Indy Week 6-10-15 issue

durham•chapel hill 6|10|15

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JUNE 10, 2015

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Opening Weekend!

OCT

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Lucinda Williams OCT

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SEASON

Buddy Guy

ON SALE TODAY

OCT

9/10 Antigone

by Sophokles, Featuring Juliette Binoche Directed

by Ivo Van Hove

DEC

12

NOV

Steep Canyon Rangers

17

You Us We All An Opera by SHARA WORDEN

APR

15/16 Lil Buck @ Chapel Hill A Jookin’ Jam Session

APR

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Live at Memorial Hall CPATIX.ORG

Ticket Services 919.843.3333

Abigail Washburn and Friends

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2015

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inside 10

THE TRIANGULATOR: Greg Hatem’s haters and our advance

28

directives (which involve ice cream, of course)

MUSIC: A fever dream involving David Crosby, Morrissey

and livers

PERIPHERAL VISIONS

30

MUSIC: Five Words with drummer Paal Nilssen-Love

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CITIZEN: The latest GOP disregard for the concept of fairness involves rigging the state Supreme Court, plus TOM TOMORROW

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THEATER REVIEWS: Equivocation and Love, Loss, and What

I Wore

CALENDARS & EVENTS 5 7

NEWS: Big-dog cops, a country boy and one wild Wake County caper NEWS: A developer wants to turn the old Dillon Supply Co. warehouse into a mixed-use high rise

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NEWS: Why are negotiations between a developer and Durham Central Park being held behind closed doors?

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NEWS: The Durham Police Department’s new

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WHERE WE’LL BE: The best of the week in music, arts and

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MUSIC CALENDAR

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ARTS CALENDAR

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FILM CALENDAR

DISH brings the heat 14

All over the Triangle (and the U.S.), menus are reaching for an extra spicy kick By Emma Laperruque

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Which peppers suit which dish

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Too hot? How to save your mouth

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A connoisseur’s ode to his favorite hot sauce

By Lisa Sorg

By Curt Fields

By Grayson Haver Currin

film

26

Redemption songs Singer-songwriter Josh Moore emerges from a troubled time with a debut album By Allison Hussey

The INDY’s Act Now and Food/Farmers Markets calendars can be found at indyweek.com.

IN THE DURHAM EDITION

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F E AT U R E S

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IN THE RALEIGH EDITION

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VOLUME 32 NUMBER 23

A R T S , C U LT U R E , F O O D & M U S I C

COLUMNS

JUNE 10, 2015

headquarters is looking like a missed opportunity NEWS: Carrboro’s arts center goes back to the drawing

board

American Dance Festival returns 32

Choreographers use film, paintings and more to expand their dance presentations By Byron Woods

34

DIDA continues to evolve

36

ADF highlights

41

More 2015 Best Of winners

By Brian Howe

By Linda Haac and Chris Vitiello

“He was hurting himself, but he wasn’t hurting other people.” —p. 27 “People are stuck, sitting at home with their stupid iPhones and games and whatnot.” —p. 30 ON THE COVER:

PHOTO BY JEREMY M. LANGE

back talk

Familiar story

Sen. Stein hit the nail on the head when he highlighted the existence of a small, dogmatic group in the Republican Party hell-bent on exterminating the cleanenergy industry (“There goes the sun,” June 3). This small but powerful unit has been doing everything imaginable to repeal prorenewables legislation. In fact, last month’s report of unethical conduct by the Senate Finance Committee chair, Bob Rucho, in the discussion of and voting on House Bill 332 is only their latest desperate effort. The story actually sounds quite familiar.

An almost identical scenario occurred in 2013 when then co-chair of the Senate Finance Committee, Bill Rabon, advanced a bill to repeal the Renewable Energy and Energy Efficiency Portfolio Standard. After

denying a vote count, Sen. Rabon arbitrarily and erroneously declared the voice-vote in favor of the measure.

The bill was ultimately defeated. But guess who was the primary sponsor? It was none other than our most fervent antirenewables legislator and former Duke Energy employee: House Majority Leader Mike Hager. After failing to rollback REPS in 2013, he sponsored a slightly more palatable REPS freeze, currently labeled H332. I say “currently” because the evening before Hager’s REPS freeze came up in the Senate Commerce Committee, he had it ripped from H.B. 760 and thrown into H.B. 332 in a thinly veiled attempt to catch clean energy supporters off-guard.

In spite of this array of corrupt tactics, the facts are clear to anyone without “doc-

trinaire” blinders: REPS has brought clean energy, revenue, jobs and acclaim to North Carolina since its passage in 2007. Multiple committee chairs and the House majority leader resorting to dishonorable practices to oppose REPS only validates the strength of its support. Their disgraceful efforts will not change reality: REPS and our clean energy industry are here to stay.

Kirsten Lew, Durham

Omar Currie, hero

I just read the story about Omar Currie and I’m one billion times more upset about this situation now that I know more details (“After the gay panic,” May 27).

Despite being a small, rural (as if that’s an excuse) elementary school, it is still governed by the Orange County School Board, and the board members should be drawn

and quartered for not coming to Currie’s defense—quickly, strongly and definitively.

He should be lauded for taking an appropriately educational approach. And don’t even get me started on the dad (Rodney Davis) who is talking about suing the school system even though he didn’t even have a child in the classroom. I wonder if Mr. Davis would have wanted Currie to address the situation if students had been taunting his daughter as a “slut.” There are definitely some folks that should be leaving their jobs over this incident, but Omar Currie is absolutely NOT one of them.

Brian Denton, via www.indyweek.com

Corrections

In the story “There goes the sun,” a photo was misidentified as Sen. Josh Stein.

It was Steve Nicolas.

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JUNE 10, 2015

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Raleigh Cary Durham Chapel Hill A ZM INDY, INC. COMPANY PUBLISHER Susan Harper

EDITORIAL

EDITOR IN CHIEF Lisa Sorg RALEIGH EDITOR Jeffrey C. Billman MUSIC EDITOR Grayson Haver Currin ARTS & CULTURE EDITOR Brian Howe ASSOCIATE EDITOR Curt Fields COPY EDITOR Curt Fields STAFF WRITERS

Billy Ball, Jane Porter, John H. Tucker STAFF PHOTOGRAPHERS

Alex Boerner, Jeremy M. Lange OPINION Bob Geary CALENDAR EDITOR Allison Hussey THEATER AND DANCE COLUMNIST Byron Woods VISUAL ART COLUMNIST Chris Vitiello CHIEF CONTRIBUTORS

Spencer Griffith, Corbie Hill, David Klein, Jordan Lawrence, Craig D. Lindsey, Jill Warren Lucas, Glenn McDonald, Neil Morris, Chris Parker, Sylvia Pfeiffenberger, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis INTERN Kaitlin Montgomery

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JUNE 10, 2015

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THE BIG SECRET

Why are negotiations between a developer and Durham Central Park being held behind closed doors?

BY LISA SORG

T

HE FIVE ACRES OF DURHAM CENTRAL PARK—the setting for the farmers market, concerts, movies, food truck rodeos, weddings and simply being—are as close to sacred as a public space can be.

Now, how we experience the park—our sense of place— is on the verge of being upended. In the works for at least ey n Woods a year, 539 Foster, a six-story condominium project, is not a secret; the city-county planning department has iello already granted several early approvals for the site. But Klein, negotiations on several key elements of the project have sey, been held in private between the developer’s design team eil Morris, n C. Reed, and the Durham Central Park board of directors.

Durham Central Park, a nonprofit, manages DCP Schram, on behalf of the city, which owns it. However, any legal agreements are between the city and the developer, not DCP. Even City Attorney Patrick Baker seemed confused on Monday about his role. “I’m not sure who my client is on rs jamin this,” Baker said, when City Council asked him for legal advice about easements on the project. “The city has been at the table, but Durham Central Park is negotiating with more the developer.”

The city manager had asked the board to negotiate ms with BH-AG Durham Foster LLC and report back to Council. However, the board chose to hold weekly -Stewart conversations with the developer in private. In fact, on Roux, the Durham Central Park board website, there are many ura Bass, announcements of park events, but no mention of any oix, ette Low, meetings about 539 Foster.

Since the DCP board is not publicly elected—its members are appointed by the nonprofit—it is not subject to open-meetings laws. Yet Morgan Haynes, a local risch architect and DCP board president, told the INDY that the Shain land, members are “stewards” of the park who represents the public interest in decisions about the land. e Land In other words, the board represents the public, but 702 is not beholden to it. (Landscape architect Dan Jewell C. 27701 is on the board, but recused himself from any votes on the project. Councilwoman Diane Catotti is also a board 9-832-8774 member. She could not be reached for an extensive eek.com interview by press time.)

“There is a broad spectrum of representation on the M board. We’re the boots on the ground,” Haynes says. “We ultimately want to be transparent. But if we opened up 286-1972 every decision to the public, that would hinder our ability -6642 to run the park.”

WEEK Board member Curt Eshelman told the INDY that he and not be several other board members were displeased with the lack n. of transparency and the timing of the group’s involvement.

“Everything else [about the park] has gone through a public process,” says Eshelman, who donated money to

build the park in the 1990s. “The first thing we got about this building was completed plans.”

Haynes told City Council the board had held a “charette” with the developer and its design team to negotiate improvements to the project. The board did wrestle some concessions out of the developer, including the addition of a shaded, terraced berm that provides seating for visitors while softening the impact of the building’s collision with the park. The developer will also replant several trees and construct a walkway.

Eshelman counters that charette doesn’t accurately describe the process. “A charette is when you get input from lots of people and define the stakeholders”—in this case, the public.

He sees 539 Foster as “a lost opportunity.” “There could have been first-floor shops, pubs, restaurants, things the neighborhood could use.” Instead, the first floor is a parking garage obscured by a brick wall.

The city has often been criticized for allowing development interests to dictate key terms of a deal.

DCP’s negotiations could poise the city to repeat that mistake. In the 539 Foster project, the city could leverage its power, either by granting easements or selling the land outright in exchange for even more concessions, including affordable housing.

Councilman Steve Schewel praised the project, but cautioned that “we need affordable housing downtown.

As a city we need to think about how to negotiate with developers who want something from us.”

Although state law doesn’t allow cities to require affordable housing in zoning cases, the situation with 539 Foster is different because the developers want the use of a public asset—easements. “You’re not required to sell it,” Baker told Council. “This is a pure negotiation.”

Patrick Byker, attorney for the developer, told Council that in lieu of an affordable unit, the developer would pay $41,788 to Habitat for Humanity, which builds affordable housing. (Habitat’s homes are affordable for only 15 years and then can become market rate. Durham Community Land Trust homes remain affordable forever.)

Councilwoman Cora Cole-McFadden also seemed dissatisfied with Byker’s offer. “Why not include an affordable unit in the project? That’s where it should be.”

The easement issue is sticky because while the developer would use the land, the city would still own it and have legal liability, for example, if someone were injured on it.

A sale, on the other hand, would absolve the city of legal obligations, although it would entail a loss of land.

But even the prospect of selling the land raised critical questions of whether the city was getting short-shrifted.

Council members Don Moffitt and Catotti both asked for a more accurate appraisal on the land. Such an appraisal has

not been conducted, although according to deed records, the developer paid $1.65 million for the one-acre site. s Lisa Sorg is the INDY editor. Reach her at lsorg@indyweek. com and via Twitter @lisasorg. See documents related to this story at indyweek.com.

WHAT’S THE DEAL? 539 Foster is six-story, 98-condominium project at Foster and Corporation streets abutting Durham Central Park. It is across the street from the Liberty Warehouse project.

Prices start in the mid-$200,000 range for 639 square feet and rise to more than $400,000 for 2,300 square-foot penthouse homes.

The Chapel Hill-based developer, BH-AG Durham Foster, LLC, is requesting: l

to pay the city $41,000 to close Roney Street where it extends from Corporation Street;

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a 15-foot fire separation easement between the southern edge of the development and northern boundary of the park;

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another 6-foot easement beneath a rooftop overhang;

l

to move a portion of a storm culvert and a sanitary sewer off the condo property and into the park;

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the ability to cut down eight trees, including the Sister City Grove.

IN EXCHANGE, THE DEVELOPER WILL: l

build a greenway trail from Roney and Corporation to connect with an existing one on the west side of the park;

l

plant landscaping at Hunt and Roney streets;

l

replace the eight trees with new ones of the same species and size;

l

build a terraced berm leading from the park to the condo project where people can sit.

THE DURHAM CITY COUNCIL WILL DISCUSS THE PROJECT ON MONDAY, JUNE 15, AT 7 P.M., AT CITYHALL.

rock the park

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JUNE 10, 2015

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DO DURHAM COPS TARGET BLACK DRIVERS?

concert series

We have the numbers. You be the judge

6 p.m. - 8 p. m.

BY LISA SORG Saturday, June 13

Mickey Mills and Steel (Reggae) Southern Boundaries Park - 100 Third Fork Dr.

Saturday, July 11

Dwayne Jordan (Jazz) Rock Quarry Park - 701 Stadium Dr.

Saturday, August 8

Cool John Ferguson (Blues) Forest Hills Park - 1639 University Dr. In case of inclement weather, call 919-560-4636 or check DPR on Facebook.

919-560-4355

www.DPRPlayMore.org

L

ast year, a Durham Human Relations Commission report concluded that city police, either consciously or unconsciously, engaged in racial profiling. As the result of those findings—which DPD disputed—and other recommendations to increase transparency, the department is tracking more fine-grained data to determine if racial bias is occurring in traffic stops.

For example, officers who stop at least 25 vehicles and have at least a 75 percent stop rate for minorities are given additional scrutiny, including location, time, enforcement action and random reviews of in-car camera video.

Of the DPD’s 512 officers, 21 had a stop rate that triggered further analysis. According to a DPD vehicle-stop summary, 16 of those officers worked in either District 1 or District 4, which, according to census data, have high minority populations.

The FADE Coalition and other groups critical of DPD point out that the percentage of black drivers stopped (nearly 60 percent) is disproportionate to the city’s overall black population (40 percent).

However, DPD countered that racial bias does not contribute to traffic stops, stating that “we show no evidence of unexplainable disparities of stops, with officers stopping vehicles consistent with the demographics and crime statistics of their assignments.” (Go to indyweek. com for DPD’s recently released vehicle stop summary and executive command reports.) s Lisa Sorg is the INDY’s editor. Reach her at lsorg@indyweek.com.

your potential and all that you can achieve.

Enroll Now!

Discover all that Wake Tech has to offer! admissions.waketech.edu | 919-866-5800

21,939 58.7% 38.5% 2,035

Number of traffic stops by Durham Police in 2014

2.6%

of traffic stops involving black drivers resulting in consent searches*

1%

of traffic stops involving white drivers resulting in consent searches

69 22 28.8% 10.9% 45.6% 51% 41% 59%

of drivers stopped who were black who were white Number of people, both drivers and passengers, who were searched

Number of drivers granting consent Number of drivers denying it of all searches resulting in contraband being found of consent searches that did of probable-cause searches that found contraband of the time that whites received citations when stopped of the time that blacks did of the time that Hispanics did

*Since October, DPD officers have been required to get written consent for searches.

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DURHAM • CHAPEL HILL

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JUNE 10, 2015

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THE PROBLEM WITH ‘CAN’T’

The DPD’s new headquarters are looking more and more like a missed opportunity

BY LISA SORG

C

AN’T. CAN’T. CAN’T.

Were it not for the apostrophe, that word could have earned its own hashtag at Thursday’s City Council work session, when the architect unveiled the latest drawings for the new $62 million Durham Police Department headquarters, to be built on the east side of downtown.

The city hired local architect O’Brien/Atkins, entrusting the firm with designing a headquarters that would not look like Gitmo on East Main. Even before pencil was put to paper, the city and O’Brien/Atkins held a community meeting in April to get input on the design. Then in May, the initial drawings were unveiled for public comment. Each time, a consensus emerged that the new HQ should have retail stores wrapped around the parking garage. As a gateway to East Durham from downtown, the building should not have a long, uninterrupted facade that sucks all life from the block. It should allow for development along Ramseur Street. It should save the historic Carpenter building.

And for the love of Alcatraz, it should not look like a fortress.

After reviewing four proposed designs presented by the architect last week, council member Diane Catotti flatly stated: “We’re not there yet.”

Kevin Montgomery of O’Brien/Atkins had a rebuttal for several key ideas: We can’t wrap the garage with retail because of security concerns; its width won’t accommodate the size of stores. We can’t build taller because it will add to the cost. We can’t reduce the parking because all 445 staff spaces and 85 visitor spaces—the latter alone comprising a 20,000-square-foot surface lot—are necessary. We may not be able to save the Carpenter building because it could be too expensive.

However O’Brien/Atkins did not provide evidence—hard numbers, for example—to support these claims.

“We want estimates to go higher,” Catotti said.

“I would like to preserve the Carpenter building,” Schewel added. “What would the price tag be?”

Two of the four proposals do incorporate the historic Carpenter building. And all four include a public plaza, with the potential for public art.

But as Downtown Durham Inc.’s board of directors noted in a letter to Council, “we are frustrated that many comments and design feedback identified during this process were not incorporated into the design concepts.”

For example, the four proposals ignore the city’s 2008 Downtown Master Plan update, which cites several urban design principles, including that “cities must not have any more than 25 linear feet of ‘dead’ space along their sidewalks.” The HQ parking decks, on the other hand, swallow 600 to 1,200 linear feet, which equals the length of two to four football fields.

“I don’t like the Human Services building facade,” said council member Steve Schewel, referring to the elephantine building just down the block. “If we have another facade and surface parking like Human Services, we will regret it.”

Council member Don Moffitt noted that the parking deck doesn’t “activate” Hood Street—in other words, energize it with stores and restaurants, destinations that will bring people to the area after 5 o’clock. “We’ll look back and say, ‘Short buildings and surface parking? What were we thinking?’”

We were thinking, “We can’t.” s Lisa Sorg is the INDY’s editor. Reach her at lsorg@indyweek.com.

NEW DURHAM POLICE DEPARTMENT HEADQUARTERS SIZE: 155,932 square feet on 4.5 acres WHERE: East Main Street, bounded by Ramseur, Elizabeth and Hood streets PRICE: $62 million PARKING: 445 spaces in a garage for staff, 85 visitor spaces INCLUDES: District 5 substation, bicycle and K-9 units, evidence/ property storage, Emergency 911 services Four proposals for DPD headquarters.

O’BRIEN/ATKINS ARCHITECTURE

Yes, we’re piling on Green eyeshade awards, society of Professional Journalists

John h. Tucker,

second place, courts and crime reporting: “Can Police Prevent domestic violence simply by telling offenders to stop?”

Lisa sorg,

second place, public interest: “Appetite for destruction” second place, serious commentary: “tit for tat”, “to Act or React?”, “Find Your Inner Peace” “dENR secretary John skvarla: snake oil salesman?”

association of food Journalists

Lisa sorg, first place, “the Heat is on”

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DURHAM • CHAPEL HILL

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JUNE 10, 2015

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BACK TO THE DRAWING BOARD

The controversial plans for Carrboro’s $15 million arts center have been scrapped

BY BILLY BALL

W

HEN UNC-CHAPEL HILL ANNOUNCED PLANS last month for a $5 million performing arts center in downtown Chapel Hill, it did not go unnoticed in Carrboro.

Many in the neighboring Orange County town had balked earlier this year when presented with a similar proposal for a $15 million arts venue at the corner of East Main and Roberson streets—a plan bundled with a multimillion-dollar contribution from the town’s coffers.

“It was sobering to see a $5 million price tag on something being called an arts and innovation center in Chapel Hill, considering the price tag put to Carrboro was close to $15 million,” says Carrboro Alderwoman Bethany Chaney.

The 55,000-square-foot building— dubbed the Carrboro Arts and Innovation Center—would have served as a new home for the long-running Carrboro ArtsCenter and Chapel Hill children’s museum Kidzu.

Some, such as former Carrboro mayors Mark Chilton and Ellie Kinnaird, said the ArtsCenter’s new home would be a major boost for downtown Carrboro.

Others suggested the town risked financial calamity should the 40-yearold organization, which specializes in performing arts and arts education, fail to right its budget woes.

That $15 million proposal called for a four-story glass-paneled building replacing a town-leased parking lot downtown.

The landowners, Main Street Properties of Chapel Hill LLC, would donate the property to the town, and Carrboro would lease the land to the ArtsCenter. Roughly half of the building’s cost would be borne by public sources; the nonprofits would raise the remainder.

That plan—which Chaney described as a “manipulation” in January—today appears dead. Don Rose, chairman of the ArtsCenter’s board of directors, told the INDY that the old plans are “off the table.”

“The town asked us to start over again,”

Rose says. “That’s what we’ve been tasked to do. Let’s not make any assumptions about who’s in the building.”

Now the ArtsCenter is the subject of quiet negotiations between developers and town and county leaders. Town staff is expected to provide an update for the Carrboro Board of Aldermen later this month.

In the meantime, Chapel Hill leaders are trumpeting a partnership with the university and its Carolina Performing Arts for a theater venue and performing arts lab, although that proposal—mostly financed by the university—calls for a smaller, 8,500-square-foot space at 123 W. Franklin St. Rose says the ArtsCenter discussions still involve Kidzu—which has several alternatives for a new home—as well as town and Orange County leaders, who may be interested in a new public library branch on the property.

“There may still be a possibility that [Carrboro] is somehow involved in the financial support to this,” he adds.

“Obviously, there’s a big question mark there.”

The ArtsCenter’s current home at 300 E. Main St., also owned by Main Street Properties, would be replaced by a new hotel—the second hotel on the block, as Main Street Properties completed a neighboring, five-story Hampton Inn two years ago.

The real estate company has been planning a dramatic mixed-use redevelopment at the property for several years, including an expanded ArtsCenter and Cat’s Cradle surrounded by retail space and restaurants.

Like the ArtsCenter, the Cat’s Cradle plans are also in doubt. In February, owner Frank Heath publicly expressed frustration that the iconic music venue had not been offered its own expansion deal.

Meanwhile, Rose says the construction of a similar performing arts venue in Chapel Hill should not impede a new home for the ArtsCenter.

“In general, more is better,” he says.

“More opportunities for the arts to be

showcased in our area is going to be better.”

Alderman Damon Seils, a vocal critic of the ArtsCenter’s January proposal, says new leadership at the nonprofit will be key to determining whether the town can make a deal.

“The town was not given a chance for a real partnership,” he says. “It was not at all about the size or type of the building.”

Seils says the town needs more details on the venture and a greater hand in its development. He says the ArtsCenter also needs to demonstrate its own stability.

The organization’s former director, Art Menius, resigned last year after paring down the group’s operations amid annual budget deficits, including a $250,000 shortfall in early 2011. (Menius came on board in 2012, when the nonprofit was already in financial tumult.) Since Menius’ departure, the organization has been led by an interim director, but Rose says the ArtsCenter expects to name a new executive director in July.

Leadership at Kidzu is also in flux.

Pam Wall, the former executive director, stepped down in May for personal reasons, according to the nonprofit. Her interim replacement, Lisa Van Deman, could not be reached for comment.

The museum opened a new, 8,500-square-foot space in Chapel Hill’s University Mall this year, but the nonprofit’s leaders said they would move into the new Carrboro arts building—if it’s ever completed.

That, according to Seils, depends on the ArtsCenter and its new leadership.

“If the town is expected to play a major role, we need to see a formal business plan,” he says.

Chaney agrees, calling the new ArtsCenter director a “critical piece of the puzzle.”

“I’d love to see both organizations stay in Carrboro,” Chaney says. “We just have to do it the right way.” s Billy Ball is an INDY staff writer. Contact him at bball@indyweek.com. Follow him on Twitter @billy_k_ball.

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W E D N E S D AY, J U N E 17 | 7 P M M U S I C AT D U K E G A R D E N S E V E R Y W E D N E S D AY I N J U N E & J U LY G E T T I C K E T S : D U K E P E R F O R M A N C E S .O R G | 9 19-68 4 -4 4 4 4

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JUNE 10, 2015

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HATEM’S HATERS GONNA HATE Also: Cars everywhere! Gentrification!

BY JEFFREY C. BILLMAN AND LISA SORG

S

sTRI

CLUB, a four-year-old group that claims 5,000 residents, Alphin says; this wasn’t just his members and hosts charitable events at crusade. angulator “[He said] he spoke on their behalf,” Alphin establishments like Paddy O’Beers—places that have helped him raise thousands of dollars for says. “He took a BIG BACKLASH for it. He’s worthy causes, he says. taking another big one right now.”

“The ones who have helped out are the ones being ould someone please, please, please listen to targeted,” he says. “I can see WHAT HATEM’S DOING.” the public’s common-sense arguments about And so, to Garofalo, it is entirely appropriate to hit DURHAM-CHAPEL HILL BOULEVARD? The state Hatem where he lives: “To think that Greg Hatem isn’t at transportation department plans to repave and re-stripe least a little of the reason that this bill is being voted on the racetrack, giving the city of Durham an opportunity to is naive. He’s made it difficult for other business owners reduce the number of lanes from five to three and add 21 onto get SIDEWALK PERMITS in the past,” Garofalo wrote The proposed ordinance, city manager RUFFIN HALL street parking spaces—for free. You can’t beat free, right? on the Facebook page. “… Here’s the thing. The Raleigh has said, would only affect a dozen or so places. But for at Bicyclists, pedestrians and many, many, many drivers Times always has a million folks outside being loud, noisy, least one of them, popular Fayetteville Street hang PADDY whose BAD KARMA requires them to regularly travel the sometimes drunk.”

O’BEERS—which, as the name suggests, serves beer on Boulevard (Triangulator included) support the proposal (He later added: “I don’t want to create a LYNCH MOB, a patio—it would amount to a death sentence. For other because it would calm traffic and thus make the strip safer I’m not rallying to boycott his other establishments, and I downtown dens of intoxication, like underground cocktail and saner. don’t personally know Greg Hatem. If you want to boycott bar FOUNDATION (pro tip: order the sidecar), it could prove Yet several business owners, including SHRIMP all of empire eats [sic], that’s your prerogative.”) a serious drag.

BOATS and the REFECTORY CAFE, oppose the lane But what if Hatem had nothing to do with it—at least Needless to say, the proposal provoked quite the reduction because they say it will hurt sales. Reality check: not directly? reaction. It didn’t help that everyone learned about Triangulator—and we’re not alone—rarely patronizes While Hatem was out of town and couldn’t be reached it on the FRIDAY AFTERNOON before last Monday’s restaurants on the Boulevard any more for fear the meal for comment, Empire Properties president ANDREW stakeholders meeting before City we eat there will be our last. (Our advance directive STEWART told the INDY that they Council. Bar owners and their already specifies that it be two scoops of ViETNAMESE learned of the ordinance when supporters turned out en masse, COFFEE ICE CREAM from The Parlour.) Fact: The everyone else did. “Neither Empire “I don’t want to create a lynch and Council kicked the ordinance accident rate on the Boulevard is more than three times nor Greg Hatem was involved in to committee. (That committee the national average of other streets of similar size and promoting this text change,” he mob … If you want to boycott meeting was held Tuesday traffic counts—in this case, 14,000 cars each weekday. wrote in an email. all of empire eats [sic], that’s afternoon, which is after we go Many other two-and three-lane Durham thoroughfares That’s the same story Hatem to press but before you read this. are thriving: for starters, all of downtown, the Ninth Street told Foundation co-owner WILL your prerogative.”

PRINT IS DEAD, etc.)

District, Durham Central Park.

ALPHIN. “A lot of folks have been At that meeting, city officials said C’mon, Boulevard businesses, JOIN THE PARTY. —Kevin Garofalo, saying Greg Hatem is behind this,” they just wanted to mirror the law in Durham City Council is scheduled to vote on the plan he says.

