INDY Week 4.26.17

RALEIGH

4|26|17

eddi n g W uide G THE INDY’S ALTERNATIVE

p. 10

THE VOTER FRAUD FREAK-OUT p. 6

THE CLASS-SIZE WAR p. 8

ART OF COOL REIGNS SUPREME p. 24

2 | 4.26.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 33, NO. 6

Cicely MItchell is the cofounder of the Art of Cool Festival (see page 24).

PHOTO BY ALEX BOERNER

6 In November, 508 North Carolinians voted illegally. Voter ID could have stopped one of them.

8 The state Senate will relax its class-size mandate for now, but what happens next year?

11 Two years after same-sex marriage became legal nationwide, the one-man-one-woman idea remains codified in the vocabulary of the wedding industry.

22 If your spouse suddenly opts out of family events and starts texting late at night, your marriage might well be in trouble.

28 On record, George Clinton prophetically imagined a black man in the White House and predicted “whitelash.”

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 10 The INDY’s Alternative Wedding Guide 24 Art of Cool 32 Arts & Culture 34 What To Do This Week 37 Music Calendar 41 Arts & Culture Calendar

On the cover: Beth Cooper and Sara Broderick PHOTO BY REBECCA AMES PHOTOGRAPHY

INDYweek.com | 4.26.17 | 3

Raleigh Durham | Chapel Hill

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Drew Adamek, Spencer Griffith, Corbie Hill, Laura Jaramillo, Erica Johnson, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Michaela Dwyer, Neil Morris, Angela Perez, Hannah Pitstick, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Ryan Vu, Patrick Wall, Iza Wojciechowska, Baynard Woods INTERNS Megan Howard, Nijah McKinney, Noah Rawlings

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backtalk

Won’t Someone Please Think of the Drug Dealers?

In last week’s Triangulator, we ran an info- ine your relationship with weed. Just rememgraphic exploring what North Carolina was ber, it’s not always as simple as you want to missing by not being one of the handful of believe it is, and every action has second- and states that has legalized and taxed recreation- third-order unintended consequences that may actually be more detrimental to your ideal or medical marijuana.

“How about we legalize it so people can stop ology of what is fair and socially equitable. I going to jail for it?” writes Cat Flynn on Face- don’t think weed should be actively pursued as an illegal substance, but I also don’t think book. “Priorities? What are those?”

“Such a wonderful concept,” adds Glenn it should be fully legal. Because in the end, if it Maughan. “Grow a plant, make money. is legalized, we are only reducing opportunity for those we purport to want to support while Thanks, capitalists.”

Johnny Foster, however, proposes an “alter- handing the rich the keys to the candy store. native perspective to the idea that legalization Low-level dealers/growers/traffickers might is all rainbows and roses”: “Legalization is be able to get jobs working for the capitalists great for the capitalists who have the massive who own the means of production, but they capital it takes to enter the market and navi- make a fraction of what they were making in an illegal and unregulated gate the legal and regulatomarket.” ry requirements that come Moving on to another along with a marketplace mind-altering substance for a newly legalized mind“Legalization of choice, this one legal. altering substance,” he Responding to our reportwrites. “The rich capitalists leads to rich ing last week that political are the ones who take advanpeople getting pressure put the kibosh on tage of economies of scale to an effort to allow breweries monopolize the market and richer, and to more easily self-distribmake boatloads of money; poor people ute their product, comhowever, this unfortunately menter StarSword writes: puts small-time dealers, for getting poorer.”

“So, in other words, reguwhom drug-dealing/growlations that protect drinking/trafficking may be their ing water, air, health care, only means of income, out and working-class citizens of business.

“Simply put, legalization leads to rich peo- are bad, but regulations that protect corpople getting richer, and poor people getting rate monopolies from competition are OK. poorer. Now, many of you could probably care #RepublicanLogic.”

While we’re on the subject of regulations, less about the plight of low-level drug dealers who lose out in a legalized marketplace, and dodahman1 responds to a story we wrote a all you care about is that legalization is quite few weeks back on an American Rivers report simply better for people who smoke weed. But saying the Neuse River is sick and the hog and let’s be honest—how much of a hassle really poultry industries are to blame—specifically, is it for you to find weed? Sure, you may be a suggestion in there that the state buy out able to get it quicker and cheaper if you can go farmers who have lagoons in the river’s flooddown to the corner store to buy it. But if you plain. “So, reward capitalists for being stupid are that much of a fiend that you need it quick- enough to put facilities in flood plains? JFC, er and cheaper, you may want to reexamine who comes up with this crap? Now that Smithfield is owned by foreign entities, it is your relationship with weed.

“Another argument you may have in favor time to shut them down. Ruin your own damn of legalization is that you don’t want to risk country in order to eat shitty pork.” getting busted with weed. But how easy is it to avoid getting busted with weed? Fairly Want to see your name in bold? Email us easy if you are discreet in your usage. And if at backtalk@indyweek.com, comment on you feel that you don’t need to be discreet in our Facebook page or indyweek.com, or hit us your usage, you again might need to reexam- up on Twitter: @indyweek.

INDYweek.com | 4.26.17 | 5

triangulator VOTER FRAUD FREAK-OUT!

On Friday, the N.C. State Board of Elections reported that 508 ineligible voters had cast ballots in the November 2016 elections. The reactions to this news from the state’s Republican and Democratic parties were basically from alternate universes. The Dems: “Our elections system is reliable and secure, with only scattered instances of voter fraud.” Republicans, meanwhile, claimed vindication: “Democrats have been nothing short of malicious towards the people who wanted to come forward and report instances of voter fraud—by means of threatening, harassing and suing them.

Governor Cooper should immediately tell these groups to ‘call off the dogs’ in light of this damning of the 4,769,640 report”—a reference to North Carolinians Democracy NC’s call last week who voted in November for a criminal investigation into did so illegally^ the NCGOP’s false accusations of voter fraud. cases involving So is the report in family members voting fact damning, or a in the place of a recently nothingburger? That depends deceased loved one on how you interpret the data. (both for Republicans) As the NCSBE put it: “The evidence suggests that participation by ineligible voters is neither instance of voter rampant nor nonexistent in fraud the state’s voter North Carolina.”

ID law would have

0.01065%

2 1

prevented*

^From the NCSBE: “Most incidents [of illegal voting] are isolated and uncoordinated, and detecting technical violations does not always prove purposefully unlawful conduct. Our work indicates that ineligible voters are not isolated to one political party or any geographical region of the state.” *Voter ID laws only affect cases in which voters impersonate others. This happened twice. However, one of those cases involved voting by mail, rather than voting in person, and as such would not have been affected by voter ID.

Graphic by Shan Stumpf 6 | 4.26.17 | INDYweek.com

41

ineligible voters who were noncitizens

24

ineligible voters who voted twice

441

ineligible voters serving active felony sentences (most on probation)

508 ineligible voters cast ballots in the November 2016 elections

36

ineligible voters in Wake County (second highest in the state; Guilford had 63)

34

ineligible voters in Durham County

2

ineligible voters in Orange County

64%

of ineligible voters were registered as Democrats

18%

of ineligible voters were registered as Republicans

17%

of ineligible voters were registered as unaffiliated

10,277

number of votes separating Roy Cooper and Pat McCrory

+RALLY FOR REALITY

Thousands of people rallied in downtown Raleigh Saturday to support the worldwide March for Science, under the slogan “Science, not Silence.”

With over six hundred cities participating worldwide, the march demonstrated support for the scientific process—and for the role science should play in policymaking.

The marches also arose in protest of President Trump’s proposals to slash funding for the Department of Health and Human Services, including nearly $6 billion from the National Institutes of Health, as well his rollbacks of anticlimate-change initiatives.

In Raleigh, people gathered at Shaw University’s Estey Hall. Then, with signs that read, “There’s no Planet B” and “Science Is the Future,” they marched toward Moore Square.

For organizer Ginnie Hench, the March for Science was about scientists standing in solidarity with one another.

“I’m here because people working in agencies that monitor and protect our commonly shared environment are facing a much greater attack,” she said. “When we’re talking about our air, water, and soil, spaces that defy state lines and national boundaries, we must have a robust and resilient infrastructure where skilled scientists can thrive and take pride in what they do. As well, those who are working in the private sector shouldn’t be given gag

PERIPHERAL VISIONS | V.C. ROGERS

orders if they want to talk about any of these problems.”

Others who spoke at the rally, such as federal scientist Tamara Tal, discussed how budget cuts under the Trump administration might hurt the scientific community.

“There’s a reason we have flu vaccines every year and we can combat rapidly evolving public health threats like Zika,” she said.

“It’s called the Centers for Disease Control. There’s a reason we have clean air to breathe, safe water to drink, and that there’s no longer lead in paint or gasoline.

It’s called the Environmental Protection Agency. … So, who are these cuts going to hurt? They’re going to hurt federal researchers and scientists like us. In the Research Triangle Park alone, the National Institute for Environmental Health Sciences and the Environmental Protection Agency employ over thirty-five hundred workers.”

+PARTY FOUL

At least for now, the N.C. Beer & Wine Wholesalers Association has succeeded in quashing a proposal to allow breweries to self-distribute more of their own beer.

The group came out strongly against House Bill 500, which until Wednesday would have raised the self-distribution cap from twenty-five thousand to two hundred thousand barrels per year and would have made it easier for breweries to get out of

distribution agreements. Wholesalers were able to sway enough legislators to keep that language out of the bill altogether.

Just before the House Alcohol Beverage Control Committee was set to discuss HB 500 on Wednesday afternoon, bill sponsor Representative Chuck McGrady, R-Henderson, put forth a proposed committee substitute taking out those two provisions.

“The reason we struck them out is we didn’t have the votes,” McGrady says.

McGrady says the changes were made out of “political pragmatism.” The wholesalers association “made clear they weren’t going to discuss any of these issues,” so it came down to taking out those provisions and getting the rest of the bill through committee or trying to negotiate the barrel cap and risking that the entire bill be killed.

What’s left largely cleans up existing language and ambiguities in the law. Introducing the revised version to the ABC committee, McGrady called it a “shadow of its former self.”

In the most recent election cycle, the Wholesalers Association PAC donated $231,662 to state political campaigns; it, along with distributors, funneled $53,000 to sixteen of the twenty-six legislators currently on the ABC Committee. Since 2013, according to Democracy NC, the Wholesalers Association PAC and people affiliated with distribution companies have given nearly $1.5 million to statewide and legislative campaigns and political parties. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Megan Howard, and Sarah Willets.

ARE YOU A SMOKER WITH ADHD? You may be eligible to participate in a research study Triangle Smoking Studies is now offering research studies for regular cigarette smokers who have ADHD. You may be eligible for this research study if you are: • A healthy adult between 18 and 40 years old • Available for 10 visits over 9-13 weeks and 1 follow-up • Willing to smoke investigational cigarettes • Have or believe you have ADHD You will be compensated for your study participation.

Call 919-668-4131 or visit TriangleSmokingStudies.com for more information Pro00066144 INDYweek.com | 4.26.17 | 7

indynews

Temporary Reprieve

THE SENATE BACKS OFF ON CLASS-SIZE MANDATES FOR NOW, BUT SCHOOL ADMINISTRATORS WORRY ABOUT WHAT HAPPENS NEXT YEAR

BY THOMAS GOLDSMITH Senator Chad Barefoot, R-Wake and Franklin, accused North Carolina’s public school systems of playing games Monday evening, saying local superintendents had refused to provide lawmakers with the numbers of art, music, and physical education teachers serving lower grades.

Democrats, in turn, effectively accused Republican leaders of brinksmanship, after they—at virtually the last minute—introduced a widely anticipated bill that will affect school systems across the state. The Senate Education Committee moved forward with a modified version of House Bill 13, the class-size bill that was handed to Democrats just in time for a brief discussion and a unanimous seven p.m. voice vote, with a Senate session minutes away.

The amended bill essentially relaxes the class-size mandate—which school officials have complained that legislators have not adequately funded—for one year. For the 2017–18 school year, the bill now sets a district-wide average class size of twenty students in grades K–3, which is larger than the mandate set to go into effect in July, and a maximum of twenty-three students in any one class. Then, for the 2018–19 school year, the average K–3 class-size mandates of sixteen to eighteen students apply.

The Wake County Board of Education was set to meet Tuesday afternoon in a budget session, after the INDY goes to press. Members will now have to add to that discussion an analysis of the new HB 13, which may offer only a partial solution to the Wake’s previous projection of a $26 million tab for meeting state-mandated classsize numbers. The school board has asked the Wake County Board of Commissioners for a $56 million increase in local funding, while questioning what county officials have said is the increasing use of county funds to ease cuts in state appropriations.

Barefoot was addressing Monday’s 8 | 4.26.17 | INDYweek.com

quickly called meeting of the committee, which he cochairs. A solution could have emerged more quickly, Barefoot said, if superintendents had responded more quickly to requests for information.

“The General Assembly has appropriated tens of millions of dollars to fund [smaller classes],” Barefoot said. “Imagine our surprise when we discovered that these dollars have been spent on something else.”

“Since 2014, local school districts across the state have received a total of $152 million to lower class sizes,” reiterated a GOP press release. “… However, not all school systems have used the extra funding to reduce class sizes, and many systems could not or would not provide data on how they spent the money.”

The bill addressed some of school officials’ concerns about having to cut “specialties” teachers but raised other questions about the way systems will be funded in the

long term.

“I have concerns that this will just become a stopgap,” says Senator Jay Chaudhuri, a Raleigh Democrat with two children attending Wiley Elementary.

Since the Great Recession hit, some school systems, including Wake’s, have moved around money set aside for regular teachers to pay for music, art, and PE instruction. Because the revised HB 13 loosens class-size requirements for the coming school year, it relieves to some degree the anticipated budget crunch.

However, as Wake County Commissioner Jessica Holmes told the INDY after the committee meeting, the legislature has not restored school funding to levels seen before the recession. North Carolina school systems’ use of regular teacher pay for art, music, and physical education was permitted by the legislature as a result of that period of shortfall, says Holmes, who ques-

tions Barefoot’s promise to put money for specialties teachers in the 2018–19 budget.

“If the General Assembly was genuine, why is that funding not written in with the bill?” she asks.

Barefoot argued that the bill would strengthen accountability standards, requiring superintendents to submit regular reports on how teacher-pay allocations are used. Superintendents who knowingly submitted inaccurate reports can have their salaries withheld.

Indeed, Monday’s session showed that administration of the state’s K–12 education system is more deeply drenched in politics than ever. Republicans hiked reporting requirements so that the legislature itself would have to be informed about any class-size waivers in lower grades before they could take effect.

The association representing state teachers, a traditionally Democratic constituency, came out against the revised bill as offering too little and being too temporary.

“Our teachers should not live in fear year after year about whether they will have a job or not,” Mark Jewell, president of the North Carolina Association of Educators, said in a statement. “Our elected leaders must make it a priority to provide a long-term solution, which means elevating North Carolina per-pupil spending to at least the national average.”

On other other hand, Katherine W. Joyce, executive director of the N.C. Association of School Administrators, endorsed the modified legislation, which she helped craft. It now moves to the Senate’s rules and operations committee. tgoldsmith@indyweek.com

INDYweek.com | 4.26.17 | 9

THE INDY’S

eddi n g W uide G

ALTERNATIVE

INDOOR & OUTDOOR EVENT VENUE

catering 919.610.0872 • TheGlenwoodVenue.com • café 919.833.8898 3300 Womans Club Dr, Raleigh, NC • Exclusive Catering by The Irregardless Café

10 | 4.26.17 | INDYweek.com

I

got married in a Philadelphia bar called the Kite & Key on an overcast Sunday afternoon in late November 2009, surrounded by a half-dozen acquaintances we’d known for a month or two. The officiant was a woman I’d contacted over the Internet who agreed to perform her services—basically, signing papers—in exchange for beer. Our cake came from the Whole Foods down the street. My wife, Adri, jokingly held a knife to my throat as someone snapped a grainy cell-phone photo, the closest thing we have to a wedding portrait. And that was that. Husband and wife.

We were new in town, and we needed to get hitched so Adri could get on my employer’s insurance. Beyond that, the institution didn’t really matter to either of us. Our slapdash wedding reflected that ambivalence. It also suited our personalities. No formality, no ceremony, very little expense. Just good people and good drinks and good memories—and a good story to tell.

But our wedding wouldn’t work for everyone. And truth be told, there are days when we wonder whether we should’ve gone the more traditional route, with family and friends and a champagne toast, with dresses and tuxedos and a DJ and an honestto-God honeymoon on a tropical island. Or at least, some version of that tradition that we bent to meet our needs. Because weddings, like the couples they celebrate, should be unique.

The INDY’s Alternative Wedding Guide was conceived on that same principle: that all couples are uniquely beautiful and they deserve to be celebrated for who they are. In the pages that follow, you’ll find stories about how the wedding industry is being flipped on its head, advice from a divorce lawyer on keeping your relationship strong, a profile of a dressmaker who caters to those who can’t find what they need on the rack, and much more. Whether you’re planning to tie the knot or are already married—or even if matrimony isn’t your bag—we hope you enjoy it. —Jeffrey C. Billman

In

Hitched HOW SAME-SEX MARRIAGE HAS CHANGED THE TRIANGLE’S WEDDING INDUSTRY

BY SARAH WILLETS

Beth Cooper and Sara Broderick celebrated their wedding in Raleigh in 2016.

PHOTO BY REBECCA AMES PHOTOGRAPHY

June 2008, a mutual friend introduced Brad Murray and Phil Blackman. To this day, they’re not sure why he thought they’d be compatible. But whatever his reasons, he was right. Their connection, Murray says, “was pretty instant.”

About five years later, talk turned to marriage. But it was still a year and a half before North Carolina would recognize their union.

Their nearest option in March 2013 was Washington, D.C., which had legalized samesex marriage three years earlier. So that’s where they went.

“We were in love and we got married when we wanted to get married,” Murray says.

But they also wanted a ceremony and reception in North Carolina. They wanted their mothers to walk them down the aisle (to acoustic renditions of Lady Gaga) and for six of their closest male and female friends to stand alongside them as they said “I do.” They wanted to make traditions work for them.

But when they sent the women in the group out with a color palette (light gray) and a mission to find a dress, a conundrum quickly presented itself: the paperwork for ordering their dresses asked for the name of the bride, but there was no bride in the wedding, nor were there bridesmaids. (“I think once we jokingly called them groomsmaids,” Murray says.)

All told, it was a minor hiccup in the planning of their North Carolina-themed celebration, complete with fried chicken biscuits and a fireworks show courtesy of the state fair. But the episode goes to show the many ways in which the idea of a marriage being between one man and one woman is ingrained in the institution itself, codified in the vocabulary of the industry.

And nearly two years after same-sex marriage was legalized nationwide, it remains that way.

F

rom 1996 until 2014, North Carolina explicitly denied gay and lesbian couples the right to marry. Amendment 1, which was approved by 61 percent of voters in 2012, added to the state’s constitution that North Carolina would only recognize marriages between one man and one woman, doubling down on existing state law.

