INDY Week 6.13.18

RALEIGH 6|13|18

ADF 2018

MODERN MASTERS

The American Dance Festival doesn’t just trace the shape of modern dance.

It creates it.

THE NCGA DOES ALL THE BAD THINGS, P. 9

RALEIGH’S REDSHIRT REVELERS, P. 11

MALKMUS AFTER PAVEMENT, P. 25

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 24

Supporters of Liverpool FC gathered in Raleigh’s London Bridge Pub on May 26 to watch their team lose the Champions League Final to Real Madrid (see page 11). PHOTO BY COLE VILLENA 7 Durham says that if the NCDOT rescinds a trespass notice, it can allow homeless people to stay at a camp off N.C. 147. NCDOT says the city could decide not to enforce it.

9 The Republicans’ supermajorities could vanish in November, which only means one thing for the General Assembly’s short session: Buckle up.

11 So far in 2018, North Carolina FC has averaged fewer than four thousand fans per game even as it seeks one of two remaining Major League Soccer franchises.

16 Renowned choreographer Shen Wei takes on his biggest challenge yet—Samuel Beckett and Morton Feldman—in the opening week of Durham’s American Dance Festival.

21 The striking pastel hue of Kaffeinate’s yam-based Okinawan Steamer has made it the cafe’s signature drink.

25 Pavement’s Stephen Malkmus isn’t just in on the jokes about his career—he’s usually ahead of them.

26 In a way, SPECTRE Arts was able to leave Golden Belt because it had paved the way for the Carrack to move there.

DEPARTMENTS 7 News 9 Soapboxer 21 Food 25 Music 26 Arts & Culture 30 What to Do This Week 33 Music Calendar 36 Arts & Culture Calendar On the cover DAYTON CONTEMPORARY DANCE COMPANY PHOTO BY AUDREY INGRAM

INDYweek.com | 6.13.18 | 3

NCDOT TO HOLD PUBLIC MEETING ON JUNE 25 REGARDING THE PROPOSED WIDENING OF N.C. 54 FROM SHILOH GLENN DRIVE TO PERIMETER PARK DRIVE AND PROVIDE ADDITIONAL TURN LANES IN THE TOWN OF MORRISVILLE IN WAKE COUNTY STIP Project No. U-5750 The N.C. Department of Transportation proposes to widen N.C. 54 from Shiloh Glenn Drive to Perimeter Park Drive and provide additional turn lanes in the Town of Morrisville.

A public meeting will be held at Hyatt House located at 10962 Chapel Hill Road on Monday, June 25, 2018 from 11 a.m. to 1 p.m. and 5 to 7 p.m.

The purpose of this meeting is to inform the public of the project and gather public input on the proposed design. As information becomes available, it may be viewed online at the NCDOT Public Meeting Webpage: http://www.ncdot.gov/projects/publicmeetings/.

The public may attend at any time during the public meeting hours, as no formal presentation will be made. NCDOT representatives will be available to answer questions and receive comments. The comments and information received will be taken into consideration as work on the project develops.

The opportunity to submit written comments will also be provided at the meeting or can be done via phone, email, or mail by July 16, 2018.

For additional information, please contact Mr. Zahid Baloch, PE, Division 5 Senior Project Engineer by phone: (919) 707-6012 or via email at zbalock@ncdot.gov; or by mail: Zahid Baloch, PE, Division 5 Senior Project Engineer, 1548 MSC, Raleigh, NC 27699-1548.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop.

Anyone requiring special services should contact Tony Gallagher, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, NC 27699-1598, by phone (919) 707-6069 or by e-mail at magallagher@ncdot.gov as early as possible so that arrangements can be made.

Persons who speak Spanish and have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

Aquellas personas que hablan español o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494.

4 | 6.13.18 | INDYweek.com

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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backtalk

Fake Concern

doesn’t care about urban areas. They want Last week’s Soapboxer explored the Repubto punish them for voting blue. They don’t lican legislature’s creation of a Catch-22 care about world-class businesses and the that seems to doom the Durham Orange jobs they bring, unless it’s processing hogs Light Rail Transit project by creating and chickens.” impossible conditions for state funding.

Bonnie Hauser, an ardent critic of light Not everyone would be sad to see the rail, disputes our assertion about the projproject go. ect’s popularity: “Why does the INDY On Facebook, Judy Stroud Brackett believe that there is widespread local supwrites: “Hope it doesn’t pass, because it port of this project—other than politicians?” doesn’t go to the airport, East Durham, or To which Orange County Commissioner other locations that would help the poor.

Mark Marcoplos replies: “Maybe it is simNow if the routes change, maybe it would ply because the citizens voted for the projbe a good thing.” ect and voted for their representatives that Commenter Harris Tweed calls the projsupport the project. If you are suggesting ect “gentrification on steroids”: “Pols like that democracy is no way to govern, then Durham Mayor Steve Schewel claim to be you should just come out and say it.” progressives while supporting projects for Last week’s paper also featured a prothe elites like the light rail. It’s a mystery file of JD Greear, the pastor of Summit why people vote for politicians like him Church, who is making a bid for the presiinstead of their own interests and policies dency of the Southern Baptist Convention that actually help the less fortunate. And, on a platform of bringINDY, the same goes for ing the church into the your fake concern for twenty-first century— the disadvantaged.”

“If you are suggesting in methodology if not Barbara2 offers a that democracy is no in theology. similar critique: “Insanway to govern, you should Danny Berry quips: ity has been halted. come out and say it.”

“Maybe he should start Light rail for seventeen with a more modest miles to take people goal—like bringing the from Duke to UNC? The SBC into the twentieth century.” worst of wasted money, and nobody wanted Steve Ostergaard writes that the article it but the politicians who would have been may have ascribed to Greear more progrespaid off by the developers. Schewel was a sive positions than he actually has: “This is huge proponent of it, while he didn’t support the first time I heard that JD believes that things such as the ballpark or DPAC that Muslims and Christians worship the same generate revenue. Then again, that’s the way God. I’m not sure that’s true. I’m not consocialists think.” vinced that Christians and Muslims worWheresthebeef? says the legislature ship the same God. To worship God, you shouldn’t back down: “There is so much must accept that Jesus Christ is God. And more that was promised and could be they don’t accept that.” done with the sales/use taxes the General Finally, Steve Johnston argues that the Assembly authorized. This is a giveaway to story glossed over a key point: “This article developers, choice riders, and the universimissed the whole concern some have with ties, leaving the transit-dependent standGreear. It is not his character, a moderning in the rain with poor service. Certainly izing vision, or a fresh perspective. Rathwe need better public transit, but not at the er, the biggest concern among most is his expense of those who need it. Go back to alignment with Calvinist theology and its the drawing board and design a less costly modern iteration. It is about theology.” bus rapid transit system that serves more people in a less regressive way.”

Want to see your name in bold? Email us at Ellen McCann Dagenhart, however, backtalk@indyweek.com, comment on our argues that this move is emblematic of the Facebook page or indyweek.com, or hit us up General Assembly’s disdain for the blue on Twitter: @indyweek. parts of this purple state: “The legislature

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indynews

The Last Days of Tent City

TWO WEEKS AGO, DURHAM COPS THREATENED TO ARREST ANYONE WHO DIDN'T LEAVE A HOMELESS CAMP NEAR DOWNTOWN. THE CITY’S TRYING TO FIGURE OUT WHAT TO DO NOW.

BY SARAH WILLETS

F

City manager Tom Bonfield told the to try to find housing for residents of the “I’ve looked, but all I make is what I make or five months, residents of a INDY on Monday that he had emailed the camp. At least four former residents have in a day, and that’s hardly enough to eat,” he homeless camp next to N.C. 147 DOT asking if the agency plans to rescind been housed or connected to other services, says. Besides, he takes comfort in being surand Chapel Hill Street near downa trespassing notice it filed in May, which but others have declined assistance. rounded by others at the encampment. town Durham have wondered if and when would allow residents to stay until they would be forced to leave their July 15 or some other date. home. In January, the North Caro“Until I hear back from them, lina Department of Transportation, we will continue to work with the which owns the pavement-surservice providers to try and assist rounded island, put the writing those who are camping there,” Bonon the wall, posting signs around field says. the camp that read, “State-Owned In an email, DOT spokesman Property No Trespassing.”

Steve Abbott says the trespassing Yet despite murmurs that police notice the agency filed with Durwould remove them or that the trees ham police expires after ninety sheltering their tents would be cut days, and it’s up to law enforcement down to encourage their departure, to enforce it: “If the city chooses to the camp didn’t clear out, and the hold off, there are more than two residents remained defiant. This is months of time for local groups to their home, they’ve told those who continue to try to assist the resiinquired about their situation, and dents. And if no action is taken they have nowhere else to go. by that August deadline and the But their sense of security, howauthorization deadline passes, the ever tenuous, changed with the city can let us know if we need to delivery of a written notice earlier file a new request.” this month from the Durham Police In a January letter, the DOT Department, telling them to leave asked the city and county for assisthe property or face trespassing tance enforcing the trespassing law charges. after local officials passed on comJonathan Robinson wasn’t there plaints about the camp. when police delivered the papers, At “some point this spring,” but hearing about it was enough On Monday morning, only a few tents remained at a homeless encampment near downtown Durham.

Abbott says, the city asked the DOT to prompt him to finally pack up PHOTO BY CAITLIN PENNA to fill out the DPD’s official tresand leave after four months at the pass form. The agency did so May 18, statThe situation prompted members of He left Friday, the last day police told resencampment. Like others, he was surprised ing that “no person is authorized to enter the Coalition for Affordable Housing and idents they could remain on the property, by the news, because Tent City, as it’s someor remain on the … premises, including all Transit, which last week called on the and spent the night in a parking deck. times called, has been there so long that property and buildings located thereon, Durham City Council to create affordable Other camp residents have similarfootpaths between the tents and the road without being in possession of written perhousing just across the street from the ly scattered, at least temporarily, either are worn into the grass. (The camp has mission from the owner.” On June 1, resicamp at the current DPD headquarters, to because of the notice to vacate or the attenhad a dozen or more residents, though that dents were served a written notice saying ask city, county, and DOT officials to delay tion from news crews. By Monday morning, number fluctuates. It’s not clear how long they had seven days to leave or face secthe eviction until July 15, while nonprofits six tents were still in place, but few people the camp has been in existence.) ond-degree trespassing charges. continue to try to find the residents housmilled about.

Robinson, forty-six, says he moved in “We made the initial request for action ing. The coalition also asked that addiNeither the DOT nor the city seems eager after he was “put out” of a local shelter. He about five months ago, and I am unaware tional funding be allotted to Open Table to remove those who remain. Instead, the searched for another place to live, but he that anyone at NCDOT since then gave Ministry, Housing for New Hope, or other city has been working with nonprofits and couldn’t afford rent on what he makes askthe city a specific date or deadline that we organizations to help the residents. the county Department of Social Services ing for money on downtown streets.

INDYweek.com | 6.13.18 | 7

NCDOT TO HOST A PUBLIC MEETING IN JUNE FOR THE PROPOSED IMPROVEMENTS TO U.S. 64 FROM JUST WEST OF LAURA DUNCAN ROAD (S.R. 1306) IN APEX TO U.S. 1 IN CARY WAKE COUNTY STIP Project No. U-5301 The N.C. Department of Transportation is proposing to make improvements to U.S. 64 from just west of Laura Duncan Road in Apex to U.S. 1 in Cary. The public meeting will be held at the Summit Church located at 3000 Lufkin Road, in Apex, on Thursday, June 21st from 4:00 p.m. to 7:00 p.m.

The purpose of this meeting is to provide interested citizens with information on the project and gather public input on the proposed design.

Interested citizens may attend at any time between 4:00 p.m. and 7:00 p.m.

Please note that there will not be a formal presentation. NCDOT representatives will display maps and be available to answer questions and receive comments.

Comments and information received will be taken into consideration as work on the project develops. Written comments or questions can also be submitted at the meeting or later by July 21, 2018.

Project maps are available online at http://www.ncdot.gov/projects/publicmeetings/.

To assist us in identifying other issues and areas of concern within the project study area, NCDOT requests your participation in a survey located on the project website: https://publicinput.com/U-5301-US64-Apex-Cary# For additional information contact Bob Deaton, AICP, NCDOT Project Manager, by phone at (919) 707-6017 or by email at rdeaton@ncdot.gov . Additionally, questions can be directed to NCDOT Consultant Project Manager, Ryan White, PE, with the firm of Stantec Consulting Services by phone at (919) 865-7374 or by email at ryan.white@stantec.com.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop.

Anyone requiring special services should contact Diane Wilson, NCDOT Senior Public Involvement Officer by phone at (919-707-6073) or by email at pdwilson1@ ncdot.gov as early as possible so that arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494.

8 | 6.13.18 | INDYweek.com

wanted action to be taken,” Abbott told city council member Jillian Johnson in an email Friday. “My understanding is our only step since then was filling out the form the city told us to [fill out] in May. The decision on when and how to enforce that is up to the city and police.”

That decision comes as the city begins an overhaul of its homeless services, trying to streamline intake and resources, and keep people out of the system to begin with through rapid rehousing and eviction diversion.

At the annual point-in-time count in 2017, 354 individuals in Durham were homeless on a single evening. Of them, sixty were completely unsheltered—double the number from the 2016 count and the highest total since 2012.

Tent City residents have made four demands of the city: that they not be evicted until they find free, permanent housing; that the trees at the camp not be cut down (“The trees keep us shaded from the elements, especially the hot sun during the summer”); that the city provide trash bins and pick-up; and that the current police headquarters be transitioned into affordable housing, including free accommodations for the camp’s residents.

After weighing whether the city could make more of a dent in Durham’s affordable housing crisis by creating it on the DPD’s prime four-acre site or selling the land and using the proceeds for housing elsewhere, the city council decided last Thursday to ask developers for ideas. The council laid out a list of priorities—the top two: creating affordable housing and maximizing the sale price—but construction could be far off as the city awaits proposals.

On Friday, groups including Defend Durham (which formed after the toppling of a Confederate monument downtown last year) and the Workers World Party helped residents clear the site of trash and recyclables and held a sparsely attended roadside protest and press conference.

“I guess the phrase I want to use right now is, I may be homeless, but I’m not hopeless,” said Edward Prettyman, the self-described “senior man in the camp.”

“We don’t really have any other place to go that’s comfortable and safe. With that being said, I’m not trying to leave my spot.

Everybody in this general area knows us.

They talk to us. They help us, and I’m not trying to go anywhere else. There’s really no reason for them to be pushing us out here. The few of us that are still here, we like it, you know?” swillets@indyweek.com

soapboxer

All the Bad Things

WITH THEIR SUPERMAJORITIES THREATENED, GENERAL ASSEMBLY REPUBLICANS ARE IN A RACE AGAINST TIME TO RAM THROUGH THEIR AGENDA. GOD HELP US.

BY JEFFREY C. BILLMAN

“T

he insanity is incessant.”

There was no hiding the frustration in Senator Dan Blue’s voice, the weariness that comes from being utterly powerless to stop what you view as a parade of awfulness. It was Friday morning, and Blue, the Raleigh Democrat and Senate Minority Leader, was seated across from me in his law office’s conference room, a space with well-apportioned chairs and no windows.

The day before, Senate Republicans had overridden Governor Cooper’s veto of their budget bill, which Blue, on the Senate floor, had argued “fails our schools and fails to protect drinking water. And it puts special interests before the interests of North Carolina families.”

Around the Triangle, there’s another complaint: a one-sentence provision would essentially kill the Durham Orange Light Rail Transit project by requiring a federal funding commitment before the state commits funds, even though the feds require a state commitment before they commit funds.

I asked Blue if he thought this move was intentional or just a product of sloppiness.

He laughed loudly, and for several seconds. “It was totally intentional.”

The budget was cobbled together by a handful of Republicans behind closed doors, then rammed through the House and Senate without the possibility of amendment—an efficient way to move complex legislation, Blue said, common to “fascist, authoritarian regimes,” but it “disregards the democratic nature of the legislature” and marks the “obliteration of our normal open procedures.”

Those are strong words, to be sure— though Blue acknowledged that most voters couldn’t care less about process issues, so hand-wringing about the destruction of norms won’t get Democrats far.

And in the meantime, Republicans are ramping up their legislative machinery.

Last week, for example, the Senate began moving through a Farm Bill that, among other things, carves out even more special protections for multibillion-dollar pork producers. Following a law passed last year that restricted the amount of money neighbors of hog farms can recoup in nuisance lawsuits—industry advocates tried but failed to make it retroactive, which would have negated more than two dozen pending cases against Smithfield Foods—this year’s Farm Bill redefines the word nuisance itself.

If it becomes law, agricultural operations can’t be sued for causing nuisances if they follow practices, methods, or procedures “generally accepted and routinely utilized by other agricultural and forestry operations in [the] region.”

In other words, if every hog farmer sprays liquefied pig shit on his neighbors’ property, then there’s no problem—at least for Big Pork. Those neighbors, however, would be left without legal recourse while the industry profits off of their misery.

It goes without saying that this bill comes on the heels of a $3.25 million verdict last month against Smithfield in the first of those twenty-six cases to go to trial—a judgment that originally came in at more than $50 million but was reduced thanks to North Carolina’s punitive-damages cap.

