INDY Week 6.08.16

raleigh 6|8|16

Does S.E. Raleigh Need a New Homeless Center? p. 10 Raleigh Raw Loves Its Brand. We Love Its Food, p. 14 The Next Generation of House Shows, p. 23 Japanese Archery … in Apex? p. 26

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If you’re looking for an escape from the everyday routine, bring your partner or spouse, and head to Orange County. It’s the perfect place to relax, unwind, and be yourself, with plenty of cafes, bars, boutiques, festivals, and outdoor activities for all. Visit our website for a schedule of upcoming events and trip ideas.

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 33, NO. 23

7 Both the House and Senate want to cut millions of dollars from programs that help poor people pay their heating bills.

10 Southeast Raleigh residents want the city to move a new homeless center somewhere else.

12 After the legislature changed the definition of “lowperforming school,” the number of low-performing schools rose from 348 to 581.

14 The kitchen of Raleigh Raw makes miracles of coconuts.

20 Hardcore, hip-hop, and a dip into a honky-tonk: five local records worth a spin.

Center Eighty pages, four hundred categories, and six hundred thousand votes equal the best Best of the Triangle ever (according to us).

26 “This isn’t an archery range. It’s more of a temple.”

28 Facebook meets Planet Earth in the dance theater premiere Feature Presentation.

29 Little Green Pig and Bare Theatre seek sustainability through new patronage models.

45 American Aquarium meets Willie Nelson’s Trigger.

DEPARTMENTS 7 Triangulator 10 News 14 Food 20 Music Center Best of the Triangle

Ben Greene, founder of The Farmery in RTP, stands inside a CropBox, a greenhouse-like structure used to grow ingredients for the restaurant. PHOTO BY BEN MCKEOWN

26 Arts & Culture 30 What to Do This Week 33 Music Calendar 39 Arts/Film Calendar 45 Soft Return

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backtalk

READY TO CHANGE YOUR LIFE? START NOW!

From the Mouths of Babes

MINDFUL YOGA FOR CANCER

We begin with wisdom from a middle schooler. “My name is Lucy Farrell, and I have lived in North Carolina my whole life. That’s thirteen years. I read your article and I have been learning about House Bill 2, and now I am embarrassed that I live in North Carolina. It is ridiculous that this is happening! … Let’s talk about bathrooms. It should be easy to use the bathroom. It is a necessity. Everyone needs to. We all know that. Yet North Carolina found a way to make using the bathroom a struggle.”

If the law doesn’t change, Lucy writes, “when I turn eighteen, I am out of North Carolina.”

Don’t let intolerance win, Lucy: this state needs people like you.

Ron Garrett of Morrisville responds to our story about the state ramping up its school voucher program: “I think a religious school should absolutely be allowed to set hiring, admissions and personal conduct policies in keeping with their teachings,” he writes. “A religious school should be free to teach doctrines I find objectionable, ridiculous, heretical, immoral, and hateful. But not with my tax dollars. … State money funding religion, if not outright unconstitutional, is just unwise. It makes me a party to the inculcation of teachings I know are false and dangerous. I object strongly, and so should we all.”

Commenter McCleary sees sexism in our endorsement of Michael Morgan over Sabra Faires for the N.C. Supreme Court (the results of that contest weren’t released until after we went to press): “Shorter INDY endorsement: ‘Nice work on the lawsuit that made this all possible, little lady. But now is the time to step aside and let the menfolk get down to the hard work of judging.’”

Finally, a correction: last week’s endorsements package noted that Americans for Prosperity was actively opposing U.S. Representative Renee Ellmers, though we incorrectly reported why: AFP spokesman Adam Nicholson says the Koch-backed group opposes Ellmers because of her support for “special interest handouts and wasteful spending,” not her immigration policies.

Sir Walter Raleigh looks on as a man carries a bike up the stairs of the Raleigh Convention Center, one day prior to the Ironman 70.3 Raleigh triathlon. PHOTO BY BEN MCKEOWN

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

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triangulator

+BUDGET BUSTING The Senate passed its $22.2 billion budget shortly after midnight Friday, on a 26–13 party-line vote.

There are some good things in it—but also some truly terrible ideas. Below, we’ve highlighted some key provisions to watch as the General Assembly begins the process of reconciling the Senate’s budget with the one the House passed last month—good, bad, and ugly alike.

THE GOOD

TEACHER PAY: Both budgets raise teacher pay (it is an election year, you know), albeit in different ways. The House gives teachers raises of up to 5 percent, while the Senate gives teachers annual raises during their first fifteen years in an effort to raise average teacher pay to about $54,000 per year, just below the national average. North Carolina currently ranks forty-first in the country in teacher pay. At the very least, there’s finally some recognition that that’s not OK. LIGHT RAIL FUNDING CAP: Both budgets also eliminate the $500,000 cap on state funding for the light-rail project between Durham and Chapel Hill, a provision secretly tucked into last year’s budget. But there’s a hitch. The Senate version limits the state’s contribution to any commuter or light rail project at 10 percent of the total project cost. The problem: current plans call for the state to fund one quarter of the light rail line, so the Senate’s budget once again imperils the project.

HBCU TUITION: Earlier this year, Senator Tom Apodaca proposed cutting tuition at five different UNC system schools, including three historically black colleges and universities—Elizabeth City State, Winston-Salem State, and Fayetteville State—to $500 a semester. Which sounds great.

But, of course, it would also starve these schools of funds.

Apodaca theorizes that they could recoup the loss through increased state funding. Again, that great, except “I’ve never had such a hard sounds that there’s no guartime trying to give away antee the state will actually fund these seventy million dollars.” schools adequately, —Senator Tom Apodaca especially considering the legislature debated closing Elizabeth City State in 2014. With good reason, critics, including HBCU students and African-American lawmakers, saw Apodaca’s plan as a way to undermine HBCUs, perhaps even to eventually eliminate them altogether. After considerable protest, the Buncombe County senator dropped the three HBCUs from this provision of the final Senate budget.

THE BAD

LOW-INCOME ENERGY ASSISTANCE: Both budgets cut $5.7 million for programs that help low-income people afford energy costs, including $2.15 million each from the LowIncome Energy Assistance Program and the Crisis Intervention Program. LIEAP provides a one-time payment to help eligible households pay their heating bills, while the CIP provides up to $600 each year to assist in a “heating or cooling-related emergency.” According to the N.C. Department of Health and Human Services, LIEAP helped more than 141,000 households pay their heating bills from December 2014 to March 2015.

JORDAN LAKE: “Nah, we’re good.”

SolarBees failed to —Apodaca, in response do anything to clean to Durham senator Floyd up the nutrient-polluted Jordan Lake, McKissick’s motion for a but the Senate has vote to send some voucher another trick up its sleeve—anything to money to public schools. avoid actually cleaning up a reservoir that provides drinking water to three hundred thousand people in Wake and Chatham counties. A provision in the Senate budget earmarks $500,000 to study whether freshwater mussels can clean up polluted water bodies like Jordan Lake and another $500,000 to study other in-lake strategies to control pollution, ignoring the fact that these kinds of approaches generally don’t work.

Yet another provision blocks implementation of the badly needed Jordan Lake rules through 2019.

AND THAT’S NOT ALL: The Senate also wants to repeal requirements for vegetative riparian buffers along state waterways—including the Neuse, Tar-Pamlico and Catawba rivers—in December 2019, even if no alternative is in place.

Buffers, scientists say, are the most cost-effective means of controlling polluted runoff. For lawmakers, it seems, clean water isn’t as high a priority as fealty to development interests.

EDUCATION: When adjusted for inflation, per-student funding in the UNC system still lags behind its pre-recession rate. It’s not going to get any better this year. The cuts made to higher education over the last couple of years won’t

be restored, and, as N.C. Budget & Tax Center analyst Cedric Johnson notes, the Senate’s budget also cuts $26.2 million from community colleges. Meanwhile, the Senate wants to cut the Department of Public Instruction’s budget by $2 million, which could most directly hit the DPI’s somewhat successful school-turnaround program. As former General Assembly education policy analyst Kris Nordstrom points out, this “is the only office that isn’t statutorily required, so they would likely take the brunt of the Senate cuts, if they become law.”

In addition, the Senate incorporated into its budget a plan to drastically boost the school’s voucher program over the next ten years, bumping funding until it reaches $144.8 million in 2027. According to Nordstrom’s calculations, the plan will cost the state more than $170 million over the next five years alone—and in the process the state will often be routing taxpayer dollars to religious schools that openly discriminate against LGBTQ students.

THE UGLY

WRIGHT SCHOOL: The Senate is once again attempting to close Wright School, a program for kids in need of intensive mental health treatment in Durham that House Appropriations Committee chairman Nelson Dollar, R-Cary, once called “one of the most impressive treatment programs operated anywhere in the state.” After the Senate unveiled its bud“Senate budget cuts Wright get last week, Dollar told North Carolina School again. What is this, Health News that the 3rd? 4th year in a row?”— Senate was “holding North Carolina Health those children and those families hosNews, via Twitter tage in a budget process.” The implication is that the Wright School is being used as a bargaining chip in reconciliation talks. Which is about as ugly as politics gets. triangulator@indyweek.com This week’s report by Paul Blest and Jane Porter.

INDYweek.com | 6.1.16 | 7

Durham Academy congratulates the Class of 2016

“DA isn’t simply about attending a great college — it’s about pushing limits, testing boundaries, being innovators — finding the thing we love to do.”

— K i r a n N a g a r, C l a s s o f 2 0 1 6

Members of the Class of 2016 will attend the following institutions: • • • • • • • • • • • • • • • • •

Barnard College Boston College Brown University Clemson University College of Charleston Colorado College Columbia University Cornell University Dartmouth College Davidson College Denison University Duke University Emerson College Emory University Furman University George Mason University Georgetown University

• • • • • • • • • • • • • • • • •

Gettysburg College Hampden-Sydney College North Carolina State University Northeastern University Northwestern University Oberlin College Pomona College Princeton University Savannah College of Art & Design Sewanee: The University of the South Smith College Spelman College Stanford University Syracuse University Tulane University University of Alabama University of California, Santa Barbara

• • • • • • • • • • • • • • • •

University of Chicago University of Colorado, Boulder University of Maryland, College Park University of Miami University of North Carolina at Chapel Hill University of North Carolina at Charlotte University of North Carolina at Wilmington University of Pennsylvania University of Sussex University of Virginia University of Washington University of Wisconsin, Madison Wake Forest University Washington University in St. Louis Williams College Yale University

An independent, coeducational day school, serving students from pre-kindergarten through grade 12.

A d m i s s i o n s : 9 1 9 - 4 9 3 - 5 7 8 7 • L e a r n m o r e a b o u t o u r g r a d u a t e s a t w w w. d a . o r g / g r a d u a t i o n 8 | 6.8.16 | INDYweek.com

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INDYweek.com | 6.8.16 | 9

indynews

Gimme Shelter

DOES SOUTHEAST RALEIGH NEED ANOTHER HOMELESS FACILITY?

BY JANE PORTER

On Sunday morning, dozens of people lined up against the brick wall outside Raleigh’s Oak City Outreach Center, waiting for a lunch of beans, rice, bread, and fruit.

Inside, dozens more sat at communal tables, enjoying companionship and food offered to them on weekends, when the city’s homeless shelters are closed.

The city has come a long way from the fateful morning in August 2013, when police officers threatened to arrest local pastors serving biscuits and coffee to homeless people in Moore Square. City officials had decided to start enforcing a fifteen-year-old ordinance prohibiting the distribution of food without

a permit. The message was clear: the city had a shiny new vision for Moore Square, and the homeless weren’t part of it.

Following the subsequent outcry, the situation quickly improved. Raleigh and Wake County convened a task force charged with producing a plan to end homelessness in the county. Its work appears to be bearing fruit.

According to point-in-time counts, Raleigh’s homeless population has declined significantly, from 1,170 people in 2014, to 904 in 2015, to 818 in January.

And the Oak City Outreach Center, run

by Catholic Charities of the Diocese of Raleigh, opened in June 2014. Over the last

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two years, it has served thousands of meals to the less fortunate.

“The Oak City Outreach Center has been a great resource as the initial [and] temporary solution to address hunger and homelessness in our community,” says Shana Overdorf, executive director of the Raleigh-Wake Partnership to End and Prevent Homelessness.

But as Raleigh prepares to renovate Moore Square, the center’s time in the city-owned warehouse on South Person Street could soon draw to a close.

In a joint effort, the city and Wake County are planning to open a $5 million services center for Raleigh’s homeless, a key component of the Raleigh-Wake Partnership’s strategy. While a building hasn’t yet been secured, the county has evaluated the property adjacent to the South Wilmington Street men’s shelter “as a site for a multi-services center and potentially a shelter for homeless women.” The one-level brick building and the four acres it sits on, owned by a realty company in Virginia Beach, are worth about $751,000, according to county records.

The new facility, envisioned as the first place people turn to for resources when they find themselves homeless, will take in three hundred people per weekday. It will include a large multipurpose room for weekend food distribution, plus storage and kitchen space.

And it will provide restrooms, showers, a laundry facility, a garden, small classrooms, computers, phones, and vending machines for the public to use.

Essentially, Overdorf says, this new facility will follow the same model as the Oak City Outreach Center.

Nothing’s final yet—Overdorf says officials are negotiating with the property owner— but that hasn’t stopped southeast Raleigh residents from voicing concerns about the impact another homeless services center will have on the largely residential neighborhood that surrounds it, not to mention the southern gateway to downtown, an area slated for redevelopment by the city. They also doubt that the prospective site is big enough for the

services the county has proposed, or that the city and county have clear goals about what they want to achieve with the center.

“There were multiple sites evaluated and no explanation given as to why this site was selected, and it seemed to be in conflict with other city plans in terms of economic development in that area,” Will Marks, vice chairman of the Central Citizens Advisory Committee, said at a CAC meeting Monday night.

“The plan, when you really look at it, is not going to benefit the people it’s supposed to serve,” added CAC chairwoman Lonette Williams. “It’s just to say we did something, so y’all shut up.”

Residents say homeless men from the shelter already loiter during the day and use Chavis Park—which is slated for a $12.5 million revamp—as a public restroom. They also say homeless people break into abandoned houses. They’re worried about their own safety, the safety of students at the nearby Shaw and St. Augustine’s universities, and the safety of the women who will use the proposed women’s shelter, since it will be so close to the men’s shelter.

“People feel unsafe now because there are all these strange men hanging around, and they have nothing to do,” says Williams.

“There are people all over the place when the shelter closes, wandering the neighborhoods, hiding their belongings in people’s yards. You’re going to create another Moore Square at Chavis if you create a site attracting all these homeless people.”

While the homeless are often stigmatized, a 2014 study from the University of Pennsylvania found that chronically homeless people do “tend to have high rates of criminal justice involvement.” And though their crimes may be largely nuisance offenses like panhandling, the study found that most chronically homeless people have serious mental illnesses, substance abuse disorders, and other disabilities.

Williams suggests using a city- or county-owned property on Capital Boulevard for the new center, perhaps an abandoned hotel

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GLAD The Oak City Outreach Center PHOTO BY BEN MCKEOWN about four miles north of downtown. Homeless services, she points out, already exist on Capital: the Wake Salvation Army is there, as is the Helen Wright women’s shelter and the nonprofit Urban Ministries. The Greyhound bus station moved out to Capital two years ago, providing access to transportation. Most important, there are fewer residential neighborhoods and more businesses where the homeless could potentially find work.

But there’s a problem: Williams says Wake County housing program manager Annemarie Maiorano told her a site on Capital would cost too much. (Maiorano did not respond to messages by press time).

“The county and city need to truly invest in the homeless population and in people in need in a meaningful way, and not just sticking them here to try to keep them out of Moore Square,” Williams says.

Overdorf, however, argues that the Wilmington Street site makes sense because of its proximity to downtown. A condition of the new site, set by the task force back in 2013, was that it would be located within two miles

of the downtown transit station, which could be difficult to achieve on Capital. “We would not want this beautiful new building to be in a location that’s not accessible to the people who need to use the services it will offer,” Overdorf says.

Frank Lawrence, the supervisor of the South Wilmington Street men’s shelter, said at the CAC meeting that people who want to stay there now have to earn their beds by undergoing employment training and applying for jobs. The shelter also offers programs to keep the men engaged during the day, and those programs have helped them find permanent housing, he told CAC members.

“We don’t want our men being a nuisance and doing things that are not representative of good citizenship in the community,” Lawrence said. “We want to help with that.”

The proposal goes back before the CAC in July, where it will be a hard sell. But in the end, if the city and county move forward with the center, the residents will be unable to stop them. l jporter@indyweek.com

Study

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news

False Promises

TENNESSEE TURNED OVER POOR-PERFORMING SCHOOLS TO CHARTER COMPANIES. THEY DIDN’T IMPROVE. SO WHY IS NORTH CAROLINA FOLLOWING ITS LEAD? BY PAUL BLEST In recent years, cities such as Detroit and New Orleans, as well as the state of Tennessee, have moved toward replacing some public schools with privately run charters. Last Thursday, the North Carolina House took the first steps in that direction—even though critics say there’s considerable evidence that these plans haven’t worked elsewhere and won’t work here, either.

House Bill 1080 cleared the House on a 60–49 vote, with three Democrats voting yes and a dozen Republicans voting no. The bill would place five low-achieving elementary schools in what’s called an Achievement School District. The superintendent of the

ASD, appointed by the State Board of Education, would then recommend a school-district operator to the board. This operator could be either nonprofit or for-profit; it just can’t be the Department of Public Instruction. Teachers at these schools would then have to reapply to get their jobs back.

