INDY Week 8.14.19

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RALEIGH August 14, 2019

NORTH CAROLINA’S NATIONAL TREASURE The remarkable story of the drive to save Nina Simone’s childhood home in Tryon

BY SARAH EDWARDS, P. 10

Phil Freelon, master builder P. 7

Fighting tapas fatigue P. 17

What’s that noise? P. 20

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WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 36, NO. 31

DEPARTMENTS

5 Strategic lawsuits against public participation, or SLAPPs, use civil litigation to intimidate critics by sapping their time, money, and morale.

7 Features 17 Food

7 When celebrated Durham architect Phil Freelon died, his son, Pierce, was holding his hand.

20 Music 21 Arts & Culture

10 Yolanda Rabun didn’t know why she’d been summoned to the childhood home of Nina Simone in Tryon, North Carolina, but it turned out to be exactly where she was meant to be.

23 What to Do This Week 26 Music Calendar 29 Arts & Culture Calendar

17 Wake Forest restaurant Bodega is finding good ways to overcome tapas fatigue—as long as you like meat.

19 The hoppiest IPAs and the Durham blues tradition meet in the Hops & Blues Festival at The Glass Jug Beer Lab. 20 As befits its mission to lift up new voices, the Raleigh noise-music festival All Data Lost features an entirely new lineup in its second year.

21 One part of Paperhand Puppet Intervention’s eco-conscious We Are Here is clearly based on the controversial Chatham Park development.

22 Say goodbye to the North Carolina Gay & Lesbian Film Festival and hello to the OutSouth Queer Film Festival.

Nina Simone (see page 10) PHOTO: PUBLIC DOMAIN

On the cover PHOTO BY JADE WILSON

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2110 Blue Ridge Road, Raleigh

backtalk

INDY VOICES

SLAPP Happy

Everyone’s a Critic

I

n this week’s paper, restaurant critic Nick Williams reviews Bodega in Wake Forest (see page 17). First, here’s Phil Griffin responding to Williams’s most recent review of Papa Shogun in Raleigh, a restaurant with a lot of potential and room to grow into it.

“Not a bad review of the place, but I would rate it much higher, particularly for such a bland town as Raleigh,” Griffin writes. “The menu evolves with the season as the local produce changes, so some of the familiar items are subject to change. What I really like most is that I can eat some combination of things I’ve never had before every time I visit. I’ve never had a bad meal there, and I can’t think of any place I like better in the Triangle. There’s nothing else like it around here.”

Jim Aulisio weighs-in on last month’s pizza issue, putting in a good word for Old Forge-style pie: “Thank you for all your research on pizza and admitting, up front, that you have a Brooklyn prejudice. Since I was born and raised in Old Forge, Pennsylvania, I appreciate your recognition of Old Forge-style pizza in your evolutionary tree. I understand that New Yorkers know the New York way is always best. My wife agrees with you that New York pizza is the real deal. I have been giving her samples from ‘The Pizza Capital OF the World’ for twenty years. Several OF—Old Forge—restaurants registered that moniker in the early internet days. Since I’m from OF, I have to agree with that label.”

But Ronan Friedenberg says we missed a good (grease) spot: “Yes grease is not the best thing to ingest, but then again you weren’t eating pizza to lose weight or get in your daily amounts of vitamin C and B12. Some grease is kinda delicious.

And so we come to no Randy’s, which may go hand in hand with the no grease rule you have foisted upon us. Randy’s is the best New Yorkstyle pizza I’ve found here in the Triangle.”

But the article “wasn’t all bad,” Friedenberg concedes. “I’m especially pleased to see there is a representative of New Haven style pizza now in the Triangle. As a native New Havenite [I’m] looking forward to giving Capps a try.”

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

IN NORTH CAROLINA, SHARING YOUR #METOO STORY COULD LAND YOU IN COURT

BY T. GREG DOUCETTE

GREG DOUCETTE is a local criminal defense attorney, justice reform advocate, and host of the podcast #Fsck ’Em All. Follow him on Twitter @greg_doucette.

NEXT WEEK: ALEXIS PAULINE GUMBS, is the author of M Archive: After the End of the World, Spill: Scenes of Black Feminist Fugitivity, and co-editor of Revolutionary Mothering: Love on the Front Lines.

S

ince the #MeToo movement went viral in late 2017, a number of once-powerful celebrities have become synonymous with sexual abuse: Harvey Weinstein, Bill Cosby, R. Kelly, Matt Lauer, etc.

A once-powerful celebrity you might not immediately recognize is Victor Mignogna. “Vic” to his rabid fans, Mignogna is a former star in the anime industry known for providing the voice of popular characters in the Fullmetal Alchemist and Dragon Ball franchises. And like many of those #MeToo household names, Mignogna was called out for spending the better part of two decades sexually harassing a number of women and girls, including two of his coworkers.

The fallout of his exposure was swift. Mignogna was dropped from one production company, then by another, as more women shared their stories about him on social media.

But then Mignogna took a different approach than the men before him: He filed a defamation lawsuit against his victims in Texas, claiming his accusers damaged his reputation by describing their abuse at his hands.

This sort of tactic—attempting to silence someone by suing them—is known as a strategic lawsuit against public participation. SLAPPs use civil litigation to intimidate critics by sapping their time, money, and morale. And the use of SLAPPs has grown alongside the growth of social media. Just in the last year, a doctor sued a patient in New York for $1 mil-

lion after the woman left a negative review on Yelp, a Missouri man was sued for leaving a three-star TripAdvisor review of a theme park he visited, and a South Carolina restaurant sued a customer after she posted on Facebook that the restaurant’s new management would not honor the owner’s coupons.

But SLAPP suits are particularly vexatious when they are against the victims of sexual assault.

Consider the case of Megan (not her real name), a woman I represented a few years ago. Megan was a member of a local organization in which one of the group’s leaders, Lawrence, came up behind her, reached his arms around her torso, and squeezed both of her breasts. Although Megan never called the police, she notified the other leaders in the organization. Lawrence was expelled. And he then filed a lawsuit against the organization’s other leaders for expelling him—and against Megan for “defaming” him.

Megan had to find an attorney and endure nearly a year of litigation, including answering invasive discovery questions and sitting through a daylong deposition where she was forced to answer still more invasive questions on camera. She won later that year; Lawrence’s lawsuit was rejected. But not before Megan had to repeatedly relive the trauma of being attacked.

Vic Mignogna’s accusers have an advantage that Megan did not: Texas is one of twenty-nine states to enact

state laws to punish the use of SLAPPs, known as anti-SLAPP statutes. The Texas Citizens Participation Act provides for an expedited review of SLAPP suits, empowering the court to dismiss them in as little as two months after filing. More importantly, Texas’s antiSLAPP statute requires a judge to levy sanctions on any plaintiff filing a bumptious SLAPP suit in an amount “sufficient to deter the party … from bringing similar actions” in the future, plus forcing them to pay the victim’s attorney fees, court costs, and all other expenses incurred to defend themselves.

Anti-SLAPPs are a vital tool to protect the First Amendment rights of victims, and robust versions have been enacted in states as red as Texas and as blue as California. Even several of our neighboring states use them: Georgia’s 1996 anti-SLAPP statute was substantially expanded in 2016, and Tennessee’s first meaningful anti-SLAPP statute went into effect last month.

But for Tar Heels like Megan, our legislators have offered them no protection at all whatsoever. Our politicians dawdle while assault victims get SLAPPed in court—and the continued legislative inaction is inexcusable. backtalk@indyweek.com INDY Voices—a rotating column featuring some of the Triangle’s most compelling writers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 8.14.19 | 5

soapboxer The R-Word

FOR TRUMP’S SUPPORTERS, ADMITTING HIS RACISM WOULD MEAN ADMITTING AN UNCOMFORTABLE TRUTH ABOUT THEMSELVES BY JEFFREY C. BILLMAN

T Your week.

Every Wednesday.

INDYWEEK.COM 6 | 8.14.19 | INDYweek.com

he week after Donald Trump launched his racist attack on U.S. Representative Elijah Cummings, which came on the heels of his racist attacks on four nonwhite Democratic members of Congress, The News & Observer gave resident MAGA apologist J. Peder Zane ink to argue that the president and his Republican Party are not, in fact, racist, but rather the victims of a “false narrative” painted by Democrats, who are the real racists.

While Trump may have been “insensitive” in calling a mostly black congressional district with a median income above the national average “a disgusting rat- and rodent-infested mess,” Zane tells us, a “fairminded person, while hoping that the president would be more precise, should see that he is not a racist.”

Three days later, a Trump-loving whitenationalist murdered twenty-two people in an El Paso Walmart after posting a manifesto explaining—in language that uncannily mirrored Trump’s immigration rhetoric— that he was fighting an “invasion.”

Funny how the racists think Trump is one of them.

Lots of papers have third-tier hacks like Zane, men (always men) who crib their sophomoric understanding of U.S. history from low-rent hucksters like Dinesh D’Souza and regurgitate the outrage du jour from the Fox News/talk-radio set.

These columns tend to land somewhere between intellectually vapid and irresponsibly dishonest; papers publish them as a fig leaf to the MAGA crowd, an effort to assure them that they’re not part of the Liberal Media.

Like most, Zane is rarely worth rebutting. Here, however, he’s recycling an argument common among Trump acolytes, which, in light of El Paso, warrants some scrutiny. His point is this: Republicans should ignore Democrats/liberals/ the media when they say Trump is racist,

because Democrats/liberals/the media always say Republicans are racist.

As Zane puts it: “Before Trump, Democrats leveled the same despicable smear against Mitt Romney—Vice President Joe Biden warned African-Americans that Romney ‘would put y’all back in chains!’”

(Not to be pedantic, but Biden said Romney’s policies would allow big banks to do so.) Before that, Zane continues, they called John McCain racist, and George W. Bush racist, “and so it goes with most every Republican back to Richard Nixon.”

Quick history: Whatever Nixon’s personal feelings (he really didn’t like Jews, FYI), beginning with his 1968 campaign, racial appeals became central to GOP politics.

See, for instance, Republican operative Lee Atwater’s infamous quote: “You start out in 1954 by saying, ‘Nigger, nigger, nigger.’

By 1968 you can’t say ‘nigger’—that hurts you, backfires. So you say stuff like forced busing, states’ rights, and all that stuff, and you’re getting so abstract. Now, you’re talking about cutting taxes, and all these things you’re talking about are totally economic things and a byproduct of them is, blacks get hurt worse than whites.’”

Ronald Reagan denounced mythical welfare queens. George H.W. Bush ran the Willie Horton ad. George W. Bush’s campaign smeared John McCain with rumors about his adopted black child. McCain elevated Sarah Palin to the national stage, where she accused the first black majorparty presidential nominee of “pallin’ around with terrorists.” Romney kissed Donald Trump’s ring while Trump was pushing the racist birther effort. Trump launched his presidential campaign by calling Mexican immigrants rapists and pledging to ban Muslims.

What Zane doesn’t consider is that GOP leaders have been accused of racism because they’ve employed racism to win votes. Trump has been accused of racism

more frequently because he says and does overtly racist things more frequently.

Indeed, Trump’s entire political career has been built on racial demagoguery (and numerous studies suggest that he owes his victory in 2016 in part to his voters’ racial attitudes). But for his supporters to admit that would mean admitting an uncomfortable truth about themselves. So instead, they define the R-word so narrowly as to render it meaningless.

Truth be told, however, I’m less interested in what the J. Peder Zanes of the world tell themselves about Donald Trump’s racism than in the effects their denial has on the rest of us.

It’s no surprise, for instance, that Republicans don’t want to talk about guns after El Paso. More unnerving has been their widespread reluctance to acknowledge the crisis of the increasingly violent white supremacist movement in the Trump era.

