RALEIGH 4|10|19
Every city has a bar like Slim’s.
THIS ONE IS OURS. HAPPY 20TH BIRTHDAY to Raleigh’s essential dive bar.
BY MICHAEL VENUTOLO-MANTOVANI, P. 14
RAZE THE ROOF, P. 6
I SUED THE SHERIFF, P. 10
LIVE THE DREAMVILLE, P. 12
2 | 4.10.19 | INDYweek.com
WHAT WE LEARNED THIS WEEK RALEIGH
VOL. 36, NO. 15
6 Raleigh City Council members aren’t usually supposed to go to Board of Adjustment meetings. But Stef Mendell went as a property owner, so that’s OK. 7 Orange County Schools have long had a racial achievement gap. Nowhere is it wider than at Cameron Park Elementary School in downtown Hillsborough. 10 Of the forty-six thousand people that ICE asked North Carolina authorities to detain from 2003 to 2016, only 60 percent had a criminal conviction. 14 Raleigh’s favorite dive bar, Slim’s, was called the Lakeside Lounge when it opened twenty years ago. 16 It’s Exotic Meat Month at Bull City Burger and Brewery, but there are plenty of ways to expand your palate year-round without eating a tarantula. 21 Death Cab for Cutie and My Brightest Diamond aren’t the most obvious pairing, but they share a keyboardist. 22 If Pop art in North America embraced the merger of art and advertising, Pop art in Latin America had more sinister meanings.
DEPARTMENTS 6 News 12 Dreamville 16 Food 18 Music 22 Arts & Culture 24 What to Do This Week 26 Music Calendar 29 Arts & Culture Calendar On the cover
J. Cole performing at Dreamville Festival (p. 12)
PHOTO BY JUSTIN KASE CONDER
PHOTO BY JADE WILSON
INDYweek.com | 4.10.19 | 3
4/11 RUBBLEBUCKET W/ MIKAELA DAVIS 4/13DURAND JONES & THE INDICATIONS W/DIVINONINO ($15) 4/14 PHOSPHORESCENT W/ JO SCHORNIKOW ($20/$23)
SA 4/13
DURAND JONES & THE INDICATIONS
SA 4/13 @CAT’S CRADLE BACK ROOM
CASE SENSITIVE
4/15 BLACK LIPS W/QUINTRON & MISS PUSSYCAT ($15/$17)
SA 4/27 @RED HAT AMPHITHEATRE
RAINBOW KITTEN SURPRISE MOTORCO (DUR)
4/16 AND 4/17 MITSKI LD W/ JAY SOM SO OUT
5/4 JOHN PAUL WHITE W/ERIN RAE ($25)
4/18 TOM ODELL W/ LUCIE SILVAS
5/14 THANK YOU SCIENTIST W/KINDO AND IN THE PRESENCE OF WOLVES ($16.50/ $20)
4/19 THE CHURCH ($25/$28) 4/20 THE DRIVER ERA W/ PUBLIC ($20/$23)
SU 4/14
PHOSPHORESCENT
TH 4/18
TOM ODELL
7/16 HOP ALONG ($17/$20)
4/27 SARAH SHOOK & THE DISARMERS ($15)
5/3 JUMP, LITTLE CHILDREN
MO 4/15
BLACK LIPS
5/4 CRANK IT LOUD PRESENTS I DON'T KNOW HOW BUT THEY FOUND ME W/SUPERET 5/5 JAPANESE BREAKFAST W/ EX HEX AND ETERNAL SUMMERS ($23/$25) 5/6 RIVERSIDE ($20/$25) 5/7ELI "PAPERBOY" REED($15/$18) 5/10 THE SCORE W/ LOSTBOYCROW, OVERSTREET 5/12 ALY AND AJ ($25/$28) 5/13 THE DRUMS W/ TANUKICHAN ($18/$20) 5/14 PUP W/ RATBOYS ($18/$20) 5/18 CITIZEN / KNUCKLE PUCK W/ HUNNY AND OSO OSO 5/24 THE JAPANESE HOUSE W/ ART SCHOOL GIRLFRIEND ($18/$20) 6/2 THE DISTILLERS W/ STARCRAWLER 6/7 FRENSHIP W/GLADES ($15/$17)
4/10 CHARLIE HUNTER & LUCY WOODWARD ($20/$23) 4/11 FLOCK OF DIMES W/ NICK SANBORN ($15)
4/17 THE WILD REEDS W/ VALLEY QUEEN ($14/$16) 4/18 TELEKINESIS W/ SONTALK ($13/$15) 4/19 CAROLINA JAMS SPRING SHOWCASE: JULIA., BARKER ROAD, MATTIE AND THE MASTERS
6/18 SEBADOH W/ WAVELESS ($18/$20)
4/20 SEEPEOPLES W/ TRACKSUIT 10PM SHOW
6/27 PARACHUTE W/ BILLY RAFFOUL ($20/$23)
4/21 VALLEY MAKER W/ TOMBERLIN ($12)
7/21 THE GET UP KIDS W/ GREAT GRANDPA ($22/$26; ON SALE 4/5) 7/24-7/27 MERGE RECORDS 30 YEAR CELEBRATION 8/1 DONAVON FRANKENREITER ($20/$24; ON SALE 4/5) 8/7 MENZINGERS, THE SIDEKICKS, QUEEN OF JEANS 8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS 8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50) 9/18 TINARIWEN ($30/$33; ON SALE 4/5) 10/6 BUILT TO SPILL - KEEP IT LIKE A SECRET TOUR ($28/$32) 10/23 OH SEES W/PRETTIEST EYES
5/14 DEAF HAVANA $12/$15)
KINGS (R AL)
5/15 THE SUITCASE JUNKET ($10) 5/16 HENRY JAMISON W/SAINT SISTER ( $15) 5/17 MATTIEL ($10/$12)
5/21 SHAME ($14)
4/16 THIS WILD LIFE W/SLEEP ON IT, HOLD CLOSE, CROOKED TEETH ($16/$18)
4/22 KOLARS ($12/$15) 4/24 THE BROOK & THE BLUFF W/ JAMIE DRAKE 4/25 ACID MOTHERS TEMPLE W/ YAMANTAKA, SONIC TITAN 4/26 BETA RADIO ($10/$12) 4/28 CHARLES LATHAM AND THE BORROWED BAND, SHANNON O'CONNOR, HEARTS GONE SOUTH ($7) 5/1 STEVE GUNN ($15/$17) 5/2 JULIA JACKLIN W/ BLACK BELT EAGLE SCOUT ($14/$16) 5/4 MARY LATTIMORE & MAC MCCAUGHAN 5/6 PEDRO THE LION W/JOHN VANDERSLICE ($20) 5/7 MURS W/ LOCKSMITH ($15/$17) 5/10 YARN 5/11 JON SHAIN AND FJ VENTRE W/ ROD ABERNETHY ($12/$15)
7/29 WE WERE PROMISED
JETPACKS ‘THESE FOUR WALLS’ 10TH ANNIVERSARY W/ CATHOLIC
4/13 CASE SENSITIVE, MUSEUM MOUTH, S.E. WARD ($8/$10) 4/15 BAYONNE W/PALM DAZE ($12/$14)
7/19 SUMMER SALT W/ DANTE ELEPHANT, MOTEL RADIO
BAYONNE
5/18 PILE W/ CHEW ($12/$15)
4/20 CARSIE BLANTON 7 PM SHOW
7/16 BILL CALLAHAN ($22/$25)
MO 4/15 @CAT’S CRADLE BACK ROOM
4/12 ENO MOUNTAIN BOYS, OLD HEAVY HANDS, JOSH KING, VELVET DEVILS
6/9 THE LEMONHEADS, TOMMY STINSON ($25/$28)
7/9 YEASAYER W/ STEADY HOLIDAY ($27/$30)
5/31 THE CONNELLS W/ LEISURE MCCORKLE ($20/$25) 6/12 REMO DRIVE W/ SLOW PULP, SLOW BULLET ($15/$18)
4/25 LAURA JANE GRACE & THE DEVOURING MOTHERS W/ MERCY UNION AND CONTROL TOP ($20 / $23)
5/2 FOXING & NOW, NOW W/ DADDY ISSUES ($18/$20)
5/19 FILTHY FRIENDS W/ DRESSY BESSY 5/22 GHOST OF PAUL REVERE ($15) 5/23 MARTI JONES & DON DIXON ( $15) 5/24 SONS OF PARADISE, AFRICA UNPLUGGED, THE UP & UP ($10) 5/25 VIOLET BELL W/ LIBBY RODENBOUGH OF MIPSO ($8/$10) 5/31 THE SH-BOOMS ($12) 6/2 THE MYSTERY LIGHTS W/ FUTURE PUNX ($12/$14) 6/8 MATT ANDERSON W/ERIN COSTELLO ($15-$18)
ACTION ($16/$18)
5/29 AN EVENING WITH
CHARLIE PARR AND PHIL COOK LINCOLN THEATRE (RAL)
5/21 TANK AND THE BANGAS W/ADIA VICTORIA ($20/$22) NORTH CAROLINA MUSEUM OF ART
5/17 AN EVENING WITH DAWES 6/14 STEEP CANYON RANGERS WITH CHATHAM RABBITS 6/22 TRAMPLED BY TURTLES WITH DEER TICK 7/2 COURTNEY BARNETT 7/13 ANDREW BIRD WITH SPECIAL GUEST TIFT MERRITT 7/23 BRUCE HORNSBY AND
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JULY 7: WAND W/ DREAMDECAY ($13/$15)
LYLE LOVETT AND HIS LARGE BAND AUG 24: OLD CROW MEDICINE SHOW AUG 29: CHAKA KHAN 8/31 MIPSO 9/14 SNARKY PUPPY 9/25 RHIANNON GIDDENS AND FRANCESCO TURRISI
8/8 ANDREW BELLE ($15/ $17)
RED HAT AMPHITHEATER (RAL)
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SURPRISE 6/7 LAKE STREET DIVE/ THE WOOD BROTHERS
6/12 EARTH W/HELMS ALEE ($15) 6/13 DYLAN LEBLANC ($12/$15) 6/14 EILEN JEWELL ($15/$18) 6/17 CULTURE ABUSE ($15/$18) 20 TH: JOSH ROUSE ($20)
ARTSCENTER (CARRBORO)
6/27 THE SPILL CANVAS BOTTLE OF THE RED TOUR KOKA BOOTH AMPHITHEATRE (CARY)
9/21 MANDOLIN ORANGE W/ MOUNTAIN MAN CAROLINA THEATRE (DUR)
9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES DPAC (DUR)
11/22 AND 11/23 (TWO NIGHTS) SYLVAN ESSO "WITH" / PLUS MOLLY SARLE (OF MOUNTAIN MAN)
4/27 RAINBOW KITTEN
THE RITZ (RAL) (PRESENTED IN ASSOCIATION W/ LIVENATION)
5/11 SHAKEY GRAVES W/ ILLITERATE LIGHT AND KATE RHUDY (RESCHEDULED FROM SEPTEMBER 15; ALL TICKETS STILL VALID ) 6/10 LOCAL NATIVES W/ MIDDLE KIDS HAW RIVER BALLROOM
5/3 THE JAYHAWKS 5/9 SON VOLT ($25/$28) 11/8 BIG THIEF W/ PALEHOUND ($20/$23)
CATSCRADLE.COM 919.967.9053 300 E. MAIN STREET CARRBORO 4 | 4.10.19 | INDYweek.com
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backtalk
Freaking Sonic Game Zone On page 10, Sarah Willets takes a deep dive into HB 370, the General Assembly’s effort to compel local sheriffs to cooperate with Immigration and Customs Enforcement. When we first reported on the bill several weeks ago, Katie Mgongolwa of Durham wrote: “I think it is critical that folks recognize that the U.S. government’s 287(g) program has had a devastating impact on immigrant families. By encouraging local law enforcement to detain undocumented immigrants in local jails, the program— which is not currently required and therefore runs on an ‘opt-in’ format— creates a culture of fear and mistrust in communities. The program isn’t focused on ‘serious’ criminals, but it is expensive and drains local resources. “We as Durhamites clearly demonstrated disapproval of the program by voting in a sheriff [Clarence Birkhead] who doesn’t utilize 287(g). Yet Republican legislators in the state House of Representatives recently introduced House Bill 370 to require local law enforcement to collaborate with ICE. We must unequivocally oppose this. “In Durham, we have seen the tremendous impact of our own driver’s license restoration program, and we’ve seen the value of helping individuals find pathways to restore their driver’s license. But because undocumented people do not have access to licensure, these are often the folks vulnerable to deportation when the 287(g) program is in place. Besides this glaring issue, people allowed to be in the country (like those protected under the DACA program) have been deported. The Department of Justice confirmed patterns of racially discriminatory police and jail practices through the 287(g) program. Multiple courts ruled that immigration detainers are unconstitutional. Plus, counties have to fund the program mostly themselves! “If we value a community where everyone lives free from fear, HB 370 is definitely not the answer.” Last week, we reported that the North Carolina Sheriffs Association had come out against the bill. (The state House passed it a few hours later.) “If we were only a border state, the madness of our politics would match our madness toward immigrants, immigration, and injustice,” writes Glenn Maughan.
“For every gung-ho yahoo that has clapped back, I say it’s not OK.”
“The NCGA can’t come out screaming about ‘states’ rights’ on the issues they want to control and then try to force federal issues down the throats of local governments. You can’t have it both ways, boys,” adds Kristen K. Hernandez. Finally, Donovan Verrill: “I think the NCGA might be the worst legislative body in any state. A bunch of puritanical, xenophobic dopes.” Raleigh recently authorized a military training exercise at an abandoned hotel. The folks who live nearby were not amused. “Raleigh absolutely let the Brentwood community—and, really, all of us—down by treating the residents like they were meaningless when they OK’d a military training action on a weekday night this week,” writes JoAnne Krell. “By distributing some poorly crafted flyers only hours ahead of this serious and dangerous activity without addresses and contact numbers to field questions and responses, only some people were made aware that the night was going to turn into a living hell of explosions and helicopters flying in the dark. “For every gung-ho yahoo that has clapped back on the neighbors who have been under siege and are righteously upset, I say it’s not OK to have no say in your home being turned into a freaking sonic game zone by the military, which has a base of its own to bomb to oblivion. The city council, the mayor, and any persons in the know about this insanity need to be held accountable. We deserve better communication, integrity, and intelligent response to our concerns. Rights are involved. Badly handled, Raleigh.” Commenter DM says Krell should get over it: “You’ll thank the military when they have to come save your butts!” Want to see your name in bold? Email us at backtalk@indyweek.com, comment on at indyweek.com or our Facebook page, or hit us up on Twitter: @indyweek.