Marcus Brandon, a former House member who’s now the executive director of the pro-reform group CarolinaCAN, says he supports HB 1080 because “there’s around six hundred [underperforming] schools. There’s no way DPI can help all of these schools.”

(Last year’s budget loosened the definition of a “low-performing school,” boosting the total

to 581 from 348.)

Reformers argue that ASDs can be a particular boon to African-American students.

Brandon and Representative Cecil Brockman, one of three Democrats to vote yes, point out that African-Americans are suffering the most in the current system.

“The status quo means two-thirds of people who look like me are failing,” says Brockman. “If that was happening to white kids, we would do everything we could to help them.”

Something needs to be done, they say.

The theory underpinning the reform movement is that charter operators can run schools more effectively and with greater flexibility than the government—for example, they can fire bad teachers more easily than can traditional schools.

But not everyone is on board. Kris Nordstrom, a former education policy analyst for the General Assembly, said in a letter to legislators last week that the bill “expands opportunities for corruption” and has “inadequate program evaluation.”

“Even under the best conditions, there is no evidence that ASDs work,” Nordstrom wrote. “[HB 1080] falls short of providing the best conditions.”

Nordstrom’s case rests with North Carolina’s western neighbor. In 2012, Tennessee started an ASD program using federal Race to the Top funds. “The goal was to move schools from the bottom five percent to the top twenty-five percent,” says Gary Rubinstein, a math teacher and education blogger.

“They actually used the word ‘catapult.’ Now, five of the six original schools are in the bottom two and a half percent, and the other one that was supposed to break the twenty-fivepercent barrier in four years is in the bottom sixth percentile.”

Brandon brushes off Rubinstein’s numbers. Schools in the Tennessee ASD “have

seen double-digit gains in math and science,” he says. (Rubinstein counters that those annual gains were “wiped out” the following year.)

Diane Ravitch, a former assistant secretary of education under President George H.W. Bush, says the success of charters is illusory. They merely look attractive, she says, because “the so-called high-performing charter schools choose their students carefully. What never works is for charter operators to take over a neighborhood school and turn it around.”

In this case, she says, doing nothing would be better than enacting HB 1080.

“Doing nothing is not good, but doing something that’s guaranteed to fail is worse,” she says. “It’s like if someone holds a knife to your back and says, ‘Walk the plank,’ staying where you are is a better idea, because at least then you’re still alive.”

Nordstrom says HB 1080 is worse than Tenessee’s law in at least one way: Tennessee budgeted almost $50 million over four years for its ASD schools; HB 1080 provides no additional funding, implying that lawmakers think public schools will magically improve if turned into charters.

This faith in charters seems especially perplexing when you consider that North Carolina already has a successful turnaround model. According to a DPI report, the District and School Transformation program has brought 83 percent of the schools it worked with between 2010 and 2014 out of the bottom 5 percent of North Carolina schools.

Despite that success, the budget the Senate passed last week calls for a $2.19 million cut to the DPI. Nordstrom says this turnaround program would “likely take the brunt of the Senate cuts,” as it isn’t required by law. l pblest@indyweek.com

“The status quo means two-thirds of people who look like me are failing.”

12 | 6.8.16 | INDYweek.com

MARKS of GENIUS 100 EXTRAORDINARY DRAWINGS FROM THE MINNEAPOLIS INSTITUTE OF ART

Through June 19, 2016

DURHAM’S NEWEST MUSEUM Vince and Ethel Simonetti Historic Tuba Collection • • •

1825 CHAPEL HILL RD. DURHAM, NC 27707 OPEN 2-5 TUESDAYS AND THURSDAYS OR BY APPOINTMENT SIMONETTITUBACOLLECTION.COM 919-599-3791

Ticketed with American Impressionist: Childe Hassam and the Isles of Shoals ncartmuseum.org or (919) 715-5923

2110 Blue Ridge Road, Raleigh Mequitta Ahuja, Tress IV, 2008, waxy chalk on paper, 96 1/2 × 45 in., Minneapolis Institute of Art, © 2008 Mequitta Ahuja, reproduced with permission of the artist Marks of Genius is organized by the Minneapolis Institute of Art. The exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

INDYweek.com | 6.8.16 | 13

indyfood

RALEIGH RAW

7 W. Hargett St., Raleigh www.raleighraw.com

Well Done

RALEIGH RAW IS VERY SERIOUS ABOUT ITS IMAGE. WE ARE VERY SERIOUS ABOUT ITS FOOD.

BY GRAYSON HAVER CURRIN

I’d been perched on a stool alongside prompted in large part by his father’s the alabaster bar of Raleigh Raw for own physical ailments. The tale douless than thirty minutes when my nightbles as inspiration and pitch. mare suddenly morphed into reality.

Nearly a decade of research inspired Since my arrival, the man one seat Fouad’s line of excellent juices with over had been quietly reading a new tellingly whimsical titles, like the lowbiography of the inventor Elon Musk sugar, highly green 9th Wonder or the while sipping from one of the narrow tantalizingly sour-and-spicy Salt N restaurant’s premade bottles of coldPepa. Those concoctions now have pressed juice. It may have been the cara permanent home near the front of rot-and-pineapple-based Quest Love, Raleigh Raw, in a large glass cooler or perhaps the creamy cashew-andopposite dual registers—themselves date dream, The Cash Bah. telling signs that, like its neighbors and At any of the dozens of nearby bars contemporaries at Happy + Hale, this that line Fayetteville Street or the aims to be much more than a juice bar. perpendicular capillaries that bisect Less than three months after openit, people were no doubt relaxing or ing, Raleigh Raw already boasts a surlaughing over after-work cocktails or prisingly wide menu, from matcha craft beers—happy hour, if that was tea-based drinks and “crack coffee” legal here. But MiniMusk and I simply that diffuses oil and butter through a sat in silence, him with his juice and hot black brew to a full slate of breakme with a wonderfully subtle smoothie fast and lunch options. Almost withof blueberries and bee pollen. We pasout exception, the place executes on sively nodded along to Outkast playevery front. ing from overhead and looked up to Order up: Jake Wood, Raleigh Raw’s executive chef, stands behind his goods.

Led by chef Jake Wood, the kitchen PHOTO BY BEN MCKEOWN inspect the occasional customer askmakes miracles of coconuts. Sit in the ing something like, “So, what is matcha, shotgun space long enough, and you’ll anyway?” hear loud thwacks pass through the swinging door. That’s the mugs sport the faces of David Bowie and Pharrell Williams or, Finally, though, MiniMusk put down his book, picked up a sound of the staff cracking open the hulls of young Thai cocoif that’s not inspiring enough, more cris de cœur about hustles glowing black tablet, tapped the screen several times, and then nuts and bottling the liquid that rushes out. The fresh cocoand struggles and answering your email. An art installation by leaned toward me to ask for the all-powerful coffee shop sigil. nut water—sold in that wide refrigerator alongside bottles of Justin Yang shows Winnie the Pooh clutching a PBR, and Ron “Hey, man,” he said, “what’s the password?” alkaline, reverse osmosis, and fluoride-free water—is buttery Swanson cast in a series of Warhol-like frames.

I’d laughed the first time I’d heard the code myself and and addictive.

The logo—a blossom stretching and opening skyward—is as secretly hoped I’d never have to say it aloud. But, well, here we It’s what Raleigh Raw does with the meat inside that ubiquitous as an invasive species, from the paper sleeves that were. I felt myself recoil, and, at last, I replied, “It’s ‘Fuel the counts most, though: In the coconut ceviche, cubic shreds of wrap every cup (and sport the wireless password) to baseball hustle,’” unconsciously pitch-shifting the last syllable of the the pulp marinate in a mixture of lime, spices, herbs, and vegcaps and T-shirts displayed in multiple locations. And sharpTED Talk-meets-Tumblr motivational motto until it curled etables, the saturated white strips shining like raw fish. The ly designed signs, made in Instagram-ready squares, tell you upward, like a question. My neighbor said thanks and, preflavor is brilliant and bright and briny, conjuring the fantasy about good fats and bad fats, the perks of eating local, and the sumably, logged on. that you are indeed enjoying ceviche in some seaside town. It power of consuming pollen. Not raw at all, the space is absoRaleigh Raw is housed in a diminutive former office space, is a vegetarian coup on par with the nearby Fiction Kitchen’s lutely curated, that word’s every connotation in tow. so small and utilitarian that the webs of painted pipes that serEastern-style barbecue.

But the image isn’t merely a façade. Raleigh Raw is the vice the rest of the building are fixtures as prominent as the furThe kitchen goes the other way with its “coconut bacon,” brick-and-mortar debut of a long-running local juice companiture itself. The aesthetic suggests a meticulously maintained dehydrating slivers of flesh in a mix of spices, tamari, and ny from young entrepreneurs Sherif Fouad and Leslie Woods. social media feed. Air plants dot shelves that appear to have liquid smoke until the fruit actually takes on the sweet, salty They have sold their wares for years via branded vending been 3-D printed from a Kinfolk kit. Bamboo stalks poke from properties of maple-cured bacon bits. The uncanny alchemy machines and at-home delivery service. And for Fouad, it’s vases, and the staff rotates colorful cups of flowers and stems of both dishes suggests that Raleigh Raw’s abiding reputation the concrete culmination of a personal quest to understand between the counter and tables throughout the day. Coffee as a juice emporium is but temporary. how our diet affects our health and causes diseases, a voyage 14 | 6.8.16 | INDYweek.com

T:4.875”

indyfood vegetables for dipping—another two-dollar expense, this time for cross sections of cucumber and sticks of celery and carrot.

Raleigh Raw isn’t cheap, especially in a context where most of the menu is to-go and most of the food is prepackaged. The juices are nine dollars, a buzz-inducing “matcha lemonade” four. That’s acceptable, at least when you feel like you’re paying for a risk to be taken, or subsidizing the cost of an uncommon experience. Raleigh Raw satisfies that criterion, at least until a plastic pail of bland, pale hummus and a few celery sticks comes to ten dollars with tip.

I suppose it makes sense for Raleigh Raw’s least impressive dish to be its least audacious. The hummus is just what you orderwhen you don’t know what else to get. In listening to the staff gush when answering questions about the menu, or in watching the owners flit about, brows furrowed in concentration, their ardor for the entire enterprise—that is, for thriving at the unlikely intersection of hippie and hipster—is obvious. Micromanaged image notwithstanding, it’s a contagious sort of energy.

Or maybe that’s just the crack coffee and matcha latte talking. Hey, you gotta fuel the hustle. l gcurrin@indyweek.com

he kitchen Sit in the and you’ll That’s the Thai coco- TAKE A TXOTX A DOUBLE PLAY esh coco- This will be a busy weekend for Mattie Beason, In Pittsboro, Fair Game— bottles of who closed his Durham standby Six Plates earlier the spirits-and-wine maker that’s quickly become is buttery this year only to reopen the same space as Black one the region’s most distinctive new producers—

FOOD TO GO: THE TRIANGLE’S BEST FOOD EVENTS

Twig Cider House months later. On Saturday,

side that June 11, Beason will lead the first of three shreds of tasting tours through the four major regions of s, and veg- the new restaurant’s beverage of choice. The fish. The forty-five-minute, twenty-dollar classes include he fantasy a concluding “txotx”—an amusing custom in which an effervescent shot of cider shoots de town. It from a barrel. And on Sunday, Beason takes Kitchen’s Txakolifest, one of Six Plates’ annual traditions, to the Rickhouse in Durham. The Urban Ministries

ut bacon,” fundraiser includes a lot of food from the likes mari, and of Juju and Pizzeria Toro and, of course, the weet, salty titular txakoli. Tickets for the four-hour party run y alchemy $75–$100. eputation www.blacktwigciderhouse.com

celebrates its second birthday with the release of a brilliant new product, its Amber Rum. Sparkling with a mix of spice and sweetness, the barrelaged rum is a solo dream, where each sip offers a complex dance on the palate. You can try it by itself here, though Tony Cross will also be serving it up in tiki-style cocktails. There will be DJs and food, tours and demos at the free party, which runs from two until six p.m. on Saturday, June 11.

www.fairgamebeverage.com

STILL HAPPENING

And don’t forget: Triangle Restaurant Week—your chance to have full meals at some of the Triangle’s best spots for relative bargains—runs through Sunday, June 12. www.trirestaurantweek.com

T:10”

No, Raleigh Raw’s ambition isn’t secret, and its best dishes are uniformly the most aggressive. The seaweed salad soaked in beet juice (pardon, the “Rock Steady”) winks with hints of sugar and vinegar, unexpectedly emboldening the sushi bar favorite. The same goes for its take on “poke,” an en vogue deconstruction of a sushi roll endemic to Hawaii. Tuna, salmon, or golden beet sashiis father’s mi sits atop a flavored bed of rice. It’s a filltale dou- ing and fast lunch; laced with the mild heat of spiced cashew-based mayonnaise, it can h inspired even feel like an early-afternoon indulgence. ices with Raleigh Raw takes on breakfast, too, and e the low- not only with coffee and juice. The “chia der or the pudding” is a generous ladle of chia seeds, y Salt N dredged in almond milk and maple syrup and now have covered with slick slices of fruit. It’s like a e front of cold oatmeal superfood. The creamy, crafty ss cooler “Khaleesi Bowl” is made with dragon fruit emselves and named for Game of Thrones, because hbors and a dozen pop culture puns deserve another, Hale, this right? Still, the radiant puree of purple and juice bar. pink—capped with the yellow of pollen and fter open- the green of kiwi and the white of dragon asts a sur- fruit chunks—looks as rich as it tastes. m matcha The errors, really, are minimal but illumik coffee” nating. The sriracha hummus, the menu’s through a most middle-of-the-road concession, tastes of break- even more uninspired than it sounds, all the ost with- potency of the peppers subsumed by overly ecutes on dense chickpea paste. And if you want to take the six-dollar chance, you’ll need some

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5/19/16 11:31 AM

food

THE FARMERY

800 Park Office Drive, Durham www.thefarmery.com

Content Farm

IN RESEARCH TRIANGLE PARK, ONE ENTREPRENEUR WANTS TO ELIMINATE THE GAP BETWEEN FARM AND TABLE––AND THE COSTS TO GET THERE

BY SAYAKA MATSUOKA

As a kid, Ben Greene hated farming.

He remembers long, hot summer days spent on his parents’ farm in a small mountain community in western North Carolina, pulling weeds or picking green beans. His dad, a landscaper and Southern Baptist preacher who grew crops and kept cattle, was the force behind the farm.

Greene didn’t mind the toil so much. He actually enjoyed working with his hands and spent time fixing cars and “tinkering with things,” as he puts it. He went on to become a combat engineer in Iraq. Rather, the fruitlessness of his family’s operation irked him.

“My parents had an organic farm, but the economics never panned out,” says Greene, now thirty-three. “The farm was never that successful. It gave me a very real perception of farm life.”

That lack of productivity and profit inspired Greene to create what he hopes is a better system for farming and food. His innova-

Harvested here: The Farmery in RTP PHOTO BY BEN MCKEOWN

Love Your Heart Cook-Off

On REX On Call 3 chefs… 3 recipes… ONE winner!

16 | 6.8.16 | INDYweek.com

tive “farm-at-table” mobile kitchen, The Farmery, serves meals made from locally grown food— so local, in fact, that most comes from a “CropBox,” a regionally produced shipping container converted into a greenhouse, beside The Farmery’s Airstream kitchen.

The Farmery opened in January in front of The Frontier, a large, collaborative space in Research Triangle Park. The businesses are a perfect pair, as The Farmery’s mission aligns with The Frontier’s own quest for innovation and “respect for RTP’s environmental roots.” It’s the first public restaurant within RTP’s borders, and, though it pays rent as a park tenant, Greene emphasizes that the relationship is symbiotic.

“They approached us,” he says.

Indeed, on a recent and unseasonably cool weekday afternoon, a small line already lingered outside the Airstream a full hour before the lunch rush. Inside, three employees bustled around

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EAT THIS the shiny, bullet-like space, busily preparing salads, melts, wraps, and bowls.

Astroturf covered the ground in front of the kitchen, while flower boxes in bloom decorated the perimeter. To the left of the Airstream, a twenty-foot-long CropBox appeared ready to burst from inside with plants and herbs. Sheets of peat moss mixed with latex and covered in felt—a “peat moss sponge,” Greene called it—draped the container’s exterior, with peppermint and other greens sprouting from its seams.

Inside, rows of blue and red LEDs cast a near-magenta glow on the walls. The air was thick with moisture. Rows of kale and arugula spanned the length of the room on either side of a walkway, just wide enough for one person. It was like navigating between a crowded array of bunk beds, with pillows and sheets replaced by little seedlings and streams.

Back outside, regulars and new recruits awaited lunch. Nick Brown works at an RTP consulting firm. After ordering the “pig, shrooms, goat flatbread,” he explained that he has been coming to The Farmery for several weeks. He discovered it while looking for a nearby grocery store. Like Brown, most of the day’s patrons worked within RTP. Though a few picnic tables surround the Airstream, the morning’s damp weather sent them back to their nearby offices or to The Frontier’s communal area, food in tow.

Esther Thompson’s employer, the Army Research Office, had recently moved into The Frontier building. The consistent recommendations of coworkers, and the convenience, finally sent her to The Farmery for the first time.

“The setup is inviting,” she explained. “It makes people want to see what’s going on.”

Emily Zhang had just finished a free yoga class inside The Frontier when she approached the trailer. She frequently gets the “superfood bowl,” a colorful assortment of greens, tabbouleh, sweet potatoes, beets, and noodles.

