INDY Week 5.17.17

durham • chapel hill 5|17|17

Hostages of the State, p. 8 Just Impeach Him Already, p. 11 Remembering Baba Chuck Davis, p. 24

2 | 5.17.17 | INDYweek.com

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

On the cover: PHOTO ILLUSTRATION BY SHAN STUMPF

Kim Hammer at Raleigh Provisions (see page 22) PHOTO BY BEN MCKEOWN

6 Richard Burr says he won’t let the Trump-Russia investigation turn into a “witch hunt.”

DEPARTMENTS 5 Backtalk

8 Wake County schools asked the county for an extra $45 million this year.

The county manager offered a third of that.

6 Triangulator

9 The Reverend William J. Barber II is leaving the N.C. NAACP, but he’ll still march when you need him.

11 Soapboxer

11 Donald Trump has all of Nixon’s paranoia but none of his competence.

8 News 12 Moogfest 22 Food

15 In any trance state, the limbic system, which manages emotions and behavior, becomes more active, while the parietal lobe, the seat of the sense of consciousness, quiets down.

24 Arts & Culture

19 In a world rife with synth outfits, SURVIVE hit the jackpot with a soundtrack in perfect sync with Stranger Things—and a bit of luck.

29 Music Calendar

26 What to Do This Week 33 Arts & Culture Calendar

22 The finest offerings of the North Carolina wine industry come from the Yadkin Valley.

24

Clad in brightly colored African robes instead of leotards and tights, Baba Chuck Davis always stood out at the American Dance Festival.

INDYweek.com | 5.17.17 | 3

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

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

ON STANDS NOW

4 | 5.17.17 | INDYweek.com

W

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DURHAM 320 East Chapel Hill Street, Suite 200 Mari Ka Durham, N.C. 27701 | 919-286-1972 calls for a RALEIGH 227 Fayetteville Street, Suite 105 Raleigh, N.C. 27601 | 919-832-8774 I do not tr EMAIL ADDRESSES a North C first initial[no space]last name@indyweek.com bidding of DISPLAY ADVERTISING SALES advertising@indyweek.com ents want RALEIGH 919-832-8774 DURHAM 919-286-1972 independ CLASSIFIEDS ADVERTISING 919-286-6642 knows wh CONTENTS COPYRIGHT 2017 INDY WEEK of the Re All rights reserved. Material may not be reproduced without permission. for Trum politics. W behavior tion. Nixo a traitor!”

Which ers. Comm Erica Hellerstein, Sarah Willets MUSIC EDITOR Allison Hussey ASSOCIATE ARTS+COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHERS Alex Boerner, Ben McKeown

INDY WEEK’S BAR + BEVERAGE MAGAZINE

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backtalk Witch Hunts On Friday, North Carolina Senator Richard Burr, a Republican who heads the Senate Intelligence Committee, gave the INDY’s Thomas Goldsmith a quick interview about the Trump-Russia investigation. So far, Burr said, his committee had interviewed about thirty people. He also said that he would not allow his committee’s inquiry to turn into a witch hunt (for more from this interview, see page 7).

On Facebook, Margaret Costley calls Burr a “hypocrite! He was perfectly OK wasting taxpayer dollars investigating the secretary of state for attacks on an embassy in Benghazi. Since we know with certainty that Russia interfered with our elections it might be wise to see how far this goes.”

Amy White says she is “perplexed by the senator’s analogy: Does ‘witch hunt’ suggest that it is a baseless investigation and that the parties are entirely innocent? The idea of a ‘witch hunt’ suggests that those who are trying the defendants are inflamed zealots seeking to burn innocent marginalized victims at the stake. It is such a hyperbolic corollary I am having difficulty processing it.”

Pete Pruitt is succinct: “You ain’t Sam Ervin.”

Mari Kay Scoggins Hannah writes that this calls for an “independent investigation now!

I do not trust Burr to follow this through. As a North Carolinian, I’ve witnessed him do the bidding of his donors over what his constituents want. This will not be settled without an independent investigation because nobody knows whom to trust. At the moment, most of the Republicans appear to be covering for Trump. This goes way beyond partisan politics. We are talking about treasonous behavior from Trump and his administration. Nixon was a crook, but even he wasn’t a traitor!”

Which isn’t to say Burr is without defenders. Commenter thisniss, for example, writes:

“Senator Burr has surprised me with his (apparent) even-handedness with this investigation. I hope he’s being sincere when he says he’ll follow the investigation wherever it leads. I would still prefer to see an independent commission and/or special prosecutor, but at least Burr seems to be doing his job.

This is perhaps the most important and troubling investigation of my lifetime, so I hope Senator Burr will continue to eschew partisanship in favor of pursuing the truth.”

Moving on to our story last week about what critics are describing as Duke Energy’s efforts to corner the market on solar [“Black Out the Sun”]. John Trololo says what Duke wants to do makes perfect sense: “Since Duke owns and maintains all of the power grid in its territory it makes complete sense that they need to control who and what is connected to it. That’s especially true for solar, which has unreliable, unpredictable, and somewhat uncontrollable output relative to coal, nuclear etc. plants.”

Commenter ct agrees. “The electric grid is already complex, dynamic, and fragile to a worrisome extent.

That’s why we have unplanned blackouts over large areas from time to time. Solar makes the problem worse because clouds and precipitation can substantially reduce solar output at a given farm several times each hour.

“I support solar as much as anyone, but let’s not kid ourselves. An isolated solar project here and there is no worry, but scaling solar up to 30–50 percent of North Carolina consumption has serious challenges. You want the grid operator to be in that loop. At the end of the day, it’s Duke that has to make sure that the grid is stable and manageable.”

“This will not be settled without an independent investigation because nobody knows whom to trust.”

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

INDYweek.com | 5.17.17 | 5

triangulator HOW TO PLAY MOOGFEST BINGO! 1. Go to Moogfest. Bring your marker and a keen eye.

2. Spot one of these hairstyles? (You will.) Mark it!

3. Match four in row, either

vertically, horizontally, or diagonally, before your friends do. Yell “bingo!” to claim victory. Then make your buddies buy you a shot.

4. Win? Lose? It’s all the same. Go home and sleep off your drunk. Wake up, grab another INDY, and do it all over again. *You’ll notice we’re not giving you a free space. Don’t worry.

You won’t need it.

ILLUSTRAT ION BY CHRISTOP HER WILLIAMS 6 | 5.17.17 | INDYweek.com

+HOG WILD

In a blow to environmentalists and critics of the commercial hog farming industry, the N.C. Senate voted 30–18 Thursday to override Governor Cooper’s veto of House Bill 467. The day before, the House did the same, also voting largely along party lines.

HB 467 restricts the amount of money property owners can collect in nuisance lawsuits filed against agricultural operations, including hog farms. It will essentially cap the damages property owners can collect in nuisance lawsuits at the fair market value of their property—which critics point out is often reduced by the presence of those commercial farms.

Cooper vetoed the bill on May 5, shortly after lawyers representing hundreds of plaintiffs involved in twenty-six federal lawsuits against Murphy-Brown LLC, the hog division of Smithfield Foods, submitted new evidence showing that fecal matter from the hog operations has wound up outside of homes and has likely ended up in their homes and even on their food.

Senator Brent Jackson, R-Sampson, the sponsor of the Senate companion bill, who has received more than $130,000 in campaign contributions from the hog farming industry, reacted to the override by saying that he is “incredibly pleased that this bill … is now law. This is a victory for farmworkers and our rural communities.”

The N.C. Pork Council struck a similarly celebratory tone: “Farmers across our state are grateful that the Senate has acted to override the Gov. Cooper veto to provide them more certainty and protection from

PERIPHERAL VISIONS | V.C. ROGERS

predatory lawyers.”

Supporters of HB 467, including House sponsor Representative Jimmy Dixon (who has received more than $115,000 in campaign contributions from Big Pork), have consistently argued that the legislation is intended to protect rural family farmers from greedy “out of state” attorneys. However, it’s worth noting that the federal lawsuits at the heart of the debate were filed by a North Carolina-based law firm against a $14 billion Chinese-owned multinational corporation, on behalf of mostly low-income African-American plaintiffs.

+EVERY INTELLIGENT STATEMENT

U.S. Senator Richard Burr, the North Carolina Republican who chairs the Senate Intelligence Committee, joined a full house of influential North Carolina GOP leaders when he arrived in Raleigh Friday evening.

The visit came at a time when Burr’s profile was mushrooming as leader of the Senate investigation of ties between President Trump and Russian interference into the 2016 presidential election.

After the meeting, he told the INDY that his panel’s probe will follow up on “every intelligent statement,” but he won’t allow the probe to turn into a witch hunt. Read into that what you will.

“We are in the interview stage right now, so it’s pretty extensive,” Burr said. “I think we’ve finished about thirty interviews so far.” Burr said the ongoing investigation has not yet given him “a good feel for what the

full extent of it is.”

Burr, former U.S. ambassador to the United Nations John Bolton, and U.S. Senator Thom Tillis were among the featured speakers for the Jesse Helms Center Foundation Thirtieth Anniversary Lecture Dinner. Those in attendance included a who’s who of Republican bigs: political kingpin Art Pope, U.S. representatives Mark Walker and Richard Hudson, former U.S. ambassador to Denmark James Cain, former assistant secretary of defense Robert Wilkie, former Raleigh mayor and Wake County commission chairman Paul Coble, fundraiser Louis DeJoy, and former Helms aide Jimmy Broughton.

Outside the Sheraton Raleigh Hotel, about fifteen demonstrators gathered at noon, before Tillis was scheduled to speak, to urge the appointment of a special prosecutor into suspected links between Trump and Russia. Said demonstrator Mandy Hitchcock of Carrboro: “I am here because I am really disturbed about the firing of [former FBI director] Jim Comey. I think the senators need to think more about the state of our democracy and less about their own futures.”

A group of about seventy-five showed up at four p.m. in hopes of catching Burr, chanting and carrying signs as news cameras gathered. But the senator didn’t make an appearance until about seven forty-five, and the protesters were long gone. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Thomas Goldsmith, Erica Hellerstein, and Christopher Williams.

PEt of the WEEK

PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

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He’s a young boy who will fill your world with fun and wonder, as he grows into a handsome grown up feline. He loves to play with toys, and is very curious! He would do great in any home that would offer him a lot of love and play time!

For more information: www.apsofdurham.org/ cats/felix If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 5.17.17 | 7

indynews

Money in the Bank

THE WAKE SCHOOL SYSTEM WANTS $45 MILLION IN EXTRA FUNDS FROM THE COUNTY. THE COUNTY MANAGER SAYS SCHOOLS CAN MAKE DO WITH A THIRD OF THAT.

BY THOMAS GOLDSMITH A longstanding argument among Wake County leaders reared its head again Monday.

Jim Hartmann, the Wake County manager, told county commissioners that the Wake school system hasn’t spent all of the money it got from county coffers in the current budget year and thus doesn’t need the $45 million in new funding it requested for the coming year. This wasn’t the first time the county had raised the issue of unspent funds the school board tends to carry over from year to year.

Instead, Hartmann proposed during a meeting of the Wake County Board of Commissioners, the school system should be able to meet its needs with an additional $16 million from the county, combined with what he described as a $21 million fund balance.

“They've shown a history of having about twenty million dollars that they don’t spend,” Johnna Rogers, deputy county manager and chief financial officer, told the INDY. “They were able to do things more efficiently or use more state money.”

Hartmann proposed an overall county budget of $1.24 billion, an increase of $38.3 million over the current budget year, which ends June 30. The budget contains a property tax increase of 1.45 cents per $100 of assessed value, roughly $39 annually for a house with the average Wake value of $270,000. The schools’ budget proposal alone would have required an increase of about four cents.

Increases for public safety in the budget included $1.6 million for pay raises and $2.3 million for inmates’ outpatient medical care, a cost unloaded on the county by state legislators.

Under the state’s setup, school systems have no taxing power, so the boards that oversee public education have to request funding from county commissions. Hart8 | 5.17.17 | INDYweek.com

“They’ve shown a history of having about $20 million that they don’t spend.”

mann made the case that Wake schools would get a good deal under his plan, receiving a 3.9 percent increase over the current year to reach county funding of $425.9 million and local per-pupil funding of $2,453, the highest in Wake County history.

“In each of the past three years, tax increases were implemented to achieve these results,” Hartmann told commissioners. “In each of those years, I wrestled with the decision to recommend a property tax increase, and I have wrestled with the decision again this year.”

The moment did not represent a happy déjà vu for Lynn Edmonds, a longtime public schools advocate and program coordinator for the nonprofit group Great Schools in Wake. Edmonds was disappointed that board members didn’t speak

up against Hartmann’s plan. She said the occasion reminded her of the days when Republican commissioners including Tony Gurley, Paul Coble, and Joe Bryan also argued that schools should use leftover dollars in the next budget year instead of as a protection against emergencies.

“It’s Gurley and Coble and Bryan in different suits,” Edmonds says. “It’s way off.

It’s not even fifty percent of the request.”

Hartmann noted in his budget presentation that the schools typically use state funds first, a practice he applauded. However, he objected to the system’s practice of maintaining unused funds from year to year.

“Given that how much money spent in one year should have a direct correlation in how the next year’s budget is developed, I must consider the school system’s actual

The Reve

Th

results and use of recurring funding in evaluating the school system’s request,” Hartmann said. “I do this in the same manner as I evaluate county departments’ requests. Funds unused from prior-year appropriations should be considered in building a budget request before asking for new dollars, particularly if a tax increase is required.”

BY KEN Schools superintendent Jim Merrill wasn’t available for comment Monday More tha night, but a section of his proposed bud- on the D get spells out the rationale: “The board of in Raleig education maintains [the fund balance] respects t to address emergency funding needs and II, the loc other generally one-time costs not includ- tor of the ed in the annual budget,” the section says. announce “In addition, the board of education may stepping use [the fund balance] as a funding source Carolina for the annual budget.”

It was It’s hard to pin down the potential ence, and impact of a lower appropriation. The mood. M school board’s request included specifics the U.S. S such as increased numbers of counselors, had decli teacher pay raises, and funds to meet the eral appe modified class-size requirements in lower down nu grades, which will begin taking effect in Carolina the 2017–18 school year. lican legis The board of commissioners can adopt ruled tha Hartmann’s proposed budget or modify it. ID requir In any case, commissioners don’t specify periods, a how the schools should adapt to receiving tion—had less than their requested amount. ry intent” School board members were to dis- with almo cuss Hartmann's proposal during a three Barber p.m. work session scheduled for Tuesday front line afternoon at Wake County Public Schools end, who headquarters in Cary, after the INDY went sona is k to press. Members of the board of commis- seized th sioners did not appear united behind the those ass plan after Hartmann presented it.