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Lilymont
indynews
Quiet Down
RALEIGH COUNCIL MEMBER STEF MENDELL OWNS A CONDO NEAR SCOTT CRAWFORD’S RESTAURANT. CRAWFORD WANTED A ROOFTOP BAR. GUESS WHAT HAPPENED NEXT. BY LEIGH TAUSS
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here’s a lot happening on North Person Street these days: the bustling Person Street Bar, the alwayship Station restaurant, The Pelagic bottle shop around the corner. So it’s no surprise that chef Scott Crawford, a five-time James Beard Award semifinalist, wants to expand his presence in the historic Oakwood neighborhood. Crawford asked Raleigh for permission to put a rooftop dining area atop Jolie, the French bistro he plans to opens adjacent to his acclaimed Crawford and Son. When his proposal came before the city’s Board of Adjustment on March 11, only one person spoke against it. She owns a nearby 682-square-foot condo, which she purchased for $117,000 in 2011, but she doesn’t live there. Instead, she rents it out, and she was worried that her tenant might be bothered by the noise. But she wasn’t just any landlord. She was Stef Mendell, a Raleigh City Council member. This wasn’t in her district—she lives in and represents District E, in North Raleigh— but she still wanted to make her views known. In 2017, the city council adopted a code of conduct to prevent council members from interfering with its commissions and boards. Council members are discouraged from even attending meetings, because “the mere presence of a council member … may affect the board or commission and interfere with its function.” In other words, the board may feel pressured to do what the council member wants. But because Mendell owns property nearby, that rule doesn’t apply in this case, says city attorney Robin Tatum Currin. “I don’t think I give up my rights as a property owner to weigh in on things just because I’m on city council,” Mendell told the INDY Friday. (Mendell also bristled at being asked about this matter, questioning whether this story was going to be a “hit piece” and saying “somebody has a grudge against me or something.”)
Mendell was the only person at the BOA meeting concerned about noise. On the other hand, the only Oakwood resident present spoke in favor of the project, saying Crawford has “been a good neighbor,” according to meeting minutes.
Scott Crawford
FILE PHOTO BY CAITLIN PENNA
Council member Corey Branch, whose District C includes Oakwood, says he wasn’t aware of any concerns. “If there was an issue, someone would have definitely called,” Branch says. “I haven’t heard anything or any complaints. Nothing about it.” Even so, the BOA imposed conditions on the project that Mendell says made her “perfectly happy.” To get his rooftop bar, Crawford can’t have amplified music and must adhere to an 11:00 p.m. curfew—neither of which is likely a huge deal, considering that Jolie will be a high-end restaurant and not a nightclub. (Crawford and Son closes at ten.) But Crawford, who did not respond to requests for comment, also has to erect an eight-foot-tall wood-board-screen fence around the rooftop. It’s unclear how much that will cost.
Eric Hodge, the city’s assistant planning administrator, says the board might have imposed those conditions regardless of Mendell’s input. Judson Root, the BOA’s vice chairman, deferred questions to the BOA’s attorney, Josh Silverstein. “I’m not a voting member, so it’s hard to say why conditions were put on by individuals, but I think since the conditions were intended to protect neighboring properties from any noise that might come from the use of the outdoor dining space, I would think that [Mendell’s] interests were served in that way,” Silverstein says. “I don’t personally live in the condo, but the person who does live there has been impacted by noise coming from The Station, which is kind of across the street, so I had concerns from that and just for the neighborhood in general,” Mendell says. Indeed, Mendell also had concerns about a rooftop bar that didn’t directly affect her property. Last year, she sided with residents of The Paramount in Glenwood South, who complained that a new boutique hotel’s planned rooftop bar would ruin their view of the downtown skyline. The debate, which stretched on for a year, got heated during a public meeting when council members sought to micromanage the rooftop’s design and Mendell pushed for even more negotiations with the condo’s homeowners association. Fed up, developer Anuj Mittal vented his frustrations: “At this point in time—I think we’ve been at this for a year—there is no desire on our part to continue any dialogue with the Paramount HOA. We’ve given everything, every square inch possible, there is no limit. … I’m not going to put two cows up there grazing. There’s only so much you can do in a hospitality business.” Eventually, Mittal got the hotel approved, but with one less story than he wanted and with limitations on light and noise on the roof. ltauss@indyweek.com
news
Black Kid, White School
AN ORANGE COUNTY SCHOOLS INVESTIGATION FOUND THAT ADMINISTRATORS DISCRIMINATED AGAINST KRYSTAL LITTLE AND HER FIRST-GRADE DAUGHTER. SHE WANTS THEM HELD ACCOUNTABLE. BY CHARLOTTE WRAY
O
n February 11, after three new school board members were elected on promises to combat racial disparities in Orange County Schools, the board approved a policy acknowledging “persistent racial intolerance, inequities, and academic disparities” in the district and called on school system officials to interrupt discriminatory “systems, structures, policies, and practices.” Four days earlier, armed with video and audio recordings, the mother of a firstgrader at Cameron Park Elementary School filed a complaint with OCS alleging that she and her child had been subjected to just such discrimination. The district’s month-long investigation sustained many of Krystal Little’s claims. It found that she had been “treated differently, whether intentional or not,” and that her daughter, Shyanne, had been denied access to the school’s gifted program even though she was eligible. It also found that Little had been harassed by a custodian because she’s black, and that, when Little reported this harassment to the assistant principal, the school had failed to act. Little, the investigation report concluded, “has not been engaged with as a parent by the school’s administration in a fashion, manner, or form similar to her white parent counterparts.” The report, obtained by the INDY, recommended that Cameron Park administrators undergo customer service and diversity training. Little says that’s not good enough. She wants every person involved held accountable—and says she plans to take legal action. “There is a level of integrity that these people do not have,” Little says. “I want them out. There will not be a change until the hearts change. I am taking this all the way. I want for them to know this is not accepted. This is not tolerated. In the end, it’s not just about suing these people for
Krystal Little and her daughter, Shyanne money. It’s about them knowing and understanding it’s not right.” Little enrolled Shyanne at Cameron Park, near downtown Hillsborough, in August. Looking for a fresh start, they’d moved from Carrboro after Little’s husband died of a rare illness in 2017. Shyanne was one of 66 black students out of 592 at the school; no teachers were African American, according to the investigation report. Shyanne was entering a district that had been roiled by racial tensions. In 2017, following months of protests, the school board finally amended its dress code to ban the Confederate flag. A year later, OCS released reports showing that staff members had recorded seventy incidents of
PHOTO BY JOSHUA STEADMAN
racist comments and feuds in the 2016–17 school year. Shyanne was also entering a school with pronounced racial disparities. This is the case across OCS, where performance grades for the 2017–18 year revealed a wide achievement gap between minority and white students. But of all the schools in the district, the gap between black and white performance was the largest at Cameron Park. As the investigation report notes: “Educational outcomes for black students lag far behind their white counterparts at Cameron Park and across the Orange County Schools system.” Shyanne didn’t stay long. Within seven months, Little had pulled
her daughter not only from the school but also from the district. Shyanne came to Cameron Park precocious and inquisitive, Little says. But after a few months, she began apologizing for even asking questions—or, worse, not asking them at all. “I think the district in its entirety is largely monolithic,” says Latarndra Strong, founder of the grassroots group Hate-Free Schools Coalition of Orange County, which has advocated for racial equity within OCS. “In this case, some of the problems that have sparked probably would have been handled differently if everybody in the school system, at least at this school, wasn’t white.” INDYweek.com | 4.10.19 | 7
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ittle filed the grievance on February 7, Shyanne’s seventh birthday. But she says she’d been troubled by Cameron Park’s culture for months before that. “I was very, very nervous about moving her [to Cameron Park],” Little says. “I had already heard things.” When she moved to Hillsborough, a black friend with children at Central Elementary told her not to place Shyanne at Cameron Park. “That is the white kid’s school,” she was told. “They don’t care for us.” This was one of several warnings Little says she received. But she’d grown up in a diverse environment, she says, and she thought her family would adjust. Her daughter faced setbacks from the beginning. Shyanne is a gifted student. But unlike the school’s white gifted students, she wasn’t placed in the Academically/Intellectually Gifted program at the start of the year, despite her demonstrated abilities. According to the investigation report, Shyanne “did not receive the same AIG services that her white student counterparts received pursuant to the district’s own rules and regulations of the AIG plan.” Throughout Shyanne’s first semester, Little says she came to the school on various occasions, including for the Christmas concert and field trips, though she felt like she didn’t belong. No one spoke to her. “I didn’t even know who the assistant principal was,” she says. “I spoke to this woman, but I never knew she was the assistant principal.” (During the investigation, assistant principal Amanda Boleratz said she hadn’t interacted with Little before February.) Little came to the school at lunchtime on February 7 carrying cupcakes and a blue candle in the shape of a 7. She checked in at the office. Before entering the cafeteria, she went live on Facebook, so what happened next was recorded. As she set down the cupcakes, a custodian told her she couldn’t the light the candle. She said she wouldn’t. After the class sang “Happy Birthday,” Little put down her phone—ending the recording—so she could pass out cupcakes to Shyanne’s classmates. The custodian— identified in the report as Kenny Nutter, though he wasn’t wearing a school ID—told her again not to light the candle, according to the report. He said he’d just spoken to the assistant principal, then he told her a third time not to light the candle. Little got fed up. “I asked him his name because I’m like, we’re having a lot of interactions now, I’ve noticed you staring at me over the months and kind of following me when I’m coming into the school,” Little recalls. “But now you are addressing me.” She decided to report him. After all, this
wasn’t her first run-in with Nutter, the investigation report says. The day before, Nutter had seen her in the halls and told her that she needed to check into the office when she came to pick up Shyanne from school, though she’d already signed out her child. He refused to identify himself. Both incidents were motivated by race, the report found. In Nutter’s interview with Seth Stephens, the OCS communications official who conducted the investigation, Nutter admitted that he hadn’t stopped another parent under similar circumstances that week, or even that school year. “When Ms. Little came up in [Nutter’s] narrative,” Stephens wrote, “he mocked her voice by portraying her words (that he recalled) in an unflattering manner (audibly). When he quoted other people in his narrative of the events, he did not change his voice. His natural voice was adopted as their words.”
“They would have economically screwed my child had I not stood up.” Nutter also told Stephens that he “would do nothing differently” if given another chance. (According to the report, it took Stephens a month to secure an interview with Nutter, delaying the investigation. Nutter could not be reached for this story. A reporter who visited the school was told he wasn’t available.) When Little told Amanda Boleratz what happened, the assistant principal listened “in the general space of the office” for about twenty minutes, the report says. Little, who recorded the meeting, wasn’t invited into the office, and the report says her harassment claim went nowhere. This didn’t amount to discrimination by Boleratz or principal Tony Widder, Stephens wrote. “However, I do find that Ms. Little and her daughter have been treated differently, whether intentional or not, by Mr. Widder and Ms. Boleratz.” Neither Widder nor Boleratz could be reached for comment. After Little filed her complaint, the investigation report says, Shyanne got access to gifted services. That wouldn’t have happened if she’d kept quiet, Little says. “To take away a child’s tools, an education, is to take away their sustainable way to make a living in their life,” Little says. “They would have economically screwed my child had I not stood up.”
O
CS says it wants more minority teachers at Cameron Park and schools like it. “Under the current leadership, there is a concerted effort when there are vacancies to try to hire, first of all, the best candidate, but then also a diverse set of teachers that would represent the student body there,” says OCS Superintendent Todd Wirt, who assumed that role in 2015, when asked about the racial imbalance at Cameron Park. “Why it’s been like that historically, I wouldn’t even begin to speculate.” The policy the school board enacted in February is designed to increase minority hiring, setting out expectations that OCS “actively recruit, support, and retain a diverse workforce.” Wirt is developing a plan to implement that policy that should go back before the board this fall. Wirt declined to comment on personnel matters or any disciplinary steps that would follow the investigation at Cameron Park. Stephens recommended more training but wrote that other corrective actions were beyond the report’s scope. Little received the completed investigation on March 14. A week later, Wirt authorized Shyanne’s transfer to another OCS school. A week after that, Little removed her from OCS and took her back to Carrboro.
Little holds the investigation report.
PHOTO BY JOSHUA STEADMAN
Though one investigation has finished, another is underway. Wirt asked the district’s top human resources official to follow up on Stephens’s investigation. But Little
doesn’t want to describe what happened again. She wants something done about it. “My daughter wants an education,” Little says. “This girl wants to learn. I’m going
to do everything in my right state of mind to make sure she learns and gets that education. If myself or my daughter has to be the tool to make an example out of these people, to get them to make a change, to stop the indifference, to stop the racism, to stop the segregation, to stop fighting what has already been written in law, then we’re going to be it.” This week, Little and Strong say they’ll meet with attorneys to discuss their options. A day after Little received Stephens’s report, she got a call from Cameron Park administrators about an incident on the playground. They told her Shyanne wasn’t in trouble, but that she had told her teacher that she couldn’t play with the other kids because she wasn’t white. (The event happened that Monday. Little was notified on Friday.) “What do you do when you’re a parent, and you know that you have a child that is smart and that wants to learn, and they are going from being so happy to go to school, and so happy coming home from school, to now they’re crying every day coming off the school bus?” Little says. “This has uprooted her. My baby has gone through changes.” backtalk@indyweek.com
INDYweek.com | 4.10.19 | 9
news
Sue the Sheriff
N.C. REPUBLICANS SAY THEIR PROPOSED BAN ON “SANCTUARY SHERIFFS” IS ABOUT PUBLIC SAFETY. BUT THE BILL IS A MESS, AND ITS REAL GOAL MIGHT BE TO MAKE GOVERNOR COOPER VETO IT. BY SARAH WILLETS
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ponsors of a bill that would force North Carolina sheriffs to cooperate with Immigration and Customs Enforcement have been clear about what prompted it: The election of new sheriffs— including in Durham, Wake, Mecklenburg, Buncombe, and Forsyth Counties—who pledged to stop participating in ICE programs. Counties that had previously participated in the federal 287(g) program, which deputizes local officers to carry out some immigration enforcement duties, promptly ended their agreements, and agencies that had complied with ICE detainer requests announced that, going forward, they would only hold people in jail for ICE with a judge’s order. This, according to Republicans in the state House, could not stand. “These sanctuary sheriffs are simply putting partisan politics ahead of public safety,” Representative Destin Hall, a sponsor of House Bill 370, said on the House floor April 3, shortly before the measure passed on a party-line vote of 63–51. (Hall didn’t respond to an interview request.) That’s not a big enough margin to overcome a veto, should the bill pass the Senate, where Republicans have a slimmer majority than in the House. But despite the apparent long odds, its backers—including the powerful House Speaker Tim Moore—have sought to raise the bill’s profile. Last month, Moore appeared on Fox News’ primetime show The Ingraham Angle, whose host, Laura Ingraham, famously ranted last year about “massive demographic changes” that “most of us don’t like” because “the America that we know and love doesn’t exist anymore.” Moore told Ingraham’s viewers, “It’s just irresponsible for any official, particularly a law enforcement official, to in any way advocate releasing someone who is a criminal, who committed a crime, back out onto the streets, who 10 | 4.10.19 | INDYweek.com
PHOTO BY IGOR VERSHINSKY / ISTOCK
should not even be here. … Some of the folks that we’ve seen already in North Carolina in these counties where some of these sheriffs have done this are people who assaulted law enforcement officers, are people who committed sex offenses.” A study of forty years of data published in the Journal of Ethnicity in Criminal Research in 2016, however, found no correlation between immigration and crime. On the contrary, the researchers said, “Our results indicate that immigration is consistently linked to decreases in violent
(e.g., murder) and property (e.g., burglary) crime” from 1970 to 2010. Nationwide, the vast majority of people subject to ICE’s detainer requests have no or minor criminal records. In North Carolina, of the nearly forty-six thousand individuals ICE asked to be detained from the fiscal years 2003 to 2016, only 60 percent had been convicted of a crime, according to Syracuse University’s Transactional Records Clearinghouse, and many of those holds were sent to state prisons, not local jails. (More recent information isn’t
available through TRAC because it’s been withheld by the Trump administration.) “The public safety thing is really a red herring in the reality that ICE is physically present at state prisons, where disproportionately individuals with serious crimes are being held and serving their sentence,” says Mark Fleming, associate director of litigation at the National Immigrant Justice Center. “Really, what this is about is how wide can you make the net to get as many undocumented immigrants or immigrants that are otherwise deportable into the pipeline.”