At $10.25, such bowls are the menu’s most expensive items, meaning the food at The Farmery is harvested-that-morning fresh and rather cheap. Greene also designed it, unlike his parents’ farm, to be financially sustainable. The concept of The Farmery helps make the food affordable while generating enough profit to pay his employees about twelve dollars per hour. This model

lacks the third-party distributor relationships that can boost prices and lead to lost inventory, Greene says. The makeshift greenhouses use the same amount of energy as a walk-in cooler.

“This means that it costs the same amount of money to grow food as it does to refrigerate it,” he explains.

The idea for The Farmery emerged as Greene was finishing his master’s degree in industrial design at N.C. State. The program encouraged him to solve a social problem in an industry not known for integrative design. Bouncing off his childhood experience, Greene picked agriculture with the hope of adding more value to produce by serving it on site—at once, the premise and promise of The Farmery.

“The stuff we use in the menu is harvested just a few hours before we serve it,” says Greene. “We try to harvest every day, and nothing is more than two days old.”

Aside from the idea itself, the CropBoxes are the key. Greene found a similar contraption—essentially a robotic shipping container that grew lettuce—in Israel in 2008. But the design was too expensive and prompted Greene to “dumb things down a bit,” he admits. Williamson Greenhouses in nearby Clinton builds this version, and Greene thinks The Farmery is the only business to incorporate the CropBoxes into an active cafe.

In addition to the CropBox that sits beside the RTP Airstream, Greene maintains a larger version near Raleigh’s Angus Barn, where he harvests even more produce. And he has a mushroom-growing room near a local Harley-Davidson dealership. While he admits The Farmery can seem a little disconnected now, he plans to expand the current setup within the next several months by adding as many as four big shipping containers and a new greenhouse-based eating area. And though people can only buy completed meals for now, he hopes The Farmery will soon sell produce on-site, too.

His idea is open for expansion.

“This is a continuation of the local food movement. I want to make farm-to-table more approachable; I want to make it more mainstream,” says Greene, standing near his Airsteam. “I want people to feel more connected to their food.” l Twitter: @whatsaysaid

PIEDMONT

401 Foster St., Durham www.piedmontrestaurant.com

Bold Gold

WITHOUT APOLOGY TO AUNTIE ANNE, PIEDMONT RECASTS THE HUMBLE PRETZEL

BY GRAYSON HAVER CURRIN

Pretzels and cheese, revisited PHOTO BY ALEX BOERNER For Greg Gettles, pretzels elicit playful reminiscences. He recalls sitting around with his sisters, puffing at the end of pretzel sticks as though the kids were power brokers enjoying a cigar, or sharing a bowl of classic twists with his dad while watching Jurassic Park on the couch.

But standing in the kitchen of Piedmont, the revitalized Durham restaurant where Gettles has served as the executive chef for the last year, he confesses that his restaurant’s pretzels—the most popular item on the place’s mischievous new bar snacks menu— don’t much resemble those nostalgic totems.

Instead, with their thin shield of butter and salt gleaming in the small room’s bright lights, they look more like chicken nuggets, fish bites, or even swollen, sweet pastries— perfectly tanned brown rectangular cubes, edges slightly rounded and occasionally broken by a fold.

“I originally wanted to do tiny, nice pretzels, but here’s the thing: I’m not very good at it,” says Gettles, laughing. “And then we thought about cutting them into sticks, but I thought that looked stupid, too.”

To taste them, though, is to be content with the shape. The thin skin is just firm enough to require a little push to the bite. The interior is so succulent and hot that it offers the illusion that the pretzels are still being baked.

It’s sweet and salty, simple and indulgent. Dip it in the dream-like fondue made by combin-

ing a reduction of Mother Earth Brewing’s Weeping Willow Wit with milk, intoxicatingly spicy mustard from Asheville’s Lusty Monk, and a rotating lot of local cheeses, and you’ll soon think you’ve gone to a football game of gourmands or dipped into one of the area’s newfangled luxury theaters.

Yet the process for Piedmont’s pretzels is admittedly ordinary. Julio Castro Perez, a senior line cook, arrives at eight each morning to begin the day’s preparation, and blending a batch of dough sits near the top of his to-do list. It rises in the refrigerator for five hours, or until the initially modest bolus pushes against the plastic, pulled tightly against the rim of the wide stainless steel bowl. They cut the dough into chunks, blanch them briefly in boiling water laced with baking soda for that firm exterior, and then let the pieces rest until the order arrives. Gettles fries the bites briefly and adds a wisp of butter. Two minutes later, they’re on the way to a table that made the right choice—and for five dollars per generous serving, a cheap one at a place known more for expensive entrées.

“The best food always evokes a memory, and pretzels, you remember that as a kid,” Gettles says. “This is whimsical enough where people will be into it, but you’ll also realize it’s an adult pretzel. As long as it’s evoking that memory, taking you to a time in your life, that’s the biggest thing. ” l gcurrin@indyweek.com INDYweek.com | 6.8.16 | 17

BACON’S MEAT MARKET

610 N. Churton St • Hillsborough • 919-732-4712 A community meat market for everyone located in Downtown Hillsborough.

Serving Grade A Angus Beef and fresh, high quality pork and chicken – never frozen! Lots of NC products, produce, weekly specials! Prepared food, baked goods and homemade sausage too. Come visit us!

CITY BARBEQUE

Serving Grade A Angus Beef, and fresh, high quality pork and chicken – never frozen! Lots of NC products, produce, weekly specials!

610 N. Churton St Hillsborough • (919) 732-4712

208 W. Highway 54 • Durham City Barbeque is an award-winning barbeque joint built on a foundation of “low and slow” smoked meats, a wide variety of side dishes, delectable desserts, and a healthy dose of backyard hospitality. Dine-in, carry out and catering offered seven days a week. Locations in Cary, Garner and Durham.

HOPE VALLEY BREWING COMPANY

4810 Hope Valley Rd • Durham • 919-294-4955 Kitchen open 11am – 10pm Sun - Thu •11am - 11pm Fri - Sat www.hopevalleybrewingcompany.com HVBC is a neighborhood restaurant and bar that caters to families and professionals by day and those with a flair for fun late into the evening. Menu comprised of fresh fish, burgers, chicken, comfort and vegetarian items. Strong brew/cocktail selection with our own beer starting late 2016

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307 E. Main St Carrboro (919) 968-2460 www.dininganddrinking.com A Gastropub located in downtown Carrboro featuring 18 specialty drafts from around the world, 150 more in the bottle, menu items inspired by & made with beer, daily food specials, a large outdoor patio, dinner 7 days, lunch during the week & brunch Saturday and Sunday. FREE Parking is available directly across the street in the 500 space parking deck next to the Hampton Inn or at any of the additional City Lots

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18 | 6.8.16 | INDYweek.com

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MOUTH-WATERING MIXES WITH FAMILY & FRIENDS visitRaleigh.com has everything locals need to keep visiting company happy with tasty ideas for what and where to drink, like a nightcap at Fox Liquor Bar, where James Beard Awardwinning chef Ashley Christensen has perfected the art of the carefully crafted cocktail.

Learn more at visitRaleigh.com/family

INDYweek.com | 6.8.16 | 19

indymusic

JON LINDSAY

The Pour House, Raleigh Saturday, June 11, 9 p.m., $7–$10 www.thepourhousemusichall.com

Record Time

FROM HARDCORE DISTILLATIONS TO BIG BEAT ASPIRATIONS, A SURVEY OF RECENT INTRIGUES BLACKBALL BLACKBALL (Sorry State Records) It takes only seconds for Blackball’s self-titled EP to show its power. After a brief feedback bleat, a wall of dense guitars pours forth. This minute-and-fifteen-second opener, “Bone to Pick,” revolves around a stubborn riff that barrels ahead like an avalanche. It’s a short, shocking way to set the tone for the rest of the EP, or better yet for a young band that has already shaped its stark, economical hardcore into a bluntforce weapon.

Blackball isn’t exactly new, with members pulled from Triangle punk stalwarts such as Skemäta, Future Binds, and Abuse. and fronted by Ericka Kingston, a firebrand from Richmond’s Crooked Teeth. But with most of those and other acts breaking up, and other key local players splitting town to help boost D.C.’s again-ascendant scene, Blackball has emerged as a de facto standard-bearer for local punk. Even the famed critic Greil Marcus gave the band a nod in his new Pitchfork column—that on the heels of a laudatory New York Times review, mind you.

After all, this powerful exercise in genre purism packs the thrills in tight. Blackball excels by distilling fury. “Marked By Ruin” moves through a thick scrim of distortion, though the riffs are lean and memorable, cutting a compelling figure in the noise. Blackball shrouds these songs in din and reverb, but the EP never forsakes momentum for texture. Rather, it feels like an oversize sound being forced into an undersize vessel.

Inside this claustrophobic atmosphere, Blackball showcases its streamlined songwriting. “One Rope/No Jury” offers a moment of relief with a spartan intro before exploding the tension with one rabid burst. During its ninety seconds, the song shifts from a D-beat rush into a sharp post-punk prechorus and, finally, into a half-time beatdown.

For all the surprising dynamism here, from that opening squeal to the closing dub-like drums, Blackball’s most potent asset remains its ability to maximize the efficiency of its fury— frightening, invigorating, and wonderful. —Bryan C. Reed

20 | 6.8.16 | INDYweek.com

9TH WONDER ZION (Jamla) Few living hip-hop producers can make people drool with the words “beat tape” like 9th Wonder. In fact, few producers in 2016 can make people drool about a beat tape at all, not with mainstream hip-hop’s dependence on a “pop star” rapper at the core of every song, album, or video. Pop landscape be damned, though, a beat tape is exactly what 9th Wonder presents with his new, thirty-six-track instrumental album, Zion.

Here, the producer known for his distinct style of heavily vintage samples and soulful loops jumps excitedly between fully formed songs and offhand ideas. Some tracks clock in at less than a minute, while others push past the three-minute mark. Some are instantly recognizable as the backbones of fan favorites from the likes of rappers Phonte and Big K.R.I.T., who culled songs such as “Life of Kings,” “Eternally,” and “Life Is a Gamble” from the spoils gathered here.

Much of the less-recognizable, unreleased material on Zion, however, feels like the delightfully familiar kin of songs from 9th’s prolific past. It will be hard for Murs fans, for example, to not hear the similarities between Zion’s “Gilly Chop” and the classic beat from the Murray’s Revenge song, “Silly Girl.” The tender “Manhattan Down” calls to mind the spirit of “Brooklyn in My Mind” from the decade-old The Dream Merchant, Vol. 2.

9th’s bar-ready loops can seem maddeningly unfinished without the accompanying raps. But Zion, in more than one sense, is simply a beginning. For 9th, it represents the opening salvo in a wave of instrumental releases, as the producer has said he plans to release “every beat I’ve made over the next few years.” And for longtime listeners, dancing around this track list is an entry point for hours of digital crate-digging fun, replete with Spotify catalogs, YouTube playlists, and Wikipedia articles.

Some things are still worth drooling over. —Ryan Cocca

JON LINDSAY CITIES & SCHOOLS (self-released) Last October, the singersongwriter Jon Lindsay— formerly of Charlotte, now of Raleigh—whetted appetites for his third full-length, Cities & Schools, with “All Them Houses,” a cannily crafted head rush of a single. Lindsay dropped two tunes shortly thereafter, both offering further evidence of his advanced pop skills. “Lifer” addresses a woman’s life choices and contains the exquisite line, “Nobody waits back home/for the lean banking queen.” And the grabby third single, “When They Broke the World,” fuses Postal Service-style electropop with explosive guitars, undergirded by a bleak sense of society’s future prospects.

As the overdue Cities & Schools moves beyond this opening span of catchiness, it reveals the bedrock influence of power pop, a well loved genre from the seventies that aspired to deliver rather straightforward thrills. In “The Church of Me,” which makes good on a lyrical conceit that could easily fail, Lindsay drops a reference to Twilley Don’t Mind, a 1977 LP by the star-crossed early label mate of Tom Petty. He offers a sonic call-out to Petty himself on the “Into the Great Wide Open”-quoting “Little Queen Drum Machine.”

With songs that are all hook and shiny surfaces, you can end up feeling like you’ve been gorging on candy. “All Them Houses” rewards repeated listens because, while shiny, it still breathes. Occasionally, though, Cities & Schools can feel a bit airless, which makes paradigm breakers like “A Couple More Boats,” a song that boasts a bit of a Ben Folds ballad vibe, and the closing “Could Be Worse,” a tune that tucks a comforting 1-4-5 melody into a sumptuous sign-off, so welcome.

Something in Lindsay’s prodigiousness and preternaturally dulcet vocals recalls Matthew Sweet, a similar wunderkind of a previous era. Sweet’s early records offered an abundance of hooks and a preponderance of sheen. He found his stride when he threw off the eighties strictures and let it rip. Lindsay’s lapidary production touches, like tracers glinting off his vocals, suggest a perfectionist buffing every edge. Maybe next time he’ll get his hair mussed a bit—an intriguing prospect.

—David Klein

OAK CITY SLUMS

Lincoln Theatre, Raleigh Friday, June 10, 8 p.m., $20 www.lincolntheatre.com

OAK CITY SLUMS WELCOME (self-released) The area’s emerging electronic scene needs a figurehead. Might it be the charismatic and omnipresent Oak City Slums?

As Oak City Slums, Raleigh electro-magnate and beat shark Rodney Finch has become an ubiquitous force within the Triangle’s instrumental hiphop and electronic music pockets. Through a string of recent performances in Durham in collaboration with the Bull City collective Raund Haus, Slums’ kinetic, show-stealing sets have suggested he might be the most competent, compelling producer to spearhead local momentum. Might he lead us toward some fraction of the acclaim that Los Angeles’s renowned experimental beat showcase, Low End Theory, receives with the likes of Flying Lotus and Daedelus?

Slums’ most recent outing, Welcome, arrives just in time. The album is the third in a threemonth-long series of projects that deploy greetings as titles, following in the bass-heavy glow of February’s Hi and the hip-hop gutsiness of March’s Hello. Welcome extends an invitation to a gruff dance dungeon.

Slums names these nine songs by number, suggesting you experience the album as a DJ set. It works that way and as a sequence of stand-alone tracks. The Jersey club assault of “Welcome.5” comes kissed with soulful steel drum echoes, pushing it beyond a busy patchwork. “Welcome.7” forces you into a crossfire of tribal footwork and bass hits, climaxing before it can get colossal. Slums isn’t afraid of megalithic moments, but as with “Welcome.1” and the sensuous “Welcome.3,” he prefers compositional patience and plotted bass to single, sudden releases, as is often the case with post-trap production.

Helping to build a scene of his own, though, Slums has no need to feed off such trends.

As this set shows, his mix of tough demeanor and childlike enthusiasm for the small Triangle world of beat integrity is plenty strong on its own. —Eric Tullis

TEXOMA

Thu June 9

Local 506, Chapel Hill Thursday, June 23, 9 p.m., $8 www.local506.com

TEXOMA THE PROSPECT (self-released) For much of its three years as a band, the Chapel Hill quintet Texoma has dubbed its music “dust rock,” a term that conjures sparse stretches of reflective heartland twang. That image held for the desolate moods of the outfit’s 2014 EP. But for its full-length debut, The Prospect, Texoma seems hell-bent on turning the self-made subgenre upside down—or, at the very least—broadening its borders.

Take the bright and buoyant “Be Always,” the endearingly ragged LP’s opener and highlight: over a bed of warm organ and winding electric guitars, Zach Terry and Linus Owen-Garni harmonize on pleas for a lover to “stay with me always.” A wild piano run breaks the smooth motion, suggesting Mark Simonsen has been studying up on the barrelhouse bent of Lynyrd Skynyrd’s Billy Powell. Tellingly, Texoma revisits “Riverside,” a smoldering ballad it cut for that early EP. But here, in the final position of The Prospect, it’s a true toe-tapper, its melancholy given a freewheeling sense of mayhem.

Much of The Prospect shares a feeling of vintage power pop, at times redolent of Chapel Hill’s defunct Drughorse Collective, thanks to easygoing melodies. The breezy “Mary Anne” rises above its status as a fine, middle-of-the-road jangle with a sharp hook lodged in the chorus. In “Apple Butter,” homemade delights like pickled squash, plum brandy, and the spread made by “friends across the way” inspire more ringing harmonies, which lace across the loping, down-home country rock.

Texoma hasn’t completely forgone its dusty ways. “Salt” is a lonesome, ambling shuffle, and “Rearranged” is a gentle ballad. But it’s telling that the latter number slowly shifts into a shouted coda, indicative of a band growing into volume and steadily inhabiting more sonic territory than it initially envisioned. —Spencer Griffith

www.lincolntheatre.com JUNE

T h 9 B.O.B. w/Scotty ATL/London Jae Fr 10 CRAIG XEN w/Lil Peep/Killstation

B.o.B.

Refe/Oak City Slums/HU$$EL/ 8p

Sa 11 LACUNA COIL w/Stitched up 6:30 Heart /9 Electric /Painted Wives

Su 12 BEANIE SIGEL/FREEWAY

Young Gunz/OK Chino/Terminator X

Mo 13 LA DISPUTE w/Des Ark/Gates Fr 17 CHRIS KNIGHT 8p Sa 18 JERRY JOSEPH & THE JACKMORMONS / BLOODKIN We 22 THE UNITY EXPERIENCE Fr 24 WHO’S BAD Legends are Forever MICHAEL JACKSON & PRINCE

Sa Sa Su Th

JULY L 2 PULSE: ELECTRONIC DANCE PARTY 9 ILL DIGITZxDSCVRY 90’s Dance 10 TAIMAK - THE LAST DRAGON 14 BERES HAMMOND

Sat June 11 Fri June 17

w/ The Harmony House Singers

Sa 16 UP THE IRONS (Iron Maiden Trib) Fr 22 MARIANAS TRENCH + 7p Sa 23 THE BREAKFAST CLUB (80’s) AUGUST

We 3 Th 4 Sa 6 We 10 Sa 20 Fr 26 9-22 10-5 11-3 11-17

DIGI TOUR SUMMER ‘16 PERIPHERY - Sonic Unrest Tour US - THE DUO - JUST LOVE TOUR I PREVAIL w/The White Noise + 6p BJ BARHAM of American Aquarium MIPSO 8p PERPETUAL GROOVE MOE. THE REVIVALISTS STICK FIGURE

Chris Knight Jerry Joseph & The Jackmormans

Sat June 18 Fri June 24

Thursday July 14

Adv. Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus 919-821-4111

St.

