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2 | 5.10.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO.17

8 If the American Health Care Act becomes law, some individuals with metastatic cancers could pay a 3,500 percent surcharge.

11 In a city of 470,000 people, Raleigh’s nineteen Citizen Advisory Councils collectively have about five hundred active members.

12 North Carolina is second only to California in solar-energy production.

14 His mom played cello and his dad played rock, but somehow Matt Douglas got it in his head that he wanted to play jazz.

18 Since cheese only consists of a few ingredients, Boxcarr makes its stand out by using cultures from Italy.

19 David McConnell grows mullein, also known as the velvet plant, in his garden because it helps reduce his son’s asthma attacks.

24 During his five-year run as late-night talk-show host, Arsenio Hall offered his guests the rare opportunity to be unapologetically black.

25 The Defense Department says seventy-five hundred women soldiers saw active duty in Vietnam. The VA doubles that number, while independent surveys estimate as many as fifty-five thousand.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 Soapboxer 11 News 18 Food

Artist, musician, and farmer David McConnell at his home in Raleigh (see page 19)

PHOTO BY BEN MCKEOWN

On the cover: Matt Douglas PHOTO BY BEN MCKEOWN

21 Music 22 Arts & Culture 26 What to Do This Week 29 Music Calendar 33 Arts & Culture Calendar

In Memoriam Raymond Guy Lanier July 31, 1952 – April 30, 2017

A cherished member of the Indy Week Family.

Peace and love to his family and friends.

We’ll take good care of the garden, Raymond.

We sure will.

INDYweek.com | 5.10.17 | 3

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4 | 5.10.17 | INDYweek.com

backtalk

Just Move During the debate over the American Health Care Act last week—specifically, the provision that allows states to seek waivers to get out from under the Affordable Care Act’s mandate that insurers cover preexisting conditions and essential health benefits (see page 8), North Carolina congressman Robert Pittenger said the following: “People can go to the state that they want to live in. States have all kinds of different policies and there are disparities among states for many things: driving restrictions, alcohol, whatever. We’re putting choices back in the hands of the states.”

In other words: if you have a preexisting condition, you can always find a more accommodating state.

Our commenters were not amused. Let’s take a sampling.

Caleb Sisk: “I wish Pittenger would ‘find a new state.’”

Carolyn Cobb: “So you have to live the right life, and being born is not living the right life, so you are to be punished! I have had asthma for most of my seventy-one years, otherwise healthy; my grandson was born a type 1 diabetic.

These are autoimmune illnesses. Were we not born right?”

Etsisk: “Do these people hate themselves so much that they hate everyone else as well? Or are they just simply self-centered jackasses to have such disregard for their fellow humans?

It has to be one or the other for them to act the way that they do, best I can tell.”

Skip Martin: “My daughter was born with a congenital heart defect. She’s had six openheart surgeries and seven catheterizations.

This would be a preexisting condition under the ACA. Obviously it didn’t occur as a result of living a high-risk lifestyle. Some people are just plain idiots.”

Lynanne Smith-Winters: “It’s time for the people of this country to stand up and say ‘stop treating us like sh**!’ Vote them all out and look into having their health care repealed and replaced! Maybe when they start paying for their own insurance and stop getting a handout from us, the taxpayers, then maybe they’ll understand what’s it’s like for some people!”

Wendy Foster: “Pittenger and the GOP keep repeating the fallacy that ‘market forces’ will increase access and lower cost in ‘for profit’ health care. Since history, basic logic, and simple common sense prove the opposite, either Pittenger and the entire GOP are delusional or they are lying. Deceptive talk about ‘increasing freedom’ or ‘decreasing regulations’ really means increased freedom for insurance companies to screw you and fewer rules to make them pay for actual health care. Obamacare is not perfect but it is progress. Its ‘regulations’ generally put people over profit by prioritizing your health care rights over corporate greed.”

Pittenger did have one lonely defender, Kyle 1, who said this (and maybe doesn’t completely understand how the AHCA will function): “Do you guys also want to be able to purchase car insurance after you’re in an accident? What about life insurance after someone dies? Sound fair?”

Finally, something not related to health care.

Chrisso Johnson writes about David Klein’s story last month on how the rise of music streaming is affecting local musicians [“Streams of Consciousness”]: “Years into this debate and we’re still seeing the same mistruths being pedaled. Yes, the cost of CD media came down, but the cost of musicians, studios, and the time it takes to write a great song remained the same or increased.

Musicians have always sold merchandise at shows. Streaming hasn’t invented new income from selling T-shirts at your show.

That income already existed. Streaming stripped out the income from record sales.

So most musicians now earn much less, not more or even the same. It’s no surprise the musicians you give as examples all have day jobs or live day-to-day on little income. Is that a good thing for the music scene and music lovers worldwide? No.”

“Do these people hate themselves so much that they hate everyone else?”

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

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triangulator triangulator MARVIN

Age 60 Income $100,000 With the ACA, Marvin earns too much money for a subsidy and thus has to pay for the entirety of his $14,690 annual premium. On the plus side for him, the AHCA will afford him a $1,500 tax credit; unfortunately, his premium will also go up to $19,740 a year, meaning he’ll be out $3,550.

JOHN

Age 60 Income $20,000 Under Obamacare, John’s $14,690 premium is almost entirely covered by tax credits.

After a $13,740 subsidy, he only has to pay $960 a year. With the AHCA, though, that tax credit falls to $4,000, while his annual premium rises to $19,740. After the tax credit, John will have to pay $15,740 a year for insurance—79 percent of his income.

WILLIAM

HOW WILL TRUMPCARE AFFECT TAR HEELS?

On Thursday, by a razor-thin margin, House Republicans rammed through the American Health Care Act, their attempt to replace the Affordable Care Act. They did so without an updated analysis from the Congressional Budget Office, even though the bill underwent significant changes since an earlier version stalled in March. So there are important things we don’t know (e.g., what the changes to the preexisting-conditions rules will do). But because the bones are the same, there’s a lot we do: Twenty-four million Americans will lose health insurance over the next decade, according to the CBO. Moreover, according to a fact sheet from the office of U.S. Representative David Price, individual-market premiums in North Carolina will rise an average of $5,921, the second-highest increase in the country.

Not everyone will pay more, however. In essence, the AHCA replaces the ACA’s income-based subsidies with age-based tax credits, while also allowing insurers to charge older individuals more than the ACA does. To illustrate how this might work in Wake County, we turn to the nonprofit Kaiser Family Foundation, whose website (kaiserf.am/2lSCggd) has a county-level map that compares subsidies and tax credits under the ACA and AHCA by age and income. Here are six hypothetical examples drawn from KFF data.

Age 40 Income $30,000 Most of William’s $6,920 annual premium—$4,420—is covered by the ACA’s tax credits. Under the AHCA, however, that subsidy will drop to $3,000, meaning he’ll have to pay $1,440 more each year for his insurance.

JESSICA

Age 27 Income $50,000 Jessica has about 10 percent of her $5,670 annual premium covered by ACA subsidies.

Under the AHCA, however, her premium will drop to $5,240 and her tax credit will increase from $570 to $2,000, meaning she’ll come out $1,860 ahead.

THOMAS SUSAN

Age 40 Income $100,000 Sarah earns too much money to receive a tax credit toward her $6,920 annual premium under the ACA. Under the AHCA, however, she’ll get a $500 subsidy, while her premium will stay the same.

6 | 5.10.17 | INDYweek.com

Age 27 Income $20,000 With the ACA’s subsidies, Thomas paid just $960 of his $5,670 annual premium. Under the AHCA, while his premium will decline to $5,240, his tax credit will fall from $4,720 to $2,000, meaning he’ll end up paying $2,280 more out of pocket each year.

+GAMETIME

Raleigh Mayor Nancy McFarlane, with visions of Dix Park as a major destination dancing in her head, will run for—and probably win—a fourth term in city elections set for October 10.

The more interesting elections will happen down the ballot. With the July 7 filing deadline less than two months away, excitement is mounting—haven’t you noticed?— about the cast of candidates running for city council. Currently, the cast of characters is mostly familiar.

Incumbent Kay Crowder has announced she’ll run again for the District D seat she won in 2015. She initially joined the council after the death of her husband and predecessor, Thomas Crowder. First-termer David Cox is back on the ballot, too.

So is at-large member Russ Stephenson, seeking his seventh term. He’ll hold a campaign kickoff on May 25 at the home of state Senator Jay Chaudhuri, a Wake County Democrat. While council members Mary-Ann Baldwin, Corey Branch, Dickie Thompson, and Bonner Gaylord haven’t announced their reelection bids, none has indicated an intention to step aside, either.

As for newbies, attorney Stacy Miller has announced he’ll run for one of the two atlarge seats now occupied by Stephenson and Baldwin. Miller was previously appointed to a council seat in 1997. On Tuesday morning he was joined by Nicole Stewart, the development director of the N.C. Conservation Network. In an email announcing her run, the thirty-five-year-old Stewart included statements of support from former mayor Charles Meeker (she is married to a business partner

of Meeker’s son, David) and Wake County Commissioner Jessica Holmes.

They’re unlikely to be the only high-profile challengers to emerge.

+CRAP HITS FAN

During a debate last month over House Bill 467—which contained a failed provision to shield hog farms owned by a subsidiary of Smithfield Foods from twenty-six federal nuisance lawsuits brought by their neighbors—state Representative Jimmy Dixon, R-Duplin and Wayne, called claims that hog waste was ending up on people’s homes preposterous.

“These allegations are at best exaggerations and at worst outright lies,” said Dixon, who has received more than $115,000 in campaign contributions from Big Pork. “When you talk about spraying fluid on people’s houses and people’s cars, that does not exist.”

New evidence filed in federal court Friday, however, suggests that’s exactly what happens.

To get rid of the waste of the thousands of pigs that are on site, hog farms liquify their urine and feces and spray the waste onto large fields via an irrigation system that runs from cesspools to massive sprinkler-like constructs that release mist. Those who reside near the fields have complained that this excrement ends up on their houses. These claims are central to the lawsuits filed against Murphy-Brown, the Smithfield subsidiary.

The documents filed in court last week support these claims, showing the presence of Pig2bac, an “established DNA marker for identifying the presence of pig feces.” The study, completed by Shane Rogers, a former EPA environmental engineer and an associate professor at Clarkson University in New York, relied on both air and physical samples collected from the house exteriors of the farms’ neighbors.

To test for the presence of pig-manure DNA, Rogers and his team collected thirtyone samples from the outside walls of the homes and submitted them for DNA testing; fourteen of seventeen homes tested positive for Pig2bac. Additionally, all six of the dust samples they collected from the air “contained tens of thousands to hundreds of thousands of hog feces DNA particles,” Rogers wrote. “… Considering the facts, it is far more likely than not that hog feces also gets inside the clients’ homes where they live and where they eat.”

Around the same time that study was entered into court records, Governor Cooper vetoed HB 467—which, even without the provision nullifying the pending Murphy-Brown lawsuit, still seeks to prevent similar cases in the future.

The legislature will likely attempt to override the governor’s veto next week. triangulator@indyweek.com

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

This week’s report by Jeffrey C. Billman, Ken Fine, Thomas Goldsmith, and Erica Hellerstein.

PERIPHERAL VISIONS | V.C. ROGERS

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soapboxer

I Am a Preexisting Condition

THERE’S NO WAY TO SPIN THE AMERICAN HEALTH CARE ACT INTO BEING A GOOD DEAL FOR TAR HEELS

BY JEFFREY C. BILLMAN

I

n 2013, John Burns gave his father-inlaw one of his kidneys. Burns, a lawyer at the firm Williams Mullen in Raleigh and now a Democratic Wake County commissioner, was a healthy forty-two-year-old; with Burns’s kidney, his father-in-law could stay off dialysis.

“I was very happy to do it,” Burns told me last week. “My father-in-law’s insurance covered the entire operation. But if there is an impact on your insurability later, there are people who are not in my financial circumstances who would not be able to do that. To me, if we’re setting up a system where someone is discouraged from helping someone else, that’s backwards.”

The system he’s referring to is the American Health Care Act, which narrowly passed the U.S. House of Representatives last week—specifically, a provision in it known as the MacArthur amendment, which relaxes the Affordable Care Act’s mandate that insurers cover preexisting conditions. After all, before Obamacare went into effect, having one kidney qualified as a preexisting condition that could render you uninsurable.

Under the AHCA, it could lead to impossibly expensive premiums.

Burns has good insurance through his employer, he points out, and he hasn’t had any problems. But if he ever wanted to strike out on his own—to, say, start his own firm—and he had to purchase insurance on the individual market, his kidney donation could become an issue.

“Why should I be forced into a battle with an insurer because I did something I should have done?” he asks. “It’s just a very perverse incentive.”

A conservative sampling of what insurers consider preexisting conditions ranges from sleep apnea to anxiety to alcohol abuse, along with conditions like AIDS and cancer; according to Time, experts say acne, celiac disease, and migraines may also lead insurance companies to hike premiums.

I have no idea how my own preexisting conditions—anxiety and thyroid disor8 | 5.10.17 | INDYweek.com

ILLUSTRATION BY SHAN STUMPF

ders—would be viewed by insurers; since I’m insured through the INDY, it’s not something I worry about. Were I to ever again become a full-time freelancer, that would change. I’m certain that my friend Julia, who was born prematurely, weighing less than two pounds and with a heart condition, would be affected if she sought insurance on the individual market, as would her mother, who contracted polio as a child.

And the same goes for Burns’s sister, a thirty-two-year-old mother and minister whose body stopped producing insulin.

With insurance, she spends thousands of dollars on insulin. “What’s she going to do when they jack up her rates so that she can’t

afford insurance?” Burns asks.

The Republican answer to that question is that it won’t happen. “Under this bill, no matter what, you cannot be denied coverage if you have a preexisting condition,” House Speaker Paul Ryan told ABC’s This Week Sunday. “… You can’t charge people more if they keep continuous coverage.”

Let’s unpack both parts of that statement.

The first is true in the same way that I won’t be denied access to a Lamborghini Aventador: if I can afford it, I can buy it, but I probably can’t afford it.

The second requires more explanation.

Under the MacArthur amendment, states can apply for waivers exempting them from the preexisting-conditions mandate and a requirement that insurance policies cover a range of essential health benefits, including mental health care and hospitalization. In states with such a waiver, insurers could, for one year, charge people on the individual market who let their coverage lapse for sixty-three days based on

their “health status.”

This is designed to keep people from gaming the system, from waiting until they’re sick to seek insurance. But the practical effect is that they can charge more—a lot more—for preexisting conditions. According to an analysis from the left-leaning Center for American Progress, individuals with metastatic cancers could pay a premium surcharge of up to 3,500 percent, to more than $142,000; individuals with diabetes, 137 percent; with autism, 135 percent; with asthma, 106 percent; with drug dependence, 502 percent. A pregnancy without complications could result in a 425 percent surcharge.

These sorts of preexisting conditions affect millions of Americans: the Kaiser Family Foundation estimates that 27 percent of adults under sixty-five, including 1.6 million North Carolinians, have conditions that could render them uninsurable. While only about 8 percent of the nonelderly population is insured on the individual market, that’s still eighteen million people. Of them, nearly 2.3 million—including eighty-six thousand Tar Heels—who have preexisting conditions buy insurance on the Obamacare marketplace.

According to the Commonwealth Fund, in 2016 an estimated thirty million adults had a lapse in their coverage longer than three months and would have been vulnerable to these surcharges were they on the individual market. With the AHCA, that number’s likely to climb considerably. For starters, the AHCA replaces Obamacare’s incomebased subsidies with less-generous tax credits, meaning that many on the individual market—especially those who are older and poorer—will face higher premiums. If they can’t pay, their insurance will lapse and their preexisting conditions will come into play whenever they try to get insurance again.

And if they can’t pay those premiums … well, you see how this becomes a vicious cycle.