“Greg’s told me personally founder of Raleigh Social Club Austin, Texas, which is apparently Monday, June 15, at 7 p.m., at City Hall. that he wasn’t.” the city we want to be WHEN Of course, Hatem did go before WE GROW UP. More than that, inally, from the Public Service Announcements Desk: City Council in January to complain though, the proposal seems to stem from the notion, most Before you join the GENTRIFICATION MARCH on that DOWNTOWN HAD BECOME TOO LOUD and ask for a famously pushed by downtown redeveloper and Empire East Durham, check out several short documentaries moratorium on amplified outdoor entertainment permits.

Properties proprietor GREG HATEM, that the success (and about the area on Tuesday, June 16, at 7 p.m., at the “There is a HUGE AMOUNT OF CONFLICT now in the occasional obnoxiousness) of downtown’s nightlife has Durham County Main Library (300 N. Roxboro St.).

Fayetteville Street district between bar owners and the rendered it “unlivable” for the condo-dwellers who would For the past two years, filmmakers from the Center for residents and other businesses,” he told the Council. “A like you drunk little shits to GET OFF THEIR LAWNS. Documentary Studies Video Institute have focused on large amount of it comes from people not being able to And because the proposed ordinance allows outdoor the neighborhoods of East Durham to create a portrait of sleep at night and folks having to wake up in the morning seating for bars that happen to serve food—including the people and places in this part of the city. If the only to the AFTERMATH of what has happened on Thursday, Hatem’s RALEIGH TIMES—there’s a perception, true or incentive for moving to (OR FLIPPING A HOUSE IN) this Friday and Saturday nights. It’s not pleasant.” not, that perhaps this is the city’s way of tipping the scales culturally rich, historically significant neighborhood is to (At last week’s stakeholders meeting, says SETH in favor of a “favorite” son. capitalize on the years of disinvestment, then please, TAKE HOFFMAN, owner of the Raleigh Wine Shop, an Empire Enter the backlash: Last Thursday, a Facebook page YOUR MONEY ELSEWHERE, like one of the hundreds of rep was the only person to raise his hand in support of the called “BOYCOTT RALEIGH TIMES to save sidewalk condos being built near downtown. s ordinance. Still, he says, “I take [Hatem] at his word” that patios!” popped up and began spreading. (Six hundred and he wasn’t behind it.) one likes by Monday evening, not bad.) It’s the brainchild Reach the INDY’s Triangulator team at triangulator@ After the January Council meeting, Hatem told bar of KEVIN GAROFALO, founder of the RALEIGH SOCIAL indyweek.com. owners that he he’d been drafted to speak up by downtown

O BY NOW YOU’VE PROBABLY HEARD ABOUT THE CITY OF RALEIGH’S BRILLIANT AND NOT-AT-ALL-HAM-FISTED PLAN (endorsed by the wagging fingers of The News & Observer’s editorial board) to crack down on the SCOURGE OF OUTDOOR DRINKING, by prohibiting some bars—the ones that sell no or little food—from allowing people to drink on public sidewalks outside their bars.

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SHAMELESS

Meet the N.C. GOP’s latest racket: fixing the state Supreme Court

BY BOB GEARY

I

T SHOULD BE OBVIOUS BY NOW THAT THE REPUBLICAN PARTY IS COMPLETELY SHAMELESS—as in, whatever they do, however corrupt or self-serving, and no matter that it’s been exposed and if it were you or I, we’d be humiliated, your Republican professional remains unfazed. In fact, he—it’s usually a he— revels in his role as political racketeer.

And what racket are the boys running this time? They’re fixing the N.C. Supreme Court to stay in Republican hands regardless of the electorate.

To which you say—and they’re counting on you saying—so what? What’s the N.C. Supreme Court to me?

Just this: Republican legislators have rigged our state’s election laws so they retain their grip on state government even

if the Democrats get more votes.

The one serious threat to their scheme: The court could order them to stop.

That’s why your professional Republicans stepped in with House Bill 222, canceling the 2016 election for a Supreme Court justice—an election that might have resulted in the court shifting from 4-3 Republican control to 4-3 Democratic.

The Republicans whipped HB 222 through to final passage Thursday with almost no one noticing. Expect Gov. Pat McCrory, dutiful Republican, to sign it.

Oh, a few Democratic legislators objected, albeit in too-polite terms. But it wouldn’t matter if they screamed bloody murder. Because … Republicans.

Shameless.

that went against the Republicans here and in Alabama. But these decisions were preliminary, not final, and for our purposes they funnel back to one Republican fellow: N.C. Supreme Court Justice Robert Edmunds.

First, gerrymandering. That’s the method by which the political party in power “packs” the other party’s voters into a relatively few election districts, minimizing their clout overall.

It’s not a new concept. Except, that is, for the racial gerrymandering aspect, which makes the old stinker reek so much worse.

Example: North Carolina. The Republicans drew the state’s legislative districts so that Democratic voters— especially black Democrats—were packed into one-third of the 170 Senate and House districts. This helped Republicans control the other two-thirds. With half the statewide vote, the GOP holds the Senate 33-17 and the House 75-45, as well as 10 of the state’s 13 congressional districts.

When North Carolina’s gerrymandered districts were challenged in court as racially discriminatory, guess what?

The N.C. Supreme Court upheld the Republicans’ handiwork by a 4-2 vote, with Edmunds writing the majority opinion for the four GOP justices. Two Democratic justices, Cheri Beasley and Robin Hudson, signed a blistering dissent. (The third Democratic justice, Sam Ervin IV, was elected in November, after the case was argued.)

But then the Republicans got an unpleasant surprise. The U.S. Supreme Court, hardly a bastion of liberalism, rejected a similar, race-based gerrymander from Alabama. Soon, applying the same logic, it rejected the North Carolina gerrymander, telling the N.C. Supreme Court to reconsider the earlier challenge in light of its Alabama ruling.

Put simply, the U.S. Supreme Court is saying that Republicans can’t just jam as many black voters as they want into as few districts as they can manage without violating the principle of fair representation under the Voting Rights Act. To Alabama, it said, you went too far.

citiZEN

B

ackground now, on legislative gerrymandering and a pair of recent U.S. Supreme Court decisions

To N.C.: Take heed.

This was bad news for Edmunds, whose eight-year term expires at the end of 2016.

He was expected to seek re-election next year, but given that the voters chose three Democratic justices out of four in 2014, and that the 2016 presidential election climate will likely be more favorable for a Democratic challenger, Edmunds was already in some jeopardy. Now, he’d be forced to run uphill, carrying a blot on his record where voting rights are concerned.

Enter HB 222. It creates “retention elections” for sitting Supreme Court justices if they were previously elected against an opponent.

Justices like, uh, Bob Edmunds.

Which is another way of saying that Edmunds will have no opponent next year. Instead, voters will be asked to “retain” him—and if the answer is no, his replacement would be appointed by the governor for a two-year term.

The governor, of course, is McCrory.

But even if a Democrat were elected governor in 2016, a lame-duck McCrory could still make the appointment if Edmunds, after being rejected, resigned prior to Dec. 31.

And really, what are the chances the voters will remove an unopposed justice?

The same retention rule will allow Republican Justices Barbara Jackson and Paul Newby to also “run” for “re-election” unopposed in 2018 and 2020, respectively.

Meanwhile, the N.C. Supreme Court is not exactly hustling to rehear the gerrymandering challenge. Ordered on April 20 to do so, it delayed initial arguments until Aug. 31, and it may well remand the case to a lower court for additional findings.

Which, with the heat off Edmunds, could allow the Republican justices to slow-walk racially discriminatory gerrymandering past the ’16 elections and all the way to 2020. At which point a new U.S. Census will be taken, and shameless gerrymandering can begin again. s Bob Geary is an INDY columnist. Email him at rjgeary@mac.com.

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CAN’T BEAT THE HEAT

It seems as if spicy food is haunting almost every menu these days

BY EMMA LAPERRUQUE

Y

OU KNOW SOMETHING’S UP WHEN THE GHOST PEPPER MAKES ITS WAY TO POPEYE’S AND WENDY’S. If you have yet to be haunted by this infamous chili, also known as bhut jolokia, just imagine the spiciest jalapeño you ever ate. Now multiply that liptingling, eye-watering intensity by, give or take, 200.

Everyone is getting in on the spicy trend.

PHOTO BY JEREMY M. LANGE

brings the heat

In 2007, the Guinness Book of World Records crowned the ghost pepper Hottest Chili, with more than 1,000,000 Scoville units (a scientific scale developed in 1912 to measure peppers’ capsaicin or heat). A few years later, the Indian military used it to cook up a hand grenade. And now, it’s the latest trend in American fast food.

In the U.S. today, spice is—for lack of a better word—cool. Prom queen who becomes a famous actress cool. Hence, Popeye’s ghost pepper chicken wings (“not so hot,” according to the Washington Post) and Wendy’s ghost pepper cheese fries (similar reviews). To be fair, both limitedtime products genuinely included ghost

pepper. But, assuredly, an undetectable amount. Otherwise, customers would be sweating and sobbing in the drive-thru and crashing into each other’s cars. So why feature it in the first place?

In need of some chili expertise, I reached out to Wilma Schroeder, the farmer at Dog Day Farm in Siler City, who grows a host of hot peppers and sells them to local chefs, as well as at the Western Wake Farmer’s Market in Cary. By late July, she will have fish peppers, poblanos, and big red Thais.

In past seasons, she has also produced kung paos, chile de arbols, and haberneros.

“I like spicy food,” she said. “It’s one of the better spices of life.”

In moderation, though. When I asked about ghost peppers, Wilma’s enthusiasm waned. “For my palate, there’s a certain amount of hot beyond which I can’t taste anything. The heat masks the flavor.”

Cooking at home, she loves experimenting with hot peppers and vinegar. Infusing the vinegar to dash on barbecue, for instance, or adding finely chopped peppers to a vinegarbased coleslaw.

Between Wilma and that guy who eats an entire ghost pepper just to upload the subsequent massacre on YouTube, I’m on Team Wilma. Yet I can’t help but wonder: Are the two all that different? Or are those who harness spice for flavor and those who

• JUNE 10, 2015 • 15 Thanks for voting !

INDYweek.com brave it as a challenge playing the same game? Cheering so loud for the American spice craze that every fast food chain can hear the screams.

Compared to other regions such as the southwest, classic southern fare is mild.

Today though, its classification becomes less clear. If you tour the Triangle, you’ll find the spice mania in more places than just Popeye’s.

Take Beasley’s Chicken & Honey in Raleigh. This swanky fried chicken joint is Ashley Christensen’s modern take on southern tradition, so of course there’s pimento cheese on the menu. But it’s not just pimento cheese. It’s roasted poblano pimento cheese, with more kick and flavor than the original. Trying it inspired me to make roasted jalapeño pimento (which I like even better because, well, it’s spicier).

Rise Biscuits and Donuts in Durham similarly amplifies a southern staple—in this case, biscuits. In addition to usualsuspect toppings such as country ham and Duke’s mayonnaise, you can add pickled jalapeños to your sandwich (will do, next time I get my fried chicken-cheddar).

Likewise, at Monuts Donuts, one of the build-your-own options is maple Sriracha.

Which brings me to Sriracha. I deeply regret starting this article after I ran into a man, at the Durham Farmers’ Market, wearing a Sriracha T-shirt. (I suspect he also had the Sriracha keychain and water bottle and tattoo—but now we’ll never know.) The easiest, surest way to attract spice fanatics is whispering, softly, “Sriracha, Sriracha.” Trophy Brewing Company (named best pizzeria in the state by Thrillist) seduces with “The Daredevil,” a signature pizza featuring ghost pepper salami, fire-roasted tomato sauce, mozzarella, fresh jalapeño, and caramelized Sriracha. Still, no one plays the Sriracha card better than Americanized sushi restaurants. On their respective specialty roll lists, Shiki Sushi, Mura, and Sushi Nine cite “Sriracha” five, four and two times. (Also worth mentioning: Collectively, they say “spicy” 90 times.)

Fortunately, not all fiery dishes magically appear by rubbing the Sriracha genie bottle. When you move past savory, the spice fad involves less Rooster Sauce and more creativity.

Cocktails, notably, have become far more cosmopolitan than Cosmopolitans.

You need only bar-crawl downtown Raleigh to see. Just as Beasley’s revamps pimento cheese, it upgrades the Dark and Stormy to the Dark and Stormier,

with rum, lime, and jalapeño sorghum ginger syrup. After one or two of those, stroll over to Centro and have your pick between several “hot” drinks; I’ll get La Linterna, with tequila blanco, pineapple, lime and habanero syrup. After one or two of those, stumble to Bida Manda’s hip bar and meet the Mexican Firing Squad, featuring tequila, grenadine, lime and Thai chili powder. Finally, crawl to Crank Arm Brewing and order a (seasonal) Holy Mole Smoke Porter, whose sauce-inspired recipe includes habanero peppers and cocoa nibs from Videri Chocolate Factory.

Which brings me to chocolate. This is where it gets interesting.

Long before chocolate as we know it even existed, Ancient Mayans were combining cacao and chili in their version of “hot cocoa.” Centuries later, the flavor combo is on a comeback and, slowly but surely, the salty-sweet trend is stepping aside for spicy-sweet. Escazú, an artisanal chocolate shop in Raleigh, is all over it.

I spoke with Hallot Parson, who makes the chocolate (literally, from the bean) at Escazú about why chilies are so “hot” in desserts these days. They weren’t always.

When Escazú opened in 2008, it debuted a lime-chili chocolate, and the customer response was lukewarm.

“People weren’t sure about it,” Parson said. “As time has gone on, though, we get a lot less of that disbelief: ‘Chili and chocolate? I don’t understand that.’ People have become more adventurous and are interested in trying things.”

This summer, Escazú is growing its own jalapeños and habaneros, and head chocolatier Danielle Centeno is creating chocolates that would impress even the Mayans. The selection rotates, so keep a lookout for lemon-cayenne, garam masala-amaretto, and habanero-tamarind, amongst others.

The last one, said Parson, would rank nine out of 10 spice-wise, so tread carefully: “We’re definitely not afraid of spices.”

But these days, it seems, not many people are.

And speaking of “afraid”—one more word about that spooky ghost pepper. It’s not actually the hottest pepper around anymore. The current demon of the spice world is the “Carolina Reaper.” Puckerbutt Pepper Company grows it in South Carolina, just a few hours away. p Emma Laperruque is a freelance writer.

She writes about food at www.dourmet.com.

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PEPPER POTS

Tips on which peppers suit which dish

BY LISA SORG

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1. GUAJILLO (2,500–5,000 SCOVILLE UNITS) This

INDYweek.com

M

Y DAD, ALWAYS THE PRANKSTER: I must have been about 8, when one summer day he handed me a long, thin, red pepper.

“Go ahead and take a bite,” he said.

Having been a previous victim of his practical jokes, I felt a bit head shy. But as with many wild animals, I also did not want to show fear.

2

3

4

3. NEW MEXICO

(500-1,000 UNITS): The Land of

zesty pepper is often used as a rub on chicken, but vegetarians and vegans can enjoy the heat of it as well. Food & Wine has an ambitious but absolutely worth it recipe for chili-rubbed tofu that calls for a marinade of guajillos, garlic, onion, pineapple and orange juice that then soaks the tofu overnight.

Enchantment is also the Land of Chili Peppers. In addition to the generic New Mexico pepper, there are Hatches (1,000–2,500). They are known for their terroir, meaning the peppers’ flavor reflects their growing conditions. So unique are the Hatches that only peppers grown in the state’s Hatch Valley can legally carry that name. Roasted, these peppers 2. PUYA are incredibly aromatic. Whole Foods (5,000–8,000 SCOVILLE UNITS): Hotter occasionally has a Hatch Festival each fall, than a guajillo, but smaller and a bit fruitier, and you can smell them from the last row puyas can be soaked or toasted, then of the parking lot. Also growing in that used to flavor a dish rather than be eaten neck of the woods are Pueblos (5,000– outright. But some intrepid souls put them 20,000). Their heat varies so wildly that on pizzas. They are also used in Thai and it’s best to tread carefully before taking a Vietnamese cooking. big bite.

“Maybe it’s some kind of tomato,” I thought as I bit it.

They should have named that pepper Instant Tears.

However, my trauma was short-lived, only 20 or 30 years, and now I enjoy—in moderation—a good pepper or chili.

Standard supermarkets and local farmers’ markets will carry the usual pepper suspects, but for the more exotic varieties, go to Compare Foods, Food Lion or any grocery with a large Latino clientele. The produce clerks

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• JUNE 10, 2015 • 17

can serve as tour guides to the peppers’ preparation.

Pro tip: Stem and seed them. Wear gloves.

If no gloves are available, then do not touch your eyes or nose. Otherwise, prepare yourself for Instant Tears.

brings the heat 7

4. ANCHO (1,000–4,000 SCOVILLE UNITS)

6. JALAPEÑOS (1,000–4,000 SCOVILLE UNITS)

Toss a whole one in a pot of chili and let it in infuse the entire dish with smoky undertones. For more heat, use a chipotle (3,500-10,000 Scoville units).

Although they’re the most common hot pepper for salsas and sandwiches, I prefer to dice them raw and sprinkle them in a summer salad of corn, edamame, tomato and red onion. Drizzle with a marinade of lime juice, olive oil, salt and pepper. Serve chilled.

5. HABANEROS (100,000-300,000 SCOVILLE UNITS) With Scoville units in this range, a little habanero goes a long way. There are hardcore pepper fans who can eat them raw, but that’s not me. Instead they are used in salsas and chili, allowing you to control the dose per the tolerance of your stomach lining. Mince a small habanero, mix with olive oil, lime and orange juice (and top-shelf tequila is a nice addition) and baste a piece of grilled wild-caught salmon.

7. CHILI POWDER: Granted, this isn’t a

whole pepper, but gringos need to get hip to the secret of fruterias. Dice cantaloupe, honeydew and pineapple, then sprinkle with chili powder and squeeze half a small lime over the fruit cup. You’ll never eat it plain again.

Lisa Sorg is the INDY editor. She can be reached at lsorg@indyweek.com.

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INDYweek.com

COOL IT If you’re reaching for water, you’re all wet

W

Your mouth feels like a lightning strike in the middle of a burning oil slick under a burning sun in the middle of a desert. In other words, it hurts. Bad. You frantically scan the table and, more often than not, you spot and grab that glass of icy cold water sitting there, giving off cooling vibes.

Wrong move.

Water is one of the worst things to reach for when trying to save your mouth from the burn. Why? Well, the spicy food gets its oomph from capsaicinoids, which are molecules found in most chili peppers. They hook up with the pain receptors in your mouth.

Part of the receptors’ job is detecting heat.

Too many hook ups and you go from heat to regret.

Capsaicins don’t dissolve in water. So if you throw a glass of water into the mix, suddenly capsaicins are swirling around your mouth spreading the pain

brings the heat

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BY CURT FIELDS

Curt Fields is the associate editor for the INDY. Follow @IndyWeekFood on Twitter.

PHOTO BY JEREMY M. LANGE

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JUNE 10, 2015

faster than a hot tub on The Bachelor spreads unpleasantness.

They do dissolve in fat, oil and alcohol. So your best salvation will be in the cleansing power of dairy. There’s a reason milk is the handy beverage at hot pepper eating contests.

So whole milk, full fat sour cream, full fat yogurt, those are your best remedy.

Peanut butter, which is high in fat and oil, is another good choice. Grab a big spoonful of it and plop it in your mouth.

And despite the ability of alcohol to dissolve capsaicins, don’t think shotgunning beer is a good solution. It’s got more water in it than alcohol. If you’re going to go the alcohol route, you want something with a high proof. Even then, it would take quite a few drinks—Mythbusters tested the theory in one episode—to successfully eliminate the capsaicins. On the bright side, if you pass out from the booze you won’t feel the pain even if it’s still there.

Of course, you’re not always likely to have milk, yogurt or peanut butter handy. But if you’re dining out there’s frequently bread on the table. It won’t dissolve the capsaicins, but it will soak up some of them to ease the burn.

Rice can work in similar fashion, which may help explain its frequent occurrence in spicy dishes from across the globe.

So just put that glass of water down because now you’re really ready to tackle the heat. p

E’VE ALL BEEN THERE. That moment when you’re chowing down on some spicy dish and you bite into something a bit hotter than expected. The sweat beads appear almost instantaneously.

Design

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Culinary

Call us to get started: 888.245.9593

See aiprograms.info for program duration, tuition, fees and other costs, median debt, federal salary data, alumni success and other important info.

Programs, credential levels, technology, and scheduling options are subject to change. The Art Institute of Raleigh–Durham, a campus of South University, 410 Blackwell Street, Suite 200, Durham, NC 27701. ©2015 The Art Institutes. Our email address is csprogramadmin@edmc.edu.

Thanks for voting !

YOU are the BEST in the Triangle!

INDYweek.com

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JUNE 10, 2015

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RED-FACE FLIGHT

BY GRAYSON HAVER CURRIN

M

Y FRIENDS DON’T BRING ME RECORDS ANYMORE. I THINK THEY WORRY I HAVE TOO MANY. Instead, every several weeks, another text message or email appears: “Do you have this one?” each reads, the text accompanied by some ridiculous name—Satan’s Ghost, Hellfire’s First Blood, Insanity—and an absurd image of a hot pepper crying or smiling in the sun or perhaps Beelzebub wielding a pitchfork built from fiery red fruit. I invariably reply with multiple exclamation marks. Understanding my addiction, my pals find a little extra room in their checked bags for yet another hot sauce, helping stock the ranks of my obsessive collection.

Two years ago, I did much the same. Not long after arriving in Montego Bay, Jamaica for my honeymoon, I asked a bartender for a bit of hot sauce to enliven my dish. He handed me a life changer: the semi-sweet Scotch bonnet sauce, where one of the hotter peppers in the world comes suspended in a viscous mix of corn starch and vinegar, onions and acid. Its sweetness dances on the front of the tongue, just before the heat races along it and radiates to the throat. The pleasure and the pain! I was smitten.

After my first taste, I kept pouring and asking for more and pouring … During the next week, I emptied several bottles on breadfruit, sandwiches and, yes, sometimes even mango.

When I left, I wrapped a legion of bottles in

tissue paper and socks, toting concoctions made from the Caribbean’s primary pepper the way most tourists leave with bottles of rum and satchels of Blue Mountain coffee. It has since become my favorite hot sauce variety, so much so that I buy new brands taste untested.

Neither the Scotch bonnet pepper nor sauces made from it are particularly rare. You can grow the former in your Tar Heel garden, or find the latter in the aisles of most area grocery stores.

But I’d generally foregone the Scotch bonnet, distracted by my own region’s propensity for the cayenne-based sauce or even the ultrahot, ultra-vogue ghost or Carolina Reaper varieties. But when a waiter in Jamaica hands you a bottle of Scotch bonnet, you try it, no mater how silly the beach-chair scene or the firebreathing Rastafarian on the front label may look. And then, if you’re like me, you buy a ridiculous amount, offer your new wife a preemptive apology and get on the plane. p

brings the heat

Grayson Haver Currin is the INDY’s music editor.

PHOTO BY JEREMY M. LANGE

MEETING EVERY SUNDAY AT 1:30 – 3:30

JUNE 14

THE SCIENCE AND DATA BEHIND GMOS PROF. FRED BREIDT, NCSU PROF. AND MICROBIOLOGIST

JUNE 21

LOCATION: Extraordinary Ventures Building, 200 S. Elliott Rd. Chapel Hill INFORMATION: (919) 883-1584 www.ncethicalsociety.org

HUMANISM AND HUMAN WORTH MICHAEL WERNER, UU LEADER AND HUMANIST MUSIC BY GREGORY BLAINE AND DOLORES CHANDLER

JUNE 28

COMMUNITY DAY FOCUSING ON

“INTERTWINED ROOTS”

A wonderland of gifts Thanks to all our customers for showing us so much love!

370 East Main Street, Suite 170 Carrboro, NC 27510 • 919.942.5554

INDYweek.com

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SPECIAL ADVERTISING SECTION

RESTAURANT brings LISTINGS the heat American

dinners, or “just because.” The Oxford offers the comfortable atmosphere of a British pub in downtown Raleigh.

Asian

CAROLINA ALE HOUSE

TYLER’S RESTAURANT & TAPROOM

MURA AT NORTH HILLS

500 Glenwood Ave, Raleigh • 919-835-2222 / 4512 Falls of Neuse Rd, Raleigh • 919-431-0001 / 2240 Walnut St, Cary • 919-854-9444 / 3911 Durham Chapel Hill Blvd, Durham • 919-4902001 / 7981 Skyland Ridge Pkwy, Raleigh • 919-957-4200 / 11685 Northpark Dr, Wake Forest • 919-556-8666 • Open daily 11 am-2 am • www.carolinaalehouse.com • This family-friendly sports bar is known for food, sports and fun. Its scratch-made menu, including fresh, never frozen wings, burgers, NC barbecue and salads, is available daily 11 am-2 am. Carolina Ale House consistently receives top honors for its atmosphere, food, southern hospitality and variety of beers.

102 E Main St, Carrboro • 919-929-6881 / 1483 Beaver Creek Commons Dr, Apex • 919-355-1380 / 18 Seaboard Ave, Suite 150, Raleigh • 919-322-0906 / 324 Blackwell St, American Tobacco Campus, Durham • 919-433-0345 • Monday-Friday 11:30 am-2 pm & 5-10 pm, Saturday 11:30 am-10 pm • www.tylerstaproom.com • Changing menu of comfort foods and pub fare with seasonal twists. Large selection of craft and imported beers on tap. Carefully selected wine list. The Speakeasy, a bar and pool room in back, is open daily ‘til 2am. Catering. Outdoor dining in Durham and Apex, Private room at Durham location.

4121 Main at North Hills St, Raleigh • 919781-7887 • Monday-Thursday 11 am-10 pm, Friday 11 am-11 pm, Saturday 12 noon-11 pm, Sunday 12 noon-9 pm • www.muranorthhills.com • Specializing in flavorful Japanese cuisine and one-of-a-kind sushi rolls, Mura has been one of North Hill’s most popular restaurants since opening in 2005. Our menu features steaks, sushi and Japanese fare. The drink menu offers everything from Japanese beers and local craft brews to Asian-inspired cocktails and saké.

CAMERON BAR AND GRILL 2018 Clark Ave, Raleigh • 919755-2231 • Monday-Wednesday 11 am-10 pm; Thursday-Saturday 11 am-12 am; Sunday 10 am-10 pm • www.cameronbarandgrill.com • CBG meets each guest with a warm smile, flavorful aromas of classic American favorites, and a nod to Raleigh’s “good old days.” You could say we’re stuck in the past, but that’s hardly true. We keep things up to date with fresh ingredients and timeless décor, without sacrificing modern sensibility.

FAIRE STEAK & SEAFOOD 2130 Clark Ave, Raleigh • 919307-3583 • Monday-Saturday 5-10 pm; Sunday 10 am-10 pm • www. fairerestaurant.com • Faire is excited to be Cameron Village’s – and the Triangle’s – fresh choice for flavorful, locally-sourced steaks, seafood and other “new American” cuisine. From chilled oyster appetizers, to crab caketopped salads, to NY strip steaks, our menu is filled with delectable options to suit any appetite.

