INDY Week 4.12.17

Small Classes, Big Bucks, p. 8 Pig Crap in the Neuse, p. 10

Raleigh 4 I 12 I 17

Some bemoan that streaming is killing music, but others are finding new power in its reach

GRAB the LIGHTNING

BY DAVID KLEIN P. 12

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2 | 4.12.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH 6 A controversial bill to shield hog farmers from lawsuits passed the House, but only after its most noxious provision was removed.

VOL. 34, NO. 13

8 Wake County Public Schools is asking county commissioners for an extra $56 million, in part to pay for smaller class sizes the legislature has mandated but not funded.

10 A conservation group says the Neuse is the seventh most endangered river in the United States—and if we want to save it, the legislature has to act fast.

12 A song can be streamed millions of times without translating to thousands of dollars.

20 New Economy Chapbook Vol. 1 is a cookbook that draws from the specific fear of not being able to pay for groceries.

21 The white kimchi at Nah’Mean has the crunch and sourness of sauerkraut and the complexity of its thirty-five ingredients.

29 Gifted feels completely familiar, but it shines because Marc Webb is a natural-born filmmaker.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 20 Food 23 Music 24 Arts & Culture 30 What To Do This Week 33 Music Calendar 37 Arts & Culture Calendar On the cover: ILLUSTRATION BY SHAN STUMPF

A freshly made batch of Na’Mean’s white kimchi (see page 21) PHOTO BY ALEX BOERNER

INDYweek.com | 4.12.17 | 3

Raleigh Durham | Chapel Hill

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indyweek.com 4 | 4.12.17 | INDYweek.com

backtalk The Fault, Dear Brutus On March 30, as news broke of the fast-moving compromise between Governor Cooper and Republicans in the General Assembly, we published the elegantly titled blog post, “This HB 2 Repeal Is Bullshit and Roy Cooper Is Selling Us Out.” That post later got picked up by The Drudge Report, which means we got all kinds of lovely fan mail. One writer, S.S. McDowell, who hails from Florida, took exception to the headline and made it kind of personal: “My parents taught me at an early age that if I use profanity to make my point, that it reflects badly on my upbringing, my education in expressing myself, and reflects negatively on my parents. The parents of the author [Jeffrey C. Billman] of this diatribe obviously failed him.”

Actually, S.S., a study published by researchers at Marist College last year found that people with larger vocabularies of curse words tend to have higher-level rhetorical skills.

Of that same post, commenter Insightus wrote that “while I’m certainly not popping any champagne corks over this bill, I can’t rise to your level of outrage, either. The proposed bill is a good example of what we call ‘politics,’ which is what we elect politicians to do.

Cooper faces a legislature that is absolutely controlled by intransigent Republicans.

Your article is notable for failing to suggest how he might have gotten more out of those ideologues at this time, and for good reason: because he doesn’t have the votes behind him to do more at this time. So he has accepted a compromise that rights one wrong while leaving another standing—for the moment.”

Other commenters are less forgiving.

“The Dems who voted for this fake repeal keep saying the LGBTQ community now has the protections they had before HB 2,” writes FONCitizen, “trying to convince people that there are some locations in North Carolina with job protections and public-accommodations regulations protecting LGBTQ community members. This isn’t really true. As

this article points out [“Lipstick on a Pig,” April 5], the pre-HB 2 protections only protect city employees and employees of city contractors. The citizens of these locations have no protections. There is no place in North Carolina where the LGBTQ community is protected against discrimination in public accommodation. There is no place in North Carolina where the LGBTQ community is protected from discrimination in housing. There is no place in North Carolina where the LGBTQ community is protected from being fired from a job outside of some city employees. No matter how politicians want to spin it, this being a step forward is just not true. Worse yet, the governor and his Democratic accomplices gave away the only leverage we had.”

“Cooper and Democrats screwed the LGBTQ community big time,” adds Natelue.

OrionMaize argues that this was all predictable—and the fault of LGBTQ advocacy groups: “The fault, dear Brutus, is not in our stars. If politicians fail to act as LGBTQ advocates desire, the fault is in the LGBTQ movement (such as it is) in North Carolina, not the politicians. Since 2012, the professional LGBTQ movement in North Carolina has expressly and deliberately made itself a subset of the minority party (Democratic) of state power.

Why would rational advocacy leadership do that? And if it did, why would it expect successful policy results to flow from a position of such complete powerlessness?

“When you do not serve your mission first, you abdicate any control of your mission objectives. This outcome was entirely predictable. A new strategy—if not wholesale movement leadership change—is required for new policy outcomes.”

“Cooper and Democrats screwed the LGBTQ community big time.”

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.

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triangulator

+SAU

STICKER SHO C K From the jump, the Durham-Orange Light Rail Transit project has been pitched as costing somewhere between $1.3 billion and $1.8 billion. A chunk of change, but not an impossible lift. But then last week, during a GoTriangle presentation to the Durham City Council—with an April 30 deadline from the Federal Transit Authority looming—the price tag of the seventeen-mile, eighteen-station DOLRT ballooned to $3.3 billion.

So how did light rail get so damn expensive all of a sudden? It’s complicated.

When light rail was first proposed, the state was expected to kick in 25 percent. Last summer, however, legislators capped state funding for rail projects at 10 percent of the total cost. Local money will have to make up the difference. That means more borrowing—and more interest.

The federal government will now only pay $100 million a year,

GoTriangle has switched from reporting the cost of

light rail in currentyear dollars to yearof-expenditure dollars, adjusted for inflation.

This brings the cost to build the system from $1.877 billion to $2.476 billion. Once debt service is taken into account, that brings us to $3.3 billion.

6 | 4.12.17 | INDYweek.com

$3.3b

stretching out the project timeline. In turn, construction costs and interest payments will increase over time. Also, because the timeline has been extended—the system is now expected to be complete in 2028 and operational in 2029, a two-year delay— there are additional administrative costs to consider.

Last year, planners added a stop to N.C. Central, adding $133 million to the project cost. While this is expected to be the DOLRT’s most heavily trafficked stop, it was omitted from earlier plans. Adding it shifted more of the cost burden from Orange County to Durham.

WHAT’S UP WITH THE APRIL 30 DEADLINE? The FTA asked GoTriangle to submit updated cost estimates for the project and a cost-sharing agreement between Durham and Orange counties. It also requested transit plans (including light rail) for each county and proof of commitments for at least 30 percent of the project’s nonfederal funding. GoTriangle is hoping to secure a New Starts grant from the FTA that would pay for 50 percent of the DOLRT. Durham and Orange are currently renegotiating a 2012 cost-share agreement that had Durham paying about 77 percent of the local costs and Orange paying about 23 percent. Because more of the infrastructure will be in Durham, and because the current agreement doesn’t allow Orange to maintain a positive cash flow, a new agreement— with Durham paying 82 percent and Orange paying 18 percent—is being considered.

Even if all goes smoothly, GoTriangle will cut it close. Final plans will be considered by Durham County commissioners on April 24, GoTriangle trustees on April 26, Orange County commissioners on April 27, and the Durham-Chapel Hill-Carrboro Metropolitan Planning Organization on April 28.

If GoTriangle misses the April 30 deadline, the project could be delayed for at least a year. Even if the deadline is met, President Trump could still derail efforts to fund DOLRT. Under his 2018 budget proposal, New Starts grants would only be awarded to projects with existing FTA agreements.

A contro that’s quic passed it and is now important As the would pro by their ne operation myriad le damages about $7,0 the bill wo pending essentiall lawsuits c Brown, a s That’s w controver the House Republica about the a last-min “prospecti the curren “We do defendant The bil Dixon, R opposed B amendme Farm Fam Bureau, p you suppo amendme folks who Unfort

PERIPHERA

+SAUSAGE PARTY FOUL

A controversial hog-farm-protection bill that’s quickly moving through the legislature passed its third House reading Monday and is now headed to the Senate—with one important change.

As the INDY previously reported, HB 467 would protect hog farmers from lawsuits filed by their neighbors. It would shield agricultural operations—including hog farms—from myriad legal claims and cap the amount of damages property owners could collect at about $7,000. Perhaps most controversially, the bill would have also applied to any lawsuit pending at the time it went into effect, essentially nullifying twenty-six federal lawsuits currently pending against MurphyBrown, a subsidiary of Smithfield Foods.

That’s where things got held up. That last, controversial provision didn’t make it past the House Monday, thanks in part to Guilford Republican John Blust. Citing concerns about the pending lawsuits, Blust proposed a last-minute amendment to make the bill “prospective”—meaning it would not affect the current lawsuits against Murphy-Brown.

“We don’t need to rush in and bail out a defendant,” Blust argued.

The bill’s sponsor, Representative Jimmy Dixon, R-Wayne and Duplin, vigorously opposed Blust’s proposal. “Vote no on the amendment,” Dixon pleaded. “The NC Farm Families, N.C. Pork Council, Farm Bureau, poultry farmers support this bill. If you support the bill, you must oppose the amendment. Let’s give a little bit of love to folks who feed us on a daily basis.”

Unfortunately for Dixon, Blust’s

amendment passed 59–56. Shortly thereafter, the bill cleared the House 68–47. Opponents of the legislation had mixed feelings.

“I’m glad our cases won’t be affected,” said Elsie Herring, a Duplin resident involved in litigation against Murphy-Brown. “But it’s still a bad bill, and we have to fight it.”

It’s unclear how HB 467 will fare in the Senate. But many representatives who voted for the measure in the House have received sizeable campaign contributions from Big Pork. Chief among them is Dixon, who has received more than $115,000 over the course of his career from the pork industry, including more than $36,000 from donors associated with Murphy-Brown.

During the House debate, however, with no apparent sense of irony, Dixon claimed the bill’s opponents “are being prostituted for money.”

+POP THE CAP

There was always a lot to learn in the 1800 block of Capital Boulevard, whether the subject was stormwater management at the often-flooded Milner Motel or comparative anatomy at the Foxy Lady lounge.

Both establishments are now gone. And Wake County leaders have a different kind of education in mind for that stretch now—a new high school located in what is now a car dealership, square in the middle of what’s envisioned as a revitalized Capital Boulevard.

“This whole area is going to be transformed,” Sig Hutchinson, chairman of the Wake County Board of Commissioners, said during a school board presentation to county officials on April 3.

Not only will a school featuring what school officials described as “innovative approaches” attract students to the area, but the nearby floodplain will also be transformed into a park, according to school officials’ presentation. County, city, and state projects are underway that will change the lane configuration of Capital Boulevard, rework the Peace Street and Wade Avenue interchanges, create a northern extension of Person Street, and continue Pigeon Creek Branch cleanup efforts.

“It’s really going to revitalize this as a northern gateway,” said Betty L. Parker, senior director of real estate services for the school system.

The plan calls for a twelve- to fifteenhundred-student school to be relocated either in the revamped car dealership or built new on the site. School system officials say the purchase price of about $6.2 million will be offset by years of projected rental income from the car dealership, which will remain open for now.

Parker said the school, which will open in about ten years, will reduce overcrowding at nearby Broughton and Enloe high schools. It will also make use of an ambitious approach designed to hike the system’s graduation rate to 95 percent by 2020.

“It trains students not only for the workforce,” Parker said of this approach, “but also for the military, for college and higher education, for a number of different apprenticeships.” triangulator@indyweek.com This week’s report by Thomas Goldsmith, Erica Hellerstein, and Sarah Willets.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 4.12.17 | 7

indynews

Untenable Mandate

WAKE SCHOOLS WANT AN EXTRA $56 MILLION THIS YEAR. COUNTY COMMISSIONERS BLAME THE GENERAL ASSEMBLY.

BY THOMAS GOLDSMITH Wake County commissioners, who decide on the level of local taxpayers’ contributions to public schools, put a bull’s-eye Monday on actions by the General Assembly that they were told increased the cost of public education in Wake by $20 million.

The panel met in a work session to consider Superintendent James Merrill’s request for $56 million in additional funding for Wake County Public Schools in the 2017–18 school year. While commissioners expressed support for the system of nearly 160,000 students, they also had a slew of questions, particularly on the level of state support versus local dollars.

The primary legislatively mandated drivers of increased education costs are teacher pay increases at $7.1 million, charter schools at $6.8 million, and classsize reduction at $13.6 million, according to information supplied to the board.

Merrill and administrators had to craft the budget without knowing whether the state would supply additional funding for a mandate to reduce the number of students in classes for kindergarten through third grade. The estimated cost to Wake for that reduction is $26 million. The schools’ proposed budget includes half of that amount, a decision that county commissioners questioned.

Legislation to deal with the cost of the class-size reduction, House Bill 13, passed the House February 16 but has sat in a Senate committee since February 20.

“The choice we’re left with is, do we ignore the needs of schools in the community and let them fall?” Commissioner Erv Portman asked. “Or do we shift and place on the back of local taxpayers the cost that has traditionally been covered by the state?”

Last year, state lawmakers mandated the smaller class sizes for public schools starting this fall, but the legislation did not come with money to provide and operate the additional classrooms that the change 8 | 4.12.17 | INDYweek.com

would require. Critics have objected to the class-size requirements because they limit the schools’ ability to pay for music, art, and other specialty education.

Other practical matters also weren’t considered, commissioners said Monday.

“We don’t have additional space to accommodate four hundred sixtytwo new teachers,” said Commissioner Jessica Holmes, despite the fact that some classrooms would be vacated with a reduction in art and music teachers.

Bob Luebke, who follows education policy for the conservative Civitas Institute, told the INDY that, even though smaller class sizes have been shown to produce better results in some research, the issue is one that should be left to local systems.

“If I had my druthers, I would dispense with the class limitations altogether,”

Luebke says, calling mandated class sizes a straitjacket on school systems’ ability to make decisions.

While smaller class sizes have long been a progressive policy goal, the research on them has been mixed. A study out of Tennessee in the late eighties, for example, showed clear benefits, but more recent research has shown that the policy, when put in effect across the board, isn’t necessarily the most productive way to help students learn more.

Instead, according to a 2011 Brookings Institute study, “state policymakers should consider targeting class size reduction (CSR) at students who have been shown to benefit the most: disadvantaged students in the early grades, or providing a certain amount of funding for CSR but leaving it up to local school leaders on how to distribute it.”

That’s not what the legislature did.

The $56 million proposed by Wake school administrators—if approved by the school board, then the county commission— would bring local funding to $466.5 million, almost a 14 percent increase over the $409.9 county taxpayers are providing in the budget year that ends June 30. Overall, schools would get an estimated 4 percent hike to $1.56 billion in combined local, state, and federal sources.

State funding, historically about threequarters of the total cost of schools, remains in flux as legislators consider what’s being billed as a billion-dollar middle-class tax cut. The N.C. Budget & Tax Center, a liberalleaning think tank, has said almost half of the cuts would go to the top 20 percent of the state’s income earners.

Commissioner Jessica Holmes cited the proposed tax cut in her comments about stagnant state funding to local schools.

Wake County would have to increase local property taxes by four cents to pay for the schools’ proposed budget increase.