But Moore’s rhetoric echoes that of President Trump. Trump—like Governor Cooper and the entire General Assembly— will be on the ballot next year, and his hardline immigration policies, designed to energize his base, will likely be front and center during the campaign. In a broad sense, Moore needs Trump to do well in North Carolina to prevent further Democratic gains in the legislature and to have any hope of ousting Cooper. But for Moore, who lost his GOP supermajorities in November, there’s no downside: If Cooper vetoes the bill, Republicans can run attack ads accusing him of being weak on crime. If he doesn’t, progressives will likely savage him. Cooper hasn’t taken a position on HB 370. Subtract the politics, though, and immigrants’ rights advocates and legal experts say that, taken on its merits, HB 370 is a mess. If it actually became law, it would both jeopardize public safety and put the state’s sheriffs in legal binds. “Anytime you have that close cooperation between local law enforcement agencies and immigration authorities, it leads to that sort of erosion of trust, which makes communities less safe,” says Raul Pinto, a staff attorney with the North Carolina Justice Center’s Immigrant and Refugee Rights Project. “So it’s really counter to the stated purpose of the bill.” HB 370 would require sheriffs to honor ICE’s detainer requests, which ask local jails to hold people after they would otherwise be released or give ICE advanced notice before they’re released. (Hall has said ICE was consulted in crafting the bill.) Nothing in federal law requires local law enforcement to comply with detainers. In fact, multiple courts have found that they are not mandatory. HB 370 would take away sheriffs’ discretion, the North Carolina Sheriff’s Association said in opposing the legislation with “high priority,” an announcement that came five hours before the House passed it. Sheriffs who oppose the bill say it’s not their job to enforce federal immigration laws. They want all of their constituents, regardless of immigration status, to feel comfortable interacting with law enforcement. Indeed, immigrant advocates say HB 370 will discourage immigrants from reporting crimes, and this problem is particularly acute when it comes to domestic violence victims, whose safety may depend on calling 911. (After President Trump issued an executive order stating that no one would be exempt from immigration enforcement, The Los Angeles Times found that reports of domestic violence among Latinx Californians declined significantly—by as much as
18 percent in San Francisco.) Several state domestic violence organizations have come out against the bill. If HB 370 becomes law, sheriffs would be exposed to lawsuits no matter what they do—either by those wrongfully detained, or by state residents, whom the bill empowers to sue sheriffs they believe aren’t honoring ICE detainers. “I think it particularly puts sheriffs in an absolutely impossible position,” says Mark Fleming, associate director of litigation at the National Immigrant Justice Center. When a person is fingerprinted at a jail, those fingerprints are generally sent to state authorities and the FBI to check for
they were born or their parents naturalized while they were still minors, Fleming points out. They aren’t required to obtain documents proving their citizenship. Under HB 370, sheriffs could be held liable for complying with an ICE detainer request for a legal resident or citizen. But those requests are problematic even if the target is undocumented. Several federal courts have found that holding people on detainers violates their Fourth Amendment rights against unreasonable searches and seizures. Others have found local officers don’t have the authority to hold people under detainers, and still others have ruled that detainers exceed ICE’s authority.
“Anytime you have that close cooperation between local law enforcement agencies and immigration authorities, it leads to that sort of erosion of trust, which makes communities less safe.” outstanding warrants. Federal law mandates information sharing between the FBI and the Department of Homeland Security, which oversees ICE. This is how detainers get lodged—a person gets booked into a jail, his information makes its way to ICE, and if ICE believes the person is subject to deportation, it asks the jail to keep the person in custody for up to forty-eight hours beyond his release date. But Fleming says ICE often wrongly identifies people for removal. The agency’s database has a 30 percent error rate, the NIJC has found. Sometimes that error is a misspelled name, other times the person is not listed as having status when really she really does. The ACLU found that in Miami, over two years, ICE issued detainers for 420 people who were U.S. citizens. HB 370 says sheriffs don’t have to honor detainers for anyone who has proof of citizenship or lawful immigration status, but Fleming says not everyone has that proof, nor are local deputies equipped to navigate immigration law to decide if someone has legal status. Approximately five million people in the U.S. have gained citizenship either because their parents were citizens when
A lot of these arguments come back to the fact that detainers are not warrants. Courts have ruled that holding people on a detainer after they would have otherwise been released—for example, by posting bond or having their charges dropped—constitutes a new arrest under the Fourth Amendment, and detainers don’t constitute probable cause for an arrest. Detainers don’t come with judicial warrants—meaning a third party hasn’t signed off on ICE’s claim that a person is deportable. Instead, they typically come with administrative warrants, in which only an ICE officer attests that someone is removable. The Immigration and Naturalization Act says that only ICE can make arrests based on administrative warrants. So when local law enforcement gets a detainer request, deputies are, in effect, getting a request from the feds to make a warrantless arrest based solely on the feds’ say-so. The INA also says that in order to make a warrantless immigration arrest, there needs to be probable cause that someone is deportable and that he’s likely to escape before a warrant can be obtained for his arrest, which is tricky—and, in the opinion
of an Illinois court, virtually impossible— for someone already locked up in a local jail, as the subjects of these detainers would be. If there’s no determination that a person is likely to flee, the case doesn’t meet ICE’s standard for a warrantless arrest. And the U.S. Supreme Court has said—in striking down parts of a 2010 Arizona law similar to HB 370—that local cops can’t have broader immigration arrest authority than ICE does. In short, Fleming says, ICE is asking local cops to make an arrest they can’t make—and that ICE isn’t empowered to make either. In the Arizona case, the Supreme Court did let stand a controversial provision requiring law enforcement officials to determine the immigration status of anyone they stop or arrest who they suspect is removable. North Carolina law currently requires jail administrators to attempt to verify the status of anyone charged with a felony; HB 370 broadens that mandate to all criminal offenses. Several provisions in HB 370 are closely patterned after a 2017 Texas law known as SB 4, which, like HB 370, requires law enforcement to determine individuals’ immigration status and imposes steep financial penalties for not honoring detainers. Last year, a federal appeals court upheld those aspects of the law, finding— contrary to most other court rulings—that detainers provide sufficient probable cause for detention. Even if the Supreme Court eventually comes to the same conclusion, Fleming says HB 370 runs afoul of the state constitution. North Carolina requires police to get a warrant signed by a judge in order to arrest someone. If they make a warrantless arrest, a defendant must be brought before a judge to review whether probable cause exists. “None of that happens in the context of immigration detainers and administrative warrants,” Fleming says. Asked about the governor’s intentions, a spokesperson says Cooper has “serious concerns about taking away local authority and making it harder for local law enforcement to do their jobs,” but that he would “review any legislation that comes to his desk before making a decision.” Whatever the political implications, Moises Serrano, the political director at El Pueblo, a Raleigh-based Latinx community organization, says that lawmakers designed HB 370 to send a message to the state’s immigrants: “They are not wanted here, that they’re not welcome here. We’re trying to make the lives of immigrants so hard here that they will self-deport. This is a tool of psychological warfare.” swillets@indyweek.com INDYweek.com | 4.10.19 | 11
DREAMVILLE
PHOTOS BY
JADE WILSON
In terms of attendence numbers, good vibes, punctual showtimes, smooth operations, and great music—by any metric, really—the debut of J. Cole’s Dreamville Festival in Raleigh’s Dix Park was a smashing success. If you missed it this year, you’ll want to be there next year, provided it comes back (it should). In the meantime, live the dream with a few of our favorite shots from the festival—and you can both see more pictures and read our recaps and analysis at indyweek.com. Left to right from top: J. Cole, Saba, Mez, EarthGang, Rapsody, three shots of fans getting down, Teyana Taylor
12 | 4.10.19 | INDYweek.com
INDYweek.com | 4.10.19 | 13
Deep Dive
SLIM'S CELEBRATES TWO DECADES OF KEEPING DOWNTOWN RALEIGH LOUD AND HUMBLE BY MICHAEL VENUTOLO-MANTOVANI
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The bar at Slim's PHOTO BY JUSTIN KASE CONDER y first memory of Slim’s comes from the back patio, on what I remember as a thousanddegree September day. My old band had traveled down from New Jersey for an early slot at Hopscotch, playing at noon between the dumpsters and the noisy air-conditioning unit. The crowd and staff that packed the narrow bar, concrete patio, and steel stairwell were so good to our roving band of unwashed misfits that we kept coming back, often for one-off shows, only to turn around and drive home to Jersey that night. A lot about downtown Raleigh has changed since that show, nearly six years ago. But one of the few constants amid the development is Slim’s, the tall, skinny bar at 227 South Wilmington Street, its black awning and dark windows too covered with show posters to offer a glimpse of every14 | 4.10.19 | INDYweek.com
thing happening inside. This weekend, it celebrates its twentieth birthday with a slate of free shows. Friday brings Watershed and The Bleeding Hearts. Saturday features Drag Sounds and 6 String Drag. Sunday’s day party has Mic Harrison and the High Score with Patty Hurst Shifter. And on Monday evening, the festivities conclude with Left Outlet and Fruit Snack. Mixing bands that harken back to the earliest days of Slim’s and bands that are highly active in Raleigh today, it’s a snapshot of the life of a little downtown rock club. Slim’s is owned by Van Alston and Chris Post, and its long, slender bar features relics of their lives in music: ticket stubs, old photos, clippings of flyers of classic Raleigh shows, all encased in epoxy. The stage is tiny, barely a foot higher than the floor. In short, it’s a well-broken-in rock-and-roll dive—a respite of light beer, cheap shots, and high volume in a craft-cocktail world.
Alston and Post opened Slim’s on April 15, 1999, in the tail end of Raleigh’s storied alt-country days, although back then, the bar was called the Lakeside Lounge, in partnership with a New York City bar of the same name. Within a year, however, Alston and Post amicably split with their New York partners, wanting to craft a bar in their own image. Before anything else, it would need a new name. “We had a bartender there whose nickname was Fats,” says Alston, who, in 1981, left his hometown of Greensboro to study at N.C. State. “We called it Slim’s, as kind of a nod to Fats.” Alston remembers the bar’s humble beginning as a clubhouse of sorts—a few friends sitting around listening to “sadass country music” on the jukebox. While it made for a great hang, it was a horrible business model. But eventually, as one of the only bars in the area, it began to attract customers. “We used to say, if you saw someone downtown after eight p.m., they were heading to Slim’s,” Alston says. “It was just us.” By the early 2000s, Raleigh was growing, its streets alive long after the sun went down, as restaurants and bars slowly start-
ed popping up downtown and along Glenwood Avenue. A new clientele began to fill the high stools along the bar at Slim’s. It became a watering hole for local waitstaff, bartenders, and barflies. The constant flow of service-industry people allowed the owners to program whatever live music they wanted, as they didn’t need to rely on the night’s entertainment to pad their bottom line. “We were never dependent on the bands like a proper venue would be,” Alston says, adding that the bar’s nonexistent production costs funnels almost every penny of door charges into the bands’ pockets. By the 2010s, a city once famed for altcountry had embraced punk, rock, and a far more experimental aesthetic, thanks to the influx of young musicians to the Triangle. Alston credits Mark Connor, a longtime talent booker and bartender at Slim’s, with helping the bar evolve musically in tandem with the growing city around it. “Mark had ideas,” Alston says. “He wanted this place to be more than it was.” He remembers Connor showing up for his interview in 2009 wearing a tie—hardly a prerequisite when angling for a job in a rock dive, but a sign of his ambition.
