INDY Week 7.26.17

In less than two years, Steve Malik has taken North Carolina FC from nowhere to flirting with the top tier of American soccer. Now, the question: Is Raleigh ready to be an MLS town?

7 I 26 I 17 Raleigh

Saturday

Night Fever

By Zach Dionne

p. 12

2 | 7.26.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK 9 Fourteen candidates are running for three seats on the Durham City Council. Most of them are talking about the same things.

10 Raleigh’s municipal elections may turn on the question of whether the city’s nineteen CACs can really represent 460,000 residents.

VOL. 34, NO. 27

DEPARTMENTS 6 Triangulator 9 News 16 Food 18 Music 20 Arts & Culture

12 Two years ago, the Carolina RailHawks were struggling. Today, North Carolina FC is vying for an MLS berth.

22 What to Do This Week 25 Music Calendar 29 Arts & Culture Calendar

14 New Central Connection Unlimited’s 1977 LP, Super Trick, helped launch N.C. Central’s jazz program to national recognition.

16 At Lil’ Farm, the first three weeks of December are ginger syrup season.

18 Belle and Sebastian made its North American debut in a New York City synagogue.

20 According to Improv Noir comedian Monet Marshall, being black in America is already a constant improvisation.

On the cover:

RALEIGH Rendering of the proposed soccer stadium. Photo courtesy of North Carolina FC. DURHAM/CHAPEL HILL New Central Connection Unlimited.

Photo courtesy of Jason Perlmutter.

Fans cheer on North Carolina FC during its friendly against Swansea AFC on Saturday (see page 12). PHOTO BY ALEX BOERNER

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owe

backtalk

What About the Pigs?

We received two letters this week arguing When deemed deceased, they are hung up that our Hogwashed series had overlooked by one leg, their throats slit, they bleed out, an important aspect of the pork produc- and then they’re dunked into a vat of scaldtion industry: the state’s nine-million-plus ing water—and they are on their way to being pigs. We begin with Ellen Canavan, a mem- ‘processed.’ Their lives are made up of sufferber of N.C. Farmed Animal Save and Vegans ing from beginning to end.”

Jessica Harris, a veterinary technician, for Peace, who quite clearly has no love for offers similar thoughts: “As a native North the industry.

“North Carolina’s hog industry is in the Carolinian, veterinary nurse, and all-around beth news again,” Canavan writes. “The environ- animal lover, I was so excited to read your Corbie mental damage to the air, water, and qual- Hogwashed series, hoping it would bring ka, Glenn s, Angela ity of life for nearby neighbors has been an light to one of the cruelest industries in our Bryan C. ongoing issue, now in federal court. Do peo- state. Imagine my disappointment when I avid Ford ple know that there are read every word of your ck Wall three-part series, which ten million forgotten lives , mentions political, health, as a result of the indus“Pigs have mé and environmental contry? The forgotten ones in been found to siderations, but not even every single article are the a word about the welfare pigs themselves. Ten milbe the fourth ms of those millions of pigs. lion living, breathing being most intelligent If living next to a pig farm confined in closed ‘barns.’ is so insufferable, imagine “Pigs have been found to animals on what it would be like livbe the fourth most intellithe planet.” ing in it, in a space so small gent animals on the planet. art you can’t even turn around.

They love their babies, they Pigs are intelligent individavid Lee, love to be outside, rooting in the dirt, foraging, sunning themselves, uals no different in their capacity to suffer Nair, , even playing. For these forgotten ones, every from our pets. Perhaps you can discuss the natural instinct is thwarted from the minute welfare implications for them, just as you they’re born. They have no choice at all in advocate for the companion animals featheir entire lives. Piglets are shipped off to tured in your paper.”

On a different subject, Brad Hessel, the another farm, to fatten up to what they call market weight. Living conditions are very treasurer of the Wake County Libertarian close; there is no bedding. They live their Party, writes that his party didn’t nominate han whole lives (six months at most) on con- an unaffiliated voter for the third position crete or wooden floors with slats in it. They on the county’s Board of Elections [Triandon’t ever go outside. They have nothing to gulator, July 19] because it anticipated the major parties missing a deadline, but rather do except eat.

200 “Every day there are sick or dead pigs and because, “For years, Republicans and Dempiglets who don’t survive the night in a con- ocrats have connived to marginalize indecentrated animal feeding operation. They are pendent voters. For example, while there thrown into a ‘dead box’ at the end of the road. are more independent voters in Wake Counk.com Once a day a truck comes by the CAFOs and ty than Republicans—by far—and in anotheek.com picks up the carcasses from all the dead boxes. er two or three years, they will outnumber 1972 “The pigs live in filth until one day they are Democrats here as well, there has not been prodded with paddles onto a truck. They’re a single independent voter appointed to the e put onto a truck, packed tightly, and take the Wake County Board of Elections this centulong ride to the slaughterhouse. This adven- ry! (It’s probably never happened, but I only ture may be the only time they’ve ever felt had time to research back to 2000.)” sunlight on their faces. At the end, they are again prodded off the truck. They may hear Want to see your name in bold? Email us pigs screaming at the slaughterhouse, and at backtalk@indyweek.com, comment on our they are afraid. Nevertheless, they are treat- Facebook page or indyweek.com, or hit us up ed like things, herded into a gas chamber. on Twitter: @indyweek.

INDYweek.com | 7.26.17 | 5

triangulator

+DEM

BUG BITES Last week, The News & Observer published a story with an alarming headline: “Lyme disease is spreading in NC,” it read, “but where—and how fast—depends on who you ask.”

The tick-borne illness, the article went on to explain, is on the rise in North Carolina, but its scale is up for debate. This is not insignificant. The illness can lead to cognitive impairments if left untreated—and this time of year, according to the N.C. Department of Health and Human Services, is prime for Lyme disease cases.

Critics have long complained that the DHHS has downplayed and undercounted the spread of Lyme disease, even once taking the position that it couldn’t be contracted in North Carolina even when there were confirmed cases in the state.

That’s no longer the case. In 2011, the DHHS acknowledged that it was possible to acquire Lyme disease in the state, a move that helped shift the paradigm away from denial.

But even with a new approach, it’s still not easy to figure out how widespread it is. According to DHHS data, there were 82 total cases of Lyme disease in 2010; in 2016, there were 277. Those numbers, however, include both confirmed and probable cases, which are two different things. (Probable cases are those that have been diagnosed by a physician and have laboratory evidence of infection, while individuals with confirmed cases also present physical, neurological, or cardiac manifestations of the disease.) As a closer look at the DHHS data shows, the number of probable cases has increased dramatically in recent years, from 95 in 2012 to 242, while the number of confirmed cases has stayed about the same.

North Carolina Lyme disease cases 200

Confirmed 150

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PERIPHERA

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6 | 7.26.17 | INDYweek.com

2010

2011

2012

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PHOTO COURTESY OF THE SMITHSONIAN INSTITUTE, LORENZA BEATI

+DEMOCRACY IN CRISIS

On Monday—the same day the president attacked political rivals in a speech to Boy Scouts and the U.S. Senate prepared to vote on a health care bill that no one had actually seen—Mark Meadows, chairman of the Freedom Caucus and representative of North Carolina’s Eleventh Congressional District, proposed his own means of undermining democratic norms.

His big idea: gut the Congressional Budget Office, the agency that has consistently projected that GOP efforts to repeal and replace Obamacare would leave more than twenty million Americans without coverage.

In an amendment introduced Monday, Meadows proposed slashing eighty-nine positions from the agency’s Budget Analysis Division, a $15 million cut that would effectively abolish the division. Its work would be transferred to another division, where employees would be required to aggregate and score data compiled by four think tanks: the conservative Heritage Foundation, the Koch-funded American Enterprise Institute, the Brookings Institute, and the leftleaning Urban Institute.

What this means is that the CBO would simply regurgitate data from third-party groups, some of which have political agendas, rather than use its expertise to analyze and score the impact of legislation on its own.

“The CBO’s reputation among the public and the media may be strong, but its track record in providing accurate estimates to Congress leaves much to be desired,” Meadows and Freedom Caucus founder Jim Jordan, a Republican from Ohio, groused in a Washington Examiner op-ed.

In reality, the CBO more accurately predicted the effects of the Affordable Care Act than other forecasters, and it pretty much nailed the uninsured rate. What you have here is part and parcel of something we’re seeing more and more from congressional Republicans on matters ranging from health care to the press: if you don’t like the facts you hear, just pretend they’re not real.

+BONA FIDES

Last Wednesday, the Supreme Court again weighed in on on President Trump’s refugee and immigrant travel ban. While the high court had previously ruled that the administration could temporarily block anyone without a “bona fide” relationship to an American person or entity, this time it ordered the administration to expand its definition of bona fide to include grandparents and cousins of those already in the U.S. After the previous court decision, the administration had also excluded refugees who had made contact with resettlement agencies from its interpretation of bona fide, affecting an estimated twenty-four thousand refugees who had formal assurances from resettlement agencies. A U.S. district court judge had rejected that restriction, but the Supreme Court kept it intact.

It’s not immediately clear how the decision will affect the Triangle’s refugee resettlement programs. But local agencies are already bracing for a tough road ahead.

“There is so much change even on a dayto-day basis that it has become very difficult for us to have a very accurate prediction of what sort of impact there will be on us and our clients and future clients in the imme-

diate aftermath of any ruling,” says Ellen Andrews, the North Carolina area director for Christian World Service, a resettlement agency based in Durham. “That being said, we have already seen refugee arrivals slow down considerably.”

Andrews says CWS had already given refugees assurance of relocation, and they would have been able to travel before Wednesday’s ruling. Now their future is unclear.

“At this point, we don’t really know,” she says.

To date, CWS has relocated about two hundred refugees in 2017, primarily from Syria, Iraq, the Democratic Republic of Congo, Eritrea, Ethiopia, Somalia, Guatemala, El Salvador, and Honduras. Due to the Trump administration’s decision to halve the number of refugees admitted to the U.S. in 2017, Andrews doesn’t expect those already low numbers to increase much.

Still, she adds, the agency remains committed to its mission.

“This is the last sliver of hope for thousands and thousands of people every year who have no other opportunity to get their life back and rebuild and ensure that their children have the opportunity to create their own futures,” Andrews says. “Refugees are by far the most carefully vetted individuals entering the United States, so we really just think that this travel ban framed as an effort to protect national security is completely misguided, and also mean-spirited to target the world’s most vulnerable people in this way.” triangulator@indyweek.com

RECYCLE THIS PAPER

This week’s report by Erica Hellerstein.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 7.26.17 | 7

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indynews T

here’s a palpable sense among candidates that this fall’s Durham municipal elections could be a pivotal point in the city’s trajectory, though the underlying tension points remain much the same as they’ve been for years now: equity, affordable housing, managing growth, and giving a voice to the voiceless are common refrains.

At the top, an opportunity exists to change the fabric of Durham’s leadership. The longserving Mayor Bill Bell is not seeking another term after sixteen years. Another council veteran, Cora Cole-McFadden, who was first elected in 2001, is seeking reelection to her Ward 1 seat against three competitors.

Meanwhile, six people are vying for the Ward 2 seat Eddie Davis is giving up after four years, and Don Moffitt, who has represented Ward 3 since 2013, will face three opponents.

Steve Schewel, the council’s longest-serving member after Cole-McFadden (and the founder of The Independent Weekly), will retain the at-large seat he has held since 2011 even if he’s not successful in his bid for mayor. The remaining council members, Jillian Johnson and Charlie Reece, were elected in 2015 and are serving four-year terms.

This means that, come December’s swearing-in ceremonies, the body will have at least three members with two years or less of experience on the council, as well as a new mayor who could potentially be new to politics.

Indeed, only two of the seven people eying Bell’s seat come with experience on the council: Schewel and Farad Ali, who served from 2007–11. In addition, there’s Pierce Freelon, an activist, musician, and founder of Black Space, a digital media and entrepreneurship hub for black youth; Shea Ramirez, a tax preparer who runs a talent agency; Sylvester Williams, a pastor and financial analyst who ran against Bell in 2011 and 2013; retired Durham and New York City police officer Tracy Drinker; and retired cab driver and self-described investigator Michael Johnson.

There’s no room here to dive into the platforms of all fourteen candidates for the three council seats on the ballot. (Visit indyweek. com for more details on the candidates’ positions.) But far and away, affordable housing was the issue candidates brought up most in interviews with the INDY. More broadly, candidates have stressed equity, the need for all Durham residents to share in the city’s bustling growth, avoid displacement, and have a

Change Agents

THIS FALL’S ELECTIONS COULD BE PIVOTAL IN DURHAM’S TRAJECTORY. MEET THE CANDIDATES WHO COULD SHAKE UP THE CITY COUNCIL.

BY SARAH WILLETS

that could reduce police interaction, creating job opportunities for teens at City Hall, and employing ShotSpotter gunshot detection technology.

Dolly Reaves is a mother of three who found a passion for politics after lifting herself and her family out of homelessness. She wants to bolster resources such as day care and affordable housing for those in similar positions. Robert Fluet, who works in client development, is running a self-funded campaign, stressing de-escalation training for Durham police and the creative use of tax breaks to develop affordable housing and generate living-wage jobs. An IT business analyst, DeAnna Hall is an avid cyclist who serves on the city’s Bicycle and Pedestrian Advisory Committee.

LeVon Barnes, a Durham Democratic Party precinct chair and PE teacher at The School for Creative Studies, would like to see the city partner with Triangle businesses to encourage investment in job training, livingwage jobs, and internships for Durham youth.

Finally, John Rooks Jr. is a data engineer for the federal government and a new member of the Durham Human Relations Commission.

He serves on the boards of Love Over Hate NC, which advocates for better police relations and safer communities, and R.E.A.L. Kids United, a mentorship program.

WARD 3

seat at the table as decisions are made. Reducing crime, improving police-community relations, bolstering de-escalation training for law enforcement, and promoting job training and living wage jobs were also priorities.

A primary on October 10 will narrow down each race to two finalists before the November 7 general election.

WARD 1

Cole-McFadden had planned to run for Bell’s seat, but she surprised her colleagues at an April 3 council meeting by announcing that she would instead seek another term as Ward 1’s representative. She was the city’s first black female department head (in equity assurance) and is a voice for minority- and women-run businesses and youth programs.

Joining her on the ballot are DeDreana Freeman, a planning commission member and president of Durham’s InterNeighborhood Council, who says her priority is a

more equitable Durham; Brian Callaway, the coordinator of energy and sustainability for Durham Public Schools, who favors energy initiatives to help residents stay in their homes and wants to see all county patrol duties transferred to the Durham Police Department; and John Tarantino, a perennial candidate for council known for serenading elected officials with satirical songs whose platform focuses on stopping the Durham-Orange Light Rail Transit project and improving local buses.

WARD 2

In this crowded field, pastor Mark-Anthony Middleton, a leader in Durham Congregations Associations and Neighborhoods (Durham CAN) and a police reform advocate, is likely the best-known candidate.

Middleton says he would “instigate” debate about requiring officers to live in city limits, tying public safety expenditures to efforts

Incumbent Don Moffitt says he wants to continue working to leverage city-owned land for affordable housing, use tax relief and repair programs to help residents stay in homes with rising values, and seek more transparency in policing.

Challenger Lenny Kovalick is a pediatric nurse practitioner who is running a self-funded campaign focused on support for first responders and sensible growth.

Vernetta Alston is an attorney with the Center for Death Penalty Litigation and a queer woman of color who wants to see Durham set the bar for progressive cities by standing up for immigrants, the LGBTQ community, and overpoliced communities. Lastly, there’s Shelia Ann Huggins, an attorney who worked for the city for nine years in general services, community engagement, and economic development. Her platform calls for community budgeting and what she calls “compassionate governance.” swillets@indyweek.com INDYweek.com | 7.26.17 | 9

news

residents ings show show up, numbers.