It’s also worth pointing out that the Senate Agriculture Committee explicitly declined to clarify that this bill wouldn’t be retroactive. If it passes, Smithfield will almost certainly argue that the cases in progress should be shut down.

Then there’s the most cynical initiative of all: voter ID. After a strict voter-ID law they passed in 2013 was struck down by a federal court in 2016—with a panel of judges famously writing that it targeted “African Americans with almost surgical precision”—Republicans want another bite at the apple, this time in the form of a constitutional amendment that would go on

the November ballot. From a legal perspective, if voters sign off, lawmakers can tell the courts that voter ID is the will of the people and not the product of racial animus. More immediately, headed into the fall, it’s a quick and easy way to gin up a demoralized base around the canard of voter fraud.

The facts are as follows: Illegal voting is an infinitesimally small problem. In 2016, according to the state Board of Elections, 508 people—0.01 percent of the electorate—voted illegally in North Carolina; of them, voter ID would have stopped exactly one. But researchers have shown that strict voter ID laws substantially suppress black and Hispanic turnout. Not coincidentally, those groups tend to vote for Democrats.

Right now, Republicans have the supermajorities they need to get this amendment on the November ballot. After November, they might not.

Blue is sanguine about Democrats’ electoral chances this year: “We will overcome the supermajorities in both chambers,” he pledged. “And there’s a real possibility we will take the majority.”

The latter seems like wishful thinking.

Regardless, without their supermajorities, Republicans would be unable to override Cooper’s vetoes at will. There would have to be deliberation, negotiation, and a “pause to allow democracy to work,” as Blue put it.

If he’s right that Republicans’ stranglehold on absolute power is threatened, then that leaves this short session as a sort of last gasp—a final chance to push through the most controversial parts of their agenda while no one has the ability to check them.

“It seems like a frantic pace,” Blue told me. “The only reason is to try to get in place all the things they thought and dreamed of.”

And it also means there’s more to come, Blue added, though he’s not sure what it will be: “They’ll have more than one constitutional amendment.” jbillman@indyweek.com INDYweek.com | 6.13.18 | 9

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10 | 6.13.18 | INDYweek.com

R E E D H S T

They’re loud. They’re obnoxious. They’re drunk on a Saturday morning.

And if Raleigh wants an MLS franchise, they’re the kind of fans North Carolina FC needs.

BY COLE VILLENA

C

asey Peterson’s job was to sing.

We’ve conquered all of Europe.

We’re never going to stop.

The Cary native looked around at the seventy others singing alongside him, maneuvering down Hargett Street in Raleigh past Saturday-morning shoppers and families who probably wouldn't like the next lyric.

From Paris down to Turkey, we’ve won the fucking lot.

A pair of high-school girls wearing long wigs and brightly colored costumes studied the red shirts Peterson and his fellow marchers wore. Some were adorned with white text that said “STANDARD CHARTERED” or “CARLSBERG.” All featured an image of a tall, slender bird just over the wearer’s heart. The girls looked at each other and smirked before heading to the anime convention up the street—somewhere a little less weird, perhaps.

Bob Paisley and Bill Shankly. The fields of Anfield Road.

A vaguely British accent called out to a man in a crimson Lexus trapped at an intersection: “We love the Reds!”

We are the supporters, and we come from Liverpool.

Peterson was lucky. He’d been to Liverpool three times, which was probably three more times than most of the people he was marching with.

Allez, allez, allez! Allez, allez, allez.

The parade ground to a halt upon reaching the London Bridge Pub, the wide swath of marchers becoming a narrow stream that slipped through the door into the dimly lit bar. Marchers took shelter within the familiar walls adorned by framed pictures of the Queen, a tapestry of scarves with words like “UP THE REDS,” and a sign for the “Christopher Walken Fridge.” A native Londoner

Liverpool FC fans gathered at the London Bridge Pub to watch the Champions League Final match on May 26. PHOTO BY COLE VILLENA noted that the bar looked just like something she’d see back home.

It was May 26, and there were still two hours until kickoff for Liverpool Football Club’s Champions League Final match against Real Madrid. The broadcast from Kiev hadn’t even begun. Peterson knew that pints of Guinness and mindless chatter couldn’t hold off nerves forever.

Time to sing.

I

f the Triangle’s North Carolina Football Club is ever to compete at the highest level of American soccer—something it unabashedly sees as its destiny—it will need fans like Casey Peterson and his obnoxious cohort of Saturday-morning revelers, Liverpool Football Club Raleigh.

Major League Soccer judges potential new franchises on three criteria: a committed local owner, a comprehensive stadium plan,

and a history of strong fan support.

North Carolina FC has the first one locked down. Since purchasing the team in 2015, owner Steve Malik has shown his willingness to spend money to promote local soccer.

He inked a deal with Capital Broadcasting Company to televise the team’s matches, acquired first-rate talent, and relocated a top-level women’s team to the area, now called North Carolina Courage. A year after taking over, Malik dropped the Carolina RailHawks moniker, redubbed the team North Carolina FC, and announced his plans to pursue an MLS franchise. He gave himself an eighteen-month window to make it happen.

Less than two weeks later, the league announced its intention to expand from twenty-three to twenty-eight teams within a few years. The ascension seemed fated.

To satisfy the second criterion, on July 19, Malik unveiled plans for a state-of-

the-art $150 million mixed-use stadium in downtown Raleigh, designed by developer John Kane. It would be self-funded, Malik promised, though the planned location was on state-owned land—which, importantly, means the stadium will need the legislature’s approval.

That same day, North Carolina FC held a large rally in City Market, a demonstration of the city’s support for the franchise for MLS president Mark Abbott, who was in town as part of a tour of prospective franchise homes.

Malik was going to make it happen, if only by sheer force of will.

Except it hasn’t happened. On May 29, his self-imposed deadline passed. No MLS—not yet.

The league awarded the twenty-fourth franchise to Nashville five days after unveiling its expansion timeline. A Miami team, pitched by the legendary David Beckham, was announced a month later. And then, last week, MLS awarded another slot to Cincinnati.

That leaves two spots left for ten ownership groups with league-expressed interest.

Malik says he’s not worried. The club has accomplished every goal he’d laid out for the MLS bid, including forming a massive youth soccer program, which he considers a personal highlight. In any event, he adds, MLS is running behind its expansion schedule, too.

“I’m happy with where we are,” Malik says. “MLS has strung out this process, which has given us an opportunity to get our ducks in a row.”

Ryan Jernigan isn’t ready to hit the panic button either. Jernigan, who founded the fan group Oak City Supporters in 2014, always thought North Carolina FC was aiming for one of the final two MLS INDYweek.com | 6.13.18 | 11

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slots. To his mind, the biggest obstacle is the General Assembly, which so far hasn’t seemed inclined to work with the team on the stadium site.

“I think we have as good a shot as anybody if we can just have an agreed-upon plan with the land,” he says. “Getting us the land is what makes me nervous.”

But perhaps to convince lawmakers to get them the land, the team will first have to convince them that there’s a real demand for professional soccer in the Triangle—that, one day, North Carolina FC will inspire the same devotion that Liverpool does, the same indelible sense of connection and family.

“The passion’s there,” says Jernigan, who was inside London Bridge that muggy May morning cheering on Liverpool. “It’s just showing people what you want to happen.

You’ve got to show up to games, you’ve got to show this community that it’s there.”

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eal Madrid, with its roster full of star players called “Galácticos,” played the part of Goliath well. Behind their Greek god of a forward, Cristiano Ronaldo, they’d won three of the last four Champions League titles and twelve throughout their 116-year history. The Spanish titans carried the swagger that came with being the most successful European club of the twenty-first century.

Colin Russell is a few years too young to have witnessed it, but Liverpool found similar glory during the seventies and eighties with eleven English league titles and four European Cup wins of their own. For him, watching the Reds started not as an obsession but as a way to bond with his English and Irish grandparents while growing up in Boston.

Russell easily met fellow Liverpool supporters in Beantown but had a harder time finding a bar willing to open for 8:00 a.m. weekend matches after moving to Raleigh in 2011. While in Boston for 2012’s international preseason match between Liverpool and Roma, he met two Triangle-based Liverpool supporters by chance at a pub near Fenway Park. LFC Raleigh’s Facebook page launched days later, and, by the time the English Premier League season began in August, Darren Bridger had agreed to allow his new London Bridge Pub to serve as the group’s matchday home. By 2013, LFC Raleigh was an Official Liverpool Supporters’ Club with officers, bylaws, and its own section on Liverpool’s website.

Like most of LFC Raleigh’s 150 paid and 350 unpaid members—paying for membership grants discounted merchandise and access to match tickets directly from the club—Russell felt confident that Liverpool’s blistering attack and high-intensity style gave the former giant a real shot at proving

its resurgence against the defending champions. Their “rock ’n’ roll football,” spearheaded by Premier League scoring leader Mohamed Salah, had already cut through some of the best teams in Europe.

Rock ’n’ roll, coincidentally, is what converted LFC Raleigh chairman Ken Kendra into a Reds supporter in the eighties.

He’d first heard of the team from an English youth soccer coach, coming to admire star forward Kevin Keegan mainly because of their shared initials. When he heard fans at Liverpool’s Anfield stadium singing at the end of Pink Floyd’s “Fearless,” it brought him a little closer to his dream of hearing thousands of fans sing his name after a goal.

Kendra admitted that the atmosphere at London Bridge was more important to him than a victory over Real Madrid.

“No matter where you are around the world,” he said, “you’ll always find a family member that supports Liverpool [and] a friendly place and atmosphere you can go watch the match [and] hang out with other Liverpool supporters. We try to facilitate that atmosphere.”

By the time the pre-match broadcast started, Kendra had helped facilitate entry into London Bridge for over 250 Liverpool supporters, twenty or so Real Madrid supporters in white shirts huddled in quiet corners, dozens of wives and girlfriends with varying levels of interest, one family using the viewing party as part of a birthday celebration for their son, two twentysomethings wearing NBA jerseys, and two dogs. (LFC Raleigh’s best guess at overall attendance was “more than three hundred.”

London Bridge’s security detail stopped counting at “overcapacity.”)

There was nothing elaborate about LFC Raleigh’s pre-match routine as they peered through their digital window into Kiev’s Olympic Stadium. After English pop singer Dua Lipa’s six-minute set, they clapped politely. When Cristiano Ronaldo appeared onscreen, they booed. When his face was replaced by that of Mohamed Salah, they sang a new song: Mo Salah! Mo Salah! Mo Salah! Running down the wing! Salah, lah, lah, lah, lah! Egyptian king!

The singing began again immediately after kickoff. The opening stages saw Liverpool pushing forward quickly and confidently. London Bridge got a little bit louder whenever a forward player got a touch on the ball.

At twenty minutes in, some unseen conductor began a song in Kiev that was picked up by the drunken chorus of London Bridge. Another offensive chance provided an abrupt coda: “Keep hammering, boys!”

The score remained 0–0 through the first half hour.

A

“Break his legs!” someone yelled when all, a lingering question is whether Raleigh merican soccer fans are generally less Ronaldo received a pass. “Take out his knees!” can support a professional sports franchise, tolerant of diving than those in Europe.

Gareth Bale showed London Bridge a new considering that its only other one, the NHL’s Embellishing contact in hopes of drawing kind of silence seconds later. He positioned Carolina Hurricanes, has one of the worst a foul is indisputably part of the game, but himself fifteen yards in front of Liverpool’s attendance records in pro sports.

Americans are quick to criticize a playgoal and waited. A teammate lobbed a crossBy comparison, FC Cincinnati, which er’s exaggerated facial expressions, illogiing pass toward the Welshman, who stepped just won an MLS franchise, averaged 24,416 cal physics while falling, and, especially, the forward and launched himself into the air. fans through the first five games of the 2018 habit of immediately hopping to one’s feet His flight was overshadowed in its magnifiUnited Soccer League season. Sacramento after being awarded a foul. cence only by that of the ball, which volleyed Republic FC, with whom North Carolina is Mohamed Salah didn’t hop to his feet. off his left foot into the top corner of the goal. competing for one of the remaining bids, He’d been fouled three minutes earlier There were no complaints, no criticisms claims to have sold out its 11,569-seat stadiby Real Madrid captain Sergio Ramos, a of the goalkeeper, no angry looks. Just one um every home game this season. player hated less for his skill and more for voice was heard through the abyss: “Are you Along with Detroit and perhaps Phoenix, his “physical” and “aggressive” style of play. kidding me?”

Sacramento is considered a frontrunner for Ramos had received a yellow card from the the two remaining spots. referee and a barrage of profane insults from Jernigan, of the Oak City Supporters, says one especially loud fan in Raleigh. ans argue over whether the low point the low attendance is a product of bad luck— It was the twenty-ninth minute and for the Carolina RailHawks came in a run of games scheduled during the middle Salah was down again. Play stopped as a 2011, when the team’s assets were listed of the week, on holidays, or on days with camera crew brought close-ups of his tearfor sale on eBay, or in 2015, when the thenbad weather. The team is also playing with stricken face. owners were indicted as part of the FIFA “It’s over,” said a voice in Raleigh.

“He’s done.” Salah wept as he was escorted to the locker room.

A final rendition of “Mo Salah! Running down the wing!” provided the last bit of music for fifteen quiet minutes.

A Real Madrid goal just before halftime barely elicited a groan before it was disallowed due to an offside penalty. The whistle blew for the break.

A shower that started at some point before halftime meant that the humidity outside London Bridge had finally caught up to the sweat- and booze-saturated air inside. Kendra stepped out of the pub, quickly finding his wife LFC Raleigh members Ken Kendra, Casey Peterson, and Colin Russell PHOTOS BY CAITLIN PENNA standing on the sidewalk just beyond the door. He told her that he’d been a revamped roster of players who “haven’t forced to step in when some of his fellow corruption scandal. Even ignoring that dubiclicked yet” thanks to the team’s move from fans had begun hurling verbal abuse toward ous history, the team’s failure to record an the NASL to the USL this season. a young fan in a Sergio Ramos jersey. She average game attendance of more than five “If we’re saying attendance is down by the told him she was heading down the street to thousand in any season from 2007–15 would end of July, that would be concerning to me,” watch the rest of the match somewhere else. hardly have blown MLS officials away. he says.

Kendra slipped back into London Bridge While being strangled by mismanageMalik says his team’s fans are making before a large man dressed in black started ment, however, the RailHawks showed themselves noticed. He mentions that, at refusing re-entry into the pub. Even if Kendflashes of brilliance. The club won the North Saturday’s match at WakeMed Stadium— ra had been banished to the sidewalk, though, American Soccer League regular season attended by 4,039 people—a rowdy group he’d have heard the silence that struck when title in 2011. It also made deep runs in the so irriated FC Cincinnati forward EmmanLiverpool goalkeeper Loris Karius turned a U.S. Open Cup, eliminating MLS poweruel Ledesma that he received a yellow card routine clearance into a disaster, rolling the house LA Galaxy in 2012, 2013, and 2014. after complaining to officials. ball straight to the feet of Real Madrid strikAttendance-wise, the club’s high-water “That was awesome,” Malik says. “They er Karim Benzema just in front of goal. The mark came on July 12, 2016, when the Railyelled at him so much that it caused a delay tap-in couldn’t have been easier.

Hawks hosted the English Premier League’s of game, and now he has to sit out his next Just six minutes into the second half, it West Ham United for a preseason exhibition was 1–0, Real Madrid. match. While the capacity crowd includgame.”

LFC Raleigh found its voice again five ed East London natives from around the minutes later when Sadio Mané poked a U.S., the majority of the 10,125 fans at Cary’s he fans in London Bridge became a litshot past Real Madrid’s Keylor Navas for WakeMed Stadium were Triangle residents. tle less loud and a little more hunched an equalizer. Casey Peterson’s first song of So far in the 2018 season, which began in over during Liverpool attacks. The fantastic the day—the one about the supporters from March, North Carolina FC’s average home sense of adventure that Sadio Mané and his Liverpool—began anew. With Salah gone, attendance has been just 3,714 per game, offensive teammates had brought was gone, Cristiano Ronaldo became the greatest continuing a downward trend that might not replaced by an ever-growing awareness of inspiration for noise in London Bridge. bode well for the team’s MLS standing. After the ticking clock.

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T

“Come on, Redmen!” said one voice.

“It’s not over yet,” said another.

In the eighty-fourth minute, Gareth Bale fired a hopelessly optimistic shot toward Liverpool’s goal from thirty yards out. Loris Karius positioned himself well to make a simple stop, his outstretched hands easily making contact with the ball. The ball then bounced off his gloves and resumed its path toward the back of the net.

Three-to-one, Real Madrid.

Someone muttered that he’d seen better goalkeeping in youth matches he’d refereed in Raleigh. The match commentators asked the obvious question: Could Liverpool pull off a miracle? “It’s happened before,” came the obvious answer.

Bale made an unsuccessful attempt at a hat trick. Viewers at London Bridge began stacking up their cups of beer. Ronaldo lost the ball in Liverpool’s defensive zone. A woman in a red shirt turned around to talk to her friend. Outside the pub, a man in red decided for his friend that a 3–1 defeat wasn’t worth coming to blows with a man in white. A halfhearted cheer rose for one final attack.