The AHCA’s solution is to have states create cost-sharing mechanisms to keep premiums lower, including high-risk pools. The bill passed last week allocates $138 billion over a decade toward that cause. But according to Aviva Aron-Dine, a senior fellow at the Center on Budget and Policy Priorities, that’s $200 billion short of what’s needed, even with people in those pools paying premiums of as much as $10,000 a year.

All of which is to say that, for the sick and the poor, maintaining continuous coverage could become nearly impossible, which means preexisting conditions could once again render them effectively uninsurable.

For the rest of us, too, the MacArthur amendment could have ill effects—even in

states that don’t seek waivers. As Matthew Fiedler of the University of Southern California Schaeffer Center for Health Policy & Economics notes, states that obtain waivers for essential health benefits will allow insurers in those states to reimpose lifetime and annual coverage caps, even for people who receive insurance through their employers. But, Fiedler writes, “A single state’s decision to weaken or eliminate its essential health benefit standards could weaken or effectively eliminate the ACA’s guarantee of protection against catastrophic costs for people with coverage through large employer plans in every state.”

Under current regulations, large employers—which covered 86 percent of private employer plans in 2015—are permitted to apply any state’s definition of essential benefits to their plans. Because the ACA requires all states to adhere to the same benefits, this hasn’t been an issue. As soon as the first state receives a waiver, “the consequences of allowing this flexibility could be significant,” Fiedler writes.

Any potential changes to lifetime caps have Jedidiah Gant worried. Not for himself—though he has Crohn’s disease, a preexisting condition—but rather for his son, Oliver, who turns eight next month. Oliver was born with a tumor in his abdomen.

“It was a gut punch to find out your child has cancer,” says Gant, a strategist at Myriad Media in Raleigh. “You do what you have to do—save your child’s life.”

In his case, that meant flying to New York for lifesaving surgery. But both the cancer and that surgery left Oliver with lifelong complications: he can’t urinate and needs four catheters a day; he suffered hearing loss from the chemo and requires hearing aids. He’ll need care and medical supplies for the rest of his life.

Gant’s wife works for the state, so they have good insurance, Gant says. Even with that, however, they’re still paying down the debt they incurred. But what happens when Oliver is too old to stay on his parents’ insurance? “He’s gonna have to leave college and get a job to pay for his own insurance,” Gant says. “His life is not going to be making money to pay for awesome shoes.

There will be perpetual medical costs he’s going to have in the future.”

And what happens if lifetime caps go back into effect?

“We’re trying to celebrate him being five years off cancer treatment,” Gant says. “We know it’s not the end of the road because of all these other conditions. It’s also extremely scary to know that the future remains unseen.” jbillman@indyweek.com

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10 | 5.10.17 | INDYweek.com

indynews Twilight of the Amateurs

WILL RALEIGH’S MOVE TO REVAMP CITIZEN ENGAGEMENT BE A BOON FOR RESIDENTS—OR DEVELOPERS?

BY THOMAS GOLDSMITH

David Cox

D

PHOTO BY ALEX BOERNER

avid Cox first made his mark on Raleigh politics in 2015, leading hundreds of neighbors in a zoning fight that kept Publix from landing a grocery store near their north Raleigh homes. He was elected to the city council later that year, defeating longtime incumbent John Odom, who was seen as friendly to developers.

However, in the matter of how citizens can best get their ideas on zoning across to city officials, Cox is now up against Mayor Nancy McFarlane, who won three-quarters of the citywide vote when elected to a third term in 2015.

Cox, a computer scientist, is a major backer of Raleigh’s Citizen Advisory Councils. These grassroots groups, nineteen throughout the city, have helped guide the city council’s zoning decisions for more than four decades and have roots in neighborhood activism and fair-housing disputes. Now the city is considering overhauling how it receives input from resi-

dents—and critics fear that those changes could tilt the balance of power in favor of developers.

McFarlane maintains that with about 500 active members across a city of 470,000 people, the CACs don’t reflect the way citizens prefer to interact with government in the twenty-first century.

“We’re trying to move to a place where we can engage as many people as possible,” McFarlane says. “We’re not trying to dis the CACs. None of this is set in stone. Fundamentally, we are trying to empower people.”

The councils date from the 1970 tenure of Clarence Lightner, the first black Raleigh mayor and the first to be popularly elected.

(Previously, council members elected mayors from their own ranks.) CAC boosters cite the role they played in stopping the Publix and the proposed Coker development on Oberlin Road in the 2000s, as well as the lower-profile activities of meetings that typically draw a few dozen members.

“A lot of people have busy lives and they don’t always go to the CACs,” Cox says. “But when there are rezoning cases that affect people’s lives, they do turn out.”

McFarlane favors the approach of a task force, commissioned last year, that’s proposing a council-appointed board—as well as revamped citizen committees—to gather input on land use. With notification of proposed zoning changes increased from one hundred to five hundred feet and other improvements, she argues, the proposed new processes will better serve neighbors.

“People are always afraid of change,” she says.

The nine-member citizen engagement task force, led by A.J. Fletcher Foundation director Damon Circosta, compared community-input organizations in forty U.S. cities. Its recommendations included the expanded notice of zoning changes and additional levels of communication between the council and grass-

roots organizations.

On May 1, the council adopted—sort of—a proposal to replace the CACs with the new Community Engagement Board.

Cox voted against the move, along with council members Corey Branch and Kay Crowder. Russ Stephenson, Mary-Ann Baldwin, Bonner Gaylord, and Dickie Thompson joined McFarlane in supporting the new board.

Even though the council agreed to form the CEB, the debate was contentious enough that members put off a decision on what exactly the CEB would do. Instead, at Stephenson’s instigation, they decided to meet in a more informal work session to forge the details.

Branch says he voted against the CEB because of the uncertainty over what it would do. But even with eight CACs in his district, he’s not opposed to making changes. “I think the recommendations are a good starting point,” Branch says. “My issue was adopting it before we really had a chance to vet it. I feel the CACs are antiquated in some areas. We haven’t done any revamping since they were created.”

The decades-old councils can be a charged subject for activists such as Octavia Rainey, who started serving on one in 1980. The formation of the councils helped make Raleigh eligible for federal Community Development Block Grants, which required civic engagement, she points out.

“Moving this to a board is not the way this should go,” Rainey contends. “What the city should do is invest in the boards they have.”

Raleigh allocates $1,000 to each CAC annually, and city officials have to sign off on how the money is spent.

Bob Geary, a former INDY columnist who now chairs the Hillsborough CAC, says the councils have served to counter progrowth fervor built on a thriving construction industry as well as Raleigh’s status as a top-rank destination for newcomers.

“Removing the CACs from rezoning cases doesn’t strike me as step one to improving citizen engagement, let alone citizen participation, in the biggest sphere of municipal government, which is land use and development,” Geary says. “It strikes me, rather, as the latest step in pushing citizens to the bleachers while the professionals play the game.” tgoldsmith@indyweek.com INDYweek.com | 5.10.17 | 11

news Block Out the Sun

CRITICS SAY DUKE ENERGY IS TRYING TO ROLL BACK REGULATIONS SO IT CAN CORNER THE MARKET ON SOLAR-ENERGY DEVELOPMENT

BY KEN FINE AND MEGAN HOWARD

A

bill supported by Duke Energy and sponsored by legislators who have collectively received more than $68,000 from the energy giant would hobble North Carolina’s solar boom, critics contend, by giving Duke an outsize say over how—and on what timetable—the industry develops in the state.

House Bill 909 would roll back provisions of the 1978 Public Utilities Regulatory Policies Act, which requires Duke to purchase renewable energy projects, like solar, from independent producers at the “avoided cost” rate—essentially, what it would cost Duke to do it itself—not the fair-market rate. It also entitles the small producers to a fifteen-year contract at that rate. Under HB 909, which was referred to the House Committee on Energy and Public Utilities two weeks ago, those contracts will only be good for up to ten years.

12 | 5.10.17 | INDYweek.com

That may not sound like a huge difference.

But Jeff McKay, communications director for Cypress Creek Renewables, says it will hurt solar companies’ ability to finance projects. “It would become more difficult for investors to be interested when contracts become shorter,” he says. “If it becomes a shorter-term contract, it’s more difficult for investors to get involved, because it becomes risky for all the parties involved.”

“It’s not fair to renewable project developers,” adds Lauren J. Bowen, an attorney with the Southern Environmental Law Center. “And it’s going to undermine the goals of the federal law to encourage investment in independent power production from renewable power facilities.”

Part of the National Energy Act, PURPA was designed to promote conservation by reducing the nation’s demand for fossil fuels through the increased production of

renewable energy. But Bowen and other HB 909 critics argue that the legislation would, in fact, limit North Carolina’s solar infrastructure. The bill would put a fourhundred-megawatt cap—the power needed to light up sixty-five thousand homes—on the amount of electricity Duke would be required to create each year through contracts with solar companies.

Currently, more than three thousand megawatts of solar have been installed, in the Old North State, which only trails California in solar production. The Solar Energy Industries Association projects than an additional thirty-five hundred megawatts could be installed in the next five years, some fifteen hundred more than would be required under the bill’s cap.

To date, North Carolina has created more than seven thousand jobs in solar, and most of the state’s success can be attributed to

allows lar Amazon a utility co for the p power at became t this progr struction project i partnersh could attr lina, spur But crit boost Duk expense While sol after inst expensive So wha with HB company respond t requests ment. Bu claim Du out to li ing optio and busin who wan projects s top solar, tive, envi responsib tive to fos “Duke doesn’t li ber of pr mody sa largely they wou invest in are more large-scale projects that have been bol-because stered by incentives such as North Car-more mon olina’s Renewable Energy and Energylike natur Efficiency Portfolio Standard, tax credits, In Sept and PURPA. But under HB 909, critics say,April 25 i Duke would be able to slow production toers compr a crawl and complete solar projects whenconsumer it suits the company. While there is a four-biweekly b hundred-megawatt cap, there is no floor,that woul meaning that if Duke wanted to, it couldthis year. underbid small, independent companiesitself from and move forward with solar if and whenleaving th pany part it decided to.

“There are many disappointing segments Then H to this bill,” says Chris Carmody, executivemore tha director of the N.C. Clean Energy Busi-who have ness Alliance. “One especially disappoint-campaign ing element is the fact that they are notry sponso supporting a new green source rider. ThisBell, R-C is something that should be a no-brainer.” received Duke’s Green Source Rider programfrom Duk

allows large private-sector customers, like Amazon and Google, to contract with their utility company for three to fifteen years for the purchase of renewable-generated power at a standard rate. (In 2015, Google became the first company to benefit from this program, when it announced the construction of a sixty-one-megawatt solar project in Rutherford County.) Similar partnerships with Fortune 500 companies could attract more of them to North Carolina, spurring economic development.

But critics suggest HB 909 would instead boost Duke’s economic development at the expense of renewable-energy customers.

While solar is the cheapest form of energy after installation, the installation itself is expensive.

So what does Duke hope to accomplish with HB 909? The company did not respond to the INDY’s requests for comment. But opponents claim Duke is simply out to limit financing options for home and business owners who want to invest in projects such as rooftop solar, a cost-effective, environmentally responsible alternative to fossil fuels.

“Duke is saying it doesn’t like the number of projects,” Carmody says. “That’s largely because they would prefer to invest in things that are more expensive, because they make more money on expensive power resources like natural gas and nuclear.”

In September, months prior to the bill’s April 25 introduction, a group of stakeholders comprising utilities, solar developers, and consumer advocates began to convene on a biweekly basis to develop an energy proposal that would be considered in the legislature this year. But in February, Duke removed itself from the negotiations, Carmody says, leaving the others wondering why the company participated in the first place.

Then HB 909 emerged, sponsored by more than a dozen state representatives who have received a total of $68,500 in campaign contributions from Duke: primary sponsors Dean Arp, R-Union, and John Bell, R-Craven, Greene, Lenoir, Wayne, received their single biggest contributions from Duke: $13,200 and $10,200, respec-

tively; the other primary sponsor, Jimmy Dixon, R-Duplin, Wayne, received $4,000.

The move, a seemingly abrupt reversal, prompted Ivan Urlaub, executive director of the N.C. Sustainable Energy Association, to release a statement labeling the legislation something that “does not represent a consensus among stakeholders, and in fact, moves many of our recent discussions in a very negative direction.”

The impasse remains. As recently as April 25, dueling op-eds were published in the Charlotte Business Journal, with Duke Energy’s North Carolina president, David Fountain, and Sean Gallagher, the vice president of state affairs for the Solar Energy Industries Association, offering far different takes on HB 909. Fountain argued that his company was being forced into long-term contracts that unfairly taxed Duke for energy it could create at a far cheaper rate than the standard required under PURPA. He also argued that Duke is committed to the solar power industry but warned that “continued growth at this level—at higher costs and in this haphazard manner—is not sustainable.”

Gallagher shot back, accusing the industry powerhouse of trying to impede solar growth.

“Duke is asking the state N.C. Utilities Commission to change contract terms that will make it harder to build solar energy projects,” he argued. “In effect, it wants to be able to decide when it must buy renewable energy—even though the rules are well-established and have been on the books since the 1970s. Increasing renewables will save Duke Energy customers billions.”

What will happen remains to be seen. HB 909 did not earn approval in either legislative chamber before the end of the crossover period on April 27; since it’s not a budget bill, that should render it dead for the rest of the session, but the powerful utility’s critics aren’t sure that’s the case.

However it plays out, Duke’s tactics have left its critics believing that company’s ultimate goal is to tighten its control over an unbeatable alternative to fossil fuels. backtalk@indyweek.com

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“They prefer to invest in things that are more expensive, because they make more money on expensive power resources.”

INDYweek.com | 5.10.17 | 13

M

att Douglas looks ley’s “Aut and E pretty bright-eyed Else Paganini” for having just er he stu returned from two through h music weeks in Austra- cal fully ded lia on tour with the Mountain workshop Goats. His role in the band on Skidmore and h keys, guitar, and sax is just one tone His des of several hats the thirty-seven- him to ot year-old Raleigh musician wears Navy Ba obse these days, and they’re all bal- were McLean. anced rather cunningly. If any- with from thing is throwing things off-kilter, syncratic he wasn’t it’s the babies. just to rep

SIDE STEPPING WORKING WITH A BEVY OF BANDS, MULTI-INSTRUMENTALIST MATT DOUGLAS MIGHT JUST BE THE TRIANGLE’S BUSIEST MUSICIAN

BY DAV I D K L E I N

14 | 5.10.17 | INDYweek.com

PHOTO BY BEN MCKEOWN

Jazz, he s colors all “It’s not twice as much work,” he says “Speaki about his four-month-old twins, River and incredibly Jude. “It’s more than twice, because when my relatio one is screaming his ass off, the other is of scarred asleep, and once you figure that one out, since the the other one does their thing. They reach but for me these stages, but not necessarily at the Douglas e same time.” me. I don There are times when his work syncs ‘Jazz is go up better than the babies do. This week, Triangl Douglas gets to celebrate the release of through h a new album from his band The Hot at Quartet a Nights. He’ll follow that up next week clivities, w with another LP featuring his handiwork: released f the Mountain Goats’ Goths, which Merge continued Records issues next Friday, May 19.

Boerner, D First and foremost, Douglas plays alto munity co sax. Growing up Alexandria, Virginia, of vocal d outside of Washington, D.C., his youthful town led t dream was simply to be “a burnin’ saxo2010, a w phone player,” as he puts it. But his vast harmonie musical training—which has ranged from course of a jam sessions in Budapest while on a FulThe IN bright scholarship studying regional folk a then-cu music to sitting in with heavy hitters in starry-eye New York City—has taken a form that lited Josh R tle resembles the mythical jazz archetype Ritter fan he once aspired to be. forthcomi Douglas grew up in a musical family: his gestion. T mother is a symphony-level cellist, and pily slapd his father played guitar and sang in rock song,” he s bands, and collects folk instruments like a frontma dulcimers. But somehow, he says, he got it “I happ in his head that he wanted to play jazz. So guy singin he picked up the saxophone.