On Mo members munity A erts Park other thi ment’s us actions w this part Raleigh si uty Police presentat “If som they shoo gelist Ma to Willar ican Dur shot twic patrolma Perry going to l For exam decide to toward a At the s Midtown Five Poin ing simila

Speak Now

THE BIG QUESTION ON RALEIGH’S OCTOBER BALLOT: WHAT WILL BECOME OF CACs?

BY THOMAS GOLDSMITH

P

roponents of Raleigh’s citizen advisory councils say the groups’ future serves as a measure of how well the city hears citizens’ views on issues affecting daily life, including planning, growth, and law enforcement. So it’s no surprise that Raleigh’s nineteen CACs have emerged as an issue in the October 10 municipal elections, when voting will determine the mayoral race, as well the city council’s two at-large and five district seats.

For decades, the grassroots-level CACs,

10 | 7.26.17 | INDYweek.com

with minimal city funding, have pondered issues small and great. They have aided Raleigh’s ability to obtain federal funding, advised the city council and planning commission on proposed zoning changes, and recommended sites for stop signs and speed bumps.

But the question remains: Does the traditional CAC process, in which meetings generally involve a few dozen neighborhood activists, produce an accurate reflection of the wishes of more than 460,000 city

residents? Visits to a couple of CAC meetings showed that concerned residents do show up, although not necessarily in huge numbers.

On Monday night, about twenty-five members of the South Central Raleigh Community Advisory Council gathered at a Roberts Park meeting room to talk about, among other things, the Raleigh Police Department’s use of body cameras to record interactions with citizens, a contentious issue in this part of town. The residents at the east Raleigh site had plenty of questions for Deputy Police Chief Joseph Perry, who led the presentation on body cams.

“If someone is running away, why would they shoot more than once?” asked evangelist Marian Maring, a possible reference to Willard Scott Jr., an African-American Durham man who died after being shot twice from behind by a state highway patrolman in February.

Perry responded, “I know you’re not going to like this answer, but it depends.”

For example, he continued, officers could decide to stop an armed man escaping toward a crowded gym.

At the same hour, about four miles away, Midtown CAC members met at the city’s Five Points Center for Active Adults, hearing similar information on body cams, then

an Urban Design Center presentation of the city’s plan to transform Six Forks Road between Lynn Road and the 440 Beltline.

The Midtown group, also containing about two-dozen people, had lots of questions, including one about the hundreds of residents who responded to a survey on the city’s plan.

“Is this everybody from Possum Track to downtown?" asked Dale Homan, who lives in the Lakemont subdivision, referring to a road that runs off Six Forks to the north of I-540. More weight should be given to the thoughts of people who live within a mile of Six Forks than to those who drive up and down it every day, Homan argued.

For Perry, these CAC meetings are a good way to get information out to a broad section of Raleigh residents. “They are so well attended,” he says. “They are spread out across every area of the city.”

Mayoral challenger Charles Francis, a newcomer to electoral politics, has criticized Mayor Nancy McFarlane’s vote for a new community engagement board,

which as originally conceived by a task force would have replaced the CACs with several layers of groups to gauge public sentiment on issues. After encountering resistance to that idea, McFarlane scheduled an August 28 meeting—which she emphasizes will include CAC input— as the start of a two- or three-year process to put meat on the bones of the CEB framework.

CAC backers, including council member David Cox, point out that thousands of Raleigh residents belong to CACs, and they show up in the hundreds when a key zoning issue is on the agenda.

“It is a central issue from my point of view,” Cox says. “The CACs are simply a vehicle for people to hear and learn about issues and, on some of the issues, to be able to express their point of view. It’s a forum that allows city officials to provide information to citizens and allow citizens to give their views to officials.”

Cox’s opponent in District B, John Odom, says he favors CACs when they are run professionally. “What I don’t like is

“What I don’t like is when members are bullied.”

when the members are bullied in one way or another," he says, adding that council members sometimes intimidate members with opposing views. Cox defeated Odom in 2015, after Cox scored points with community members by helping block a proposed grocery store in his north Raleigh district.

At-large candidate Russ Stephenson found himself the target of six challengers when Mary-Ann Baldwin, longtime incumbent in the other at-large seat, dropped out of the race, citing the need to make room for a new generation of leadership. (The toptwo vote-getters are elected to the council.)

Stephenson says he’s encouraged by the move to examine and improve the CAC process. “Any time you undertake a citywide re-envisioning of citizen engagement, it’s going to be a big deal,” Stephenson says.

N.C. State consultants Mary Lou Addor and Mickey Fearn will take part in the August 28 session, with one goal of locating a nationally recognized consultant to help flesh out the CEB, Stephenson says.

In the long term, winners in the fall elections will likely have the ultimate say on whether the CACs, or a body more closely linked to the council, will have the responsibility for making sure residents’ voices are heard. tgoldsmith@indyweek.com

s u p m a C e d i u G indy week’s

everything you need to know to get your semester started right

on stands august 9 INDYweek.com | 7.26.17 | 11

STEVE MALIK MOVES QUICK.

Saturday Night Fever

In less than two years, Steve Malik has taken North Carolina FC from nowhere to flirting with the top tier of American soccer.

Now, the question: Is Raleigh ready to be an MLS town?

BY ZACH DIONNE 12 | 7.26.17 | INDYweek.com

Less than two years ago, in the fall of 2015, the enthusiastic, blunt-spoken founder of Cary’s Medfusion bought the Carolina RailHawks, an eight-year-old soccer team plagued by mismanagement and scandal and trying to shake off perpetually mediocre attendance. But Malik had ambition, money to spend, and a vision.

Last December came a rebranding; the RailHawks became North Carolina Football Club, giving the team the internationally cool “FC” abbreviation. In January, the National American Soccer League squad partnered with the National Women’s Soccer League’s Western New York Flash, which became the North Carolina Courage.

That same month, the team submitted a bid for one of two Major League Soccer franchises—a gambit that would have seemed ludicrous back in 2010, when the team was flat broke, its assets were being liquidated on eBay and Craigslist, and it had to be rescued by the NASL’s CEO. That notion would have seemed equally ridiculous in 2015, when the team’s owner was indicted as part of the FIFA scandal and the RailHawks stood on the precipice of a very uncertain future.

How fast things change.

Last Wednesday, Malik simultaneously welcomed MLS president and deputy commissioner Mark Abbott and pitched a $150 million mixed-use stadium for downtown Raleigh. A motivational video spoke of North Carolina as “the new state of soccer” and unveiled a model for a glamorous, open-roof twenty-two-thousand-seater, expandable to accommodate twenty-eight thousand people.

The proposed site is on thirteen acres of state-owned land at the northern end of the city's downtown, home to the state government complex. Unlike the Charlotte Independence’s competing MLS bid—which has sought as much as $120 million in public funds—Malik isn’t asking for taxpayers to subsidize his stadium, which won’t be completed until 2020 at the earliest. He’ll build it through a combination of loans and private investments, though he’ll need to negotiate a lease for the state property and he may ask for help with as-yet-unspecified infrastructure upgrades. (In doing so, he is following the lead of recent MLS joiners Orlando City Soccer, which in 2015 privately financed its $115 million stadium after years of negotiations with local and state leaders.)

Developer John Kane, who built North Hills and is currently constructing The Dillon in Raleigh’s Warehouse District, is

Left: Members of North Carolina FC warm up ahead of Saturday’s match. Right: Midfielder Saeed Robinson enters WakeMed Soccer Park. touting 1,200 multifamily residential units, public parking, retail, hotel rooms, and 750,000 square feet of office space, which will include two new buildings for state government workers.

MLS was in town to assess whether North Carolina FC should be one of the two new teams joining American soccer’s top tier. Twelve markets are under consideration, many of them larger than RaleighDurham, including Sacramento, Tampa Bay, Phoenix, and St. Louis. (Raleigh isn’t a top-20 media market, but MLS does have a 650-mile gap between D.C. United and Atlanta United FC.) The expansion will take MLS, founded in 1993, from twentyfour teams to twenty-six; sooner than later, MLS will aim for twenty-eight.

Abbott called North Carolina FC’s plan “a compelling vision,” praising the city’s rapid growth and Malik’s work with the franchise. He said he was “overwhelmed” by his visit, which was occasioned by a boisterous march from the London Bridge Pub to City Market, where hundreds gathered at a rally in support of the team.

At one point the MLS head was swept up enough to ask the pumped-up crowd at City Market to shout exactly how much they wanted his league to come to the Triangle.

Raleigh roared.

In a June Sports Illustrated article, Abbott warned against underestimating fans’ power to overcome tricky stadium plans.

The league’s history, he said, shows “when you have committed groups in communities interested in attracting MLS teams, they find a way to get those projects done.”

“I’m glad that he could feel the energy,

and boy, we brought it,” Malik told the INDY before Saturday’s friendly against Swansea City AFC, a Welsh team that competes in the English Premier League. Sahlen’s Stadium at WakeMed Soccer Park in Cary welcomed a crowd of 7,268, more than 2,000 more than 2016’s average attendance. (The game ended in a scoreless tie.)

That energy needs to be quantified and harnessed to get the movement, dubbed #919toMLS, past the potential legislative, community, and monetary obstacles that could quickly snuff its flame.

“I think it’s the fit with Raleigh that’s so critical,” Malik says. He points to North Carolina FC Youth, which recently conjoined the Capital Area Soccer League and the Triangle Futbol Club Alliance to become the nation’s biggest youth-to-pro soccer program, with nearly fourteen thousand participants. They’ve got one readymade hometown role model in Nazmi “Naz” Albadawi, North Carolina FC’s twenty-fiveyear-old superstar captain, an alum of both youth organizations as well as N.C. State.

“That puts your roots pretty deep into the community,” Malik says. “And I think this is a soccer town, so this is the right fit for us.

Certainly the future of the sport is bright.

I’ve said it’s not a matter of if, it’s when.”

He’s not the only one who feels that way.

At the Swansea City match, Malik said he had an inbox full of people eager to contribute to #919toMLS and its dream home. And that’s just the beginning: “Tonight, when I leave here, I’ll be talking to new potential sponsors, big ones that are stepping up to the plate to help support it.”

But there are several hurdles between

where the team is and where he wants to be. To reach his goal, he’ll have to not only sell investors and lenders on his stadium and MLS on his franchise’s potential in this fast-growing market—the area’s only other major-league sports franchise, the NHL’s Carolina Hurricanes, suffers from anemic and still-declining attendance—but also potentially resistant state and local politicians and residents concerned about stadium-related traffic and parking downtown.

“I think it’s reasonable that people have questions, which is why we did it this way, soliciting public support, not trying to put too tight a window on it,” Malik says. The flashy rendering for the stadium was ready six months ago, he says, but the team sat on it while gauging the community’s readiness.

“You know, it’s so obvious for people how beneficial it can be, but they’re weighing those benefits against issues like parking and traffic,” Malik says. In addition to hosting no-brainer events like concerts and conventions, Malik says the new downtown stadium could also accommodate lacrosse and rugby matches as well as other college sporting events in need of better venues.

As part of its sales pitch, North Carolina FC included an economic development study by Economic Leadership LLC projecting that the stadium would create or support 1,960 North Carolina jobs (1,470 in Wake County), plus $262 million in economic activity and $5.6 million in state tax revenue. Over a seventeen-year time frame, the report said, the stadium is expected to generate $2.8 billion for North Carolina.

Economists tend to distrust such studies.

Stanford sports economist Roger Noll, who

PHOTOS BY ALEX BOERNER

studied the impact NFL stadiums created versus what communities were promised, has discounted the idea that stadiums spur economic activity: “NFL stadiums do not generate significant local economic growth,” he said in 2015, “and the incremental tax revenue is not sufficient to cover any significant financial contribution by the city.”

Because the public has grown skeptical of stadiums’ benefits, Noll continued, sports teams have increasingly declined to seek large public incentives. So far, that’s the case here.

“In my mind, Steve Malik is handing this city a gift on a silver platter that will only help further grow Raleigh,” says Oak City Supporters founder Ryan Jernigan. OCS organized Wednesday's #919toMLS march and has amassed more than two hundred paying members in less than three years.

Proposing a stadium outside the city, or upgrading WakeMed Soccer Park, “would have been the easier play,” he adds, “but not the one with the most positive impact toward our bid or our city.”

OCS hosts all-are-welcome tailgate parties before leading Sahlen’s Stadium in chants and cheers for ninety minutes, in full regalia and with a collection of bright flags. In the past year, OCS members have also rented sold-out charter buses to matches in Greensboro and Charlotte— bringing, Jernigan says, “more support than the teams had in their own home.”

We’ll know by year’s end whether that support is enough to woo MLS; the league announces which teams it’s adding in December. backtalk@indyweek.com INDYweek.com | 7.26.17 | 13

SUPER STARS Forty years ago, a one-off LP by a band of students and faculty from N.C. Central enshrined a gleaming new jazz program

BY ALLISON HUSSEY New Central Connection Unlimited: Clifton Cotton, Marion Wiggins, Stanley Baird, Norris Duckett, Aaron Mills, Charlie Brown, and Thomas Clyde PHOTO COURTESY OF JASON PERLMUTTER

I

n the early seventies, a small but dedicated faction at North Carolina Central University set out on a mission: to build a jazz studies program. By 1975, Gene Strassler, the chairman of the school’s music department, had launched a small but intense curriculum led by acclaimed trumpeter Donald Byrd and saxophonist Stanley Baird. But one particular piece—a lone LP titled Super Trick, released in 1977 by a band called New Central Connection Unlimited—helped launch the program toward the national recognition it now enjoys.

The jazz program came to fruition through long-standing connections with 14 | 7.26.17 | INDYweek.com

Byrd, who was recruited as much for his star power as his expertise. Central’s plan wasn’t the country’s first jazz-academia endeavor, but it was designed to fill a distinct void in music education.

“It was such a new program, we had to convince everybody that it was even worth having. But Dr. Strassler, myself, and Donald, we saw a need for it,” Baird says.

Though he became a renowned saxophone player, Baird’s major in college was the oboe. He knew he wouldn’t be able to make money playing in a symphony with a saxophone, so he wanted to figure out another way to get his—and his peers’—skills as a musician taken seriously.

Strassler coaxed Byrd to Central from Howard University in Washington, D.C., where he taught music. There, Byrd led a group of student musicians called The Blackbyrds. The band’s connection to Howard’s music department was an attractive model for Baird, who encouraged Byrd to let him assemble a similar group at Central.

“I approached [Byrd] and asked him, If I could put a band together, would he coach us and promote us to do the same thing The Blackbyrds were doing at Howard?” Baird recalls. “He said, ‘Well, if you know some guys that are willing to go to school—they’ve got to be students—then, yeah, I could help you do that.’”

Baird called upon three young musicians he’d known around Shelby and Asheville, enrolling them at Central and enlisting them for the band. That included Thomas “Bonnie” Clyde on alto sax and keys, Aaron Mills on bass, and Norris Duckett on guitar.

Clifton Cotton, who came to the group separately, was its organist. And though N.C.C.U. was mostly a student ensemble, the band included faculty, too: Baird joined in on sax, and drummer Charlie Brown taught percussion in the program.

Byrd’s music industry connections, bolstered by his commercial success as a solo performer and leading The Blackbyrds, helped him net N.C.C.U. a one-record deal

with United Artists. After a year of rehearsThat friend, Larry Blackmon, recruited als and multiple trips to Los Angeles to reMills to play bass for Cameo—Mills played cord the LP, N.C.C.U. released Super Trick bass on the massive mid-eighties hits in the summer of 1977.