Beres Hammond INDYweek.com | 6.8.16 | 21

22 | 6.8.16 | INDYweek.com

indymusic

SOFAR RALEIGH/DURHAM June 17, July 15, August 12 www.sofarsounds.com

The Living Room

AN INTERNATIONAL HOUSE CONCERT SERIES TAKES ROOT IN THE TRIANGLE

BY SPENCER GRIFFITH

On a Friday night, Jack the Radio is setting up for a crowd of a few dozen people, all squeezed into a Person Street condominium. Only five months earlier, a block away, the Southern soul-and-rock quintet had drawn more than three hundred people to the Lincoln Theatre to celebrate the release of its fourth record, Badlands.

But as singer and guitarist George Hage explains, this isn’t a disappointment; it’s exactly the change of pace his band wanted.

“We were drawn to the idea of getting a group of people together for a semi-private, intimate concert with the understanding that the people in the room were all there to listen,” says Hage.

Everyone had gathered for the second Triangle edition of Sofar Sounds, an international string of concerts in close quarters that uses subsequent online streams to subsidize pay-what-you-will shows packed into spaces as small as apartments.

With its invite-only guest list, undisclosed lineup, secret location, and online integra- Jammed in: Jack the Radio playing at Sofar in Raleigh in March tion, it’s a logical update on the familiar PHOTO BY UNDER THE ROSE PHOTOGRAPHY house show model. are going to show up just for them.” and Dave Alexander launched what became The Triangle is one of the newest outInstead, the curious sign up for limited Sofar—short for “songs from a room”—after posts for Sofar, which includes nearly three spaces online, offered at a pay-what-youbeing frustrated by a noisy, distracted crowd hundred series spread across fifty countries. want rate for those selected via lottery. Fans at a bar gig. The series expanded to Paris and Sofar has hosted big-name acts like Dawes, count on shows hosted in unique spaces, like New York the following year; in 2011, after Bastille, Leon Bridges, and Hozier. Since a recent spot in Oslo that Offer describes as “a they started posting the performances to YouFebruary, the Triangle chapter has organized small living room at the top of a ski jump,” with Tube, membership ballooned. Compensation four gigs, also distinguished by high producacts that are either “doing something very difnow comes primarily from the professional tion value and respectful audiences. ferent or best in class in terms of their style.” footage shot during the show, which Offer “It differs from your average house show He raves, for instance, about Durham’s Sylvan says generates four million monthly views. where everybody’s got a PBR, people are outEsso, which played Sofar London a few days “People’s first question is always, ‘Who’s side yelling and smoking, and someone’s still into its first-ever British tour. The band’s Nick playing?’” Offer says, recalling one of the playing a radio in the other room,” says songSanborn soon fell for the concept. struggles Sofar faced early on—and still does writer Matt Phillips, who joined the local “It encourages the growth of an openin new markets, including the Triangle. He team after playing Sofar gigs in Philadelminded audience. Part of the point was to see credits Alexander, a former musician, for phia and Wilmington. “Although there are a show with absolutely no expectations,” he Sofar’s policy of not announcing performers great things about those experiences, too, says. “Having an audience that is willing—or or proclaiming headliners. this is like the high-art version of the house even excited—to routinely take a chance on “People come for the main act, and they’re show. Everybody is there to listen, digest it, an artist they’ve never heard before is such not there physically or mentally [for othand be mindful—and they’re dead silent, too, an important part of the growth of a scene.” ers],” Offer says of typical shows. “We made a because you’re recording.”

Offer saw such an opportunity in the Triandecision early that all acts at Sofar are equal.

In 2009, Chicago native Rafe Offer was livgle, where a rising population and a pre-existBecause we don’t announce it, nobody’s fans ing in London when he and friends Rocky Start

ing music scene with a pedigree and history could coalesce. The area Sofar team—which receives support and guidance from the London headquarters and other chapters— includes Phillips, fellow Triangle musician Jason Elliott, UNC student Maddy Ashmun, and Toby Kandies, who enlisted after hosting that crowded Jack the Radio show.

Sofar doesn’t really include louder metal or punk acts, another distinction from customary DIY house shows. Phillips—who played with an electronic act, a rapper, and an acoustic duo during his own Sofar stops—says the series normally seeks bands that “really cater to quiet, attentive, personality-heavy shows.” Here, the bills have mostly drawn on acoustic rock and roots acts.

“Playing sad, queer folk songs in front of a crowd of respectful strangers just felt so right to me,” Raleigh songwriter Al Riggs says of his experience in April. “Everyone was there to be helpful and make sure it was the best show it could possibly be for everyone involved—the acts, the audience, and the tech people.”

While there are plenty of bands fit for a Sofar bill in the area, the local chapter faces different challenges than its counterparts in New York or Los Angeles when it comes to crowds.

“Around here,” Phillips says, “you have to do more convincing with the brand so people understand it’s going to be a really cool thing.”

But Sofar seems to have been well received during its first four months here, with growing crowds and fans who have traveled from other cities after experiencing the setup elsewhere. At the first installment, Kandies met people who had driven from Charlotte and Charleston just for the shows. For Phillips, putting a premium on the experience of watching and listening is what it's about.

Sanborn agrees: “No one was using their phones [at the London Sofar], which was wonderful,” he says. “We were all just there together, in the present. It’s a bummer how rare that is becoming.” l music@indyweek.com INDYweek.com | 6.8.16 | 23

music

M83

Red Hat Amphitheater, Raleigh Saturday, June 11, 7:30 p.m., $27.50–$35 www.redhatamphitheater.com PHOTO BY ANDREW ARTHUR

For the Kids M83 USES POP’S PAST TO MAKE THE PRESENT MORE VIVID

BY MAURA JOHNSTON

Midway through M83’s new album, Junk, during “The Wizard,” the sheen that has topped so much of the French retroist’s gleaming homages to soft rock and old pop momentarily disappears. Guided by pillowed beats that land like exploding cotton balls, the song’s distorted synths ease out a swooning melody and, occasionally, suggest lasers firing in a round of Galaga.

This is an opportunity for Junk to catch its breath from its churn of fragmented pop tropes and its generally glittering coating to wash off, albeit briefly. The shininess returns only a minute later, causing the hazy moment to recede like some snooze-alarm dream, where the particulars are just clear enough to recall later in the day.

According to M83 mastermind Anthony Gonzalez, Junk’s title is a glum statement on how music is consumed, an acknowledgement that this album will be heard in pieces.

“This is how people listen to music nowadays.

They’re just gonna pick certain songs they like—one, two, if you’re lucky—and trash the rest. All else becomes junk,” Gonzalez told Pitchfork.

Indeed, Junk is designed for the shuffle age; while it works as a whole, it does so because of its stylistic leapfrogging, true to the band’s core bigger-better-more aesthetic.

“Go!” opens with breeze-borne sax and cli24 | 6.8.16 | INDYweek.com

maxes with a solo by guitar god Steve Vai. The bell-clear soprano of Norwegian singercomposer Susanne Sundfør adds pathos to the glittering “For the Kids,” while “Moon Crystal” synthesizes slicked-back seventies instrumentals into a chilled-out rocket ride.

Taken together, all these pieces reflect the strenuous aesthetic of someone repurposing the past for a blinding present.

The verve of Junk’s “Road Blister,” for instance,” recalls a strident new wave hit, while the Beck-assisted “Time Wind” suggests smooth-jazz stations that used to get played in late-night cabs, bass turned way up.

From the gentle rise of opening track “Do It, Try It” through the blissed-out late-album song “Ludivine,” Junk is the soundtrack of an evening where all things seem possible.

“What’s played in the mainstream is just awful. It makes me want to puke,” Gonzales has said. “Whereas what was playing in the eighties was actually really good, really thought-out music.”

Gonzalez’s gripe may smack of whippersnapper condescension, but there’s an admirable romanticism about his ideology, too.

He’s an insatiably curious scholar of pop and its building blocks, hoping that anyone within earshot of Junk will know just how much potential lurks within its aged tools. l Twitter: @maura

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INDYweek.com | 6.8.16 | 25

Their Aim Is True

FEARING CULTURAL APPROPRIATION, OUR WRITER DISCOVERS A REVERENT SPACE FOR JAPANESE ARCHERY IN NORTH CAROLINA

BY SAYAKA MATSUOKA

P

op stars flaunting kimonos and traditional headdresses, overpriced bowls of ramen in hipster restaurants, tattoos of misspelled Japanese characters— all of this hits close to home for me.

Growing up in a country where I was ridiculed for what I ate and my slender eyes, I grew increasingly defensive about anyone interpreting my culture. I felt a stirring of that reaction when I heard about Meishin Kyudojo. I had stumbled across a flyer for the Japanese archery dojo at Toyo Shokuhin in Cary while stocking up on cod roe spaghetti sauce and seasoned seaweed.

Suspicious that it might be another blatant appropriation of my heritage, I did some research and learned that Apex’s Dan and Jackie DeProspero had been operating the kyudojo in “conformance with all Nippon Kyudo Federation procedural standards” in their backyard for years.

Intrigued, but still not completely convinced, my boyfriend and I drive there one Saturday morning for a closer look. The air is still a bit brisk from the morning chill. A thick forest of tall maples and slim evergreens surrounds the DeProsperos’ property. A stone walkway leads behind the house and up to the kyudojo.

Dan DeProspero is the first to greet me.

Jackie, who helps him run the kyudojo, is absent for this morning’s practice. A sturdy man in his sixties, DeProspero has a whitening beard, and might make an excellent Santa Claus in the not-too-distant future.

He’s wearing keiko-gi, or practice kyudo attire, made up of a top, a skirt, socks, and a belt. To a layperson, it looks like a cross between a casual white kimono and a bathrobe. A bundle of bows and arrows is slung over his shoulder.

DeProspero moves aside the guard rock at the head of the walkway to the kyudojo, indicating that a class is in session. At the end of the path stands an older, lanky man, Elmar Schmeisser, who waves to us from just inside the doorway. As we approach 26 | 6.8.16 | INDYweek.com

FROM LEFT TO RIGHT Evelyn

Minton practices kyudo at Meishin Kyudojo; Elmar Schmeisser prepares to shoot; Minton nocks an arrow; Dan DeProspero observes his students. PHOTOS BY BEN MCKEOWN

the genkan, or entrance, DeProspero and Schmeisser instruct us to take off our shoes but keep our socks on. As I try to step from the stone genkan onto the wooden flooring of the kyudojo, DeProspero and Schmeisser exclaim, “No!” I had tried to put my shoes on the wooden floor. Taken aback by their reaction, I step on the stone genkan with my now shoeless feet. This too, elicits cries of disapproval.

The proper way to enter the kyudojo, DeProspero teaches me, is to remove your shoes, leave them on the stone, and then step onto the wooden flooring in your socks.

Done any other way, it’s seen as bringing the outdoors into the space of the kyudojo.

I am quickly realizing that DeProspero and his students take their kyudo practice very seriously.

“These younger Japanese,” chuckles DeProspero, once we’ve entered correctly.

T

hree students arrive and seamlessly enter the space without any sock hiccups. Schmeisser, who has been attending the kyudojo since 2002, had already been practicing the art for years before moving to North Carolina. Sabra McGrew, the only woman in today's group, has been practicing for five years and will be awarded her shodan ranking, the first of eight kyudo rankings, later today.

The interior of the kyudojo, or the shajo, is where the shooting takes place. Divided into two main sections by a wooden beam, the shajo has an informal practice area and a more formal shooting area. Upon crossing the threshold from the informal to the formal space, we and the students line up side by side and bow to DeProspero. We

also bow to the small Shinto altar, the kamidana, which hangs on the wall. Under the altar is the kamiza, the seat from which the teacher and guests of honor sit and observe.

After paying our respects, we take our seats within the kamiza. The kyudojo is an open space, so we can see straight through the building, from the pathway where we had entered to the targets set up outside across a grassy lawn, or yamichi.

Meishin Kyudojo is serenity embodied. Today the landscape is quiet. The sky is clear. All that can be heard is the chirping of birds and the occasional rustle of leaves. The students begin moving into place for their first set of shootings.

As they approach the edge of the hall, they walk in such small, smooth steps that their feet barely leave the floor. The students form a straight line according to rank and slowly kneel.

Every movement has a meticulous, deliberate quality that also flows like a dance.

Now they’re ready to shoot. The lowest-ranking student goes first. Moving steadily and gracefully, he slowly rises to his feet and lifts the bow above his head, takes aim, and draws the arrow back. Then he lowers the whole arrangement to mouth level and releases. The arrow flies swiftly through the air, striking just below the target hanging thirty yards away.

He returns to his knees and the next two students follow suit.

After all of the students shoot, DeProspero begins narrating their movements and telling us about the history of the tradition.

Kyudo, or the way of the bow, is considered one of the purest forms of budo, or martial arts. It dates to around 7000 BCE, when it was primarily used for hunting. As hunter-gatherer societies waned in the centuries that followed, kyudo evolved into a weapon for war.

Now it’s practiced as more of a recreational activity for physical, moral, and spiritual development. Kyudo is infused with philosophical influences from both Shinto and Zen Buddhism, making it a ritualistic practice. The more I learn about its history, the clearer it becomes that for DeProspero and his students, kyudo is much more than a physical pastime.

“This isn’t about archery,” DeProspero says. “It’s about

“THIS ISN’T ABOUT ARCHERY. IT’S A TEA CEREMONY WITH A BOW AND ARROW.” learning Japanese culture. It’s a tea ceremony with a bow and arrow.”

DeProspero started his journey into kyudo more than thirty years ago. He went to Japan in 1981 to study Japanese art and teach English in Tokyo. There, he visited a kyudojo run by Hideharu Onuma, a fifteenth-generation headmaster. Over the course of three years, DeProspero became increasingly close to Onuma and his family, and even moved into their house as their uchideshi, or house disciple. He worked in the family’s archery shop and practiced kyudo every day.

When “Onuma sensei,” as DeProspero calls him, died in 1990, he decided to continue the family’s legacy by bringing the art to the United States. Five years later, DeProspero became the first licensed kyudo instructor to teach in the U.S. He started with just one student on a platform in a field before opening Meishin Kyudojo, with the help of the Onuma family, in 2001. The DeProsperos also wrote a book on kyudo, one of the few published in the U.S. As I watch the students release their arrows and take in DeProspero’s commitment and knowledge, I’m suddenly brought to tears. Growing up in the states, I had lost so much of my heritage. But here, in the middle of rural North Carolina, is a small group of people who have so much respect and care for a culture that isn’t their own, going to painstaking lengths to get every detail right. This, I realize, is the furthest thing from cultural appropriation: this is cultural exchange at its best.

F

inally, DeProspero invites us to try kyudo. Though we can’t shoot any arrows—“It takes at least twenty hours of practice before we can give you an arrow,” DeProspero says—he lets us go through the taihai, the minute movements of preparing to shoot.

We begin by learning the different ways of walking, turning, and kneeling. Then we repeat the steps while holding the bow and arrow. Needless to say, we mess up more than once.

Our steps are too big; we don’t turn correctly; we move too fast. I consider myself pretty adventurous, but it’s the hardest thing I’ve ever done.

DeProspero and his students begin packing up for the day, placing their equipment back into their bags. The kyudojo currently has eight students who attend regularly. Most have experience in a martial art and are retired from work, because kyudo is time-consuming. While those who stay become avid learners, very few persevere. It isn’t for people looking for a quick thrill after seeing The Last Samurai.

“I’ve had hundreds of students come through this dojo,” DeProspero says. “A lot of people don’t return; the practice takes a long time. I’m not interested in tourists. You have to have a genuine interest.”

“This isn’t an archery range,” Schmeisser adds. “It’s more of a temple.”

Still, DeProspero welcomes anyone interested in the art.

The first visit is free. If you decide to join, there is a $15 registration fee and a monthly fee of $45. It gets more expensive after that, with everything from the attire to the gear adding up to an investment of hundreds, even thousands of dollars.

The kyudojo’s name is written in kanji above the entrance.

“Meishin,” DeProspero explains as we make our way back up the stone walkway, means “illuminated spirit.” It’s a perfect description of the experience. I came to Meishin Kyudojo full of skepticism and apprehension, but I was leaving with a sense of enlightenment—not just about the art of kyudo, but about my culture and the Japanese spirit. l Twitter: @whatsaysaid INDYweek.com | 6.8.16 | 27

indystage

REAL.LIVE.PEOPLE.DURHAM: FEATURE PRESENTATION

Friday, June 10–Sunday, June 12, $10–$15 The Trotter Building at 410 West Geer Street, Durham www.didaseason.com

Curation Nation

ANNA BARKER AND LEAH WILKS SIFT THROUGH THE SELVES WE SHOW THE WORLD IN DANCE THEATER DYNAMO FEATURE PRESENTATION BY MICHAELA DWYER “Performance” is a tricky word. On one hand, it connotes doing—an action, practice, or event. On the other, it measures the fulfillment of that action: How did I do? Did I fail or succeed? What do I need to change?