I have the He latched on to Cannonball Adderhe says.

In mor a comfort T H E H O T AT N I G H T S the shape Saturday, May 13, 9 p.m., $10–$12 he’s co-le The Pour House, Raleigh Last Janu www.thepourhousemusichall.com of reinter

ley’s “Autumn Leaves” solo on Something Else and Ella Fitzgerald’s scat soloing in “Mr. Paganini” from an early age, but the teacher he stuck with from elementary school through high school focused only on classical music. Summers meant Douglas could fully dedicate himself to jazz, attending workshops at Eastman School of Music and Skidmore. There, he’d work on shaping his tone and honing his improvisation skills.

His desire to master his instrument led him to other teachers, too, including some Navy Band Commodores players who were obsessed with bebop sax man Jackie McLean. Among the lessons he came away with from his time spent under their idiosyncratic tutelage was the knowledge that he wasn’t interested in working that hard just to replicate the sound of another player.

Jazz, he says, was his first love, the kind that colors all the others.

“Speaking about women, my first love was incredibly formative but also created a lot of my relationship issues, and that first love kind of scarred me. A lot of the mistakes I’ve made since then were probably because of that, but for me, it never would have worked out,” Douglas explains. “That’s what jazz is like for me. I don’t know if I loved it enough to say, ‘Jazz is gonna be my life.’”

Triangle audiences first met Douglas through his sax work with the Chris Boerner Quartet as well as his own band, The Proclivities, which played around the area and released four LPs in the mid-aughts. As he continued with the Proclivities and with Boerner, Douglas’s roots in the musical community continued to deepen. A one-off night of vocal duets with Caitlin Cary of Whiskeytown led to the formation of Small Ponds in 2010, a winsome pop duo that emphasized harmonies and sharp-eyed narratives in the course of a two-year collaboration.

The INDY lumped The Proclivities in with a then-current clutch of “young, pop-centric, starry-eyed singer-songwriters” that included Josh Ritter. But Douglas, a self-professed Ritter fan who recently added horns to a forthcoming Ritter record, scoffs at the suggestion. To him, The Proclivities were happily slapdash, “three verses and let’s call it a song,” he says, noting that he was never really a frontman anyway.

“I happened to be the songwriter and the guy singing the songs, but I don’t know that I have the desire or the personality for that,” he says.

In more recent years, Douglas has found a comfortable home with The Hot at Nights, the shape-shifting instrumental jazz combo he’s co-led with Chris Boerner since 2011.

Last January, the band issued an EP, Cool It, of reinterpreted songs originally by North

Carolina bands: solid, melody-driven tunes by the likes of Sylvan Esso, Hammer No More the Fingers, and even Delta Rae. Douglas says that sensibility informs the band’s new record, Three Kids, due out this Friday, which he says he’s more excited about than its predecessors.

“There’s such a fine line between, ‘Oh my god—the best music,’ and ‘I wanna kill myself listening to this music,’” Douglas says.

“I don’t necessarily know where that line is, and I think we dance around it in The Hot at Nights, not always on the good side, but you have to risk that to play instrumental music.”

And on top of his main musical ventures, Douglas has been juggling side projects ranging from long-distance work with Portland’s Anna Tivel to doing horn arrangements for Carrboro producer Jeff Crawford. His work with Josh Ritter ended up gracing a song featuring a vocal by Bob Weir of the Grateful Dead. Clearly Douglas’s star is on the rise, but even a gradual ascent can feel disorienting.

“Every time I get into something, I always have—this is not weird modesty, but I get into it, and I’m like, ‘Oh man, I don’t know if I’m capable of doing this. Somebody just asked for something really big, and now I don’t really know,’” he says.

Shortly after his wife, Ellen, gave birth to his daughter, Maeve, in 2013, Douglas and his brother-in-law completed work on transforming a backyard shed into a recording studio. Sunlit and wood paneled, it’s stocked with high-quality mics, a ProTools setup, mic preamps, and compressors, enabling him to do high-quality recording. Recently it’s been the site of sessions with people like M.C. Taylor of Hiss Golden Messenger, Josh Ritter, David Wax, Bhi Bhiman, Ivan Howard, Chris Stamey, American Aquarium, and others, providing an income stream and a creative outlet just thirty feet from his back door.

Additionally, the arranging skills that had lain fallow since college have been bearing more fruit. He’s constantly fielding requests from various artists for him to do an arrangement for strings or woodwinds. Douglas will work something up and send it back. Maybe there will be a revision. Whether it’s pop songs or jazz or instrumental music, Douglas applies the same general approach: he wants to get to the guts of a good melody and be done with it.

“The real trick is not to figure out how to play the most complicated line, but how to write the simplest arrangement to support a good song,” he says.

A few years ago, John Darnielle of the Mountain Goats enlisted Douglas to add woodwind arrangements to the band’s 2015 LP, Beat the Champ. Douglas was soon invited to join the group on tour, hopping between

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guitar, sax, keys, and other instruments.

That association has only grown deeper: his instrumental prowess has left an indelible mark on the Mountain Goats’ forthcoming, guitar-free Goths; Douglas recorded the audiobook for Darnielle’s International Harvester in his studio shed; and he and Darnielle produced an EP of ambient remixes of songs from Goths, to be included in the deluxe vinyl edition of the record.

Joining the Mountain Goats has been a creative and professional game changer for Douglas, raising his professional profile and adding to an already byzantine work schedule that also includes weekly instruction at two area schools. He recently had to turn down fall tour dates with Bon Iver because they conflicted with a Mountain Goats tour.

While he was disappointed, the choice, it

THE HOT AT NIGHTS Three Kids Self-released HHHH

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With their January 2016 EP, Cool It, Raleigh’s The Hot at Nights delivered a neat crop of five songs by North Carolina musicians. Cool It wasn’t a batch of covers as much as thoughtful recasts of other artists’ songs, warped into new instrumental creations under the guise of “progressive jazz.” Just as The Hot at Nights bent others’ songs to their will on Cool It, so, too, are they capable of bending themselves into thrilling new sonic shapes. Three Kids, the band’s latest fulllength, is an unexpected and intriguing follow-up.

Three Kids finds the trio taking a decidedly electronic turn. It’s rife with synth sounds and effects, so thoroughly that, on a casual first listen, the album almost doesn’t sound like The Hot at Nights at all. Though heavily influenced by jazz, The Hot at Nights’ members also dedicate their time to rock, Americana, R&B projects, and more, and those styles seep into Three Kids. The band’s parts are all more or less the same—Nick Baglio still plays drums, Matt Douglas is on sax, and Chris Boerner leads with his weird and wonderful eight-string guitar—but even within that taut framework, they dissolve any limits of genre or form.

seems, wasn’t much of a choice. Faced with playing Justin Vernon’s sax parts as written versus switching on and off multiple instruments, at a high-energy clip and with some improv and setlist variation, the latter will always be the more enticing option to someone like Douglas.

Being a crucial component of a band where he’s not completely in charge is where Douglas wants to be. That doesn’t mean the songs don’t keep coming. A couple of years ago, at the Maine studio of his friend Sam Kassirer, he recorded a set of his own songs that he ranks among his favorite things he’s done.

It’s never seen the light of day, and it probably never will. But he doesn’t mind. As busy as this sideman gets, he’ll always find time to make music for the pure joy of it. dklein@indyweek.com

Take “Seeyinth,” for example, which delivers on its phonetic title by beginning with what sounds like a synthesizer doing a loose impression of a weepy pedal steel guitar. But then Baglio comes in with a tightly controlled, almost robotic rhythm, and Douglas joins in with straightforward sax touches. “Seeyinth” is neither country nor jazz nor rock nor electronica, and yet it’s all of those at once.

The records’ bookends, “Magellanic Clouds Pt. 1” and “Magellanic Clouds Pt. 2,” are disparate—they don’t bring the record full circle as much as they serve as signposts for Three Kids’ journey. The first is an oozing, heady number that makes for a gentle introduction, while the closing track is harsh and hairraising. The twists and turns contained between the two are vast and engrossing: there’s the percussion of the record’s title track, which tumbles and lands like a child taking confident first steps; the punchy yet easygoing lope of “Burnoff’s Bounce”; the hazy reverberating guitar that opens “The Gifts”; the simmering bath of “Gas or Electric.”

With Three Kids, The Hot at Nights put their aptitude for connecting multiple musical languages—and inventing one of their own—on full display. The result is a record that’s smart, bewitching, entertaining, and, above all, excellent.

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oxcarr Handmade Cheese began only two years ago, but it’s already become a beloved, salty, creamy, gooey fixture in over a dozen states. Lucky for us, North Carolina is the one with the most access. The micro, family company, which was started by brother and sister Austin and Samantha Genke, is based in Cedar Grove, but the cheese sort of tastes like Italy.

“Cheese is pretty simple. There’s not much in it,” Austin says. “So making it stand out depends on the cultures.”

And Boxcarr’s cultures aren’t just any— they’re Italian, which is key. “They add a uniqueness,” Austin says.

Campo is a cow’s milk cheese washed in a b-linens (cheesemonger slang for brevibacterium linens) brine, before being coldsmoked with pecan wood until the rind turns orange, like a sunset. When I spoke to Austin, he was getting ready to put Campo toward arancini—Italian rice fritters—for an event.

But when it comes to everyday cooking, he’d be just as happy with a Campo cheeseburger or a Campo grilled cheese.

These recipes are in that same spirit.

A few places you can find Campo: local Whole Foods stores, Raleighwood Provisions, Weaver Street Market, the Durham Co-Op, and the Wednesday and Saturday Durham Farmers’ Markets.

CAMPO E PEPE Cacio e pepe—literally cheese and pepper— is a classic Roman pasta dish and current American trend. There’s instant ramen cacio e pepe (David Chang). Cacio e pepe fritters (Missy Robbins). Cacio e pepe shortbread (Charlotte Druckman). Cacio e pepe ice cream (Bon Appétit). And Campo e pepe (me and you!). This iteration swaps the standard cacio—Pecorino Romano—for some smoky Campo.

8 ounces spaghetti Kosher salt 2 tablespoons unsalted butter 3 1/2 ounces Campo, cubed 1 teaspoon freshly ground black pepper, plus more for serving Set a big pot of water over high heat. When it reaches a boil, add a couple of spoonfuls of salt, until the water tastes like the sea.

Cook the pasta until almost al dente—about 5 minutes. Reserve 1 cup of the starchy water 18 | 5.10.17 | INDYweek.com

[ COOK

WITH THIS ]

Culture Shock

BOXCARR’S CAMPO TASTES LIKE ITALY BY WAY OF CEDAR GROVE

BY EMMA LAPERRUQUE

Boxcarr’s Campo adds a smoky touch to homemade quesadillas.

PHOTO BY BEN MCKEOWN

one will be the guinea pig and ugly duckling and that’s OK.) Keep your cast-iron hot! To assemble each quesadilla, lay a few slices of Campo on half the tortilla. Top with some caramelized onions and shut. Spread the outside with mayonnaise and add to the pan. Cook until brown and crispy, flip, and do the same with the other side.

Let rest for a moment before cutting into triangles and serving.

CAMPO EN CARROZZA Mash up a grilled cheese and French toast and you get mozzarella en carroza.

Or, “mozzarella in carriage,” but all you really need to know is that it’s a custarddipped, pan-fried grilled cheese—all sorts of dreamy for in-bed brunches and lastminute dinners and half-drunk midnight snacks. This version replaces mozzarella with melty, sultry Campo, plus a smear of mashed anchovies and a squish of lemon for good measure.

1/2 cup whole milk

before draining the pasta and setting aside.

Melt the butter in a big skillet. Add the black pepper and let it toast, for just a moment, until fragrant. Add the pasta, half of the pasta water, and cheese. Toss like no one’s watching. Add the reserved water as needed, splash by splash, until a creamy sauce begins to coat the pasta. Transfer to a bowl, sprinkle with more black pepper, and serve immediately.

CAMPO AND CARAMELIZED ONION QUESADILLAS They say sushi is only as good as its rice, and the more you think about that, the more you see it everywhere. A burger is only as good as its bun, and a reuben is only as good as its rye, and a quesadilla is only as good as its ... you get the idea. These flour tortillas will convince you. Their recipe shares a lot in common with pie dough—cut butter into flour, hydrate with water—but where pie dough is finicky, tortilla dough is forgiving.

2 cups whole-wheat flour 3/4 teaspoon kosher salt 4 tablespoons cold unsalted butter, cubed 1/2 cup cold water 2 tablespoons canola oil 2 large yellow onions, chopped

Campo, sliced Mayonnaise, to smear Combine the flour, salt, and butter in the bowl of a standing mixer, fitted with a paddle attachment. Mix on low until the butter is incorporated and the flour looks crumbly— about 3 minutes. Slowly add the water—you may not need all of it—until a dough just begins to form. Gather the dough into a ball and wrap in plastic. Stick in the fridge for 10 minutes or so.

Meanwhile, start the onions. Add the canola oil to a skillet and set over medium heat. When the oil begins to shimmer, add the onions. Cook, stirring occasionally, until they begin to become translucent—about 10 minutes. Drop the heat to low and continue to cook, stirring occasionally, until they’re caramel-colored, jammy-textured, and very sweet, about 50 minutes.

Unwrap the tortilla dough on a floured work surface and divide into 8 pieces. Form each piece into a disk. Roll each disk into an 8- to 9-inch circle.

Preheat a dry cast-iron skillet over medium-high heat. Add a tortilla. Cook for about 1 minute total, flipping every 10 to 15 seconds. You want it to begin to blister and puff but stay supple, not crispy. (The first

2 eggs Kosher salt 4 thick slices country-style bread 6 to 8 oil-packed anchovy fillets, minced into a paste Red chili flakes Campo, sliced 2 tablespoons unsalted butter Lemon cheeks, to serve

Whisk together the milk and eggs in a pie dish or other wide, shallow bowl. Season with salt to taste. Lay open the four pieces of bread to make two sandwiches. Spread each one with anchovy paste. Sprinkle with red chili flakes. Layer two of the bread pieces with Campo—as much as you want, but, a little goes a long way. Close the sandwiches.

Preheat a large skillet. Add the butter.

When the butter has melted and begins to foam, drown the sandwiches in the custard bath (you want them really soaked) and add to the pan.

Flip when the bottom is deeply golden brown—about 3 minutes—then repeat with the other side.

Let rest for a moment before slicing in half. Serve with a lemon cheek to squeeze on top. food@indyweek.com

food

Starving Artist

FROM MUSIC TO MIXED MEDIA TO FOOD FORESTS, DAVID MCCONNELL CULTIVATES THE ART THAT HEALS HIM

BY ERYK PRUITT Leave it to David McConnell: he doesn’t do anything half-assed. The Raleigh-based artist’s latest canvas may be his most ambitious to date. Instead of one large, encompassing frame, he employs several within Infinity Hundred, his backyard food forest.

In each frame, he has painted broad strokes of wood sorrel. Swaths of chickweed. Daubs of blackberry and mustard greens. Horehound and miner’s lettuce. Yarrow root.

“Last summer I filled this bed with okra,” McConnell says. He maneuvers the garden like a proud papa. Or a mad scientist. “This year it will be squash.”

For one unfamiliar with the mind of McConnell, there may not appear to be a method to Infinity Hundred, which stems from varied creative sources. In the music business, they call this sampling. However, much like his music and art careers, McConnell’s agrarian philosophies are self-taught.

He rotates his crops three seasons in advance. Each plant “stacks functions.” He grows vegetables from rotting tree trunks and lets nary an ounce of carbon go to waste. His entire farm has been cut from a wooded lot in his Forest Hills neighborhood, just outside of downtown Raleigh.

“My son and I chopped it out with a machete,” he says. He points skyward and explains how he took down the fifty-foot-tall pines by hand.