“Word Up!” and “Candy.” Outkast tapped Though it was the product of a jazz deMills for the seminal Stankonia and Speakpartment, Super Trick is more of a jazzerboxxx/The Love Below; his other credits funk fusion record than a straitlaced jazz include appearances on Cee-Lo Green… album. The record’s centerpiece, “Bull City Is the Soul Machine and Gwen Stefani’s Party,” is still one of the best songs about Love. Angel. Music. Baby. Mills mainDurham. It’s a strutting tains that Central’s number written by Baird, jazz program taught Byrd, and another collabhim the flexibility he orator named Brian Wilneeded to survive as liams. Its chorus boasts a professional musian irresistible refrain of, cian.

“We’re gonna have a Bull “If you go out in the City party/While you world, you don’t know watch your funky eagle where you’re going to fly,” nodding to Central’s make it. It might be avian mascot. jazz, it may be R & B, Three of Super Trick’s it may be country and six songs—“Hey Girl,” western. But it pre“You & I,” and its title Super Trick’s cover pares you,” he says. track—were all written He’s still close by some combination of with Baird and anthe trio Baird had recruited from western other band member, Marion Wiggins, who North Carolina; when Clyde, Mills, and played trumpet, flugelhorn, and an OberDuckett entered the program, they already heim synthesizer on Super Trick. Wiggins had a wealth of material for a record. From has remained an active participant in mutop to bottom, though, Super Trick endures sic himself, and he now runs Playground as a marvelous effort.

Studios in Durham.

At the time of N.C.CU.’s greatest promiSuper Trick might not be a widely recognence, Ira Wiggins, who’s served as the uninized jazz or funk LP, but it did fairly well versity’s director of jazz studies since 1986, at the time. The June 4, 1977, issue of Billwas a junior at Central. Though he wasn’t in board featured Super Trick as a top soul althe band himself, he knew most of its membum pick, and it eventually crept up to No. bers, and Baird was one of his professors.

18 on the chart, surprising almost everyone “They were probably the best in the involved with the group. school at that time in the program,” These days, Super Trick isn’t hard to find. he remembers.

Discogs lists several dozen copies available The band proved to be an effective showfor less than ten bucks each, and dedicated case of N.C. Central’s musical might, as well local diggers may occasionally find copies as a powerful recruiting tool as the band at places like Carolina Soul and Bull City toured the United States. Eventually, Baird Records. But the promising outfit fizzled says, the little program in Durham began out within a year or two of the release of getting applications from aspiring students Super Trick. According to Mills, the dissoin Arizona, Canada, and beyond. lution was mostly caused by disagreements New Central Connection Unlimited about business and the band’s direction. continued to bear fruit beyond spotlightBut, as Ira Wiggins says, N.C. Central’s jazz ing Central’s jazz department. For bassdepartment still has a lot of love for New ist Aaron Mills, his involvement with the Central Connection Unlimited. band and the university was the linchpin “We’re standing on the shoulders of those in building a serious, lifelong career as musicians, and it’s a pleasure to take it fora musician. ward. It’s an obligation,” he says. “We take “It gave me wings to fly. It enabled me to great pride in trying to build on something be able to adapt to jazz as well as funk or R & that was started, and trying to maintain it.

B. I’m a funk player by nature, but it enabled It’s really special.” me to be able to meet other musicians that In the forty years since Super Trick’s replay well,” he says. lease, N.C. Central’s jazz department has As the band wound down, Mills conbecome one of the college’s crown jewels. nected with another musician he’d met on It just needed those early funky eagles to fly tour who was also on the lookout for new out of the nest first. projects. music@indyweek.com INDYweek.com | 7.26.17 | 15

indyfood

[ COOK THIS ]

Dress for Success

QUEEN GEORGE’S GINGER SYRUP ADDS A LOCAL, WINTRY FLAIR TO FRESH SUMMER RECIPES

BY EMMA LAPERRUQUE

G

eorge O’Neal was twenty-three years old when he started Lil’ Farm. Originally, O’Neal worked in landscaping. He loved working his fingers through soil instead of tapping them against a keyboard, but he wanted to make an impact beyond people’s backyards.

“Farming was the only thing that I wanted to do all the time,” he says So, for the past eleven years, that’s what he’s been doing. Except for three weeks in early December—that’s ginger syrup season.

Visit one of Lil’ Farm’s stands this week at the Carrboro or Durham farmers markets and you’ll find what the farm is growing on six acres. Thirty-nine tomato varieties. Lemon cucumbers. Thai pumpkins—wait, pumpkins?

“Winter squash can’t grow in the winter,” O’Neal says. “Our watermelons and butternuts come out of the field on the same day.”

You’ll also find something that didn’t come out the field recently: ginger.

A few years ago, O’Neal earned a grant from the Pittsboro-based Rural Advancement Foundation International (RAFI) to start a new, value-added product.

“I was growing a bunch of ginger and turmeric, but they have such a short window, and such fanfare,” he says. “People wanted these ingredients, but you can only get them three weeks a year.”

Through the grant, he turned those weeks into a marathon of preserving. His team triples in size with the addition of friends including Ari Berenbaum, whose Ninth Street Bakery becomes Lil’ Farm’s commissary. They spend the first part of the day harvesting the ginger, turmeric, and galangal. Then, in the middle of the night, before the bakers arrive, they wash, slice, and cook the roots with organic sugar, lemon juice, and black pepper. This occurs six days a week, three weeks in a row.

Because it is harvested so young, the baby ginger hasn’t formed its signature thick skin. Instead, it’s tender like a carrot.

Find dehydrated ginger, ginger and tur16 | 7.26.17 | INDYweek.com

Trust yourself, taste a melon ribbon, adjust if needed. And make sure you serve the dish very cold.

Serves two, as a starter 1/4 cantaloupe, peeled and cut into wedges 2 ounces prosciutto, thinly sliced Queen George’s ginger syrup Extra-virgin olive oil Lemon wedge Flaky salt Red chili flakes Fresh mint leaves

Spicy cantaloupe carpaccio with Queen George’s ginger syrup PHOTO BY ALEX BOERNER meric preserved in syrup, or straight ginger syrup year-round at Lil’ Farm’s market stands, Foster’s Market, Funny Girl Farm, and at NanaSteak in its Carolina Mule.

GINGER-MISO DRESSING

This bright orange dressing gets color and substance from those forgotten carrots in your crisper drawer. You can make a similar dressing with fresh ginger, but syrup eliminates peeling around those knobby nooks and crannies. It also creates a silkier dressing. Add a teaspoon or so more syrup, miso, or vinegar, if you want it sweeter, saltier, or more acidic. Do not substitute canola for something more flavorful, like sesame; that will hog too much attention.

Yield: about 1 cup 4 ounces carrots, peeled and roughly chopped 2 tablespoons Queen George’s ginger syrup 1 tablespoon + 1 teaspoon miso, preferably red

1 tablespoon + 1 teaspoon rice vinegar 1/4 cup canola oil Pulse the carrots, ginger syrup, miso, and vinegar in a food processor or blender until completely smooth, scraping down with a rubber spatula as needed. With the motor running, slowly add the canola oil, until thick and emulsified. Chill completely before using.

This best suits a low-key lettuce, like iceberg or romaine. It’s also a lovely dip for cucumbers and radishes.

SPICY CANTALOUPE CARPACCIO WITH PROSCIUTTO AND MINT

Carpaccio is as light and summery as it gets.

This version ups the summer ante by swapping out pricey beef or fish for everyday cantaloupe. Zingy ginger syrup, a pinch of chili flakes, and salty prosciutto keep the sweetness in check. This is the sort of starter you should make with your second glass of white wine in hand, so if you’re obsessing about measurements, you’re doing it wrong.

Carefully cut the cantaloupe wedges on a mandoline, to shave into almost transparent ribbons. (You can use a knife, too.) Arrange on a plate, weaving the prosciutto slices.

Chill until completely cold. Drizzle daintily with ginger syrup, olive oil, and lemon juice. Sprinkle with salt, chili flakes, and mint leaves. Taste. Adjust as needed. Serve immediately.

SALTY GINGER PEACH LASSI

Lassis are a yogurt-based drink original to India. Super cold, a little salty, sometimes fruity. In the States, you’ll often find sweet mango lassis. This recipe relies on salt, spicy ginger, and a hit of black pepper to balance the peaches and keep everything lively. Frozen peaches create a slushie-like texture. You can buy these at the supermarket, already prepared, or stock up on the fresh seasonal bounty and prep and freeze them in advance.

Yield: 2 cups 1 1/2 cups frozen sliced peaches 1 cup plain yogurt, lowfat or whole milk 2 tablespoons Queen George’s ginger syrup 1/2 to 3/4 teaspoon kosher salt A inch freshly ground black pepper Blend all ingredients in a food processor or blender until very, very smooth. Serve immediately. food@indyweek.com

food

The Great Outdoors

HOW ONE LOCAL SERVER LEARNED TO STOP WORRYING ABOUT BIRD POOP AND EMBRACE PATIO DINING

BY ERYK PRUITT

L

et’s face it. The relationship between food service professionals and American diners walks a delicate tightrope between sadism and masochism.

It was once considered a luxurious treat to sup on exotic foods and well-prepared meals, and to enjoy the guilty pleasure of having no dishes to wash. However, in recent years, eating out has devolved into a nasty interplay—a modern dance, if you will—between restaurant and patron. The battle has been waged on dining room floors and Internet review sites. Now, with winter well behind us, it has spilled out onto the most benign of locations: the outdoor patio.

If some sick, fetishistic glee were not involved, then why else would restaurant servers spend the extra time to set up separate wait stations, only to break them down at the first sight of a thundercloud?

Where else would they derive such pleasure other than from wiping bird shit off the tables with a ratty bar towel and some Windex?

This pleasure, of course, extends to the guests as well. What better evidence than the smug satisfaction in their smiles as they step through the front door, only to ask the hostess if it’s nice enough to sit outside?

The grim delight delivered to the darkest parts of their souls as they watch the hostess struggle to gently remind them that they just entered from outside—the same outside to which she will deliver them? Or, if they prefer, that they can consult the very same device they use to Instagram their eggs Benedict to check any changes in the weather?

Both server and dining guest hold their breaths in sweet anticipation of the climactic moments. When the innocuous gnat wanders into the guest’s Bellini or kale salad, will they have the audacity to demand another, sans insect? Will the servers retain the fortitude to keep their opinions to themselves, knowing the chef or bartender will not share said restraint? Oh, such delight! Such bitter,

ILLUSTRATION BY CHRISTOPHER WILLIAMS

bitter exhilaration!

And we mustn’t forget the specialists. For maximum pleasure, some find it best to employ a canine. Yes, dogs. When human interaction alone won’t achieve the desired effect, it’s time to drop the leash. Literally. Shout with ecstasy as the pup runs free between the tables like a wayward child. Shriek in pleasure as the mutt relieves himself near another unsuspecting table. Or simply fester in silent delectation as the waiter is forced to kind-

ly fetch a bowl of water or, better yet, a dish of food for poor little Muffins.

Alas, there is a hole in the heart of those who prefer to dine outside, just as there is for the people who prefer to work there.

For the diner, that hole can be filled with seemingly innocuous complaints and demands, well beyond the scope of most mortals. For the server, it comes when he or she counts those dollar-dollar-bills, well after closing—because patio patrons, by definition, will keep you late.

However, to pretend that all of this isn’t a complicit, consensual understanding— a compact, of sorts—between these two spiritually impecunious samples of our species only furthers the charade. Would that we, who are but innocent bystanders to this strange, desperate ritual, could ask them to kindly do us all a favor: please, find yourselves a hotel room with room service. food@indyweek.com

INDYweek.com | 7.26.17 | 17

indymusic

BELLE AND SEBASTIAN

Monday, July 31, 7:30 p.m., $34–$50 N.C. Museum of Art, Raleigh www.ncartmuseum.org

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 18 | 7.26.17 | INDYweek.com

Belle Epoch

FOR TWENTY YEARS, SCOTLAND’S BELLE AND SEBASTIAN HAS STAYED ONE OF THE STRONGEST PURVEYORS OF INTOXICATING INDIE ROCK

BY DAVID FORD SMITH Belle and Sebastian PHOTO BY SØREN SOLKÆR

“M

useums are traditionally places you get dragged to by girlfriends,” cracks Stevie Jackson, longtime lead guitarist and cosongwriter for the legendary Scottish indie-pop iconoclasts Belle and Sebastian.

Reached by phone on a late July day, he’s in good spirits and is playing a bit coy about whether he likes art museums. After all, what pop group in the last two decades feels more tailored to the environment of a modern art museum than Belle and Sebastian, with its cosmopolitan presentation, its blending of eras, its endless flood of implicit and explicit references, and sense of pristine, childlike wonder and loneliness?

The ever-changing ensemble started in 1996 as the project of Stuart Murdoch, in the halls of Glasgow’s Stow College. After writing the guts of Tigermilk there, he recruited Jackson, Isobel Campbell, Stuart David, and a handful of other members to bulk up the songs. Even in these early

days, Murdoch’s talent as a songwriter was immediately apparent. On pre-Tigermilk recordings later released as Dog On Wheels, lines like, “So I gave myself to God/There was a pregnant pause before he said OK,” hinted at the wry, self-deprecating lyrical

Given its history of flipping the script, what could be next for Belle and Sebastian? persona that Murdoch would hone in subsequent years. He backed up his lyrical acuity with melodies as sticky as any Smiths or Orange Juice song.

From these humble beginnings, it makes sense that 1996’s legendary If You’re Feeling Sinister on Jeepster Records (later released

by Matador in the U.S.) was recorded quick and dirty. Quick and dirty enough, in fact, that in later years, the band would record a live album to “fix” the studio version in a memorable bit of revisionism. Recording quality aside, the record remains a landmark in independent culture. It remains a masterwork of subtle melodic genius and sophisticated wit, a cultural bulwark against the excess of nineties guitar music.

It reintroduced the idea that cynicism and alienation could be expressed without distortion or volume, that soft, book-smart folk-pop could be incisive and clever again.

Perhaps encouraged by the band’s reticence in interviews, a network of record store clerks, indie geeks, and magazine critics proselytized on behalf of the LP with a near-religious fervor. Appropriately, the band’s 1997 live American debut occurred in a New York City synagogue.

A year later, with the band’s star on the rise, The Boy With the Arab Strap demon-

strated even greater ambition. Murdoch democratized the band, ceding songwriting duties on several tracks to Jackson as well as Campbell and David, both of whom would later leave the group. Jackson’s first contributions were the fan favorite “Seymour Stein,” famously included in the 2000 film High Fidelity, and “Chickfactor.”

Asked about the latter, Jackson recalls that the song was inspired by the writer and filmmaker Gail O’ Hara, who was “probably the first American friend I made” during that fateful stateside debut. She was the driving force behind a popular zine called Chickfactor and “immediately thrust a giant pile of zines into my arms” upon meeting him. The interaction led to the song, which included playful lyrics like, “Met the cigarette girl/took a note of her charms but no cigar” and a multidecade friendship with O’Hara, which endures to this day.

After experiencing a slight lull in the early 2000s when the band worked on good-intentioned but lackluster projects like the soundtrack for Todd Solondz’s 2001 film Storytelling, Belle and Sebastian bounced back with an excellent hi-fi pop pivot on 2003’s Dear Catastrophe Waitress.

Produced by Trevor Horn (who also produced Russian pop duo t.A.T.u.), it includes “Piazza, New York Catcher,” a homoerotic ballad about New York Mets star Mike Piazza, which has since turned into one of the band’s most popular songs.

Since the beginning of Belle and Sebastian’s “pop” phase, the band has occasionally acquiesced to modern trends, even if those modern trends are rooted in throwback gestures. Girls in Peacetime Want to Dance, the group’s ninth studio LP, tapped Deerhunter/Washed Out producer Ben Allen to throw some buzzy retrofuturist bliss on them. As a result, the 2015 record notches a few of the band’s clubbiest tracks to date. “Play For Today” features Dee Dee from the Dum Dum Girls raining disco delight in a duet with Murdoch, and “Enter Sylvia Plath” bathes in Europop synth starshine, sounding like a run for Neil Tennant’s pop throne.