As a former FBI supervisor who oversaw terrorism cases told The Washington Post, “I think in many ways the FBI is hamstrung in trying to investigate the white supremacist movement like the old FBI would. There’s some reluctance among agents to bring forth an investigation that targets what the president perceives as his base.”

And if we can’t even address white terrorism without offending Trump’s supporters, how can we possibly begin to address complex, systemic issues of racial and social justice: wealth gaps, education gaps, opportunity gaps, affordability crises, etc.?

The thing about Trump is that he says the quiet parts loud—often through a megaphone. He’s fundamentally incapable of hiding who he is. And that makes the choice ahead of us crystal clear: Between now and Election Day, we as a country will have to confront a lot of uncomfortable truths about who we are—and who we’re going to be. jbillman@indyweek.com

The Master Builder

Phil Freelon’s works will inspire generations not yet born.

But his most important monument is his family.

By Thomasi McDonald

O

n the evening of July 31, Pierce Freelon took the stage at the Hayti Heritage Center during a spoken-word concert in memory of his father, the celebrated Durham architect Phil Freelon, who died on July 9 after a three-year struggle with ALS. He was sixty-six.

Pierce was joined by Nnenna Freelon, who is his mother and Phil’s wife of forty years. Though regal as always, wearing a navy-blue African dress, Nnenna, a six-time Grammy nominee, appeared tentative until she began to sing.

I told Jesus it would be all right if he change my name ...

She started the song in an almost conversational tone that increased in intensity each time she repeated the line.

I told Jesus it would be all right if he change my name ...

At times her voice would soar up to stirring heights, then drop down into a dark, lonely place that spoke of a deep hurt.

I told Jesus it would be all right if he change my name ...

Then her singing gave way to low, soulful moan while her son spoke about “God being a strong black woman.” Before leaving the stage, Nnenna looked upward and stretched her beaming face and open hands to the heavens.

“In the African-American tradition, we say, ‘Every goodbye ain’t gone,’” Nnenna says, adding that the veil between the world of the living and the ancestors is thin and that we allow our loved ones to live on by continuing their body of work and spirit. Nnenna says that her youngest son, Pierce—who last week announced that he is running for North Carolina’s State Senate—has vowed to continue his father’s good works and service.

Phil was still alive when Nnenna decided she was going to perform at the concert. In the days after his passing, she struggled with that decision.

It was a chance to “step my toe into the waters of a public expression,” she says.

“It was good for me and good for the public to see what grief looked like in that moment,” Nnenna continues. “I chose that song because there are a couple of times in life that changes your name.

When we get married, when we have children, and when you lose someone. To go from wife to widow, or husband to widower. I was seeking inside that song the spiritual strength to bear that name change.”

“Yesterday was a good day for her,” Pierce says the next day, sitting in a conference room at Blackspace in Durham, a youth-arts venture he founded.

“She was uncertain as to whether or not she would be able to perform, and then it ended up being a very healing moment for her. Grief can take a lot of different forms, and for our family, art is a tool to process and heal.”

It’s apt that the event was held at Hayti, an African-American cultural center that was formerly St. Joseph’s Church. Pierce says the connection between art, faith, and worship was the

reason why his parents transformed a Gothic Revival church in Old North Durham, which once served parishioners with hearing impairments, into NorthStar Church of the Arts earlier this year. More than just a venue, NorthStar is a sanctuary that recognizes the “sacred bond between art and spirituality.

“Phil said, ‘If you want something, you have to give the same thing,’” Nnenna says. “If you want love, you have to give love. If you want peace, you have to give peace. If you want healing, you have to give healing.”

And first and foremost, Phil Freelon was an artist.

The tall, patrician, athletic, and soft-spoken man used a drafting table and a pen to create a legacy of public buildings that will inspire generations not yet born, most notably by leading the design team of the National Museum of African American History in Washington, D.C. But what he built in his family and in Durham is just as

Nnenna and Pierce Freelon performing at the Hayti Heritage Center PHOTOS BY JADE WILSON

INDYweek.com | 8.14.19 | 7

important as what he built for the world.

Pierce will tell you that his dad’s legacy is so much bigger than any building he designed.

Pierce grew up in a home saturated with black music. His father loved James Brown, Earth, Wind & Fire, Tower of Power, and Sly and the Family Stone. At home, as in the world, he built.

“There’s a saying around the house that he can fix anything,” Pierce says. “He would dismantle and put bikes together. He liked the challenge of figuring out how it worked. He didn’t like instructions and manuals. I think that was part of how he viewed the world, and that was ingrained in his parenting style.”

Pierce remembers when he was sixteen years old and wanted to get ear piercings and a tattoo. His uncle and his cousins had tattoos, so it wasn’t unheard of.

“He didn’t say no,” Pierce says. “He offered me an alternative. He said, ‘If you wait until you’re twenty-one, I’ll get one with you, and I’ll pay for it. But I’ll bet that in waiting, you’ll find that whatever you want to put on your body right now won’t be the same when these things are permanent.’ As soon as I turned eighteen, I wouldn’t have needed his permission, but the prospect of him getting a tattoo was an offer I couldn’t refuse. He was putting up the canvas of his body as collateral!”

“

Phil said, ‘If you want something, you have to give the same thing. If you want love, you have to give love. If you want peace, you have to give peace. If you want healing, you have to give healing.’

Nnenna Freelon

“On my twenty-first birthday,” Pierce continues, “I told him, ‘Dad, I have no idea what I wanted on my arm at sixteen. It was probably some barbed wire or a snake.

Whatever it was, I don’t want it anymore.

So you got me. The lesson around permanence has been ingrained.’”

Leading by example was Phil Freelon’s favored form of guidance and discipline.

Whenever Pierce or his siblings misbehaved, he would remind them, “Freelons don’t do that,” powerfully invoking “a community of ancestors who are outraged by your shenanigans.”

“There is Phil Freelon the person, the human, the drummer, the photographer, the father, the husband,” says Pierce, who

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was holding his father’s hand when he died.

“That is the pyramid, the monument, the obelisk of his legacy.”

P

hil Freelon was born and raised in Philadelphia. The home he shared with his parents and siblings was filled with art. His grandfather, Allan Randall Freelon, was an Impressionist painter during the Harlem Renaissance, and his grandchildren regularly visited his studio.

Freelon’s parents noticed his interest in drawing and assembling things and encouraged it. His father was a traveling salesman for a medical-equipment company.

“He would come back with a model of a car that I would assemble, or a battleship, or even things that required more creativity and imagination,” Freelon said in the 2017 N.C. State University Libraries oral history about him that provides quotes for this story. “I was fortunate to be in a family where I was surrounded by the arts and was able to be inspired by that.”

Freelon attended Central High School in Philadelphia, a public school focused on the arts that attracted drawing students from all over the city. He took classes in design, art, and drafting, realized he was drawn to architecture, and decided to become an architect. He enrolled at Hampton Institute, now Hampton University, a historically black college, after high school.

It was the 1960s. The Civil Rights Movement, along with growing assertions of Black Power and Black Pride, were at a high point.

“There was pride in heritage in the 1960s, not that it wasn’t there before,” Freelon said. “But it was the Black Power movement, the music, the clothing. I wore an Afro. In some ways, we are in a similar time period now, with a heightened awareness of racial tension and inequity.”

Hampton had an accredited architectural program, and Freelon finally met a real architect, Liberian-born John Henri Spencer, who was chairman of the department.

Freelon, barely into his sophomore year,

was already tutoring fifth-year students, and the college professor took the “unusual and unselfish” step of encouraging Freelon to transfer to a bigger school after observing his drafting skills.

Freelon transferred to N.C. State, where he took graduate-level courses as an undergraduate and received the school’s top design award in 1975, when he earned his degree. Then, he earned a master’s degree in architecture from the Massachusetts Institute of Technology in 1977. Nnenna was in Cambridge at the same time, studying at Simmons College. But the two did not meet until they were both in North Carolina.

It turned out that the future couple had mutual friends, a married couple who were living in the Triangle. It was on their friends’ front porch, on July 7, 1978, that they first met. They talked all night. Phil told Nnenna he wanted to be a father.

“It could have been a deal-breaker!” says Nnenna, who was twenty-two at the time.

The young architect told her about his own father being a great dad, and memories of riding on his shoulders, being lavished with love and attention.

“He wanted that,” Nnenna says. “He was the best dad and a fun dad. All three of our children have that shine because of a dad who loved them.”

Nnenna says she and her husband were like “a key and a lock” when they met. “It’s like we were destined.”

At the time, Nnenna had no intention of pursuing the singing career that would eventually bring her six Grammy nominations. She was eyeing instead a career as a public health administrator. But she says Phil encouraged her in a way that “wasn’t in words only, it was love in action.”

“There was no question in his mind that I would achieve what I needed to achieve in my life,” she says. “People ask, ‘What’s your secret?’ My secret is, ‘Marry well. Don’t be with someone who whispers doubt in your life.’”

One year later, in October 1979, they married. Pierce says his parents’ marriage was “one of purpose.”

“They met in ‘78, married in ‘79, had Deen in ‘80, Maya in ‘81, and me in ‘82,” he says. “They just hit the ground running!”

Freelon returned to the Triangle in 1978 to work with Durham architect John Latimer and landed a job teaching at his alma mater’s school of design. He enjoyed teaching and applied for a full-time tenured position in 1980. But he was not offered a tenure-track position, and school officials did not give him “an acceptable answer,” he said, for not hiring him to teach full-time.

“I left in disgust,” said Freelon, who later added that the school of design still had

students, a dearth of black faculty members more than thirty-five “unusual years later. g Freelon Freelon accepted a job offer with 3D/International, a r observ- large architectural firm in Houston, where he and his wife’s first two children were born. In 1982, John Atkins, who had te, where worked with Freelon at Latimer, asked him if he wanted an under- return to North Carolina to work with O’Brien-Atkins, a firm ool’s top he had started seven years before with Bill O’Brien. At first, arned his Freelon declined, but it started a conversation with his wife degree in about concerns over raising a family in a large city. He called etts Insti- Atkins back a month later and took the job. During his sevenna was in year stint with the firm, Freelon was named a vice-president udying at and helped it grow from thirty members to one hundred fifty. not meet In 1989, at the age of thirty-five, Freelon applied for a lina. prestigious Loeb Fellowship at Harvard. Nnenna was just ouple had starting her singing career and had accepted a visiting artple who ist position in Brunswick County with the N.C. Arts Council. s on their “It was tremendous,” Freelon said. “She got to sing for the 978, that first time, and our youngest had just started kindergarten. ight. Phil We lived on the beach for a year.” her.

In late 1989, Freelon decided to leave O’Brien-Atkins and ker!” says start his own firm. the time. “Nnenna and I were like, ‘Let’s go for it,’” he said. “She t his own didn’t hesitate. She said, ‘Yeah, let’s do this’ … We were mories of willing to cut back on some things, and she was starting shed with to earn some income for her singing, and I was confident we would not be in a deficit for long. I was confident in my “He was ability to grow and cultivate the practice, and that hapee of our pened very quickly.” of a dad Pierce remembers the change in family dynamics when his mom signed a recording contract with a major label, and were Columbia Records, in 1992. met. “It’s “Dad told her, ‘Do what you love.’ She made the bold choice to step into music, and we see how that story is going,” Pierce intention says, who is also a musician, with projects such as hip-hop at would jazz band The Beast. “They worked together to lift each other nomina- up. Mom in the ‘80s was singing at Hayti and Bimbe and areer as a learning the American songbook. By 1990, my dad had startshe says ed his architectural firm, and in 1992, my mom had signed wasn’t in and was going on world tours. We would eat beef enchiladas every day while she was gone, because dad only knew two or his mind three recipes. She was working and we were cheering her on. eeded to … They kept climbing together.” ople ask, By 2014, the Freelon Group was a sixty-member firm s, ‘Marry when it was acquired by Perkins+Will, a global architecwhispers tural firm.