“It’s disingenuous to call this a tax cut when taxes will be increased at the local level,” Holmes said Monday.

Commissioner James West—a veteran of many budget deliberations, some much more contentious than this one, at least so far—said that school board members, commissioners, and the larger community all should put pressure on the legislature for additional funding.

“You can’t immune yourself from the community you serve,” West said. “Citizens look to county commissioners to be involved. This issue is now being talked about in terms of race and equity. In some parts of our community, they feel that they are being left out of the system. My advice is that we have to keep trying to get to the point that we have enough trust that we realize we are all trying to move in the same direction.” tgoldsmith@indyweek.com

INDYweek.com | 4.12.17 | 9

news

The Neuse Is Sick

A NATIONAL CONSERVATION GROUP SAYS THE NEUSE RIVER IS ONE OF THE COUNTRY’S MOST ENDANGERED WATERWAYS, THANKS TO NORTH CAROLINA’S HOG AND POULTRY INDUSTRIES

BY KEN FINE Travis Graves has hundreds of pictures that he says prove that over the last five years, hundreds of millions of fish have washed ashore along North Carolina’s Neuse River, which runs from northwest Durham into the Albemarle and Pamlico sounds. Those fish kills, the Lower Neuse Riverkeeper says, can be traced to algae blooms that feed off nitrogen and phosphorus.

So last fall, when Hurricane Matthew flooded more than a dozen swine lagoons and several chicken farms in eastern North Carolina—all located within the Neuse River’s hundred-year floodplain— sending millions of gallons of nitrogen-rich hog waste and phosphorus-laden chicken excrement into the river, river advocates hit their panic buttons.

The state’s industrial hog farms were already damaging the Neuse by spraying waste onto fields near the river and its tributaries, they allege. But now, the river is in serious trouble.

On Tuesday morning, American Rivers listed the Neuse, along with Cape Fear River, as the seventh most endangered river in the United States. In its report—“America’s Most Endangered Rivers 2017,” which highlights “ten rivers whose fate will be decided in the coming year”—the national river conservation organization blamed the millions of gallons of untreated hog feces and urine that North Carolina hog farmers spray onto fields that drain into streams and groundwater, which contaminate the Neuse with nitrogen, antibiotics, and bacteria, as well Hurricane Matthew-related flooding that spewed animal waste into the Neuse.

And the problem’s only going to get worse.

“The threat these facilities and their antiquated waste operations pose to our waters will only increase as the effects of climate change become more prevalent and North Carolina is subjected to more frequent powerful storms,” the report states.

Smithfield Foods, the world’s largest pork 10 | 4.12.17 | INDYweek.com

says. “Even if the lagoons weren’t breached, you could see that they had been completely flushed.

The water in the lagoons was the same color as the floodwaters around it, not that usual pink color you see. All of that ended up right in the Neuse River and is contributing to that excessive nutrient pollution.”

Upper Neuse Riverkeeper Matthew Star believes there’s a solution. After Hurricane Floyd battered eastern North Carolina in 1999, the legislature authorized the Clean Water Management Trust Fund to provide $18.7 million for forty-three voluntary buyouts of hog and poultry operations located inside the Neuse’s floodplain.

“Thirty-two of those Dead fish along the Neuse River COURTESY OF TRAVIS GRAVES would have flooded during Matthew,” Starr says. “Think about that. That’s a ton of waste producer, which owns the vast majority of the that we prevented from getting into that river.” more than two hundred thousand hogs living After Matthew, advocates are urging inside the Neuse floodplain, did not respond legislators to do the same thing. to a request for comment by press time.

In its report, American Rivers argues that There are currently sixty-two swine “there is a simple and commonsense action facilities that house more than 235,000 that can be taken to reduce the threat to our hogs and at least thirty poultry farms that water resources and communities”: simply house nearly two million chickens located remove hog and chicken facilities from the within the Neuse’s floodplain. Many of them, Neuse floodplain.

Graves says, were underwater in the days “The opportunity to accomplish this may after Matthew battered the eastern part of never be better than it is now, in the first the state. legislative session following Hurricane “I saw about a dozen lagoons under water, Matthew,” the report says. “The General and probably another ten poultry facilities Assembly must include funding to restore the where the barns were underwater,” Graves

Swine Buyout program and include language expanding it to all [concentrated animal feeding operations] in the floodplain as part of the Hurricane Matthew recovery bill.”

“You shut down. Here’s your money. It’s that simple,” Starr says. “And I want to be really clear. This is a voluntary program that is there for these facilities. After Hurricane Floyd, one hundred thirty facilities applied.

This was a wanted program.”

The N.C. Pork Council is amenable to such an approach. A spokesman told The News & Observer that the industry “would be supportive of voluntary efforts for a buyout.”

Still, it’s unclear whether the legislature will take the Neuse’s place on Americans Rivers’ list seriously enough to act. But Graves says that by this summer, the repercussions of Hurricane Matthew flooding the hog lagoons and chicken farms near the Neuse will be too intense to ignore.

“I have serious concerns over what kind of fish kill numbers we’re going to see this summer,” he says. “I’m anticipating it to be the worst summer for fish kills in the last five years. I’m really hoping this will take the industry in North Carolina out of its bubble a little bit and give it a national reference point. Not only is the river threatened, but also on a nationwide scale, this river is very much endangered.”

And if the legislature fails to act?

“We’re going to continue to see nutrient pollution in the lower Neuse. It’s going to increase, as it has for the last thirty years,” Graves says. “And that increase is going to continue to fish kills, which is going to hurt tourism, it’s going to hurt the commercial fishing industry, and, ultimately, it’s going to hurt the future health of our rivers.

Ultimately, it could get to the point where places like Kinston and Goldsboro that draw their drinking water directly out of the Neuse River, we’ll start to see nitrogen levels that are hazardous to humans.” kfine@indyweek.com

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STRE AMS OF CONSCIOUSNESS S P OT I F Y D I D N ’ T W R E C K T H E M U S I C I N D U S T RY. M A J O R L A B E L S D I D.

J

BY DAVID KLEIN

ohn Davis has an interesting résumé for an elementary school teacher. The New England-born son of two educators who now presides over third graders in Chapel Hill has the expected master’s degree and experience in school settings, but Davis spent the good part of a decade with the indie rock band Folk Implosion. Cofounded with Lou Barlow of Sebadoh, the band scored an unlikely hit with “Natural One” when it was featured on the soundtrack of Larry Clark’s controversial 1995 film, Kids.

12 | 4.12.17 | INDYweek.com

ary email, “and everyone who listened to it Built around a skeletal trip-hop groove, (maybe even those who didn’t especially like a slinky, malevolent bass line, and a harpsiit) donated less than half of what a gumball chord sample from a song by The Left Banke currently costs, I’d be making a living wage.” (of “Walk Away Renee” fame), “Natural One” If a half million people stream a song, is all dark vibe and smoky atmosphere, and shouldn’t that be worth something beyond not an obvious hit. But its success brought pocket change to the artist? Rates vary the band major-label attention and an evenaccording to so many factors, from subscribtual deal with Interscope in 1997. With the er status to publishing rights, that it’s diflikes of Beck and Massive Attack ascendant, ficult to pinpoint the “average” stream rate.

Davis entertained modest hopes.

But a single stream often earns fractions “I didn’t necessarily think we’d get really of a penny for the musicians, and ample big, but we were very disappointed when One anecdotal evidence indicates that even milPart Lullaby [1999] didn’t sell well,” he says. lions of streams don’t guarantee thousands “Our relationship fell apart at that point.” of dollars.

Davis left Folk Implosion a year later and A significant part of streaming’s payout retreated from the music business for sevproblems may not even lie with the plateral years, eventually deciding to go into forms themselves, but with the music industeaching. Davis has just finished recording try’s own tangled webs, according to Alex an ambitious, self-financed record, El Pulpo, Maiolo. He’s the owner and operator of Seriwhich is out in early August. It’s his second ously Adequate Studio in Carrboro and a solo LP, but the first that he consciously member of several bands; he's written for shopped around to bigger indie labels—for music publications like Tape Op and has those labels’ promotional arms, if nothing long done consultation work with the Future else, he says. With the boom of streaming Music Coalition. He’s and digital platforms, the kind of person the music industry who turns up at stategame has changed JOHN DAVIS of-the-industry pansignificantly since AND THE CICADAS els at SXSW. Davis first startSunday, April 16, 7 p.m., $10–$12 “We keep thinked playing, and he’s The Pinhook, Durham ing that streaming found himself trying www.thepinhook.com and things should be to keep up with navia revenue stream. I gating a strange new don’t think of them landscape. He’s not that way,” he says “You’re conflating a free the only one who’s gotten frustrated with its listen with a lost sale.” ever-shifting rules of play.

Davis experienced some of the music Back in January, fellow musician James industry’s difficulty adapting to shifting Jackson Toth tweeted his quarterly earnings consumer preferences as he struggled to get from Spotify, Apple, Groove Music, Pandora, a label to pick up El Pulpo. He acknowledges Rhapsody, YouTube, and other platforms. with a laugh that he’s now forty-six and gray, His songs were streamed more than 40,000 and that the ambitiously produced, heavtimes, but all told he made about $156. On ily percussive record goes against the lo-fi Spotify Premium, 117 songs by Toth were essence of the song he’s best known for, a streamed almost 25,000 times. He came sound Davis points out was arrived at by away with a total of $10.93. necessity and not a contrivance.

Toth made his first record in 1996, the “Lo-fi in that era was not a middle-class same year “Natural One” peaked at No. 29 rich kid in Brooklyn thing; we recorded on on Billboard’s Hot 100 chart. Since 2005 cassette because that’s all we had access to,” he’s worked and recorded steadily as Woodsays Davis. en Wand, on his own, with a band, or in But Davis says he encountered a depressone-off collaborations; he’s both issued ingly narrow kind of thinking among major albums on respected indie labels and labels. The hip-hop influence, he learned, self-released CD-Rs. He’s part of a strong isn’t necessarily an asset in indie rock circamp of critics who think that Spotify cles. One industry person advised him, is a terrible deal for artists. He points to “Send it to Sub Pop—they’re not afraid his top-streaming song on Spotify, “Spitof rhythm.” Some of the rejections intiting at the Cameras,” which has been mated that the audience wants something streamed more than a half million times. familiar: an introverted singer-songwrit“If “Spitting at the Cameras” was the only er, a trashy rock band, or some other eassong I ever released,” he wrote in a JanuLeft: John Davis PHOTO BY ALEX BOERNER

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ily digest no takers on CD via ed indie solo LP, S Recordin tion he sa is bitter a that my m it’s messy Maiolo try conso Warner M the only attendant gatekeepe state. File are mere has repea buyers ali “All of the music The price down to a savings,” M is glad pe ster and n off the ho the golden

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ily digestible cliché. In the end, he found no takers and opted to release the record on CD via Shrimper in the U.S., a respected indie label that put out Davis’s first solo LP, Spare Parts, in 2013, and Arbouse Recordings in France on cassette—a situation he says he’s quite happy with. If Davis is bitter about anything, it’s “the perception that my music wouldn’t be popular because it’s messy and challenging.”

Maiolo, meanwhile, contends that industry consolidation—Universal Music Group, Warner Music Group, and Sony Music are the only remaining major labels—and the attendant narrowing of taste among its gatekeepers is responsible for its current state. File sharing and streaming, he says, are merely symptoms of an industry that has repeatedly failed musicians and music buyers alike.

“All of the things people felt good about the music industry just started going away.

The price of [manufacturing] a CD went down to a buck, but the consumer saw no savings,” Maiolo says. “The record industry is glad people blame this [decline] on Napster and now on Spotify, because it lets them off the hook. They killed the goose that lays the golden egg.”

S

till, the industry seems to have figured out a way to make money off streaming, enacting new plans on a regular basis.

This past week, Universal Music Group made a deal with Spotify that would restrict the access of nonsubscribers to some of the more desirable portions of its music library, an effort aimed at enticing more people to get with the idea of paying a monthly fee for an almost-all-you-can-eat buffet. But even if the artists barely get a cut of the finances, the digital era has also bestowed considerable gifts to the music makers.

Foremost, it’s no longer necessary to go into debt or sign a restrictive label contract to make a record. In the past, bands had to recoup their production costs, often at astronomical expense, which would have them out on grueling tours for months at a time. It is now feasible to record and distribute a professional sounding album for a few thousand dollars. A band can disseminate its work with unprecedented ease and precision and slowly build an audience without also taking on burdens of debt or embarking on interminable tours. A band or an artist can identify a strong market and pinpoint where and when to play there.

Al Riggs is one of a growing number of young musicians who have only known these newer models of music consumption and distribution and who are figuring out how to make the platforms work for them.

Riggs hopes to one day live off music money,

"WE KEEP THINKING THAT STREAMING AND THINGS SHOULD BE A REVENUE STREAM. YOU'RE CONFLATING A FREE LISTEN WITH A LOST SALE." but for now he has a day job, plays shows, and releases music on Spotify, iTunes, and the more artist-friendly Bandcamp.

“In a perfect world people like James [Toth] would be millionaires, or at least would be making more money from it,” he says. “But as a promotional tool, saying your record is on Spotify or iTunes has more of a professional ring than, ‘I’ll send you some WAV files via Dropbox.’”

Musicians like Toth and Davis, with their accrued experience, aren’t as hungry for mere exposure and legitimacy as Riggs is.

Though Davis has a job outside of the music world, he has the benefit of having summers off to tour and record as well as the financial padding of significant residual dividends from “Natural One”; he can make music as he pleases without relying on it for income.

For Riggs and many of his peers, online platforms enable them to get their music heard without any of the old-school hassles to go along with it. Further, these platforms provide an outlet to many who feel shut out of a mostly white, mostly male industry.

“The people that are most likely to be affected in a positive way are queer folk, women, people of color—those are the ones that are going to benefit from streaming and the accessibility of Bandcamp, and just cheap, easy ways to put their music out into the world where record labels wouldn’t even touch them,” Riggs says, adding, “People who would have even less of a platform have one on Spotify, and they have the freedom to put stuff out whenever they want.”

That kind of freedom—to put out whatever you want, whenever you want it—sounds like a much better deal to young musicians

like Riggs, who’ve grown up in a world where music is seen as something that is largely free, than to people like Toth or Davis, who remember a time when young people actually bought music. Maiolo doesn’t buy the idea that today’s youth are more blithe about theft than were their predecessors.

Sure, they paid for music, he says, but only because they had no choice.

“If, back in 1975, you could have said, ‘For five dollars you can listen to all the music you want,’ Would they have said, ‘I don’t know, man, I’d be lettin’ Led Zeppelin down if I did that’?” he posits.

“Nah, they’d be like, ‘Fuck yeah, dude, give me that!’ This whole idea that the bulk of music listeners have somehow lost their moral compass? No. They haven’t. They never gave a shit.”

The world has grown fond of the streaming option, and no one has yet developed a practical solution to the industry’s many problems. Maybe it’s friendlier to the newcomer or the disenfranchised musician who needs to make a name than to the many who have already made theirs.

