death came less than a day after Fennell’s attorney complained to a jail official of Fennell’s alleged harassment by a detention officer. The Sheriff’s Office says Fennell submitted no formal complaints and that the officer in question resigned two weeks before attorney Alex Charns emailed the complaint to Major Julian Couch.

“We need to know exactly what happened that night,” said Tarshella Fountain, Fennell’s sister. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Ken Fine, and Sarah Willets.

MDD Study

The Frohlich Lab at UNC-Chapel Hill is looking for individuals who would be interested in participating in a clinical research study. This study is testing the effect of transcranial alternating current stimulation (tACS) on mood symptoms of Major Depressive Disorder.

Transcranial current stimulation is a technique that delivers a very weak current to the scalp. Treatment has been well tolerated with no serious side-effects reported. This intervention is aimed at restoring normal brain activity and function which may reduce mood symptoms experienced with Major Depressive Disorder. We are looking for individuals between the ages of 18 and 65, diagnosed with Major Depressive Disorder currently not taking benzodiazepines or antiepileptic drugs.

You can get compensated up to $280 for completing this study. If you are interested in learning more, contact our study coordinator at: morgan_alexander@med.unc.edu Or call us at (919) 966-4755

BE HEALTHY BE STRONG

PERIPHERAL VISIONS | V.C. ROGERS

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indynews

The Kids Are All Right

A STUDENT-LED EFFORT TO EASE RACIAL TENSIONS IN WAKE SCHOOLS

Lawmaker takes $115K from Big Pork, tries to shield hog farmers from lawsuits

BY THOMAS GOLDSMITH

I

f plans to cool racial and ethnic tensions in Wake County schools are to succeed, people like Alfredo Pinon Monroy will have to be part of the change.

Monroy, a senior at Garner Magnet High School, is one of the organizers of Project Unity, an effort to connect people from different backgrounds and introduce them to larger-scale activism. Garner junior Israel Reyes and other participants acknowledge that the initiative is idealistic, given the entrenched nature of prejudice in society.

“Every big project starts somewhere,” Reyes says. “Even big corporations had to start somewhere.”

Monroy, Reyes, and other students got started Thursday with an event in the school’s media center, drawing a diverse group of about seventy-five. They heard about plans to define their personal priorities, illustrate them in photographs, and post them on social media. In an effort that’s already underway, they’re using the communication tools of their generation to share their hopes with students across the state.

Within the day, Garner students’ faces and statements started appearing on Twitter and Instagram with the hashtag #ncunitedforchange.

Student conversations are part of the plan proposed by Rodney Trice, assistant superintendent for equity affairs, in the aftermath of racially charged incidents at two Wake schools.

In early March, a video went viral of a black student who knocked down a white classmate at Wake Forest High School after what others described as prolonged racial taunting. Then another video emerged on social media of students at Leesville Road Middle School using bigoted language in reference to African Americans, Hispanics, Jews, and others. They chanted “KKK” as the clip ended.

At the March 20 Wake County Board of Education meeting, board members talked about far-reaching, adult-focused plans to 8 | 4.5.17 | INDYweek.com

Pigs in Slop

BY KEN FINE AND ERICA HELLERSTEIN

Students take part in Project Unity at Garner Magnet High School.

PHOTO BY THOMAS GOLDSMITH

make the system more welcoming for students from different racial and economic backgrounds and sexual orientations. But Trice also notes the constituency most affected by the hateful speech.

“It’s important to also recognize that students very much need to be part of this conversation,” Trice says. “They need to infuse these values where they are.”

Project Unity at Garner traces its origins to a February demonstration at the school that descended into a shouting match, drew a crowd, then dissolved when the lunch bell rang. Monroy says the incident stemmed from disappointment among students who’d been inspired by a February 16 “Day Without Immigrants” protest.

“People started getting out of hand and started yelling, some yelling for Black Lives Matter, some for immigrants’ rights,” Monroy says. “I thought, ‘I loved your idea, but how can we do something that promoted change in a positive manner?’ This is how Project Unity has come about.”

Activism goes beyond a senior-year activity for Monroy and fellow organizer Jalileh

Garcia, a senior bound for Columbia University. Garcia wants to make human rights a career, perhaps working for a nongovernmental organization or the United Nations.

“This is all up my alley—being the voice for others, but also empowering them to use their own voices,” she says.

Taking part in the Day Without Immigrants demonstration showed her people from different backgrounds raising their voices for the marginalized. The Garner students want to mirror the opportunities the march offered for people to convey how they feel about matters that affect their lives.

“Sometimes we don’t know how to express ourselves,” Garcia says.

Staying after the event with others to reposition the chairs that had filled with interested classmates, Monroy demonstrated that he’d studied the history of activism—both its triumphs and tragedies.

“Even if things aren’t always going to be perfect, they’re going to get better,” he said.

“We have gotten past some things and we are still alive.” tgoldsmith@indyweek.com

State Representative Jimmy Dixon, R-Wayne and Duplin, the first to speak during a packed committee hearing inside the legislature last Wednesday, kicked things off with a strange request.

“I want to take us back a few years, to 1859, when soon-to-be President Abraham Lincoln addressed the opening day of the Wisconsin Agriculture Fair,” he said.

“I will use that [speech] as a springboard in explaining this bill.”

It’s an apt metaphor for the modern state GOP: Why go forward when you can go back 150 years? The irony didn't go unnoticed. “I was hoping that you would at least come to the later eighteen-hundreds, when African Americans weren’t enslaved,” quipped Representative Amos Quick, D-Guilford.

Quick understood that Dixon’s reference—a meandering way to remind the crowd that farmers produce our food, so we should support them—was all the more curious given the demographic makeup of the communities likely to suffer under the bill they were there to discuss: people of color living near industrial hog farms.

The legislation, House Bill 467, would shield the hog industry from myriad kinds of legal claims. It would prevent plaintiffs from recovering damages that aren’t property-value-related, including anything stemming from health, pain, or lostincome concerns. (Property owners could likely only collect about $7,000 in damages over a three-year period, per a statutory limit.) And, because it doesn’t grandfather in active cases, it would also block twenty-

six pending federal lawsuits filed against Murphy-Brown, a subsidiary of Smithfield Foods.

That’s worrisome to environmental activists and stakeholders living near the hog farms. They say the bill would undermine their ability to protect themselves, the environment, and their properties from the harms caused by the state’s hog farms—and, they add, it will disproportionately affect communities of color.

“This is about race,” Larry Baldwin of the Crystal Coast Waterkeeper organization told the committee. “This bill has got to go. It’s not about protecting the people; it’s about protecting the industry. If you pass HB 476, who are you protecting?

Because it’s not a lot of people you’re seeing in this room.”

North Carolina’s industrial hog farms are notoriously toxic, storing millions of gallons of feces and urine in openair cesspools. When those pools fill up, activists say, the hog waste sprays into the air and can even make its way into people’s homes.

Dixon, a longtime farmer, said he just wants to find the “proper remedy when there is an instance of temporary or permanent nuisance.”

Perhaps. But when you look at his campaign contributors, it's hard to imagine that Dixon’s not acting as a friend of the pork industry. He’s certainly its beneficiary. According to campaign finance records, over the course of his career Dixon has received more than $115,000 from Big Pork, including: $9,500 from the N.C. Pork Council; more than $20,000 from the Maxwell family, which owns the Goldsboro Milling Company, the tenthlargest swine producer in the United States; $9,000 from Walter Pelletier and $3,000 from John Pike, both of whom also have ties to Goldsboro Milling; $37,500 from Prestage Farms; and $36,250 from donors associated with Murphy-Brown, the company facing more than two dozen federal lawsuits that this legislation would effectively negate.

Amid the outcry, the committee delayed a vote on HB 467. Dixon did not respond to the INDY’s request for comment.

“I live in the middle of around twenty hog farms,” Nick Woodard, who drove several hours from eastern North Carolina to attend the hearing, told the INDY. “And they smell so bad you can hardly come outside most of the time. And we just want to try to stop the pollution. The hog farms are polluting our areas, and we want to try to stop them.” kfine@indyweek.com

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A

wary Roy Cooper walks in front of the red-carpeted stairs of the Executive Mansion and readies himself to deliver the news. It’s hard to tell who looks more thoroughly depleted—Cooper, eyes downcast, in a blue tie and crisp suit, or the gaggle of reporters covering the utter dysfunction that has come to define the General Assembly.

The governor’s Thursday-afternoon speech will cap off a nail-biting few days in North Carolina politics. Ever since the legislature passed the bill heard ’round the world—HB 2, the “bathroom bill”—the state has been thrust into international infamy.

The bill most notoriously mandated that transgender residents use public bathrooms that correspond to the gender on their birth certificates, rather than their gender identities. But it also blocked local governments from passing antidiscrimination ordinances.

It was hastily ushered through the legislature in a one-day special session on March 23, 2016, and sent to then-governor Pat McCrory less than twelve hours later.

The instantaneous controversy surrounding the law left the state’s reputation as a tolerant outpost in the Deep South in ruins.

The boycotts and soured business deals that followed hurt its economy, too. According to an Associated Press analysis released last week, HB 2 would have cost the state at least $3.76 billion over the next dozen years—a drop in the bucket compared to North Carolina’s $510 billion GDP, but substantial nonetheless. And last Tuesday, the other shoe dropped: the NCAA gave North Carolina a Thursday deadline to repeal HB 2 or lose championship games until at least 2022.

Collegiate athletics being what they are in the Tar Heel State, Republicans and Democrats alike had the motivation to finagle a deal that would somehow satisfy everyone, a Sword of Damocles hanging over their necks.

Enter Roy Cooper—four p.m., cameras rolling. He takes a deep breath.

“Today I just signed House Bill 142, which repeals HB 2,” he begins. “For over a year now, House Bill 2 has been a dark cloud over our great state. This is not a perfect deal or my preferred solution. It stops short of many things we need to do as a state. In a perfect world, we would have repealed HB 2 today and added full statewide protections for LGBT North Carolinians. Unfortunate-

ly, our supermajority Republican legislature will not pass these protections. But this is an important goal that I will keep fighting for.”

I

n January, during his inaugural address—after eking out a win over McCrory, following a campaign built around HB 2’s unpopularity—Cooper struck a more defiant tone: “When a law attempts to make any North Carolinian less in the eyes of their fellow citizens, I will fight it. I will stand up for you if the legislature cannot or will not.”

Some of those citizens now say Cooper has stabbed them in the back.

“Well basically, this repeal, which is not even really a repeal, is Roy Cooper selling us out,” says Angela Bridgman, a transgender woman from Wake County who spent Thursday protesting HB 142 at the Statehouse. “This is not what I voted for Roy Cooper for. I voted for a clean repeal. This is not what we’re getting. This is about getting our NCAA basketball games back.”

To be fair, repealing HB 2 was never going to be easy. Cooper tried to work something out in December. At his behest, Charlotte repealed its LGBTQ nondiscrimination ordinance—which had prompted the legislature to pass HB 2 in the first place—but the legislature botched its end of the deal. Democrats refused to support the repeal because it included a six-month moratorium on local governments passing nondiscrimination ordinances; conservative Republicans couldn’t shake their obsession with bathrooms as breeding grounds for deviancy.

This time, however, the NCAA’s deadline was upon us. So whereas four months ago, a six-month moratorium was unacceptable, HB 142’s moratorium—which lasts until December 2020—was met with a sighing acquiescence, at least among many Democratic politicians.

But for the state’s rising activist base, the bill was an unacceptable compromise on INDYweek.com | 4.5.17 | 11

12 | 4.5.17 | INDYweek.com

civil rights—which, in their view, should never be open to negotiation.

Instead, in a twist of irony befitting this year-long debacle, Cooper himself became the target of Thursday’s protest organized by the Air Horn Orchestra, a group that pestered McCrory for eight months after he signed HB 2. This time, protesters convened in front of the Executive Mansion to annoy the Democrat inside. Bridgman was there, carrying a white poster that read, “We trusted you!” in purple block letters.

So while Cooper argues that something is better than nothing, progressive groups insist this something is merely HB 2-lite.

“Under HB 2 we had zero LGBT protections,” Cooper told reporters last week.

“Zero. Today’s law provides for LGBT protections. Today’s law not only provides for LGBT protections now, but opens the door for more in the future.”

It’s “just a different kind of bad,” counters Ames Simmons, director of transgender policy at Equality NC. He points out that no one from the LGBTQ community was involved in the bill’s negotiations. “And particularly for Cooper to talk about what’s better or not better for the LGBTQ community, that’s an educated guess on his part, since he didn’t have any of us there at the negotiating table. So if he really were taking the safety of the community seriously, he would have involved us.”

L

et’s start with what HB 142 does.

First, it actually repeals HB 2; that is to say, its first provision wipes HB 2 from state statute. And if it had stopped there, progressives would’ve been happy.

But it didn’t. Instead, it tacked on a provision that prohibits any state agency, including school boards and public universities, from making their own rules about bathroom usage. Instead, the state legislature will have the final say on who can use what public facilities. In other words, while the law no longer mandates that you use restrooms that conform to your birth certificate—a laughably unenforceable provision—state agencies can’t take affirmative steps to become more welcoming to transgender people.

Again, had it stopped there, there probably wouldn’t have been much of an outcry. After all, this sort of pre-HB 2 status quo is the way most states operate. But again, it didn’t.

HB 142 also banned cities from passing new nondiscrimination ordinances regulating public accommodations or private employment practices (read: living-wage ordinances) until December 1, 2020, although fifteen of the sixteen nondiscrimination ordinances that were enacted prior to HB 2—including Raleigh’s—will go back into effect. These tend to prohibit discrimination against employ-

ees of governments and their contractors; Charlotte’s ordinance, which was repealed in December, went further by banning discrimination in public accommodations.

Until the end of 2020, North Carolina will remain an anomaly, one of only three states that restrict or forbid local governments from passing nondiscrimination ordinances. (The others are Tennessee and Arkansas.) House Speaker Tim Moore has said that the legislature will use the next two years to decide what kinds of nondiscrimination ordinances local governments should be able to pass.

Unless the makeup of the legislature changes, it’s hard to imagine LGBTQ residents will be included: currently, North Carolina is one of thirty states that omit sexual orientation and gender identity from statewide nondiscrimination protections.

Together, LGBTQ advocates argue, these two provisions all but nullify the first. As Cathryn Oakley, senior legislation counsel for the Human Rights Campaign, puts it, “This is not a replacement. It’s not a repeal.

It’s simply substituting one discriminatory bill with another discriminatory bill.”

Indeed, after signaling his support for HB 142, Cooper quickly found himself fielding furious attacks from LGTBQ advocacy groups. On Twitter, the HRC vowed to take the politicians who voted for it to task.

“We’ll be looking at our friends and our so-

called friends in the legislature and making sure that we hold them accountable for their votes,” Oakley says.

The NAACP released a statement calling the legislation an “insult to civil rights” and a “sweeping act of hubris by the legislature” that “takes power from officials elected by the people to serve the rights of the people,” The ACLU and Lambda Legal dubbed it a “fake repeal.” Chris Sgro, the executive director of Equality NC and a former Democratic state representative, said the bill was a “deal made between Governor Cooper [and Republican leaders] Phil Berger and Tim Moore that once again left out the ones most impacted by the discriminatory law— LGBTQ North Carolinians.”

“The compromise was painful and hurtful,” Carrboro-based political operative and former congressional candidate Thomas Mills wrote Friday on his website, politicsnc. com. “… To argue that the new law didn’t go far enough is fair, but to say it changed nothing is dishonest. People who live in places where nondiscrimination ordinances were passed now have those protections in place once again. Transgender people can use the bathroom of their choice. Local governments can force contractors to offer protections to their employees. That’s better than where we were when we woke up yesterday.”

Indeed, many of the Democratic legislators who railed against HB 2 but supported the repeal insisted they were doing so for the LGBTQ people who denounced it.

“I didn’t want the LGBT community to continue to suffer, I didn’t want them to still face this, and that’s why the vote I took yesterday was really a vote of conscience for me,” Democratic state Representative Duane Hall, whose district covers Raleigh and Cary, told the INDY Friday. “I wanted more, I argued for more, but I honestly feel this gives us more than we had yesterday.”

“I don’t think the relevant question is whether this is better than HB 2,” Oakley says. “I think the relevant question is could folks have worked harder to get a full repeal, and why don’t we have a full repeal? And how come these people who believe that they are looking out for the best interests of the LGBT community, at what point did they decide it was OK to compromise on civil rights?”

T

here was chaos inside the General Assembly Thursday morning.

Like the bathroom bill itself, HB 142 moved at breakneck speed and with little warning. The deal had only been announced late the night before; confusion abounded about whether, after a year of bitter partisan clashes, this version would actually squeak through.

It started on Tuesday afternoon, when Scott Dupree of the Greater Raleigh Sports Alliance announced that someone “very close to the NCAA” had told him that, if the state didn’t repeal HB 2 within forty-eight hours, it would be blacklisted from championships for six years. A few hours later came a hastily arranged press conference in which Moore and Senate leader Phil Berger announced that they had “in principle” agreed to a compromise proposed by Cooper.

But then, in classic North Carolina political fashion, Cooper denied making the proposal.

Berger’s office then released a batch of emails from Cooper’s people and Senate staffers that seemed to indicate something had been discussed. And just as quickly as it began, the press conference was over, leaving observers bracing themselves for a marathon.

Wednesday passed with plenty of speculation but few updates. By evening, those remaining in the Statehouse were blearyeyed. Finally, some real news arrived: a deal. At nine fifteen a.m.—less than three hours before the NCAA deadline was set to expire—the Senate Rules Committee would be taking the first vote.

The next morning, the legislature was abuzz. As people streamed into the Rules Committee, others gathered for a press conference organized by Equality NC. The Rules Committee room quickly filled up. “Wait, is something important happening today?” a cameraman joked. No one laughed.