In October 2014, a federal judge ruled these laws unconstitutional. Since the Supreme Court in 2013 struck down a key provision of the Defense of Marriage Act, state-level marriage bans had been falling like dominoes. By the time the Supreme Court ruled on Obergefell v. Hodges on June 26, 2015, maintaining that marriage is a fundamental right guaranteed by the Constitution, only thirteen states had same-sex marriage bans intact.

After Obergefell, analysts estimated that INDYweek.com | 4.26.17 | 11

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

INDYWEEK.COM 12 | 4.26.17 | INDYweek.com

T H E I N DY ' S A LTERNATIVE the additional weddings would add another $2.5 billion annually to what is already a $51 billion wedding industry. Of that, North Carolina was expected to see an additional $66 million in revenue, including direct wedding spending and increased tourism revenues from out-of-town guests, according to NerdWallet. The financial advice site predicted that the economic impact of marriage equality would only grow as same-sex marriage became more accepted.

When same-sex marriage became legal in North Carolina, the local wedding industry was “abuzz,” says Jenna Parks, copublisher and director of sales of the Triangle-based Southern Bride & Groom magazine. “From my experience, I have seen that the vast majority of the local wedding industry for the most part was thrilled that same-sex couples were finally given the rights that they deserved.”

For the planners, venues, photographers, caterers, and djs that make up North Carolina’s $1.7 billion wedding industry, few functional changes were required to accommodate same-sex marriages; the wedding industry is already built around making each couple feel unique. Nontraditional weddings, swapping churches for rustic barns and refurbished factories, are no longer a niche market, and just about everything— from gowns to social-media-ready wedding hashtags—can be made custom.

Some traditions, says the Reverend Bonnie J. Berger, a gay interfaith wedding officiant who has performed about seven hundred marriages since she was ordained in 2006, including Murray and Blackman’s D.C. nuptials, don’t exactly translate to same-sex weddings. For instance, couples she’s worked with have chosen all kinds of variations on the standard “I now pronounce you man and wife.”

“A lot of them make things up, and I think that’s sort of the beauty of it,” Berger says. “A lot of folks want to stay traditional, but a lot of folks want to break out of that.”

Berger, who officiated the first same-sex marriage in Washington, D.C. and now lives in Chapel Hill, has also helped couples tailor customs when their relatives don’t want to participate in their wedding. “For many couples, unfortunately, the immediate family doesn’t approve of the couple getting married, which is very sad,” Berger says. “But I’ve seen it a lot, and I think here in North Carolina, I’m going to see it more because folks have grown up in a more religious, traditional background.”

When same-sex marriage first became

Wedding Guide legal in North Carolina, Parks says, “there was a lot of initial talk of is this going to be its own marketing avenue.” Southern Bride & Groom, which was already featuring samesex weddings in its pages and online, created a dedicated section of its website. “In tracking that page and through speaking with the local wedding community members who directly serve couples, we have not noticed a very large interest in separate marketing on the topic.

When it comes down to it, same-sex wedding traditions are the same as heterosexual weddings, so their planning process is the same.”

Cindy Sproul, cofounder of the Weaverville-based Rainbow Wedding Network, which puts on about twenty-five LGBTQ wedding expos in thirty-three states each year, says she hasn’t really seen any new products or services come about because of marriage equality. (Same-sex cake toppers are still woefully hard to find, she says.) Attendance at the expos, however, is up, as is the number of vendors participating.

Since the election of President Trump, Sproul says, attendance is up about 30 percent. She says five thousand people have come through the doors at the ten events the company has held so far this year. Couples are concerned about their rights being taken away; they’re also worried about being rejected by vendors and venues. At an LGBTQ-centered expo, they don’t have to wonder how they’ll be received.

And they’re spending more money too— as much as $15,000 more than couples did in 2015.

Immediately after Obergefell, the events saw an influx of longtime couples who had been waiting to make their union official.

“Now we’re getting couples that are recently engaged,” Sproul says, “but after the election, in the first part of this year, we’ve had a lot of couples say, ‘We were going to get married in 2018, but we’re going to push it up.’”

RECYCLE THIS PAPER Whether a plantation, a castle, a prison or a cemetery I will marry you anywhere you like!

My Faith Doesn’t Discriminate.

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B

eth Cooper never wanted to get married.

“Marriage is just a huge deal,” she says. “In my own life, there’s just a lot of divorce around me, and it just always felt like this big thing that I stayed away from.”

Then she met Sara Broderick and found herself one night over dinner saying, “You don’t know it yet, but you’re going to marry me.”

“In my relationship with Sara, the thought of it was not scary,” she says. “It was just something to me that felt very natural.”

They got married in Washington, D.C., on INDYweek.com | 4.26.17 | 13

THE INDY ' S ALTE RNATI VE April 4, 2014. It was a quick ceremony with an officiant they found online and met at a Starbucks.

“As time went on, I think Sara really missed being in a space where everyone could see that we were married, so she started to talk about having a marriage celebration,” Cooper says.

They started planning for an October 2016 bash. The formality of traditions felt too stiff for them. They just wanted a good party.

They found a venue—the Stockroom in Raleigh. At first, the contract for the space asked for the name of the bride and groom.

But when Cooper and Broderick returned to sign the paperwork, the staff had changed it to say bride and bride. Similarly, when Broderick, a graphic designer, started a website for the event, she had to have the template tweaked to accommodate two brides.

Sproul says the wording of vendor forms can signal a lot to a couple.

“Are they trying to tell me something, or have they just not gotten around to it?” she says. As Sproul explains, we are “conditioned” to speak about weddings in terms of bride and groom. Bridesmaids, groomsmen, bridal party—you get the idea. “Language is a big, big part of it,” Sproul says.

Parks remembers going to seminars after Obergefell where attendees were advised not to use the terms bride and groom. It’s not lost on her that the name of her magazine includes those terms, but she hopes readers will see that it “still covers bride and bride, groom and groom.”

These conventions don’t just reflect the idea of marriage as a heterosexual institution; they also tend to reinforce gender norms—a bride in a white dress, the groom in a suit.

Cooper says she was asked a few times during the planning process what the groom’s name was or what her husband does for a living. Broderick sought out a tailor after she couldn’t find a suit to fit her body shape. A florist stumbled momentarily over how to apply the traditional bouquet and boutonniere package to this particular pair.

“For a moment she looks at me and is like, ‘Are you going to have a bouquet? Are you both going to have a bouquet?” Cooper says.

“I guess maybe I present more girly.”

G

eorge Alwon and Francisco Chavez had a lot on their minds as they walked into the Wake County Courthouse on July 1, 2016. Would a magistrate refuse to perform their wedding, as they are allowed to do in North Carolina if they have 14 | 4.26.17 | INDYweek.com

Wedding Guide

ESCAPE ROOMS

BA RS W HE RE YOU C AN AVOID YOUR FAM I LY With a steady stream of relatives asking you how the job search is going or when you will be popping out a baby, weddings can be exhausting. But it’s nothing you can’t get through with a strong drink. We’ve got you covered with the best bars in which to avoid your mom, dad, chain-smoking uncle, and little cousin going through that annoying “why” phase.

ARCANA

331 West Main Street, Durham arcanadurham.com Tell your folks you’re going to a tarotthemed bar to get a reading and drink a Young Hierophant. Then leave real fast while they’re still thinking of a response.

THE BAXTER

108 North Graham Street, Carrboro thebaxterarcade.com Is being around all this family bringing up some repressed teenage angst? Head to this barcade and take it out on little plastic blue and red buttons instead of your loved ones. Or just take a seat at the bar and get lost in the comic strips that cover its surface.

THE CAVE

452 West Franklin Street, Chapel Hill thecaverntavern.com OK, so this subterranean dive isn’t that difficult to find. It’s just in an alley down some stairs. But if you’re really determined, you can probably lose a few straggling relatives along the way.

THE KRAKEN

2823 N.C. Highway 54 West, Chapel Hill thekrakenbar.com With regular performances by fiddlers, string bands, and rockabilly acts, this rural roadhouse doesn’t look nearly

a “sincerely held religious objection”? Would there be comments about their forty-one-year age difference, or the fact that Alwon is American and Chavez a Mexican immigrant?

Growing up in Brooklyn, Alwon was disenchanted with over-the-top weddings. Getting married was “never on my radar,” he says. In Chavez’s native Oaxaca, the concept of a stereotypical wedding carried no negative connotations. Weddings were a community event. They started talking about marriage last winter, but it was Trump’s

as welcoming as it really is. And that’s perfect for warding off relatives who may want to tag along on your night out.

NEPTUNES PARLOUR

14 West Martin Street, Raleigh neptunesparlour.com An underground bar with a penchant for experimental music, Neptunes usually features a solid drink deal, like an $8 “Grown Folks Special.” Just don't tell the ‘rents that you're as likely to find nineties-themed bingo as free jazz there.

SLIM’S

227 South Wilmington Street, Raleigh slimsraleigh.com Decompress at Slim’s, downtown Raleigh’s oldest bar and perhaps its greatest straight-up drinking locale.

It would be just the kind of place you’d take dad—if it weren’t for all the blistering punk and metal shows.

SURF CLUB

703 Rigsbee Avenue, Durham Surf Club is sort of a dive bar but not; it’s a neighborhood joint, if your neighbors are cool people and your neighborhood’s bartenders know how to sling excellent cocktails and have good beers on tap.

Drop the fam off at Fullsteam and go drink with the townies. —Sarah Willets

campaign that gave them the final push.

Chavez, thirty-one, came to North Carolina as an undocumented immigrant in 1997.

He was afraid he would get deported and be separated from Alwon. Although he had been protected by the Deferred Action for Childhood Arrivals program, he worried even DACA recipients wouldn’t be spared from Trump’s pledge to ramp up immigration enforcement. They had been together eleven years, but now marriage took on an urgency.

So they got in line behind the other cou-

ples at the courthouse. Each mini-ceremony was followed by applause from the group.

Would they clap for Alwon and Chavez?

Should they kiss?

“It was kind of awkward because when we got there, there were other couples getting married,” Alwon says. “Straight couples only, singing Bible songs.”

When they got to the front of the line, the magistrate performed their wedding just like all the others. She pronounced them married and said, “You may kiss.”

They kissed. Everyone clapped.

In North Carolina, fears surrounding the anti-LGBTQ nature of House Bill 2 have not been eradicated even though the “bathroom bill” has been replaced. Sproul says she’s often asked about it at expos in other states. Earlier this month, a handful of legislators felt emboldened enough to file a bill that would again ban same-sex marriage in North Carolina. It was dead on arrival, but its message came across nonetheless.

“We have seen the evolution of marriage equality from absolutely nothing to full-blown equality, but in a lot of ways we’re taking a step backward,” Sproul says. “And I’ve heard more this year than I’ve heard in a long time, ‘Boy, we’re being very careful on who we’re hiring.’”

E

ver since their North Carolinathemed celebration, Blackman and Murray have wanted to run their own wedding venue.

“He enjoyed planning every aspect of our wedding,” Blackman says of Murray.

They searched for more than two years for the perfect spot, until they saw this headline in The News & Observer: “Want to own an 1845 church, restored to its old glory? Only $39,000.”

Last month, they bought the small chapel in rural Bertie County and are opening a wedding venue there called Chapel 1845.

Having gone through the wedding-planning process, Murray and Blackman say they’re being thoughtful about the words and images they use on the Chapel 1845 website. They want their venue to be open to anyone, regardless of sexual orientation or religious belief.

Their advice for couples heading down the aisle? Don’t let traditions or what other people want dictate your wedding day. Invite people who support you. Don’t be bothered by those who don’t want to participate.

Or, as Murray puts it: “Do what you feel is right for yourself and for your relationship.” swillets@indyweek.com

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ing down what other day. Invite bothered pate. you feel is onship.” week.com INDYweek.com | 4.26.17 | 15

All the Difference in the World BROOKS ANN CAMPER’S WEDDING GARB IS CUSTOM MADE, BUT IT’S HARDLY CUSTOMARY

F

BY BRIAN HOWE

dex; she works only in natural fibers—cotor almost a century, Hillsborton, silk, wool. But for the most part, the ough’s Eno River Mill was a bride’s imagination is the limit, as is evident large textile mill with on-site in this set-ready sci-fi costume, a beneficiary housing for its employees. of Camper’s experience on Broadway. As far Today, like much of the Piedmont’s foras we can tell, hers is the only custom bridal mer industrial infrastructure, it’s an artfulshop in the Triangle. And it may well be the ly preserved commercial development full only one anywhere run by somebody whose of businesses both big, like Mystery Brewbackground is solely in theater, not fashion. ing Company, and small, like Brooks Ann “In fashion, you’re trying to make mulCamper Bridal Couture. tiples: one thing that’s going to work for the It’s unusual to find a bridal shop in a maze most people possible,” Camper says. “In theof open loading bays and crumbling brick ater, you’ve got a real person who is probaoutbuildings, but the unusual is exactly what bly not shaped like your stick-figure fashion Camper’s clients are searching for. Inside, model. It’s a great way to approach bridthe shop resembles an artist’s studio, except al wear because it’s about one person, and that it’s clean and softly lit. There are antique we’re designing it together.” sewing machines—one Camper inherited from her grandmother, a patternmaker for J.C. Penney—a couch, and a dressing room. amper is less than five feet tall but has Sketches paper over the walls. Dress forms in an exuberant voice the size of her Texas markedly personal shapes stand in corners. roots. She also seems to have a lifelong knack Three gowns prefor waltzing into side at the head of things other people BROOKS ANN CAMPER the room. Elegant would kill for, then BRIDAL COUTURE yet playful, they working hard to build 437 Dimmocks Mill Road, #8, Hillsborough allude to the classic on them.

919-732-8207 white dress without When she went to brooksann.com resembling it. One study theater at Cenhas a fleur-de-lis tenary College of Loubrooch at the neckline and a beaded fringe isiana, she was interested in acting and sets, on the bodice. Another, a refined peasant not costumes. But when she impudently told dress, sports a colorful pattern of vines and her director in Little Women that she didn’t leaves. The third, a slinky silk number, has know how to iron her costume and didn’t care long leather laces plunging down the back. to, he sent her to work in the costume shop, And Camper’s own wedding dress, with stylstarting on Oliver. It was a “punishment” that ized flowers growing up from the hem of a changed her life. On a long-shot whim, she flared skirt, is spread on a nearby worktable. applied for the sole internship in the costume Since founding her dressmaking shop with shop at the Yale School of Drama. She was so these four garments, Camper has fled even sure she wouldn’t get it that she refused to fly further from tradition. Her portfolio includes to Connecticut when they called, insisting on a featureless white strapless contrasted with interviewing by phone. a dramatic flower-and-feather shoulder decThus did she embark for New Haven oration, an angular orange-and-pink confecwithout knowing how to sew. tion gathered into what the bride asked for as “The first thing I ever sewed was a hundreda “space bustle,” and other fancies unlikely and-twenty-dollar-a-yard eighteenth-centuto turn up at David’s Bridal. Camper drew ry gown for theater,” Camper says. “Because I the line at crafting the space bustle in Spanwas thrust into it so fast, I never realized I was

C

16 | 4.26.17 | INDYweek.com

THE I NDY 'S ALTE RNATI VE supposed to be a beginner or be scared.” Next, she applied to UNC-Chapel Hill’s master’s program in costume production. Again, thinking it was a long shot, she declined to travel to Chapel Hill to interview. She got a scholarship.

She graduated in 2001, after meeting her future husband, Charles. She went straight to Broadway, working as a milliner on everything from Wicked to Mamma Mia! And then, for a while, she just stopped.

“I enjoyed it, but I had gone from not knowing how to sew to making a hat for John Lithgow in five years, so it was a little fast and furious,” Camper says. Burned out on sewing for eight hours a day, she moved back to North Carolina with Charles. They soon bought a small mill house near Eno River Mill, where Camper got a job at a museum-quality framemaking shop. She liked making frames; it was about customizing an object for a single purpose. But her sewing hiatus ended in 2006, when Charles’s sister got engaged.

“My gift was the dress, and his was to make a room for me to make it,” Camper says.

Equipped with a tiny home workshop, she had no reason not to make Charles’s other sister a wedding dress, too, and then her own.

It caught the eye of the wedding date of a friend, whose vine-patterned smock effectively started Camper’s business. She put up the website where she blogs about the process behind her dresses and began taking one client at a time. Three years ago, she quit the frame shop and moved into her studio, right next door to it. It’s almost the size of her whole house, and it gives her the space she needs to craft a dress from start to finish.

A

t a traditional bridal shop, you order a size, which is customized for you. But Camper doesn’t know anything about standard sizes. Instead, she measures brides and pads out dress forms unique to them.

“The bride is the designer,” she says. “I’m just helping them figure out what they want.”

After reviewing images and making sketches, she sews a mockup. “I’ll do the whole thing in the cheapest fabrics so we can rip it up and cut all over it, change the neckline or take the sleeves off,” she explains. “We’ll go through that until it’s perfect, and then, when I cut the real fabric, there’s no scarring.”

Camper also takes her brides fabric-shopping at Mulberry Silks in Carrboro. Even though her custom service is more expensive than traditional ones, it doesn’t seem to primarily appeal to people who want luxury.

Instead, it’s for people who seek intimacy and self-expression.

Wedding Guide LAST-MINUTE GIFT IDEAS For the foodie couple:

MARIAKAKIS FINE FOOD AND WINE

1322 Fordham Boulevard, #1 Chapel Hill, mariakakis.com Mariakakis Fine Food and Wine, a gourmet market, offers a variety of wine, champagne, and specialty foods from Greece, Italy, Eastern Europe, and the Mediterranean.

For the minimalist couple:

PORT OF RALEIGH

416 South McDowell Street, Raleigh portofraleigh.co Find something timeless in Port of Raleigh’s collection of sleek bedding, vases, and kitchenware.

For the vintage-y couple:

Brooks Ann Camper

FATHER & SON PHOTO BY BEN MCKEOWN

“Some people don’t want that experience of going to the salon and having them pinch you in a dress that doesn’t fit,” Camper says.

“It can be impersonal, noncollaborative, and all the dresses are kind of the same.”

It’s also for people whose bodies don’t resemble department-store mannequins.

Camper has worked with plus-size brides, very tall and short brides, a pregnant bride, a disabled bride.

“If you’re a twenty-year-old girl who can fit into an eight and wants a white strapless dress, I tell people, go get it at the store!”

Camper says. “Somebody already made that, and I don’t just copy other people’s stuff. My philosophy is, on your wedding day you need to be the most you, and not just put on a bride costume for a day.”

And it’s for people whose unions reflect the evolution of marriage more than traditional options do—anyone, in short, who wants to feel at home, in their clothes as in their skin.

“I want everything about the experience to be comfortable, from coming in to the way you feel in your clothes, and that is one of the compliments I get from brides: I felt like I was in my pajamas all day,” Camper says. “And the compliment they get is, that’s so you!”