Given its history of flipping the script, what could come next for Belle and Sebastian? Perhaps Murdoch, Jackson, and company will swing back to pastoral guitars next time out, or to straight-up techno pop.

Or maybe even more film work looms on the horizon: Murdoch directed a full-length film, God Help the Girl, in 2014. Jackson isn’t sure, either. For inspiration though, he has a simple recipe for success: “A healthy breakfast, exercise, and not being hung over, you can’t go wrong.” music@indyweek.com

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INDYweek.com | 7.26.17 | 19

indystage

IMPROV NOIR

Sunday, July 30, 5 p.m., $15–$25 The Vault, Durham www.improvnoir.com

The Best Medicine

NEW DURHAM COMPANY IMPROV NOIR IS BY AND FOR BLACK PEOPLE IN THE TOO-WHITE WORLD OF IMPROV COMEDY

BY BYRON WOODS

A

placeholder coach” until the group could find a black coach for the team.

After three months of rehearsals, Improv Noir makes its formal debut in a dinner performance at the Vault on Sunday evening, which will recur on the last Sunday of each month. If you’re wondering why such a development was necessary, you probably haven’t been to a regional comedy club lately, where predominantly white performers play to matching audiences.

“People of color are the other in those spaces,” Reitz says. “I think they feel like visitors.”

The cultural divisions in comedy clubs sometimes prove too great even for artists interested in bridging the gaps.

Marshall recalls feeling like she needed to leave an improv intensive held last July at DSI Comedy Theater during the week Clockwise from left: Amadio Perez, Terryca Taylor-Bynum, Alton Sterling and PhilanSade Adeyemi, Bry Bowden, Lauren Foster, Ebony Jenkins do Castile were killed.

“I just couldn’t be there,” she says. “It was clear we were in “It’s very real,” she adds. “At any moment, two different moments, two different culI have to be prepared to say, OK, this is the tural contexts, at the time.” new reality. What do I do now?”

Because improv involves represenMarshall is one of the founding memtation, performers invariably mimic the bers of Improv Noir, the region’s first allwork they see. In spaces that are predomiblack improv comedy troupe. She knew nantly white and male, “it’s harder for a number of black improv comics who women and people of color to see themperformed on predominantly white teams selves,” Reitz says. He and Marshall both but who had never gotten together. Moses thought that a black improv troupe needed Ochola—owner of The Vault, a Durham to perform in a space where its culture was event space devoted to cultures of the more central.

African diaspora—suggested that MarAt The Vault, where the group has had shall create a monthly improv event for unfettered access to black audiences while black performers, catering to black audirehearsing—and hasn’t had to deal with ences. She contacted Jack Reitz, cofoundwhite colleagues or spectators misinterpreter of the comedy collective Mettlesome, ing or dominating the conversation about who agreed to serve as what he calls “a ll improv comics live or die— figuratively, onstage—based on their ability to react to complex, changing circumstances. But, as comedian Monet Marshall notes on the Improv Noir website, the same is true, literally and offstage, for African Americans.

Marshall calls being black in America “a constant improvisation.”

20 | 7.26.17 | INDYweek.com

STAGE BRIEF LOMBARDI | HHHHH

Through Sunday, July 30 Kennedy Theatre, Raleigh www.dukeenergycenterraleigh.com Lombardi could easily have turned out as a football hagiography—a particularly apt term for the legendary Green Bay Packers coach who was dubbed “The Pope” by adoring fans and “St. Vincent” by sarcastic reporters. But Eric Simonson’s stage adaptation of David Maraniss’s biography shows the deep-seated contradictions of a man who ruthlessly bullied and micromanaged his players off the field but gave them autonomy on it, as they ran the Packers’ famous “power sweep,” a play with myriad real-time options that catapulted the team to a series of national championships.

As the title character in director Charlie Brady’s sterling Theatre Raleigh production, David Henderson delivers one of his finest performances yet. His lacerating invective has as much impact as the body checks that famous players Dave Robinson

its work—team members say they’ve made more progress than they expected.

“We feel a lot safer going out on a limb with identity-centered work,” Marshall says. “We’re less afraid to mine our lives and our identity.”

When people from different cultures take the stage, different stories come out.

Company member Terryca Taylor-Bynum cracked up during a recent rehearsal when comedian Lauren Foster portrayed an angry Nigerian man who believes that women are obligated to make more African babies. The routine was based on a recent incident in Foster’s life.

“It’s comedy, but it’s real life,” says Tay-

(a vivid Jade Arnold), Jim Taylor (a gruff Dan Callaway), and “Golden Boy” Paul Hornung (a warm, rueful Victor Joel Ortiz) execute in grueling practices. A cub reporter on assignment for Look (a forthright Adam Poole) finds himself on the receiving end of verbal and physical intimidation when his search for the story earns pushback from mistrustful players and a coach unaccustomed to being disobeyed.

Masterful blocking deftly takes us from set designer Chris Bernier’s practice field to Lombardi’s living room, where his wife, Marie (a nuanced Judy McLane), pulls some strings of her own in her husband’s personal and professional relationships.

Simonson sanitizes the language of Lombardi’s profanity-laden tirades, but if his play gives only a fleeting glimpse of the price Lombardi’s family paid in his singleminded regime, it still shows us a man clearly aware of—and haunted and isolated by—the extremity of the demands he places on himself and everyone else in his autocratic world. —Byron Woods

lor-Bynum. “We can take things that happened or can happen to you, turn them into joy, and send them back to you.”

Black people can easily and understandably feel they have insufficient political and social agency, but improv comedy provides almost total freedom. An actor can be anywhere, be anyone, and do anything they can imagine. Taylor-Bynum revels in the feelings of control she experiences in the form.

“Whatever I say onstage, it is,” she says.

“In that moment, a black man doesn’t have to die. There and then, nothing bad has to happen if I don’t want it to.” bwoods@indyweek.com

indyscreen

A GHOST STORY HHHH Opening Friday, July 28

Hope Springs Infernal H.P. LOVECRAFT HAUNTS A GHOST STORY WHILE THE LOVE OF CRAFT SHINES THROUGH MAUDIE

BY GLENN MCDONALD

A Ghost Story PHOTO COURTESY OF A24

“T

he most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.”

That’s H.P. Lovecraft, inventor of the modern horror story, who had a debilitating preoccupation with the essential cosmic terror of existence in an unknowable universe. “We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far.”

Director David Lowery explores similar themes in A GHOST STORY, an odd, ominous film starring Casey Affleck as a ghost damned to spend eternity in the place where he died. In what seems like an art school gimmick, the ghost is presented Halloween costume-style, as a bed sheet with holes cut out for the eyes. Stick with it, though. Lowery gradually transforms his central image into something powerfully resonant.

The film’s first half-hour introduces characters known only as C (Affleck) and M (Rooney Mara), a bohemian couple liv-

ing in a suburban house in Anytown, U.S.A. When Affleck dies, suddenly and accidentally, he finds himself back in his home, under that sheet. He can see her but she can’t see him.

M grieves and then eventually moves on, leaving C’s ghost rooted in place but untethered in time. He flashes back to see pioneers first settling the land. He flashes forward to an unsettling future. He spends one unhappy interlude haunting a hipster house party where some philosophy-major doofus holds forth: “Everything you’ve ever strived for, it’ll all go. Everything in this dimension will be pulled apart.”

Here, Lowery is winking a bit at his own dark anxieties, and that's where the sheetcovered ghost comes in. Because, really, we don’t know what comes after death. It might be the bed sheet routine—who can say? A child’s conception of the afterlife is as empirically valid as any other.

Evidently, a governing principle of the human condition is that we are not allowed to know, existentially speaking, what the

hell is going on. How did we get here? What comes next? Science tells us that we’re just a pile of lucky organic molecules that somehow developed consciousness. But that can’t be right, can it?

These are the questions that haunt A Ghost Story, which isn’t a ghost story at all—not in any traditional sense. It’s a darkly lyrical meditation on life and death, space and time, filmed in a square aspect ratio with rounded edges, like a decaying antique photo. Lovecraft would have approved.

I

t’s no secret that we’re living through some of America’s darkest days right now. The shadow in D.C. looms like the darkness over Mordor, and I don’t bust out the apocalyptic Tolkienisms lightly.

So we should take our candles against the darkness wherever we can find them.

MAUDIE, the Canadian biographical drama slowly meandering across American arthouse theaters, is a sweet film that ultimately celebrates the power and light of creativity. It tells the real-life story of Maud

MAUDIE

HHH ½ Now playing

Lewis, Canada’s most famous folk artist, who, despite crippling rheumatoid arthritis, painted every day of her adult life on every surface she could find.

Born in 1903, Lewis lived in poverty in rural Nova Scotia, selling her paintings for twentyfive cents to those who happened upon her one-room house. She shared the space with her husband, Everett, a local fishmonger, and sometimes accompanied him on his rounds— buy three fish and get a painting. Only toward the end of her life did she finally receive the attention she deserved. Legend has it that Richard Nixon bought two of her paintings for the White House.

Lewis is portrayed by the brilliant English actress Sally Hawkins, who disappears into the role, her body curled into a painful, perpetual knot. Neither Hawkins nor director Aisling Walsh linger on Lewis’s disability, though, and that’s a good thing. A story like this can easily get lost in maudlin martyrdom. Instead, it pivots on Lewis’s indefatigable optimism in the face of some truly grim circumstances. Hawkins has a thousandwatt smile, and when she flashes it out from the twisted woolen bundle that is Lewis, it’s a ray of light through a leaden sky.

Ethan Hawke plays Everett, which is a shame. His grunted line readings are a dubious choice, but this is really less of a performance issue than a casting mistake.

Hawke is too good-looking, his intelligence too evident. He doesn’t look like an illiterate fishmonger; he looks like a movie star playing an illiterate fishmonger.

Director Walsh doesn’t try to do too much with the story of Lewis. She sticks close to the biographical details and makes no attempt to plumb the deeper depths of Lewis’s outsider art. There’s a sense of commissioned portraiture ( judging by the opening titles, the movie was funded by several dozen regional Canadian film offices).

But what the film does convey, quite powerfully, is the enduring power of the creative act. When Lewis paints, looking out the cracked window of her clapboard house, a gentle wonder pulses from the screen as she transcends her pain through art. It's a beautiful thing to watch, and it triggers a hopeful feeling.

If you could use a feeling like that these days, go see Maudie. arts@indyweek.com INDYweek.com | 7.26.17 | 21

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

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

PET of the WEEK

WHAT TO DO THIS WEEK 7.26–8.2

Patty Griffin PHOTO

COURTESY OF BIG HASSLE PUBLICITY

FRIDAY, JULY 28

PATTY GRIFFIN & LEE ANN WOMACK

ALYCAT PHOTO AND VIDEO SERVICES

McLovin is our Pet of the Week! McLovin is a graduate of our kitten foster program, and is ready to find a new home! McLovin was named for his loving and kind nature. The largest kitten of his litter of five, McLovin matured a bit faster than the others and grew into a chill sort of leadership role with the group. His littermates looked up to him and adored his playful, loving kindness. McLovin is an explorer but also affectionate, and loves to nuzzle your neck. He’s a very special cat.

FOR MORE INFORMATION: APSOFDURHAM.ORG/CATS/MCLOVIN If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com 22 | 7.26.17 | INDYweek.com

If your question is “What do Patty Griffin and Lee Ann Womack have in common?” the answer is “a lot more than you might suppose.” Sure, Griffin is known as a folk-rock troubadour who also put in time in Robert Plant’s band, and Womack is a country singer who racked up plenty of hits in the nineties and early aughts. But on their current tour together, billed as “An Acoustic Evening With,” the pair is performing solo and duo sets. The setting should demonstrate that, whatever their ostensible differences might be, Griffin and Womack both know how to break their respective visions of contemporary Americana down to the basics of a gifted vocalist, a carefully crafted song, and a whole lot of honest emotion. You might not get another chance to catch these talents together soon, so don’t sleep on it.

—Jim Allen CAROLINA THEATRE, DURHAM 8 p.m., $46–195, www.carolinatheatre.org

SATURDAY, JULY 29

POUR HOUSE TWENTIETH-ANNIVERSARY PARTY

Lasting two decades as a venue for live music is a minor miracle these days, so Raleigh’s Pour House has every reason to celebrate its longevity. The two-story watering hole on South Blount Street will toast itself in a way that honors its founding principles: with some solid bands in-house and a special pour. The venue has enlisted Raleigh Brewing Company to create a one-time-only libation known as Pour House Imperial Pale Lager, which is sure to slake thirsts in summer’s prime. But it’s not just about self-congratulations; proceeds will benefit Oak City Outreach, an organization that serves homeless and hungry people in Raleigh. Leading the charge on the evening’s musical offerings are the Backsliders. With the gravel-voiced Chip Robinson as their frontman, these raucous honky-tonkers reunited a few years ago and are well versed in the art of tearing it up. The Gravy Boys and Hank & Pattie kick off the fun. —David Klein THE POUR HOUSE, RALEIGH 8 p.m., $10, www.thepourhousemusichall.com

THURSDAY, JULY 27

FAD FESTIVAL

Short film festivals are delightfully disorienting; like the tesseracts in A Wrinkle in Time, they offer a series of short jumps among very different worlds. Choreographer and artistic director Autumn Mist Belk has curated fourteen works from seven countries for the second year of her dance film festival, which is cannily timed with the closing of the American Dance Festival in Durham.

Highlights include a Russian film about Chan, the Chinese version of Zen Buddhism; a documentary about the car crash that spurred a Portland artist to dance; Private Life Variations, a work about soldiers transitioning to civilian life after war; and an investigation into saeta, a particularly eerie form of flamenco dance.

—Byron Woods THE CARY THEATER, CARY 7 p.m., $3–$7, www.thecarytheater.com

TUESDAY, AUGUST 1– SUNDAY, AUGUST 6

MOTOWN: THE MUSICAL

In early 1959, a former boxer named Berry Gordy started a record company in Detroit. He struck chart gold immediately with Barrett Strong’s prophetically titled “Money (That’s What I Want)” and continued to do so over the next decade. Applying the assembly-line techniques he’d learned while toiling at the local LincolnMercury plant, Gordy grew his label into a hit-maker of mythic proportions. The Motown sound melded the calland-response of gospel music with an R & B backbeat and a smooth, ear-friendly aesthetic that actively sought and found the upper reaches of the charts. With its tambourine beats, smooth strings, and elegant, immaculately attired singers, such as Diana Ross and Marvin Gaye, the company brought black music to middle America. Sounds tailor-made for a feel-good jukebox musical, right? Well, you can’t really go wrong with a soundtrack featuring folks like the Supremes, the Temptations, and the Jackson 5. The story’s damned compelling, the music irresistible. —David Klein DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $20–$90, www.dpacnc.com

WHAT ELSE SHOULD I DO?