These kinds of questions factor into the ways we present ourselves to others, and as such, they animate real.live.people.durham’s Feature Presentation, DIDA’s season closer.

Anna Barker developed the piece in the year and a half since her company’s Durham debut, it’s not me it’s you, which took up the

idiosyncrasies and obstacles of romantic relationships.

Now, in Feature Presentation, Barker again teams with Durham dance stalwart Leah Wilks to expand on that theme, investigating the complexities of “curated self-image.”

Those who were among the sold-out crowds at Motorco for it’s not me it’s you will recognize the pointed humor and dance-theater vignettes of Feature Presentation. Barker and Wilks toggle between the specific and the general through gestural and spoken ref-

T hrough J uly 4, 2016

the

N o rt h C a r o li N a M u s eu M

Paintings

from the

of

h i s t ory

p r e se n t s

James-farmer ColleCtion 5 East Edenton Street Downtown Raleigh 919-807-7900 ncmuseumofhistory.org

28 | 6.8.16 | INDYweek.com

Admission is FREE!

Anna Barker and Leah Wilks PHOTO BY LUKE BARKER

erences to topics including juice cleanses, dance auditions, Durham’s Northgate Park neighborhood, the behavior of politicians, and social media.

Barker’s rehearsal shorthand for one section is “Planet Facebook.” The bit casts the social platform, where users stage their self-image, in the vein of the television show Planet Earth: an otherworldly Internet landscape the performers traverse.

“We’re performers, and we perform offstage all the time,” Barker says. The piece is a way for her to think about the roles she and Wilks inhabit in various spaces—as choreographers and performers, but also as instructors, friends, and community and family members. They set out to pinpoint and notate the nature of these offstage performances, distilling moments of self-awareness and then recasting them in the studio.

“A lot of [our research] comes out of our experience being in life,” Barker says. “We spend a lot of time talking about things that happen and deciding whether they’re interesting enough to investigate—whether they’re prototypes of something much bigger.”

If trying things on for size is part of Barker’s creative process, it’s also a literal performingarts practice. In backstage dressing rooms, performers apply costumes and makeup, ready their muscles for movement, and chat in unscripted ways.

In Feature Presentation, Barker brings the idea of the dressing room onstage, delineating a boundary between that zone— where Barker and Wilks perform their everyday selves—and a stage zone where

they take on other personas. The challenge, Wilks explains, is maintaining a presence that feels credible—and registers as such for the audience.

“A lot of [working on this piece] is thinking about how to be convinced that the world that we’re creating in that moment is absolutely the world,” Wilks says. “Inside of it, I can’t read it as a parody of something.”

Barker is strategic about inviting audiences into these worlds. For her, short scenarios offer glimpses into different experiences of self-presentation and possibilities for selfrecognition. Taken together, the nonlinear vignettes encourage the audience to respond to the performance by filling in the blanks.

Barker aims to create work that affirms the name of her company, so it's crucial that the audience feels engaged.

“Part of my mission in all of my work is to make it accessible, so people can [see themselves in it],” Barker explains. “If I’m going to make work about people, people have to get it.”

She also asks the community to commit materially. Like it’s not me it’s you, the new piece was funded via Kickstarter. It had (and exceeded) a higher target than its predecessor. That kind of community support builds trust, but it also builds expectations. Barker plays with those, too.

“I think we kind of pose that question to the audience,” Barker says. “How are we doing? Did we succeed? Did it work?”

You can answer for yourself when Feature Presentation premieres at The Trotter Building this weekend. l Twitter: @michaeladwy

stage

TWO GENTLEMEN OF VERONA Through June 30, free Various venues, Triangle-wide www.baretheatre.org

Going Steady

LITTLE GREEN PIG AND BARE THEATRE EXPLORE NEW WAYS TO MAKE THEATER SUSTAINABLE FOR ARTISTS AND AUDIENCES ALIKE BY BYRON WOODS It’s become boilerplate in preshow speeches at local theaters: ticket sales compensate for only a fraction of the costs of putting on a play.

Over the years, repetition has dulled the urgency of that message. Meanwhile, economic and cultural shifts—including gentrification and a burgeoning artistic and nightlife scene—have substantially changed our region since the early 2000s, which saw the formation of Durham’s Little Green Pig Theatrical Concern and Raleigh’s Bare Theatre, two of our oldest independent troupes.

Neither group has its own permanent space for rehearsals and performances, and neither is in the market for one. This is no surprise in a region where rising rents represent most theater companies’ largest expense, directly contributing to the demise of two major ones, Deep Dish Theater Company and Raleigh Ensemble Players, over the last five years.

All of these factors caused Bare Theatre and Little Green Pig to rethink the way they structure their fundraising and the relationships they build with their audiences and the larger community.

Taking its current production of Two Gentlemen of Verona into regional parks and outdoor public spaces across the Triangle prompted Bare Theatre to dispense with ticket sales altogether. Instead, the performances are crowdfunded through tip baskets at each run—and through a recent, successful Kickstarter campaign in which patrons purchased tickets not for themselves but for their communities.

And on Monday, Little Green Pig’s Patreon page went live (www.patreon.com/littlegreenpig). In contrast to other crowdfunding sites, patrons on Patreon agree to support creators by donating a regular amount each month instead of supporting a one-time project.

“If Kickstarter is a one-night stand, Patreon is going steady,” says Dana Marks, Little Green Pig’s managing director.

The move is the cornerstone of an ambitious goal for the Durham theater group: to pay all of its actors and crew a living wage. This would improve the lives of performers as well as their work for audiences. As Arts NC executive director Karen Wells puts it, “it’s a wonder there’s any creative impulse left after they’ve raised the money to put on a play.”

The shift also does away with an economic model—asking

system where artists can survive.”

A five-dollar monthly pledge via Patreon will earn supporters a ticket to each of Little Green Pig’s four main-stage productions in the coming season. The annual cost to patrons is slightly less than the current price of four adult tickets purchased separately. Higher levels of support garner added benefits, including admission to house shows, rooftop concerts, secret cabarets, shows for an audience of one—and regular perks the company is calling “love letters and process porn.”

Marks and Byrne think Patreon Alexandra will fundamentally alter the traditionFinazzo, Pimpila al exchange between artists and the Violette, and community.

Matt Fields in “If you’re a theater group, you typiTwo Gentlemen cally interact with the audience during of Verona the show. Then, when it ends, you don’t PHOTO BY RON YORGASON interact with them until the next run,” Marks says. “This way, we’re in a relationship that lasts all year long.” donors for money for individual projects—that Marks says no Bare Theatre artistic director Todd longer works for the company.

Buker also has his eye on a change in his company’s relation“I call it yo-yo funding: the money’s there, and then it ship with the community. Whereas a traditional theater audialways goes back to zero and we have to start again,” Marks ence is limited to a self-selected group in a darkened room, says. “It’s like a heart attack on an EKG. It fatigues our donors placing Two Gentlemen of Verona in a public square breaks and it fatigues us, frankly.” down those barriers.

According to arts systems analyst Devra Thomas, “Anyone can walk by and see a show they might not have fundraising is “a huge issue” for most small, independent otherwise,” Buker says. “It’s the most democratic form of companies. theater participation.” The move is also savvy from a financial “There are never enough hands and hours to do the fundstandpoint. Not having to rent venues for Two Gentlemen’s run raising and the artistic work,” she says. “It’s a completely difsaved the group an estimated $3,000 to $5,000 in production ferent skill set than most artists have, and they’re not trained costs. Because admission is free for all, the company has asked in it, so of course it’s exhausting.” its patrons to think of themselves as investors.

Little Green Pig company member Monica Byrne, who “Buying a ticket is taken for granted these days,” Buker spearheaded the effort to shift the company to Patreon, has admits. “But if you frame that to say, ‘You’re a partner, and you been using the platform to fund her own work since last year. can be one for as small an investment as the price of a ticket,’ “The present model enables people to keep thinking art will that can increase people’s commitment.” just come to them,” she says. “We’re at the end of pretending A living wage for production members remains a future that is true.” Byrne cites the success of Cocoa Cinnamon as a goal for Bare. But, Buker adds, “I think Two Gentlemen may major inspiration. have shown us a way to do that.” If so, stronger ongoing “They’ve educated the community, saying fair trade is relationships and a new frame of reference for the exchange important, and paying our workers a living wage is imporbetween creators and their audiences will have helped make tant,” Byrne says. “That’s what we want to do: set a standard the arts more sustainable in the region. l for the treatment of artists across the city, and create an ecoTwitter: @ByronWoods INDYweek.com | 6.8.16 | 29

06.08–06.15 FRIDAY, JUNE 10–SATURDAY, JUNE 25

WEDNESDAY, JUNE 15

CLOUD 9

SKYLAR GUDASZ

For curiosity’s sake, or perhaps for marketing purposes, someone should set up an exit poll at Duke Gardens’ gate when this show ends: How many attendees who frequent Duke’s Music in the Gardens series for a nice midweek summer picnic go home tonight with a new favorite? Such is the power and charm of Skylar Gudasz, the singer-songwriter responsible for Oleander, the year’s best local album so far and a multivalent set of equivocating love songs. Gudasz expresses a certain admiration and longing for love, but she has her share of healthy doubts, too—about permanence and faithfulness, about happiness and honesty. Given flesh by an all-star cast assembled by producer Chris Stamey, these songs are as complex as the subjects they explore. And at the center of it all is Gudasz’s exquisite voice, as capable of tempest-like ire as it is confidant-like comfort. If there is no poll, just vote by grabbing a copy of Oleander on the way out. —Grayson Haver Currin DUKE GARDENS, DURHAM 7 p.m., $5–$10, www.dukeperformances.duke.edu

A century passes between the two acts of Cloud 9, Caryl Churchill’s round-robin of sexual liaisons, but the characters act as if it’s only been a couple of decades. (If that sounds puzzling, consider those among us who act as if only twenty years have passed since the Emancipation Proclamation— or that we must wait another twenty before we achieve equal rights for LGBTQ people.)

Relationships, gender roles, and social politics are rearranged when a Victorian British family, their servant, a neighbor, and an itinerant hunter time-travel from 1880s colonial Africa, where patriarch Clive is in charge, to present-day London, where no one in particular is. Churchill demonstrates that colonial and sexual repression stem from a common source, in a comic work intent on uprooting both. Tiny Engine Theatre Company produces the show at Common Ground. —Byron Woods COMMON GROUND THEATRE, DURHAM Various times, $12–$17, www.tinyenginetheatre.com

FRIDAY, JUNE 10–SUNDAY, JUNE 26 TUESDAY, JUNE 14

FRAZEY FORD

THE GLASS MENAGERIE When the singer Frazey Ford joined Phil Cook for his series of Southland Revue shows last summer in Duke Gardens, she described her song “Done” as her “bitch anthem.” The crowd laughed, but in truth, it is a premium kiss-off. Ford seethes coolly as she delivers cutting lines about being, well, done, with those who drag her down. The rest of 2014’s Indian Ocean follows suit, delivering tender but strong songs about finding and celebrating your own power. “Runnin’” and “September Fields” see Ford extolling the underdog and offering in-kind encouragement. If you’re feeling low, Ford’s spirit and soulful tunes should push the black clouds away. Durham’s own Loamlands takes the opening slot, delivering the dynamic and warm folk-rock it’s been refining since its 2013 EP, Some Kind of Light.

—Allison Hussey

Regional directors have already done much with the oft-produced memory play by Tennessee Williams. His narrator, Tom Wingfield, has been depicted as everything from a reticent filmmaker to a longshoreman navigating a treacherous field of ice. One striking version had Tom’s fragile sister, Laura, who curates the title collection of small glass animals, backhand him during his final apology. But what does Patrick Torres, Raleigh Little Theatre’s artistic director, see in this American classic? We’ll find out when he directs distinguished but seldom seen actor Mary Rowland, stage stalwart Jesse Gephart, and up-and-comer Kelly McConkey. —Byron Woods RALEIGH LITTLE THEATRE, RALEIGH 8 p.m. Thurs.–Sat./3 p.m. Sun., $13–$22, www.raleighlittletheatre.org

MOTORCO, DURHAM 8 p.m., $14–$16, www.motorcomusic.com

Frazey Ford PHOTO COURTESY OF CONCERTED ARTISTS

SATURDAY, JUNE 11

THE ARTSCENTER, CARRBORO 7:30 p.m., $20, www.ncyte.org

30 | 6.8.16 | INDYweek.com

PHOTO BY CURTIS BROWN PHOTOGRAPHY

The hoofers among you will want to register for the entire N.C. Rhythm Tap Festival, associated with the North Carolina Youth Tap Ensemble, which runs at The Ballet School of Chapel Hill June 10–12 and features workshops with some of the country’s top teaching artists. But for those who enjoy tap without professional aspirations, a stand-alone ticket to this show at the ArtsCenter will tide you over until Savion Glover and Jack DeJohnette come to Page Auditorium in a couple of weeks. With backing from Robbi Link, Jim Crew, and John Hanks’s jazz trio, all of the festival’s faculty artists will perform: Elizabeth Burke, Derick Grant, Jason Janas, Sarah Reich, Charles Renato, and Michelle Dorrance, the Chapel Hill native and MacArthur ”Genius” whose visionary modern tap choreography was seen at Carolina Performing Arts in The Blues Project in 2014. —Brian Howe

The Glass Menagerie

“THE GREATEST TAP SHOW EVER”

WHAT TO DO THIS WEEK SUNDAY, JUNE 12

DUNGEN & BIRDS OF AVALON

About a decade ago, Dungen—a young psychedelic band from Stockholm, unafraid to indulge narcotized acoustic folk and screeching electric vamps within the same song—broke through to American audiences on the strength of the audacious and adventurous Ta det lugnt. The press raved, while Dungen headlined clubs, nabbed marquee festival spots, and signed to Kemado Records, a then-vogue New York label. Since, though, consistency and refinement have hamstrung the spread of Dungen’s rock gospel; they’ve issued a series of excellent, perhaps peerless records that have twisted and tweaked that admixture in seemingly infinite ways. The initial buzz has faded, with Dungen prematurely aging into legacy status. But last year’s Allas Sak is actually one of the most compelling moments in the band’s career. Led by the chiming pop dream “Sista Festen” and capped by the organ-roar-and-acid-wash reverie “Sova,” these ten tracks find Dungen examining all the corners of its sound, becoming more obtuse and more accessible within the same generous frame.

Raleigh’s Birds of Avalon are perfectly paired as openers. —Grayson Haver Currin KINGS, RALEIGH 8 p.m., $15, www.kingsbarcade.com

Dungen

PHOTO BY ANNIKA ASCHBERG

WHAT ELSE SHOULD I DO?

ALL MY SONS AT KENNEDY THEATRE (P. 41), ALAN DEHMER AND JESSICA DUPUIS AT FRANK GALLERY (P. 39), FEATURE PRESENTATION AT THE TROTTER BUILDING (P. 28), INSOMNIA AT MURPHEY SCHOOL AUDITORIUM (P. 40), M83 AT RED HAT AMPHITHEATER (P. 24), JOE MCPHEE AT THE SHED (P. 33), OAK CITY SLUMS AT LINCOLN THEATRE (P. 21), STATE PROPERTY REUNION AT LINCOLN THEATRE (P. 35)

INDYweek.com | 6.8.16 | 31

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music WED, JUN 8

La Fiesta Latin Jazz Quintet POSTIn the Triangle, GRAD university professors and community musicians often team for some of the area’s most high-energy Latin music.

Established in 2010, La Fiesta Latin Jazz Quintet is a mainstay of this scene. With hits by Tito Puente, Mongo Santamaría, and other mambo, salsa, rumba, and cha-cha stars on the Cary lawn, it’s a night of up-tempo family fun.

—AB [KOKA BOOTH AMPHITHEATRE, $5/5:30 P.M.] ALSO ON WEDNESDAY THE CAVE: Isaac Hoskins; 9 p.m., $5. • DUKE GARDENS: Leyla McCalla; 7 p.m., $5–$10. • KINGS: King Khan & The Shrines; 8:30 p.m., $15. • LOCAL 506: James McCartney; 9 p.m., $15–$20. • MOTORCO: Dirty Dozen Brass Band; 8 p.m., $17–$20. • POUR HOUSE: Giuda, Richard Bacchus & The Luckiest Girls; 9 p.m., $10–$12. • SLIM’S: Lydia Can’t Breathe, Mechabull; 9 p.m., $5.

THU, JUN 9 B.o.B. HITS & Still the only rapper DISSES to record a Neil deGrasse Tyson diss track, B.o.B. has too many gold and platinum plaques to dog him for believing the Earth is flat, at least for long.

He’s a hit maker with a track record of songs you probably forgot you knew. He seems on a bit of a downward slide, so take advantage of this opportunity to see him in the midsize Lincoln.

—GS [LINCOLN THEATRE, $20–$99/8 P.M.]

Chris Botti POP JAZZ Trumpeter Chris Botti has a flexible sound. The Oregon native is as comfortable with smoky ballads, in which he knows just when to linger on a note, as he is with flashy bop or smooth pop. He can ham it up with singers, battle with other soloists, and slither through

06.08–06.15

CONTRIBUTORS: Jim Allen (JA), Amanda Black (AB), Grant Britt (GB), Grayson Haver Currin (GC), Spencer Griffith (SG), Allison Hussey (AH), Maura Johnston (MJ), David Klein (DK), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), Dan Ruccia (DR), David FOR OUR COMPLETE COMMUNITY CALENDAR Ford Smith (DS), Gary Suarez (GS), Eric Tullis (ET), Patrick Wall (PW) WWW.INDYWEEK.COM

something vaguely funky.