Diane Hamad-Smitherman, who owns a small business in Cary, lives in Apex with Dina, her partner of twenty-seven years and

her wife of three. She knew what she wanted to wear in her wedding. She just couldn’t find it, not even online.

“There was nothing in the local shops,” she says. “In larger markets, in Saks or Nordstrom, they’ll have bridal salons, but nothing for a plus-size gay woman looking for a pantsuit. But when I hit on Brooks Ann, I thought, wow, I think this is the one who can help me.

And she just hit it right on the mark.”

There was another little wrinkle: HamadSmitherman was undergoing bariatric surgery while the dress was being made.

“Up front I was like, look, here’s what’s gonna happen,” she says. “And she was like, all right, I’m up for it. She had never made a pantsuit before!”

“We made her a beautiful vest and blouse, and then, the suit,” Camper says. “If she had gone into a bridal salon and said, ‘I want a dress and I’m going to lose sixty pounds by the next time you see me …’ I was like, come on in!

I want to help people, not just make dresses, and those are the ones that come to me.”

“I’m not a fashionista, so I had to get my head wrapped around paying for a custom outfit,” Hamad-Smitherman says. “But it was worth it, and more. It was me, I felt very comfortable, and that just made all the difference in the world.” bhowe@indyweek.com

107 West Hargett Street, Raleigh With a focus on midcentury modern, Father & Son has a range of home décor and furniture. Whatever you find, you can be sure the couple won’t get two.

For the freaky couple:

FRISKY BUSINESS BOUTIQUE

1720 New Raleigh Highway, Durham friskybusinessboutique.com You’ll want to know the couple pretty well before you shop here.

For the music-loving couple:

SCHOOLKIDS RECORDS

2237 Avent Ferry Road, #101, Raleigh schoolkidsrecords.com Schoolkids carries a wide selection of vinyl for old-school souls. Locations in Durham and Chapel Hill, too.

For the charitable couple:

ONE WORLD MARKET

811 Ninth Street, Durham shoponeworldmarket.com Stocked with colorful baskets, quilts, and lanterns, this fair-trade store supports artisans in more than seventy developing countries.

A gift from One World Market keeps giving.

INDYweek.com | 4.26.17 | 17

Scratch Wedding COUPLES ARE UNIQUE. WEDDINGS CAN BE, TOO.

BY JOE SCHWARTZ

Sara Waters and Joe Schwartz

T

PHOTO COURTESY OF JOHNNY J. JONES AND ZOË PICTURES

he guests take their golden seats surrounded by pink plastic penguins, golden glitter, and avant-garde artwork. Those clad in tailored tuxedos, twirled mustaches, and la haute société fascinator hats fit for royalty rub elbows with others sporting thrift store threads—rainbow slit dresses, bolero ties, silver oxfords.

Inside the 21c Museum Hotel ballroom, a hush falls over the audience as they await the newlyweds, who are set to take the stage for the first time.

“Ladies and gentlemen,” the DJ bellows beneath neon lights. “Introducing the Elvises.”

With a flash, two caped crusaders emerge from the shadows and into the spotlight, dressed in white, rhinestone-spangle jumpsuits fit for Graceland, the Ed Sullivan stage, a motorcycle stunt, or, it’s now clear, their nascent act as a married couple. The gath-

18 | 4.26.17 | INDYweek.com

ered guests use one hand to cover their awestruck mouths and the other to reach for their phones to film this first dance—a choreographed medley of The King’s greatest hits.

The room is all abuzz, and not because of surprise but because the couple has crystalized all of themselves in this moment. Everyone they love is assembled, there to celebrate the shared idiosyncrasies that make them a perfect match.

With apologies to Tevye, at weddings across the Triangle, there’s a new take on tradition.

A

s we cycle from song to song with levity, a moment for reflection arrives. I recall an hour earlier the formality of the kilted bagpiper serenading the bride down the aisle. I remember our heads bowed in prayer, both Christian and Apache.

I squeeze my bride’s hand tightly, and we’re transported to six months ago and our own celebration.

Like today’s honored couple, we developed a script from scratch.

Within thirty minutes of our engagement atop a hill at a Tuscan vineyard, the questions began to flow along with the the wine: Have you picked a date? Where will the wedding be? How many will you invite?

Soon we decided that, since we were brought together by a love of music, food, and the creativity of Durham, our wedding would honor and share those very things with everyone gracious enough to join us.

Six years earlier, Sara Waters and I met while I was on assignment for the INDY. Well, “assignment” is a charitable term.

Actually, I wanted a free pass to see Roman Candle play the Meadow Stage at the Shakori Hills Grass-

THE I NDY ' S ALTE RNATI VE roots Festival. I convinced the paper’s music editor that he could use a few words on the event, and with one phone call I was on the press list.

As the band played on in a bath of stage lights and a subtle shower from the skies, I scribbled in my reporter’s pad. Sara, the festival cocoordinator, spotted me and introduced herself.

Six years later, just a few yards from that same field, poet laureate, naturalist, activist, and western-shift aficionado Gary Phillips would introduce us to our family and friends as husband and wife. Shakori Hills—with its seventy-three acres of trees and rolling beauty and its blessings of music and culture—was the only wedding venue we ever considered. We likened it to eating strawberries from the garden; they are at their peak of sweetness when they are natural and directly from the source.

Every choice we made took on that theme. For Schwatersfest—the three-day celebration that surrounded our vows— nothing was picked from the shelf or bound by outside expectation.

No Vistaprint. We called on friend Gabe Eng-Goetz, founder of Runaway, to design our invite, complete with Sara’s cowgirl boots, my Air Jordans, Mason jars, peacocks, lanterns, and the lush plant life of North Carolina. He also created the JS wedding logo that we used to stamp invitations and hands on Thursday night at The Pinhook.

There, at the venue where we’d taken in so many special shows, in a polka-dotted vintage dress and a crushed velvet smoking jacket, we presented two artists whose music fills our home: Sarah Potenza and Jim Lauderdale.

No Jack Daniels. The cocktails came from Fair Game Beverage Co. in Pittsboro, where distiller and pal Chris Jude created a signature drink for each event—Friday’s Dirty Schwaters Martini and Saturday’s spiked apple cider made with brandy born from orchards of Sara’s hometown of Hendersonville.

No set menu. We called on our favorite food trucks. Chirba Chirba showed they are more than just Juicy Buns by serving up black-tea-smoked duck and curried goat at The Cookery for our Friday rehearsal dinner.

On Saturday, a “Farm to Schwatersfest” stand with salads of local produce shared space with Pie Pushers and KoKyu, which added salt-crusted, lemongrass-stuffed grilled fish that I’d cherished during my time

Wedding Guide

WEIRD IS WONDERFUL

DO NORMAL WEDDINGS VENUES BORE YOU? TRY THESE. Maybe you didn’t grow up in a religious family, the formality of a banquet hall isn’t your thing, or (since you’re getting wedding tips from a free newspaper) you’re just too broke for a traditional wedding venue. No problem. The Triangle offers plenty of unique places to get hitched. If you have a favorite bar, restaurant, movie theater—whatever—see if it’s available for private rentals. Just make sure you inquire about any special-event, alcohol, or photography permits you may need.

DEFYGRAVITY

Multiple locations defygravity.us With its locations in Raleigh and Durham (also Charlotte), you can rent out this entire indoor trampoline gym— including the foam pit and trampoline dodgeball court—for private parties.

All you need to do is bring the playlist, the food, and up to eighty of your closest, most energetic friends.

DURANT NATURE PRESERVE

8305 Camp Durant Road, Raleigh Lots of city and state parks in the Triangle offer site rentals. This 237-acre nature preserve in north Raleigh happens to have a butterfly garden, a bird garden, and an interpretive tree trail, whatever that is.

MAD DASH POP-UP WEDDINGS

maddashweddings.com With a Mad Dash wedding, all you have to do is pick a day and show up. The company will plan the rest— including flowers and photography— based on a predetermined theme. All Mad Dash weddings take place at the historic Leslie-Alford-Mims House (100 Avent Ferry Road, Holly Springs), which kind of looks like the house from American Horror Story: Coven, but in the prettiest, least haunted way.

MYSTIC FARM & DISTILLING COMPANY

1212 North Mineral Springs Road, Durham whatismystic.com Committing to one person for the rest of your life is scary. Take the edge off by

hosting your wedding at this twentytwo-acre farm and bourbon distillery.

As a bonus, try Mystic Farm’s “Single Barrel Experience” and spend two days making your own batch of bourbon. Let time work its magic and pop the first bottle for an anniversary.

N.C. MUSEUM OF NATURAL SCIENCES

11 West Jones Street, Raleigh naturalsciences.org Several North Carolina museums can be rented out for weddings: the North Carolina Museum of Art, the Museum of Life and Science, 21c Museum Hotel in Durham, among them. But we like the idea of saying “I do” surrounded by Venus flytraps, dinosaurs, and venomous spiders the best.

THE PINHOOK

117 West Main Street, Durham thepinkhook.com Did you and the love of your life first feel sparks in the throes of a sweaty punk-rock show? If so, downtown Durham institution The Pinhook may be the perfect place to tie the knot.

The club, which hosts live music, open mics, and karaoke, is available for private party rentals.

SPECTRE ARTS

1004 Morning Glory Avenue, Durham spectrearts.org This east Durham gallery and performance arts space guarantees your wedding photos will look like no one else’s. SPECTRE Arts boasts six hundred square feet of gallery space and a twenty-four-hundred-square-foot outdoor area available for event rentals.

—Sarah Willets

in Thailand to its menu of duck-fat tots, short rib tacos, and scrumptious sliders.

No stuffy procession. Our guests got the full Paperhand Puppet Intervention experience with masks, flags, drums, and largerthan-life creatures on parade. Later, kids continued in costumes and carved pumpkins. No fondant. Monuts made us a pumpkin and apple (again from Hendersonville) sheet cake, more delicious than decorated.

No 1-800-FLOWERS. Ours came in buckets from Bluebird Meadows and the Durham Farmers Market.

No premade playlists. Our music was live with Chatham County Line playing in the ceremony and at the reception, even covering “Hava Nagila” and “Friends in Low Places.” Only at Shakori Hills, Diali Cissokho and Kairaba brought the Kora and Senegalese vibes to the after-party. No prepackaged wedding planner. We chose a folk/rock musician, Juliana Finch of Tomboy Events, who fosters weddings for “nontraditional gals and tomboys of all genders.”

No regrets. As guests told us throughout Schwatersfest, they’d never been to a wonderfully wonky wedding like ours, one that saw beyond norms and became something truly special, truly us.

Alongside some of our guests’ compliments, though, you could see a misplaced ting of misgiving about their own ceremonies. But in this new world of weddings, there is no reason to compare festivities. As an officiant put it, the goal is not to be perfect, but rather to be authentic.

Our weekend was as us as it could be, and that’s what all couples should celebrate.

I

n the 21c ballroom, where Sullivan’s cameras would have cut the couple at their gyrating waists, we turn to “Blue Hawaii.”

This is the moment I’ve waited for I can hear my heart singing Soon bells will be ringing This is the moment Of sweet Aloha I will love you longer than forever The wedding piñata is readied to be sliced by a sword. Traditional boxes remain unticked, but oh, how the bells do ring. backtalk@indyweek.com Joe Schwartz is a former INDY staff writer who lives in Durham.

INDYweek.com | 4.26.17 | 19

THE I NDY 'S ALTE RNATI VE

Wedding Guide

F

or ten years, Alex Fisher has run Lucky Penny Creative, a busy event-planning company based in Asheville that frequently works on Triangle-area nuptials. We spoke about the state of the industry, what’s changed, and what endures.

INDY: In the past decade or so, what changes have you observed in the wedding-planning world?

Alex Fisher: I’ve seen a shift from the standard wedding traditions, like the father giving the bride away, just a general shift in the way that couples want to celebrate their unions. There’s less garter tosses, less bouquet tosses, less singling out of all of the patriarchical standards. Definitely more money spent. The average wedding budget in North Carolina is usually around sixty thousand.

What do you think has precipitated these changes?

People are getting married at older ages, so they’re less inclined to use family money or parents’ money to pay for everything. What I always recommend to folks is to choose one or two things that you definitely care about—like food and photography—then budget way more for those things, because you will remember them the most. Everything else we can totally work on a smaller budget.

That’s just what my wife and I did. We said food and music were our priorities. So that hasn’t changed much.

Not particularly. There are a handful of folks who, in the age of Pinterest and wedding blogs, feel a bit of pressure to have the picture-perfect wedding with regard to massive floral and décor and the best food ever and an incredible live band. And there are people who live up to those expectations, but I think more and more you’re seeing couples wanting to do their own thing.

It’s less about the image and more about, “We legitimately want to celebrate our love, so this is what we’re going to do.”

What else is trending right now?

I’ve seen a huge trend in wanting to think outside the box as far as venue. It’s very common, at least for the couples that we work with, to ask a coffee shop if they can have the ceremony there, or an art museum or art gallery, stepping away from the tra20 | 4.26.17 | INDYweek.com

Alex Fisher

The Wedding Planner

AN INTERVIEW WITH ALEX FISHER ABOUT THE STATE OF THE INDUSTRY

BY DAVID KLEIN ditional church wedding or even the traditional wedding venue. The clients we work with, maybe we just end up with very creative people, but they’re getting married in private homes or in gardens or up on a parkway somewhere.

A parkway? That sounds kind of unusual.

For the Piedmont area it’s definitely unusual, but we do a ton of weddings up in Asheville, and everybody wants a small elopement or a small, intimate ceremony on a mountaintop.

In the Triangle, I’ve seen a big trend toward private homes. People want to get married in a household that’s significant to their life story or their childhood or something like that. Coffee tourism is huge, and so I’ve had a couple folks get married in coffee shops— and breweries.

What are some pitfalls to avoid?

This isn’t just because we offer day-of coor-

dination services, but every friend of mine, family member who has not hired a day-of coordinator has after the fact said it is the one thing they wish we would have done.

If you don’t have it in the budget to pay for a full-on planner, just hire somebody for eight hours to be there and be the point person so that you’re not having to care about all the logistics and whether the cake showed up on time.

Any budget? There has to be a cutoff point.

I absolutely care about people enjoying their wedding day, so if you’re working on a fivethousand-dollar budget, awesome, let’s rock and roll, and maybe I’ll do a little consulting along the way and they can figure out the rest, even just a tiny window of professional assistance to make sure you’re asking all the right questions and getting all the appropriate information from all of the vendors you are working with.

Do you think the party barn will be a big thing in the area in the future?

Absolutely. And I hesitate to pick sides, but the more local small businesses, the better. In Asheville there are at least twenty if not more barn-type venues that have either been new construction or refurbished dairy barns, and there was a bit of backlash up front, but it has completely changed the economy for those smaller offshoot towns outside of Asheville. I’m a firm believer that if you are bringing folks into that rural part of town that they otherwise wouldn’t have even attempted to visit while they were there, that’s so awesome. They’re getting a slice of that bigger city that they wouldn’t have otherwise seen, and I think it can only benefit those rural communities.

In the Triangle area particularly, it’s fairly untapped, so I think you’re going to see a trend in that. dklein@indyweek.com

CHILL OUT

BIG DAY STRESSING YOU OUT? WE’RE HERE TO HELP. Whether you’re overdosing on family time or just trying to look fresh for the big day, there’s no reason not to treat yo’ self when you’re in the Triangle for a wedding. Take a friend, a non-chatty relative, or just a great book.

BELLA TRIO DAY SPA & SALON

5826 Fayetteville Road, Durham bellatrio.com The only thing better than relieving stress via a shopping spree is following up on said shopping spree with a trip to the spa.

Luckily, Bella Trio Day Spa & Salon is just around the corner from Southpoint Mall.

Take a minute in the Norwegian wet/dry sauna before getting one of the many face and body treatments available. Follow up with a mani/pedi or hair treatment before hitting cocktail hour.

FRANKIE’S FUN PARK

11190 Fun Park Drive, Raleigh frankiesfunpark.com/raleigh Work out wedding-day jitters—or just distract yourself for an afternoon—with Go Karts, laser tag, bumper boats, and plenty

of arcade games. Just don’t forget you have someplace important to be.

GLOBAL BREATH

119 West Main Street, #300, Durham globalbreath.org Step into one of the studio’s daily yoga classes or wellness workshops. Or, if you just want some peace and quiet, check out one of the evenings of mindfulness and weekly meditation sessions.

HONEYSUCKLE TEA HOUSE

8871 Conservation Grove Road, Chapel Hill honeysuckleteahouse.com Spend a weather-worthy day “in the country” with a cup of soothing tea, surrounded by a garden of herbs, flowers, and teas.

MERRITT’S PASTURE

Morgan Creek Trail, Chapel Hill Take a relaxing walk around Merritt’s Pasture and just take in your surroundings.

No thinking about all the to-dos. Be sure to sit for a moment at the top of the hill under the big oak tree.

RUNOLOGIE

401B Hillsborough Street, Raleigh runologieraleigh.com When you’re looking for an endorphin high to combat wedding stressors, check out Runologie’s group runs. If you go on a vendor day, you get to try on a pair of luxury running shoes before hitting the pavement for a test run.

VIDERI CHOCOLATE FACTORY

327 West Davie Street, #100, Raleigh viderichocolatefactory.com If endorphins aren’t enough, there’s always chocolate-induced dopamine for your brain. Take a tour in the historic Raleigh Depot building, which is now Videri Chocolate Factory. See how chocolate is made and admire the industrial architecture before enjoying a coffee and some chocolate on the outdoor patio.

—Sarah Willets

INDYweek.com | 4.26.17 | 21

THE I NDY 'S ALTE RNATI VE

N

Wedding Guide es their children. And also safety things.

Any kind of abuse—emotional abuse, verbal abuse, and physical abuse.

ot all marriages are built to last.

But how do you know when to call it quits? After all, every relationship comes with its own set of growing pains and challenges; it’s discerning the insurmountable ones that can sometimes require the eyes of a pro. Lucky for us, Mary Gurganus, managing partner at Triangle Divorce Lawyers and a committed “marriage saver,” is here to help. She walks us through some of the patterns she’s picked up on in relationships that end in divorce—and how Mary Gurganus to work through the rough patches.

INDY: What are the big warning signs couples need to look out for?

Mary Gurganus: There are a few things we always hear. One, withdrawing: if they’re disinterested in going to the annual vacation, or withdrawal from attending family parties, that’s a big warning sign. Two, separating bank accounts [and] cell phones.

Three, a sudden lack of intimacy. Four, more criticism. Five, texting late at night [or] checking social media late at night. Six, losing common interests. Seven, overconsumption of alcohol or pain medications.

Have you found any generational trends that you’ve picked up on or noticed any conflicts that seem to be coming up more now?

We actually try to save marriages in our firm. We try to get them in marriage counseling; we have some great counselors we refer to. The number of years matters. The one-to-two-year mark is tough for everybody, because they’re trying to set their boundaries and really getting to know each other. And then the five-to-sevenyear mark is tough, and then the fourteenyear mark is tough, the twenty-year mark, because usually kids are leaving. And that big change causes some kind of loss that gets people looking and evaluating their own lives. We really do see a pattern with things. Not for everybody, but there definitely are some tougher years that pretty much most marriages go through. And 22 | 4.26.17 | INDYweek.com

Are there any cases that you’ve worked on that stick out in your mind or have inspired you (for better or for worse)?