“Dad’s favorite quote was ‘architecture is frozen music,’ hey mar- and it made complete sense,” Pierce says. “My dad was riage was frozen music. Mom is fluid music—same source material, water, in different phases.”

‘79, had n ‘82,” he oused at N.C. State Library’s Special Collections nning!” section, the Phil Freelon Papers, 1975–2018 cone in 1978 tains his architectural drawings, voluminous projohn Lat- ect files, and architectural records that document his work his alma in this area, including Hillside High School, the Diamond ed teach- View Office Building, the Durham Bulls Athletic Park, the tenured Durham Police Department, the east terminal of Raleighoffered a Durham International Airport, Hope Valley Elementary, officials the Hill Center, and others. swer,” he “The Durham Bulls Athletic Park is one of the first really ll-time. memorable buildings that my dad created,” Pierce says. “I who later have so many fond memories of that structure, so many still had foul balls, so many little kids scrambling to try and catch

H

Phil and Nnenna Freelon

PHOTO BY LISSA GOTWAL

them, so many mouthfuls of cotton candy, so many songs and chants and laughter and cheers and fun and pride in the Bull City. He is responsible for so much of that—the ease with which you get in the building, the concession stands, everything. The spirit of it. His soul is in that structure, and how about that?”

The collection also chronicles work that Freelon designed throughout North Carolina and the United States, including college buildings, libraries, cultural arts centers, and historic parks. The one thing that Phil Freelon didn’t build, though, were prisons—those dismal industrial structures which are little more than landlocked slave ships in this era of mass incarceration. Those kinds of complexes stand in stark contrast to his life-affirming designs.

“And believe me, there is lots of money in designing [prisons],” Nnenna says. “He really, really believed people deserved beautiful spaces to be in, light and airy spaces that should say, ‘welcome.’”

In 2017, when Fast Company named Freelon its Architect of the Year, writer Diana Budds described him as the designer “of nearly every major museum or public space dedicated to black culture in the United States: the National Center for Civil and Human Rights in Atlanta, the Museum of the African Diaspora in San Francisco, the Motown Museum in Detroit and the Mississippi Civil Rights Museum in Jackson.”

Those museums are akin to modern-day pyramids that pay tribute to African Americans and others who struggled and sometimes gave their lives to move this country forward. In downtown Atlanta, the National Center for Civil

and Human Rights’ exterior presents two multi-shaded walls that curve inward toward each other. The design symbolizes the links that “connect and empower” disparate individuals and groups, according to the architecture website ArchDaily.

Torrie Shepard, a center spokesperson, told the INDY that the design reminds her of a woman’s hands, and its earth-tone shadings represent the women of the world.

“It shows the power of people and what we can accomplish when we stick together,” she said.

Unquestionably, Freelon’s masterpiece is the Smithsonian’s National Museum of African American History and Culture, located on the National Mall, just across from the Washington Monument.

The monument was first proposed by black Civil War veterans more than one hundred years ago. The building’s design was inspired by the three-tiered corona used in Yoruban art by the Nigerian people of West Africa.

Two hundred fifty thousand square feet of surface presents a latticework fashioned from bronze-colored aluminum panels that recall the bronze art of the ancient Benin empire and the iron works created by African Americans throughout the South.

A tour of the museum beckons visitors on a journey of historical galleries and exhibits that tell a vast story of African-American slavery and freedom, struggle and resistance, ingenuity and achievement.

Phil Freelon was a pole vaulter and hurdler in high school. He ran five miles each day as an adult. Then his run began to slow. His right ankle started bothering him. Following a battery of medical tests, he was diagnosed with ALS in March 2016, six months before his Smithsonian museum officially opened.

“I’m like, ‘You are kidding. That can’t be the truth,’” Nnenna remembers thinking.

The couple looked for alternative treatments. Freelon underwent medical trials at the Duke ALS Clinic, which seemed promising. But the illness grew worse as he lost the ability to walk, speak, and swallow. Nnenna remembers the transitions he was forced to make from cane to walker, scooter to wheelchair, finally needing a breathing device and neck braces. She says her husband’s decision to join his ancestors came when the doctors said they could extend his life with the use of a feeding tube after he was no longer able to swallow.

“We said ‘no,’” Nnenna says. “He did not want that.”

Shortly before his dad died, Pierce finally got a tattoo.

He rolled up his left shirt sleeve to display a three-dimensional pyramid.

“That’s my dad’s first logo of the Freelon Group, 1990,” he says. “He was here when I got it. He loved it. He said, ‘It looks good.’ I told him, ‘I know it looks good. You designed it!’”

When Pierce was a kid, he thought the symbol was merely a triangle, but before his father died, he explained to his son that the pyramids are of African origins, and the ancient structures speaks to the African origins of science, mathematics, and architecture.

Pierce’s discovery is a fitting coda for his father’s legacy. In 2003, when Phil delivered the commencement address for the N.C. State College of Design, he told the graduates, “I want to first say that we are designers. In my view, design is not only a process and a way of thinking, it is a way of life.” tmcdonald@indyweek.com INDYweek.com | 8.14.19 | 9

SACRED GROUND The drive to preserve Nina Simone’s childhood home in Tryon brings a bounty of art to the Triangle

BY SARAH EDWARDS

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ne morning in June 2018, Yolanda Rabun parked her car at 30 East Livingston Street in Tryon, North Carolina, where a modest clapboard house sits on a grassy slope.

She didn’t know why she’d been asked to come sing on the porch of jazz great Nina Simone’s childhood home, but Rabun—a touring musician who also works as a corporate attorney at IBM—wasn’t about to pass up the chance.

This, after all, was the very home where Simone, the daughter of a Methodist minister and the sixth of eight children, was born Eunice Kathleen Waymon in 1933, and where it became apparent, even before the age of three, that she had a prodigious gift for music—that she was, in her older brother’s words, a genius.

Inside, the house was in disrepair, the ceiling crumbling, the floorboards moldering, the rooms mostly empty. Nevertheless, the structure was still standing.

“When I walked in, I knew this is exactly where I’m supposed to be,” Rabun says. Organizers from the N.C. Arts Council revealed the occasion that Rabun, along with three other African-American musicians from North Carolina, had been asked to sing for: a surprise press conference announcing that the house had been designated as a National Treasure by the National Trust for Historic Preservation. This was a big deal: Fewer than one hundred sites in the U.S. hold that title. (The announcement, incidentally, was held on Juneteenth, the day that marks the emancipation of enslaved African Americans.)

“They’re always talking about preserving folks’ homes, but you never hear about black people being honored for what they stood for,” Rabun says. “That they chose Nina Simone, who fought all her life—it’s very important.”

The announcement held particular significance for Rabun: Like Simone, she is a jazz musician who comes from a family of preachers. She has also spent a lot of time trying to get into Simone’s head: In 2012, she starred in Durham playwright Howard L. Craft’s one-person play Nina Simone ... What More Can I Say?, a role that she will 10 | 8.14.19 | INDYweek.com

Nina Simone Weekend Friday, Aug. 16–Sunday, Aug. 18 Various times and prices North Carolina Museum of Art, Raleigh www.ncartmuseum.org

No Fear and Blues Long Gone: Nina Simone Wednesday, Aug. 21–Sunday, Aug. 25 7:30 p.m. Wed.-Fri./2 & 7:30 p.m. Sat.–Sun., $15 Elizabeth Price Kenan Theatre, Chapel Hill www.playmakersrep.org

NCDOT TO HOLD PUBLIC MEETING REGARDING THE PROPOSAL TO UPGRADE INTERSECTION AT U.S. 421 AND N.C. 902 IN CHATHAM COUNTY

STIP Project No. W-5517 The N.C. Department of Transportation proposes to upgrade intersection at U.S. 421 and N.C. 902 in Chatham County to improve traffic flow and safety.

A public meeting will be held from 5-7 p.m. on Tuesday, August 20 at Sandy Branch Baptist Church at 715 Sandy Branch Church Road in Bear Creek.

The purpose of this meeting is to inform the public of the project and gather input on the proposed design. As information becomes available, it may be viewed online at the NCDOT public meeting webpage: https://www.ncdot.gov/news/public-meetings or the project website: https://Publicinput.com/US421andNC902-bearcreek

(left) Nina Simone PHOTO: PUBLIC DOMAIN (above) Nina Simone’s childhood home in Tryon, N.C. PHOTO BY NANCY PIERCE reprise later this month in a new version of the show, in PlayMakers’ PRC2 series.

At the press conference, when Rabun got up to sing, she could feel the eyes of one particular audience member trained on her.

“When I finished, I came down the steps and she touched me, and was like, baby,” Rabun says. “And then she told me who she was, and oh, I melted. Not only am I at [Simone’s] home, singing in honor of her, but now, I’m meeting her blood.”

It was Nina Simone’s younger sister, Francis Waymon Fox.

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he effort to preserve Simone’s Tryon home has a long, winding history, but perhaps it’s best to begin by noting how remarkable it is that the house is still standing at all. Built circa 1930, the three-room, 660-square-foot house is the kind of threadbare construction battered

by Southern storms that often blends into backroads, or otherwise disappears entire-

ly. If you go searching for the childhood homes of many other African-American artists and activists of the twentieth-century—W.E.B. Du Bois, Rosa Parks, Malcolm X—you’ll find only a placard on a street corner. That Simone’s home has survived time and gentrification, a curtain of kudzu separating it from a panorama of the foothills and distant Hogback Mountain—well, that feels close to a miracle.

Over the years, the house has passed through many hands and rehabilitation attempts; in 2016, it went on the market, putting it in immediate danger of being destroyed. In 2017, four African-American visual artists from New York—the conceptual artist Adam Pendleton, the collagist and filmmaker Ellen Gallagher, the abstract painter Julie Mehretu, and the sculptor and painter Rashid Johnson—quietly purchased the property for $95,000. Their timing couldn’t have been better: That same year, the National Trust for Historic Preservation launched a cam-

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

The opportunity to submit written comments will be provided at the meeting or can be done by phone, email, or mail by Sept. 3, 2019.

For additional information, please contact NCDOT Capital Region Traffic Engineer John Grant, PE, at 1561 Mail Service Center, Raleigh, NC 27699-1561, (919) 814-4952 or jhgrant@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop. Anyone requiring special services should contact Tony Gallagher, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, NC 27699-1598, (919) 707-6069 or magallagher@ncdot.gov as early as possible so that arrangements can be made.

Persons who do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-4816494.

chatham_indy-week_W-5517.indd 1

Aquellas personas que no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494. | 8.14.19 INDYweek.com 7/31/19 11 11:55| AM

African-American historical sites. With the On Friday, August 16, What Happened, help of the trust, Pendleton, Gallagher, MehMiss Simone?, a documentary produced by retu, and Johnson were able to secure the Lisa Simone, screens at NCMA in conjunchouse’s National Treasure status, protecting tion with a performance by Duke professor it from demolition. and dance artist Thomas DeFrantz’s experi“It was really perfect timing. I truly believe mental dance troupe, SLIPPAGE. Saturday’s that everything happens for a reason,” says NCMA events include two masterclasses on Carly Jones, the music director at the N.C. Simone’s lesser-known works and her contriArts Council, noting that last fall, Governor butions as a composer. Saturday evening, the Roy Cooper declared 2019 the Year of Music, Paris-based Lisa Simone will perform in the rolling out Come Hear NC, a year-long series outdoor amphitheater, accompanied by local celebrating North Carolina’s musical heritage. big band ensemble The Tribe Jazz Orchestra.

Numerous arms of the state’s Department Lisa Simone is the only child of Nina Simone of Natural and Cultural Resources have been and, like her mother, is a renowned vocalinvolved in preservation efforts since then, ist, with Grammy nominations and numerous including the African-American Heritage ComBroadway credits to her name. She closes the mission, the N.C. Arts Council, and the North celebration out on Sunday with an intimate Carolina Museum of Art; the Tryon-based Nina discussion of her mother’s work.