London Bridge’s audio feed abruptly cut off immediately after the final whistle, sparing those inside from hearing about Gareth Bale’s immediate impact, Real Madrid’s threepeat, or what might have been had Mo Salah been able to run down the wing for more than thirty minutes of the match. LFC Raleigh fell quiet once again.

When you walk …

The first words of the afternoon’s last song came courtesy of a 1963 recording made by Gerry and the Pacemakers, a Liverpool rock band whose domination of the music scene there seems quaint when compared to that of another local band that touched down in the United States a year later. … through a storm …

Peterson, Kendra, Russell, and the two hundred others still crammed into the pub sang the rest of the song that had played at every Liverpool home match since the 1960s. … hold your head up high …

Those who had scarves held them high in the air. Those who didn’t put their arms around whoever happened to be standing nearby. Real Madrid fans shuffled out, quieting their jubilation so as not to disturb the chorus’s grand finale.

The song drew to a close. Those inside London Bridge allowed themselves one last hug, one last drink, one last glance at the final score. Then they began the long, silent walk home. backtalk@indyweek.com INDYweek.com | 6.13.18 | 13

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ADF 2018

Modern Masters

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ADF DOESN’T JUST REFLECT THE SHAPE OF MODERN DANCE. IT CREATES IT.

he American Dance Festival is dedicated to modern dance. But this pat statement belies a complex and fluid state of affairs. In a tenure than spans nine decades, the last four of them spent drawing together local and international dance artists and audiences in Durham, the festival has earned enough global influence to play a leading role in the eternal debate about what, exactly, modern dance is. Instead of merely reflecting the activity of a form, it helps set the borders of what the form is.

Indeed, as the walls that historically separated genres and nodes within genres—dance, theater, visual art, music, video, and so on—continue to fall, one of the sur-

est ways of telling if something is modern dance or not is whether it has appeared at ADF. Bearing this weighty responsibility, the festival must do more than spread spectacular dance shows throughout Durham nightclubs, museums, and auditoriums every June and July. It must also account for modern dance’s past, present, and future, telling a story on stage that encompasses them all without feeling like a time capsule or a museum tour.

In this preview issue, we focus on three performances, and each checks a different one of those boxes. The past is enshrined in our survey of the career of Ronald K. Brown, who helped break open the racial and theoretical

structures of modern dance. The present pulses in our preview of ADF favorite Shen Wei’s recent work, Neither (which he calls his greatest challenge yet), derived from an “anti-opera” by Samuel Beckett and Morton Feldman. And the future can be glimpsed in our examination of Wondrous Women, a program of solos by women that echoes an all-male program from several years ago, a harbinger of institutional drives toward diversity and parity in all fields, not just dance.

We also provide critics’ picks to help you navigate the copious offerings, but however you choose to engage, know that it’s not modern dance history that’s being made here. It’s modern dance’s future. —Brian Howe INDYweek.com | 6.13.18 | 15

ADF 2018

PICKS

ADF 2018 PHOTO BY STEPHANIE BERGER

CHRIS VITIELLO’S TOP FIVE ADF SHOWS ROSIE HERRERA DANCE THEATRE (REYNOLDS INDUSTRIES THEATER, JUL. 6 & 7)

I depend upon Rosie Herrera for her willingness to throw everything onstage, holding nothing back. This year, the Miami choreographer premieres Make Believe, an ADF commission deconstructing religious and magical iconography.

MURIELLE ELIZÉON (THE FRUIT, JUL. 8 & 9)

I saw Elizéon premiere her emotionally raw solo, Brown, in the tiny Monkey Bottom Collaborative performance space last December, where the audience was essentially sitting onstage. Can’t wait to see how it spaces out a bit at The Fruit.

WONDROUS WOMEN (THE CAROLINA THEATRE, JUL. 13 & 14)

Solos always make me hold my breath.

They embody vulnerability. These five choreographers are all so different from one another; it will be fascinating to read their performances as a whole.

(See story, p. 19.)

KYLE ABRAHAM’S “A.I.M.” (THE RUBENSTEIN ARTS CENTER, JUL. 17–19)

In the last of three ADF shows at the Ruby, the interdisciplinary and diversityfocused company A.I.M. offers Dearest Home, an interactive work of solos and duets about love and loss.

FOOTPRINTS (REYNOLDS INDUSTRIES THEATER, JUL. 20 & 21)

I always anticipate this program the most, regardless of the choreographers, because of the raw energy of the student dancers onstage. You are literally watching careers begin in this show.

16 | 6.13.18 | INDYweek.com

Building the Mystery

SHEN WEI’S GREATEST CHALLENGE YET IS TO SEEK BEAUTY IN AN ANTI-OPERA

BY INSCRUTABLE ARTISTS MORTON FELDMAN AND SAMUEL BECKETT

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s the legend goes, when the minimalist composer Morton Feldman first met the avant-garde writer Samuel Beckett, he stumbled on a curtain and fell flat on his face before they finished shaking hands. This was because Feldman had come from a bright backstage onto a dark stage to meet Beckett during a rehearsal in a Berlin theater, and his eyes hadn’t adjusted to the change.

World-renowned choreographer Shen Wei echoes this moment in his reimagining of Neither, the 1977 “anti-opera” Feldman and Beckett created out of their meeting.

Shen’s huge set features towering walls with multiple doors that allow swaths of light to cut into the dim, gray stage space.

“Every door gives you an in and out, an opening and a closing,” Shen says about the production, which ADF brings to DPAC on Saturday and Sunday. “You feel safe inside a place, but also you feel you are unsafe inside that place. You feel you’re trapped and want to get out, but at the same time, you ask what the outside means to you.”

Every aspect of the work expresses this liminality and defiance of oppositional logic.

From the writer’s inscrutable libretto, a sixteen-line poem Feldman received on a postcard, to the composer’s minimal, occasionally disorienting music—and from Shen’s choreography to Jennifer Tipton’s lighting design— every element refuses to settle into a category.

Rather than either/or, it’s neither/nor.

BY CHRIS VITIELLO

In a way, the original Neither barely exists. After that onstage pratfall, Feldman and Beckett had a meal together to talk about collaborating on an opera while admitting to each other their mutual disdain for the form. After deciding to make an “anti-opera” together, Beckett jotted down the libretto, lacking stage directions and cast, and mailed it. The artists didn’t meet and barely corresponded again.

When Shen describes Neither as his most difficult production to date, he’s not necessarily talking about the challenges of a large set with a lot of moving parts and eleven dancers; he’s expressing how hard it’s been to retain the not-thereness of the original work while still being inspired by it.

“It’s such a philosophically difficult text,” Shen says. “It’s an opera piece, but you’re not really telling a story, so you have to use a lot of movement to emphasize the parts of the words and their meanings. You have to use movement to transform that kind of meaning. Dance is a really difficult way to do it, and of course, the music is difficult, too. It’s minimal but at the same time extremely theatrical. And it’s not music that has a really clear structure, like people are used to.”

In Shen’s Neither, the gray uncertainty of the stage space and the hopeful lights shining into it through the doors carry the weight of characterization. The space, and the dancers’ movements into and out of it, can represent different things to different viewers. Shen rattles off a list of possible metaphors: a house, a family, a society or country, a universe. Feldman’s music begins with a jarring drone. Beckett’s opening lines are “to and fro in shadow from inner to outer shadow/From impenetrable self to impenetrable unself by way of neither.” This won’t be a light night out at the theater. But if anyone can find the beauty in the severe text and music, it’s Shen Wei. “I have been thinking ‘What am I getting myself into here?’” Shen laughs. “As I’ve worked on this, I get myself into a place where I am really seriously working on a work, not thinking about the entertainment side of making a dance piece. But it’s a really worthwhile journey, and I’m excited to bring this production to the ADF audience, because they really know me and my development the best.” arts@indyweek.com

SHEN WEI DANCE ARTS

Saturday, Jun. 16 & Sunday, Jun. 17, 7 p.m., $12–$62 Durham Performing Arts Center, Durham www.americandancefestival.org

ADF 2018

ADF 2018

PICKS

BYRON WOODS’S TOP FIVE ADF SHOWS

PHOTO BY AYODELE CASEL

SHEN WEI DANCE ARTS (DPAC, JUN. 16 & 17)

The Burden of Proof

WITH HIS COMPANY, EVIDENCE, ADF LIFETIME ACHIEVEMENT AWARD WINNER RONALD K. BROWN REWROTE THE THEORY-DRUNK PLAYBOOK OF MODERN DANCE WITH EMOTION, MUSICALITY, AND STORYTELLING

W

hen the great intersectional feminist writer Audre Lorde asked a question, you wanted to answer, but Ronald K. Brown didn’t have one yet.

“She’d always ask her audiences, ‘Are you doing your work,’” the choreographer says.

“And I was seventeen or eighteen years old, asking, ‘What is my work? What is my work?’”

It was the early eighties in the BedfordStuyvesant neighborhood of Brooklyn, and Brown was torn. He’d been hanging out with a group of writers he calls “big brothers, creating works about legacy, saying, ‘We need to leave proof that we were here.’” It made sense; until then, Brown had been a writer himself: a playwright, poet, and reporter who’d planned on studying journalism in college.

He remembers, “When I said, ‘I have to start learning how to dance,’ they said, ‘Who’s going to tell your grandmother’s stories?’” But within two years, Brown would have his answer for those writing friends and for Lorde as well. Dance could tell those tales, and many more besides.

BY BYRON WOODS

“We could represent our families, our teachers, our ancestors; we could bring our legacy to the stage,” Brown says. In 1985, at age nineteen, he started his own company, EVIDENCE. The success of his efforts can be measured in the dozens of repertory works he’s created since, not to mention commissions from companies including Alvin Ailey American Dance Theatre and Dayton Con-

been inhabited by many following in his footsteps. When he began in the mid-eighties, postmodern dance in New York placed a premium on theory, deconstructing the framework and practice of dance. Brown didn’t see “real people on stage,” he says, or much of what he considered real dance at the time.

The love of movement, rhythm, and musicality seemed taboo. “It was an exploration

RONALD K. BROWN/EVIDENCE

Thursday, Jun. 28–Saturday, Jun. 30, various times, $12–$43 Reynolds Industries Theater, Durham www.americandancefestival.org

temporary Dance Company, which opens the ADF season this week. On June 28, that success will be quantified when Brown receives the Samuel H. Scripps/American Dance Festival Award for lifetime achievement, which comes with $50,000, the largest prize in modern dance.

Rather than finding his place in modern dance, Brown had to create one, and it has

of the body’s physicality, but absent of emotion,” he says. “And I couldn’t do that.”

Brown also perceived a profound disconnect between the people on stage and the people in the audience. Historically, dance involved difference, if not in class, race, or social status, then certainly in physical technique and development. The idealized dancer’s body, as the local dance artist Daniel B.

Samuel Beckett despised opera but wrote a libretto (of sorts) for composer Morton Feldman, who didn’t much like words with music. Shen Wei adds oneof-a-kind choreography and bizarre costumes to their perverse collaboration.

(See story, p. 16.)

ANNE PLAMONDON (THE RUBENSTEIN ARTS CENTER, JUN. 30 & JUL. 1)

Though madness has fueled more cheap melodramas than I’ll ever forget, we’ve heard that Anne Plamondon’s first solo work is ethnography as choreography: a careful exploration of her father’s struggle with mental illness.

ROSIE HERRERA DANCE THEATRE (REYNOLDS INDUSTRIES THEATER, JUL. 6 & 7)

After a placing a 2013 workshop version of Make Believe on ADF students, Herrera’s company applies her off-thewall dance theater sketches, which build toward inquiries on the human condition, to a meditation on love and belief.

TERE O’CONNOR (REYNOLDS INDUSTRIES THEATER, JUL. 10 & 11) It’s tempting to call Tere O’Connor an heir apparent to Merce Cunningham, but whereas he explored the aesthetic possibilities of human movement, O’Connor is more interested in what dance really communicates versus what we believe it does. Thinking caps on.

CAMILLE A. BROWN (THE CAROLINA THEATRE, JUL. 13 & 14)

After Mr. ToL E. RAncE, a 2013 critique of black representation in mass media, Brown has staged corrective works like ink, which will be excerpted at ADF in Wonderous Women. The piece reasserts the rights of African Americans to define their identities. (See story, p. 19.)

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sis in spirituality, but not sentimentality, in Brown’s work.

“In [the attacks of September] 2001 I was reminded that my job is to show people the spiritual connections of dancers from around the world,” he says. Brown infused spiritual traditions from West Africa, Cuba, and the Caribbean into those of the AfricanAmerican church. Walking Out the Dark, a frank, internally focused quartet, forced its characters to assess their possibly irreconcilable differences with a mix of sacred dance from Benin, Cuba, and the Ivory Coast. Come Ye celebrated and critiqued the

“I wanted [audiences] to say, ‘That man is built like me; that woman is built like my aunt.’”

ADF 2018

PICKS

AMANDA ABRAMS’S TOP FIVE ADF SHOWS ANNE PLAMONDON (RUBENSTEIN ARTS CENTER, JUN. 30 & JUL. 1)

With slippery, luscious, original movements, ADF newcomer Anne Plamondon’s solo expresses the private torment of mental illness.

L-E-V, SHARON EYAL, AND GAI BEHAR (DPAC, JUL. 3)

Israeli companies thrive on intriguing, intelligent dance, and L-E-V Dance Company—combining controlled, sinuous movement with inscrutability and a dash of homoeroticism—is no exception.

DANA RUTTENBERG DANCE GROUP (NCMA, JUL. 14–17)

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Coleman Chávez recently observed in the INDY, did not reflect the forms of AfricanAmerican people. Brown wanted viewers to be able to identify with his performers. To do that, they’d have to see people with similar physical traits.

“I wanted them to say, ‘That man is built like me; that woman is built like my aunt,’” Brown says.

Audiences also needed to see more people of color. Brown wanted stories from his world on stage: the tales of African-American families told by dancers who could evince their humanity.

“I wanted people to see the evidence of themselves and the evidence of our human condition,” Brown says, explaining his company’s name. In 1990, he was accepted as a young choreographer at ADF and began teaching at the festival the following year.

By 1995, EVIDENCE was on the mainstage with Dirt Road, a generational family drama that dealt with “the brutal realities of poverty, danger, and injustice, in lives that somehow remained spiritually resilient,” according to The New York Times. An energetic duet called “March” in his subsequent work, Lessons—which audiences will see when EVIDENCE comes to Reynolds Industries Theater at the end of June—was set to a speech by Martin Luther King Jr. instead of music. In 1998, Incidents depicted slave narratives, and Better Days celebrated the glories of gay black nightclub life.

Then Brown’s concerns expanded and became more global. Upside Down considered the corruption in Afropop legend Fela Kuti’s native Nigeria; High Life probed parallels between the Great Migration in the U.S. and the move of West African youth from villages to developing cities in the seventies. The 2000s saw an increased empha-

roles of religion in society with the music of Nina Simone and Kuti, calling for a different sort of warrior to wage peace in a threatened community.

After successive works engaged titular concepts of Redemption and Grace (the latter a commission by Ailey’s company as a response to his masterwork, Revelations) and texts from the Book of Lamentations and Psalms, Brown has more recently explored the orishas, the elemental spirits of the Yoruba religion. On Earth Together, also excerpted in the upcoming ADF concert, uses African and Cuban dance movements evoking Ogun, who discerns and cuts a way through the world with his machete, and Oshun, a force of love. A current work in progress, New Conversations, considers Oxóssi, the hunter who feeds the people.

“I think of it almost like contemporary folklore,” Brown says. “The stories and ideas show us how we should treat each other, and how we should ideally be.” It’s an apt direction for someone who sees his work of more than three decades and counting as “bringing love, bringing spirit, involved in the world, to the concert stage.” arts@indyweek.com

Experience the museum in a radically new way, as the backdrop for a dance performance set to a soundtrack—thanks to individual audio guides—of your choosing.

KYLE ABRAHAM’S A.I.M (THE RUBENSTEIN ARTS CENTER, JUL. 17–19)

Kyle Abraham is that rare thing: a smart, physical choreographer who doesn’t shy away from vulnerability, and yet does it free of cliché.

FOOTPRINTS (REYNOLDS INDUSTRIES THEATER, JUL. 20–21)

Season closer Footprints, a program of ADF-commissioned premieres, is always an energetic treat, especially this year: Don’t miss the smooth, tight movement of Israeli choreographer Dafi Altabeb.

Classic Lines

ADF 2018

ADF RECONNECTS MODERN DANCE TO TRADITIONAL ROOTS IN A PROGRAM OF SOLOS WOMEN MADE FOR THEMSELVES Company, has shown work at the Joyce Theater in New York—a vaunted modern dance site—and is said to fuse Western and Eastern sensibilities. But her style is thoroughly grounded in classical Indian dance forms, particularly Bharatanatyam, which came out of South India around 500 CE. It’s traditionally a solo form performed by women, featuring detailed hand, arm, and facial gestures that all have meanings.

Ramaswamy says she used Indian literature from several different eras in the subcontinent’s history as inspiration for this piece. And given that India’s history reaches back millennia, there’s a lot to draw on.