Well, my own parents’ divorce. It affected me. If both parents are fit, I really am a proponent of fifty-fifty custody and splitting those assets equally. I’ve been married since 1989, and I know from personal experiences ups and downs from those years, too. And I’ve seen them every day at work.

Being a divorce lawyer really makes you appreciate your spouse.

Exit Plans TYING THE KNOT? HERE ARE SOME THINGS TO LOOK OUT FOR.

BY ERICA HELLERSTEIN

unless there’s domestic violence or substance abuse, most of the other marriages can get through their strife if they have the right support system in place.

In our experience, most marriages that involve affairs stay together. They can survive. Which surprises people. It can be harder to give up alcohol than an affair.

You don’t get addicted to another person, you get addicted to alcohol.

What are the things you see that people are least likely to bounce back from in a marriage?

Untreated mental health is a big hurdle.

Because the other spouse doesn’t have any recourse. You can’t force somebody to take their medication. And criminal activity. You have to choose sometimes between your spouse and your children if there’s criminal activity. And pretty much everyone choos-

Are there any qualities you’ve noticed that often seem to help people get through a divorce in a healthy way?

I ask them to separate the money issues from the emotional issues. That’s a big thing.

Looking at it, taking a step back from the emotion and looking and seeing, what do you need to live on? What are the assets?

And then getting through it is having a good support structure and your counselor and a lawyer that you like. Just having a solid support structure, somebody that you can talk to about your finances and what you need, like a financial planner.

Every marriage is going to go through bad spots. You can’t go through a marriage with nothing happening. Somebody is going to get sick, somebody is going to lose a job, somebody is going to cheat, somebody is going to drink too much. So it’s trying to work through those things that keeps marriages together.

Sometimes you can’t because it’s a safety issue. But for the most part, it really is just work. And it’s perseverance, but it’s worth it.

That’s why we try to save marriages. Are you married? Am I bumming you out?

No! I’m not married.

Well, you go through things and you come out, if you can make it through them and both people are committed to making it through, you become so much stronger. Because you went through it together. So if you can persevere and get what you need to make sure you can get through the ebbs and flows, the more difficult times, then the happy times come after that. That’s how marriage is. It’s not a flat line.

I hope I made you happy! Remember, you can save most marriages! ehellerstein@indyweek.com

PAINTING THE TOWN

A TO-DO LIST FOR OUT-OF-TOWN GUESTS You came all the way to North Carolina to see your loved ones get hitched.

But that doesn’t mean you can’t get out and do your own thing. Preempt those wedding-cake calories with a hike at one of the Triangle’s nature preserves or state parks. Or gather some fodder for reception small talk at a local museum, like the N.C. Museum of History. Here are our recommendations for the out-oftown wedding guest’s itinerary.

CAROLINA THEATRE

N.C. MUSEUM OF ART

DUKE LEMUR CENTER

RALEIGH FARMERS MARKET

309 West Morgan Street, Durham carolinatheatre.org Built in 1926, the Carolina Theatre includes two cinemas and a Beaux Arts auditorium restored to its historic glory. Take in a comedy show, a concert, or a movie, or just enjoy being in a building that has been graced by the presence of Katharine Hepburn.

3705 Erwin Road, Durham lemur.duke.edu If you’re not from here—or maybe if you are and just haven’t noticed—this is a place where a bunch of lemurs live and you get to watch them. Walk around and see them in their natural habitat, or book one of the specialty tours: paint with lemurs, shadow the center’s photographer, or spend the day as a lemur keeper.

DURHAM BULLS

409 Blackwell Street, Durham Three words: Tater. Tot. Waffles. Oh, and you can spend a beautiful day outside drinking beer and watching baseball for like $20.

JC RAULSTON ARBORETUM

4415 Beryl Road, Raleigh jcra.ncsu.edu Perfect for a picnic, a long walk, or just a quiet moment alone. After you see the rooftop terrace and butterfly garden, don’t forget to contemplate the meaning of life in the Japanese garden.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e

SEPARATION AGREEMENTS Mu s i c Bu s i n eDIVORCE ss Law UNCONTESTED In c o r p oBUSINESS r a t i o n / LLAW LC / MUSIC Pa r t n e r s h i p INCORPORATION/LLC Wi lls WILLS

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2110 Blue Ridge Road, Raleigh ncartmuseum.org Grab a bite to eat at the museum’s restaurant, or, if you feel like getting meta about the whole wedding thing, check out the You + Me photography exhibit, which showcases the “complexities of relationships, particularly those between two people.”

1201 Agriculture Street, Raleigh ncagr.gov/markets/facilities/markets/ raleigh/ This is worth a trip even if you don’t have grocery shopping to do. Admire the endless varieties of fresh herbs, snag some North Carolina barbecue sauce, or have lunch at the Farmers Market restaurant.

WILSON LIBRARY RARE BOOK COLLECTION

208 Raleigh Street, Chapel Hill library.unc.edu/wilson/rbc/ This rare book collection at the University of North Carolina began in 1929 with a trove of pre-fifteen-hundreds European works. Now it includes everything from Russian literature to comic books and something called the Carl W. Gottschalk Collection on the Human Kidney. —Megan Howard

INDYweek.com | 4.26.17 | 23

ART OF COOL FEST IVAL

DURHAM CHANGES, JAZZ LASTS

At the first Art of Cool Festival four years ago, the northeast corner of the intersection of Durham’s Corcoran and West Main streets was an empty, grassy lot. But when festival attendees meander downtown this weekend, they’ll meet a looming construction project known as One City Center. It’s the most visible marker of the rapidly changing urban environment that the young grassroots festival has contended with.

The festival grew out of the Art of Cool Project, a Durham nonprofit founded by biostatistician Cicely Mitchell and trumpeter Al Strong, which presents and promotes jazz to local audiences as well as helping foster jazz education among young musicians. The April festival has always relied heavily on community support, turning to crowdfunding campaigns to fill in some financial gaps. Last year, the festival clashed with the city of Durham over its funding for the corporatebacked Moogfest; the city seemed to snub the festival grown in its backyard in favor of a big out-of-town business that had a history of hemorrhaging money. But after community outcry, the city came through for Art of Cool.

Now the festival is as steady as ever, and its roots, which once seemed tenuous, are taking firm hold.

This year, we catch up with Mitchell about growing into her role as a festival director and preview a new exhibit at the Durham Museum of History about the city’s centurylong relationship with jazz. We examine George Clinton's enduring cult of personality, and, of course, we’ve also picked out a few can't-miss sets on this year’s schedule.

One City Center is set to open by May 2018, nearly coinciding with Art of Cool’s fifth year. By then, if Mitchell has her way, the festival will be a different sort of monument to Durham. —Allison Hussey

Struggle

Sound CICELY MITCHELL UNITES REV. BARBER, GEORGE CLINTON, AND COMMON TO SPREAD THE N.C. NEWS FROM ART OF COOL 2017

BY ALLISON HUSSEY

ART OF COOL FESTIVAL

Friday, April 28–Sunday, April 30 $30–$265 Various venues, downtown Durham www.aocfestival.org 24 | 4.26.17 | INDYweek.com

PHOTO BY ALEX BOERNER

O

n a Wednesday evening, Durham’s West End Wine Bar is buzzing with customers, many of whom are eager to sip a drink and take in the lovely weather from the patio. But Art of Cool Festival director Cicely Mitchell is tucked in a back corner, indoors.

Her purpose isn’t purely to unwind: she’s hosting office hours. In the weeks leading up to her festival, she has found herself daunted by requests for meetings, and to preserve her personal time, she began holding court for three hours, once a week, to accommodate those who want to catch up with her. It’s not quite a real break, but it does offer a little bit of downtime for Mitchell as the festival draws near.

Durham’s done a fair amount of changing in the years since Mitchell first hosted the Art of Cool Festival. It’s a by-Durham, for-Durham affair, and Mitchell and her crew of supporters have hustled to keep up with the moving target of community inclusion. This year, the festival is taking those efforts further than ever: before Common takes the stage Friday night at the Durham Performing Arts Center, the NAACP’s Reverend William Barber will take the stage to speak on social justice and what audience members can do to push back against oppression. Over a glass of wine, Mitchell discussed Barber’s appearance at Art of Cool and what she’s learned as she’s grown into her role as a festival director.

INDY: How did you get Reverend Barber to come speak at the festival?

CICELY MITCHELL: Originally, we learned maybe a month ago that the NAACP had put out a statement that they were calling for a national boycott of the state because of HB 2. Of course, as a festival owner, you get concerned. We had already put out a statement against HB 2 last year. [The festival] was right around the time when [HB 2] happened, so we put out a quick statement, thinking it would be over by this time. But when the NAACP decided that they were

going to make a national boycott, I got on the phone and wanted more details on what all that entailed, how we could be of assistance as best we can—we’re a non-profit— and how we could use our platform to tell more people inside and outside of the state about what’s going on.

I met with the local chapter, and they were very excited that it was black femalerun, that it was something uplifting for Durham, and that Common was involved.

I asked for a representative to go onstage before the Common performance, just to use the platform. They asked Reverend Barber, and I got a chance to speak with him directly. He loved the idea and wanted to meet George Clinton (see p. 28). I want to make sure that people from outside of the state understand that, just because, politically, we look a certain way, that doesn’t represent the citizens of the state. As conservative as the state is, we want to show that, at least in Durham, there’s a faction of progressive people who don’t believe in HB 2. There’s no money machine behind what we do. We’re just a band of citizens that want to use the platform.

What kind of reaction do you hope his presence at the festival will inspire?

I hope everyone feels welcome. We also partnered with [Grayson Haver Currin’s] organization to make “Welcome to Durham, Y’all” stickers that we’ll have at wristband city.

We want, one, people to feel welcome, and two, feel more empowered on what the ban means, and how they can take part in making a change. We’re not really a political platform, but what I do want people to do is be listening to what Reverend Barber has to say, and then, based on what he feels is the action, that people go back to their respective places, be they Atlanta or D.C. or whatever, and let them know what’s going on.

I don’t believe in HB 2, but I’m not out there like, “Go, Roy Cooper!” or anything like that. But I think that we do have a social responsibility to stand up for what’s right. I see it more as artivism. That’s what I want to do. Jazz, just by nature of what jazz is about, is social protest, social justice music.

Could you tell me a little more about jazz as social justice music?

I think a lot of jazz comes from the experience of the blues. They say you don’t know jazz unless you know the blues. Blues comes from the struggle. One great thing that we’re trying to do, in a very authentic way, is have a presentation this year.

It hasn’t really gotten a lot of attention, but I’m hoping that people will come out.

It’s called A Journey Through the Legacy of Black Culture. We commissioned the Revive Big Band, a twenty-piece big band, to come down from New York. They will walk it down from blues in the 1800s all the way to post-Dilla music. There are features that go in it—three features are the current NEA jazz master Dr. Lonnie Smith, there’s Pharoahe Monch, and there’s Goapele. Just imagine like, the Grammys, with a house band, but it’s a huge house band. These people come out, and it’s almost like edutainment. It really shows how black American music has progressed over the years, but the through line is the struggle. A lot of that sound is the struggle sound.

You’re in year four of the festival now— what do you feel like you’ve learned since you first started?

I’m not surprised anymore, but in the beginning I was very surprised at how this town is a walk-up town. I don’t know if we have a lot of sell-out, big, mega-events in this town. I feel like DPAC does a good job of that, but there’s a culture of people who wait to buy their tickets until the last minute. Over time, we’ve gone through the cycle of being a local festival and having a chip on our shoulder, to where I think we’re on the other side of that this year.

I’m very excited that people really rallied to support us.

"THEY SAY YOU DON'T KNOW JAZZ UNLESS YOU KNOW THE BLUES. BLUES COMES FROM THE STRUGGLE."

Your day job is working as a biostatistician, a field that seems really disparate from the world of running a music festival.

But is there anything from the biostatistics job that you’ve been able to apply to Art of Cool?

I think one thing that my day job gives me is a level of comfort and stability. When we can create what we want to do, there’s this fearlessness of, I’m not going to lose my house over this, or not going to be able to eat because of this. That, in itself, gives this base of stability to be able to think way outside of the box on what we can accomplish. And the other thing is, I’m very organized. Templates, line sheets— I’m a “check the box” kind of person. That spills over into structure and formatting things. There’s a time where I’m super creative, and there’s a time were I’m very lined up. You have the receipts. I read every contract—our attorneys do that, but I read every contract. Even the booklets. Everyone’s like, “Oh, it looks great!”

But I’m like, “This needs fixing, and this, and this.” Those kinds of skills and paying attention to detail and being organized— because I’m a mathematician, there are certain ways and steps to get to something, certain problem-solving skills and looking for alternate solutions.

When you find yourself getting overwhelmed, what do you do to pull yourself back from it?

I work on other things. Even though it’s related to music, when I don’t feel like working on Art of Cool that day, I do stuff for Beyu. That’s fun, because it’s me helping someone else. It’s still music-related.

I’m looking forward to that. I have two new projects this summer to work on that I’m excited about. I’ve focused a lot of my attention to getting the foundation for Start of Cool [AOC's music education program] and bringing it into more schools.

Durham’s been changing a lot in the four years that AOC fest has been running.

Where do you feel the festival fits in?

We’ve managed to see the direction Durham is going, so the [Innovate Your Cool] conference within the festival has been a good look. That’s us trying to remain Art of Cool and fit in with the landscape, but the twist is, it’s not exclusive just to the tech community. We want to make it accessible to everybody. It’s free, so you do not have to pay or have a badge to partake—I think that’s where you get into trouble. It opens up those experiences. ahussey@indyweek.com INDYweek.com | 4.26.17 | 25

The Shape of Jazz

DURHAM A-Z: J IS FOR JAZZ OPENING PARTY

COINCIDING WITH ART OF COOL, A DOWNTOWN MUSEUM EXHIBIT PLUMBS THE DEPTHS OF DURHAM’S MUSIC HISTORY

Thursday, April 27, 6 p.m., free Museum of Durham History, Durham www.museumofdurhamhistory.org

BY ERIC TULLIS As part of their work assembling the Museum of Durham History’s new Durham A-Z: J Is for Jazz exhibit, cocurators Sharon Coor Barry and Sonya Laney held a communityfocused “reminiscing session” to suss out the most fertile years of Durham’s half-century history of jazz. Saxophonist Ira T. Wiggins, North Carolina Central University’s longtime director of jazz studies, piped up with an unexpected response: “Right now.”

The revelation doesn’t undermine the bustling era in, say, the early seventies, when legendary jazz trumpeter Donald Byrd arrived at N.C. Central University for a teaching position, effectively transforming the school’s jazz curriculum to produce crossover jazz-funk acts like the New Central Connection Unlimited (N.C.C.U) and 125th Street Band. Nor does it devalue

26 | 4.26.17 | INDYweek.com

the contributions of Durham-based jazz anchors such as Stanley Baird, Chip Crawford, Eve Cornelious, Nnenna Freelon, Branford Marsalis, and the late composer Yusuf Salim, to name a few.

But during Jazz Appreciation Month and the hippest, most innovative jazzbased festival in the country, the J Is for Jazz exhibit will acknowledge that same “right now” notion by publicly documenting the culmination of years of local jazz brilliance, from the Byrd era through what some might call the Art of Cool era—both of which can be linked directly to NCCU’s jazz program.

“We’re going to tell the story of that relationship between the universities and the community,” says Barry. “We’re going to tell how the city has nurtured jazz students

and where some of them are today.”

The multimedia exhibit will take up a modest two walls inside downtown’s Durham History Hub and feature a rarely shown documentary about Yusuf Salim.

It will function as somewhat of a generational and cultural reconciliation of the art form, much like how the Art of Cool Festival has aimed to merge traditional jazz heads with new-school fusion fans. But you might not even have to look any further than the exhibit’s curators to find what Barry calls the “unifying force” of jazz.

Separated by forty years in age, Barry and Laney came to the project from opposite backgrounds. Barry, who’s in her sixties, grew up in Harlem listening to jazz; her close cousin Curtis Fowlkes is an accomplished trombonist. The twenty-five-

year-old Laney, on the other hand, had practically no past relationship with the genre until she volunteered to cocurate the exhibit as her capstone project in UNCGreensboro’s Masters of Arts in Museum Studies and Public History program.

Laney’s initial research immediately lit her intrigue of, as she puts it, “how the Durham community rallied around these academic programs to create a city-wide atmosphere that was really responsive to jazz.”

That community rallying continues as the Art of Cool Festival celebrates its fourth year downtown, with J Is for Jazz acting as the official kickoff event.

“The legacy of jazz is a continuum,” says Barry. “I do believe that jazz holds a particularly interesting hold on people.” music@indyweek.com

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PET

A Temporary Condition

WEEK

BY BRANDON SODERBERG

PHOTO BYANNIKA HUGOSSON

of the

CLARA is a very shy and worried 2 year old dog who tries her best to be cooperative and social. Though it may take her awhile to warm up, she is polite and gentle when she does.

Clara will do best in a kind home that will have the patience to help her regain self confidence and enjoy life again. She seems to like other dogs and may even prefer to be a second dog.

Clara is currently in foster care, so if you are interested in meeting her, please contact APS at 919-560-0640.

If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com 28 | 4.26.17 | INDYweek.com

ONSTAGE OR IN A MUSEUM, GEORGE CLINTON'S CULT OF PERSONALITY KEEPS ON FUNKING

I

t wasn’t a national election year, but in 1975 George Clinton was campaigning with a whole new plan for the country.

On the title track to Parliament's Chocolate City, over an instrumental brimming with black music history, past, present, and future— searching Coltrane horn-drone, Thelonious Monk-like piano-pounding, Nina Simone-like wails, James Brown-tightened soul, and futurist synthesizers—Clinton cooks up a whole new cabinet: Muhammad Ali is the President, Reverend Ike is Secretary of the Treasury, Richard Pryor is Minister of Education, Stevie Wonder is in charge of the arts, and Aretha Franklin's the First Lady.

“They still call it the White House, but that's a temporary condition,” Clinton quips early in the song. And later on, “We didn’t get our forty acres and a mule, but we did get you CC.” Here, Clinton and company celebrate a majority black city, a glimmer of hope in the hangdog seventies, and make it empowering, silly, and literal: Chocolate City’s cover art shows a coin featuring the Lincoln Memorial, the Washington Monument, and the Capitol Building all drenched in chocolate.

“One day, sitting around the house, I heard someone on the news saying that Washington, D.C., was eighty percent black. A little light went on in my head,” is how Clinton describes Chocolate City's concept in his 2014 autobiography, Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard On You?: A Memoir.

More than all the great songs and all the great songs that sampled or swiped moves from P-Funk, the most lasting legacy of Clinton, who headlines Art of Cool this weekend, is the way in which he cultivated a cult of personality and a radical prism through which his many fans might better understand the world, find some hope, and fit in.