Simon Project has also had a heavy hand. This “Nina Simone has made such an impact on collaboration, according to Jones, is a model for so many women of color throughout the counstate and federal cultural programming. try. Being able to put this together with her Nina Simone PHOTO COURTESY OF THE NORTH CAROLINA DEPARTMENT OF NATURAL & CULTURAL RESOURCES “I think it’s really important for North daughter has been such an honor,” says Carly Carolina to be an example of how to be a good partner for Jones, who spearheaded the weekend alongside Angela n the short term, though, all of this is resulting in this national campaign to preserve spaces that belong to Thorpe, director of the N.C. African American Commisa flurry of Simone activity in the Triangle. August African Americans,” she says. sion. “The whole time that we were planning this, we had 16–18, NCMA hosts Nina Simone Weekend, with Providence may mark the house’s purchase, but the cost ‘Young, Gifted and Black’ as our theme song.” several events anchored to a performance by Simof restoring it to its original condition—let alone to imagine one’s daughter, Lisa Simone. And Craft’s No Fear and August 21–25 brings No Fear and Blues Long Gone: a future for it—top out at an estimated $250,000. For those Blues Long Gone: Nina Simone—an updated version of Nina Simone, directed by Kathryn Hunter-Williams for involved, it comes as a relief that the house is recognized as his play starring Rabun—will run August 21–25 at Kenan PlayMakers. The one-woman play melds biography with a treasure. The long work of making it look like one, though, Theatre. Both events are part of Come Hear NC’s broader speculation about how Simone would have responded to is only just beginning. our times. It’s an updated version of Craft’s Nina Simcommemorative effort.

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Happened, one ... What More Can I Say?, which was commissioned duced by in 2012 by the Sonja B. Haynes Stone Center for Black conjunc- Culture and History and ran for one season. In the seven professor years since, Craft and Rabun, have kept up their prolific ’s experi- individual output, with Craft teaching and writing plays, aturday’s while Rabun has put out three albums, toured, and starred lasses on in numerous area theater productions. Both characterize er contri- the revised production as almost entirely new. ening, the “When we did it before, we didn’t have a big budget. rm in the We were creating on the fly,” Rabun says. “Over the d by local course of the years, Howard has done something amazOrchestra. ing to the script. And we have resources, we have music, a Simone we have a set.” ed vocal- Of course, the years since 2012 have also seen the elecnumerous tion of Donald Trump and a marked shift in political discloses the course and violence. When it comes to the question of intimate how Nina Simone—an artist who always saw America for what it was—would respond to our times, the material is mpact on almost infinite. the counwith her imone’s talent was “discovered” early, thanks to her ays Carly performances as a toddler at her mother’s church. e Angela The Tryon community pooled money for piano lesCommissons; by the age of seventeen, she moved to New s, we had York City to take lessons at The Juilliard School. Afterward, she was hired to play piano in a dingy nightclub in Atlanng Gone: tic City, New Jersey, where she began performing under the liams for name Nina Simone in order to disguise the gig from her minphy with ister mother, who disapproved of popular music. ponded to Popular music, though, approved of Nina Simone, and she ina Sim- was able to make an early career—that is, to survive—by performing breezy, beloved pop standards like “I Loves You, Porgy” and “My Baby Just Cares for Me.” The civil rights movement (particularly the 1963 bombing of a Birmingham church, in which four little girls were murdered) shook her

S

Nina Simone’s childhood home PHOTO BY NANCY PIERCE

into penning the anguished anthem “Mississippi, Goddam.”

A long career of raw political music and activism would follow that dirge.

Simone had always been responsive to injustice. During a performance at a local library at age eleven, young Eunice saw her parents being removed from their seats in order to make room for a white couple; she responded by stating that she would not play until her parents were given back their seats. It was an effective protest— her parents were returned to their seats—but a life that requires such unerring vigilance takes a toll. There is a particularly poignant moment of archival footage in What Happened, Miss Simone? in which an interviewer asks Simone if it’s the role of the artist to “alert America to the need for change.” Without skipping a beat, Simone responds, “It is my role. But sometimes, I wish it wasn’t.

You see, I have to live with Nina. And that is very difficult.”

If you look to Spotify for contemporary metrics, Simone’s most popular song, by thousands of listens, is her 1965 cover of “Feeling Good.” In her hands, feeling good is an idea, and an elastic one, at that: The idea alone contains at least fifty distinct feelings. It’s dynamic and cellular and elegant and personal; the one thing it might not be called is intimate, because intimacy suggests an easy way in.

Simone’s pain is a reservoir located deep inside of her. Her delivery of certain lines of “Don’t Let Me Be Misunderstood”—a song written for her, although it has spurred dozens of unsatisfying covers—is breathless, her voice so low it seems almost to be skimming the ocean floor.

But then it swells upward in a charged plea: “I’m just a soul whose intentions are good / Oh Lord, please don’t let me be misunderstood.” The husky, loaded pauses between each line are a painful magic.

It is telling that both Lisa Simone’s documentary and the original version of Craft’s play are titled with questions: For

Yolanda Rabun at Nina Simone’s childhood home PHOTO COURTESY OF THE ARTIST

someone who offered so much of herself, Simone is still, in many ways, an elusive figure. Her struggles with mental illness and domestic violence didn’t fully come to light until her death in 2003, and many people are still unaware of her roots in Western North Carolina. But audiences have always wanted to better understand who she is. Recognizing the place where she came into herself is one way of closing the gap between Simone’s public and private lives; it also continues her tireless activism.

The future function of the house is still up in the air, although whole community workshops have been held to try and answer the question. The consensus is that it will resemble, as closely as possible, the actual home she grew up in. One idea being floated is to have the house used as a space for artist residencies. The story of the house is, after all, the story of the artists of color who have vowed to protect it.

Jones had joked that “To Be Young, Gifted and Black”— a song that Nina Simone composed in memory of her friend Lorraine Hansberry and performed for the first time in 1969—has been the unofficial theme song as she and Thorpe have worked on putting Nina Simone Weekend together. The song also proved symbolic for Rabun.

When she’d stepped into Simone’s home for the first time last June, a piano was sitting in the front room.

Propped up on it was the sheet music for “To Be Young, Gifted and Black.”

“I just stepped in the house and was like, oh god, to have just been in a space where she walks,” Rabun says. “And that piece—I grew up with that, and that inspired me to keep on trying to be the best I could. Because somebody told me that it was good and beautiful to be young, gifted, and black.” sedwards@indyweek.com INDYweek.com | 8.14.19 | 13

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r. Oscar Cornelio is a Board-Certified Family Medicine Physician who practices Integrative and Functional Medicine. Originally from Peru, where he graduated from San Marcos University Medical School, he came to the US and finished his Family Medicine Residency at the Fairview Hospital-Cleveland Clinic Program in Cleveland, OH. After working in community health clinic settings, he was accepted at the prestigious Research Fellowship Program in Integrative Medicine at Boston Medical Center.

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n the Taoist Tradition, a person’s health depends on the harmony of body, mind and spirit.

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The Taoist Tai Chi Society of the USA is a volunteer-based, charitable, not-for-profit organization, helping people improve their physical, mental and spiritual well-being for 50 years. Our founder, Master Moy Lin Shin, was a Taoist monk and tai chi master who dedicated his life to studying the Taoist methods of transformation and making them widely accessible to all.

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BILL KILGORE, PA-C Board-Certified Physician Assistant Avance Care South Chapel Hill 98 Chapelton Ct., Ste. 310 Chapel Hill, NC- 919-590-9005 AvanceCare.com

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illiam “Bill” Kilgore is a Board-Certified Physician Assistant. He graduated as First Honor Graduate and Class Leader from one of the top PA schools in the nation, the Interservice Physician Assistant Program (University of Nebraska Medical Center), while serving in the US Army. Bill’s wide breadth of experience in family, pediatric, emergency, and aerospace medicine makes him a well-rounded provider. He enjoys caring for patients with chronic medical illnesses such as diabetes and hypertension, and all age groups from pediatrics to geriatrics; but is also an expert at caring for the acute injuries that come in the door, including fractures and lacerations.

Bill knows how important it is to treat each person individually, knowing that often patients have unique responses to various treatments and medications. He considers the patient’s preferences, beliefs, and lifestyles and takes the time to listen and discuss treatment options so, as a team, they can make the best decision for their health. His goal is to do everything he can to help all his patients live long, healthy, and joyful lives.

As an experienced primary care provider, Bill also understands the importance of accessibility and convenience in healthcare. Whether you aren’t feeling well, need stitches, or just a check-up, Avance Care can get you in the same day, after-hours Monday-Friday, and weekends.

Bill would love to have you join his practice at Avance Care in Chapel Hill, where you’ll find a caring provider who understands firsthand, through his own family of five children and wonderful wife, how family dynamics can affect health. He believes that caring for most, or all, of a family offers providers more knowledge, resulting in better treatment.

We welcome you to join our independent, convenient primary care. New patients and online booking accepted.

INDYweek.com | 8.14.19 | 15

business spotlight business spotlight

WOMEN’S BIRTH AND WELLNESS CENTER 930 M.L.K. Jr Blvd #202 Chapel Hill, NC 27514 (919) 933-3301 ncbirthcenter.org

VILLAGE HEARTH

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Women’s Birth & Wellness Center is more than a birth center. We offer primary care too! We value your whole health story and all your healthcare needs! The all female clinical staff of Nurse Practitioners and Certified Nurse Midwives offer appointments for both ongoing health care management and same-day health concerns beyond obstetric and gynecological services.

We are a dynamic group of baby boomers collaborating to build a community on 15 beautiful, wooded acres just 15 minutes from downtown Durham. We are gay and straight, single and coupled, working and retired, from Durham and beyond. We will own our homes where we can balance social and private time in a self-managed, close-knit, respectful, mutually supportive environment. Friends, nature, and fun will be right outside our doors.

We offer a series of classes focused on continued whole person wellness. Every third Saturday, we invite you to join Allison Koch, CMN for fun and educational Wisdom and Wellness discussion on topics unique to women’s health. Allison’s classes are informal and interactive while ensuring a thoughtful and educational experience.

Materials and informational packets are always available to take home. The first in the series, Hormone Madness!, will be held on September 21st. Come learn more about how to cope with the effects of shifting hormones on the mind, body, and spirit. Registration is open now at ncbirthcenter.org/classes/register.

16 | 8.14.19 | INDYweek.com

109 West Parrish St Durham, NC 27701 www.empowerdancestudio.com 984-377-2017

VillageHearthCohousing.com 561-714-8009 VillageHearthCohousing@gmail.com

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At Women’s Birth and Wellness Center, we understand your mind and spirit are inherently connected to your physical well being. Anxiety, depression, blood pressure, diabetes and other chronic and acute illnesses can all take a toll on mind and body alike. We understand patients want to have the same practitioner who honors both their bodies and minds. Your preferences and needs are considered – we encourage active participation in care and decision-making.

Where Faith Empowers Movement

A 55+ LGBT-Focused Cohousing Community

magine…. cheering your team or watching movies together in the Common House sitting room. Cooking and eating with friends. Impromptu gatherings. Wine, laughter, and great conversation. Sipping coffee on the shaded terrace. Exploring your creativity in the arts & crafts studio and the woodworking shop. Staying fit in the exercise room. Being in control. Having time for the things that enrich your life!

ocated in Chapel Hill, North Carolina, Women’s Birth & Wellness Center is dedicated to providing people of diverse cultural and socioeconomic backgrounds with comprehensive healthcare throughout their lives, regardless of gender identity.

EMPOWER DANCE STUDIO

We are building 28 fully-equipped, energy-efficient, singlestory cottages built with Universal Design principles to create accessibility throughout all dwellings, walkways, Common House, and auxiliary buildings.

Inviting front porches, private back yards, and abundant green space.