“My sources go back into an era of Tamil poetry, Sangam poetry, that was created between 300 BC and 300 AD,” says Ramaswamy. She also incorporated the Mahabharata, the great Sanskrit epic, and the work of an eighth-century mystic poet. “I wove all of those together into a narrative, then created [a piece],” she explains. It’s not strictly traditional, though; Ramaswamy tips her hat to modern dance sensibilities by allowing the audience members to develop their own interpretations rather than explaining the piece’s meaning.

Another performer is tap dancer Michelle Dorrance, a Chapel Hill native who’s won multiple awards for her work, including the prestigious MacArthur Fellowship, but still has never been featured at ADF. She, too, is keenly aware of the historical legacy she represents. In conversation, she casually discusses the backgrounds and collaborations of tappers she knows of who have performed at ADF. Tap’s history is more linear than that of modern dance; it can be traced back to black minstrel and vaudeville performers at the end of the nineteenth century, and its practitioners seem to have detailed knowledge of the alliances and mentorships in the field.

Like jazz, tap is deeply grounded in improvisation. “I haven’t choreographed a solo for myself and successfully performed it without improvising it in my entire life,” says Dorrance. About this solo, she says, “I’ll allow moments of improv freedom within it; it could be very much a skeleton which I fill in with what’s more improvisational in nature.”

Camille A. Brown

O

ver the past few years, I’ve found myself at a number of shows that are what I like to call post-postpostmodern dance: performances that might feature text and props, perhaps nudity and/ or technology, but often precious little actual dance. It’s an uber-contemporary genre that’s often eerily ungrounded, surprisingly untethered to the human body and disconnected from historical context. And yet it frequently seems to be where modern dance lives now, and where it’s continuing to go.

All of which makes the ADF show Wondrous Women seem, at first, oddly out of place in a modern dance festival celebrating the state of the art. At the Carolina Theatre in July, the show will feature five female dancers performing solos they’ve choreographed for themselves. ADF Director Jodee Nimerichter says the objective is to echo a 2014 ADF performance that featured four mature male choreographers performing solos. Those men—Ronald K. Brown, Doug Varone, Shen Wei, and Steven Petronio—were all fully vested representatives of (and big names in) modern dance.

Not so with this female version of the show, featuring Camille A. Brown, Michelle Dorrance, Rhapsody James, Aparna Ramaswamy, and Yabin Wang. None of them are as established as their male counterparts, and each is grounded in or inspired by a style that is distinctly not modern dance.

Those styles all have deep historical meanings and contexts that make them anything but ungrounded. It’s a shift from the normal fare on offer at ADF, but a refreshing one, reminding us that no matter how modern (or post-post-postmodern) it’s gotten, dance today still owes its existence to a long history that drew on a wide range of styles and influences, as Nimerichter acknowledges.

“The festival, while always dedicated to and rooted in modern dance, has a history of occasionally featuring traditional dance forms, because so many pioneers and continuing dance choreographers fuse and use some of those traditional dance forms in their choreography,” she says.

Take Aparna Ramaswamy, one of the performers in Wondrous Women. Her group, the Minneapolis-based Ragamala Dance

PHOTO BY CHRISTOPHER DUGGAN

BY AMANDA ABRAMS

WONDROUS WOMEN: SOLOS CREATED BY THE ARTISTS FOR THEMSELVES Friday, July 13 (8 p.m.) & Saturday, July 14 (7 p.m.), $12–$51 The Carolina Theatre, Durham www.americandancefestival.org

Wondrous Women will be rounded out by Camille A. Brown, who will be performing a solo from ink, the last part of a trilogy exploring the rituals and traditions ingrained in the African diaspora, examining elements of black culture that are often erased or silenced.

Rhapsody James will show work highlighting her style of “street jazz,” which is strongly influenced by hip-hop. And Yabin Wang, China’s superstar modern choreographer and a highly trained Chinese classical dancer, will show a piece based on quantum physics and elements of uncertainty.

Wang has a history with ADF—she was selected as one of the festival’s resident international choreographers in 2010— and neither hip-hop nor tap nor stories of the African-American experience are strangers to the festival. Still, with its acknowledgment of the many roads that led to what modern dance is today, Wondrous Women marks a departure. In this era, when issues of identity and cultural appropriation are paramount, it’s a welcome one. arts@indyweek.com INDYweek.com | 6.13.18 | 19

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Purple Reign

KAFFEINATE’S ICED OKINAWAN STEAMER IS SUMMER’S ANSWER TO PUMPKIN SPICE

BY MEG NESTEROV

W

hen Kaffeinate opened near Durham’s Brightleaf Square last fall, it wowed the Instagram set with its black-sesame latte. The seeds adrift in the white foam cap are all the more photogenic because they match the ninety-yearold black-and-white tile floors. (The building was once a Studebaker car dealership.)

Then the shop upstaged itself with the Okinawan Steamer, a comforting, just-atouch-sweet steamed-milk drink made with purple sweet potatoes. While the drink was not intended to be a permanent menu fixture, its striking pastel hue (#nofilter) has taken it from chalkboard special to being the cafe’s specialty. Few can resist snapping a shot for social media before they sip. It’s also available iced, where its color shines brightly in a Mason jar.

But the Okinawan Steamer is more than Instagram bait. With his father and sister, Kong and Diana Lee, coffee enthusiast Raymond Lee opened Kaffeinate in the former Respite Cafe space on North Duke Street.

Born in Queens and raised in Raleigh, the Lee siblings are first-generation Korean Americans. They want their cafe’s menu to draw flavors and influences from their heritage, but without being defined or restricted by it.

Raymond Lee has long had the idea for a sweet potato latte in mind. In Korea, they’re as popular as pumpkin spice lattes are in the U.S.; Seoul-based chain Hollys Coffee serves its signature almond-topped sweet potato latte year-round. Lee wanted a sweet potato latte to be one of his cafe’s signature drinks but wasn’t satisfied with the recipe in time for the opening.

A few months after Kaffeinate opened, Lee’s father brought him some purple Okinawan sweet potatoes that a friend gave him.

They were meant as a snack, but their serendipitous arrival revived Lee’s idea.

“It took a while for us to develop a recipe that was both delicious and kept the beautiful color of the sweet potato, but the end result is the Okinawan Steamer,” Lee says.

Lee found the Okinawan sweet potatoes hard to source regularly, so he switched to a locally grown variety of purple sweet potato he could get at the farmers market. (But by then, the name had stuck.)

Lee buys the purple sweet potatoes at the Raleigh Farmers Market, then steams and purees them before mixing them with steamed milk, spiced with a proprietary blend. Maple syrup draws out the tuber’s natural sweetness and balances the starchy, vegetal taste, along with a dusting of cinnamon on top. While the drink is best presented in all its purple majesty as a noncaffeinated steamer, espresso is an add-in option, and the full-bodied, locally sourced coffee tones down the sweetness even further.

You can order the espresso on the side to sample it both ways, but it’s fun to watch the staff add it, too. The espresso shot must be poured high above the foam so as not to muddle the color, and Lee and barista Toni Partin are ace enough leave the purple foam intact.

Though the Okinawan Steamer is a hit among those in the know, some customers are hesitant about drinking something with potato as an ingredient, no matter how alluring its color. But Partin remains confident that doubters will be pleasantly surprised.

“People are always very curious about the taste, but I encourage them to try it, and I’ve yet to have a person bring it back to me or tell me they didn’t like it in the eight months we’ve been open,” she says. food@indyweek.com

KAFFEINATE

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Okinawan Steamer PHOTO BY CAITLIN PENNA INDYweek.com | 6.13.18 | 21

O

ur “Like that? Try this.” edit picks throughout our Best of the Triangle reader picks resulted in some confusion as to who won certain categories, so we’re reprinting the reader picks for those areas below, as well as some corrections. You can also find all this and more at indyweek.com.

Best of the Triangle 2018:

Eat + Drink

Best Cheap Eats in Durham County

Guasaca

Erwin Square, #A-100, 2200 West Main Street, Durham guasaca.com Finalists: Pie Pushers, Saladelia Cafe & Catering, The Mad Hatter’s Cafe & Bake Shop

Best Cheap Eats in Wake County

Mami Nora’s

2401 Wake Forest Road, Raleigh maminoras.com Finalists: Armadillo Grill, The Players’ Retreat, Mitch’s Tavern

Best Coffee Shop in Durham County

Cocoa Cinnamon

420 West Geer Street, Durham cocoacinnamon.com Finalists: Bean Traders, Joe Van Gogh,The Mad Hatter’s Cafe & Bake Shop, Saladelia Cafe & Catering

Best Distillery in the Triangle

Durham Distillery

711 Washington Street, Durham durhamdistillery.com Finalists: Pinetop Distillery, Fair Game Beverage Company Wine and Spirits, Graybeard Distillery 22 | 6.13.18 | INDYweek.com

Best Food Truck in the Triangle

Chirba Chirba Dumplings

chirbachirba.com Finalists: Buoy Bowls, Pie Pushers, Frankly The Best Hot Dogs

Best Fries in Durham County

Bull City Burger and Brewery

107 East Parrish Street, Durham bullcityburgerandbrewery.com Finalists: The Federal, Heavenly Buffaloes, Bull McCabe’s Irish Pub

Best Frozen Treats in the Triangle

The Parlour

117 Market Street, Durham theparlour.co Finalists: Locopops, Fresh, Treat Ice Cream & Coffee

Best Guacamole in the Triangle

Gonza Taco y Tequila

7713 Lead Mine Road, #39, Raleigh gonzatacoytequila.com Finalists: Dos Perros, Jose and Sons, Totopos Street Food & Tequila

Best Locally Made Craft Beer in the Triangle

Trophy Wife Session IPA, Trophy 656 Maywood Avenue, Raleigh trophybrewing.com Finalists: Bier de Garde (Ponysaurus), Glean (Brewery Bhavana), Six Impossible Things (Mystery Brewing)

Best Locally Made Wine, Cider or Mead in the Triangle

Bull City Ciderworks

305 S Roxboro Street, Durham bullcityciderworks.com Finalists: Botanist & Barrel Cider, Honeygirl Meadery, Starrlight Mead, Fair Game Beverage Company Wine and Spirits

Best Outdoor Dining in Wake County

Taverna Agora Greek Kitchen & Bar

Best Tapas in the Triangle

Mateo Bar de Tapas

109 West Chapel Hill Street, Durham mateotapas.com Finalists: Humble Pie, Stanbury, Taberna Tapas

Best Taqueria in the Triangle

Taqueria La Vaquita

2700 Chapel Hill Road, Durham lavaquitanc.com Finalists: Nanataco, Gringo A Go Go, Taqueria El Toro

Best Vegan-friendly Restaurant in Durham County

Luna Rotisserie and Empanadas

112 West Main Street, Durham lunarotisserie.com Finalists: Refectory Café, Saladelia Café & Catering, The Mad Hatter’s Café & Bake Shop

326 Hillsborough Street, Raleigh tavernaagora.com Finalists: The Station on Person, Humble Pie, Krafty’s Burgers and Brews

Best of the Triangle 2018:

Best Restaurant in the Triangle

Best Hair Salon in Durham County

Bida Manda Laotian Restaurant and Bar

222 South Blount Street, Raleigh bidamanda.com Finalists: Royale, Maximillians Grill & Wine Bar, Krafty’s Burgers and Brews

Best Sandwich in Durham County

Toast

345 West Main Street, Durham toast-fivepoints.com Finalists: Lucky’s Delicatessen, Saladelia Café & Catering, The Mad Hatter’s Café & Bake Shop

Health + Body Posh the Salon

610 West Main Street, #101, Durham poshthesalon.com Finalists: Vent Salon, Blue Bamboo Hair Salon, The Cottage Salon

Best Yoga Studio in Durham County

Global Breath Studio

119 West Main Street, #300, Durham globalbreath.org Finalists: Durham Yoga Company, Blue Point Yoga Center, Hot Asana Yoga Studio (Durham)

Bes

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Art

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Best in Du

Acc

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Best in th

Rub

414 F ruby Finali Grill

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Best of the Triangle 2018:

Out + About

Best Local Art Exhibit of the Year

Art in Bloom, NCMA

2110 Blue Ridge Road, Raleigh ncartmuseum.org Finalists: Truth to Power at Pleiades Arts (Durham), The Carrack Community Art Show, Shades of Goldfish at Spectre Arts

Go,

Best Local Podcast

t

thisiscriminal.com Finalists: SPORTSRAP, Intelligently Ratchet, Free Lunch

ia er’s

8:

ty

oo

Criminal

Best Museum in the Triangle

North Carolina Museum of Art

2110 Blue Ridge Road, Raleigh ncartmuseum.org Finalists: Museum of Life and Science, North Carolina Museum of Natural Sciences, Nasher Museum of Art

Best Place for Indoor Fun in the Triangle

Museum of Life & Science

433 West Murray Avenue, Durham lifeandscience.org Finalists: Tic Toc Escapes, Bull City Escape, Raleigh Room Escapes

Best Theater to see an Indie Film in the Triangle

The Carolina Theatre

309 West Morgan Street, Durham carolinatheatre.org Finalists: Chelsea Theatre, Rialto, The Cary Theater, Silverspot, Alamo Drafthouse

Best Theater Venue in the Triangle

Durham Performing Arts Center

Best of the Triangle 2018:

Best Contractor in Durham County

Best Attorney / Law Firm in the Triangle

502 Rigsbee Avenue, Durham buildsense.com Finalists: CQC Home, Star Woodworks, Little Corner Construction

Shops + Services Chris Mann

621 West Jones Street, Raleigh mmandjlaw.com Finalists: Capital City Law, Ben Hiltzheimer, Jonathan Richardson

Best Auto Repair in Durham County

Wasp Automotive

4906 Meadow Drive, Durham waspauto.com Finalists: Neal’s Garage, Massey Brothers Automotive & Towing, Ingold Tire & Auto Service Center

316 West Geer Street, Durham Finalists: Blue Note Grill, The Glass Jug Beer Lab, The Bar Durham

Best Place for Dancing in the Triangle

Ruby Deluxe

414 Fayetteville Street, Raleigh rubydeluxeraleigh.com Finalists: Coglin’s Raleigh, Blue Note Grill, The Bar Durham

Best Nonprofit in Durham County

TROSA

1820 James Street, Durham trosainc.org Finalists: Animal Protection Society of Durham, Hope Animal Rescue, Durham Literacy Center

Best Nonprofit in Orange / Chatham County

Goathouse Refuge

123 Vivian Street, Durham dpacnc.com Finalists: The Carolina Theatre, Raleigh Little Theatre’s GaddyGoodwin Teaching Theater, Duke Energy Center for the Performing Arts

Best Neighborhood Bar in Durham County

Accordion Club

BuildSense

best O F TH E

t r ia n g l e 2 018

232 Goathouse Road, Pittsboro goathouserefuge.org Finalists: Carolina Tiger Rescue, Paws4Ever, TABLE

Best Nonprofit in Wake County

Urban Ministries of Wake County

1390 Capital Boulevard, Raleigh urbanmin.org Finalists: Triangle Beagle Rescue, Alzheimer’s Association ENC, Archangel Alliance

Best Vintage / Antique Store in the Triangle

Father and Son

302 South West Street, Raleigh facebook.com/Father-andSon-133275510048293/ Finalists: Dolly’s Vintage, Raleigh Vintage, Raleigh Furniture Gallery

y, ana

INDYweek.com | 6.13.18 | 23

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indymusic

STEPHEN MALKMUS & THE JICKS Tuesday, June 19, 8 p.m., $20–$23 Cat’s Cradle, Carrboro www.catscradle.com

Harnessed Hopes

CAN PAVEMENT’S STEPHEN MALKMUS HOLD HIS OWN AGAINST HIS FORMER BAND'S EVER-EXPANDING LEGACY?

BY CECILE DUNCAN

A

n oft-quoted Pavement lyric, the line “Show me a word that rhymes with Pavement,” comes from “Harness Your Hopes,” a jaunty fan favorite laced with frontman Stephen Malkmus’s sharpest wordplay. Of course it’s a B-side—an illustration of the reputation the band has developed as a flexing opportunity for fans, usually men, to prove themselves and gauge the merit of others. When my friend and eventual podcast co-host tweeted “some call it ’90s revival, I call it the Pavement Enslavement,” he had no idea he’d accepted a proposal from Malkmus, a man with whom he was otherwise unfamiliar. He thought he was making a topical joke about a band that’s become emblematic of a particular sound and time.

All sides are guilty of this compartmentalization—not only of Pavement but also of Malkmus himself. Because his band has been canonized as the standard for nineties indie rock, he could seem like a relic whose output after the band’s dissolution in 1999 is auxiliary, a side project despite there being no bigger active band. Apart from Malkmus’s 2001 self-titled debut (which could easily be folded into Pavement’s discography), Stephen Malkmus and the Jicks have largely seemed set on carving out their own lane and proving themselves against a legacy that still hasn’t plateaued.

ILLUSTRATION BY CHRISTOPHER WILLIAMS They’ve done an admirable job at just that, zigzagging from release to release among proggy extended jams, playful experimentation with synthesizers, and seventies guitar rock theatricalalbum, May’s Sparkle Hard, has been swift to note, the Jicks ity, all hinted as tendencies for Malkmus with Pavement, have already outlived Pavement. The same pieces also frebut never fully explored. Despite a rotating drummer posiquently cite that it’s been four years since the Jicks’ last album, tion, including a stint from Quasi and Sleater-Kinney’s the longest stretch ever between releases for Malkmus.