However, despite the Grammy awards and PBS specials, his jazz is safe and just a little anodyne.

—DR [CAROLINA THEATRE, $47–$207/8 P.M.]

entrants in the dorm-room-play list genre through jangly hooks and lead singer Alex Trimble’s bloke-next-door charm. —MJ [CAT’S CRADLE, $30/7 P.M.] ALSO ON THURSDAY

Grandma Sparrow FLIGHTY Joe Westerlund FANTASY showcased his quirkiness as Megafaun’s percussionist and occasional vocalist, but his more eccentric and theatric alter ego, Grandma Sparrow, takes altogether different flights of fancy. This is avant-garde children’s music for grown-ups. Though this gig is a warm-up for Bonnaroo, expect to see Sparrow more frequently in the Triangle, as Westerlund has returned to Raleigh from Los Angeles. Area alt-rock heroes Hammer No More The Fingers add plentiful hooks, bolstered by airtight arrangements. —SG [KINGS, $10–$12/9 P.M.]

Sam Lewis SWEET Nashville-based SOUL troubadour Sam Lewis cannily calls himself a “country and soul artist,” a pairing you’d think would be more common. On his second album, 2015’s Waiting on You, Smith’s honeyed voice moves among stark arrangements. The gentle expanse of “Talk to Me” recalls Van Morrison’s more tender moments, while the shuffle of “Love Me Again” makes you hope a jaunt with fellow alchemist Leon Bridges is on the horizon. —MJ [CAT’S CRADLE BACK ROOM, $10–$12/7 P.M.]

Nathaniel Rateliff & The Night Sweats, Lord Huron SOUL Nathaniel Rateliff & GRIT The Night Sweats’ self-titled Stax debut is rife with horns and howls; the rabble-rousing Rateliff adds R&B emotion and gospel spirit to electrified boogie.

The impassioned performance propels the revival act. Lord Huron’s reverb-heavy indie folk, on the other hand, comes off these days as an uninspired attempt at mass appeal, the

THE CAVE: Lazarus Blue, Thick Modine; 9 p.m., $5. • LOCAL 506: Murals, Twilighter; 9 p.m., $8. • POUR HOUSE: Local Band Local Beer: Major & the Monbacks, The Grand Shell Game, Ameriglow; 9:30 p.m., free. • RALEIGH CITY PLAZA: Diali Cissokho & Kaira Ba, Outside Soul; 5 p.m., free.

FRI, JUN 10 Chit Nasty Band PHOTO BY ZIGA KORITNIK

FRIDAY, JUNE 10

JOE MCPHEE & UNIVERSAL INDIANS At the age of seventy-five, free jazz demigod Joe McPhee shows no signs of slowing down. The past fifteen years have been remarkably prolific for McPhee, who’s spent his sixth and seventh decades releasing albums at a remarkable clip and playing with an increasingly diverse cast of characters.

He especially seems to enjoy playing with adventurous European trios, releasing albums with The Thing, Decoy, and, most recently, Universal Indians. Their 2015 live album, Skullduggery, is a blaring wall of free jazz skronk, with McPhee’s pocket trumpet and alto sax intertwining joyously with the sax of John Dikeman. The rhythm section of bassist Jon Rune Strøm and drummer Tollef Østvang is propulsive and explosive, knowing just when to drive the ensemble forward and when to dissolve into impressionistic washes. They happily follow McPhee and Dikeman to the outer reaches of any free-floating timbre, too. And just when you think they’re all fire and mist, they pull out a smoky, greasy tune like “Dewey’s Do,” which, with your head tilted just right, recalls Coleman Hawkins.

McPhee last visited the area in 1997, so this is a rare chance to hear him in person. —Dan Ruccia THE SHED, DURHAM 8 P.M., $10, WWW.SHEDJAZZ.COM

results reminiscent of Fleet Foxes with less memorable hooks and majestic harmonies. Charming Australian folk-poppers Oh Pep! open this gratis 95X block party.

—SG [RED HAT AMPHITHEATER, FREE/7 P.M.]

Naked Naps DIY TO Fresh off a DEATH two-month tour of more than fifty cities, scrappy Raleigh math-punk duo Naked Naps is back. Their dedication to the road isn’t all that surprising given their sonic touchstones: a

marriage of angular nineties guitar music like Chavez and the post-emo affectations now rippling through the indie underground. —DS [SLIM’S, $5/8 P.M.]

Mary Johnson Rockers, Katharine Whalen MILD Looking for MANNER even-keeled weeknight entertainment that won’t keep you out too late? Mary Johnson Rockers and Katharine

Whalen get you to the station.

The two trade complementary sets of thoughtful acoustic songs here. —AH [THE STATION, $7/7:30 P.M.]

Two Door Cinema Club POP The late aughts KNOWS became a breeding ground for brightly hued, utterly professional pop that foregrounded new wave influences among sharp guitars. The Irish trio Two Door Cinema Club established itself as one of the more sprightly

FREE Expect Chit Nasty to FUNK throw a true party, thanks to the arrival of his band’s Nasty Nation, an effervescent album that mixes Funkadelic’s intergalactic groove with vintage rock and soul vibes. Lively Costa Rican crew Talawa Reggae Army sticks out from the Americanized island pop pack with bilingual lyricism. —SG [POUR HOUSE, $7–$10/9 P.M.]

Dirty Bourbon River Show WILD What do you get STOCK when you combine New Orleans brass and accordion with a touch of Tom Waits at his most Brecht-influenced, then add a dark sense of humor? This idiosyncratic Crescent City quintet. —JA [CAT’S CRADLE, $10–$12/8 P.M.]

Ellie Goulding ENTER Those looking for THE VOID evidence that twenty-first-century pop is a long Illuminati con could probably use the stars-and-satellites imagery of British warbler Ellie Goulding as Exhibit A. At its worst, her whisper brings to mind the furtive flutters of a paper moth, while lyrics like “I’ll let you set the pace/ ‘cause I’m not thinking straight” don’t exactly up the girl-power quotient.

While last year’s kiss-off “On My Mind” at least had some INDYweek.com | 6.8.16 | 33

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Police-indebted snap, Goulding’s rise represents yet another triumph of recent Top 40 blandness. —MJ [RED HAT AMPHITHEATER, $35–$59.50/6:45 P.M.]

Graveface Roadshow ROAD Savannah-based SHOW record label and record store Graveface Records corrals an admirable selection of recent talent—sorry, Whirr fans—for this touring showcase.

Indie explorer (and recent area arrival) Hospital Ships will raise your spirits with miniature anthems before Savannah dreampunk trio Casket Girls lulls you into introspection. There’s also Stardeath and White Dwarfs, a slightly derivative psych band headed up by Wayne Coyne’s nephew. —DS [SLIM’S, $7/9 P.M.]

Miranda Lambert PROWL- The recent divorce ING of country music’s reigning queen, Miranda Lambert, from Blake Shelton puts a twist on some of her platinum-selling hits (and aptly titled) album, Platinum, especially its nostalgic lament, “Automatic.” Expect the confession of a line like “Staying married was the only way to work your problems out” to counter her harder edges. She’s an outlaw with a heavily mascaraed wink.

“Somethin’ ‘Bout a Truck” singer Kip Moore and sibling duo Brothers Osborne open. —KM [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $23–$130/7:30 P.M.]

N.C. Symphony Summerfest: John Williams Festival BRING John Williams is, for POPCORN better or worse, probably the most successful composer of the last forty years.

Even though he’s lifted liberally from the likes of Wagner, Mahler, Holst, and Strauss, his music has been heard and loved (or at least tolerated) by so many. Each of these shows features a distinct chunk of Williams’s cinematic output, building around Harry Potter and Star Wars, respectively.

You’ll have to conjure the scenes,

though. —DR [KOKA BOOTH AMPHITHEATRE, $38–$40/7:30PM]

Joshua Radin MURLike his old hit MURS “Winter,” a quiet tune featured on a 2004 episode of the Zach Braff-driven Scrubs, Joshua Radin’s tour stop will be stripped down and solo, a fitting backdrop for the breathy confessionals of his new live album, Live from the Village. He can bond with opener Gary Jules over the magic of music supervisors’ choices, since Jules saw a similar boost out of obscurity after a 2007 episode of Grey’s Anatomy and, long before that, Donnie Darko. —KM [MOTORCO, $30–$35/8 P.M.]

Spray and the Jays GLAM Durham’s Spray and SLAM the Jays are a doo-wop-inclined cover act, but here, the band takes an extra-dramatic turn by veering into glam rock. They’ll do it all in drag, too, making for an especially over-the-top spectacle. Craig Powell and Eric Kuhn bookend the fun with glam-slammed DJ sets.

—AH [THE PINHOOK, $10/9 P.M.] ALSO ON FRIDAY CAT’S CRADLE (BACK ROOM): Kris Allen, Sean McConnell; 8 p.m., $15–$18. • THE CAVE: The Hell Raisins, Michael Daughtry Band; 9 p.m., $5. • THE KRAKEN: Sing Me Back Home: A Tribute to Merle Haggard; 7 p.m. • LINCOLN THEATRE: Craig Xen, Lil Peep, Killstation, Refe, Oak City Slums, Hu$$el, Tyler Grosso; 8 p.m., $20. See page 21. • LOCAL 506: Wax Idols, King Woman, Crete; 8 p.m., $10–$12.

• NC MUSEUM OF ART: Lake Street Dive, Holy Ghost Tent Revival; 8 p.m., $20–$40. See box, page 37.

• SCHOOLKIDS RECORDS (RALEIGH): Dogs Eyes, Wanderer, Organ Trail, Vomiting Dinosaur; 7 p.m.

• SHARP NINE GALLERY: John Abercrombie; 8 p.m., $30–$40.

• THE SHED JAZZ CLUB: Joe McPhee, Universal Indians; 8 p.m., $10.

See box, page 33. • SOUTHLAND BALLROOM: TLG x SC6; 9 p.m., $10–$12. • THE STATION: Object Hours, Horizontal Hold; 7:30 p.m., $6.

SAT, JUN 11 Cory Branan WRITER’S Lucero’s Ben Nichols WRITER once sang that Cory Branan has “a way with words that’ll bring you to your knees” and “can play the wildest shows and he can sing so sweet.” A decade later, those lines remain an apt assessment of the overlooked, punk-loving Southern songwriter. His four near-impeccable albums have featured guest turns from fellow tunesmiths like Nichols, Jason Isbell, and even Craig Finn—proof that Branan’s incisive storytelling and lightly graveled voice win fans far beyond the alt-country circles in which he dwells. —SG [LOCAL 506, $10–$12/9 P.M.]

Chuck Champion & Monika Jaymes BLEWZ Whether belting out RAWK brassy, Southern rock-inspired takes on classics like “Jumpin’ Jack Flash” and “Mississippi Queen” or her own country-tinged compositions, Monika Jaymes delivers the goods with gusto. At age six, Chuck Champion wowed elementary school peers with his first composition, “Twirly Top.” All grown, Champion writes songs with vocals and content that suggest John Cougar Mellencamp’s rugged rock. —GB [BLUE NOTE GRILL, $5/8 P.M.]

Curtis Eller’s American Circus JANGLE For more than JAMS fifteen years, Detroit-born, Durham-based Curtis Eller has delivered jangly, free-spirited songs built with banjo and accordion. Eller aims to revitalize old, weird America as he brings his American Circus to this free, early set. —AH [SAXAPAHAW RIVERMILL, FREE/6 P.M.]

The Grand Shell Game EARLY WIN

Man on a Wire, the smart six-song

debut from Carrboro sextet Grand Shell Game, starts from a bedrock of jangling roots rock and ponderous poetry. The songs then spin outward, taking cues from The Beatles or Lambchop, Neutral Milk Hotel or Ween in turn.

Though all interesting, some of these tunes are breathless, fetching, and wild, while others turn inward for abiding reflection.

Think Bombadil operating beneath a veneer of cool, The Head & The Heart with less to lose, or one of the year’s most promising local starts. With Annabelle’s Curse and Gabriel David. —GC [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.]

Honeyhoney NEOFolk, country, and TRAD pop influences intertwine in Honeyhoney, with gentle acoustic picking and fiddle framing songs that bridge the gap between city and country. The Los Angeles duo of guitarist/singer Benjamin Jaffe and singer, fiddler, and guitarist Suzanne Santo got its start on a label owned by Kiefer Sutherland, but plenty of people have since come under their spell.

They combine the feeling of back-porch Americana with something murkier and more forebodingly atmospheric. —JA [HAW RIVER BALLROOM, $17–$20/8 P.M.]

The Honey Dewdrops NICE As The Honey NECTAR Dewdrops, Baltimore’s Laura Wortman and Kagey Parrish ply perfectly pleasant folk with soft strings and sweet harmonies. As country couples go, Wortman and Parrish sound halfway between the everybodyfields and Welch and Rawlings. Still, like nearly all of their peers, the Dewdrops’ songwriting is a few steps behind either pair. —SG [SERTOMA AMPHITHEATRE, FREE/6 P.M.]

Lacuna Coil SPRUNG The more stock you were willing to put in Lacuna Coil’s melodramatic

metal—that is, the more you were willing to suspend disbelief for its hyper-theatrical antiphony and aggressive electronics—the more you would get from it. But after two decades, the Italian goth demigods only seem to get louder, less subtle, and more ridiculous, especially on the over-the-top new Delirium. If you can maintain that faith, good for you. —GC [LINCOLN THEATRE, $17/7:30 P.M.]

Leftöver Crack SKADuring the last two NARCHY decades, New York anarcho-punks Leftöver Crack, an outgrowth of the radical ska-core outfit Choking Victim, have cycled through an extensive roster, all orbiting around frontman Scott Sturgeon, or Stza. Last year’s Constructs of the State encapsulates that instability with an eclectic brew of street punk, thrash, ska, folk, and pop. No matter the aesthetic guise, the band’s center remains its confrontational indictments of American capitalism and social hierarchies. With the crust-folk outfit Days N Daze, hardcore revivalists All Torn Up, and local ska-core crew SiBANNÄC. —BCR [MOTORCO, $15/8 P.M.]

#NotThisBenefit POWER This mighty anti-HB PLAY 2 spree, a benefit for Southerners on New Ground, starts with a late-afternoon improvisational drone from Jenks Miller and Elysse Thebner Miller and culminates, several hours later, with the wide-reaching doom majesty of MAKE. Along the way, it collects sets of aptly caustic rock (Natural Causes, Flesh Wounds, and Bad Friends), recently rare locals (In the Year of the Pig and Organos), outbound psych (No Eyes), and instrumental interludes by Matt Stevenson.

Radical bill. —GC [KINGS, $5–$10/4 P.M.]

Man Will Destroy Himself THE END As Raleigh upstarts OF MAN? Gorbash celebrate the release of their crusty thrash debut, the local figureheads of Man Will Destroy Himself may be

offering a swan song. At the very least, it’s the last show for the band’s current lineup, and frontman Jason Brown offers slim hope for a resurrection: “Maybe a different incantation reforms one day, maybe not.” So celebrate the band’s volatile mix of hardcore frenzy, grindcore blasts, and death metal’s churn while you can.

Grohg completes the bill with an excellent hybrid of hardcore and metal. —BCR [SLIM’S, $7/9 P.M.]

Off the Books BRIGHT @ Perhaps The NIGHT Pinhook’s back patio is the best place to take in the enormous “Old Bull” sign that sits atop the American Tobacco Campus Old Bull Building. It’ll be especially meaningful during this edition of the dance party Off the Books, which will unite two eras of Durham DJ culture. The sign didn’t exist in the early aughts, when Durham radio, club, and mixtape DJ Lauren “DJ Chela #1” Harkrader (she has since dropped the “#1” bit) helped activate a wide-eyed Triangle hip-hop scene.

She’s lived elsewhere for several years now, and her repertoire has expanded to incorporate global dance vibes. It’s a perfect match for Birdgherl’s style, as the two try to tell a rhythmic Bull City story that’s brighter and louder than even that sign suggests. —ET [THE PINHOOK, $10/10 P.M.]

Rainbow Kitten Surprise BOONE Rainbow Kitten IDOLS Surprise, or Appalachian State’s finest cultural export, has made a career of tricking people. Instead of the novelty music or shibuya-kei its name might imply, the band churns out middle-of-the-road guitar pop simpatico with pop rock bands like We The Kings.

2015’s RKS kept up the humor, though, with heartfelt numbers like “Cocaine Jesus.” If you dig Sam Beam but think his brand is too serious, give RKS a spin. —DS [CAT’S CRADLE, $10–$12/9 P.M.] ALSO ON SATURDAY THE CAVE: Paper Dolls, I Am Maddox; 9 p.m., $5. • KOKA BOOTH AMPHITHEATRE: N.C.

BEANIE SIGEL

SUNDAY, JUNE 12

STATE PROPERTY REUNION Now seems to be the time to look backward in hip-hop. Following a crowd-pleasing “Bad Boy Family Reunion” at Brooklyn’s Barclays Center, Puff Daddy intends to take Faith Evans, Lil’ Kim, and Mase for an upcoming national tour. Fueled by the success of Fat Joe and Remy Ma’s surprise hit “All the Way Up,” a Terror Squad reunion became one of the top-billed acts at Hot 97’s Summer Jam this month. The Diplomats and The Lox got theirs last year. As legacy rock and pop acts already know, these shows make money.