The committee meeting was generally uneventful. A few people spoke, including John Rustin of the N.C. Family Policy Council, and then it was on to a voice vote. It passed. Then the Senate floor.

Outside, Angela Bridgman said she felt betrayed by Cooper and Democratic state lawmakers. “I feel like they’re so in a hurry to make a deal that they’re willing to throw us under the bus so they can say they did something,” she said. “They did nothing. In fact, what they did was they made matters worse.”

In the Senate, Democratic leader Dan Blue of Raleigh pledged his support. In a statement to the INDY, Blue rationalized his vote as “a small step towards progress in this state. In passing this bill against the NCAA deadline, we were able to get a contentious Republican supermajority to do the right thing for the wrong reasons.”

Only one senator—Republican and staunch HB 2 supporter Dan Bishop of Mecklenburg County—spoke against HB 142, and the Senate quickly voted 32–16 in favor of the replacement. Six Democrats voted no: Jay Chaudhuri, Don Davis, Valerie Foushee, Jeff Jackson, Floyd McKissick, and Mike Woodard.

In an email, Chaudhuri, who repreINDYweek.com | 4.5.17 | 13

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sents Raleigh, says he voted against the bill because he “could not now support a compromise that extends the moratorium for four years, thereby prohibiting cities and counties from adding protections for our most vulnerable citizens. Second, I have serious concerns about the statewide preemption of multioccupancy restrooms based on the unfounded argument around bathroom safety and privacy.”

A

fter a brief respite, HB 142 went to the more fractious House. The room was packed to capacity, with spectators placing bets on whether it would pass. “The Democrats haven’t been this divided since Bernie,” someone said.

Make no mistake: the Republicans, whose right wing hated the idea of repealing HB 2, needed Democratic votes, and those Democratic votes were no sure thing. On Wednesday afternoon, Representative Cecil Brockman, D-Guilford, one of two openly LGBTQ lawmakers, slammed the door so violently after hearing about the deal that it sounded like an explosion had gone off.

Someone sprinted into the press room, genuinely panicked.

Kicking off the House debate, a group of Republicans asked to delay the vote until the following Tuesday because it had come about so rapidly; the motion failed. Then, a string of Democrats—including Brockman— spoke out against it.

“The first point that I would like to make is this bill still legislates restrooms,” Brockman said. “For me, that is not a repeal of HB 2, if we’re still going to be telling local city councils and local boards what they can do as far as legislating restrooms.”

“This is so much bigger than basketball,” added Representative Deb Butler, D-Brunswick and New Hanover, the other openly LGBTQ legislator. “The people of North Carolina want us to repeal HB 2. That is all.

They care about fairness, dignity. They look to us to create a safe and a welcoming environment for all. The LGBT community, our families, our children, and the people who love and care for us do not support this bill.

We would rather suffer HB 2 than to have this body one more time deny us the full and unfettered protections of the law.”

On the other hand, Democratic Representative Mickey Michaux, a civil rights veteran, said he was supporting the bill because he didn’t want to “throw my governor under the bus.”

In this case, it seemed, party loyalty trumped ideology.

Let’s cut to the end: the House voted 70–48 to repeal HB 2. Of those seventy votes, thirty came from Democrats.

W

hich brings us back to where we started: Cooper’s press conference, after a dizzying two days of partisan tug-of-war.

For Cooper, it should have been a moment of triumph—finally announcing the repeal of a law that had caused so much anguish.

But Cooper didn’t seem to be in celebratory mood. The progressive groups that rallied to his banner during the election were already lashing out. He addressed the press corps in somber, measured tones. As he spoke, he grimaced more than he smiled.

“I believe with all my heart that this is the right thing to do,” he said. “I thought about it. I prayed about it. I talked to many people about it. It does take an important step forward.” The bill didn’t go as far as he wanted, Cooper conceded. He would have liked to see a clean repeal. But that was impossible.

“This was the best deal we could get,” he stressed.

Like all such speculations, we’ll never know if that’s really true. We’ll never know how things would have turned out had Cooper held the line, ignored the NCAA’s deadline, and vetoed HB 142. Perhaps lawmakers would have brought LGBTQ groups into the conversation, resulting in a more palatable repeal, one that didn’t make Angela Bridgman feel like she’d been sold out or activists doubt whether their socalled allies cared more about money and political machinations than the civil rights of vulnerable populations.

Or—given the makeup of the legislature— maybe none of that would have happened.

Maybe HB 2 would still be on the books, now and for years to come, and Republicans would have successfully blamed Cooper for costing the state basketball games and economic development, making it all the more likely that someone like Lieutenant Governor Dan Forest, an ardent HB 2 supporter, would defeat him in 2020.

There is no crystal ball with which to view this alternate reality. In the reality we can see, two questions remain, with no clearanswers: How deeply will this affair strain progressives’ relationship with the state’s establishment-friendly Democratic Party, and what will that mean for the left going forward? And how different will life be for LGBTQ North Carolinians now that HB 2 has been replaced with HB 2.0?

Another question—apparently the most important question to state leaders—was answered Tuesday morning. The NCAA announced that, because of HB 2’s repeal, North Carolina was again in the running to host championship events.

Mission accomplished. ehellerstein@indyweek.com

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FRAME

XX J

ust last week—and this is not an infrequent occurrence— I was moved to tears by a documentary film. The curious thing is that it wasn't something hefty like Ava DuVernay's 13th or Kurt Kuenne's Dear Zachary: A Letter to a Son About His Father. It was, of all things, a fairly soft portrait of Jimmy Buffett fans, aka Parrotheads. That I was so moved by the basic human kindness the film portrayed among them says something about the dire temper of our times. But it also says something about the unique persuasive power of documentaries. If movies are machines that generate empathy, as Roger Ebert famously said, then documentaries are the weaponized versions, targeting our biases and blind spots with relentless precision. I seldom watch a documentary about a subculture, no matter how absurd it seems from the outside, without gaining more understanding of people, more sympathy for their trials, and more respect for their perspectives. With these reflections in mind, I greet Full Frame, Durham's world-renowned documentary film festival, with particular appreciation on its twentieth birthday. In our desperately divided day, empathy weapons are needed more than ever before in the festival's two-decade history. In these pages we highlight a new film by the legendary Steve James, another about Japanese bluegrass, and more, but the best way to Full Frame is to dive into what you don't already know. You can never tell where new empathy resides, and reality is always interesting. —Brian Howe

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TOO SMALL TO BAIL IN FAMED DOCUMENTARIAN STEVE JAMES’S ABACUS, A SMALL FAMILY BANK BECOMES THE LONE SCAPEGOAT FOR THE 2008 MORTGAGE CRISIS

BY NEIL MORRIS Thomas Sung in Abacus PHOTO COURTESY OF SEAN LYNESS

S

teve James is one of the most recognizable names among the often more anonymous ranks of documentary filmmakers. His Hoop Dreams is one of the most acclaimed documentaries in history—Roger Ebert called it “one of the great moviegoing experiences of my lifetime.” It spawned a new generation of documentarians and, along with Michael Moore, Errol Morris, and Ken Burns, a resurgence of the genre.

The inaugural Full Frame Documentary Film Festival took place in 1998, four years after the release of Hoop Dreams, and in the twenty years since, James has been a familiar face at the festival. His new releases are usually featured, and he programmed a sportsthemed track in 2009. His films were the subject of a

retrospective in 2014, when he was honored with Full Frame's Tribute Award.

But this year is the first time James has been featured as the festival’s opening-night film.

Abacus: Small Enough to Jail chronicles the trials of the Sung family, Chinese immigrants and Steve James owners of Abacus Federal Savings of Chinatown in New York City. Speciously accused of mortgage fraud, Abacus was the only U.S. bank to face criminal charges in the wake of the 2008 financial crisis. The Sung family endured a five-year legal battle: an investigation in 2010, an indictment in 2012, and a trial in 2015.

In addition to discussing Abacus, which was produced in conjunction with Frontline and will air on PBS later this year, we spoke with James about the legacy of Full Frame at age twenty and the current existential crisis on the documentary’s essential terrain: the truth.

INDY: The bulk of Abacus contains footage of the Sung family during the time of their trial. What initially drew your attention to their story so you could obtain real-time access?

STEVE JAMES: If I had been reading the papers, I never would have heard about this case, because the mainstream media, including the venerable New York Times in the backyard of this story, did not really cover it. I found out about it through one of my INDYweek.com | 4.5.17 | 17

F U L L F R A M E XX producers, Mark Mitten, who was friends with the family and had a friendship with Vera [Sung] that went back ten years. He brought the case to my attention around the time their trial was about to start. He said, ‘No one is telling this story, but this bank, of all banks, is the only U.S. bank being criminally prosecuted for mortgage fraud in the wake of that crisis.’ That was intriguing, so when I spent a few days with the Sungs filming, that convinced me that not only was the story itself significant, but the family’s story would be an excellent one to tell.

How does your filmmaking approach change when you’re making a film for Frontline?

All my films have ended up with a television partner in some fashion, sometimes after the fact. Different partners have different expectations. Everybody wants it to be accurate and provable, but it also affects the kind of film you make. For instance, The Interrupters is a more observational film, where we spent a year in the streets of Chicago following around these violence interrupters. We didn’t have to go through the same kind of legal and journalistic vetting process on that film that we did with Frontline on [Abacus].

Frontline wasn’t involved from the getgo, so throughout the trial, we couldn’t call up the district attorney’s office and tell them we’re doing a film for Frontline. They didn’t come aboard until near the end of the trial or afterward. They brought with them a coproducer, Nick Verbitsky, who has worked with Frontline on numerous financial stories. Nick became part of our team, and he was tireless in seeking out the prosecution side of this case, trying to track every juror and approach them individually about being interviewed. It also helped enormously to be able to say we’re Frontline now, because their imprimatur brings with it respect and clout.

Abacus states a point of view, from the perspective of the Sung family, that there were real questions whether this trial should have been brought against them to begin with. But despite that, we went to great lengths to articulate the case against them, and I feel confident that we did that.

You earned acclaim early in your career with Hoop Dreams and Stevie, which spotlighted little-known subjects. You’ve also directed documentaries about more popular subjects, like Allen Iverson and Roger Ebert. Does your filmmaking 18 | 4.5.17 | INDYweek.com

approach change depending on the familiarity of your subject?

That’s a really good question. With both Allen Iverson and Roger Ebert, those are stories that couldn’t be adequately told in a complete observational or cinéma vérité approach, which worked well for films like Hoop Dreams, The Interrupters, and Stevie. You could tell their stories that way if, say, Allen Iverson had consented to let me follow him around for a few months, which he didn’t. With Roger Ebert, we did have that access, but he died four months into our filming, which wasn’t anticipated.

When you’re dealing with a famous person, people bring their expectations of who that person is before they even see your film. In the others films I’ve done, like Abacus, the viewers’ complete knowledge and

STEVE JAMES: ABACUS

Thursday, April 6, 7:30 p.m., $14-16 The Carolina Theatre, Durham www.fullframefest.org

understanding of these individuals comes from the film. A profound responsibility comes with putting people who aren’t known into the public sphere. With famous subjects, it’s a different sort of responsibility. For example, Roger was mostly universally loved—I wouldn’t have made that film if I didn’t admire the man. But I felt a duty to show some of the rougher edges of Roger that people may not be aware of: the fact that he was a bit of a womanizer in his youth, he struggled with alcohol, and that his relationship with Gene Siskel was more bitter than most people realized from just watching their show.

Full Frame is a familiar festival for you. It also celebrates its twentieth anniversary this year. What does Full Frame mean to you, and what is its ongoing significance in the broader documentary filmmaking community?

I feel like I’ve watched Full Frame evolve over the years. They staked a claim pretty early on as an important doc festival, but I think early on there was a clear political point of view expressed through the film selections, which is true for a lot of festivals.

As [Full Frame] has evolved, it has graduated to finding its own voice in terms of the programming. One of the things I noticed in this year is that, yes, they’re showing some films that played at Sundance and other festivals, but [programming director] Sadie Tillery has selected quite a few films that I’m not familiar with, and I think that reflects their own voice.

What’s always been true about Full Frame is that it’s a very welcoming festival for filmmakers. I grew up in Virginia, so I know what Southern hospitality should be. Full Frame embodies that in the best sense. The community and city are always welcoming, and the staff is terrific to deal with. It’s beautifully set up in terms of venues and their proximity. Filmmakers love going there.

At its essence, documentary filmmaking is about a search for truth. Two weeks ago, the cover of Time asked, “Is Truth Dead?”

In our current social and political climate, are the challenges for documentary filmmakers heightened?

One of the real challenges for documentary filmmakers is that there’s a perception, not unfounded, that documentaries are a largely liberal, politically left art form. That’s changing some—there are people coming to documentaries more as an art form than an activist. But there’s still a very strong driving force of activism that runs through many documentaries that are being made, and I have no problem with that. With that comes a greater responsibility to the tenets and ethics of journalism. If you’re making a film for a cause, you need to look at it more deeply and complexly than just a rallying cry.

I wouldn’t call a lot of the films I’ve done journalism, either. But that doesn’t relieve me of the responsibility of presenting the world in a three-dimensional and complex way, even though the films have a point of view. There’s nothing wrong with point of view. I would just like to see those viewpoints more consistently hard-won within the films instead of arrived at before you make them. I always go in with ideas of what my films are about and what they might say, and I’m always amazed at how little I really understood until I got in the middle of making them. I try to be true to what I encounter and not just look for confirmation of what I believe.

But no, I don’t believe truth is dead. How could I keep doing what I do? arts@indyweek.com

F U L L F R A M E XX

MAY IT LAST: A PORTRAIT OF THE AVETT BROTHERS

LOCAL FILMMAKERS AND SUBJECTS GET THEIR CLOSE-UPS

FULL FRAME AT A GLANCE

A BITE-SIZE CRASH COURSE ON THE ORIGINS AND HIGH POINTS OF DURHAM’S WORLD-RENOWNED DOC FEST AT AGE TWENTY

BY LUKE HICKS

BY ASHLEY MELZER

ALL SKATE, EVERYBODY SKATE (U.S., 19 min.) Miss Doris sounds like a tall tale. For fifty years, she’s been running a post office-slash-roller-skating rink in the tiny North Carolina beach town of Topsail Island. Her story is lovingly told by filmmaker Nicole Triche, an Elon University faculty member last seen at Full Frame in 2013 with another short doc about unconventional passions, Taxidermists. (Friday, April 7, 4:10 p.m.)

THE ORIGINAL RICHARD MCMAHAN (U.S., 21 min.) Chapel Hill filmmaker Olympia Stone turns the camera once again the art of the small. Two years ago, Full Frame screened Stone’s Curious Worlds: The Art & Imagination of David Beck, a deep dive into the work of an artist who specializes in intricate kinetic sculptures that require intense miniature work. Similarly, this film follows Richard McMahan, an artist obsessed with re-creating classic works on a Lilliputian scale. The resulting mini-masterpieces are housed in his own Mini Museum, a collection of more than a thousand pieces spanning art history. (Friday, April 7, 10:20 a.m.)

PURPLE DREAMS (U.S., 73 min.) Being the first high school

permitted to perform The Color Purple is a big deal for the students and faculty of Northwest School of the Arts, a public magnet school in Charlotte. The Broadway musical adaptation of Alice Walker’s Pulitzer-winning novel carries high expectations. Filmmaker and Charlotte native Joanne Hock uses this frame to tell the story of the students’ attempts to follow their dreams and deal with the realities of the play’s hard-hitting themes. (Friday, April 7, 7:40 p.m.)

MAY IT LAST: A PORTRAIT OF THE AVETT BROTHERS (U.S., 104 min.) It’s no secret that the boys from Mount

Pleasant have done well for themselves. The Avett Brothers have been nominated for three Grammy Awards; they've played the late-night TV circuit and released nine albums.

This film, codirected and produced by Judd Apatow and Michael Bonfiglio, follows their soul-searching attempts to work on a new record with producer Rick Rubin in California. Is this a story of a chosen family fighting for creative sparks or one dispassionately removed from its N.C. roots? (Saturday, April 8, 7:30 p.m.)

WHAT’S IN A NAME:

Full Frame wasn’t always Full Frame. It began as the Doubletake Documentary Film Festival in 1998, when it was one of just two documentary-only film festivals in the United States (now there are dozens), before becoming Full Frame in 2002.

THAT CERTAIN FULL FRAME MAGIC: “We are conscious of programming films that represent a wide scope of forms and styles,” says Sadie Tillery, Full Frame’s programming director. “Our selection committee is not concerned with the business of filmmaking; we are here to offer something unique to the filmmaking community by honing in on the artistry of AUSPICIOUS BEGINNINGS: The festival was founded by Nancy filmmaking.”

Buirski, a documentary filmmaker who was forBut more to the point, as Full Frame has merly a Pulitzer-winning international photoggrown, Tillery has stayed mindful of the original raphy editor at The New York Times. Buirski approach crafted by Buirski. developed an advisory board from her connec“It’s an intimate festival,” Tillery says. “The tions in the filmmaking community and started landmark achievement moments have been strong: in its first two years, the festival already distilled through personal interaction with featured contributions and panel participation filmmakers and festivalgoers. We make sure from legendary filmmakers like D.A. Pennebakto stay in touch with the artists we bring in. We er, Chris Hegedus, Albert Maysles, Lee Grant, look them in the eye and let them know we are and George Stoney. The first three-day event here to take care of their work.” took place at the Carolina Theatre, where it still “We are intimate in our landscape,” agrees resides twenty years later, now ranging over Haj, who lives in Minneapolis since her husDeirdre Haj in 2010 four days and onto additional screens at the PHOTO BY JEREMY M. LANGE band, Joseph Haj, left PlayMakers Repertory Durham Convention Center, the Durham Arts Company for a job at the Guthrie Theater in Council, and beyond.

2015.

“That hasn’t changed from day one," Haj continues.