But clearly, technology both giveth and taketh away. Streams don't exist in a vacuum; they help build fan bases so that artists can make money on merchandise and tours. Forty-six million streams of “Cof-

fee” may not have directly made local synth poppers Sylvan Esso millions of dollars, but those streams have facilitated a global reach that’s translated to the duo performing all over the world.

Maiolo’s Lacy Jags is not a big name, but it nonetheless caught the ear of an Italian radio DJ, who asked them to release a new song on his show. The band complied, and is working out plans for tour dates in Europe this summer. It won’t pay much, but they’ll be guaranteed enough to live and get from one gig to the next. They may lose a little money, he says, but it’ll be fun and worth it.

“Is it because we’re really that good of a band? We’re really not. I think we’re OK,” Maiolo admits. “But it’s because we’ve managed to put something together that works for us, and I honestly believe the tools are there for people to do that.”

Davis has his run of shows in Europe booked, too. And Toth has a new LP coming out next month on Three Lobed Records next month called Clipper Ship, while Riggs continues to issue his own songs online at a prolific pace. Their toolkits may have changed—and will surely continue to do so—but their creative missions, at least, remain undeterred. dklein@indyweek.com

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16 | 4.12.17 | INDYweek.com

S

ara Wakefield was surprised when Cookie shit on her yoga mat. But, in all fairness, Cookie is a goat, and Wakefield had been warned that accidents might happen.

It’s a cloudy Sunday morning, and Wakefield, with her friends Carolyn Gilbert and Laura Andrews, is taking a "Yoga with Goats and Lambs" class from Bikram Yoga Durham at Hux Family Farm. They’re here for a lot of reasons—good photos, good stories, some laughs—and Cookie’s little indiscretion isn’t going to ruin anybody’s fun. Before the class begins, the three are already giggling and snapping photos as ambling Nigerian dwarf goats nibble on their toes and strike endearing poses.

Before we get to the Five Ws of why perfectly sane and sanitary young profession-

N-a-a-a-a- maste MOVE OVER, FARM-TO-TABLE MOVEMENT. THE YOGA-TO-FARM MOVEMENT IS HERE. ST O RY BY D R EW A DA M E K

P H OTOS BY A L EX B O E R N E R

als, yoga novices, and expert yogis would choose to enter a pen, put their mats in the dirt, and spend ninety minutes doing yoga while a dozen chewing, bleating, smelly, pesky animals frolic around and on them, know this simple truth: doing yoga with goats makes one unexpectedly and deliriously happy.

“You get an instant perma-smile around these animals,” Gilbert says. “It’s relaxing just being around them.”

“They’re so happy that it puts you in a good mood,” Wakefield adds.

It’s easy to see why. At its heart, yoga with goats embodies a desire to reconnect with the natural world in a genuine, contemplative way, and finding that bond in such an immediate fashion feels deeply Cary's Carolyn Gilbert practices her goat salutations at Hux Family Farm.

INDYweek.com | 4.12.17 | 17

gratifying. There’s just something about spending time near friendly animals that releases feel-good hormones.

“We work at Duke, so we’re not often on a farm hanging out with animals, and the change is really fun,” Andrews says. “It’s a novelty but it’s de-stressing.”

It’s a sentiment class teacher Hanna Newman, co-owner of Bikram Yoga Durham, hears often.

“Once people come out here, they are surprised by how calming it is to be with the animals because as we begin practicing, as our energy calms down, the goats start to calm down, too,” she says. “They definitely feed off our energy.”

The exchange goes both ways. Normally, Bikram is a physically rigorous ninetyminute program of twenty-six challenging postures in rooms heated to 105 degrees, designed to elevate the heart rate and work every muscle. It’s a serious, taxing practice that requires concentrated focus, and quiet is encouraged.

But add a few mini-goats and suddenly it’s all selfies and laughter. As Newman leads participants through the postures, people will stop in the middle of one because a goat is nibbling on or nuzzling them, demanding to be petted.

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18 | 4.12.17 | INDYweek.com

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suddenly ewman had long wanted to host a Newman goat yoga class after seeing Youpostures, Tube videos of the practice in Oree of one gon, but she set the idea aside because of nuzzling the logistics of bringing goats into her Golden Belt studio. It was simply an idea before its time. “Some of our students were super excited, but I think more of them were confused,” Newman says. “I think people are still confused by the idea.”

That changed when Amanda Avery called. With her husband, Matthew Hux, Avery owns a small farm. They are slowly turning it into a self-sustaining homestead with animals, gardening, and an elaborate aquaponics system. They started their herd of Nigerian dwarf goats, a miniature breed that usually weighs less than sixty-five pounds, in 2015 for dairy production. The Nigerian dwarf goat is known for being friendly and cuddly, and the couple intended to start a goat-relaxation therapy practice.

“We didn’t know what to do with the goats, but we love them and wanted to offer the public access to them,” Avery says.

Soon a new use for the herd appeared in the form of a West Coast innovation.

Farmer, marketing executive, and freelance photographer Lainey Morse founded the goat yoga concept in Oregon in 2016, and it is widely popular there—according to CNN, there is a 1,200-person waitlist for her classes. Newman had encountered Morse’s videos, and Avery has spoken to Morse about the practice. But the phrase “goat yoga,” is trademarked, so the Hux Family Farm version is called Yoga with Goats and Lambs.

The trend is just starting to make its way

east, and, for now, this is the only place to do yoga with goats in the Triangle, at the end of a long country road in North Durham, a few hundred feet from the Eno River. Handdrawn signs staked on the roadside point to the parking lot of Hux Family Farm, which doesn’t look so much like the farm of imagination. Instead, it looks like a regular house with a long driveway filled with cars, old farm equipment, and construction projects in various states of completion.

But go behind the house, take a left at the sign-in tent, and behold: miniature goats, lots of them, and two not-so-small lambs, tumbling over one another and eating everything in sight. Like eager puppies, the goats mob visitors entering their pen.

“It’s like a cat or a dog in that it gives you the feeling of belonging, but it’s even neater because it's a goat,” Avery says.

Avery and Hux are capitalizing on the goat’s versatility and friendliness in other ways. They offer meditation-with-goats classes, several different styles of yoga classes every weekend, children’s readingwith-goats sessions, and, most evocatively, private time with goats. You can “adopt” goats through a sponsorship program. They also sell goat’s milk soap.

But for Wakefield, Gilbert, and Andrews, just being around the goats is enough. All three are laughing uncontrollably by the end of class, as they snap pictures of themselves in various yoga poses with goats perched on top of them.

“This so exceeded my expectations,” Gilbert says. “I just had so much fun.”

“This is going to make a great Snapchat story,” Wakefield adds. backtalk@indyweek.com

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indyfood T

he late poet Lucille Clifton wrote: “The greens roll black under the knife,/ and the kitchen twists dark on its spine/ and I taste in my natural appetite/ the bond of live things everywhere.”

Cutting greens, or, moreover, preparing food to eat and share, is a devotional and creative process for Gabrielle Calvocoressi, a UNC professor and poet, as well. But like any craft, economics often barricade how, when, and what one can cook.

After Calvocoressi and her partner found themselves tight on money last fall, the poet posted an open call on Facebook for nourishing and budget-conscious recipes. Writers, students, and home cooks all over the country responded with enthusiasm. That energy culminated in The New Economy Chapbook Vol. 1: Inexpensive, Healthy, Hopeful Feasts for 2017, a self-published, free e-cookbook and part poetry chapbook. A collaboration between working artists, the book has been featured on websites like The Southern Foodways Alliance, Epicurious, and Lifehacker.

“Everybody wants to be fed. Nobody wants to be starving. Starving can mean all kinds of different things,” Calvocoressi says. “Right now, many people feel like they are starving. And [we] are really trying to find a way to be healthy and safe and help others to be healthy and safe.”

The themes of the book come at a poignant time in American history. The book began circulating the same week that the Congressional Budget Office released its estimate that 24 million people could lose health insurance in the revision of the Affordable Care Act. Calvocoressi ponders “that specific fear of not being able to pay for your groceries.” She says, “It is a mental and physical health issue in this country. The cookbook comes out of the knowledge of how wonderful it is feed a crowd and cook all day for someone and what it is like to stand in line at the grocery store, praying that the card goes through.”

Coordinated by Calvocoressi with organizational support from fellow poet Melissa Studdard, the cookbook, styled like a zine, features around fifty recipes meant to stretch budgets and fill bellies. A casual mood of everydayness and a collective emphasis on comfort and survival tie the meals together; they appear in no particular order and cross geographies, cuisines, and seasons. Michelle 20 | 4.12.17 | INDYweek.com

Eating Their Words

A UNC PROFESSOR RELEASES A FREE, COLLABORATIVE CHAPBOOK OF POETRY AND RECIPES

BY BLANCHE BROWN UNC professor and poet Gabrielle Calvocoressi Bitting’s “Pozole Rojo,” for example is followed by Yu-Han Chao’s “Fresh Apple Cookies.” They are accompanied by hand-drawn illustrations.

Unlike the ultra-polished, foreverunachievable items found in many cookbooks, the meals in The New Economy Chapbook come from actual kitchens. Utterly unassuming, Amy MacLennan’s “Auntie Ol’s Quiche Casserole” takes a mere three steps (and resembles a dish I used to make and eat

PHOTO COURTESY OF THE AUTHOR

for both breakfast and supper all week long in college).

One pizza recipe compares sauce to Medusa’s hair, one of many reminders this is also a creative writing project. The line between recipe and poem is blurry.

“I grew up in a rural place. The idea of food and the relationship to land, the people around you, the economy—there is no way that doesn’t go into my poems,” says Calvocoressi. “My relationship to food is the most

intimate thing in my life in terms of another artistic practice that is close to writing for me. The kind of pleasure that is like a poem.”

Instead of being a collection of instructive orders, the recipes hum with human narratives. Personal stories from the writer-cooks offer reflections of hunger, of immigration, of divorce, of trauma. They feed more than the stomach. Recipes turn into intimate snapshots of working artists and people: they talk.

The New Economy Chapbook opposes profit. Its introduction encourages mass, free circulation of the text and an ethos of disentanglement from capitalist enterprise guides the project. Anyone may print or share it. Lynne DeSilva-Johnson, of The Operating System publishers in New York City, designed the book, which is downloadable as a free PDF. Calvocoressi, whose third book of poetry, Rocket Fantastic, will be released this fall, began using the title phrase “New Economies” to describe her practice of exchanging editorial work for charitable donations.

She asked herself, “How can I divest this thing that I do artistically from the constant need to make money and my own real terror of not being able to afford whatever?” The practice aims to show that there are other kinds of economies that you can build as an artist that live outside of the pressures of capitalism.

There were no guiding cost parameters in choosing what went into the book (everyone who responded to the open call was included). Calvocoressi estimates the price range of the meals to be as low as a few dollars and the maximum to be about ten dollars.

However, cost depends on what kind of kitchen or grocery store is readily accessible.

The cookbook does not explicitly account for those on food stamps or EBT. “I can see all the ways this project is amazing and all the ways it’s insufficient,” says Calvocoressi.

“That is a good mirror of this country. There is a lot to think about here.”

There are plans for future versions to include estimates for grocery costs and to release the book in smaller sections to allow for easy, cheap printing and distribution. An open call for the summer edition will appear on social media soon; follow Calvocoressi on Twitter at @rocketfantastic.

To download the book, visit http://bit.ly/ NewEconomyFood. food@indyweek.com

food

[ EAT THIS]

White Hot

KOKYU NA’MEAN’S SPICY WHITE KIMCHI IS A FERMENTED TRADITION

BY ERIN URQUHART

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Any Durhamite familiar with David “Flip” Filippini’s cooking knows that nothing is off-limits on his fusion menus. The chef-owner of South Durham’s Kokyu Na’Mean sometimes comes up with dishes on the fly. But the really special items are rooted in a deep appreciation for people who have influenced his palate. For his coveted white (baek) kimchi, Filippini found inspiration in Song Chun Park, his brother’s Korean mother-in-law.

“Song and I communicate on a transcendental level,” he says. “I can’t speak Korean for anything.”

Filippini describes Song as the type of Korean grandmother who “has clay jars in her front yard and comes from Kansas with her Korean food and jang (fermented sauces) because she won’t eat any of my Italian family’s food.”

Kimchi is an obvious staple of Korean food. Filippini classifies white kimchi as a “mis-staple” here Kokyu Na’Mean’s white kimchi PHOTO BY ALEX BOERNER in the U.S., a delicacy that often takes a backseat to the better-known red kimchi. “No matter where you go, thirty days, a prep cook squeezes the liqyou’ll find red kimchi,” he explains. “White uid out of it each morning before service kimchi is rarely seen, as it is made with a ton and replaces it with Durham’s own fermentmore ingredients and is super spicy.” ed Brood spicy soda. “We found that after And that’s why it’s a Big Fucking Deal, fermenting for thirty days, the kimchi was or BFD, which is how Na’Mean classifies lacking in effervescence. The addition of its weekly special. Every BFD is based on the highly carbonated Brood soda brought it a choice of chilled ramen, fresh greens, or back and gave us exactly what we were lookboth. This week’s includes a to-be-detering for,” says Filippini. mined seasonal ingredient and, of course, The white kimchi satisfies the palate like the white kimchi. sauerkraut: the same crunch, the same sourA fermented concoction, Na’Mean’s ness, but with a spicy kick and a tart, applewhite kimchi packs approximately thirtylike sweetness from the jujubes. five ingredients including cabbage, carrots, With Na’Mean’s new spring menu in gochugaru, Chinese jujubes, and raw green place, any of the daily specials should comchili peppers that include poblano, jalapeño, plement well with the white kimchi. “Maybe Thai, and long hot chili peppers. “We pretty we will use it on a bratwurst,” says Filippini. much go for anything green and hot,” he says. food@indyweek.com After fermenting the kimchi for at least INDYweek.com | 4.12.17 | 21

22 | 4.12.17 | INDYweek.com

indymusic +page Steal This Book

A NEW CREATIVE COMMONS COMIC BOOK BY TWO DUKE LAW PROFESSORS EXAMINES THE HISTORY OF THEFT IN MUSIC

BY NOAH RAWLINGS “Even if you think you know the story, it turns out there’s probably a lot you don’t,” Duke Law professor James Boyle says. He’s referring to an emotional and complicated subject, the history of “theft” in music, which he and his Duke Law colleague Jennifer Jenkins felt moved to research and share with the world in comic book form.

The comic book, Theft!, is not so much concerned with the twenty-first-century sense of musical theft—piracy and illegal filesharing—as it is with the way musicians have borrowed from, emulated, and sampled one another and how attempts at musical control, in history and modern times, are really attempts at social control. In the same way that Plato thought changes in musical modes could incite social revolution, George Wallace, Alabama’s forty-fifth governor, worried that the cross-racial cultural exchange facilitated by rock music would revolutionize segregated Southern society.

“We want to tell you the story of how music gets made, and we want to tell you about the people who have attempted to control the process,” Boyle says. “Plato saying, ‘You must not mix musical modes!’ is the same thing as George Wallace saying, ‘Rock ’n’ roll debases culture!’”