AMERICAN ACOUSTIC TOUR AT NCMA (P. 27) AUDIO UNDER THE STARS AT DUKE (P. 32) LEE BAINS III AND THE GLORY FIRES AT THE PINHOOK (P. 25) BELLE AND SEBASTIAN AT NCMA (P. 18) CATHERINE EDGERTON AT URBAN DURHAM REALTY (P. 29) IMPROV NOIR AT THE VAULT (P. 20) BILL T. JONES/ARNIE ZANE COMPANY AT DPAC (P. 30) LOMBARDI AT KENNEDY THEATRE (P. 20) STORIES HAPPEN IN FORESTS AT MOTORCO (P. 31) Jarran Muse as Marvin Gaye in Motown: The Musical PHOTO

BY JOAN MARCUS

THROUGH THE REPELLENT FENCE AT FULL FRAME THEATER (P. 32) INDYweek.com | 7.26.17 | 23

FR 8/4

FR 9/1

ROKY ERICKSON 8/4 TOWN MOUNTAIN W/ BLUE CACTUS ($12/$15) 8/9 THE MELVINS W/ SPOTLIGHTS ($20/$22) 8/25 BE LOUD! '17 DRIVIN' N CRYIN', THE BACKSLIDERS, BOOM UNIT BRASS BAND ($25) 8/26 BE

TOWN MOUNTAIN

FR 8/18 @CAT’S CRADLE BACK ROOM

BRICK + MORTAR

LOUD! '17

9/1 ROKY ERICKSON W/ DEATH VALLEY GIRLS ($25/$28) 9/2 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY W/ KATHARINE WHALEN'S SWEDISH WOOD PATROL, YEAUX KATZ, PLUS BULLTOWN STRUTTERS AND IMAGINE CIRCUS ($10) 9/8 LAST PODCAST ON THE LEFT ($25/$28)

CAT'S CRADLE BACK ROOM 7/26 CYMBALS EAT GUITARS W/ ACTIVE BIRD COMMUNITY 7/28 AMY O, LOVE & VALOR,

9/30 TIMEFLIES: TOO MUCH TO DREAM TOUR W/ DAWIN, LOOTE ($25/$28) 10/2 RAC ($22/$25) 10/4 CAMERON ESPOSITO AND

RHEA BUTCHER: BACK2BACK

$32.50 (SEATED SHOW/ ON SALE 7/20, NOON) 10/7 LANY THE LANY TOUR PART 2 W/ DAGNY ($20/$23) 10/10 MURA MASA ($17/$20) 10/12 TURNOVER ($17/$20) 10/13 CHELSEA WOLFE**($20/$23) 10/14 RIVER WHYLESS ($14/$16) 10/16 KALI UCHIS W/ PHONY PPL ($15/$18) 10/20-21 YEP ROC 20 YEAR CELEBRATION ($14/$16) 10/24 TED LEO AND THE PHARMACISTS ($16/$18)

10/24 JESSICA LEA MAYFIELD ($15) 10/25 THE ALTERNATE ROUTES W/ NICK FRADIANI

11/4 THE HOTELIER W/ OSO OSO, ALEX NAPPING ($13/$15)

7/30 ROZWELL KID W/ VUNDABAR, GREAT GRANDPA, HAMMER NO MORE THE FINGERS

11/11 ARKELLS (ON SALE 7/28)

VIOLET BELL, SAM FRAZIER, ABIGAIL DOWD

9/29 PINBACK AUTUMN OF THE SERAPHS 10TH ANNIVERSARY TOUR

10/14 MATT POND PA W/ WILD PINK ($25/$28)

7/29 HONEY MAGPIE ALBUM RELEASE PARTY W/JOSH MOORE, BROTHERS EGG, MAGNOLIA STILL ($10)

9/14 SWERVEDRIVER ($20)

9/27 PSYCHEDELIC FURS W/ BASH & POP ($28/$30)

10/7 MAX FROST ($12) 10/10 BANDITOS ($10/$12)

11/3 ALL THEM WITCHES W/ KING BUFFALO

8/3: TRIANGLE MEETS TRIAD:

9/23 LIARS ($17/$19)

10/4 TROUT STEAK REVIVAL ($12/$15)

THOUSAND ARROWS

9/10 TANK AND THE BANGAS W/ SWEET CRUDE (MOVED FROM CAT'S CRADLE BACK ROOM) ($12/$15) 9/21 QUICKSAND ($20/$24)

TIFT MERRITT

10/22 PICKWICK ($12/$15)

'SPRESSIALS - SPONSORED BY THE

PRESSURE BOYS' HEGE V, BILLY WARDEN AND THE FLOATING CHILDREN ($20)

SA 8/19 @NC MUSEUM OF ART

SONGWRITERS IN THE ROUND: JON SHAIN & FJ VENTRE 8/4 CANCELLED RASPUTINA W/ELIZA RICKMAN ($18/$20) TIX REFUNDED AUTOMATICALLY 8/4 TRAVERS BROTHERSHIP ($8/$10)

8/8 LAETITIA SADIER SOURCE

ENSEMBLE

W/ ART FEYNMAN 8/9 SLAUGHTER BEACH, DOG W/ SHANNEN MOSER ($10/$12) 8/10 WYATT EASTERLING (LP RELEASE PARTY) W/ ROD ABERNETHY ($15) 8/11 THE SECOND AFTER CD RELEASE PARTY 8/18 BRICK + MORTAR W/ THE MOMS ($10/$12)

11/12 OVERCOATS ($10/$12; ON SALE 7/28) 11/13 DAVID BAZAN ($15) 12/1 ALLAN RAYMAN ($18/$20) 12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE ($15/$17) CAROLINA THEATRE (DUR) 12/6 THE MOUNTAIN GOATS DPAC (DUR) 11/25 ST. VINCENT MOTORCO (DUR) 9/12 BLACK JOE LEWIS & THE HONEYBEARS ($15/$17) 11/4 BORIS “DEAR/25TH ANNIVERSARY TOUR” W/ MUTOID MAN, ENDON ($18/$20) RED HAT AMPH. (RAL) 10/2 THE HEAD AND THE HEART W/ THE SHELTERS LINCOLN THEATRE (RAL)

8/19 THE ROOSEVELTS

8./26 DELTA RAE W/ THE CHURCH SITTERS NC MUSEUM OF ART (RAL)

8/22 DURAND JONES & THE INDICATIONS ($10/$12)

7/31 BELLE AND SEBASTIAN SOLD AND ANDREW BIRD OUT

8/25 ALL GET OUT W/ RATBOYS, WILD PINK ($10/$12)

8/1 AMERICAN ACOUSTIC TOUR W/ PUNCH BROTHERSLDAND

8/28 SHABAZZ PALACES W/ PORTER RAY ($17/$19) 9/2 MCCAFFERTY AND REMO DRIVE ($10/$12)

I’M WITH HER

SO OUT

8/12 SUPERCHUNK W/ WAXAHATCHEE, EX HEX 8/19 TIFT MERRITT AND FRIENDS W/ MC TAYLOR OF HISS GOLDEN MESSENGER, ERIC SLICK OF DR. DOG, ALEXANDRA SAUSER MONNING, AMY HELM, AND THE SUITCASE JUNKET

10/25 JOSH RITTER & THE ROYAL

9/13 FRANKIE ROSE W/ SPLASHH ($10/$12)

($27.50; INCLUDES DOWNLOAD OF JOSH'S FORTHCOMING ALBUM, GATHERING)

W/THE REIGN OF KINDO, STOLAS ($13/$15)

SHAKORI HILLS COMM. ARTS CTR.

10/26 SAN FERMIN ($15)

9/17 CAAMP ($10/$12)

9/30 W/ TUNE-YARDS, WYE OAK, HELADO NEGRO & MORE HAW RIVER BALLROOM

CITY BAND

9/16 CRANK IT LOUD PRESENTS:

JASON RICHARDSON

10/27 AMINE ($22/$25)

9/25 THE CRIBS ($18/$20)

10/31 JR JR ($16/$18)

9/27 TOGETHER PANGEA W/DADDY ISSUES, LALA LALA ($12/$14)

11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25) 11/11 SAINT MOTEL ($22/$25) 11/12 LUNA W/ ELEANOR FRIEDBERGER ($20/$23) 11/18 CULTS ($19/$21) 5/25 PETER HOOK & THE LIGHT ($28/$31)

24 | 7.26.17 | INDYweek.com

10/1 ELECTRIC SIX ($13/$15)

SYLVAN ESSO

10/13 JULIEN BAKER ($16/$18; ON SALE 7/21) 10/20 EMILY SALIERS

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

**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

the indy’s guide to triangle dining

on stands now!

music WED, JUL 26

2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • C GRACE: New Music to Us: La Coustic; 9 p.m.

• CAT’S CRADLE (BACK ROOM): Cymbals Eat Guitars, Active Bird Community; 8:30 p.m., $10–$12. • THE CAVE: July Residency: Natural Causes; 8 p.m. • DUKE GARDENS: Music in the Gardens: Caleb Caudle; 7 p.m., $5–$10. • EMPRESS ROOM: The Lounge Doctors; 7:30-10 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: String Peddlers; 6:30 p.m. • LOCAL 506: Fraternal Twin, Stolen Jars, Truth Club, Sinai Vessel; 9 p.m., $7. • NEPTUNES PARLOUR: Miles Nielsen & The Rusted Hearts; 10 p.m., $8. • NIGHTLIGHT: 919Noise July Showcase; 8:30 p.m., $5. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 8:30 p.m., $10.

• THE RITZ: Magic Men Live!; 8 p.m. • RUBY DELUXE: New Wave Night with DJ Rock Lobster; 10 p.m. • SLIM’S: Some Kind of Nightmare, Midnite Sun, Yea(h); 9 p.m., $5.

THU, JUL 27 Futuregrind 3000 BUMP & This Thursday night GRIND lineup on Martin Street is monstrous, wth Oak City Slums, Drozy, Trandle, OC Senpaii, and Zoomo all taking the stage. Each of these exceptional producers has a unique characteristic that keep crowds engaged and jumping. Slums’ bass-heavy drum arrangements are whiplash inducing, while Drozy’s more laid-back style utilizes heavy chords accompanied by 808 kicks. —CM [KINGS, $10/8:30 P.M.]

Isasa STRINGS Maintaining its & SUCH reputation as one of the Triangle’s best rooms for the weird and wonderful, Nightlight offers a stacked bill of quiet, captivating string music. First up is Houston, Texas’s Will Csorba, whose raggedy guitar picking recalls the intricate, rougharound-the-edges work of Daniel Bachman. Headliner Isasa, hailing from Madrid, delivers gentle

7.26–8.2 fingerpicked guitar songs, with clear spiritual predecessors among American Primitive greats like John Fahey and Jack Rose.

Between the two guitarists, though, is The Leveetoppers, an old-time string band whose members hail from Philadelphia and New Orleans. —AH [NIGHTLIGHT, $10/8 P.M.]

the Wretched, Septicemic; 8 p.m., $7.

• THE STATION: The Paul Swest Residency with Mac McCaughan and Special Guests; 9 p.m., $6.

Local Band Local Beer: Poinsettia

AMERI- Homegrown CAN ACE singer-songwriter Jonathan Byrd first began making himself known to the wider world in the early 2000s. Since then, his reputation as one of the finest songsmiths to fall under the Americana umbrella has grown.

His blend of country, folk, and pop flavors provides the perfect framework for his brand of storytelling, which makes the most of an eye for detail and a hearty sense of humor. —JA [DURHAM CENTRAL PARK, FREE/6 P.M.]

RALEIGH The endearingly ROCK ramshackle riff rock of Raleigh’s Poinsettia vacillates between the tongue-in-cheek slacker blues of “Motel Room” to the supercharged Archers-like nineties indie of “Necklace Vial,” all rendered with the ebullient, off-the-cuff charm of the best sort of low-stakes enterprise.

Vanguard Party and Chrome Plated Apostles open. —TB [POUR HOUSE, $5/9:30 P.M.]

Logic DOUBLE Even if the rumored BARREL collaborative album from J. Cole and Kendrick Lamar never sees the light of day, listening to Logic makes for a close approximation. The rapper has a silky delivery similar to J. Cole’s, but with the ability to link ideas and metaphors together line after line like a relentless barrage, in similar fashion to Kendrick, as he shows off on tracks like “Everybody.” —CM [RED HAT AMPHITHEATER, $30–$100/7:30 P.M.] ALSO ON THURSDAY BLUE NOTE GRILL: Armand Lenchek, Carter Minor; 7-9 p.m., free.

• C GRACE: Al Strong Quartet; 9 p.m. • THE CAVE: Brian Basset, Al Riggs; 9 p.m., $5. • DEEP SOUTH: Carolina’s Finest (Round One); 9 p.m., $8. • EMPRESS ROOM: Tony Thompson; 7:30-10 p.m. • IRREGARDLESS: Ed Stephenson Duo; 6-9 p.m. • LOCAL 506: The Lawsuits, Indiobravo; 9 p.m., $8. • THE PINHOOK: Lee Bains III & The Glory Fires, Laila Nur and the Love Riot; 9 p.m., $10. See box, this page. THE RITZ: Hillsong Young & Free; 7 p.m. • RUBY DELUXE: Seize the Stage; 9 p.m. • SLIM’S: Daedalvs, Desecrated Remains, Birth

FOR OUR COMPLETE COMMUNITY CALENDAR

CONTRIBUTORS: Jim Allen (JA),Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Charlie Burnett (CB), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), David Ford Smith (DS)

WWW.INDYWEEK.COM

FRI, JUL 28 Jonathan Byrd & the Pickup Cowboys

Beres Hammond and the Harmony House Musicians LOVERS Had he been ROCKER American, Beres Hammond would have been christened a soul man. The Jamaican crooner specializes in smooth ballads dealing with love issues, but also waxing political with 1989’s “Putting Up Resistance.” Most of the singer’s career has wavered between straight-up reggae and dancehall, but his smooth delivery and soulful voice support a loyal cadre of female fans even when he holds forth on politics as well as love, as he did with 2012’s double disc, One Love, One Life. —GB [LINCOLN THEATRE, $29.50–$45/8:30 P.M.]

Sam Hunt NEW A preeminent star of COUNTRY contemporary country music, Hunt has an ear for massive melodies abetted by a seemingly anything-goes approach to genre, with hits like “Take Your Time” liberally drawing from pop and R & B production techniques. Traditionalists might argue if it’s truly “country,” but it hardly matters to

PHOTO BY WES FRAZER

THURSDAY, JULY 27

LEE BAINS III & THE GLORY FIRES Lee Bains III & the Glory Fires’ 2014 album, Dereconstructed, is either the most Southern punk rock album or the most punk Southern rock album you’re likely to find. It was loud and proud, but at the same time completely uncompromising in its deconstruction of the legacy of slavery and the Southern strain of racism—particularly the ways they still infect the minds of the South’s white people.

Youth Detention, the band’s new album, carries a similar spirit, yet is somehow wholly different in this regard. Speed and anger aren’t the album’s centerpieces, as they were on Dereconstructed. But the complex, personal memories drawn from frontman Lee Bains’s adolescence make the politics more personal, and therefore more urgent, this time around.

“The way I visualized Dereconstructed was a wrecking ball,” Bains says. “This one [Youth Detention], I didn’t have that image in my mind. I felt like I was gonna keep the sledgehammer handy, but that I was gonna need to do some more nuanced demolition and then construction.”

Take the back-to-back tracks “Crooked Letters” and “I Can Change!” The former starts out with the cadence of schoolchildren singing the classic spelling rhyme of Mississippi, where each “s” is replaced by the words “crooked letter.” It then slides seamlessly into a soulful Southern rock tune of the first order. The lyrics, like almost all on the album, relate a series of moving personal snapshots from Bains’s youth in Birmingham,

Alabama. One vignette paints the memory of a man with a “sun-browned face” and “black curls of hair” on the street being hounded by children who demand to know if he’s white or black. Bains sings, “A green-neon crucifix crowns the steeple where, Sundays/ His folks recite prayers in the Lord’s dead tongue.” These kids didn’t know what to make of someone from the Middle East, even if he followed the straight and narrow way of the cross. Crooked letters, indeed.

“I Can Change!” replaces the field-recorded intro of the previous track with a different kind of recording: a protest. Thirty seconds of civil rights chants (“We have nothing to lose but our chains”) eventually give way to a hard and fast song worthy of his last album. It culminates in a short story about a time when a young Bains derided construction workers (sporting Confederate flags, of course) to his sibling. “I muttered something to you about white trash,/ In the front seat, Granddaddy’s easy drawl sharpened into nails/He clapped his cracked red hand onto my doughy leg,/He said, ‘Son, you aren’t any better than anybody else.’”