You see Clinton’s world building in Beyonce’s Beyhive, in Lady Gaga’s Little Monsters, and in whatever it is Lil

George Clinton PHOTO BY WILLIAM THOREN

GEORGE CLINTON

Saturday, April 29, 7:45 p.m., $30–$265 Carolina Theatre, Durham www.aocfestival.org

B has kept going for a decade. It’s in those listeners who dissect the nooks and crannies of every Kendrick Lamar song, and in any number of scenes or political factions demanding full-stop dedication, for better or worse. Really, the whole Internet full of subcultures and communities leaking into real life feels rather P-Funkish, a too-much-at-once maximalism that we all live now, thanks to the Internet and late-capitalist chaos. Clinton captured it decades ago when sensory overload was an everyday happening for young black men and women bombarded by racist contrarianism, micro-aggressions, macro-aggressions, and threats of violence.

Born in Kannapolis, North Carolina, Clinton jumped to Philly then Jersey, then Detroit, Michigan, (another chocolate city) where he constructed warped takes on Motown by way of his disheveled doo-wop crew, the Parliaments. His integrity and hardheadedness were so strong that he didn't know how to go pop on anybody else's terms. Hip to Jimi Hendrix and Sly Stone's political rock squeal, Clinton founded the hard-rocking Funkadelic and, later, the hard-funking Parliament. These two sonically distinct outfits mostly shared members and became the new vanguard of black music. Bass hero Bootsy Collins left James Brown’s band to join Parliament because, increasingly, he couldn't get down with J.B.’s despotic utopianism music— especially once LSD showed up and broke Bootsy’s brain into a thousand puzzle pieces. P-Funk was a better fit.

Fully operational, the P-Funk cult strutted through the seventies, cranking out bouncing hits and a wild live show marked by out-there costumes and characters, and a mother ship that would fly off to a better world at the end of their concerts. Because great things can’t last forever, P-Funk collapsed due to record-label nonsense in the eighties—Clinton still had hits, especially 1982’s "Atomic Dog," but something was lost in the music that followed. From there, Clinton became a uniting figure for generations, influencing everything, inspiring crowd-surfing frat boys, grown folks at fests like Art of Cool, and cosigning fellow pop freaks such as OutKast and Kendrick Lamar.

Clinton’s influence is so wide-ranging

that nearly every performer with a touch of rhythm in them, including most at Art of Cool, wouldn’t be around without him. The Art of Cool performer most similar to Clinton, however, is activist minister Reverend William Barber II. Clinton “thr[ows] the standard gospel-soul formula (‘We Shall Overcome’) on their heads,” Rickey Vincent writes in Funk: The Music, the People, and the Rhythm of the One. Barber, though a touch more grounded, pretty much does the same. He’ll be speaking at Art of Cool about HB 2 before Common’s performance Friday night.

And at the Democratic National Convention, where most non-North Carolinians first encountered Barber, he presented a reading of Christ that, for many, might be as out-there as Clinton’s funk-ified biomythography making, “Jesus, a brown-skinned Palestinian Jew, called us to preach good news to the poor, the broken, and the bruised and all those who are made to feel unaccepted,” Barber declared not long before Hillary Clinton closed the DNC. “In Chocolate City, we had imagined a black man in the White House,” Clinton writes in his autobiography. “That would take thirty-four years to come true.”

Two years after Chocolate City though, Clinton warned of the whitelash, as it were, on 1977’s Funkentelechy Vs. the Placebo Syndrome. There, he demanded everybody arm themselves with “the bop gun,” turning funk into a literal weapon to combat squares and assorted honky bullshit.

The bop gun was mostly aimed at Sir Nose D’Voidoffunk, a whiny square who wouldn’t give up the funk.

Chocolate City feels like it’s run by a cavalcade of Sir Nose D’Voidoffunks these days. The gag on the song was how outrageous of an idea a White House stacked with likeminded radicals from the fringes of the mainstream would be; now we have a reality show president and number of nutbars from racist corners of the Internet consulting him.

But not too far from the White House, on the top floor of the newly opened National African-American Museum of History and Culture, P-Funk’s mother ship is parked. The original mothership got scrapped back in the eighties when P-Funk’s money was a mess, so the museum item is a replica. But it’s still soaked in plenty of funk from the nineties, when George Clinton's star rose again. It’s not the Clinton-appointed cabinet imagined back in 1975, but a gesture toward something restorative nonetheless. music@indyweek.com INDYweek.com | 4.26.17 | 29

final round of voting open now!

Voting open through May 7!

Vote for your favorite finalists!

Best Of Winners announced in our June 7 issue WANT ADDITIONAL INFORMATION ON HOW TO PROMOTE YOUR BUSINESS? Please contact your INDY Week representative or advertising@indyweek.com www.indyweek.com 30 | 4.26.17 | INDYweek.com

Jazzed Up

THE INDY PICKS THE SIX CAN’T-MISS CONCERTS OF ART OF COOL 2017 COMMON For the first time in Art of Cool Fest history, tbe Durham Performing Arts Center will be used as one of its official venues, and who better to christen it for the festival than one of the patron saints of hip-hop: three-time Grammy Award-winning Chicago emcee Common? It’s been twenty-five years since his debut LP, Can I Borrow a Dollar, gave us the same Windy City rap wit that would become a through line connecting his next ten albums. But in between the beats and rhymes, Common evolved into both a social justice warrior and an accomplished actor, advancing his star power far beyond what anyone could have imagined. Fortunately, the music never suffered as a result, as evidenced by last year’s Black America Again.

There, producers Robert Glasper and Karriem Riggins gave Common the palette to speak to sociopolitical matters and talk the same shit we fell in love with on albums like Resurrection and Like Water For Chocolate.

Yeah, he’s a super-celebrity now, but he’s not above breaking out into a windmill during his set. —Eric Tullis SATURDAY, DURHAM PERFORMING ARTS CENTER, 9:15 P.M. GOAPELE Oakland-born soul singer Goapele Mohlabane's signature sound is a captivating melange of pulsing R&B and jazz-inflected phrasing, placing the one-time Berklee College of Music attendee squarely in the storied tradition of neo-soul giants like Sade and Erykah Badu. A decade and half into a recording career that began with 2001's fully formed Closer, Goapele's steady commercial climb has brought her to the brink of a mass audience, with the attendant high-profile bookings and big-ticket collaborations—at Art of Cool, she joins the Revive Big Band on a journey through the history of black American music. Goapele is an outspoken champion for human rights whose political activism is a birthright; as the daughter of an exiled political opponent of South African apartheid, she’s worked tirelessly for causes within the Bay Area community and beyond. —Elizabeth Bracy SATURDAY, CAROLINA THEATRE, 9 P.M.

St. Beauty

PHOTO BY JULIUS HIGH

GOLDLINK Though it might seem novel to hear Drake rap over a balmy deep-house instrumental, ample evidence suggests he wouldn’t bat an eye at the style if savvy trendsetters like Goldlink didn’t make it seem appealing first. On this year’s brilliant At What Cost, the buzzy D.C. rapper continues to masterfully marry the soft, sunny sounds of recent postmodern dance and R&B (Kaytranada and The Internet glide in for features) with his signature brand of hard-hitting, go-go-inspired street rap. When so many artists are grafting their rhymes to limp house-inspired “vibe” beats, Goldlink’s engaging creativity is a breath of fresh air.

—David Ford Smith FRIDAY, MOTORCO, 11:30 P.M. RAPSODY As one of North Carolina’s freshest rising emcees, Rapsody has crossed paths with Kendrick Lamar, Dr. Dre, and Talib Kweli, increasing her name recognition alongside some noteworthy cosigns. But on her latest LP, last year’s Crown, Rapsody is the only name deserving your complete attention, even amid a few notable guests. Part of Rapsody’s appeal is her ability to remain true to her rural North Carolina roots, spinning tracks that are deeply personal yet widely accessible. “Gonna Miss You” is slick and satisfying, while “2 AM” and “Crown” go down smooth and easy. Rapsody appears as confident and fierce as ever, royally ready to command the stage. —Elizabeth Byrum SATURDAY, DURHAM PERFORMING ARTS CENTER, 8:15 P.M.

LONNIE SMITH That’s Doctor Lonnie Smith to you. The jazz organist isn’t a Ph.D. proper, but he’s earned the nickname on account of his virtuosic improvisational abilities, the sort of improvisational prowess that leads to collaborations with Dizzy Gillespie, Ron Carter, and Etta James. Dr. Smith’s been in (and has heavily influenced) the jazz game since the late fifties, and as the 2017 recipient of the National Endowment for the Arts Jazz Masters Fellowship, his legendary status as a musician is pretty much objectively affirmed. Like Goapele, Smith appears in conjunction with the Revive Big Band Saturday night, offering an opportunity to witness a jazz master who is funky, catchy, and incessantly innovative in equal measure.

—Noah Rawlings SATURDAY, CAROLINA THEATRE, 9 P.M. ST. BEAUTY The story of St. Beauty is that two young women, Isis Valentino and Alex Belle, met while working together at a vintage shop in Atlanta. They gradually found themselves collaborating on music, eventually earning an enthusiastic endorsement from the Janelle Monáe-led Wondaland collective. Songs like “Going Nowhere,” the duo’s first single, and the newer “Borders” are slinky, mid-tempo numbers that toe the line between being easygoing, laid-back tunes and sultry slow jams. The duo performs on the later end of the evening at The Pinhook, which ought to be the perfect hour to take them in. —Allison Hussey FRIDAY, THE PINHOOK, 11:15 P.M. music@indyweek.com

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indystage T

he three most recent bookings in Durham Independent Dance Artists’ third season illustrated an implicit unified vision: a commitment to programming works that urge us to reconsider our expectations of what dance, and dance audiences, can be. DIDA artists pursue this provocation in different ways. Some use technical training in modern dance to twist away from convention. Others move unexpectedly in expected venues, or take us into places we wouldn’t normally associate with dance.

Rarest are those who use movement and site to explicitly interrogate dance’s social and cultural value. DIDA’s three spring shows approached the central question—why do we do this?—with varying degrees of legibility and urgency. For a dance scene and an organization nested in a complex city, these qualities are, and should be, high-stakes.

WHAT YOU WANT was Allie Pfeffer and Alyssa Noble’s collaborative choreographic debut. Exchanging solos, they worked to find their groove together while retaining what sets them apart. Noble kept her gestures close, hewing to an introverted energy.

Pfeffer pushed outward, her spatial attention gloriously thrown to all places at once. Their dynamic came into relief when they took turns performing a slow, deep plié, their bodies cantilevered, with archer-like arms.

The rigor of contemporary concert dance was on display in lengthy movement phrases, balanced, albeit unevenly, against theatrical vignettes. I wished the two had shared the stage more in both cases. This would’ve helped us grasp how their relationship as movers compelled a show concerned with “learning to live life with agency.”

This theme was most apparent in an early bit in which Pfeffer, sitting downstage, shouted instructions to Noble, perched on a Twister board while conducting a tense phone call. The game escalated and abstracted from statements like "right hand, blue" to "ego, yellow." It’s clear that they were thinking through expectation, authority, and self-care. But when the lights cut out and a new dance began, the preceding scene felt like a misplaced modifier, unfurnished and unresolved.

More than midway through, an intriguing “optional ten-minute pause” floated from the speakers like a flight attendant’s recording. The voice informed us the performers had “shit to do” and encouraged us to find 32 | 4.26.17 | INDYweek.com

ALYSSA NOBLE & ALLIE PFEFFER: WHAT YOU WANT HH ½ February 24 & 25 Living Arts Collective, Durham

Spring Awakening

ASSESSING DIDA’S THREE MOST RECENT SHOWS ACCORDING TO THE PRESENTER’S IMPLICIT VISION OF DANCE WITHOUT BORDERS

BY MICHAELA DWYER

Matthew Young and the Department of Improvised Dance wine in the lobby. Onstage, Pfeffer and Noble checked emails and folded laundry, performing and slyly critiquing the roles of working artists who wear multiple hats. But when the scene shifted to a seductive duet with a mop, set to Usher’s “Yeah!”, the movement felt inside-jokey at best, appropriative at worst.

PHOTO BY TIM WALTER

Of what use is this moment? That’s a question this dance never resolved.

On Easter evening, the six performers in The Department of Improvised Dance’s SET AND SETTING loped, bounded, and slithered between center stage and the periphery of the ballroom at 21c Museum Hotel.

THE DEPARTMENT OF IMPROVISED DANCE: SET AND SETTING HHH April 16 & 17 21c Museum Hotel, Durham

They threw themselves into one another, arms cradling falling bodies. They piled up like rugby players. Their eyeballs conducted dances of their own.

This is the second time DIDA has programmed Matthew Young’s work, suggesting that improv can be to-do in Durham: as in, get drinks downtown and watch some improv. I get the appeal. Framed this way, contact improv can look like concert dance without being concert dance. These six dancers represented a range of approaches to movement and stillness. Some fell into more rote modern dance moves while others followed pedestrian motions toward impossible shapes.

With a piece called Set and Setting, however, I expected to see a freer exploration of the performers’ relationships to inputs outside their bodies. There was, of course, the live music, composed and performed

by D-Town Brass, a twelve-member group wearing black graduation robes. It was a beautiful, multidimensional score that lurched, became frenetic, and eerily mellowed around the pings of a vibraphone.

But for a show grounded in improv, the performers’ reactions to the music sometimes felt rehearsed, and when a train whistle sounded outside, they almost seemed intent on ignoring it, as if a ringtone had unleashed havoc at the ballet. Improvisational practice doesn’t mandate a specific kind of responsiveness. But the program notes promised that the audience would be “part of what is created,” and the audience is more than bodies sitting in a horseshoe shape. It’s living context, combining with the weight of the air, the ambient noise, and the fact that we were occupying a building that once housed a bank.

Another note on context: at Sunday’s showing, the performance began with cast members reading recent newspaper headlines about the Syrian refugee crisis, HB 2, and Trump’s latest orders. Of course, these things aren’t things. They are harbingers of physical and rhetorical violence, of government complicity in a broad spectrum of abuses. There was something about incorporating this material so overtly as set—and neither circling back to it nor fleshing it out—that diminished how deeply rooted it is in our shared setting.

In the choreographer’s note for A PIECE OF PARADE, Porter Witsell insisted that she

PORTER WITSELL: A PIECE OF PARADE HHHH February 18 & 19 The Vault, Durham www.didaseason.com

didn’t make the piece, but the forty-minute work, performed underneath The Palace International, was anything but anonymous. Fourteen local performers, including “a poet, a house painter, a violinist, a person who works at an LED factory cutting crystals for wafers, a mathematician, a college librarian, a middle schooler who loves to dance, a father,” brought “three different first languages” to bear. Many had never performed before an audience.

The work, then, was more invested in process than product. By assembling this group to create Parade, Witsell challenged the notion that dance must come from specific histories of training. When a diverse network of people creates the material, and thus, the terms on which we watch it, we become accountable to the material, and to one another, in a clearer, or at least different, way than usual. This ethos reminds me of the work of Minnesota-based dance group Emily Johnson/Catalyst, whose performance installations emerge from longterm collaborations between artists and community members and relate to a place’s history and infrastructure.

The performers in A Piece of Parade modeled this vision of accountability by sharing the ways they see the relationship between “art and performance” and “real life.” They wove their questions and desires into each movement sequence, each spoken statement like a miniature manifesto: I see

no prisons. No borders. During the war, there is no time to dance, no time to be creative.

The ways these performers moved together also proposed a value, and a real joy, in feeling and bearing one another’s weight. Across several short scenes, the performers huddled together, climbed on one another’s backs, and emerged from the audience’s idiosyncratic seating (it included an antique chair with giant wheels and a seesaw) to perform a duet.

As Witsell expected, much of the audience was composed of the performers’ friends and families. But I was there, too, crouched on a wooden board in the front row. As I paused to detail the look of a certain phrase, I was aware that I was missing something else onstage: a knowing grin, a nudge to pass a flashlight. Pen down, I realized I could see the tiniest increments of choreography, like a performer’s eyes opening and closing as he spoke: ¿Cuando fue la última vez que viste las estrellas con los ojos cerrados?

Watching this attentive, sometimes wobbly, necessarily imperfect dance unfold felt like waking up to something new. It was the rare movement-based work that struck a balance between clarity of vision and experimentation. And in the context of DIDA’s spring offerings, it pushed the organization’s promise of dance community and accessibility further than ever before. arts@indyweek.com

Alyssa Noble and Allie Pfeffer PHOTO COURTESY OF ZOE LITAKER PHOTOGRAPHY INDYweek.com | 4.26.17 | 33

4.26–5.3

WHAT TO DO THIS WEEK Joy Meyer’s multi-channel video “The Story of an Hour” is part of Time Will Tell at the Ackland. PHOTO STAGE

FRIDAY, APRIL 28

TREVOR NOAH

I guess I can grasp someone not liking Trevor Noah’s The Daily Show, though I enjoy it. Jon Stewart held the satirical news program’s anchor desk for so long that, for some, there was no replacing him, certainly not with a comedian who was virtually unknown in the U.S. But not liking Trevor Noah, full stop? That I don’t get. Noah is one of those rare comedians who seems custom-built for HDTV, radiant with good-natured appeal, like a handsome baby who’s always fresh out of a bubble bath.

With his boyish affect and his background as a South African with a black mother and a white father, Noah can go places a white or even a black American comedian can’t, and he has updated The Daily Show for the intersectional era. Now you can experience the stand-up behind his friendly, quizzical hosting style at DPAC—if, that is, you can get wait-list tickets for his two sold-out shows. If not, there’s always his recent Comedy Central stand-up special, Trevor Noah: Lost in Translation.