Janet Weiss for 2008’s Real Emotional Trash, the lineup has It’s easy to overlook the significance of an artist that’s still remained the same since the Jicks’ debut in 2001. It’s hard to quickly evolving, but the Jicks seem to have finally locked argue, nostalgic bias for Crooked Rain, Crooked Rain aside, into a groove, indicating a remarkable self-awareness on that Malkmus hasn’t expanded his sound and craft over the Malkmus’s behalf of the space he occupies in rock music. course of his post-Pavement career.

Sparkle Hard feels like a greatest hits record, culling the So why, if it’s been a source of growth and fulfillment for highlights of the last six albums into a satisfying reminder their hero, have many of the most devoted Malkmus fans still of what the band has consistently delivered, while still leavbeen hesitant to consider the Jicks material as anything more ing room for some novelty, including Auto-Tune and some of than an afterthought? As most of the press around their latest Malkmus’s most pointed social commentary to date.

Beyond music though, Malkmus has spent the years between records settling into a position as a cultural figure, and he’s done so with almost startling acuity. He’s become more active on Twitter, engaging with current events and mocking his own legacy, making it hard to hate him even if you’ve shrugged off his music.

He’s not only in on the joke, he’s usually ahead of it.

When my friend and I launched a podcast called The Pavement Enslavement years after his tweet, the concept was that I would be convinced that Pavement was a bad band by someone who knew nothing about them. That didn’t happen, and after a deep dive into their discography and eventually the Jicks, our best conversations came from our shared fascination with Malkmus—his interests, opinions, and whatever else informed his career trajectory. This even translated into fandom for my skeptic cohost.

The press cycle for Sparkle Hard was crammed with uncanny coincidences for us. It felt like Malkmus was making jokes about himself that we had riffed on in the podcast. Specific things, like whether he’s a gamer (the lyrics in Brighten the Corners suggest yes), that are outlandish to project onto someone of his stature. Yet somehow, he recognized and played along with our whims.

Perhaps that’s why lines like “Come from the underground/Throw me right back where I belong” in Sparkle Hard’s “Shiggy” come off as pleasantly self-aware instead of smugly romanticizing a legacy. Malkmus recognizes his position: more esteemed than most, though he acknowledges that there are still old guards boxing him out of “legend” status.

He does so with a prescience that reinforces that place, allowing for a later-era high mark like Sparkle Hard and making him an evergreen source of lighthearted parody for, say, a comedy podcast. There are a few words that rhyme with Pavement, but Malkmus himself prompted the joke and nipped in the bud the notion that the punchline could ever really be true, for him or his fans. music@indyweek.com INDYweek.com | 6.13.18 | 25

JUNE

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Turning Leaf

AN OLD TOBACCO COMPLEX TURNED ARTS HUB EVOLVES AS THE CARRACK APPOINTS A NEW LEADER AND SPECTRE ARTS CLOSES

BY BRIAN HOWE

SA JUNE 16 • 7P

THE BREAKFAST CLUB WE 20 RED NOT CHILI PEPPERS 7p FR 22 DAVID ALLAN COE 7p SA 23 AT RED HAT AMPHITHEATER AMERICAN AQUARIUM TH 28

W/ TRAVIS MEADOWS 6p CREATIVE NATION PRESENTS

“MONEY POWER RESPECT TOUR” 7p FR 29 CHAD PRATHER 6p SA 30 YACHT ROCK REVUE 7:30p J U LY

FR 6 THE STEEL WOODS 8p SA 7 INTERSTELLAR OVERDRIVE W/ ABACAB 7:30p

TU 10 BERES HAMMOND

W/ HARMONY HOUSE SINGERS 7p

FR 13 LITTLE OZZY (OZZY OZBORNE TRIB) W/ THE GRAY/NEON KNIGHTS (DIO TRIBUTE) 7p

SA 14 CONTROL GROUP REUNION SU 15 TH 19 FR 20 TH 26 FR 27 SA 28

W/ KRIS HEATON BAND / DONNA BLUE BAND / NIGHT SHIFT 7p

AFTON MUSIC SHOWCASE ERIC SCHWARTZ 7p JUSTIN WEST 7p TAB BENOIT 7p TORY LANEZ 7p MOTHER’S FINEST 7:30p

CO M I N G S O O N

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W/ THE MANTRAS 10:15p SISTER HAZEL 7p THE BLACK LILLIES 7:30p CHERUB @ THE RITZ

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26 | 6.13.18 | INDYweek.com

T

he Carrack Modern Art and SPECTRE Arts are separate entities, but fate seems intent on linking them. First, SPECTRE founding director Alicia Lange paved the way for the Carrack’s relocation from Parrish Street to the Golden Belt area. Now, by coincidence, both galleries are undergoing major transitions at the same time. SPECTRE closed at the end of April; this week, the Carrack appointed a new leader after being synonymous with founding director Laura Ritchie since its inception.

Both shifts have to do with Lange’s and Ritchie’s unrelated personal trajectories, but both were also shaped by Golden Belt’s rapid development and Durham’s as a whole.

In 2011, just out of college, Ritchie cofounded the Carrack with John Wendelbo, who left the project after a year or so. She had a vision for a zero-commission gallery— meaning artists keep all the money from their sales—and event space that would also serve as a community resource. The question of what “community” means gained definition and urgency as local development accelerated. While trying to figure it out, Ritchie made a creaky loft above Loaf a social hub and a Third Friday anchor.

In 2013, when Alicia Lange bought a former church on Morning Glory Avenue, she had something else in mind. SPECTRE Arts was also a community space with events, but one driven more by professional than emerging locals, with artists such as Harrison Haynes keeping studios in the back. It opened with an exhibit that included the documentary photography of Jeremy Lange, Alicia Lange’s husband, and live music by Mount Moriah. Until then, pop-up exhibits and open studio nights at Golden Belt had been the only reason for Third Friday hoppers to cross the mile from downtown to East Main, but the addition of the smaller, more accessible SPECTRE was a magnet.

Left: Laura Ritchie at the Carrack. Right: Alicia Lange at SPECTRE. PHOTOS BY CAITLIN PENNA

ITLIN PENNA

By 2016, the Carrack was feeling the crunch of rising costs and construction as the One City Center project created blockages on Corcoran and Parrish Streets. But by then, Lange had purchased another, larger building by Golden Belt. She named it the Torus Building and installed artist studios. It shared a courtyard with SPECTRE. It was a fit for the Carrack, replicating the old gallery’s wooden floors and tile ceilings in a ground-level space clad in artist studios. With SPECTRE and the Carrack there, Golden Belt finally felt like the vital community arts hub it always wanted to be.

Meanwhile, Durham Artists Movement, an itinerant group focusing on artists who were marginalized in mainstream art spaces, took over the remainder of the Carrack’s 2016 lease on Parrish. DAM was led in part by a local artist called Saba Taj. This foreshadowed the Carrack’s future more than anyone would have guessed at the time.

The SPECTRE building has been posted for rent since it closed. “You want to have a good neighbor,” Lange says. “And Golden Belt is doing all of this building that’s centered around arts and arts retail. With the Torus Building full of artists, I’d love to find someone who wants to engage with that.”

Lange says that although SPECTRE no longer exists as a location, this doesn’t mean it no longer exists. In a way, after breaking ground for the Carrack to come to Golden Belt, SPECTRE is now free to become something else, though Lange is taking her time figuring out what that might be.

It’s super bittersweet, cleaning out my office, but it feels really right.”

Ritchie knew the Carrack needed to achieve stability before it could be handed off to someone else. After working for free for the first several years, she’d wound up with a part-time stipend of about $8,000 a year. And that was contingent on her pouring in copious volunteer hours, something she couldn’t ask of someone else.

Though shoestring and grassroots from the start, the Carrack had always been tacking toward sustainability. Fairly early, it secured fiscal sponsorship from Fractured

S

PECTRE closed after another exhibit by Jeremy Lange, After Golden Leaf. This was especially apt because its subject was the history of tobacco in a city whose infrastructure was partly built on the industry.

Long before it gave way to arts studios and shops, the Golden Belt Manufacturing Co. made linen bags in which tobacco was sold.

“That really spoke to the history and culture of Durham, showing this change by being in this space surrounded by this change,” Alicia Lange says, on the patio at Cocoa Cinnamon. Her decision to close SPECTRE after five years had more to do with this general sense of transition, in Durham and in her life, than with any single driving factor.

“I’m a parent. I’m an artist. I’m a wife,” she says. “I think in project terms, and it just felt like time to move on to the next project. I thought about finding someone else to run it, but I realized that a specter is, in essence, a ghost. It doesn’t need to be tied to anything. It just roams, and that’s sort of who I am.”

While running SPECTRE, Lange was traveling far and wide, bringing news of Durham art to other places and bringing artists from those places back here. This kind of connection is both her passion and the subject of the PhD in philosophy, aesthetics, and art theory she’s been pursuing through the Institute for Doctoral Studies in the Visual Arts, which she’ll now have time to finish.

“My practice has always centered around identity and environment, which brought me to renovate these buildings and work with people to see how space activates them and how they activate space,” Lange says.

“We’re the ones that build these buildings.

We’re also the ones that engage within them.

We change them, we create them, we destroy them, but we’re all doing it.”

“It’s been an intimate, deep relationship I’ve put all my energy into for all my adult life so far. It’s super bittersweet, cleaning out my office, but it feels really right.”

The Carrack Modern Art FILE PHOTO BY ALEX BOERNER “The Carrack being in the Torus Building is great. That has brought a whole new life,” she says. “SPECTRE is not ceasing to exist as an entity, just flourishing in a different way. This was sort of a graduate school dream with a bunch of people I know who became professionals in different areas: having a space to test out ideas and to discover. I think that was accomplished. I learned that nothing’s constant. Everything changes.”

B

efore she announced in April that she was stepping down, Laura Ritchie had been thinking about it for a while.

“I love this work, but my energy for it has been waning,” she says, on the patio behind the Carrack, which looks down across the courtyard onto what was recently SPECTRE. “For it to remain experimental and community oriented, you need new vision.

I just turned thirty, and I stepped into this project when I was twenty-two, thinking it was something I would do for a year. It’s been an intimate, deep relationship I’ve put all my energy into for all my adult life so far.

Atlas, which allowed it to function like a nonprofit. Eventually, its fundraising efforts grew robust enough to pay a few key staffers.

Ritchie built an advisory board that includes ten members as well as a dedicated volunteer staff. Now, the Carrack is applying for 501(c) (3) status. The right people and systems were in place. It was time.

One of those right people was operations director Kerry Crocker, a part-time employee who came on three years ago as the organizer of the Muse Masquerade, the Carrack’s major annual fundraiser at 21c Museum Hotel, and stayed on to help Ritchie organize the Carrack’s systems. She’ll continue to support the new director.

“The Carrack is a lot of work, and I’ve seen how much of a toll it can take,” Crocker says.

“Laura kind of made it her baby, and now she’s sending her baby off to college.”

Ritchie has been working toward a master’s degree at Duke focusing on the relationship between arts, economic development, and gentrification. “I’m definitely not leaving the Carrack to do school, but [these studies]

have made me feel open to other types of work that still center on advocacy for the arts community in Durham,” she says.

Changing the rules about access and leadership in the art world has always been a Carrack principle—one that was tested and refined by the gallery’s move to East Main.

It was paramount in the search for a new director. When Ritchie told her board about her intention to step down, they wrote a job description—they’d never thought to write one before—of a part-time position that paid about double what Ritchie made. She says they received a flood of qualified applicants.

“We are extremely locally focused,” Ritchie says. “It’s a foundational part of our mission to provide opportunities to artists who are underrepresented, including artists of color, queer and trans artists, emerging artists, and artists making experimental or temporal work that doesn’t fit into traditional commercial gallery model.”

Not only had Saba Taj developed a relationship with the Carrack through DAM, she had also been part of many exhibits at the gallery, and her work covered the range of art and activism the Carrack needed to truly honor its mission statement.

“She’s deeply connected to her art practice and has demonstrated a commitment to lifting up artists in this community, certainly those underrepresented voices,” Ritchie says. “And she bridges the gap between community and professional art worlds. She uses art in activism and also received her MFA from UNC-Chapel Hill.

I think Saba will push the Carrack to support artists of color more. One thing I have struggled with is upholding that mission in our staff structures. The wonderfully diverse arts community in Durham is what makes it a thing, but leadership is still fairly monolithic. I think Saba will push that conversation forward.”

Ritchie’s last day is Friday. Taj, whose directorship was announced at an emotional going-away party for Ritchie in the courtyard Saturday night, starts the next day.

“I’ve loved the Carrack for a long time, and the same things that motivated me in DAM come into play,” Taj says. “My work is responsive to the lack of representation of marginalized individuals within art and institutions. I’ve seen the Carrack make intentional shifts about who is represented, and that’s something that can be extended even further. How we’re existing in a gentrifying Durham feels like a huge question, and through engaging with it in many different ways, I’ve been able to see the different layers. I’m excited to work with other folks in Durham to bring folks in in a much bigger way than we’ve ever done before.” arts@indyweek.com INDYweek.com | 6.13.18 | 27

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28 | 6.13.18 | INDYweek.com

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Body and Soul

IN THE SECOND PART OF HER BUY IT, CALL IT TRILOGY, MONÉT NOELLE MARSHALL TURNS US LOOSE IN THE CARNIVAL OF HER SELF-IMAGE—AND OUR OWN

BY KEVIN J. ROWSEY II

E

arlier this year, in Buy My Soul and Call It Art, the first part of her performance trilogy, Monét Noelle Marshall began a conversation about the worth of black art. Last weekend and next, it continues at the Fruit with Buy My Body and Call It a Ticket, another interactive performance that plunges the audience right into the feelings, thoughts, and outcomes that many black artists face, in a way that had me questioning what came from reality and what was merely one of Marshall’s brilliant conceptions.

This series is meant to challenge a plethora of social issues revolving around entertainment and the creative process, and after the first part premiered at the Living Arts Collective, theatergoers were eagerly awaiting her next offering. I was geared up for another mind-warping interactive experience, but I quickly realized this was not just the same format regenerated in a new venue. Marshall utilized a completely new theatrical carnival to tackle another important issue in the world of entertainment: healthy body image.

When we enter the venue, Marshall allows us the freedom to roam through the carnival of her mind. Unlike Buy My Soul, in which we were shuffled through the experience as if we were touring an art

exhibit, Buy My Body gives us the autonomy to explore on our own time. Different parts entice us to look closely at issues like weight, hair type, and self-healing. In true North Carolina State Fair fashion, I was asked to step on a scale and have my weight estimated. Nervous, because I am a few Bojangles french fries away from being in shape, I was surprised at how accurate the estimation was.

The show did not stop with the carnival.

Marshall and her cast of local artists utilized the entirety of the venue. The evening was filled with emotional experiences representing all genders, sexual orientations, skin colors, and age ranges. I witnessed individuals tearing up in response to what Marshall delivered, in a very direct fashion, on the topic of body image. As a larger black man who swam competitively during my adolescent years, this artistic demonstration brought me to a place I had yet to face in my late twenties. If this is the only body that I have, the only body that I know, why am I allowing the perceptions of others to dictate how I look and feel about myself ?

Marshall’s art forces us to the realization that we are the only ones that can heal ourselves, and only if we decide to embrace our own beauty and individuality. arts@indyweek.com

BUY MY BODY AND CALL IT A TICKET ½ Friday, Jun. 15 & Saturday, Jun. 16, 7/8:30 p.m., pay what you want The Fruit, Durham www.durhamfruit.com Monét Noelle Marshall: Buy My Body and Call It a Ticket PHOTO BY DERRICK BEASLEY INDYweek.com | 6.13.18 | 29

WHAT TO DO THIS WEEK Tracyanne & Danny PHOTO BY ANNA ISOLA CROLLA FRIDAY, JUNE 15

FRIDAY, JUNE 15–SUNDAY, JULY 1

TRACYANNE & DANNY

After Camera Obscura’s wonderful 2013 album, Desire Lines, it wasn’t clear that we would ever hear Tracyanne Campbell sing again. Carey Lander, the Scottish indie-pop band’s keyboardist and Campbell’s close friend, passed away from cancer, and Cam Ob fell silent. For those who love that irreplaceable voice—“a strip of emerald-green ribbon, matte on one side, iridescent on the other, slowly tossing on a breeze,” I said in Pitchfork—this prospect was hard to bear. More specific than love songs, Campbell always returns to the topic of wresting friendship from heartbreak’s aftermath, so it’s apt that she returned to music with a new friend last month. On Tracyanne & Danny’s self-titled Merge debut, she joins forces with Danny Coughlan of Crybaby, whose vintage pop idiom permeates these songs. It’s a fine return, if a slightly tentative one, but if Campbell’s joy to be writing music with a friend again is marked by a certain caution, our joy to hear her sing again is unbridled. —Brian Howe MOTORCO MUSIC HALL, DURHAM 8 p.m., $18–$20, www.motorcomusic.com 30 | 6.13.18 | INDYweek.com

FRIDAY, JUNE 15

IT SHOULDA BEEN YOU

A decade ago, Paramore stood on the leading edge of poppunk, with charming frontwoman Hayley Williams at the helm. Anthems like “Misery Signals” and “Emergency” were salves for a crop of angsty teens, but like those teens, Paramore has grown up. On last year’s After Laughter, the band leaned hard into glossy, sparkling pop that’s immediately ingratiating and catchy as ever. Williams’s writing has grown, too, into nuanced explorations of anxieties and insecurities. “Rose-Colored Boy” features Williams wrestling with optimism while “Hard Times” opens with Williams singing, “All that I want is to wake up fine/Tell me that I’m all right, that I ain’t gonna die.” Live, Williams’s inimitable energy is profoundly impressive and entertaining; seeing Paramore in 2018 isn’t so much a blast from the past as it is a straight-up blast. —Allison Hussey

In addition to two TV shows, the bestseller The Worst-Case Scenario Survival Handbook spawned a number of special editions and assorted tchotchkes in the early aughts. Brian Hargrove’s dizzy 2015 musical farce, It Shoulda Been You, could have been the wedding version of the series. It’s the morning of the nuptials of Rebecca Steinberg and Brian Howard, so check the box beside “Jewish-Irish Catholic wedding” and brace yourself for lyrics like, “Rabbi Schwartz and Father O’Shannon/Somebody shoot me with Pachelbel’s Canon.” The mothers-in-law are not entirely reconciled to the merger. Or each other. Check. And look who just showed up: the bride’s ex-boyfriend, who has an axe to grind—and several inebriated family members on his side. Double-check, and cue the title song. Mackie Raymond and Tyler Graeper play the happy couple, with support from stalwarts Alison Cooper and Sandi Sullivan.