It’s some of the most sympathetic, and still some of the angriest, Southern songwriting around. Like the best punk rockers, Lee Bains is angry because he cares. And like the best Southern rockers, he cares about all the South’s children. —Jonathan Pattishall THE PINHOOK, DURHAM 9 p.m., $10, www.thepinhook.com INDYweek.com | 7.26.17 | 25

his adoring throngs. Maren Morris, Chris Janson, and Ryan Follese open. —EB [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $32–$160/7 P.M.]

No One Mind ROCK & We’re six months RESIST into a Trump administration, and boy, the hits just keep on coming. To that end, a coterie of local rock ensembles is convening at Nightlight for yet another benefit for the American Civil Liberties Union. In the headlining slot is No One Mind, whose self-titled LP from last September is an engrossing, swimmy shoegaze effort. The bill also features Cantwell, Gomez & Jordan, longtime Triangle purveyors of scrappy, rowdy rock.

Speed Stick, in the first opening slot, is a mighty new drums duo from Laura King (Flesh Wounds, Bat Fangs) and Thomas Simpson (The Love Language, The Light Pines). Political chaos will continue, but this is at least a good opportunity to get away from it all for a bit. With Blood Revenge. —AH [NIGHTLIGHT, $10/9:30 P.M.]

WE 7/26 TH 7/27 FR 7/28 SA 7/29 SU 7/30 TU 8/1

Amy O HIGH Having honed her HOPES craft for a number of years in relative obscurity, gifted singer-songwriter Amy Oelsner possesses all of the hallmarks of a break-out star in the run-up to the release of her new LP, Elastic.

Wedding her distinctive high register vocals to delightfully wordy meditations on love, history, and oppression, Oelsner’s brief compositions suggest an aesthetic kinship with Seattle pop heroes Tacocat, garnished with a vaguely psychedelic twist. Love & Valor and Thousand Arrows open. —EB [CAT’S CRADLE BACK ROOM, $6/8:30 P.M.]

Pie Face Girls RUDE Earlier this year, GIRLS Raleigh trio Pie Face Girls released its excellent debut record, Formative Years. It’s an unapologetic clutch of songs that rip and roar, drawing from garage, punk, and riot grrrl rock. The band excels at being rude and rowdy, which makes for an unforgettable (and unmissable) combination. Drag Sounds sits in

BLUE WED: STERN & COTTON ARMAND LENCHEK & CARTER MINOR DUKE STREET DOGS THE TERRY WILEY BAND THE BEAUTY OPERATORS ARTIST IN RESIDENCE: RISSI PALMER TUESDAY BLUES JAM

the middle of the bill, offering straightforward, hair-raising rock.

Plus Your Pest Band and Dim Delights. —AH [SLIM’S, $8/9 P.M.]

Frank Secich POWER A true rock ’n’ roll POP lifer and an undervalued commodity, Pennsylvania-born Frank Secich founded power pop favorites Blue Ash in 1969 and went on to a long career as a producer and performer, most notably in collaboration with early CBGB hell-raiser Stiv Bators of the Dead Boys. Secich is promoting his recent memoir, Circumstantial Evidence, which is full of hilarious anecdotes and harrowing tales from the glory days of East Coast punk. Room Full of Strangers and Dex Romweber open. —TB [THE STATION, $10–$12/8 P.M.]

Singer-Songwriter Night SOLO The Shed is best GLORY known for its jazz offerings, but the venue has

Terry Wiley Band

brought back its singer-songwriter night, which will feature three distinct area writers and not a jazzer in sight. Dave Wilson, who fronts the local Americana institution Chatham County Line, mixes the high-lonesome Southern influences of his main band with a wry personal perspective. Performing solo as The Monologue Bombs, Scott Phillips of GNØER offers emo-tinged tunes, and Matt Kalb of Le Weekend brings indie rock flair. —DK [THE SHED, $7/8 P.M.]

SOUL This local MAN ensemble featuring local soul man Terry Wiley, pianist Clark Stern, guitarist Josh Preslar, bassist Steve Chall, and drummer Kelly Pace specializes in sixties and seventies covers ranging from Solomon Burke to Jimi Hendrix, making stops along the way for Wilson Pickett and Stevie Ray Vaughan.

—GB [BLUE NOTE GRILL, $8/9 P.M.]

Straight No Chaser

Zen Mother

SHOTS This startingly PLEASE popular long-running a cappella group, first formed in Bloomington in the mid-nineties, cheerfully embraces the genre’s fundamentally ingratiating but deeply square aesthetics, with a repertoire heavy on Christmas carols, pop chart medleys, and the inevitable digressions into old-timey doo-wop standards.

Postmodern Jukebox opens.

—EB [RED HAT AMPHITHEATER, $24–$179/7:30 P.M.]

EXPERI- With its bracing MENTS soundscapes, brutalist electronic flourishes, and visceral, repeated phrases, the Seattle duo Zen Mother resides on the harder-edged side of avant-garde rock. The group alternately brings to mind the hardscrabble sonics of John Cale’s The Academy In Peril or King Crimson on some very bad acid. Bodykit and Nu Depth open. —TB [KINGS, $8/9 P.M.]

ALSO ON FRIDAY BEYÙ CAFFÈ: Buff Dillard; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

• BYNUM FRONT PORCH: Tonk; 7-9 p.m. • C GRACE: Todd Proctor; 9 p.m., $5. • CAROLINA THEATRE: Lee Ann Womack, Patty Griffin; 8 p.m., $49.50+. See page 22. • THE CAVE: Fk. Mt., Girl Werewolf, Cosmic Punk; 9 p.m., $5. • DEEP SOUTH: Sons of Paradise, At the Compound, Inner Prolific; 8 p.m. • EMPRESS ROOM: Jo Gore; 9 p.m. • IMURJ: musicSPARK Benefit Concert; 7 p.m., $10 donation. • IRREGARDLESS: Elmer Gibson; 6:30 p.m. • LOCAL 506: Passafire, Elephant Convoy, Six Shots Later; 9 p.m., $12–$15.

• THE MAYWOOD: Through All This Time, Soapbox Arson, Grody Jones; 9:30 p.m., $8. • THE PINHOOK: Acid//Washed, PlayPlay; 10 p.m., $7. • POUR HOUSE: The Bleeding Hearts, The Feeds, The Royal Nites; 9 p.m., $5–$10. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Black Wall, Sportsmanship; 7 p.m. SingerSongwriter Night; 8-10 p.m., $7. • SHARP NINE GALLERY: Eric Hirsh Quartet; 8 p.m., $10–$15.

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TUESDAY, AUGUST 1

AMERICAN ACOUSTIC TOUR: PUNCH BROTHERS, I’M WITH HER, AND JULIAN LAGE

Punch Brothers PHOTO

As far as present-day, folk-influenced American music goes, it’s pretty impossible to beat this bill at the North Carolina Museum of Art. It’s packed with some of the best working rootsinclined musicians—and perhaps even the finest contemporary musicians of any genre.

Punch Brothers, who headline, have always been an intriguing band that transcends whatever borders of genres its instrumentation—banjo, fiddle, acoustic guitar, mandolin, double bass— suggests. But over the past decade, the band has continued to unfold and one-up itself with every record, marrying lofty virtuosity with catchy hooks and boatloads of charm. Its most recent album was 2015’s The Phosphorescent Blues, so it’s high time for some new songs from this crew.

In the middle of the bill is another roots music power trio: I’m With Her, which combines the talents of Aoife O’Donovan, Sarah Jarosz, and Sara Watkins. I’m With Her released its first official recording, “Little Lies” just a few weeks ago, and it puts the trio’s talents on full display.

Jarosz and O’Donovan’s voices make for soft, smoky complements, and with Watkins, their harmonies border on divine.

COURTESY OF PARADIGM TALENT AGENCY

SAT, JUL 29 All Hell HEAVY Primitive Ways NIGHT brings the blackened thrash of Asheville’s All Hell to Raleigh to headline this Saturday evening of heavy jams.

Raleigh’s Datura brings a mix of thrash, doom, and black metal, while Virginia’s Murdersome and The Day of the Beast, and Cary’s Space Rabbit round out the bill.

—CB [THE MAYWOOD. $10/8:30 P.M.]

The Beauty Operators BLUES The local WOMEN blueswomen of The Beauty Operators revamped the cover of the Rolling Stones’ 1967 LP Flowers as a poster for their latest gig, putting their own heads in the blossoms. But bassist/vocalist Leslie Land, harmonica player Sandee Washington, guitarist Maria Linck, drummer Lori Baron, and lead guitarist Darby Odom dash the image of delicate flowers when they tear into “Honky Tonk Women.” —GB [BLUE NOTE GRILL, $8/8 P.M.]

Defacto Thezpian

Honey Magpie

DURHAM New hip-hop artists SHINE usually work on finding their flow first, then develop the showmanship and stage presence later. This is not the case with Defacto Thezpian.

The rapper used his showmanship as the foundation upon which he developed his musical skills, and he has risen to become one of the most electrifying emcees in Durham.

His infectious lyrics hit an emotional range from cocky to flat-out funny. Jooselord Magnus and Lil Bob Doe open.

—CM [THE PINHOOK, $7–$9/8 P.M.]

SWEET Celebrating the FOLK release of its debut album, Home to Me, Carrboro’s Honey Magpie will treat its Cat’s Cradle Back Room crowd to sweet vocals, gentle instrumentation, and laid-back folk music.

The title track will have you falling in love with the band’s earnest lyrics about enjoying the one you’re with, which are delivered over saccharine fiddle and tenderly plucked banjo. It’s bedroom indie pop for the folk and Americana crowd. Josh Moore, Brothers Egg, and Magnolia Still open. —KH [CAT’S CRADLE BACK ROOM, $10/7:30 P.M.]

Eyes Eat Suns PUNK Raleigh’s energetic POP Eyes Eat Suns features the full indie pop toolkit of dazzling riffs, soaring choruses, and wry and vaguely morose lyrics, marking them as talented descendants of Jimmy Eat World and The Promise Ring.

Frontwoman Ayisa Adderly’s soaring, clarion vocals are the biggest factor in separating the ensemble from the deep bench of like-minded peers. Red Sands, Palamoda, War In The Pocket and Sixlight open. —TB [KINGS, $10–$15/6:30 P.M.]

Losering 4: Strangers Almanac 20th-Anniversary Celebration HEY It’s hard to believe RYAN that twenty years have passed since Whiskeytown, led by Ryan Adams, released its major-label debut, Strangers Almanac. While the band only lasted through one more LP, Adams went on to national renown and maintains a fervent following in the Triangle. This is the fourth iteration of a celebration of Adams’s songs,

one that draws on the talents of the Antique Hearts who will perform Strangers Almanac in its entirety, and other guest musicians. —DK [DEEP SOUTH, $7–$10/9 P.M.]

Eric Roberson SMOOTH New Jersey-based R&B R & B stalwart Eric Roberson has been a presence on the scene for more than two decades, working as a singersongwriter and producer alongside acts ranging from Jill Scott to DJ Jazzy Jeff. At root a seductive soul man in the Marvin Gaye tradition, Roberson has long preferred a production template of easygoing, jazz-inflected beats and soothing synths, an insinuating sound which wasn’t always fashionable but is now very much in vogue.

Zoocrü opens. —EB [MOTORCO, $30–$35/8 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Future Prospect; 7 & 9 p.m., $12. • C GRACE: Jim Ferris Trio; 9 p.m., $5. • CITY TAP: Dmitri Resnik & Bootleg Beat; 8-11 p.m. • EMPRESS ROOM: Fred Westbrook; 9 p.m. • IMURJ: Chris Larkin; 10:30-11:30 p.m., free. • IRREGARDLESS: Lou Padro Duo; 6-9 p.m. Peter Lamb Quartet; 9 p.m. • LOCAL 506:

And though they take the first opening slot on this stacked bill, the acoustic guitar duo of Punch Brothers’ Chris Eldridge and child prodigy turned pro Julian Lage is nothing to be trifled with. The two use their disparate backgrounds—Eldridge a blistering bluegrass flatpicker, Lage a broad-minded jazz player—to unearth gorgeous new territory. In Feburary, the duo issued Mount Royal, a marvelous collection of intricate songs that range from the patient and delicate instrumental “Bone Collector” to the compact and deeply delightful rendition of John Hartford’s “Mississippi Valley.”

If individual sets from all of these ensembles weren’t enough, the tour also promises rotating collaborations among the acts throughout the evening (one can only hope that Lage, Eldridge, and O’Donovan will pull out their cover of Joanna Newsom’s “Good Intentions Paving Company”). It’ll be a surprise-heavy smorgasbord of unimpeachable talent. Try to keep your wits about you. —Allison Hussey N.C. MUSEUM OF ART, RALEIGH 8 p.m., $27–$45, www.ncartmuseum.org

Scowl Brow, Old Heavy Hands; 9 p.m., $8–$10. • POUR HOUSE: Girls Rock NC Summer Showcase; 1 p.m. • RUBY DELUXE: DJ Play Play; 11 p.m. • SHARP NINE GALLERY: Atticus Reynolds and Ventana; 8 p.m., $10–$15. • ST BARTHOLOMEW’S EPISCOPAL CHURCH: Ken & Brad Kolodner, Sue Wilson & Betsy Kraus; 7-9 p.m., $15–$20. • THE STATION: Jazz Saturdays; 2 p.m., free.

SUN, JUL 30 Rozwell Kid INDIE POP Like a finely honed precision machine created from spare parts left over from Copper Blue-era Sugar and early Teenage Fanclub, West Virginia’s Rozwell Kid is a swaggering indie pop juggernaut drawing on a seemingly endless supply of killer hooks, snarling riffs, and enough good-natured humor to make the band feel both approachable and impressive. Rozwell Kid is a generational talent with the commercial potential to go as far as its members desire, or as their underdog spirit allows. Vundabar, Great Grandpa, and Hammer No More The Fingers open. —EB [CAT’S CRADLE BACK ROOM, $10–$12/8 P.M.]

Suaka METAL New York’s Suaka CHURCH infuses the double-kick-driven, mile-a-minute, riff-heavy thrash of the Big Four with the indigenous melodies of its Indonesian heritage. The band should pair nicely with the stoner/psychmetal of Chapel Hill’s Bitter Resolve in the grimy confines of downtown Raleigh’s oldest bar.

Get your head bang on on a Sunday. —CB [SLIMS. $5/8 P.M.]

TZYVYX WAY OUT To get the obvious question out of the way, TZYVYX is pronounced “civics.” This David Mueller solo electronic project has long been a one-stop shop for inventive dance music that roots itself in warm analog sound design. On 2015’s Execration Texts Vol 1, Mueller channeled noise, Balearic pop, and the pastoral post-rave bliss of nineties ambient house greats like KLF and Boards Of Canada into a series of melancholy synth explorations.

The results were decidedly psychedelic and highly compelling. Backup duties come courtesy of freak Carrboro rockers Tegucigalpan and Raleigh noise mage Spookstina. —DS [NEPTUNES PARLOUR, $5/9 P.M.] INDYweek.com | 7.26.17 | 27

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BLUE NOTE GRILL: Artist in Residence Series: Rissi Palmer; 5-7 p.m., free. • THE CAVE: New Town Drunks, Twilighter; 7 p.m. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Matt Walsh; 6 p.m. • LINCOLN THEATRE: Hellyeah, Kyng, Cane Hill; 9 p.m., $25. • LOCAL 506: The Mallett Brothers Band; 9 p.m., $8. • MOTORCO: Gangstagrass, Kamara Thomas; 8 p.m., $12–$15. • POUR HOUSE: School of Rock; 1:30 p.m., $5.