bar in downtown Raleigh, needs to contin“I caught hell for that for years,” Connor ue to strive to be as welcoming and inclusays. “But I caught hell for it while having sive as possible. the job, right?” “It’s a changing social climate,” Williams Connor worked to make Slim’s—and says. “And it’s incredibly important to give eventually The Cave in Chapel Hill, which people a platform to speak out, especially in he owned with Alston from 2012 to 2018—a places as timeless as music venues.” welcoming, judgment-free haven for bands and artists of any stripe, setting a precedent that continues with current talent booker Catie Yerkes, who took over three years ago. Connor was intent on not just booking bands that featured four straight white dudes playing some iteration of rock or alt-country. “I don’t think Slim’s set out to be a bastion of anything,” says Al Riggs, a Durham-based singer-songwriter who identifies as queer and has played at Slim’s many times. “But because they have done their due diligence to make it a safe space for anyone who wants to perform there, it’s become a space for common ground for all sorts of performers.” Connor credits Alston’s open-mindedness for allowing the bar to evolve in concert with the city around it, Van Alston FILE PHOTO BY JUSTIN COOK keeping the uncertain Of all the twentieth-anniversary shows, business of owning a bar going for two Connor says one in particular combines decades. But Connor is quick to point out what Slim’s is today with what it once was. that while Raleigh has grown in populace, Saturday night’s show features 6 String it still has a long way to go culturally. RathDrag, a band fronted by former Slim’s barer than deriding a pace of cultural maturatender and alt-country staple Kenny Roby, tion that can seem glacial, he sees it as a and Drag Sounds, which counts current challenge. Slim’s bartender and guitar everyman Mike “A friend recently told me how hard it Wallace as a member. It’s the long history is to be a queer promoter in Raleigh,” he created by Alston, Connor, Yerkes, Post, says. “We’re not at this perfect space where Williams, and so many others, bottled in we’ve grown, and everything’s finished.” glorious noise. Current bar manager Alison Williams arts@indyweek.com agrees that Slim’s, along with every other
DOWNTOWN CARY’S BOTTLE SHOP
JOIN PHARMACY BOTTLE + BEVERAGE
FOR NC BEER MONTH
SLIM’S TWENTIETH ANNIVERSARY SHOWS Friday, Apr. 12–Monday, Apr. 15, free Slim’s, Raleigh www.slimsraleigh.com
INDYweek.com | 4.10.19 | 15
indyfood
EXOTIC MEAT MONTH
Bull City Burger and Brewery, Durham 919-680-2333; www.bullcityburgerandbrewery.com
Along Came a Spider
YES, YOU CAN EAT A TARANTULA AT BULL CITY BURGER THIS MONTH. BUT THERE ARE MANY WAYS BETWEEN PORK CHOPS AND ARACHNIDS TO EXPAND YOUR PALATE. BY ADAM SOBSEY
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y wife used to work for the illustrious expat food writer Patricia Wells. The last time we had lunch together, Wells asked for our thoughts on the cut of pork known in French as the cigalline, which she’d been trying to get from her butcher. We’d never heard of it. Later, we looked it up: une viande rare et un morceau méconnu, according to one description. It’s also called the araignée de porc: the pork spider. I thought of the pork spider when Bull City Burger and Brewery announced its annual Exotic Meat Month, with offerings including actual spider—tarantula, to be precise—and an ark’s worth of creatures from alligator to yak. As BCB&B puts it, this is “a chance to learn about new flavors and increase your cultural awareness. It’s also fun!” Indeed—and it’s enriching off the palate, too. The world over, people eat animal proteins that Americans almost never do; they even prefer it. When I traveled in Cambodia, village markets offered deep-fried spiders and satay skewers of giant beetles as casually as if they were hot dogs; in the Laos dusk, kids waved spears in the air hoping to catch bats for dinner. But one needn’t go so far to find culinary exotica. The meat departments of many Latino groceries in these parts stock more organ meats than are dreamt of in your gastronomy. For all the foodie-forwardness of the last generation or so, the American diet remains carnivorously narrow. Fun as it is to take the Survivor-ish challenge of tucking into, say, turtle (which is common in many other foodways, including our American South’s), there’s a real seriousness to this matter, and part of it is that we ritually exoticize even the most ordinary meats. I asked Justin Meddis, who runs Rose’s Noodles, Dumplings & Sweets with his wife, Katie, what he knew about the cigalline. He’s a meat expert—Rose’s was a butcher shop before it transformed into a noodle-and-dumpling house—but he had never pursued the cut. It’s not easy to get at, deep in the animal’s hip. 16 | 4.10.19 | INDYweek.com
ILLUSTRATION BY STEVE OLIVA
“The meat departments of many Latino groceries in these parts stock more organ meats than are dreamt of in your gastronomy.” Meddis considered and said, “I’m pretty sure that’s the muscle the pig shits with.” Fear of feces, fat, funk. Apart from a few curious exceptions—what’s an oyster, after all, if not a salty, scatty, seminal loogy we’d flush down the toilet if it were ours?—we like our meat as de-animalized as possible: squarish, lean slabs of muscle. Meddis doesn’t broadcast that he still buys whole pigs from Firsthand Foods and uses almost everything but the squeal; but the tasty and rich little morsels of meat in his dumplings and soups answer to no supermarket name, and they’re perfectly counterpointed by the sweet-hot-acid qualities of so many nonWestern sauces and condiments. Pigskin and lard contribute soul-filling viscosity and aroma to Rose’s ramen broth, and the pho broth utilizes otherwise neglected beef rib bones and hoof; Meddis freezes the latter afterward and, when he has enough in store, makes tendon salad. Deft and ingenious use of “exotic” meats or neglected parts is one thing; deliberately eating them “kind of depends on your upbringing,” Meddis says. Consider shad roe, whose short annual season is underway right now. This long-celebrated delicacy has lost most of its currency in our increasingly monocultural foodways. But it persists at Locals Seafood, the estimable Raleigh-based wholesaler/retailer—now with a new oyster bar in Raleigh’s Transfer Company Food Hall—that stays true to its mission to purvey North Carolina seafood in all its variety. Rose’s sources the bluefish and mullet currently on its menu from Locals. “All this tasty fish is being caught on our coast,” says Locals cofounder Lin Peterson. Much of it is by-catch, and that’s where both flavor and value swim. The bland white grouper and red snapper are in such high demand, and thus so heavily regulated, that Locals has to charge well over $20 per pound for them. Yet they offer numerous alternatives, often for half the price and with cooler names: blueline and golden tilefish, jolthead
porgy, and sheepshead, which was once so popular that a New York City bay bears its name. Locals has helped create a lively market for previously ignored species like jack, a steaky fish that provides a cheaper, more flavorful alternative to mahi-mahi (which, Peterson notes, was once considered little better than a trash fish itself ). Ditto the sweet, meaty triggerfish, which has also ascended to the upper ranks. Still, even triggerfish poses secondary challenges. It yields a very low proportion of filet: Only about a third of its weight. But there’s much more meat on its bones, especially up around the collar where—as any lover of sushi-bar hamachi kama can tell you—some of the most flavorful meat is. Locals offers whole triggerfish, dressed and prepped for grilling or roasting. Eating as much of the animal as possible is not only a better way to feed the world. It’s a way to take better care of it, too. Studies have shown that raising livestock is one of humankind’s most environmentally damaging (not to mention inhumane) industries; it’s more damaging still when we discard most of the beasts we breed or catch. And overfishing the most popular seafood species is causing endangerment and ecological crises. Carcasses do find their way into pet food, fertilizer, and other secondary uses, but an alarming portion of restaurant-bound animals end up in dumpsters. Meddis points from Rose’s toward Brightleaf Square. “There’s a restaurant over there that wheels three carts a day past us to their garbage station,” he says. “We fill two small cans of trash a week.” “Exotic” meat, whether pork spider or actual spider, is a way to broaden not just our dining horizons, but ourselves, gastronomically, economically, and culturally. “Eat things you’re not used to,” Peterson says. “We’ve got to get away from the skinless, boneless world. It’s not like we’re selling eyeballs.” Not yet, anyway. food@indyweek.com INDYweek.com | 4.10.19 | 17
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Strand Trial
TIMOTHY SHOWALTER WASN’T SURE HE’D MAKE ANOTHER RECORD. THEN MY MORNING JACKET SHOWED UP. BY MICHAEL VENUTOLO-MANTOVANI Timothy Showalter of Strand of Oaks PHOTO BY ALYSSE GAFKAJEN
“S
orry I’m a bit late. Some people say I have the gift of gab.” This is how Timothy Showalter begins our interview, apologizing for calling fifteen minutes late. Recently, his days are full of back-to-back interviews to promote his new album, Eraserland, and its attendant tour. His charisma, apparent the instant he opens his mouth, makes it impossible to be upset at his minor oversight or his estimation—or the estimation of “some people”— that Showalter can talk. He answers each question with an earnest, headlong word salad that’s somehow not obtuse. Instead, it demonstrates his willingness to offer the most honest answer he can. Showalter has been making music as Strand of Oaks since 2008, spending the first half-decade of his career in relative obscurity until breaking through with 2014’s HEAL and its first single, the stomping, euphoric treatise on youthful yearning, “Goshen ‘97.” With Eraserland, an album that he readily admits almost wasn’t made, Showalter resumes his place as a rising star in the pantheon of songwriters who blend classic Americana with searching, scenic indie rock and stone-cold jams. Recently, the INDY spoke with Showalter about how Eraserland came to be, surrounding yourself with good people, and how it felt to make a record with My Morning Jacket.
INDY: Tell me about the new record. TIMOTHY SHOWALTER: Well, it’s everything I guess I’ve been working on for my whole career. And luckily, it happened. Which is kind of strange to say because I wasn’t sure if I was going to make another album. In my past, I’ve always been the cheerleader that gets everything going. But this time, it was the opposite. I’m fortunate to have friends that are in bands, like My Morning Jacket and Jason Isbell. They came to my aid and were the ones who set it all up. How so? Well, they knew that I was pretty sad and didn’t want to make music anymore. Carl [Broemel, of My Morning Jacket] wrote me out of the blue saying that if I ever wanted to make music together, he’d be there. And I wrote back saying thanks, and that I didn’t know. We didn’t really get into anything, but then, six hours later, my manager called me and was like, “Hey Tim, are you making a record with My Morning Jacket?” I told him I didn’t know what he was talking about, and he said that there was studio time booked and people were flying in. I was flabbergasted, but unfortunately, I had zero songs. Right. So go back to what you were saying before, how you thought you might be done making music.
Strand of Oaks is not an industry. It is my job, but it’s something that only exists because I have to believe in it. And I didn’t believe in it anymore. I kind of lost faith in myself, and if that happens, it’s not like I’m going to go through the motions. I mean, the first line of the record is, “I don’t feel it anymore.” And that’s not a throwaway line. And then I got the news that we were going to do the record. As sad as I was, you don’t turn down the opportunity to play with [My Morning Jacket]. If this option is presented to you and you have any capabilities left, you rise. Luckily, I like the pressure, and I like being active and engaged, so I answered the call. I was like, “Shit. I gotta write songs now. And they gotta be good.” Because I wasn’t living in my head, I was able to free myself from those expectations and write the most close-to-my-heart songs I’ve ever written. And because I had these incredibly arrived bands of musicians and people, I somehow sounded more like Strand of Oaks than I ever thought I could. How did Jason Isbell get involved? I’ve known Jason for years. He’d crossed paths with someone I knew and told them that he’d love to do anything on it, to just be a part of it. All you have to do is watch one guitar solo from Isbell to realize that this is a once-in-a-lifetime talent. So instead of having him sing harmony, I wanted him to play the most off-the-wall solo he’s ever recorded. And there is a local Durham element to this backing band, correct? Yeah. We have the rhythm section from Mount Moriah. It’s always good if rhythm sections know one another. It adds that familial element to your band. And they’re just good, good people. There have been so many reminders this year, sometimes poignant, sometimes gentle, that say, “This is what you do. You need to approach it again with a new light and better intentions, and it will reward you back.” And I need to be aware of that more than like, “Oh shit. Am I selling this show out, or am I getting bigger?” Because those are empty pursuits that might reward you in the second you’re doing it but don’t equal a better life. What equals a better life for you? You need to have a good soul to make good music. The same can be said about playing concerts. You can’t choose your fan base, but my fans are all people I’d hang out with. I feel better when I go on tour because I’m just meeting people, seeing people. It fills me with a lot of life. music@indyweek.com
STRAND OF OAKS | Friday, Apr. 12, 8 p.m., $20 | Motorco Music Hall, Durham
INDYweek.com | 4.10.19 | 19
music REESE MCHENRY: NO DADOS ALBUM RELEASE Friday, Apr. 12, 8 p.m., $10 Local 506, Chapel Hill
AXNT
DOUBLE IMAGE
Raund Haus Records, Apr. 12
Electro Motive
REESE MCHENRY LETS IT RIP, ANXT SETS THE TABLE FOR GREAT THINGS TO COME Reese McHenry PHOTO BY JILLIAN CLARK
REESE MCHENRY
NO DADOS ½ Suah Sounds; Apr. 12
There’s no denying that Reese McHenry’s voice is a powerful instrument. She’s a tightly coiled bundle of kinetic energy, constantly driven to find the next word, the next note, the next sound, often before the last one has ended or even really fully sounded. She doesn’t sustain notes as much as propel them, imbuing them with a highly charged, electromotive force. Within a single note, she’ll employ her seemingly endless vocabulary of sounds: dips, swoops, various gradations of growls and roars, a wide vibrato she can turn on or off on cue, subtle rises before a note even starts, and on and on. She’ll overshoot a note only to slide back to it at the last 20 | 4.10.19 | INDYweek.com
minute, push ahead of the beat, drag behind the beat, ignore the beat entirely. All of these elements are on full display on No Dados, her second album since returning to musical life after nearly a decade recovering from a stroke and series of major medical setbacks. Backed by Durham’s Drag Sounds—who temporarily leave behind their nervy, Television-esque rockers to unleash their inner garage band—McHenry rages her way through thirteen tight rockers about the many ways that love falls apart. Her songwriting is as tight as ever, confirming that she’s one of the great practitioners (alongside Ashevillians Greg Cartwright and Don Howland) of that unruly thing we call “garage rock”—that mix of Nuggets-esque psych rock, girl-group pop, Motown and Stax, surf, power pop, and seemingly the entirety of preBritish Invasion rock.
There’s the girl-group coo in the intro of “Detroit,” where she stretches the word “home” into something like seven dejected syllables. “Bye Bye Baby” is one giant flick of the wrist, where she leans into the “wrong” notes for just a little too long as the band chants underneath. And when she sings in unison with a bending guitar solo, the effect is totally delirious. It can sometimes seem like she’s careening around the room with a sloppy swagger that has been compared (lazily) to Janis Joplin. But McHenry is anything but out of control; she knows exactly what she’s doing, inflecting every word she sings with just the right set of sonic affects. So when she lets some notes through, unadorned—like in the sweet opening of “Can You Say?”—the effect is ecstatic. She is clearly having a blast, and every song brims with fresh joy. —Dan Ruccia
Channeling ‘90s sci-fi beat pioneers like Planetary Assault Systems and the pastel purée of Prefuse 73, Charlotte producer Anxt injects a bit of roughshod industrialized charm into the endless sunset prowl of trendy 2010’s hip-hop and beat music. Perhaps aware of the easily starter-packed stereotypes of trendspotting lo-fi, Anxt usually leans past inert tropes, into dynamic stylistic choices reminiscent of IDM. Of course, many egghead producers would rather die than be called “IDM,” but for Axnt’s new release, Double Image on Raund Haus, the comparison is certainly a compliment and not a pejorative. For one, his low-end runs atypically grimy. “Shady Characters” boasts huge sheets of distorted shovel-scrape noise underneath an array of interstellar patches and pitch-fucked vocal samples. The humorously titled “Trendscending” starts out gauzy and inauspicious, possibly the work of any number of vowelless sample-jacking producers. Yet, it creeps along into a jittery, nuanced piece of clubby beatwork, proving that the producer has seasoned tricks up his sleeve. Manic jungle-revivalist rhythms occasionally spring from Anxt’s toolbox, like on the propulsive “Protopattern.” While novel, the track refuses to smack quite as viciously as one would like, and the majority of Double Image succeeds and suffers in this way. Anxt deserves praise for beautifully setting most of the details of the table. He gets the tablecloth, cutlery, and candles just so while slightly undercooking the main course. These tracks showcase a fine producer with a firm grip on psychedelic sound design and energizing Jock Jams–world sample choices. He just needs to overclock these ideas to their bombastic conclusion. In a genre where paint-by-numbers beat music can be about as elevating as gas-station CBD oil, this is a promising collection. —David Ford Smith music@indyweek.com
music Mind the Body ART-POP VISIONARY SHARA NOVA USES DANCE MUSIC TO PLUMB THE PARADOX OF THE SELF IN SOCIETY BY BRIAN HOWE Shara Nova PHOTO BY SHERVIN LAINEZ
M
y Brightest Diamond already had as many different ways of combining classical instruments and concepts in a rock context as it had albums. But the art-pop band found a way to radically depart from even that mercurial template with its most recent record, which probably would have earned more best-of-2018 accolades had it not come out in the awkward month of December. Like all of My Brightest Diamond’s music, A Million and One centers on the commanding voice and keen, venturesome compositions of Shara Nova, a multi-instrumentalist who considers the guitar her baseline, and who bounds lightly along the indie-academic divide. She’s currently engaged in a multiyear Mellon Foundation-funded residency at Carolina Performing Arts, which staged one of the few U.S. performances of her chamber opera You Us We All a few years ago, and where she’s working on something new that we should see next spring. But instead of rock, the substrate of A Million and One is dance music. Lucid and
otherworldly, it’s like a hazy glimpse into a parallel universe where Laurie Anderson is Robyn’s producer. With the new-music encrustations pared back and the populist pulse of dance music, it’s My Brightest Diamond’s most immediate, accessible record. “Certainly there’s a kind of stripped-down quality, and that was to see what it would do for the songwriting. I wanted to focus on song form and rhythm rather than how I was going to use orchestration to tell stories,” Nova says, driving down a Texas backroad with a skittish phone signal last week. Texas is where she’s from, but in recent years, she’s been living in Detroit, which is one reason dance music infiltrated A Million and One. After all, this is the city where techno was born, the foundation on which all the global bricks of electronic dance music were built. Nova singles out Carl Craig, the second-generation Detroit-techno genius, as a particular influence on songs like “Supernova,” a humming column of light and air that whispers of electronic dance music before bombastic EDM.
“It’s the way that Carl evolves music,” Nova says. “He does these very long crescendos and decrescendos when bringing in another part; he doesn’t do these hard drops.” The city infiltrated A Million and One in more idiosyncratic ways, too. Nova says “Rising Star” began when her eight-year-old son, a hockey player, asked her to write him a cool song. Given its characteristic hushed restraint, you’d never guess Nova was imagining a pump-up anthem for the Detroit Red Wings in the four-on-the-floor style of “Seven Nation Army,” by Detroit legends The White Stripes. But once she tells you this, you can’t not hear it, like you’re listening to the roar of a crowded arena from the afterlife. The record plays with the pulse and thrust, the halt and release, of techno, but it isn’t really dance music. It’s flooded with rich, fine acoustic timbres and moored in ideas about the paradoxes of the individual and society, these opposite entities that are supposed to coexist—all of us part of the million, each of us the one.