Jackson Cooper directs. —Byron Woods

RED HAT AMPHITHEATER, RALEIGH $55+, 7 p.m., www.livenation.com

THEATRE IN THE PARK, RALEIGH Various times, $20–$30, www.theatreinthepark.com

PARAMORE

6.13–6.20

Significant Other PHOTO COURTESY OF THEATRE RALEIGH WEDNESDAY, JUNE 13–SUNDAY, JUNE 24

SIGNIFICANT OTHER

As a young, gay, hopeless romantic in the big city, Jordan Berman has heretofore relied on his ace in the hole: a troika of snarky, smart girlfriends. Kiki’s the optimistic pistol; Vanessa’s mercurial and artistic but with a redeeming kinky streak; and Laura is Jordan’s level-headed former roommate—the one he’d probably marry if it weren’t for, you know, the whole gay thing. But wedding bells are breaking up the band as first Kiki, and then Vanessa split off into the kinds of cocooned worlds reserved for couples. Jordan is learning, in critic Ben Brantley’s words, how quickly a gay best friend can become the odd man out. It’s all happening just when he could really use some backup in a maybe-yes, maybe-no relationship with the new guy at the office. Julia Murney directs Jesse Gephart in his return to the regional stage. —Byron Woods KENNEDY THEATRE, RALEIGH Various times, $30–$32, www.theatreraleigh.com

WHAT ELSE SHOULD I DO?

BUY MY BODY AND CALL IT A TICKET AT THE FRUIT (P. 29), SHALEIGH DANCE WORKS AT PSI THEATRE (P. 38), SHEN WEI DANCE ARTS AT DPAC (P. 16), STEPHEN MALKMUS & THE JICKS AT CAT’S CRADLE (P. 25), TEMPORAL CARTOGRAPHY AT THE DURHAM ART GUILD (P. 36), CHRIS TONELLI AT FISH MARKET GALLERY (P. 40), WONDER WOMAN AT THE WALLACE PARKING DECK (P. 40) INDYweek.com | 6.13.18 | 31

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w/ POISON ANTHEM FRI 6/15 • CAT’S CRADLERICHARD PRESENTS BACCHUS & THE LUCKIEST GIRLS

FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC TRACYANNE & DANNY FRI 7/1 LOOK HOMEWARD / THE MIDATLANTIC (FEAT. TRACYANNE CAMPBELL OF CAMERA OBSCURA & DANNY COUGHLAN OF CRYBABY) RICHARD BACCHUS & THE LUCKIEST GIRLS

TUELOMELDA 7/5 Crank It Loud: NOTHING / CULTURE ABUSE W/ TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE STORMS / HUNDREDFTFACES The WAILIN Sol Kitchen The Love Movement “Hip Hop & RnB WAILIN STORMSpresents / HUNDREDFTFACES Party” with Mad Skillz Art (RVA of - A Cool King &Project: A Prince - Supa FRI 7/8Dance SolKitchen & The FRI 7/8DupaSolKitchen & The Art of Cool Project: TheFly) Art+ofWally Noise Sparks #Durham(ATL - Flava - The Groove) TheJOHNSON Art of Noise #Durham SUN 6/17 HOBO & THE LOVEMAKERS / Grandson S O LD O UT MON Regulator Bookstore presents TUE 6/19 7/11 CAVE / BlackBookstore Marble / Choirpresents Boy MON 7/11COLDRegulator SAT 6/16

HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS THU 7/14 Storymakers: Durham, Community Listening Event THU 7/14 Storymakers: Durham, Community Listening Event SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SAT6/197/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN TUE SUN JUL 17 SUN JUL 17 W/ BLACK MARBLE/CHOIR BOY @ 8:00 PM THE RAGBIRDS @ 8:00 PM WED 6/20 Devastation THE RAGBIRDS $12/$15 of the Nation Tour with ABORTED / Psycroptic / Ingested / Disentomb / Arkaik / Venom Prisom / $12/$15

COLD CAVE

Signs of the Swarm / Ergodic The Sol Kitchen presents THE WALLS GROUP / Tamisha Waden BLAC RABBIT / Sun Parade

THE THE RAGBIRDS RAGBIRDS

SAT 6/23

WED 6/27

MON 7/18 MAIL THE HORSE MON 7/18 MAIL THE HORSE FRI JUL 22 FRI JUL 22 @ 8:00 PMJOHN COWAN @ 8:00 PMJOHN COWAN $25/$30 WED 6/27 $25/$30

S D R I B G A R E TH FRI BOWIE’S DREADS / Sound System Seven SAT6/297/23MYSTIC Girls RockTALKING Showcase

SAT 7/23 Girls Rock Showcase FRI 7/6 The Lost Generation Presents: Summer Splash with TLG, Cloudy TUE 7/26 Motorco Comedy Night: TUE 7/26Nueve, Motorco Yung Yent,Comedy 2K, Kimbo Night: ANDY WOODHULL / ADAM COHEN SUN 7/8 Cat’sANDY / ADAM COHEN Cradle WOODHULL Presents BOB SCHNEIDER er s op Ma tt s -P SUN FRI7/157/29RIVER YOUNG BULL Album Release s"Show WHYLESS as part of Independent Week el erVenue op Ma tt er -P tr avRelease FRI 7/29 YOUNG BULL Album s"Show tis tic e ar tr av el er at tic DUB w/ ALIX AFF / DURTY tis su mm ar on7/17 e "CTUE Cat’s Cradle Presents GET UP KIDS / Racquet Club / Ageist at "C on su mm w/ ALIX AFF / DURTY DUB

THE REVELERS LEWIS, YARN, JARED & THE MILL, SUN JUL17 COMING SOON: SUN COMING SOON: JULIETTE JULIETTE LEWIS, TUE 7/24JUL17 FANTASTIC NEGRITO / Jo YARN, Gore JARED & THE MILL, HAL KETCHUM, NRBQ, Doors: 7pm HAL7/27KETCHUM, NRBQ, LIZ LIZ VICE, VICE, WINDHAND, WINDHAND, Doors: 7pmLANE FRI NIKKI /DEPARTED, Blank RangeRUSSIAN CIRCLES, BAND OF SKULLS, CODY CANADA & THE Show: 8pm CODY CANADA & THE DEPARTED, RUSSIAN CIRCLES, BAND OF SKULLS, Show: 8pm SAT 7/28 SPARROW SommerKill&& Booking presents TEMPLE OF VOID - MOTORCOMUSIC.COM SISTER THE BIRDS, KING, $12 ADV 723 RIGSBEE AVE DURHAM, SISTER SPARROW THE DIRTY DIRTY BIRDS, KING, $12 ADV RIGSBEE AVE --COMPANY, DURHAM, NC NC - MOTORCOMUSIC.COM Eldritch Horror / Datura /723 Antenora DOYLE LAWSON & QUICKSILVER, THE RECORD $15 DAY OF DOYLE LAWSON QUICKSILVER, THE RECORD COMPANY, ADRIAN ADRIAN LEGG, LEGG, $15 DAY OFTHE&BAND, COMING SOON: SPILLMYCANVAS, HE ISDIAMOND, WE, SOPHOMORE SLUMP REBIRTH BRASS BRIGHTEST KARLA BONOFF, !!FEST, W REBIRTH BRASS BAND, MY BRIGHTEST DIAMOND, KARLA BONOFF, O N LE FIRESIDE COLLECTIVE / SLOCAN RAMBLERS, THEILSTEEL WHEELS, ELIZABETH COOK, B W A O N A TALIB KWELI, LOUDON WAINWRIGHT III V LE A B ANDREW W.K., SALES, MWHO’S BAD,IIIAHOT UWAINWRIGHT ILA TALIB KWELI, MIKE FARRIS, THELOUDON DEAD SNAKES, LBBOYS, SUN 7/22

ALBUM AV H R N H H"" E W TBAND H EW RT T NOTHING, DARKA TRANQUILLITY, O MURDER BY&DEATH, AMY RAY NE AHER EANDA HE LD E H T H S & E R LD H T O HE "T THRES-HDURHAM, E RIGSBEE "TH723 OM 723 RIGSBEE AVE AVE - DURHAM, NC NC C-- MOTORCOMUSIC.COM MOTORCOMUSIC.COM The Threshold & The Hearth THE RAGBIRDS

32 | 6.13.18 | INDYweek.com

6/21 MANCHESTER ORCHESTRA W/ O'BROTHER ($23 /$28) 6/23 THE FEELIES ($20/$23) 7/7 ELLIS DYSON & THE SHAMBLES W/ KATHARINE WHALEN PERFORMING THE SQUIRREL NUT ZIPPERS ($10) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM 7/20 CREATE YOUR SUMMER TOUR FEAT. KARINA GARCIA, WENGIE AND NATALIES OUTLET 7/25 DANNY DUNCAN ($25/ $30, VIP AVAILABLE) 8/6 KINA GRANNIS W/ IMAGINARY FUTURE 8/7 AMANDA SHIRES 8/9 THE SWORD ($18/ $20) 8/10 TOWN MOUNTAIN 8/11 SAM BUSH ($30/$33) 8/28 WOLF PARADE 9/15 DEAD SARA

THU 6/28

The Threshold & The Hearth THE RAGBIRDS

WITH SON VOLT

6/19 STEPHEN MALKMUS & THE JICKS W/ LYTHICS ($20/$23)

9/19 FIDLAR W/ DILLY DALLY AND NOBRO ($22/$25; ON SALE 6/8)

BLAC RABBIT W/ SUNJOHN PARADE COWAN JOHN COWAN KINGS PRESENTS “THEY SAY I’M DIFFERENT” w/ &&FUNK BROOKE ALDRIDGE w/ADARIN DARIN BROOKE ALDRIDGE CELEBRATION OF ICON BETTY DAVIS W/ FUNKHOUSE

G B I R D S. O M A G B I R D S. C W W .T H E R A W W W W .T H E R

6/16 SNOW THA PRODUCT ($18/$20)

SA 6/16 @ NCMA

SHOVELS AND ROPE

9/27CAAMP ($14/ $16) 9/29 MT. JOY ($15/$17) 10/4 SKIZZY MARS THE ARE YOU OK TOUR -PHASE 2 ($20/$22) 10/11 APARNA NANCHERLA ($22/$25)

TU 6/19

STEPHEN MALKMUS & THE JICKS 6/13 PASTEL PANTIES, CHARLIE BROWN, HANK AND BRENDAN ($5) 6/14 PROPERSLEEP (ALBUM RELEASE PARTY) W/ SO SOON, THE TRUTH , AN AUTHOR, A POET, PAPERBACK, AND OL’ SPORT ($8) 6/15 THE TILLS, PIE FACE GIRLS,

REESE MCHENRY & THE FOX 6/16 JEANNE JOLLY ($15/ $18)

6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) W/ LOMELDA ($18/$20)

7/21 SUMMER SALT W/ HOT FLASH HEAT WAVE AND THE SYMPOSIUM ($13/ $15) 7/25 MEGA COLOSSUS, WITCH

MOUNTAIN, BIBLE OF THE DEVIL, DEMON EYE ($10) 7/27 BODY GAMES W/ TOW3RS ($10/$12)

7/8 BOB SCHNEIDER (RESCHEDULED) ($20/ $23) 7/17 THE GET UP KIDS W/RACQUET CLUB AND AGEIST ($22/ $26) 9/26 ANDREW WK ($20)

6/18 YOUNG WIDOWS W/ NULL, WAILIN STORMS

8/3 SCHOOL OF ROCK ALLSTARS ($10)

6/16 SHOVELS AND ROPE WITH

6/19 JEREMY ENIGK ($18/$20) 6/23 DESSA W/ MONAKR ($20) 6/28 FORTH WANDERERS 6/29 THE CHORUS PROJECT 6/30 THA MATERIALS W/ J ROWDY & THE NIGHT SHIFT 7/5 SAM MORROW ($10/$12)

7/7 QUIET SLANG ($13/$15)

7/6 SLEEPYHAED,

7/12 INT'L PLAGUERS ANTHEMS / A COMIC BOOK

RELEASE PARTY FT. DISTRIBUTED SYSTEMS, SHINER, BRUTAL JR ($10; INCUDES COMIC BOOK)

7/13 PIERCE PETTIS ($15) $10 / $12 day of $10 advance advance CAMPUS / $12 day of 10/30 HIPPO 7/14 MATTHEW E WHITE

W/THE DISTRICTS (ON SALE 6/15)

MOTORCO (DUR)

7/19 JOE PUG ($15/ $18)

7/28 DR BACON W/ ENO MOUNTAIN BOYS AND ANDY LYLE HALL ($8/$10

10/15 BOB MOSES

10/27 ROKY ERICKSON ($25/ $28)

7/17 PETAL & CAMP COPE ($13/ $15)

6/17 MAPS & ATLASES W/ PRISM TATS ($15/$17)

ELVIS DIVISION, HALF-COCKED (FILM) ($8)

10/16 WILD NOTHING

JEREMY ENIGK

10/24 AMY RAY AND HER BAND ($20)

10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10)

10/24 BIG THIEF W/ THE RANGE OF LIGHT WILDERNESS ($16/ $18)

TU 6/19 @CAT’S CRADLE BACK ROOM

W/ ANDY JENKINS ($15)

8/4 ALBUM RELEASE PARTY

ANNE-CLAIRE PETER HOLSAPPLE COMBO CHESSA RICH ($8 /$10)

8/5 JOAN OF ARC ($12)

NORTH CAROLINA MUSEUM OF ART

SON VOLT

6/23 MANDOLIN ORANGE LD W/ CHARLIE PARR SO OUT 7/12 LAKE STREET DIVE 7/28 THE MAVERICKS

8/9 THE ESSEX GREEN

8/1 FATHER JOHN MISTY WITH SPECIAL GUEST

8/13 DK THE DRUMMER/ SUCRE ($15)

8/3 KISHI BASHI AND JAKE

8/16 VACATIONER W/ SEGO ($15/ $17) 9/9 SLOAN ($22/$25) 9/11 REMO DRIVE, FIELD MEDIC

PRINCE DADDY & THE HYENA ($13/$15)

JENNY LEWIS

SHIMABUKURO

8/18 TROMBONE SHORTY'S

LD VOODOO THREAUXDOWN SO OUT

THE RITZ (RAL)

(PRESENTED IN ASSOCIATION W/ LIVENATION)

6/27 BEACH HOUSE

MEMORIAL HALL (UNC-CH)

9/16 SHAKEY GRAVES

9/14 NEKO CASE W/ THAO (OF THE GET DOWN STAY DOWN)

HAW RIVER BALLROOM

DURHAM PERFORMING ARTS CENTER

6/13 WASHED OUT W/ THE SHACKS ($20/$23)

9/29 JOAN BAEZ FARE THEE WELL TOUR.

11/30 MOUNTAIN GOATS W/DEAD RIDER

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO

music 6.13– 6.20 WED, JUN 13 2ND WIND: Yeaux Katz; 7-9 p.m., free.

CAT’S CRADLE: Too Many Zooz, Joe Hertler & the Rainbow Seekers; 8:30 p.m., $17–$19.

DUKE GARDENS: Music in the Gardens: Dori Freeman; 7 p.m., $5–$10, 12 and under free.

cinematic production unites the Raleigh sextet’s pair of 2018 singles. Durham’s JANXX adds dreamy, seductive electronic jams.

—Spencer Griffith

FRI, JUN 15 2ND WIND: Skinny Bag of Sugar.

HAW RIVER BALLROOM: Washed Out; 8 p.m., $20–$23.

618 BISTRO: Randy Reed; 7-9:30 p.m.

HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

ANISETTE:

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

[$8/7 P.M.]