—Brian Howe DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 & 10 p.m., $40–$75, www.dpacnc.com

ART

THURSDAY, APRIL 27

HORSE & BUGGY PRESS AND FRIENDS GRAND OPENING

In January, we reported on the move by letterpress shop and art gallery Horse & Buggy Press from downtown Durham to near Duke’s campus, where proprietor Dave Wofford hopes to synch with Broad Street neighbors, such as Craven Allen Gallery and Joe Van Gogh, to spark an arts-and-social destination outside of the downtown loop. In the handmade Horse & Buggy mode, the space was furbished by local tradespeople, from Ben Galata’s “pierced joinery door pulls” to Marc Smith’s “museum quality furniture pieces and shelving displays,” as lovingly detailed by Wofford. Now the space is reopening as Horse & Buggy Press and Friends, effectively absorbing Wofford’s former Bull City Arts Collaborative coworking space. At Thursday’s grand opening, get your first look inside, which will be decked out with works by more than twenty Southeastern painters, printmakers, photographers, textile artists, garment makers, glassworkers, potters, carpenters, jewelry makers, and metalworkers. Regular gallery hours begin in May (Tuesday through Saturday, 11 a.m. to 3 p.m.). Starting in June, a monthly open house from 5 to 8 p.m. aims to make Second Thursdays a thing. —Brian Howe 1116 BROAD STREET, DURHAM 5–9 p.m., free, www.horseandbuggypress.com

34 | 4.26.17 | INDYweek.com

COURTESY OF THE GALLERY

STAGE WEDNESDAY, APRIL 26–SUNDAY, APRIL 30

MR. JOY

The pillars of a community aren’t always where you expect to find them. The title character in playwright Daniel Beaty’s oneperson show is a Chinese shoemaker with a small store in Harlem, the sudden closure of which shakes the lives of his neighbors. In the work’s 2015 world premiere, Tangela Large drew praise for her range in covering the play’s nine characters, who include a vibrant, HIV-positive eleven-year-old, a black Republican real estate developer, and a transsexual flight attendant. As their tales unfold, we learn how deeply Mr. Joy touched each person’s life, in a work that speaks to his community, his past, and our future. —Byron Woods PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL 7:30 p.m. nightly & 2 p.m. Sun., $35–$53, www.playmakersrep.com

Sarah Shook PHOTO BY BEN MCKEOWN

ART

THURSDAY, APRIL 27

TIME WILL TELL

In Time Will Tell, the Ackland Art Museum features the works of UNC-Chapel Hill’s MFA class of 2017, which comprises artists Luke Firle, Wayne Marcelli, Joy Meyer, Vanessa Murray, Emily J. Smith, Louis Watts, and Lamar Whidbee. Their work varies significantly in medium, form, and subject matter: Marcelli and Whidbee often work through political ideas via figurative painting, while Meyer and Watts frequently employ nonobjective or multimedia representational techniques. The title of the exhibit has a winking double meaning, as each artist explores his or her individual relationship to time—and each makes a case for a prospective career. After this opening reception, the exhibit runs through June 4. —Noah Rawlings ACKLAND ART MUSEUM, CHAPEL HILL I 5–9 p.m., free, www.ackland.org

MUSIC

THURSDAY, APRIL 27

CHARLY BLISS

Self-described as “bubble-grunge,” Charly Bliss manages to simultaneously hit two extremes of the nineties alt-rock spectrum as distorted guitars race and snarl around Eva Hendricks’s gleeful vocals, which turn on a dime from soft coo to ecstatic squeal. But her chipper voice betrays the heavy themes that lie below the surface of the songs. “I cry all the time/I think that it’s cool/I’m in touch with my feelings,” she offers at the outset of the quartet’s new LP, Guppy. From there, the band uses shout-along lyrics and sunny melodies as devices to dive deep into a well of vulnerability, exploring a variety of emotional scars and relationship pitfalls while also addressing misogyny, therapy, and insecurity. Buoyed by its subversive formula, Guppy is a fun and instantly catchy debut, stringing together potential hit after hit, with each earworm challenging to oust the last. The Dead Bedrooms, a new rock quartet out of Raleigh, open. —Spencer Griffith NEPTUNES PARLOUR, RALEIGH

MUSIC

I 9 p.m., $10, www.kingsraleigh.com

FRIDAY, APRIL 28

SARAH SHOOK & THE DISARMERS

Sarah Shook self-released her debut LP with the Disarmers, Sidelong, in late 2015, after deciding to buckle down and focus on building a serious career as a musician. Her hard work paid off: the swinging, heart-onsleeve honky-tonk tunes of Sidelong made the record one of the year’s local greats. This week, it gets a major bump into the national spotlight through Chicago’s Bloodshot Records, the renowned alt-country label responsible for the original release of Ryan Adams’s Heartbreaker. Locals might’ve heard all of these songs before, but Sidelong’s shine hasn’t diminished. This show also marks the return of Two Dollar Pistols, John Howie Jr.’s cracking country band, which hasn’t performed together since 2011. Prepare for a rowdy, rollicking good time. —Allison Hussey Mr. Joy star Tangela Large PHOTO

COURTESY OF PLAYMAKERS

CAT’S CRADLE BACK ROOM, CARRBORO

I

9 p.m., $12, www.catscradle.com

WHAT ELSE SHOULD I DO?

ART2WEAR AT N.C. STATE (P. 41), ART OF COOL FESTIVAL IN DOWNTOWN DURHAM (P. 24), INDEPENDENT BOOKSTORE DAY AT VARIOUS BOOKSTORES (P. 44), MARJORIE PRIME AT MANBITES DOG (P. 43), REDD KROSS AT THE PINHOOK (P. 37), N.C. OPERA’S THE PEARL FISHERS AT MEMORIAL AUDITORIUM (P. 38), TWO TRAINS RUNNIN’ AT WAKE TECH (P. 43) INDYweek.com | 4.26.17 | 35

SA 5/6 @NC MUSEUM OF ART

TU 5/2

BLACK LIPS FR 4/28

4/26 DOPAPOD W/ GROOVE FETISH ($13/$15) 4/28 SOMO W/CARTER REEVES, DEMARIOUS COLE ($25/$30)

5/13 GREG HUMPHREYS

SU 4/30

AB-SOUL

5/17 THE DEER

5/19 HAAS KOWERT TICE ($12/$15)

FR 5/5

ADRIAN BELEW POWER TRIO

5/20 SCHOOLKIDS RECORDS

LABEL LAUNCH PARTY

W/ THE VELDT, HAPPY ABANDON

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

5/21 WAY DOWN WANDERERS ($11/$13)

5/7 CREED BRATTON ($15)

5/23 DEAD MAN WINTER (FEAT. DAVE SIMONETT OF TRAMPLED BY TURTLES)

FR 4/28

5/24 TOBIN SPROUT W/ ELF POWER ($13/$15)

GENERATIONALS

5/25 VALLEY QUEEN AND

@HAW RIVER BALLROOM

5/11 CRANK IT LOUD PRESENTS

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

5/12 STRUTTER: A TRIBUTE TO KISS

36 | 4.26.17 | INDYweek.com

UPPER SCHOOL BANDS

+ DEX ROMWEBER & JEN CURTIS

4/30 AB-SOUL W/ NICK GRANT ($22.50/$25)

5/10 SLOWDIVE W/ CASKET GIRLS ($36/$39)

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

5/16 JENNIFER CURTIS & CFS

5/18 CORY WELLS W/ DRISKILL, ANNE-CLAIRE ($6/$8)

5/9 X 40TH ANNIVERSARY TOUR ALL ORIGINAL MEMBERS! W/ SKATING POLLY ($20/$23)

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

ELECTRIC TRIO

W/ DYNAMITE BROTHERS ($12/$15)

4/29 A CONCERT TO BENEFIT REFUGEES: DELTA SON W/ DAVE WIMBISH OF THE COLLECTION ($10)

5/2 BLACK LIPS W/ SURFBORT, THE NUDE PARTY ($14/$16)

CAT'S CRADLE BACK ROOM

5/14 SARA WATKINS SEATED SHOW ($18/$22)

4/27 THE WILD REEDS AND BLANK RANGE W/ KATE RHUDY ($12/$14)

5/15 WARPAINT ($20)

4/28 SARAH SHOOK & THE

5/16 WHITNEY W/ NATALIE PRASS ($16) 5/17 NEW FOUND GLORY W/ TRASH BOAT ($22/$26) 5/19 PERFUME GENIUS W/ SERPENTWITHFEET ($17/$19) 5/20 SAY ANYTHING / BAYSIDE W/ HOT ROD CIRCUIT ($21/$23) 5/23 TIGERS JAW W/ SAINTSENECA, SMIDLEY ($16/$18) 6/3 DELTA RAE W/ LAUREN JENKINS ($25/$28) 6/5 CAR SEAT HEADREST W/ NAP EYES ($17/$20) 6/6 THE ORWELLS ($18/$20) 6/7 BROODS ($20/$22) 6/17 MISTERWIVES ($20/$23) 6/21 LIZZO ($18/$30)

DISARMERS AND SOLD TWO DOLLAR PISTOLS OUT 4/29 THE DEAD TONGUES / LOAMLANDS W/ MOLLY SARLE ($10)

4/30 SEAN ROWE W/ FAYE WEBSTER ($12) 5/2 SWEET CRUDE

CHRISTOPHER PAUL STELLING ($10/$12)

5/26 ZACH WILLIAMS (OF THE LONE BELLOW) ($17/$20)

ARTSCENTER (CARRBORO)

5/6 BOMBADIL W/ CLAIRE HITCHINS ($18/$20) 5/14

ROBYN HITCHCOCK**($20/$23) 6/14 STEVE GUNN AND LEE RANALDO W/ MEG BAIRD ($18/$20) KINGS (RAL)

5/3 ANDY SHAUF W/ JULIA JACKLIN ($13/$15) 5/10 RUN RIVER NORTH W/ ARKELLS, COBI ($15/$17) RED HAT AMPH. (RAL)

5/14 THE XX LINCOLN THEATRE (RAL) (TICKETS VIA TICKETMASTER)

5/1 THE NEW PORNOGRAPHERS W/ WAXAHATCHEE ($30) (MOVED FROM THE RITZ))

NC MUSEUM OF ART (RAL)

5/6 MIPSO W/ RIVER WHYLESS

6/1 GRACE: A TRIBUTE TO JEFF BUCKLEY ($10)

6/5 FOUR VOICES:

6/4 (SANDY) ALEX G W/ JAPANESE BREAKFAST, CENDE ($14/$16)

JOAN BAEZ, MARY CHAPIN CARPENTER AND INDIGO GIRLS AMY LD RAY & EMILY SALIERS SO OUT

6/6 JUNIOR ASTRONOMERS W/ COLD FRONTS ($8/ $10)

6/9 TEGAN AND SARA 6/13 KALEO

6/7 GRIFFIN HOUSE ($20/$23)

6/18 JASON ISBELL LD & THE 400 UNIT SO OUT 6/24 SHERYL CROW

5/3 CLAP YOUR HANDS SAY YEAH W/ LAURA GIBSON ($16) 5/5 MELODIME W/ MATT HIRES, ANTIQUE HEARTS ($10/$12)

6/9 JONATHAN BYRD ($18/$20) 6/10 MYSTIC BRAVES PLUS VERY SPECIAL GUEST THE CREATION FACTORY ($10)

5/6 SHANNON MCNALLY ($17/$20)

6/14 JOAN SHELLEY W/ JAKE XERXES FUSSELL ($13/$15)

5/8 THE BESNARD LAKES W/ THE LIFE AND TIMES ($12) 5/10 TWIN PEAKS

SEAN ROWE

5/31 LEIF VOLLEBEKK ($12/ $14)

6/8 WHITE REAPER ($10)

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

SU 4/30 @CAT’S CRADLE BACK ROOM

5/28 MOONCHILD ($12/$15)

W/ MOTEL RADIO, LOVE AND VALOR ($10)

6/15 MARSHALL CRENSHAW Y LOS STRAITJACKETS ($20) 6/17 BARNS COURTNEY ($14/$16)

7/22 MANDOLIN ORANGE W/ JOE PUG 7/31 BELLE AND SEBASTIAN AND ANDREW BIRD 8/1 AMERICAN ACOUSTIC TOUR W/

PUNCH BROTHERS & I’M WITH HER HAW RIVER BALLROOM

7/6 MATT PHILLIPS /

YOUNG MISTER

5/12 ERIKA WENNERSTROM

4/28 GENERATIONALS W/PSYCHIC TWIN ($14/$16) 6/11 JAMES VINCENT MCMORROW ($20/$22)

W/ CHRIS FRISINA

SHAKORI HILLS COMM. CTR.

(EARLY SHOW, 7:30 PM)

7/30 ROZWELL KID W/ VUNDABAR, GREAT GRANDPA (ON SALE 4/28)

WITH DJ GON AND DJ FM (LATE SHOW, 10:30 PM, 21+, $7)

8/4 RASPUTINA W/ELIZA RICKMAN ($18/$20)

6/22 CHON W/ TERA MELOS, COVET, LITTLE TYBEE ($17/$21)

W/ CHROME PONY, POST ANIMAL ($15)

7/19 JOHN MORELAND SEATED SHOW ($13/$15)

(OF HEARTLESS BASTARDS)

8/28: SHABAZZ PALACES ($17/$19)

SHWIFTY CAT SWING DANCE PARTY

11/7 THE STRUMBELLAS ($22/$25)

MIPSO

THE WILD REEDS

SoMo

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

TH 4/27

@CAT’S CRADLE BACK ROOM

6/22 LAKE

STREET DIVE

($25/$30)

9/30 SYLVAN

ESSO

W/ TUNE-YARDS, WYE OAK, HELADO NEGRO & MORE

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

hill

music

4.26– 5.3

FOR OUR COMPLETE COMMUNITY CALENDAR

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

WED, APR 26 BIG EASY-RALEIGH: Glen Ingram; 6 p.m. • BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • CAROLINA THEATRE: Richard Thompson with The Lowhills; 8 p.m., $29.50. • CAT’S CRADLE: Dopapod, Groove Fetish; 9 p.m., $13–$15 • CAT’S CRADLE (BACK ROOM): Thriftworks, Flamingosis; 8:30 p.m., $15–$17.

Dopapod, Groove Fetish; 9 p.m., $13–$15 • THE CAVE: An Evening with The Figgs; 8 p.m., $10–$13. • CORNER TAVERN: Chris Overstreet; 9 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Magnolia Still; 6:30 p.m. • LOCAL 506: affiance, Sirens and Sailors, Dear Desolate; 9 p.m., $12–$14. • NEPTUNES PARLOUR: Dave Rempis’ Lattice, Local Ensemble: Frank Meadows, David Menestres, Dan Ruccia, Carrie Schull; 10 p.m., $8–$10. • NIGHTLIGHT: 919Noise Showcase; 8:30 p.m., $5–$7 • POUR HOUSE: The Heavy Pets & Backup Planet; 9 p.m., $7–$10. • RUBY DELUXE: Mystery Dance Moms Theatre 3000; 8:30 p.m.

• THE OAK: Live Music Wednesdays; 6:30 p.m. • UNC’S PERSON RECITAL HALL: The University Chamber Players; 7:30 p.m., free.

THU, APR 27 Burnt Paw PRIMITIVE Though Andrew BRIT Green was born in Britain, Burnt Paw—his solo project that’s shown up with increasing frequency on local bills—draws upon intricate, American Primitive-style fingerpicking and the songwriting of bluesy troubadours. Opener Simone Finally is a relatively new arrival to the Triangle; the D.C. transplant adds simple, unadorned folk. —SG [THE CAVE, $5/9 P.M.]

Alan Cumming Sings Sappy Songs STAGE It’s pretty clear what STAR this Scottish and American veteran of stage and screen is up to in his current tour.

Best known for his Tony

Award-winning turn in Cabaret, Cumming premiered this show at New York’s Café Carlyle. The sappy ditties in question include offerings by Billy Joel, Miley Cyrus, and Annie Lennox, and he delivers them with twinkly-eyed panache.

For the true connoisseur of sappy songs and theatricality, this is not one to miss. —DK [DURHAM PERFORMING ARTS CENTER, $35–$85/7:30 P.M.]

Empire Strikes Brass HORNS What better way to A-PLENTY kick off this year’s Art of Cool Fest than with the kinetic, deep grooves of Empire Strikes Brass? The Asheville ensemble kicks up an irresistible New Orleans-style sound that blends jazz, funk, and other high-energy styles. Having just dropped its debut LP in February, the band will surely be in a celebratory mood. —DK [BLUE NOTE GRILL, FREE/8 P.M.]

I Love the 90s OLD Nostalgia’s powerful SCHOOL sway looms large over this package tour that gathers a wide swath of nineties charting acts in a hit-filled revue. Featuring a plethora of artists whose contributions range from the sublime (Salt & Pepa, Coolio) to the narrowly tolerable (Vanilla Ice), the lineup’s discrepancy in billing and talent can’t help but strike a dissonant note. —TB [PNC ARENA, $41–$81/7 P.M.]

Jeffrey Lewis & Los Bolts GANGLY I don’t doubt that GUITAR Jeffrey Lewis has a naturally squeaking, nasally voice. I don’t doubt that his using only a handful of notes throughout an entire song is necessitated by a limited vocal range. I do doubt that he doesn’t amplify these natural traits to gratuitous levels. This bearing of musical limitations occasionally charms in an “I’m a nerdy skinny white guy with a guitar” sort of way, but more often

it comes off as extreme self-caricaturization. With Stray Owls. —NR [THE PINHOOK, $10/9 P.M.]

Local Band Local Beer: The Tills, Pie Face Girls PSYCHED On their new LP, Canon, the Tills lead a wild, careening ride through vintage psych and surf-tinged garage rock, pounding riffs into submission alongside incessant shout-along chants. Pie Face Girls close out the night with crass political punk that pulls no punches, particularly those directed toward the patriarchy.

Greensboro’s Blueberry opens with dreamy bedroom pop that emerges from a heavy haze of reverb. DJ Luxe Posh spins eclectic jams between sets. —SG [POUR HOUSE, $3–$5/9 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • BIG EASY-RALEIGH: Annie Bennett; 6 p.m. • CAT’S CRADLE (BACK ROOM): The Wild Reeds and Blank Range, Kate Rhudy; 8 p.m., $12–$14. • DEEP SOUTH: Tortuga Stone, Raygun Romeo, Same Ol Sin; 8 p.m., $5. • IRREGARDLESS: Multiples with Ellis and Matt; 6-9 p.m. • LEGENDS: DJ Joey; 9 p.m., $3. • MOTORCO: Stop Light Observations, Sun Seeker; 8 p.m., $10–$12. • NEPTUNES PARLOUR: Charly Bliss, Dead Bedrooms; 9 p.m., $10. • O’MALLEY’S TAVERN: DJ David Howell. • UNC’S CENTER FOR THE STUDY OF THE AMERICAN SOUTH: Music on the Porch: Atticus Reynolds Latin Jazz Quintet; 5:30-7 p.m., free.

FRI, APR 28 Foreseen CROSS As many of its OVER thrash-titan predecessors did, Finnish crossover thrashers Grave Danger is punishingly relentless, delivering throat-ripping vocals over lacerating thrash riffs and aggro

Redd Kross

PHOTO BY JON KROP

MONDAY, MAY 1

REDD KROSS

Formed in Hawthorne, California, in 1980 by siblings and teenage punks Steve and Jeff McDonald, Redd Kross has exerted a subtle but formidable influence over the cooler spaces of the music realm over the past four decades. The band’s influence, though, hasn’t been commensurate with its relative obscurity. With roots that run deep in the original SoCal hardcore scene—Redd Kross’s first show was opening for Black Flag—the McDonald brothers quickly established a penchant for rendering melodic tunes in an ambitious variety of styles far beyond the implicit limits of hardcore’s exhausting hard-fast rules. The band’s dabbling deprived it of a natural constituency amid punk and hardcore true believers, but Redd Kross’s vibrant creative wanderlust has nearly always led to great music, while almost inevitably wrong-footing potential consumers.

Cheerfully unselfconscious while rendering a mind-bending amalgam of blooze-addled surf, Sonics-inspired threechord stomp, and occasional forays into easy listening, Redd Kross was aggressively subversive enough to resemble both the Meat Puppets at their weirdest and the Replacements at their most unhinged.