As the n “This is the county manager’s propos- feet, liftin al,” board member Jessica Holmes said who turn pointedly. another f tgoldsmith@indyweek.com ers who

THE RE NAACP

The Reverend William Barber II at the first Moral Monday of 2014 PHOTO BY JUSTIN COOK

The Next Mission THE REVEREND BARBER LEAVES THE STATE NAACP FOR A NEW POOR PEOPLE’S CAMPAIGN

BY KEN FINE More than a hundred people converged on the Davie Street Presbyterian Church in Raleigh Monday morning to pay their respects to the Reverend William J. Barber II, the local civil rights icon and progenitor of the Moral Mondays movement who announced late last week that he would be stepping down as the leader of the North Carolina NAACP after twelve years.

It was a big crowd for a press conference, and it quickly took on a celebratory mood. Moments before the event began, the U.S. Supreme Court announced that it had declined to hear a challenge to a federal appeals ruling last year that struck down numerous provisions of the North Carolina voting law enacted by the Republican legislature in 2013. The appeals court ruled that the law—which included voter ID requirements, shortened early voting periods, and eliminated same-day registration—had been passed with “discriminatory intent” and “targeted African Americans with almost surgical precision.”

Barber and the NAACP had been on the front lines pushing back. And the reverend, who despite his larger-than-life persona is known for deflecting adoration, seized the moment. This victory, he told those assembled, was worth savoring.

As the news was delivered, he rose to his feet, lifting his arms and calling for those who turned out to honor him to honor one another for standing up to the lawmakers who attempted to limit their rights.

Nearly an hour later, when he addressed those in attendance—after more than a dozen friends, colleagues, and faith leaders praised him—he told them that his new path wasn’t about William Barber but rather picking up where those whose “shoulders we stand on” left off.

Barber’s decision to step down from the NAACP post was, he said, his answer to a call from God to organize a revived “Poor People’s Campaign”—echoing Martin Luther King Jr.’s movement of 1968— and “breathe new fire and energy into the torch of justice” lit a half-century ago.

“This is not a commemoration,” he said.

“We’re not doing this for one year and quit. This is a launching. This is the beginning of a movement to shift the national moral narrative. This is bigger than Donald Trump, because he and his election … are a symptom of a larger moral deficit.”

But Barber, who made a thunderous speech at last year’s Democratic National Convention, warned the crowd to remain vigilant in his absence, reminding them that while his future is in Washington and across the country, the rights of North Carolinians are still under attack. For that reason, he said, he would stay active in the state NAACP and in his Goldsboro church.

“If there’s a need to march and move in North Carolina, I’m a homeboy,” he said.

“I’m not going anywhere. My roots run deep in North Carolina.” kfine@indyweek.com INDYweek.com | 5.17.17 | 9

10 | 5.17.17 | INDYweek.com

soapboxer

A Republic, If You Can Keep It TRUMP IS AN INCOMPETENT MENACE. JUST IMPEACH HIM ALREADY.

BY JEFFREY C. BILLMAN

The first article of impeachment against Richard Nixon detailed his cover-up of the Watergate break-in, listing nine incriminating things the president and his henchmen did. Numbers four and eight are particularly relevant to this moment in history, some forty-three years later, though others may soon be as well: “interfering or endeavouring to interfere” with FBI, Department of Justice, and congressional investigations; and “making or causing to be made false or misleading public statements for the purpose of deceiving the people of the United States.”

“In all of this,” the article continues, “Richard M. Nixon has acted in a manner contrary to his trust as President and subversive of constitutional government, to the great prejudice of the cause of law and justice and to the manifest injury of the people of the United States.”

Last week, President Trump fired FBI director James Comey, whose agency is investigating ties between Trump associates and Russian operatives who interfered in last year’s election on Trump’s behalf.

Trump initially claimed—both through spokespeople and in a letter to Comey— that he acted on the recommendation of the attorney general and deputy attorney general, and that Comey’s fatal error had been his handling of the Hillary Clinton email case.

A quick word about that: Comey’s press conference about the Clinton case last summer and his October letter to Congress, which probably cost Clinton the election, were inexcusable breaches of protocol. But if you think that’s why Trump did it, I’ve got a bridge to sell you.

Indeed, the White House’s transparent lie fell apart within forty-eight hours. And with it crumbled the last shred of pretense that Donald Trump has the mental or moral capacity to handle the office he holds.

First came deeply sourced reporting that the real reason behind Comey’s termination was that Trump had grown enraged

by Comey’s refusal to both make the Russia investigation go away and back up his

unfounded charge that Barack Obama had wiretapped Trump Tower. Then came reports that the FBI investigation was intensifying and that Comey last week requested additional resources. Finally, there was Trump’s own admission, to NBC’s Lester Holt, that “regardless of recommendation,” he was going to sack Comey, a contradiction of his own letter.

In that interview, Trump also admitted that he didn’t deem Russian interference worthy of investigation anyway: “And in fact, when I decided to just do it, I said to myself, I said, ‘You know, this Russia thing with Trump and Russia is a made-up story.’”

Then Trump told Holt that Comey had asked for a dinner in which Comey sought to keep his job and assured Trump that he was not under investigation. No sooner had this interview aired than Comey’s camp hit back, telling The New York Times that Trump had called the meeting and demanded that Comey pledge fealty to Trump; Comey demurred, associates told the Times, and no, Comey wouldn’t have given Trump any such assurances. The next morning, Trump took to—where else?—Twitter, threatening Comey, a likely witness in congressional hearings: “James Comey better hope that there are no ‘tapes’ of our conversations before he starts leaking to the press!”

Long story short: it’s apparent that the president fired the FBI director because he deemed the FBI director insufficiently loyal and didn’t like how an FBI investigation into his associates was proceeding. From here, that looks a whole lot like obstruction of justice. And the interview with Holt isn’t smoke—it’s a raging forest fire.

At minimum, it’s evident that Jeff Sessions’s Department of Justice is compromised and a special prosecutor must be appointed. Meanwhile, Senator Richard Burr’s intelligence committee has finally shown signs of life, subpoenaing documents from ousted national security adviser

Michael Flynn and offering Comey a chance to testify in a closed session. (Comey declined, but an associate told the Times he did so because he wants to testify in a public hearing.) The committee also requested documents from a financial intelligence unit of the Treasury Department, which in 2015 slapped the Trump Taj Mahal with a $10 million penalty for violating anti-moneylaundering laws.

On Friday, Burr told the INDY that his committee had interviewed about thirty witnesses. But he also promised that he wouldn’t let the investigation become a “witch hunt,” which is the kind of Washington-speak that makes you wonder if an independent commission will ultimately be necessary to get at the truth.

Regardless, it’s already clear that Trump has defiled the presidency. He has obstructed an investigation and lied to the American people. He has all of Nixon’s paranoia but none of his competence. He is dangerous and unstable, enabled by partisan hacks who care more about narrow ideological interests than the well-being of their country.

For the sake of the republic—as much

today as in 1974—the president must be impeached. As Nixon did, Trump is acting “in a manner contrary to his trust as President and subversive of constitutional government.” And, like Nixon, Trump needs to be driven from office and into ignominy.

Trump is a menace, too vainglorious to recognize his own ignorance and the havoc he is wreaking.

Need further proof of the president’s ineptitude? He offers it in spades. On Monday evening, The Washington Post reported that Trump revealed “highly classified information” to top Russian officials in an Oval Office meeting last week. The White House at first denied it, but by Tuesday morning, Trump was on—where else?—Twitter, asserting that he had the authority to share whatever he wanted with whomever he wanted.

Which, legally, is correct. In this instance—as Nixon once put it—when the president does it, it’s not illegal.

But that doesn’t elide the reality that he took a chainsaw to America’s relationships with vital allies in the fight against ISIS to make nice with the very people who interfered in our election to put him in office. And the hypocrisy of the thing is perhaps most stunning: the entirety of Trump’s campaign was built around the premise that Hillary Clinton couldn’t be trusted with classified information because of her email server.

And now this.

The night in 1973 that Nixon orchestrated the firing of Archibald Cox, the special prosecutor investigating the Watergate break-in, Cox issued a statement that rings true today: “Whether ours shall continue to be a government of laws and not of men is now for Congress and ultimately the American people.”

Congress answered that call four decades ago, and the republic survived. It’s up to Congress—and if Congress fails, the American people next year—to answer that call now, to save the republic once again. jbillman@indyweek.com INDYweek.com | 5.17.17 | 11

MOOGFEST 2017 Is Durham a city of high-tech wealth, privilege, and progress or a city of oppressed communities, tradition, and protest?

Of course, the answer depends on where you stand, and Moogfest, in its second year in Durham, is trying to have it both ways. With its Protest stage and other progressive themes, the festival promises a space where artistic expression can be channeled to incite action for social justice.

At the same time, Moogfest is eager to be a beacon for the affluent, tech-minded entrepreneurs flooding Durham’s rapidly expanding start-up community.

The festival deserves some praise for its efforts to meet the community on its own terms—it does seem, at least, to be trying. But make no mistake: Moogfest errs on the side of money. The festival treats the fact that more than half of its attendees have an annual household income of $100,000—nearly double the city's median household income of about $52,000—like a selling point, not a missed mark.

As Moogfest grapples with Durham's complexities and contradictions, there is a danger of the rubber not meeting the road. The festival claims to make space for the voices of marginalized people while hawking tickets for what amounts to a full week’s earnings for a minimum-wage worker. Its marketing and programs are rife with lofty ideas about how to apply technology and thought to alleviate oppression.

But on a practical level, why should those who are struggling to feed their family care about something like "the disruption of linear time?"

As soaring skyscrapers quickly rise from all that cherished old brick, Moogfest, like the rest of downtown, is trying to figure out what the future looks like. Can the festival leverage its cultural— and actual—capital in service of leveling playing fields for artists and attendees? Or is Moogfest, a manifestation of New Durham's aspirational self-image, eclipsing the needs of the Durhamites who aren’t wealthy, white, and well educated? Here, we explore some of the festival’s big ideas—technoshamanism, protest, Afrofuturism, and more—to try to move toward an answer.

ILLUSTRATION BY CHRISTOPHER WILLIAMS

—Allison Hussey and Brian Howe

12 | 5.17.17 | INDYweek.com

W

NOT JUST NOISE

As Moor Mother, Camae Ayewa leads Moogfest's Afrofuturist missions with music and words

BY ZOE CAMP

Moor Mother's Camae Ayewa, right, with Afrofuturist Affair's Rasheedah Phillips PHOTO BY FLORIAN CRAMER

hile you probably won’t spot our forty-fifth president in the crowd at this year’s festival, Donald J. Trump’s small-handed shadow still looms over Moogfest 2017. Accordingly, a significant chunk of this weekend’s programming focuses on music-related forms of protest. The opening night’s firestorm on the Protest Stage pushes back against the president’s travel-ban attempts as well as North Carolina’s HB2, with performances from Talib Kweli, Omar Souleyman, Mykki Blanco, and more. Workshops on grassroots musical activism and sonic strategies against mass incarceration are further indications that the festival is aiming to cultivate a spirit of resistance.

Camae Ayewa, a Philadelphia-based musician, poet, and community organizer who records noise-laden epics as Moor Mother, is on the front lines of this battle.

She’s armed to the teeth with blistering prose, abrasive effects, and most important, empathy. In addition to her musical endeavors, Ayewa operates the Community Futures Lab, a community center in Philly that provides a space for marginalized communities to come together through art as well as a refuge from the rampant gentrification that frequently endangers them as both creators and citizens.

This year, Ayewa will make her Moogfest debut with a four-hour live set as one of the festival’s Durationals. She’ll also lead an intersectional protest workshop titled “Future Memories with Sound.” On Saturday, she’ll sit down with P. Michael, of the noise gospel band ONO, and King Britt, who records avant-garde electronica as Fhloston Paradigm, for a panel called “Prisms, Mirrors, Lenses: Tricks of Light, Time, and Sound in Afrofuturism.” We caught up with Ayewa ahead of her journey to Moogfest to discuss her plans for using her platform to inspire action.

INDY: In addition to your performance at Moogfest, you’ll be doing a workshop on how to use sound as a means of fighting back against oppression. In an interview with The Guardian, you discussed how design breeds violence, and how the architecture of the public housing system factors into that process. To that end, do you think that the subjugation of marginalized people manifests in the architecture of music itself?

CAMAE AYEWA: Yeah, I feel like we continue to follow archaic modes of production and creativity that have just been there for INDYweek.com | 5.17.17 | 13

MOOGFEST 2017

"WE'RE TRYING TO REALIZE NOW THAT DIFFERENT MUSIC NEEDS DIFFERENT FORMS OF SUPPORT." us. You’re taking a chance if you go outside this box. One example is Bob Dylan switching from acoustic to electric. When you’re in the folk world, there’s this set of rules you need to follow, and it takes a while for people to step outside of that mold. I had the pleasure of not being taught this structure as a child. I speak a lot about this with regards to business. We don’t realize sometimes that most of us follow these roles that other corporate giants are following also: ways to market yourself, ways to do this or that. We’re trying to realize now that different music needs different forms of support, especially when that music speaks out against atrocities.

Your Week.

Every Wednesday. indyweek.com 14 | 5.17.17 | INDYweek.com

Afrofuturism plays a critical role in your art. You, King Britt, P. Michael Grego, and Travis from ONO will be conducting a panel on atemporality and spatial distortion as they pertain to the black experience. Can you give us an overview of some of the topics you’ll be discussing?

I don’t really know! I have yet to speak with the moderator. He sent me one question about surrealism, and how that corresponds with my work. I think we’ll talk a lot about the imagination, about the future.

I’m just in awe of all of these artists, and treating this more as a learning experience. I’ve been in conversations with ONO and King Britt. I just think everything I’ve seen live from ONO is magnificent, and everything I’ve seen from King Britt as far as electronics and hardware—I just want to hang out with these people. I guess I’ll just be speaking about my creation techniques—what I do to write a poem, what I’m thinking about with sounds as far as sampling goes—but I’m more excited to learn.

This June, you’ll be releasing Crime Waves, a joint EP with Mental Jewelry. Some of the material on the release was originally

intended for last year’s full-length, Fetish Bones, but you couldn’t get them to sound just right. What did Mental Jewelry bring to the table to make those songs more complete?

Well, one of the songs [“Hardware”] was just released. There’s one more on the album that sounds much different than the original. I guess I had time to elaborate on it and really think about how it needed to sound. We recorded it at a studio—not my home studio, but a real studio that had a really nice mic from the fifties, all of these different soundboards, all sorts of things.