POUR HOUSE: Kuinka, Avi Jacob, Matt Southern; 8 p.m., $10–$12.

THU, JUN 14 2ND WIND: 2 fer; 7:30-9 p.m.

ARCANA: Innocence and Lies; 7:30 p.m.

CAT’S CRADLE (BACK ROOM): Propersleep, So Soon, The Truth, An Author, A Poet, Paperback & Ol’ Sport; 7:30 p.m., $8.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Styx, Joan Jett & The Blackhearts, Tesla; 7 p.m.

MOTORCO: Maimouna Youssef and DJ Dummy, The Vintage Babies, The JonDoe; 8 p.m., $15–$20.

POUR HOUSE:

Local Band Local Beer: Seabreeze Diner, OCNS [$3–$5/9 P.M.]

Seabreeze Diner has been holed up for months working on their debut LP—planned for a fall release—with Ghostt Bllonde’s Marc Kuzio, who’ll join the Raleigh four-piece on stage at The Pour House.

Expect timeless jangles filled with infectious hooks charged by boundless energy. The catchy synthpop of “You” and the shimmering grandeur of “If I’m A Ghost” reveal different sides of OCNS, though

Elephant Micah As Elephant Micah, Joseph O’Connell has built gentle, gorgeous songs for nearly two decades; though he sometimes gets classified as a folk or folk-rock artist, O’Connell’s haunting work feels like it exists in a league of its own. O’Connell just announced a new Elephant Micah record, which bears the wry and brilliant title Genericana, and it’s a new turn toward electroacoustics that’s bewitching and beautiful. Expect to hear more of that material when O’Connell holds court on the back patio of the Raleigh sweets shop Anisette Friday evening. The combination of Elephant Micah’s mellow tones, a summer sunset, and handmade treats for sale makes for a perfectly sublime slide into the weekend. With The Nathan Bowles Trio.

—Allison Hussey BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: Diane Carter Band; 8:30 p.m.

CAT’S CRADLE BACK ROOM:

The Tills [$5/9 P.M.]

The yardstick of any garagerock band is its nonchalance, the impression that, with any measure of effort and patience, anyone—even you— could pick up an instrument

Shovels and Rope play at the NC Museum of Art Saturday.

PHOTO COURTESY OF HIGH ROAD TOURING

INDYweek.com | 6.13.18 | 33

VOTED BEST PLACE TO HEAR BLUES IN THE TRIANGLE! WE 6/13 HANK, PATTIE & THE CURRENT 7:30P $10 7P TH 6/14 CAROLINA LIGHTNIN’ 6-8P DUKE STREET DOGS FR 6/15 9P JAMES, PACE & PRESLAR 1-3PM PINECONE BLUEGRASS JAM SA 6/16 LUXURIANT SEDANS / ANDY SQUINT

SU 6/17 TU 6/19

6/20 6/29 7/6 7/7 7/26 7/28 8/3 8/9 8/10 8/18 9/19 10/3 10/17

SECRET MONKEY WEEKEND TUESDAY BLUES JAM WITH CLARK STERN

SA 6/16 SA 6/16 TH 6/21

THE MONTI NO SHAME THEATRE – CARRBORO POPUP CHORUS

(BOHEMIAN RHAPSODY & DANCING QUEEN)

8P $8 5-7P 7:30P

AMANDA ANNE PLATT & THE HONEYCUTTERS BOBBY MESSANO GRACIE CURRAN & HER HIGH FALUTIN’ BAND COOL JOHN FERGUSON REUNION SHOW LARKIN POE *SOLD OUT* THE FABULOUS KNOBS CHRIS O’LEARY BAND JOHNNY SANSONE WITH MEL MELTON KARA GRAINGER BILLY PRICE BAND CHRIS RUEST / GENE TAYLOR ROOMFUL OF BLUES ALBERT CUMMINGS

FR 6/22

5P1N0K10 (PRESENTED BY JEGHETTO) FRIDAY 6/22

5P1N0K10

(PRESENTED BY JEGHETTO) SA 6/23

FATMOUTH IMPROV NC 10 BY 10: A FESTIVAL 7/19- OF 10-MINUTE PLAYS 22 SA 9/22

(PRESENTED BY ODYSSEYSTAGE & CARY PLAYWRIGHTS FORUM)

LEO KOTTKE

2018/2019 PERFORMANCE SEASON ANNOUNCEMENT COMING SOON! Find out More at

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300-G East Main St., Carrboro, NC Find us on Social Media: @artscenterlive

Elephant Micah performs in Raleigh Friday. and strum out something passably similar. Asheville’s The Tills are marked by that sort of practiced scrappiness; the quartet’s ur-rock is wild and woolly but wholly approachable. They’re revvedup and rowdy garage rock like The Sonics, but refined like The Reigning Sound. With Pie Face Girls and Reese McHenry & the Fox. —Patrick Wall CITY TAP: Dmitri Resnik & Bootleg Beat; 8:30 p.m.

DURHAM CENTRAL PARK: Laura Reed; 6 p.m., free.

MOTORCO: Tracyanne & Danny, Lomelda; 8 p.m., $18–$20. See page 30.

FR 6/15

Jonathan Markow Quartet

NOIR: 90s Coverlove; 7:30 p.m., $8–$10.

SA 6/16

Chris Bittner Quartet

POUR HOUSE: Urban Soil, The Freeway Revival; 8 p.m., $10–$13.

FR 6/22

Dominican Jazz Project

SA 6/23

Kate McGarry / Keith Ganz / Gary Versace

REBUS WORKS: Orlando Parker Jr., Retro Candy, Jon McClain; 8 p.m., donations.

TU 6/26

NCJRO

FR 6/29

Michael D’Angelo Quintet

Adult, Youth, & Private Classes available!

4608 Industry Lane, Unit L • Durham, NC 27713

(919) 486-JAZZ (5299) www.durhamjazzworkshop.org

34 | 6.13.18 | INDYweek.com

RUGGERO PIANO: Clara Yang; 7:30 p.m., $10–$25.

SHARP NINE GALLERY: Jonathan Markow Quartet; 8 p.m., $10–$20.

THE WICKED WITCH:

Nine Fingered Thug, White Steed, The Hag [$10–$12/8:30 P.M.]

It doesn’t get more sludgy or old-school Raleigh than

PHOTO COURTESY OF WESTERN VINYL

this gig, which features three of the best slow-burn heavy bands that the Oak City has to offer. Nine Fingered Thug and The Hag have been kicking their fuzzed-out weirdo noise rock minisymphonies in the area for around a decade, while White Steed is a slightly newer “black noise metal” project from Mike Isenberg, of the equally storied shredders Savage Knights.

—David Ford Smith

SAT, JUN 16 2ND WIND: George Trouble; 10 p.m.

ARCANA: Queen Plz, Treee City; 10 p.m.-2 a.m., $5.

CAT’S CRADLE BACK ROOM:

Jeanne Jolly [$15–$18/8:30 P.M.]

Multi-instrumentalist Jeanne Jolly plays with a full band at the Cat’s Cradle Back Room Saturday night, showcasing her signature Americana sound.

It’s tough to say if anything’s changed in the three years since she released her last record, A Place to Run. Even so, you can expect the classically trained singer-songwriter’s vintage country sound with smooth, breathless vocals, cutting lyrics, gentle guitar, and laid back drums. —Kat Harding

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK:

Rascal Flatts [$33–$98/7:30 P.M.]

Rascal Flatts is still touring on last year’s Back to Us, their tenth studio album, a nod to the upbeat ballads and popleaning songs of their past.

While the band has put out its share of bro-country, this album is more genuine and bona fide anthemic pop (think echoing ooh-ohhs and hand claps). Dan + Shay and Carly Pearce open. —Kat Harding DURTY BULL BREWING COMPANY: JC Tokes; 4 p.m.

JC Tokes; 4 p.m.

KINGS:

Ufomammut [$12–$14/9 P.M.]

It’s a miracle that Italian psychedelic doom trio Ufomammut is able to play in Raleigh—or anywhere, for that matter. In April, bassist and vocalist Urlo nearly died in a motorcycle accident, and he’s postponing the knee surgery he needs until after the band’s North American tour. The trio’s touring behind last year’s 8, its latest far-reaching, boundarypushing record; recorded live with just a few vocal and synth overdubs, 8 is a dense and malevolent journey that

focuses on the intrinsic bonds and unstoppable movements in the cosmos. White Hills and MAKE open. —Patrick Wall MOTORCO: The Love Movement: Hip-Hop and R&B Dance Party; 9:30 p.m., $10–$15.

NC MUSEUM OF ART:

Shovels & Rope [$27–$40/8 P.M.]

It wasn’t that long ago that you could catch Charleston duo Shovels & Rope packing out Slim’s at a Hopscotch Hangover day party. But the South couldn’t keep Cary Ann Hearst and Michael Trent a secret for long—their rougharound-the-edges, heart-onsleeve folk-rock songs quickly found their way to fans across the country. On 2016’s Little Seeds, Hearst and Trent served up another charming and gritty set of tunes; they’re not about to fix what ain’t broke.

Alt-country veterans Son Volt open. —Allison Hussey THE PINHOOK:

Vaughn Aed [$10/9 P.M.]

The songs of Durham-based band Vaughn Aed unfold with a deep intimacy. Songwriter Rook Grubbs paints memories with a vulnerability that can be almost fragile when backed simply with an acoustic guitar.

A full band transmutes this storytelling to catharsis, with soaring fiddle, percussion that acts as a powerful heartbeat, and a supportive chorus of backup singers mirroring Grubbs’ words. It’s like Lovers at their most radically tender and the New Pornographers at their most exuberant, all at once. Skylar Gudasz and Molly Sarlé open.

—Josephine McRobbie

from the seventies might have thought a rock band on the moon in 2018 should sound like. While such flamboyant metamorphoses may seem overly contrived, they keep the Arctic Monkeys just fresh enough for those who can’t get enough of mid-aughts alt-rock.

—Noah Rawlings SAXAPAHAW RIVER AMPHITHEATER: Saturdays in Saxapahaw: Violet Bell; 6 p.m., donations.

SHARP NINE GALLERY: Chris Bittner Quartet; 8 p.m., $10–$20.

SUN, JUN 17

CAT’S CRADLE (BACK ROOM): Young Widows, Null, Wailin’ Storms; 8 p.m., $12.

[$15–$17/8 P.M.]

MOTORCO: Flash Chorus; 7 p.m., $7–$10.

Maps & Atlases

Lightlessness Is Nothing New marks Maps & Atlases’s first album in six years and a return to touring. Following the 2015 departure of guitarist Erin Elders, the Chicago outfit scaled back to a trio and played just a handful of shows. Lightlessness largely forgoes the syncopation, fingertapping, and mathy arrangements of their early work in favor of a more accessible—and even danceable—approach that wraps Dave Davison’s quirky melodies and idiosyncratic yelps in textural guitars and electronics. Prism Tats opens.

—Spencer Griffith DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3.

DURHAM CENTRAL PARK: Project 919 Band; 12:30 p.m., free.

MOTORCO: Hobo Johnson & The Lovemakers; 8 p.m., Sold out.

POUR HOUSE: Retro Candy; 1 p.m., $5. Little Bird, Ries Brothers; 6:30 p.m., $10–$12.

RED HAT AMPHITHEATER:

[$8/8 P.M.]

Where 2013’s AM featured the Arctic Monkeys sporting greaser haircuts and slinging bluesy electric guitar licks, on the new Tranquility Base Hotel & Casino, the band is long-locked and spacey. The record brings to mind what a rock band

MON, JUN 18

IMBIBE: Grewen and Griffin; 7-10 p.m., free.

SLIM’S:

[$77–$195/8 P.M.]

SOUTHERN VILLAGE GREEN: Magnolia Klezmer Band; 6 p.m., free.

WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

CAT’S CRADLE BACK ROOM:

POUR HOUSE: Zack Mexico, The Tills, Pie Face Girls; 8 p.m., $8–$10.

Arctic Monkeys

beyond bubblegum. Their new record, Shadow By Your Side, shows the band aiming for a cleaner sound, anthemic harmonies, and post-punk spikiness.

—Josephine McRobbie

Las Rosas Las Rosas recall the same rough-at-the-edges but painstakingly melodic and studied garage rock of Nobunny, Allah-Las, and The Growlers. Singer and guitarist Jose Boyer has a moody swag and wonderful Richard Hellesque vocals that hang over the jangly backbone of the music, giving the group a texture that’s

THE PINHOOK: Mama Played Mondays; 7 p.m., free.

PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10.

POUR HOUSE: Middle Kids, Duncan Fellows; 7:30 p.m., $12–$15.

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, JUN 19 CAT’S CRADLE: Stephen Malkmus & the Jicks, Lithics; 8 p.m., $20–$23.

See page 25.

CAT’S CRADLE BACK ROOM:

Jeremy Enigk [$18–$20/8 P.M.]

At this point, Jeremy Enigk has been apart from Sunny Day Real Estate far longer than the seminal emo band was ever together. This tour commemorates the Sub Pop reissue of Return of the Frog Queen, Enigk’s first solo record. Critical opinion of the debut, released in 1996, is often colored by Enigk’s rebirth as a Christian after Sunny Day disbanded, but its Syd Barrett-loving orchestral grandeur presaged indie rock’s post-millennial evolution, tracing rough outlines of baroque pop that were later colored in by Neutral Milk Hotel and Grizzly Bear. Chris Staples opens. —Patrick Wall MOTORCO: Cold Cave, Black Marble, Choir Boy; 8 p.m., $15–$18.

POUR HOUSE: Andy McKee, Andrew Kasab; 8 p.m., $25–$30.

Catch Lydia Loveless at Duke Gardens Wednesday night.

WED, JUN 20 2ND WIND: Yeaux Katz; 7-9 p.m., free.

BLUE NOTE GRILL: The Herded Cats; 8 p.m.

DUKE GARDENS:

Music in the Gardens: Lydia Loveless [$5–$10, 12 AND UNDER FREE/7 P.M.]

Lydia Loveless is a country artist who loves Paul Westerberg as much as she loves Kesha. It’s this complexity that makes Loveless an undefinable and

fascinating musician, and a standout within a genre that highly values authenticity and a certain rigidity of sound.

With a melty voice that curls intimately around songs of joy, frustration, and loss, she blazes her own path with a wildness and confidence worth following.

—Josephine McRobbie HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

PHOTO BY COWTOWN CHAD

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

MOTORCO: Aborted, Psycroptic, Ingested, Disentoub, Arkaik, Venom Prison, Signs of the Swarm, Ergodic; 4:30 p.m., $20–$25.

INDYweek.com | 6.13.18 | 35

art

6.13–6.20

OPENING Art Win: Participatory art by Julia Caston. Fri, Jun 15, 6-9 p.m.

The Scrap Exchange, Durham. www.scrapexchange.org.

submit! Got something for our calendar? Submit the details at:

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

FRIDAY, JUNE 15

TEMPORAL CARTOGRAPHY

Freedom Is Free: A Juneteenth Young, Gifted, & Broke: Pop-up show celebrating Juneteenth and the one-year anniversary of pop-up gallery Young, Gifted, & Broke. Featuring William Paul Thomas, Erica Danielle, and others. $1-$10. Sat, Jun 16, 7-11 p.m. The Mothership, Durham. www.wearethemothership.com.

Bursting into Bloom: Abstract florals and cats by Debra Wuliger. Thru Jul 19. Eno River Unitarian Universalist Fellowship, Durham. eruuf.org.

ONGOING

Coalesce: Watercolor Society of NC Central Region exhibit. Thru Jun 27. Sertoma Arts Center, Raleigh. parks.raleighnc.gov.

Artspace Corridor Exhibition: Member artists Jane Cheek, Autumn Cobeland, Arsis Fruritch, Joyce Watkins King, and Susan LaMantia. Thru Jul 28. Artspace, Raleigh. www.artspacenc.org.

36 | 6.13.18 | INDYweek.com

“Trumpeter” seems like an on-the-nose caricature of our POTUS as a CEO. A trumpet connected to a motionactivated speaker stands in for the figure’s head. As you draw close, it emits indiscernible squawking sounds, implying that the bullying figurehead offers citizens nothing more than a farcical circus of noise.

Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu. —Julie M. Hamilton Elizabeth Bradford: Paintings.

Thru Jul 31. Umstead Hotel & Spa, Cary. theumstead.com.

Windowseat: Digital art by New York’s Siebren Versteeg. Sat, Jun 16, 6-9 p.m. Lump, Raleigh. www.lumpprojects.org.

Business as Usual: A massive white man’s head hangs from the ceiling, with furrowed brows, beady eyes, and veins protruding at the temples.

This omnipresent “boss” watches over Winston-Salem artist Bob Trotman’s exhibit, which incorporates mixed media and video art into dozens of figurative sculptures that critique big business by unmasking its gospel of greed and envy at the expense of workers. In wood, resin, tempera, and wax, the handcarved figures range from doll size to larger than life. The details in their caricatured faces show that they have become hardened to their expendability in an ecosystem of private enterprise. Echoes of 9/11 and the 2008 financial crisis are also present.

Trotman uses the form of the automaton to propose his concerns about the dehumanization of workers.

Though it was made two years prior to Trump’s election,

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Combinations: Pottery by Garry Childs, photography

by Eric Saunders, and paintings by Pat Merriman.