THE OXFORD 319-105 Fayetteville St, Raleigh • 919-832-6622 • Monday-Thursday 11am-12am, Friday-Saturday 11am2am, Sunday 10 am-3 pm • www. oxfordraleigh.com • In many English towns, the pub is where people gather to unwind, chat and exchange ideas. At The Oxford, we want to be your gathering place for business lunches, after-work drinks, birthday

Chilies at the Green Flea Market PHOTO BY JEREMY M. LANGE

SHIKI SUSHI 207 N Carolina 54, Homestead Shopping Center, Durham • 919-484-4108 • www.shikinc.com • Ranked as the best Sushi restaurant in the

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JUNE 10, 2015

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These listings are published as a special paid advertising section. To list your restaurant, please contact your advertising representative or Ruth Gierisch (rgierisch@indyweek. com). You may submit or update a free listing to our online database at anytime by filling out our electronic form. Go to www.indyweek.com and choose “Submit or update a dining listing” from the Food section in the top navigation bar.

Raleigh-Durham Triangle area for four consecutive years in a row, Shiki is the largest sushi restaurant in North Carolina. Explore our global fusion cuisine, created just for you.

ZINDA NEW ASIAN 301-120 Fayetteville St, Raleigh • 919-825-0995 • Tuesday-Thursday 11:30 am- 2:30 pm & 5-10 pm, Friday 11:30 am- 2 pm, Friday-Saturday 5 pm- 2 am • www.zindaraleigh.com • Zinda is full of architectural designs and decorative elements inspired by the Far East. We feature a diverse menu featuring a variety of Asian dishes crafted with fresh, authentic ingredients, and flavored to perfection. Zinda takes traditional dishes from a variety of regions and presents them in a new way.

Bakery DAISYCAKES BAKERY & CAFE 401-A Foster St, Durham • 919-3894307 • Monday-Friday 7:30 am-4 pm, Saturday 8 am-3pm, Closed Sunday • www.eatdaisycakes.com • DaisyCakes is one of downtown Durham’s premier bakeries and cafes.

Come in and savor a delicious pastry or stay longer to enjoy a full breakfast, lunch or brunch! What’s more, DaisyCakes has gained a loyal following for having a fabulous selection of delicious gluten free pastries. Hope to see you soon!

GUGLHUPF BAKERY & PATISSERIE 2706 Durham-Chapel Hill Blvd, Durham • 919-401-2600 • TuesdayFriday 7:30 am-6 pm; Saturday 7:30 am-5 pm, Sunday 8:30 am-2 pm, closed Monday • www.guglhupf.com • Traditional European baking merges with a more contemporary style at this award-winning bakery that produces daily artisan breads, classic tortes, individual desserts and pastries.

Also offers a selection of high quality foods and condiments from fellow NC producers ranging from pepper jelly to free range eggs. The bakery adjoins Guglhupf Café & Restaurant featuring local and seasonal fare with a southern German twist.

INDYweek.com

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a o list your uth

ea se at onic m a

recycle this paper

WHAT ARE YOU REALLY EATING?

Lilly’s offers super FRESH, LOCAL + ORGANIC veg/vegan/gluten-free options ALL THE TIME.

r.

onsecutive i restaual fusion

Thanks for your Votes! (we really appreciate it)

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JUNE 10, 2015

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SMALL TOWN BREWERY NOT YOUR FATHER’S ROOT BEER 6PK $10.99 FOUNDERS DEVIL DANCER 4 PK $17.99 SHIPYARD GINGERBREADHEAD 6PK $3.99 CASE $10.99

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in the Triangle year after year!

ROGUE VOODOO DOUGHNUT 750ML $12.99 RED OAK AMBER LAGER 12PK $18.99 SCULPIN GRAPEFRUIT IPA 6PK $14.99

21

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BE HEALTHY BE STRONG

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MANY THANKS TO ALL OUR VOTERS FOR YOUR CONTINUED SUPPORT. WE DO THIS FOR YOU!

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas!

711 W Rosemary St • Carrboro • carrburritos.com • 919.933.8226

919-3890 am-4 pm, d Sunday •

town and cafes. ous pastry break’s more, oyal followelection of es. Hope to

&

Blvd, • Tuesdayrday 7:30 2 pm, hupf.com • merges style at this roduces c tortes, tries. gh quality fellow NC per jelly to y adjoins t featuring h a south-

HISTORIC FIVE POINTS 1813 Glenwood 919-833-0226 DOWNTOWN DURHAM 810 W. Peabody 919-797-2554

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Publication Date: July 22 Reserve by July 8

To reserve your space contact your ad rep or rgierisch@indyweek.com • 919.286.1972

Enjoy Your Favorite Japanese Restaurant 7 Days A Week

AKAI HANA

Japanese Restaurant & Sushi Bar 206 W. Main St., Carrboro 919-942-6848 • www.akaihana.com

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SPECIAL ADVERTISING SECTION

NIGHT KITCHEN BAKEHOUSE & CAFE

Eclectic/New American ACME FOOD & BEVERAGE CO

Relocating soon to 709 Washington St, Durham • 919-401-1979 • Monday 11 am-10 pm, Tuesday 11 am-11 pm, Wednesday & Thursday 11 am-10 pm, Friday 11 am-midnight, Saturday 4 pm-midnight, Sunday 3-8pm • www.thebluenotegrill.com • Music most nights served up with some of the best burgers, BBQ, and ribs around. Great selection of NC brews on tap. Don’t miss our daily M-F lunch specials, only $6.99 from 11 am-2 pm.

110 E Main St, Carrboro • 919-929-ACME • Dinner: Daily • www.acmecarrboro.com • Choose Damn Good Southern Food served every night of the week in the heart of Carrboro. Full bar.

Patio Dining. Sunday Brunch. Eat like you mean it.

SANDWHICH

Beer and Spirits

827 W Morgan St, Raleigh • 919-803-4849 • Sunday-Thursday 8 pm-12 am, Friday-Saturday 5 pm-2 am, Sunday 12 pm-7 pm • www.trophybrewing.com • We are a 3 barrel nano brewery in downtown Raleigh featuring a full bar and growlers to go. Our beer is often unique, and always tasty.

We also happen to serve some of the best pizza in town made with our beer and local ingredients.

Come down and have dinner with us, or just stop by for a beer.

Cafe DAISYCAKES BAKERY & CAFE 401-A Foster St, Durham • 919-389-4307 • Monday-Friday 7:30 am-4 pm, Saturday 8 am3pm, Closed Sunday • www.eatdaisycakes. com • DaisyCakes is one of downtown Durham’s premier bakeries and cafes. Come in and savor a delicious pastry or stay longer to enjoy a full breakfast, lunch or brunch! What’s more, DaisyCakes has gained a loyal following for having a fabulous selection of delicious gluten free pastries. Hope to see you soon!

GUGLHUPF CAFÉ & RESTAURANT 2706 Durham-Chapel Hill Blvd, Durham • 919401-2600 • Closed Monday. Breakfast & lunch: Tuesday-Friday 8 am-4:30 pm, Brunch: Saturday 8 am-3 pm, Sunday 9 am-3 pm. Dinner: Tuesday-

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2500 Wycliff Rd, Raleigh • 919-803-1245 / The Factory at Wake Forest, 1849 S Main St #200, Wake Forest • 919-453-1250 • www.villagedeli. net • We take pride in offering our customers a delicious selection of made-from-scratch items.

We wanted people to have good choices about good food. We offer a large selection of all natural and organic products.

THE BLUE NOTE GRILL

TROPHY BREWING COMPANY

•

PHOTO BY JEREMY M. LANGE

BBQ

4810 Hope Valley Rd #110, Durham • 919-9732755 • Monday-Saturday 11 am-10 pm, Sunday noon-8pm • www.growlergrlz.com • Growler Grlz is a Beer Tap Room and Growler Filling store. Pints and flights of craft draft beer are served and growlers are filled to go. 42 rotating taps of local and national craft draft beers!

JUNE 10, 2015

Chilies at the Green Flea Market

10 W Franklin St, Suite 140, Raleigh • 984-2328907 • Tuesday-Saturday 7am-7 pm, Sunday 8 am-4 pm • www.raleighnightkitchen.com • Night Kitchen Bakehouse & Café is an artisan bakery conveniently located in Raleigh’s Seaboard Station featuring hearth-baked breads, pastry and savory foods made by hand from honest ingredients. We proudly brew Equal Exchange coffee and espresso. We also offer a selection of fine teas from Tin Roof Teas.

GROWLER GRLZ

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Friday 5:30-9:30 pm, Saturday 5:30-10 pm • www.guglhupf.com • Upscale, modern comfort food in a casual setting. Atmosphere is eclectic in this vibrant, architecturally-striking European restaurant. Seasonal menus feature southern German-inspired dishes and small plates using fresh, local ingredients. Notable beer and wine list. Fresh artisan breads from Guglhupf’s adjoining bakery and delectable house-made desserts.

Beautiful patio for outdoor dining.

IRREGARDLESS CAFÉ 901 W Morgan St, Raleigh • 919-833-8898 ext 0 • Lunch: Tuesday-Friday 11 am-2:30 pm; Dinner: Tuesday-Saturday 5-9:30 pm and later.

Brunch Saturday-Sunday 10 am-2:30 pm • www. irregardless.com • Serving traditional handcrafted meals in downtown Raleigh since 1975, featuring farm to table cuisine in the café and at all catering events. Great live music nightly.

THE ROOT CELLAR CAFÉ & CATERING 750 Martin Luther King Jr Blvd, Chapel Hill • 919-967-3663 • Open daily 7:30 am-8 pm • www.rootcellarchapelhill.com • The Root Cellar Café & Catering serves scratch-made breakfast, lunch and dinner options made with seasonal veggies & in-house roasted meats in a cozy, community-focused space. We offer weekly prepared take home Family Dinners and Paleo Dinners for those on the go.

Chinese PEACE CHINA Seaboard Station, 802 Semart Drive, Suite 106, Raleigh • 919-833-8668 / Leesville Towne Center, 13220 Strickland Rd, Raleigh • 919-6769968 • Monday-Sunday 11 am-9:30 pm • www. peacechinanc.com • We excel at serving fresh and flavorful Chinese cuisine, dine-in or takeout.

Come enjoy lunch or dinner in our spotless inside

dining area, or dine al fresco on our covered outside patio. Whether it’s a quick lunch or late-night dinner you’re looking for, our chef can quickly prepare hundreds of fresh, delicious entrees straight from the wok.

Chocolatier CHOCOLATE SMILES 312 W Chatham St, Suite 101, Cary • 919469-5282 • Monday-Wednesday 10 am-5 pm, Thursday 10 am-6 pm, Friday & Saturday 10 am-5 pm. Summer Saturday hours as of June 27 – 12 noon-5 pm • www.chocolatesmiles.com • Chocolate Smiles has been your local chocolatier for over 30 years. We specialize in handmade truffles, snappers (pecans, caramel & chocolate), nut clusters and much more. Come see our extensive selection of chocolates. Come taste why we have been around for so long! You’ll keep coming back for more.

VIDERI CHOCOLATE FACTORY 327 W Davie St, Ste 100, Raleigh • 919-7555053 • Tuesday-Thursday 11 am-7 pm, FridaySaturday 11 am-9 pm. Closed Sunday-Monday • The story of Videri’s bean-to-bar chocolate begins on a handful of lush cacao plantations located throughout Central and South America. Purchasing select beans across these regions based on pricing and availability, and commitment to achieving fair-trade and organic status whenever possible, has resulted in some of the finest chocolate you’ll ever taste. Come visit Sam, Starr and Chris today.

Deli VILLAGE DELI 909 Aviation Pkwy #100, Morrisville • 919462-6191 / Cameron Village, 500 Daniels St, Raleigh • 919-828-1428 / Lake Boone Trail,

407 W Franklin St, Chapel Hill • 919-929-2114 • Lunch daily 11 am-4 pm; Dinner TuesdaySaturday 4-9 pm • www.sandwhichnc.com • Maybe it’s because we make nearly everything from scratch (even our mayonnaise!). Or because our OBLT features locally-grown tomatoes, our burger is juicy and perfect, our homemade chips and fries are so tasty, and our Most Excellent Brownie is so moist. But you know what? We think Sandwhich is such a great place because of you, our wonderful, diverse and loyal clientele. Thank you!!!

Greek TAVERNA AGORA GREEK KITCHEN & BAR 326 Hillsborough St, Raleigh • 919-881-8333 • Monday-Thursday 11 am-11 pm; Friday-Saturday 11 am-12 am; Sunday 10 am-10 pm, including Sunday brunch 10 am-3 pm • www.tavernaagora.com • Taverna Agora is an authentic Greek kitchen & bar where friends and family relax, enjoy wine & eat wonderfully prepared, homemade cuisine. The restaurant is reminiscent of gathering places in Greece, with old world flavors and rustic style. Gather at the bar, enjoy lunch or dinner in the family-style dining room or unwind on the rooftop patio. Private events welcome. Yasu! (See you soon!)

Grill CAMERON BAR AND GRILL 2018 Clark Ave, Raleigh • 919-755-2231 • Monday-Wednesday 11 am-10 pm; ThursdaySaturday 11 am-12 am; Sunday 10 am-10 pm • www.cameronbarandgrill.com • CBG meets each guest with a warm smile, flavorful aromas of classic American favorites, and a nod to Raleigh’s “good old days.” You could say we’re stuck in the past, but that’s hardly true. We keep things up to date with fresh ingredients and timeless décor, without sacrificing modern sensibility.

INDYweek.com

Italian TOAST PANINOTECA 345 W Main St, Durham • 919-683-2183 • Monday 11 am-3 pm, Tuesday-Saturday 11 am-8 pm, closed Sunday • www.toast-fivepoints.com • Locally-sourced produce paired with imported meats and cheeses are the highlight of this authentic Italian sandwich shop. Toast serves panini (hot grilled sandwiches on rustic Italian bread, from Guglhupf Bakery); tramezzini (Venetianstyle cold sandwiches on crustless white bread, from The Bread Shop); & crostini (small toasted bread, topped, enjoyed in two or three bites), as well as homemade soups and green salads.

Japanese AKAI HANA RESTAURANT 206 W Main St, Carrboro • 919-942-6848 • Lunch: Monday-Saturday 11:30 am-2 pm, Dinner: Monday-Thursday 5-9:30pm, Friday & Saturday 5-10:30 pm, Sunday 5-9 pm • www.akaihana. com • Akai Hana Japanese Restaurant, fourtime Chapel Hill News Rose Award winner, serving the Triangle’s freshest sushi, features traditional Japanese cuisine and patio dining.

BASAN BULL CITY SUSHI 359-220 Blackwell St, Durham • 919-797-9728 • Monday-Thursday 11 am-2 pm & 4-10 pm, Friday 11 am-2 pm & 4-11 pm, Saturday 12-11 pm, Sunday 4-9pm • www.basanrestaurant.com • Basan’s modern Japanese cuisine, intriguing appetizers, entrees, unique sushi rolls, an extensive selection of sake and more, highlights the best of Japanese cuisine in upscale yet comfortable ambiance. Whether you’re stopping in before a show at DPAC, planning a private event, or just craving sushi, we look forward to serving you soon!

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SPECIAL ADVERTISING SECTION

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JUNE 10, 2015

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MURA AT NORTH HILLS 4121 Main at North Hills St, Raleigh • 919781-7887 • Monday-Thursday 11 am-10 pm, Friday 11 am-11 pm, Saturday 12 noon-11 pm, Sunday 12 noon-9 pm • www.muranorthhills.com • Specializing in flavorful Japanese cuisine and one-of-a-kind sushi rolls, Mura has been one of North Hill’s most popular restaurants since opening in 2005. Our menu features steaks, sushi and Japanese fare. The drink menu offers everything from Japanese beers and local craft brews to Asian-inspired cocktails and sake.

Mediterranean SASSOOL

Award-Winning Gourmet Marketplace

201 South Estes Drive, Chapel Hill, NC | (919) 929-7133 | southernseason.com NOW OPEN! | Cameron Village, Raleigh, NC | (984) 202-5078

9650 Strickland Rd, Raleigh • 919-847-2700 • Open daily 10 am-9 pm • www.sassool. com • A family-owned café, bakery and market serving authentic Lebanese and Mediterranean cuisine to celebrate the recipes of the family’s mother, Cecilia “Sassool” Saleh. Wide selection of Mediterranean specialty groceries, fresh-baked breads and desserts.

Life’s too short.

Eat more sushi.

Join us every Sunday & Tuesday for Buy One Roll, Get One 1/2 Off

Mexican CARRBURRITOS 711 W Rosemary St, Carrboro • 919-933-8226 • Monday-Saturday 11 am-10 pm • www.carrburritos.com • Super-fresh Mexican food made to order in a lively, casual setting.

Choose from eight distinctive fillings including house-made chorizo, vegetarian options (check out Tofu Tuesdays!) and chicken and fish right off the grill. Enjoy the famous salsas and margaritas.

Dine inside or on the garden patio.

Chilies at the Green Flea Market PHOTO BY JEREMY M. LANGE

919.781.7887

|| MuraNorthHills.com || 4121 Main At North Hills || Raleigh

THANK YOU to all our customers!

INDYweek.com Voted Best Tailor Shop in the Triangle since 1985

10% OFF purchase of $50 or more Expires 11/30/2015

Lee’s Tailor

5535 Western Blvd # 201 • Raleigh • 919.233.0708 • leestailor.com

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SPECIAL ADVERTISING SECTION

FIESTA GRILL 3307 Hwy 54 West, Chapel Hill • 919-928-9002 • Tuesday-Saturday 11 am-9 pm, Sunday 11 am-8 pm. Closed Monday • www.fiestagrill.us • Authentic Mexican cuisine prepared daily using only the freshest ingredients. Dine in or takeout.

Pizza BRIXX WOOD FIRED PIZZA 501 Meadowmont Village Circle, Meadowmont Village, Chapel Hill • 919-929-1942 / 8511-101 Briercreek Pkwy, Raleigh • 919-246-0640 / Cameron Village, 402 Oberlin Road, Raleigh • 919-723-9370 / 1111 Parkside Main, Cary • 919-674-4388 • Monday-Saturday 11 am-1 am; Sunday 11 am-11 pm • www.brixxpizza.com • Brixx Wood Fired Pizza is a fun, friendly, neighborhood restaurant that serves the best brick oven pizza, pasta and salads. The pizza is handcrafted and served hot from the wood-burning oven while you enjoy one of 24 great beers on tap or 14 wines by the glass. Brixx is known for great outdoor dining and serving late night (until 1am)!

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JUNE 10, 2015

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Steakhouse BOLT BISTRO & BAR 219 Fayetteville St, Raleigh • 919-821-0011 • Lunch: Monday-Friday 11:30 am-2:30 pm; Dinner: Monday-Thursday 5–10pm; Friday 5-11 pm, Saturday 11:30 am-11 pm; Lounge opens at 4pm Monday-Saturday • www.boltbistro. com • Bolt Bistro and Bar is a locally owned and operated bistro and steakhouse dining establishment with large corporation experience. We offer Certified Angus beef filets and fresh seafood with an amazing wine selection to make dinner perfect. Host your private luncheon or dinner in our upstairs State Room.

Tavern/Pub THE OXFORD

319-105 Fayetteville St, Raleigh • 919-832-6622 • Monday-Thursday 11am-12am, Friday-Saturday 11am-2am, Sunday 10 am-3 pm • www.oxfordraleigh.com • In many English towns, the pub LILLY’S PIZZA is where people gather to unwind, chat and

exchange ideas. At The Oxford, we want to be your 810 Peabody St, Durham • 919-797-2554 / gathering place for business lunches, after-work 1813 Glenwood Ave, Raleigh • 919-833-0226 • drinks, birthday dinners, or “just because”. The Sunday-Thursday 11 am-10 pm, Friday & Oxford offers the comfortable atmosphere of a Saturday 11 am-11 pm • www.lillyspizza.com • British pub in downtown Raleigh.

Voted the Triangle’s Best Pizza in the INDY’s 19972015 readers’ polls. Featuring a locally sourced and organic menu. Vegetarian friendly. Large beer and wine selection. Takeout and delivery.

Located next to Morgan Imports at Peabody Place HONEYSUCKLE TEA HOUSE in Historic Durham and historic Five Points in Raleigh.

8871 Pickards Meadow Rd, Chapel Hill • 919903-9131 • Open daily 8 am-9 pm • www. honeysuckleteahouse.com • Thank you for making Honeysuckle Tea House’s first year a delight.

We re-open on March 15th with exciting artisanal SOUTHERN SEASON products and menu items to share with you!

We are an apothecary café designed to nourish 201 S Estes Drive, Chapel Hill / 443B-207 and improve the health of our community Daniels St, Raleigh • 919-929-7133 • MondayThursday 8 am-8 pm, Friday-Saturday 8 am-9 pm, Sunday 10 am-7 pm • www.southernseason. com • Weathervane’s seasonal menu highlights local ingredients in contemporary cuisine with a Southern flair. The devoted staff, led by Chef THE RALEIGH WINE SHOP Spencer Carter, and 126 Glenwood Ave, Raleigh • 919-803-5473 • special setting Monday-Saturday 11 am-7 pm, Sunday 11 am-5 within the convivial pm • www.theraleighwineshop.com • The atmosphere Raleigh Wine Shop welcomes both wine novice of Southern and connoisseur alike with a bright, inviting Season have atmosphere. We feature hand-picked wines helped propel for everyday drinking as well as special occathe restausions, with a focus on what we feel are “honrant to its est” wines that accurately convey the grapes acclaimed that they’re made from and where those status. Open grapes were grown. Above all, these are the for breakfast, wines that we think deliver the goods for your lunch, dinner hard-earned money. and weekend brunch.

Tea House

Southern 2130 Clark Avenue • Raleigh, NC 27605 919-307-3583 • www.fairerestaurant.com

Wine

brings the heat

Dish online

359 Blackwell Street Suite 220 || Durham, NC 27701 919-797-9728 || basanrestaurant.com

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There’s more to chew on in our online Triangle Dining Guide. Restaurants are searchable by name, cuisine and city and by 12 special features—bar scene, brunch, catering, kid friendly, late night, live music, local/organic, patio dining, private party facility, vegetarian friendly, vegetarian only and wireless Internet access. So if you’re looking for a restaurant in Cary that serves Eclectic/New American food and has live music, go to www.indyweek.com and click on “Triangle Dining Guide” under Food in the top navigation bar to find just what you’re looking for.

INDYweek.com

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JUNE 10, 2015

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Thank You, Indy Readers !

Thanks for voting us #1 !

The INDY’s Guide to Dining in the Triangle

We are so grateful that you voted us the Best Children’s Clothing Store and the Best Consignment Store in Orange County!

Bring this ad in to

Get $5 Off

your purchase of $15 or more before June 30, 2015

(not to be combined with other offers)

DOGSTaR TaTTOO COMPaNY 807 East Main St. Durham 919.682.0000 •

University Mall • Chapel Hill (919) 942-4420 • www.theredhen.com

INDYweek.com

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JUNE 10, 2015

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culture

LAST CALL

To make his excellent debut LP, Parted Ways, Josh Moore first had to flirt with self-destruction

J

BY ALLISON HUSSEY • PHOTOS BY JEREMY M. LANGE

OSH MOORE DID NOT NEED A RECORD DEAL, AT LEAST NOT IN 2008.

For five years, he’d been the lead singer of Beloved, a Christian hardcore band he’d joined at the age of 16. He met the other members in the hometown church he attended with his parents, Kernersville’s First Christian. They toured and enjoyed moderate success before splitting up shortly after Moore’s 21st birthday.

He began writing his own songs—the acoustic laments of a solo singer-songwriter—almost immediately after the band ended in January 2005. It was a relief, he says, to write numbers that he felt like he “didn’t have to crank.”

Others agreed, including a small label that expressed interest in issuing those songs in 2008. But Moore declined. Not only was he uninterested in being bound to some long-term contract, but he reckoned, at the age of 24, he still had some living and thinking to do before making his official debut.

“I knew I had to give myself time,” he says. “I knew I needed to learn more and to experience more and to process more before I was able to offer something under my name.”

The new Parted Ways, Moore’s nine-track debut, is that something: The end result of Moore’s decade of living and learning since Beloved’s demise, it exists in the fertile space where rock, folk, Americana and even a little bit of gospel mix, putting him in the company of recent locals such as Hiss Golden Messenger and Phil Cook. Moore’s beautiful voice is smooth and strong, like a stone plucked from the bottom of a river. It anchors everything around it.

“The singing voice,” he explains, “is the instrument for the soul.”

The voice on Parted Ways is beautiful but fragile, the sound of

someone who has lived just enough to have something to sing about without self-destructing. For several years, Moore flirted with crossing that border, slipping into alcoholism that stalled his productivity and ostracized him from some circles of his preferred collaborators.

But as he offers above weeping and winking saxophone and organ during Parted Ways opener “Mercy of the Rain,” every new start requires a bitter end. Just as daylight breaks from the dark, Moore has pushed past his own dim period.

“Oh, true believers, all is not lost/ If we’ll return the burdens we’ve carried,” he sings, his voice wedged somewhere between sweetness and sadness. “Laying them down, gonna leave them behind.”

M

oore is tall and lanky, with red hair and a mid-length beard in the same bright hue. Often dressed in jeans, a buttonup shirt, boots and a wide-brimmed hat, he doesn’t walk so much as he lopes, moving with intent rather than ambling aimlessly. Now 31, Moore sits in the shady, deep green back yard of the small Carrboro house he’s rented for the past four years. His orange tabby cat, Figaro, prowls the grounds, eyeing potential prey.

This year marks the start of Moore’s second decade in Carrboro. In 2005, Moore moved here from his family’s home in Kernersville. He quickly fell into the local music community, cultivating relationships and playing in a string of bands—Classic Case, Max Indian, The Dead Tongues and The Dogwoods among them. Those past collaborators tend to speak about him with a fondness that borders on reverence.

“He’s not trying to bullshit with you. He’s always kind of on this higher spiritual level,” says Skylar Gudasz, who sings harmonies on three Parted Ways songs. “He’s always trying to talk about the

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culture important shit—very much real and truthful.”

Among Moore’s friends, fans and fellow songwriters is Thomas Costello, who fronts the band The Human Eyes. Moore and Costello have known each other since their early teenage years in Kernersville. They were small-town kids who met through a mutual interest in skateboarding. Costello toured with Beloved, too, selling merch on the road.

When Costello moved to Carrboro in 2008, they resumed their friendship. They played music with buddies like Ryan Gustafson, Carter Gaj and the members of Mandolin Orange, some of the area’s best musicians and songwriters. Alcohol became part of the fun-times formula.

“Josh was just drinking like anyone else was drinking—probably too much for our own good,” offers Costello.

Nothing seemed too out of the ordinary. Costello points out that Carrboro’s laid-back culture, especially that surrounding local music, doesn’t exactly discourage leisure drinking. Moore’s social habit gradually intensified.

“Josh had one group of friends that was not ready to encourage destructive drinking,” he says, “and another group of friends that was, like, howling at the moon and ready to do it at their detriment. That certainly made it easy.”

For two years, Moore spent most of his days drinking. He didn’t eat, lost weight. Some friends voiced their concerns about his health and habits, but mostly, Costello says, Moore’s kind, easygoing demeanor made it difficult to judge him. He wasn’t necessarily destructive, either. Sure, he may have worried a few people, but he wasn’t a Lifetime movie candidate. He held down a job at Carrboro’s Open Eye Café, where he’s worked since 2009, and seemed functional and fine.

“It’s hard to come down on a guy like that and tell him not to do something, especially when the guy was going to work and had a house to live in,” Costello says. “He was hurting himself, but he wasn’t hurting other people.”

But other friends, like local producer and drummer James Wallace, pushed Moore harder. After a handful of shared messy gigs in 2012, a frustrated Wallace emailed Moore and a few others to say he would no longer play music or associate with them unless their habits and behavior changed. Wallace knew he would anger some old friends, but he no longer wanted to watch as they hurt themselves.