His six-year-old son, Fox, has his fingerprints all over Infinity Hundred, too.

Fox named it after the largest number in the world—infinity—plus one hundred. The property’s ethnopharmacological value can directly be attributed to the younger McConnell.

“I consider this garden a large part of why my son is still alive,” he says. “I use mullein to control his asthma. That, combined with a mushroom, have reduced my son’s attacks from over twenty per year to two.” Mullein, also known as the velvet plant, has a long history as an herbal remedy, tracing back to Native Americans who used the flowers to make tea that cured respiratory ailments.

he designed his own studio, Satellite Park. But after the stress of producing Elliott Smith’s tragically posthumous album, From a Basement on the Hill, drove him to a near depression, he left music, and L.A., far behind.

“I left my apartment, my girlfriend, my entire life,” he says, “and ended up in Asheville, North Carolina. I literally walked into an art supply store and bought a canvas and some oil paint.”

Thus began McConnell’s foray into visual art.

That first canvas still hangs in Raleigh’s Lump gallery.

Other works have exhibited at the Nasher, in Miami, and across the country. He won the N.C. Arts Council Fellowship Award in 2012–2013.

But McConnell says his success has been informed by two separate events. First, his disenchantment with a public art commission he received for Raleigh’s MarDavid McConnell in the UV light of his greenhouse ket and Exchange Plaza’s PHOTO BY BEN MCKEOWN renovations.

“People don’t realize,” McConnell says, McConnell then immediately launches into “public art is not as cool as anyone thinks.” a discussion of how comfrey can be used to While that experience may have burned treat sprains, indicative of a conversationhim out, it was the birth of his son that al style that sidewinds around mysterious called McConnell away from visual art. herbs and microgreens.

“The term starving artist is pretty litMcConnell’s journey began in Los Angeeral,” he says. les, where he gigged as a guitarist and singIn order to afford to feed Fox and himer at the ripe age of fourteen. self, he supplemented his artist’s income “I was so young,” he says of his days of by foraging for food. This led him to seek guitar and vocals, “I had to be escorted noncorporate, sustainably farmed foods, before and after shows.” but his interest in permaculture amped up By eighteen, he’d produced his first immeasurably after an automobile accirecord, partnering with Daniel Presley dent left him bedridden and impelled him (who was an engineer on The Breeders’ to study ecosystemic theories employed by Last Splash) to helm 430 N. Harper Ave. civilizations both ancient and extant. He by singer/songwriter Jude. Soon after,

obsessed over systems like hugelkultur and regrarianism—land-management movements designed to preserve and enrich the soil—then utilized those concepts in his own backyard. Someday, he hopes to deliver them to deforested communities in other parts of the world, with the aim of assisting them in agricultural efforts after industrial logging has damaged their ecosystems.

McConnell’s attitude reads like your typical Southern California vibe: peaceful, easy, at home in the outdoors. On the other hand, if he were to throw a cross word in anyone’s direction, it would probably be aimed at Big Agriculture.

“The practice of using vast acres of land for one crop has changed our economy,” he says. “Instead, I prefer to use one acre to develop three hundred plant species.”

These systems are among those he studied during his convalescence. And he works hard to foster such a relationship in his own community. Oftentimes, he places his surplus on a handmade table in his front yard, free to any passersby. He sells herbs and microgreens at Raleigh’s Standard Foods, where he maintains the kitchen/grocery’s garden. He has big plans for the garden.

“I’ve got ancient grains, some that almost went extinct,” he says. A glimmer appears in his eye. “Emmer is a Middle Eastern wheat so nutritious it can be eaten raw.

Flint corn was thought to be extinct after early settlers in New England ate all their seed, but they’d rediscovered it in Italy a few years ago. Have you ever had polenta cakes with Otto File corn?”

Next, McConnell hopes to spread his gospel of permaculture through the South and beyond. He studies anthropology at N.C. State, with an eye toward teaching, and plans to educate as many as will listen about the natural bounty at their feet. As he wanders the rows of the garden at Standard Foods, you have to marvel that his latest canvas may be his most ambitious, but you can be certain it won’t be his last. food@indyweek.com INDYweek.com | 5.10.17 | 19

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Sunday, May 14, 8 p.m., $18–$22 Cat’s Cradle, Carrboro www.catscradle.com

W

hen Beyoncé dropped her Lemonade bomb on the world last April, she more or less wrecked the curve for anyone else putting out a breakup record in 2016. The world was captivated by the album and its visual counterpart, especially with regard to the songs’ deeply personal content about Beyoncé’s relationship with Jay Z and allegations that he’d cheated on her. The Lemonade spectacle was bound to overshadow any other breakup records released last year. But one album in particular felt like a kindred spirit: Sara Watkins’s Young in All the Wrong Ways.

Now thirty-five, Watkins has spent most of her life dedicated to music. She joined the forward-looking bluegrass band Nickel Creek at the tender age of eight, and it launched her toward national recognition and a Grammy in her early twenties.

There, she sang and played a fiery fiddle, but her own songs-with-lyrics didn’t appear until the band’s 2005 record, Why Should the Fire Die?. For the past decade, Watkins has busied herself with a number of projects: the Watkins Family Hour band with her brother, Sean; a collaborative trio with Aoife O’Donovan and Sarah Jarosz; a brief Nickel Creek reunion in 2014; and two other solo LPs. In her later body of work, Watkins has gradually shifted away from her signature instrument, though she’s occasionally stepped in on records for session work—like Father John Misty’s 2012 LP, Fear Fun. Young in All the Wrong Ways, released via New West Records last summer, is Watkins’s strongest solo effort yet. It’s raw and fragile, vulnerable and assertive, in equal turns. “Move Me,” the record’s first single, is a wide-open, reaching song, with Watkins nearly screaming her plea of, “I want you to move me” in the chorus. She’s demanding more of herself and the world around her, and Young in All the Wrong Ways feels like she’s throwing down the gauntlet.

Unlike Lemonade, though, Watkins has said in multiple interviews that it’s more of a breakup record with herself rather than any one person. She’s largely skirted providing specifics about these songs (save for “Say So,” which she’s said is about feeling frustrated with a friend struggling with an addiction), speaking vaguely about moving through different kinds of relation-

To Be Young SARA WATKINS TURNED HER RAW REASSESSMENTS OF RELATIONSHIPS INTO HER BEST RECORD YET

BY ALLISON HUSSEY

PHOTO COURTESY OF NEW WEST RECORDS

ships. Even so, Watkins offers a cohesive, strong-spirited affirmation of her own power moving through the world. “I’m goin’ out to see about my own frontier,” she belts on the opening track. She does just that on Young in All the Wrong Ways, and in the process delivers a cathartic exploration of herself that, though personal, has an almost universal resonance.

“The Truth Won’t Set Us Free” is the closest Watkins gets to the twang of her earlier days on Young in All the Wrong Ways, with a shuffling rhythm bolstered by honky-tonk piano. It sounds like it could be a new country standard, a fact that’s reaffirmed by Watkins’s plain lyrical delivery about hardship and trying to wrest herself from the comfort—and stagnancy—of a settled relationship. And at one point she sings, “In a house we can’t afford, we take on water and just keep bailing.” How many other songs so frankly address the looming reality of financial ruin?

Though Watkins spends the record digging into heavy emotional territory, she still carries a breezy sense of humor—on the bouncy “One Last Time,” she’s wry and even a little cheeky. “Don’t save my number, and you won’t ever find me callin’,” she quips, the phrase punctuated with a winking flutter of an organ. It’s a sorry-not-sorry kiss-off song, full of punchy relief and reveling in the satisfaction of moving on.

Watkins may be on an arduous journey, but there’s room on that path for a little extra light. She affirms this notion on the gentle “Tenderhearted,” a sweet ode to those who have been run through life’s wringer but who arrive on the other side of their troubles without bitterness. The mid-tempo waltz is a sunny but measured conclusion to the record, a reminder of the value of warmth and kindness, as well as a warning against shutting off your heart from the world as a defense mechanism— “Nothing, when surrounded, survives but fear and doubt,” Watkins sings.

Whether you’re assessing a friendship, ending a longtime partnership, or even resetting your own life course, Young in All the Wrong Ways is a glue to help you put your pieces together. The truth might not set you free, but Watkins herself can help. ahussey@indyweek.com INDYweek.com | 5.10.17 | 21

indyart

LUKE DEMAREST: AIBOHPHOBIA AND THE REIFIER’S SCHADENFREUDE

Thursday, May 11, 6–9 p.m., free The Carrack Modern Art, Durham www.thecarrack.org

Speaking in Code

LUKE DEMAREST’S 3-D-PRINTED COMPUTER LANGUAGE WHISPERS OF FAITH, DOUBT, AND OTHER DEEPLY HUMAN AFFAIRS

BY SAMUEL FELDBLUM

Fit to print: Luke Demarest with his work

I

f you’re reading this, then you are at the end of a long string of translations.

A thought passed through keystrokes to become encoded in binary, traveling through airborne waves and buried cables before being reassembled into readable characters on another computer or being materialized in space by a printer.

To most of us, such conversations between human and machine are invisible by design. But to artist Luke Demarest, they speak volumes. In Aibohphobia and the Reifier’s Schadenfreude, a solo exhibit running at the Carrack through May 21 after Thursday night’s opening reception, Demarest uses 3-D printing and other mediums to test the boundaries of language, the borders between human and machine, and the interaction of design and chance, chasing meaning without ever quite laying hands on it.

Demarest has been on the chase for decades. I know because he is a friend of mine; we went to school together. Raised in a Presbyterian family, he began to question 22 | 5.10.17 | INDYweek.com

PHOTO COURTESY OF THE ARTIST

the church’s dogma in high school, which sent him on an existential quest.

“If the main people in my life assigned meaning in one way, and I didn’t agree with it, then it was like, what are the alternatives?” he says.

At Virginia Tech, Demarest found an outlet for his doubts. He traveled through Europe with art professor Ray Kass for centennial celebrations of the late American composer John Cage. By the time of his senior show in 2013, “Eidolons” (named after a Walt Whitman poem), Demarest had incorporated Cage’s indeterminacy into his work, as well as the influence of Brian Eno. Demarest coded a drawing program that turned his strokes into increasingly saturated, wispy circular shapes according to an algorithm. Who created the meaning, artist or computer? Or the audience? After all, it’s we who conjure images of yin-yang symbols, eyeballs, and cosmic orbs from pictures that are nothing but smoky math.

After graduating, Demarest returned to

“It doesn’t matter how complex your technology gets if you don’t treat humans like humans.”

Durham and began spending time as an artist-in-residence at American Underground, where he met people whose passion for tech start-ups didn’t seem so different from his passion for tech art. So he went to a coding school in New York and then, in Washington, D.C., joined HacDC, a “hackerspace” (a mod-

ish term for tech-tinkerer coworking space).

Inspired by HacDC’s advocacy of playing with open-source technology for exploration’s sake, he began 3-D printing, which he saw as “an interesting mix of the virtual world and the physical world.”

Demarest again traveled to Europe in 2016, visiting hotbeds of the twentieth-century avant-garde. Black-and-white photographs from this trip appear in the Carrack show: ghostly shots of shadowed interiors and cloudy cityscapes, often bereft of people.

Most of Demarest’s work is black and white.

“I live in the world of forms,” he explains.

The trip was a chance to map the associations between European modernists. “It was not necessarily single people,” Demarest says, “but the interaction between them that brings about these new aesthetic values.” He thought of the abstract artists he came to admire as working toward a universal language, “trying to grasp what is ungraspable.”

His next series, “Alphabytes,” which

forms the backbone of his Carrack show, offers binary code as a modern possibility for this universal tongue, “a kind of reverse tower of Babel.” Demarest translated each letter of the alphabet into binary code, which computers all over the world use to communicate with one another, and then transformed these codes into diagrammatic shapes of beams, balls, hemispheres, and ellipses.

“It’s ultimately a pattern that data flows into and shapes flow out of,” Demarest says.

The 3-D-printed alphabytes can be used to spell out words that someone fluent in the shapes could read. Demarest also printed longer alphabyte words that he finds deliciously duplicitous, homonyms like “mean,” “just,” and “free.” And his alphabytes produce emergent homonyms of their own—Demarest calls them “homoDems”—because certain letter-shapes share elements. Even this language of zeroes and ones is subject to the foibles of our own.

Whereas Demarest seems to revel in the slipperiness of language in his cross-modal puns, elsewhere, he decries it. His language generator, “Trumpet,” concocts not-quitemeaningful Trump-ish tweets and artspeak utterances, highlighting the sheer lunacy of both. The thrust, Demarest says, is to make people “more conscious of how we use language and technology, individually and collectively—how we could use it to do better.”

Not all obscure language is created equal: puns are fun, but doublespeak from the government is less so. With this power gap in mind, “Private Parts” turns to matters of privacy in connectivity. Mimicking Andy Warhol’s “Green Coca-Cola Bottles,” Demarest

turned encryption keys into shorter strings of digits. He then printed them into plastic stalactites of varying thickness and hung them in glass bottles, which he stacked into a tower.

The result? Packaged security for the masses.

Piggybacking on Warhol’s vision of Coke as a uniting force in American life, Demarest asks, “Why not have things like encryption tools for everyone, so you can have privacy and communicate in a human way, instead of just giving everyone sugar water?”

This recent tack fits with his experience at Durham’s Blackspace, where he has been leading a course for homeschooled students on 3-D printing as a gateway into coding.

Blackspace practices “conscious coding,” with an underlying goal of convincing students that “you have value, you can contribute,” as Demarest says. His students’ work will be on view at the Carrack in a special midday exhibition on May 17.

Demarest’s latest series, “Dissections,” features haiku on matte paper colored by haysmoke, a technique pioneered by Cage at Kass’s Mountain Lake workshop. As a technology, smoke is decidedly old-school.

The haiku are thick with wordplay, as resistant to straightforward interpretation as all of Demarest’s work. But they reflect what he calls “a calmer tone” in his recent practice. Technology allowed him to cast into the chaos of the cosmos looking for meaning, and the reemergence of the human hand may be evidence of his findings.

“Ultimately, it doesn’t matter how complex your technology gets if you don’t treat humans like humans,” he says. arts@indyweek.com

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Luke Demarest’s “Alphabytes” PHOTO COURTESY OF THE ARTIST

INDYweek.com | 5.10.17 | 23

indystage

ARSENIO HALL

Friday, May 12 & Saturday, May 13 7:30 & 10 p.m., $25 Goodnights Comedy Club, Raleigh www.goodnightscomedy.com

Real Talk

THE ARSENIO HALL SHOW WAS AHEAD OF ITS TIME IN PROMOTING BLACK ARTISTS. TOO BAD IT’S STILL AHEAD OF OURS.

BY KEVIN J. ROWSEY II If The Arsenio Hall Show been around in 2016, would we have another Clinton in office now?

During the 1992 presidential campaign, Bill Clinton did not secure the office just by exploiting the electoral college. Another crucial component was his unorthodox performance on Arsenio’s late-night talk show, where Clinton mesmerized the nation with his shades and Kenny G-worthy sax skills.

Through Hall’s show, Clinton was able to connect with young voters and the “urban” community (i.e., people of color). Whereas Hilary Clinton was seen as pandering to the black community last year, to some, Bill Clinton was the closest thing to a black president we would ever get—until Obama, anyway. Had Hilary had the chance to play the flute along to Future’s “Mask Off” on Arsenio's show, maybe her relatability would have rivaled her husband’s.