INTERNATIONAL INFLUENCE: Full Frame doesn’t "Sometimes we joke about struggling to get filmmakers to neglect local filmmakers (see sidebar), and it offers public participate in panels, because they all want to participate screenings in Durham year-round. But beyond the Trianin the festival like everyone else. It’s this amazing group gle, it’s been recognized by Indiewire as one of the world’s of people that gets together in our house, making for a top twelve documentary festivals, alongside the likes of unique experience that just doesn’t happen at other fesAmsterdam’s IDFA and Toronto’s Hot Docs. Deirdre Haj, tivals. You know how you get to camp and you don’t know Full Frame’s executive director, notes its recognition by anybody, but then, on the last day, you’re crying and hugthe Academy Awards: “In 2012, when the academy decided ging as you get on the bus to go home? That’s Full Frame.” that festivals would be added to the criteria for being conarts@indyweek.com sidered for an Academy Award, we were one of the first festivals accredited,” she says. “Likewise, when the academy decided to reinstate its grants program last year, it gave out a selective thirty-seven national grants, two coming FULL FRAME DOCUMENTARY FILM FESTIVAL straight to Durham’s documentary programs.” She’s also Thursday, April 6–Sunday, April 9 had more personal experiences of Full Frame’s influence, $14–$16 per screening as when an aspiring filmmaker in Greece once told her the Various venues, downtown Durham www.fullframefest.org highlight of his career was a Full Frame rejection letter, because it meant the committee had watched his film.

INDYweek.com | 4.5.17 | 19

F U L L F R A M E XX

DINA

WOMEN’S STORIES FRONT AND CENTER

BY ASHLEY MELZER Who runs the world? Girls. Who just wants to have fun? Girls. Who’s torn between feeling reductive about singling themselves out and the need to highlight their stories? Girls. Luckily, Full Frame this year offers a wide range of female experiences to explore, demonstrating how women navigate and surpass expectations.

MOMMY’S LAND (Cambodia/U.S., 68 min.) How do you turn “the personal is political” from an aphorism about legislative overreach into action? Say no. That’s the lesson of one elderly grandmother who sparks a movement in Phnom Penh, Cambodia’s poorest area. The film portrays her stubbornness in the face of violent threats and economic upheaval. Is one woman’s life enough to stand down the aggression? (Friday, April 7, 10:10 a.m.)

SHIVANI (U.S., 21 min.) For girls, expectations can be the enemy of identity— especially when you’re dressed in bows, complimented on your beauty, and given a doll to ward for practice. What to make, then, of Shivani, the tiny, three-year-old prodigy archer whose family believes is the reincarnation of her dead brother? Can a girl carry the grief of her family and determine her own fate?

(Friday, April 7, 1:10 p.m.)

STILL TOMORROW (China, 88 min.) Yu Xiuhua achieved viral success with her

“frankly sexual” poem, “Crossing Half of China to Sleep with You.” But the idea that this poem would even be of note were she not a forty-year-old woman with cerebral palsy is “frankly” absurd. For better and worse, a viral sensation brings attention to this artful, outspoken woman for the ways in which she breaks societal norms and embraces her individuality. (Thursday, April 6, 1:20 p.m.)

DINA (U.S., 101 min.) This Sundance Grand Jury Prize-winning doc tells the story

of Dina—forty-nine, newly engaged, and ready to ascend to the romance she’s come to expect from watching Sex and the City. It might sound like a glib look at a stereotype-obsessed suburbanite, but it's actually a reserved character study about love and mental disability. (Friday, April 7, 7:20 pm)

ASIYEH (Iran, 34 min.) While setting a patient’s broken bone, Asiyeh gently,

matter-of-factly draws the truth to the surface: the patient’s husband, who brought her in, also abused her. It’s just one scene in this portrait of a bonesetter in Northwestern Iran. Asiyeh’s skill with her work and persistence in her council keep her in demand in her community. The film brings to light how healing is so often a function of comfort and confrontation. (Thursday, April 6, 4:00 p.m.)

20 | 4.5.17 | INDYweek.com

F U L L F R A M E XX

FUJI MOUNTAIN BREAKDOWN

FAR WESTERN OFFERS AN EARNEST, INTRIGUING LOOK AT COUNTRY AND BLUEGRASS MUSIC IN JAPAN

BY ALLISON HUSSEY

T

o many Americans, certain cultural markers are ours and ours alone: stars ’n’ stripes, pickup trucks, Budweiser, hot dogs, front porch pickin’ and grinnin’. But Far Western, a documentary about country and bluegrass enthusiasts in Japan that makes its North American premiere at Full Frame,

Charlie Nagatani

PHOTO COURTESY OF THIS LAND FILMS

dissolves any ideas of cultural ownership. Instead, it offers a terrific look at how the stuff we might think of as “ours” reaches much, much further than we might imagine.

Far Western only lightly touches on the hellish existence for the Japanese after the United States dropped two atomic bombs on their country, but it does make clear just how bluegrass and country music got such a firm foothold there. American troops brought their cultural trappings to the postwar occupation, which included Wild West movies. Those films—and their respective twangy soundtracks—represented the thrilling, wide-open new possibilities of democracy. Thus, country and bluegrass music became synonymous with

idealistic notions of freedom.

The documentary’s narrative revolves around Charlie Nagatani, an eighty-yearold musician who runs a honky-tonk, Good Time Charlie’s, in Kumamoto, Japan. He first encountered country music at the surprise party his friends threw for his twentieth birthday, and was hooked immediately.

As one of the most potent forces for keeping bluegrass and country music alive in Japan, Nagatani makes for a delightful centerpiece to Far Western’s narrative. In 1989, he founded the Country Gold music festival, a yearly hootenanny in Kumamoto that’s hosted some of the biggest names in country and bluegrass: Bill Monroe, Ricky Skaggs, Dwight Yoakam, Emmylou Harris, and even Brad Paisley and the Dixie Chicks. And while the genres may be a comparatively niche market in Japan, Far Western demonstrates that its fans are passionate devotees.

Interviews with Nagatani and his fellow die-hards are deeply charming. The subjects’ intense, earnest love for country and bluegrass radiates through the screen; they treat the music with an adoring reverence that borders on genuine awe. Sometimes, this reaches almost comical or surreal heights, as when we hear native Japanese speakers sing in impeccable, high lonesome English, or see clusters of Japanese line dancers getting down at Nagatani’s Country Gold, decked out in cowboy boots, ten-gallon hats, and fringed jackets.

Far Western also follows Nagatani and

FAR WESTERN

Friday, Apr. 7, 7:10 p.m., $14–$16 Durham Convention Center, Durham www.fullframefest.org a small group of cohorts as they travel to Nashville for Nagatani to perform with the Grand Ole Opry, as well as to Austin, Texas, and Tulsa, Oklahoma. For Nagatani, the Opry was the stuff of legend and the home of his heroes, and his first performance there in 1985 was a lifelong dream come true. Though Nagatani now returns to the Opry annually, his excitement for the pil-

grimage hasn’t dulled over the decades, and his friends share his enthusiasm. It’s hard to imagine getting giddy at an empty dance hall in Tulsa, but Nagatani and company appear to be as thrilled with their surroundings as a child at Disney World.

Some truly remarkable side-stories are embedded within the larger narrative, but you’ll have to tune in for those worthwhile little yarns. Ultimately, though, Far Western is refreshing in its examination of wholehearted cultural appreciation— there’s not a hint of irony or cool indifference anywhere in its eighty-three minutes.

It’s heartwarming without any schmaltz, and it makes for a rewarding romp. ahussey@indyweek.com

INDYweek.com | 4.5.17 | 21

indyfood W

hen I moved to Austin from Virginia in the first grade, I learned what it meant to be Texan from the cafeteria at my public elementary school. Chicken fried steak, pecan pie, King Ranch casserole, kolaches, and my favorite—Frito pie.

Frito pie, for those unfamiliar, is anything but a pie. I suspect the gussied-up name was intended to disguise what it really is: a mess in a bag. But what a delicious mess. Traditional Frito pie is simple: Texas chili (beef required, beans optional), shredded cheddar cheese, and a smattering of raw white onions lain atop the contents of a flayed Fritos bag. Eaten with a spoon and at least a few napkins, it’s the go-to snack for many a football tailgater, served alongside chili dogs at most Texas concession stands. A good tailgate spread will offer a few other fixin’s as well: sour cream, chopped tomatoes, and sliced jalapenos if you’re feeling fancy.

Though many Texans claim that their friend’s cousin’s grandmother came up with the dish, the less charming truth is that it originated from the Frito-Lay corporate test kitchen in 1949 for inclusion in a Fritos-themed recipe booklet. In the early 1960s, Frito-Lay printed the recipe for Fritos Chili Pie on the back of Fritos bags and eventually it became commonplace throughout the Southwest. In the 1990s, I’d put aside my homemade lunch when Frito pie was being served in the cafeteria line at school. I’d sit satisfied by the salty, crunchy meal, thinking my transgression would go unseen by my mother until I’d look down and inevitably see a splotch of dark red chili on my T-shirt.

Memories of those stained shirts shot through my head when I heard that the newest bar on Geer Street—The Accordion Club—stated its plans to take on Frito pie. Housed in what used to be part of La Costeña market, the bar is narrow but not cramped. The simple shotgun style is actually a welcome contrast to its expansive, warehouse-like neighbors in the area.

I walked in recently on a chilly day to try their version of this cold-weather classic.

Manning the bar on a Monday afternoon, owner Scott Ritchie smiled when I mentioned my Texas roots. George Strait sang “Amarillo By Morning” as I ordered the 22 | 4.5.17 | INDYweek.com

[ EAT THIS]

All That and a Bag of Chips

PORK CHILI, NACHO CHEESE, AND RAW ONIONS IN A FRITOS BAG BRING A TEXAS-SIZE TASTE TO DURHAM’S NEWEST BAR

BY KATRINA PAIGE MARTIN

What you got in that bag? Frito pie at The Accordion Club PHOTO BY ALEX BOERNER

THE ACCORDION CLUB

316 West Geer Street, Durham www.facebook.com/accordionclubdurham

Frito pie—it’s called a Frito bag here, but no matter: I felt halfway home.

Ritchie served me a Fritos bag cut down the side, containing pork chili made from green New Mexico Hatch peppers, along with cheese sauce, onions, and sour cream.

As a former Californian, he became a true green-chile convert through his in-laws, who are from New Mexico. When he and his wife, Talitha Benjamin, decided to open the Accordion Club, they brought the goods to Durham. They ordered a pallet laden with 1,700 pounds of flash-frozen Hatch chiles, which should last them well through the summer bar rush. Ritchie teamed with his brother-in-law, Aaron Benjamin of Gocciolina, to create the green chili stew. It’s also available in a bowl and comes served with a tortilla.

As I sat to eat, I was skeptical about the pork in the green chili, about the deviation from tradition. Why does North Carolina insist on putting pork in everything? Don’t they have beef cows somewhere in this state?, I grumbled to myself, before taking a sip of cider and taking a bite. Spicy, tangy, but not overpowering. I took another bite.

The silky chili ran over the curly corn chips.

A welcome burn began to articulate in my mouth, and any remaining skepticism vanished. It was good, y’all.

The beauty of the Frito pie is in the increased surface area for corn to crunch against chili. This viscous green chili has far more room to coat the chips than the oversize kidney bean and beef chili I remember from high school football games. I was so enamored, I wondered if I even needed the cheese sauce or sour cream. Upon further reflection, I always need the sour cream. I’d have added another spoonful of raw onions and subbed plain shredded cheese for the nacho variety. Still, this Frito bag/pie is bar food at its best—tasty, cheap, and available until 2:30 a.m.—a gustatory option that Durham desperately needs more of. Even as I tried to pause to savor it, the contents of that small bag disappeared within a few minutes.

I chatted with Ritchie some more, pleasantly reliving the brightness of the pepper and pork in my mouth. I left warmed and sated, without a red chili stain in sight. food@indyweek.com

food

UNDER CONTRACT: FARMERS AND THE FINE PRINT

Chatham Mills Market, 480 Hillsboro Street, Pittsboro Free, 7 p.m. www.undercontractfilm.com

Cooped Up

LOCAL FILM HIGHLIGHTS THE HUMAN STORY BEHIND THE CHICKEN IN YOUR BISCUIT

BY ERIC GINSBURG

Behind the scenes of Under Contract: Farmers and the Fine Print

It might sound dramatic to compare chicken farmers to indentured servants, but that’s the kind of language invoked by several former poultry contract farmers.

Genell Pridgen, a ninth-generation farmer from Snow Hill, North Carolina, likens the experience to being “a serf on your own land.” Paul Brown, a stoic former contract chicken farmer in Lena, Mississippi, expresses a similar feeling of being trapped.

“You may cut the grass and you may make some decisions, so in essence it may feel as if you have control, but at the end of the day, you are bound to a contract,” he says. “Once you get into this industry, and you have one million invested in a chicken farm, there’s not a lot of other things that you can use a chicken farm for other than to grow chickens.”

A new documentary film produced in

PHOTO BY MARCELLO CAPPELLAZZI

part by Pittsboro-based Rural Advancement Foundation International (RAFI) explores the sense of desperation that many chicken farmers experience. Under Contract: Farmers and the Fine Print delves into the semi-invisible lives of the people who raise 97 percent of the chicken consumed in this country, explaining how a handful of poultry companies take advantage of the farmers they rely on. RAFI hosts a free screening April 7 at Chatham Mills in Pittsboro at seven p.m.

Last month, RAFI program director and filmmaker Sally Lee screened excerpts of the film at the Durham Convention Center as part of the organization’s annual food justice conference. Now that I’ve seen the film and heard Lee and Pridgen field audience questions, the parallels to serfdom don’t seem as exaggerated.

Under Contract masterfully illustrates

how companies like Tyson Foods, Perdue Farms, and Pilgrim’s Pride exploit a startling power imbalance in the industry. Companies like these are known as “integrators” because they own and control virtually all aspects of the vertically integrated chicken industry, save for raising the birds, a task that’s contracted out to avoid risk, according to one of the experts in the film.

Most contractors—or “growers”—opt in, lured by the supposed independence and financial payoff, but in doing so they assume massive debt in start-up costs.

Absent any bargaining power, farmers in the film detail the instability of being a grower. Pridgen’s family farm almost went belly up when Perdue decided to unceremoniously dump hundreds of chicken houses in North Carolina. When Tyson Foods insisted on costly upgrades at

Karen and Mitchell Crutchfield’s chicken houses, the farming couple decided they couldn’t shoulder the additional debt and later declared bankruptcy.

Growers describe a payment system that penalizes them for myriad issues out of their control, where small or sickly chicks provided by integrators hamper farmers’ ability to turn a profit. And since growers are generally clumped around an integrator, Lee said, it’s difficult for them to switch companies.

Valerie Ruddle, a grower for Pilgrim’s Pride, describes the volatility well—she’s earned as much as $30,000 and as little as $13,000 for a flock, though she needs at least $21,000 to break even.

Growers lack meaningful recourse, as Under Contract highlights with the case of Alton Terry, a Tennessean who unsuccessfully sued an integrator for alleged unfair treatment and financial retaliation.

In one of the film’s many heart-wrenching moments, Terry grows quiet and admits he attempted suicide.

In another scene, farmer Josie Brown breaks down as she describes her family’s decision to put their farm up for sale.

“These chicken companies make millions and millions of dollars off of us,” she says. “We’re just here to fill their pockets, and when they don’t have a need for us, we’re done, and we’re pretty much thrown out like the garbage.”

The industry isn’t contained to the U.S.—a portion of the film not shown at the conference depicts how the same companies are expanding to India—and the contract model extends beyond chicken farming. While more chicken growers are in debt than their peers in other markets, the arrangement has spread to various aspects of food production, including strawberries.

Under Contract ends with a call to action, echoed on RAFI’s website, inviting viewers to advocate for protections for contract chicken farmers. But as former North Carolina grower Craig Watts argues in the film, more than the disempowerment and debt of chicken farmers are at stake.

“This is food,” Watts says. “It affects us all.” food@indyweek.com INDYweek.com | 4.5.17 | 23

indymusic

Hear Her Roar

FROM RIOT GRRRLS TO BOY BANDS, BRUXES’ RACHEL HIRSH DISSECTS SONGS THAT MADE A DIFFERENCE IN HER MUSIC

BY ALLISON HUSSEY

F

or the better part of a decade, Rachel Hirsh has been performing with the pop-rock outfit I Was Totally Destroying It, co-piloting the band on vocals, guitar, and keys alongside longtime local John Booker. But when the band slowed down and stopped touring in 2012, Hirsh began writing songs on her own terms. After a few slow-burn years of developing her solo material, Hirsh released her debut EP as Bruxes, Boys Will Be Boys, last fall. There, she opened up about her mental health in songs that brood behind gleaming production. From her Raleigh apartment, Hirsh shared her thoughts on some of the music that’s shaped her own musical work.

“LIL' RED”

BIKINI KILL, PUSSY WHIPPED (1993) Like many women who grew up in the nineties, Hirsh got introduced to the riot grrrl ethos of third-wave feminism via the inimitable Kathleen Hanna.

I stumbled across them in the used-CD section at the Schoolkids on Franklin. The Singles was the first CD I got by them, I was twelve or thirteen at the time. It opened up my eyes to this whole new world of music.

At the time, I was listening to the radio, because that’s what you know what to listen to when you’re twelve or thireen. The radio was nothing but nu metal at the time.

Kathleen Hanna is definitely a really big inspiration to me, in terms of taking up a lot of space and being really vocal about her politics through music. The Girls to the Front movement is really awesome— having a really safe space for everyone at shows. She’s just the coolest.

I stumbled on Bikini Kill, Sleater-Kinney, and Le Tigre all at the same time, and then I was just insufferably cool about them. I just got way into nineties indie rock, and late eighties, early nineties punky stuff. That really shaped what kind of music I ended up 24 | 4.5.17 | INDYweek.com

wanting to pursue. I was like a crash-course feminist teenager, where I had no idea what I was talking about, but I believed in it with all my heart. I definitely still had a lot of weird musical missteps along the way—not missteps, but decided I liked random things that aren’t cool on paper as a teenager, like you’re supposed to do when you’re figuring out what music you like.