“If you continue to act like things are normal or continue to act like their behavior is a normal thing to do, you are an enabler,” Wallace says now. “You can’t act like things are normal anymore.”

Just a few months later, Moore realized Wallace was right.

In December 2012, he made the decision to quit drinking, to try and create a new normal. That fuzzy phase of living and learning, it seemed, had ended. A friend drove him home, to his parents’ house in Kernersville. He entered a brief detox program where he rested and recovered. When he returned to

Carrboro, he wanted to make music, not a mess.

“January, it was like, ‘Let’s get to work. This is what I obviously need to be doing,’” Moore says. “I had to change my lifestyle for the better and assess things that weren’t working in my favor and weren’t working in the favor of people that love me. Those things are easy to see when you’re not masking them.”

In a scene where socializing revolves around bar hangs and beers on porches, Moore says his old buddies have supported his newfound resolve. Costello is one of the most ardent voices in the chorus supporting Moore’s major change.

“It’s one of the best things that’s happened in my social circle. His sobriety is awesome,” Costello says. “It’s nice to have all of him back.”

His friends, in fact, rallied in major ways to help make Parted Ways. Shortly after Moore quit drinking, for

JOSH MOORE with Jenks Miller & Rose Cross NC Friday, June 12, 9 p.m., $8 Cat’s Cradle Back Room, 300 E. Main St. Carrboro, 919-967-9053, www.catscradle.com

instance, longtime pal and producer Jeff Crawford encouraged him to focus on recording a full-length record at last. Almost all of Parted Ways was written during the past two years, with one exception. “End of the Night” predates his sobriety, but Moore felt like it fit the record’s theme of turning a new page.

Moore has never had a full-time band, allowing him to invite an all-star ensemble of friends and acquaintances to build the record. That cast includes Gudasz, Brett Harris, American Aquarium’s Whit Wright, Mount Moriah’s Heather McEntire and Emily Frantz and Andrew Marlin of Mandolin Orange.

“At the moment, we’re not going to be in some kind of permanent musical act,” he says. “I can email them and say, ‘Would you like to be on this song forever?’”

Wallace plays drums and piano on the album, too.

After Moore returned to Carrboro, he and Wallace quickly rekindled their friendship and collaboration, a sign of just how much Moore had changed his behavior.

“Once you go through that with your friend and come out on the other side,” Wallace says, “there’s a weight behind the friendship.”

Gudasz sees Parted Ways as a logical, happy conclusion. Moore’s sincerity and dedication, she says, were essential in helping pull Moore from his dangerous path, ultimately pushing him toward this debut. She marvels at his ability to translate complex chord structures and deeply intimate songwriting into songs that sound familiar and an album that sounds like an immediate classic. Now sober, he can get that essence on tape.

“He’s from the heart. That helped him get himself out of that cloud of stuff that was keeping him from really treating his music seriously,” Gudasz says. “He takes something that is really complicated and makes it sound second-nature, which is really beautiful.”

While these sounds may seem like a reversal of Moore’s hardcore days, the spiritual quest from his youthful music remains. In his time away from Beloved, Moore says, he explored and questioned his religion, shuffling among varying levels of belief and disbelief. Threads of spirituality and seeking now wind through these songs.

“When I’ve had a chance to put music up on iTunes or whatever, they always give you a genre category.

There’s never a genre I want to pick,” he says. “I’ll choose ‘devotional’ or ‘spiritual’ music, the category I feel most comfortable with claiming.”

That tag, he says, carries a transcendent connotation, which applies to his music now just as it did when his songs sported an explicitly religious message. His tale has become one of struggle and redemption, where the songwriter with the incredible “instrument for the soul,” his voice, needed to live his story before he could sing it.

At last, he’s done both. s Allison Hussey is the calendar editor of the INDY. She has written about music since 2010.

• JUNE 10, 2015 • music visual arts performance books film sports INDYweek.com

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music

MEETING IS MURDER

Thanks to a local radio station contest, one mortal fan witnesses the rendezvous of Morrissey and David Crosby

www.lincolntheatre.com

BY ZACHARY LIPEZ

JUNE

Fr 12 THE BREAKFAST CLUB (80’s) w/ The Rebel Yells

8p

Sa 13 CHRIS STAPLETON w/Sam Lewis Su 14 CHRONIXX & THE ZINCFENCE REDEMPTION w/Federation Sound Mo 15 AGAINST ME! w/Frnkiero & the

Fri June 12 Sat June 13

Celebration, Annie Girl & the Flight

Tu 16 THE TOADIES w/Rosies 7p Fr 19 CHATHAM COUNTY LINE

Th 25 STYLES & COMPLETE ft WAREZ Fr 26 KNIGHTMARE w/Alien8 + 7p Sa 27 WAKA FLOCKA w/ Ben G 8p JULY

KABAKA PYRAMID w/Iba Mahr PULSE 9p LEON RUSSELL 7p PRIMUS w/Dinosaur Jr. 6p THE ILLER WHALES (PRIMUS & DEAD MAN’S MAIL After Party Th 23 BERES HAMMOND 7p

Chris Stapleton

Fr 24 GOLDEN GATE WINGMEN 8p Th 30 KMFDM w/Chant & Seven Factor B AUGUST Sa 1 SHUGGIE OTIS

Chronixx

Sun June 14

w/ The Harmony House Singers

Fr

w/Greg Humphreys TRIO

7 50TH ANNIVERSARY OF THE GRATEFUL DEAD PARTY Fr 14 THE MANTRAS Ophishial Party Tu 18 HARD WORKING AMERICANS

(TODD SNIDER.DAVE SCHOOLS.NEAL CASAL.DUANE TRUCKS.CHAD STAEHLY & JESSE AYCOCK) w/Turbo Fruits 7p Tu 25 OF MONTREAL w/ Mothers 7:30p

9 - 1 0 HOPSCOTCH MUSIC FEST 9 - 1 9 DAVID ALLAN COE w/Rebel Son 1 1 - 3 TOMMY CASTRO & THE PAIN KILLERS 1 2 - 5 KIX w/Automag /The Fifth +

& The Zincfence Redemption

Tue June 16

The Toadies

Fri June 19

Chatham County Line Sat July 18

Leon Russell

predestination. I am a strict vegetarian. I have always had issues with Daryl Hannah. And I have a liver.

w/Au Pair (Gary Louris of Jayhawks) /Django Haskins of Old Ceremony

Fr 3 Sa 4 Fr 10 Sa 18 Sa 18

E

VEN AS A BOY, I KNEW I’D ONE DAY GIVE MY LIVER TO EITHER DAVID CROSBY OR MORRISSEY. I believe in

Advance Tickets @ Lincolntheatre.com & Schoolkids Records All Shows All Ages

126 E. Cabarrus St. 919-821-4111

So when the Durham radio station WXDU had a call-in contest, “Give a Liver To Either Morrissey or David Crosby,” I dialed for three endless hours, pounding the keys until I got an answer. Part of the contest was the chance to see Morrissey and Crosby on consecutive nights at the nearby Carolina Theatre. That was, in the parlance of Crosby’s generation of love, “groovy.” I would also be required to give the singers my liver. Blessed fate!

I answered the quiz question—“Fuck, Marry, Kill: David Crosby, Morrissey, a baby lamb”—correctly. I offered to kill myself, thereby pardoning the lamb. I won.

God is good and bountiful in His plenty, so it took only an evening in the ventilation ducts of the musty old Carolina before I could spy, through the slivers of the vents, the spot where I suspected these two titans of strident song might meet between their shows. I worried I would spill onto the greenroom floor and be forced to offer my liver to whomever first claimed “dibs,” but I remained frozen in the lights of destiny and, instead, bore witness.

Crosby entered first, hair and illegitimate children cascading from his mustache like Poseidon leaving the deep.

He lit a marijuana cigarette while softly humming “Another Day in Paradise.” I thought to myself, “This must be what it was like to be Sha Na Na at Woodstock.”

I shivered.

Next, five rockabilly Latinos entered the room, feeling every inch of the wall and floor for illicit, hidden meat products.

Finding none, they waved a Union Jack out the door, and Morrissey arrived. His feet seemed to float three inches above the floor, though the sobbing, black-clad teen(-ish?)agers writhing at his pant cuffs

Tue June 16

The Toadies

Tue Aug 25

Of Montreal

and hurling roses at his knees might have created that illusion themselves.

Crosby looked impressed. He extended his hand. Morrissey stared at it as though it were Rough Trade Records founder Geoff Travis sweating pastrami.

“Shaking hands feels like the 1984, something old and vicious,” he said. With that accent, it almost sounded like it meant something.

Crosby shrugged and lowered his hand: “That’s OK, man.” He reached over, made a passing motion and yanked a nickel from Morrissey’s ear. Crosby handed Morrissey the nickel.

“Money is like love—a lie fools tell themselves,” Morrissey said. “I find it amusing, but it’s not terribly funny.”

Still, he handed the coin to a shirtless skinhead who had materialized at his side.

The young, beautiful skinhead placed the coin in a change purse labeled, “$ Pulled From Morrissey’s Ear.” In silence, both bards stared into the distance. After about 15 minutes, Crosby gently swatted a butterfly from his hair.

“You know anything about this liver contest?” he asked. “That’s in poor taste, man. I got enough grief the first time around. I’m trying to live hassle free.”

He then talked about the environment and Sarah Palin for 16 hours. The of white d wind rushed in my ears. Mold grew on guitar cas mountains. pompado “I shall never worry about the human another d liver. Rourke and Joyce are contractually the sound obligated to give me 40 percent of theirs The air should I ever desire,” Morrissey said, molt. Mor pronouncing the names of The Smiths’ The groun rhythm section as though they were thorn of o Joseph’s brothers and had just dealt cheek. W him into slavery. “Barring that, I know a became a gentleman in China…” resignatio Morrissey is god, like Clapton but only “You’re half as racist. The thought of him not concluded needing me or my liver made my eyes well look at th with half-angry tears. My heart sank.

I swear The rockabilly dudes, meanwhile, tried spoke. An to keep their cool. They smoked cigarettes the venue and fended off a seemingly endless string “I often

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ILLUSTRATION BY CHRISTOPHER WILLIAMS

of white doves, all flocking from Crosby’s guitar case and toward their oil-slick pompadours. Every time they discarded another dove, the walls reverberated with the sound of a jangling minor chord.

The air was thick with pomade and molt. Morrissey undid another button.

The ground around him squealed, and the thorn of one hurled rose scratched Crosby’s cheek. When he touched the blood, it became a nickel. He looked at it with such resignation.

“You’re right about money, man,” Crosby concluded. “It pollutes the body politic. Just look at the Republican Party.”

I swear another five hours passed as he spoke. Angry, once-liberal baby boomers left the venue, demanding refunds.

“I often think that were it not for my

heart and brain I would make a fine politician,” Morrissey countered. “But I am cursed with a tremendous honesty.”

A graphic video of a vivisection spontaneously appeared behind him.

On the opposing wall, behind Crosby, a screenshot of a half-dozen unanswered texts sent from the white-locked singer to old pal Neil Young appeared: “Hey Neil just seeing what yr up to” “hey man I’m really digging Pono?

How r u?” “whats Daryl like anyway” “I love the earth and it messes me up so much how we take it for granted, Neil.”

“U up?” “???”

My leg fell asleep, and I began to worry I would never be free of my liver, doomed

to live as Prometheus in reverse. My liver weighed hard in me, pressing down on my air vent of a hiding hole until I feared I would crash straight into Crosby’s girth, another victim drowned by his expansive love. I’d never been in a threesome, so I felt unworthy of his aura. I tightened my grip.

Like a demented but amiable uncle, Crosby was picking nickels off Morrissey willy-nilly. Morrissey looked terrified, his hair wilting slightly. When Crosby started expounding at length about how Johnny Marr’s playing reminded him of The Byrds but “with less balls, you know,” the various skinheads and rockabillies began searching for a fainting couch.

Crosby started theorizing graphically on the various ways he’d like to “catch a cold” from Kristeen Young. Morrissey wept.

Each tear transformed into an inch-tall, frail teen stuck inside an oversized Smiths shirt. They scurried to and fro, hurling miniature black roses until all the tiny petals made it impossible to see.

But I had seen enough. With my remaining strength, I hurled myself onto the floor, shoved my hand inside myself and extracted my liver. Morrissey and Crosby stared at the gore in my shaking hand and, finally understanding, shared a look of profound empathy that only they are capable of sharing. They each placed a hand on mine, gripping my liver with compassion I had never encountered. I swear I saw Morrissey and Crosby’s hair intertwine like a squid making love to its own ink.

A sense of peace washed over me—over us all, I think. As I passed out, I heard Crosby mutter, “We will go on … as three.”

I died. s The liverless ghost of Zachary Lipez lives in Brooklyn and somehow tweets: @ZacharyLipez.

MORRISSEY Monday, June 15, 8 p.m. $39.50–$208.53

DAVID CROSBY Tuesday, June 16, 8 p.m. $48–$209.05 Carolina Theatre, 309 W. Morgan St. Durham, 919-560-3030 www.carolinatheatre.org

Thanks for the votes, Y’all!!!

102 Morris St. | Durham (919) 438-3883 bullseyebicycle.com Mon-Sat 10-7 | Sun 12-5

bullseyebicycle.com

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Emmaus Way presents: Slow Train Coming Voices of Hope: A Benefit Concert for the ANCOP Foundation Chuckle and Chortle Comedy presents: The Alex Fanning Show LIVE NC Rhythm Tap Festival Playwrights Roundtable: Redux Playwrights Roundtable: Redux WE AREN’T DEAD YET: Dianne Davidson, Deidre McCalla, and Jamie Anderson Playwrights Roundtable: Redux Triangle Jazz Orchestra Night No Shame Theatre

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music visual arts performance books film sports

MASSIVE ATTACK

Five words with Norway’s prolific and powerful drummer, Paal Nilssen-Love

BY GRAYSON HAVER CURRIN

A

S PAAL NILSSEN-LOVE’S LARGE UNIT CARVES ITS DEBUT TOUR ACROSS AMERICA AND CANADA DURING JUNE, the aptly named Norwegian ensemble might resemble a musical militia.

The band will travel in three vans, a dozen members spread evenly between them and collectively loaded with a veritable arsenal of musical gear— amplifiers and horns, drum sets and basses, laptops and guitars.

It would be an impressive operation for most any act, but it’s especially so for one that formed in 2013 and aggressively improvises around the open-ended compositions of drummer Nilssen-Love.

That is, this music isn’t going to make the band much money, let alone enough to pay for an international trek.

Thanks to grants from a constellation of Norwegian councils and arts funds, however, Nilssen-Love will lead his big, bold band through 14 concerts in about two weeks. It’s a daunting run, but when it comes to his music, Nilssen-Love, 40, is used to audacious plans. One of Europe’s most commanding and in-demand free jazz drummers, he’s quickly amassed an enormous catalog of recordings that have put him near the top tier of his profession.

Days before flying to America with his band in tow, he spoke about what seems to be his infinite supply of musical enthusiasm.

ENERGY

You have to feel that you’re pushing yourself, that you’re pushing the others onstage, that you’re pushing the music.

There has to be a certain amount of sweat.

If the music’s happening, I could say that it could go on and on, but sometimes there’s no reason for that. If the music is burning, you have to go with it. There have been times when I’ve felt that the blood circulation in my fingers or hands has stopped, but you can’t stop playing because of that, because you’re exhausted. If you’re playing with people that are pushing you, you’re pushing them, the music’s pushing you, you can’t just

stop playing and say, “I am tired now.” The force of the music is so strong, you gain energy from it. That’s one of the main joys I get out of music.

SILENCE

You can’t get silence if you haven’t got loud—and the other way, too. Within this Large Unit, one has to take advantage Paal Nilssen-Love: “There has to be a certain amount of of using silence. You have 12 sweat.” PHOTO BY ZIGA KORITNIK guys onstage, and that can be quite a racket, quite loud. But FAILURE a musician in a 12-piece band or even in a Failure? There is no such thing. At least trio does more by being silent than actually you have something to learn from, but playing. Knowing when to stop comes from what is a failure? That is up to the person experience. If you haven’t got anything to who does what he thinks is a failure, but say, don’t say anything. The worst is when why? Because you didn’t do it right? It’s a you have a musician who thinks he has to part of life experience. You have to fail. make sound all the bloody time if he’s on stage. A year ago, in a workshop situation, TOURING we’d been doing all these exercises, All the guys in the Large Unit are so and I said, “Let’s just play and see what psyched up to go over to North America happens.” The thing went on for half an and tour for 16 days. A lot of things will hour, and I was so pissed off. They didn’t happen—good, and some bad probably. I dare to stop playing. They thought, “OK, like touring. You strain yourself. You work this is free, improvised music. We can play hard. There’s a lot of traveling involved. But all the bloody time. We can do anything. in the end, you’re so privileged as a musician It can go anywhere.” Of course it can go because you’re allowed and able to do what anywhere, but you have to listen all the you want through touring. That’s when you time. That’s the key. really get under the surface of the people you’re traveling with, yourself and the music.

INTERACTION And touring means you’re seeing new places If you want to go out and explore the and meeting new people. I’m not one that world, you have to interact—socially, goes to bed right away, so the social aspect of musically, whatever. But today, people are touring is absolutely fantastic to me. There stuck, sitting at home with their stupid are musicians that like to stay at home and do iPhones and games and whatnot. You can’t one-off gigs in their hometown, but touring say that you’re interacting with a game or is part of being a musician. It can be really a person on the other side of the planet tough sometimes, but, in the end, you chose because you’re playing a TV game. That’s to do it. It’s your own mistake for becoming a especially important when people are musician. s becoming more selfish and solitary and greedy. Improvising is communication, Grayson Haver Currin is the music editor of interaction. You learn about yourself, about the INDY. the other person, about the situation. It demands that you are 100 percent aware PAAL NILSSEN-LOVE of the situation. There’s so much to learn LARGE UNIT WITH through improvising. That’s why I want TASHI DORJI to try and play with more people, so many Monday, June 15, 8:30 p.m., $10 musicians I want to try out things with.

Kings, 14 W. Martin St., Raleigh 919-833-1091, www.kingsbarcade.com

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music visual arts performance books film sports

DANCERS WITHOUT BORDERS

In the 2015 American Dance Festival, choreographers (and Ira Glass) reach for other mediums

BY BYRON WOODS

I

f you’ve always thought of veteran dancemaker Doug Varone as a choreographer, he has a bit of a surprise for you.

“Actually, I consider myself a visual artist,” says the creator of Rise, Boats Leaving and last year’s The Fabulist. “I am painting in space with dancers, and not on canvas.”

He’s not alone. Looking out across the 2015 American Dance Festival, which opens in Durham this week, at least five other choreographers also incorporate a staggering array of other art forms and mediums with dance. “People are finding new ways to enhance and share their stories,” says ADF director Jodee Nimerichter.

In the July premiere of Doug Varone and Dancers’ RECOMPOSED (July 24–25, Durham Performing Arts Center, 123 Vivian St., 919-680-2787, www.dpacnc. com), Varone attempts to place in dance 10 pastels by the late abstract expressionist Joan Mitchell.

Mitchell “lived in a world that was constantly spilling out on the page,” Varone says. “As a dancemaker, I create worlds that spill movement,

Monica Bill Barnes, Ira Glass and Anna Bass in Three Acts, Two Dancers, One Radio Host PHOTO BY DAVID BAZEMOREN

stillness and emotion out. In her work, I see the things that draw me to my own dancemaking. When I see the energy, the nature, the drama, the emotional context and the detail in her pastels, I see my own dancers.”

Few mediums would seem to have less use for each other than live radio and live dance, but Monica Bill Barnes began to notice similarities between This American Life’s Ira Glass and the dance-theater works she creates with Anna Bass.

“We have a real shared sensibility,” she says. “This American Life has all the elements I love in art. There’s a real sense that [Glass] is creating threedimensional people. His reporters are allowing all the people in the stories to have awkward moments and hesitation.”

Barnes has already investigated awkwardness—and the utter strangeness of the performer’s relationship with the audience—in works such as Another Parade and Luster. With Bass and Glass, she re-examines those and other themes in an unlikely evening of humor, poignancy, dance and true human narrative, THREE ACTS, TWO DANCERS, ONE RADIO HOST (July 18, DPAC).

For the first time this year,

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music visual arts performance books film sports festival favorite Eiko Otake appears in two mediums—and without her longtime partner, Takashi Koma Otake. After noticing that most people in a train station were alone, Eiko resolved to explore solitude in her multi-city solo project, A BODY IN PLACES (July 7–12, Cordoba Center for the Arts, 923 Franklin St., www. liberty-arts.org). Meanwhile, throughout the festival, the Durham Arts Council, Pleiades Gallery and Reynolds Industries Theater exhibit images from A Body in Fukushima, Otake’s pilgrimage with photographer William Johnston to the site of the 2011 nuclear disaster.

ADF audiences last saw choreographer Heidi Latsky in a 1997 evening of solos and duets with fellow Bill T. Jones alumnus Lawrence Goldhuber. But Latsky’s own company has worked since 2001 with people of all body types and abilities.

“Where others see challenges and limitations, Heidi relishes the possibilities,” Nimerichter says.

Latsky’s first foray into film, Soliloquy, completes a new work called TRIPTYCH (June 21–23, Reynolds Industries Theater, 125 Science Dr., 919-684-4444). She

wanted the film to encapsulate her company’s mission, which she calls “redefining beauty and virtuosity in unexpected bodies.” But after the filming, Latsky still wasn’t sure how to do it, until cinematographer Zachary Halberd sent her the footage they’d shot.

“We didn’t have an editor right away,” Latsky recalls, “so Zac said, ‘Here’s all the images. Figure it out; play with what you’ve got.’” It was the best advice she could have gotten. “That’s how I found my narratives.

That’s how I found my way into my film.”

What, exactly, does film give a choreographer that dance doesn’t?

Intimacy, to start with. A conventional theater setting keeps the audience at a distance. “If I were going to make a film about the people I work with, I wanted it to be an intimate view: portraiture,” Latsky says. Her program notes call Soliloquy “a magnifying glass, an entreé into the internal worlds of everyone in it.”

Soledad Barrio and Noche Flamenca’s 2006 ADF performances were a haunting excursion into the duende, the noble Spanish aesthetic that probes the relationship between total devotion and

total loss. In their staccato, high-stakes dances along a tightrope of emotions, we saw a terrible dignity, as the cries of the classical flamenco cantaores warned that a passion relentlessly pursued could well demand the highest personal cost.

With such tragic precursors, artistic director Martín Santangelo had no place to turn but classic Greek tragedy when he learned, in 2010, that the descendants of those killed by the Franco regime were not allowed to remove and bury their dead, left in mass graves. Noting the parallels with Sophocles’ Antigone, Santangelo adapted the Greek text into lyrics and collaborated with choreographer Barrio, Lee Breuer (The Gospel at Colonus) and sculptor and mask-maker Mary Frank on ANTIGONA (June 26–27, DPAC) a musical, dance and theatrical retelling of the far too timely tale.

Choreographer and MacArthur fellow Shen Wei has incorporated his own visual and costume designs into works such as Folding since his company began in 2000.

But his first major exhibition of paintings came just last December, at Art Basel in Miami. Critic Miguel Angel Estefan Jr. found Shen’s “majestic swaths” of black,

white and gray “reminiscent in scale, emotion and grandeur” of 19th-century Romantic landscapes. The Miami Herald’s Jordan Levin said they “seemed to surge across the canvas,” noting that “the energy of their making seemed to leap from the surface.”

In his ADF-commissioned UNTITLED NO. 12–2 (June 11–13, DPAC), which premiered last weekend at Charleston’s Spoleto Festival, Shen translates those paintings into dance. The first drafts of the new work “echoed the surging, splashing images,” according to Levin, “as if the paintings were flowing off the walls and coming to life.” s Byron Woods is the INDY’s theater and dance columnist. Twitter: @ByronWoods.

AMERICAN DANCE FESTIVAL June 11–July 25, Durham 919-684-6402 www.americandancefestival.org

The INDY’s Guide to Dining in the Triangle

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DIDA RISING

With its successful first season wrapped, what’s next for Durham Independent Dance Artists?

BY BRIAN HOWE

O

N SATURDAY NIGHT, THE DOWNTOWN DURHAM BAR CRITERION CONTAINED A STRIKING NUMBER OF PEOPLE WHO LOOKED SOMEWHAT DISHEVELED, WEARING LOOSE, SWEATY WORKOUT CLOTHES. (They never would have gotten in when it was still Whiskey, with its fascist dress code, which is to say, props to Criterion.)

They had just danced in choreographer Renay Aumiller’s aerial work, Blood Moon, at the Cordoba Center for the Arts, closing out the debut season from Durham Independent Dance Artists. At the wrap party afterward, they were celebrating a notable uptick in press coverage for local dance and many sold-out venues, indicative of a growing audience.

Though I didn’t hear this directly, my companion reported that at least two people at the bar independently speculated that Blood Moon was about menstruation.

While the piece was certainly open to interpretation, this seemed bizarre. What I saw was about power, conflict and vulnerability. The harnesses the dancers flew in were used to explore the uncertain line between freedom and limitation, privilege and restraint—dichotomies that could map onto many contexts, including DIDA’s effort to build a dance scene by bundling local, independently produced shows into a season, with all the opportunities and constraints that entails.

DIDA was founded by Leah Wilks, Nicola Bullock, Justin Tornow and Lightsey Darst. Between November 2014 and June 2015, they promoted eight performances in untraditional Durham spaces such as The Carrack Modern Art and Motorco Music Hall. Wilks and Tornow presented new works of their own, and Wilks danced in Blood Moon. At Criterion, I sat down with three of the founders (Bullock was out of town) to discuss DIDA’s short but significant past and its wide-open future.

The first DIDA season mainly featured

the founders and their friends. The next one will be broader, featuring perhaps only two artists from the first season. The organization is less about cultivating a brand than supporting diverse choreographers.

“I like really different stuff than Justin or Lightsey,” Wilks says. “Sometimes, maybe something is not our aesthetic, but we believe in the people behind it. The big thing is we have to believe they are ready to produce their own show.”

“We have to think that someone is pushing their boundaries a bit, not just making the same work they made last year,” Darst adds.

“It’s not just emerging artists,” Tornow clarifies. “We’re also looking at, say, midcareer artists who haven’t done anything in a while”—or who want to try something new. “We’re not interested in plug-andplay. How can we bring something that’s new for audiences every single season?”

“We’re like a fringe spread out over a season in that we use all these untraditional spaces,” Wilks concludes.

“We’re interested in bringing in different audiences for each show, whether that’s based on age or different areas of Durham, or the work is really theatrical, or it’s in a bar. Are there too many things that reach the same audience? In that case, we’re not going to do them all.”

Of course, DIDA learned a few things in its first year. Two shows, Kristin Taylor’s Kindly Rooted and Black Irish’s Organ, were booked on the same weekend (the artists choose when to book their shows), and it is believed that it hurt ticket sales for both.

“That’s the downside of it all being selfproduced,” Tornow says, “and that’s where we should have stepped in.”

And one DIDA show, Marie Garlock’s Flipping Cancer, was canceled—another pitfall of wrangling autonomous artists.

“She’s a PhD student and underestimated the workload,” Wilks explains. “I saw an early version and it’s an incredible onewoman show. Maybe if she ever does produce it, it will pop up at DIDA again.”