While many black comedians of the early nineties were disciples of Richard Pryor, Arsenio made his own comedy applicable to a vast audience with his large smile, upbeat tempo, and universal perspective on life. During his show’s initial five-year run, nationally syndicated from 1989 to 1994, he gave a voice to the black community that could not be found elsewhere on late-night TV. In the world of Jay Leno, Johnny Carson, and Conan O’ Brien, The Arsenio Hall Show was a vital platform for breaking artists of color into the mainstream. During the late eighties and early nineties, hip-hop culture was mainly relegated to a two-hour segment on Yo! MTV Raps. Though the likes of N.W.A. and Tupac were arguably becoming some of the greatest musical acts of their generation across all genres, their visibility was still limited by the “controversial” narrative that the mainstream media painted. But Arsenio provided a star-studded list of people, including Eddie Murphy, Michael Jackson, Will Smith, and Snoop Dogg, with a space to be unapologetically black on national television.

Comedy plays a significant role in how many of us receive information. So it matters that, unlike any other show at the time, 24 | 5.10.17 | INDYweek.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

Arsenio's not only put underrepresented entertainers in the spotlight, but also illuminated issues affecting “urban” communities in entertaining, enlightening segments. He brought together some of the most notorious “gangster” rappers (some of whom represented rival gangs), like Eazy-E, Ice-T, and N.W.A., to perform “We’re All in the Same

Gang” as a way of denouncing and shedding light on gang violence. He brought in Magic Johnson to talk about the stigma against HIV and Louis Farrakhan to speak on the Nation of Islam and the late Malcolm X. During the era of the L.A. riots, with police brutality making national headlines, Arsenio became a symbol of positivity and camaraderie in the

black community.

Facing falling ratings because of stiff competition from similar programs starring Letterman, Leno, and future The Daily Show host Jon Stewart—whose The Jon Stewart Show premiered in 1993 on MTV—The Arsenio Hall Show ended in 1994, but not without first hosting the most monumental hip-hop cypher of all time, which featured A Tribe Called Quest, MC Lyte, KRS-One, and other big names, to wish him well.

Hall would go on to have a successful career as a comedian and an actor, costarring alongside Eddie Murphy in Coming to America and voicing Winston in the Ghostbusters cartoon, among other TV appearances. It was exciting when CBS decided to bring back The Arsenio Hall Show in 2013, but its short lifespan revealed a not-so-shocking truth: not much has changed. Police brutality is still making national headlines, and late-night TV is still a cis white men’s country club.

In 2013, Arsenio was on familiar ground, but he still stood out, competing against Stewart, Colbert, and O’Brien. His core audience, which he called “The Dog Pound,” was still there, returning his famous, fist-pumping “Woof! Woof! Woof! Woof!” But that wasn’t enough to keep him on the air.

Though it only lasted one season, the second Arsenio Hall Show brought to late-night TV something it still desperately needs: a fresh perspective. Though the likes of Trevor Noah have shown up on Comedy Central, their shows are still rooted in the narrative that Stewart and Colbert built. It’s not enough to give black people a seat at the late-night table if they are not drawing their narrative from the black perspective.

But Arsenio’s influence on late-night TV can still be felt, with groups like Migos showing up on The Tonight Show and Ellen. Though Arsenio isn’t likely to get back on the latenight TV circuit anytime soon, his stand-up dates at Goodnight’s Comedy Club this weekend should be filled with hilarious stories and life lessons from a historic entertainer. arts@indyweek.com

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BY BYRON WOODS Several years after her return stateside, Martha, a Navy nurse who served in Vietnam, is blunt with the newbies in her scene in A Piece of My Heart. “The brass ignored us all,” she says. “They didn’t even keep track of how many women served—no official list.”

That’s true. The Defense Department says approximately 7,500 military women saw active duty in Vietnam, but the Veterans Administration ups that estimate by almost fifty percent. Significantly, neither number includes nonmilitary women who served in organizations like the Red Cross or the U.S.O. Independent surveys trying to assess the total civilian and non-civilian American women in Vietnam place the number between 33,000 and 55,000.

Journalist Keith Walker interviewed twenty-six of them for his 1985 bestseller, A Piece of My Heart. Shirley Lauro condensed them into six composite characters in her stage adaptation, now part of a three-play series on “Women and War” from Raleigh Little Theatre.

The panorama of experiences on view belies the narrow wartime roles available to women in the sixties. Nearly ninety percent of women who served in Vietnam were nurses like Leeann (Emily James), Sissy (Elaine Quagliata), and head nurse Martha (Laura J. Parker). The remaining characters include Steele (Jacqueline Allene Deas-Brown), who works in military intelligence, MaryJo (Dara Lyon Warner), an entertainer for the U.S.O., and Red Cross volunteer Whitney (Jean Higgins Jamison).

Lauro emphasizes the women’s naiveté as they first contemplate service. Vassar graduate Whitney believes Saigon is still a sophisticated, cosmopolitan city—“plus, they speak French”—when she applies to the American Red Cross. Martha thinks it will be “romantic” to serve, as her mom did, as a nurse in a warzone. Sissy and Leeann are similarly seduced by nursing-school recruitment films’ promises of gleaming medical facilities with cutting-edge equipment.

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A Piece of My Heart PHOTO COURTESY OF CURTIS BROWN PHOTOGRAPHY Needless to say, the realities they face upon arrival are different. With their aircraft under fire, the cabin—and the theater—is blacked out on landing. For a few suspenseful moments, characters and audience hear nothing but the rapid breathing of recruits under attack, in the dark, with no idea of what is about to happen.

Guest director Mia Self has forged a strong ensemble with these actors, clearly following the women’s story lines as they are placed in similar extremes. Under Elizabeth Grimes Droessler’s evocative lights and Min Ming Hsu’s sound design, the

group conveys the chaos and panic of a warzone emergency room receiving mass casualties and the bloodbath of the fateful Tet Offensive.

In the second act, Lauro chronicles the women’s struggles to find some degree of normalcy when their wartime experiences follow each of them back home. It’s an irony of war that so many of these women, originally tasked with saving others’ lives, finally must work the hardest to save themselves.

Their hard-won peace, after a war no one could win, moved us all last weekend. bwoods@indyweek.com INDYweek.com | 5.10.17 | 25

5.10–5.17

The xx PHOTO

BY ALASDAIR MCLELLAN

MUSIC

WHAT TO DO THIS WEEK

SUNDAY, MAY 14

THE XX

When the beat drops on “Reunion,” which arrives halfway through the xx’s 2012 album, Coexist, it’s a muffled release.

It sounds like a slow, ambivalent approach to the club: the real party is inside, and you’re loping along, alone, in the dark. But the five brash horn blasts that open “Dangerous,” the first track on the band’s January LP, I See You, place you firmly between roving spotlight and subwoofer. The British trio’s third LP came as a welcome relief from winter’s doldrums and presidential panic. It’s a confident departure from the band’s previous efforts: across the ten songs, Jamie xx’s production is slicker, and Romy Madley Croft and Oliver Sim’s exchanged vocals are clearer and more potent.

So it feels right to see them outdoors on Sunday, as the sun goes down and the night makes way for dancing. British singer and beatmaker Sampha opens. —Michaela Dwyer RED HAT AMPHITHEATER, RALEIGH 7:30 p.m., $25–$122, www.redhadamphitheater.com

26 | 5.10.17 | INDYweek.com

STAGE

SATURDAY, MAY 13

PETE SEEGER: THE STORM KING

The poet Carl Sandburg called Pete Seeger “America’s tuning fork”; Bob Dylan called him a saint. The champion of the folk revival was also a witness to and a tireless participant in social and environmental activism from the 1940s until his death in 2014, outliving a blacklist that banned him from radio and TV in the U.S. during the McCarthy era. Two years before his death, as Seeger shared stories of his life with musicians and friends, Jeff Haynes, a Grammy-winning percussionist and producer, convinced him to record some of them. The result was the audiobook The Storm King, a suite of autobiographical stories and poems set against the myriad world-music traditions that influenced Seeger, and which he influenced in return. In this live performance version, video and audio of Seeger’s narratives are accompanied by Haynes’s band as it delves into bluegrass, blues, African, and folk music.

—Byron Woods THE ARTSCENTER, CARRBORO 8 p.m., $35, www.artscenterlive.org

STAGE

FRIDAY, MAY 12–SUNDAY, MAY 28

STRAIGHT WHITE MEN

We first saw playwright Young Jean Lee’s penchant for biting, in-your-face sociopolitical comedy and commentary when Black Ops Theatre Company staged its succès de scandale, The Shipment, in 2015. So you’d expect Straight White Men to be an equally scathing frontal assault on the unearned privileges and cultural cluelessness of its titled demographic—with a little War on Christmas on the side, given its December setting. But not so fast: early on, Lee lets us know that the four men onstage are siblings from a socially conscious, decidedly liberal family, reuniting with their father for the holidays. So what, exactly, is wrong with this picture? Keep your eyes peeled and ears open in this subtle, thought-provoking work. —Byron Woods SONOROUS ROAD THEATRE, RALEIGH Various times, $15–$18, www.sonorousroadtheatre.com

ART

SUNDAY, MAY 14

GEEKCRAFT EXPO RDU

For fan-made clothing, jewelry, paintings, stuffed toys, and more featuring Star Wars, Harry Potter, Doctor Who, and your other favorite movies, TV shows, and video games, GeekCraft Expo is a nonlicensed gold mine—a real-life Etsy without any pesky shipping problems. Morrisville resident and former longtime Deadpool comic writer Daniel Way cofounded the curated marketplace, which has annual expos throughout the U.S. and Canada. It’s handy for anyone looking for a unique, carefully crafted item, with higher quality and at a lower price than most mass-produced “official” merchandise. Some of the exhibitors are even willing to commission items just for you, for a price. No cover charge means you can blow your whole budget on something special for the fan in your life, or just for yourself. —Zack Smith THE DURHAM ARMORY, DURHAM | 11 a.m.–6 p.m., free, www.geekcraftexpo.com

MUSIC

TUESDAY, MAY 16

YOUTH LEAGUE

It’s fitting that Durham-via-Wilmington band Youth League found a home on Cardigan Records; not only is the cool-weather vesture de rigeur for the math-emo set in which the band operates, but the trio’s tunes, too, are warm and welcomingly familiar, much like well-worn outerwear. The band’s gliding grooves and double-tapped melodies bring to mind Minus the Bear’s early catalog, and the cryptically irreverent—or are they irreverently cryptic?—song titles also hint that way. The busy bass lines and layered loops recall Russian Circles, while sing-shout vocals evoke mid-career Braid. While Youth League’s first EP was a little too beholden to its influences, “Stay Lame,” the advance cut from their second EP, shows the band stretching its legs, teasing tighter tones and timbres and flirting with complex structures. Sure, Youth League isn’t charting new territory yet, but the trio operates comfortably within an established one, carving out plenty of room to make themselves right at home. —Patrick Wall SLIM’S, RALEIGH | 9 p.m., $5, www.slimsraleigh.com

Leluna Star’s Harley Quinn felt doll (left) and Happy Unicorn Studio’s Mario Bros. bag (right) are waiting for you at GeekCraft Expo RDU. PHOTO COURTESY OF GEEKCRAFT EXPO

T

WHAT ELSE SHOULD I DO?

THE ANXIOUS CONDITION AT ANCHORLIGHT (P. 33), ARROGANCE AT KINGS (P. 29), LUKE DEMAREST AT THE CARRACK (P. 22), ARSENIO HALL AT GOODNIGHTS (P. 24), HOT AT NIGHTS AT THE POUR HOUSE (P. 14), HUNCHBACK AT WALLTOWN CHILDREN’S THEATRE (P. 35), INVERSION LITERARY FESTIVAL AT THE SHED (P. 36), LONGLEAF FILM FESTIVAL AT THE N.C. MUSEUM OF HISTORY (P. 35), SAVAGE WEEKEND AT NIGHTLIGHT (P. 31), SARA WATKINS AT CAT’S CRADLE (P. 21)

er

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 5.10.17 | 27

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CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Annalise Domenighini (AD), Kat Harding (KH), David Klein (DK), Charles Morse (CM), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, MAY 10 THE ARTSCENTER: Triangle Jazz Orchestra; 7:30 p.m., $5. • CAT’S CRADLE: Slowdive, Casket Girls; 8 p.m., $36–$40. • CAT’S CRADLE (BACK ROOM): Twin Peaks; 8:30 p.m., $15. • THE CAVE: Juan Huevos, 9 p.m., $5. • KINGS: Run River North, Arkells and Cobi; 8:30 p.m., $15–$17. • KOKA BOOTH AMPHITHEATRE: Yolanda Rabun; 5:45 p.m., $5. • LOCAL 506: The BellRays, Cosmic Punk; 9 p.m., $15. • MOTORCO: J. Roddy Walston and the Business, Quaker City Night Hawks; 8 p.m., $18–$22. • NEPTUNES PARLOUR: Thick Modine, Atomic Buzz; 10 p.m., $5. • NIGHTLIGHT: TWINS, Fit of Body; 9:30 p.m., $7. • POUR HOUSE: The Steppin’ Stones, Juju Guru; 9 p.m., $8–$10. • SLIM’S: Noctomb, Malevich, Trudge; 9 p.m., $5.

THU, MAY 11 Pixies CLASSIC Given the long INDIE shadow they cast over so much of eighties and nineties rock music, it can be dissonant to reconcile the Pixies’ previous stature as the band that launched ten thousand imitators with the vaguely desperate touring concern that has characterized the band’s habitual presence in the past several years. In fairness, it happened to Little Richard and the Everly Brothers too, an irony probably not lost on the band. At any rate, the tunes are still great.

Cymbals Eat Guitars opens. —EB [DURHAM PERFORMING ARTS CENTER, $45–$65/7:30 P.M.]

PUP SAD Despite being SNARLS heralded by some as a great up-and-coming punk band, PUP’s endless expressions of loathing (self or otherwise) feel stuck in an unconstructive pop-punk past with lines like “I hate your guts and it makes me ill.”

With Prawn and Almost People.

—NR [CAT’S CRADLE, $15-$17/8 P.M.]

Robbing Johnny BODEGA Robbing Johnny’s Pat BEATS D. Robinson spits out proudly New York hip-hop in a discursive style, where bars about waking up and drinking whiskey bump up against references to Howard Zinn and ISIS. Meanwhile, the big voice of keyboardist John Murrell adds a vital melodic underpinning. Projecting volatility and goofy excitement rather than cool, controlled emission of rhymes, the band’s onstage zeal is palpable. With Ransom Pier and Mr. Vesuvius. —DK [KINGS, $10/8 P.M.]

Tangible Dream HOPELESS Built on the classic, POP three-piece indie rock band setup, Tangible Dream writes wistful pop songs constructed around equally classic motifs—nameless malaise, nostalgia for summer days, longing for the unattainable.

“Classic” and “cliché” are not too distantly related, and Tangible Dream is a cousin to both. With Foxture and Animalweapon. —NR [THE PINHOOK, $8/8 P.M.]

WKNC Presents: Battlegrounds 6 CALL TO Battle rapping ARMS presents emceeing in its rawest form, and the AVL Battlegrounds league has been harnessing that energy for over a year, with carefully curated bouts featuring North Carolina’s most respected underground rappers.

For the sixth installment of the WKNC-endorsed series, AVL Battlegrounds brings local fireball Jooselord Magnus toe-to-toe with the talented underdog DMT. The co-headline battle features Silhouette, a rising star in North Carolina battle culture, against Charlotte’s Johnny Sley. —CM [NEPTUNES PARLOUR, $12/9 P.M.] ALSO ON THURSDAY AMERICAN TOBACCO AMPHITHEATER: Front Country, Demolition String Band; 6 p.m., free.

• BLUE NOTE GRILL: Laurelyn Dossett & The Bennys; 8 p.m., free.

• THE CAVE: Radiator King, Emily Easterly, My Mountains; 9 p.m., $5. • DEEP SOUTH: Night Fest; 8 p.m., $10. • MOTORCO: Mambo Nation; 9 p.m., $10–$13. • POUR HOUSE: Local Band Local Beer: Porchlight Apothecary, Driskill; 9:30 p.m., $3–$5. • SLIM’S: Echonest, Jay Manley, Silent Piece; 9 p.m., $5. • THE STATION: Dexter Romweber; 8:30 p.m., $8.