2,550 SF Common House includes: large combination dining/meeting room, kitchen, exercise room, sewing/craft room, laundry facilities, terrace and more!

Planned amenities include private and community gardens, walking trails, dog park, arts & crafts studio, woodworking center, bike shed, and common storage building.

Live small. Have it all...

Contact us NOW – Only 4 homes left.....

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ou are invited to join the Empower Circle! Hi, my name is Nicole Oxendine, the owner and co-founder of Empower Dance Studio. Empower is a dance studio that nurtures and fosters natural beauty, instills self-confidence, and reinforces positive images of dancers from all backgrounds. My fearless co-founder, Jessica Burroughs and I established Empower in 2015 after witnessing an increased demand for dance in the Research Triangle area, especially for the marginalized groups of young girls and boys.

Empower is place where children and adults of all ages, shapes, and sizes can learn quality dance technique, feel confident, and embrace their natural beauty through movement. Our goal is to create a positive and happy experience for all our students. We strive to nurture and develop talent, celebrate the achievements of all students and inspire a love and appreciation of all styles of dance and the arts. We are committed to providing a safe and positive environment in which all students can feel empowered, comfortable and free to express themselves Empower offers weekly classes in ballet, jazz, tap, hip hop, and lyrical for children aged 2-17. Our unique weekly adult classes include community ballet, lyrical, funk dance fitness, afrobeat, and sexy girlboss. Once a month, Empower Dance Studio opens its doors for Durham’s Third Friday Art Walk with dance performances paired with other artistic disciplines, such as visual arts, poetry, and music.

We are excited to share our love and passion for dance!

Join hands, put a jewel on your chest, engage your core, stretch your foot into the circle, and on three yell a big loud: EMPOWER! Visit our website www.empowerdancestudio.com for more information!

indyfood

Nicky Had a Little Lamb

BODEGA OVERCOMES TAPAS FATIGUE, BUT GOOD LUCK IF YOU’RE A VEGETARIAN

BY NICK WILLIAMS

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t’s no secret that tapas has fully interpolated itself into global dining culture. In many ways, this has been a delightful turn of events, as creative small plates have come to dominate the restaurant landscape. Concurrently, tapas—the Spanish custom of making a meal out of small, quickly prepared plates—has become ubiquitous in the past decade, certainly in the Triangle, where it’s often used to glamorize certain restaurant concepts.

It’s this buzzwordiness—“tapas fatigue,” maybe—that puts Bodega at a potential disadvantage. An unfair disadvantage, because there is perhaps no purer representation of the form available than what is currently on offer from this six-monthold Wake Forest eatery. Other local restaurants strive to innovate the small plate into daring avant-garde permutations, but eating at Bodega is more akin to barhopping in Madrid: A cavalcade of simple bites arrive almost instantly from a bustling kitchen, best enjoyed over good wine and loud conversation.

On a recent visit, the first dish to come through the happy din of Bodega’s shadowy dining room was a plate of piquillo peppers stuffed with N.C. crab. It’s perhaps the most Spanish dish on the menu, despite the provenance of the seafood. The peppers—lightly smoky and springily al dente—enfolded a generous scoop of crab salad, zippy and bright with lemon mayonnaise. There were a few remnants of crab shell in the mix, which only made eating it feel closer to the source.

We moved on to an empanada, stuffed with a beefy picadillo ingeniously sweetened by plantain. For some reason, I’m often prone to the world’s worst empanadas, but Bodega’s were nearly perfect; the spiced, meaty filling was comforting and hearty, the pastry so flaky and tender that it just barely started to soak up juices on the bottom.

Bodega’s menu is very meat-and-seafood focused. I admit I can be unsympathetic

Lamb ribs at Bodega PHOTO BY JADE WILSON to the plight of vegetarians, but the lack of options here was striking even to me. If you err on the side of vegetarianism, be prepared to consume a lot of cheese and starch, and be sure to inquire about removing the sundry pieces of cured pork that sneak into many of those dishes. I’d skip the menu’s lone salad, an underwhelming scatter of raw baby kale that wowed me about as much as a storebought plastic tub would.

More troubling—and baffling, considering our fecund landscape and the bountiful time of year—was the nearly total absence of local seasonal vegetables. Not a single dish was driven by a North Carolina summer. That meant no eggplant, peas,

butter beans, okra, squash, zucchini, and— for god’s sake—no tomatoes.

To be fair, Bodega is a young restaurant, and chef de cuisine Doug Seeley is a transplant from Napa Valley. It takes time to establish relationships with local farmers, and it’s always a challenge to source the best. Given that Seeley hails from a produce-driven part of the country, I’d hope that his skills will eventually steer him toward the local harvests of the South.

For now, let’s take Bodega’s surf-and-turf menu at face value, because it yields some pretty spectacular results. Scallop ceviche sang with the tartness of passionfruit, tempered by the distinctive fruity smokiness

of aji pepper. The accompanying “chips”— two delicately fried whole tortillas, dipped in lime-dressed chopped scallops—quietly blew my mind.

The fat from the cider-braised pork belly, cleverly dressed in rhubarb, cherry, and mustard, melted in my mouth, providing a welcome juxtaposition to its crisp, lean structure.

The plump, sweet, and succulent shrimp were bathed in a garlicky vinaigrette and kissed with a little smoke and heat from the shavings of guajillo pepper—a deft preparation rooted in the simplicity of Spanish tradition.

The dish of the night was the coffeerubbed lamb ribs. Their exterior crackled, almost lacquered by the rendering of their INDYweek.com | 8.14.19 | 17

own fat. The meat fell from the bone in succulent ribbons, the cartilaginous ends caramelized to perfection. The coffee rub, sifted with a piquant blend of spices, added earth, depth, and subtle bitterness, offset by a light, minty sauce.

The tapestry of Bodega’s menu and concept is woven together by an extensive, ambitious wine list. There were no less than forty wines available by the glass in three- or six-ounce pours—most of them from small, family-owned wineries. Opting for something Spanish, of course, I drank a cherry-ripe Alicante Bouschet to accompany the lamb ribs. My dining companion ordered a dry Lambrusco. But there’s also rum—lots and lots of rum.

Chef and owner Nunzio Scordo spent formative time among the many rum-focused establishments of Key West, and his vast knowledge is on sufficient display. A litany of creative cocktails draws from an impressive selection of the cane-based spirits, available by the dram. I went with both, starting my meal with the pineapple-chipotle headtrip of the Rum al Pastor and ending with a snifter of Brugal 1888, which was intense and savory, almost brandy-like.

Both were muy excelente.

The dining room hummed noisily as we ordered a bruschetta of valdeón and figs for dessert, alongside yet another empanada. The service was consistently friendly and snappy, and, since I still had rum in my glass, we also ordered an actual dessert—a warm blueberry polenta cake topped with ice cream. By that point, we were eating with our brains rather than our stomachs, but we did so with gusto. Having made the forty-five-minute journey from Durham, we found a few reasons to linger that night. food@indyweek.com

Cider-braised pork belly (left) and empanada (right) PHOTOS BY JADE WILSON

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the triangle’s weekly

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THE HIVE KINGS LINCOLN @ BUSY BARCADE THEATRE | INDYweek.com 16 | BEE 9.4.19

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QUIET EVENINGS JOINT D≠

the triangle’s weekly

hopscotch music festival wednesday, september 5, 2012 INDYweek.com | 9.7.16 | 25

wednesday, september 5, 2012 INDYweek.com | 9.7.16 | 25

INDYweek.com | 9.4.19 | 17

food

HOPS & BLUES FESTIVAL

Saturday, Aug. 17, 4–8 p.m., $15–$40 The Glass Jug Beer Lab, Durham www.glass-jug.com

Boozy and Bluesy

FEATURING THE QUADRIVIUM PROJECT 7p

THE HOPPIEST BEER YOU’VE EVER HAD MEETS THE BEST MUSIC YOU’VE NEVER HEARD IN THE HOPS & BLUES FESTIVAL BY LENA GELLER

“P

eople like to say blues is dead or dying—but the culture is still there, still vibrant,” says Cornelius Lewis, the community coordinator at the Music Maker Relief Foundation.

The Hillsborough-based nonprofit, which works to preserve the traditional music of the South by supporting the artists who create it, celebrates its twenty-fifth anniversary with a string of Duke Performances shows in December.

But first, this Saturday, it’s teaming up with The Glass Jug Beer Lab for the inaugural Hops & Blues Festival, which will celebrate Durham’s living history as a hub for blues music while spotlighting local brewers at the forefront of the hoppy beer movement.

“We always say that the artists we represent are making some of the best music you’ve never heard,” Lewis says. “By partnering with local groups like Glass Jug, folks get to see and hear where American roots music comes from.”

Katy Creech, who co-owns Glass Jug with her husband, Chris, notes the rich history of blues music in South Durham.

“Ever since we opened, we’ve wanted to put on an event that lets that blues heritage shine and provides a platform for the talented artists that live here,” she says.

Of course, there are also those trendy New England IPAs that usually sell out quickly, boasting the floral and fruity flavors of regular hops without the bitterness often associated with conventional IPAs. According to Creech, New England IPAs have taken the country by storm in the last few years thanks to their accessibility.

“Producers run out of these beers within days of releasing them because they’re so popular,” she says. “We want to give everyday craft beer fans a chance to come in, try a bunch of modern IPAs, and learn about this new style.”

Hops & Blues will feature unlimited samples from Glass Jug and ten other Triangle breweries that the Creeches selected as pre-

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HIGHLYGIFTEDXDEIGEKOAT & GUESTS 5:30p DREW HOLCOMB & THE NEIGHBORS W/ BIRDTALKER 6:30p STAR KITCHEN 8:30pm NOAH KAHAN 7p WHITEY MORGAN W/ ALEX WILLIAMS 7 pm

10/4 JIMMY HERRING AND Big Ron Hunter (top) and Harvey Dalton Arnold (bottom) Glass Jug beer (right) PHOTO COURTESY OF THE GLASS JUG BEER LAB mier IPA producers: Brewery Bhavana, Fullsteam, Bond Brothers Beer Company, and Ancillary* Fermentation, to name a few.

Whit Baker, who co-owns Bond Brothers and Ancillary*, will be showcasing a number of his most sought after hoppy beers. To achieve the rounded-out flavor and reduced sharpness of New England IPAs, Baker says, one must create a “haze that doesn’t go away” during the brewing process.

“That haze is basically particles spinning the beer, and flavor compounds stick to the particles, so by making a haze you’re actually changing the taste,” Baker says.

The high demand for such beers has been fittingly dubbed the “Haze Craze;” Baker says visitors to his breweries always have to have one. These hip and funky IPAs will be on heavy rotation at Hops & Blues, as will live performances by two local blues artists:

THE 5 OF 7 7:30p

PHOTOS COURTESY OF MMRF

Big Ron Hunter and Harvey Dalton Arnold.

The festival taps into a blues lineage not just in Durham overall, but in this very neighborhood. Glass Jug is a stone’s throw from the former location of Papa Mojo’s Roadhouse, the Cajun restaurant and live blues venue that closed in 2014.

“It was very sad for this part of town,” Creech says. “They were known for having world-class blues music every weekend.”

While local beer fests are often packed with thousands of thirsty beer lovers, Glass Jug is capping tickets at three hundred in an effort to create a more relaxed atmosphere.

“We want people to make new friends and meet neighbors they don’t know, and it’s harder to do that if the space is crowded,” Creech says. “Fostering the community in South Durham was more our focus.” food@indyweek.com

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indymusic

ALL DATA LOST

Saturday, Aug. 17, 2 p.m.–2 a.m., $20 The Wicked Witch, Raleigh www.wickedwitchraleigh.com

Signal Jam

LIFE WITHOUT BLUEPRINTS AND SOUND WITHOUT BORDERS IN THE EXPERIMENTAL-MUSIC FEST ALL DATA LOST

BY JAMES MICHAEL NICHOLS

“A

s a woman, I’ve always struggled with a lack of mentorship in this area. I’m living a life for which there is no blueprint, and it’s a lot of work and sometimes a bit confusing,” says Raleigh’s Christina Cucurullo, who performs noise music as Spookstina.