“THERE IS A LIGHT THAT NEVER GOES OUT”

THE SMITHS, THE QUEEN IS DEAD (1986) The influence of eighties pop production and, in particular, Johnny Marr’s guitar work, weighs heavily on the overall sound of Boys Will Be Boys.

I wouldn’t say that I’m a huge Smiths fan, but I’m a huge fan of eighties production. I’m a big fan of shimmery guitars and snares that sound like they’re being played in an empty warehouse. One of my favorite songs, period, is “How Soon Is Now.” I wish I’d written that song.

I really like the glossy, synthetic, kind of dramatic sounds of the eighties. Which is weird, because I also love the super strippeddown, raw, nineties indie rock stuff, where no one really knew how to play their instruments and are just being loud. Balancing those two is really fun, but confusing.

“COME OUT, COME OUT”

I WAS TOTALLY DESTROYING IT, HORROR VACUI (2009) This cut from I Was Totally Destroying It is the power pop high-water mark on the band’s excellent third record.

I don’t want to say that Bruxes is mine and Destroying It is John’s, because we both collaborate with each other on those things. He wrote a lot of the music for Bruxes—not the songs, but the things that he plays, and was very integral to the produc-

BRUXES

Saturday, April 8, 8:30 p.m., $8 Deep South, Raleigh www.deepsouththebar.com

I was diagnosed with bipolar disorder in 2009. I guess the tip is “Write what you know,” and I felt like I kind of burnt out on the kind of stuff I was writing for Destroying It. I was kind of like, “Maybe I should stop trying so hard and reel it back in and write what I know.” And what I know is me, and all my bullshit.

Stripping everything down and admitting a lot to myself was very therapeutic. I am the most confident and strangely happy I’ve ever been right now. I’m legitimately happy right now. I’m happy, because I’m acknowledging that I’m unhappy, if that makes sense.

I’m just being very honest with myself and everyone in my life. It’s much easier to navigate life that way than pretending everything’s OK and that there’s nothing wrong.

It was a nice way to reach inside of myself and pull out everything that I was not wanting to admit to myself, and at the same time, reach out to other people and let them know, “This is actually what I’m like.”

Poly Styrene’s awesome. At the time, she didn’t have the super-commercial look to her. She wore weird clothes and had braces and stuff. That was really cool that she was like, “This is what I look like, and I’m in a punk band with a saxophone, so deal with it.”

Rachel Hirsh, at home in Raleigh PHOTO BY BEN MCKEOWN tion of the EP. Bruxes is definitely a more personal project for me.

In 2012, after Destroying It stopped touring, I got really bummed. I didn’t know where to channel my energy next, so I just kind of started writing songs for myself just to kind of prove that I could still do it. Bruxes is like my weird “I’ve got something to prove” project. We’re not super active—I’m not going on tour and playing a ton of shows or anything, but it’s kind of my “I can do this” project.

back!” We were really excited about it, because that’s our shit.

It’s definitely not a cool thing to do— none of us are like, “Yeah, we’re hot shit, we’re in a nineties cover band,” but it’s nice to be playing music and look out and see the happy recognition flash across someone’s face when you play their song from college or high school. It’s a nice, warm, fuzzy feeling.

“TORN”

HANSON, MIDDLE OF NOWHERE (1997) Hirsh freely admits that she was once a massive Hanson fan. “Where’s the Love” was the band’s second single after its mega-hit, “MMMBop.” They were the first band where marketing worked on me. I was a bit young when it first came out—I was seven—so it kind of took a year or two after that to be like, “OK, I love Hanson now.” It was the first thing where I totally bought into the hype.

I bought books about them, I had merch,

NATALIE IMBRUGLIA, LEFT IN THE MIDDLE (1997) This one-hit wonder is in Hirsh’s repertoire with 120 Minutes, the nineties cover band she performs in with some of her Bruxes bandmates.

There are definitely worse ways to spend a few hours working than playing stupid songs with my friends. I’m pretty sure it was John Booker who was like, “We should totally do this! The nineties are coming

“WHERE’S THE LOVE?”

“HOUNDS OF LOVE”

and I would freak out when they put out new CDs and stuff. I don’t get fanatical about a lot of stuff. I love a lot of different things, but there are very few things I get fanatical about. One of those things would be Hanson. I loved them, and Backstreet Boys, and to a lesser extent, NSYNC at the same time. Those were really my, “I like boys!” bands.

I immediately bought tickets at The Ritz to see them in September. It’s disturbing how excited I am. I guess I just didn’t outgrow that love for them. I stopped paying attention to them after a while, because I turned into an insufferable Bikini Kill fan.

“THE DAY THE WORLD TURNED DAYGLO”

X-RAY SPEX, GERMFREE ADOLESCENTS (1978) The band's frontwoman, Poly Styrene, was diagnosed with bipolar disorder in 1991, and Hirsh spends much of her EP sharing her own experience with the condition.

KATE BUSH, HOUNDS OF LOVE (1985) Hirsh suggests we close our session with the immaculate title cut from Bush’s celebrated LP. I want to sound like that. Hounds of Love is perfect. She’s another unapologetic weirdo. This record is awesome because it came after The Dreaming, which people gave her a lot of shit for, because it was so off-thecharts weird. It was her artsiest record to date at the time. She started out as this very coquettish ingénue with [1978’s] The Kick Inside, and then she put out The Dreaming [in 1982], and it was mad weird. She was interpretive dancing, and everyone was like, “Oh, Kate, you’re crazy!” Then she came back with the most perfect record and it exploded. She had all this success, and she’s just basically like, “Yeah, I’m a genius, everybody suck it.”

I’m such a fan, musically and personally, of people who are unapologetic. I’m a big admirer of people who are true to themselves and just lay it out there. ahussey@indyweek.com INDYweek.com | 4.5.17 | 25

indypage J

essamyn Stanley seems more surprised than anyone by her rise to yoga fame. When I mention mutual friends from her time at Durham restaurant Mateo, she responds with a laugh. “I feel like I’m still working at Mateo! To me, it’s not in the rearview mirror at all,” she says.

Still, it’s been almost two years since she worked at the restaurant. Since then, she has become a full-time yoga teacher, nationally known body-positivity advocate, Instagram sensation, public speaker, and writer. Her new book, Every Body Yoga: Let Go of Fear, Get on the Mat, Love Your Body, is an introductory guide for even the most hesitant would-be practitioners. In it, Stanley, who has a reading at Quail Ridge in Raleigh on Thursday, shares how a fry-loving, exerciseaverse aspiring cheerleader from Greensboro became a devoted yogini and champion of self-acceptance (who still loves fries).

The book simplifies yoga jargon, which can seem confusing or even culturally appropriative. Stanley uses charts, straightforward language, humorous footnotes, and personal anecdotes to show that, yes, anybody can do yoga—no excuses. Her book includes full-color photographs of diverse bodies: tattooed women with body hair!

Women with brown skin! Women with visible fat rolls under their yoga clothes! It’s a welcome, necessary perspective when, as Stanley says, “slender white women in expensive pants drinking expensive beverages with a tropical backdrop” dominate images of Western yoga.

Every Body Yoga is peppered with stories of Stanley’s uncomfortable youth, followed by sequences of yoga asanas (postures) meant to salve a particular emotional wound.

She recalls her obsession with the movie Bring It On, an homage to cheerleading. It inspired her to try out for her middle school’s squad. Unable to complete the basic fitness requirements, she did not make the team, and the shame of being excluded pushed her into “a rapidly blooming bottomless pit of self-disgust,” as she writes in the book.

More than fifteen years later, Stanley has emerged as more than a cheerleader: she is a true coach, as you’ll discover if you can get into her class in YogaFest NC at N.C. State’s McKimmon Center on Saturday morning.

The drills she gives for self-hatred? Sun salutations, an intense series of fiery postures meant to enliven the body and make the 26 | 4.5.17 | INDYweek.com

JESSAMYN STANLEY: EVERY BODY YOGA

Thursday, April 6, 7 p.m., free Quail Ridge Books, Raleigh www.quailridgebooks.com

The Body Eclectic DURHAM’S JESSAMYN STANLEY ON CONQUERING SELFHATE TO BECOME A NATIONAL YOGA-FOR-ALL ADVOCATE

BY KATRINA PAIGE MARTIN

Jessamyn Stanley in Every Body Yoga

PHOTO BY CHRISTINE HEWITT/COURTESY OF WORKMAN PUBLISHING

practitioner feel invincible. For the times she went from Weight Watchers meetings in the afternoon to French fries and college-grade booze at night? One-legged balance postures.

Stanley also urges yogis to get honest about the sometimes-problematic nature of modern Western yoga. Given the difference between ancient yoga, practiced by what Stanley calls “cisgender ascetic men living on the outskirts of society,” and today’s yoga, she implores us to ask, “How can I take what I need without taking what belongs to someone else?”

“One of the reasons I think I’m so sensitive to it is because I personally experience it

all the time,” she explains. “As a black queer femme, there’s always somebody trying to take something or embody something that doesn’t belong to them.”

But the yoga itself is not appropriative; that she is clear about: “You look within yourself to find the true light of the universe.

That’s just true.” This relates to something else Stanley is famed for: body positivity.

There are thousands of photographs of her, often in skintight shorts and a bra, on the Internet, so people want to talk to her about it and her use of the word “fat.”

“OK, everybody needs to stop being hung up on words,” she says, in her coach voice—

STANLEY AT YOGAFEST NC

Saturday, April 8, 10:30 a.m., $25–$70 N.C. State’s McKimmon Center, Raleigh www.youcallthisyoga.org

direct, caring, a tad exasperated that our culture is still having this conversation. “The word ‘fat’ is not something anyone should be ashamed of. You have to be able to exist outside of descriptors. I am a fat femme who does so much more and is so much more than those two ideas. Own how you are. People who find that offensive are dealing with the same shame and hate in themselves.”

Stanley hesitates to draw a direct line from her yoga practice to her body-positivity, since she was already immersed in online discourse about the latter before she got into the former. “Yoga is bigger than body image,” she says. “It gave me a better understanding of my body’s overall capabilities, but the thing that really clicked for me was when I started taking photos of my practice.”

Before she became a certified instructor, Stanley began a home yoga practice after her beloved aunt’s death in 2012. She couldn’t afford a studio class, and without a teacher to help her alignment, she started taking photos on her phone. She would feel powerful and joyful in the moment of the pose, but when she would look at the photos, the self-critic would take over.

“I’d immediately start talking shit about myself, and eventually, I questioned why I was being my own enemy,” she says. “I don’t think I would have had that conversation if it hadn’t been for the photographs.”

Before “selfie” made its way into the OED, Stanley started posting her photos to Instagram with hashtags such as #bodyconfidence and #fatyoga. Documenting her yoga journey, she wrote about body acceptance and encouraged others to do the same. She amassed a following in the online yoga and fat-acceptance communities. But after she started getting recognized in public, she became more judicious about balancing her public and private selves. Her photos might be brightly inspirational, but her life, like anyone’s, is a work in progress.

“The truth of the yoga journey is messy and complicated and dark and sad,” she says.

“And that is not a conversation that needs to be had with everyone on the planet. Because my journey has been in front of other people, there can be an impression of completion, and that’s not the case. That is what is really not understood about yoga in general: there is no finale. You’re always diving deeper, you’re always going further.” arts@indyweek.com

indyscreen

THE GREAT WAR 9 p.m., April 10–12 www.pbs.org

Unjust Reward

IN A NEW PBS DOC, A LOCAL HISTORIAN UNEARTHS THE VALOR AND BETRAYAL OF AFRICAN AMERICANS IN WORLD WAR I

BY DREW ADAMEK A hundred years ago, the United States entered World War I, beginning a profound legacy for the country’s global economic and military standing in the twentieth century.

On April 10, to mark the centennial, the PBS television program American Experience premieres The Great War, a three-part, six-hour documentary about a conflict that not only elevated America to a superpower but also cemented women’s suffrage and spawned an embryonic civil rights movement.

“The war was an earthquake that shakes the world to its foundations,” says producer Stephen Ives. “The changes it unleashed were so fundamental, so powerful, that there was no way to stop these forces from sweeping across the rest of the century.”

The Great War explores the seismic shocks the war sent through American society and democracy through the personal narratives of activists, soldiers, nurses, policy makers, and scholars, covering a wide terrain while zooming in on the neglected histories of people of color, women, and immigrants.

Adriane Lentz-Smith is the series’ featured expert on the unheralded role of African Americans in the war—and the lofty hopes and bitter betrayals they experienced before and after. Lentz-Smith, an associate professor of history at Duke, is the author of Freedom Struggles: African Americans and World War I. A newcomer to the national television audience, she joins the Pulitzer Prize winners who also serve as talking heads on the series.

“There could not have been a better person for sharing the complexity of the AfricanAmerican experience during the war. Adriane brought the story alive,” Ives says.

The African-American experience in World War I, and its cascading effects over the last hundred years, is a complicated, bitter story that many Americans are unaware of but which needs to be told, according to Lentz-Smith.

“If you’re going to talk about ‘a war for democracy,’ then you cannot tell that story

Above: the Harlem Hellfighters PHOTO COURTESY OF THE NATIONAL ARCHIVES Right: Adriane Lentz-Smith PHOTO COURTESY OF RAHOUL GHOSE/PBS without talking about people of color of various stripes, immigrants, and women,” she says. Lentz-Smith was first drawn to the experience of black soldiers in World War I as an undergrad, after encountering an article about them being court-martialed and lynched in 1919. She was largely unaware that African Americans had served in the war, and academic curiosity drove her to pursue the subject, first at Harvard, then as a doctoral student at Yale.

Her research uncovered a deep, influential history that remains hidden to most Americans. In the lead-up to the war, AfricanAmerican activists saw military service as an opportunity to expand black citizenship and participation in American democracy. One black writer and wartime volunteer, Kathryn Johnson, wrote that the time would come when “conduct and not color will be a measure of manhood in the world.”

“They saw this as a chance to show black valor, black dedication, and black heroism,” Lentz-Smith says, “and they felt that display would earn them a fuller citizenship.”

More than two hundred thousand AfricanAmerican troops served in World War I, but a deeply racist Army infrastructure limited most of them to menial labor. Still, some forty thousand saw combat, including the famed “Harlem Hellfighters,” who were loaned to the French army. Unlike the U.S. Army, the French treated the Hellfighters with respect and honored their sacrifice with numerous awards for bravery.

But hopes of respectability and recognition were dashed back home. “Newly empowered black soldiers return from the war to find a depth of white resistance that makes the racism of the previous years seem like a walk in the park,” says Lentz-Smith. As returning black soldiers began establishing

civil rights organizations, a white backlash violently tried to maintain prewar standards of Jim Crow laws. During the “Red Summer” of 1919, white mobs reacted angrily to the new black assertiveness and attacked black neighborhoods in twenty-five cities, resulting in hundreds of deaths of both races. At least a dozen African-American soldiers in uniform were lynched during the violence, and the gains black veterans expected were lost in a spasm of suppression.

African-American activists had learned a bitter but valuable lesson. At the outbreak of World War II, black activists threatened President Roosevelt with a massive march on Washington unless he offered blacks access to defense jobs and desegregated the military. Roosevelt, fearful of domestic wartime unrest, acquiesced, and activists intuited that organization and public pressure were the keys to progress, an insight that planted the seeds of the 1960s civil rights movement.

The Great War illustrates this story, and many others, with a wealth of contemporary footage, narration from personal accounts, and insights from writers and historians like Lentz-Smith. These stories aren’t just rooted in the past; many contain relevance for today’s political climate.

“If we don’t understand the ways we’ve answered the questions of World War I in the past—who gets to be a citizen, what is our role in the world—then we are in bad shape for the present,” Lentz-Smith says. arts@indyweek.com INDYweek.com | 4.5.17 | 27

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28 | 4.5.17 | INDYweek.com

n 19 Mut Com graphic-r superhero it was pre of the er Michael J Dudes, ev Champ had an int version o are into h sectionali ons, and say, it's t est expres toward ra tics, portr cally circl Like an does, this ing anyw talgia for callownes adults we sible. Ch reflection lates that you feel g awful abo The Ch ashes of M to the Ci ca: Civil W on. (Rem continuity now.) Bas after mille their geria lence and Avengers ways oth

artificer Free-Speech Bubble

DOES DURHAM’S RECENT CAMEO IN MARVEL COMICS REFLECT A MORE JUST WORLD OR A FLEETING PROTEST FAD? OUR CALL.

BY BRIAN HOWE In Artificer, a new, recurring column, the INDY’s managing arts and culture editor seeks acute angles on broad issues in the performing arts, books, and beyond.

I

n 1990, at the height of the Teenage Mutant Ninja Turtles craze, Marvel Comics launched a mercilessly demographic-researched series starring a young superhero team called the New Warriors, and it was pretty bad. It tried to be, in the sense of the era’s youth-marketing speak. From Michael Jackson’s Bad to arcade smash Bad Dudes, everything good was bad then.

Champions, in which Durham recently had an interesting walk-on role, is like a 2017 version of New Warriors, meaning the kids are into hashtags, social justice, and intersectionality instead of sarcasm, ninja weapons, and Rollerblades. Perhaps needless to say, it's the better book. It’s also the purest expression of Marvel’s recent hard turn toward racial diversity and progressive politics, portraying issues it had long metaphorically circled with new frankness.

Like anything a company Marvel’s size does, this is marketing driven, but it’s refreshing anyway. It also creates a perverse nostalgia for crappier comics in which loutish callowness was considered kid stuff, while adults were expected to be morally responsible. Champions, an operatized but true reflection of our times, persuasively postulates that those roles have reversed. It makes you feel good about the new generation and awful about the mess we’ve handed them.