Formerly housed on Roc-A-Fella, Beanie Sigel’s Philadelphia-centric State Property stands to benefit from this summer of rap nostalgia. However, during the past five years, they’ve dubbed multiple concerts a reunion. In Atlantic City in 2011, all seven members—Freeway, Peedi Peedi, Young Chris, Neef Buck, Omillio Sparks, Oschino, and Sigel—performed. More reunion iterations emerged after Sigel’s release from prison, including a 2015 show in New Orleans with a strippeddown roster. The State Property bill rolling into Raleigh will likely feature a similarly truncated lineup—Sigel, Freeway, perhaps Chris and Neef of Young Gunz.

Sigel remains criminally unsung among the lyricists of his time. His former label boss, Jay Z, now schedules the spitting of bars for Pusha T between Tidal board meetings, but it was Beans who actually graced the Virginia coke boy’s 2015 album. Sigel hasn’t dropped an album with or without State Property in nearly four years, but the promise lingers.

Freeway, on the other hand, has kept up an aggressive independent rap hustle in the post-Roc years. His numerous mixtapes and a pair of Babygrande Records albums haven’t had the impact of Philadelphia Freeway or his “Roc the Mic” verse, yet they’ve allowed him to showcase that inimitable flow of above-average streetwise lyricism. Onstage, he’ll mix the desirable old with a healthy amount of new, which is more than can be said for Sigel, ostensibly headlining for an audience that is fine with that. —Gary Suarez LINCOLN THEATRE, RALEIGH 8:30 p.m., $25–$40, www.lincolntheatre.com

Symphony Summerfest: John Williams Festival; 7:30 p.m., $38–$40. See June 10 listing. • THE MAYWOOD: Something Clever, The Gray; 9:30 p.m., $8–$10. • NIGHTLIGHT: Disco Sweat XXV; 9:30 p.m., $8. • POUR HOUSE: Jon Lindsay, The Old Ceremony; 9 p.m., $7–$10. See page 20.

• RED HAT AMPHITHEATER: M83; 7:30 p.m., $27.50–$35. See page 24. • SHAKORI HILLS: Southern Culture on the Skids, Fish Dad; 6:30 p.m., $10–$15. • SHARP NINE GALLERY: John Abercrombie; 8 p.m., $30–$40. • SOUTHLAND BALLROOM: Sidewinder, Coldshine; 8 p.m., $13–$15.

SUN, JUN 12 Tashi Dorji & Tyler Damon IMPROV As a teenager in PROS Bhutan, Tashi Dorji was enchanted by the strains of American music that filtered through his shortwave radio. He’s spent the last twenty-odd years developing his own distinct approach to the guitar and gathering up captivatingly extemporaneous musical threads. For a few dates, Dorji has teamed with percussionist Tyler Damon, who

matches Dorji’s sharp improvisational ear. Expect it to get weird and wonderful. —AH [NIGHTLIGHT, $12/8 P.M.]

The Garden, Plague Vendor MIXED Taking cues from BAG goth-pop, L.A. punk, hip-hop, and industrial rock, California twins Wyatt and Fletcher Shears, or The Garden, provide eclectic music for songs full of Adult Swim-like non sequiturs. Plague Vendor counters with dynamic indie rock that finds space between Jack White’s INDYweek.com | 6.8.16 | 35

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Sara Grey & Kieron Means TRAD & This mother-son TRUE pair is dedicated to the orthodox folk music canon— century-old ballads, cowboy songs, obscure blues, Celtic and Scottish tunes, and the like.

Despite the recent proliferation of neo-Americana and stomp-nholler outfits, these two continue steadfastly as if none of that ever happened. —DK [N.C. MUSEUM OF HISTORY, FREE/3 P.M.]

Manifest Pussy TRANS Musicians have TOUR pushed back against HB 2 with cancelations, donations, and one-off benefits.

But Shakina Nayfack, a trans woman, isn’t staging one show; she’s doing a whole “rebel tour” of the state with Manifest Pussy, her one-woman musical about her transition and the life she’s since lived. Before making stops in Asheville, Wilmington, Charlotte, and Greensboro, Nayfack presents Manifest Pussy in the Triangle here, and returns on June 17 in Chapel Hill and June 19 in Durham; proceeds from this stop will benefit the LGBT Center of Raleigh. —AH [POUR HOUSE, $10/9 P.M.]

Ozymandias LITE FOLK A band that names itself after the famously reduced former god among men in the Shelley poem would seem to have a realistic expectation that its works will ultimately be dust. But existential dread is not what this winsomely pleasant folk pop outfit is about.

Single “Dandelions” would sound good playing under a rom-com trailer. —DK [CAT’S CRADLE BACK ROOM, $8/8:30 P.M.]

Pure Bathing Culture LATHER & As Pure Bathing RINSE Culture, zoned-out Portland duo Sarah Versprille and

Daniel Hindman, also of the folk-rock act Vetiver, rebel against the soft rock of their bigger gig for lo-fi, VHS-tracked synthpop. It sounds dated rather than retro, aiming for Cocteau Twins but landing closer to the Thompson Twins. With Calapse. —PW [THE PINHOOK, $10/8 P.M.] ALSO ON SUNDAY THE CAVE: The Oblations, Porter; 9 p.m., $5. • KINGS: Dungen, Birds of Avalon; 8 p.m., $15. See page 31.

• LINCOLN THEATRE: Beanie Sigel, Freeway, Young Gunz; 8:30 p.m., $25–$40. See box, page 35. • LOCAL 506: 3@3: Nikol, Laura Jane Vincent, Jordan and the Sphinx; 3 p.m., free.

MON, JUN 13 La Dispute REAL LIFE In November, STUFF post-hardcore quintet La Dispute released the feature-length documentary Tiny Dots, filmed throughout the course of the tour that followed the release of the band’s excellent 2014 record, Rooms of the House.

Fans interviewed for the documentary continually asserted that La Dispute’s music is “real.”

Indeed, like brethren bands Touché Amoré or Pianos Become the Teeth, La Dispute portrays the personal as political. Jordan Dreyer’s poetic speak-shout vocals paint intricate pictures of the nightmarish and banal aspects of everyday life, while the band explodes behind his strange, often painful stories. Des Ark does all this, too—and probably does it better. With Gates. —PW [LINCOLN THEATRE, $18/7:30 P.M.]

WET SMOOTH At one point, PBR&B Brooklyn PBR&B trio WET were poised as electronic pop’s next big thing. Expectations ran high on the back of a few singles that sloshed airy production with pristine, nineties-primed R&B. Their industry buzz has since lessened, but their live show—perhaps now free from immediate blogger criticisms—is better than ever.

Come early for excellent Carrboro synth slingers Body Games. —DS [LOCAL 506, $18–$20/8 P.M.]

ALSO ON MONDAY CAT’S CRADLE (BACK ROOM): Powers; 9 p.m., $10–$12.

• THE CAVE: Caveman Dave, Tough Old Bird; 9 p.m., $5. • POUR HOUSE: Seawhores; 9 p.m., $5. • SLIM’S: Sibannac; 9 p.m., $5.

Lacy; 9 p.m., $10. • MOTORCO: Frazey Ford, Loamlands; 8 p.m., $14– $16. See page 30. • POUR HOUSE: Al Scorch, Breadfoot; 9 p.m., $5.

TUE, JUN 14

Dylan LeBlanc

WED, JUN 15 FAIRLY Dylan LeBlanc’s WARNED Cautionary Tale is one of the year’s best blends of the wariness of Americana and the skepticism of country music.

Let’s call it failure folk. On the title track, a haunting dose of reality, LeBlanc sounds like the shadow of Jason Isbell, only more weary and less angry. Jphono1 opens. —KM [THE PINHOOK, $12/8 P.M.]

Ciompi Quartet: Light and Shadow II SEREEach summer, the NADES members of Ciompi Quartet take a break from life as a quartet to do their own things.

Here, violist Jonathan Bagg has selected works from the past century for flute and strings. One highlight will certainly be local composer David Kirkland Garner’s Nonallemande, a new work that constructs post-minimalist riffs out of a Bach allemande. The group will also play pieces by Erno von Dohnányi, Paul Ben Haim, and Nicholas Maw. —DR [DUKE GARDENS, $10–$25/7:30 P.M.]

Lucius #TWIN- On stage, Jess Wolfe NING and Holly Laessig, the two leaders of Lucius, may seem difficult to distinguish. They dress, wear their hair, and do their makeup the same way. They’re difficult to separate on record, too.

On Wildewoman, the band’s debut, they often sang in unison.

On Good Grief, Lucius’ second record, the harmonies are more distant, but the pair still channel sixties girl-group vibes and moody synth melodies. —PW [HAW RIVER BALLROOM, $17–$20/8 P.M.]

Rosies WORTH Raleigh’s Mike Roy THE WAIT launched Rosies in early 2012. More than two years passed until the project’s first show as he sought the right players to flank him. Tonight, the quintet releases its debut, Denim & Bleach, an incredibly catchy collection of shout-along power pop anthems backed by soaring riffs, seemingly tailor-made for a dive like Slim’s. —SG [SLIM’S, $3/9 P.M.]

PHOTO BY DANNY CLINCH

FRIDAY, JUNE 10

LAKE STREET DIVE What is soul? Does it parallel Justice Stewart’s definition of pornography in Jacobellis v. Ohio—you just know it when you see or, in this case, hear it? Sharon Jones has soul, as does Lee Fields. But what about The Alabama Shakes? Maroon 5?

Where’s the holy line of demarcation for authenticity of soul?

Lake Street Dive certainly looks the part of a retro soul act. The group went viral in 2012 when a video of the quartet performing The Jackson 5’s “I Want You Back” on a street corner in Brighton, Massachusetts—a hop down the Green Line from the New England Conservatory of Music, where they formed—spread. They sported cool vintage clothes, played acoustic instruments, and used one old-fashioned microphone.

Singer Rachael Price remains the star of the show. Her voice is magnetic, her stage presence commanding. But as the band’s new Side Pony proves, the players behind her— guitarist and trumpeter Mike Olson, upright bassist Bridget Kearney, and drummer Mike Calabrese—contribute clever, creative arrangements. The retro vibe rules here, sure, but the cross-generational blend of modern pop and vintage soul also matters.

Whether Lake Street Dive has authentic soul or not, that’s for you to decide. Their crossover success, though, seems a foregone conclusion. —Patrick Wall NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 P.M., SOLD OUT, WWW.NCARTMUSEUM.ORG

John Paul White AFTER Crossword clue: the THE WAR opposite of Lady Antebellum. Answer: John Paul White, the male half of the now-defunct The Civil Wars.

Since the duo dissolved, the Grammy-winning singer-songwriter cofounded Single Lock Records and recorded a track on super-producer Dave Cobb’s multi-artist record, Southern

Family. The Secret Sisters, who have been in the studio with Brandi Carlile, open. —KM [CAT’S CRADLE BACK ROOM, $15/8 P.M.] ALSO ON TUESDAY THE CARRACK: Carrack Free Improv Tuesday: 3+2; 8 p.m., $10. • THE CAVE: Dendera Bloodbath, Reardin, Joules; 9 p.m., $5. • LOCAL 506: Melodime, Parallel Lives, Justin

Of Monsters and Men JINGLE The grand ambitions JANGLE of Icelandic quintet Of Monsters and Men are made for summer-evening amphitheaters. Operating in the ramshackle yet grandiose traditions of Arcade Fire and Neutral Milk Hotel, they craft marauding songs that turn deep-seated feelings into skyscraping statements. The wail of co-lead-singer Nanna Bryndís Hilmarsdóttir adds a sublime bit of tension, slicing through the clamor and grounding even those anthems that seem to reach for the cosmos. —MJ [RED HAT AMPHITHEATER, $25–$45/8 P.M.]

So So Glos ROUGH The term “celebratEDGES ed punk band” has something of a paradoxical ring, but it applies to So So Glos, a Brooklyn outfit led by three brothers. The Glos have earned the blessing of ur-rock critic Robert Christgau and persevered through more years than it takes your typical punk outfit to either burn out or fade away. The music is fierce, tuneful, and made to last.

With Big Ups and Honduras.

—DK [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.] ALSO ON WEDNESDAY DUKE GARDENS: Skylar Gudasz; 7 p.m., $5–$10. See page 30. • POUR HOUSE: Sophistafunk; 9 p.m., $5–$8.

INDYweek.com | 6.8.16 | 37

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ANNUAL 3RD OF JULY PARTY STEVE GUNN DRAGGED INTO SUNLIGHT

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art OPENING

20 Years of Horse & Buggy Press (and Friends): In this must-read retrospective, the past twenty years are an open book. That’s how long Dave Wofford has been letterpress printing paper pleasures at Horse & Buggy Press, first in Raleigh, then in Durham. Wofford collaborates with writers and artists to produce beautiful, minutely tailored books in small runs, their content ranging from abstract photojournalism to translations of Rilke. You can read them all in this exhibit, which also includes dozens of framed artworks. Jun 15-Aug 7. CAM Raleigh, Raleigh. www. camraleigh.org. —Brian Howe Divergent: Paintings by Darius Quarles and idiopathic art

by Kim Howard. Jun 8-Jul 10.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

En Plein Air Art Auction & Gala: Fri, Jun 10, 6 p.m. Cary Arts Center. www.townofcary.org.

Geometric Universe: Sculpture, neon, glass, mixed media, and paintings by Pleiades member artists. Jun 8-Jul 10.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

Latino Artists at Work: Demonstrations by Leticia Alvarez, Claudia Corletto, Titiana Delgado, Francisco Gonzalez, and Yholima VargasPedroza. Sat, Jun 11, 1-4 p.m. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Local Color: Multimedia works by twelve local female artists.

Thru Jul 30. Local Color Gallery, Raleigh. localcoloraleigh.com.

ONGOING 10 DEEP 25: Twenty-five years after The Scrap Exchange opened, it’s hard to believe that the creative reuse center not only still exists, but thrives. But maybe it makes perfect sense

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

06.08–06.15

ALAN DEHMER: “SUNDAY AFTERNOON” PHOTO COURTESY OF FRANK GALLERY

in a city that prizes a history it’s in the process of mulching.

The Scrap takes a well deserved victory lap in this group show, which features creative reuse artists with strong ties to the center, including Bryant Holsenbeck, Cici Stevens, Stacey L. Kirby, and Gary Pohl. Thru Jun 11. The Scrap Exchange, Durham. scrapexchange.org. —Brian Howe LAST 2016 Members’ CHANCE Showcase: Thru Jun 11. Durham Art Guild. www.durhamartguild.org.

LAST 4 Directions: Textile CHANCE and collage by Marguerite Jay Gignoux, A. Brook Heuts, Harriet Hoover, and Carolyn Nelson. Thru Jun 11. Light Art + Design, Chapel Hill. www.lightartdesign.com.

FRIDAY, JUNE 10

JESSICA DUPUIS AND ALAN DEHMER For the month of June, FRANK Gallery showcases two artists for whom the physical process of creation is paramount. Ceramicist Jessica Dupuis uses discarded materials and clay slip to make wall-mounted pieces, abstract in form and rich in visual texture, that remind me of vegetation under the sea. And photographer Alan Dehmer’s gum bichromate prints imbue landscapes and plant life with a nineteenthcentury patina and a side of wabi-sabi ephemerality. In both artists’ work, the medium is not the message, but it is the fascinating, inextricable megaphone through which it speaks. —Brian Howe

A Compilation: Raymond Melvin. Thru Jun 28. Naomi Studio and Gallery, Durham.

NaomiStudioandGallery.com.

SPECIAL Abstraction: FRANK EVENT Artist Invitational: Una Barrett, Peg Gignoux, Lew Graham, Murry Handler, Emily Lees, Anita Wolfenden. Thru Jul 3. Reception: Fri, Jun 10, 6-9 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

After Apartheid: Collages on canvas by Kenneth Robert Nkosi. Thru Jun 19. Eno Gallery, Hillsborough. enogallery.net.

Altered Land: Works by Damian Stamer and Greg Lindquist: In Altered Land, Stamer and Lindquist apply a heavy coat of subjectivity to rural N.C. scenes. Stamer paints a barn with black-and-white horror movie starkness in “South Lowell 18,” and Lindquist spills angry psychotropic colors in his pointedly titled “Duke Energy’s Dan River” series. Thru Sep 11.

NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe American Impressionist: Childe Hassam and the Isle of Shoals: In the late-nineteenth and early-twentieth centuries, Childe Hassam spent decades painting Appledore Island, a resort in the Gulf of Maine.

His style is beautiful and refined, like a slightly more

submit!

FRANK GALLERY, CHAPEL HILL 6–9 p.m., free, www.frankisart.com fastidious Monet, but the subject is repetitious, and oddly, NCMA has chosen to pipe in distracting seagull sounds, like a small-town natural history museum. It’s hard to forget these are essentially a wellheeled person’s pretty vacation paintings. Thru Jun 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe The Apollo Series: NASA’s Landsat 8 satellite captures data on Earth that is archived online for anyone to use. Alina Taalman, who recently earned an MFA in experimental and documentary arts at Duke, took them up on it. The Apollo Series consists of visualizations of energy collected by the satellite’s sensors—much of it invisible until Taalman prints it—above Cape Canaveral, Florida, a site chosen for its well trodden pathway to terra incognita. The result is astral

projection in shimmering, mysterious abstractions.

Thru Jun 26. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

—Brian Howe LAST Arise! Bald Man! CHANCE King of Hair People!: Bill Thelen, the founding director of groundbreaking Raleigh gallery Lump, is stepping down after two decades, and this final show under his tenure is a tribute to him. The group installation, oriented around Thelen’s penchant for drawing bald guys, is the brainchild of Team Lump, the collective that brought bonkers art to Blount Street. Thru Jun 11. Lump, Raleigh. www.teamlump.org.

—Brian Howe ARTQUILTSvoices: PAQASouth. Thru Jul 2. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org.

Breathing Space: Joann Couch.