“Delving into experimental music and art has opened the door to seeing things through the lenses of different people from all walks of life. I want to have a platform in which everyone can safely tell and interpret their own stories and feel supported.”

Instead of simply wishing for such a platform, though, Cucurullo is trying to create one. She and Charlotte’s Charles Ovett, aka the experimental electronic R&B musician Dallas Thrasher, are incarnating their vision of a diverse experimental-art redoubt in a changing, pricey, tech-y city with All Data Lost, a one-day festival that debuted at The Wicked Witch last summer and returns on Saturday, August 17. Most broadly, Christina Cucurullo PHOTO BY JADE WILSON it’s a noise-music festival, though plenty of acts on the bill lack the harshness and pure abstraction it out on my own and see what happens,” Cucurullo says. associated with the term, coming from all walks of experiFollowing positive feedback, she found herself receiving mental music. booking requests from all over the state and East Coast.

“It’s a fast-paced world where it’s easier to complain on the During her time performing as Spookstina, Cucurullo internet to feel heard instead of hitting the ground to make has often been struck by the stark lack of other women an actual difference,” the pair says. “We are both personally navigating the worlds of noise and experimental music. invested in the cultural growth of North Carolina, and we She’s found community among artists like Asheville’s want this to be a place where artists want to come and stay.”

Elisa Faires and Meg Mulhearn, who play under the name Cucurullo has been heavily involved in the North CaroSpectral Habitat, and Greensboro’s Gwen Young, who lina DIY scene for close to twenty years, cutting her teeth plays as Knives of Spain. But she still often finds herself as an artist while living and attending school in Greenas the only woman in the room when playing shows, an ville. Her journey to solo act manifested through her noise experience that shapes All Data Lost. ensemble, Tumult Menagerie, featuring community staCucurullo and Ovett’s vision builds on the legacy of Savage ples Jim Capps and Cornelius F. Van Stafrin III, and others.

Weekend, an institution at Chapel Hill’s Nightlight featuring Several years ago, it was booked to play a festival in Wilman intense marathon of back-to-back short sets. In booking ington called Port Shitty AntiFest. The night before the artists for All Data Lost, the pair is trying to intentionally festival, Cucurullo found herself the only member of the create space for queer folks, people of color, and women crecollective able to attend and decided to play solo. ating under the umbrella of noise and experimental.

“I just thought, I’m sick of waiting on everybody else, I’m “I think it is a cultural shift. We are not the first to try tired of waiting to do this. I want to do this so I’ll just figure and create space for noise musicians of diverse back20 | 8.14.19 | INDYweek.com

grounds by any means,” says Cucurullo. “But we are really in two different cities, and this isn’t happening here in Raleigh.” The pair would love to see a noise festival in each major city in North Carolina, and view ADL as helping build a larger network of artists connected across the state.

This year’s lineup doesn’t have any repeats from last year, an effort to elevate as many new voices as possible, from the local—there’s the noisy improvised synths of OPS, the damaged pop of Secret Boyfriend—to the national, such as the Baltimore industrial-noise duo Torch Americans.

ADL will also feature intriguing, provocative sets by folks like iBoD, a pair of older women who explore their relationship with hearing— one of them lost her hearing some time ago, while the other “hears too much”—through sounds and noise projects. And Joshua Marquez is a Filipino-American composer, guitarist, and activist whose music explores the liminal space between tone and noise as a means to investigate the complexities of Asian-American identity.

Cucurullo and Ovett both have personal history with not only pushing the culture of North Carolina forward, but also carving out spaces within their corners of the North Carolina music scene. In the past, Ovett organized several “Southern Women’s Showcases” in Concord to foster community among non-male artists, as well as “Noise for Tots” to raise toys and school supplies for Hemby Children's Hospital in Charlotte.

For All Data Lost, the pair would like to see this fest grow into a full-fledged community of people supporting each other and the art that they are creating and to encourage more people to explore and experiment with sound.

“For so many years, I was supporting everybody else’s art, and I decided it was time to start creating my own stuff,” Cucurullo told the INDY. “I’ve never really been the kind of person who wanted to sit down and have a family or something. I always wanted to create art, not people.” music@indyweek.com

indystage

Tales as Old as Time

PAPERHAND PUTS LOCAL DEVELOPMENT ON NOTICE; THEATRE RALEIGH TEACHES AN OLD PLOT NEW TRICKS

BY BYRON WOODS WE ARE HERE

should be planting trees instead, to combat global warming. When he says, “We are all coming to understand the severity of the situation we are in,” it’s partly a prediction, partly a statement of fact. Given the story of environmental degradation playing out all around us, it’s also an act of prayer.

HHH½ Through Sunday, Sep. 29 Forest Theatre, Chapel Hill/NCMA, Raleigh www.paperhand.org

A

sylvan odyssey from an ancient fertility myth, an old-school monster matinee, and a parent’s meditation on local ecological erasure: These are the unusual, uneven parts of Paperhand Puppet Intervention’s twentieth-annual summertime puppetry pageant, We Are Here.

For a generation, founders Jan Burger and Donovan Zimmerman have filled Forest Theatre with a teeming ecosystem of flora, fauna, and fantastical creatures— with the occasional human, for leavening. A dedicated core of studio artists and hundreds of community volunteers capture their beauty and idiosyncrasies in individually crafted, one-to-two-story-tall puppets, before cadres of black-clad puppeteers bring them to life.

The opening section, “The Life of a Tree,” features large three-person puppets with painted papier-mâché faces and streaming fabric strips that invoke the sun, wind, and rain. A towering Green Man bestows Earth with the first acorn, which is immediately buried by a mischievous first squirrel.

After one tender green shoot (a gloved arm) emerges, the biome fills in: mushrooms in diaphanous fabric pastels, leaves and maple seeds denoting changing seasons, and bees pollinating eager flowers.

The array of vivid forest animals includes a comic tango between a fox, a bobcat, and potential prey, before the natural cycle is interrupted by humans intent on developing—and decimating—the forest.

As in prior works, Burger and Zimmerman unsubtly signal who the bad guys are in sequences devoted to environmental activism, depicting transgressors of the natural world—machines, buildings, and people—in unappetizing shades of gray.

THE BRIDGES OF MADISON COUNTY HHHH Through Sunday, Aug. 18 Kennedy Theatre, Raleigh www.theatreraleigh.com

A We Are Here

PHOTO COURTESY OF PAPERHAND

But a loopy creature-feature send-up, “The Monsters We Create,” expands that palette as a cable news anchor and reporter cover five weird titans converging on a seaside city. With typical Paperhand ingenuity, an animate plastic trash heap gets its own gross-out effect, vomiting out garbage before battling Earth-protecting monsters.

Then the biggest baddies show up: a giant, corpulent authority figure in a gray business suit, dubbed “a monopoly of hate” and “a catastrophe of capitalism,” and a fearsome, flying gas-masked figure.

We Are Here closes with another Paperhand tradition: a story narrated at twilight, illustrated by shadow-puppet projections.

Burger relates a last excursion into a forest his daughter has known her whole life, a tract of land clearly based on the controversial Chatham Park. As bulldozers erase the forest that was, Burger maintains, we

disenchanted prairie housewife's humdrum life is revitalized, for a moment, when a handsome, mysterious drifter drops in while her husband and kids are away. Yes, the plot’s a cliché, open-shut, and nearly off-color to boot— until the moment it isn’t, when an artist finds something unique, untold, or unheard in a theme we thought was worn out.

Composer and lyricist Jason Robert Brown achieves this in the remarkable musical theater adaptation of The Bridges of Madison County. This sparkling Theatre Raleigh production does it justice, with a nine-piece orchestra scattered across designer Rebecca Leigh Johnson’s bucolic two-story set. Under Nathan Thomas’s discerning musical direction, the band and actors ably convey the sweeping, cinematic breadth of Brown’s award-winning, quicksilver score, which lifts the work well above its artistically humbler origins in a nineties potboiler novel—and above playwright Marsha Norman’s uneven script.

Brown’s genius and care is clear from the opener, “To Build a Home.” As his music gracefully transitions from the pensive European lyricism of Ariana Dewar’s solo cello to a forthright full-band American waltz, Brown’s lyrics take central character Francesca from Naples, in ruins at the end of the World War II, through her overnight

The Bridges of Madison County PHOTO COURTESY OF THEATRE RALEIGH

marriage to an American soldier and to his farm home in Winterset, Iowa. Janine DiVita’s luminous voice captures Francesca’s operatic heights and brooding passions.

As wandering National Geographic photographer Robert Kincaid, Patrick Oliver Jones soulfully navigates his wanderlust through gently restless period soft-rock.

Scott Wakefield brings a frank but harried bonhomie to Francesca’s farmer husband, Bud, and Heather Setzler steps out of her nosy-neighbor character to sell a tasty Patsy Cline knockoff, “Get Closer.” Director Lauren Kennedy Brady has crafted enviably deepseated characters, but it’s a well-sung suite of songs’ incisive summations of larger stories that makes this show a bridge worth crossing. arts@indyweek.com INDYweek.com | 8.14.19 | 21

indyscreen

THE NORTH CAROLINA GAY + LESBIAN FESTIVAL Thursday, Aug. 15–Sunday, Aug. 18, $10–$85 The Carolina Theatre, Durham www.carolinatheatre.org

Reel Change

SAY GOODBYE TO THE NORTH CAROLINA GAY + LESBIAN FILM FESTIVAL. SAY HELLO TO THE OUTSOUTH QUEER FILM FESTIVAL. BY JAMES MICHAEL NICHOLS

F

or the past twenty-four years, the North Carolina Gay + Lesbian Film Festival has been an institution within the world of Southern film culture and for the LGBTQ community in the Triangle and beyond. Now, the four-day event is undergoing a name change to better reflect the communities it aims to reach and represent through its programming.

After its final year as the NCGLFF this week, the festival will return next year as the OutSouth Queer Film Festival. The new name reflects programming efforts to include everyone under the LGBTQ umbrella, an important change for the second-largest LGBTQ film festival in the Southeast, which is dwarfed only by OUTshine in Miami, a festival that has undergone a similar rebranding in recent years.

In anticipation of NCGLFF’s final year under its storied old name, the INDY spoke The Carolina Theatre, lit up for the NCGLFF PHOTO BY HUTHPHOTO with Jim Carl, The Carolina Theatre’s senior director of film programming, and Chuck Wheeler, the the hell they are doing.” Twenty-four years later, I’m still co-chair of programming for NCGLFF/OutSouth, about waiting for my replacement. the significance of the name change and the future of the festival.

For someone that’s not familiar with this festival, can you talk about how the overarching mission or spaces INDY: What are each of your backgrounds with the festival? that you’re curating have changed over the past couple CHUCK WHEELER: I’ve been a volunteer for the NCGLFF– of decades? this would be year number twenty-three. I started in CW: Early on, we focused mainly on films that had a gay development way back in the ‘90s and transitioned to proand lesbian interest. But times are changing and, in the past, gramming my second or third year. So I’ve been with the we’ve had questions from the queer community as to, are we festival for as long as the festival has been running, except being entirely inclusive or are we representing everyone? for the first year.

Last year, in an effort to align the name of the festival with JIM CARL: I started working for The Carolina Theatre in our efforts to expand our involvement in the community, I October of 1995, the very first Pridefest. The theater got talked with the others on the committee and we agreed that a lot of flak for hosting the event, and they had to bring it’s time for a name change. We thought it was a good time in members of city council to watch the films in advance. to consider making the festival title more representative of There was a lot of brouhaha, put it that way—the theater everyone in the queer community, and the rest is history. had just reopened. By that point, the theater had already made the decision to rename the fest The North CaroliThat’s great. Can you talk to me a bit about how the prona Gay + Lesbian Film Festival. I was in the film departgramming has moved toward being more inclusive in ment working under the director of film programming. recent years?