The Champions rose last year from the ashes of Marvel’s second Civil War, a sequel to the Civil War that the Captain America: Civil War movie was more or less based on. (Remember how confusing superhero continuity used to be? It's so much worse now.) Basically, several of whatever comes after millennials, understandably fed up with their geriatric counterparts' internecine violence and infrastructure damage, quit the Avengers and band together in search of ways other than punching and blasting to

oughfares. This one panel immediately raistreat societal ills like human trafficking and es at least five questions. systemic racism.

1. "Big Box Store." Could someone not have Well, maybe a little punching and blastgoogled up Major the Bull, drawn Kevin Costing, just for a treat. But less, and for serious ner in a Durm shirt, something? (And dig that causes. crazy wainscoting!)

The Champions even have a member in 2. Is sending a fire guy and a water guy to common with the New Warriors, the cosmicbust up a protest really sadistic or surprisinghelmeted Nova, who looked about my age in ly considerate? I’d say it depends on whether 1990, and still does. But, in another notable difference, he and a younger, time-traveling version of the X-Men's Cyclops (it's complicated, don't worry about it) are the only white boys. The team also features Ms. Marvel (Pakistani-American shapeshifter Kamala Khan); a Spider-Man of color (Miles Morales, the best new Marvel character in decades); a Korean-American Hulk (Amadeus Cho); and a post-racial red android called Viv. In Champions #6, they’re all enjoying Durham's appearance in Champions #6 ART BY HUMBERTO RAMOS a game of paintball the water guy is there solely to soak people at "Howling Commandos Paintball," a retro or if he’s also putting out the fire guy’s fires. reference that seems designed to infuriate We'll never know, because in the next panel, the wizened hoarders whose muscle-bound, the Freelancers are just tearing the hell out of cigar-chomping heroes these texting teens a campground in Los Angeles for no discernput out to pasture. Meanwhile, an evil corible reason. poration in the whitest place on Earth, Min3. This isn't Durham's first appearance in nesota, is field testing its own teen team to comics. There was that time the Carolina take down the Champions. They're called the Theatre met The Walking Dead in an NC Freelancers. As a former full-time freelancer, Comicon promotion, and that time the Hulk I don't appreciate their characterization as put on a Bulls uniform. Have any other local amoral mercenaries, though as an editor, I places appeared in comics? sometimes do. (Freelancers! I'm playing!)

4. Wait, a campground? In Los Angeles?

We see them quashing a living-wage protest Why is that even? in Durham, which is of course famous for its 5. In all seriousness, it's easy to see why Big Box Store and its wide, unmarked thor-

Champions would nab Durham's name, if not exactly its likeness, for its purposes. The city is shorthand for “diverse " (like Minnesota is for "white") and “social turbulence,” at a time when Triangle citizens are turning out to defy Trump in the tens of thousands and Triangle workers have joined a global battle for a living wage. The series is essentially a brightly colored polemic for progressive coalition-building through social media; it suggests that power resides not in opposed individuals—the superhero status quo—but in agreeing multitudes.

Marvel hasn’t always portrayed these charged issues with nuance; there have been whiffs of exploitative faddishness as writers try to figure out the material. But one forgives a bit of ham-handedness to see the real-world struggles of people of all races, religions, and genders reflected in comics, while the Avengers flounce off on their latest battle across space-time, the stakes so huge and abstract as to be meaningless.

Even if Champions is the result of Marvel’s perennial trend-chasing, it draws a richer, healthier picture of our culture than what I grew up with. But the problem with trends is that they pass. Google “Marvel Comics social justice” for a predictable, depressing primer on how poorly the right, especially where it crosses over with old-school collectors, has received Marvel’s younger, more politicized line. And see how gleefully reactionary forces have greeted recent interviews by Marvel brass that hint at a return to a more “classic” status quo, which is to say whiter, more male, and more politically neutral.

But stopping protests in comics won’t stop them in Durham, and making comics white again won’t do the same to America. It will only alienate the legions of new, young American fans—fans more alert to inequality and heterogeneity than their parents—who have fallen in love with Marvel as Marvel has noticed them. If the company capitulates to conservatives, remember, it’s only publishing whatever we’ll buy. bhowe@indyweek.com INDYweek.com | 4.5.17 | 29

4.5–4.12

Sanam Marvi PHOTO

MUSIC

COURTESY OF THE ARTIST

WEDNESDAY, APRIL 12

SANAM MARVI

Opportunities to “make it” in Pakistan’s sparse music industry are few and far between, but vocalist Sanam Marvi has gotten pretty close. Armed with a spellbinding voice, she got her big break through performing on two different Pakistani television programs in 2009, and in 2011 she earned the award of best singer from the University of Sufism and Modern Sciences in Pakistan. Though she sings in multiple languages—Punjabi, Saraiki, and Sindhi—you don’t need to understand any of them to be moved as her lilting voice wanders effortlessly across haunting melodies. She arrives in Chapel Hill as a part of Carolina Performing Arts’ Sacred/Secular: A Sufi Journey series, which aims to promote a better understanding of Islam beyond Western perceptions of how it exists in the Middle East. —Allison Hussey UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $10–$20, www.carolinaperformingarts.org

PAGE

FRIDAY, APRIL 7

JOHN KESSEL: THE MOON AND THE OTHER

John Kessel’s first novel in twenty years is worth the wait. In The Moon and the Other, the N.C. State creative writing professor, who has won or been nominated for many of speculative fiction’s major awards, conducts a grand thought experiment in the genre’s highest tradition. What if various Earth cultures settled small, enclosed colonies on the moon? What if one of those colonies were a matriarchal utopia, where men have nearly limitless sexual, intellectual, and creative freedom but cannot vote? What if the moon’s other colonies begin to interfere, stirring up a “masculinist” revolution? Kessel moves beyond the potentially dry pitfalls of science fiction built solely around what-ifs with complex characters, rich lunar environments, and a cracking plot, displaying the talent and craft he’s long cultivated. And there’s more good news from New York for Kessel fans: he’s contracted with Saga Press for another novel, Pride and Prometheus, a major expansion of his award-winning novella of the same title. —Samuel Montgomery-Blinn QUAIL RIDGE BOOKS, RALEIGH | 7 p.m., free, www.quailridgebooks.com

30 | 4.5.17 | INDYweek.com

STAGE

TUESDAY, APRIL 11

BLACK GRACE

Don’t let the company name fool you. In the rough New Zealand town where choreographer Neil Ieremia grew up, the word “black” was linked to the national rugby team, the All Blacks. It was used as slang terminology for the boldest and most daring acts. Standing up to the school bully was black; so was asking someone out of your league on a date. The bold and daring grace Ieremia has pursued in the twenty-two-year history of his world-renowned company fuses native Pacific Island and Samoan dance forms with modern dance and martial arts. Critics have praised the repertory works excerpted in the ritualized Pati Pati and the new exploration of male emotional nondisclosure in Crying Men. —Byron Woods STEWART THEATRE, RALEIGH | 8 p.m., $7–$32, www.live.arts.ncsu.edu

Black Grace PHOTO

STAGE

COURTESY OF NC STATE LIVE

MUSIC

FRIDAY, APRIL 7– SUNDAY, APRIL 9

MISCAST 2017: BIZARRE BROADWAY

All actors have at least one—a song they love to sing from a musical they could never possibly be cast in. (For director Timothy Locklear, it was “And I Am Telling You I’m Not Going” from Dreamgirls.) Four years ago, North Raleigh Arts and Creative Theatre put out a call to the similarly smitten for a cabaret quite unlike any the region had ever seen. The annual fundraiser has only grown more audacious since, with wrongheaded showstoppers including an all-male version of Chicago’s “Cell Block Tango.” This year, the unlikeliest talents take on tunes from Waitress, Jekyll & Hyde, Kinky Boots, and The Book of Mormon. Diane Petteway leads the band. —Byron Woods NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH 7:30 p.m. Fri. & Sat./3 p.m. Sun., $25, www.nract.org

FRIDAY, APRIL 7

MARSHA AMBROSIUS & ERIC BENÉT

Try not to put much credence in the common gripe that today’s brazen R&B lyrics are too reflective of the alleged superficial and dispassionate nature of millennials’ sexual impulses.

Because, let’s face it, if you’ve never been able tolerate music of the freaky-deaky variety, you were never into any era of R&B. The genre has always thrived on lasciviousness—from Barry White to Betty Davis on up to badass British balladeer Marsha Ambrosius, who, on the chorus of her new post-maternal “Don’t Wake the Baby” single, belts out “I’m gon’ get some dick tonight” with celebratory glee. Her Raleigh coheadliner, Eric Benét, is no less innocent, singing about tasting a woman while she does “tongue tricks” on his recent bedroom hit “Insane.” No, it’s not Valentine’s Day in April, but rather a reminder that, as far as R&B is concerned, there’s nothing new under the sun, or between the sheets. —Eric Tullis THE RITZ, RALEIGH | 8 p.m., $35–$110, www.ritzraleigh.com

WHAT ELSE SHOULD I DO?

BRUXES AT DEEP SOUTH (P. 24), DEMOCRACY FOR SALE AT CHAPEL OF THE CROSS (P. 40), FIRST FRIDAY AT ARTSPACE (P. 37), FROM DURHAM, TO SYRIA WITH LOVE AT MOTORCO (P. 35), FULL FRAME DOCUMENTARY FILM FESTIVAL IN DOWNTOWN DURHAM (P. 16), THE GREAT WAR ON PBS (P. 27), JUSTICE FOR ALL AT HAW RIVER BALLROOM (P. 35), KEVIN MCLAUGHLIN AT LETTERS BOOKSHOP (P. 40), UNDER CONTRACT AT CHATHAM MILLS MARKET (P. 23), NATURAL CAUSES & SPONGE BATH AT NIGHTLIGHT (P. 33), THE ROYALE AT BURNING COAL (P. 39), JESSAMYN STANLEY AT QUAIL RIDGE BOOKS & YOGAFEST NC (P. 26) INDYweek.com | 4.5.17 | 31

4/7 CARBON LEAF W/ ME AND MY BROTHER ($16/$20) 4/8 DIRTY BOURBON RIVER SHOW AND ELLIS DYSON & THE SHAMBLES ($10/$12) 4/10 GOGOL BORDELLO W/ IN THE WHALE ($27/$30) 4/11 WHY? W/ ESKIMEAUX ($16/$18) 4/14 WXYC

00'S DANCE! POSNER AND THE LEGENDARY MIKE POSNER BAND ($20/$24) 4/17 CASHMERE CAT ($17/$20) 4/18 CHRONIXX 4/15 MIKE

W/ KELISSA, MAX GLAZER ($22.50/$25) 4/20 FOXYGEN W/ GABRIELLA COHEN ( $18/$20) 4/21 JUMP, LITTLE CHILDREN SOLD

W/ YOUNG MISTER, KATIE ROSE 4/22 JUNIOR

OUT

BROWN ($22/$25)

4/23 THE STEELDRIVERS ($28/$35) 4/24 NOAH

& ABBY GUNDERSEN

W/ DAVID RAMIREZ ($16/$18) 4/25 PARACHUTE W/ KRIS ALLEN ($18/$20) 4/26 DOPAPOD W/ GROOVE FETISH ($13/$15) 4/28 SOMO ($25/$30) 4/30 AB-SOUL W/ LITTLE SIMZ ($22.50/$25) 5/2 THE

BLACK LIPS ($14/$16)

5/5 ADRIAN BELEW POWER TRIO W/ SAUL ZONANA ($26/$30) 5/7 CREED

BRATTON ($15)

5/9 X 40TH ANNIVERSARY TOUR ALL ORIGINAL MEMBERS! ($20/$23) 5/10 SLOWDIVE W/ CASKET GIRLS ($36/$39) 5/11 CRANK IT LOUD PRESENTS

PUP W/PRAWN, ALMOST PEOPLE ($15/$17)

5/12 STRUTTER: A TRIBUTE TO KISS 5/14 SARA WATKINS SEATED SHOW ($18/$22)

CAT'S CRADLE BACK ROOM 4/5 LORELEI W/ BIRTH THE WRETCHED, ANTENORA ($7) 4/6 BE LOUD! CAROLINA CAROLINA UKULELE ENSEMBLE, DISSIMILAR SOUTH, BONN AND TEPP, MKR, LAIRS, DISQO VOLANTE ($5) 4/7 NORTH ELEMENTARY RECORD RELEASE PARTY W/ THE WYRMS, SE WARD (FULL BAND) $6 4/8 DRIFTWOOD W/ THE GENUINE ($12/$14)

BAYSIDE

5/23 TIGERS JAW W/ SAINTSENECA, SMIDLEY ($16/$18) 6/3 DELTA RAE W/ LAUREN JENKINS ($25/$28) 6/5 CAR SEAT HEADREST W/ NAP EYES ($17/$20) 6/6 THE

ORWELLS ($18/$20)

6/7 BROODS ($20/$22; ON SALE 4/7) 6/17 MISTERWIVES ($20/ $23) 6/21 LIZZO ($18/$30) 7/19 JOHN MORELAND SEATED SHOW ($13/$15) 11/7 THE

STRUMBELLAS ($22/$25)

GOGOL BORDELLO

4/13 MATT PRYOR & 4/14 KAWEHI ($12/$15)

6/17 BARNS COURTNEY ($14/$16) ARTSCENTER (CARRBORO) 5/6 BOMBADIL W/CLAIRE HITCHINS ($18/$20)

4/15 DIET CIG W/ DADDY ISSUES, FISH DAD ($10)

5/14 ROBYN HITCHCOCK**($20/$23) PINHOOK (DURHAM)

W/ ERIE CHOIR ($13/$15)

4/17 SALLIE FORD W/ MOLLY BURCH ($10/$12) 4/18 SWEET SPIRIT W/ TOMA, RAVARY ($10/$12) 4/19 ACID MOTHERS TEMPLE W/ BABYLON ($10/$12) 4/20 SCOTT MILLER W/ DANIEL MILLER ($12/$14) 4/22 SORORITY NOISE W/ SINAI VESSEL, THE OBSESSIVES ($13/$15) 4/26 THRIFTWORKS W/ FLAMINGOSIS ( $15/$17) 4/27 THE WILD REEDS W/ BLANK RANGE ($12/$14) 4/28 SARAH SHOOK & THE DISARMERS AND TWO DOLLAR PISTOLS ($10/$12) 4/29 THE DEAD TONGUES / LOAMLANDS W/MOLLY SARLE ($10) 4/30 SEAN ROWE W/ FAYE WEBSTER 5/2 SWEET CRUDE W/ MOTEL RADIO ($10) 5/3 CLAP YOUR HANDS SAY YEAH W/ LAURA GIBSON ($16) 5/5 MELODIME W/ MATT HIRES ($10/$12) 5/6 SHANNON MCNALLY ($17/$20)

5/8 THE BESNARD LAKES W/ THE LIFE AND TIMES ($12) 5/10 TWIN PEAKS W/ CHROME PONY, POST ANIMAL ($15)

5/20 SAY ANYTHING /

WED, APR 5

MO 4/10

6/15 MARSHALL CRENSHAW Y LOS STRAITJACKETS ($20)

DAN ANDRIANO

5/13 GREG HUMPHREYS TRIO W/ DYNAMITE BROTHERS ($12/$15) 5/16 JENNIFER CURTIS & CFS

UPPER SCHOOL BANDS

+ DEX ROMWEBER & JEN CURTIS 5/17 THE DEER 5/18 CORY WELLS W/ DRISKILL, ANNE-CLAIRE ($6/$8) 5/19 HAAS KOWERT TICE ($12/$15) 5/21 WAY DOWN WANDERERS ($11/$13) 5/23 DEAD MAN WINTER (FEAT. DAVE SIMONETT OF TRAMPLED BY TURTLES) 5/24 TOBIN SPROUT W/ ELF POWER ($13/$15) 5/25 VALLEY QUEEN AND CHRISTOPHER PAUL STELLING ($10/$12)

5/26 ZACH WILLIAMS (OF THE LONE BELLOW) ($17/$20) 6/7 GRIFFIN HOUSE ($20/$23)

4/22 SERATONES ($12) 4/24 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) $13/$15 KINGS (RAL) 5/3 ANDY SHAUF W/ JULIA JACKLIN ($13/$15) 5/10 RUN RIVER NORTH W/ ARKELLS, COBI ($15/$17) RED HAT AMPH. (RAL) 5/14 THE XX CAROLINA THEATRE (DUR) 4/14 WELCOME TO NIGHT VALE W/ERIN MCKEOWN 4/21 NORTH CAROLINA SCREEN

PREMIERE OF 'THANK YOU FRIENDS, BIG STAR’S THIRD LIVE… AND MORE' W/ LIVE PANEL

& SPECIAL MUSICAL PERFORMANCE ($15) THE RITZ (RAL) (TICKETS VIA TICKETMASTER)

5/1 THE NEW PORNOGRAPHERS W/ WAXAHATCHEE ($30) NC MUSEUM OF ART (RAL) 5/6 MIPSO W/ RIVER WHYLESS 6/5 FOUR VOICES: JOAN BAEZ,

MARY CHAPIN CARPENTER AND INDIGO GIRLS AMY RAY SOLD & EMILY SALIERS OUT 6/9 TEGAN AND SARA 6/13 KALEO

6/18 JASON ISBELL & THE 400 UNIT 6/24 SHERYL CROW 7/22 MANDOLIN ORANGE W/ JOE PUG 7/31 BELLE AND SEBASTIAN AND ANDREW BIRD 8/1 AMERICAN ACOUSTIC TOUR W/

PUNCH BROTHERS & I’M WITH HER HAW RIVER BALLROOM 4/28 GENERATIONALS W/PSYCHIC TWIN ($14/$16) 6/11 JAMES VINCENT MCMORROW ($20/$22) DPAC (DURHAM) 4/20, 21 STEVE MARTIN & MARTIN SHORTLD W/

STEEP CANYON RANGERS

SO OUT

SHAKORI HILLS COMM. CTR. 6/22 LAKE

STREET DIVE ($25)

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

**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 32 | 4.5.17 | INDYweek.com

music

4.5 – 4.12

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Spencer Griffith (SG), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)

DIRTY BOURBON RIVER SHOW

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W/ HOT ROD CIRCUIT ($21/$23)

SA 4/8

6/9 JONATHAN BYRD ($18/$20) 6/14 JOAN SHELLEY W/ JAKE XERXES FUSSELL ($13/$15)

5/7 LETTERS FROM THE FIRE W/ KALEIDO ($12/$14)

5/19 PERFUME GENIUS W/ SERPENTWITHFEET ($17/$19)

WHY?