FRI, MAY 12

PHOTO COURTESY OF THE ARTIST

Greensky Bluegrass JAMMichigan’s Greensky GRASS Bluegrass follows in the footsteps of jammy string band forefathers like String Cheese Incident and Leftover Salmon, folding rock ’n’ roll energy into a progressive bluegrass foundation across lengthy sets that often draw upon an eclectic array of covers. Former finalist from The Voice Joshua Davis adds faux-roots pop.

—SG [THE RITZ, $20/8 P.M.]

Skylar Gudasz CLOSE & Possessing one of the COMFY Triangle’s standout voices, Skylar Gudasz dazzles in any setting; tonight’s intimacy will only make her gorgeous folk more direct and stunning. Teardrop Canyon leader Josh Kimbrough opens with a mix of originals and finger-style guitar covers, while Hunter Simpson previews his Ari Picker-produced solo debut. —SG [THE SHED, $5/9 P.M.]

Chris Stapleton TIMELESS After stepping into COUNTRY the limelight at 2015’s Country Music Awards awards, Chris Stapleton has followed up his critically acclaimed Traveller with From A Room: Volume 1, the first of two full-lengths to be released this year and a record as powerful as his first. Stapleton’s soft and fiery songwriting feels right at home with a cover of Willie Nelson’s “Last Thing I Needed, First Thing This Morning.”

SATURDAY, MAY 13

ARROGANCE

It isn’t easy being local legends—just ask Arrogance. Once upon a time, the band spent more than a decade becoming North Carolina’s favorite sons. But even though Arrogance was the unquestioned ruler of the regional roost, the band’s efforts at breaking out on a national level were foiled by bad luck and worse timing. Fortunately for us all, you can’t keep Arrogance down forever.

In the post-Arrogance era, Don Dixon became the band’s best-known ex-member.

He produced albums for R.E.M., The Smithereens, Hootie & the Blowfish, Marshall Crenshaw, and countless others, all the while maintaining a solo singer-songwriter career as his busy production schedule allowed. But before all of that, he cofounded Arrogance along with fellow UNC students Robert Kirkland and Mike Greer and drummer Jimmy Glasgow in 1970.

In the seventies, North Carolina nightspots were not exactly hubs of original music. In fact, noncover bands were actively discouraged by bar owners more interested in getting their patrons blitzed to bad versions of tunes by the Allman Brothers than furthering the careers of aspiring young auteurs. Nevertheless, with Dixon and Kirkland up front, the band—living up to its name—refused to be cowed into submission.

With sharp songwriting, spot-on vocal harmonies, and infectious enthusiasm, Arrogance eventually became kings of the hill, defying the norm to prove that there was a place for original music on the local club scene. In 1970, the band further proved that local boys could put out their own records, self-releasing a debut single, the fuzz-guitar-soaked hard rocker “Black Death.” But before long, Arrogance developed an easier-going, rootsier sound that incorporated folk and country influences.

Arrogance self-released two LPs, 1973’s Give Us a Break and 1975’s Prolepsis, taking the band’s local profile about as far as it could go. Soon after, the band signed with Vanguard Records, which released Rumors in 1976, but the label couldn’t do much to move the band’s career forward, and the partnership died on the vine. By the time Arrogance finally made it to major-label land with the 1980 Curb/Warner Bros album Suddenly, the band was more influenced by power pop and new wave than folk rock, but the label’s bigwigs didn’t prioritize Arrogance, and things fizzled.

After self-releasing a live album, the band split in 1983. But in 2000, its members reunited for Arrogance’s thirtieth anniversary, finding that a hardy audience still existed. They’ve played sporadic shows ever since, bringing the legend back to life and reminding every North Carolina act of the last four-plus decades how much they owe to the pioneering Arrogance. —Jim Allen KINGS, RALEIGH

I 9 p.m., $23–$25, www.kingsraleigh.com

INDYweek.com | 5.10.17 | 29

Brothers Osborne and Lucie Silvas open. —AD [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, SOLD OUT/7 P.M.]

Thank You Scientist BLINDED This large contingent ME of New Jersey eccentrics plays an agreeably digressive combination of outré jazz and mind-warping prog.

Featuring a satirical bent shot through with modern-age anxieties, Thank You Scientist’s heady thematic gestures and maximalist tendencies bring to mind early Frank Zappa at his most unhinged. Bent Knee and Kiss the Curse open. —TB [MOTORCO, $14–$17/8 P.M.]

Erika Wennerstrom HEART Erika Wennerstrom, TO TELL lead singer-songwriter of the critically acclaimed indie folk-rock band Heartless Bastards, has stepped out for a solo career. After five albums with the group, she’s got a solo record on the way and is sure to showcase new tracks with her signature deep, twangy voice and high-energy rock guitar. —KH [CAT’S CRADLE BACK ROOM, $12–$15/7:30 P.M.]

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

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

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

ALSO ON FRIDAY BEYÙ CAFFÈ: Reginald Cyntje; 7 & 9 p.m., $16.50. • CAT’S CRADLE: Strutter; 8 p.m., $15. • CAT’S CRADLE (BACK ROOM): Shwifty Cat Swing Dance Party; 10:30 p.m., $7. • THE CAVE: Cody Woody, Lester Coalbanks & The Seven Sorrows; 9 p.m., $5. • DEEP SOUTH: James Dunn; 8 p.m., $5. After School Special; 10:30 p.m., $5–$8. • IMURJ: Katelyn Read; 8 p.m. • KINGS: Takeheart, A Light Divided, Raimee, Paper Dolls; 9 p.m., $5–$8. • LINCOLN THEATRE: PULSE: Electronic Dance Party; 9 p.m., $12–$15. • LOCAL 506: Fredfin Wallaby, Trike, These Weak Lips; 9 p.m., free. • THE MAYWOOD: Adam Hill Band, Red Dog, CC Mullins & Rude Mood, Ghoston Road; 8:30 p.m., $8. • MEYMANDI CONCERT HALL: Brahm’s Symphony No. 1; noon. • NC MUSEUM OF ART: Oak City Hot Mess; 5:30 p.m., free. • NIGHTLIGHT: Savage Weekend 2017; 5 p.m., $20. See box, page 31.

• THE PINHOOK: The UGC Beat Battle; 8:30 p.m. • POUR HOUSE: Rebekah Todd & The Odyssey, Chit Nasty Band; 9 p.m., $10. • RED HAT AMPHITHEATER: Bastille, Mondo Cozmo; 7:30 p.m. • SHARP NINE GALLERY: Louis Romanos Quartet; 8 p.m., $10–$20. • SLIM’S: Hellrad, Old

Codger, Mind Dweller, Squall; 8 p.m., $5.

• THE STATION: Lud, Bad Balloon; 8:30 p.m., $7.

SAT, MAY 13 Future STAR One has to give PERCS infinite props to Future for single-handedly bringing the flute back into rap parlance. Recent hit “Mask Off” rides a flute vapor trail and standard 808-laced Metro Boomin percussion through seedy tales of self-reliance and prescription indulgence. Oh, and he’s already released two full-length albums this year. He’s easily the hardest working man among rap’s current superstars, for better or worse. Hopefully, his producers switch up their trap kits in the next few releases to prevent burnout. For those who don’t follow Kodak Black’s legal troubles, note he isn’t on this tour anymore, but Migos, Tory Lanez, and Zoey Dollaz are. —DS [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $7–$20/7 P.M.]

Greg Humphreys Electric Trio RDU TO On last summer’s NYC Lucky Guy, the NYC-based Greg Humphreys Electric Trio joined the penchant for hooks Humphreys showcased in jangle poppers Dillon Fence with the breezy, soulful vibes of the Triangle expat’s Hobex. The Dynamite Brothers offer a rare helping of swampy blues, gritty garage rock, and sweaty funk.

—SG [CAT’S CRADLE BACK ROOM, $12–$15/8:30 P.M.]

The New Up FUTURE The New Up’s Tiny SHOCK Mirrors opens with a recording of George Orwell intoning his famous warning about a future that will resemble a boot perpetually stomping on a human face. The duo looks to Pink Floyd and Radiohead for production cues, but the result sounds like The Kills helmed by Alan Parsons.

With Map the Sky and Ruckzuck.

—DK [THE CAVE, $5/9 P.M.]

Street Eaters POLITI- Bay Area punks PUNK Street Eaters are built for these troubling times: The Envoy, the duo’s new record, is inspired by famed gender revolutionary and anti-authoritarian author Ursula K. Le Guin, who wrote about the potential for women to be volcanoes in books like The Dispossessed and Left Hand of Darkness. Damn straight. —PW [RUBY DELUXE, $6/9:30 P.M.]

Ken Vandermark/ Nate Wooley Duo MELODIC Ken Vandermark and NOISE Nate Wooley are horn players (saxophone and trumpet, respectively) who, despite their formal jazz training, aren’t too concerned with musical boundaries. Their collaborative performances are meandering and unpredictable: firm, graspable jazz melodies evolve into slow squelches more allied to noise music than jazz as it’s traditionally conceived; cacophonous musical duels are punctuated by soft drones or moments of silence. With Polyorchard. —NR [NEPTUNES PARLOUR, $8/8 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: R’Mone Entonio; 7 & 9 p.m., $15. • DEEP SOUTH: Runaway Cab, Shun The Raven; 9 p.m., $10. • IMURJ: Retro Candy; 10:30 p.m.

• KINGS: Arrogance; 9 p.m., $23–$25.

See box, page 29. • LINCOLN THEATRE: Mother’s Finest, Doby; 8 p.m., $20–$30. • THE MAYWOOD: Lydia Can’t Breathe, Promo, Attracting the Fall, Through All This Time; 8 p.m., $10. • MOTORCO: The Wind + The Wave, Justin Kawika Young, The Native Sibling; 9 p.m., $10–$12. • NIGHTLIGHT: Savage Weekend 2017; 3 p.m., $20. See box, page 31. • POUR HOUSE: The Hot At Nights, Blanko Basnet; 9 p.m., $10–$12. See page 14. • SHARP NINE GALLERY: Chad Eby Quintet; 8 p.m., $10–$20. • SLIM’S: Drunk on the Regs, Rinaldi Flying Circus, The Antique Hearts; 9 p.m., $5. • THE STATION: Good Rocking Sam, The Bull City Blues Band; 7:30 p.m., $6.

SUN, MAY 14 Robyn Hitchcock ROCK From his formative LIFER years fronting the great bands The Soft Boys and the Egyptians up to his delightfully acerbic recent solo release (title of

first single: “I Want to Tell You About What I Want”), London-born Robyn Hitchcock has spent more then four decades rendering an extraordinary catalog of wry and literate meditations on love, death, and morality. Like his contemporary Nick Lowe, Hitchcock’s ingratiating melodic gifts frequently act as a counterweight to the winsome cruelty of his hilarious, lacerating lyrics.

—TB [THE ARTSCENTER, $20–$23/8 P.M.]

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OLD-TIME Each exalted ALL-STAR member of area foursome Piedmont Melody Makers—legendary singer-songwriter Alice Gerrard, co-founding Red Clay Rambler Jim Watson, fellow Robin & Linda Williams sideman Chris Brashear, and Cliff Hale of the Longleaf Pine Nuts and Rye Mountain Boys—harmonizes and swaps lead vocals on old-time and country classics from the likes of the Stanley Brothers, Ray Price, and The Carter Family, along with originals from Brashear and Gerrard. —SG [BLUE NOTE GRILL, FREE/5 P.M.]

Pinegrove FRIDAY, MAY 12 & SATURDAY, MAY 13

SAVAGE WEEKEND

A few weeks back, the whole country had a good laugh at Fyre Fest, an ambitious “destination” music festival in the Bahamas. The promoters paid Instagram models to hawk passes for thousands of dollars, promising legacy bands like Blink-182 and “oneof-a-kind experiences” in exchange.

As we now know, those luxury experiences included cheese sandwiches and disaster relief tents on a gravel construction lot. The whole ordeal cast a concerning light on the festival industry’s attempts to provide “authentic” festival experiences in an increasingly homogenized market. When every fest looks like Coachella, how do you stand out?

It’s easy to forget that, in the shadow of these mega-fests, DIY continues to thrive and provide the sort of unique group experiences that only genuine grassroots communities can create. For seven years, Chapel Hill’s annual Savage Weekend has become a destination

festival for an inclusive, ever-growing national family of underground artists working in technoise, oblique pop, black metal, psych, synth-punk, multimedia performance art, and just about everything else. The point is that you can’t easily apply a single genre to Savage Weekend. No single act is the “headliner” or “draw.”

There are no brewery or legacy tech sponsors. Hidden in the Nightlight on Rosemary Street, down the road from UNC, Savage Weekend is a two-day populist bacchanal and one of the best annual DIY music events in North Carolina.

The festival was hatched from the mind of Carrboro’s Ryan Martin, who records as Secret Boyfriend.

His strong connections in the American underground make his lineups unpredictable and educational, no matter how deep you run in any given scene. This year, more than eighty acts are scheduled over the fest’s roughly twenty hours of

music. Every act gets fifteen minutes and the pace is brisk. You can spend a whole set reacting to the last one you just saw. On the local front, this year includes the gritty noise techno of Floor Model, the drone explorations of Blursome and Iggy Cosky, and the post-punk spasms of Fitness Womxn. On the touring end, a small sampling includes the mesmeric performance art of Providence, Rhode Island’s RRLEW, the avant violin of Kentucky’s Sara Soltau, the calamitous feedback squall of Florida’s Male Model, and the spacious New York City techno of Bookworms. When the festival wraps in the wee hours of Sunday morning, attendees will leave with their brainpans rattled, countless new friendships will exist, and DIY will continue to sustain itself. — David Ford Smith NIGHTLIGHT, CHAPEL HILL 5:15 p.m. Friday, 3:15 p.m. Saturday, $20, www.nightlightclub.com

OBERST Pinegrove has come RISING a long way in ten months. Barely a year ago, the emo outfit was playing second fiddle on larger tours to double-digit crowds. In Durham, Pinegrove headlines the 450-capacity Motorco Music Hall—not a bad come up for some boys from Jersey. Chalk it up to singer Evan Hall’s strong lyricism, which boasts a literate alt-country sensibility of the Saddle Creek variety, slightly tailored to current indie rock trends. —DS [MOTORCO, $14–$17/8 P.M.]

Zannie Hall SUMMER Baltimore SONGS singer-songwriter Zannie Hall has a sweet voice, tender lyrics, and gentle guitar, and she blends Americana, psychedelic, and indie rock influences for songs that, at times, even feel tropical. It’s the right kind of music to listen to with the windows down and your hair in the wind. —KH [THE CAVE, $5/9 P.M.]

ALSO ON SUNDAY ARCANA: Dear Ivory; 7 p.m., free. • CAT’S CRADLE: Sara Watkins; 8 p.m., $18–$22. See page 21. • DEEP SOUTH: Nowadays, Cloud Hands, Downhaul, Atlantic Lungs, Dododo; 8 p.m., $5. • MEMORIAL AUDITORIUM: Shankar Mahadevan: Krishna Sabrang; 6 p.m. • NC MUSEUM OF ART: Sights and Sounds on Sundays; 3 p.m. • NEPTUNES PARLOUR: Cool Ghouls, Thelma and the Sleaze, Dim Delights; 9 p.m., $7. • POUR HOUSE: The Obsessed, Karma to Burn, Lo-Pan, Lightning Born; 8 p.m., $20. • RED HAT AMPHITHEATER: The XX, Sampha; 7:30 p.m. See page 26.

MON, MAY 15 Real Estate IFFY, With their incessant PRIME Rickenbacker jangle and determinedly prosaic portrayals of suburban ennui, New Jersey’s Real Estate has made a cottage industry out of songs so slight they occasionally run the risk of vaporizing into the ether altogether. Frontman Martin Courtney’s tunes rely on subtle dynamic and melodic shifts to differentiate between simple melodic lines and mantra-like lyrics. When it pays off, Courtney’s uncanny patience can be thrilling. When it doesn’t, you might be hard-pressed to remember a single thing you’ve just heard. —EB [LINCOLN THEATRE, $20/8 P.M.]