By increasing the surface area of local indie dance, DIDA made it more accessible for both audiences and the press. Wilks

Leah Wilks flies high in Renay Aumiller Dances’ Blood Moon.

says that the media interest has been invaluable for artists trying to tour, giving them proof of concept via reviews. She recently met with a group that wants to start something like DIDA for writers.

“It was intriguing to have them say, ‘The music and dance scenes here are so great;’ to hear that other people feel there is a ‘dance scene’—I think a lot of that is due to DIDA this year,” Wilks says. “We’ve seen people come to a show because they know somebody in it, or it’s at Motorco, and they realize they like modern dance. Then they came to other shows or even got involved, helping us build sets, in a way we couldn’t have anticipated.”

DIDA is revamping its website for next year, and beginning to look at new support opportunities, stopping short of producing works. “One thing that helped DIDA work is that we didn’t form any kind of company,” Wilks says. “We’ve all run companies and nonprofits; we know that’s so much work, and we want to prioritize artists. But now that this has taken off as a successful model, there will be some business plan discussion over the year.”

Of primary interest is hiring a videographer, because high-quality video is crucial to artists seeking funding for future projects. And DIDA is considering buying a Marley floor that could be loaned to its artists, and paid for with rentals to non-DIDA artists. “We’re not a brick and mortar producer, but there are a lot of producing problems in the area we can

PHOTO BY STEPHANIE LEATHERS

help address,” Tornow says.

Though the founders won’t say who is in the next season, after an impromptu whispered conference, they agree to reveal a tidbit. “While we’re about supporting local artists, our only requirement is that it’s an evening of dance in Durham,” says Wilks. “So there will be one international guest artist on the next season, brought in in collaboration with another organization.”

Shen Wei at Surf Club? (Kidding.)

A clear sign of DIDA’s relevance is that half of the choreographers in the American Dance Festival’s Here and Now: NC Dances program (see page 36) are DIDA alums, ShaLeigh Comerford and Anna Barker.

Still, the organization’s focus is on the layer below the institutional, where dancers take over unusual spaces and figure out how to make it work. As such, now that it’s got Durham on lock, DIDA wants to strengthen ties with comparably sized independent dance scenes in other states, which could take any number of forms.

“So many organizations become about keeping themselves alive instead of about whether they work for the area,” Wilks says, and in this way, DIDA’s unincorporated amorphousness is its strength. “Durham is changing so fast that DIDA as it is now may not even be relevant in five years, so we have to stay fluid and change.” p Brian Howe is the INDY arts and culture editor. Email him at bhowe@indyweek.com and follow @IndyweekArts on Twitter.

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JOIN THE DANCE

Sample some of the choicest offerings of the 2015 American Dance Festival

BY LINDA HAAC AND CHRIS VITIELLO THIS PAGE

Shen Wei Dance Arts

PHOTO BY BRIANA BLASKO FACING PAGE, L TO R

Dancers

Doug Varone and

PHOTO BY JIM COLEMAN

Heidi Latsky Dance Eiko

PHOTO BY DARIAL SNEED

PHOTO BY ANNA LEE CAMPBELL

Bill T. Jones/Arnie Zane Dance Company PHOTO BY ZviDance

PAUL B. GOODE

PHOTO BY DARIAL SNEED

unconventional bodies. This is highlighted in Somewhere, which appears to explore what it actually takes to move through space—or not. In Solo Countersolo, Latsky, in her mid-50s, performs at the center of five much younger dancers. A black-andwhite Ingmar Bergman quality exists in the presentation of these works, and in fact, the last piece of this Triptych (see page 33) is a film, Soliloquy. 125 Science Dr., 919684-4444. —LH

SHEN WEI DANCE ARTS (June 11–13, DPAC)—The Chinese-born choreographer and painter Shen Wei, who founded his company at ADF 15 years ago, kicks off the 2015 season with a large-scale work of flowing movement, Map, featuring immense balloons as part of the set. He also presents the ADF-commissioned UNTITLED NO. 12–2 (see page 33). Coming from a family versed in Chinese opera, Shen Wei received training in the tradition at an early age. He has an operatic sensibility as well as a painter’s eye and a serious background in modern dance—an original. 123 Vivian St., 919-680-2787, www.dpacnc.com. —LH BODYTRAFFIC (June 14–16, Reynolds Industries Theater)—The Los Angelesbased contemporary repertory company BODYTRAFFIC has established itself

quickly since its 2007 founding, and it brings a strong program to ADF. You know that feeling when music you love just takes over your body, and you let loose with a completely unselfconscious, joyful dance? That’s what Bakery Paris– Berlin artistic director Richard Siegal wants you to feel while watching the playful O2Joy, a set of balletic dances in street clothes to a variety of classic jazz songs.

One particularly sincere dance to Billie Holiday’s “Sunny Side of the Street” makes me well up with happy melancholy.

Barak Marshall’s cautionary tale And at midnight, the green bride floated through the village square… tells the story of his mother’s neighbors in Yemen, who lived in “the Burning House.” Audible throughout the neighborhood, the eight sisters and one brother fought and cursed incessantly, playing out jealousies and alliances.

Marshall, the artistic director of Inbal Dance Theatre Company, changes tone from mournful to darkly humorous, furious to lonely, with a soundtrack of Jewish love songs, Yiddish hymns and Yemenite traditional music.

As co-director of RUBBERBANDance Group, Victor Quijada is known for movement that magnifies gesture for dramatic effect. He finds balletic subtlety within the power and speed of hip-hop in Once Again, Before You Go, a spare but thrilling work that almost floats in space on the dark stage. 125 Science Dr., 919-6844444. —CV HEIDI LATSKY DANCE (June 21–23, Reynolds Industries Theater)—Heidi Latsky used to dance with Bill T. Jones, but in 2001, she started her own company, known for incorporating conventional and

HERE AND NOW: NC DANCES (June 25, Reynolds Industries Theater)—ADF and the NC Dance Festival co-present an evening of local choreographic talent, juried by nationally known dancemakers Rosie Herrera, Carl Flink and Beth Gill.

The Motorco premiere of Anna Barker’s episodic dance-theater duet with Leah Wilks, it’s not me it’s you, kicked off Durham Independent Dance Artists’ first season (see page 34) last November, and excerpts from it return here. From its laugh-out-loud lip-synch sequence and live version of Phil Collins’ overheated ballad “Against All Odds” to its tortured dialogue and contorted floorwork, the piece comprehensively explores modes of communication within a close relationship.

It will be interesting to see how the intimacy of Motorco, stocked to overflow with enthusiastic friends and supporters, will transfer to the much larger, more formal Reynolds.

Kristen Jeppsen Groves presents a smart, theatrical complaint against selfinterest as public policy in [ME]thod, her 2011 MFA thesis work at Ohio State. She plays the characters of representatives, workers and citizens against each other

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music visual arts performance books film sports Johnston, featuring photographs of the dancer in the landscape of Japan’s Fukushima area, still uninhabitable after an earthquake, a tsunami and the Daiichi nuclear plant explosion. 923 Franklin St., www.liberty-arts.org. —LH BILL T. JONES/ARNIE ZANE DANCE COMPANY (July 10–11, DPAC)—Bill T. Jones, with associate artistic director Janet Wong and his company, presents the recent evening-length work Analogy/Dora: Tramontane, centered on the personal story of a young Jewish nurse and social worker in occupied France during World War II. The piece is based on interviews with 94-year-old Dora Amelan, mother of Jones’ partner, Bjorn Amelan. If history is made up of individual stories carried forward into the future, Jones explores that landscape of memory with minimalist props, nine dancers in street clothes, wartime songs and intense storytelling, giving form to feeling. The piece’s sparseness will demand attentiveness. 123 Vivian St., 919-680-2787, www.dpacnc. com. —LH

as they attempt to resolve politics and emotions on a dimly lit stage. Groves finds humor—both genuine and bitingly absurd—in a sequence in which dancers pose next to a television, embodying and critiquing the demographic categories and social labels that appear onscreen.

Featuring Mick Jagger as a proxy for masculine hyperconfidence, ShaLeigh Comerford’s Dedicated to [ ] because of [ ] (and vice versa) traces chilling aftereffects of gendered violence. Karola Luttringhaus, who presents a duet excerpt from her evening-length Inertia—Remembering the Holocaust, addresses the dynamic between love and societal and political pressure.

125 Science Dr., 919-684-4444. —CV

EIKO (July 7–12, Cordoba Center for the Arts)—After performing with her husband, Koma, for 40 years, Eiko is showcasing her first solo work, A Body in Places (see page 33). It was reportedly conceived when Koma was nursing an injured ankle, and explores the relationship of a vulnerable body to public space. Eiko performed it at Philadelphia’s Amtrak 30th Street Station, and in Durham, she gives miniperformances at Cordoba Center for the Arts, a former tobacco warehouse with train tracks running near it. Audiences get an intimate view of a dancer known for slow, compressed, mesmerizing movements. Also around town will be a collaboration between Eiko and William

ZVIDANCE (July 12–14, Reynolds Industries Theater)—Choreographer Zvi Gotheiner grew up on a kibbutz in Israel, where folk dance was what you did on Friday nights. He has translated this experience into Dabke, based on one of the Middle East’s most beloved line dances, often performed at weddings, holidays and community celebrations— traditionally, only by men, though not here. In Gotheiner’s hands, it becomes an opportunity to explore the meaning and expressiveness of dance, and what makes people want to do it in the first place—its sheer bodily presence. The audience might want to get up and start dancing, too. 125 Science Dr., 919-684-4444. —LH DOUG VARONE AND DANCERS (July 24–25, DPAC)—It’s tempting to write about Doug Varone’s solo The Fabulist—which debuted last year as part of the “On Their Bodies” program of ADF-commissioned solos by Shen Wei, Stephen Petronio and Ronald K. Brown—entirely within the context of his age (58). While Varone’s solo stood out as the bravest contemplation of mortality, it’s more remarkable for the frank way his capabilities and limitations shape the choreography. Varone tests himself within a strict corridor on the spacious DPAC stage. The company also premieres ReComposed (see page 32), an ADF co-commission with Duke’s Nasher Museum of Art. 123 Vivian St., 919-6802787, www.dpacnc.com. —CV

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CHARACTER ASSASSINATION

Role compression muddles Shakespeare in Equivocation, plus Love, Loss, and What I Wore

BY BYRON WOODS

B

ILL CAIN WAS A PLAYWRIGHT WITH A PROBLEM. His 2009 drama EQUIVOCATION was an intriguing inquiry into how artists ethically respond to the politics of their time, in a speculative history of Shakespeare’s relationships with King James I and Sir Robert Cecil, his Machiavellian chief minister.

Its two acts not only examined artists’ conflicting responsibilities to their colleagues, their families and their art; it managed as well to raise some prickly questions about the theater’s relationship to the truth.

But Equivocation also had 13 primary characters in it—a number, in the modern economics of the theater, that would make it much less attractive to potential producers. (Yes, successful contemporary plays with as many characters or more come to mind, including August: Osage County and A Few Good Men. But Cain didn’t want to chance it.)

Moreover, that 13 already contained a significant compromise. Shakespeare’s own theatrical troupe, The King’s Men, had been cut to just five actors, ostensibly staging King Lear and Macbeth.

Even with that cut, Cain deemed there were still too many characters for Equivocation to be commercially viable.

So he doubled, tripled and quadrupled some of the roles, cutting the cast by more than half, to six—by which time, someone really should have said something, for those were the cuts that went too far.

Yes, playwrights and companies have routinely doubled up on roles from Shakespeare’s time to ours. Indeed, the draw in plays like Stones in His Pockets and Greater Tuna comes from gifted actors repeatedly shifting between multiple and convincing quick-change characters on stage.

Underline the word convincing in that last sentence, since it’s the difficulty director Jerry Sipp and his actors don’t—

and arguably, cannot—overcome in this Theatre in the Park production.

Sipp and actor Jason Hassell’s take on Cecil is too sniveling to truly get at the utter ruthlessness of a man many believe was the real-life inspiration for Shakespeare’s Richard III. Still, we’re prepared to go with Hassell’s doubling as Nate, an actor and shareholder in The King’s Men. We’ll even indulge a set of cinematic, if theatrically dysfunctional, flashbacks where Cecil suddenly appears at the edge of scenes he isn’t in to reiterate portentous earlier lines after plot twists are revealed.

But then Preston Campbell has to play Sharpe, the actor playing Macduff in the first ever production of Macbeth, in the same scene he plays a childish King James I, who is sitting in the audience.

Campbell whirls back and forth as Cain makes those two characters trade lines in one particularly graceless sequence.

Then James I takes the stage, while Macbeth is still in process. Beyond that point, who’s on first is anyone’s guess.

As a scene, it’s one hot mess, a muddy blur in which disbelief is not suspended but shattered. With the addition of one more actor, it could have been avoided.

That is regrettable, given the insights and issues Cain takes on. After Shakespeare’s daughter Judith (acerbic Kelly McConkey) asks, “How could there be anything true about a play,” Cecil compliments—and critiques—the man from Stratford to the bone: “You make [audiences] happy, but not so happy as to make them reject their unhappiness. You make them angry, but not so angry as to inspire action. You reduce all of reality to spectacle, making action unnecessary, even impossible. You are the perfect civil religion.”

Though Daniel Murphy seems too young in the roles of Armin and Catesby, Jim O’Brien’s Shakespeare ably struggles between practicality and ethics throughout the work, and Mark Phialas brings gravitas to Richard Burbage, the senior member of The King’s Men and Father Henry Garnet.

Jim O’Brien in Theatre in the Park’s Equivocation

G

ingy (a wise Bunny Safron) knows it’s simple to draw herself. Two stacked rectangles: a longer bottom one for the skirt and a shorter one for the blouse on top. Draw an egg above them for the head; three lines for legs. And the face? Sideways letter c’s for closed eyes; a capital L for the nose and a lowercase w for the mouth.

But the meanings of those clothes— and the changing human forms they adorn—take longer to disclose in Nora and Delia Ephron’s LOVE, LOSS, AND WHAT I WORE. This adaptation expands Ilene Beckerman’s best-selling personal history and handmade picture book of her lifetime’s most significant garments into a mirthful and moving cross-generation colloquy among 29 women.

In this nimble reader’s theater production, an all-star cast articulates women’s complex relationships with shoes, bras, purses—and their own bodies.

Alison Lawrence’s character wryly notes the misfortune of being the daughter of the most competent human alive, after Kirsten Ehlert’s adolescent girl amusingly suffers a mother’s unsuitable fashion advice. More than one of Page Purgar’s characters remain conflicted on their selfperceived beauty, and the women in Amy

PHOTO COURTESY OF STEPHEN J. LARSON

Bossi-Nasiatka’s most poignant vignettes cope believably with homophobia and breast cancer. Given the Ephrons’ penchant for disclosing the issues that clothing brings up, Love, Loss, and What I Wore qualifies as a warm, witty—and fabricbased—answer to The Vagina Monologues.

Well worth seeing. s Byron Woods is the INDY’s theater and dance columnist. Twitter: @ByronWoods.

EQUIVOCATION

★★

Theatre in the Park 107 Pullen Rd., Raleigh 919-831-6936 www.theatreinthepark.com Through June 21

LOVE, LOSS, AND WHAT I WORE

★★★1/2

Actor’s Comedy Lab | North Raleigh Arts and Creative Theatre 7713-51 Lead Mine Rd., Raleigh 919-866-0228 | www.nract.org Through June 14

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MUSIC

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CAT’S CRADLE, CARRBORO SUNDAY, JUNE 14

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MUSIC

GARY CLARK JR.

NORTH CAROLINA MUSEUM OF ART, RALEIGH WEDNESDAY, JUNE 17

Events such as Farm Aid, which the Texas guitarist Gary Clark Jr. played last year in Raleigh, are carousels of talent, where one act can barely settle onto the stage before it’s time for the subsequent set. But few seemed to want Clark to abandon his late-afternoon showcase, where his fingers flew across six squealing strings and his mouth delivered lambent loverman laments with preternatural cool, sweat dripping lazily from his brow. Clark is at complete ease with his blues-rock revivalism when he steps back from the lip of the stage to take knotty, intense solos that seem to have always been at his disposal, only waiting to be summoned. Though Clark was an Austin star during the younger Bush’s first term, the 31-year-old has only recently stepped into international acclaim, thanks less to his slightly stuffy 2012 Warner Brothers debut than the strings of high-profile gigs that it prompted. He’s just wrapped work on its follow-up, choosing to cut it in a comfortable room near home rather than Los Angeles. That’s an exciting prospect, as his music is best when it seems to drip, sweat-like, from his body. 8 p.m., $24–$40, 2110 Blue Ridge Rd., Raleigh, 919-839-6262, www. ncartmuseum.org. —Grayson Haver Currin

JUNE 10, 2015

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LINCOLN THEATRE, RALEIGH MONDAY, JUNE 15

In an age of withering rock record sales and blooming escapist electronica festivals, folks like to talk about rock ’n’ roll like a patient on life support, a charity case in need of pity and taxdeductible donations. But if rock is to survive in any meaningful way, it needs fewer stars like Jack White or Dave Grohl taking its salvation as their cause célèbre and more bandleaders using it not as a museum piece but a mouthpiece for what matters at the moment. In May 2012, Against Me!’s Laura Jane Grace appeared on the cover of Rolling Stone, announcing that she was beginning the transition into life as a woman. Rather than carry on with band business as usual, Grace wrote an epic and impactful LP about the issue, last year’s daring and great Transgender Dysphoria Blues.

Filled with anthems exploring subjects mostly alien to the rock lexicon, it felt like a way to make old punk songwriting formulas fresh and vital, to give some chords and hooks an urgent purpose.

Following some lineup turmoil and turnover, Against Me! has returned to the stage, with Laura Jane Grace out front, howling her truths. With Frnkiero andthe Cellebration and Annie Girl and the Flight. 8 p.m., $18–$22, 126 E. Cabarrus St., Raleigh, 919-8214111, www.lincolntheatre.com. —Grayson Haver Currin

THEATER SEA WALL

BURNING COAL THEATRE COMPANY, RALEIGH THURSDAY, JUNE 11–SUNDAY, JUNE 28

For newbies out on the ocean, depth perception is usually a mixed blessing. For some reason, most don’t want to know that the Atlantic, on average, is more than two miles deep. Alex is like that: a novice diver, exploring a wreck off the Southern coast of France with his wife and father-in-law, when he encounters the sea wall—the point in the ocean where the continental shelf suddenly falls away. What lies beyond is, literally, the abyss. “Even bright as it is above us, and it is a bright day,” Alex recalls, “the darkness of the fall … is as terrifying as anything I’ve ever seen.”

As you may have guessed, something else is about to drop away beneath Alex’s feet in this drama by Simon Stephens (The Curious Incident of the Dog in the Night-Time). The notable Elizabeth London returns to direct the opener of Burning Coal’s month-long festival of one-person shows. Joey Heyworth stars. 7:30 p.m. June 11–13; 2 p.m. June 14, 21 and 28, $10, 224 Polk St., Raleigh, 919-834-4001, www.burningcoal.org. —Byron Woods

THEATER

A LITTLE POTATO AND HARD TO PEEL CAM RALEIGH, RALEIGH TUESDAY, JUNE 16–WEDNESDAY, JUNE 17

AGAINST ME!

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AGAINST ME!

UNKNOWN MORTAL ORCHESTRA In late 2010, Unknown Mortal Orchestra earned online buzz with the track “Ffunny Ffrends,” a beguiling four-minute romp of fuzzy falsetto, skittering-and-skipping drums and a sharp little riff as catchy as those Peter, Bjorn and John whistles. Simple until you started to notice the nested mechanics of the entire arrangement, it was deceptive radio bait—easy enough to love, hard as hell to understand. In the half-decade since, founder Ruban Nielson has moved from New Zealand to Portland, formed a proper band and, across three albums, made his music’s complications increasingly unabashed. To wit, the new Multi-Love is a dream world of synthesizers that dart behind drums and drums that dance around vocals, guitars that bloom and wither mid-phrase and vocals that cloak considerable hooks in webs of effects. It’s a record that you hear for the first time, enjoy and immediately need to repeat so that you can better track what’s happening, how the pieces fit and to where one chorus or another that you loved disappeared within UMO’s ethereal matrix of psychedelic quasi-pop. With Alex G and Birds of Avalon.

9 p.m., $15, 300 E. Main St., Carrboro, 919-967-9053, www. catscradle.com. —Grayson Haver Currin

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MUSIC

JOEY HEYWORTH, WHO APPEARS IN SEA WALL

PHOTO BY RIGHT IMAGE PHOTOGRAPHY, INC.

6.10–6.17

PHOTO BY FRANK MADDOCKS

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PHOTO BY RYAN RUSSELL

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As Burning Coal Theatre Company opens its mini-fest of solo plays in Raleigh, another one of note arrives in town. David Harrell is a New York-based actor who got an MFA in theater at UNC-Greensboro. He is also a disability advocate who was born in Georgia in the 1970s without a right hand, all of which is folded into A Little Potato and Hard to Peel. In this acclaimed, much-toured solo show, Harrell relates the story of growing up wearing a metal hook with humor, humility and insight, as he searches for the barrier of the “normal” and, finally, breaks through it. Presented by Arts Access and CAM Raleigh, the performances are free, but seating is limited—call 919833-9919 or email betsy@artsaccessinc.org to make a reservation.

The event is suitable for all ages and abilities, and Audio Description services are provided. 6:45 p.m., free, 409 W. Martin St., Raleigh, 919-833-9919, www.facebook.com/ArtsAccessInc. —Brian Howe

INDYweek.com

614 N. WEST ST RALEIGH | 919-821-0023 TH 6/11 FR 6/12 SA 6/13

COL BRUCE HAMPTON GROOVE FETISH

MINGO FISHTRAP W/ PORCH 40 COSMIC CHARLIE 2 SETS OF HIGH ENERGY GRATEFUL DEAD

WE 6/17

TH 6/18 SA 6/20 WE 6/24 FR 6/26

BILLY JOE SHAVER

LUKE WADE OF “THE VOICE”

KOA

SOK MONKEE JIM LAUDERDALE & JEANNE JOLLY 2ND ANNUAL

MARVEL VS DC BURLESQUE

southlandballroom.com

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JUNE 10, 2015

Thanks for voting !

YOU are the BEST in the Triangle!

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INDYweek.com

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music WED, JUN 10

CAT’S CRADLE: Shakey Graves, Carson McHone; 8:30 p.m., $15–$18. See indyweek.com.

CAT’S CRADLE (BACK ROOM): Minor Stars, Megafauna, Fake Swedish; 9 p.m., $8. See indyweek.com.

DUKE GARDENS: Music Maker Revue: Cool John Ferguson with Sam Frazier, Jr.; 7 p.m., $5–$10, 12 and under free. See indyweek. com.

KINGS: Somebody’s Darling; 8 p.m., $10. See indyweek.com.

KOKA BOOTH AMPHITHEATRE: Alabama Shakes, Courtney Barnett; 7:30 p.m., $35–$45. See indyweek. com.

LOCAL 506: Meridian, Stephen Kent; 7 p.m., $5.

NEPTUNES PARLOUR: Eternal Summers, SOON; 9 p.m., $7. See indyweek.com.

NIGHTLIGHT: Alpha Cop, Divine Circles, Aerial Ruin, Adam Brinson; 9 p.m., $7.

POUR HOUSE: Roxy Roca; 9 p.m., $5–$8.

STATION AT SOUTHERN RAIL: Honey Magpie, Dizzy Bats, Houseguests; 7:30 p.m.

WALNUT CREEK AMPHITHEATRE: Train, The Fray, Matt Nathanson; 7 p.m., $25–$79.50. See indyweek.com.

THU, JUN 11 AMERICAN TOBACCO CAMPUS JIM WHITE VS. PACKWAY HANDLE BAND Jim White has worked as an author, filmmaker, record producer and visual artist in addition to his best-known role as a musician. Lately, he’s teamed up with fellow Athens artists Packway Handle Band to swap songwriting and share singing on Take It Like A Man. The casual-feeling collaboration’s finest moments

come on tracks like “Jim 3:16,” when Packway’s loose harmonies and back-porch picking support White’s smirking humor. “A bar is just a church where they serve beer,” he muses. Darren Hanlon exports polished folk-pop from Australia. Free/6 p.m. —SG

THE ARTSCENTER SLOW TRAIN COMING Presented by Durham ministry Emmaus Way, this full-album recreation of Bob Dylan’s 1979 paean and confession to God features several players who move between the Triangle’s spiritual and secular scenes. Jeff Crawford and Brett Harris, for instance, have served as staples not only of Triangle rock acts but also various worship groups. Here, they join a team of singers, instrumentalists and musical director Tim Carless—an emerging area impresario with big ideas—to serve each somebody that shows. $10–$12/8 p.m. —GC

CAT’S CRADLE (BACK ROOM) GBH If influence can be measured in back patches, the English punk band GBH is neck and neck with The Exploited. Formed at the dawn of the ‘80s, the band produced a couple of quick classics that helped inspire both street-punk and the punk-metal crossover across the pond. With high-profile fans like Metallica and Slayer, GBH have maintained their legacy for three decades, even as they’ve evolved from pioneers to preservationists. 2010’s Perfume and Piss (produced by Rancid’s Lars Frederiksen) is packed with old-school pub-punk sing-alongs.

It neither surprises nor disappoints. California street punks Total Chaos and Raleigh D-beat bruisers Skemäta open. $15–$17/8 p.m. —BCR DEEP SOUTH: Erin Nenni; 10:30 p.m., free.

Contributors Jim Allen (JA), Grayson Haver Currin (GC), Spencer Griffith (SG), Corbie Hill (CH), Allison Hussey (AH), David Klein (DK), Jeff Klingman (JK), Jordan Lawrence (JL), Karlie Justus Marlowe (KM), Sylvia Pfeiffenberger (SP), Bryan C. Reed (BCR), Breniecia Reuben (BR), Dan Ruccia (DR), Brandon Soderberg (BS), Chris Vitiello (CV), Justin Weber (JW)

KINGS ACTIVE CHILD Pat Grossi possesses a fluttering falsetto, effortlessly high and so solemn it’s sort of silly. On early Active Child songs, the former choirboy combined harp strums with big, synthetic beats—a would-be juxtaposition of the sacred and profane that failed to startle. He worked on his new record, Mercy, with Blonde Redhead and Fever Ray producer Van Rivers, who keeps the arrangements sparse and out of Grossi’s way. Depending on your tolerance for earnest emoting post helium-gulp, this comes for better or worse. Low Roar opens. $13–$15/8:30 p.m. —JK LOCAL 506: Striking Matches, The Secret Sisters; 9 p.m., $15–$20.

MIDTOWN PARK AMPHITHEATRE: Entertainers; 6 p.m., free.

MOTORCO GREAT PEACOCK Nashville’s Great Peacock reach for that animal’s majesty but miss the mark. Their new Making Ghosts collects songs that are kind of country, kind of Americana and 100 percent cookie-cutter Nashville. Songs like “Gulf Dreams” can be superficially pleasant, but that’s the extent of it. The Roman Spring and Dragmatic open. $10–$12/8 p.m. —AH

THE PINHOOK CHASTITY BELT, FAMILY BIKE Melding shoegaze heft and bittersweet pop intensity, Washington’s Chastity Belt deliver accessible indie rock that will always seem slightly in style.

Family Bike is a new coastal duo featuring Museum Mouth singer Karl Kuehn. Like his main act, they deliver feisty pop-rock hooks with ragged enthusiasm. $8/9 p.m. —JL PITTSBORO ROADHOUSE: Marie Vanderbeck Trio; 6 p.m.

Tokyo Rosenthal with David Dixon and Glenn Spayth; 8 p.m.