“In terms of the thematic material, the lyric material, the title is about this investigation of how we become individual,” Nova says. “How does one have autonomy and selfdefinition, face adversity, and relate to your neighbors, your community, the world?” To pry open this contradiction, especially on opening track “That’s Me on the Dance Floor,” Nova winds a high-tension spring between club music’s spirit of collective experience and her vocal presence’s numinous isolation. She transmutes hedonistic tropes into vessels for something personal and cerebral, its threads teased out of the deepest fabric of her life story. Nova, a pastor’s daughter, says she wasn’t allowed to dance as a teenager. And as a young woman vying for respect as a composer but getting catcalled as a backup singer, she came to feel that she couldn’t allow herself something as deceptively frivolous as dance. For her, A Million and One is part of a process of self-reclamation that began on 2014 album This Is My Hand. “I just stopped dancing and took dancing out of my work,” she says. “I felt that in order to be taken seriously, I had to lead with arrangement over dancing, and what that did to me was shut down my own relationship to the body. So this is the continuation of that exploration for myself. It’s not about dancing to hook up with somebody, it’s dancing to be connected to your own body.” On Saturday, My Brightest Diamond opens for Death Cab for Cutie at Red Hat Amphitheater, and you could be forgiven for murmuring “wha?” at the pairing. If there’s such a thing as major-label indie rock (there totally is), then Death Cab is one of its standard bearers. In contrast, My Brightest Diamond formerly recorded for Sufjan Stevens-affiliated indie Asthmatic Kitty, and released A Million and One on the smaller, woman-owned Rhyme & Reason Records; the band’s music defines the outer edge of any cosmos in which Death Cab is central. The connection is Zac Rae, Death Cab’s keyboardist, who has played on several My Brightest Diamond records. But it’s also Nova’s malleability, her capacity to traverse boundaries—between the indie touring circuit and academic halls, between pop music and art music, or between the self and the mass—as if they weren’t even there. bhowe@indyweek.com
MY BRIGHTEST DIAMOND Saturday, Apr. 13, 7 p.m., $30–$55 Red Hat Amphitheater, Raleigh www.redhatamphitheater.com
INDYweek.com | 4.10.19 | 21
indyart
POP AMÉRICA
Through Jul. 21 | The Nasher Museum of Art, Durham | www.nasher.duke.edu
Pop, the Question
HOW DOES LATIN-AMERICAN POP ART COMPLICATE A CANON DOMINATED BY NORTH AMERICA?
P
BY LAURA JARAMILLO
op América, an exhibit currently on view at Duke’s Nasher Museum of Art, seeks to expand the canon of Pop art, which has largely been defined by Andy Warhol’s ironized embrace of the bright, graphic aesthetic of midtwentieth-century advertising, beyond North America. By showcasing a broad Raúl Martínez, “El Vaquero” (1969) 22 | 4.10.19 | INDYweek.com
array of works produced across Latin America between 1965 and 1975, the exhibit hints at the different ways that Latin-American artists used the visual vocabulary of advertising to critique the neocolonial imposition of North American consumer culture and values on the Southern Hemisphere.
COURTESY OF THE NASHER
The most compelling parts of Pop América illustrate the vital role that graphic arts played in defining the anti-imperialist movements of the era, most notably print-making in response to the Cuban revolution of 1959 and the Mexican student movement of 1968. There are several posters and paintings by Raúl Martinez, the Cuban artist whose candy-colored portraits of the country’s political and cinematic icons helped forge the aesthetic identity of the revolution. Throughout the show, it becomes evident that Cuba’s rich print-making tradition laid the groundwork for some of the most iconic anti-imperialist imagery of the period, including Elena Serrano’s color-blocked Che Guevara OSPAAAL magazine cover and Frémez’s Vietnam solidarity poster. Another section brings together protest ephemera produced around Mexico’s 1968 Olympics. In preparation, Mexican police tightened repression on labor union and student activism, leading to the Massacre of Tlatelolco, in which, ten days before the games were to start, police opened fire on students gathered to demand police demilitarization. American graphic designer Lance Wyman’s famous Op art Olympics logo, meant to convey Mexico’s groovy modernity, is placed alongside screen-printed, studentproduced posters that appropriate Wyman’s design to critique police brutality during the Mexico City games. The variety of protest and commercial objects in the show bearing Wyman’s design is evidence of both a project of forced modernization, imposed on Mexico from abroad, and the radical refusal of that project. These artifacts shed light on how Latin-American cultural producers understood North American commercial icons—as symbols of colonial control. Rather than rejecting these symbols wholesale, however, they saw them as ripe for subversive short-circuiting. As in Colombian painter Antonio Caro’s rendering of the word “Colombia” in the Coca-Cola font, commercial emblems serve as symbols of an aspirational modernity often built on the bones of Latin American peasants and militants who fought American corporations for labor and land rights. For the contemporary viewer, it is difficult to see Caro’s paintings and not think of the well-documented murders, starting in the 1990s, of nine union organizers at Colombian Coca-Cola bottling plants. While it subtly mocks modernity, Caro’s hand-painted counterfeit of a machine-printed icon also points to how American foreign policy in the early twentieth century forced Latin
America into a position of economic and technological dependence. If Pop in North America was a willing embrace of the merger between art and the market in the midst of post-war prosperity, Pop in Latin America would have a much more chilling meaning, one inextricably enmeshed with the continent’s bloody, century-long battle against North American imperialism. Pop América contains pieces that are a rare treat to see in North American museums, including works by avant-garde sculptor and illustrator Felipe Ehrenberg and a slide projection by experimental theater actor and conceptualist Juan José Gurrola. One of the most stunning works is “My Mother and I,” by Venezuelan-French-American sculptor Marisol. One of the few female Pop artists in the North American scene, her work has been rescued by the concerted efforts of feminist art historians. Marisol’s blocky sculptures of bourgeois family life are poised between a critique of patriarchy and astounding plastic experimentation with the human figure. “My Mother and I” features a mother and her small daughter covered by a cut-out parasol that casts arabesque patterns throughout the gallery. But the obvious prettiness of the piece is undercut by the mother’s encasement in the immobilizing boredom of her role as caretaker stuck on a park bench. Though Pop América presents a wideranging vision of the myriad meanings of Pop art in a hemispheric context, one wonders if Pop art is a necessary frame for understanding this body of work. Do we need to look at these pieces side by side with Andy Warhol and Claes Oldenberg in order to understand their vast subversive power? One consequence of framing the movement as being as North American as apple pie is that it strips both contexts of their specificity. If Latin-American artists sometimes found themselves playing with American popular culture, it was not because of an aesthetic exchange carried on between the two continents. It was the result of a neocolonial consumer culture foisted on the global South through both economic coercion and literal violence. What is amazing about the radical Latin-American art of early postmodernity is its vast repertoire of gestures of refusal, even as those refusals are couched in vaguely ironic humor. Though it is important to open up the canon of Latin-American visual art to a broader audience in an accessible manner, I hope it can one day stand on its own radical merits. arts@indyweek.com
indystage
A Hard Drive
UNPACKING SEXUAL ABUSE BOX BY HARROWING BOX IN AN ULTIMATELY REDEMPTIVE PLAY BY KATY KOOP
P
chorus reflects her admiration for classical drama, in which the convention is both narrative and representative of society. By casting the chorus as Lil’Bit’s family rather than citizens of Thebes, the play examines the societal structure that enabled much of her abuse. It’s an unflinching look at an upbringing in which men’s sexual desire is an unstoppable force, while women are the immovable objects held responsible. Cornell is unnerving as Uncle Peck, at once a warm kindred spirit with Lil’Bit and a sickening monster HOW I LEARNED TO DRIVE | 1/2 that needs to be Through Sunday, Apr. 21 stopped. Bosco is PlayMakers Repertory Company, Chapel Hill equally captivatwww.playmakersrep.org ing in the chorus, giving conflicting advice as Lil’Bit’s mother and Uncle Peck’s patient wife, upholding the patriarchy in both roles by placing responsibility on Lil’Bit. Between them, Gibson, trapped in the inertia of her memories, grounds How I Learned To Drive PHOTO BY HUTHPHOTO the production with vulnerability and strength. Under Lee unit, expressing the scale of Lil’Bit’s trauma, Sunday Evans’s direction, the ensemble which lives, unpacked, in her disassociated entrenches the audience in a painful inner body. life that feels deeply real. As Lil’Bit (Julia Gibson) and a Greek choBecoming immersed in Lil’Bit’s memories rus (Emily Bosco, Gabriella Cila, and Dan is easy. While this speaks to the production’s Toot) begin to unpack, a driving handbook strength, it may be too triggering for some is pulled out, and Uncle Peck (Jeffrey Blair viewers, even with space for processing and Cornell) appears. Then, surrounded by the counselors provided post-show. That caveat chorus, Lil’Bit drives deep into her past, with aside, by the end, this unpacking is ultimateeach chapter on manual gears and Maryly a hopeful experience. With boxes emptied land driving laws bringing her closer to more and garage door wide open, Lil’Bit can finally painful memories. accelerate towards healing, even knowing Lil’Bit’s penchant for theater history is what’s in her rear-view mirror. apparent. She compares dramatic structure arts@indyweek.com to sex and quotes Shakespeare. The Greek aula Vogel’s How I Learned to Drive follows a character called Lil’Bit as she reflects on the defensive-driving lessons she received from her Uncle Peck and the sexual abuse that accompanied it. The PlayMakers production starts with the grind of a garage door raising and the click of a light switch, starkly revealing a life in storage. While other productions of this play tend toward more minimal, intimate sets, designer Jan Chambers places it on a thrust stage in a larger-than-life storage
stage
BRIEF
BAD ROADS
Through Sunday, Apr. 14 Duke’s Sheafer Theater, Durham www.theaterstudies.duke.edu “Unrealistic” is usually bad news in theater criticism. But two shows this week—Bad Roads at Duke and How I Learned to Drive at PlayMakers—give us reason to reexamine our usual critique of that condition. Drive’s stylized depictions of adolescent sexual abuse left some audience members visibly shaken. And after witnessing the American debut of Bad Roads, Natal’ya Vorozhbit’s 2017 documentary drama on the ongoing Ukranian civil war, I’m convinced: Maybe we're not ready for the real. Vorozhbit has theatrically documented Ukraine’s current struggle for independence since its beginnings in 2013. Her earlier work dramatized recordings of participants in Kiev’s Maidan Revolution, which led to the overthrow of Putin ally Viktor Yanukovych in 2014. Bad Roads zeroes in on the experiences of women in the subsequent war between government forces and Russian-backed separatists in Ukraine’s Donbas region. To call them merely harrowing is an understatement. In one account, a journalist, raped as a hostage, is desperately searching for any empathy left in a sadist (Delaney Dryfoos). In another, an alcoholic medic (Valerie Muensterman) indulges in dark humor with a soldier driving the decapitated body of her lover back home to his wife. The panoramic view of a living wartime hell on the reinforced concrete set is leavened, a bit, by high school girls in separatist Donetsk being ostracized for having Ukranian soldier boyfriends, and a high school principal who learns there are no simple mistakes at a contested checkpoint. Director Jody McAuliffe probably chose to make all these performances simulacra to varying degrees, not only to accommodate developing actors, but to keep Vorozhbit’s intensity from driving us away. The one miscalculation comes when an inexperienced performer in the opening reduces a hardened journalist to a snarky undergrad playing every line for laughs. Still, Bad Roads brings us the unreported news: the multi-generational ground truth of women in a war. Even if we can’t say Duke’s production entirely keeps it real, it’s often about as real as we can handle. —Byron Woods
deep dive EAT • DRINK • SHOP • PLAY
The INDY’s monthly neighborhood guide to all things Triangle
Coming April 24:
CARY/APEX/MORRISVILLE
For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 4.10.19 | 23
WHA T TO
DO T HIS 4.10– WEEK 4
.17
SATURDAY, APRIL 13
TOSHI REAGON AND BIGLOVELY
DURHAM 150 OPENING CELEBRATION
THE GREAT CELESTIAL COW
Sita hasn’t seen her husband, Raj, in the five years since he immigrated from their Indian village to England with his mother and aunt. Now that it’s her and her children’s turn to join them, Sita’s learning that you can choose to take some things with you, like favored clothes or a photograph, into another culture and another world. With other things, it appears there is no choice; a culture’s blunt misogyny, self-serving superstitions, and class prejudices follow, unwelcome, unbidden, and unrelenting. But then there are the spiritual enigmas: living embodiments from home of the dreams and beliefs that guide us, that cannot possibly follow us across an ocean and a continent—until, somehow, there they are. Sue Townsend’s rarely produced 1984 drama mixes magical realism with the grittier realities a woman faces during her nine-year walk between two worlds. Guest director Sonia Desai directs a cast including Seema Kukreja in this Burning Coal Theatre production.—Bryon Woods
Toshi Reagon has a big voice and even bigger ideas. She’s been sharing both with the Triangle since 2017, when she was named Carolina Performing Arts’ inaugural DisTIL (Discovery Through Iterative Learning) fellow. Last year, she premiered an opera, Parable of the Sower, at UNC’s Memorial Hall, which was based on Octavia Butler’s dystopian novel of the same name. This year, she closes out her fellowship with a three-day festival, including a concert with her backing band, BIGLovely. Onstage, Reagon is an alchemist, mixing old sounds and new: blues, gospel, folk, funk, and rock. Her voice is clear and rich, bounding with energy even when her subject matter is melancholy; altogether, the effect is captivating. It hasn’t been announced what the band will be playing on Saturday night— the program will be announced from the stage—but that might be beside the point. To hear Toshi Reagon is always a chance to experience the unexpected. —Elizabeth Szypulski
AMERICAN TOBACCO CAMPUS, DURHAM 10 a.m.–2 p.m., free, www.durham150.org
MURPHEY SCHOOL AUDITORIUM, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $15–$25, www.burningcoal.org
UNC’S MEMORIAL HALL, CHAPEL HILL 8 p.m., $37, www.carolinaperformingarts.org
Toshi Reagon PHOTO
COURTESY OF CAROLINA PERFORMING ARTS
SATURDAY, APRIL 13 Durham was incorporated in 1869, and April 10 marks its sesquicentennial. To celebrate, the city, in partnership with Discover Durham and The Museum of Durham History, has organized a yearlong slate of events, which officially kicks off with family-friendly Saturday festivities on the American Tobacco Campus. Starting with a birthday speech by Mayor Steve Schewel, the party continues with various areas of the ATC turned into “neighborhoods” filled with exhibits, experts, and activities around four themes: history and education, innovation and entrepreneurship, social equity and robust democracy, and arts and leisure. There will also be a main stage with live entertainment from African American Dance Ensemble, The Bouncing Bulldogs, Kidznotes, and storyteller Willa Brigam. And of course, this being Durham, the day concludes with something both bull-themed and outrageous: If you dare, you can join a race down the ATC river on an inflatable bull. —Brian Howe
24 | 4.10.19 | INDYweek.com
THURSDAY, APRIL 11–SUNDAY, APRIL 28
WEDNESDAY, APRIL 17
THE TALLEST MAN ON EARTH
Recently, the musician Phoebe Bridgers tweeted: “I swear to god I’ve been an emerging artist for like five years.” The same could be said for Kristian Matsson, also known as The Tallest Man On Earth. The Swedish singer-songwriter has always flown a little under the radar. He is consistently well-reviewed and esteemed as a live act, pals with well-known acts like Bon Iver, and even compared to Bob Dylan (which is itself a kind of career inhibitor), but he’s not quite a household name. For his upcoming fifth album, I Love You. It’s a Fever Dream, Matsson is like a slightly mellower and less heady Mountain Goats’ John Darnielle—his instruments of choice are still a bellowing voice and a frantically played acoustic guitar. The singles released thus far continue 2015’s Dark Bird Is Home narrative of fractured relationships and searching, but Matsson plays with a steadiness and optimism that feels contagious. —Josephine McRobbie THE CAROLINA THEATRE, DURHAM | 8 p.m., $30, www.carolinatheatre.org
The Tallest Man on Earth PHOTO
COURTESY OF THE ARTIST
SUNDAY, APRIL 14
DUKE NEW MUSIC ENSEMBLE
The Duke New Music Ensemble has consistently been one of the most fascinating and undersung modern music groups in the Triangle for years. DNME’s director—a position chosen annually among graduate teaching assistants—can take the group in whatever direction they want, and it’s good news for modern classical fans that this year’s director, Brooks Frederickson, is primarily interested in electronic sounds. This Sunday’s concert will feature six pieces composed by graduate students in Duke’s music department, performed by students and recent Duke alumni alike. A free concert featuring “percussion and live electronics,” “film playback,” “live multi-tracked cello with three percussionists,” “broken auto-harps and analog/ digital synthesis,” “improv-based modular and video synthesis,“ and “electronic sounds and group movement” sure sounds like a great Sunday afternoon to us.—Todd Morman DUKE’S BALDWIN AUDITORIUM, DURHAM | 3 p.m., free, www.music.duke.edu
WHAT ELSE SHOULD I DO?