It’s not frequently that “Plato” and “rock ’n’ roll” are uttered in one breath, but the comparison demonstrates the expansive knowledge Boyle and Jenkins have acquired over their seven-year study of music history.

When they were trying to decide how the fruits of their long labor would be shared, they threw out the idea of a standard academic book or paper. Music is beloved by almost everyone in some form, and Jenkins and Boyle thought stiff academic prose would not do it justice.

“We think academia has real insights about our culture, but we want to share it in a way people might also read,” Boyle says.

“Remember when you were a teenager and the only thing more important to you than music was the person you were in love

EY COVER ART BY IAN AKIN AND BRIAN GARV

with?” Theft! asks. Indeed, music can move us in ways that, perhaps, only things like romance can. Boyle and Jenkins wanted to share their research through an equally moving medium, which is why they decided on a comic.

The book depicts Boyle and Jenkins journeying through time and space, seeing how music has been inherited and restricted from the Greeks to Kanye West. Artists Ian Akin and Brian Garvey allow them to present

detailed information in an engaging, transparent narrative.

“I want it to be accessible all across the world as an educational resource,” Boyle says.

Captivating illustrations enable that accessibility, as does the fact that Theft! is available for free download online under a Creative Commons license. As copyright specialists, Boyle and Jenkins felt it appropriate to offer a comic about the benefits of uninhibited musical borrowing without

a price tag.

While music is inspiring, emotional, and exciting, it has always been highly politicized.

“Music is one of the cultural things that makes people realize how evil and wrong segregation was,” Boyle says.

When lines between “white” and “black” music began to dissolve with the advent of rock ’n’ roll, pro-segregation politicians got worried. The increased cultural discourse, especially among young people, meant that the dominos were starting to fall in favor of integration. But Boyle and Jenkins also make clear that such “cultural cross-fertilization” is not without its problematic side.

“White artists got screwed, black artists got treated worse,” Boyle notes.

When white artists made music inspired by black artists, the white artists were often perceived as originators of the form. The black artists whose work white artists emulated rarely, if ever, received proper acknowledgement—financial or otherwise. Boyle wants people to be aware of both sides of musical borrowing.

“It’s not that there wasn’t wrongful appropriation,” he says, “it’s that’s not all there was.”

The risk in regulating which motifs, styles, and genres musicians can and can’t borrow, what influences people can and can’t take, is that it can preclude the politically and culturally progressive results of musical “theft.”

Theft! also aims to push back against a legalcultural trend of overregulating musical adaptation and adoption.

“Could we have jazz, soul music under contemporary musical culture? And I think the answer is no, and that ought to make us pause,” says Boyle. He wants to protect the notion that lifting and borrowing isn't unequivocally bad; it’s in fact been an important part of creative processes for centuries.

“I want to make sure that to the extent that people want to build on their prior culture, they can,” he says. music@indyweek.com INDYweek.com | 4.12.17 | 23

indyart

CATHERINE EDGERTON: BOTTLED LIGHT Friday, April 14, 6–9 p.m., free The Carrack Modern Art, Durham www.thecarrack.org

Art of Glass

THROUGH JOURNALS AND KALEIDOSCOPES, CATHERINE EDGERTON SHINES HEALING LIGHT ON MENTAL HEALTH CHALLENGES AND ADDICTION

BY NOAH RAWLINGS Can you imagine sharing your diary with the public, unveiling your emotional tumults and deepest anxieties to strangers?

For many of us, the answer would be a resounding no. But for Catherine Edgerton, a Durham-based visual artist and musician, this risky act is profoundly healing, for herself and for others. Edgerton will display her multimedia journals at the Carrack from April 12 to 23, with an opening reception this Friday, as part of an exhibit called Bottled Light. It also features her kaleidoscopes, which are stained glass wheels with found objects. For Edgerton, both mediums are ways of externalizing her headspace in order to help others navigate their own.

Mental health issues and addictions are never totally vanquished; they are ongoing challenges. But, after five years of sobriety, Edgerton feels that sharing the struggles she overcame can be broadly beneficial.

Since the age of eleven, Edgerton has been journaling extensively. As anyone who has felt the need to work through thoughts on paper can attest, journaling is a powerful way to reflect on daily life and, as Edgerton says, to navigate mental health. As she dealt with her own struggles with depression, mania, and alcohol addiction throughout her teenage years and early adulthood, keeping a journal provided solace and contemplative space. Later, it provided markers of progress.

“I’d look back and be scared of myself, and I’d draw through the page, but now I look back with so much compassion: ‘That’s just where you were,’” Edgerton explains. “I’ve got this one journal from when I was seventeen that is so self-deprecating and gross, but I now I’m like, ‘This is the most important one, because it’s so raw, unguarded, and unbridled.”

Indeed, for people struggling with depression or addiction, knowing that others have experienced the same things and seeing that experience articulated in art can be revelatory. The shame that inhibits people from 24 | 4.12.17 | INDYweek.com

“Madhouse” by Catherine Edgerton PHOTO COURTESY OF THE CARRACK

sharing their mental-health challenges often keeps people from working through them. Edgerton believes that only by being unguarded can intimate connection—and, ultimately, healing—be achieved. She also believes that people are wrongly conditioned to think about mental health as purely burdensome or indicative of sickness.

“People who struggle with mental health also deal with these really intense and profound creative gifts,” Edgerton says. Looking at her art books, which are not mere journals, this quickly becomes clear. Typical entries narrating a day’s events are interspersed with collages of clippings from periodicals, often juxtaposed with handmade drawings or poems. Some pages are solely paintings.

This multimedia mode makes the books material representations of emotional states, interior monologues, and images, imagined or recollected, which run in troubling combinations through one’s mind.

“There’s something about collages where they take influence from the outside world, because they’re driven by these images that you wouldn’t have thought to tie together,” Edgerton says, adding that the danger of journaling is that it can lead to destructive thought loops.

Collage, by admitting the external world into the intimate space of her journals, mitigates that. A photo of soldiers clipped from a newspaper induces contemplation of the political and violent. An upside-down dollar bill next to a drawing of a children’s birthday party creates an ambiguous connection, perhaps relating economics to play and innocence.

This porous mapping of internal space also informs Edgerton’s stained glass works, which are represented in the Carrack show.

Her kaleidoscopes are made of found objects like flys’ wings, marbles, and light bulbs, suspended in handmade stained glass. When you look through them, the objects refract and blend together in geometric swirls. It’s beautiful and—like Edgerton’s journals—can give the impression of looking into someone else’s mind, full of disparate images and thoughts bleeding into one another.

While the combination of these objects in kaleidoscope form is conceptually similar to Edgerton’s collage-diary hybrids, she sees the kaleidoscopes as forcing her to relin-

quish more control, because light—whether from the sun or electric sources—has the last say in vivifying these objects or rendering them lifeless.

“There is so much more potential for play from the universe,” Edgerton says. She talks about trusting the universe in many of her endeavors, which also relates to her Kaleidoscope Gifting Project, in which she gives them to people with mental health issues and encourages them to regift them to others.

This facilitates an invisible chain of connections, a community of gift-givers and artexperiencers. But, in the exhibit and in her activities as one of the leaders of Durham Artists Movement, Edgerton balances her faith in the universe’s serendipity with practical actions.

“I think a huge part of why it’s important to pull this into community is to help each other gauge reality,” she says. As such, the exhibit includes several events geared toward fostering support systems for people with mental health and addiction challenges.

Two workshops provide education on “psychiatric advance directives,” documents in which people can predefine for their communities what they want to happen should they suffer an incident that renders them unable to make decisions. The first workshop, on Saturday, features attorney Mavis Gragg, while the second, on Sunday, features the release of DAM’s “Creative Advance Directive Chapbook,” a template for community care that also includes poetry, art, and reflections from DAM artists.

If one is vehemently opposed to established modes of thinking about mental health or addiction—things people are discouraged from discussing openly—it’s easy to feel isolated, invalidated, and even unreal. By illuminating webs of connection in the Kaleidoscope Gifting Project and sharing her personal journals, Edgerton hopes to shed light into that darkness. arts@indyweek.com

INDYweek.com | 4.12.17 | 25

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BY DAVID KLEIN Party girl? Groupie? Poet? Performer? Cherry Vanilla wore the names proudly as she traversed the sixties and seventies. Her autobiography, Lick Me: How I Became Cherry Vanilla, succeeds where others fail because she knows how to tell a story and she has the stories to tell—lots of them, and no holds barred. Somehow, she remembers it all: childhood visits to the Copacabana, shopping sprees with the daughters of dapper Hollywood actor Don Ameche, sex romps and acid trips on Fire Island, ad work on Madison Avenue, and stage antics at Max’s Kansas City. She did A&R for David Bowie during his coke-and-milk phase, toured with the Police, and started one of the first phone-sex operations.

After reading her book, Duke theater professor and Little Green Pig director Jaybird O’Berski thought she would be the perfect muse for his Duke Theater Studies production of Jacques Brel Is Alive and Well and Living in Paris, a revue of songs by the popular Belgian songsmith that opened in Greenwich Village in January 1968, featuring saucy, cabaret-style ditties like "La Chanson de Jacky," a Top 40 hit for Scott Walker as "Jackie." So O’Berski arranged for her to come read choice sections of Lick Me on the production’s Studio 54-inspired set this Saturday. She spoke with us from her home in Palm Springs, California, about acid, Brel, and being a witness to an age.

INDY: What is it about Jacques Brel that fit into the flower-power ethos of the late sixties?

CHERRY VANILLA: He was part of this whole French new wave, which was becoming hip at the time: espresso house coffee shops, Jean-Paul Belmondo, Charles Aznavour. They weren’t Led Zeppelin and Jimi Hendrix, they were something else.

He was Belgian but he was put into that kind of chic hippie French thing, and it was stylish and different. If rock and roll took up ninety percent of the musical airwaves, this kind of music only took up part of the other ten percent but it was considered hip and in. And where they played in ’68, the Village Gate, that itself was beatnik hip. That’s where I first saw Nina Simone. It was an interesting

Cherry Vanilla PHOTO COURTESY OF CHERRY VANILLA

CHERRY VANILLA

Saturday, April 15, 5 p.m., free Duke’s Sheafer Lab Theater, Durham

moment there, and New York had all these movie houses that played French films, so he was bunched in with that. Also, he was very attractive. He had that rugged, rough sort of French movie star look.

Jacques Brel came up in your book a few times and now you’re serving as a muse of sorts?

At first I was puzzled by it. But then I realized, in Jaybird’s wisdom, the younger people I talk to are just hungry for cultural information about the fifties, sixties, and seventies. I guess what he wanted was to get them into the head of what New York in ’68 was like when they were putting the show on there.

I was thrilled. That’s the best thing anybody could say to me. When I wanted to write this book, a friend said to me, you can write your autobiography for one of only three reasons: either you’re mega-famous like Elvis Presley, or you’ve done some incredible thing, like climbed Mount Everest and ate human flesh, or you were a witness to an era that you can express. And I said OK, that’s the one! I hope that in writing my own private life story, that what I was conveying was that feeling of New York in 1968, that whole era. Because it was … something else. I feel so blessed that I happened to be in my twenties in the nineteen-sixties.

Oh, your timing was exquisite.

I know! I feel that way. And I know that people before me used to say that about their youth and their generation, but when I see kids now, I know they’re having fun with their selfies and technology, but I don’t know.

To me, it’s never gonna look like as much fun as I had.

Spending time with Don Ameche and his daughters, you learned to hang out with the famous and realized they were real people?

Being in those circles, I really feel lucky and privileged to have not only rubbed up against, but been intimate with—whether in a business sense, a friendship sense, a sexual sense, a creative sense—these incredible people.

And I don’t know why me. I don’t have a huge ego. I know I’m not the smartest one on the block, or the most talented or the most beautiful, or the most anything. But for some reason, the path I followed, something about me attracted them to me and me to them.

JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS Through Sunday, April 16, $10–$15 Duke’s Sheafer Lab Theater, Durham www.theaterstudies.duke.edu

There was a lot of LSD in your autobiography.

The last time I took any acid would have been around ’77 and it would have been just a little bite of a tab. Up until a year and a half ago, I only smoked pot and did some mushrooms here and there. But anyway, I have OCD, dermatillomania, which is picking at your skin in a manic kind of way, and I’ve had it ever since I was a child. I just touched on it in the book, that was my coming out of the closet about it, because it’s something you keep secret because it’s shameful. It’s like people who cut, but I didn’t cut, I picked. It’s so weird I can’t tell you. But that plagued me on and off throughout my life.

When I interviewed Marianne Faithfull years ago and she had just come back from all her druggy drugs, I asked her, how did you do that? She said the first thing was, I admitted I had a problem, and the next thing was, I asked for help. That stuck in my mind. So finally, I started writing about it, and then I started seeking help. Doctors I talked to recommended different kinds of therapies: drug therapy, cognitive therapy, hypnotherapy, and I tried them all.

But I’ve always believed in LSD, and my instincts told me LSD, LSD, LSD. Eventually I hit upon Dr. James Fadiman, who is a proponent of microdosing. My god, it’s been my saving grace. All of my wounds have healed.

I still get the urge now and then when I’m stressed or nervous, but I stop right away. It’s the first thing ever that has worked.

That’s amazing. So you’re just sort of on the edge of being high?

Nothing. You don’t get high, you don’t trip.

In fact, I upped the dosage. There were times when I took even a little more than I should, just to see if I got a little edge, and when I did I would go out for a long, long walk, and I did have a little bit of that edge of stomach nervousness. But I don’t want that nervous feeling.

Would you say your tripping days are behind you?

I’m gonna be seventy-four soon. I don’t think I should take too many chances with my heart [laughs]. You know the energy burst that comes with LSD. Maybe, maybe I would do one in the proper circumstances. dklein@indyweek.com INDYweek.com | 4.12.17 | 27

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GIFTED

HHH½ Opening Wednesday, April 12

One in a Billion

MARC WEBB SQUEEZES NEW LIFE OUT OF OLD STORY BEATS IN GIFTED, WHERE A CUSTODY BATTLE BUFFETS A CHILD MATH PRODIGY

BY GLENN MCDONALD So this happens sometimes at the movies: a film comes along and does things you've seen a hundred times before. You know you're being worked over emotionally, with cinematic tricks and techniques that have been around forever. But the story soars anyway, and you walk out genuinely moved and entirely satisfied.

Such is the case with Gifted, the story of Mary, a seven-year-old math prodigy caught in a custody battle that will determine the trajectory of her life. Chris “Captain America” Evans plays Mary's uncle and guardian, Frank, a former philosophy professor turned boat mechanic. Mary's mother (Frank's sister), a math prodigy herself, committed sui-

cide just after Mary was born. The trauma sent Frank spiraling out of academia and into the bars and harbors of coastal Florida. (He's the “damaged hot guy,” as one tavern admirer says.) Frank and Mary live in a trailer park, where Frank tries to provide his niece with a poor-but-normal, nongenius life.