4/9 BIRDS OF CHICAGO W/ OBLATIONS ($12/$15)

5/15 WARPAINT ($20)

5/17 NEW FOUND GLORY W/ TRASH BOAT ($22/$26)

TU 4/11

FR 4/7

CARBON LEAF

CAT’S CRADLE (BACK ROOM): Lorelei, Antenora, & Anamorph; 9:30 p.m., $7. • THE CAVE: The Singing Butcher, Cameron Stenger; 9 p.m., $5. • NEPTUNES PARLOUR: Arnold Dreyblatt, Joe Westerlund, Tylake; 9 p.m., $12–$15. • THE PINHOOK: Trandle, PlayPlay, Real Dad, Discotono; 9 p.m., $5. • POUR HOUSE: Benefit for Refugee and Immigrant Relief, Support, and Awareness; 2:30 p.m. • SLIM’S: Saving Space Showcase; 8 p.m., $7.

THU, APR 6 Be Loud! Carolina SONGS Now in its fourth INSPIRE year, the Be Loud!

Sophie Foundation was inspired

by Sophie Steiner, a teenager whose death from cancer pushed her family to establish a nonprofit that aimed to make life easier for young cancer patients at UNC Hospitals. This UNC-studentcentric musical fundraiser promises to be lively—and occasionally loud. —DK [CAT’S CRADLE BACK ROOM, $5/7:30 P.M.]

Mark Eitzel FERRY Dating back to his MAN days as frontman for the crucial eighties dramatists American Music Club, Mark Eitzel has ranked among the finest American songwriters of the past thirty years. A wry and devastating chronicler of moral prejudice and social mores, Eitzel has rarely been more on point than on his recent, majestic release, Hey, Mr. Ferryman. —TB [KINGS, $12–$15/9 P.M.]

T Sisters FIERCE Described as “sassy FOLK sister folk,” the California-born T Sisters promise down-home twang, bluesy harmonies, and toe-tapping rhythms. On last year’s self-titled record, the siblings showcased their impressive songwriting skills

and dedication to roots and Americana music. At Neptunes, keep an ear out for their impressive cover of Foy Vance’s “Make It Rain.” Kate Rhudy and Majestic Vistas open. —KH [KING’S, $12/8:30 P.M.] ALSO ON THURSDAY THE CAVE: Corey Hunt Band, Tyler Hatley, Luis Del Rio; 9 p.m., $5.

• DEEP SOUTH: Second Floor Stereo, Taylor Leopold; 8:30 p.m., $5. • FLETCHER OPERA THEATER: Geoff Tate; 8 p.m. • LOCAL 506: Sugar Dirt and Sand, Will Overman, Justin Trawick; 9 p.m., $5–$7. • MOTORCO: Dr. Bacon, Freeway Revival, Boom Unit Brass Band; 8 p.m., $8–$10. • POUR HOUSE: Local Band Local Beer: Vacant Company, Snakes and the Plisskens, Motorbilly, Paper Dolls; 9:30 p.m., $3–$5. • SLIM’S: Jerkagram, Plow, Car Crash Star; 9 p.m., $7. • THE STATION: Tina and her Pony, Laila Nur and the Love Riot; 8:30 p.m., $7–$9.

FRI, APR 7 The Benchmarks POWER This rootsy Nashville POP power pop four-piece possesses a penchant for hooks and a charming fixation on the wasted youth/small-town romance mythos of early Springsteen. Crisply played and rich in detail, The Benchmarks’ songs suggest an embryonic Drive-By Truckers or Tom Petty all hopped up on ephedrine.

Dragmatic, Almost People, and Old Heavy Hands open. —TB [SLIM’S $5/9 P.M.]

J.R. Bohannon, Eric Arn GUITAR Brooklyn-via-LouisGURUS ville guitarist J.R. Bohannon melds his Southern upbringing with more metropolitan fare, his short but splendid flurries of fingerpicking unraveling Fahey-esque forms into meditative drones suggestive of Bohannon’s ambient electronic project Ancient Ocean. Eric Arn left eighties psych rockers

Crystalized Movements to lead experimental collective Primordial Undermind’s outlandish free-form trips. He translates that audacity to both acoustic avant-garde adventures and beautifully textured, manipulated soundscapes on last year’s solo album, Orphic Resonance. —SG [THE CAVE, $5/7 P.M.]

Carbon Leaf TASTEFUL This folky quintet MIX from Richmond, Virginia, started in the early aughts making a kind of ear-friendly Celtic-tinged folk-pop that sat easily between earnest adult-alternative fare like Dave Matthews and David Gray. The heavy-touring act has slowed its pace recently, but on the recent Nothing Rhymes with Woman, the easygoing harmonizing and ringing chords remain. With Me and My Brother. —DK [CAT’S CRADLE BACK ROOM, $16–$20/8 P.M.]

Randy McAllister ROAD Randy McAllister ROCK has no illusions about the glamorous side of show business: “crappy food, no sleep, a van, and some great songs,” he says on his website. Calling his music “roadhouse soul,” the Texas bluesman serves up a houserocking, window-rattling, gritty blues throwdown with a funky twang on top. —GB [BLUE NOTE GRILL, $20/9 P.M.]

Mountain Faith GOSPEL Mountain Faith GRASS rarely makes the trip to the Triangle from the Blue Ridge Mountains, where the family band’s core runs a tire shop between appearances on America’s Got Talent and, more recently, the Grand Ole Opry. The IBMA award winners pick contemporary bluegrass with hearty doses of gospel, highlighted by Summer McMahan’s mellifluous leads.

—SG [FLETCHER OPERA THEATER, $22–$29/8 P.M.]

SATURDAY, APRIL 8

NATURAL CAUSES, SPONGE BATH

NITY CALENDAR

Forty years ago, synthesizers were not considered punk. Supposedly not in the same league as guitar, drums, and bass, they languished as luxury objects, the novelty playthings of soundtrack composers and hobbyists and out-of-touch prog bands. Legendary stateside acts like Screamers and Chrome and Suicide and The Units smashed this assumption, as Kraftwerk and Throbbing Gristle did overseas. Now, synths are an unavoidable part of the American punk underground. They are everywhere, from the synth barrages of Ausmuteants to John Dwyer’s weird excursions as Damaged Bug. Carrboro three-piece Natural Causes and Carrboro d.j./producer Sponge Bath have dug out their own synthy niches, their spirits seemingly attuned to the glorious, frightening experimentation of the seventies and eighties. Their recent split on Acid Etch Recordings is a caustic two-hitter of apocalyptic, punchy synthpunk, and a damn good outing. Both tracks feel unique and referential without adhering too slavishly to their elders.

The A-side, “Deirdre,” from Natural Causes smears up fuzz and languorous vocals over a primitive, faintly funky rhythm. As with most Natural Causes stuff, you can hear a bit of the garage rock DNA of Last Year’s Men, the band’s previous, rearranged incarnation, buried in the instrumentation. But then you notice the buzzing, frayed bass vibrating through the lower end of the song and tune in to the track’s wild percussion.

Sponge Bath’s B-side, “Fashion Device,” is equally addictive. On past releases, Sponge Bath has shown skill and flexibility at hitting the pocket on whatever style he decides to produce. In recent years, this has ranged from hiccuping minimal house to glowing, new age-inspired techno. Here, his production brings to mind the corroded industrial atmospherics of EBM greats Front 242. Grinding factory floor rhythms and jittery synth bass refuse to let up, and the vocals sound as if electricity is pulsing through every syllable. It’s relentless and minimal in the best way. —David Ford Smith

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cAllister Requiem usions de of show DIES IRAE Benjamin Britten’s War Requiem is one , no sleep, a ongs,” he of the great works of the twentieth alling his century. Written in 1961 for the ,” the Texas reconsecration of England’s Coventry Cathedral, the work is a houseng, gritty powerful statement of pacifism, reconciliation, and humanity, a funky interspersing the traditional Latin /9 P.M.] requiem with poems by Wilfred Owen that recount the horrors of World War I. Britten puts three distinct ensembles in conversah tion, pinging sound and sentiment n Faith around the hall to create an kes the trip overwhelming wave of musical e Blue and emotional force. In these re the unsettled times, we would do well s a tire shop to heed Britten’s call to value one on another’s humanity and to d, more remember what happens when all e Opry. The that breaks down. —DR pick [MEYMANDI CONCERT HALL, ss with $18–$76/8 P.M.]

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North Elementary COLLEGE As the excellent ROCK Carrboro rock band North Elementary has aged, it’s become more relaxed, and yet somehow also more focused. The band’s eighth record with its current lineup, ...and every color you have ever seen, still finds the long-running crew deploying swirling sonic tracers, but it’s North Elementary’s tightest and most concisely attractive record. Songs burst and thrust with efficient verve, but not at the expense of scraping outer-orbit heights. The Wyrms, S.E. Ward, and Reflex Arc open. —PW [CAT’S CRADLE BACK ROOM, $6/8:30 P.M.]

The Outboards FAR OUT Reminiscent of Parquet Courts’ genial lunacy, Pittsboro’s The Outboards play formalist guitar rock enhanced by a barely sublimated taste for weirdness on songs like the left-field synth

digression “Beyond the Means,” the gnomic near-prog of “Pungo,” and the stoner dub-reverb of “The Ride.” —TB [THE STATION, $6/8:30 P.M.]

Anoushka Shankar SITAR The late Ravi Shankar MASTER is likely the most famous sitar player of all time, in part because he inspired some mop-headed Brits (The Beatles, The Rolling Stones) to use the sitar on their rock ’n’ roll records. The Western rock vogue for sitars has faded, but Shankar’s legacy has not. His daughter Anoushka—an exceptional sitar player and composer in her own right—arrives in Durham to perform works of Indian classical music in celebration of her father. —NR [DUKE’S PAGE AUDITORIUM, $10–$55/8 P.M.]

Silent Party ROLL The rub on “silent QUIETLY parties” in EDM culture is that everyone goes to the

club and receives headphones that play the music they rave to. This creates the odd, postmodern effect that a room full of people is dancing in silence. It’s an admittedly cool idea for what is otherwise a standard, ridiculous club night. —DS [LINCOLN THEATRE, $14.50–$25/10 P.M.]

Jackson Whalan HARDLY Many rappers rhyme AVERAGE about girls, cars, and riches, but not Jackson Whalan.

The Massachusetts-via-Brooklyn emcee would rather spit bars about global warming, privileged hippie communes, and social justice; he often busts out spontaneous freestyles prompted by audience suggestions, and no two shows are the same. Expect brittle beats and plenty of brainteasers. Just Archie and Tony G open. —ZC [KINGS, $5–$8/9 P.M.]

ALSO ON FRIDAY ARCANA: Super Secret Dance Party; 9 p.m., $5. • THE CAVE: The Glazzies, Tangible Dream; 9 p.m., $5. • DEEP SOUTH: Joe Hero: Foo Fighters Tribute; 9:30 p.m., $8.

• DUKE’S NELSON MUSIC ROOM: Alina Ibragimova, Cedric Tiberghien; 5 p.m., free. • IMURJ: Last Tuesday; 9 p.m., free. • LOCAL 506: Driskill, Mike Blair; 9 p.m., $6–$8.

• THE MAYWOOD: Bridge to Grace, Faith & Scars, LaureNicole; 7:30 p.m., $13–$15. • THE RITZ: Marsha Ambrosius, Eric Benet; 8:30 p.m. See page 31. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: The Za Um; 8-10 p.m., $10–$15. • THE PLAZA AT 140 W FRANKLIN ST: Live & Local Music and Arts Series; 6-9 p.m. • UNC’S HILL HALL: UNC Opera; 8 p.m. $5–$10.

SAT, APR 8 Dirty Bourbon River Show BRASS These Crescent City BAND exports combine an accomplished fluency in Cajun and Dixieland music with high-energy performances that border on vaudeville. While the Sidney Bechet by-way-of Swordfish Trombones carny shtick can get hokey at times, Dirty Bourbon River Show still offers plenty of fun.

Ellis Dyson & the Shambles open.

—EB [CAT’S CRADLE, $10–$12/8:30 P.M.]

Hillmatic YO! UNC The phrase “Chapel RAPS Hill hip-hop culture” certainly doesn’t carry the same cultural cachet that it once did, but its longtime standardbearer and emcee, Kevin “KAZE” Thomas, has gone to great lengths to preserve the scene’s integrity. He’s put his neck on the line in rap INDYweek.com | 4.5.17 | 33

beefs, appeared for a long stretch as an entertainment reporter for WNCN, experimented with other music genres, and currently cohosts the Facebook Live web series Intelligently Ratchet. Now in its second year, his Hillmatic music festival boasts an all-star lineup of local hip-hop henchmen (Defacto Thezpian, Fluent, C. Shreve, and more), plus headliners Camp Lo and producer A$AP Ty. —ET [LOCAL 506, $15/4 P.M.]

Alina Ibragimova and Cédric Tiberghien FLOATING Despite its title, John LINES Cage’s “Six Melodies” barely has anything to do with melody. Sure, there are clusters of notes that resemble melodies, but Cage has the players extract any sense of musical direction, letting the notes just spin next to each other. Violinist Alina Ibragimova and pianist Cédric Tiberghien perform the piece at Duke in a program that also features works by Bach, Brahms, and Schumann. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$38/8 P.M.]

Maggie Koerner SWAMP On December’s Dig SONGS Down Deep, Shreveport, Louisiana’s Maggie Koerner offers songs that draw heavy inspiration from her bayou home. Any one of her grittier blues tracks could find a home on HBO’s True Detective and her sweeter songs will bring a tear to your eye.

Kate Rhudy opens. —KH [POUR HOUSE, $10–$12/9 P.M.]

Ritmo Caliente LATIN The Heart of Carolina JAZZ Orchestra leads a gifted swath of the Triangle jazz scene as it convenes to celebrate the music of Afro-Cuban legend Chico O’Farrill, a composer and arranger who worked with the likes of Benny Goodman, Charlie Parker, and Dizzy Gillespie over the course of a five-decade career.

—EB [MOTORCO, $15/8 P.M.]

Vivian Sessoms DEEP Her father sang and SOUL played flute with James Brown, but this versatile pop-soul singer arrived with talents of her own, writing songs in

her teens and studying dance and theater before concentrating on music. Touring with Ryuichi Sakamoto led to bigger gigs with the likes of Michael Jackson and Cher, and to hear Sessoms sing in person is to know why they recruited her. —DK [THE SHED, $15–$20/8 P.M.]

box, page 33. • THE RITZ: Drake Night Raleigh: DJ Fannie Mae; 10 p.m. • THE STATION: Shakedown Street; 7 p.m., $7. Jazz Saturdays; 2 p.m., free.

ALSO ON SATURDAY

FLIGHTY Essentially a FOLKS collaboration between the husband-and-wife team, J.T. Nero and Allison Russell, Birds of Chicago has cultivated a large and loyal following by rendering a unique, simmering take on roots rock, largely reliant upon Russell’s accomplished songwriting chops and resonant, versatile vocals. Produced by longtime industry hand Joe Henry, the band’s new record, Real Midnight, is alternately a showstopping showcase for Russell’s ascendant star and a frustratingly tedious exercise in genre tourism. —EB [CAT’S CRADLE BACK ROOM, $12–$15/8 P.M.]

ARCANA: Freedom Sound; 10 p.m., $5. • BLUE NOTE GRILL: Anne McCue Band, Armand Lenchek, Carter Minor; 8 p.m., $20. • BROUGHTON HIGH SCHOOL: Raleigh Concert Band; 7 p.m., $5–$10, 12 and under free.

• THE CARY THEATER: Ellis Paul, Dean Fields. • CAT’S CRADLE (BACK ROOM): Driftwood, The Genuine; 8:30 p.m., $12–$14. • THE CAVE: Mems; 9 p.m., $5. • DEEP SOUTH: BRUXES, Blanko Basnet, Youth League, Lazarus Wilde, Brighter Poet; 8:30 p.m., $8. See page 24. • IMURJ: Orlando Parker Jr., Remedy Maiden; 8:30 p.m., $5–$7. • KINGS: William Belli; 8:30 p.m. • LINCOLN THEATRE: Here for the Whyl; 10 p.m., $10. • THE MAYWOOD: Outliar, Chaosmic, Gates of Endor; 9 p.m., $10. • MEYMANDI CONCERT HALL: Britten’s War Requiem; 8 p.m. See April 7 listing. • NIGHTLIGHT: Natural Causes, Sponge Bath; 10 p.m., $7. See

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opening track from Bowling for Soup’s Lunch. Drunk. Love., the longtime Texas pop-punk band acknowledges a critical truth: that its bratty, sophomoric, throwaway pop-punk is virtually critic-proof.

But, hey, the band’s last few records were entirely fan-funded, so what do critics know, anyway?

—PW [LINCOLN THEATRE, $17/8 P.M.]

Wayleaves CHILLIN’ “Too Late,” which HARD opens Wayleave’s self-titled debut, is an indie rock song with a country music spirit.