Thru Jun 24. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Folk Keepers: Art by Charlie and Susan Frye: Paintings and found-art assemblages. Thru Aug 9. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

Tom Dawson and his Futuroscope PHOTO COURTESY OF JP TROSTLE Depending on how you squint, the development of downtown Durham is happening either very quickly, with restaurants and shops blinking in and out of storefront windows on a daily basis, or very slowly, as One City Center continues its interminable skyward crawl. That three-year construction project is condensed into a seven-hour-long time-lapse video in “Scraper,” perhaps the most interesting and representative part of Temporal Cartography. The exhibit by Tom Dawson and JP Trostle runs in the SunTrust Gallery through August 11 after this opening reception. The video is but one way the artists distort time and space to sharpen our perspective on our city’s confusing, almost hypnotic flux. The exhibit also includes a walkthrough installation about gentrification, “entropic maps” charting the streets erased by the Durham Freeway, and Dawson’s Futuroscope, an “interactive sculptural time machine.” Now if only someone could time-lapse the rest of the OCC construction and give Corcoran Street back to us. —Brian Howe

DURHAM ART GUILD, DURHAM 6–9 p.m., free, www.durhamartguild.org

Free as a Bird: Thru Jun 26. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

FRESH Juried Exhibition: Work

by N.C. artists juried by NCMA curator Jennifer Dasal. Thru Jun 29. Artspace, Raleigh. www.artspacenc.org.

June/July Show: Woodworker Keith Allen, painter Carroll Lassiter, ceramicist Linda Prager, and photographer John Rosenthal. Thru Aug 4. FRANK Gallery, Chapel Hill. www.frankisart.com Our House: Durham Arts Council student and instructor exhibition. Thru Jul 7. Durham Arts Council, Durham. www.durhamarts.org.

Debbie Quick: PNC Pop In Artist in Residence. Beaded drawings and figurative sculptures. Thru Fri, Jun 29.

Artspace, Raleigh. www.artspacenc.org.

Rise of the Phoenix – El Ascenso de la Fénix: Sarah Elizabeth Cornejo, Felicity Palma, Yuko Nogami Taylor. Thru Aug 4.

Duke Campus: Fredric Jameson Gallery (Friedl Building), Durham.

Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. gallerya-nc.com.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation.

They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canonmakers didn’t as readily embrace them. This touring exhibit at the Nasher is

a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit. Thru Jul 15. Nasher Museum of Art, Durham. nasher.duke.edu.

—Brian Howe Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

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

LAST Structure: VAE CHANCE Photographers Forum exhibit. Thru Jun 14.

Litmus Gallery, Raleigh. www.litmusgallery.com.

Summertime: Summer-themed nature paintings. Thru Jun 30. V L Rees Gallery, Raleigh. vlrees.com.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural

explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation

by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

Transendental Concord: Photographs by Lisa McCarty.

Thru Jun 24. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

Three Quilts: Fiber art by Martha Clippinger. Thru Aug 12. Durham Arts Council, Durham. durhamarts.org.

Crank Arm Brewing Patio Takeover: Beers on tap at an outdoor bar and menu of beer-friendly snacks. Thu, Jun 14, 5-8 p.m. The Durham Hotel, Durham. thedurham.com.

Through Eyes of My Own: Exhibit exploring identity curated by the Nasher Teen Council. Thru Jul 7. Durham Arts Council, Durham. www.durhamarts.org.

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UNTITLED, 2018: Works by 2018 MFA graduates Allison Coleman, Lindsay Metivier, Kimberly English, Jeanine Tatlock, Sara Farrington, Carley Zarzeka, and Joel Hopler. Thru Jun 23. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Visualizing Micro Environments: Paintings by Orr Ambrose inspired by cosmology, physics, and microbiology.

Thru Oct 11. Durham Convention Center, Durham. durhamconventioncenter.com.

The Walls We Build: (dis)Ability: Pleiades member artists with guest artists with a range of special needs and disabilities.

A collaboration with artist UNITED. Thru Jul 1. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

Watercolor Paintings from the Estate of Harry De Maine (1880 – 1952): Thru Jul 31.

Gallery C, Raleigh. www.galleryc.net.

The Wild: Leah Sobsey, Joy Meyer, and Jeff Whetstone videos in downtown Raleigh’s Market Plaza. Thru Jun 27.

BLOCK2 Video Series, Raleigh.

Worlds Apart: Thru Jul 7.

Craven Allen Gallery, Durham. www.cravenallengallery.com.

food & drink Environmental and Health Benefits of Plant-Based Nutrition: Talk. Thu,

Jun 14, 6:45 p.m. The Levin Jewish Community Center, Durham. abigwigproduction. brownpapertickets.com.

FRUITSPLOSION: Botanist & Barrel first-anniversary party. $2/taste. Sat, Jun 16, 1-6 p.m.

Botanist & Barrel, Cedar Grove.

Free Dogs for Dads: The tasting room offers free hot dogs with Rise Above Deli relish and pickles for dads.

Sun, Jun 17, 2-5 p.m. Botanist & Barrel, Cedar Grove.

Someday: A Brunchy Party for Everyone: Weekly summer brunch series with various guests and activities. Sundays, noon. Thru Sep 2. The Durham Hotel, Durham. thedurham.com.

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stage

FRIDAY, JUNE 15 & SATURDAY, JUNE 16

SHALEIGH DANCE WORKS: E PLURIBUS UNUM II ShaLeigh Comerford’s dancers balked a bit when taking on the improvisation technologies of postmodern ballet choreographer William Forsythe and Rudolph Laban’s famous cube, in which performers orient their bodies and movements along the vertices of a hypothetical six-sided grid. Fair enough: Simple points in space don’t necessarily give artists much in the way of motivation. Then the choreographer told them this: “The space between two points is the space of desire.”

One of Comerford’s favorite visual moments comes right before two points close. “There’s a tension in the moment just before things touch, before people connect,” she says. In the premiere of this collaboration with choreographer and former Forsythe dancer Elizabeth Corbett, the convergence in the Latin title, which means “out of many, one,” stems from unanticipated desires— plus a considerable bit of geometry. Pianist Alejandro Santoyo performs an original twelve-tone score.

—Byron Woods

PSI THEATRE, DURHAM 7 p.m., $15, www.shaleighdanceworks.com

ShaLeigh Dance Works PHOTO COURTESY OF SHALEIGH COMERFORD

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle Coming June 20:

Hillsborough For advertising opportunities, contact your ad rep or advertising@indyweek.com 38 | 6.13.18 | INDYweek.com

takodern dolph their hypots in way this: sire.” omes n the conwith abeth means ires— andro core.

RFORD

OPENING Come as You Are: A Burlesque Tribute to the 90s: The Silk Stocking Sirens. $10-$60.

Fri, Jun 15, 8 p.m. Imurj, Raleigh.

Dayton Contemporary Dance Company: Part of the American Dance Festival. $12-$54.

Thu, Jun 14-Sat, Jun 16. Duke Campus: Reynolds Industries Theater, Durham.

Dimensions of Black: A Celebration of the Arts: Theater, music, dance, and visual art

by African-American artists.

Broadway’s Clare Bathé, cellist/ singer Shana Tucker, and dancer Gaspard Louis. $18-$20. Sat, Jun 16, 8 p.m. Hayti Heritage Center, Durham. www.hayti.org.

It Shoulda Been You: Musical. $24-$30. Thru Jul 1. Theatre in the Park, Raleigh. www.theatreinthepark.com.

Juneteenth Celebration: Performances by R@y Lansing, Kai Anerahs, Vinnie Dangerous, and Pox Grey. Tue, Jun 19, 11 p.m. Social Games and Brews, Durham.

Lobby Call: Strange Encounters: Performance art and fashion show by Culture Hair Studio, Quinan Dalton, and Wild Actions. Fri, Jun 15, 6 p.m.

The Durham Hotel, Durham. thedurham.com.

ShaLeigh Dance Works: E Pluribus Unum II: Premiere.

Featuring guest dancer Elizabeth Corbett and pianist Alejandro Santoyo. $15. Jun 15 & 16, 7 p.m.

Durham Arts Council, Durham. www.durhamarts.org.

Shen Wei Dance Arts: Part of the American Dance Festival. $12-$62. Jun 16 & 17, 7 p.m.

Durham Performing Arts Center, Durham. www.dpacnc.com.

ONGOING The 39 Steps: In Alfred Hitchcock’s 1935 spy thriller, suave Richard is plunged into a web of intrigue when a dropdead gorgeous secret agent actually drops dead in his London flat after their chance encounter at a West End show. Framed for her murder, with police and a spy ring in hot pursuit, Richard makes a series of narrow escapes as he tries to prove his innocence.

But Patrick Barlow’s stage adaptation keeps the entire production in a metatheatrical position as precarious as Richard’s. Suspense and comedy build as we try to anticipate how four actors will handle all the roles—as one plays Richard, the other three careen between more than two hundred other characters.

Take it from us: Self-referential theater isn’t usually this amusing. Rachel Klem directs. $8-$23. Various times. NCSU Campus: Kennedy-McIlwee Studio Theatre, Raleigh.

—Byron Woods Anything Goes Late Show: Saturdays, 10:30 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. www.fullsteam.ag. [stars tk] Buy My Body and Call It a Ticket: Reviewed on p. TK. Pay what you want.

Various times. The Fruit, Durham. www.durhamfruit.com.

Crumble (Lay Me Down, Justin Timberlake): The Women’s Theatre Festival’s theme this year is Women Are Heroes. So who’s the hero in this offbeat season opener, a dark comedy

by Sheila Callaghan, the writer-producer of Showtime series Shameless? Is it frazzled Clara, a professional chef and mother at wit’s end, living in a dilapidating apartment a year after the bizarre Christmastime death of her husband? Her daughter, Janice, a foul-mouthed, precocious eleven-year-old whose deep discontent at school and home is fueling increasingly unhealthy interests in chemical catalysts and *NSYNC-era Justin Timberlake? Or maybe it’s Clara’s busybody sister, Barbara—or her fifty-seven cats. It could be the apartment itself, anthropomorphized and played by Laurel Ullman: a fading relic with resentments all its own. One thing’s certain: Time is clearly running out.

It’s almost Christmas again, and Janice has come up with a formula and a plan.

Kayla Kaufman directs a cast

including Laquana Henny and Kimmy Fiorentino. $10. Thru Jun 24. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.

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

The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Improv at the Varsity: Stand-up, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.com.

Oliver!: Presented by Justice Theater Project. $23-$27. Fri, Jun 8-Sat, Jun 23. Umstead Park United Church of Christ, Raleigh. www.upucc.org.

Open Mic Stand-Up Comedy at Durty Bull: Local comedy open mic. Fri, Jun 15, 8 p.m. Durty Bull Brewing Company, Durham. ½ Spring Awakening: Steven Sater and Duncan Sheik’s Tony-winning 2007 musical is about the tragic outcome of adolescents not learning literal survival skills about human sexuality. Unfortunately, this too-minimal production suffers because its young actors haven’t fully learned basic musical-theater survival skills like vocal projection and pitch.

Not that their leaders made it easy for them. Saturday night’s performance was a sonic tug of war between music director Craig Johnson and the sound designers and operators.

Balance problems persisted between unamplified singers and a canned soundtrack, which marred solo and small-group moments in six numbers. In a room this intimate, some real belters could have cut through the snags, but these performers had either been forbidden or never taught how. Still, some good music shone through: The chilling beauty at the a capella end of “The Song of Purple Summer” made me wish for more such moments. $12-$20.

Thru Jun 17. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. —Byron Woods

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THURSDAY, JUNE 14

WONDER WOMAN SATURDAY, JUNE 16

CHRIS TONELLI: WHATEVER STASIS

SPECIAL SHOWINGS BEYOND: The Film Festival: Independently produced shorts and features and screenwriter workshop with actor/producer Shawn Schepps. $9+. Wed, Jun 13-Sun, Jun 17. The Cary Theater, Cary.

Granny’s Got Game: Documentary about a senior women’s basketball team in North Carolina. Part of the Southern Culture Movie Series. Thu, Jun 14, 6:30 p.m.

UNC Campus: FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

Grief Journeys: Documentary about grief and healing. $11.

Sat, Jun 16, 6 p.m. Full Frame Theater, Durham.

Chris Tonelli PHOTO COURTESY OF CHRIS TONELLI One of the hard things about being an arts editor in a market this size is avoiding the appearance of conflicts of interest.

If you’re doing your job, the arts scene is your whole world, social as well as professional, and as your friend list grows, the number of people you can write about shrinks. But once in awhile, it’s a slow week in local readings, and your friend’s event easily clears the bar for notability, and you don’t know anyone who could write about him who isn’t his friend (because, poetry). Why should Chris Tonelli be penalized for palling around with a newspaper editor? That’s punishment enough already. Tonelli is a founding editor of poetry press Birds, LLC; the co-owner of Raleigh shop So & So Books; and the organizer of the long-running So & So Reading Series.

The funny, sarcastic, weirdly poignant miniatures in his latest book, Whatever Stasis (Barrelhouse), are peak Tonelli, and at this release party, ringers like Sampson Starkweather, Lauren Hunter, and Jessica Q. Stark join him. I say this as a reader and a fan, but also as a friend, so season this recommendation with grains of salt to your taste. —Brian Howe

Movies Under the Stars: Wonder Woman: Free movies outdoors on top of the Wallace Parking Deck at 150 E. Rosemary Street. Wallace Plaza, Chapel Hill.

Old News (And How We Got It): Movies in the Park program about twentieth-century newspapers, television, and communication satellites.

Donations accepted. Fri, Jun 15, 9 p.m. Durham Central Park, Durham. www.durhamcentralpark.org.

Short Films: A Journey: Introduction to documentary filmmaking by Stephen Bydal.

Sat, Jun 16, 2 p.m. North Regional Library, Durham.

OPENING

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The Incredibles 2—The beloved Pixar superhero family returns after almost fiften years. Rated PG.

READINGS & SIGNINGS

celebration. Thu, Jun 14, 6 p.m.

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

The Seagull—Saoirse Ronan and Annette Bening star in a modern version of the Chekhov classic. Rated PG-13.

Poets from the Heron Clan: Reading and open mic. Sun, Jun 17, 4 p.m. Aversboro Coffee, Garner.

LECTURES ETC.

Second Thursday Poetry Reading Series: Pam Baggett book launch and Shelby Stephenson birthday 40 | 6.13.18 | INDYweek.com

Hillsborough Toastmasters Club Open House: With keynote speaker Earl McKee, Orange County Commissioner.

Thu, Jun 14, 5:45 p.m. UNC Health Care, Hillsborough. hillsboroughtoastmasters.org.

Superfly—Trevor Jackson is Youngblood Priest in this remake of the 1972 blaxploitation crime drama.

Rated R. Tag—This comedy is based on the true story of a group of friends playing a lifelong game of tag. Rated R.

Gal Gadot in Wonder Woman PHOTO COURTESY OF WARNER BROS. Before Wonder Woman entered the DC Extended Universe last year, how long had we been waiting for Gadot? (And how crazy is it that that joke hasn’t been run into the ground? It’s right there!) As Black Panther gave us the first African-American-led superhero blockbuster since Blade, Wonder Woman gave us the first female-led version of the testosteronedrenched form since—ever? Unless the 1984 dud Supergirl counts? (It doesn’t). So much of the success of a super-flick rides on casting, and Gal Gadot was the perfect choice to play the Amazonian princess who winds up battling Germans and demigods in the First World War. Her film is the DCEU’s best, and her appearances in Batman v Superman: Dawn of Justice and Justice League make those dreary affairs worth seeing. Wonder Woman screens atop the Wallace Parking Deck in Chapel Hill’s free Movies Under the Stars series. —Brian Howe

WALLACE PARKING DECK, CHAPEL HILL 8:30 p.m., free, www.downtownchapelhill.com

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13.  Deadpool 2—If the first Deadpool movie was a halfhearted R-rated SpiderMan, the sequel is a controlled detonation of the superheromovie template: filthy, funny, and cheerfully ultraviolent.

Rated R.

½ First Reformed— Paul Schrader, a giant of American cinema, connects secular and spiritual forms of despair with glimmers of humor and hope. Rated R.

½ Solo: A Star Wars Story—If Rogue One was a war picture set in the Star Wars universe, then Solo is a space western, and a pretty good one, too. Rated PG-13.

 Hereditary—This truly disturbing horror film thrives on real human anxieties, hideous images, and the occasional headless cultist. Rated R.

½ Won’t You Be My Neighbor—This documentary about a nationally beloved kids TV icon captures the incredibly genuine nature of the late Mr. Rogers. Rated PG-13.

 RBG—Forgot those Avengers. This doc about pioneering Supreme Court Justice Ruth Bader Ginsburg is the best superhero movie of the year. Rated PG.

 A Wrinkle in Time—Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds. Rated PG.

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INDYweek.com | 6.13.18 | 41

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3

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advertise on this page!

reserve this space for $100! classy@indyweek.com

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

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last week's puzzle

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

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

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

Book your ad • Email amanda: classy@indywEEk.com

MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 6.13.18 | 43

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming June 20:

Hillsborough

For advertising opportunities, contact your ad rep or advertising@indyweek.com