POUR HOUSE FAT CHEEK KAT Winston-Salem’s Fat Cheek Kat sets up shop for a residency that runs each Thursday in June. They bring along dynamic funk-rock, driven by sax, guitar and organ.

Tonight, they pair with laid-back noodling from Raleigh-via-Boone jammers Wave Lynx and the horn-studded soul of Norfolk septet Major and the Monbacks. $5–$8/9 p.m. —SG

THE PIXIES

PHOTOS BY MICHAEL HALSBAND (L) AND ED MILES (R)

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ROBERT PLANT

MUSIC | ROBERT PLANT, THE PIXIES | MONDAY, JUNE 15

KOKA BOOTH AMPHITHEATRE, CARY—It’s surreal to remember a time when the Pixies seemed like an antidote to the arena-rock dinosaurs of the ’70s. At their start, they were subversive and obscure, with songs that were short, sinister and certainly disdainful of indulgences like a 10-minute drum solo. They looked too weird to be bedroom-poster icons or anyone’s first pop crush. It was a minor karmic tragedy, then, when pretty-boy Kurt Cobain, admiring vampire that he was, got huge off of quiet verses and loud choruses and opened the charts to all manner of sub-optimal Pixies rip-offs.

But over a decade into make-good oldies touring, no one really feels bad for Frank Black anymore. And now, with the Pixies opening for Robert Plant, the cultural distance between them and Led Zeppelin seems pretty narrow. Tolkien daydreaming may be traded out for UFO paranoia, but both acts are aged remnants from a time when rock ruled the earth.

Plant is, in theory, now touring his 2014 album, Lullaby and ... The Ceaseless Roar. A tastefully low-key collection of world music-tinged folk-rock, it was Plant’s best reviewed set since his mid’00s duets with Alison Krauss. But even touring with The Sensational Space Shifters, the band with whom he recorded the album, he’s been giving spring festival crowds a string of Zeppelin favorites, with only a few new ones mixed into the setlist. Black and the Pixies take a similar tack, though they do seem more willing to highlight their most recent and most reviled material.

The key differences between the headlining and opening acts now are measures of scarcity and demand. Over the last decade, anyone in the relatively small pool of people who wanted to see Pixies material performed live and didn’t reside in some isolated forest cave has had access.

Zeppelin, however, are beloved by a much bigger group of ticket-buying boomers, as well as the grown kids who claimed ’80s and ’90s college rock but raided their folks’ record collections, too.

The surviving Led Zep lineup have been resistant to the full-blown Coachella comeback. “Dazed and Confused,” done by the man and some dudes, will do. 7 p.m., $50–$80, 8003 Regency Pkwy., Cary, 919-462-2025, www.boothamphitheatre.com. —Jeff Klingman RALEIGH CITY PLAZA: 120 Minutes, See Gulls, Mary Johnson Rockers and the Spark; 5 p.m., free.

SLIM’S: Alpha Cop, Spirits and the Melchizedek Children; 9 p.m., $5.

SOUTHLAND BALLROOM COL. BRUCE HAMPTON Given his five decades as a colorful Southern rocker with out-there interests, Colonel Bruce Hampton may have appended “Retired” to his stage name after founding adventurous groups like The Aquarium Rescue Unit, The Codetalkers and The Late Bronze Age. But he’s not slowing down.

He leads the jazzy new outfit The Madrid Express. Groove Fetish opens. $12–$15/9 p.m. —SG STATION AT SOUTHERN RAIL: Phantom Pop, Outside Soul; 9 p.m.

TIR NA NOG: Local Band, Local Beer: The New Schematics, Kurtzweil, The Antique Hearts; 9:30 p.m., free.

UNIVERSITY PLACE: Mark Roberts Band; 6 p.m., free.

WALNUT CREEK AMPHITHEATRE MUMFORD & SONS The band that helped usher in

the late-’00s wave of popular faux-folk have officially dropped the folk band guise. Sure, Mumford & Sons had banjos and acoustic guitars and stomped-out rhythms, but those were mere adornments for pop songs. “Believe,” the lead single from the band’s new Wilder Mind, drops the twang pretense in favor of guitar riffs and piano licks cribbed from Coldplay. Spoiler alert: Even with their stylistic shake-up, they’re still boring. $37–$62/7 p.m. —AH WENDELL FALLS: Liquid Pleasure; 5:30 p.m., free.

INDYweek.com

SU 6/14

UNKNOWN MORTAL ORCHESTRA

TH 6/11 GBH @ CAT'S CRADLE BACK ROOM

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WE 6/17 @ HAW RIVER BALLROOM

JOSH ROUSE

SA 6/13

HEARTLESS BASTARDS WE 6/10 SHAKEY GRAVES W/ CARSON MCHONE ($15/$18) SA 6/13 HEARTLESS BASTARDS W/ CRAIG FINN ($16/$18) SU 6/14 UNKNOWN

TU 6/16

HURRAY FOR THE RIFF RAFF 9/18 LANGHORNE SLIM & THE LAW (ON SALE JUNE 12)

TU 9/22 POKEY LAFARGE ($15/$17) 9/24 JOYCE MANOR W/ CHEAP GIRLS ($15) MORTAL ORCHESTRA W/ 9/29: FIDLAR**($15) ALEX G, BIRDS OF AVALON**($15) TH 10/8 DESTROYER W/ MO 6/15 PHOX W/ JENNIFER CASTLE **($15/$20) MECHANICAL RIVER **($13/$15) SA 10/10 NOAH GUNDERSEN ( $15/$17) TU 6/16 HURRAY FOR THE RIFF RAFF W/ CLEAR SU 10/11 THE GROWLERS PLASTIC MASKS ($15) ($15/$17) WE 6/17 CLEAN BANDIT W/ FR 10/23 RASPUTINA W/ ROMAN GIANARTHUR ($20/$22) DANIEL KNOX ($17/$20) SA 6/20 GIRLS ROCK 10/31 THE DISTRICTS W/ CARRBORO CAMP SHOWCASE LADY LAMB (ONSALEJUNE12)

TH 7/2 SAY ANYTHING

W/ MODERN BASEBALL, CYMBALS EAT GUITARS, HARD GIRLS ($18/$22)

The INDY’s Guide to Dining in the Triangle

FR 7/3 MELVINS W/ LE BUTCHERETTES ($16/$18) SA 7/4 HOLY GHOST TENT REVIVAL W/ ELLIS DYSON ($12/$14) SU 7/12 THE PROTOMEN SA 7/18 THE PIETASTERS W/ GUTTERMOUTH AND CORPORATE FANDANGO

($14/$16)

FR 7/31 HEADFIRST FOR HALOS, EYES EAT SUNS, YOUMA, KISS THE CURSE, FRIENDS AS ENEMIES ($13/ $15)

SA 8/1 THE ENGLISH BEAT W/REGATTA 69**

WE 8/12 BASEMENT

W/ADVENTURES, LVL UP, PALEHOUND**($15/$18)

TH 8/13 NEUROSIS, BROTHERS OF THE SONIC CLOTH, SUMAC ($25/$30) 8/28 AND 8/ 29 BE LOUD! 15: SOUTHERN CULTURE ON THE SKIDS, JOHN HOWIE JR. & THE ROSEWOOD BLUFF, DILLON FENCE, THE VELDT, PREEESH!

TH 9/10 AN EVENING WITH THE WATKINS FAMILY HOUR ($30) 9/14 TITUS ANDRONICUS W/ SPIDER BAGS, BAKED ($10)

CAT'S CRADLE BACK ROOM

6/10: MINOR STARS, MEGAFAUNA, FAKE SWEDISH ($8) 6/11: GBH W/TOTAL CHAOS, SKEMATA **($15/$17) 6/12: JOSH MOORE (ALBUM

RELEASE) W/JENKS

MILLER & ROSE CROSS NC ($8)

6/13: STRAND OF OAKS W/ AVERS , THE TENDER FRUIT** ($12)

6/14: THE HELIO SEQUENCE W/ LOST LANDER ($15)

6/15: MRS SKANNOTTO, ARCHBISHOPS OF BLOUNT STREET ( $6) 6/16: GILL LANDRY (OF

OLD CROW MEDICINE SHOW)

($12/$15) 6/18: CHRISTOPHER OWENS

W/ECHO COURTS ($15) 6/19: DESLONDES W/TWAIN ($10) 6/20: CHRIS STAMEY GROUP RECORD RELEASE PLUS...

FELLOW TRAVELLERS (W/ BRETT HARRIS, DJANGO HASKINS, SKYLAR GUDASZ)

6/22: LOCAL H

W/AEGES **($12/$14) 6/26: TOO MUCH FUN W/ TORNADO BLUES BAND ($10) 6//27: GRAND SHELL GAME, NORTH ELEMENTARY, HAMELL ON TRIAL ($5)

SA 6/13

STRAND OF OAKS

@ CAT'S CRADLE BACK ROOM

7/2: CAROLINE ROSE W/ LOOK HOMEWARD ($10/$12) 7/3: SAGE FRANCIS ($15) 7/8: SWIRLIES W/ CREEPOID, WAILIN' STORMS ($12/$14) 7/10: LAKES & WOODS/ JPHONO1 RELEASE PARTY W/ HECTORINA, LITTLE BOOKS ($7) 7/11: GIRLS ROCK CHAPEL HILL CAMP SHOWCASE 7/12: STEVE FORBERT TRIO W/ SUGARCANE JANE ($20/$22) 7/13: A.A. BONDY ($12/$14) 7/14: ANTHONY RANERI W/ WHAT'S EATING GILBERT, ALLISON WEISS 7/15: VINYL THEATRE W/ MACHINEHEART 7/16: JON SHAIN, MOLLY MCGINN, SAM FRAZIER (SONGWRITERS IN THE ROUND) $10/$12 7/17: THE OLD CEREMONY W/ SKYLAR GUDASZ (CELEBRATING NEW RELEASE, SPRINTER!)

FR 6/12

BRANDI CARLILE @ NC MUSEUM OF ART

10/6: DAVID RAMIREZ** ($12/$14; ON SALE 6/12)

10/10: HEARTWOOD W/ -40 YEAR REUNIONUT SOLD O WYATT EASTERLING 10/11: HEARTWOOD -40 YEAR REUNION- W/ WYATT EASTERLING ($20) 11/2: JOANNA GRUESOME **($10/$12) CARRBORO TOWN COMMONS

7/26 FUTURE ISLANDS 1000 KOKA BOOTH AMPHITHEATRE(CARY)

6/10 ALABAMA SHAKES W/ COURTNEY BARNETT

6/15 ROBERT PLANT & THE SENSATIONAL SPACE SHIFTERS W/ THE PIXIES CAROLINA THEATRE (DURHAM)

7/20 ROB BELL

7/18: THE OLD CEREMONY W/ STEPHANIESID (SPRINTER

(EVERYTHING IS SPIRITUAL TOUR)

7/21: THE IKE REILLY ASSASSINATION ($10/$12) 7/24: JOHN STICKLEY TRIO,

(FEATURING DAVE SCHRAMM)

RELEASE PARTY NIGHT 2!)

BIG FAT GAP ($7) 7/25: SKYBLEW ALBUM RELEASE PARTY ($8/$10) 7/27: ROCKY VOTOLATO / DAVE HAUSE ($12/$14)

7/31: THE APPLESEED CAST W/ ADJY AND ANNABEL ($13/$15) 8/7: HEEMS W/ SPANK ROCK ($15/$17)

9/26 YO LA TENGO

MOTORCO (DURHAM)

7/8 JIM ADKINS (OF JIMMY EAT WORLD)

NC MUSEUM OF ART (RAL)

6/12: BRANDI CARLILE W/ ANDERSON EAST

9/25: DAWES**($24-$35) RED HAT AMPHITHEATER (RAL)

TU 9/15: DEATH CAB FOR CUTIE W/ TWIN

8/11: BRICK & MORTAR SHADOW 8/14: MICHAEL RANK & THE RITZ (RALEIGH) STAG ALBUM RELEASE SHOW 9/29 FATHER JOHN MISTY W/ HEATHER MCENTIRE ($25/$28) (OF MOUNT MORIAH) $7 8/22: THE COLOR 10/13 GLASS ANIMALS EXCHANGE W/ OULIPO, BREAKERS ($5/$7) 10/18 NEW FOUND GLORY, 8/29: THE GOOD LIFE W/ BIG YELLOWCARD, TIGERS JAW HARP HAW RIVER BALLROOM 8/30: THE CRY WE 6/17 JOSH ROUSE

9/15: EILEN JEWELL ($16/$20) (PRESENTED WITH MARIANNE TAYLOR MUSIC )

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO **Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

(WITH BAND) W/ WALTER MARTIN ($17/$20)

MO 9/14: BEST COAST** ($20/$23) SU 9/27: CALEXICO MO 9/28: IBEYI W VICKTOR TAIWO

TH 10/8: BEACH HOUSE

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FRI, JUN 12 THE ARTSCENTER: Voices of Hope: A Benefit concert for the ANCOP Foundation; 7 p.m., $15–$20.

BEYÙ CAFFÈ JULIA NIXON With her contralto range, North Carolina native Julia Nixon brings soul and sophistication to urban contemporary fare, Motown and jazz standards. Her career took root in D.C. in the ’80s, where she staked out her domain with charting R&B singles and theater roles. In recent years, she relocated to Raleigh. $12/8 & 10 p.m. —SP BYNUM GENERAL STORE: Too Much Fun; 7 p.m., $5–$7.

THE CARY THEATER: Butch Hancock, Amy Speace; 8 p.m., $20.

CAT’S CRADLE (BACK ROOM): Josh Moore, Jenks Miller & Rose Cross NC; 9 p.m., $8. See page 26.

MMONS

S 1000

RE(CARY)

THE CAVE DRUG YACHT, OVERLAKE

HAKES Mixing staggering technicality NETT with absurdist humor, Drug Yacht’s a rare band. Think ANT ONAL Dillinger Escape Plan with a whoopee cushion. New Jersey’s RS Overlake doesn’t shy from Yo La S Tengo influence, ably inhabiting URHAM) that brand of guitar-driven disaffection. $5/9 p.m. —CH L

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JIMMY

T (RAL)

RLILE

DEEP SOUTH: Up The Irons, Unchained; 9 p.m., $8–$10.

HONEYSUCKLE TEA HOUSE: The Sap Boilers; 7 p.m., free.

KINGS GHOSTT BLLONDE

Any excuse to see an energetic AST set from Raleigh’s princes of 4-$35) punch-drunk pop, Ghostt Bllonde, is a good one. With R (RAL) Family Bike celebrating the AB release of their goofy, sweet and WIN raucous debut LP, Everything You Own Is Anagrammed, this show GH) MISTY is a great one. $5/9 p.m. —JW

KOKA BOOTH MALS AMPHITHEATRE GLORY, NC SYMPHONY RS JAW SUMMERFEST: WHITE OOM NIGHT’S RUSSIAN FESTIVAL

USE

17/$20)

ST**

CO I

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OUSE

Put a Thermos of White Russians in your picnic basket for an evening of music from Russian composers. Guest Karina Canellakis conducts the North Carolina Symphony and violinist Jinjoo Cho for a program that includes Tchaikovsky’s technically challenging Violin Concerto and

Shostakovich’s triumphant Festive Overture, plus works by Rimsky-Korsakov and Borodin.

The performance repeats Saturday. $28–$30/7:30 p.m.

—CV LINCOLN THEATRE: The Breakfast Club, The Rebel Yells; 9 p.m., $10–$12.

LOCAL 506 BIRDS & ARROWS, JOHN HOWIE JR. AND SARAH SHOOK Honky-tonk mainstay John Howie Jr. and outlaw country powerhouse Sarah Shook shed their bands for this evening and play as a duo. They’ll share the bill with Birds & Arrows, the area folk-rock duo with some of the most subtly dramatic songs and fetching harmonies around. $8/9 p.m. —CH THE MAYWOOD: Cold Comfort, Hissy Fits, Sam Brown Band, Achord; 9:30 p.m., $8–$10.

MOTORCO: Look Homeward, Will Overman Band; 9 p.m., $8–$10.

MYSTERY BREWING PUBLIC HOUSE: Avi Jacob; 8:30-11:30 p.m., free.

NC MUSEUM OF ART: Ed Stephenson and the Paco Band; 5:30 p.m., free.

NC MUSEUM OF ART BRANDI CARLILE Big-voiced singer-songwriter Brandi Carlile flits between folk, rock, pop and alt-country. With T Bone Burnett- and Rick Rubin-produced albums and prominent placement in some Toyota commercials, Carlile has gotten her share of attention.

Her latest album, The Firewatcher’s Daughter, is her second Top 10 record. It’s also an eclectic affair that, at various points, could conceivably appeal to aficionados of Lucinda Williams and Grace Potter or The Avett Brothers and The Lumineers. $27–$40/8 p.m. —JA PITTSBORO ROADHOUSE: MudBone Blues Review; 8 p.m.

POUR HOUSE: Driftwood, Ethan Parker Band; 9 p.m., $12–$15.

BOND PARK: SERTOMA AMPHITHEATRE: Triangle Wind Ensemble: Pops in the Park; 7 p.m., free.

SHARP NINE GALLERY: Chad Eby Quartet featuring Brandon Lee; 8 p.m., $10–$15.

SLIM’S: Bethlehem Steel, Vagabon; 9 p.m., $5.

SOUTHLAND BALLROOM:

Mingo Fishtrap, Porch 40; 10 p.m., $8–$10.

STATION AT SOUTHERN RAIL: Bob Funck; 7 p.m.

THE PLAZA AT 140 W FRANKLIN ST: BarHop String Quartet; 6 p.m., free.

TIR NA NOG: Gerry McCrudden; 7 p.m. Men with Faces; 10 p.m.

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Thanks for voting !

YOU are the BEST in the Triangle!

SAT, JUN 13 54 WEST: David Childers & The Serpents, Ben Davis Jr.; 9 p.m., $10.

BEYÙ CAFFÈ: James “Saxsmo” Gates; 8 & 10 p.m., $12.

CAT’S CRADLE HEARTLESS BASTARDS With a Fat Possum deal and Ohio roots, the Heartless Bastards seemed first like wonderful but limited blues-rock and countryrock revivalists, with Erika Wennerstrom’s grainy voice leading a crew of rock ’n’ roll dudes. But in the past decade, they’ve evolved splendidly, adding elements of pop and theatrics, atmosphere and eccentricity to their still-snarling sound. The forthcoming Restless Ones might be their most nuanced outing yet. Hold Steady leader Craig Finn opens. $16–$18/9 p.m. —GC

CAT’S CRADLE (BACK ROOM) STRAND OF OAKS Nearly a year after issuing HEAL, Strand of Oaks continue the tour behind the album that made them a must-see band. Once little more than another singer-songwriter project self-releasing material, Timothy Showalter tapped memories of his destructive 20s and subsequent epiphanies, backing them with booming drums, unencumbered guitar and triumphant synth. The resulting songs and performances let listeners feel his catharsis as he makes peace with dark days.

Exuberant Richmond pop six-piece Avers and Raleigh’s not-to-be-missed The Tender Fruit open. $12/9 p.m. —JW HONEYSUCKLE TEA HOUSE: John Westmoreland; 7 p.m., free.

KINGS: Laura Reed, Zoocru; 9 p.m., $8–$10.

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INDYweek.com KOKA BOOTH AMPHITHEATRE: NC Symphony Summerfest: White Night’s Russian Festival; 7:30 p.m., $28–$30. See June 12 listing.

LINCOLN THEATRE CHRIS STAPLETON Bless him or blame him? On the heels of questionable songwriting cuts for bro-country titans Luke Bryan and Jason Aldean, Chris Stapleton released the genre’s most cuttingly raw album since Jamey Johnson’s That Lonesome Song. After fronting bluegrass band The SteelDrivers, Stapleton deftly mixes striking originals and smart takes on covers of George Jones staple “Tennessee Whiskey” and Charlie Daniels Band’s winking “Was It 26” on Traveller. His Southern-rock take on traditional country helps soften the edges of all those tailgates and tanlines.

Sam Lewis opens. $14.50–$18/8 p.m. —KM LOCAL 506: Trails and Ways, Waterstrider, The Color Exchange; 9 p.m., $8–$10.

THE MAYWOOD: Grooms of the Stool, Enthean, Kurgan, Necrocosm, Heron; 8:30 p.m., $8–$10.

MIDTOWN PARK AMPHITHEATRE: Kidznotes, Big Beast, Big Band; 4-8 p.m.

MYSTERY BREWING PUBLIC HOUSE: Lester Coalbanks; 8:3011:30 p.m., free.

NIGHTLIGHT: Persona #5; 10 p.m.

NORTH87SOUTH: Mystery Hillbillies; 8 p.m.

THE PINHOOK: Professor Toon, Slowriter, B Stacks; 9 p.m., $7–$10.

PITTSBORO ROADHOUSE: Milagro Saints; 8 p.m.

POUR HOUSE OZ NOY TRIO

Aed. Her bandmates add color and body to sparse folk numbers by adding spot-on flourishes of brass, fiddle, keys and percussion.

They crowd the stage without encroaching on the space and silence found in Grubbs’ reflective tunes. Free/6 p.m.

—SG SCHOOLKIDS RECORDS: Jana Saltz; 7 p.m., free.

BOND PARK SERTOMA AMPHITHEATRE LYNDA & PATTIE Hungry for some traditional tunes in the early evening? The fiddle-and-guitar duo of Lynda Dawson and Pattie Hopkins should do the trick. On their Traditional Duos disc, the pair excels at harmony. Free/6 p.m.

—AH SHARP NINE GALLERY: Jua; 8 p.m., $10–$15.

SLIM’S TOTALLY SLOW, GUT FEELING The straightforward hardcore favored by Raleigh’s Gut Feeling—full of half-speed breakdowns and ebullient gang-vocal refrains—provides a smart foil to Totally Slow’s gruff, hooky punk. Dogs Eyes opens. $5/9 p.m. —BCR SOUTHLAND BALLROOM: Cosmic Charlie; 10 p.m., $10–$13.

STATION AT SOUTHERN RAIL: Dex Romweber; 7 p.m.

SUN, JUN 14 THE BAR DURHAM: Lyrical Gladiators Carolina Classic Rap Battle; 5 p.m., $5–$10.

THE BARN AT VALHALLA: K. Sridhar; 4 p.m., $20.

Guitarist Oz Noy has played with a wide roster of pop, rock and R&B stars—Allen Toussaint and Allison Krauss, Cyndi Lauper and Michael Bublé—but his two volumes of Twisted Blues find Noy leading bluesy explorations sourced in jazz, including takes on Monk and The Meters. Jam band drummer Jeff Sipe and Saturday Night Live bassist James Genus join Noy’s trio, while local Dave George opens. $15–$18/9 p.m.

—SG

CAROLINA THEATRE KIDZ BOP MAKE SOME NOISE TOUR

SAXAPAHAW RIVERMILL VAUGHN AED

CAT’S CRADLE: Unkown Mortal Orchestra, Alex G, Birds of Avalon; 9 p.m., $15. See page 45.

Saxapahaw’s Kellie Ann Grubbs leads the seven-piece Vaughn

Hey, parents: It’s your turn to be bored. You can take it. Kidz Bop presents sanitized versions of top-40 hits, sung by and for kids.

On the flip side, if you’ve ever drug, or brought, your children along to an outdoor music fest, just imagine how they felt being plopped in the middle of such an un-stimulating environment. $27–$121/5 & 7:30 p.m. —CH

CAT’S CRADLE (BACK ROOM): The Helio Sequence, Lost Lander; 8:30 p.m., $15.

DEEP SOUTH: Kail Baxley, Josh Severns; 8:30 p.m., $6–$8.

KINGS ICEAGE When the Danish band Iceage debuted in 2011 with the potent and evocative New Brigades, plenty of acclaim came from the band’s collective age (on average, 17) and from the cryptic bellows of frontman Elias Bender Rønnenfelt. Buried in murky riffs, his lines felt even more mysterious. On last year’s Plowing into the Field of Love, though, Rønnenfelt’s voice rose to the front, resting on cleaner tones and new textures from horns and strings. Where his voice was once a dark blur, now it’s a tuneless slur, overpowering the band’s newly refined arrangements. Low Life opens. $13–$15/9 p.m. —BCR

LINCOLN THEATRE CHRONIXX & THE ZINCFENCE REDEMPTION You might have heard Chronixx on Joey Bada$$’s “Belly of the Beast,” a blunted, dancehallinflected boom-bap track to which Chronixx adds some soulful levity: “And I survive, thank the father/Feel like I was raised by Clans One Order/Had to keep calm and hold my corner/ Because a stray gun shot if you cross the border.” Here in the States, he’s an underground accoutrement, appearing on Major Lazer’s recent material.

But in Jamaica, he’s a superstar.

See why. With Federation Sound. $22.50–$28/8 p.m. —BS LOCAL 506: Annabelle’s Curse, Megan Jean and The Klay Family Band; 8 p.m., $7–$9.

MEYMANDI CONCERT HALL RALEIGH RINGERS If you’ve never seen a hand bell

MUSIC

HURRAY FOR THE RIFF RAFF TUESDAY, JUNE 16

CAT’S CRADLE, CARRBORO—Many of the most memorable American folk songs—tunes by, of and for the communities who created them—hinged on missions of social justice. Iconic tunes like “Which Side Are You On?,” “We Shall Overcome” and “This Land is Your Land” spoke truth to power in movements supporting labor rights, civil rights and the like.

But folk music, at least in its most popular current form, has shifted from social consciousness toward a trending lifestyle, where a banjo and a beard can be a fashion statement and not a symptom of a greater cause.

Enter Hurray For The Riff Raff, the project of Bronx-born singer-songwriter Alynda Lee Segarra. Her band’s music fits the contemporary folk aesthetic—acoustic, melodic, pleasant—but her words point to those powerful foundations of folk. “The Body Electric,” from the band’s February LP Small Town Heroes, addresses sexual violence. “He shot her down, he put her body in the river,” goes one haunting verse. “He covered her up but I went to get her/And I said, ‘My girl, what happened to you now?’/I said, ‘My girl, we gotta stop it somehow.’” Segarra’s voice moves with anger and sadness. In a campaign to raise money for a video for “The Body Electric,” Hurray For The Riff Raff also raised money for the Trayvon Martin Foundation and an organization that supports gender activism for youth.

In May, Segarra wrote an editorial for the website The Bluegrass Situation. She quoted the feminist scholar bell hooks and beseeched her fellow folk artists to “fall in love with justice” again. They didn’t need to be spokespeople, she said, so much as witnesses to the world’s ills. “How dangerous for the future of folk music in our country it is to push away the people who could be telling first hand accounts, singing dreams of justice, and proclaiming their love of this land and all it could be,” she concluded. Music can be a tool to foster unity and ignite change and make a difference. Would it hurt to try and wield that instrument anew? Clear Plastic Masks open. 8:30 p.m., $15, 300 E. Main St., Carrboro, 919-967-9053, www. catscradle.com. —Allison Hussey

choir, its strangely exaggerated movements, gloves, tuxes and precisely timed interactions are something to behold. The warm, enveloping glow that results from so many bells being rung in time is nice, too. This show is a send-off for the Raleigh Ringers’ Midwestern tour. Virtuoso, a pop-up hand bell chorus of sorts with members from all over the country, joins. $17–$21/3 p.m.

—DR

MOTORCO DISCOURSE Sanity Decays, the full-length debut from South Carolina’s Discourse, admirably funnels the full-speed charge of crust punk into the lunging dynamics of ‘90s hardcore. D-beat blitzes give way to sudden slowdowns. Tonight, they’ll play between Nebraska’s breakdown-heavy Brent Life and Winston-Salem’s NYHC-reverent Force Fed. $12/7:30 p.m. —BCR

NC MUSEUM OF HISTORY TWO OF A KIND: BILL MYERS & DICK KNIGHT For more than 50 years, R&B, jazz and soul group the Monitors have become a staple of the state’s musical history. They’ve backed up Otis Redding and Maceo Parker and opened for Ray Charles and Roberta Flack.