Following their trash-culture debut, Born Innocent, with its paeans to Lita Ford and Linda Blair, the group’s varied influences were cast into bold relief on 1984’s covers-

only tour-de-force, Teen Babes From Monsanto, whose fixations on early rock and glam served to further separate the band from its brethren in aesthetic terms.

Reflecting on that release, which the band is performing in its entirety on its current tour, Steve McDonald recalls: “My brother has always been a rock historian. More than anything I think Jeff viewed Teen Babes as a rock history lesson for punkers, metal heads, or whoever.”

Inevitably swept up into the alt-rock boom of the early nineties, Redd Kross signed to Atlantic Records and released a formidable trio of fuzz-coated power pop records casting a half-hearted eye towards crossover success. When that stardom predictably failed to materialize, the band went on a lengthy hiatus before eventually returning with the characteristically charming 2012 Merge release, Researching the Blues. On its current tour, the wizened music lifers are joined by the similarly stalwart Dale Crover on drums, with the erstwhile Dwarves mastermind already credited with catalyzing a new, more active agenda for Redd Kross. With a busy touring schedule and a new record in the offing, the brothers McDonald appear poised and ready to continue building upon their shimmering, shadowy rock ’n’ roll legacy.—Timothy Bracy THE PINHOOK, DURHAM 8 p.m., $12–$14, www.thepinhook.com INDYweek.com | 4.26.17 | 37

hardcore breakdowns with heavy metal tenacity. It ain’t new or novel, but it’s damned good thrash.

Cary’s Red Death, which leans toward classic D.C. thrash, opens.

—PW [KINGS, $10/9 P.M.]

Generationals BOUNCY Generationals live in & BRIGHT the present, but the band’s shiny sound is a blast from the past. On 2014’s Alix, the band delivered a sweet and synthy mix of sixties pop and eighties new wave. Prepare to dance all night long to these infectious retro vibes.

Psychic Twin opens. —EGB [HAW RIVER BALLROOM, $14–$16/9 P.M.]

Richard Goode LATE Beethoven’s PIANOS thirty-two piano sonatas cover nearly as much musical territory as his sixteen

string quartets, from the early precocious classicism to the late digressive contemplations of the universe. Richard Goode, one of the best American interpreters of Beethoven, will focus on the composer’s later side, performing numbers 28, 30, and 31. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$48/8 P.M.]

Hunter Hayes NEW A one-man study in COUNTRY the commercial power of tedium, child star turned new country heartthrob Hunter Hayes has turned a facility for risk-averse, treacly love songs into a legions-deep following. He never bothers to trouble the waters in his material with problematic distractions like nuance, wit, or musical variance. —EB [THE RITZ, $37–$62/8 P.M.]

Lemon Sparks POWER A Raleigh three-piece POP with charm and hooks to spare, Lemon Sparks wear their power-pop allegiances on their sleeve, often to great effect. From the Tommy Keene-echoing “Digging Up Flowers” to the Sloan-meets-Skynyrd groove of “Soulless State,” the tunes come fast and ready. Arctic Blonde and the Pre-Raphaelites open. —TB [THE CAVE, $5/9 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m.

• ARCANA: One Track Mind; 10 p.m., free. • BEYÙ CAFFÈ: Art of Cool Fest: Kendra Foster; 7-8 p.m. Art of Cool Fest: Alex Isley; 9-10 p.m. Art of Cool Fest: Jazz Jam with Michael Ode; 11-11:55 p.m. • BIG EASY-RALEIGH: Glen Ingram; 6 p.m. • BLUE NOTE GRILL: Lee Gildersleeve and The Bad Dogs; 9 p.m., free. Duke Street Dogs; 6-8 p.m., free • THE CARY THEATER: Danielle Miraglia, Jon Shain, Stephanie Urbina Jones. • CAT’S

CRADLE (BACK ROOM): Sarah Shook & The Disarmers, Two Dollar PIsls; 9 p.m., $12.• COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Poison, Extreme, Jackyl; 7:30 p.m. • DEEP SOUTH: The New Schematics, LAIRS, Tangible Dream; 8:30 p.m., $10. • IRREGARDLESS: Take Two with Jyl Clay; 6:30-10 p.m. • LINCOLN THEATRE: The Mantras, Dr. Bacon; 9 p.m., $10. • LOCAL 506: Cory Branan, Brian McGee; 9 p.m., $10–$12.

• MEYMANDI CONCERT HALL: Schubert’s The Great Symphony; 8 p.m. • MOTORCO: Art of Cool Fest; 11:30 p.m. NIGHTLIGHT: Vassal, Layaway; 8:30 p.m., $7. • THE PINHOOK: The Art Of Cool; 7:30 p.m. • POUR HOUSE: ET Anderson, No Eyes, Dear Blanca, TBA; 9 p.m., $6–$8 • ROCK HARBOR GRILL: Bruce Clark Trio; 9 p.m.-midnite, free.

• SCHOOLKIDS RECORDS (RALEIGH): TOWNE; 7 p.m. • THE PLAZA AT 140 W FRANKLIN ST: Live & Local Music and Arts Series; 6-9 p.m. • UNC’S KENAN REHEARSAL HALL: UNC Jazz

Combos, Alexis Cole; 4 p.m., free. • UNC’S PERSON RECITAL HALL: UNC Baroque Ensemble, Consort of Viols; 8 p.m., free.

SAT, APR 29 R Ring ROKK Indie rock fans, try OUT not to geek too hard at this one: R Ring is Kelley Deal of The Breeders teamed up with Mike Montgomery of noise rockers Ampline and Carrboro’s own Laura King on drums.

Discordant, catchy indie rock is their game, most recently on a sweet split with Protomartyr back in 2015. Don’t miss out. There’s also Split Single, the project of Jason Narducy of Bob Mould Band/Superchunk/Robert Pollard, etc. With Bad Balloon. —DS [NIGHTLIGHT, $10/9:30 P.M.]

S.P.I.T.T.L.E. FEST ROWDY You wouldn’t PARTY necessarily need to know that the name of this long-running event stands for Southern Plunge into Trailer Trash and Entertainment to come away with the (accurate) impression that it’s not about tasteful, gently foot-tapping music. Since 1996, the event has brought together purveyors of honky-tonk, rough-and-ready Americana, and old-school roots rockin’, and this year is no different. Its stellar lineup including Hank Sinatra, Paleface, Temperance League, Peter Holsapple, and more.

—DK [POUR HOUSE, $10/6 P.M.]

The Dead Tongues, Loamlands HONEST Whether as The FOLK Dead Tongues or under his own name, Ryan Gustafson holds a practically

FRIDAY, APRIL 28 & SUNDAY, APRIL 30

N.C. OPERA: THE PEARL FISHERS When it comes to French composer Georges Bizet, there’s Carmen, and then there’s everything else. Carmen understandably grabs all the attention with its vaguely Spanish exoticism, its powerful melodies, and its wrenching drama. There’s a reason it has become a staple of opera houses around the world, one of the dozen-or-so operas that is probably being performed on a stage somewhere on any given day.

The weight of Carmen can be stifling, leaving little space for anything else Bizet wrote.

It’s refreshing, then, that the North Carolina Opera is digging deeper into Bizet’s first full opera, The Pearl Fishers, written in a mad dash in the spring and summer of 1863, when the composer was only twenty-four. Set in ancient Ceylon (now Sri Lanka), the opera tells the story of a love triangle between two friends, Zurga and Nadir, and Leila, a priestess of the Hindu creation god. Zurga and Nadir had both fallen for Leila in the past but renounced that love for the bonds of friendship. Leila appears, veiled, to perform her duties to ensure a safe pearl harvest, and those bonds of friendship are tested. Nadir is revealed to have had a romance with Leila, which the two soon resume; Zurga is incensed and sentences them both to death. In the final act, Leila pleads for Nadir’s life, and, through a few weird coincidences, Zurga decides to free them.

38 | 4.26.17 | INDYweek.com

The libretto, by Eugene Cormon and Michel Carré, is nothing to write home about, full of orientalist stereotypes, flat characters, and fairly unbelievable dramatic turns. Cormon is said to have later remarked that the two would have worked a little harder on it, had they known how good a composer Bizet was.

Plenty of operas feature music that transcends a middling libretto, and this is largely one such opera. Throughout are glimpses of Bizet’s strong melodic and dramatic sense.

The duo when Nadir and Zurga are reunited, “Au fond du temple saint,” is one of the great declarations of friendship (and, perhaps, love) in opera, and the rest of the opera is peppered with equally sumptuous arias and duos. The Pearl Fishers may not be as fiery as Carmen, but there’s still lots to enjoy.

This fully staged production will be N.C. Opera’s final performance with artistic and music director Timothy Myers at the helm. His tenure has seen huge growth in the company, both in terms of artistry and ambition. The production will display all the hallmarks of his leadership: a cast full of rising opera stars, intricate stagings (this time with soloists from the Carolina Ballet), and a strong musical voice. —Dan Ruccia MEMORIAL AUDITORIUM, RALEIGH 8 P.M. FRIDAY/3 P.M. SUNDAY, $19–$99, www.dukeenergycenterraleigh.com

unimpeachable track record for crafting impeccable roots tunes—often weary and melancholic but always introspective and melodic.

Loamlands uses gorgeous and lush folk-rock arrangements to underpin both political and personal stories that reveal the raw, honest, and at times conflicting emotions of marginalized communities living in the modern-day South. Mountain Man’s Molly Sarle opens with captivating, angelically voiced Americana. —SG [CAT’S CRADLE BACK ROOM, $10–$12/9 P.M.]

Honey Magpie FOLK With cello, banjo, BENEFIT violin, and mandolin, Honey Magpie blends old-time folk rock with modern pop influences and sweet harmonies.

The band leads this benefit for Chapel Hill’s Compass Center for Women and Families with Tea Cup Gin, Bellflower, and Kitty Box and the Jonnys in opening slots. —KH [LOCAL 506, $8/8 P.M.]

ALSO ON SATURDAY AMERICAN TOBACCO AMPHITHEATER: Jus Once Band and StArt of Cool featuring Al Strong; noon. • BEYÙ CAFFÈ: Art of Cool Fest: Laurin Talese; 7-8 p.m. Art of Cool Fest: De’Sean Jones and Knomadik; 9-10 p.m. Art of Cool Fest: Jazz Jam with William Darity Quartet; 11 p.m. • BIG EASY-RALEIGH: Glen Ingram; 6 p.m.

• BLUE NOTE GRILL: Armand and Bluesology; 8 p.m., $10. • CAROLINA THEATRE: George Clinton, Terrace Martin; 6:30 p.m. • CAT’S CRADLE: The Sound of Solidarity: A Concert to Benefit Refugees; 7:30 p.m., $10. • THE CAVE: Rinaldi Flying Circus, Cosmic Punk, Fish Dad; 9 p.m., $5. • DEEP SOUTH: Christiane, Mike the Prophet, The Antique Hearts; 9 p.m., $8–$10. • DURHAM PERFORMING ARTS CENTER: Common, Rapsody; 8 p.m. • IRREGARDLESS: Gen Palmer Duo; 6-8:30 p.m. Gregg Gelb and the Triangle Youth Jazz Ensemble; 9 p.m. • THE MAYWOOD: Artificial Brain, Pyrrhon, Priapus, Deathcrown, Datura; 8:30 p.m., $10–$15. • MEYMANDI CONCERT HALL: Schubert’s The Great Symphony; 8 p.m. • MOTORCO: Art of Cool Fest; 8:30 p.m. • THE PINHOOK: The Art of Cool; 5:30 p.m. • THE RITZ: Grits and Biscuits; 9 p.m. • SLIM’S: Roar the Engines; 9 p.m., $5. • THE STATION: Jazz Saturdays; 2 p.m., free • UNC’S KENAN REHEARSAL HALL: UNC Jazz Band, Alexis Coe; 8 p.m., $5–$10.

SUN, APR 30 Ab-Soul PIZAZZ Of all the talent on RAPS Top Dawg Entertainment’s roster, Ab-Soul might be the most obstreperous.

That’s especially true when the Carson, California, emcee lets his wit get in the way of his lyrical skill set, like on the unfortunately titled “Womanogamy,” where he waxes romantically with the line, “I’m finger-fuckin’ Mother Earth/Put my thumb up in her butt, then roll like I was bowlin.’” Sad, yes, but elsewhere, he spews provocative, craftsman-like bars with dialectical flash. His opener, Nick Grant, is a heavyweight rhymer as well, and may end up stealing this whole show. —ET [CAT’S CRADLE, $22.50–$65/8 P.M.]

Knives of Spain SHARP The trobairises—a SONGS group of medieval female Occitan troubadours— were the first Western women to write secular music. Little extant information remains about them, and only one existing song has

survived with its musical notation intact. Greensboro’s Gwen Young, who records and performs as Knives of Spain, considers herself a twenty-first-century trobairitz, using electrified nylon-stringed guitar, analog synthesizer, accordion, flute, broken autoharp, percussion, violin, and voice, she makes warped, mystical, and unconventional pop music that, indeed, sounds as though it comes from another age. With Elisa Faires and Spokstina. —PW [NEPTUNES PARLOUR, $5/9 P.M.]

Peter Mawanga & the Amaravi Movement WARM Peter Mawanga, a HEART Malawi musician and activist, is celebrated in Africa, where he blends native traditions and instruments like the thumb piano and the one-stringed kaligo with contemporary sounds for a soothing, hypnotic hybrid that calls out injustice while celebrating life.

His lyrics address social issues in unflinching language, and his best-known LP, Mawu a Malawi, is based on interviews with people whose lives were touched by AIDS. Mawanga’s music aims to heal, and the effect is immediate.

—DK [THE ARTSCENTER, $16/7 P.M.]

Christian McBride’s Tip City Trio JAZZ The Triangle doesn’t REBIRTH often host the premiere of a new project from a nationally renowned artist who doesn’t live here. But, for whatever reason, bassist Christian McBride has decided to put his working trio on hiatus for the time being to focus on a new project, Tip City.

The group’s name is eighties New York jazz club slang for a particularly hard-swinging set. This new group, with pianist Emmet Cohen and guitarist Dan Wilson, will prove you don’t need drums to swing hard. —DR [21C MUSEUM HOTEL, $10–$34/5 & 7:30 P.M.]

Manuel Wirtz SOFT A major star in his ROCK native Argentina and a man well trained in the international language of schmaltz, singer-songwriter and television personality Manuel Wirtz puts a vaguely Latin-tinged spin on the sort of tender romantic ballads and soft rock devotionals that Michael Bolton once used to lord over the American pop charts.

—TB [POUR HOUSE, $20–$25/8 P.M.]

ALSO ON SUNDAY BLUE NOTE GRILL: Tom Neuhauser; 5 p.m., free. • CAROLINA THEATRE: Durham Community Chorale’s 30th Anniversary Concert; 4:30 p.m., $15. • CORNER TAVERN: DJ Steve Penny; 10 p.m. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Matt Walsh; 6-9 p.m. • LOCAL 506: All Ears: Laila Nur, Mike the Prophet, Connely Crowe; 7 p.m., $5–$8. • LONDON BRIDGE PUB: Q Soul; 2 p.m., free. • MOTORCO: Farewell Angelina, Katelyn Read; 8 p.m., $14–$16.

• THE PINHOOK: Russell Lacy Music Spring Ensemble Showcase; 3:15 p.m., free. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, MAY 1 Brokeback NEW As bass player for SHIMMER the pioneering post-rock band Tortoise in the mid-nineties, Douglas McCombs started up Brokeback, another instrumental outfit with a different slew of unconventional influences. It shapeshifted in experimental fashion over three LPs, at one point adding a second

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bassist, before going silent for a decade. McCombs reconstituted the band and returned with a new LP after ending its hiatus in 2013, and the lineup has continued to shift, with the recent outing, Illinois River Valley Blues, emphasizing shimmering guitar tones. —DK [KINGS, $10/9 P.M.]

Christopher Cross SAILIN’ Christopher Cross is ON a hard act to follow, as he himself found out. His eponymous 1979 debut won him five Grammys, but he never reached that level of popularity again. With easy-listening hits like “Sailing’” and “Ride Like the Wind” deeply embedded in the public’s consciousness, he’s been able to make a comfortable living perpetually touring. —GB [CAROLINA THEATRE, $37–$46/8 P.M.]

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POP Seventeen years and HOOKS seven albums after the electric shock of their winsome, masterful debut, Mass Romantic, Carl Newman’s motley gang of music lifers returned recently with Whiteout Conditions, the band’s most sprightly, fully realized work in more than a decade. Although Newman’s longtime foil—Destroyer mastermind Dan Bejar—elected to sit this round out, the Pornos still pack plenty of punch, led by the weaponized croon and holler of the great and wholly singular Neko Case. Waxahatchee opens.

—EB [LINCOLN THEATRE, $30–$36/8 P.M.] ALSO ON MONDAY THE CAVE: Knurr and Spell, Hotbed; 9 p.m., $5. • LEGENDS: DJ Joey; 9 p.m., $3. • LOCAL 506: Shonen Knife; 9 p.m., $13–$15. • MEYMANDI CONCERT HALL: Triangle Youth Orchestra and Symphony Concerts. • MOTORCO: Flash Chorus; 7 p.m., $7–$10. • THE PINHOOK: Redd Kross, Maple Stave; 8 p.m., $12–$14.

• POUR HOUSE: The Pasadena Band, Frankie Goodrich; 9 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

40 | 4.26.17 | INDYweek.com

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Black Lips

21 Savage

ID ROCK If you mix up Black Lips and Black Keys, it’s forgivable. Both formed in the early aughts and both mine the primal clay of garage rock, but Atlanta’s Lips are the ones whose live reviews come peppered with phrases like “stage antics” and “peeing on the crowd” and “Val Kilmer.” They’re older now, but hardly settled. With Surfbord & the Nude Party. —DK [CAT’S CRADLE, $14–$16/9 P.M.]

ISSA Time will tell whether TOUR 21 Savage will last.

Last year he had several high-charting features, a popular mixtape with Metro Boomin, and a slew of memes that kept him popular among No Jumper rap scenester kids and the mainstream alike. As with many Internet-age rappers, the question is whether can he keep up the hype up with the debut of his first major-label project. With Young M.A. and Young Nudy open. —DS [THE RITZ, $30/8 P.M.]

Show Me the Body JACKSON Associated with POLLOCK Ratking’s street-savvy Letter Racer collective, sludgy Queens trio Show Me the Body is difficult to slot. There’s an inclusive, politics-forward hardcore background that comes out in press clippings, but things get so much weirder as you zoom out. New mixtape Corpus 1 spitballs all over the place, with nods to Portishead, psych rock, noise rap, and 2 Unlimited. The group’s music is almost designed to turn you off at some point, but you could never call it boring. With Dreamcrusher. —DS [THE PINHOOK, $10/9 P.M.]

Sweet Crude INDIE This New Orleans POP sextet seeks to honor its hometown’s musical heritage by performing its stylish, persnickety indie pop in a combination of French and English.