We were able to experiment with the vocals, which was something that I was unable to do with Fetish Bones, but [Crime Waves] is on a whole different planet than from what I’d do on a solo record. I have another one coming out in July, with DJ Halal. It’s me doing vocals, but it’s definitely a true collaboration. I’m listening to the beats and thinking, “What words can fit on top of this? What energy do I want?” With my solo project, I’m completely in my own hole, with no other influence or person.

What I want the beat to do, I make it; what I want the words to say, I say them.

Even though there were tracks on this project that were intended for Fetish Bones, it’s a very different take production-wise.

It’s cleaner, it’s dancier, it’s less poetic— people say that the way that I rap is kind of like poetry. I wanted these projects to show that I can rap and showcase different sides of me, so that people can understand that I’m not just this.

What else can you tell us about this DJ Halal split? Do you have any other projects planned for this year?

It’s called 700 Bliss. It’s more dancey, it’s got Middle Eastern and Jersey club vibes.

Lyrically, I’m more aggressive on this stuff; [there’s] a little more vulgar language. With this project, I’m also more dubby: playing with flow and words. It’s hard to explain– sonically, it’s clean, but also grimy.

I had originally planned to put out a solo album this year. I’m in a jazz band called Irreversible Entanglement, and we’re dropping that record, so that would be four albums from me this year, even though they’re all collaborations. I feel like that’s a lot, but I also have stuff to say for this year.

I have stuff to say, but with these projects, I’m not the only one speaking. music@indyweek.com

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PHOTO COURTESY OF STONES THROW RECORDS

PEANUT BUTTER WOLF THURSDAY, MIDNIGHT, MOTORCO

Some kids dream of scoring a record deal, while kids like Chris Manak dream of starting a record label. And six years after the teenage whiz-kid producer and turntablist started up operations in his bedroom in San Jose, California, he realized that dream by launching Stones Throw Records in 1996. In the ensuing years, as Peanut Butter Wolf, he had begun to make his mark, initially in collaborations with an emcee, Charles Hicks, known as Charizma, and then in instrumental works he recorded in the wake of his partner’s tragic death in 1992. The first releases

by Manak’s L.A. label resurrected his work with Charizma, and since then he has made the transition from performing to throwing his energy behind Stones Throw. The force of that effort has earned Stones Throw a reputation as the ultimate alternative hip-hop label, with the likes of Kanye West and Common singing its praises. With an approach that’s fearless and discerning, the label is known both for putting out seminal releases

by MadLib, Madvillain, and J Dilla, records that broke from the established genre forms and are regarded as classics, as well as issuing LPs by envelope-pushing weirdos operating in an undefinable amalgam of styles. Through it all, Manak has made it work thanks to a rare set of skills: musical, curatorial, and entrepreneurial.

—David Klein

MOOGFEST 2017

FREE YOUR MIND

Techno-shamanism practices aim to get your brain on an enlightened new level

BY HANNAH PITSTICK

A

mos Gaynes experienced an unexpected spiritual awakening in the middle of a field in the summer of 1999. Around that time, Gaynes had been hanging out at his friend’s farm just outside Asheville, when his friend was contacted by a group of psych-trance party organizers from Winston-Salem looking for private land on which to throw a large event called Spiritual Awakening. Artists from all over the country convened for an open-air, twenty-four-hour summertime psychedelic trance party experience. The party turned out to be aptly named, as far as Gaynes was concerned.

“It was very activating, exciting, and I discovered that dancing for hours continually in an ecstatic group experience to this very inspiring, consciousness-entraining music had a real and noticeable effect,” Gaynes recalls.

At Moogfest, Gaynes will speak on Thursday about musical technology and ritual in twenty-first-century shamanistic practice, drawing from his experience as a developer of musical technology for Moog Music and his years of involvement in the Southeast’s psychedelic trance party scene as a dancer, organizer, and performer. As Gaynes explains it, a well-planned dance party can be akin to a shamanistic ritual, with potential benefits to mind, body, and spirit.

Inducing trance states through the active meditation of a psych-trance dance party is just one example of techno-shamanism, a term used to describe the integration of technology in shamanistic ritual and one of the themes for this year’s Moogfest. Other festival experiences under this category include “Sacred Sound Baths” administered

by Pittsboro’s Garth Robertson, where he will immerse prone participants in ancient sounds created from instruments from around the globe, and “Hypnotic Journeying” led by Elizabeth Traina, in which participants take in Traina’s sacred geometry artwork and aim to obtain expanded states of awareness.

Amos Gaynes PHOTO COURTESY OF MOOGFEST

At many psych-trance events, Gaynes says, a gathering forms on the dance floor before the music starts when someone verbally sets the intention for the night. The decor of the event is often designed to create an otherworldly environment, and the progression of the music is organized to begin at a low intensity, using rhythmic sounds at tempos—usually between 135 and 150 beats per minute—that have been shown to be particularly conducive to inducing a trance state. The order in which the artists play and the style of music they play is conceived with an eye toward supporting the arc of a transcendental experience, bringing the energy up overnight to synchronize the whole party and the dancers’ bodies and minds to a place of ecstatic unity before gently bringing them back down again in the morning.

“In a really successful peak experience on the dance floor, you look around at all the people around you—all these shiny, happy, smiling faces—and you really are on the same wavelength in a way that brain science validates and backs up,” Gaynes says.

“Experiencing an ecstatic synchronization with others can be really helpful for people who have social anxiety or trouble bonding with one another, because when you’re sharing a dance floor together, you don’t have to directly interact with them—you can be introverts together if you like.”

It’s significant, Gaynes adds, that no matter how a trance state is induced, be it through breath work, meditation, or other means, similar activity happens in the brain: the limbic system, which manages emotions and behavior, becomes more active, while the parietal lobe, the area that helps construct the sense of self and the way you relate to the world, quiets down. According to Gaynes, the sense of unity and connectedness typical in trance states results in part from the parietal lobe becoming less active.

“One’s boundaries become a bit more porous,” he says. “You are more easily able to identify and expand your sense of self INDYweek.com | 5.17.17 | 15

MOOGFEST 2017 outside the boundaries of your skin in a way that is otherwise moderated by the parietal lobe and the thalamus, considered to be the seat of consciousness. The brain’s activity is altered by these experiences in a way that tends to have lasting positive effects, as selfreported by the individual.”

Marc Fleury, a physicist and synth musician based in Atlanta, and his Church of Space are also billed under the techno-shamanism theme. Fleury will give a series of talks on physics, open-source religion, chaos theory, and the places where those topics intersect, followed by performances like “Illuminati Boom Box,” a mix of street performance and soap-box preaching where the Church of Space will “evangelize” for open-source religion—that is, a personally customized reconciliation of science and religion.

“We all assemble our belief system whether we are conscious of it or not. The point indeed is that one can assemble their own belief system according to their needs and their will,” Fleury says. “Increasingly, people reach beyond the simple monotheist figures of mainstream religions, or the limiting dualist political archetypes or even the consumerist memes. Most people yearn for different self-actualizations beyond these old memes. As a woman, can you really identify with a white bearded guy in the sky?”

On the more passive, meditative end of the techno-shamanism spectrum, new age musician Laraaji leads a laughter and sound meditation on Sunday and an eight-hour Sleep Concert on Friday from twelve-thirty a.m. until eight-thirty a.m.

“It’s the first time I’ve done this, although I’ve had the idea and vision of doing this for quite some time because playing for people who are lying down with blindfolds on is one of the better ways of performing for me,” Laraaji says.

During the Sleep Concert, participants will spend the night on the floor of the 21c main ballroom as Laraaji plays ambient, celestial tones to support rest, trance, and possibly hypnotic states in the sleeping audience.

He may open the “sleepfest” with some chanting and laughter exercises, or “laughter-cises,” as he calls them. They’re built around the supposed health benefits of heavy laughter, with different benefits depending on the type of laugh. According to Laraaji, a humming kind of laughter stimulates the pituitary in the center of the brain, another kind of laughter vibrates the throat and thyroid gland, and a convulsive laughter 16 | 5.17.17 | INDYweek.com

thumps the thymus beneath the sternum.

“As far as I know, the spirit of the divine in human form laughs,” he says. “And I think everyone is capable of surrendering to laughter.” music@indyweek.com

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FILE PHOTO BY ADAM KISSICK

PHARMAKON SATURDAY, 10:15 P.M., MOTORCO

Many performers seduce an audience; others do what they do and dare us to look away. Margaret Chardiet, aka Pharmakon, falls into the latter category. Using her voice, her body, and a variety of keyboards, pedals, and homemade electronic instruments, she eschews traditional song forms for a kind of performance art set in a jarring sonic landscape crafted from caustic shards at a massive volume. Her performances feel as much like underground theater or primitive ritual as a concert.

With a vocal palette of fromthe-gut bellowing and shrieks, Chardiet’s spectacle is unsettling and hard to ignore. Watching her as she writhes supine on the floor pouring otherworldly vocalizations into a microphone, we wonder what we’re seeing, what she’s going through—a rare thing to experience in the setting of a rock club. —David Klein

MOOGFEST 2017

Suzanne Ciani PHOTO COURTESY OF THE ARTIST

MOTHERS OF INVENTION Beginning half a century ago, Suzanne Ciani and Laurie Spiegel laid early foundations for electronic music

L

BY DAN RUCCIA

aurie Spiegel and Suzanne Ciani have lived parallel lives. Both began exploring the sonic possibilities of modular synthesizers, particularly the Buchla 200, in the late 1960s. Both were at the forefront of the development of electronic music through the seventies and eighties in New York City, seeking ways

to make synthesizers more interactive and accessible. Over the past five years, a resurgence of interest in both of their work has run parallel with the renewed interest in old synthesizers. They will feature prominently at this year’s Moogfest, two godmothers of so much of the festival's music.

INDYweek.com | 5.17.17 | 17

MOOGFEST 2017 Spiegel got her start in electronic music after a 1969 encounter with Morton Subotnick’s Buchla 200. In 1974, after a few years of painstaking work crafting sounds on the Buchla, she began working at Bell Labs on GROOVE (Generated Realtime Operations on Voltage-controlled Equipment), an early digital sequencer, and her vocabulary changed dramatically. Unlike the Buchla, the GROOVE’s computers allowed for both real-time sound generation and memory. So she could improvise live and easily save the results, allowing her to more quickly hone her compositions. Her music from this period, captured on the album The Expanding Universe, is full of intricate counterpoint with few loops or drones. Everything constantly evolves, pulsing forever forward with a cheerfully bouncing effervescence. In a way, it’s not that far removed from what Steve Reich or Philip Glass was doing at the same time.

This period is also when Spiegel recorded perhaps her most far-reaching work, a realization of Johannes Kepler’s 1619 “Music of the Spheres.”

The “piece” is a set of mathematical instructions outlining how elliptical the orbit of each planet is and how that might sound. In Spiegel’s hands, those instructions become an ominous assemblage of sirens oscillating at different speeds over different pitch ranges. Occasionally the pitches line up to create fleeting consonant harmonies, but most of the time the music’s cold timbres and mathematical precision portend a well-ordered apocalypse. Somehow, her sonic representation of the solar system came to the attention of Carl Sagan as he was curating the Golden Records affixed to the Voyager spacecraft. Consequently, Spiegel’s music is hurtling through space alongside that of Bach, Beethoven, Louis Armstrong, and Chuck Berry.

After Bell Labs shut down GROOVE in 1978, Spiegel continued to innovate in real-time digital electronics through the eighties and nineties, developing a computer program called “Music Mouse – An Intelligent Instrument” and working on the never-released McLeyvier synthesizer.

Because of the capabilities of these instruments, her music began to include richer and more varied hues.

At Moogfest, her music will appear as part of the Prelude to Sleep series in the score to a film by her late husband, Peter Schmideg, titled Maya Deren: Prelude to Generating a Dream Palette. While there has been a steady drip of archival releases of Spiegel’s work, this 2016 score is some of the only new music she’s released in the past fifteen years or so.

Ciani’s story is similar to Spiegel’s. She, too, encountered the Buchla synthesizer in 1969 and quickly became obsessed. She even worked for Don Buchla for a few years, helping to build the complicated devices.

Unlike most early users of the Buchla who thought of it primarily as a studio instrument, Ciani—like Buchla himself—strove to show that it could be played live.

Once she moved to New York City in 1974, she began to perform in galleries and venues around the city. The recordings of those shows demonstrate a remarkable command of the notoriously temperamental instrument.

She crafts looping strata with constantly shifting timbres. One minute, the Buchla emits ominous throbs, the next, playful beacons in vaguely funky rhythms, and later, almost percussive slaps.

Her approach to sound and space still sounds remarkably fresh.

But performing experimental music in New York wasn’t especially lucrative. To make ends meet, she started creating commercial music for companies including Atari, AT&T, Coca-Cola, and ABC. Each fifteen-second burst of sound contains small shards of those longer improvisations, albeit with some of the harsher edges sanded off. Heard today, they have a funny, retrofuturistic feel. In the eighties and nineties, she recorded new age records that received some acclaim, though they lacked the captivating gravity of her earlier work.

More recently, Ciani has re-emerged as an ambassador for the continued relevance of the Buchla. The instrument has changed a great deal since she started, adopting digital technology and harnessing the power

of computers. She’s gone back to creating long-form sound sculptures that aren’t so different from those early-seventies performances. She’s quick to talk about the evolution of synthesizers and how they’ve affected her life and the musical world at large. This is Ciani’s second year as a Moogfest headliner, and she’s also the subject of a new documentary, A Life in Waves, which also screens at the festival.

Both women credit electronic instruments for allowing their music to be heard. Classical

music institutions in the 1970s were (and to a large extent still are) heavily male dominated, so synthesizers allowed Spiegel and Ciani to directly control their own sonic means of production. Spiegel takes it a step further, arguing that they were “outsiders trying to remusicalize and rehumanize composing.”

Even now, both women still seek to do that.

It’s a credit to Moogfest that it’s giving them space for new work rather than forcing them to wallow in nostalgia. music@indyweek.com

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SYNTHESIZERS ALLOWED SPIEGEL AND CIANI TO DIRECTLY CONTROL

THEIR OWN SONIC MEANS OF PRODUCTION.

18 | 5.17.17 | INDYweek.com

PHOTO COURTESY OF GROUND CONTROL TOURING

MARISA ANDERSON

SATURDAY, 3:20 P.M., FIRST PRESBYTERIAN CHURCH

The presence of Marisa Anderson says a lot about the inclusivity of Moogfest.