About two months before the festival, he resigned, CW: Well, the selection committee is a very large commitand the theater looked at me with no training, no backtee. I think it’s representative of everyone in the communiground—and they said, “Do you mind making it happen, ty—it’s not only gays and lesbians, but we have members of just temporarily? We will find somebody who knows what the transgender community on the programming selection 22 | 8.14.19 | INDYweek.com

committee. We try to cover the spectrum and make sure that there is a balance.

JC: On my side of it, which is dealing with the studios and distributors and filmmakers themselves, what we’ve done is open up the invitation process. When we first started accepting submissions many years ago, basically there were two categories: gay and lesbian. That was it.

As the years went on, we kept expanding the categories, and now, when you go to our platform, there are multiple categories.

We’re trying to get the message out: We are accepting all types of films, not just gay and lesbian. There’s a lot of different variables.

This is one of the things we discover when we look at submissions, is that films come in that you have to juggle that [some] don’t necessarily have LGBT content but may have a queer aspect, such as a director, a writer, or several actors in it that happen to be queer.

Zooming out a bit, why are film and festival spaces dedicated to LGBTQ experience so crucial, especially in the South?

CW: One of the big reasons for this festival is that it is a chance for the community to come together to share not only in our history, but where we currently are, and to look at the challenges that we face going forward. Other than Pride, this is the biggest event where people come together and celebrate who we are.

JC: A lot of the features that we show at this festival do eventually end up on streaming services. But if you’re a filmmaker and you have created a short film or a featurelength film, there’s nothing like that experience of seeing it in a theatrical venue with an audience. I’ve had filmmakers that have personally come out after a screening practically in tears and give me a hug and say, “This is the first time I’ve ever felt like a filmmaker.”

Is there more you’d like to share?

CW: This is the fiftieth anniversary of the Stonewall riots back in 1969. During the course of the festival on Saturday, August 17, we’ll be showing a restored version of the film Before Stonewall, and we have invited local activist Mandy Carter to speak at the showing about the state of being queer in the U.S. today. arts@indyweek.com

WHAT TO DO THIS WEEK WEDNESDAY, AUGUST 21

GLADYS KNIGHT

The story behind what’s easily soul legend Gladys Knight’s most recognizable song, “Midnight Train to Georgia,” is that Songwriter Hall of Fame inductee Jim Weatherly penned it after a phone conversation with Farrah Fawcett, who told him that she was about to jump on a midnight plane to Houston. He then recorded the mundane “Midnight Plane to Houston.” But eventually, Cissy Houston (the late Whitney Houston’s mother) would re-record it in 1972 as “Midnight Train to Georgia,” which ultimately led to Knight and the Pips covering it a year later and immortalizing the ode-to-loyalty tune as only the Empress of Soul could. The Knight-Weatherly combo was also the machine behind super ballads such as “Best Thing That Ever Happened to Me,” “Neither One of Us (Wants to Be the First to Say Goodbye),” and “Where Peaceful Waters Flow,” to name just a few. However, we all know that it was Knight’s sturdy and stirring vocal performances that gave these songs life. After five decades, she’s still armed with the same vocal form. With Mavis “Swan” Poole. —Eric Tullis DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 p.m., $41+, www.dpacnc.com

Gladys Knight PHOTO COURTESY OF THE ARTIST

SATURDAY, AUGUST 17

SPEED KILLED MY COUSIN

The subject matter was close at hand for playwright Linda Parris-Bailey, executive/artistic director of Knoxville’s Carpetbag Theatre. “The cousin in the title of the play was a cousin of mine,” she said in a 2016 interview. “All of my cousins were going off to war.” But when Parris-Bailey’s eldest cousin returned, he subsequently died in a car crash—one she believes was caused by his post-traumatic stress disorder. In Speed Killed My Cousin, on a tour celebrating Carpetbag’s fiftieth anniversary, PTSD is also getting the best of Debra White, a young female African-American soldier just back from Iraq. As she drives her Hummer down the Long Island Expressway, she’s debating whether to let go of the steering wheel. But before deciding, she needs to talk to her father about his wartime experiences. Plus her cousin, Lynnell, wants in on the conversation, too. He’s in her rearview mirror—despite the fact he died, decades earlier, after returning from Vietnam. So are the women she thought she left behind in Iraq— backseat drivers who may or may not save this woman’s life. —Byron Woods HAYTI HERITAGE CENTER, DURHAM 2 & 8 p.m., $15–$20, www.hayti.org

TUESDAY, AUGUST 20

BACKSTREET BOYS

With more than half of the band’s albums coming after their commercial peak nearly twenty years ago, Backstreet never actually went anywhere. Trouble Is, the boy-band landscape looks drastically different than it did in 2003. Following Justin Timberlake’s post-*NSYNC lead, the members of groups like One Direction and the Jonas Brothers have sought to reinvent themselves as serious solo acts, and while the hyper-obsessive teenage fan demographic still has an appetite for old-school boy bands, the internet has allowed Everybody to shift toward previously inaccessible international groups like Korea’s BTS and THE BOYZ. In a World Like This, Backstreet’s decided to load their recent set lists with callbacks to The Way It Was. Of course, the band is More Than That—2019’s DNA is full of surprisingly solid songs, none moreso than lead single “Don’t Go Breaking My Heart.” Their show at PNC will undoubtedly be a little overblown and silly, but sometimes, I Want It That Way. And until Justin Timberlake agrees to a full *NSYNC reunion tour, No One Else Comes Close. —Cole Villena PNC ARENA, RALEIGH 8 p.m., $45+, www.pncarena.com

INDYweek.com | 8.14.19 | 23

Flogging Molly PHOTO COURTESY OF ALL EYES MEDIA

FREE TO BE FEARLESS. TO HOLD THE POWERFUL ACCOUNTABLE. TO BE A VOICE FOR THE VOICELESS.

FREE TO TELL THE TRUTH. TO CELEBRATE AND CRITICIZE. TO ADVOCATE FOR THE MARGINALIZED.

FREE TO MAKE A DIFFERENCE. FROM CORPORATE INFLUENCE. NO PAYWALLS, NO SUBSCRIPTIONS.

FREE BECAUSE OF YOU. KEEP IT FREE. KEEP IT INDY.

Join the INDY Press Club at KeepItINDY.com.

24 | 8.14.19 | INDYweek.com

SUNDAY, AUGUST 18

FLOGGING MOLLY & SOCIAL DISTORTION

Flogging Molly has been of the forefront of Celtic punk scene for twenty years, often leaning heavier towards Irish folk traditions than peers like Dropkick Murphys. The band’s latest LP—2017’s spirited, politically-charged Life Is Good—finds that trademark blend sprinkled with enough unexpected elements to keep things fresh: “Welcome to Adamstown” is spiked with ska rhythm and horns, while “Reptiles (We Woke Up)” features an anthemic, arena-ready chorus that matches its Mumford-esque banjo strums, and “The Days We’ve Yet to Meet” conjures an Eighties pop melody from violin and accordion.

The pair of new songs that co-headliners Social Distortion have been previewing live (from the new album that’s been promised for more than half the decade) fit in seamlessly alongside Mike Ness’s catalog of fiery, hard-hitting punk tunes, which are charged with country, blues, and rockabilly. The Devil Makes Three and Le Butcherettes open. —Spencer Griffith RED HAT AMPHITHEATER, RALEIGH 6 p.m., $30+, www.redhatamphitheater.com

WHAT ELSE SHOULD I DO? ADAM O’FALLON PRICE AT THE DURHAM HOTEL (P. 30), ALL DATA LOST AT THE WICKED WITCH (P. 20), THE BIRD AND THE BEE AT CAT’S CRADLE (P. 26), THE BRIDGES OF MADISON COUNTY AT KENNEDY THEATRE (P. 21), A GENTLEMAN’S GUIDE TO LOVE AND MURDER AT RALEIGH LITTLE THEATRE (P. 31), HOPS & BLUES FESTIVAL AT GLASS JUG BEER LAB (P. 19), NINA SIMONE WEEKEND AT NCMA (P. 10), NORTH CAROLINA GAY + LESBIAN FILM FESTIVAL AT THE CAROLINA THEATRE (P. 22), PSYCHOFLAGUE AT THE CARRACK (P. 29), SINGLES AND DOUBLES AT DURHAM CINEMATHEQUE (P. 32), WE ARE HERE AT FOREST THEATRE (P. 21)

Chocolate Lounge & Juice Bar

Neville’s Quarter Sat 8/17 Scott Bouldin Fri 8/16

Tue 8/20

MO 8/19

PEDRO THE LION FR 8/16

Wine & Design

SIDNEY GISH

Wed 8/21 Free Wine Tasting Thu 8/22 Poetry Open Mic at 7:30 Fri 8/23

Ken Denny

Music Performed from 6pm to 9pm Beer & Wine Served Daily Timberlyne Shopping Center, Chapel Hill 1129 Weaver Dairy Rd • specialtreatsnc.com

MO 8/19 PEDRO THE LION / MEWITHOUTYOU ($25/$27) TU 8/20 THE BIRD AND THE BEE

W/ SAMANTHA SIDLEY & ALEX LILLY ($15/$18) FR 8/23 BE LOUD '19:

CHATHAM COUNTY LINE, THE OLD CEREMONY, TAN & SOBER GENTLEMEN SA 8/24 BE LOUD ‘19: THE JACKSON FOUR, GREG HUMPHREYS TRIO, THE CHORUS PROJECT MO 8/26 WHY? W/ BARRIE

THU

8/15

FRI

8/16 SAT

8/17 THU

8/22 FRI

8/23 SAT

8/24

COWBOY MOUTH Shawn Spencer

JUNIOR BROWN Blue Cactus

Blue Cactus

MAC SABBATH / OKILLY DOKILLY Playboy Manbaby

MON THU

9/5 SAT/SUN

9/6-7 SUN

9/8 TUE

9/10 THU

9/12 FRI

9/13 SAT

Motorco’s 4th Annual Labor Day Shrimp Boil!