Tan and Sober Gentlemen, Black Irish Texas; 8 p.m. • RUBY DELUXE: Homosuperior, Space Camp, Henbrain; 10 p.m. • WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

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WEAR Philly’s Secret CLOTHES Nudist Friends drop

by Franklin Street’s Cave for an evening of psyched-out garage jams that bring to mind Asheville’s The Tills, while the fuzzed-out, warped songs of the Triangle’s own Brutal Jr recall the experimental electronica coming out of the same mountain town.

—CB [THE CAVE. $5/9 P.M.] ALSO ON MONDAY BEYÙ CAFFÈ: Verses and Versus DJ Series; 6-9 p.m. • EMPRESS ROOM: Gary Brunotte plays and sings from The Great American Songbook; 8-10 p.m. • IMBIBE: Grewen and Griffin; 7-10 p.m., free. • NC MUSEUM OF ART: Belle & Sebastian, Andrew Bird; 7:30 p.m. See page 18. • POUR HOUSE: Shagwuf, Horseskull; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

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TUE, AUG 1 Michael Franti and Spearhead NO MEAN You might know FEET Michael Franti from hearing his soothing tunes during a yoga class, but this multi-instrumentalist first gained notice in the nineties for his angry, politically charged raps with Disposable Heroes of Hiphopricy.

Having embraced the barefoot lifestyle in recent years, Franti has mellowed considerably since

then. With his longtime band, Spearhead, Franti has continued to fold in new influences, from reggae, R & B, and roots music to EDM on last year’s Soulrocker.

And while yoga has led Franti to focus on peaceful solutions, his urgency is unabated. —DK [THE RITZ, $26–$54/8 P.M.]

Sinners & Saints HEAVEN Performing at BOUND Raleigh Time’s Beer & Banjos series, Charlotte’s Sinners & Saints demonstrates that great folk music can come from all over the state. With fiddle, pedal steel, acoustic guitar, and Perry Fowler and Mark Baran’s twangy harmonies, this evening makes for a safe bet as far as fine folk music goes. —KH [RALEIGH TIMES, FREE/7:30 P.M.] ALSO ON TUESDAY THE CAVE: Henbrain, M Is We, Shagwuf; 9 p.m., $5. • IRREGARDLESS: Brien Barbour; 6:30 p.m. • NC MUSEUM OF ART: Punch Brothers, I’m With Her, Julian Lage; 8 p.m., $40–$45. See box, page 27. • POUR HOUSE: Savi Fernandez Band; 9 p.m. • RUBY DELUXE: Experimental Tuesday: Play Play; 11 p.m. • SLIM’S: Soul Remnants, Solium Fatalis, Greves, Morose Vitality; 8 p.m., $5.

WED, AUG 2 Michelle Branch BRANCH In the decade and a OUT half since her hit “Everywhere,” the early-2000s mainstream pop artist Michelle Branch has reinvented herself as a more edgy indie darling. Her new record, Hopeless Romantic, has more personal songwriting than previous albums, dissecting the dissolution of her ten-year marriage. She pairs her in-depth exploration of partnerships with mostly upbeat indie pop tunes, bolstered by swirling synths, dark string instruments, and electric guitar. Expect some past hits, but brace for her new, more mature and interesting sound. —KH [LINCOLN THEATRE, $25–$125/8 P.M.]

CMT’s Nashville in Concert TV ON CMT’s Nashville, a TOUR country music drama that had previously aired on ABC and is a pipe dream of

how the music industry really works, features all-original music sung by the cast each week. The show has taken to the road, selling out international venues and now coming home to the United States. With its good mix of ballads, duets, and would-beradio-hits-if-the-show-were-real, the evening is sure to please its rabid fans. —KH [RED HAT AMPHITHEATER, $20.50–$175/7:30 P.M.]

Heartscape Landbreak MANY Taylor Holenbeck HATS connects the dots between several disparate musical worlds. In addition to his backup band duties in Des Ark, the prolific Durham-via-Kansas musician has recorded and toured with wistful indie rockers Hospital Ships, not to mention his time with emo post-rock scene vets the Appleseed Cast. It shouldn’t come as a shock that his solo venture, Heartscape Landbreak, draws influence from those projects. His guitars run meaty and sweeping, and the lyricism is usually thoughtful and heartfelt. With Treadles and Dunum —DS [THE PINHOOK, $8/8 P.M.]

Pig SQUEAL Raymond Watts is AWAY perhaps best known for his work with industrial titans KMFDM, having appeared on several of the group’s key records. With his project Pig, he updates the machine-like rhythms and dark tone of that long-running group with goth rock hooks and studio sheen, still driving, if a bit tamer. Julien-K, featuring former Orgy members Amir Derakh and Ryan Shuck, opens with its own brand of pomp and stomp, alongside Ghostfeeder, Roseclouds, and Durham’s own Tescon Pol. —CB [MOTORCO. $15–$20/7:30 P.M.] ALSO ON WEDNESDAY 2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: Nikki Hill; 8 p.m., $10–$15. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The Holland Brothers; 6:30 p.m. • POUR HOUSE: The Hollows, Primate Fiasco; 9 p.m. • THE STATION: Saving Space Showcase: Hardworker, Magnolia Project, Mona Dowell, The Barangay; 9 p.m., $7.

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also has some chops as a writer; her pithy titles tend to bring her works halfway back from abstraction toward something you might convince yourself you recognize. Thru Jul 30. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com. — Chris Vitiello Beyond the Front Porch 2017: Exhibition of work by twelve senior undergraduates.

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

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

A Cat-like Whimsy: Mixed media drawings on repurposed material by Rio Aubry Taylor. Thru Aug 12.

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

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

Print from Rabbits by Catherine Edgerton PHOTO COURTESY OF THE ARTIST SATURDAY, JULY 29

CATHERINE EDGERTON: RABBITS In April, the INDY reported on Catherine Edgerton’s Carrack exhibit of art journals and kaleidoscopes, which represented different but complementary—basically, personal and public—approaches to the issue of mental health.

It’s one of the artist’s key areas of activism within the Durham Artists Movement, the multivalent, social-justice-oriented collective she cofounded. As such, Edgerton’s new exhibit, Rabbits, benefits Art Asylum, which employs creative practices to destigmatize and empower people with mental-health and addiction challenges. The collage-

OPENING

ONGOING

SPECIAL Ed Levin: Jewelry.

EVENT Thru Aug 25.

Reception: Fri, Jul 28, 6-8 p.m.

Melissa Designer Jewelry, Hillsborough.

SPECIAL Rough Dimensions: EVENT Audio, video, and mixed media by Ian Couture and Jeanine Tatlock. Thru Aug 7.

Reception: Sat, Aug 5, 6-9 p.m. UNC Campus: John & June Allcott Gallery, Chapel Hill. www.johnandjuneallcottgallery. blogspot.com.

Abstract Vision: Paintings

by Sam Ezell. Thru Aug 25. Whitted Building, Hillsborough.

Annual Consignor Invitational: Ceramics by Carmen Elliott and Cathy Kiffney; textiles from Elaine O’Neil; paintings

by Henryk Fantazos, Anne Gregory, and Rosie Thompson; jewelry by Rebecca Neigher. Thru Aug 5.

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

based, limited-edition prints on view and on sale at Urban Durham Realty use the image of the white rabbit to peel back and palpate the layers of white supremacy, a climate in which mental-health struggles for people of color and queer people naturally flourish. Rabbits runs through August, but there’s no better time to visit it than during the Durham Farmers Market on Saturday morning, when the exhibit is paired with a biscuit-and-coffee reception. —Brian Howe

URBAN DURHAM REALTY, DURHAM

10 a.m.–noon, free, www.urbandurhamrealty.com Around the Blue Ridge: Photography by The Focus Group. Thru Aug 30. Seaboard Wine & Tasting Bar, Raleigh. www.seaboardwine.com.

Barely Civilized: Folk art

by Cher Shaffer. Thru Aug 24. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

LAST Beautiful Bedlam: CHANCE Sometimes a critic will call a painter’s work “unresolved,” a vague adjective that means the work seems either unfinished or taken too

far. But no one could say that about Raleigh painter Martha Thorn’s work in this solo show of brightly colored and chaotic abstract paintings. She’s also a graphic designer, and that sensibility is at work in her knack for drawing many jarring shapes and colors into a single form. Whether you’re looking at a fit of multidirectional drips that shatter the inside of a flag form or squinting through a spray-paint haze at a curlicued tentacle shape, you easily find a subject and can distinguish it clearly from its ground. Thorn

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

Court and Capital: Art from Asia’s Greatest Cities: Thru Dec 10. Ackland Art Museum, Chapel Hill. www. ackland.org.

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

The Elegant Line: Abstract mixed media by Sudie Rakusin and clay forms by Susan Filley. Thru Aug 5.

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

Fluid: Paintings by MyLoan Dinh.

Thru Oct 15. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Focus on the Peck Collection: Seventeenth-century Dutch and Flemish master drawings.

Thru Aug 6. Ackland Art Museum, Chapel Hill. www. ackland.org.

LAST Onicas Gaddis: CHANCE Paintings. Thru Jul 31. The ArtsCenter, Carrboro. www.artscenterlive.org.

Go Play: When you were a kid, you used to go out and play with your friends. Eventually that turned into the less activity-oriented “hanging out with friends,” and finally, it became as virtual as it was real. Physical proximity was no longer a prerequisite for shared experience. Against this trajectory, New Jerseybased artist-technologists Dickie Cox and Mike Richison have installed an array of interactive experiences at SPECTRE Arts in Go Play: Mixed Reality, Abstraction, and the Interpersonal. Visitors affect columns of light by moving their bodies and making sounds, use their phones to play an augmented-reality game, and become components in a musical instrument in which turntables stand in for a player piano. If this sounds like escapism, it’s not intended to be. The light columns require visitors to interact with one another; the game runs according to spontaneous, user-established rules; and the musical instrument draws upon a low-tech “score” of stacked Styrofoam. The artists are attentively exploring the crash of behaviors and current technologies, rather than presenting them as a self-justified, context-less end. Thru Aug 4. SPECTRE Arts, Durham. www.spectrearts.org.

—Chris Vitiello Group Show: Twenty-five artists and craftspersons. Thru Aug 25. Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com.

Gun Show: Sculptures by David Hess. Thru Aug 6.

CAM Raleigh, Raleigh. www. camraleigh.org.

The Long Goodbye...: Sitespecific installation by Eric Yahnker. Thru Sep 10. CAM Raleigh, Raleigh. www. camraleigh.org.

INDYweek.com | 7.26.17 | 29

Looking South: Photography by Eudora Welty. Thru Sep 4. NC Museum of Art, Raleigh. www. ncartmuseum.org.

LAST The Masks of a CHANCE Movement: Puppets by the Paperhand Puppet Intervention. Thru Aug 1. The ArtsCenter, Carrboro. www.artscenterlive.org.

Small to Large: Delight in the Practice of Painting: Paintings

by Margie Stewart. Thru Oct 23. Durham Arts Council, Durham. www.durhamarts.org.

More than One Story | Mas de una historia: Photography.

Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc.edu/davis.

Thirty Paintings in Thirty Days: Paintings by Chieko Murasugi. Thru Sep 18. Durham Arts Council, Durham. www. durhamarts.org.

A Morir: Video installation by Miguel Angel Rios. Thru Sep 17.

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

LAST Nature’s Way: CHANCE Watermedia paintings by Nancy L. Smith. Thru Jul 31. Joyful Jewel, Pittsboro. www. joyfuljewel.com.

No Damsel: Paintings by Dorian Lynde. Thru Aug 6. CAM Raleigh, Raleigh. camraleigh.org.

LAST North Carolina’s CHANCE Natural Beauty: Artwork by Linda Jones. Thru Jul 30. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

One of Many: Prints. Thru Sep 10. Ackland Art Museum, Chapel Hill. www.ackland.org.

Paintings Here and Abroad: John Gaitenby. Thru Aug 5. Little Art Gallery & Craft Collection, Raleigh. www. littleartgalleryandcraft.com.

LAST Porcelain Jewelry: CHANCE Jewelry by Mimi Logothetis. Thru Jul 30.

Melissa Designer Jewelry, Hillsborough. www. melissadesignerjewelry.com.

Pleasant Places: Digital paintings by Quayola.

Thru Aug 13. NC Museum of Art, Raleigh. www. ncartmuseum.org.

SPECIAL Serious Fun: EVENT Jewelry by Nell Chandler, fiber art by Ali Givens, and paintings by Michele Yellin. Thru Aug 20.

Reception: Fri, Jul 28, 6-9 p.m.

Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

LAST Show Off: Two CHANCE curators showcase exhibitions: Anthony Hamilton (Digiscapes!) and Conner Calhoun (Waves to Live By).

Thru Jul 29. Lump, Raleigh. www.teamlump.org.

30 | 7.26.17 | INDYweek.com

stage

Teens, Inspired: Juried exhibition by N.C. high school students. Thru Sep 10. NC Museum of Art, Raleigh. www.ncartmuseum.org.

Threading Colors: Nora Phillips. Thru Sep 18. Durham Arts Council, Durham. www. durhamarts.org.

Truth to Power: For the fifth year in a row, the artists of Durham’s Pleiades Galley are banding together to bring attention to issues of social justice in Truth to Power 5. The exhibit’s title was inspired by a 1955 Quaker pamphlet, titled “Speak Truth to Power,” which promoted alternatives to violence. Local artists working in flat and threedimensional mediums were invited to submit pieces to curator Pedro Lasch, a Duke professor, artist, author, and art juror, who selected several dozen. “Dogma,” a mixed-media piece by Marnie Blum, brings focus to religious tolerance; Malcolm Goff’s digital drawing “The More Things Change...” adds a historic twist to an infamous image taken at a Baton Rouge protest. Thru Aug 6. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com. — Xernay Aniwar Under Pressure: Prints and performance art. Mondays thru Aug 27. Visual Art Exchange, Raleigh. www. visualartexchange.org.

LAST WEARING THE CHANCE SWEATS OUT: Drawings by Tedd Anderson.

Thru Jul 26. Golden Belt, Durham. www. goldenbeltarts.com.

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

LAST You Can’t Get CHANCE Butter (From a Dog’s Mouth): Paintings by St. George. Thru Jul 31. Caffe Driade, Chapel Hill. www. caffedriade.com.

Bill T. Jones/Arnie Zane Company is our ADF pick of the week.

OPENING ADF PICK Analogy: A Trilogy: It’s not the first time—or the first decade—in which a seemingly prescient Bill T. Jones work, years in the making, has touched on a current sociopolitical crisis in its world premiere. On the final evening of the 2017 American Dance Festival, Jones does it again, completing his Analogy trilogy with a meditation on emigration. $25. Thu, Jul 27-Sat, Jul 29.

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

—Byron Woods Benji Brown: Stand-up comedy. Fri, Jul 28-Sun, Jul 30. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Footprints: Three ADFcommissioned world premieres and two reconstructions by ADF students. $40. Wed, Jul 26, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham. www.americandancefestival.org Improv Noir: Interactive improv comedy. $15-$40. Sun, Jul 30,

6 p.m. The Vault, Durham. www.thisismettlesome.com.

See story, p. 20.

Lighten Up Comedy Showcase: Stand-up comedy. Sat, Jul 29, 7:45 p.m. Imurj, Raleigh. imurj.com.

Motown: The Musical: Musical.

Aug 1-6. Durham Performing Arts Center, Durham. www. dpacnc.com. See p. 23.

Sins of My Father: Play. $25-$35. Sat, Jul 29, 3 & 7 p.m. Garner Performing Arts Center, Garner. www. garnerperformingartscenter. com.