The Portland-based experimental guitarist plays traditional forms of American guitar music on gently amped old Gretsch models, along with lap and pedal steel, and not even abetted by a pedal. But in her application of drone and minimalism and other modern forms, Anderson makes a fine fit for a festival celebrating the vital outer edge of creativity in music. She is very much a spiritual heir to John Fahey, and in his spirit, Anderson has a vast knowledge of and reverence for traditional American guitar music. With a master’s fluidity and pureness of tone, she infuses her songs with palpable emotion and a sense of unwavering commitment, making her original instrumental tunes and renditions of Delta blues and gospel songs a riveting display. —David Klein

MOOGFEST 2017

LEVELED UP

SURVIVE exploded thanks to Netflix’s Stranger Things, but the Austin band is hardly a one-trick pony

BY DAVID FORD SMITH and synth bands are inexhaustible resources, how did SURVIVE get such a gem of an opportunity?

Chalk it up to luck and experience. Dixon, Stein, and band mate Adam Jones grew up together, and they started the band in 2008 with Mark Donica, who lived with Jones and Dixon during their time at the University of Texas at Austin. Jones also co-runs the label Holodeck Records, which has reissued some of SURVIVE’s early cassetteonly material and has charted with releases from art-adjacent acts like Marie Davidson and This Will Destroy You. Together, their expertise made them a formidable creative

force in Austin’s nascent synth community, and their ever-expanding collection of synths and knowledge of how to repair them didn’t hurt, either. As they accumulated a diverse collection of instruments from Craigslist, eBay, and Switched On—a brick-and-mortar synth store in Austin and hub for the city’s gear heads—they began recording together.

Those early years of experimentation were crucial. SURVIVE produced a handful of good minimalist releases with titles like LLR002 and MF064, and the band has continued in this vein. Since then, most of its releases besides the Stranger Things

They will SURVIVE. PHOTO BY ALEX KACHA

F

or a band currently enjoying the spotlight of international fame and two Grammy nominations, Austin’s SURVIVE had inauspicious beginnings. In an interview with Austin NPR affiliate KUT, band member Kyle Dixon described the outfit’s unceremonious first gig in a freezing Texas backyard.

According to Dixon, the stage was inside a shed among a “pyramid of cinderblocks” and the cold weather caused his synth to stop responding. In a last-ditch effort, he ran the instrument indoors and placed it next to a heater to revive it, to no avail.

After scrambling for another synth, SURVIVE didn’t get five minutes into its set before vibrations from the bass cabinet toppled most of the band’s gear onto the ground, right as the police rolled up.

Fast-forward about a decade. SURVIVE isn’t rattling many backyards anymore, and it has a little 2016 Netflix show called Stranger Things to thank. The Duffer

Brothers’ dark fantasy drama combed the playbooks of Stephen King and kitschy 1980s cinema for inspiration and seemed destined for cult-hit status. Instead, Stranger Things smashed every projection and established itself as the gold standard for success in streaming television. Symphony Advanced Media statistics cited by Variety estimate fourteen million viewers watched Stranger Things within the first thirty-five days of release, staggering numbers in 2016’s confusing, multipronged streaming-TV landscape.

Reviews, too, were glowing. Critics admired the show’s pitch-perfect throwback production and horror elements, and they often especially loved the bleary, menacing analog synth theme that crept in at the beginning of each episode. That piece, and most of the original music, came courtesy of Dixon and fellow band member Michael Stein.

In the modern age, where both nostalgia INDYweek.com | 5.17.17 | 19

MOOGFEST 2017 soundtrack and a self-titled record have simply been named for each album’s corresponding label catalog number.

The Duffer Brothers found SURVIVE through Adam Wingard’s 2014 film The Guest, which used the band’s songs “Omniverse” and “Hourglass,” and the Duffers in turn used SURVIVE’s “Dirge” in a mock trailer for the show to pitch to Netflix executives. The Duffers wanted more from SURVIVE, so they brought the band on to work with in-progress scripts to come up with themes and cues for individual characters and scenes, tailoring each song to whatever emotional needs were required and drawing from a vast unreleased backlog of material.

Because SURVIVE got on board with Stranger Things so early, the Duffers used the band’s demos in the auditioning process to decide whom to cast. SURVIVE is already set to return to Stranger Things’ second season, which is scheduled for release on Halloween 2017.

Given the show’s context, SURVIVE often get compared to John Carpenter or Goblin or John Harrison or other film score legends of the seventies and eighties. Critics have especially lumped SURVIVE in with Carpenter, who made lurching analog synth sounds iconic in scores for films like Assault on Precinct 13 and Escape From New York. But those who push this line of thought probably haven’t heard SURVIVE’s non-Stranger Things body of work. Sure, there’s a bit of Carpenter on RR7349, the band’s latest fulllength for Relapse Records, but the band actively avoids clichés that often plague retro-fetishistic outfits that often are all too happy to copy their forefathers’ affectations. SURVIVE has held on to a sense of modernity and propriety—you hear the gentle ambient drift of Stars of the Lid or the technical sequencing of a Warp Records act as much as you hear “eighties throwback synthwave.”

For a band so firmly associated with the eighties, SURVIVE has more to do with a legacy seventies band like Tangerine Dream. Before its digital chrome soundtracks of the Reagan era, Tangerine Dream made music a bit weirder and spacier than its peers, and SURVIVE has continued in that spirit. And last fall, Tangerine Dream covered the Stranger Things theme—a meta cover if there ever was one. music@indyweek.com 20 | 5.17.17 | INDYweek.com

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PHOTO BY ERIC COLEMAN

SUDAN ARCHIVES FRIDAY, 7:45 P.M., FIRST

PRESBYTERIAN CHURCH

This year, Moogfest's stated goal of growing “a global community of futurists who explore emerging sound technologies” is embodied by the artist known as Sudan Archives. With little more than her violin, a looping pedal, and her assured, flowing vocals, the writer-producer-musician reimagined Kendrick Lamar’s “King Kunta” in a minimalist palette informed by traditional African instruments, blues runs, and her own knowing perspective.

Her music feels very much beyond the now: a combination of raw talent (she is self-taught), a serious study of ethnomusicology, a deep well of curiosity, and an alchemist’s gift. Though she was raised in Cincinnati and operates out of L.A., her adopted name invokes the global nature of her influences, which range from Iran to West Africa to Brooklyn and beyond. And taking an ancient instrument and blending it effortlessly into hip-hop and other current musical idioms seems like an act of innovation by someone not only exploring emerging sound technologies but wielding them with an audacity that the festival’s namesake would surely admire. It’s no surprise she’s found a home at Stones Throw Records, which will release her debut record.

—David Klein

MOOGFEST 2017

FANCY, FREE

Didn’t want to drop $250 on a Moogfest pass? Here’s some free stuff you can catch anyway.

BY NOAH RAWLINGS

JEREMY DANCE

All weekend, various times, American Underground Storefront Michael Stipe was never just the singer and songwriter for R.E.M. The man has made films, voice-acted, photographed, and painted. He’s combining visual and aural sensibilities for an installation featuring video footage of Jeremy Ayers, an artist, writer, and friend of Stipe’s, with a soundtrack by Stipe. The score represents Stipe’s first-ever solo composition, promising to make Jeremy Dance something of a momentous event for R.E.M/Michael Stipe fans and a fascinating piece by an artistic polyglot for those unfamiliar with Stipe’s storied musical past.

POSSIBILITY/PROTEST IN AFRICAN AMERICAN ROOTS MUSIC

Saturday, 2 p.m., The Bullpen One of the most questionable—but also potentially constructive—components of Moogfest’s programming this year is the inclusion of protest as a theme. It’s felt as though the festival is attempting to use political activism as a marketing tool, but also reflects a genuine movement in contemporary music and culture toward deliberate engagement with political and social issues through art. N.C. State ethnographer Dr. Will Boone will lead a discussion about the possibilities of music as a tool of political change.

AN INTRODUCTION TO HARP FUNDAMENTALS AND EFFECTS FOR KIDS

Sunday, 3:30 p.m.

The Art Institute Room 203 The harp is wildly underrated. Landing somewhere between a piano and guitar in terms of its ability to voice several notes at once, the harp makes ethereal sonic emissions like no other instrument. On Sunday afternoon, harpist Mary Lattimore leads

Michael Stipe PHOTO COURTESY OF MOOGFEST a free workshop for children ages eight and up, teaching the basics of both traditional harp playing and the possibilities afforded by electronic manipulation. Kids will delight in the opportunity to explore a unique instrument and tinker with electronic effects.

Unlike Mr. Moog, it won’t take a doctorate in engineering physics and a variety of expensive hardware for you to build a sweet synth. Bring your laptop, download some free software, and the folks at the Johns Hopkins Peabody Institute will guide you through the rest.

SOUNDS FROM SCRATCH: BUILD A VIRTUAL SYNTH

THE ART AND MUSIC OF LONNIE HOLLEY

Saturday, 11 a.m., Full Frame Theatre In this free workshop you get to inhabit, on an amateur level, the role the late Robert Moog and build a virtual synthesizer.

Thursday, 8:30 p.m. (music) and Friday, 11 a.m. (discussion), The Bullpen Lonnie Holley is an artist and a musician from Alabama who first gained recogni-

tion (and the nickname of “the Sandman”) creating sandstone sculpture of objects like tombs and miniature school buses.

While the Sandman moniker stuck with him, Holley has never been stuck in any one creative mode. He’s worked with a stunning array of artistic mediums in his almost forty-year career, including sculptures of trash and textiles, oil paint abstractions, and wandering, drone-based songs. He performs on Thursday night, and on Friday, he discusses his work with his longtime friend Matt Arnett. music@indyweek.com INDYweek.com | 5.17.17 | 21

indyfood W

hen I walk into Raleigh Provisions, Kim Hammer’s new micro-market on the corner of East Davie and South Wilmington, she’s surrounded by a gathering of Taste Carolina food tourists as she presides over a table laden with local jam, lemon curd, and clotted cream from The Blakemere Company in Chapel Hill. Wearing a big grin as she tells the group about herself—that she owns the drink-and-dessert bar Bittersweet just a block away and opened Raleigh Provisions in late March—it’s clear that Hammer is in her element. It’s also clear that she is really, really excited about everything in the store.

Especially this clotted cream.

After the tour disperses toward the Crude bitters and Boxcarr cheese, the Firsthand sausage and Melina’s lasagna, Hammer and I sit down to chat at a table by a little collection of cookbooks and a big, bright window, where we can watch the city scurry by.

RALEIGH PROVISIONS 107 East Davie Street, Raleigh 984-233-5600

Market Savvy

RALEIGH PROVISIONS OWNER KIM HAMMER UNPACKS THE ART OF OPENING A LOCAL GROCERY

BY EMMA LAPERRUQUE

INDY: What inspired you to open Raleigh Provisions?

KIM HAMMER: I grew up in Raleigh. After I left and came back, what struck me the most, especially in the last three years since I opened Bittersweet, was that the majority of my customers and my employees are not from here. The wonderful thing about bars is they’re a community center in a neighborhood. I get a lot of, Hey, where should I go for such and such? Then I get to brag about these awesome vendors and it starts so easily [at Bittersweet] with Counter Culture and Maple View Farms. Somewhere along the way, I thought, wouldn’t it be great to have a retail store that has all these wonderful North Carolina products in one place?

How do you think the concept reflects Raleigh right now? Or, did you see a gap that you wanted to fill?

With business being healthy at Bittersweet, having personal relationships with my regulars, I knew that there were people eating how I eat. When you do a concept that’s completely different than what people know, you spend the first year showing people what you are. After that, they get it. And more than get it, they explain it to the people they bring.

It’s an old bar thing—your regulars will market your bar for you.

Kim Hammer PHOTO BY BEN MCKEOWN 22 | 5.17.17 | INDYweek.com

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As we’re h you’ll incr The jury to have p move, so Have you started to notice regulars yet? do you m We have people we see every day. A couplethey’ll sa people I see once a week, always the samedon’t grow day. Some of the Red Hat people we’ll see Whethe every day. But we’re only a month in. Youwe have w never know what’s going to bring everyoneborhood. beautiful. here the most. more, I w mantly. I Are any popular sales surprising a farm, be you so far?

Our most local product is that honeypeople co right there [Mr. Buzz]. His name is Ben Crawley and he teaches people beekeep-I imagine ing. They’re downtown bees making theshelves w honey. We’ve had three shipments comedo you be and go fro through already.

And the Mamasitas! Tortilla chips.Josh [La They’re from Newport. I had this girl screamer] and I with joy the other day when she came in andloved and saw these. Literally, they’re the best torti-we alread lla chips I’ve ever had in my life. We’ve hadand subdi them maybe three weeks and we have to What wa order them again already. to have?

Do you have to explain to customers why I always k the products cost more here than at a gro- Pfann’s b board Sta cery store?

It’s pretty even between people who under-that was o stand the ethos and don’t. The reason I don’ted about— worry about that is, if it is imbalanced, we’rebread and turning it, and I know we can do it. When we first opened Bittersweet as a predominantlyWhat abo gin bar, we thought, ‘Oh god, everyone aroundwere real here is bourbon.’ One of the bartenders said,Amanda [ very early on, ‘Do we know that there are thispany] is a many people who like gin?’ And I was like,she does.

‘We’re going to make them.’ So it doesn’t seemclotted cr Drehle. T insurmountable—it’s just education. grape the The food ethos you keep mentioning—how Yadkin Va ter of grea would you describe that?

Most of the shop is local. The only things that are not from North Carolina are thingsWhen I f that we cannot get in North Carolina. Therebetween are no artificial colors or flavors or chemi-you desig cals. We want to be able to explain [our prod-So many Spoon, an ucts’ ingredients] to our customers. lot of time I’m curious about the range of the selec- the brand never wen tion. There are books and magazines, looks like beers and wines, meats and cheeses, I felt like cleaning and beauty products.

If something is a North Carolina productthose pro and it’s made with good ethos and it’s shelfdo that is stable and it tastes good, I’ll bring it in. We’reto show a a beautiful retail shop where you can come

in and be excited to get something because it’s a North Carolina thing.

BE HEALTHY BE STRONG

As we’re heading into summer, do you think you’ll increase the produce selection?

The jury is still out on that. We get asked to have produce all the time, but it doesn’t move, so we started asking people, ‘What do you mean when you say produce?’ And they’ll say, ‘bananas or avocados.’ But we don’t grow those in North Carolina.

Whether we have produce or how much we have will be directly decided by the neighborhood. I’ve got it right now because it’s beautiful. If, a year from now, we don’t anymore, I would still want to promote it adamantly. I would love to be a CSA pickup for a farm, because I will always try to promote people cooking and using local produce.

I imagine taking a blank slate and filling the shelves was a pretty massive project. How do you begin? Start with shoo-in products and go from there?

Josh [Lamm, Raleigh Provisions manager] and I started writing down products we loved and knew we wanted to have, vendors we already knew. Then we started growing and subdividing into categories.

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What was one that you knew you wanted to have?

I always knew that I wanted to have Helen Pfann’s bread [from Night Kitchen in Seaboard Station]. She’s incredibly talented and that was one of the things I was most excited about—to be able to take her wonderful bread and plop it in the center of downtown.