Bandleader and multiinstrumentalist Bill Myers and horn player Dick Knight step out as a duo for a casual Sunday afternoon show. Free/3 p.m.

—CV

THE PINHOOK BOO THANG 1.0 Wind down (or up) your weekend funday, as The Pinhook’s embrace of alternative hip-hop continues with Boo Thang 1.0. Chae Buttah’s hard lyrics range from partying, self confidence and the great unifier, independence from whack men.

DJ PlayPlay excels at weaving several genres together while displaying some solid turntable skills. $5/9 p.m. —BR POUR HOUSE: The Dagmar Bumpers; 8 p.m., $5–$8.

RALEIGH BREWING CO: Pickin’ For Planned Parenthood: Creedence Queerwater Revival, Caroline Mamoulides; 2-5 p.m., $25.

STATION AT SOUTHERN RAIL: Doug Largent Trio; 7 p.m.

MON, JUN 15 CAROLINA THEATRE: Morrissey; 8 p.m., $39.50– $208.53. See page 28.

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CAT’S CRA CAT’S CRADLE Riff Raff, Cla PHOX, MECHANICAL RIVER p.m., $15. S

Recorded with Bon Iver’s Justin CAT’S CRA Vernon, the self-titled debut of ROOM): Gi Wisconsin sextet PHOX exudes $12–$15. elegance. The graceful ease of singer Monica Martin leads LINCOLN clever, sometimes quirky THE TOAD instrumentation. Mechanical River is the solo project of former “Possum Ki Working Title frontman Joe hit by Texas Hamilton. He straddles Southern Toadies, is, Gothic and gospel territory with parlance, “p spiritually seeking tunes, protagonist supported not only by electronic boathouse, loops and vintage keyboards but up and una also banjo, accordion and fiddle. with “so he $13–$15/8:30 p.m. —SG lips. Murde certainly no KINGS: Paal Nilssen-Love Large mid-’90s (an Unit, Tashi Dorji; 8:30 p.m., $10. weirdly scra itch then, to See page 30. pretty creep KOKA BOOTH AMPHITHEATRE:which to an Robert Plant & The Sensational anniversary Space Shifters, Pixies; 7 p.m., open. $20– $50–$80. See box, page 47.

LINCOLN THEATRE: Against LOCAL 50 Me!, Frnkiero and the Cellebration, Annie Girl and the CJ RAMO When foun Flight; 8 p.m., $18–$22. See Ramone left page 45.

1989, Christ POUR HOUSE: Daryl Hance Ramone, fil Power Trio; 9 p.m., $5. played on th albums in th UNC CAMPUS adopted su SUMMER JAZZ to play in ot WORKSHOP CJ Ramone UNC becomes a jazz hotbed for to Dance, th under his ow five days every summer as the annual Summer Jazz Workshop indication t all that rem offers a heavy curriculum of history, theory and instruction for with the pu Shonen Kni students running from middle school through college and beyond. The intensity of each MOTORCO day’s instruction boils over every Necrocosm night in free public performances. p.m., $5.

Monday night, the 360o Jazz POUR HOU Initiative opens the week by Willow; 9 p celebrating its new Distracted Society with a show on the Wilson Library lawn. Tuesday features the RED HAT FLOGGING Scott Sawyer/Dave Finucane BORDELL Quartet at the Kenan Music Building; the guitarist and These band saxophonist link with singer Kate Flogging Mo McGarry. On Wednesday night, two, earned trumpeter Jim Ketch, sax player punk circuit Gregg Gelb and trombonist Jerald with punk a Shynette lead an ensemble at the former peer Kenan Building, where the Murphys. Bu Dominican Jazz Project (featuring shed their fo Guillo Carias on melodica) previewhits like “Shi their forthcoming album on Flogging Mo Thursday. But Friday afternoon is tradition. Go the real gem, as student combos Warped Tou formed throughout the week play made a blitz in the Kenan Building from folk. Frontm 4:30–7:15 p.m. Free/7 p.m. unless more attenti otherwise noted —CV music. Toge and Gogol B European fo to marketab CAROLINA THEATRE: David Sons, then, Crosby; 8 p.m., $48–$209.05. Mariachi El p.m. —BCR See page 28.

TUE, JUN 16

INDYweek.com CAT’S CRADLE: Hurray for the Riff Raff, Clar Plastic Masks; 8:30 p.m., $15. See box, page 50.

CAT’S CRADLE (BACK ROOM): Gill Landry; 8 p.m., $12–$15.

LINCOLN THEATRE THE TOADIES “Possum Kingdom,” the biggest hit by Texas alt-rockers The Toadies, is, in the modern parlance, “problematic.” Its protagonist lures a lady behind a boathouse, implores her to give it up and unambiguously offs her with “so help me Jesus” on his lips. Murder ballads were certainly not invented in the mid-’90s (and Nick Cave was weirdly scratching that particular itch then, too), but it still seems a pretty creepy calling card with which to anchor a 20thanniversary tour in 2015. Rosies open. $20–$24/8 p.m. —JK

LOCAL 506 CJ RAMONE When founding bassist Dee Dee Ramone left the The Ramones in 1989, Christopher Ward, or CJ Ramone, filled the vacancy. He played on the band’s final three albums in the ’90s and kept the adopted surname as he went on to play in other bands. Last year, CJ Ramone released Last Chance to Dance, the second album under his own name, and a clear indication that the surname isn’t all that remains of his glory days with the punk forefathers. With Shonen Knife. $15/9 p.m. —BCR MOTORCO: Suppressive Fire, Necrocosm, Gorbash, Basura; 8 p.m., $5.

POUR HOUSE: Under The Willow; 9 p.m., free.

RED HAT AMPHITHEATER FLOGGING MOLLY, GOGOL BORDELLO These bands deserve each other.

Flogging Molly, the elder of the two, earned its stripes on the punk circuit, playing Celtic folk with punk abandon, not unlike former peers in Dropkick Murphys. But where the Murphys shed their folk trappings to make hits like “Shipping Up To Boston,” Flogging Molly doubled down on tradition. Gogol Bordello, another Warped Tour folk-punk troupe, made a blitzkrieg bop of Balkan folk. Frontman Eugene Hütz draws more attention than his band’s music. Together, Flogging Molly and Gogol Bordello present European folk traditions warped to marketability—Mumford & Sons, then, in reverse. Also, Mariachi El Bronx. $26.50–$42/7 p.m. —BCR

SLIM’S CANINE HEART SOUNDS, DEAF SCENE, C/\L/\PSE This is an accessible sampler of somewhat experimental bands.

C/\L/\PSE, the solo project of Lilac Shadows’ Reed Benjamin, builds electronics into disorienting dance beats. (Disclosure: Benjamin is an INDY employee.) Durham’s Canine Heart Sounds throw their pop off-kilter with jazz-influenced percussion and unexpected structures. With sweeping post-rock and brooding tones, Baltimore’s Deaf Scene finish on a heavier note. $5/9 p.m. —JW TIR NA NOG: Beer & Banjos: Moonlight Co.; 7:30 p.m.

WED, JUN 17 CAT’S CRADLE: Clean Bandit, Roman GianArthur; 8 p.m., $20–$22.

THE CAVE THE CORDOVAS Nashville’s The Cordovas cover a lot of ground, even if they always sound comfortable. Joe Firstman’s voice is delicate like that of Fleet Fox Robin Pecknold. It lends charismatic sincerity to keyboard-led ruminations, Strokes-esque pop-rock and songs that flit through light and funky dance-rock, like Stevie Wonder interpreted through a spectral indie rock lens. $3/9 p.m. —JL

DUKE GARDENS DOM FLEMONS Roots Music Time Machine would be a good title for a Dom Flemons biopic. The cofounder and former member of the renowned Carolina Chocolate Drops recently dropped his third lively solo album. Prospect Hill is the record James Brown would have made if he’d been born a century earlier—Piedmont blues, ragtime, spirituals and some vaudeville numbers, too. A legit historian and incredible musician, Flemons doesn’t dust these tunes off so much as reanimate them. $5–$10/7 p.m. —CV

HAW RIVER BALLROOM JOSH ROUSE When you’ve been making thoughtful indie pop for more than 15 years, people say you’ve managed to “carve out a career,” as if by sheer tenacity. In the case of the Nebraska-born Josh Rouse, who now lives in Spain, tenacity has played a part, but his gifts are unmistakable. “Dreamed about Neil Young last night,” he sings on “New Young” from the recent The Embers of Time. “Rolled out of

bed and rubbed my eyes/I’ll never be that good, you know.”

Self-doubt permeates this midlife-crisis-themed record, but the mood is often uplifting. Walter Martin, late of The Walkmen, opens. $17–$20/8 p.m. —DK LOCAL 506: The Henry Millers, Happy Abandon, Weird Pennies; 9 p.m., $7.

THE MAYWOOD DAX RIGGS The problem with so much blues-rock is there’s precious little edge. Not so with Dax Riggs.

Considering the grungy, riff-laden neo-metal tint to some of his work, perhaps he owes the roughness to his stint with ’90s sludge act Acid Bath. Or perhaps the enticing darkness is something he’s explored throughout his ever-shifting career. Whatever its genesis, Riggs’ material crackles with angst that has matured—not mellowed, mind you—over the decades. With Red Mouth. $10–$12/9 p.m. —CH

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Jill Andrews

NCMA: Gary Clark Jr.; 8 p.m., $24–$40. See page 45.

THE PINHOOK WHITE LACES, SOME ARMY, MIDNIGHT PLUS ONE

FRI JUN 19 / 8PM

This stacked bill offers three distinct styles of rock: Richmond’s White Laces’ conjure complex propulsion with sheeny synths and surging guitars. Some Army offer punch-drunk wisdom over languid distortion. Midnight Plus One sport the heft of My Bloody Valentine and the speed of Superchunk. $7/9 p.m. —JL

With special guest

K.S. RHOADS THEPINHOOK.COM / 919.667.1100

POUR HOUSE: Input Electronic Music Series; 9:30 p.m., free.

SLIM’S: Dot.s; 9 p.m., $5.

SOUTHLAND BALLROOM BILLY JOE SHAVER When it comes to outlaw country, Billy Joe Shaver is as real-deal and o.g. as it gets. With his wild lifestyle (he shot a man in a bar fight just eight years ago), the guy who wrote almost every song on Waylon Jennings’ landmark ‘73 album Honky Tonk Heroes wasn’t a safe bet to live to 75, much less to be touring on one of the best albums of his career at that age. Nevertheless, Shaver’s potent Long in the Tooth is his first album ever to enter the Billboard charts, and his ragged-but-right renditions of both his new and old tunes are the kind of thing the phrase “salt of the earth” (also a Shaver album title) was invented for. $25–$30/8 p.m. —JA

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visualarts Galleries

ADAM CAVE FINE ART: Thru Jul 6: The Enchanted Forest, sculpture and installation by Greg Carter. 1151/2 E Hargett St, Raleigh. 919838-6692, adamcavefineart.com.

INDYPICK

ARTSPACE: Thru Jun 26: FRESH, juried exhibition of new works by North Carolina artists.

201 E Davie St, Raleigh. 919-8212787, www.artspacenc.org.

BETTY RAY MCCAIN GALLERY: Thru Jun 30: Mary Anne Keel Jenkins: A Lifetime Dedicated to Art, a career survey.

2 E South St, Raleigh. 919-9968700, dukeenergycenterraleigh. com.

CAPTAIN JAMES & EMMA HOLT WHITE HOUSE: Thru Jul 15: On the Other Side of the Lens: The Photography of Leonard Nimoy.

213 S Main St, Graham.

INDYPICK

CARY ARTS CENTER: Thru Jun 20: Selections from the SAS Collection, work by Holly Brewster Jones and Juliana Novozhilova. — Thru Jun 30: Nanci Tanton Student Exhibition.

101 Dry Ave. 919-469-4069, www.townofcary.org.

CARY GALLERY OF ARTISTS: Thru Jun 23: Natural Expressions, mulimedia work by Jan Kinlaw, Barry Udis and Diane Starbling.

200 S Academy St #120. 919462-2035, carygalleryofartists. org.

CEDAR CREEK GALLERY: Thru Aug 16: Summer Still Life, vases and pitchers. 1150 Fleming Rd, Creedmoor. 919-528-1041, www.cedarcreekgallery.com.

CHAPEL HILL ART GALLERY: Fri, Jun 12, 6-9 p.m.: Reception.

— Thru Jun 28: Jazz in the Gardens, work by Kate Grendler and Bronwyn Merritt. 1215 E Franklin St. chapelhillartgallery. com.

CLAYMAKERS: Thru Jul 10: Quiet Earth, ceramics by Natalie

Boorman, Charlie Evergreen and Tad Uno. free. 705 Foster St, Durham. 919-530-8355, claymakers.com.

THE COTTON COMPANY: Thru Jul 5: Justin Helms, abstract art. — Fri, Jun 12, 6-9 p.m.: Reception. 306 S White St, Wake Forest. 919-570-0087, thecottoncompany.net.

DUKE CENTER FOR DOCUMENTARY STUDIES: Thru Jul 29: Binnegoed: Coloured & South African Photography.

— Thru Oct 3: Beyond the Front Porch 2015. 1317 W Pettigrew St, Durham. 919-660-3663, www.cdsporch.org.

DURHAM ARTS COUNCIL: Thru Jun 27: Cold Gravy, work

by Chance Murray. 120 Morris St. 919-560-2787, durhamarts. org.

ENO GALLERY: Thru Jun 21: Conjured Ghosts, work by Julyan Davis. 100 S Churton St, Hillsborough. 919-883-1415, www.enogallery.net.

INDYPICK FINE ART CAROLINA GALLERY: Thru Jul 3: The Spirit of Art

by Faiq Haddad. 116 W Clay St, Mebane. 919-455-5965, FineArtCarolina.com.

FLANDERS GALLERY: Thru Jul 18: Mike Geary. 505 S Blount St, Raleigh. 919-757-9533, flandersartgallery.com.

FRANK GALLERY: Thru Aug 9: Overtures, multimedia work by various artists. — Thru Jul 5: People and Places, oil paintings

by Julia Harmon and Carroll Lassiter. — Fri, Jun 12, 6-9 p.m.: Reception. 109 E Franklin St, Chapel Hill. 919-636-4135, frankisart.com.

GALLERY A: Thru Jun 29: Gadgetry, by Catherine Connolly Hudson. 1637 Glenwood Ave, Raleigh. 919-546-9011, www. gallerya-nc.com.

GALLERY C: Thru Aug 1: The Magical Realm of Haitian Art. 540 N Blount St, Raleigh. 919828-3165, www.galleryc.net.

GOING LOCAL NC: Fri, Jun

PHOTO COURTESY OF THE ARTIST

015

“KWADI” BY DONALD MARTINY

VISUAL ART

DONALD MARTINY: MONUMENTAL GESTURES FRIDAY, JUNE 12, CHAPEL HILL

ALLCOTT GALLERY AT UNC—Picture a daub of paint, perhaps one color, perhaps several, midway through being mixed with a palette knife.

Now, picture a group of them, rendered much larger than life in polymers and pigments, hanging in relief on a gallery wall. You have just imagined the work of Chapel Hill’s Donald Martiny, whose new Allcott Gallery show was curated by UNC-Chapel Hill art professor Elin O’Hara Slavick.

Martiny is an internationally collected artist who pulls off a neat trick, turning painting’s raw starting point into a finished, polished product that blurs into the realm of sculpture. But more than being clever, his forms have real impact and verve, bulging and swooping on the walls, turning the gallery into a palette for some higher order of being. Martiny will be present at this opening reception, after which the show runs for the month of June. 6–8 p.m., free, 115 S. Columbia St., Chapel Hill, 919-962-2015, www.donaldmartiny.com. —Brian Howe 12, 6-9 p.m.: Reception. — Thru Jun 30: Four Sides of Eight, juried show featuring work by North Carolina artists. 10940 Raven Ridge Rd, Raleigh. 919301-8437, www.facebook.com/ goinglocalnc.

GOLDEN BELT: Thru Jun 29: Rites of Passage, work by Student U and Durham Art Guild artists. 807 E Main St, Durham. www.goldenbeltarts.com.

HILLSBOROUGH ARTS COUNCIL GALLERY: Thru Jun 20: Transient Spring, paintings by Chrystal Hardt and Jacqui Mehring. 102 N Churton St. 919-643-2500, hillsboroughartscouncil.org.

HILLSBOROUGH GALLERY OF ARTS: Thru Jun 21: Our

Art Is..., paintings by Eduardo Lapetina and Pat Merriman, sculpture by Lynn Wartski. 121-D N Churton St. 919-732-5001, hillsboroughgallery.com.

INDYPICK HORACE WILLIAMS HOUSE: Thru Jun 29: Committee Meeting, mixedmedia work by members of Preservation Chapel Hill’s art committee. — Sun, Jun 14, 2-4 p.m.: Reception. 610 E Rosemary St, Chapel Hill. 919-942-7818, chapelhillpreservation.com.

JOYFUL JEWEL: Thru Jun 30: Transformatees, Andrea Batsche.

44-A Hillsboro St, Pittsboro. 919883-2775, www.joyfuljewel.com.

INDYPICK LIGHT ART + DESIGN: Thru Jul 3: Butterflies are Free: Women

in Photography, work by Sarah Cioffoletti, Tama Hochbaum, Leah Sobsey and Barbara Tyroler. 601 W Rosemary St, Chapel Hill. 919-942-7077, www. lightartdesign.com.

LITMUS GALLERY: Thru Jun 26: A Natural Passion, photography by Alan Clark. 312 W Cabarrus St, Raleigh. 919-5713605, www.litmusgallery.com.

LITTLE ART GALLERY & CRAFT COLLECTION: Thru Jun 30: A Constructed World, sculptural paintings

by Amy Levine. 432 Daniels St, Raleigh. 919-890-4111, littleartgalleryandcraft.com.

LOCAL COLOR GALLERY: Thru Jun 27: Images of Summer, acrylic works by Margo White.

311 W. Martin Street, Raleigh.

919-819-5995, localcoloraleigh. com.

INDYPICK LUMP: Thru Jun 27: With Everyone Watching, work by Carrie Alter and George Jenne. 505 S Blount St, Raleigh.

919-889-2927, teamlump.org.

MEREDITH COLLEGE JOHNSON HALL: Thru Nov 5: Annual Juried Student Art Exhibition. 3800 Hillsborough St, Raleigh.

MIRIAM PRESTON BLOCK GALLERY: Thru Jul 24: State of the Print, works by contemporary North Carolina printmakers. 222 W Hargett St, Raleigh. 919-996-3610, www. raleighnc.gov/arts.

NATURE ART GALLERY: Thru

INDYweek.com Aug 2: Transparent-Overlapping Images of Nature, work by Trena McNabb. 11 W Jones St, Raleigh. 919-733-7450 x369, naturalsciences.org.

PAGE-WALKER ARTS & HISTORY CENTER: Thru Jun 20: ARTQUILTSreminisce, work

by PAQA-South. 119 Ambassador Loop, Cary. 919-460-4963, friendsofpagewalker.org.

poses. $8. Art Bar Raleigh, 6109 Maddry Oaks Ct. 919-307-8312, artbarraleigh.com.

FIGURE STUDIES (NUDE): Thursdays, 7-10 p.m.: moderated short and long poses. $10. Art Bar Raleigh, 6109 Maddry Oaks Ct. 919-307-8312, artbarraleigh.com.

Museums

PLEIADES GALLERY: Thru Jun 30: The Writing is on the Wall, sculpture and written word collaboration by Renee Leverty and Leslie Frost. 109 E Chapel Hill St, Durham. 919-797-2706, www.PleiadesArtDurham.com.

INDYPICK POWER PLANT GALLERY: Thru Aug 22: Phone Home Durham. 320 Blackwell Street, Suite 100, Durham. 919660-3622.

ROUNDABOUT ART COLLECTIVE: Thru Jun 30: J.J. Jiang, new watercolors. — Thru Jun 28: Victoria Powers, foil relief etchings. 305 Oberlin Rd, Raleigh. 919-747-9495, roundaboutartcollective.com.

TIPPING PAINT GALLERY: Thru Jun 27: Assorted Flavors.

311 W Martin St, Raleigh. 919928-5279, tippingpaintgallery. com.

UMSTEAD HOTEL & SPA: Thru Aug 30: Madonna Phillips, mixed media glass work. 100 Woodland Pond, Cary. 919-4474000, www.theumstead.com.

UNC SONJA HAYNES STONE CENTER: Thru Jun 30: Selected Works of J. Eugene Grigsby, Jr.: Returning to Where the Artistic Seed was Planted, paintings.

150 South Rd, Chapel Hill. 919962-9001, sonjahaynesstonectr. unc.edu.

Art Related

FIGURE STUDIES (CLOTHED): Thursdays, 1-4 p.m.: moderated long and short

CAM RALEIGH: Thru Sep 7: The Nothing That Is, fivepart show featuring work by over 85 artists. $5. — Thru Sep 13: Big Bent Ears: A Serial in Documentary Uncertainty, work exploring the nature and craft of listening, making use of sound recordings, video, still photography and text in various configurations. $5. 409 W Martin St. 919-261-5920, camraleigh.org.

NASHER MUSEUM OF ART: Thru Jul 12: Open This End: Contemporary Art from the Collection of Blake Byrne. — Thru Aug 30: Colour Correction: British and American Screenprints, 1967-75. 2001 Campus Dr, Durham. 919-6845135, nasher.duke.edu.

NC MUSEUM OF ART: Thru Aug 2: Field Guide: James Prosek’s Un/Natural World.

— Thru Aug 23: The Patton Collection: A Gift to North Carolina. — Thru Sep 13: Zoosphere, animal-based video

installation by Allison Hunter.

— Thru Sep 13: Director’s Cut: Recent Photography Gifts to the NCMA. 2110 Blue Ridge Rd, Raleigh. Info 919-8396262, tickets 919-715-5923, ncartmuseum.org.

NC MUSEUM OF HISTORY: Thru Feb 28, 2016: Hey America!: Eastern North Carolina and the Birth of Funk.

— Thru Aug 2: North Carolina State Highway Patrol: Service, Safety, Sacrifice, highlighting the organization’s history and showcasing vehicles, firearms, uniforms and more from 1929 to the present. — Thru Sep

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5: Starring North Carolina!, featuring pieces memorabilia from films shot in North Carolina. $6–$10. — Thru Sep 27: Rural Revival: Photographs of Home and Preservation of Place, photographs by Scott Garlock of abandoned and old buildings in eastern and northeastern North Carolina. free. 5 E Edenton St, Raleigh. 919-807-7900, ncmuseumofhistory.org.

NC MUSEUM OF NATURAL SCIENCES: Thru Aug 16: Dig It! The Secrets of Soil. 11 W Jones St, Raleigh. 919-733-7450, naturalsciences.org.

performance Comedy

BLACKJACK BREWING COMPANY: Every third Wednesday, 7:30-10 p.m.: Blackjack Comedy Night. Free.

1053 E. Whitaker Mill Rd., Raleigh. 919-424-7533.

COMEDYWORX THEATRE: Fridays, 8 p.m. & Saturdays, 4 & 8 p.m.: ComedyWorx Improv Show, 2 teams of improv comedians earn points by making the audience laugh. $6-12. — Fridays, 10 p.m. & Saturdays, 10 p.m.: The Harry Show, Ages 18+. Improv host leads late-night revelers through

potentially risque games, with audience volunteers brought onstage to join in. $10. 431 Peace St, Raleigh. 919-829-0822, comedyworx.com.

COMMON GROUND THEATRE: Thu, Jun 11, 8 p.m.: Improv Percolator. $12. — Sat, Jun 13, 8 p.m.: Fatmouth Improv. $12. — Sat, Jun 13, 8 p.m.: Transactors Improv: For Families!. $12. 4815-B Hillsborough Rd, Durham. 919384-7817, www.cgtheatre.com.

DSI COMEDY THEATER: Wed, Jun 10, 7 p.m.: Indy 5000. $6. — Wed, Jun 10, 8:30 p.m.: Comedy Lottery. $6. — Thu, Jun 11, 7 p.m.: Natural Selection. $6.

— Thu, Jun 11, 8:30 p.m.: Harold

THEATER PHOTO COURTESY OF THE ARTIST

VILLAGE ART CIRCLE: Thru Jun 24: Flowing, wearable silk art by Deborah Younglao.

200 S Academy St #130, Cary. villageartcircle.com.

INDYPICK VISUAL ART EXCHANGE: Thru Jun 25: SCOPE: The Southern Landscape, work interpreting the South. free. 309 W Martin St, Raleigh. 919-828-7834, visualartexchange.org.

ACKLAND ART MUSEUM: Jun 12-Aug 9: Potters Four, work by Blaine Avery, Doug Dotson, Bruce

Gholson and Samantha Henneke in the museum store. 101 S Columbia St, Chapel Hill. 919843-1611, www.ackland.org.

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THE COLOR PURPLE

FRIDAY, JUNE 12–SUNDAY, JUNE 28, RALEIGH

“PINK LEMONADE” BY KEVIN CLARK

In IMPACT (Vespertine, June 12–July 5), local musician and photographer Kevin Clark uses high-speed flash photography to capture striking images of food falling into water. The show has an opening reception from 6 to 9 p.m. on Friday, June 12. 118 E. Main St., Carrboro, 919-356-6825, www.vespertinecafe.com.

CLARE HALL AT ST. FRANCIS OF ASSISI—“I think it pisses God off if anybody even walk past the color purple in a field and not notice it,” Shug Avery sings. “He say, ‘Look what I made for you.’” But then Celie rejoins, “God just another man, far as I’m concerned. He triflin’ and lowdown,” and we know the bad times aren’t over yet in this Broadway musical adaptation of Alice Walker’s 1982 novel about the struggles of Southern African-American women in the 1930s. In this double-cast Justice Theatre Project production, Aya Wallace and Terra Hodge play Celie on different nights. Artistic director Deb Royals directs; Michael Santangelo directs the music.

8 p.m. Fri.–Sat. and Thurs. June 25; 2 p.m. Sat.–Sun., $24–$29, 11401 Leesville Rd., Raleigh, 919-264-7089, www.thejusticetheaterproject.org. —Byron Woods

INDYweek.com Night: BASIC, Power Pose, Lost Colony. $6. — Thu, Jun 11, 10 p.m.: Stranger Danger. free. — Fri, Jun 12, 7 p.m.: Ladies Night. $10. — Fri, Jun 12, 8:30 p.m.: The Thrill. $10. — Sat, Jun 13, 7 p.m.: Humor Games. $10. — Sat, Jun 13, 8:30 p.m.: Spring Loaded. $10. — Tue, Jun 16, 8:30 p.m.: North Carolina Home Pun Derby. $6. — Wed, Jun 17, 7 p.m.: Midweek. $6. — Wed, Jun 17, 8:30 p.m.: Comedy Lottery. $6. — Fridays, 10 p.m.: Mister Diplomat. Free. — Fridays, 11 p.m.: The Jam. free. — Saturdays, 10 p.m.: Pork, 5 NC comics perform. Free. 462 W Franklin St, Chapel Hill. 919-3388150, www.dsicomedytheater. com.

Center, 3717 Murphy School Rd, Durham. 919-616-2190, www. sharedvisions.org.

ISRAELI FOLK DANCE: Thursdays, 7-8:30 p.m.: Beginners welcome. $3.