This is going to be tricky, because Mary is a “one-in-a-billion” prodigy. When school officials flag her talent, her domineering grandmother (Lindsay Duncan) swoops down from Harvard, intent on taking custody and forcing Mary into the kind of suffocating childhood that killed her mom. It's Little Man Tate dipped in Kramer vs. Kramer, but goddamn if it doesn't work like magic.

It's all about the performances. Evans is excellent, displaying depths unplumbed in his comic-book movies. Mckenna Grace, just ten years old, gives one of those impossibly good childhood performances that pop up with curious regularity. Octavia Spencer contributes powerful grace notes as Frank's landlord, who loves the little girl deeply.

But the real revelation here is Jenny Slate as Mary's grade school teacher and Frank's inevitable love interest. As we saw in her feature debut, Obvious Child, Slate is an enormously compelling performer with astonishing range. Gifted maps some very complex emotional territory, and Slate's empathetic performance is critical. Her eyes

speak some language of the heart that's a million years old.

The film occasionally wanders into contrivance, especially toward the end, but I was so deeply hooked by then that I was willing to forgive just about anything. Director Marc Webb (500 Days of Summer) is a born filmmaker. His movies have a natural narrative grace, and he's a strong visual stylist, too.

Gifted has a sunset that's a sixty-second testament to the art of the moving picture. That thing needs to be in a gallery somewhere, on infinite loop. Gifted isn't a particularly original film, but it's heartfelt and accomplished—a very good story, very well told. arts@indyweek.com

INDYweek.com | 4.12.17 | 29

4.12–4.19

Addled Muse Fire Theater

WHAT TO DO THIS WEEK

PHOTO COURTESY OF TILT KEY

THURSDAY, APRIL 13

SHARON OLDS

Sharon Olds’s fearless poetry of wonder, anger, passion, and empathy has been collaring readers and demanding their attention since her first collection, Satan Says.

Almost four decades and countless accolades later, the Pulitzer Prize winner continues to lure us, with accessible language and confiding tones, into places we long for and places we abandon. Always, along the way, she reminds us of what is true of the body as it collides with other bodies and its sociopolitical space. We may have a president whose fear of the body manifests in everything from air kisses to xenophobic rhetoric and policies. But Olds, at seventy-four, is as emboldened by embodiedness as ever: her most recent book includes odes to everything from vulvas to wattles. See this master of contemporary free verse read in conjunction with the announcement of the 2017 N.C. State Poetry Contest winners, and let her remind you of the sacred, sexy specimen you are. —Kendra Langdon Juskus N.C. STATE’S TITMUS THEATRE, RALEIGH 7:30 p.m., free, english.chass.ncsu.edu 30 | 4.12.17 | INDYweek.com

SUNDAY, APRIL 16 & MONDAY, APRIL 17

SATURDAY, APRIL 15

DEPARTMENT OF IMPROVISED DANCE: SET AND SETTING

ADDLED MUSE FIRE THEATER: PURGATOIRE

21C MUSEUM HOTEL, DURHAM 5 & 7 p.m. Sun./7 p.m. Mon., $10–$20, www.didaseason.com

DURHAM CENTRAL PARK, DURHAM | 8 p.m., $15–$20, www.addledmuse.com

Think, for a moment, of Matthew Young’s Department of Improvised Dance as if it were an academic department.

How do you teach the principles of improvisational movement? The practice is experiential; participants learn by doing. And part of that doing is sharpening your ability to observe: How could my arm relate to the shape of her bent leg? What’s the quality of the negative space between bodies, between walls and furniture? So much of improvisational practice is watching and noticing context.

Young interrogates the meaning of context in Set and Setting, the Department’s new evening-length improvised group piece and the fifth performance in the Durham Independent Dance Artists season. In the ballroom of 21c Museum Hotel, with live accompaniment by D-Town Brass, Young plays with the juxtaposition of spontaneous movement and formal venue. Maybe he’ll teach us something about how watching dance can be an improvisation, too. —Michaela Dwyer

In recent years, Raleigh’s Cirque de Vol has merged trippy costumes and body art, music, and visual projections with aerial, earthbound, and fire-dance choreography, both in company performances and in collaborations with Bare Theatre. But in its inaugural production of Purgatoire, the newcomers of Durham’s Addled Muse Fire Theater promise to take audiences further into the flow—that continuum of cirque and prop-based movement involving hoops, juggling, and flame known as “flow arts.” Directors Alexandra Simpson and Kelley Carey’s company weaves a tale in which two lovers are tested by temptations and tried in the (sometimes literal) fires of their own desires in a kind of French Baroque purgatory. Imagine Circus and Lux Performance Studio open the evening; Fullsteam brewery and eccentric arts vendors will be in attendance. —Byron Woods

FRIDAY, APRIL 14 & SATURDAY, APRIL 15

DEATH TO FALSE HOPE STOMP HATE FEST

For the past several years, the scrappy Death to False Hope Records has thrown a celebratory anniversary music festival featuring the label’s roster and friends, where short but exuberant bouts of punk and other likeminded strains of rock music reign supreme. After operating under the utilitarian Death to False Hope Fest banner for most of its run, it rebranded last year as the DTFH Family Reunion Weekend. This year, though, the festival bends its moral arc toward social justice as the Stomp Hate Weekend. Expect the same inclusive, raucous revelry as in years past, with net proceeds benefiting the ACLU to support the institution’s pushbacks against the Trump administration. There are worse things to do with your weekend than pound a PBR or two in the name of fighting oppression. —Allison Hussey MOTORCO MUSIC HALL, DURHAM 5 p.m. Fri./1:30 p.m. Sat., $15–$40, www.motorcomusic.com

MUSIC

MONDAY, APRIL 17

KATH BLOOM

It only takes a few seconds for singer-songwriter Kath Bloom to enrapture you with her lilting, reedy voice and easygoing acoustic guitar melodies. Though she’s a lifelong musician, she’s long been a bit of a cult figure, though she got a slight bump in visibility in the mid-nineties when her song “Come Here” appeared in Richard Linklater’s 1995 drama, Before Sunrise. In more recent years she’s collaborated with Sun Kil Moon’s Mark Kozelek, issuing records through his Caldo Verde label and appearing on his most recent EP. “This Dream of Life,” the title track of her latest record, is a creaking, haunting affair; that captivating charm will come through tenfold in an intimate space like Neptunes.

Asheville guitar alchemist Wes Tirey opens. —Allison Hussey NEPTUNES PARLOUR, RALEIGH | 9 p.m., $10–$12, www.kingsraleigh.com

Kath Bloom PHOTO

COURTESY OF THE ARTIST

WHAT ELSE SHOULD I DO?

RHYS CHATHAM’S GUITAR TRIO AT KINGS (P. 33), THE COATHANGERS AT THE PINHOOK (P. 36), JOHN DAVIS AT THE PINHOOK (P. 12), JULIA DONALDSON AT QUAIL RIDGE BOOKS (P. 40), CATHERINE EDGERTON AT THE CARRACK (P. 24), DAVID GRANN AT QUAIL RIDGE BOOKS (P. 40), JESUS CHRIST SUPERSTAR AT MEMORIAL AUDITORIUM (P. 39), TOBACCO ROAD DANCE PRODUCTIONS AT PSI THEATRE (P. 39), CHERRY VANILLA AT DUKE (P. 26) INDYweek.com | 4.12.17 | 31

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music

4.12 – 4.19

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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)

WED, APR 12 THE ARTSCENTER: Big Band Night with the 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. • DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra; 8 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: 15-501 Music; 6:30 p.m. • KINGS: Summit #4; 9 p.m., $7. • LINCOLN THEATRE: Oak City Presents: 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. • THE PINHOOK: Terry Malts, Business of Dreams, Naked Naps; 9 p.m., $10. • POUR HOUSE: Seepeoples, The Grand Shell Game; 9 p.m., $7–$10. • RUBY DELUXE: New Wave Night; 10 p.m. • SLIM’S: Sam Vicari, Sissy Pants, The BQs; 9 p.m., $5. • UNC’S MEMORIAL HALL: Sanam Marvi; 7:30 p.m., $10–$20.

THU, APR 13 The 358s GOOD The members of TIMIN’ The 358s have been pals for years, but it’s only been recently that they’ve formed a semi-official band.

Featuring Josh Moore, Josh Oliver, Big Fat Gap’s Miles Andrews, and Mandolin Orange’s Andrew Marlin, the band offers traditional and original acoustic tunes alike.

Know that when they say they’ve “just got one more,” you’re likely to get three or four. —AH [THE STATION, $8–$10/8 P.M.]

Chaz Bundick Meets The Mattson 2 JAZZ Chaz Bundick of JAMS Toro y Moi has partnered with jazz duo

Mattson 2 for a one-of-a-kind bluesy and psychedelic-tinged experience. With the collaborative new Star Stuff LP, the trio achieves new heights through jazzy jams with ample reverb and distortion. Minimal lyrics give the feeling we’re peeking in on a free-flowing improvised jam session of master musicians hanging out.

Madeline Kenney opens. —KH [DUKE COFFEEHOUSE, $10/9 P.M.]

Bruce Hornsby & the Noisemakers CLASSIC Highly respected ROCK as a songwriter and instrumentalist, keyboardist Bruce Hornsby is a music business veteran in the truest of senses, having logged several years as a sideman for the Grateful Dead in addition to assembling a large and diverse solo catalog replete with idiosyncratic excursions into pop, bluegrass, and jazz.

—TB [CAROLINA THEATRE, $46–$115/8 P.M.]

Billy C. Wirtz HOLY In his house-rockROLLER in,’ traveling barroom church, The Reverend Billy C. Wirtz delivers a piano-pounding, tongue-incheek, come-to-Jesus message that mixes gospel, rock, and lust in equal mega-doses. —GB [BLUE NOTE GRILL, $8–$10/7:30 P.M.] ALSO ON THURSDAY CAT’S CRADLE (BACK ROOM): Matt Pryor & Dan Andriano, Erie Choir; 8:30 p.m., $13–$16. • THE CAVE: Happy Abandon, The Head, Heat Preacher; 9 p.m., $5. • DEEP SOUTH: Five Mile Radius, Beach Tonic, Blue Frequency, My Mountains; 8:30 p.m., $5. • DUKE CAMPUS: BALDWIN AUDITORIUM: Duke Wind Symphony; 8 p.m. • HOT TIN ROOF: Birthday Party for Thomas Jefferson; 7 p.m., $10–$15.

• IRREGARDLESS: Cityfolk; 6 p.m. • KINGS: Rhys Chatham, Shane Parish; 8 p.m., $12–$15. See box, this

page. • NIGHTLIGHT: Nathan Golub, Ross Hammond; 8:30 p.m. • THE PINHOOK: Must be the Holy Ghost, Professor Toon, Mercurial; 9 p.m., $7. • POUR HOUSE: Local Band Local Beer: The Antique Hearts, Sinners and Saints, Debonzo Brothers; 9:30 p.m., $5. • RUBY DELUXE: Spookstina, Girl Werewolf, Fruit Snacks; 8 p.m. • SCHOOLKIDS RECORDS (RALEIGH): RockN-Roll Hi Fives; 7 p.m. • SLIM’S: Aseethe, Berefit, Etiolated; 9 p.m., $7.

• UNC’S KENAN REHEARSAL HALL: UNC Percussion Ensemble; 7:30 p.m., free. • UNC’S CENTER FOR THE STUDY OF THE AMERICAN SOUTH: Music on the Porch: River Kings 2.0; 5:30-7 p.m., free.

FRI, APR 14 Arbouretum MANY For a band signed SHADES to a formidable experimental label like Thrill Jockey, Arbouretum is pretty damn approachable: four indie rocksmiths from Baltimore firing off on all cylinders, strings, and piano keys.

Though Dave Heumann and company nod extensively to the fuzz-rock master plan, complete with soaring hooks, turgid breakdowns, and solos that careen off into the horizon like wild horses. But Arbouretum has a soft side as well, manifested in haunting harmonies and quaint piano lines. Its latest album, Song of the Rose, epitomizes this balance. Bitter Resolve opens.

—ZC [THE CAVE, $10–$12/9 P.M.]

DakhaBrakha: Earth Live Score UNSILENT It’s really difficult FILM to describe the sound of the Ukrainian band DakhaBrakha. The ensemble— three female singers, accordion, cello, and hand drums—weaves together various Ukrainian folk traditions with dance beats from around the world to create a pretty wild party, shot

Musicians perform Guitar Trio at Hopscotch 2011

FILE PHOTO BY ABBY NARDO

THURSDAY, APRIL 13

RHYS CHATHAM’S GUITAR TRIO Over the past few months, Kings and Neptunes have quietly been the hub of a grand tour of experimental music with performances cover the spectrum of éminence grises (Hans Joachim Rodelius and Arnold Dreyblatt) to canny veterans (Six Organs of Admittance and Tatsuya Nakatani) to recent upstarts (Horse Lords). It’s been a grand statement of intent, signaling the continued vitality of experimentalism across all genres. This latest installment featuring Rhys Chatham and a host of local guitarists might be the most exciting of the set.

As a composer, guitarist, and an improviser, Chatham sits right at the epicenter of the musical melting pot that was New York City in the late 1970s, forging a sound that melded the propulsive force of punk with the artsy tendencies of the nascent no-wave scene and the expanded forms of downtown minimalism. He was one of the first to realize that when you turned up a guitar really loud, you got all kinds of crazy, shimmering overtones. And when you put a bunch of guitarists in a room together, you could weave massive overtone tapestries. Alongside frenemy Glenn Branca, Chatham helped devise a new vocabulary for the guitar.

Nowhere is that vocabulary better displayed than in his classic 1977

piece Guitar Trio, which he performs in Raleigh with help from Birds of Avalon’s Paul Siler and Cheetie Kumar, Ahleuchatistas’ Shane Parish, and a few others. The concept is simple, with the guitarists strumming open strings at specific points on the neck to pull out overtone melodies over propulsive drumming. Over time, the players gradually play more strings, making the texture more and more complex. On its original 1982 recording, Guitar Trio is a barely contained explosion, eight minutes of nervy, energetic, clean-toned guitars that sound perfectly at home alongside early Sonic Youth and Swans.

But no recording can really capture the effect of all those sound waves colliding into one another, so the only way to properly experience the work is live. These days, Chatham has expanded the piece into a forty-minute opus for at least six guitars, spreading its energy into cascading waves and basking in the resultant conflagration. Even though Chatham has gone on to write more complicated music for guitar orchestras involving hundreds of players, Guitar Trio remains one of his most direct and satisfying works. Shane Parish opens with a solo set. —Dan Ruccia KINGS, RALEIGH 8 p.m., $12–$15, www.kingsraleigh.com INDYweek.com | 4.12.17 | 33

Fluorescence

through with a wonderfully theatrical sensibility. Here, though, the group shows off a different side, performing a droning, moody soundtrack to Oleksandr Dovzhenko’s 1930 silent film, Earth, which depicts Ukrainian peasants resisting Stalin. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$28/8 P.M.]