What about some vendors or products that were really great discoveries for you?

Amanda [Fisher from The Blackmere Company] is a great example. No one does what she does. No one else makes lemon curd or clotted cream. And discovering Jones von Drehle. They’re an estate vineyard, so every grape they use, they grow. They’re in the Yadkin Valley, which is probably the epicenter of great wine in the state.

When I first walked in, it felt like a cross between a market and a gallery. How did you design the space?

So many of the products, like Slingshot, Big Spoon, and French Broad, I can see that a lot of time and thought and money went into the branding. I’ve always admired that they never went, Oh, this is what peanut butter looks like, so I’ll just make it look like that.

I felt like this place should somehow reflect those products. And to me, the best way to do that is to put them on beautiful display, to show all the thought that went into them. food@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 5.17.17 | 23

indystage

RECYCLE THIS PAPER

Remembering B Baba Chuck Davis

24 | 5.17.17 | INDYweek.com

A LEGENDARY VOICE OF THE AFRICAN DANCE DIASPORA GOES STILL BUT IS NOT SILENT

BY BYRON WOODS

Baba Chuck Davis in 2007 FILE PHOTO BY JEREMY M. LANGE

aba Chuck Davis had a way of standing out in a crowd.

A mountain of a man who stood six feet six inches tall, he had no choice.

But Davis’s stage presence, somehow, was even larger than his frame. Though he was usually soft-spoken, countless audiences that saw his work at the American Dance Festival or performances by his African American Dance Ensemble over the past four decades could attest that his unamplified, booming baritone easily filled venues from Durham’s Carolina Theatre and Reynolds Industries Theater to the Brooklyn Academy of Music, where DanceAfrica, an annual festival he created to showcase the dance and music of the African diaspora, has played yearly since 1977.

Traditionally, Davis began each performance with a literal call to the audience: Ago, the word in the Twi dialect of West Africa for “listen.” The audience would reply in kind with Ame: “I am paying attention.”

It seems uncanny that a voice so robust is now stilled. Davis’s death Sunday morning at age eighty, after a lengthy battle with cancer, closed a dance career that spanned six decades. In that time, the Raleigh native and long-time Durham resident amassed an impressive collection of honors. In 2000, he was listed among the Dance Heritage Coalition’s list of America’s “Irreplaceable Dance Treasures.” A 2004 Dance Magazine Award called him a “mentor to virtually every black dance company in America.” The New York Dance and Performance Awards, aka the Bessies, gave him a lifetime achievement award in 2014, and after at least sixteen main-stage performances over the years, the American Dance Festival dedicated its 2015 season to him.

Though he taught and performed across five continents, his relationship with one— Africa—was the focal point of his creative life. Since the 1970s, he traveled there more than fifty times, immersing himself in the cultures and art forms of Western Africa and bringing them back to teach and stage in the United States.

“He kept constructing these bridges to somewhere else,” says Donna Faye Burchfield, director of the school of dance at Philadelphia’s University of the Arts, who was dean of the American Dance Festival’s

school while Davis taught there. In our culture, where black bodies still constitute a radical presence, Burchfield notes how Davis established his own at the festival, decades earlier, by walking the campus in long, brightly colored African robes, not the typical leotards and tights.

“We had never seen anyone conducting dance under these circumstances,” Burchfield recalls. “When he called the circle we gathered in on Duke’s east lawn a bantaba [a Mandinka term meaning a gathering place], we had to look up the word. It was all extremely radical in 1985.”

Burchfield connects the diasporic longing that theorist and poet Fred Moten writes about in The Undercommons with Davis’s collection and transference of African folkways, idioms, and terminology in North America. As members of the African American Dance Ensemble surrounded ADF students in one ritual performance, Burchfield recalls, “We were at Duke University, but we were simultaneously somewhere else altogether, enacting something from very far away.”

Former AADE dancer Christal Brown, now a professor of dance at Middlebury College in Vermont, says of Davis, “I learned what it meant to be African

“I learned what it meant to be African American because of him.”

American because of him. Growing up, it was theoretical. People came from Africa, bla-di-bla.” But traveling through different countries as the company toured, Brown realized, “Wow—a part of me came from Africa! These people and this information lived! Africans and African Americans are living out their lineage in truth every day.”

Brown always took note of what she calls the liminality of Davis’s work. Deb Royals, artistic director at Justice Theater Project, likewise remembers the last night of a production of The Color Purple, when a performance with Davis turned into something

else. In one scene, on an impulse, Royals told the running crew and technicians to join the actors on stage.

“I said, Let’s all go to the Juke Joint, and the whole thing came alive for us,” she says. “It wasn’t a performance anymore; we were there. And in that moment, we were all learning and reveling and joyful.”

Those qualities are also familiar to those who’ve experienced performances in recent years by the AADE. The insistent polyrhythms of the djembe and talking drums in the live percussion orchestra propel dancers across the stage in impassioned invocations. The movers spin, their arms flung out, scattering energies in all directions. At some moments, they appear to beckon us—at others, the heavens—in exuberant gestures of welcome.

As the viewers become engaged, clapping to the beats and joining in the dance, the traditional divisions between audience and performers melt away, in what dancer/choreographer Stafford Berry calls the holism of African dance.

“The audience and we are in the same space, the same place, the same perfect moment,” Berry says. What he terms the moment of ubuntu, or shared humanity, “allows us to know we are essential to each

other.”

“That’s why Baba Chuck says, I am because you are because we are,” Berry goes on. “It’s a moment in which we know who we are as people in the world.”

Despite undergoing chemotherapy, Davis remained creatively active through the last week of his life. After a stand as a guest choreographer at N.C. State University in March, he’d begun collaborating with Justice Theater Project for its upcoming production of Porgy and Bess.

AADE member Ivy Burch says that Davis had written out and discussed the choreography and production notes for what will likely be his final composition, Mendiani, a celebration work for the ADF’s fortieth anniversary in North Carolina.

Davis was constantly creating, Berry recalls. “In the back of his mind there was that laboratory where he was making more space for people to be able to experience life and dance. He couldn’t turn it off.” Royals notes that after every performance of Black Nativity, Davis would say, “I had another thought, why don’t we ...?”

Though that voice is now silent, his work still speaks, in a universal tongue.

Ago, it says: listen. And we shall. bwoods@indyweek.com

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5.17–5.24 ART

SATURDAY, MAY 20

BARKLEY L. HENDRICKS MEMORIAL

American painting lost a master in April when Barkley L. Hendricks passed away at seventy-two. As The New York Times noted in its obituary, Hendricks became enamored of Old Master portraiture in the sixties but noticed something vexing—the Western canon barely acknowledged black people. He set about rectifying this with majestic, life-size portraits of community members in his native Philadelphia, in representations that are neither mythologized from within nor distorted from without. He and Duke’s Nasher Museum had a close, mutually beneficial relationship: in 2008, Trevor Schoonmaker curated Birth of the Cool, a turning point in Hendricks’s career, which also helped put the young museum on the national map. Hendricks often returned to Durham, whether because of the inclusion of his work in exhibits like Southern Accent or just to see friends. On Saturday, the Nasher is hosting a memorial where music from the John Brown Quartet bookends remarks by Schoonmaker, Duke art professor Richard J. Powell, and others; there will also be a booth where you can record a tribute to Hendricks for a documentary project.

—Brian Howe THE NASHER MUSEUM, DURHAM 2–4 p.m., free, www.nasher.duke.edu

WHAT TO DO

THIS WEEK

26 | 5.17.17 | INDYweek.com

STAGE

FRIDAY, MAY 19–SUNDAY, MAY 21

OAKWOOD LIVES 2017: IMMIGRANTS!

It’s the rare theater company that partners up with a cemetery, but such is the charm of Burning Coal, which stages a yearly production amid the tombstones in Historic Oakwood’s oldest burial ground. The show takes the form of vignettes that imagine and reawaken the lives of those who have taken their eternal rest on-site. In past years, the players have resurrected the famous and notable: N.C. State basketball coach Jim Valvano, author Margaret Mitchell’s first husband, Red Upshaw (the likely model for Rhett Butler), and the Capitol Square peanut man, among them. But this year local playwrights based their works on the timely theme of immigrants, so the actors will be portraying people who came to Raleigh from elsewhere and made their lives and legacies here, like Albert Barden, who emigrated from Kent, England, at the dawn of the twentieth century and became a commercial photographer in Raleigh (his 18,000-plus images now reside in the state archives), and Margaret Bryan, who left Raleigh for Brazil in 1866 and returned years later with her daughters, Mary and Minnie. Parking will be available inside the cemetery. —David Klein HISTORIC OAKWOOD CEMETERY, RALEIGH 6:30 p.m. Fri. & Sat./2 p.m. Sun., $10–$20, www.burningcoal.org

STAGE

TUESDAY, MAY 23–SUNDAY, MAY 28

MATILDA THE MUSICAL

Musical satirist Tim Minchin is right: sometimes you have to be a little bit naughty. The subtle insurgency of the lyrics in his stage adaptation of Roald Dahl’s classic story about a young girl with an imagination (and a reading list) big enough to rewrite her dismal childhood helped make Matilda the Musical “the most satisfying and subversive musical ever to come out of Britain,” according to The New York Times. North Carolina Theatre and Broadway Series South bring the Royal Shakespeare Company production to Raleigh following a record-breaking seven Olivier Awards in London and five Tony Awards during its three-year Broadway run. —Byron Woods RALEIGH MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m. nightly/2 p.m. Sat. & Sun., $26–$105 www.nctheatre.com

STAGE

MAY 20–21 & MAY 27–29

THE SEAGULL

That thumping, off-balance washing-machine sound you hear whenever anyone produces a Chekhov “tragedy”? It’s just the playwright rolling over in his grave. Chekhov always insisted that his works were comedies, ridiculing an insulated Russian upper crust that, despite overwhelming economic, educational, and social privileges, could never find a way to shake its apparently lifelong ennui. Bartlett Theater is to produce British playwright/adaptor Anya Reiss’s fresh take al fresco, on the grounds of a country farmhouse near Eno River State Park.

(Don’t forget your walking shoes.) The production features Adam Kampouris and Moriah Williams as the star-crossed Konstantin and Nina; Jonathan Bohun Brady directs.

—Byron Woods 5612 CABE FORD ROAD, DURHAM 6:30 p.m., $25, www.bartletttheater.org

Barkley L. Hendricks, “Slick (Self-Portrait)” (1977) ©

BARKLEY

L. HENDRICKS, COURTESY OF THE ARTIST/JACK SHAINMAN GALLERY, NEW YORK

Young Bull

PHOTO COURTESY OF THE ARTISTS

MUSIC

FRIDAY, MAY 19

YOUNG BULL

MUSIC

On last fall’s Sopadelic, Durham’s up-and-coming Young Bull delivered a slick, strong debut record that blended hip-hop with relaxed jazz and steamy soul. “Can’t Get You Out of My Head,” is a slouchy, hazy love song, while “Don’t Count on Me” is a cool telloff number—”Don’t ask for a tissue/I don’t really give a fuck about your issues”—that flirts a little with trap. With “Chocolate,” a new single that the band released in late April, Young Bull offered yet another excellent sultry, smoky number driven by a deep, groovy bass line. The trio may indeed be young, but it’s already got the chops and confidence of a much more established act. Catch the band at Kings before it starts packing out much bigger rooms. Durty Dub and Pat Jr. open. —Allison Hussey KINGS, RALEIGH 10:30 p.m., $8–$10, www.kingsraleigh.com

FRIDAY, MAY 19

HAAS KOWERT TICE

In the tradition of Crosby Stills & Nash or Medeski Martin & Wood, Haas Kowert Tice is a power trio with a name culled from the surnames of its members. But unlike Crosby and company or Medeski and his mates, Haas Kowert Tice comprises some of the finest working folk musicians: fiddler Brittany Haas, Punch Brothers bassist Paul Kowert, and acoustic guitarist Jordan Tice. They craft intricate and excellent instrumental tunes, ranging from the bouncy, bluegrassy “Down the Hatch” to the more open-ended and meandering “The Switchback Games.” All three players are masters at their craft, and together they build an even more compelling case for that fact. —Allison Hussey CAT’S CRADLE BACK ROOM, CARRBORO 8 p.m., $15, www.catscradle.com

WHAT ELSE SHOULD I DO?

ARTSPLOSURE IN DOWNTOWN RALEIGH (P. 30), CARMEN AT RALEIGH MEMORIAL AUDITORIUM (P. 34), DAN & IRIS GOTTLIEB AT CRAVEN ALLEN GALLERY (P. 33), ALEXANDRIA MARZANO-LESNEVICH AT THE REGULATOR (P. 36), MOOGFEST IN DOWNTOWN DURHAM (P. 12), PERFUME GENIUS AT CAT’S CRADLE (P. 29), THE SEARCHERS AT THE VARSITY THEATRE (P. 35) INDYweek.com | 5.17.17 | 27

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28 | 5.17.17 | INDYweek.com

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music

5.17 – 5.24

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Zoe Camp (ZC), Annalise Domenighini (AD), Spencer Griffith (SG), David Klein (DK), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS)

WED, MAY 17 BLUE NOTE GRILL: The Herded Cats; 8 p.m. • CAT’S CRADLE: New Found Glory, Trash Boat; 8 p.m., $22–$26. • CAT’S CRADLE (BACK ROOM): The Deer; 8 p.m., $8–$10. • THE CAVE: May Artist Residency: Juan Huevos with Special Guests; 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, Darlingtyn; 8 p.m., $5. • DURHAM PERFORMING ARTS CENTER: The Tenors; 7:30 p.m., $40. • FLETCHER OPERA THEATER: Karl Denson’s Tiny Universe; 8 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IMURJ: The Harmaleighs, Honey Magpie; $7–$10. • IRREGARDLESS: Morgan Creek; 6:30-9:30 p.m. • KOKA BOOTH AMPHITHEATRE: Mint Julep Jazz Band; 5:45 p.m., $5–$20. • LINCOLN THEATRE: Mayday Parade, Knuckle Puck, Milestones; 7:30 p.m.

• NEPTUNES PARLOUR: Jack Wright and Friends; 8:30 p.m., $8. Funk You Up, SPCLGST, Micky Slicks; 10 p.m., free. • NIGHTLIGHT: Sick of Talk, Pay to Cum, Search for Purpose, Oxidant; 8 p.m., $7. • THE PINHOOK: Chris Pureka, John Statz; 8 p.m., $15–$17. • RUBY DELUXE: Goth Night with DJ Play Play; 10 p.m.