TWENTIETH-ANNIVERSARY SHOWS AT SLIM’S (P. 14), BAD ROADS AT DUKE’S SHEAFER THEATER (P. 23), WIM BOTHA AT NCMA (P. 29), MOLLY DEKTAR AT THE REGULATOR (P. 30), FLOCK OF DIMES AT CAT’S CRADLE BACK ROOM (P. 26), HOW I LEARNED TO DRIVE AT PLAYMAKERS (P. 23), I AM NOT A WITCH AT THE RUBY (P. 32), REESE MCHENRY AT LOCAL 506 (P. 20), MONET IMPRESSIONS AT RALEIGH’S MEMORIAL AUDITORIUM (P. 31), MY BRIGHTEST DIAMOND AT RED HAT AMPHITHEATER (P. 21), POP AMÉRICA AT THE NASHER (P. 22), STRAND OF OAKS AT MOTORCO (P. 18)
B E SNGTLE OF
TH E
TRIA
2019
TH 5 Y A M OUGH
R H T N E P M SO L O L C O . P K ! E E W VOTE NO W W W . I N D Y W
INDYweek.com | 4.10.19 | 25
music 4.10–4.17 Jenn Wasner
MOTORCO: Strand of Oaks, Tyler Ramsey; $20. 9 p.m. THE PINHOOK:
THURSDAY, APRIL 11
FLOCK OF DIMES As Flock of Dimes, Wye Oak frontwoman Jenn Wasner leans more fully into dreamy and delicate electropop; her warm, gentle lilt cocooned in lush layers of swirling synthesizers as her poetic lyricism simultaneously explores universal questions and her own swirling confessionals. While Wasner distances herself from the intricate guitar textures that established her as one of the decade’s most iconic indie rock guitarists, the results ultimately aren’t dramatically different from Wye Oak’s later output. Though Flock of Dimes has been relatively quiet in recent years, releasing just the occasional single, Wasner promises to preview new material at this show, while also reaching back to the project’s sole full-length, 2016’s superbly crafted If You See Me, Say Yes. Yes Nick Sanborn of Sylvan Esso and Made of Oak opens with a solo set of electronic wizardry. Expect a mellow vibe at this intimate, seated show.—Spencer Griffith show.
CAT’S CRADLE BACK ROOM, CARRBORO 8:00 p.m., sold out, www.catscradle.com
CAROLINA THEATRE: The Gloaming; $25-$45. 8 p.m. CAT’S CRADLE BACK ROOM: Charlie Hunter & Lucy Woodward; $20-$23. 8 p.m. THE CAVE: The Basic Unit; $5 suggested. 8 p.m. DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra, Bryan Tong; free. 8 p.m. LINCOLN THEATRE: Robert Earl Keen, Darrin Bradbury; $28. 8 p.m. POUR HOUSE: Frank Solivan & Dirty Kitchen, The Plate Scrapers; $10$12. 8:30 p.m.
THU, APR 11 CAT’S CRADLE: Rubblebucket, Mikaela Davis; $16-$18. 8 p.m. THE CAVE: David Rosales & His Band of Scoundrels, Crumb Catcher Acoustic; $5 suggested. 9 p.m. 26 | 4.10.19 | INDYweek.com
[$10, 10 P.M.]
This event marks the second anniversary of the eclectic and all-inclusive Conjure party at Pinhook. The brainchild of area DJ Gemynii, the event, in its own words, “celebrates the magic of black femmes, black trans folks, black bois, and black joy.” Expect a smattering of afrobeat, house, trap, and sundry other danceable genres. —David Ford Smith POUR HOUSE: Delvon Lamarr Organ Trio, Marvelous Funkshun; $12-$15. 9 p.m. THE RITZ: Zomboy; $20-$25. 7 p.m. SHARP NINE GALLERY: Tim Armacost Quartet; $20. 8 p.m. SLIM’S: Black Mass, Nemesis, Suppressive Fire; $8. 9 p.m. THE STATION: The Oblations, Mr. Darcy; free. 8 p.m. UNC’S HILL HALL: Carolina Choir and Chamber Singers; $10. 7 p.m. THE WICKED WITCH: Black Mass, Nemesis, Suppressive Fire; $5-$8. 9:30 p.m.
SAT, APR 13
PHOTO BY ALEX BOERNER
WED, APR 10
The Conjure: Two Year Anniversary Party
ARCANA: Mac McLaughlin; 9 p.m. MEYMANDI CONCERT HALL:
Milk Carton Kids [$32-$42, 7:30 P.M.]
PineCone’s Down Home Concerts season wraps up with a performance by the highly acclaimed California-based indie-folk duo, Milk Carton Kids. Playing vintage acoustic guitars and specializing in somber, downtempo songs with a traditionalist bent, Kenneth Pattengale and Joey Ryan brought in outside session musicians for their most recent album, All the Things That I Did and All the Things That I Didn’t Do, making it their most diverse studio effort to date. Folk singer Willie Watson opens. —Howard Hardee DUKE’S BALDWIN AUDITORIUM: Duke University Wind Symphony; free. 8 p.m. LINCOLN THEATRE: Bad Suns, Carlie Hanson; $20. 8 p.m.
LOCAL 506: Life in Vacuum, Youth League, Harrison Ford Mustang; $8-$10. 9 p.m.
POUR HOUSE: Local Band Local Beer: The Antique Hearts, Eno Mountain Boys, Velvet Devils, The Head; $5. 9 p.m.
NEPTUNES:
THE RITZ: Young Nudy; $23. 8 p.m.
Bad Sports, Personality Cult [$8, 10 P.M.]
Springing from a Texas punk scene that also includes acts like OBN III’s, Radioactivity, and Marked Men, Bad Sports set themselves apart with a seamless fusion of powerpop and proto-punk. On their fourth record, 2018’s Constant Stimulation, the trio marries Exploding Heartsworthy anthems to Spider Bags twang as fluidly as they join Stiff Records hooks with jittery, DEVO-esque rhythms. Personality Cult complements with a similarly nervy mix of punk intensity and pop smarts. —Bryan C. Reed
FRI, APR 12 ARCANA: Andrew Kasab; 9 p.m. CAT’S CRADLE BACK ROOM: Eno Mountain Boys, Old Heavy Hands, Josh King, Velvet Devils; $5. 8:30 p.m. THE CAVE: Boom Boom Shake, Scott Helland, Anna Tivel & Chris Frisina; $5 suggested. 8 p.m. MEYMANDI CONCERT HALL:
Few pieces can match the polychromatic richness of Debussy’s La Mer (which the symphony is pairing with video of the ocean and, for some reason, waterfalls). The “Sea Interludes” from Britten’s opera Peter Grimes are alternately terse, tense, and lyrical. And Sibelius’s The Oceanides is the closest the Finn would ever come to impressionism. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM: Duke Jazz Ensemble & Rufus Reid; $5-$10. 8 p.m.
Debussy’s La Mer: Music inspired by the sea
KINGS: Anna Clendining; $10+. 8 p.m.
[$18-$67, 8 P.M.]
LOCAL 506: Reese McHenry album release. With Pie Face Girls, Hardworker; $10. 9 p.m.
Ah, an orchestra concert about the sea. While the pieces included are a touch obvious, the music itself should be superb.
THE MAYWOOD: Raid The Quarry album release. With Retro Candy, Rusty Shipp; $10. 9 p.m. MEREDITH’S CARSWELL CONCERT HALL: Octavia; 8 p.m.
BLUE NOTE GRILL: The Subdudes; $35. 8 p.m. CAT’S CRADLE:
Durand Jones & The Indications [$15, 8 P.M.]
There’s no listening to the sultry falsetto vocals of Durand Jones and drummer Aaron Frazer without associating them with Smokey Robinson and other soul crooners on FM oldies stations. But these revivalists aren’t strictly revivalists; they incorporate elements of modern rock and punk to pull the past into the present in a fresh and exciting way. Divino Niño opens. —Howard Hardee CAT’S CRADLE BACK ROOM: Case Sensitive, Museum Mouth, S.E. Ward; $8-$10. 9 p.m. THE CAVE: Moon Unit, Mellow Swells, Paper Wasps; $5 suggested. 9 p.m.
CITY LIMITS SALOON: Parker McCollum; $10-$15. 8 p.m. DUKE COFFEEHOUSE: Brickhouse Music Festival: Tyondai Braxton, Guerilla Toss, OHMME, The Black Twig Pickers, Skylar Gudasz, BANGZZ, Ace Mo, Shane Parish; $15. 2 p.m. DUKE’S BALDWIN AUDITORIUM: Artemis Quartet; $42-$48. 8 p.m. KINGS: Thick Modine, Blue Frequency, Sportsmanship; $10. 9 p.m. THE KRAKEN: Charles Latham and the Borrowed Band, Dmitri Resnik; 8 p.m. LINCOLN THEATRE:
Epik High [$25, 8 P.M.]
South Korea has hummed steadily along as one of the predominant incubators of boy band talent, hence the rise of stylish rap trio Epik High. Collaborators with other Korean musical behemoths like BTS, their goulash of golden era boom bap and k-pop glitz feels especially primed for our current maximalist moment. —David Ford Smith
NC STATE’S STEWART THEATRE:
SUN, APR 14
[$8-$33, 8 P.M.]
BLUE NOTE GRILL: Ellerbee Creek Band; free. 5 p.m.
Flor de Toloache The all-woman mariachi band Flor de Toloache visit NC State’s Stewart Theatre in conjunction with Borderlands, the Gregg Museum of Art and Design’s exhibit of photographs by Susan Harbage Page taken at the border of the US and Mexico. The group is led by Shae Fiol on vihuela and Mireya Ramos on violin and guitarrón, along with a global cast of players who bring energy, tradition, and innovation to this ubiquitous art form. —Josephine McRobbie POUR HOUSE: Urban Soil, Ashley Heath & Her Heathens; $10-$13. 9 p.m. RED HAT AMPHITHEATER: Death Cab for Cutie; 7 p.m. RHYTHMS LIVE: Miki Howard & Tony Terry; $50. 8 p.m. THE RITZ: Dark Star Orchestra; $25. 8 p.m.
Phosphorescent [$20-$23, 8 P.M.]
RUBY DELUXE: Shy Boys; $10. 8 p.m. SHARP NINE GALLERY: Angela Bingham Trio; $20. 8 p.m.
DUKE’S BALDWIN AUDITORIUM: Duke New Music Ensemble; free. 3 p.m.
LOCAL 506: Sam Burchfield, Pierce Edens; $10-$15. 9 p.m.
SLIM’S: The Asound, Jakethehawk, Crystal Spiders; $7. 9:30 p.m.
Weedeater
THE MAYWOOD: Logan’s Birthday Bash: Killing The Catalyst, As Oceans, Something Clever, Knightmare; $8. 8 p.m. MEREDITH’S JONES CHAPEL: Meredith Spring Choral Concert; 8 p.m.
UNC’S MEMORIAL HALL: Toshi Reagon, BIGLovely; $37. 8 p.m. WALNUT CREEK: Zac Brown Band; 7 p.m. THE WICKED WITCH: Juxton Roy, Earther, Glow, Through the Tallwoods; $10-$15. 9 p.m.
4/12
CAT’S CRADLE:
Over fifteen years and seven albums, the evolution of Phosphorescent—the ragged but highly-literate project of Southern born-and-bred singer-songwriter Matthew Houck—has involved countryfried indie rock bummers and pastoral folk meanders loaded with raw emotion and adventurous atmospherics. His last two LPs—2013’s Muchacho and last year’s C’est La Vie—find Houck honing his vision on cosmic Americana that’s beautiful, sprawling, and introspective. Jo Schornikow, Houck’s partner and bandmate, shares from her meditative new full-length album. —Spencer Griffith
THU
4/11
RECENTLY ANNOUNCED: TIM HEIDECKER & GREGG TURKINGTON (2ND SHOW ADDED) Museum of Life & Science Presents Tinkering & Drinkering
4/13 4/13 4/17
With more than twenty years under their collective belt, it’s hard to decide whether Weedeater’s longevity owes more to tenacity or stubbornness. The Wilmington trio has weathered line-up
PRESENTED BY VIRGINIA REPERTORY THEATRE
4/26 4/27 5/17-19
FRI
4/12
Follow us: @artscenterlive • 300-G East Main St., Carrboro, NC
STRAND OF OAKS
MON
4/15 TUE
4/16
WED
4/17
w/ Tyler Ramsey Flash Chorus sings “Don’t You Want Me” by Human League and “Abducted” by The Cults Periodic Tables: Coal Ash, Lead, and Aging Infrastructure: Stories of North Carolina Drinking Water
THE SECRET SISTERS Brian Dunne
THE SECRET SISTERS w/ Brian Dunne
THU
4/18
FRI
4/19
CHE APALACHE THE 4TH ANNUAL ALWAYS INSPIRING GALA VAUDEVILLE VARIETIES PRESENTED BY METTLESOME
Get tickets at artscenterlive.org
WUNC Music presents STRAND OF OAKS / Tyler Ramsey WUNC Music presents
THE ACCIDENTALS Nantahala
LINCOLN THEATRE: [$15, 8 P.M.]