While the intentions are no doubt pure, the net effect feels more gimmicky than reverential, and the occasionally grating preciousness of the material belies the Crescent City’s inimitable grit. Motel Radio and Love & Valor open. —EB [CAT’S CRADLE BACK ROOM, $10/8 P.M.] ALSO ON TUESDAY IRREGARDLESS: Heath Tuttle; 6:30 p.m. • LOCAL 506: UNC Rock Lab Final Exam: Teddy or Not, Scooby and the Dooze, Room 25, The No-Shows; 8:30 p.m., $5. • MEYMANDI CONCERT HALL: Triangle Youth Philharmonic Spring Concert; 7:30 p.m. • NEPTUNES PARLOUR: Breathers, Nyck Newz, Slowglow; 10 p.m., $5–$8

Clap Your Hands Say Yeah INDIE This long-running ROCK project of singersongwriter Alec Ounsworth has seen both sides of the business, experiencing an extraordinary wave of early publicity before being shunted aside amid the capricious appetites of mercurial tastemakers. Through it all, CYHSY remains what it’s always been: a good rock band with an awkward name. Laura Gibson opens. —EB [CAT’S CRADLE BACK ROOM, $16–$18/8 P.M.]

Andy Shauf SONGS & Andy Shauf’s STORIES storyteller lyrics and soft tunes are a near perfect combination. Performing songs from his latest LP, The Party, Shauf and his earnest, observant, and sometimes awkward storiestuned-to-songs, paired with gentle guitar strumming, twinkling piano, and muted drums are sure to entertain. He’s added a bit of fuzzy distortion and tropical sounds to this album, giving his current work a more robust and upbeat sound than on his previous outing. Sparse indie-country singer-songwriter Julia Jacklin opens. —KH [KINGS, $13/8:30 P.M.] ALSO ON WEDNESDAY CORNER TAVERN: Chris Overstreet; 9 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The Barred Owls; 6:30-9:30 p.m. • POUR HOUSE: Clang Quartet, 80lb. Test, Morology; 9 p.m.

art

4.26 – 5.3 scrapexchange.org.

LAST From Duke CHANCE Gardens to Giverny: Paintings by David Gellatly. Thru May 3. Duke University Hospital Art & Health Galleries, Durham.

OPENING

Avian Tablescapes: Pottery

by Lucy Dierks. Sat, Apr 29– Wed, May 31. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

SPECIAL Color Song: EVENT Paintings by Margie Sawyer and collage by Dawn Rozzo. Apr 29-Jun 1.

Reception: Saturday, April 29, 3-5 p.m. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

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 the competition and selected submissions. Thru May 14.

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

The Darkroom: Photography.

Fundraiser for a darkroom at Cedar Ridge High School. Apr 26-May 21. Hillsborough Arts Council Gallery, Hillsborough. www.hillsboroughartscouncil. org.

Gallery Grand Opening: With piano music from Tom Merrigan. Thu, Apr 27, 5-9 p.m. Horse & Buggy Press and Friends, Durham. See p. 34.

SPECIAL Not Like It Was: EVENT Paintings and mixed media by Gayle Stott Lowry. Apr 28-May 27.

Reception: Saturday, April 29, 7-9 p.m. Crocker’s Mark Gallery, Raleigh. crockersmarkgallery. blogspot.com.

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Half the Sky: Sculptures by Jan-Ru Wan. Thru Jun 1.

Sertoma Arts Center, Raleigh. parks.raleighnc.gov.

Images of Sound: Photographs

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

Dave Wofford reopens Horse & Buggy Press on Broad Street this week (see p. 34). PHOTO BY BEN MCKEOWN

Spring Daze Arts & Crafts Festival: Sat, Apr 29, 9 a.m.

Fred G Bond Metro Park, Cary. www.townofcary.org.

SPECIAL Time Will Tell: EVENT Selected works by the MFA class of 2017. Apr 28-Jun 5. Opening party: Thursday, April 27, 5-9 p.m.

Ackland Art Museum, Chapel Hill. www.ackland.org. See p. 35.

ONGOING

Ansel Adams: Masterworks: An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’ll make an exception. Adams called this “the Museum Set,” the ultimate expression of his legacy. These fortyeight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, speak to

Adams’s monumental purity of vision. Thru May 7. NC Museum of Art, Raleigh. www. ncartmuseum.org. —David Klein John Beerman and Conrad Weiser: Oil paintings and raku. Thru May 17. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

But if the Crime is Beautiful...: Gilded sculpture, images, and photographs by Lauren Kalman. Thru May 14.

Artspace, Raleigh. www. artspacenc.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.

PleiadesArtDurham.com.

Cuba Now: Photography by Elizabeth Matheson. Ongoing.

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

Filaments of the Imagination: Group show by Threads, a textile study collective. Thru May 13. Durham Arts Council, Durham. www.durhamarts.org.

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

Flora and Fauna: Mixed media.

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

Durham Public Schools Student Art Show: Thru May 25. Northgate Mall, Durham. www.northgatemall.com.

Fluid: Paintings by MyLoan Dinh. Thru Oct 15. Durham Convention Center, Durham. www.durhamconventioncenter. com.

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

LAST Eyes Wide Open: CHANCE 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.

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

Food Isn’t Just for Eating: Paintings by Sharon Barnes.

Thru May 6. Bulldega Urban Market, Durham.

Friends & Family Show: Thru May 14. The Scrap Exchange, Durham. www.

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. Clean water and wastewater treatment are still lacking in places like Alamance County, imperiling the health of residents and the security of the land. 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. Thru Jun 3. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch. org. —David Klein

INDYweek.com | 4.26.17 | 41

FRIDAY, APRIL 28

ART2WEAR If you can look at clothing in a museum, whether it’s period garments at the North Carolina Museum of History or Alexander McQueen couture at the Met, then why shouldn’t you be able to wear a sculpture? N.C. State’s College of Design doesn’t see any reason why not. In the sixteenth year of its annual, student-organized Art2Wear runway show, it continues to unravel the seam between clothes, costumes, and conceptual art—and between art and science—in a juried selection of untrammeled student creations. This year, the theme of the show is “the art of déjà vu,” an intriguing contrast with a future-looking program in which students can utilize the engineering school’s cutting-edge technological resources to push their designs past old limits. —Brian Howe N.C. STATE’S TALLEY STUDENT UNION, RALEIGH 7:30 p.m., $30, www.design.ncsu.edu/art2wear

SPECIAL Multitroph: Mixed EVENT media by Tracie Hayes, senior honors thesis exhibition. Thru Apr 28.

Reception: Friday, April 28, 4:30-7 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Judy Keene: Color Search: This is the first significant showcase of Durham-based painter Judy Keene’s work, but it’s undergirded by her long background in museums and art history. Primarily working in oil on linen 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 Locomotion: The Railroad and Subway in Art, 1870-1950: Original prints. Thru May 19.

Adam Cave Fine Art, Raleigh. www.adamcavefineart.com.

Looking South: Photography by Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

More than One Story | Mas de una historia: Photography. Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib. unc.edu/davis.

Nuestras Historias, Nuestros 42 | 4.26.17 | INDYweek.com

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.

SPECIAL Parallel Play: EVENT Paintings by Ellie Reinhold, sculpture by Jason Smith, pottery by Evelyn Ward.

Thru May 22. Reception: Friday, April 28, 6-9 p.m.

Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

Peace of Mind: Art Quilts: Fiber art by Christine HagerBraun. Thru May 12. Durham Arts Council, Durham. www. durhamarts.org.

Project Reject Is Underway: Site-specific installation by Jeff Bell and Megan Sullivan. Thru May 27. Artspace, Raleigh. www.artspacenc.org.

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

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

LAST Sensation: Abstract CHANCE paintings by Linda Ruth Dickinson. Thru Apr 30.

Artspace, Raleigh. www. artspacenc.org.

A Sense Of...: Photography.

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

Some Semblance: Photography

by Stephen Fletcher. Ongoing.

The Framers Corner, Carrboro.

LAST Stilled Life: CHANCE Photography by Karen Bell. Thru Apr 30. NC Museum of Natural Sciences,

Raleigh. www.naturalsciences. org.

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

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

SPECIAL Thrown Together on EVENT the Table: Functional porcelain, stoneware and earthenware pottery by Allison McGowan Hermans, Jennifer Mecca, Ron Philbeck, Amy Sanders, and Julie Wiggins. Sunday, Apr 30, 10 a.m-6 p.m. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

Untold: Paintings by Jane Filer. Thru May 21. Tyndall Galleries, Chapel Hill. www. tyndallgalleries.com.

You + Me: Photographs from various artists. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

food 20th Annual Community Dinner: Food and entertainment from the community.

Sun, Apr 30, 1 p.m. www. communitydinner.org.

Orange County Main Library, Hillsborough. www.co.orange. nc.us/library.

TABLE’s 5th Annual Food Truck Rodeo: Proceeds support TABLE. Sat, Apr 29, 3-7 p.m.

Orange United Methodist Church, Chapel Hill.

stage

screen

THURSDAY, APRIL 27–SATURDAY, MAY 13

MARJORIE PRIME

If you were born in 1977, like playwright Jordan Harrison (who also writes for Orange Is the New Black), then you’ll be eighty-five in 2062—the age of the title character in Harrison’s unsettling drama, which was nominated for the Pulitzer Prize in 2015. Even if we’ve sorted out Alzheimer’s disease by then, you still may find yourself experiencing some problems with your memory, and, given the deaths of friends and family members, some depression would be understandable. But don’t worry. Technology will have developed the Prime, a life-size replacement that can be fashioned to look like, and house, the memories of anyone—including you. Manbites Dog Theater artistic director Jeff Storer takes us to a likely near future, with a cast including Lenore Field, Derrick Ivey, Marcia Edmondson, and Michael Brocki.

—Byron Woods MANBITES DOG THEATER, DURHAM Various times, $5–$20, www.manbitesdogtheater.org

OPENING 9th Annual Community Dance Concert: Sat, Apr 29, 7 p.m.

NC School of Science & Math, Durham. www.ncssm.edu.

Black Pioneers in Uniform: Shaw University’s Leonard Medical School & The Great War: Costumed interpretation of the African-American experience of World War I. Sat, Apr 29, 10 a.m-5 p.m. M.T. Pope House Museum, Raleigh.

If I Were You Live Podcast: $20-$45. Tue, May 2, 7:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Love, Loss, and What I Wore: Play. $17. Apr 28-Apr 30, 3-5 p.m. North Raleigh Arts & Creative Theatre, Raleigh. www. nract.org.

Marjorie Prime: Final play of 2016-17 season. $5-$20.

April 27-May 14. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. See box, this page.

The Monti: StorySLAM GrandSLAM: $20-$22. Sat, Apr 29, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org.

Trevor Noah: Stand-up comedy.

Fri, Apr 28, 7:30 & 10 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com. See p. 34.

Tony Rock: Stand-up. Apr 27–30, 7:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Savannah Sweet Tease Burlesque Review: Burlesque. $10. Sat, Apr 29, 10 p.m. Kings, Raleigh. www.kingsraleigh.com.

Sexy Dancer: A Burlesque Celebration of Prince: Starring Caza Blanca, Jo’Rie Tigerlily, Lottie Ellington, Murphy Lawless, Kayy Lovely, Rebel Ophelia Hart, JoRose, Sally Stardust, Miss Blue Bell, Zadora Zaftig. $10-$20. Sat, Apr 29, 10 p.m. Monkey Bottom Collaborative, Durham.

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

The Harry Show: Ages 18+.

Improv host leads audience in potentially risque improv games. $10. Fri & Sat, 10 p.m.

ComedyWorx Theatre, Raleigh. comedyworx.com.

Two Trains Runnin’

PHOTO COURTESY OF THE FILMMAKERS

WEDNESDAY, APRIL 26

TWO TRAINS RUNNIN’

Martin Luther King, An Interpretation: Play. $10.

Thru Jun 24. The ArtsCenter, Carrboro. www.artscenterlive. org.

LAST  My Fair CHANCE Lady: This PlayMakers production marks the first time we’ve seen this musical accompanied by two pianos instead of an orchestra, a change that brings a strippeddown freshness and intimacy to introspective moments. $10-$57.

Thru Apr 29. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

—Byron Woods  Revival: We’re not certain if we were moved by something holy or by the naked needs of the humans before us—needs that were met in some cases and not in others. Perhaps they’re one and the same, in the end. Still, we can report, without doubt, that we were moved. $25. Thru May 7. Ward Theatre, Durham. wardtheatrecompany.com.

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

The civil rights struggle in America reached a fever pitch in the summer of 1964. In July, the Civil Rights Act passed, mere weeks after the disappearance of three activists whose bodies were discovered two months later in Mississippi, the victims of a KKK lynch mob.

That milieu serves as the setting for Two Trains Runnin’, a 2016 documentary directed by Academy Award-nominee Sam Pollard that focuses on an incendiary era by juxtaposing two cars full of young college-age music fans, one searching for blues legend Skip James and one in search of Son House, with activists traversing the same roads in their voter-registration efforts at great risk. Subtitled “The Incredible Story of the Search for America’s Past,” the film includes interviews from eyewitnesses of the moment, narration

by Common, music by Gary Clark Jr., and commentary about the blues from folks like Buddy Guy and Lucinda Williams. This screening at Wake Tech, cosponsored by Duke’s Center for Documentary Studies, features a post-screening Q and A with producer Ben Hedin and is free with an online reservation. —David Klein NORTHERN WAKE CAMPUS, RALEIGH I 6 p.m., free, www.documentarystudies.duke.edu

S P EC I AL S HOW I N G S Baartman, Beyoncé and Me: Documentary presented by The Southern Documentary Fund. Tue, May 2, 7-8:30 p.m.

Beyu Caffe, Durham.

Democracy For Sale: Documentary followed by discussion of legal corruption with Senator Jay Chaudhuri.

Sat, Apr 29, 4 p.m. North Raleigh Community Church Downtown, Raleigh.

Senior Night: Presented by Fresh Docs series. Fri, Apr 28, 7 p.m. Full Frame Theater, Durham.

Westworld: The original Westworld (1973), written and directed by Michael

Crichton. Social events start at 5:30 p.m. $5. Fri, Apr 28, 7 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

acclaimed film. Rated R.

ALS O PLAYIN G

O P EN IN G

The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek. com.

Land of Mine—This bestforeign-language-Oscar winner tells the story of German POWs clearing mines in Denmark after WWII. Rated R.

 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.

The Circle—Dave Eggers helped adapt his novel of surveillance and privacy for the screen. Rated PG-13.

½ Free Fire—The premise of a crime-gonevery-wrong in a 1970s Boston warehouse promises fun but winds up like reheated nineties Tarantino, not on par with director Ben Wheatley’s usual talents.

Rated R.

Colossal—An “out-of-work party girl” (Anne Hathaway) realizes she’s connected to a giant creature ravaging South Korea in this strange,

INDYweek.com | 4.26.17 | 43

½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years. Rated R. ½ Gifted—Marc Webb’s story of a child math prodigy caught in a custody battle isn’t a particularly original film, but it’s heartfelt and accomplished—a very good story, very well told.

Rated PG-13.

Emma Watson stars in The Circle, opening Friday. PHOTO COURTESY OF STX ENTERTAINMENT

 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 Lost City of Z—David Grann’s exceptional book about early-twentieth-century Amazonian exploration is rendered unexceptional by staid filmmaking, simple characterizations, and an uncritical perspective on the heroic colonialism presented by historical adventure films such as this. Rated PG-13.

page READINGS & SIGNINGS Camille Andros: Charlotte the Scientist is Squished. Sat, Apr 29, 11 a.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Anna Barnhill: The Beautician’s Notebook. Sat, Apr 29, 3 p.m.

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

Ann Cleeves: Cold Earth. Wed, Apr 26, 6:30 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

Abbie Gascho Landis: Immersion: Diving into the Stories of Science. Thu, Apr 27, 6 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Paul Hawken: Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming. Wed, Apr 26, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Sadeqa Johnson: And Then There Was Me. Sat, Apr 29, 3 p.m. South Regional Library, Durham. www. durhamcountylibrary.org.

Ted Kemp: The Ragged Edge on Iraq War. Fri, Apr 28, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Kevin McLaughlin: Innocent: A Spirit of Resilience. Sun, Apr 30, 4 p.m.

44 | 4.26.17 | INDYweek.com

Regulator Bookshop, Durham. www. regulatorbookshop.com.

Donna Miller: Mad Random: Claiming Life out of Chaos. Sun, Apr 30, 2 p.m.

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

Stephan Pastis: Pearls Hogs the Road. Tue, May 2, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Marcus Sedgwick: Saint Death. Wed, Apr 26, 4 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Michael Stone: Border Child: A Novel. Wed, Apr 26, 7 p.m.

Regulator Bookshop, Durham. www. regulatorbookshop.com.

Women Unite!: Poetry slam presented in collaboration with Stand Up-Speak Out of North Carolina.

Free, ticket required. Thu, Apr 27, 6:30 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

LECTURES, ETC. Seven Years in Shanghai: Life as a Refugee: Annual Holocaust commemoration of the DurhamChapel Hill Jewish Federation.

Speaker Dr. Sheva Zucker.

Sun, Apr 30, 3 p.m. Kehillah Synagogue, Chapel Hill. www. kehillahsynagogue.org.

SATURDAY, APRIL 29

INDEPENDENT BOOKSTORE DAY People who love reading often make it a point to buy books from independent bookstores because life without being able to comb their aisles would be dreary if not entirely unlivable. If you buy your books on Amazon, consider this your chance to help sustain these vital community hubs and bastions of culture. On Independent Bookstore Day, the Triangle’s stellar bookstores are adding even more enticements. Flyleaf Books in Chapel Hill will feature a panel discussion on the ins and outs of bookselling, along with IBD-themed books and art. Quail Ridge Books in Raleigh offers storytime for both kids and adults. In Durham, the Regulator’s Bookshop Challenge lets you compete to be a bookseller for a day. And Pittsboro’s McIntyre’s Books presents readings by esteemed local authors including Carla Buckley, Michael Mayo, Barbara Claypoole White, and Nancie McDermott. —David Klein VARIOUS BOOKSTORES, TRIANGLE-WIDE www.indiebookstoreday.com

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INDYweek.com | 4.26.17 | 45

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Give: go.ncsu.edu/cribsforkids

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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

1 2 7

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

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

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

3

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9

2

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2016

★★★★★★★

TO BE FEATURED IN A GIVE! GUIDE HIGHLIGHT, CONTACT CLASSY@INDYWEEK.COM

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MEDIUM

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

Best of luck, and have fun! www.sudoku.com 4.26.17

solution to last week’s puzzle

8

2

6 30/10/2005 5

46 | 4.26.17 | INDYweek.com

4

5

1

9

7

6

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

claSSy@indyweek.com

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• 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.

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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!

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Raleigh:

Raleigh:

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

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

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www.megamates.com 18+

INDYweek.com | 4.26.17 | 47

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