Thru Jun 30. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

Burk Uzzle: American Chronicle: One of N.C.’s most faithful chroniclers gets a career retrospective. Uzzle, born in Raleigh in 1938, started as a News & Observer shooter before hitting the big time at Life, photographing iconic scenes from the civil rights movement and Woodstock. Thru Sep 25.

NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe

Pittsboro. www.joyfuljewel.com.

Kathy Dawalt and Michiel Van der Sommen: New oils and bronzes. Thru Jul 31. Gallery C, Raleigh. www.galleryc.net.

Earth, Wind & Fire: Pottery by Garry Childs, carved wood by Larry Favorite, and paintings

by Jude Lobe. Thru Jun 19.

Hillsborough Gallery of Arts. www.hillsboroughgallery.com.

Collectors’ Open House: Thru Jun 30. Lee Hansley Gallery, Raleigh. leehansleygallery.com.

The Ease of Fiction: This exhibit features paintings, drawings, and sculptures by four young, technically skilled, U.S.-based African artists who intimately navigate the facts, official narratives, and myths of two nations that see each other in different ways. $5. Thru Jun 19. CAM Raleigh, Raleigh. www. camraleigh.org. —Brian Howe

The Creepy & the Crawly: Watercolors, acrylics, and ceramics by Shannon Bueker.

Thru Jun 30. Joyful Jewel,

Expansion: Vicki Rees.

Thru Jun 25. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

Martha Clippinger: Thru Jun 25. Artspace, Raleigh. www. artspacenc.org.

Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent. DEADLINE: Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

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THE FRINGE DWELLERS PHOTO BY PAIGE LAWALL

THURSDAY, JUNE 9–SUNDAY, JUNE 26

INSOMNIA | THE FRINGE DWELLERS | EMILIE Each June, Burning Coal Theatre Company turns over its Murphey School space to curated guest productions. Second Stage Series shows like 2015’s five-star drama, Dark Vanilla Jungle, have proven to be some of the strongest works of the year. This June, three regional companies present two original shows and an intriguing stage play in rotating repertory. Koffee Dance Company, which mixes modern, jazz, African, and street choreography, opens with Insomnia, a dance-theater hybrid in which a small town’s inhabitants lose more than sleep in the aftermath of a historic hate crime. Time as a Symptom is the second in Cirque de Vol Studios’ The Fringe Dwellers series, plunging Jungian archetypes and quantum physics into aerial silk, trapeze, adagio balance techniques, and other cirque forms. Science and metaphysics also figure in Exit Through Eden’s production of Emilie: La Marquise Du Châtelet Defends Her Life Tonight. The title character was a brilliant eighteenth-century French physicist and mathematician who was the equal—and, for a time, the lover—of Voltaire. Playwright Lauren Gunderson lifts her unlikely tale out of obscurity in this quick-witted feminist play. —Byron Woods MURPHEY SCHOOL AUDITORIUM, RALEIGH Various times, $10, www.burningcoal.org Express Yourself: A Celebration of Black Art in Durham: Thru Jun 17. Duke Campus: Mary Lou Williams Center for Black Culture, Durham.

FRESH: Juried exhibition of new works by North Carolina artists.

Thru Jun 25. Artspace, Raleigh. www.artspacenc.org.

Half a World Away: Oil paintings

by Alicia Armstrong. Thru Jun 19. Eno Gallery, Hillsborough. www.enogallery.net.

Imagine and Island: Michael Ligett. Thru Jun 30. Bond Park Community Center, Cary. www. townofcary.org.

Los Jets: Playing for the American Dream: Thru Oct 2.

NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

SPECIAL Luminous: EVENT Watercolors by Lyudmila Tomova. Thru Jun 30.

Reception: Fri, Jun 10, 6-8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Mandala Manifesto: Thru Jun 30. Visual Art Exchange, Raleigh. www.

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visualartexchange.org.

Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art: This outstanding exhibit is a master class in drawing and a chance to see the hands of big names (Picasso, Matisse, Degas, Klimt, Mondrian, de Kooning, Magritte, Lichtenstein, Warhol, and Ruscha, just to name a few). The exhibit ranges from fifteenth-century illuminated manuscripts and expressive Baroque portraits to Abstract Expressionism and Pop Art. Thru Jun 19. NC Museum of Art, Raleigh. www.ncartmuseum. org. —Brian Howe SPECIAL The Menagerie: EVENT Paintings by Lisa Bartell. Thru Jun 30. Reception: Fri, Jun 10, 6-8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

LAST Native: We usually CHANCE think of cultural diversity in terms of difference, but Yousuf Zafar is after what makes us all alike. In his lush color photographs of working-

class life in Africa, the Middle East, Asia, and Central and South America, he looks beyond variations in dress and culture to focus on the commonalities of land and sea, work and play, striving and sustenance. Thru Jun 11. Reception: Sat, June 11, 6-9 p.m. The Carrack Modern Art, Durham. www.thecarrack.org.

—Brian Howe Nature in Colored Pencil: The Colored Pencil Society of America. Thru Jul 31. Nature Art Gallery, Raleigh. www. naturalsciences.org.

Nature: The Beauty of the Beast: Kathryn Green Patel.

Thru Jul 24. Herbert C Young Community Center, Cary. www. townofcary.org.

Passages: Paul Hrusovsky.

Thru Jun 18. Craven Allen Gallery, Durham. www. cravenallengallery.com.

Picturing Sound: Gemynii, Frank Myers, and James Cartwright.

Thru Jul 10. Arcana, Durham. www.arcanadurham.com.

Rare Earth: Marjorie Pierson

WEDNESDAY, JUNE 8– SUNDAY, JUNE 19

DUKE P ERFORMANCES

ALL MY SONS

I N D U R H A M , AT D U K E , A R T M A D E B O L D LY

Chris was an optimist and an idealist with an unshakable belief in civic responsibility and his fellow humans. Then he went to serve in World War II. But in Arthur Miller’s 1947 play, Chris is most shaken by his reception upon returning home—the feeling that his countrymen’s blindness to the realities of war “[made] suckers out of a lot of guys.” His faith is challenged even more when that sense of betrayal extends to his own family, in a wartime drama with the dimensions and bitter insights of Greek tragedy.

—Byron Woods KENNEDY THEATRE, RALEIGH Various times, $28–$30, www.theatreraleigh.com

ALL MY SONS PHOTO BY CURTIS BROWN PHOTOGRAPHY

photographs. Thru Jul 10.

Durham Arts Council. www. durhamarts.org.

Separation: Megan Bostic, Samantha Pell, and Jan-Ru Wan. Thru Jul 24. Cary Arts Center. www.townofcary.org.

stage OPENING

Silkscreen Prints from the McMann Fine Art Collection: Thru Jun 18. Hillsborough Arts Council Gallery. www. hillsboroughartscouncil.org.

Cloud 9: Play presented by Tiny Engine. $12–$17. Jun 10-25. Common Ground Theatre, Durham. www. cgtheatre.com. See p. 30.

Sounds of Carolina: Paintings

by Ruth Ananda. Thru Jun 26. Liquidambar Gallery & Gifts, Pittsboro. www. liquidambarstudio.com.

SPECIAL Vitamin O: Photos EVENT and interview selections. Thru Jun 30.

Reception: Fri, Jun 10, 6-9 p.m.

Chapel Hill/Orange County Visitors Bureau, Chapel Hill.

Pete Davidson: Stand-up comedy. $20–$28. Tue, Jun 14, 7:15 & 9:30 p.m..

Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Walls and Windows: Ashylnn Browning. Thru Jun 29.

Flanders Gallery, Raleigh. www. flandersartgallery.com.

Water Treatment: Bob Rankin.

Thru Jun 25. 311 Gallery, Raleigh.

SPECIAL Wood & Water: Greg EVENT Lindquist, Damian Stamer. Thru Jun 18. Artist Talk: Wed, Jun 15, 5:30 p.m.

Craven Allen Gallery, Durham. cravenallengallery.com.

Kyle Dunnigan: Stand-up comedy. $14. Fri, Jun 10, 8:30 p.m.. Kings, Raleigh. www. kingsbarcade.com.

Emilie: La Marquise du Châtelet Defends Her Life Tonight: Play. $10. Jun 10-26.

Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.

Feature Presentation: Dancetheater duets. $10–$15.

Jun 10-12. Trotter Building, Durham. trotterbuilding.com.

See p. 28.

Feel Free: You’re In Carrboro: Artistic reactions

to HB 2, including poetry, dance, spoken word, music, and more.

Sun, Jun 12, 1-4 p.m. Downtown Carrboro, Carrboro.

The Glass Menagerie: Play. $13–$22. Jun 10-26. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. See p. 30.

Faizon Love: Stand-up comedy. $22–$35. Jun 9-11. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

No Shame Theatre: Short staged performances. $5. Sat, Jun 11, 8 p.m.. The ArtsCenter, Carrboro. www.artscenterlive.org.

North Carolina’s Funniest Preliminary: $10. Wed, Jun 8 & Wed, Jun 15. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

P.T. Scarborough Is a Movie: Improvised movie soundtrack overdubbing. $10. Fri, Jun 10, 7 p.m.. DSI Comedy Theater, Chapel Hill. www. dsicomedytheater.com.

The Pursuit of Happiness: Dancing the American Dream: Dance. $5. Sun, Jun 12, 8 p.m..

The ArtsCenter, Carrboro. www. artscenterlive.org.

Ragtime: Musical. $23–$29.

Jun 10-26. St Francis of Assisi

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 ½ Alice Through the Looking Glass—The story’s thin but the visuals shine; see it in 3-D or not at all. Rated PG.  Batman v Superman: Dawn of Justice—D.C. Comics’ most iconic heroes clash in an overstuffed slog littered with great moments. Rated PG-13.  ½ Captain America: Civil War—As in Batman v Superman, superheroes turn on each other, but the action is served with a Marvel smirk instead of a D.C.

Bill T. Jones in A Good Man PHOTO COURTESY OF KARTEMQUIN FILMS

SATURDAY, JUNE 11

GORDON QUINN: A GOOD MAN This weekend, if Durham looks a little like it does during Full Frame, that’s because the Southern Documentary Fund has drawn dozens of filmmakers from around the country for its 2016 Artists Convening. Much of the programming during the three-day conference (June 10–12) is geared toward industry professionals, teachers, and students. But there are ways for the general public to engage, too, including this master class with Gordon Quinn of Kartemquin Films at 21c Museum Hotel. Quinn will discuss and show excerpts of A Good Man, his documentary on Bill T. Jones, the legendary choreographer whose company comes to ADF next month. Quinn follows Jones as he crafts a dance theater piece in honor of Lincoln’s bicentennial. Other public events include a free panel discussion on broadcasting documentaries on public television (June 10, 3 p.m., UNC Center for Public Television). And the Artists Convening coincides with SDF’s annual fundraiser on June 12, which begins with a noon brunch at Mateo and then proceeds to Full Frame Theater for a showcase of SDF-sponsored films. Register at SDF’s website. —Brian Howe 21C MUSEUM HOTEL, DURHAM 7 p.m., $20, www.southerndocumentaryfund.org

Catholic Church, Raleigh. www. sfaraleigh.org.

Shakespeare in Hollywood: Forest Moon Theater. $13–$18.

Jun 10-19. Renaissance Centre, Wake Forest.

Vincent: One-person theater performance. $12–$15. Jun 9-11.

The Green Monkey, Raleigh.

The Wedding Singer: Musical. $12–$20. Thru Jun 12. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

ONGOING Two Gentlemen of Verona: Thru Jun 30. Various locations. www. baretheatre.org. See p. 29.

Weekly comedy at DSI: League Night (Jun 9, 8 p.m.), The Thrill (Jun 10, 8:30 p.m.), Mister Diplomat (Jun 10, 10 p.m.), The Jam (Jun 10, 11 p.m.), Improv Wildcard (Jun 11, 7 p.m.), Stranger Danger (Jun 11, 8:30 p.m.), Versus (Jun 11, 10 p.m.).

DSI Comedy Theater, Chapel Hill. dsicomedytheater.com.

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screen SPECIAL SHOWINGS Deep Run: Thu, Jun 9, 6:30 p.m.

UNC Campus: Murphey Hall, Chapel Hill.

Durham Cinematheque: Think It Might Rain?: Fri, Jun 10, 9 p.m. Durham Central Park, Durham. www. durhamcentralpark.org.

Finding Nemo: Thu, Jun 9, 8:30 p.m. Northgate Mall, Durham. www.northgatemall.com.

Jumanji: Fri, Jun 10, 6 p.m.

Raleigh City Plaza, Raleigh.

Lilo & Stitch: Thu, Jun 9, 8:30 p.m. Wallace Plaza, Chapel Hill.

OPENING The Conjuring 2—Paranormal investigators help a single mother whose London home is haunted. Rated R. Maggie’s Plan—Maggie (Greta Gerwig) plans on having a baby on her own, but it all falls apart when she falls in love with a married man. Rated R. Now You See Me 2—A crew of sticky-fingered illusionists reunites for its boldest heist yet. Rated PG-13.

Home: Fri, Jun 10, 7 p.m. Baptist Grove Church, Raleigh. — Jun 14-16, 9:30 a.m. Northgate Mall, Durham. northgatemall.com.

Warcraft—The world’s most popular multiplayer online role playing game hits the big screen. Rated PG-13.

Inside Out: $6. Sat, Jun 11, 9 p.m.

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

A L S O P L AY I N G Read our reviews of these films at www.indyweek.com.

page

READINGS & SIGNINGS David Denby: New Yorker film critic David Denby went back to tenth grade to find out if literature can still change kids’ lives. He chronicles the experience in Lit Up, part reportage, part pro-reading polemic. Mon, Jun 13, 7 p.m.

Flyleaf Books, Chapel Hill. www. flyleafbooks.com. —Brian Howe Morgan Guyton: How Jesus Saved the World from Us: 12 Antidotes to Toxic Christianity.

Mon, Jun 13, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Louise Hawes: Novel The Language of Stars. Fri, Jun 10, 6 p.m. Barnes & Noble, Durham. www.barnesandnoble.com.

Lolly Hopwood and Yoyo Kusters: Children’s book MOVE!. Thu, Jun 9, 4 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Randy Johnson: Grandfather Mountain: The History and Guide to an Appalachian Icon.

Thu, Jun 9, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. — Sun, Jun 12, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Harrison Scott Key: The World’s Largest Man: A Memoir. Sat, Jun 11, 11 am. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Katie Rose Guest Pryal: Novel Chasing Chaos. Tue, Jun 14, 7

frown. Rated PG-13.  The Jungle Book— Disney’s animated classic gets a well done, CGI-heavy update. Rated PG.  The Lobster—Yorgos Lanthimos skewers society’s fear of single people in this surrealist dark comedy. Rated R.

 Neighbors 2: Sorority Rising—A sorority and a suburban couple square off with mindless gross-out gags.

Rated R.  ½ The Nice Guys—Ryan Gosling is a private eye in 1970s L.A. in this hoot-and-ahalf comedy. Rated R.

 Love & Friendship—Whit Stillman misplaces his wit in this achingly boring Jane Austen adaptation. Rated PG.

 ½ Popstar: Never Stop Never Stopping—For better and worse, here’s a featurelength Lonely Island sketch.

Rated R.

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

Readings: Readings from Carol Henderson’s writing workshops for adults grieving loss. Sun, Jun 12, 2 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Diane Rehm: On the NPRsyndicated The Diane Rehm Show, the host has become one of the nation’s indispensable political commentators. When she retires after this presidential election, reasoned discourse will suffer a blow. Meet her on this book tour for On My Own, Rehm’s memoir about losing her husband to Parkinson’s disease.

Tue, Jun 14, 1 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks. com. —Brian Howe Remembrance: An Evening of African-American Poetry: Pam Baggett, L. Teresa Church, Jaki Shelton Green, Sheila Smith McKoy, and Gideon Young.

Tue, Jun 14, 6 p.m. Chapel Hill Public Library, Chapel Hill. chapelhillpubliclibrary.org.

Nicole Sarrocco: Ill-Mannered Ghosts. Sat, Jun 11, 5 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Two Writers Walk into a Bar #24: Ray McManus and Mark Beaver. Tue, Jun 14, 7 p.m. West End Wine Bar, Durham. www. westendwinebar.com.

Carole Boston Weatherford and Jeffrey Weatherford: YA book You Can Fly: The Tuskegee Airmen. Wed, Jun 15, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Kim Wright, Joy Callaway: Novels Last Ride to Graceland and The Fifth Avenue Artist Society. Sat, Jun 11, 2 p.m.

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

Writing Toward Healing

LITERARY R E L AT E D 7-Stories Season One: Greatest Hits: Tales of lies, love lost, late blooming, hangovers, and tattoo ink. $10. Sun, Jun 12, 7 p.m.

Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org.

After Hours: Talking About Treasures: Discussion with staff from the N.C. Museum of History and the State Archives of North Carolina.

Thu, Jun 9, 8 p.m. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Brooke Hemming: Discussing climate change. Tue, Jun 14, 7 p.m. United Church of Chapel Hill. www.unitedchurch.org.

Humanities Happy Hour: Scott Myers: “How Can Storytelling Survive our Digital Age?” Wed, Jun 15, 6 p.m. Top of the Hill Restaurant & Brewery, Chapel Hill. www.thetopofthehill.com.

Science Cafe: Roland Kays on using camera traps to understand how animals and humans can share the planet.

Thu, Jun 9, 7 p.m. NC Museum of Natural Sciences, Raleigh. www.naturalsciences.org.

Sounds of Summer: Bill Reynolds on identifying North Carolina’s twenty-one known cicada species. Tue, Jun 14, 7 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

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