POPUP BROADWAY (WICKED & FROZEN) TRANSACTORS IMPROV: WORK AND WAFFLES THE GOLD RUSH LIVE SCORE BY TIM CARLESS NO SHAME THEATRE – CARRBORO THE JUNGLE BOOK
4/11
OKILLY DOKILLY Bear Ghost
OKILLY DOKILLY w/ Bear Ghost COMING SOON: Wicca Phase Springs Eternal, Girlpool, Gangstagrass, Hot Snakes, The Murlocs, John Paul White, Xiu Xiu, PJ Morton, Tim Heidecker & Gregg Turkington, Bear’s Den, Thank You Scientist, Hush Kids, Flotsam and Jetsam, Superorganism, Hot Mulligan, THAD, Slum Village, Mono, The Connells, Aaron West & The Roaring 20’s, Deicide, Origin, Mark Farina, Remo Drive, The Crystal Method, Remember Jones, Cavetown, Damien Jurado, She Wants Revenge, Mystery Skulls, Hop Along, Summer Salt, Dan Baird & Homemade Sin, The Rock*A*Teens, Escape-ism, We Were Promised Jetpacks, Sophomore Slump Fest, Warbringer, Sonata Artica, Nile Also co-presenting at Cat’s Cradle: Japanese Breakfast, Ex Hex and Eternal Summers (on May 5th)
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THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS
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919-6-TEASER for directions and information
www.teasersmensclub.com 156 Ramseur St. Durham, NC
Phosphorescent plays at Cat’s Cradle on Sunday, Apr. 14 PHOTO COURTESY OF CATSCRADLE.COM
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changes, deaths, and more miles than most will cross in a lifetime, and yet their belligerent sludge metal is as groove-driven and addictive as ever. Their most recent album, 2015’s Goliathan, is as good an entry point as any as it divines surging riffs from a mire of feedback and fuzz. ASG, Beitthemeans, and Irata open. —Bryan C. Reed
CAT’S CRADLE BACK ROOM: This Wild Life, Hold Close; $16-$18. 6:30 p.m.
LOCAL 506: Shady Bug, Infinity Crush; $8. 9 p.m.
THE PINHOOK:
POUR HOUSE: Day Party: Blood Red River, DRL Band, Joe’s Cousin; $5. 2 p.m. POUR HOUSE: Melody Guy; $7-$10. 8 p.m. THE RITZ: Lord Huron; sold out. 8 p.m. UNC’S HILL HALL: UNC Men’s and Women’s Glee Clubs; $10. 3 p.m. UNC’S HILL HALL: LaToya Lain and Casey Robards; $15. 7:30 p.m.
MON, APR 15 CAT’S CRADLE: Black Lips, Quintron & Miss Pussycat; $15-$17. 8:30 p.m. CAT’S CRADLE BACK ROOM: Bayonne, Palm Daze; $12-$14. 9 p.m. THE CAVE: Poly Action, Sea Brain, Dude Elsberry; $5 suggested. 9 p.m.
THE CAVE: The Big Lonesome, Kitty Box and the Johnnys, Noise! Lights!; $5 suggested. 9 p.m. DUKE’S NELSON MUSIC ROOM: Duke Chamber Music Concert; free 7 p.m. LOCAL 506: Delta Sleep, Hikes, Bogues; $13-$15. 7 p.m.
G Yamazawa [$12, 8 P.M.]
In the music video for G Yamazawa’s latest single “We Made It,” the Bull City hip-hop hero and his minidoppelganger—a Jeghettocrafted marionette resembling Yamazawa all the way down to the man bun—monkey around the hallways, weight room, and gymnasium of Jordan High School, which just recently recently named Tar Heel basketball legend Rasheed Wallace head coach of its basketball team. It’s almost as if Yamazawa is capitalizing on a collective win for all of Durham, having stolen one of Chapel Hill’s treasured figures. But hey, whatever makes us throw up our horns, right? —Eric Tullis
POUR HOUSE: Zach Wiley; $10-$12. 8 p.m.
POUR HOUSE: The Kind Thieves, Tennessee Jed; $8-$10. 9 p.m. UNC’S MEMORIAL HALL: UNC Wind Ensemble and Symphony Band; $10. 7:30 p.m.
TUE, APR 16
WED, APR 17
MOTORCO: Flash Chorus: The Human League and Cults; $7-$10. 7 p.m.
CAT’S CRADLE:
Mitski
[SOLD OUT, 8 P.M.] After five albums (the last two of which received “Best new music” badges from Pitchfork), Mitski has more or less mastered her brand of emotionally direct indie rock. She’s reached a level of success where she can easily sell out two nights at the Cat’s Cradle. With that kind of fame comes a certain amount of projection; Be the Cowboy, her most recent album, is a confident counterpart to that mythology, proving that Mitski is still very much behind the wheel. —Dan Ruccia 28 | 4.10.19 | INDYweek.com
ARCANA: Burial Brewing, The Hill Country Cosmopolitans; free. 8 p.m. CAROLINA THEATRE: The Tallest Man on Earth; $30. 8 p.m. CAT’S CRADLE BACK ROOM: The Wild Reeds, Valley Queen; $14-$16. 8 p.m. THE CAVE: The Glorious Rebellion, Dead Register, Codeine Haze; $5 suggested. 9 p.m. LOCAL 506: Monteagle, Swimming Bell; $7. 9 p.m.
siblings whose story of Nashville near-stardom was thwarted when they were dropped by their record label in 2015. But struggle has seemed to serve the two well. Songwriter Brandi Carlile invited the two singers to open for her on tour and produced their latest album, the Grammy nominated You Don’t Own Me Anymore, which has scores more gravitas than previous offerings. —Josephine McRobbie
MOTORCO:
NEPTUNES PARLOUR: Lazarus Pit, Smoocheyface; $7. 10 p.m.
[$20-$25, 8 P.M.]
POUR HOUSE: Universal Sigh, The Up & Up; $7-$10. 9 p.m.
The Secret Sisters The Secret Sisters, a campy country duo from Muscle Shoals, Alabama, are real-life
THE RITZ: Lil Baby, Blueface, City Girls, Jordan Hollywood; $45. 8 p.m.
Flor de Toloache plays at N.C. State’s Stewart Theatre on Saturday, Apr. 13 PHOTO COURTESY OF NC STATE LIVE
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ONGOING All the Pop: Thru Jun 2. Nasher Museum of Art, Durham. nasher.duke.edu. Keith Allen, Ben Hamburger, Kaidy Lewis, Carolyn Rugen: Thru Jun 8. Reception: Apri 12, 6 p.m. FRANK Gallery, Chapel Hill.
“Untitled [Bywoner 3]” by Wim Botha
Amanda Barr: Group Hoarder Face Time: Performance art. Thru Apr 27. Lump, Raleigh. lumpprojects.org.
PHOTO COURTESY OF NCMA
Dust of the Zulu: Sound, photography, and video. Thru Apr 15. Rubenstein Arts Center at Duke University, Durham. artscenter.duke.edu.
NORTH CAROLINA MUSEUM OF ART, RALEIGH 6:30 p.m., free, www.ncartmuseum.org
Wim Botha: Stil Life with Discontent: Mixed media. Additional work on view at 21c Museum Hotel. Apr 13-Aug 4. NC Museum of Art, Raleigh. ncartmuseum.org. Michela Martello: Consequential Stranger: Mixed media. Apr 12-Jun 1. Artspace, Raleigh. artspacenc.org. Annie Simpson: eulogies of law and soil: Photography and mixed media. Apr 15-19. Reception: Apr 16, 7:30 p.m. UNC’s: Hanes Art Center, Chapel Hill. art.unc.edu.
Judy Keene: Numinous: Paintings. Thru May 4. Craven Allen Gallery, Durham.
Sean Livingstone & Erica Gimson: From Here to Their: Paintings and cyanotype prints. Thru May 4. Horse & Buggy Press and Friends, Durham. mailchi.mp.
Linda Ruth Dickinson: Resonant: Paintings. Thru May 24. The Mahler Fine Art, Raleigh. themahlerfineart.com.
OPENING
reNautilus: Thru Jul. 21c Museum Hotel, Durham. 21cmuseumhotels.com.
Jasmine Best: Screened In: Sculptural elements constructed with textiles, fabric, and sewing notions. Thru May 12. CAM Raleigh, Raleigh. camraleigh.org.
Sophie Chunn: HagerSmith: Thru Apr 30. VAE Raleigh, Raleigh. vaeraleigh.org.
Ambiguity and clarity, rigor and spontaneity—South African artist Wim Botha , who opens an exhibition split between Raleigh’s North Carolina Museum of Art and Durham’s 21c Museum Hotel this week, doesn’t wriggle out of these traditional dualities so much as stand with one foot in each. In sculptural work that draws upon historical depictions of the Pietà and Laocoön and an obsessive series of small paintings of Leda and the Swan, he summons complex ideas of grief, righteousness, and ethics by reminding us that myth is both artificial and real. His use of materials and their revealing construction reinforces this idea. Figures are hewn from stacked encyclopedias with bolts protruding from their heads. Styrofoam constructs are cast in bronze and painted black. Hanging wires and the power cords of fluorescent bulbs are left in full view. Many artists use ambiguity to subvert clarity and cut rigorous form with a spontaneous mark; Botha uses them to support and deepen each other until they become the same thing. —Chris Vitiello
Karen Youth Art Group & Gesche Würfel’s UNC Advanced Photography Class: Group show. Reception: Apr 12, 6-8 p.m. Thru Apr 20. FRANK’s Outreach Gallery, Chapel Hill. frankisart.com.
Left-Handed Liberty: Multiple artists. Thu Jun 23. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.
Beyond Despair: An Environmental Call for Art: Work from 33 artists about, including, and referencing the environment. Thru Jun 22. National Humanities Center, Durham.vaeraleigh.org.
WIM BOTHA
Thru Jun 23. Warehouse Artist Studios @ Golden Belt, Durham.
Annual Photography Show: Apr 6-Jun 2. West Point on the Eno, Durham. apm.activecommunities.com.
Best of North Carolina 2019: Various artists and media. Thru May 14. Gallery C, Raleigh. galleryc.net.
FRIDAY, APRIL 12
engravings. Thru Dec 2020. NC Museum of Art, Raleigh. ncartmuseum.org.
Meredith Emery: All that remains | That which is left behind: Digital imagery. Thru Apr 12. Reception: Apr 12, 7 p.m. UNC’s Hanes Art Center, Chapel Hill. art.unc.edu. Great and Small: Thru Apr 27. V L Rees Gallery, Raleigh. vlrees.com. Stephen Hayes: Legacy, Legacy, Legacy: Mixed media. Thru May 19. CAM Raleigh, Raleigh. Harriet Hoover: Attic Breeze Tests: Sculptures. Thru Apr 28. Horace Williams House, Chapel Hill.
Richard Lund: DREAMLAND: Paintings. Thru Apr 27. Artspace, Raleigh. artspacenc.org. Christian Marclay: Surround Sounds: Synchronized silent video installation. Thru Sep 8. Nasher Museum of Art, Durham. nasher.duke.edu. Chris Musina: Paradise: Paintings. Thru Jun 2. Oneoneone, Chapel Hill. oneoneone.gallery. N.C. Artists Exhibition: Juried group show. Thru Jun 9. CAM Raleigh, Raleigh. ralfinearts.org. NCCU Digital Pre-Production: Digital animations as used in video game production. Thru Apr 30. Reception: Apr 12, 6-8 p.m. The ArtsCenter, Carrboro. artscenterlive.org. Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border. Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu. PLANET eARTh: Thru Apr 28. Pleiades Gallery, Durham. Pop América, 1965-1975: Latin American pop art. Thru Jul 21. Nasher Museum of Art, Durham. nasher.duke.edu. Portraits of Durham: 64 local artists. Thru May 2. Durham Arts Council, Durham.
I AM A MAN: Civil Rights Photographs, 1960-1970: Thru May 31. Center for the Study of the American South, Chapel Hill. south.unc.edu.
Portraying Power and Identity: A Global Perspective: Thru Jan 2020. 21c Museum Hotel, Durham. 21cmuseumhotels.com.
John James Audubon: The Birds of America: Ornithological
[re]ACTION: Artistic renditions inspired by scientific images.
Susannah Sayler and Edward Morris: Their World Is Not Our World: Video installation. Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org. Cher Shaffer: Art from the Holler: Folk art. Thru May 31. Alexander Dickson House, Hillsborough. Susie Silver: Paintings. Thru Apr 15. Aloft Hotel, Chapel Hill. vaeraleigh.org. Small Treasures: Juried exhibit. Thru Apr 19. Cary Gallery of Artists, Cary. carygalleryofartists.org. Natacha Sochat: Between Presence and Absence: Mixed media. Thru Apr 21. Reception: Apr 12, noon. The Carrack Modern Art, Durham. thecarrack.org. Tilden Stone: Southern Surreal: Furniture. Thru Sep 8. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu. Ashley Swindoll: Embodiment: Mixed media. Thru Apr 14. The Scrap Exchange, Durham. scrapexchange.org. William Paul Thomas: Disrupting Homogeny: Portraits. Thru Jul. 21c Museum Hotel, Durham. 21cmuseumhotels. com/durham. Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s: Photos. Thru May. UNC’s Wilson Special Collections Library, Chapel Hill. Ely Urbanski: Prints on fabric. Thru Apr 30. Reception: Apr 12, 6-8 p.m. The ArtsCenter, Carrboro. artscenterlive.org. Where We Find Ourselves: The Photographs of Hugh Mangum, 1897-1922: Thru May 19. Nasher Museum of Art, Durham. nasher.duke.edu. Whispers & Echoes: Eduardo Lapetina, Arianna Bara, and Michael Salemi. Thru Apr 21. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com. Tom Willis: Journey: Paintings. Thru Apr 12. Durham Convention Center, Durham. durhamarts.org. Within the Frame: Photos. Thru Jul 7. NC Museum of Art, Raleigh. ncartmuseum.org. INDYweek.com | 4.10.19 | 29
BILL BURTON 4.10 4.11
4.13 4.15 4.17
Open Discussion Project, discussing The Future of Capitalism: Facing the New Anxieties by Paul Collier 7pm Glenn Morris The New Guide to North Carolina Beaches 7pm Kelly Starlings Lyon Going Down Home with Daddy 2pm North Carolina Literary Review: Featured Readings 7pm Martha Hall Kelly Lost Roses 7pm Belle Boggs The Gulf 7pm www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR PODCAST: BOOKIN’ w/Jason Jefferies
ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s
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SEPARATION AGREEMENTS Mu s i c
TUESDAY, APRIL 16
MOLLY DEKTAR: THE ASH FAMILY In The Ash Family, nineteen-year-old Bertie derails her college plans to move to an intentional, off-the-grid community led by a charismatic leader and tucked away in the Blue Ridge Mountains. Sound foreboding? As usual, promises of utopia are a mixed bag. In the debut novel by Molly Dektar, a graduate of Brooklyn College’s MFA program and winner of the Himan Brown Award and the Brooklyn College Scholarship for Fiction, questions of idealism and identity come to a head, demanding answers. The novel has earned praise from the likes of Samantha Hunt and Dinaw Mengestu, who called it “hauntingly beautiful and captivating.” Dektar, a Durham native, will read at the Regulator Bookshop this Tuesday. —Brian Howe
967-6159
(919) 967-6159
bill.burton.lawyer@gmail.com
THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com
Molly Dektar PHOTO COURTESY OF THE AUTHOR
READINGS & SIGNINGS Wilton Barnhardt: Every True Pleasure: LGBTQ Tales of North Carolina. Thu, Apr 11, 7 p.m. Regulator Bookshop, Durham. regulatorbookshop.com. Belle Boggs: The Gulf: A Novel. Wed, Apr 17, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com. Frank Harmon: Native Places: Drawing as a Way to See. Wed, Apr 10, 6 p.m. Cameron Village Regional Library, Raleigh. wakegov.com/libraries. Amy Hempel: Short story collection Sing to It. Wed, Apr 10, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com. Janet Joyner & Valerie Nieman: Poetry reading. Open mic to follow. Thu, Apr 11, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com. Dorianne Laux & Wilton Barnhardt: Poetry reading. Wed, Apr 17, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.