HEAVY Chapel Hill’s STUFF Fluorescence opens its latest single, “New Forever,” with double bass bowing that sounds fit for a dramatic movie trailer; melancholy piano plucks ensue, followed by Azul Zapata’s melancholy vocals.

The arrangements are delicate and detailed, the production pristine, but Fluorescence is liable to push some listeners away with the grandiose solemnity of its lyrics and melodies.—NR [LOCAL 506, $7/9 P.M.]

Gaechinger Cantorey GERMAN There is an VOICES otherworldly character to the performances of the long-running German choir Gaechinger Cantorey.

Established in Stuttgart some sixty years ago with the goal of keeping the tradition of centuries-old a cappella singing alive, its specific emphasis has been on the austere, bracing work of Bach.

While the group has periodically expanded its scope to include material from the Romantic period and beyond, the core mission remains deep immersion in sacred song.

—EB [UNC’S MEMORIAL HALL, $15–$69/8 P.M.]

WE 4/12 SA 4/15

Kawehi NOT JUST Currently based in NIRVANA Lawrence, Kansas, this Hawaii-born singer-songwriter gained acclaim after her slow burning sample-based cover of Nirvana’s “Heart Shaped Box” became a viral sensation a few years back. In truth, her originals are far more interesting, A sort of self-contained pop juggernaut, Kawehi layers shimmering showcases like “Not Another Lame (Fight

Song)” with enough skittering beats, synth-driven hooks, and winsome vocals to suggest a burgeoning DIY Max Martin in miniature. —EB [CAT’S CRADLE BACK ROOM, $12–$15/8 P.M.]

Pile JUMP ON The crown jewel in IT Boston’s thriving indie scene, Pile plays explosive, restless alt-rock primed for packed basements and bleary-eyed nights out.

The band’s slow, steady rise has been profoundly catalyzed by a rabid fanbase that sees the band as millennial grunge gods. In fact, Pile is closer to a punkish Pavement, soldering fist-pumping choruses to tightly wound verses with an almost mathematical precision. This year’s A Hairshirt of Purpose is Pile’s most cohesive long player yet, but it’s not without appropriate chaos—just spin “Hissing or Peace” or “Milkshake,” and try not to get caught up in the gyre. Gnarwhal and Maple Stave open. —ZC [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9 P.M.]

Vieux Farka Touré WORLDLY The son of the GUITAR legendary Malian multi-instrumentalist Ali Farka Touré, Vieux Farka Touré has carved a distinctive niche for himself as a guitarist and singer, both as a solo artist and in conjunction with the celebrated Israeli singer-songwriter Idan Raichel. Snippets of Touré’s forthcoming release, Samba, suggest a tour-de-force showcase for his otherworldly chops, with his piercing tone and unique finger picking style set against a vibrant full band of sympathetic ringers. Last Good Tooth and Africa Unplugged open. —TB [KINGS, $18–$20/7:30 P.M.] ALSO ON FRIDAY ARCANA: Ladies of the 80s, DJ PlayPlay; 10 p.m., $5. • BLUE NOTE GRILL: Too Much Fun; 9 p.m. Duke Street Dogs; 6-8 p.m., free.

• THE BULLPEN: Pat “Mother Blues” Cohen; 8:30 p.m., free. • CAT’S CRADLE: WXYC 2000’s Dance; 9:30 p.m., $5–$8. • DEEP SOUTH: The River Kings Tour 2; 9 p.m. • DUKE’S NELSON MUSIC ROOM: Duke Collegium Musicum; 8 p.m. • IRREGARDLESS: Foscoe

Philharmonic; 6:30 p.m. • LINCOLN THEATRE: The Breakfast Club, The Jason Adamo Band; 9 p.m., $10.

• THE MAYWOOD: Nevernauts, Thirsty Curses, 90 Proof Therapist; 9:30 p.m., $8. • MOTORCO: Stomp Hate Weekend; 6 p.m., $15–$20. See page 31. • MYSTERY BREWING PUBLIC HOUSE: Juliana Finch; 8:30 p.m., free. • THE PINHOOK: Conjure, DJ Femi, Fatherfannie, Zensofly, Gemynii; 10 p.m., $7. • POUR HOUSE: Southern Culture on the Skids, The Phantom Playboys; 9 p.m., $15–$20. • THE RITZ: Dark Star Orchestra; 8 p.m. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • RUSSELL MEMORIAL CME CHURCH: African Children’s Choir; 7 p.m. • SLIM’S: Drunk on the Regs, Cold Beaches, DoDoDo; 9 p.m., $5. • THE STATION: Casey Williams, Bunch; 6:30 p.m., $6. Crystal Bright and the Silver Hands, Justin Lacy; 10 p.m., $8.

SAT, APR 15

to work up three originals and a cool cover song. Music is often at its best when it might fall apart—but it won’t, and proceeds go to the Compass Center for Women and Families. —DK [LOCAL 506, $10/8 P.M.]

Beyond the Fade HARD An aggressive hard ROCK rock outfit featuring rapid-fire riffs set to existential concerns, Charlotte’s Beyond the Fade brings a charismatic energy and a knack for arena-ready hooks to down-in-the-mouth laments inevitably titled “Love and Hate,” “Smile,” and the title track: “Welcome to the Pain.”

Sun of Nile, Fourth Hour, and Christopher Midyette open.

—TB [THE MAYWOOD, $10/8 P.M.]

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inals and Durham Symphony usic is Orchestra n it might n’t, and CLASSIC With an evocaompass MYSTERY tively titled “The nd Mystery of the Last Days and Last Masterpieces by ] Tchaikovsky,” the Durham Symphony and the LGBTQ Center of Durham explore the de music and times of the Russian essive hard composer’s final years. His sudden death has long been a fit ffs set to source of debate: was he the victim of a cholera epidemic, Charde brings suicide, or something else entirely? Alongside this and a y hooks to intrigue, Durham Symphony aments concerto contest winner Bethany Brinson will perform e and part of Mendelssohn’s first he title he Pain.” piano concerto. —DR our, and [CAROLINA THEATRE, $10–$35/8 P.M.] e open.

Golden Pelicans FLY AWAY Golden Pelicans are four Florida ne’er-do-wells who proudly carry scuzz rock’s greased torch—when they’re not double-fisting beers, that is.

The Orlando outfit takes liberal cues from iconic acts like AC/ DC and the Stooges, slicking every last riff and howled vocal take in sweat and spit before sending them out to pasture in Thee Oh Sees’ vast psychedelic wasteland. Live, Golden Pelicans toss their already turbo-charged songs into deep hyperspace, leaving crowds with the perfect soundtrack for a night of bottle smashing.

Watch your step! —ZC [SLIM’S, $5/8 P.M.]

The jonDoe POTENT “John Doe” BEATS connotes anonymity, but this young Durham five-piece aims to make a name for itself by building upon the traditions of R&B, jazz, and hip-hop and ending up somewhere beyond them. With the smooth baritone vocals of Detroit-born vocalist Myk’l Hanna leading the way, the group revels in seductive grooves and head-nod beats. —DK [BEYÙ CAFFÈ, $13/7 & 9 P.M.]

Cecile McLorin Salvant VIRTUOne of contempoOSIC rary jazz’s rising stars, this Grammy nominee

got hooked on Sarah Vaughan records as a child. Though her other influences are classic jazz giants like Bessie Smith and Billie Holiday, she stretches beyond the canon by incorporating contemporary influences like Sade in her repertoire, which stretches back to 1910 and includes lesser known tunes like “Growlin’ Dan,” by Blanche Calloway, sister of Cab, and traditional songs like “John Henry.” —DK [DUKE’S BALDWIN AUDITORIUM, $10–$42/8 P.M.]

Ohio Players ORIGINAL One of the giants FUNK of American funk and R&B during its original run in the seventies, the groove masters of Ohio Players once populated dance floors with inescapable hits like “Fire” and “Love Rollercoaster.” With many of the original principals deceased, the current band is a hybrid of old and new members, honorably serving the Players’ ecstatic legacy.

Midnight Star and Con Funk Shun open. —TB [RED HAT AMPITHEATER, $28–$49/7 P.M.]

Mike Posner PILLS IN Duke graduate and IBIZIA Sigma Nu alum Mike Posner returns to the Triangle having established a reputation for a particularly louche take on dance music and R&B, pitched someplace between Timberlake’s PG-13 come-ons and Lonely Island’s X-rated put-ons. It would be better if we felt assured of the joke. —EB [CAT’S CRADLE, $20–$24/8:30 P.M.]

Red Hot Chili Peppers GIVE IT Maybe you once AWAY loved the Red Hot Chili Peppers a little more than you’d like to admit, and maybe you don’t ever want to feel like you did that day. But the Peppers are back in town and you could be in the same room as them. They don’t rock out with their socks out anymore, but they haven’t lost their fight-like-a-brave spirit, and hey, Flea’s in the house—always a good thing. —DK [PNC ARENA, $49–$384/8 P.M.]

Reik BAJO Mexican pop CALI POP music isn’t always all strings and keyboards.

Romantic pop boys Reik recently surprised the Latin music world with a reggaetón remix of their plaintive single “Ya Me Enteré,” a collaboration with urban mainstay Nicky Jam. Is this the future of Mexipop? You can find out in Raleigh. —AB [THE RITZ, $41/8 P.M.] ALSO ON SATURDAY

TH 4/13 THE 358’S FEAT. ANDREW MARLIN, JOSH OLIVER, JOSH MOORE, MILES ANDREWS 8PM, $8/$10, 21+* FR 4/14

CASEY WILLIAMS W/ BUNCH 6PM, $6, 21+

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BLUE WED: JOHN PRIMER

CRYSTAL BRIGHT & THE SILVER HANDS

TH 4/13

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FR 4/14

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ARCANA: The Floor House Party; 10 p.m., $5. • BLUE NOTE GRILL: The Well-Respected Men, Johnny Folsom 4; 7 p.m., $8. • CAT’S CRADLE (BACK ROOM): Diet Cig, Daddy Issues, Fish Dad; 9 p.m., $10–$12. • THE CAVE: Jenny Besetzt, Shinji, Away Msg, Drag Sounds; 8 p.m., $7.

• DEEP SOUTH: I Am Maddox, Unlucky Sevens, Dragmatic; 9 p.m. • IRREGARDLESS: Gary Brunotte Duo with Beverly Botsford; 6 p.m.

The Boulevard Ensemble; 9 p.m. • KINGS: Kooley High, Ace Henderson, Shame, Thedeepend; 10 p.m., $12–$15.

• LINCOLN THEATRE: Pigeons Playing Ping Pong, Psylo Joe; 9 p.m., $15. • MOTORCO: Stomp Hate Weekend; 6 p.m., $15–$20. See page 31. • NIGHTLIGHT: Volume 21: dj Speculator; 10 p.m. • THE PINHOOK: The Coathangers, Horizontal Hold; 9 p.m., $12. See box, page 36. • POUR HOUSE: Fireside Collective, James Olin Oden; 9 p.m., $7–$10. • RUBY DELUXE: DJ Luxeposh; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): River of Black, Hyper Vyper; 7 p.m. • THE STATION: LUD, Elvis Division; 8 p.m., $7. 90s Dance Party with DJ PlayPlay; 10 p.m. Jazz Saturdays; 2 p.m., free.

SUN, APR 16 American Hitmen 100% An unlikely brush COVERS with fame during its 2013 stint on America’s Got Talent briefly bought the military-vet four-piece American Hitmen to the forefront of the public consciousness. The group is essentially a cover band with a repertoire ranging from blues-rock to classic bluesrock, all delivered with dependably satisfying reverence.

Beach Tonic opens. —EB [POUR HOUSE, $10/8 P.M.]

INDYweek.com | 4.12.17 | 35

SATURDAY, APRIL 15

THE COATHANGERS We’re used to thinking of punk shows as compartmentalized affairs: vocalist, guitarist, bassist, and drummer churning out thunder from their respective corners of the stage, raucous flotsam that’s subsequently galvanized into the cohesive, crushing whole we witness from the crowd. Not so for The Coathangers: the Atlanta trio’s live sets resemble a game of musical chairs, with guitarist Julia Kugel, bassist Meredith Franco, and drummer Stephanie Luke taking ample opportunities to switch things up, swapping instruments, harmonies, and lead vocal duties as they tear through their playful, razor-edged bubblegum.

If that all scans as a bunch of young women “playing nice,” a cursory listen to the band’s songs—crass rockers with titles like “Shut the Fuck Up,” “Nestle in My Boobies,” and “Squeeki Tiki” (a garage jam heavily featuring, you guessed it, squeaky toys)—should prove sufficient in establishing the opposite. They’re troublemakers at heart, caterwauling satirists out to remind us that shows are supposed to be fun, dammit, and not to take ourselves so seriously. At the same time, The Coathangers recognize the threat of sonic staleness that can come out of a career spent horsing around. On the band’s most recent effort, last year’s playfully titled Nosebleed Weekend, the group expands its tripartite tantrums into dense, full-bodied pop-rock that packs in more vocal nuances, not to mention studio polish. The band recorded Nosebleed Weekend at the famed Valentine Recording Studios in Hollywood, a former creative crucible for the likes of the Beach Boys, Allah-Las, and others that, prior to the trio’s arrival, hadn’t housed any recording sessions in nearly forty years.

And so, a decade into their career—enthusiastically backed by all their peers back home in Georgia, from Mastodon to the Black Lips—The Coathangers are on top of their game, redirecting their collective glance toward the world writ large.

But don’t worry—they won’t be keeping it totally serious onstage. They admit that’s just impossible. “I can’t even watch [Julia] when we’re playing [“Squeeki Tiki”] live,” Luke told Spin last year, “’cause I start laughing. And then I’ll fuck up on the drums, I’m like, “Dammit, focus, focus.” Hey, a little collective, cohesive comedy never hurt anyone. —Zoe Camp

PHOTO BY JEFF FORNEY

THE PINHOOK, DURHAM 9 p.m., $12, www.thepinhook.com

ALSO ON SUNDAY BLUE NOTE GRILL: Mysti Mayhem Trio; 5 p.m., free. • DEEP SOUTH: Oh Weatherly, Riviera, The Oh Whales, Come Clean, Paperback; 8 p.m. • IRREGARDLESS: Daniel DeLorenzo; 6 p.m. • LOCAL 506: CJ Ramone, Big Eyes, Totally Slow; 9 p.m., $13–$15.

• MOTORCO: Stomp Hate Weekend; 6 p.m., $15–$20. • THE PINHOOK: John Davis and the Cicadas, Evil English, Flash Car; 7 p.m., $10–$12. See page 12.

• THE RITZ: Big Sean, MadeinTYO, DJ Mo Beatz, Neisha Ne’shae; 8 p.m., $45 –$132. • RUBY DELUXE: DJ Chocolate Rice; 10 p.m. • SLIM’S: Electric Holiday; 8 p.m.