The Story of Her: Storytelling presented by 7-Stories. $7. Sun, Jul 30, 7 p.m. Kings, Raleigh. www.kingsraleigh.com.

Summer Intensive: Carolina Ballet: Sat, Jul 29, 2 & 7:30 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

Third Date’s Long-Long Form: Long-form Improv. $14. Fri, Jul 28, 8 p.m. Walltown Children’s Theatre, Durham. www. walltownchildrenstheatre.org.

Wet Hot American Burlesque Show: Burlesque. Sat, Jul 29, 10 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

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

LAST Beauty & the Beast: CHANCE Disney’s first Broadway musical set the standard for those that followed: unwavering fidelity to the original, family-friendly (if often formulaic) scripting, crisp performances and direction, and innovative designs that literalize beloved animated worlds. But the spectacle of it all remains the main draw: ingeniously costumed, alldancing, all-singing household furnishings bring to life an Academy Award-winning score in an enchanted mansion with a library I still dream of. There is darkness in this world, as love is genuinely threatened by

PHOTO BY PAUL B. GOODE

appearances, malice, and xenophobia. We still know how it ends. In this North Carolina Theatre production, guest director Sam Scalamoni leads a cast including Catherine Charlebois and Ben Michael in the title roles. $26+. Thru Jul 30. Memorial Auditorium, Raleigh. www.dukeenergycenterraleigh. com. —Byron Woods LAST Bye Bye Birdie: CHANCE Musical. $10-$15.

Thru Jul 30. UNC Campus: Paul Green Theatre, Chapel Hill. playmakersrep.org. www. playmakersrep.org LAST  Dogfight: CHANCE The Musical: Awkward Eddie Birdlace (a convincing Matt Verner) and crestfallen Rose (Rebekah Holland) have one of the darkest first dates in theatrical history.

It’s 1963, and Eddie and his fellow U.S. Marines are about to be deployed to a then-obscure country, Vietnam. The play takes its title from the competition they hold on their last night of liberty: the marine who brings the ugliest date to the party wins

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

THURSDAY, JULY 27

STORIES HAPPEN IN FORESTS The words are from the Turkish playwright Mehmet Murat Ildan: “If you go to a desert, you will hear this mysterious voice: ‘Be wise, protect your forests!’” When we lose a forest due to overdevelopment or industrial logging, all that’s left are the stories it contained. In this benefit for the Dogwood Alliance, an Ashevillebased environmental activism group devoted to protecting the wildernesses of the South, ten speakers, including Carrboro poet laure-

the pot they’ve all put money in.

Pasek and Paul convey the biting irony of the future awaiting the naive recruits, but this production achieves only limited success. It contains the best vocal work I’ve heard at NRACT, but the company urgently needs professional set designs for its threadbare stage. Director Tim Locklear ably gets to the hearts of these characters, but his actors tend to stop, stare in one direction, and sing. We’re glad that NRACT champions new works and heartened that it has upgraded its musical skills. Now, other production values need to follow. $12-$20. Thru Jul 30.

Sun. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

—Byron Woods Glorious! The True Story of Florence Foster Jenkins, the Worst Singer in the World: Comedy. $18-$24. Thru Aug 6.

Theatre In The Park, Raleigh. www.theatreinthepark.com.

The Harry Show: Improv host leads late-night revelers in potentially risque games. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx Theatre, Raleigh. www.comedyworx.com.

Honour: It’s an ancient warning: be not unequally yoked. But it

ate Gary Phillips, T.C. Muhammad from the Hip Hop Caucus, forestry professor Thomas Easley, and self-styled bear aficionado Margaux Escutin, gather to tell true, personal stories of lives in the woods that are becoming increasingly threatened. —Byron Woods

MOTORCO MUSIC HALL, DURHAM 6 p.m., $10 suggested donation, www.motorcomusic.com

comes a little late for George, a newspaper columnist, and Honor, who was an awardwinning poet. The couple has been married for thirty-two years when George leaves Honor for a beautiful, driven young journalist who’s about the same age as their daughter, Sophia. In this Australian script, four characters grill one another about the meaning—or lack thereof—of their loves, allegiances, and personal achievements. But who will they all be once the breakup forces them to reinvent themselves? Director Wendy Ward should have a field day with this close-up psychological drama. $25. Thru Aug 12.

Ward Theatre, Durham. www. wardtheatrecompany.com.

—Byron Woods Hush Hush: Summer Brews: Interactive comedy. Thursdays thru Sep 1. 8 p.m. Beer Study, Durham, Durham.

LAST  CHANCE Lombardi: Reviewed on p. 20. $28-$30. Thru Jul 30.

Kennedy Theater, Raleigh. www. dukeenergycenterraleigh.com.

LAST The Tempest: Teens CHANCE on Stage/Teens Backstage Program, featuring

musicians from Kidznotes. Thru Jul 30. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

Wants Upon A Time: They’re taking our jobs! (Machines, not immigrants.) The arts aren’t immune: in 2013, Francesca Talenti cast a robot as the lead in The Uncanny Valley. Talenti, a filmmaker and animator, worked with a team at UNC-Chapel Hill to build and program the robot, which gradually took on the voice and aspect of its human costar over the course of the play. In a very modern way, Talenti probed very modern questions about artificial intelligence, virtual reality, and selfhood. Now she’s back with, basically, the opposite. Wants Upon a Time is a “family friendly, Commedia dell’arte-inspired” take on Rapunzel, which is to say more sixteenth-century than day-after-tomorrow. Its site is Patrick Dougherty’s stickwork sculpture on the Hillsborough Riverwalk, where it will be performed on the last Friday of each month through September. Free. Fri, Jul 28, 6:30 & 7 p.m. Riverwalk, Hillsborough. —Brian Howe

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s u p m Ca ide Gu indy week’s

everything you need to know to get your semester started right

on stands august 9 INDYweek.com | 7.26.17 | 31

page

screen

PHOTO BY MARC MAXIMOV

Through the Repellent Fence PHOTO COURTESY OF FULL FRAME

FRIDAY, JULY 28

THURSDAY, JULY 27

THROUGH THE REPELLENT FENCE Christo Vladimirov Javacheff and JeanneClaude—married artists who were credited only as Christo until the mid-nineties—are known for massive environmental artworks that have more pizzazz than profundity. They wrapped a mile and a half of Australian coastline in cloth, spent $26 million planting umbrellas in California and Japan, and placed more than seven thousand fabric gates in Central Park, always insisting that their appeal to viewers was purely aesthetic. Through similar means, Postcommodity pursues different, more spiritual and political ends. The collective, consist-

SPECIAL SHOWINGS Earl of Duplin: After party with Tap Money, DJ 360 Elite, Jus Once Band. $15-$20. Sat, Jul 29, 5:30 p.m. Lincoln Theatre, Raleigh. www.lincolntheatre.com.

Ladyhawke: $5. Fri, Jul 28, 5:30 p.m. N.C. Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

Movies in the Garden: Cinderella: Thu, Jul 27, 8:30 p.m.

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

An American in Paris: Outdoor movie. Free-$6. Fri, Jul 28, 9 p.m.

N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

La La Land: $6. Sat, Jul 29, 9 p.m.

N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

OPENING  A Ghost Story— Reviewed on p. 21. Rated R. Atomic Blonde—John Wick co-director David Leitch strikes out on his own with this spy 32 | 7.26.17 | INDYweek.com

ing of three Native American artists, completed “Repellent Fence” in 2015, stretching balloons emblazoned with an “open eye” symbol, which is common to many indigenous cultures, across the U.S.-Mexico border. In Through the Repellent Fence, screening this week in the Full Frame Road Show, director Sam Wainwright Douglas documents the creation of a work that cuts athwart the abstraction of the border and the looming specter of Trump’s wall.

—Brian Howe

FULL FRAME THEATER, DURHAM 7 p.m., free, fullframefest.org

story set around the fall of the Berlin Wall. Rated R.

romantic landscape of the U.S. Rated R.

The Emoji Movie—In this inevitable animated film, Gene is a “meh” emoji whose face is too expressive for him to fit in.

Our prediction: . Rated PG.

 Cars 3—Pixar’s latest is a smooth ride because it mainly runs on cruise control and Rocky references. Rated G.

The Little Hours—Imagine Boccaccio’s Decameron by way of Mel Brooks to get your head around this strange, saucy comedy. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale.

Read reviews of these films at www.indyweek.com.  The Beguiled— Psychological subtleties make Sofia Coppola’s Civil War dream a challenging film, but some storytelling vigor would have made it a better one.

Rated R. ½ The Big Sick— Married screenwriters Kumail Nanjiani and Emily V. Gordon’s autobiographical rom-com truthfully portrays the shifting cultural and

½ Despicable Me 3—This franchise feels just about washed up, but your kids won’t care, because Minions!

Rated PG. ½ Dunkirk— Christopher Nolan’s WWII picture is very British and, for better and worse, very Terrence Malick—epic, meditative, and portentous.

Rated PG-13. ½ The Fate of the Furious—The latest Fast & Furious film is outlandish and refreshingly self-aware, giddily embracing both elements of the label “dumb fun.” Rated PG-13.  Guardians of the Galaxy Vol. 2—A muddier story and zestier jokes balance out to a worthy sequel to Marvel’s spacefaring hit, now with an Oedipal twist.

Rated PG-13.

AUDIO UNDER THE STARS: DECEPTION People will pay to be deceived; professional magic, politics, and the “male enhancement” industry are all based, to varying degrees, on that principle. This month, the Center for Documentary Studies’ summertime lawn series for listening to audio documentaries focuses on a dozen lies, including chat line fabrications and crimes gone wrong. In their midst: the classic Native American autobiography that was exposed

READINGS & SIGNINGS Ace Atkins: The Fallen. Thu, Jul 27, 6 p.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. — Fri, Jul 28, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com.

as a Klansman’s fiction and an account of how two Southerners escaped slavery by hiding in plain sight. You don’t have to pay for these lies; admission is free. Don’t forget the lawn chairs, blankets, and picnic basket.

—Byron Woods

CENTER FOR DOCUMENTARY STUDIES, DURHAM 8 p.m., free, audiounderthestars.org

Raleigh. www.quailridgebooks. com. — Thu, Jul 27, 4 p.m.

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

Bill T. Jones: ADF dancer and choreographer discusses his favorite books. Sat, Jul 29, 1 p.m. South Regional Library, Durham. www. durhamcountylibrary.org.

Magdalena Clark, Laura J. Moody: Undercities. Sat, Jul 29, 3 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Billy Lawrence: The Punk and the Professor. Mon, Jul 31, 7 p.m.

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

Alan Gratz: Refugee. Wed, Jul 26, 7 p.m. Quail Ridge Books,

Odie Lindsey: We Come to Our Senses: Stories.

½ Kong: Skull Island— Set before 2014’s Godzilla, this reboot makes Kong’s origin feel like Apocalypse Now meets Starship Troopers. Rated PG-13. ½ Maudie—Reviewed on p. 21. Rated PG-13.

½ Pirates of the Caribbean: Dead Men Tell No Tales—An improvement over its dire predecessor, this sequel still features Jack Sparrow literally jumping a shark. Rated PG-13.

 Megan Leavey—The film lavishes love on the bond of a marine and her bomb-sniffing dog but undersells everything else. Rated PG-13.

 Spider-Man: Homecoming—Getting back to basics, a fifty-five-yearold superhero feels like a kid again. Rated PG-13.

½ The Mummy—Tom Cruise’s increasing creepiness is the biggest impediment to a serviceable creature feature.

Rated PG-13.

½ Valerian and the City of a Thousand Planets—Luc Besson breaks the bank for a visually extravagant, emotionally hollow spiritual

Wed, Jul 26, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Jacqueline K. Ogburn: The Unicorn in the Barn. Sat, Jul 29, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

LITERARY R E L AT E D Where’s Waldo? Prize party.

Sun, Jul 30, 3 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

successor of The Fifth Element. Rated PG-13.  War for the Planet of the Apes—A conspicuous phrase scrawled on a tunnel wall beneath the Colonel’s compound says it all: this is basically “Ape-pocalypse Now.” Rated PG-13. ½ Wonder Woman— This origin story doesn’t shrink from its hero’s beauty or brawn. Gal Gadot strikes the right balance as an idealist who relishes the battle but not the war.

Rated PG-13.

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INDYweek.com | 7.26.17 | 33

EEK ★ I

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★★★★★★★

HIGHLIGHT! ★★★★★★★

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Who:

Reality Ministries

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33 6 1 78 9 9 1 1 9 18 2 4 5 6 2 What: Based in the heart of Durham, Reality 6 3 55a community Ministries creates 6 where people 75 with and without developmental disabilities 8 2 come together1to experience friendship, be- 8 2 it’s through 4 daytime longing, and love. Whether 7 2weekly evening fellowship, shared 7 activities, meals, or our Annual Talent1 Show, Reality is a 8 3 1 6 place 5 for everyone. Join us!

9 1 7 5 26 2 1 Give: realityministriesinc.org/give 3 7 4

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

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this week’s puzzle level:

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

Y WEEK ND

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

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

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

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If you just5 can’t 1 2 9wait, 6 8 check 4 7 3 9 8 week’s 6 7 4 3answer 5 2 1 out the current 8 6 5 4 7 2 3 1 9 key at www.indyweek.com, 2 4 3 8 1 9 6 5 7 and click “Diversions”.

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EMAIL MIKE FOR ADS CLASSY AT INDYWEEK DOT COM

1 7 9 5 3 6 2 4 8 4 7 2 1 3 9 4 8 6 5 www.sudoku.com 6 9 4 1 8 5 7 3 2

Best of luck, 3 5and 8 6have 2 7 fun!

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30/10/2005

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

claSSy@indyweek.com

COLLEGE FOOTBALL & BASKETBALL JOBS

Now Hiring Ushers, Ticket Takers and Security

Earn $8.60 to $12.00 per hour working at NCSU, Duke and ECU football games. Be part of the game!

You must be at least 16 years of age for ushers and ticket taker jobs and at least 18 for security.

Interview Anywhere, Work Everywhere Upcoming Job fairs: • Duke - Coombs Field (Baseball Stadium) on Whitford Dr. July 15, 22, & 29-10am-3pm; July 20 & 27-5pm-8pm

advertise in this space for $55! classy@indyweek.com

RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER Bolinwood Condominiums Affordability without compromise RECYCLE PAPER Convenient to UNC on NTHIS bus line 2 & 3 bedroom condominiums for lease RECYCLE THIS PAPER www.bolinwoodcondos.com • 919-942-7806 RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER Pathways for People, Inc. RECYCLE THIS PAPER is looking for energetic individuals who are RECYCLE interested in gainingTHIS experience PAPER while making a difference!

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

No phoneTHIS inquiries please.PAPER RECYCLE RECYCLE THIS PAPER Adult male with Moderate Intellectual Disability and Down’s syndrome in Raleigh.

Monday-Friday from 8:00amRECYCLE THIS PAPER

COMEDYWORX INTRO TO IMPROV

6/17 12-3PM AND 6/21 7-10PM 919-829-0822 OR COMEDYWORX.COM

contact mike for ads

classy at indyweek dot com last week's puzzle

6:00pm and occasional weekends. Transportation needed to and from community based activities and the Day Program in Cary (2 days a week). Behavioral experience preferred. Call and ask for Rebecca.

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

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

Experience with Autism preferred. Call and ask for Michele.

For a list of other open positions please go to:

www.pathwaysforpeople.org

• NCSU-Carter Finley Stadium Gate 4, off Trinity Rd: July 15, 22, & 29-10am-3p; July 19 & 26-5pm-8pm

Join the Staff-1 Event Services TEAM! Visit our website at www.staff-1.com or call 919-237-1232

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

claSSy@indyweek.com

INDYweek.com | 7.26.17 | 35

TO A DV E R T I S E I N T H E I N DY: C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M