30 | 4.10.19 | INDYweek.com
11, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com. Omid Safi: Radical Love: Teachings from the Islamic Mystical Tradition. Wed, Apr 17, 7 p.m. Regulator Bookshop, Durham. regulatorbookshop.com. Caroline Taylor: Mystery novel Death in Delmarva. Sun, Apr 14, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.
LECTURES ETC. Calm Families: Secrets to Success: With author and educator Mary Sheedy Kurcinka. Thu, Apr 11, 7 p.m. Levin Jewish Community Center, Durham. flyleafbooks. com. Coal Ash, Lead, & Aging Infrastructure: Stories of North Carolina Drinking Water: Discussion on local drinking water and the factors impacting its quality. Tue, Apr 16, 7 p.m. Motorco, Durham. scienceandsociety.duke.edu.
Renee Linnell: The Burn Zone. Mon, Apr 15, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.
Johnnetta Cole: Keynote lecture for symposium Women Across the Disciplines. Mon, Apr 15, 7 p.m. Duke’s Griffith Theater, Durham. duke.libcal.com.
Glenn Morris: The New Guide to North Carolina Beaches. Thu, Apr
A Concert & Conversation with Peter Buffett: United
Way of the Greater Triangle event. Free. Registration required. Mon, Apr 15, 6 p.m. Carolina Theatre, Durham. carolinatheatre.org. Depictions of Mothers and Children in the Arts of Africa: Herbert M. Cole, UC Santa Barbara. Sat, Apr 13, 2 p.m. NC Museum of Art, Raleigh. ncartmuseum.org. Flor De Toloache Mariachi: Music and conversation. Concert performance: Apr 13, Stewart Theater. Fri, Apr 12, 6 p.m. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu. Caroline Newhall on Black Civil War POWs: Free. Light refreshments. Wed, Apr 17, 12:30 p.m. Center for the Study of the American South, Chapel Hill. south.unc.edu. Trevor Paglen: Hanes Visiting Artist Lecture Series. Tue, Apr 16, 5:30 p.m. UNC’s Hanes Art Center, Chapel Hill. art.unc.edu. Women Across the Disciplines Symposium: Two panels of scholars. In conjunction with Five Hundred Years of Women’s Work: The Lisa Unger Baskin Collection. Tue, Apr 16, 8 a.m. Duke’s Rubenstein Library, Durham. duke.libcal.com.
stage OPENING Anastasia: Musical. Apr 16-21. Durham Performing Arts Center, Durham. dpacnc.com. Desi Banks & Darren Brand: Comedy. $20. Sun, Apr 14, 7:30 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com. Michael Carbonaro: Magic. Sun, Apr 14, 7 p.m. Durham Performing Arts Center, Durham. dpacnc.com. Carolina Youth Ballet: Sat, Apr 13, Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com. ChoreoLab 2019: Duke Dance. Apr 12-13. 7:30 p.m. Duke’s Reynolds Industries Theater, Durham. danceprogram.duke.edu.. Comedy Showcase: Between2Clouds. Comedy. With host Mike Horn. Wed, Apr 17, 8 p.m. Arcade of Thrones, Raleigh. DanceWorks: Meredith Dance Program. Apr 12-14. Meredith’s Jones Auditorium, Raleigh. meredith.edu. Derek Hough: Dance. Sat, Apr 13, 8 p.m. Durham Performing Arts Center, Durham. dpacnc. com. Chris D’Elia: Comedy. $29+. Fri, Apr 12, 8 p.m. Durham Performing Arts Center, Durham. dpacnc.com. The Great Celestial Cow: Burning Coal Theatre Company. Play. $15-$25. Apr 11-28. Burning Coal Theatre at the Murphey School, Raleigh. burningcoal.org.
Luminescence: North Carolina Youth Tap Ensemble. $20. Apr 13-14. Carolina Theatre, Durham. carolinatheatre.org. The Price is Right Live: Thu, Apr 11, 7 p.m. Durham Performing Arts Center, Durham. dpacnc.com. STEM: the Musical: Free. Sat, Apr 13, 10 a.m. NC Museum of Natural Sciences, Raleigh. stemthemusical.com. Tainted Cabaret: Burlesque. $15. Thu, Apr 11, 9 p.m. Kings, Raleigh. kingsraleigh.com. Carrie Mae Weems: Past Tense: Wed, Apr 10, 7 p.m. UNC’s Memorial Hall, Chapel Hill. carolinaperformingarts.org. K. Trevor Wilson: Comedy. Apr 11-13. Goodnights Comedy Club, Raleigh. goodnightscomedy.com. Work and Waffles: Transactors Improv Fri, Apr 12, 8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.
ONGOING Bad Roads: Duke Theater Studies. Documentary theater from Ukraine. $10-$15. Thru Apr 14. Duke’s Bryan Center, Durham. tickets.duke.edu. Emilie: La Marquise Du Châtelet Defends Her Life Tonight: Thru Apr 14. Sonorous Road Theatre, Raleigh. sonorousroad.com.
Godspell: $24-$33. Apr 12-28. Theatre In The Park, Raleigh. theatreinthepark.com.
Eyes up Here Comedy Showcase: $5. Thu, Apr 11, 8:30 p.m. The Pinhook, Durham. thepinhook.com.
Hit List: Comedy open mic. Fri, Apr 12, 6:30 p.m. The People’s Improv Theatre, Chapel Hill. thepit-chapelhill.com.
How I Learned to Drive: Thru Apr 21. UNC’s Paul Green Theatre, Chapel Hill. playmakersrep.org.
James Hodge: Comedy. $10. Wed, Apr 10, 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.
Real Women Have Curves: The Justice Theater Project. Play. Thru Apr 14. Umstead Park United Church of Christ, Raleigh. thejusticetheaterproject.org.
House of Coxx: Drag show. Amateur competition to follow. $10. Sat, Apr 13, 8:30 p.m. The Pinhook, Durham. thepinhook.com.
The Royal Family: Play. Thru Apr 14. NCSU’s Titmus Theatre, Raleigh. theatre.arts.ncsu.edu.
THURSDAY, APRIL 11–SUNDAY, APRIL 14
MONET IMPRESSIONS
Guest choreographer Lynne Taylor-Corbett and artistic director Robert Weiss chose two different strategies for their homages to Claude Monet in this evening-length work, originally commissioned to accompany a 2007 blockbuster exhibition by the North Carolina Museum of Art. Taylor-Corbett’s Picnic on the Grass, based on the artist’s Dejeuner sur l’Herbe, provides a window into the life of the nineteenth-century painter, one made even more impressionistic by the prismatic costumes of designer William Ivey Long and the music of Poulenc. In Taylor-Corbett’s interpretation, the painting presages a moment of transition in Monet’s primary relationships with his ailing wife, Camille, and his partner-to-be, Alice Hoschedes, amid the sun and the shadows of the outdoor setting. In Weiss’s The Gardens of Giverny, dancers embody and animate the famous elements of the paintings made at his country home: water, clouds, and a bevy of flora, including irises, roses, and water lilies, to the music of Debussy and Chausson. —Byron Woods
MEMORIAL AUDITORIUM, RALEIGH | Various times, $44+, www.carolinaballet.com
Monet Impressions PHOTO COURTESY OF CAROLINA BALLET
SUBMIT!
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screen SPECIAL SHOWINGS Animation Show of Shows: International animated shorts. Sun, Apr 14, 2 p.m. Rubenstein Arts Center Film Theater, Durham. The Battle of Chile Parts 1 & 2: Mon, Apr 15, 6 p.m. Rubenstein Arts Center Film Theater, Durham. Body Melt: Tue, Apr 16, 8:30 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. Delicatessen: Wed, Apr 17, 8:30 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. Duke MFA in Experimental and Documentary Arts Thesis Exhibition: Full schedule of events online. Thru Apr 14. Power Plant Gallery, Durham. MFAEDA2019.org. Flashdance: Mon, Apr 15, 7 p.m. Schoolkids Records, Raleigh. schoolkidsrecords.com. Grave of the Fireflies: Wed, Apr 17, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. Lawrence of Arabia: $5. Mon, Apr 15, 7 p.m. Rialto Theatre, Raleigh. Life in the Doghouse: $12. Thu, Apr 11, 7:30 p.m. Regal Beaver Creek Stadium 12, Apex. peaklabrescue.com. PBS Kids at the Alamo: Explore the Outdoors: Sat, Apr 13, 10 a.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. Ponyo: Dubbed and subtitled versions available. Mon, Apr 15, Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.
Rough Cuts Review: Rough cuts of films from N.C. filmmakers. Free. Tue, Apr 16, 7 p.m. The Cary Theater, Cary. thecarytheater.com. Selena: Tue, Apr 16, 7:30 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh. Spirited Away: Dubbed and subtitled versions available. Wed, Apr 10, Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. The Thin Man: Hillsborough Classic Film Society. Free. Sun, Apr 14, 3 p.m. Orange County Main Library, Hillsborough.
OPENING After—Anna Todd’s older-YA romance novel steams up the big screen. Rated PG-13. Hellboy—Guillermo del Toro’s supernatural-fantasy franchise gets rebooted by Neil Marshall. Rated R.
Porco Rosso: Dubbed and subtitled versions available. Tue, Apr 16, Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.
Little—A tech mogul gets to relive her childhood in this comedy starring Marsai Martin from Black-ish. Rated PG-13.
Pretty in Pink: Fri, Apr 12, 8 p.m. Schoolkids Records, Raleigh. schoolkidsrecords.com.
Missing Link—ParaNorman animator Chris Butler created this stop-motion adventure. Rated PG.
32 | 4.10.19 | INDYweek.com
THURSDAY, APRIL 11
N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. The Aftermath—A handsome, creaky, dull period melodrama. Rated R. Captain Marvel— Brie Larson is an intergalactic fighter who begins questioning who she is. Rated PG-13. ½ The Lego Movie 2: The Second Part—Though there’s a live-action subplot, the little plastic people and their incessant pop-culture references remain the heart and soul of the franchise. Rated PG. ½ Spider-Man: Into the Spider-Verse—Not only is it a good Spider-Man story, this animated film introduces welcome diversity to the tale of Peter Parker. Rated PG. Us—Jordan Peele’s Get Out followup pairs a haunting atmosphere with humor and a chilling call to action.
I AM NOT A WITCH In this extraordinary debut feature by Rungano Nyoni, who was born in Zambia and later immigrated to Wales, a young girl, Shula (Maggie Mulubwa), is accused of witchcraft in her rural village, whose police department forces her to join an “army” of witches organized by the Zambian government. The film follows the misadventures of greedy government official Mr. Banda (Henry B.J. Phiri), the regimented community of the older witches, and stoic Shula, whose story engages us with an intriguing tone, simultaneously humorous and melancholy. Beautifully crafted pictorial cinematography contrasts with a cinéma-verité approach to characters in this satire with surrealist leanings, offering a clever critique of the instrumentalization of spirituality by the state and a candid commentary on the colonial foundations of tourism. I Am Not a Witch screened at Cannes in 2017 and won the BAFTA Award for Outstanding Debut by a British Director at the British Academy Film Awards last year. —Marta Nuñez Pouzols
THE RUBENSTEIN ARTS CENTER, DURHAM | 7 p.m., free, www.artscenter.duke.edu
I Am Not A Witch
food & drink Beers for Beagles: Benefit for Triangle Beagle Rescue of North Carolina. Sun, Apr 14, 2 p.m. LoneRider Brewing Company, Raleigh. Farmhouse Cider & Wine Tasting: Saturdays, Sundays, 2-6 p.m. Botanist & Barrel, Cedar Grove. botanistandbarrel.com.
Funk Down on the Farm: More than twenty-five brewers and food vendors. Advance tickets required. $30-$50. Sat, Apr 13, noon. Cedar Grove Blueberry Farm, Cedar Grove. cedargroveblueberry.com. Great Grapes Wine & Food Festival: More than twenty-two N.C. wineries, live music, and
PHOTO COURTESY OF THE FILMMAKERS
more. $10-$50. Sat, Apr 13, 11 a.m. Koka Booth Amphitheatre, Cary. boothamphitheatre.com. Pints For Paws Craft Beverage Festival: Benefit for Animal Protection Society of Durham. Craft beer, food trucks, and live music. $10-$60. Sun, Apr 14, noon. Durham Central Park, Durham. apsofdurham.org.
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holistic health TAI CHI Traditional art of meditative movement for health, energy, relaxation, self-defense. Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936 or www.magictortoise.com
medical services A PLACE FOR MOM The nation’s largest senior living referral service. Contact our trusted, local experts today! Our service is FREE/no obligation. CALL 1-888-609-2550
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deep dive EAT • DRINK • SHOP • PLAY
The INDY’s monthly neighborhood guide to all things Triangle
Coming April 24:
CARY/APEX/MORRISVILLE
For advertising opportunities, contact your ad rep or advertising@indyweek.com
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INDYweek.com | 4.10.19 | 33
3 5 7 9 8 4 6 2 1
crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzle pages” at the bottom of our webpage.
3 2 6 7 8 4 9
8
12
4 2 9 1 8
3 3 4 83
4 1 7 5
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# 26
2 3
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this week’s puzzle level: # 57
8
9 6 7 8
8
3
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9
4
5
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HARD
# 58
© Puzzles by Pappocom
There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box. The numbers can appear in any order and diagonals are not considered. Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.
5 3 2
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5 3 63 7 3 2 9 4 3 6 85 4 2 6 4 6 9 7 5 2 2 9 7
1 8
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2 1 7 5
9 8 4 2
1 6 9 7
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# 60
CLASSY AT INDYWEEK DOT COM
Best of luck, and have fun! www.sudoku.com
30/10/2005# 58 1 5 2 8 3 6 4 9 7
9 6 8 |1 INDYweek.com 4 7 3 2 5 34 | 4.10.19
8 3 6 2 9 7 4 5 8 6
If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzle “Puzzle pages.” Pages.”
4.10.19
solution to last week’s puzzle
# 57
4 5
7
HARD
# 28
2 1 8 6 5 7 4 3 9
4 1 2 6 3 1 9 7 8 3 1 4 2
6
3 1
# 28
7
1
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# 59
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# 60
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1 ook 9 5 your 2 4 ad 7 • Email amanda: classy@indywEEk.com B 4 8 5 9
7 3 4 1
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chat
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LOVE + DEVOTION
Yoga in Christ, Triangle, NC http://www.meetup.com/Yoga-in-Christ/
DANCE CLASSES IN LINDY HOP, SWING, BLUES
At Carrboro ArtsCenter. Private lessons available. RICHARD BADU, 919-724-1421, rbadudance@gmail.com
SMOKY MOUNTAIN WHISKEY CRACKERS ® available at: Saxapahaw General Store Southern Season New Hope Market Special Treats
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BUSINESS STRATEGY & COMMUNICATION WWW.EASILYCREATIVE.COM
TRANSGENDER TRANSITION COACH Voice, nonverbal, 18 years’ experience New Podcast! transgendertransitioncoach.com
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Durham’s Leading Art Supply Store & Classes Formerly known as HappymessART artpostnc.com 718 Iredell St. 919.286.9763
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HISTORY TRIVIA: *On April 13, 1865, Union soldiers, under the command of Gen. William T. Sherman, occupied and secured Raleigh. *On April 13, 1947, several Journey of Reconciliation civil rights protesters were attacked and arrested at the Chapel Hill bus station. The protesters tested the enforcement of a Supreme Court decision that declared segregation on interstate buses unconstitutional. Courtesy of the Museum of Durham History
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Art Market! Foodz! Music! Sunday, April 14, 12-5 Happymess/Artpost 718 Iredell St, Durham, NC 27705 919.286.9763
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