THU, MAY 18 Dylan Earl & The Reasons Why TEARS IN Dylan Earl claims Live BEERS At Nice Price Vol. 5—a session of largely unreleased material recorded in January and released on tape tonight—suits “people who don’t know they like country.” Even so, die-hard traditionalists will find plenty to love in his old-school western twang, too. Blue Cactus croons classic country and heart-wrenching honky-tonk duets. —SG [KINGS, $8–$10/9 P.M.]

Local Band Local Beer: Ancient Cities

FRI, MAY 19

PSYCH An exhilarating ROCK psych-rock trio out of Charlotte, Ancient Cities make excellent use of its abiding throwback tendencies, proving equally adept at conjuring the fuzzed-out stomp of 13th Floor Elevators at their most deranged and the insinuating melodicism of Them at their most genially romantic. Gasoline Stove opens.

—TB [POUR HOUSE, $5/9 P.M.]

North Carolina Symphony: Russian Nights

Cory Wells WELL This Charlotte-based ENOUGH singer-songwriter, who has formerly recorded as Subliminal Confession, weds his considerable guitar chops and high-lonesome voice to big melodic songs reminiscent of the grand gestures of seventies arena rock. While somewhat light on lyrical specifics, his catchy tunes provide drama and dynamics to spare. DRISKILL and Anne-Claire open. —EB [CAT’S CRADLE BACK ROOM, $6–$8/8 P.M.] ALSO ON THURSDAY 21C MUSEUM HOTEL: Moogfest; 12:30 am. • 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • ARCANA: Mamis and the Papis; 6-11 p.m., free. • BLUE NOTE GRILL: Roomful of Blues; 8 p.m., $25–$30. Carolina Lightnin’; 7 p.m., free. • THE CAVE: Cinema Novo, Black Wall, The Ghost of Saturday Nite; 9 p.m., $5. • IRREGARDLESS: Cityfolk; 6 p.m. • MILLENNIUM HOTEL DURHAM: International Musicians Summit; 10 p.m., $50–$250.

• MOTORCO: Moogfest; 5:45 p.m.

• NASH STREET TAVERN: The Lovely Rainbow Cabbage; 8 p.m., free.

• THE PINHOOK: Moogfest; 7:30 p.m. • ROOST: Dmitri Resnik; 5-8 p.m., free. • RUBY DELUXE: *Not Cool with SPCLGST & Squad; 10 p.m.

• SLIM’S: Essex Muro, Doug Tuttle; 9 p.m., $5.

NO Shostakovich’s fifth PUPPET symphony is beguiling. Is it the work of a contrite composer attempting to regain Stalin’s favor? A parody of Soviet pomp satirizing totalitarian structures? Or an attempt by the Communist Party to use Shostakovich as an example of a composer succumbing to its demands? Full of sorrow and anger, punctuated by occasional bursts of over-the-top glee, the music offers no firm answers. The North Carolina symphony performs it with Tchaikovsky’s boisterous violin concerto and Rodion Shchedrin’s jazzy but still very Russian Naughty Limericks.

—DR [MEYMANDI CONCERT HALL, $18–$71/8 P.M.]

o13 AMBIENT Dinky (yet pretty) DANCE eight-bit synth chords open o13’s latest song, “let the dark one in.” Awash in echo, the track seems motionless until a funky, rapid bass line pops up alongside a thumping drumbeat.

Synths progressively pile on, sometimes to only textural, not structural or musical effect. o13 occupies a strange space between ambient music and Talking Heads-esque dance-punk. —NR [THE CAVE, $5/11:59 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • BEYÙ CAFFÈ: Eric Hirsh; 7 & 9 p.m. • BLUE NOTE GRILL: Donna Blue Band; 9 p.m., free. Duke Street Dogs; 6-8 p.m., free. • BYNUM FRONT PORCH: Boys from Carolina; 7-9 p.m. • CARRBORO TOWN COMMONS: Freight Train Blues; 6:30-8:30 p.m., free. • CAT’S CRADLE: Perfume Genius, Serpentwithfeet; 8:30 p.m., $17–$19. See box, this page. • CAT’S CRADLE (BACK ROOM): Haas Kowert Tice; 8 p.m., $15. See page 27. • THE

PHOTO BY INEZ AND VINOODH

FRIDAY, MAY 19

PERFUME GENIUS As Perfume Genius, Mike Hadreas largely crafts autobiographical songs based on his experiences as a gay man who’s struggled with bullying, insecurity, and substance abuse. His songwriting became a means for both coping with and processing the significant experiences that he’s survived. With a penchant for whispered, painful lyrics and simple piano-driven instrumentation, Perfume Genius’s first two albums are especially soft, intimate, and melancholic. But overall, the Seattle native’s dark yet comforting music also reminds his many listeners that they’re not alone.

Hadreas has largely recovered from his past addiction and despair, and 2014’s Too Bright marked the beginning of his emergence from the darkness. With a more confident lyrical presence and bolder experiments with instrumentation, the album is accessible even to those for whom the more personal details may not resonate. Take “Queen” for example, a direct, robust-sounding anthem confronting a public fear of gayness (Hadreas’s and in general). With Too Bright, Hadreas began opening up to the possibility of something bigger and brighter.

So it makes sense that that Perfume Genius’s newest release, No Shape, is the mounting crescendo toward which Hadreas has been building. The album merges his deeply personal feelings with

weirdly gratifying sonic exploration, creating a listening experience that feels both slightly disjointed and comfortable.

The details of No Shape vary across the spectrum of sound. While some tracks maintain Hadreas’s delicate piano tendencies, others are lush and full of different sounds, ranging from elegant strings to smooth, jazzy themes to explosive percussion. Hadreas’s creative expansion on No Shape feels boundless, with tracks like “Slip Away” and “Wreath” ringing triumphantly. On the album’s slower second half, “Braid“ and “Alan” gently flow along, the latter a plausible tribute to Hadreas’s long-term partner, who is a frequent collaborator, supporter, and tour mate.

In performance, Hadreas continues to gain confidence, no longer quietly staying behind the piano and instead commanding the stage, albeit with an air of passiveness.

Audiences familiar with Perfume Genius know to expect authenticity and a strong personal conviction, coupled with glam theatrics and moments of unpredictability.

Quiet, loud, or anywhere in between, a Perfume Genius show is intimate and provocative, always inviting listeners to come closer and feel vulnerable, if only for the moment. Serpentwithfeet opens.

—Elizabeth Byrum CAT’S CRADLE, CARRBORO 8:30 p.m., $17–$19, www.catscradle.com INDYweek.com | 5.17.17 | 29

CAVE: Wild Fur, Frederick the Younger; 9 p.m., $5. • DEEP SOUTH: War Twins, Lions and Liars, Xylem; 9 p.m., $10. • GOOGLE FIBER SPACE: Earspace - Season Launch Event; 8 p.m., free. • IMURJ: 11 Echoes; 9 p.m.

• IRREGARDLESS: The Doug Largent Trio; 6:30 p.m. • KINGS: Young Bull, Durty Dub Ft. Samira Gibson, Pat Jr.; 10:30 p.m., $8–$10. See page 27. • LINCOLN THEATRE: Mike Guin’s 50th Birthday Bash; 8 p.m., $10. • LOCAL 506: Reed Turchi and the Kudzu Two, JB Baxter; 9 p.m., $6–$8. • THE MAYWOOD: Jet Black Alley Cat, Tyler Bradford Wright, Stammerings; 8:30 p.m., $8. • MILLENNIUM HOTEL DURHAM: International Musicians Summit; 9:30 p.m., $50–$250. • MOTORCO: Moogfest; 5:45 p.m. • NASH STREET TAVERN: Last Tuesday; 8-11 p.m. • NC MUSEUM OF ART: Onyx Club Boys; 5:30 p.m., free. • NEPTUNES PARLOUR: Telepathy Dance Party; 10 p.m., $5.

• NIGHTLIGHT: Anti-Prom 2017; 8 p.m., $7. • THE PINHOOK: Moogfest; 7:30 p.m. • POUR HOUSE: The Delta Saints, The Antique Hearts; 9 p.m., $10–$12. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • THE PLAZA AT 140 W FRANKLIN ST: Live & Local Music and Arts Series; 6-9 p.m. • THE SHED JAZZ CLUB: Swedish Wood Patrol, Of the Goldmine; 8 p.m.

SAT, MAY 20 Asleep at the Wheel WESTERN Asleep at the Wheel SWING has spent the last four and a half decades keeping the flame of western swing alive.

The group’s blend of country and jazz pays homage to the trailblazing sounds of Bob Wills— in fact, its most recent record, Still the King, is the band’s third Wills tribute—but it wouldn’t still be out there doing its thing without bringing something fresh to the music as well, with singer and guitarist Ray Benson still swinging after all these years. —JA [THE ARTSCENTER, $35/8 P.M.]

Benefit for INTERACT SAFETY Interact formed in DANCE Raleigh 1980 to offer safety and support to victims and survivors of domestic violence, rape, and assault, and its mission remains as vital as ever. Tonight’s benefit for the organization features a roster of up-and-coming Raleigh-centric acts, including singer-songwriter Jason Hoover, indie rock from Waking April and 30 | 5.17.17 | INDYweek.com

LaureNicole, and dark synth-pop

by Niki Nocturne. Prizes, from the Carolina Hurricanes and Panthers and others will be awarded, but your presence is the real gift.

—DK [DEEP SOUTH, $8–$15/7 P.M.]

Samira Gibson GIFTED A gifted soul singer SOUL with star-in-themaking charisma, New Yorkbased Samira Gibson channels the uncanny phrasing of Roberta Flack coupled with the tough-minded high-register delivery of Erykah Badu. While the strength of her slow-burning original material has arguably yet to match the depth of her ability—some of her finest performances to date are stirring interpretations of classic R&B— everything about Gibson suggests a long and fruitful trajectory. —EB [BEYÙ CAFFÈ, $15/7 & 9 P.M.]

Hip-Hop Against Lupus HIP-HOP Lupus is a chronic HELPS autoimmune condition that is still not well understood. Its symptoms manifest in a variety of ways, and it disproportionately affects women of color. For Lupus Awareness Month, a bevy of local hip-hop artists, including Vinnie-Dangerous, Traverse, Bird Nefertiti, Kamus Leonardo, Matt G, and Maestra, have come together for this evening of beats, rhymes, and good vibes, with forty percent of the proceeds going to the North Carolina chapter of the Lupus Foundation of America. —DK [THE SHED, $7/7 P.M.]

Laser Background PEW PEW Laser Background PEW PEW aims to disorient you, but the band also hits a pop music sweet spot. The strange success with which it’s able to weave hooky melodies around the tangled chord progressions of tracks like “Hymnals” calls to mind of Montreal’s early psych-pop records. However, aspects of Laser Background’s psychedelic, effects-laden songs often feel gimmicky. With Brutal Junior.

—NR [RUBY DELUXE, $5/9:30 P.M.]

David Mayfield Parade DARK David Mayfield is a COMEDY charismatic showman whose boundless

energy and sharp humor threaten to overshadow his own strikingly honest songwriting and dexterous instrumental work. Having played with The Avett Brothers, Cadillac Sky, and his sister Jessica Lea, Mayfield’s solo efforts span the roots continuum. Colorado acoustic quintet The Railsplitters heap harmonies onto creative, bluegrass-rooted arrangements.

—SG [THE STATION, $10–$12/7:30 P.M.]

Brad Paisley EVERY Brad Paisley has MAN always been unique in the country realm. A blistering guitarist, a hardy humorist, a killer crooner—he’s all these at once and more. Just as he’s always done, he continues ignoring boundaries on his latest album, Love and War. It finds him rocking out alongside Mick Jagger, getting down with Timbaland, and getting sentimental with old-school country star Bill Anderson. So which Paisley should you expect to see in concert? How about all of them? Dustin Lynch, Chase Bryant, and Lindsay Ell open. —JA [COASTAL CREDIT UNION MUSIC PAVILION AT WALNUT CREEK, $25–$200/7 P.M.]

Saint Pe BEYOND Longtime Black Lips THE LIPS guitarist Saint Pe’s recently released solo debut maintains all of the scuzz-andswoon virtues of his erstwhile band, while adding a few wrinkles to the formula. The swaggering lead single “Kiss It Goodbye” sounds a bit like Street Legal-era Dylan fronting the Spiders From Mars. Paint Fumes open. —TB [LOCAL 506, $8/9 P.M.]

Say Anything, Bayside POP These co-headliners PUNK are bringing their pop-punk attitudes to Carrboro, and they’ll make the nearly thousand-capacity Cat’s Cradle feel like you’re right back to sulking in your parents’ basement.

Blessedly, neither band is resorting to a reunion tour— both have been going concerns since 2000 and released albums last year to moderate reception. Hot Rod Circuit opens. —AD [CAT’S CRADLE, $21/7:30 P.M.]

Tank and the Bangas PHOTO

BY GUS BENNETT PHOTOGRAPHY

FRIDAY, MAY 19–SATURDAY, MAY 20

ARTSPLOSURE

Where Moogfest is the hip new kid in town, Artsplosure is the ever-reliable standby, a worthy and accessible free alternative that’s now in its thirty-eighth year.

Artsplosure has seemed to do more with less by streamlining its music to a single stage of top-notch acts, where the schedule runs from blues to hip-hop and psych rock to flamenco.

Friday night highlights homegrown talent: The ebullient Phil Cook & The Guitarheels headline with joyful, gospelinfused Americana, preceded by Lacy Jags’s fuzzy, paisley-printed psychedelia and Rise Rashid’s heady hip-hop. Other area acts dotting the weekend’s docket include Ed Stephenson & the Paco Band’s Spanish and flamenco tunes, The Harris Brothers’ Appalachian strings, and Enloe Jazz Big Band on Saturday along with The Fountain Singers’ traditional gospel and Violet Bell’s enchanting folk on Sunday.

Fresh off February’s Grammy win, longtime Stax artist and author of blues staple “Born Under a Bad Sign” William Bell headlines Saturday night, with a set ushered in by the infectious energy of the eclectic High & Mighty Brass Band and rootsy Canadian singer-songwriter Dave Gunning. Earlier that afternoon, charismatic New Orleans outfit Tank & The Bangas—recent winners of NPR’s Tiny Desk contest thanks to its offbeat blend of spoken word, hip-hop, and funk—is chased by gritty soul from The Commonheart and the swampy rock ’n’ roll of The Seratones. The slate of rising stars is

particularly admirable given Artsplosure’s relatively small budget, while its diversity reflects the festival’s audience—a conscious effort to “book to reflect the community we see,” according to marketing director Cameron Laws.