Lyrics like, “Time is right/and the weather’s fine/pack up the kit/ sneak in a bottle of wine,” evoke the life-lovin’ lines of country radio, but Wayleaves’ loose, distorted guitar riffs call to mind the alt-rock ramblings of bands like Silver Jews, with an added touch of earnestness. With Robert Graves & the Grave Robbers. —NR [KINGS, $5/8:30 P.M.] ALSO ON SUNDAY

Bowling for Soup GUTTER BALL

On ”Critically Disdained,” the

ARCANA: Blue Tailed Skinks, Andrew Kasab, Barrett Brooks; 6 p.m., free. • CARRBORO CENTURY CENTER: David DiGuiseppe, Ted

Ehrhard, Dean Herington, Alison Weiner; 4 p.m. • DEEP SOUTH: Deep South House and Artist Showcase; 8:30 p.m. • HAW RIVER BALLROOM: Justice for All: A Concert to Benefit the UNC Center for Civil Rights; noon, $10–$15.

See box, page 35. • LOCAL 506: The Octopus Project, Le Weekend, Raindeer; 9 p.m., $10–$12. • MOTORCO: From Durham, To Syria With Love: A Benefit for Displaced Syrian Refugees; 3 p.m., $10. See box, page 35. • POUR HOUSE: Treehouse!, Floralorix; 9 p.m., $5–$8. • UNC’S HILL HALL: UNC Opera; 3 p.m., $5–$10. Romantic Quintets of Brahms and Schumann; 7:30 p.m., $5–$10. • UNC’S PERSON RECITAL HALL: Bass Blast; 1:30 p.m.

MON, APR 10 Broadway Twisted GENDER Where there’s BENDER theatre, there’s romance, and where’s there’s dramatized romance there is, frequently, heteronormativity.

Broadway Twisted embraces the undeniably rich legacy of Broadway musicals while subverting its historical oversights, featuring performances of classic Broadway tunes with genders,

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SUNDAY, APRIL 9

BENEFIT FOR SYRIAN REFUGEES, JUSTICE FOR ALL In the months since November’s presidential election, we’ve seen an unprecedented outpouring of activism across the artistic spectrum, aimed at supporting people caught in crisis around the world along with justice-seeking organizations of all stripes. A pair of upcoming benefits that seek to entertain, inform, and raise crucial funds exemplify the sense of urgency being felt in the Triangle music community to address these issues.

Justice For All, at the Haw River Ballroom, brings together a vibrant collection of Triangle acts that crosses eras and styles: The Backsliders, I Was Totally Destroying It, shirlette ammons, Kenny Roby, PreRaphaelites, the rootsy trio of Laurelyn Dossett, Molly McGinn, and bluegrass legend Alice Gerrard are among the announced performers. The proceeds of the event will go to aid the UNC Center for Civil Rights, a sixteenyear-old organization that has fought to dismantle systemic racial injustices and bring about more equitable outcomes in education, housing, the environment, and other areas. At issue is a measure being considered by the UNC Board of Governors, which would prohibit the center from bringing legal action regarding discrimination. Mighty Neighborly, the event organizer, is a local not-for-profit organization dedicated to strengthening communities and empowering citizens; it says the move is nothing more than a power grab, one that would deny the center a tool that it has occasionally had to rely upon to effect change in oppressed communities.

Coming together for a more tangible and targeted cause, From Durham, to Syria With Love at Motorco is a daylong event that seeks to highlight the ways that Americans can aid Syrians displaced by war. Calling itself “a day of music, education, and love,” the event aims

to raise the funds necessary to aid one specific family, the Diabs, a mother and three children who have subsisted in a hellish refugee camp in Lebanon after fleeing war in Syria. The event aims to raise three thousand dollars to provide the Diabs with food, water, heat, and safe harbor for an entire year, administered by the group Americans for Refugees in Crisis. The lineup sparkles with a bevy of talented local acts,

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including The Affectionates, The Pinkerton Raid, Jordan & the Sphinx, Tangible Dream, Stray Owls, and Tremolux. Feeling depressed about the state of the world? Help those in need and those who aid the marginalized and imperiled.—David Klein FROM DURHAM, TO SYRIA WITH LOVE MOTORCO, DURHAM 3 p.m., $10 suggested donation, www.motorcomusic.com JUSTICE FOR ALL HAW RIVER BALLROOM, SAXAPAHAW 12 p.m., $10–$15 www.hawriverballroom.com

INDYweek.com | 4.5.17 | 35

pronouns, and the like, swapped, switched, and “twisted.” Proceeds benefit Equity Fights AIDS and the NC AIDS Action Network. —NR [LOCAL 506, $10/8 P.M.]

Negurӑ Bunget FOLK Negură Bunget is a METAL heavy band from Romania that tempers black metal’s fury with progressive rock weirdness and European folk tradition. Its constantly shifting lineup over the past twenty years has kept that eccentric sound fresh and fluid, most recently on last September’s Zi. It’s the second installment in the band’s vampiric epic “Transylvanian Trilogy”, which is about as far from Twilight as it gets. Vimur and We Hunt Kings open. —ZC [KINGS, $12–$15/9 P.M.]

Strand of Oaks EASY TO With 2014’s HEAL, LOVE Strand of Oaks’ Timothy Showalter caught a tiger by the tail. His synthy, heart-onsleeve rock songs were almost immediately explosive as they mined loneliness, heartache, and

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the miscellaneous trials of the human condition. Hard Love, released in February, is a fresh batch of tunes that grow from the same fertile ground.Mount Moriah opens. —AH [MOTORCO, $15–$17/8 P.M.] ALSO ON MONDAY CAT’S CRADLE: Gogol Bordello; 8 p.m., $27–$30. • KINGS: Nakatani Gong Orchestra; 9 p.m., $10–$12. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, APR 11 Axxa/Abraxas SIMPLY Since the sixties PSYCH ended, musicians have, unfailingly, found inspiration in the decade where The Byrds, The Beach Boys, and other psych-poppers reigned supreme.

Axxa/Abraxas, led by native Georgian Ben Asbury, is rooted in both the original artists of the sixties as well as those who created their own anachronistic vision of the decade in subsequent

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years—think Olivia Tremor Control and Circulatory System.

With Drag Sounds and Konvoi.

—NR [KINGS, $8/10 P.M.]

Ehiorobo JERSEY Freehold, New SOUL Jersey’s Ehiorobo possesses a witty turn of phrase and an amiably twisted take on soul and hip-hop, which situates psych-funk explorations like “Heir to the Sugar Queen” and “Gilderoy Lockhart” somewhere between the deep soul of Marvin Gaye and the poetic, antic genius of P-Funk.

Moon Bounce opens. —EB [THE CAVE, $5/10 P.M.]

Killswitch Engage, Anthrax MEGA This knockout bill METAL combines two of metal’s biggest acts: metalcore heroes Killswitch Engage and thrash icons Anthrax, which is best known as one of the Big Four, the coveted bunch of eighties legends that also counts Metallica, Megadeth, and Slayer in its ranks.

So consider the “Killthrax” tour a cross-generational celebration of

the heavy metal canon’s raucous past, ferocious present—and perhaps, a glimpse into the genre’s future. The Devil Wears Prada opens. —ZC [THE RITZ, $35/7 P.M.]

WHY? HIGH-KEY Indie rap band INDIE WHY?, the brainchild of Yoni Wolf, is back with Moh Lhean, a beautiful new record with earnest storyteller lyrics and interesting beats. It’s a lighter album than 2013’s Golden Ticket, the four years in between having brought a more mature and relaxed perspective with softer sounds, layers of guitars, twinkling synths, and sweet distortion. Impassioned lo-fi pop royalty Gabrielle Smith, also known as Eskimeaux, opens.

—KH [CAT’S CRADLE, $16–$18/8:30 P.M.] ALSO ON TUESDAY LOCAL 506: Soccer Tees, Geometers, Paperback; 9 p.m., $5–$7. • POUR HOUSE: Zoocru, Viva La Hop; 9 p.m., $12–$15. • RUBY DELUXE: Brutal Junior, Tinkeeper; 11 p.m.

WED, APR 12 de_Plata SOLID Ostensibly, this latest SILVER edition in Bull City Records’ admirable Why Wait series features experimental purveyors de_Plata. In reality, attendees will get sets from members Mille and Chinchorro before they team up at the end as the signature act. —DS [BULL CITY RECORDS, FREE/7 P.M.]

Electronic Summit #4 FLOOR The fourth outing of CORE Kings’ Electronic Summit series of experimental music brings the weird for another Wednesday night. This round includes Atlanta techno purveyor Tann Jones, Raleigh’s Papouli, and NYC producer David Grubba, who makes glitch/IDM collage music that sounds like Ryoji Ikeda and/or a fax machine melting. —DS [KINGS, $7/9 P.M.]

Terry Malts DIVE San Francisco’s Terry ROCK Malts is like a really great dive bar: sweaty and grungy in all the right places, but familiar, comfortable, and seedy in all the best ways. The trio deftly balances jingling jangle and ripping-chainsaw fuzz; think R.E.M. via Hüsker Dü. —PW [THE PINHOOK, $10/9 P.M.] ALSO ON WEDNESDAY THE ARTSCENTER: Triangle Jazz Orchestra; 7:30 p.m., $5. • CAT’S CRADLE (BACK ROOM): Mo Lowda & The Humble, Left on Franklin; 9 p.m., $8–$10. • DEEP SOUTH: Don Gallardo, Christian Lopez; 8:30 p.m., $10–$12. • LINCOLN THEATRE: Spring Madness; 7:30 p.m., $10–$20.

• LOCAL 506: Must Be the Holy Ghost, M is We, Knives of Spain; 9 p.m., $6–$8. • NEPTUNES PARLOUR: Improvised Music Series 2; 9 p.m., $7.

Suburban Living, Gold Connection, Sea Breeze Diner; 10 p.m., $8. • POUR HOUSE: Seepeoples, The Grand Shell Game; 9 p.m., $7–$10. • UNC’S MEMORIAL HALL: Sanam Marvi; 7:30 p.m., $10–$20. See page 30.

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SPECIAL Atypical Bird: A EVENT Series Documenting a Therapy Bird and an Autism Family’s Journey: Paintings by Kristin Lozoya. Fri, Apr 7, 6-9 p.m.

Google Fiber Space, Raleigh.

SPECIAL Nina Chanel EVENT Abney: Royal Flush: Presented by Marshall N. Price. Art with the Experts: Mon, Apr 10, 7 p.m.

Southwest Regional Library, Durham. www. durhamcountylibrary.org.

SPECIAL Es tu turno: EVENT Celebrando Los Trompos: Celebration of Los Trompos with music, food trucks, activities, and demos.

Sat, Apr 8, 1-5 p.m. Ackland Art Museum, Chapel Hill. www.ackland.org.

SPECIAL Extraordinary EVENT Artists: Multimedia art. Apr 5-30. Reception: Apr 5, 6:30 p.m. Duke Campus: Reynolds Industries Theater, Durham.

Figure it Out: Wood and mixed media sculptures by Erik Wolken. Thru Apr 30.

Pleiades Gallery, Durham. www.pleiadesartdurham.com.

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“Crime Hood 12” by Lauren Kalman

PHOTO COURTESY OF ARTSPACE

FRIDAY, APRIL 7

FIRST FRIDAY AT ARTSPACE

With its multiple display spaces, there is always much to see at Artspace during Raleigh’s First Friday gallery walks, and this one is no exception. The local artists with opening receptions this Friday work in divergent mediums, but all, at some level, are concerned with complicated facets of existence. Hooded figures recur in But If the Crime Is Beautiful, Lauren Kalman’s exhibit combining sculpture and images drawn from her performance exploring ornament and its relation to female sexuality. Linda Ruth Dickinson’s abstract works are inspired by our multisensory experience of the world. In Holding On, Jessica Dupuis, Sarah Malakoff, and Karen Hillier draw upon domestic materials to explore the way homes reflect the layered consciousness of their inhabitants. The site-specific Project Reject Is Underway—a collaboration between Megan Sullivan and Jeff Bell, who is the museum manager of 21c Museum Hotel and half of the team behind the Don’t You Lie to Me podcast, similarly transforms the ordinary but with a whimsical intent. And throughout its corridors, Artspace will celebrate thirty years of existence with a retrospective exhibit of works by its member artists. —David Klein ARTSPACE, RALEIGH

I

6–10 p.m., free, www.artspacenc.org

SPECIAL The Focus....

EVENT Converging: Photography by a collaborative group. Apr 7-May 1.

Reception: April 7, 6-9 p.m.

Litmus Gallery, Raleigh. www. litmusgallery.com.

SPECIAL Will Grossman EVENT Memorial Photo Competition Show: Photography by winners of the competition and selected submissions. Apr 8-May 14.

Winner annoucement: Sat, Apr 8, 5-7 p.m. Through This Lens, Durham. www. throughthislens.com.

SPECIAL Images In My Mind: EVENT Paintings by Susan Peters. Fri, Apr 7, 6-9:30 p.m.

Local Color Gallery, Raleigh. www.localcoloraleigh.com.

SPECIAL Imurj Pioneer EVENT Invitational Exhibit: First Friday reception, with demos and performances.

Fri, Apr 7, 5-9 p.m.

Imurj, Raleigh.

SPECIAL David Kahler: EVENT Photography book The Railroad and The Art of Place. Sun, Apr 9, 2 p.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

SPECIAL The Pancakes & EVENT Booze Art Show: Art, body painting, pancake bar. $5-$10. Thu, Apr 6, 7 p.m.

Lincoln Theatre, Raleigh. www. lincolntheatre.com.

SPECIAL Sensation: Abstract EVENT paintings by Linda Ruth Dickinson. Apr 7-30.

Reception: April 7, 6-10 p.m.

Artspace, Raleigh. www. artspacenc.org.

O N GO IN G SPECIAL 49th Annual EVENT Spring Pottery and Glass Festival: Pottery demonstrations by local and visiting artists, kiln openings and live raku firings, glass blowing, bead pulling, copper sculpting, and more. Sun, Apr 9, 10 a.m.-6 p.m. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

2017 Small Treasures Juried Show: Thru Apr 22. Cary Gallery of Artists, Cary. www. carygalleryofartists.org.

ALCHEMY: Multimedia art by Heather Gordon, Elijah Leed, Tom Spleth, Tom Shields, Leigh Suggs, Phil Szotak, and Stacy Lynn Waddell. Thru Apr 23.

Light Art + Design, Chapel Hill. www.lightartdesign.com.

LAST Animal Spirits: CHANCE Visionary Folk Art: Group show. Thru Apr 6.

Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Ansel Adams: Masterworks: An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’ll make an exception. Adams called this “the Museum Set,” the ultimate expression of his legacy. These fortyeight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, speak to Adams’s monumental purity of vision. Thru May 7. NC Museum of Art, Raleigh. www. ncartmuseum.org. —David Klein John Beerman: Painting and Conrad Wiser: Raku: Thru May 17. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com SPECIAL But if the Crime is EVENT Beautiful...: Gilded sculpture, images, and photographs by Lauren Kalman. Thru May 14.

Reception: April 7, 6:0010:00 P.m. Artspace, Raleigh. www.artspacenc.org.

Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Cecil Sharp’s Appalachian Photographs: Rare photography by the renowned folklorist. Thru Apr 18. The Murphey School at the Shared Visions Retreat Center, Durham. www.sharedvisions. org.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery.

Thru May 29. NC Museum of History, Raleigh. www.

INDYweek.com | 4.5.17 | 37

See this handtooled chair and more by Elia Bizzarri, alongside Michael Brady’s paintings, in the opening reception (April 9, 2-4 p.m.) for their new exhibit at Chapel Hill’s Horace Williams House.

ncmuseumofhistory.org.

Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www. ackland.org.

Cuba Now: Photography by Elizabeth Matheson. Ongoing.

Craven Allen Gallery, Durham. www.cravenallengallery.com.

Discover Your Governors: Thru Aug 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Eyes Wide Open: Photography

by Elizabeth Galecke. Thru Apr 30. Tiny Gallery at the Ackland Museum Store, Chapel Hill.

LAST Fever Within: The CHANCE Art of Ronald Lockett: Self-taught artists also teach one another.

Starting in the 1980s, Alabama produced a remarkable crop of AfricanAmerican ones who entered the canon as it slowly grew less homogenous. Scavenger sculptor Lonnie Holley has had a retrospective at the Birmingham Museum of Art; assemblage master Thornton Dial has been collected by MOMA, the Whitney, and the Met. Little known but primed for reconsideration is Dial’s cousin, Ronald Lockett, who explored the panoramic violence and racial strife of the 38 | 4.5.17 | INDYweek.com

twentieth century in richly textured, starkly totemic paintings on discarded materials, wrought with wire and nails, twigs and leaves. He made some four hundred works before his death from complications of HIV/AIDS at age thirty-two in 1998. See fifty of them in the first solo exhibition of his work. Thru Apr 9. Ackland Art Museum, Chapel Hill. www.ackland.org. — Brian Howe Filaments of the Imagination: Group show by Threads, a textile study collective. Thru May 13. Durham Arts Council, Durham. www.durhamarts.org.

Flora and Fauna: Mixed media.

Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org.

Glory of Venice: Renaissance Paintings 1470–1520: Thru Jun 18. NC Museum of Art, Raleigh. www.ncartmuseum.org.

SPECIAL Holding On: EVENT Photography, embroidery, and ceramics by Jessica Dupuis, Karen Hillier, and Sarah Malakoff. Thru Apr 16. Reception: April 7, 6-10 p.m. Artspace, Raleigh. www. artspacenc.org.

In Conditions of Fresh Water: The term “environmental racism” has existed since the eighties, and the problem has existed for much longer.

But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized communities are routinely subjected to

inferior, often dangerous environmental conditions.

Even in 2017, basic services such as clean water and wastewater treatment are still lacking in places like Alamance County, imperiling both the health of residents and the security of the land itself.