MON, APR 17 Sallie Ford PSYCH Sallie Ford leans ROCK hard toward sixties rock, with heavy psychedelic and surf influences, but updates them with modern anthemic lyrics and swaying bass lines. Her vocals range from soft growls to high shouts, paired with a howling electric guitar. Ford’s fourth LP, Soul Sick, makes a strong case 36 | 4.12.17 | INDYweek.com

for Ford’s position as one of the best young songwriters today.

With indie-country darling Molly Burch opening, this bill is a stellar lineup of retro-inspired acts with a fresh feel.

—KH [CAT’S CRADLE BACK ROOM, $10–$12/8:30 P.M.] ALSO ON MONDAY BEYÙ CAFFÈ: Tre’King Band; 7 & 9 p.m. • CARRBORO CENTURY CENTER: Rushfest!; 7:30 p.m. • CAT’S CRADLE: Cashmere Cat; 8 p.m., $17–$20. • MOTORCO: Stomp Hate Weekend; 6 p.m., $15–$20.

• NEPTUNES PARLOUR: Kath Bloom, Wes Tirey; 9 p.m., $10–$12. See page 31. • PITTSBORO ROADHOUSE: Triangle Jazz Orchestra; 7 p.m., $10. • SLIM’S: The Dead Bedrooms, Illiterate Light, John Meier; 9 p.m., $5. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, APR 18 Behzod Abduraimov PLUCKY This young Uzbek PIANO pianist is a rising star, known for his riveting

performances of early-twentieth-century Russian repertoire.

It’s no surprise, then, that he anchors this far-ranging recital with Prokofiev’s ebulliently peculiar sixth piano sonata from 1940, a work that nicely balances Parisian modernist techniques with a distinctly Russian richness. —DR [UNC’S HILL HALL, $25–$39/7:30 P.M.]

Elder Ones DENSE & Occasionally, you DARING encounter a band that’s so far removed from anything familiar to you that it throws you off your axis. Elder Ones, an art music group led

by NYC-based Amirtha Kidamb, incites such a reaction. With Kidamb as composer and vocalist, Elder Ones blend free jazz, Indian and western classical music, and art rock into works which are sometimes tedious, sometimes viscerally evocative, always experimental and distinct. —NR [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9 P.M.]

ALSO ON TUESDAY BEYÙ CAFFÈ: Mark G. Meadows & The Movement (feat. Rochelle Rice); Apr 18, 7 & 9 p.m. • THE CARRACK: Polyorchard: The Exsufflation Series; 8 p.m. • CAT’S CRADLE: Chronixx, Kelissa and Max Glazer (federation Sound); 9 p.m., $22.50–$25. • CAT’S CRADLE (BACK ROOM): Sweet Spirit, Toma and Ravary; 8:30 p.m., $10–$12. • IRREGARDLESS: Wayne Mills; 6:30 p.m. • LINCOLN THEATRE: Doug Stanhope, Brett Erickson; 8 p.m., $29–$35. • LOCAL 506: Eyes Set to Kill, Bad Seed Rising, The Nearly Deads, Kiss the Curse; 6:30 p.m., $12–$14. • NEPTUNES PARLOUR: Objekt; 10 p.m., $10–$12.

• POUR HOUSE: After Funk, Hustle Souls; 9 p.m., $7–$10. • RUBY DELUXE: Experimental Tuesday: Mutual Friends; 11 p.m. • SLIM’S: Pocket Vinyl, Ivy Hill; 9 p.m., $5.

WED, APR 19 Blair Crimmins & the Hookers NOT Berklee College INSPIRED graduate and Atlanta native Blair Crimmins evinces a laudable affection for

the traditional Dixieland music he painstakingly renders on stage and record. It is perhaps that very reverence which tends to make his reading of the music feeble and staid— more museum piece than exultant experience. The Midatlantic opens. —TB [LOCAL 506, $8/9 P.M.]

Saving Space Showcase: Body Games, Real Dad SAFE First things first— BODIES all proceeds from this iteration of the Saving Space Showcase will go toward iNSIDEoUT, a Triangle-based organization devoted to supporting queer youth. But even if the show wasn’t for a good cause, it’d be worth your time. Both Body Games and Real Dad make dusky-yetdanceable electronic music, with Body Games dwelling in a murky, mid-tempo zone, and Real Dad in a faster, lo-fidelity one. With Sunnyslopes.

(Disclosure: Saving Space’s Sarah Schmader is an advertising

account executive at the INDY.)

—NR [THE PINHOOK, $7/9 P.M.] ALSO ON WEDNESDAY

BLUE NOTE GRILL: The Herded Cats; 8 p.m. • THE BULLPEN: Harvey Dalton Arnold Trio; 8:30 p.m., free. • CAT’S CRADLE (BACK ROOM): Acid Mothers Temple, Babylon; 9 p.m., $10–$12.

• THE CAVE: Dan Rico; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: Nixon, Blevins, & Gage; 6:30 p.m. • KINGS: Tiny Hazard, S.E. Ward, Truly; 9 p.m., $12. • MOTORCO: Wild Adriatic, Leopold and His Fiction; 8 p.m., $10–$12. • POUR HOUSE: Of Good Nature, Crane + Elusive Groove; 9 p.m., $7–$10.

• RUBY DELUXE: Goth Night; 10 p.m. • SLIM’S: Thundering Herd, Hexxus, Crow Hollar; 9 p.m., $5.

art

4.12 – 4.19 the competition and selected submissions. Thru May 14.

Through This Lens, Durham. www.throughthislens.com.

SPECIAL Half the Sky: EVENT Sculptures by JanRu Wan. Thru Jun 1. Reception: April 13, 5-7 p.m. Sertoma Arts Center, Raleigh. parks.raleighnc. gov.

LAST Holding On: CHANCE Photography, embroidery, and ceramics by Jessica Dupuis, Karen Hillier, and Sarah Malakoff. Thru Apr 16. Artspace, Raleigh. www. artspacenc.org.

OPENING

SPECIAL Counternarrative EVENT and Collaboration in Documentary and Journalism: Tifft Fellow photographer Nina Berman presents her work and discusses the role of photographers as politicized investigators. Thu, Apr 13, 6-8 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

SPECIAL Defining FRANK: EVENT 7th Annual Members’ Spotlight Exhibition: Reception: Fri, Apr 14, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart. com.

SPECIAL Untold: Paintings by EVENT Jane Filer. Apr 13-May 21. Reception: April 15, 7-9 p.m. Tyndall Galleries, Chapel Hill. www. tyndallgalleries.com.

Images of Sound: Photographs

by Rodney Boles and Frank Myers. Thru May 19. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

ONGOING

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.

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“Gone Where” is on view in Untold, Jane Filer’s new exhibit, which has an opening reception at Chapel Hill’s Tyndall Galleries from 7 to 9 p.m. on Saturday, April 15.

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 forty-eight 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 LAST Cecil Sharp’s CHANCE 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. 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.

Extraordinary Artists: Multimedia art. Thru Apr 30. Duke Campus: Reynolds Industries Theater, Durham.

Eyes Wide Open: Photography

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

Figure it Out: Wood and mixed media sculptures by

Erik Wolken. Thru Apr 30.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

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.

The Focus....Converging: Photography by a collaborative group. Thru May 1. Litmus Gallery, Raleigh. www. litmusgallery.com.

From Duke Gardens to Giverny: Paintings by David Gellatly.

Thru May 3. Duke University Hospita’s Art & Health Galleries, Durham.

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

Will Grossman Memorial Photo Competition Show: Photography by winners of

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 Succumb: One-week EVENT MFA thesis show by Emily J. Smith in the John and June Allcott Gallery. Thru Apr 14. Reception: April 13, 5-7 p.m.

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

John Beerman and Conrad Weiser: Oil paintings and raku.

Thru May 17. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

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

Keene mingles the influence of abstract impressionist colorfield 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 LAST Material of CHANCE Invention: Ceramic and mixed media by Mark Gordon. Thru Apr 15.

Claymakers, Durham. www. claymakers.com.

More than One Story | Mas de una historia: Photography.

Thru Feb 1, 2018. UNC Campus: Davis Library, Chapel Hill. www. lib.unc.edu/davis.

Nuestras Historias, Nuestros Sueños/Our Stories, Our Dreams: Documenting the experiences of Latino farmworkers in the Carolinas.

Thru May 7. Historic Oak View County Park, Raleigh. www. wakegov.com/parks/oakview.

Particle Falls: Designed by Andrea Polli, an artist and scientist, this light installation INDYweek.com | 4.12.17 | 37

after sundown on the side of the Empire Properties Building changes according to data captured by an airquality sensor nearby, visually representing the particles of pollution entering your lungs with each breath. Do yourself a favor and walk or bike to see it.

Thru Apr 23. The Raleigh Times Bar, Raleigh. www.particlefallsral. org. —Erica Johnson Peace of Mind: Art Quilts: Fiber art by Christine HagerBraun. Thru May 12. Durham Arts Council, Durham. www. durhamarts.org.

A Sense Of...: Photography.

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

Some Semblance: Photography

by Stephen Fletcher. Ongoing.

The Framers Corner, Carrboro.

stage

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

WEDDING GUIDE Stories from the Heartland: Paintings by Rachel Campbell Thru May 25. Durham Arts Council, Durham. www. durhamarts.org.

WEDNESDAY, APRIL 12–SUNDAY, APRIL 16

JESUS CHRIST SUPERSTAR WEDDING GUIDE

Hating on Andrew Lloyd Webber has long been a cottage industry in pop culture. (It’s hard to say who hasn’t used Cats as a one-word punch line by now, but the list of those who have include writers for SNL, The Simpsons, Glee, and The Golden Girls.) Still, his rock Highlighting wedding opera, Jesus Christ Superstar, was a cultural maspossibilities around terstroke the in 1970: a contemporary and controversial reimagining of the Passion—the brief, final part of the Triangle life of Christ between his entering Jerusalem and his crucifixion—by Webber and Tim Rice, both agnostics.

At first, the BBC banned the double album that preceded the live theatrical production; its subsequent RESERVATIONS: 4/21musical and film versions were later censored in counCONTACT YOUR AD REPtries OR including the U.S.S.R., South Africa, and India.

As Judas and Jesus, Aaron C. Finley (Kinky Boots) and SLEGGE@INDYWEEK.COM Aleks Pevec (Something Rotten) anchor this North Carolina Theatre production, which closes, appropriately enough, on Easter Sunday. —Byron Woods

INDY’s guide for whomever, wherever, Project Reject IsThe Underway: Textiles in Tiers: Trudy Site-specific installation

by Jeff however saying “I Do” Thomson, Sandy Milroy,means to you.

Bell and Megan Sullivan. Thru and Rose Warner.

Thru May around the Triangle MayHighlighting 27. Artspace, Raleigh. wedding possibilities 25. National Humanities www.artspacenc.org.

Center, Durham. www.

Pleasant Places: Digital nationalhumanitiescenter.org. paintings by Quayola. Thru Aug LAST Transits and 13. NCCONTACT Museum of Art,YOUR Raleigh. AD REP OR SLEGGE@INDYWEEK.COM CHANCE Migrations: A www.ncartmuseum.org.

Summer in Berlin: Student Raleigh Fine Arts Society: photography. Thru Apr 15. Duke Thru Apr 27. Meymandi Campus: Center for Concert Hall, Raleigh. www.

Documentary Studies, Durham. dukeenergycenterraleigh.com. www.cdsporch.org.

Sensation: Abstract paintings by Aleks Pevec in Jesus Christ Superstar Linda Ruth Dickinson. Thru Apr PHOTO COURTESY OF NORTH CAROLINA THEATER 30. Artspace, Raleigh. www. artspacenc.org.

ISSUE: 4/26

ISSUE: 4/26 • RESERVATIONS: 4/21

MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m. Weds.–Sun./2 p.m. Sat. & Sun., $26–$105, www.nctheatre.com

WEDDING GUIDE

BILL BURTON ISSUE: 4/26 RESERVATIONS: 4/21

WEDDING GUIDE

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 the Triangle

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

38 | 4.12.17 | INDYweek.com

CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

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OPENING Be Connected: Youth Slam. Tue, Apr 18, 6:15 p.m. Beyu Caffe, Durham.

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.

ChoreoLab 2017: Duke Dance Program’s spring dance concert featuring new works by Duke faculty, students, and alumni. $7-$17. Fri, Apr 14 & Sat, Apr 15, 7:30 p.m. Duke Campus: Reynolds Industries Theater, Durham.

Comics Against Humanity: Improvised stand-up. $20. Wed, Apr 19, 8 p.m. Goodnights Comedy Club, Raleigh. www.goodnightscomedy. com.

Mitch Fatel: Stand-up comedy. Apr 13-15. Goodnights Comedy Club, Raleigh. www.goodnightscomedy. com.

Here Comes the Funny Tour: Standup comedy from Adam Sandler, David Spade, Nick Swardson, Rob Schneider. Thu, Apr 13, 7:30 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com.

Live Murmur Podcast with Neil Halstead and Nathan Willett & Matt Maust: Tue, Apr 18, 7 p.m.

Motorco Music Hall, Durham. www. motorcomusic.com.

Curtis Eller and Stacy Thomas Wolfson PHOTO BY ALEX MANESS

FRIDAY, APRIL 14 & SATURDAY, APRIL 15

TOBACCO ROAD DANCE PRODUCTIONS: IN CONCERT

Three years after Tobacco Road Dance Productions’ first strategic intervention among choreographers, its advice still holds up: if you want to change the outcome, change the process. This weekend, we’ll see how the works-in-progress of six dancemakers have changed after months of mentoring with Tobacco Road’s panel of dance midwives. Established collaborators Stacy Thomas Wolfson and kinetic banjo player Curtis Eller present a new duet, Hypnagogiacs. Anna Barker meditates on getting stuck in “what about this” and other false starts. Artistic practice itself also figures into Audrey Baran’s quintet, Moving In, while Jade Poteat diverges from her usual movement vocabulary to investigate stillness and postures. Marsha Thomas explores the feminist poem “Things We Were Not Told Early Enough,” and Dana Livermore’s regional debut, The Ogre’s Wife, interrogates femininity and happiness in the modern desires and roles of women. —Byron Woods PSI THEATRE, DURHAM 7 p.m. Fri./2:30 & 7 p.m. Sat., $13–$15, www.tobaccoroaddance.org

Joshua Lozoff: Life is Magic: Magic show. $15-$20. Sat, Apr 15, 7 p.m.

The ArtsCenter, Carrboro. www. artscenterlive.org.

PlaySlam: Short plays. $10-$12. Sat, Apr 15, 7:30 p.m. The Cary Theater, Cary.

Purgatoire: Presented by Addled Muse Fire Theater. $15-$20. Sat, Apr 15, 7 p.m. Durham Central Park, Durham. www.addledmuse.com.

See p. 30.

The Racket: Improv comedy $5. Fri, Apr 14, 9 p.m. The Shed Jazz Club, Durham.

Romeo & Juliet - the remix: Play.

Donation. Apr 13-15, 8 p.m. NCCU Campus: University Theater, Durham.