919-354-4936. Levin Jewish Community Center, 1937 W Cornwallis Rd, Durham. 919-4895335 x16, www.levinjcc.org.

SUNDAY SALSA SOCIAL: Sundays, 6:30-9:30 p.m.: Every Sunday social featuring mostly Salsa with sides of Bachata, Merengue, Cha Cha, and Kizomba. Lesson at 6:30 for beginners plus sometimes intermediate. DJ Dance at 7. $6. www.dancegumbo.com. Triangle Dance Studio, 2603 S Miami Blvd, Durham.

TRIANGLE COUNTRY DANCERS: Fri, Jun 12, 7:30 p.m.: $10. Carrboro Century Center, 100 N Greensboro St. 919-918-7385, carrboro.com/ centurycenter.html.

FLEX NIGHTCLUB: Thursdays, midnite: Trailer Park Prize Night, comedy drag show with prize giveaways. 2 S West St, Raleigh.

919-832-8855, www.flex-club. com.

GOODNIGHTS: Thu, Jun 11, 8 p.m., Fri, Jun 12, 7:30 & 10 p.m. & Sat, Jun 13, 7:30 & 10 p.m.: Brian Posehn. $16–$32. See box, this page.— Wed, Jun 10, 8 p.m., Tue, Jun 16, 8 p.m., Wed, Jun 17, 8 p.m., Tue, Jun 23, 8 p.m., Wed, Jun 24, 8 p.m., Tue, Jun 30, 8 p.m. & Wed, Jul 1, 8 p.m.: North Carolina’s Funniest Preliminary. $10–$18. — Saturdays, 10:30 p.m.: Anything Goes Late Show. free. 861 W Morgan St, Raleigh. 919-828-5233, goodnightscomedy.com.

LLOYD’S LOUNGE: Second & Fourth Wednesdays, 9 p.m.: Out & Out Comedy Open Mic, With host B.I.S.H.O.P. Omega.

919-410-7575, 704 Rigsbee Ave, Durham.

TIR NA NOG: Mondays, 8:30 p.m.: Cure for the Mondays, Weekly comedy night. 218 S Blount St, Raleigh. 919-8337795, www.tnnirishpub.com.

Dance DURHAM DANCE WAVE: Mondays, 7:30-9 p.m.: $7. www.durhamdancewave. com. The Murphey School at the Shared Visions Retreat

PHOTO COURTESY OF PULSE PR

FULLSTEAM: Third Tuesdays, 9 p.m.: Bulltown Comedy Series.

Free. https://www.facebook. com/BulltownComedySeries.

726 Rigsbee Ave, Durham. 919682-2337, www.fullsteam.ag.

COMEDY

BRIAN POSEHN

THURSDAY, JUNE 11–SATURDAY, JUNE 13, RALEIGH GOODNIGHTS COMEDY CLUB—Don’t let the tall, lumbering frame and Frankenstein-like body language of stand-up comedian Brian Posehn intimidate you. The man is a big ol’ softy at heart.

Besides, he’s just another funny fanboy, joking about comic books and other geek ephemera onstage. So, of course, he’s gonna give off the awkward vibe of a guy who would rather be playing Dungeons & Dragons. (He does that anyway, on his own podcast, Nerd Poker.) The dude loves comics to the point where has a side hustle writing them. Following in the footsteps of his former Comedians of Comedy tour-mate Patton Oswalt, who has written a few comic-book stories here and there, Posehn penned a popular run of Marvel’s Deadpool. This is a reminder to non-comics readers: If you go to Posehn’s Goodnights gigs this weekend, expect to share table space with folks who will likely have several comic books for him to sign. Or, they may just take them to his June 13 appearance at Chapel Hill Comics (1–3 p.m., 316 W. Franklin St.). 8 p.m. Thurs; 7:30 and 10 p.m. Fri. and Sat., $16–$32, 861 W. Morgan St., Raleigh, 919-828-5233, www.goodnightscomedy.com.

—Craig D. Lindsey

TRIANGLE FOLK DANCERS: Wednesdays, 7:30-10 p.m.: Recreational international folk dancing. Lesson at 7:45 p.m.. $3.

Beth El Synagogue, 1004 Watts St, Durham. 919-682-1238, www.betheldurham.org.

TRIANGLE SINGLES DANCE CLUB: Sat, Jun 13, 8 p.m.: Alcohol-free 50+ singles social club. $5–$8. Northbrook Country Club, 4905 North Hills Dr, Raleigh.

TRIANGLE SQUARE DANCE ALLIANCE FUN NIGHTS SQUARE DANCE: Sat, Jun 13, 7-9:30 p.m.: with caller Vance McDaniel. $5. 919-266-6986, vmcdaniel@nc.rr.com, trifun. org. 1st Baptist Church, 99 N Salisbury Street, Raleigh. 919266-6986.

PERFORMANCE INDYPICK BODYTRAFFIC: Jun 14-17, 8-10 p.m.: $10–$34.50. tondu@ americandancefestival.org, www.americandancefestival. org/performance/adfduke/ bodytraffic/. Duke Campus: Reynolds Industries Theater, Bryan Center, West Campus, Durham.

INDYPICK SHEN WEI DANCE ARTS: Thu, Jun 11, 7 p.m., Fri, Jun 12, 8 p.m. & Sat, Jun 13, 7 p.m.: $10–$26.75. tondu@americandancefestival. org, www.americandancefestival. org/performance/adf-dpac/

shen-wei-dance-arts/. Durham Performing Arts Center, 123 Vivian St. Info 919-688-3722, Tickets 919-680-2787, www. dpacnc.com.

SILK STOCKING SIRENS BURLESQUE: Fri, Jun 12, 9 p.m.: $10. The Pinhook, 117 W Main St, Durham. 919-667-1100, www.thepinhook.com.

Theater

BEHIND THE SCENES: AN INTERVIEW WITH ANNA BURWELL AND ELIZABETH KECKLY: Sun, Jun 14, 4 p.m.: donations. Burwell School Historic Site, 319 N Churton St, Hillsborough. 919-732-7451, www.burwellschool.org.

INDYPICK THE COLOR PURPLE: See box, page 54.

A FEW GOOD MEN: Wed, Jun 17, 8 p.m., Thu, Jun 18, 8 p.m., Fri, Jun 19, 8 p.m., Sat, Jun 20, 2 & 8 p.m., Sun, Jun 21, 3 p.m., Wed, Jun 24, 8 p.m., Thu, Jun 25, 8 p.m., Fri, Jun 26, 8 p.m., Sat, Jun 27, 2 & 8 p.m. & Sun, Jun 28, 3 p.m.: Kennedy Theater, 2 E South St, Raleigh. 919-996-8700, www.dukeenergycenterraleigh.

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com/venue/kennedy-theatre.

PARCOURS: Fri, Jun 12, 8 p.m.: $12–$14. Common Ground Theatre, 4815-B Hillsborough Rd, Durham. 919-384-7817, www. cgtheatre.com.

SIDE BY SIDE BY SONDHEIM: Sat, Jun 13, 7:30 p.m., Wed, Jun 17, 7:30 p.m., Thu, Jun 18, 7:30 p.m., Fri, Jun 19, 7:30 p.m., Sat, Jun 20, 7:30 p.m. & Sun, Jun 21, 2 p.m.: $5–$18. NCSU Campus: Titmus Theatre, 2241 E Dunn Ave, Raleigh.

ONGOING EQUIVOCATION: Thru Jun 21, 7:30 p.m.: $16–$22. Theatre In The Park, 107 Pullen Rd, Raleigh. Office 919-831-6936, Tickets 919-831-6058, www. theatreinthepark.com.

LOVE, LOSS AND INDYPICK WHAT I WORE: Thru Jun 14: North Raleigh Arts & Creative Theatre, 7713-51 Leadmine Rd. 919-866-0228, www.nract.org.

books

Readings & Signing

BOOKS & BEER WITH TOM MAXWELL AND DAVID MENCONI: Thu, Jun 11, 5 p.m.: with Hell: My Life in Squirrel Nut Zipper and Ryan Adams: Losering, A Story of Whiskeytown. Roost Beer Garden, 2000 Fearrington Village Center, Pittsboro. 919-542-1239, www.fearrington.com/eateries/ roost-beer-garden.

ANASTASIA HIGGINBOTHAM: Sat, Jun 13, 1 p.m.: with children’s book Divorce is the Worst. 919-806-1930, bn.com/ events. Barnes & Noble, 8030 Renaissance Pkwy, Durham. 919-

806-1930, barnesandnoble.com.

HOWARD LEE: Sun, Jun 14, 3 p.m.: with The Courage to Lead: One Man’s Journey to Public Service. Hayti Heritage Center, 804 Old Fayetteville St, Durham.

919-683-1709, www.hayti.org.

KATE BLACKWELL AND KELLY CHERRY: Wed, Jun 17, 7 p.m.: with short story collections You Won’t Remember This and Twelve Women in a Country Called America. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, quailridgebooks.com.

MICHELLE MILLER: Fri, Jun 12, 7 p.m.: with novel The Underwriting. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588,

Get maximum exposure on the Indy Back Page!

Call 919-286-6642 or email Leslie@indyweek.com

INDYweek.com

Get maximum exposure on the Indy Back Page!

Reach the whole Triangle for less!

Call 919-286-6642 or email Leslie@indyweek.com Doors open at 4pm Show starts at 5pm until 9pm 1st come, 1st served $15/person 21 + older

Get maximum exposure on the Indy Back Page! $25/person 18-20 Live radio feed from G105 & Adam and Eve

Hilariously Reach the whole Triangle themed buffet! for less! capitalcabaret.com 919.206.4040

6713 Mt Herman Rd • Morrisville Call 919-286-6642 or email Leslie@indyweek.com (Located in Brier Creek, adjacent to RDU)

quailridgebooks.com.

RED ADEPT PUBLISHING BOOK SIGNING: Sat, Jun 13, 11 a.m.-2 p.m.: with Karissa Laurel, John L. Deboer, Stephen Kozeniewski, Erica Lucke Dean, Claire Ashby, Kelly Stone Gamble and Mary Fan. Event Horizon Games, 1496 Garner Station Blvd., Raleigh.

RICHARD STRADLING: Wed, Jun 10, 7 p.m.: with Where the River Burned: Carl Stokes and the Struggle to Save Cleveland.

Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, www.quailridgebooks.com.

SECOND THURSDAY POETRY: BETTY ADCOCK AND DAVID TREADWAY MANNING: Thu, Jun 11, 7 p.m.: Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919942-7373, flyleafbooks.com.

SHANE HEAVNER AND BRYAN KING: Tue, Jun 16, 7 p.m.: with 12 Bones Smokehouse: A Mountain BBQ Cookbook. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, quailridgebooks.com.

INDYPICK STACEY COCHRAN: Thu, Jun 11, 7 p.m.: with novel Eddie & Sunny. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, www.quailridgebooks. com. See box, this page.

Literary Related

CITY SOUL CAFE POETRY & SPOKEN WORD OPEN MIC: Wednesdays, 8-10 p.m.: Poets, vocalists, musicians & lyricists welcome. All performances a

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cappella or acoustic. $5. www. citysoulcafe.splashthat.com.

Smokin Grooves Bar & Grill, 2253 New Hope Church Rd, Raleigh.

submit!

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 week’s issue. Thanks!

READING

STACEY COCHRAN: EDDIE & SUNNY

THURSDAY, JUNE 11, RALEIGH QUAIL RIDGE BOOKS & MUSIC—N.C. State University English Lecturer Stacey Cochran celebrates the paperback release of his novel Eddie & Sunny, which is set in rural North Carolina. It’s the twisted tale of a down-and-out couple and their son, who are living out of their car when they stumble across a drug ring’s pot, cash and weapons. Things go from bad to worse, sending them on the run from the law ... and maybe, just maybe, bringing this fractured family back together. Serena author Ron Rash called the book “beautiful and haunting.” Meet Cochran and his desperate characters at this reading and signing. 7 p.m., free, 3522 Wade Ave., Raleigh, 919-828-1588, www.quailridgebooks.com.

—Zack Smith

sports Spectator

Get

maximum exposure on the Indy Back Page!

DURHAM BULLS VS. LEHIGH VALLEY IRONPIGS: Wed, Jun 10, 1:05 p.m.: Durham Bulls Athletic Park, 409 Blackwell St. Info 919-687-6500; tickets 919956-2855, durhambulls.com.

UFC 188: VELASQUEZ VS. WERDUM: Sat, Jun 13, 10 p.m.: live broadcast. Crossroads 20, 501 Caitboo Ave, Cary. 919-6763456.

Participatory

CAROLINA GODIVA TRACK CLUB ALL-COMERS TRACK MEET: Wednesdays, 7-9 p.m.; Thru Aug 5: See www.carolinagodiva.org for more information. summertrack2015@ carolinagodiva.org, bit. ly/1QLGpxO. Fetzer Field, 309 Stadium Dr, Chapel Hill. 919-9626000, www.goheels.com.

WEDNESDAY BIKE RIDE: Wednesdays, 6 p.m.: Crank Arm Brewing Co, 319 W Davie St, Raleigh. crankarmbrewing.com.

WEST END RUN CLUB: Tuesdays, 6 p.m.: DSI Comedy Theater, 462 W Franklin St, Chapel Hill. 919-338-8150, dsicomedytheater.com.

INDYweek.com decline, so corporate honchos order up a new attraction. As with many money-first corporate dictates, things go wrong in a big way. Rated PG-13.

film Special Showings

THE LOVING STORY: Thu, Jun 11, 7 p.m.: documentary about Richard and Mildred Loving, who were arrested for violating Virginia’s anti-miscegenation laws, eventually leading to a landmark U.S. Supreme Court decision on interracial marriage..

Hayti Heritage Center, 804 Old Fayetteville St, Durham. 919683-1709, www.hayti.org.

GREEDY, LYING BASTARDS: Fri, Jun 12, 6:30 p.m.: documentary tracking the climate denial funding streams back to their sources. Recyclique, 2811 Hillsborough Rd, Durham. www.communecos.org.

BACK TO THE FUTURE: Fri, Jun 12, 8:15 p.m.: free. Raleigh City Plaza, 400 block of Fayetteville St. THE IMITATION GAME: Sat, Jun 13, 9 p.m.: $5, free for members.

NC Museum of Art, 2110 Blue Ridge Rd, Raleigh. Info 919-8396262, tickets 919-715-5923, www.ncartmuseum.org.

EAST DURHAM STORIES: Tue, Jun 16, 7 p.m.: short documentaries by continuing education students in the Center for Documentary Studies’ Documentary Video Institute. free. Durham Main Library, 300 Find times and locations in our Film Calendar at www.indyweek.com.

Current Releases

N Roxboro St. 919-560-0100, www.durhamcountylibrary.org.

BREWCONOMY: Wed, Jun 17, 7-8:30 p.m.: followed by a Q&A with the director. $10. The Cary Theater, 122 E Chatham St.

Film Capsules

Our rating system uses one to five stars. If a movie has no rating, it has not been reviewed. Signed reviews by Curt Fields (CF), Brian Howe (BH), Laura Jaramillo (LJ), Kathy Justice (KJ), Craig D. Lindsey (CDL), Glenn McDonald (GM), Neil Morris (NM), Lauren Vanderveen (LV), Ryan Vu (RV) and Isaac Weeks (IW).

Opening

I’LL SEE YOU IN MY DREAMS— Brett Haley’s comedic drama stars Blythe Danner as a widowed singer who is putting her life back together with help from her friends and a new love interest. The ensemble includes Rhea Perlman, Martin Starr and Sam Elliott. Rated PG-13.

JURASSIC WORLD—Dinosaurs!

Dinosaurs! Dinosaurs! Chris Pratt stars in this long-awaited comeback. 22 years after the events of Jurassic Park, Isla Nublar has a functioning dinosaur theme park. Unfortunately, attendance is on the

H AGE OF ADALINE—This romance about an immortal young woman’s reentry to dating is one of the worst films of the year. There are no characters worth loving or hating, and the stakes are painfully low. It’s mainly an excuse for Blake Lively, whose character has been 29 for almost eight decades, to look gorgeous in a spectacular 1940s wardrobe. Michiel Huisman takes a quirky, befuddled stab at developing his side of the relationship, but it isn’t enough to drag the film out of the nauseating, bland hole it digs itself into. Rated PG-13. —LV  AVENGERS: AGE OF ULTRON—Director Joss Whedon’s superior popcorn movie plugs the current A.I. trend (see Ex Machina, Her, et al) into a comic-book template.

A rogue A.I. by the name of Ultron, voiced with delicious oiliness by James Spader, is out to destroy the Avengers, all of whom return from Whedon’s summer 2012 hit. Whedon’s script—a marvel of blockbuster efficiency—makes time to dig into each character’s comicbook psychology, including needling Hawkeye about his second-banana skill set. The movie never takes itself too seriously, and Whedon amplifies the jokey tone of its predecessor with funny dialogue and running gags. Of course, superhero movies need epic heroics as well, and the goods are delivered in stunning CGI showcases and inventive action sequences. Rated PG-13.—GM

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BNEGELE R S G N I H T ALL ROUND THE TRIA IN & A

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FILM

BLUE VELVET

FRIDAY, JUNE 12, RALEIGH

NORTH CAROLINA MUSUEM OF HISTORY—Dean Stockwell lipsynching Roy Orbison and Isabella Rossellini singing Tony Bennett, turning platitudes into afterlife anthems. An unspeakably lurid Dennis Hopper huffing mysterious vapors through a gas mask, humping everything in sight. Kyle MacLachlan hiding behind a louvered closet door, peeking through the slats at frightening things he can’t look away from. These are but a few of the many indelible images in 1986’s Blue Velvet, perhaps the definitive David Lynch film. A kind of retrosuburban noir infused with Lynch’s usual dream states and dissociative personalities, it’s a one-of-a-kind take on a well-worn theme: the dark secrets that inevitably squirm beneath veneers of normalcy.

MacLachlan’s character and his love interest—played by Laura Dern, whose sweet, beautiful face can instantly twist into rubbery agony— are like characters from a wholesome 1950s teen romance teleported into a world of eruptive violence and sexual deviance, which they find irresistible even as they denounce it. Blue Velvet was filmed in Wilmington and Lumberton, and is set in the latter. Before this screening, visit the Museum’s Starring North Carolina! exhibit, where you can see iconic props from the film, including Rossellini’s blue velvet robe and the severed ear (don’t worry, it’s silicone) that opens the movie so perfectly. The camera zooms into its maze of whorls as if helplessly drawn, like MacLachlan’s squeaky-clean but furtive character, toward concealed interior depths where it really should not go. 6 p.m., $4–$5, 5 E. Edenton St., Raleigh, 919-807-7900, www.ncmuseumofhistory.org. —Brian Howe  1/2 CINDERELLA—Disney’s new live-action update is lavish, old-fashioned and frequently dull. Director Kenneth Branagh keeps it reverent and gorgeous, with none of the revisionist flash of Into the Woods or Maleficent. Lily James (Downton Abbey) is likable in the lead, and wily veterans Cate Blanchett and Helena Bonham Carter add flair. Rated PG. —GM  ENTOURAGE—The film suffers from the same flaws the HBO series that inspired it did. Too many subplots centered on trying to get laid, getting laid by the wrong person or getting laid by the right person but screwing it up because of options A and B. Still, there are laugh-outloud moments and dozens of cameos that pop up like celebrity whack-a-mole. It’s all about the bros—Vinny Chase (Adrian Grenier), Johnny Drama (Kevin Dillon), Eric (Kevin Connolly) and Turtle

(Jerry Ferrara). The main plot focuses on Vinny’s directorial debut on a film for Ari (Jeremy Piven, stealing the movie with motormouth insults and rants, just as he did the series). The film is over budget and the Texas money behind it (Billy Bob Thornton and Haley Joel Osment) is tired of writing checks. Ari’s former assistant Lloyd (Rex Lee) is back, and he’s getting married! (The gay wedding storyline is superfluous but everyone loves Lloyd so it’s nice to involve him.) If you liked the show, you’ll love the movie. Rated R. —CF  EX MACHINA—Writerdirector Alex Garland (28 Days Later) fills this film about an artificially intelligent humanoid named Ava with philosophical subtext. Ava isn’t just created by man. Her entire being is a digital repository of mankind’s history, including an urge for freedom and intimacy, but also a capacity

for survival and deception. The plotline is a virtual point-bypoint update of The Island of Dr. Moreau, including an Eden-esque setting. The roles of deity, hero and villain are deliberately left undefined and rotate between the three main characters as the narrative slowly unspools. Rated R. —NM HHHH FAR FROM THE MADDING CROWD—This handsome pastoral romance based on the book by Thomas Hardy is an old-fashioned movie-going pleasure, the kind of film we just don’t get that often anymore. Lead actress Carey Mulligan turns in a stellar performance, as does British actor Michael Sheen, who portrays one of three suitors seeking to win the favor of Mulligan’s character. The other great performance in director Thomas Vinterberg’s film comes from cinematographer Charlotte Bruus Christensen, who treats light like a powdery tactile

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FILM SCHEDULE 6/12 - 6/18 FRI, JUNE 12 AT 7 RETROTREASURES FILM SERIES

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Watch ‘80s movies under the stars Fridays through June 26 in City Plaza on Fayetteville Street.

Movies begin at sundown. Enjoy beer + food trucks starting at 6! #f lashbackfriday to the ‘80s!

6/12: Back to the Future 6/19: The Karate Kid

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material. Her English countryside is a place of piercing greens, bruised clouds and buttery sunrises. Rated PG-13. —GM  1/2 FURIOUS 7—The actors fleshing out the wispy plot of the latest installment of the action-driving franchise are just along for the ride. Cars, the real stars, parachute from airplanes and leap between Abu Dhabi skyscrapers. By now, we’re in on the inanity, so a wink absolves the outlandishness, and the film entertains. Rated PG-13. —NM  HOME—In a fun alieninvasion story, this DreamWorks movie about misfit friendship adds Oh (Jim Parsons) to the pantheon of darling, accidentprone, animated outsiders. The voice acting (with Rihanna as Tip) rivals pairs such as Shrek and Donkey. Rated G. —LV HOT PURSUIT—In this buddy comedy, Reese Witherspoon plays an uptight cop protecting a drug lord’s widow (Sofia Vergara) from assassins. Rated PG-13.  1/2 THE 100-YEAR-OLD MAN WHO CLIMBED OUT THE WINDOW AND DISAPPEARED— Droll, daffy and entirely enjoyable, this Swedish comedy plays like a Nordic Forrest Gump. When centenarian Allan Karlsson (Robert Gustafsson) escapes from the retirement home, we get a life story in flashback as Allan bumbles his way through major events of the 20th century.

He gets drunk with Stalin, helps Oppenheimer develop the bomb and works for both the CIA and the KGB. Like the estimable Mr. Gump, Allan falls ass-backwards into history. But unlike Gump, he’s no dummy. There are strains of anarchy and grim nihilism in the story—all pitched at the comic frequency of an old Looney Tunes short. Rated R. —GM INSIDIOUS: CHAPTER 3—This horror franchise prequel provides backstory on the character of psychic Elise Rainier. Rated PG-13.  IRIS—The late Albert Maysles’ documentary follows 90-year-old Iris Apfel as she goes about her business as an international style icon. Iconic for her huge glasses, loud outfits and shock of lavendertinted white hair, Apfel is a fascinating human, but Iris is a mixed bag. Maysles is excellent at documenting a certain kind of female eccentricity—think of Little Edie from Grey Gardens. But this is not a very meticulously crafted film. It often looks and feels like a reality TV show. Slightly higher production values would have done

justice to what sets Apfel apart as a stylist: an incredible eye for color and a baroque sense of design. Apfel distinguishes herself from other collectors by finding no venue too low or weird. For her, fashion is about a kind of creativity that offers the opportunity for selfcreation beyond beauty (Apfel rails a lot against beauty).

Any dedicated thrift shopper can identify with her lifelong treasure hunt. Though no feast for the eyes, this is a fun romp through the closet of a very cool, well-traveled person whose wit justifies the price of admission. Rated PG-13. —LJ THE LONGEST RIDE—A Nicholas Sparks love story about a bullriding champion. Rated PG-13.

LOVE & MERCY—Bill Pohlad’s biopic of Beach Boys visionary Brian Wilson focuses on the 1960s and 1980s, with Paul Dano playing the younger Wilson and John Cusack playing the older one. Rated PG-13.  MAD MAX: FURY ROAD—In Greek mythology, the Furies were goddesses of justice and vengeance. Mad Max: Fury Road takes cues from this feminist allegory while delivering the havoc the title also suggests.

Director George Miller paints an immersive post-apocalyptic epoch where societal structure has been upended, and its most susceptible members are natural resources. The film is part superhero flick, part Western. Max (Tom Hardy) is a monosyllabic man-with-no-name until the last act, his taciturn manner hiding the scars of abuse and survivor’s guilt from the family he couldn’t protect.

The movie’s most compelling champion, Furiosa (Charlize Theron), falls squarely in the lineage of action heroines Ellen Ripley and Sarah Conner. This is a gritty, wild ride. Rated R. —NM PAUL BLART: MALL COP 2—A security guard and his daughter stumble into a Las Vegas heist in this pointless sequel. Rated PG. PITCH PERFECT 2—After becoming the first all-woman group to capture a national title, scandal hits the Barden Bellas, threatening their last year at Barden College. To set things right, they must win the World Championships of A Cappella in Denmark. Rated PG-13.  POLTERGEIST—A first-ballot selection for the Lousy Remake Hall of Fame, director Gil Kenan’s update of the 1982 horror classic reverently retains the plot points of the original film while

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stripping out all the creepiness and charm. The suburban family haunted-house story gets upgrades in digital effects and product placements, but there’s no sense of pace, no suspense, no style. Just jump scares, scary clown dolls and cthonic portals deployed at breakneck speed—like someone left their thumb on the 1.5x button in the editing room. Sam Rockwell and Rosemarie DeWitt class up the joint as the terrorized mom and dad, but there’s really nothing new here, and certainly nothing improved. Rated PG-13. —GM SAN ANDREAS—Dwayne “The Rock” Johnson goes head to head with a massive earthquake. Rated PG-13.  SPY—When she’s on her game, Melissa McCarthy is one of the funniest people on the planet, and her new comedy provides a pitch she can hit.

McCarthy plays Susan Cooper, a desk-bound CIA analyst turned semi-reluctant field agent. It’s the Jack Ryan story played for laughs. Rose Byrne is the haughty villain, Jude Law joins in as the suave 007 type, and Jason Statham steals all his scenes as a meathead agent gone rogue. Not all the jokes work, but director Paul Feig (Bridesmaids) is smart enough to maintain an accelerated pace. When a joke doesn’t land, there’s no need to worry, because you know that three more gags are coming in fast.

Rated R. —GM TOMORROWLAND—Given that Disney’s live-action film was written principally by Lost’s Damon Lindelof, it’s no surprise that its tantalizing premise fizzles in a flawed finale. Worse, this nostalgic Epcot Theme Park ride taints director Brad Bird (The Incredibles). Casey Newton (Britt Robertson), the precocious daughter of a NASA engineer (Tim McGraw), is jailed for sabotaging the disassembly of launch pads at Cape Canaveral.

When she makes bail, she finds a “T”-emblazoned pin that gives her a glimpse into the futuristic Tomorrowland, stocked with the brightest minds. Casey must find Frank (George Clooney), an exile from the city, which has fallen into dystopian disrepair, to save it and our world. Their trip through the looking glass lacks joy and internal logic. With the world’s best dancers and windenergy engineers being recruited to rebuild paradise, couldn’t someone have tossed in a good screenwriter? Rated PG. —NM