This exhibit is a collaborative project by Torkwase Dyson, a Duke visiting artist, and Danielle Purifoy, an attorney/ environmental scientist, that explores this phenomenon in depth through interviews with residents of two rural, historically black Southern counties, including Alamance, that have been victimized by this insidious form of institutional neglect for decades. It adds up to a powerful exhibit comprising photographs, paintings, and prose that speak to human resilience in the face of injustice. Thru Jun 3. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch. org. —David Klein SPECIAL One Week MFA EVENT Thesis Show: Mixed media exhibit by Lamar Whidbee. Thru Apr 7.

Reception: Apr 7, 5-7 p.m.

UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Judy Keene: Color Search: This is the first significant showcase of Durham-based painter Judy Keene’s work, but it’s undergirded by her long background in museums and art history. Primarily working in oil on linen

ndr and ia ongside ady’s in the ception 4 p.m.) ew Chapel ce ouse.

canvases, Keene brushes and knifes opaque and transparent forms of varying thicknesses into earthily textured, evanescent crags.

Keene mingles the influence of abstract impressionist color-field painters—some of whom, like Keene, studied with Shirley Blum, including Mark Rothko and Ellsworth Kelly—with a cool patina of Old Masterly precision.

Keene’s abstractions abut the border of the real; her Canyon Series harks back to her travels through the American West as a child in the 1950s, when her father’s work as a prospector fed an abiding geological interest. Thru May 6. Craven Allen Gallery, Durham. www. cravenallengallery.com. —Brian Howe

Material of Invention: ous Ceramic and mixed media by ions.

Mark Gordon. Thru Apr 15. ervices Claymakers, Durham. www. and claymakers.com. nt are still More than One Story | Mas Alamance de una historia: Photography. oth the Thru Feb 1, 2018. UNC nd the Campus: Davis Library, self.

Chapel Hill. www.lib.unc.edu/ borative davis.

Dyson, Nuestras Historias, Nuestros and ttorney/ Sueños/Our Stories, Our ist, that Dreams: Documenting the experiences of Latino menon farmworkers in the Carolinas. rviews Thru May 7. Historic Oak rural, View County Park, Raleigh. thern lamance, www.wakegov.com/parks/ oakview. mized m of LAST Laura Park and CHANCE Connie Winters: or oa Paintings. Thru Apr 7. prising ArtSource Fine Art, Raleigh. gs, and www.artsource-raleigh.com. uman Particle Falls: Designed by of Andrea Polli, an artist and Duke scientist, this light installation ocumentary after sundown on the side w.cdsporch. of the Empire Properties Building changes according k MFA to data captured by an airhow: quality sensor nearby, visually

by Lamar representing the particles of 7. pollution entering your lungs 7 p.m. with each breath. Do yourself s Art a favor and walk or bike to rt.unc.edu. see it. Thru Apr 23. 7-9:30 p.m.

The Raleigh Times Bar, Raleigh. earch: www.particlefallsral.org. —Erica icant m-based Johnson work, Peace of Mind: Art Quilts: by her Fiber art by Christine Hagermuseums Braun. Thru May 12. Durham arily Arts Council, Durham. www. n durhamarts.org.

Project Reject Is Underway: Site-specific installation by Jeff Bell and Megan Sullivan.

Thru May 27. Artspace, Raleigh. www.artspacenc.org.

Pleasant Places: Digital paintings by Quayola. Thru Aug 13. NC Museum of Art, Raleigh. www.ncartmuseum.org.

Raleigh Fine Arts Society: Thru Apr 27. Meymandi Concert Hall, Raleigh. www. dukeenergycenterraleigh.com.

A Sense Of...: Photography.

Ongoing. Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

LAST Starting Over…

CHANCE Pictures and Poems of Resilience, Renewal and Sources of Strength: Mixed media textiles by Marla Hawkins. Thru Apr 10.

The Carrack Modern Art, Durham. www.thecarrack.org.

Stilled Life: Photography by Karen Bell. Thru Apr 30. NC Museum of Natural Sciences, Raleigh. www.natural sciences.org.

Stories from the Heartland: Paintings by Rachel Campbell.

Thru May 25. Durham Arts Council, Durham. www. durhamarts.org.

stage THURSDAY, APRIL 6–SUNDAY, APRIL 23

THE ROYALE

Other playwrights have taken on the “Fight of the Century,” the July 4, 1910, boxing match that made Jack Johnson the first black contender for the world heavyweight championship. But The Royale: A Play in Six Rounds, Marco Ramirez’s lightly fictionalized historical drama, zooms in on other conflicts, in and out of the ring. Less than fifty years after the Civil War, a black man challenging a white man for the heavyweight crown had far-reaching repercussions across American culture. But Ramirez is equally fascinated by the inner game, which takes place within the minds of the pugilists and makes the boxing ring, in the words of Irish prizefighter Joe Egan, “the loneliest place in the world.” Avis Hatcher-Puzzo directs a cast including Preston Campbell, Sheldon Mba, and Danielle Long in this Burning Coal Theatre Company production.

—Byron Woods MURPHEY SCHOOL AUDITORIUM, RALEIGH 7:30 p.m. Thurs.–Sat./2 p.m. Sun., $15–$25, www.burningcoal.org

OPENING

Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org.

Broadway Twisted: Cabaret presented by PlayMakers Repertory Company. $10 donations. April 10. Local 506, Chapel Hill. www. local506.com

Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Jeff Dunham: Comedy and ventriloquism. $34-$46. Fri, Apr 7, 8 p.m. PNC Arena, Raleigh. www.thepnc arena.com

World War I Centennial Commemoration: Sat, Apr 8, 10 a.m.-4 p.m. NC Museum of History. Raleigh. www. ncmuseumofhistory.org.

food Beer and Bacon Festival: Sat, Apr 8, noon-6 p.m. www. beerandbacon.com. Koka Booth Amphitheatre, Cary. www.boothamphitheatre. com.

Hoof ‘n’ Horn Presents: The Aeneid: Play. $15. Apr 6-Apr 9. Duke Campus: Reynolds Industries Theater, Durham.

In the Heights: Play presented

by Pauper Players. $8-$10.

Apr 7-11. The ArtsCenter, Carrboro. www.artscenterlive. org.

Jesus Christ Superstar: Musical. $25. Apr 11-16.

Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com.

The Mousetrap: Play. $17$20. Sun, Apr 9. Cary Arts Center, Cary. www. townofcary.org.

My Fair Lady: Play presented

by PlayMakers Repertory Company. $10-$57. Apr 5-30. UNC Campus: Paul Green Theatre, Chapel Hill.

The Royale in rehearsal

playmakersrep.org.

On Golden Pond: Play.

Apr 7-23. Theatre In The Park, Raleigh. www. theatreinthepark.com.

Orange Light: Play by Howard L. Craft. $5-$10. Apr 6-10. UNC Campus: Kenan Theatre, Chapel Hill. www. playmakersrep.org.

The Plastic Cup Boyz: Joey Wells, Will “Spank” Horton, Na’im Lynn. Apr 7-10. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Romeo & Juliet - the remix: Play. Apr 7-15. NCCU Campus: University Theater, Durham.

RuPaul’s Drag Race Viewing and Open Amateur Drag Stage: Fri, Apr 7, 8 p.m.

Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

Vivica C. Coxx Presents: Amateur Drag Competition: $10. Sat, Apr 8, 10 p.m. The Pinhook, Durham. www. thepinhook.com.

ONGOING Anything Goes Late

PHOTO COURTESY OF BURNING COAL

Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Best of the City Roundup: Featuring Adam Cohen, Matt White, Blayr Nais, Maddie Wiener, Micah Hanner, Andy Woodhull. $12. Wed, Apr 12, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

The Harry Show: Improv host leads late-night revelers through potentially risque games with audience volunteers. $10. Fridays & Saturdays, 10 p.m.

ComedyWorx Theatre, Raleigh. comedyworx.com.

No Poetry Comedy Deluxe Stand-Up: Thu, Apr 6, 8:30 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

The Real (House)Wives of Windsor: Spoof on Shakespeare. Thru Apr 10.

NCSU Campus: Titmus Theatre, Raleigh.

Revival: Tent revivals were “the spiritual pinnacle of the year” in Appalachia, writes scholar Michael Ferber, “and participants [worshipped] with both greater enthusiasm and less restraint than

in their home churches.”

That’s the case in Ward Theatre Company’s new theatrical work, a “cultural and musical collage” in which the jubilance and fervor of a mountain tent revival in 1959 is flipped into rap, rhythm and blues, and gospel songs to explore what director Wendy Ward calls the passion that comes through movement and music. $25.

Thru May 7. Ward Theatre, Durham. wardtheatrecompany. com. —Byron Woods LAST Seven: A CHANCE Documentary Play: “I did not know that I had been taught nothing about the world,” says activist Mukhtar Mai, recalling her childhood in Pakistan. Then she corrects herself. “I was taught something—all girls were; I was taught silence, I was taught fear. ... But time caught me, it gave me a lesson.” In Seven, playwrights interviewed her and six other activists, from Russia, Cambodia, Guatemala, Afghanistan, Nigeria, and Northern Ireland, about their efforts to elevate the condition of women in their parts of the world. Sean Wellington directs this first INDYweek.com | 4.5.17 | 39

screen

page

DEMOCRACY FOR SALE

RE AD I N G S & SIGNINGS

SUNDAY, APRIL 9

A part of the larger docu-series America Divided, Democracy for Sale traces the journey of comedian and North Carolina native son Zach Galifianakis through our state’s fraught political landscape.

Galifianakis, self-described as “the guy with the beard from that movie,” plays the naïf to link the HB 2 brouhaha and Zack Galifianakis in Democracy for Sale environmental degradation to money in politics, gerrymandering, and voter suppression. He makes a convincing case that the game is rigged and the state is suffering for it. Along the way he meets white NAACP members in Appalachia, a voting-rights journalist, Republican strategists who believe money is speech, and the incandescent Reverend Barber, head of North Carolina’s NAACP and the Moral Movement. “North Carolina is the place I care about,” Galifianakis concludes, “but, really, we all live in our own North Carolina.” Presented by youth organizers at the Chapel of the Cross, the screening will be followed by a talk-back facilitated by Durham City Councilman Charlie Reece. —Samuel Feldblum CHAPEL OF THE CROSS, CHAPEL HILL 7 p.m., free, www.americadividedseries.com/democracy-for-sale

S P ECI AL S H OWI NGS Twentieth Annual Full Frame Documentary Film Festival: Apr 6-10. Full Frame Theater, Durham. www. fullframefest.org.

Under Contract: Farmers and the Fine Print: Showing in the Chatham Marketplace.

Fundraiser for Rural Advancement Foundation International. $5 donation.

Sat, Apr 8, 7 p.m. Chatham Mills Conference Center, Pittsboro.

O PEN IN G Frantz—Acclaimed French director François Ozon returns with an intimate World War I drama. Rated PG-13.

Going in Style—Zach Braff’s heist comedy about elderly bank robbers is a remake of the 1979 original, meaning the ensemble includes Morgan Freeman and Michael Caine instead of George Burns and Art Carney. Rated PG-13.

Smurfs: The Lost Village— This 3D-animation Smurfs reboot wisely pretends the live-action reboot never happened. Rated PG.

40 | 4.5.17 | INDYweek.com

A LSO P LAYI NG The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin family movie. Rated PG.  Beauty and the Beast—This live-action remake is an effective piece of fan service but certainly won’t replace the animated classic. Rated PG. ½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years.

Rated R. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. ½ I Am Not Your Negro—Raoul Peck’s filmmaking doesn’t always serve the material, but his James Baldwin doc must be seen for the undimmed power of its subject’s words

and presence. Rated PG-13. ½ John Wick: Chapter 2—This smartly made return for the reluctant hit man character that resuscitated Keanu Reeves’s career runs on muscle cars and muscle memories. Rated R. ½ Kong: Skull Island— Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse Now meets Starship Troopers.

Rated PG-13.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13. ½ The Last Word—To transcend treacle, this story about a retired businessperson (a radiant Shirley MacLaine) trying to manipulate her obituary needed a more inspired filmmaker than Mark Pellington. Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults.

Rated PG.

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

Deborah Diesen: The PoutPout Fish, Far, Far From Home.

Sun, Apr 9, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Ricky Garni and Lauri Maerov: Pinkie Embrace & Tiffany & Co. Tue, Apr 11, 7 p.m. West End Wine Bar, Durham. www. westendwinebar.com.

Jessica Garrett: Oh, Ick: 114 Scence Experiments Guaranteed to Gross You Out. Demonstrations. Mon, Apr 10, 6 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Tyler Knott Gregson: Wildly Into the Dark: Typewriter Poems. Wed, Apr 12, 7 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Andy Griffiths: The 65-Story Treehouse. Sat, Apr 8, 2 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Annie Hartnett: Rabbit Cake.

Sat, Apr 8, 7 p.m. Flyleaf

Books, Chapel Hill. www. flyleafbooks.com.

John Kessel: The Moon and the Other. Fri, Apr 7, 7 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

John Manuel: Hope Valley. A night of reading and music from the Bull City Beatniks and The Chit Nasty Band.

Fri, Apr 7, 7 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

Robert Morgan: Chasing the North Star. Mon, Apr 10, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Nazim Hikmet Poetry Festival: Poetry. Sun, Apr 9, 1-7 p.m. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

Ann Ross: Miss Julia Weathers the Storm. Sat, Apr 8, 11 a.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

— Mon, Apr 10, 2 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Michael Rothenberg and Jaki Shelton Green: Poetry reading. Sun, Apr 9, 2 p.m.

Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Lee Smith: Dimestore.

Tue, Apr 11, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Jessamyn Stanley: Every Body Yoga. Thu, Apr 6, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Stephanie Watts: No One is Coming to Save Us. With Travis Mulhauser. Tue, Apr 11, 7 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com — Wed, Apr 12, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

LITE RARY RE LATE D Duke Science and Society’s Periodic Tables: Taming Superbugs: $5. Tue, Apr 11, 7 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

Social and Economic Inequality in America: Mary Beth Maxwell and Dorian T. Warren. Tue, Apr 11, 5:30 p.m.

UNC Campus: Sonja Haynes Stone Center, Chapel Hill. www.sonjahaynesstonectr. unc.edu.

SUNDAY, APRIL 9

KEVIN MCLAUGHLIN & OPWONYA INNOCENT: INNOCENT: A SPIRIT OF RESILIENCE The psychological wounds left on the people who fight in wars don’t always heal. The damage done to a child who is forced to take up arms would seem almost impossible to overcome. Yet Innocent: A Spirit of Resilience, cowritten by local writer Kevin McLaughlin, tells the story of a just such a child, one who has lived to tell of his hellish experience but kept it from defining him. Opwonya Innocent was just ten when he was kidnapped by the anti-government forces loyal to the notorious Joseph Kony during Uganda’s civil war. In his own candid, unflinching words, Innocent tells the story of a childhood marked by hunger and poverty, his terrifying captivity, his narrow escape, and his subsequent recovery and advocacy work. In telling Innocent’s remarkable story, McLaughlin reminds readers of our shared humanity. Innocent will Skype in for this reading at Letters Bookshop, followed by another at the Regulator on April 30. —David Klein LETTERS BOOKSHOP, DURHAM

I

6 p.m., free, www.lettersbookshop.com

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THE ARTSCENTER SUMMER STAFF

The ArtsCenter (Carrboro) seeks assistant for ArtsCamp from June 12 through August 25. One position, M-F 11:45 AM-4:30 PM. For information visit: http://artscenterlive.org/ about/job-opportunities/.

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Book your ad • CALL Sarah at 919-286-6642 • EMAIL

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

Basement Systems Inc. Call us for all of your basement needs!

Waterproofing, Finishing, Structural Repairs, Humidity and Mold Control. FREE ESTIMATES! Call 1-800-6989217(NCPA)

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KEEP DOGS SHELTERED Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates.

To donate, please contact Amanda at director@unchaindogs.net.

MEET GAY AND BI LOCALS Browse & Reply FREE! Raleigh 919-882-0800, Durham 919595-9800. Use FREE Code 2707, 18+.

DECLUTTERING? WE’LL BUY YOUR BOOKS We’ll bring a truck and crew *and pay cash* for your books and other media. 919-872-3399 or MiniCityMedia.com.

SAFE STEP WALK-IN TUB ALERT FOR SENIORS. Bathroom falls can be fatal.

Approved by Arthritis Foundation. Therapeutic Jets.

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INDYweek.com | 4.5.17 | 41

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

Best of luck, and have fun! www.sudoku.com 4.5.17

solution to last week’s puzzle

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# 32 9 5 6 6 2 4 your ad • CALL 8 2 1 1 4 7 5 8

8 1 2 6 9 4 7 3 3 9 7 8 4 5 1 2 2 7 5 3 1 8 9 6 Sarah at 919-286-6642 5 8 1 4 7 6 3 9 4 3 8 9 6 2 5 7 9 6 3 2 5 1 8 4 7 2 4 5 3 9 6 1

• EMAIL

claSSy@indyweek.com

A E M C, Inc.

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Raleigh • 919.790.9750 CALL SARAH FOR ADS!

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Playmates or soul mates, you’ll find them on MegaMates

WEDDING GUIDE

The INDY’s guide for whomever, wherever, saying Always FREE tohowever listen and reply to ads!“I Do” means to you.

Highlighting wedding possibilities around the Triangle Raleigh: ISSUE:

4/26 • RESERVATIONS: 4/21

CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM (919) 573-6818 www.megamates.com 18+

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WEDDING GUIDE ISSUE: 4/26 RESERVATIONS: 4/21

WEDDING GUIDE

CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

last week's puzzle

Highlighting wedding possibilities around the Triangle

ISSUE: 4/26 • RESERVATIONS: 4/21 CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

WEDDING GUIDE

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

Highlighting wedding possibilities around Book your ad • CALL Sarah at 919-286-6642 • EMAIL claSSy@indyweek com the .Triangle

ISSUE: 4/26 • RESERVATIONS: 4/21

INDYweek.com | 4.5.17 | 43

If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS).

What’s Required?

• One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60 Who Can Participate?

• Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control.

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

TO A DV E R T I S E O N T H E B AC K PAG E : C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M