Whisperer SOFT Sam T. Smith, a.k.a.

SOUNDS Whisperer, plays a meandering bluesy guitar with a full sound, enveloping you in his thoughtful and gently sung lyrics.

Pedal steel adds a touch of folky Americana, and keys add an atmospheric feeling of foreboding to the Seattleite’s tunes. He plays the reverby, open sound that captures uncertainty of a night way out west, out among the rattlesnakes and stars. —KH [THE CAVE, $5/9 P.M.] ALSO ON MONDAY CAT’S CRADLE: Warpaint; 8 p.m., $20. • KINGS: Museum Mouth, Thin Lips, Soccer Tees, Mineral Girls; 8:30 p.m., $5–$7. • NEPTUNES PARLOUR: The Atomic Rhythm All Stars; 8:30 p.m., $5. • POUR HOUSE: Dubbest; 9 p.m., $5. • SLIM’S: Knightmare, Vanlade, Seax, Avalon Steel; 8 p.m., $8.

INDYweek.com | 5.10.17 | 31

TUE, MAY 16 Animal Mother AVANT The three members JAZZ of Animal Mother met while studying at the Cincinnati College of Music, but their music is far from academic.

The trio suffuses its avant-garde jazz with a punk rock energy, mixing the cerebral thrill of free improv with the throbbing thrum of punk and pairing quippy, hard-blowing homages to jazz greats (Ornette Coleman, Coleman Hawkins, et al.) with dynamic barrelhouse drumming (think Keith Moon gone jazz).

—PW [THE SHED, $5/7 P.M.]

Crown Larks ON A Among the signifiers LARK Chicago’s Crown Larks uses to tag itself: polyrhythmic post punk, eccentric noise lullabies, machine-tooled no wave, free jazz-inflected krautrock. For those of you who don’t speak subgenre jargon, that means the quartet’s spasmodic math-rock outbursts are constantly

shapeshifiting between harsh noise, fuzzy drones, and deep grooves. —PW [NEPTUNES PARLOUR, $5/10 P.M.]

Robert Randolph & the Family Band NOTHIN’ A pedal steel WRONG virtuoso who has shared the stage with heavy hitters ranging from Eric Clapton to Dave Matthews, Randolph is one of the most admired instrumentalists of his generation.

The four-piece Family Band provides supple backing for his musical flights, easily shifting gears between gospel, blues, and southern rock. —EB [CAROLINA THEATRE, $23–$91/8 P.M.]

Whitney SHARP Whitney’s rapid rise WHIT last summer really shouldn’t have come as a surprise.

For one, its core duo—singing drummer Julien Ehrlich and guitarist Max Kakacek—came from popular indie rock groups.

They were both in Smith Westerns, and Ehrlich once

TH 5/11 WE 5/10 TH 5/11 FR 5/12 SA 5/13 SU 5/14 TU 5/16

BLUE WED: THE HERDED CATS LAURELYN DOSSETT & THE BENNYS DUKE STREET DOGS HIGH COTTON MICHELLE BELANGER & THE MYSTERY HILLBILLIES PIEDMONT MELODY MAKERS TUESDAY BLUES JAM

8PM

FR 5/12

8PM 6-8PM 9PM FREE 8PM FREE

SA 5/13

ALSO ON THURSDAY ARCANA: O Paradiso, The Two Youths; 8 p.m., free. • THE CARRACK: Polyorchard; 8 p.m.

• CAT’S CRADLE (BACK ROOM): Jennifer Curtis + cfs Upper School Bands, Jen Curtis + Dex Romweber; 7 p.m., $10. • THE CAVE: Askultura, Sibannac; 9 p.m., $5. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m., $10. • RUBY DELUXE: Tescon Pol; 11 p.m. • SLIM’S: Youth League, Zephyranthes; 9 p.m., $5. See page 27.

WED, MAY 17 Karl Denson’s Tiny Universe JAZZ VET A decorated veteran saxophonist who spent time in Lenny Kravitz’s band

New Found Glory

before setting out as a solo artist, Denson’s ecstatic playing runs the gamut from the bracing acid rock of Rahsaan Roland Kirk to the deep soul of Sonny Rollins to the precision funk and R&B moves of Maceo Parker. As an in-demand sideman, Denson recently took a job with The Rolling Stones, but seeing him front his long-running band, Tiny Universe, is the preferred way to witness his mastery. —TB [FLETCHER OPERA THEATER, $39–$60/8 P.M.]

NOT SO After twenty years NEW together—nearly all with the same lineup—New Found Glory is still largely as you remember from a decade ago on the Warped Tour. The pop-punk quartet released its ninth album last month, but it recognizes nostalgia fuels ticket sales too, with plans to play through both 2002’s Sticks and Stones and 2004’s Catalyst. —SG [CAT’S CRADLE, $22–$26/8 P.M.]

The Harmaleighs

Chris Pureka

INDIE The Harmaleighs are FOLK a Nashville-based duo heavy on vocal harmonies and featuring the sort of polished take on American roots music that made arena-size stars out of bands like The Lumineers. While their pretty-sad ditties are inoffensive in the extreme, it’s difficult not to feel they’re capable of something more consequential.

Honey Magpie opens. —EB [NEPTUNES PARLOUR, $7/9 P.M.]

GENTLE Portland’s Chris GUITARS Pureka’s earnest and emotional folk songs have drawn comparisons to Gillian Welch and Patty Griffin. Pureka’s open and vulnerable lyrics, sung with a raspy warble, are matched with skilled electric guitar picking. —KH [THE PINHOOK, $12–$14/7:30 P.M.]

Jack Wright and Friends SAX SAGE Saxophonist Jack Wright is seventy-

four years old, but that hasn’t curbed his experimental edge.

With a fairly unconventional entrance into the world of free jazz—Wright taught European history at Temple University for many years and worked as a political activist before his forays into full-time musicianship— Wright is equally unconventional in his playing. He seems to attempt to emit each and every sound a saxophone can possibly make throughout the course of a single improvisation. —NR [NEPTUNES PARLOUR, $8/8:30 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE (BACK ROOM): The Deer; 8 p.m., $8–$10.

• THE CAVE: Juan Huevos; 9 p.m., $5. • COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Kings of Leon, Deerhunter, Nathaniel Rateliff and the Night Sweats; 7 p.m. • DEEP SOUTH: Hank and Pattie Duo; 8 p.m., $5. • DURHAM PERFORMING ARTS CENTER: The Tenors; 7:30 p.m., $40. • KOKA BOOTH AMPHITHEATRE: Mint Julep Jazz Band; 5:45 p.m., $5–$20.

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drummed with Unknown Mortal Orchestra. What’s more significant is how the band’s gorgeous, ghostly indiecana pulls from celebrated sounds: Laurel Canyon folk-rock, Springsteen’s Asbury Park rock, and Chicago soul, chiefly. —PW [CAT’S CRADLE, $16/8:30 P.M.]

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THE ANXIOUS CONDITION

GeekCraft Expo RDU: Handmade, geek-themed wares. See p. 26. Durham Armory, Durham. www. geekcraftexpo.com

A recent New Yorker article revealed the alarming degree to which many of the nation’s wealthiest citizens are preparing for the apocalypse by building bunkers and hoarding emergency supplies. This trend reflects a larger anxiety permeating the U.S. Yet daily life goes on even as a sense of imminent doom grips us. The fifteen artists in elin o’Hara slavick’s spring MFA seminar at UNC-Chapel Hill explore this “anxious condition” in their final show of the semester, which is also on view from noon to five on Saturday after this Friday-night opening reception. What better way to navigate this paradox than through the absurd and multimodal?

Picture a lawnmower aflame, sculptures made of dirt and plaster, and footage of automobile accidents.

Artists like Carley Zarzeka and Louis Watts create geometric drawings and sculptures, Kimberly English combines textiles and technology, and Joy Meyer focuses on experimental video. The varied mediums and sensibilities convey the multifaceted nature of anxiety.

—Noah Rawlings

ONGOING

Artspace 30th Anniversary DAY Artist Retrospective: Juried Exhibition: Thru Jun 3.

CK , $8–$10. Artspace, Raleigh. www. os; 9 p.m., artspacenc.org.

IT UNION LAST John Beerman and CHANCE Conrad Weiser: ALNUT eerhunter, Oil paintings and raku. Thru Night Sweats; May 17. Lee Hansley Gallery, Hank and Raleigh. www.

URHAM leehansleygallery.com.

CENTER: LAST But if the Crime is • KOKA CHANCE Beautiful...: Gilded TRE: Mint sculpture, images, and $5–$20. photographs by Lauren : Mayday Kalman. Thru May 14.

TLIGHT: Artspace, Raleigh. www. p.m., $7. artspacenc.org.

Careful to Carefree: Watercolors by Carol Liz Fynn. Thru Jun 29. ERUUF Art Gallery, Durham. www.eruuf. org.

SPECIAL Chapel Hill EVENT Woodturners: Wooden sculpture exhibit and craft sale. Thru May 31. Art

“Cause and Effect” by Kimberly English is on view in The Anxious Condition.

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FRIDAY, MAY 12

PHOTO BY ELIN O’HARA SLAVICK

Walk: Friday, May 12, 6-8 p.m.

Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery.

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

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

LAST Color Across Asia: CHANCE Thru May 13.

Ackland Art Museum, Chapel Hill. www.ackland.org.

Color Song: Paintings by Margie Sawyer and mixed media collage by Dawn Rozzo.

Thru Jun 1. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

SPECIAL Cultural Fabric: EVENT Quilts and portraits

by Keith Allen and Alan Dehmer. Thru Jun 4.

Reception: May 12, 6-9 p.m.

FRANK Gallery, Chapel Hill. www.frankisart.com.

The Darkroom: Photography.

Fundraiser for a darkroom at Cedar Ridge High School.

Thru May 21. Hillsborough Arts Council Gallery. www. hillsboroughartscouncil.org.

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

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

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

LAST Flora and Fauna: CHANCE Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www.ackland.org.

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

LAST Friends & CHANCE Family Show: Thru May 14. The Scrap

ANCHORLIGHT, RALEIGH 6–9 p.m., free, www.anchorlightraleigh.com Exchange, Durham. www. scrapexchange.org.

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

LAST Will Grossman CHANCE Memorial Photo Competition Show: Photography by winners of the competition and selected submissions. Thru May 14.

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

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

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

Images of Sound: Photographs

by Rodney Boles and Frank

Myers. Thru May 19. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

In Conditions of Fresh Water: The term “environmental racism” has existed since the eighties, and the problem has existed for much longer. But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized communities are routinely subjected to inferior, often dangerous environmental conditions. Clean water and wastewater treatment are still lacking in places like Alamance County, imperiling the health of residents and the security of the land. This exhibit is a collaborative project by Torkwase Dyson, INDYweek.com | 5.10.17 | 33

a Duke visiting artist, and Danielle Purifoy, an attorney/ environmental scientist, that explores this phenomenon in depth through interviews with residents of two rural, historically black Southern counties, including Alamance, that have been victimized by insidious institutional neglect.

Thru Jun 3. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

—David Klein SPECIAL Site Unseen, Senior EVENT Exhibition: Featuring the work of Nim Breitenfeld, Adrian Compean Garcia, Octavis Green, Megan Hardy, Tracie Hayes, Isys Hennigar, Kelly Redfearn Kinder, Linnea Lieth, Samprati Prasad, and Daphne Rodgers.

Thru May 14. Reception: May 14, 2-4 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Locomotion: The Railroad and Subway in Art, 1870-1950: Original prints. Thru May 19.

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

Looking South: Photography by

Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

SPECIAL May Featured EVENT Artists and Guests: Furniture maker Keith Allen and alternative-process photographer Alan Dehmer.

The 2017 Guest Invitational includes Kenia Brea, Bryant Holsenbeck, Chieko Murasugi, and Jason Smith. Reception: May 12, 6:15-9 p.m. FRANK Gallery, Chapel Hill. www. frankisart.com.

SPECIAL A Moment in Time: EVENT Paintings by Angela Nesbit and Sharon Bass. Thru Jun 17. Reception: May 18, 6-8 p.m. ArtSource Fine Art Gallery, Raleigh. www. artsource-raleigh.com.

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

Nine Artists Show: Out in

the forests of Chatham County lies 123 Art Studios, a renovated barn that has transformed in recent years

into a working and display space for area artists. The poplar-paneled charm of the interior, markedly indifferent to the spatial neutrality cultivated by urban galleries, should make a warming home for the nine artists in this exhibit. Despite the rustic setting, the show promises more than a healthy share of the expected paintings: there’s also Mayan-inspired mixed-media work (Zoe Allison Rockingbear), steel sacred geometry (Joseph Asterita), raku pottery (Colleen Black Semelka), digital prints (Francis Shepherd), and even neon glass (Nate Shaeffer). Thru

Jun 5. 123 Art Studios, Pittsboro.

—Brian Howe

Not Like It Was: Paintings and mixed media by Gayle Stott Lowry. Thru May 27. Crocker’s Mark Gallery, Raleigh. crockersmarkgallery.blogspot. com.

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

Thru May 22. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

LAST Peace of Mind: Art CHANCE Quilts: Fiber art by Christine Hager-Braun. Thru May 12. Durham Arts Council, Durham. www.durhamarts.org.

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

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

Southeast Natives: Botanical art from North Carolina artists.

Thru May 28. NC Museum of Natural Sciences, Raleigh. www.naturalsciences.org.

Southern Light: Paintings by Durham artist Chad Smith.

Thru Jun 24. Eno Gallery, Hillsborough. www.enogallery. net.

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

The Lived Body: Six artists, presented by Subverbal Collective.. Thru May 26. Visual Art Exchange, Raleigh. www. visualartexchange.org.

Taste of Home: Oil paintings symbolizing hospitality and food. Fifteen percent of sales will be donated to the Food Bank of Central & Eastern North Carolina. Thru May 27.

Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com.

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

Time Will Tell: The Ackland Art Museum features the works of UNC-Chapel Hill’s MFA class of 2017, which comprises artists Luke Firle, Wayne Marcelli, Joy Meyer, Vanessa Murray, Emily J. Smith, Louis Watts, and Lamar Whidbee. Their work varies significantly in medium, form, and subject matter: Marcelli and Whidbee often work through political ideas via figurative painting, while Meyer and Watts frequently employ

nonobjective or multimedia representational techniques.

The title of the exhibit has a winking double meaning, as each artist explores his or her individual relationship to time—and each makes a case for a prospective career. Thru Jun 5. Ackland Art Museum, Chapel Hill. www.ackland.org. — Noah Rawlings Under Pressure: Prints and performance art. Thru Aug 27.

Visual Art Exchange, Raleigh. www.visualartexchange.org.

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

Vitamin O: Photography from Alicia Stemper about the people of Orange County, N.C. Thru Jun 1. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

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

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media niques. t has a ing, as his or nship to es a case OPENING eer. Thru Be Connected: Blackspace seum, and.org. — Presents Youth Slam May Finals: Tue, May 16, 6:15 p.m. Beyu Caffe, Durham. ts and u Aug 27. Chicago: Musical. May 12-14.

Raleigh. Durham Performing Arts Center. nge.org. www.dpacnc.com. aintings Vivica C. Coxx: When You’re iler. Thru Good to Mama: Drag performance with Thundora Thighz, Spray Jay, eries, and Naomi Dix. Sat, May 13, 10 p.m. The Pinhook, Durham. www. thepinhook.com. phy from Arsenio Hall: Fri, May 12 & t the Sat, May 13, 7:30 & 10 p.m. unty, Goodnights Comedy Club, pel Hill Raleigh. www.goodnightscomedy. el Hill. com. See story. p. 24. y.org. hs from Canned Laughter: Comedy show Sep 4. NC and canned food drive featuring igh. www. Brittany Spruill, Aaron Cardwell, Aaron Cobb, Brian Burns. Sat, May 13, 8:30 p.m. Imbibe, Chapel Hill. www.facebook.com/ bosshillbeerandwine.