RuPaul’s Drag Race Viewing and Open Amateur Drag Stage: Fri, Apr 14, 8 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

Set and Setting: Presented by the Department of Improvised Dance with live musical accompaniment by D-Town Brass. $10-$20. Sun, Apr 16 & Mon, Apr 17. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. See p. 30.

Welcome to Night Vale: With musical guest Erin McKeown. $28-$33. Fri, Apr 14, 8 p.m.

Carolina Theatre, Durham. www. carolinatheatre.org.

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

Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. https://www.facebook. com/BulltownComedySeries.

The Chuckle & Chortle Comedy Show: Local stand-up comics bring the laughs. $7. Third Saturdays, 8:30 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Golden Age: Stand-up comedy featuring Chris Tonelli. $5. Fri, Apr 14, 10 p.m. The Shed Jazz Club, Durham.

LAST Jacques Brel Is Alive CHANCE And Well And Living In Paris: Musical. $10-$15. Thru April 16. Duke Campus: Sheafer Lab Theater, Durham. See story, p. 26.

LAST Jesus Christ Superstar: CHANCE Musical. $25. Thru Apr 16. Memorial Auditorium, Raleigh. www.dukeenergycenterraleigh.com.

See box, this page.

My Fair Lady: Play presented by PlayMakers Repertory Company. $10-$57. Thru Apr 30. UNC Campus: Paul Green Theatre, Chapel Hill. playmakersrep.org.

On Golden Pond: Play. Thru Apr 23.

Theatre In The Park, Raleigh. www. theatreinthepark.com.

The Harry Show: Ages 18+.

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

ComedyWorx Theatre, Raleigh. www.comedyworx.com.

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 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 HatcherPuzzo directs a cast including Preston Campbell, Sheldon Mba, and Danielle Long in this Burning Coal Theatre Company production. $15-$25. Thru Apr 23. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.—Byron Woods

Under The Bridge Comedy Night Open Mic: Second Thursdays.

London Bridge Pub, Raleigh. thelondonbridgepub.com.

food

Wicked Weed and American Meltdown Pairing: 5 Wicked Weed beers paired with sandwiches from the American Meltdown food truck. Sat, Apr 15, 5-8:30 p.m. The Glass Jug, Durham.

INDYweek.com | 4.12.17 | 39

page

WEDNESDAY, APRIL 19

DAVID GRANN: KILLERS OF THE FLOWER MOON

New. David. Grann. Those three words are enough to send me into paroxysms of giddy anticipation; I whisper them to writer friends in hushed, awed tones. A Grann article in The New Yorker, where he is a staff writer, is enough to clear my schedule for an afternoon, so a new book is practically a personal holiday. Grann writes crime and mystery stories that read like careful reporting but grip you like potboilers. His clear, neutral prose doesn’t cloud the facts, but his structuring of scenes creates nailbiting suspense. He involves us in his process of discovery on his obsession-tinged quests, whizzing around narrative switchbacks as sympatheties, emphases, or even premises shift.

His best crime reporting is collected in The Devil and Sherlock Holmes, and in his spectacular book The Lost City of Z (now a motion picture), Grann embarks into the Amazon to search for a lost civilization and the remarkable Percy Fawcett, who disappeared while looking for it, drawing a rich portrait of the last days of British exploration. Now Grann’s back with Killers of the Flower Moon: An American Crime and the Birth of the FBI, which untangles the Osage Indian murders of the 1920s in relation to oil rights and the nascent FBI. Clear your calendars. —Brian Howe QUAIL RIDGE BOOKS, RALEIGH

I 7 p.m., free, www.quailridgebooks.com

screen S P ECI AL S H OWI NGS All About Eve: With special performance by Mike Craver. $10-$15. Fri, Apr 14, 7:30 p.m.

NC Museum of Art, Raleigh. www.ncartmuseum.org.

Arrival: In Meeting Room B. Sat, Apr 15, 2:30 p.m. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

Leningrad Cowboys Go America: Presented by Movie Loft. Thu, Apr 13, 7 p.m.

Shadowbox Studio, Durham. www.shadowboxstudio.org.

SCONC Science Night at the Movies: Clips featuring psychology with scholars and audience participation. Thu, Apr 13, 7 p.m. Duke Campus: Levine Science Research Center, Durham.

Twin Peaks Marathon: Four episodes. Trivia and prizes. Mon, Apr 17, 8 p.m.

The Station, Carrboro. stationcarrboro.com.

O PEN IN G ½ Gifted—Reviewed on p. 29. Rated PG-13.

Raw—This buzzy French film about (sort of) cannibalism has been slaying critics and audiences alike. Rated R. The Salesman—This Cannesbeloved Iranian drama is built around Death of a Salesman.

Rated PG-13.

40 | 4.12.17 | 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.  Going in Style—This “comedy” from “filmmaker” Zach Braff feels familiar: three old friends, played by actors in their golden years, reunite for one last bank heist. The jokes are tame (and lame) and the film hinges on the accumulated good will of Morgan Freeman, Alan Arkin, and Michael Caine. Rated PG-13. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has

a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. 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.  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. ½ The Red Turtle— As the first non-Japanese film produced by the famed Studio Ghibli, this Dutch animated fable is wordless, mysterious, and breathtaking.

Its reveries, bathed in themes so thick and thorough they can only be felt, wowed Cannes audiences in 2016.

Truly, no words do it justice.

Rated PG-13.

READINGS & SIGNINGS Becky Albertalli, Sara Zarr, and Katie Cotugno: YA fiction.

Wed, Apr 12, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Anthony Doerr: All The Light We Cannot See. $27.

Fri, Apr 14, p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com.

Julia Donaldson: The Giant Jumperee. Tue, Apr 18, 7 p.m.

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

David Grann: Killers of the Flower Moon. Wed, Apr 19, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. See box, this page.

Erdag Goknar: Nomadologies.

Poetry. Sat, Apr 15, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Tyler Knott Gregson: Wildly Into the Dark: Typewriter Poems.

Wed, Apr 12, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

John Kessel: The Moon and the Other. Tue, Apr 18, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Richard Lucyshyn, Hassan Melehy, Allison Titus: So & So Reading Series, poetry. Thu, Apr 13, 8 p.m. CAM Raleigh, Raleigh. camraleigh.org.

Michael McFee: We Were Once Here. Sat, Apr 15, 11 a.m.

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

Lee Smith: Dimestore: A Writer’s Life. Thu, Apr 13, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Scott Westerfeld: Horizon.

Mon, Apr 17, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Stephanie Powell Watts: No One is Coming to Save Us. Wed, Apr 12, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Cherry Vanilla: Lick Me. Presented by Duke’s Department of Theater Studies and The Gothic Bookshop. Sat, Apr 15, 5 p.m. Duke Campus: Sheafer Lab Theater, Durham.

See story, p. 26.

LITERARY R E L AT E D A Carolina Narrative of Service to Nation Yesterday and Today: Captain Michael John. Wed, Apr 12, 5 p.m. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib. unc.edu/wilson.

Lewis Gordon: On the Study of Jews of Color. Dey Hall Toy Lounge. Tue, Apr 18, 5:30 p.m. UNC Campus: Dey Hall, Chapel Hill.

Eric Mitchko: The Pearl Fishers’ Opera. Thu, Apr 13, 7 p.m.

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

Future Imperfect: What Science Fiction Film Tells Us About Now: Lecture series at Chapel Hill Public Library in partnership with the UNC Program in the Humanities as part of the NC Science Festival.

Each event will have a talk punctuated with clips from Sci-Fi cinema. Refugee Anxiety: How does the present day refugee situation compare with fictional ones portrayed in films like Children of Men and District 9? Fri, Apr 14, 7 p.m. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

TUESDAY, APRIL 18

JULIA DONALDSON: THE GIANT JUMPEREE If you’ve had kids in the last five to ten years, you likely know the rhyming tales of former U.K. Children’s Laureate Julia Donaldson, whose 184 (!) books are staples of children’s bookshelves and school reading programs around the world. Her biggest success, 1999’s The Gruffalo, tells of a clever mouse that outwits predators with tales of an even deadlier predator; it’s been adapted into stage versions and an Oscar-nominated animated short, as was Donaldson’s witch tale Room on the Broom. Her latest, The Giant Jumperee, is about a mysterious creature scaring a group of animal friends ... and we couldn’t spoil the story if we wanted to, because Donaldson is coming to Quail Ridge directly from England to promote the book on the day it’s published. In other words, this is a rock-star-level event for kids.

You might want to preorder a copy of The Giant Jumperee for a signing-line ticket before it fills up.

Donaldson will also sign older works with a purchase of The Giant Jumperee. —Zack Smith QUAIL RIDGE BOOKS, RALEIGH

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7 p.m., free (signing line ticketed), www.quailridgebooks.com

indy classifieds employment BARTENDERS NEEDED MAKE $20-$35/HOUR Raleigh’s Bartending School 676.0774 www.cocktailmixer. com 1-2wk class

LOCAL DRIVERS WANTED! Be your own boss. Flexible hours. Unlimited earning potential. Must be 21 with valid U.S. driver’s license, insurance & reliable vehicle.

866-329-2672 (AAN CAN)

MEDICAL BILLING TRAINEES NEEDED! Train at Home for a new career now at CTI! NO EXPERIENCE NEEDED! Online Training can get you job ready! 1-888512-7122 HS Diploma/GED & Computer needed. careertechnical.edu/nc

employment assistance AIRLINE CAREERS BEGIN HERE Get started by training as FAA certified Aviation Technician.

Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 800-725-1563 (AAN CAN)

AIRLINE MECHANIC TRAINING Get FAA certification to fix planes. Approved for military benefits. Financial Aid if qualified. Call Aviation Institute of Maintenance 866-441- 6890

Specialty food company in Eli Whitney is looking for a full time driver/ warehouse person. Hours vary depending on route but work week always Monday-Friday.

Candidate that gets these positions will...

• show proven reliability in prior positions • have a near clean driving record. No DWI’s • have reliable transportation to work • supply a resume with first contact • be flexible with availability Monday - Friday • be able to repetitively lift 50+ pounds • reside within 25 miles of Eli Whitney • be able to read, write, and speak English • be able to effectively communicate with customers and co-workers • have a “can do” attitude

Email resumes to cornucopiacheese@hotmail.com

body • mind • spirit counseling/ therapy

MAKE THE CALL TO START GETTING CLEAN TODAY. Free 24/7 Helpline for alcohol & drug addiction treatment.

Get help! It is time to take your life back! Call Now: 855-7324139 (AAN CAN)

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

TAI CHI

Traditional art of meditative movement for health, energy, relaxation, self-defense.

Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936 or www.magictortoise.com

massage FULL BODY MASSAGE

by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe.

Schedule an appointment with Pavel Sapojnikov, NC LMBT. #1184. Call: 919-790-9750.

MASSAGE BY MARK KINSEY

The AFFORDABLE solution to your stairs! **Limited time -$250 Off Your Stairlift Purchase!** Buy Direct & SAVE. Please call 1-800-291-2712 for FREE DVD and brochure.

(NCPA)

GOT KNEE PAIN? BACK PAIN? SHOULDER PAIN? Get a pain-relieving brace at little or NO cost to you. Medicare Patients Call Health Hotline Now! 1- 800-591-5582

LGBTQ SPIRITUALITY

“Coming Out of the Shadows” festival April 29.

Free. lgbtqspirituality.wordpress.com

We’ll bring a truck and crew *and pay cash* for your books and other media. 919-872-3399 or MiniCityMedia.com.

919-416-0675

RECYCLE THIS PAPER

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

claSSy@indyweek.com

Sam

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tech services NEW AT&T INTERNET OFFER

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HURRY, OFFER ENDS SOON. New Customers Only. CALL NOW 1-800-950-1469

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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.

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

SAFE STEP WALK-IN TUB ALERT FOR SENIORS.

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for sale

Upscale Spa. private outdoor hot tubs, 26 massage therapists, overnight accommodations, sauna and more. Starting at $42. Shojiretreats.com 828-299-0999

home improvement

housing share/ durham co.

financial services

ALL THINGS BASEMENTY!

MEDICAL BILLING PART TIME WORK

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

Waterproofing, Finishing, Structural Repairs, Humidity and Mold Control.

FREE ESTIMATES! Call 1-800-698-9217(NCPA)

FRANKLIN SQUARE LOCATION. CALL PATRICIA AT 919-260-1243

professional services PREGNANT? CONSIDERING ADOPTION?

misc.

A PLACE FOR MOM. The nation’s largest senior living referral service. Contact our trusted, local experts today!

Our service is FREE no obligation.

CALL 1-800-717-0139

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music lessons

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

notices

CALL SARAH FOR ADS!

100’S OF HOT URBAN SINGLES

Find the perfect roommate to complement your personality and lifestyle at RentMates.com!

(AAN CAN)

See the teaching page of: www.griffanzo.com Adult beginners welcome.

919-636-2461 or griffanzo1@gmail.com

Call us first. Living expenses, housing, medical, and continued support afterwards.

Choose adoptive family of your choice.

Call 24/7. 877-362-2401

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ALL AREAS FREE ROOMMATE SERVICE @ RENTMATES.COM.

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

AR-RAZZAQ ISLAMIC SFSP

1009 W. Chapel Hill St, Durham NC 27701 sponsors the SFSP and is soliciting bids from food service vendor. All meals served must meet the USDA pattern.Bids are being solicited for service in the Durham city area for approximately 2500 and breakfast and lunch meals type with will be served daily. Meals will be served 7 days a week. All contracts are subject to review by the NCDPI. To obtain a bid packet contact Elisha Muhammad at ezm1999@hotmail.com. The deadline for bid submission is 4/27/17 at 11:00am. A public bid opening will take place on 4/27/17 at 10:30am at address above. This Institution is an equal opportunity provider.

INDYweek.com | 4.12.17 | 41

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Kramden Institute

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Description: Kramden’s mission is to provide technology tools and training to bridge the digital divide. Since 2003, we have collected tens of thousands of donated computers, refurbished them and given over 25,000 computers to students across North Carolina. Kramden also provides computer training and education covering everything from computer basics and safe internet usage to afterschool programs and camps on video game development and digital media and creativity.

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

this week’s puzzle level:

© Puzzles by Pappocom

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

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

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

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7 9 6 3 2 5 1 8 4 Best of luck, 8 7and 2 4 have 5 3 fun!

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

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2Book your ad • CALL Sarah 9 at 919-286-6642 • EMAIL claSSy@indyweek.com 4 1 6

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 the Triangle

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).

ISSUE: 4/26 • RESERVATIONS: 4/21

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

CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

advertise on this page!

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

CALL SARAH FOR ADS! last week's puzzle

Dating Made Easy

Playmates or soul mates, you’ll find them on MegaMates Always FREE to listen and reply to ads!

Always FREE to listen and reply to ads!

Raleigh:

Raleigh:

(919) 573-6821 (919) 573-6818 www.megamates.com 18+

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

claSSy@indyweek.com

www.megamates.com 18+

INDYweek.com | 4.12.17 | 43

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WEDDING GUIDE

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

Highlighting wedding possibilities around the Triangle

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

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WEDDING GUIDE

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 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 the Triangle

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