Dominating City Plaza all weekend, Katena—a massive inflatable luminarium inspired both by Hindu temples and the catenary curves of the Sagrada Familia—is the crown jewel of Artsplosure’s nonmusic programming. Similar to Architects of Air’s luminaria at previous festivals, Katena is the largest of its kind and makes spectacular use of light and color. With a $6 entry fee, festival organizers hope to make the unique experience available to as many residents as possible. “Our goal in doing so is to bring world-class art experiences—typically only available to residents of major urban areas—right here to Raleigh,” says executive director Michael Lowder of the expensive undertaking.

Raleigh’s free R-LINE bus becomes a mobile stage circulating downtown on Saturday afternoon, offering music, comedy, performance art, and poetry.

Kidsplosure offers plenty of crafty activities between sets of storytelling from Mr. Erik, puppetry by Jeghetto, jazz from Enloe and Southeast Raleigh High Schools, and more. Find street performers and over 180 artisans scattered along Fayetteville Street as well.—Spencer Griffith DOWNTOWN RALEIGH Free, various times, www.artsplosure.org

Schoolkids Records Label Launch Party MORE Now that Schoolkids RECORDS has a store in each point of the Triangle, it’s only natural that the venerable music retailer makes a foray into the record-label business. Tonight’s show features two of Schoolkids Records’ first signings: the Raleigh/Chapel Hill-based shoegaze pioneers The Veldt, formed by the brothers Chavis in 1986, and Happy Abandon, purveyors of sincere chamber indie, who formed two years ago.

Openers Those Manic Seas are known for the kind of audience involvement that the Back Room’s intimacy fosters. —DK [CAT’S CRADLE BACK ROOM, $10/9 P.M.] ALSO ON SATURDAY AMERICAN TOBACCO CAMPUS: Moogfest; noon. • BLUE NOTE GRILL: The Backbeat; 8 p.m., $8. • IMURJ: Kooley High, Defacto Thezpian; 8 p.m., $10–$15.

• IRREGARDLESS: Paul Bomar Trio; 6-8:30 p.m. Gregg Gelb Jazz Quintet ft. Kathy Montgomery; 9 p.m. • LINCOLN THEATRE: Better Off Dead, Moon Water; 8:30 p.m., $10. • THE MAYWOOD: Kiff, The Gray, Horseskull; 8:30 p.m., $8. • MEYMANDI CONCERT HALL: Russian Nights: North Carolina Symphony Classical Series; 8 p.m. • MILLENNIUM HOTEL DURHAM: International Musicians Summit; 9:30 a.m.-6 p.m., $50–$250.

• MOTORCO: Moogfest; 6:15 p.m. • NASH STREET TAVERN: Poor Pie; 8-11 p.m., free. • NIGHTLIGHT: T.O.U.C.H. Samadhi; 9 p.m., $10. • THE PINHOOK: Moogfest; 7:30 p.m.

• POUR HOUSE: Porch 40, The Company Stores, The Pinkerton Raid; 9 p.m., $5. • THE RITZ: Famous Dex; 9 p.m. • THE STATION: Jazz Saturdays; 2 p.m., free.

SUN, MAY 21 Aye Nako QUEER “Kill Switch,” PUNK “Worms,” and “White Noise,” were a few of the song names on Aye Nako’s debut album from 2015, expressing teen/post-teen angst like punk songs do. But, as Aye Nako proclaims on the opening track of its second effort, Silver Haze, “We’re Different Now.” They’re still making aggressive, uncouth punk music, but with far more focus, self-awareness, and a new level of idiosyncratic energy. —NR [THE PINHOOK, $8–$10/8 P.M.]

Damien Escobar JAZZ A child prodigy who VIOLIN graduated Julliard at age thirteen, Damien Escobar boasts an extraordinary biography and a popularity that occasionally threatens to obscure the true depth of his ability. As the seemingly unlikely beneficiary of a deep run on America’s Got Talent, the virtuoso violinist first met mainstream America in 2008.

Early fame aside, Escobar’s boundary-pushing hybrid of hip-hop, jazz, and classical has never sounded anything like comfort food. —TB [FLETCHER OPERA THEATER, $47–$178/8 P.M.]

Sahba Sizdahkhani DRUMS & Iranian musician THRUMS Sahba Sizdahkhan may have gotten his start as a freejazz-inspired drummer, but these days he spends most of his time exploring the sonic potentials of the sandur. His spacious, layered improvisations dwell in the instrument’s nasal buzz. And once he sketches out an especially appealing harmonic cloud, he turns to his drum kit to add spare yet effective beats as a countermelody. It’s an interesting, engrossing approach. With Sijal Nasralla’s Dunums. —DR [NEPTUNES PARLOUR, $8–$10/8 P.M.]

Triangle Brass and Youth Bands: Music from Harry Potter and Star Wars WIZARD One day, John GALAXIES Williams was awoken by a droid delivering a letter down his chimney, inviting him to study the Force at Hogwarts. On his way in the Millennium Falcon Express, he was picked on by a mouth-breathing boy with a surprisingly deep voice and a black mask. Little did he know that the musical fanfares that encounter inspired would one day make him world-famous—or did it have something to do with Bringing Balance to the Force/ wizarding world? —DR [KOKA BOOTH AMPHITHEATRE, FREE-$22/5 P.M.] ALSO ON SUNDAY AMERICAN TOBACCO CAMPUS: Moogfest; noon. • BLUE NOTE GRILL: Rock the Cure; 3-8 p.m., $10 donation. • CAROLINA MEADOWS: Tony Williamson and Friends, North Carolina Youth

Tap Ensemble; 6:30-8:30 p.m., $15.

• CAT’S CRADLE (BACK ROOM): Way Down Wanderers; 8 p.m., $11–$13. • THE CAVE: Kittens Slay Dragons, Juliana Finch; 9 p.m., $5. • DEEP SOUTH: Deal Casino, Dollys, Canadian Airports, Zen Marino; 8 p.m., $6–$8. • IRREGARDLESS: Zach Wiley; 6-9 p.m. • NIGHTLIGHT: Moogfest Hangover, Unsanctioned Day Party; 2 p.m., free. • POUR HOUSE: The Mike Dillon Band, Joy On Fire, Zephryanthes; 9 p.m., $10. • RUBY DELUXE: ~Mystery DJ~; 8 p.m. • ST. PAUL’S LUTHERAN CHURCH: Triangle Jewish Chorale Concert; 3 p.m., donation. • THE STATION: Garmonbozia; 7 p.m., free. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

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ALSO ON MONDAY NEPTUNES PARLOUR: Drugstore Ghost, Animal Weapon, UVB-76; 10 p.m., $5. • POUR HOUSE: Roxy Roca, The Groove Orient; 9 p.m. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

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SA 5/20 THE BACKBEAT

MON, MAY 22 STONER “If Danzig and Black HORROR Sabbath had a child of darkness, it would be Beastmaker.” So claims Trevor Church, the mastermind of this Fresno, California, doom trio, which puts a turbo-charged spin on stoner metal. The band coalesced from Church’s longtime love of horror films, so it comes as little surprise that its primary subjects skew sinister (burned sacrifies, calls to sin). But don’t worry, there won’t be any buckets of blood lurking up in the rafters.

We can’t promise the same when it comes to weed smoke. —ZC [MOTORCO, $12–$15/8 P.M.]

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TUE, MAY 23 A Place to Bury Strangers NOISE A Place to Bury ROCK Strangers didn’t invent shoegaze-inspired noise rock, but the band damn well perfected it. The New York City quartet, which has toured with the likes of Nine Inch Nails and the Black Rebel Motorcycle Club, is often cited among the first acts to flood the streets of the Big Apple with feedback-laden fury, post-millennium, marrying the accessible and the atonal. In the ensuing years, A Place to Bury Strangers has grown slightly tamer; 2015’s Transfixiation was designed to draw crowds rather than outright deafen them. Still, it’s probably best to bring your earplugs. Locals Wailin Storms, Maple Stave, and Lacy Jags open.

—ZC [LOCAL 506, $12/8 P.M.]

Dead Man Winter

Tkay Maidza

TOUGH Dave Simonett put TURTLE Trampled By Turtles on hiatus to address separation from his wife and kids on Furnace—the singer-songwriter and guitarist’s second album as Dead Man Winter. There, Simonett marries bright melodies to intense, intimate confessions and expands his palette with lush textures, while tempering his string band’s often raucous approach. War Machine opens.

—SG [CAT’S CRADLE BACK ROOM, $17–$20/8 P.M.]

EMPOW- Singing in a smooth, ER POP attitude-inflected voice (at times reminiscent of M.I.A) or rapping rapidly, Australian artist Tkay Maidza alternates between the two modes to achieve the same purpose: songs with themes of self-empowerment and contempt for haters. Despite working within a pretty conventional musical framework, Tkay Maidza’s lyrics are weird as hell, featuring lines like, “They all want some/this may be communism but I tell you/this is mine” and “Now they jamming to my jingles like they’re on an ice rink” (from “Carry On”). With DJ PlayPlay. —NR [NEPTUNES PARLOUR, $10–$12/10 P.M.]

Head for the Hills STRING Colorado quartet THEORY Head for the Hills is equally at home at a bluegrass festival and SXSW. In fact, the members take a perverse pride in the indescribability of their musical genre. The main touchstone is surely bluegrass, but the skilled players have found a way for jazz, hip-hop, and indie to make their way in. With The Turkey Buzzards.

—DK [POUR HOUSE, $8–$10/9 P.M.]

George Thorogood BLUES Though he’s ROCK generally dismissed for his jock-rock reinterpretations of legends like Bo Diddley and Hank Williams, but an argument can be made that the sixty-sevenyear-old George Thorogood has done as much as any living artist to bring early blues and country

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and western music to the wasteland masses camped out on classic rock radio. Damon Fowler opens. —TB [CAROLINA THEATRE, $55–$250/8 P.M.] ALSO ON TUESDAY CAT’S CRADLE: Tigers Jaw, Saintseneca And Smidley; 8 p.m., $16–$18. • THE CAVE: Pope Paul & The Illegals, The New Hillbillies; 9 p.m., $5. • IRREGARDLESS: Cole Koffi; 6:30-9:30 p.m. • RUBY DELUXE: Experimental Tuesday: Ravish Momin; 11 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20.

WED, MAY 24 The Chainsmokers POP EDM Bearing a name that elicits an immediate desire is rare, but somehow against all odds the Chainsmokers have managed to do just that, whether the action is inspired by disgust or by joy. Either, in this case, are both accepted and understood. The duo that brought you several songs you’ve definitely heard even if you don’t recognize

the name, bring whatever it is they do to PNC Arena. With Gryffin and Emily Warren. —AD [PNC ARENA, $37–$77/7P.M.]

Tobin Sprout VOICES The often unspoken CARRY X-factor in vintage Guided By Voices vintage years, Tobin Sprout is an extraordinary singer and songwriter who has spent lengthy portions of the past three decades playing an agreeable second fiddle to the notoriously disagreeable Robert Pollard. Freed of that responsibility, Sprout has turned out terrific solo material that tends towards the rough-and-ready approach of early GBV, with rich melodies frequently locked in a mortal struggle with White Light/White Heat fuzz. Elf Power opens. —EB [CAT’S CRADLE BACK ROOM, $13–$15/8:30 P.M.]

ALSO ON WEDNESDAY BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • THE CAVE: May Artist Residency: Juan Huevos with Special Guests; 9 p.m., $5. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The Holland Bros.; 6:30-9:30 p.m. • KOKA BOOTH AMPHITHEATRE: Peter Lamb and the Wolves; 5:45 p.m., $5. • LOCAL 506: Lincoln Durham, Will Varley; 9 p.m., $10–$12. • NEPTUNES PARLOUR: Hotline, Chiffon, Real Dad; 10 p.m., $5. • POUR HOUSE: Bad Hombres, Kevin Maines & The Volts; 9 p.m., $7–$10. • RUBY DELUXE: Saving Space Showcase; 9 p.m.

art

5.17 – 5.24 ART

OPENING

SATURDAY, MAY 20

DAN & IRIS GOTTLIEB

Artsplosure: The Raleigh Arts Festival: Lineup of visual and performing arts. May 19-21. Fayetteville Street, Raleigh. See p. TK.

They say the apple doesn’t fall far from the tree. This pair of exhibits by a father and daughter is concerned with ensuring that future generations have enough natural world left to recognize the meaning of the cliché.

Dan Gottlieb—the NCMA director of planning and design who helmed the Museum Park renovation— combines photography and painting in American Landscapes in 4/3 Time, referring both to his camera and to a jazzy time signature he perceives in nature’s improvisations, which he renders as cunning abstractions of light and shape. Meanwhile, upstairs, the Oakland-based illustrator Iris Gottlieb shows work related to her new book, Natural Attraction, which explores the relationships between animals and people through quirky watercolors and text. Iris’s exhibit is supplemented by Personal Work, in which she probes “having mental illnesses, my queerness, and ways to visually explore intimate and vulnerable experiences.” After this opening reception, the exhibit runs through July 1. —Brian Howe

Cedar Creek Gallery National Teapot Show X: May 19-Sep 5. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

EARTHworks: Paintings by Chris Graebner and Jude Lobe, pottery by Garry Childs. May 22-27. Hillsborough Gallery of Arts.

SPECIAL Eye Scapes: EVENT Photography by Eric Raddatz. May 19-Jul 9.

Reception: May 19, 6-9 p.m.

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

Forecasts and Other Disturbances: Mixed media screenprints and cut paper by Julie Anne Greenberg. May 19-Jul 7. Durham Arts Council. www.durhamarts.org.

Julie Anne Greenberg: Paintings. May 19-Jul 7.

Durham Arts Council. www. durhamarts.org.

SPECIAL The Music Makers/ EVENT Tidal Visions: Exhibit by member artists

CRAVEN ALLEN GALLERY, DURHAM 5–7 p.m., free www.cravenallengallery.com

“Bowerbird” by Iris Gottlieb PHOTO COURTESY OF CRAVEN ALLEN GALLERY

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inspired by Art of Cool and Moogfest/Fused glass art about the coastal environment by member artist Teddy Devereux. Reception: Friday, May 19, 6-9 p.m. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

SPECIAL New Paintings and EVENT Assemblages: Celebrating 50 Years of Art Making: Gerry Lynch. May 21-Jul 1. Reception: Sunday, May 21, 2-5 p.m. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com Our House: DAC student and instructor Eehibition. May 19-Jul 7. Durham Arts Council. www.durhamarts.org.

Abstract Vision: Paintings by Sam Ezell. Thru Jun 15. Whitted Building, Hillsborough.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery.

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

Artspace 30th Anniversary Artist Retrospective: Juried exhibition. Thru Jun 3. Artspace, Raleigh. www. artspacenc.org.

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

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

ONGOING

Chapel Hill Woodturners: Wood sculpture exhibit and craft sale. Thru May 31. Horace Williams House, Chapel Hill. www.chapelhillpreservation. com.