Dixie’s Tupperware Party: Fri, May 12 & Sat, May 13, 2 & 8 p.m.

Fletcher Opera Theater, Raleigh. www.dukeenergycenterraleigh.com.

Eyes Up Here: LadyBits Open Mic: Women-only stand-up comedy open mic, hosted by Brittany Spruill.

Sat, May 13, 5:30 p.m. The Pinhook, Durham. www.thepinhook.com.

Hush Hush: Improv comedy based on secrets from the audience, with guest Sean Wilson of Fullsteam brewery. Presented by Mettlesome. $5. Fri, May 12, 10 p.m. Manbites Dog Theater, Durham. www. manbitesdogtheater.org.

Pete Seeger: The Storm King: Multimedia performance with Pete Seeger’s spoken words. $35. Sat, May 13, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

See p. 26.

Peter Pan: Presented by the Durham Ballet. $14-$25. Sat, May 13 & Sun, May 14. Carolina Theatre, Durham. www.carolinatheatre.org.

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

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

The Harry Show: Ages 18+.

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

ComedyWorx Theatre, Raleigh. comedyworx.com.

LAST ½ Marjorie CHANCE Prime: In Jordan Harrison’s near-future drama,

“primes” are cybernetic simulacra devised to resemble deceased loved ones. Tess and her husband acquire a prime through a government program for Tess’s mother, Marjorie, whose memory is diminishing. As time passes, other family members turn to primes for more dubious reasons, and director Jeff Storer cogently asks if such day-after-tomorrow technology is the right tool for psychotherapy or to lessen the pains of bereavement. What, exactly, can such units replace of those who go missing in our lives—and how much will we want or need them to? $5-$20. Thru May 13. Manbites Dog Theater, Durham. www.manbitesdogtheater. org. —Byron Woods No Poetry Comedy Deluxe: Stand-up by Maddie Wiener, Troy Coleman, Jack Nelson, Micah Hanner, and Eric Trundy. Thu, May 11, 8:30 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.  A Piece of My Heart: Play. Thru May 21. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. See review, p. 25.

Under The Bridge Comedy Night Open Mic: Second Thursdays.

London Bridge Pub, Raleigh. thelondonbridgepub.com.

screen

STAGE THURSDAY, MAY 11–SATURDAY, MAY 20

HUNCHBACK

Jaybird O’Berski noticed the effect when he first saw David Lynch’s The Elephant Man. When the title character, who looked so fearsome at first sight, was transformed for his date with Princess Alexandra at the theater, O’Berski realized ugliness and beauty are capricious values that can be rewritten, switched, or erased. “The brain retrains itself,” O’Berski says. “Fear factors are built into signifiers we’re not used to—a substance might poison us, a snake can bite you, but familiarity can remove these factors.”

Hipsters in a present-day Swedish pop band impersonate nineteenth-century aristocrats (who are impersonating others in turn) in Shelby Hahn as Baron Herbert this devised theater work Bertram-Nils PHOTO BY JAYBIRD O’BERSKI about disfigurement and desire. William Dawson provides the music; the video trailer’s at http://po.st/hunch. —Byron Woods WALLTOWN CHILDREN’S THEATRE, DURHAM 8 p.m. Thur.–Sat., $12, www.littlegreenpig.com

SCREEN FRIDAY, MAY 12 & SATURDAY MAY 13

LONGLEAF FILM FESTIVAL Now in its third year, this juried festival grew out of an N.C. Museum of History exhibit that highlighted the state’s rich historical connection to the film industry. The focus continues to be on films with a North Carolina provenance, but the festival embraces the rest of the country and the world, too. The slate is an enticing smorgasbord of sixty short, feature-length, and midsize works, united only by having a good story to tell about the human experience. Documentaries with a distinct N.C. terroir abound, like Tar, Pitch and Turpentine; Taxidermy—A Lost Art?, and Soul City, about a would-be utopia in the heart of KKK territory in the 1970s.

Intriguing short films include Nic Beery’s My Dumb Face, about a singularly crappy night in a young woman’s life, and No Name Maddox, about a young Catholic priest’s attempts to help a teenage Charles Manson. Sounds like quite a story, right? —David Klein

NORTH CAROLINA MUSEUM OF HISTORY, RALEIGH

As Large as Alone by Chad Knuth

SPECIAL SHOWINGS Beyond the Front Porch 2017: Exhibition of work by twelve senior undergraduates.

Thru Nov 12, 9 a.m.-5 p.m.

Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Casanova: East Building, SECU Auditorium. $5-$7. Fri, May 12, 8 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Twin Peaks Marathon: Four episodes plus trivia for prizes. Mon, May 15, 8 p.m. The Station, Carrboro. stationcarrboro.com.

2 p.m.–9:30 p.m. Fri./10 a.m.–10 p.m. Sat., free www.longleaffilmfestival.com PHOTO COURTESY OF WWW.LONGLEAFFILMFESTIVAL.COM

INDYweek.com | 5.10.17 | 35

page READINGS & SIGNINGS Mary Kay Andrews: The Beach House Cookbook. Mon, May 15, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Alexandra Chasin: Assassin of Youth: A Kaleidoscopic History of Harry J. Anslinger’s War on Drugs. Fri, May 12, 6 p.m.

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

Carrie Knowles: A Garden Wall in Provence. Tue, May 16, 7 p.m.

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

Leslie Lawrence: The Death of Fred Astaire: And Other Essays from a Life Outside the Lines.

Mon, May 15, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Adam Rubin: Dragons Love Tacos 2: The Sequel. Sat, May 13, 10 a.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

Sheryl Sandberg and Shane Battier: Option B: Facing Adversity, Building Resilience, and Finding Joy. $30. Thu, May 11, 5:30 p.m. Durham Armory, Durham.

Lee Smith: Dimestore, A Writer’s Life. Sat, May 13, 11 a.m.-noon.

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

Jennifer E. Smith, Julie Buxbaum, Jeff Zentner: Windfall; Tell Me Three Things; Goodbye Days. Fri, May 12, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

John Trump: Still & Barrel: Craft Spirits in The Old North State.

Wed, May 10, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. — Tue, May 16, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

LECTURES, ETC. America Then and Now: What History Tells Us About the Future: Jon Meacham; NC Museum of History Foundation Lecture Series.

Tue, May 16, 7 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

Nancy Thayer: Secrets in Summer. Wed, May 17, 7 p.m.

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

Amy Schumer and Goldie Hawn in Snatched PHOTO BY JUSTINA MINTZ

O PEN IN G King Arthur: Legend of the Sword—Fresh off a dull turn as a famed explorer in The Lost City of Z, Charlie Hunnam tries his hand at another larger-than-life figure in Guy Ritchie’s film about Arthurian legend.

Rated PG-13.

A Quiet Passion—Cynthia Nixon plays reclusive New England poet Emily Dickinson in this biopic.

Rated PG-13.

Snatched—Amy Schumer and Goldie Hawn find their vacation taking an unexpected turn in this action comedy. Rated R.

AL SO PL AYIN G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek. com.  Beauty and the Beast—This live-action remake is an effective piece of fan service but certainly won’t replace the animated classic. Rated PG. 36 | 5.10.17 | INDYweek.com

½ Get Out—Jordan Peele of Key & Peele’s directorial debut is Guess Who’s Coming to Dinner crossed with a racially charged The Stepford Wives update. It’s also one of the best things to happen to the horror genre in twenty years.

Rated R. ½ Gifted—Marc Webb’s story of a child math prodigy caught in a custody battle isn’t a particularly original film, but it’s heartfelt and accomplished—a very good story, very well told.

Rated PG-13.  Going in Style—This “comedy” from “filmmaker” Zach Braff feels familiar: three old friends, played by actors in their golden years, reunite for one last bank heist. The jokes are tame (and lame) and the film hinges on the accumulated good will of Morgan Freeman, Alan Arkin, and Michael Caine. Rated PG-13.  Guardians of the Galaxy Vol. 2—A muddier story and zestier jokes balance out to a perfectly worthy sequel to Marvel’s spacefaring success story,

now with an Oedipal twist, as Peter Quill discovers his father is a living planet called Ego. Rated PG-13. ½ Kong: Skull Island— Set before 2014’s Godzilla, Legendary Entertainment’s reboot makes Kong’s origin story feel like Apocalypse Now meets Starship Troopers.

Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults.

Rated PG. ½ The Lost City of Z—David Grann’s exceptional book about early-twentieth-century Amazonian exploration is rendered unexceptional by staid filmmaking, simple characterizations, and an uncritical perspective on the heroic colonialism presented by historical adventure films such as this. Rated PG-13.

PAGE THURSDAY, MAY 11

INVERSION LITERARY FESTIVAL The Inversion Literary Festival began six years ago as the literary annex of the Savage Weekend experimental music festival (see p. 31). But since then, it has grown into an independent entity (though still timed with Savage) with its own identity and concerns. For one, it has drifted from Chapel Hill to Durham.

For another, its focus seems to have shifted from presenting performancebased poetry and fiction rooted in the noise scene to holding an intersectional space for performers whose identities give them vital vantages on various issues of social justice. Expect to still see experimental work that involves heavy visual and audio performance elements—but expect it to mingle with work that forgoes opacity in order to draw clear lines of protest and solidarity. Rather than merely inverting the lineaments of poetic performance, the series has its eye on inverting those of an unjust society. The fifteen performers include Chrissy Jones, Cantrice Janelle Penn, Saba Taj, Paul Singleton III, and Zaina Alsous. —Brian Howe THE SHED, DURHAM 8 p.m., free, www.shedjazz.com

Nureena Faruqi is one of the performers at Inversion. PHOTO COURTESY OF INVERSION

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DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

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

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

MASSAGE BY MARK KINSEY

Ten years helping clients feel at home in their bodies.

Swedish & deep tissue massage for stress relief. Near Duke. MassageByMarkKinsey. com. NCLMBT#6072. 919619-6373

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

Candidate that gets these positions will...

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

Email resumes to cornucopiacheese@hotmail.com

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DECLUTTERING? WE’LL BUY YOUR BOOKS

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LIVE ONSITE AUCTION Commercial Facility & 13+/Acres, 5/15 at 12pm, 114 County Home Rd, Rockingham, NC, Selling for the General Court of Justice, Superior Court Division, File 1G SP 41, ironhorseauction. com, 800.997.2248, NCAL3936

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

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

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notices

NORTH CAROLINA COUNTY OF WAKE FILE NO. 17 SP 894

In the General Court of Justice Superior Court DivisionFor the Adoption of: Tristin Michael ClarkNotice of Proceeding and Service of Process

by Publication Regarding AdoptiontoANDREW JEFFRIES TAKE NOTICE A Petition for Adoption of the above referenced minor child has been filed in the aboveentitled action. The nature of the relief being sought is an Adoption, being hereby incorporated by reference as if fully set out herein.You are required to make a response to such pleading not latter than the 2 day of June, 2017, by filing an Answer with the Clerk of Court wherein the Petition was filed and upon your failure to do so the party seeking relief against you will apply to the Court for the relief herein sought.You are entitled to attend any hearing affecting your rights. The date, time and place of the hearing will be mailed by the Clerk upon filing of the Answer or 30 days from the date of service if no answer is filed. If the Clerk lacks your address no notice of the hearing can be sent to you.This the 3 day of May, 2017.

Angela L. Haas Attorney for Plaintiff 5540 McNeely Drive, Suite 301 Raleigh, NC 27612 (919) 783-9669

NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA COUNTY OF WAKE: Ramos, Jeanifer Plaintiff V Carter, Jason F Defendant to mention action File #17cvd600348, File #17 cvd2465 seeks custody of minor child Julien Jason Carter ( DOB 03/31/12). Defendant should make defense of this pleading no later than 40 from the first date of publication ( insert date of publication here) Upon failure to do so plaintiff will seek an order from the court granting her custody of the minor child.

File #17cvd600348 court date 6/28/17 Wake County Court house courtroom 2c File# 17cvd2465 court date 6/26/17 Wake County Court house Room 2c

EPIC MOVING SALE! Affordable furniture, small appliances, yard & garden tools, office supplies, artwork, kitchen ware, linens, handbags, jewelry, games, craft & holiday items. Vintage dishes, paintings, planters, as well. Everything must go!

Sat & Sun, May 13 &14 from 8:30 - 3:00. Ward Street (2000 block, between Chapel Hill Rd and James St), Durham 27707.

Rain or shine. No early birds, please!

professional services JEWELRY APPRAISALS While you wait.

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INDYweek.com | 5.10.17 | 37

EEK ★ I

YW

★★★★★★★

HIGHLIGHT! ★★★★★★★

K ★ IND EE

Who:

The Hope Center at Pullen

What:

The mission of the Hope Center at Pullen is to connect young people aging out of foster care in Wake County with the resources and support they need for a successful transition to adulthood. Together with our collaborative partners, we provide education, internships, employment, housing, life skills, financial

management information, a social support network and referrals for physical and mental health services to the young people we serve.

Give: hopecenteratpullen.org/how-you-can-help/donate/

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

2016

D ★ IN Y W

Y WEEK ND

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

Pathways for People, Inc.

is looking for energetic individuals who are interested in gaining experience while making a difference! Positions available are:

Day Program Instructors Art and general instructor needed for Day Program. Monday through Friday from 9:00am to 4:00pm. Experience with individuals with Intellectual Disabilities required and college degree preferred. Please submit resume with cover letter to Rachael Edens at rachael@pathwaysforpeople.org.

No phone inquiries please.

Adult female with Moderate Intellectual Disability and seizure disorder in Chapel Hill.

Monday-Friday from 8:30am - 3:30pm at our day program in Cary. Experience working with individuals with seizure disorders is a plus. Staff must be able to transport to and from the day program. Call and ask for Shannon at 919-462-1663.

For a list of other open positions please go to:

www.pathwaysforpeople.org

EMAIL SARAH FOR ADS CLASSY AT INDYWEEK DOT COM 38 | 5.10.17 | INDYweek.com

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

claSSy@indyweek.com

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this week’s puzzle level:

© Puzzles by Pappocom

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

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

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

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3 1 4 8 7 9 5 2 6

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5 4 4 5 8 3 9 7 2 6 1 3 7 8

www.sudoku.com 1 2 9 4 5 6

solution to last week’s puzzle

Page 20 of 25

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reserve this space for $100!

# 34

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classy@indyweek.com

30/10/2005

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

Easy # 36

Always FREE to listen and reply to ads!

Always FREE to listen and reply to ads!

Raleigh:

Raleigh:

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# 35 4 8 1 3 6 2 7 9 5 2 8 7 4 3 1 3 6 2 9 7 5 8 1 4 3 6 5 8 9 2 7 5 9 1 4 8 3 6 2 1 9 4 5 6 7 Sarah at 919-286-6642 claSSy@indyweek 1 9 4 5 3 6• 2EMAIL 7 8 7 3 1 .6com 4 8 6 3 8 7 2 9 4 5 1 6 5 8 2 1 9 5 2 7 8 1 4 6 3 9 4 2 9 3 7 5 8 4 5 6 9 3 1 2 7 8 4 6 7 2 3

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www.megamates.com # 36 4 3 2 8 5 1 18+ 7 9 9 5 7 4 2 6 1 8 8 6 1 3 7 9 4 2 1 2 3 6 4 8 5 7 5 9 6 1 3 7 8 4 7 4 8 5 9 2 6 3 2 7 5 9 6 4 3 1

6 3 5 9 2 1 8

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INDYweek.com | 5.10.17 | 39

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM TO A DV E R T I S E O N T H E B AC K PAG E : C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M