Cultural Fabric: Quilts and portraits by Keith Allen and Alan Dehmer. Thru Jun 4.

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

LAST The Darkroom: CHANCE 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.

LAST Durham Public CHANCE Schools Student Art Show: Thru May 25.

Northgate Mall, Durham. www. northgatemall.com.

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

Glory of Venice: Renaissance

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

Half the Sky: Sculptures by JanRu Wan. Thru Jun 1. Sertoma Arts Center, Raleigh. parks. raleighnc.gov.

LAST Images of Sound: CHANCE 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, the problem for much longer. But it took the water crisis in Flint, Michigan, to wake the nation to the idea that marginalized INDYweek.com | 5.17.17 | 33

communities are subjected to inferior 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 by Torkwase Dyson, a Duke visiting artist, and Danielle Purifoy, an attorney/ environmental scientist, that explores this phenomenon in depth through interviews with residents of rural, historically black Southern counties that have been victimized by insidious institutional neglect.

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

—David Klein Just Flowers: Paintings by Sam Ezell. Thru Jun 15. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

SPECIAL King of the EVENT Cockroaches Closing Reception: Performance art by Bill Santen, Becky Brown Rachel Goodwin, Martha Clippinger, Jess Willa Wheaton, Daniel Lichtman.

Music by Charles Latham and Ben Riseling. Friday, May 19, 6-9 p.m. Guest Room Project Space, Carrboro.

LAST Locomotion: The CHANCE 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 A Moment in Time: EVENT Paintings by Angela Nesbit and Sharon Bass. Thru Jun 17. Reception: Thursday, 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 34 | 5.17.17 | INDYweek.com

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 mixedmedia 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.

May’s Emerging Artist: Meredith Bridges: Sculptures.

Thru May 31. The ArtsCenter, Carrboro. www.artscenterlive. org. big, small, and sometimes medium: Paintings by Nico Amortegui. Thru May 31. The ArtsCenter, Carrboro. www. artscenterlive.org.

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

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

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. 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. 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. www. chapelhillpubliclibrary.org.

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

food

Txakolifest: Black Twig Cider House, Mattie B’s Public House and The Rickhouse partner to celebrate Basque country’s white wines and Durham’s food. Funds donated into an immigrant legal defense fund. $75-$100.

Sun, May 21, noon-4 p.m. The Rickhouse, Durham. www. txakolifest.com.

stage STAGE THURSDAY, MAY 18–SUNDAY, MAY 21

CARMEN Artistic director Robert Weiss’s initial take on Carmen helped put Carolina Ballet on the map. The Washington Post praised its “near-symphonic clarity of structure” in a 2000 review, concluding that Weiss was “a world-class choreographer who is making story ballets worth watching.” But, in 2011, Weiss cut half an hour from the work, radically recalibrating it from its Raleigh Memorial Auditorium premiere for the smaller Fletcher Opera Theater. In doing so, he produced a more intimate and focused view of the title character’s unruly passions. Weiss’s challenge now is to retain the intimacy of that take when he returns the work to its larger original stage. —Byron Woods RALEIGH MEMORIAL AUDITORIUM, RALEIGH 8 p.m. nightly/2 p.m. Sat. & Sun., $30–$89, www.carolinaballet.com

OPENING

Club, Raleigh. www. goodnightscomedy.com.

Carmen: Carolina Ballet and the Chamber Orchestra of the Triangle. May 18-21. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com.

See box, this page.

The Chuckle & Chortle Comedy Show: Local standup. $7. Third Saturdays, 8:30 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Finding Neverland: Musical.

May 23-28. Durham Performing Arts Center, Durham. www.dpacnc.com.

Steve Lemme & Kevin Heffernan: Stand-up comedy.

May 18-20. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Locals at the Local: Comedy

by Ryan Higgins and Eric Trundy with Maddie Weiner, Dejahzh Hedrick, Alex Garretson, and Jeremy Alder. $5-$7. Thu, May 18, 9 p.m.

Local 506, Chapel Hill. www. local506.com.

Matilda: Musical. $25.

May 23-28. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com.

See p. 26.

Paperhand Puppet Intervention: Sat, May 20, 3 p.m. Cary Arts Center, Cary. www.townofcary.org.

The Seagull: Play. $25. May 20-29. Bartlett Theater, Durham. www.BartlettTheater. org. See p. 26.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy

The Dangling Loafer: $5. Third Fridays, 8 p.m. Kings, Raleigh. www.kingsraleigh.com.

Funny Business Live: Pro comedy series. $5-8. Third Fridays, 9 p.m. The Thrill at Hector’s, Chapel Hill.www. funnybusinesslive.com.

The Harry Show: Ages 18+.

Improv host leads audience in potentially risque improv games. $10. Fri & Sat, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx.com.

Hot Comedy with Brian Burns: Presented by No Poetry Comedy. Sat, May 20, 8 p.m.

The Cave Tavern, Chapel Hill. www..caverntavern.com.

LAST Hunchback: $12.

CHANCE Thru May 20.

Walltown Children’s Theatre, Durham. www. walltownchildrenstheatre.org.

LAST  A Piece CHANCE of My Heart: As many as 55,000 women were involved in the Vietnam War in civilian and noncivilian capacities. Keith Walker interviewed twentysix of them for his 1985 bestseller, A Piece of My Heart, and Shirley Lauro condensed them into six composite characters in this stage adaptation. The panorama of

experiences on view belies the narrow wartime roles available to women in the sixties. Lauro emphasizes their naiveté as they contemplate service and the harsh realities they face.

Director Mia Self has forged a strong ensemble, clearly following the women’s story lines as they are placed in extremes. In the second act, Lauro chronicles the women’s struggles to find normalcy when their wartime experiences follow them back home. Thru May 21.

Raleigh Little Theatre. raleighlittletheatre.org. —Byron Woods RuPaul’s Drag Race Viewing and Open Amateur Drag Stage: Fridays, 8 p.m.

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

Straight White Men: $15-$18.

Thru May 28, 8 p.m. Sonorous Road Theatre, Raleigh. www. sonorousroad.com.

A Series of Fortunate Events: Theater showcase featuring artists with disabilities. Mon, May 22, 7 p.m. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

Transactors Improv For Families: $6-$10.

Sat, May 20, 6 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

screen SCREEN

THURSDAY, MAY 18

THE SEARCHERS Nope, not the iconic John Ford western—but a gun is central in this documentary, fourteen years in the making, by awardwinning Durham filmmaker and Center for Documentary Studies teacher Randolph Benson. It’s the bolt-action Mannlicher-Carcano rifle that several of the film’s subjects say Lee Harvey Oswald had neither the marksmanship skills nor the time to fire three times on 11/22/63. From Executive Action and The Parallax View through JFK, Ruby, and Jackie, the Kennedy assassination has been the object of so much filmic obsession that even its conspiracy theorists merit features—and maybe, in our falseflag-laden world, they deserve to be called pioneers. Most have been saddled with the dreaded “wacko” epithet for their zeal and unyielding insistence on speaking truth to power, even though serious questions do remain about still-unreleased government documents pertaining to the assassination. Prepare to meet forensic pathologist Cyril Wecht, Zapruder film wonk Josiah “Tink” Thompson, Warren Report foe Mark Lane, and others who have steadfastly maintained that JFK’s death on that sun-struck day in Dallas resulted from a far-reaching Gordian knot of a plot in which Oswald was, as he put it one day before being gunned down, “a patsy.” —David Klein

VARSITY THEATRE, CHAPEL HILL 7 p.m., $5, www.varsityonfranklin.com

SPECIAL SHOWINGS AV Geeks: O is for Obedience: A series of school films. $5.

Tue, May 23, 8 p.m. Kings, Raleigh. kingsraleigh.com.

The General: Free Planet Radio: Music and movie. Fri, May 19, 7-10:30 p.m. The Cary Theater, Cary.

Most Likely To Succeed: $10.

Wed, May 24, 6:30 p.m.

Silverspot Cinema, Chapel Hill. www.silverspot.net.

Periodic Tables: RAREFIED: Documentary. $5. Tue, May 23, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic. com.

of Chapel Hill Unitarian Universalist. $12. Tue, May 23, 7:30 p.m. Varsity Theatre, Chapel Hill. www. varsityonfranklin.com.

OP E NI NG

Alien: Covenant—Director Ridley Scott returns with the second in a series, following Prometheus, of prequels to his seminal sci-fi horror franchise. Rated R. Diary of a Wimpy Kid: The Long Haul—A wimpy kid convices his family to take a road trip for his grandma’s birthday with the secret plan of going to a video game convention. Rated PG.

The Spiiiiiiice: Free. Thu, May 18, 8:30 p.m. Deep South the Bar, Raleigh. www.

DeepSouthTheBar.com.

Everything, Everything— Amandla Stenberg and Nick Robinson star in the latest YA-novel-adapted romance.

Rated PG-13.

This Changes Everything: Hosted by the ECO Committee of the Community Church

Norman—Richard Gere plays a New York hustler whose friend becomes the prime

minister of Israel. Rated R.

AL S O P L AY I N 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. 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

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

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page

REVIEW KING ARTHUR: LEGEND OF THE SWORD HHH Now playing

In the would-be franchise starter King Arthur: Legend of the Sword, director Guy Ritchie gets medieval on our collective asses by twisting Arthurian legend into a British caper film. Hunky Charlie Hunnam is our hero, Jude Law is the baddie, and the future Knights of the Round Table are portrayed as a gang of streetwise fixers from the mean streets of Londinium circa 573. Critics are slamming the movie PHOTO COURTESY OF WARNER BROS. PICTURES as a ridiculous attempt to transpose august mythology onto a laddish action picture. They’re not wrong, but they’re mad for the wrong reasons. The ridiculousness is the fun part. Legend of the Sword is chock-full of signature Guy Ritchie maneuvers—frantic montages, switchback time signatures, tough-guy dialogue—and it’s a kick to see Arthurian legend so gleefully abused. The effect is similar to watching radically updated Shakespeare. What’s the problem?

Besides, as a visual stylist, Ritchie is genetically incapable of being boring. The film’s opening sequence will flip ya for real, as black-magic siege engines and colossal war elephants stomp Camelot. The mystical elements are creative and convincing, and the script provides some intriguing speculation about how that sword got stuck in that stone. Spanish actress Àstrid Bergès-Frisbey is just this side of hypnotic as a persecuted sorceress, and Arthur’s motley crew functions as the medieval equivalent of a heist gang, complete with nicknames like Flatnose Mike and Goosefat Bill.

The key is to embrace Ritchie’s goofball riffing and try to ignore the more egregious flourishes, like Jude Law’s designer jackets. Tune in to the film’s anachronistic wavelength and Legend of the Sword works just fine. —Glenn McDonald

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

36 | 5.17.17 | INDYweek.com

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.  King Arthur: Legend of the Sword—Reviewed on this page. 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 and simple characterizations. Rated PG-13.

READINGS & SIGNINGS Renée Ahdieh: Flame in the Mist. Wed, May 24, 7-8 p.m.

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

Ricky Garni: OGOEGO. Thu, May 18, 6-8 p.m. FRANK Gallery, Chapel Hill. www. frankisart.com.

Kelly Lenox: The Brightest Rock: Poems. Thu, May 18, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Zelda Lockhart: The Soul of

PAGE

the Full-Length Manuscript.

Wed, May 24, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

quailridgebooks.com. — Sat, May 20, 11 a.m.-noon.

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

Tony Reevy, Maria Rouphail: Socorro. Tue, May 23, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

LECTURES ETC.

Diane Rehm: On My Own. A conversation with Frank Stasio. Tue, May 23, 7 p.m.

Meredith College: Jones Chapel, Raleigh. www. meredith.edu.

Curryblossom Conversations: Sacrificial Poets host an open mic event music, poetry, or anything in between. Third Thursdays, 6-8 p.m. Vimala’s Curryblossom Cafe, Chapel Hill. www.curryblossom.com.

Scott Turow: Testimony.

Fri, May 19, 7 p.m. Quail Ridge Books, Raleigh. www.

SATURDAY, MAY 20

ALEXANDRIA MARZANO-LESNEVICH: THE FACT OF A BODY: A MURDER AND A MEMOIR In her new book, The Fact of a Body: A Murder and a Memoir, Alexandria Marzano-Lesnevich strikes a “shrewd and graceful” balance between “autobiography and journalism, documentary and imagination, witnessing and reckoning, the tender and terrible.” This is from one who knows a thing or two about those balancing acts in creative nonfiction, the formidable Argonauts author Maggie Nelson. Before she took a summer job at a Louisiana law firm, Marzano-Lesnevich was certain in her stance against the death penalty. But her sympathies start to blur as she delves deeper into the case of convicted murderer Ricky Langley—a delving that also winds up leading her into the dark heart of her own family past. The Fact of a Body complicates standard pieties about forgiveness and the criminal justice system. If you were primed for a good reading this week but didn’t get tickets to Diane Rehm’s appearance at Meredith College before it sold out, don’t miss this. —Brian Howe THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

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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.

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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

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indy classifieds

INDYweek.com | 5.17.17 | 37

EEK ★ I

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★★★★★★★

HIGHLIGHT! ★★★★★★★

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Who: Partners for Youth Opportunity

What:

This unique model empowers Durham youth, helping them to achieve educational and vocational potential. Students who qualify (they receive free or reduced lunch, are first generation immigrants or have had family members incarcerated) enroll as early as 8th grade and many remain in the program through sophomore year of

college. Students receive academic support, workforce development, financial literacy and savings, employment, community-based mentoring, service learning/cultural arts and leadership development.

Give:

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

2016

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

pyopportunity.z2systems.com/np/clients/pyopportunity/donation.jsp

Bolinwood Condominiums Affordability without compromise

Convenient to UNC on N bus line 2 & 3 bedroom condominiums for lease

www.bolinwoodcondos.com • 919-942-7806

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 male with Moderate Intellectual Disability and Down’s syndrome in Raleigh. Monday-Friday from 8:00am6:00pm and occasional weekends. Transportation needed to and from community based activities and the Day Program in Cary (2 days a week). Behavioral experience preferred. Call and ask for Rebecca.

Adult male with Autism in Raleigh. Monday through Friday from 7:30am-6pm and occasional weekends.

Transportation needed to and from community based activities and the Day Program in Cary (3 days week).

Experience with Autism preferred. Call and ask for Michele.

For a list of other open positions please go to:

www.pathwaysforpeople.org

38 | 5.17.17 | INDYweek.com

EMAIL SARAH FOR ADS CLASSY AT INDYWEEK DOT COM Book your ad • CALL Sarah at 919-286-6642 • EMAIL

claSSy@indyweek.com

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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.

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30/10/2005

30/10/2005

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INDYweek.com | 5.17.17 | 39

the indy’s guide to triangle dining

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