SUPERSUCKERS “The Evil Powers of Rock and Roll” 20th Anniversary Tour with The Hangmen FBT Entertainment Presents:

THE 4TH ANNUAL SOPHOMORE SLUMP FEST BoDeans / Andrew Winter Duke Science & Society presents

Periodic Tables: The Arc of the Heart with Haider Warraich SUBHUMANS / FEA / Drugcharge / No Love SINKANE / Flash Car 8TH ANNUAL DURHAM OKTOBERFEST

9/14 featuring Little German Band

Cat’s Cradle presents 9/15 BLEACHED / The Paranoyds SUN

COMING SOON: The Midnight Hour, Tameca Jones, flor, Boy Harsher, This Wild Life, River Whyless, Art of Cool Fest, The Regrettes, Genrationals, The Way Down Wanderers, Sheer Mag, Kero Kero Bonito, Team Dresch, White Denim, Blackalicious, Warbringer, Sonata Artica, (Sandy) Alex G, Russian Circles, Superchunk, Nile, TR/ST, Chastity Belt, With Confidence, Fruit Bats, Com Truise, Mikal Cronin, Amigo The Devil, Jen Kirkman, Street Corner Symphony, Black Atlantic

Also co-presenting at The Carolina Theatre of Durham: Criminal LIVE SHOW (on Oct 5th)

W/ LALA LALA AND OHMME SA 12/14 HORTON'S HOLIDAY

HAYRIDE: THE REVEREND HORTON HEAT, VOODOO GLOW SKULLS, THE 5678'S, DAVE ALVIN

WE 10/16 THE CACTUS BLOSSOMS W/ ESTHER ROSE ($15) SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS WE 10/23 CITY OF THE SUN W/ OLD SEA BRIGADE FR 10/25 HOVVDY, KEVIN KRAUTER, AND CAROLINE SAYS ( $12/$14)

SA 8/17 DEAD ELVIS DAY: TCB, DEX ROMWEBER, PHATLYNX ($10)

TU 11/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE

SU 8/18 DEAD RIDER W/ ENEMY WAVES AND 300 DOG NIGHT

SA 10/26 CAT CLYDE ($12/$15)

WE 11/6 YOKE LORE

MO 8/19 BEN DICKEY W/ CHRIS FRISINA ($12)

SA 11/9 JACK KLATT ($10-$12)

TH 9/26 THE MOTET W/ EXMAG

WE 8/21 COUPLE THOUSAND SUMMERS

FR 9/27 RIDE W/ THE SPIRIT OF THE BEEHIVE

SA 11/16 THE BLAZERS ‘HOW TO ROCK’ REUNION

FR 8/23 SHARK QUEST, THE SHOALDIGGERS, MYSTERY RANCH ($8)

SA0 9/28 ABBEY ROAD LIVE! ( 50TH ANNIVERSARY OF "ABBEY ROAD" ) TU 10/1 MT JOY W/ SUSTO SA 10/5 ELECTRIC SIX SU 10/6 BUILT TO SPILL- KEEP IT LIKE A SECRET TOUR ($28/$32) MO 10/7 LUNA PERFORMING PENTHOUSE W/ OLDEN YOLK TH 10/10 WITT LOWRY ($16/$18)

SA 10/12 LANGHORNE SLIM ($18/$20)

9/2

TU 10/15 MIKE WATT & THE MISSINGMEN ($15)

TH 12/12 TWIN PEAKS

MO 9/16 CAT POWER WANDERER TOUR 2019”

KINDO / Sirintip / Adrian Bellue / Rocco of The Snow Road to Shakori with ASHLEY HEATH & HER HEATHENS Emily Musolino / Chris Frisina

Crank It Loud presents SAT 8/31 VALLEYS / Discoveries / Infirma / Seeking Solace

FR 12/6 OUR LAST NIGHT

WE 10/30 JOAN SHELLEY W/JAKE XERXES FUSSELL ($15/$17)

WED

8/29

SA 10/12 O'BROTHER W/ THE END OF THE OCEAN AND HOLY FAWN ($14/$16)

FR 8/16 SIDNEY GISH W/ LUNAR VACATION

FR 10/11 VIOLET BELL HONEY IN MY HEART ALBUM RELEASE ( $10/$12)

THU

W/HAWTHORNE HEIGHTS, FREE THROW, JETTY BONES ($27 / $32)

R 9/13 WHO’S BAD

OSO OSO / The Sidekicks / Future Teens / Downhaul

8/28

FR 10/11 HANK, PATTIE & THE CURRENT

SU 9/15 PENNY & SPARROW

TUE

8/27

MO 11/25 NEW FOUND GLORY

TH 8/15 ILLITERATE LIGHT W/ BRISTON MARONEY, ARSON DAILY ($12/$14)

SA 9/21 WHITNEY W/ HAND HABITS

JUNIOR BROWN

WE 10/9 ELDER ISLAND TH 10/10 CHARLIE PARR ($15)

FTU 9/10 BLACK PUMAS ($15/$17)

TH 9/19 SNOW THA PRODUCT

LUEWWD XVII THE MONTI STORYSLAM: Unpopular Opinions

THE BIRD AND THE BEE

SA 11/16 GAELIC STORM

($25/$28)

WE 9/18 TINARIWEN ($30/$33)

TESSAVIOLET VIOLET TESSA Daysormay Daysormay

TU 8/20

SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20)

TU 8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50)

W/ CAROLINE SPENCE

COWBOY MOUTH Shawn Spencer

FR 11/15 ALLAH-LAS W/ TIM HILL ($17/$20)

SA 8/24 SUNNY SLOPES W/ SPEED STICK AND BARB SU 8/25 CAROLINA WAVES OPEN MIC AND SHOWCASE

TH 11/14 ROBYN HITCHCOCK (SOLO)

TU 9/5 LIZ COOPER & THE STAMPEDE W/ HARPOONER FR 9/6 BENJAMIN FRANCIS LEFTWICH ($15/$18) MO 9/9 THE NATIONAL PARKS AND WILD

FR 10/18 RA RA RIOT ($17/$19)

TU 9/10 LULA WILES W/ MK RODENBOUGH ($10) TH 9/12 DR BACON

SU 10/20 THE BAND CAMINO

SA 9/14 OUTFIELDER, HONEY MAGPIE, A DIFFERENT THREAD

TU 10/22 NOAH GUNDERSEN ($17/$20)

SU 9/15 SERATONES TU 9/17 SHOOK TWINS

WE 10/23 OH SEES W/PRETTIEST

TH 9/19 KOLARS // THE SH-BOOMS

EYES, NO WHAMMY

FR 9/20 DESTROY BOYS

FR 10/25 STIFF LITTLE FINGERS

SA 9/21 THE ROCKET SUMMER W/ROYAL TEETH ($15/$17)

SA 10/26 KNOCKED LOOSE

SU 9/22 FREE THROW W/CHRIS FARREN, YOUTH FOUNTAIN, MACSEAL ( $14/$16)

W/ THE AVENGERS

W/ ROTTING OUT, CANDY, SEEYOUSPACECOWBOY WE 10/30 WIZARD FEST

FR/SA 11/1 & 2 (TWO SHOWS, FRIDAY AND SATURDAY) BILLY STRINGS

W/ HARMONY WOODS

FR 11/8 THE DIP ($15/ $18) SA 11/9 INFAMOUS

STRINGDUSTERS W/ KITCHEN DWELLERS TU 11/12 CURSIVE / CLOUD NOTHINGS / THE APPLESEED CAST WE 11/13 KIKAGAKU MOYO W/ MINAMI DEUTSCH ($15/$17)

TU 9/24 BOB MOULD (SOLO) W/ WILL JOHNSON

SA 8/31 ONE HIT WONDERS TU 9/3 THE GODDAMN GALLOWS/ BRIDGE CITY SINNERS

SU 9/8 QUINN CHRISTOPHERSON

TH 10/24 KISHI BASHI

ARTSCENTER (CARRBORO) SA 8/24 STEVE FORBERT ($20/$25)

FR 10/25 JONATHAN WILSON ($20/$22 )

TH 10/17 WATCH WHAT CRAPPENS ($25/$28)

W/ VALLEY

WE 11/20 KING BUFFALO ($10) TH 12/5 JUMP LITTLE CHILDREN

TH 8/29 SONG TRAVELER’S WRITER’S NIGHT JOE NEWBERRY, JESS KLEIN AND WYATT EASTERLING (HOST)

WE 10/16 MELVINS AND REDD KROSS AND SHITKID

SA 10/19 MOONCHILD ($22/$25)

FR 11/15 BLACK MIDI ($13)

WE 9/25 HOLLY BOWLING

WE 11/20 SAN FERMIN ($18/$20) KOKA BOOTH AMPHITHEATRE (CARY) SA 9/21 MANDOLIN ORANGE W/MOUNTAIN MAN WE 10/16 WILCO CAROLINA THEATRE (DUR) TH 9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES MOTORCO (DUR) SU 9/15 BLEACHED ($15/$17) SU 9/29 THE REGRETTES ($15) MO 9/30 GENERATIONALS W/ NEIGHBOR LADY TU 11/12 TR/ST NORTH CAROLINA MUSEUM OF ART SA 8/24 OLD CROW MEDICINE SHOW TH 8/29 CHAKA KHAN SA 8/31 MIPSO W/ ROBERT ELLIS SA 9/14 SNARKY PUPPY WE 9/25 RHIANNON GIDDENS AND FRANCESCO TURRISI THE RITZ (RAL)

FR 9/27 LESLIE STEVENS

(PRESENTED IN ASSOCIATION W/ LIVENATION)

SA 9/28 CARRBORO MUSIC FESTIVAL KICKOFF ( FREE SHOW!) ELLIS DYSON & THE SHAMBLES NOAH ADAMS & THE LOUISIANA NATIVES

FR 10/11 EXPLOSIONS IN THE SKY 20TH ANNIVERSARY TOUR

MO 9/30 JONAH TOLCHIN TUE 10/1 THAT 1 GUY WE 10/2 B BOYS TH10/3 BLANCO WHITE SA 10/5 TYRONE WELLS W/ DAN RODRIGUEZ ($17/$20) TU 10/8 ELIZABETH MOEN

SA 11/23 CAAMP HAW RIVER BALLROOM FR 10/28 ANGEL OLSEN W/ LEAN YEAR ($30/$33) FR 11/8 BIG THIEF W/ PALEHOUND ($20/$23) SU 11/10 THE NEW PORNOGRAPHERS W/ LADY LAMB ($32/$35) DPAC (DURHAM) FR 11/22 & SA 11/23 SYLVAN ESSO

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Every Wednesday. indyweek.com INDYweek.com | 8.14.19 | 25

8.14–8.21

music

WED, AUG 14 CAROLINA THEATRE Gavin DeGraw; $50-$75. 8 p.m.

THE CAVE Kelly Hoppenjans, Carlisle Evans Peck; $5 suggested. 9 p.m.

KINGS Bit Brigade; $12-$15.

8:30 p.m.

NEPTUNES PARLOUR Tanajah, Tha Materials, Tre Mars, The Kids Downtown, DJ JMAR; $10.

10 p.m.

NIGHTLIGHT M is We, Snide, Sweet Homè; 9 p.m.

THE PINHOOK Mutlu Album Release; $15. 7 p.m.

PNC ARENA Jonas Brothers, Bebe Rexha, Jordan McGraw; $82+.

7:30 p.m.

POUR HOUSE E.N. Young, Ashley Larue Band; $8-$10. 9 p.m.

RED HAT AMPHITHEATER 21 Savage, Calboy, Young Nudy; $45+. 7:30 p.m.

SLIM’S Charlie Paso, Our Blue Lights, Corgi; $5. 9 p.m.

THU, AUG 15 ARCANA Carlisle Evans Peck; 8 p.m.

CAT’S CRADLE BACK ROOM Illiterate Light; $12-$14. 8 p.m.

IMURJ Bad Luck.; $10-$13.

7:30 p.m.

LOCAL 506 Evil English, North

By North, Brev.; $8. 8 p.m.

MOTORCO Cowboy Mouth, Shawn Spencer; $20-$30. 8 p.m.

NIGHTLIGHT Tegucigalpan, Savage Knights, Moonland; $7. 9 p.m.

TUESDAY, AUGUST 20

THE BIRD AND THE BEE The Bird and the Bee evokes dreams in songs that exist in a lucid, semipermeable space. Often bringing new-age production to decades-old inspiration, the synth-pop duo heightens fluidity with its rejection of genre divides: In early August vocalist Inara George and keyboardist-producer Greg Kurstin released the second of their “Interpreting the Masters” albums, following their 2010 transformation of Hall & Oates classics. The new work, which this fifteen-date tour celebrates, applies their smoky, living-room-rave sheen to Van Halen, a longtime lodestar for the duo. Its 2009 track “Diamond Dave” featured a genuine paean to lead singer David Lee Roth. On the album, The Bird and the Bee adapts hits like “Panama” and “Eruption” sans electric guitars, the instrumental restriction forcing a slew of inspired choices. But whatever the source material, the duo’s soundscapes are fun hangs, infused with warmth. Even when inching toward the strange and subconscious, the joy of the duo’s layered works is undeniable. —Lucas Hubbard CAT’S CRADLE, CHAPEL HILL 8 p.m., $15–$18, www.catscradle.com

The Bird and the Bee PHOTO COURTESY OF ALEXA NIKOL CURRAN 26 | 8.14.19 | INDYweek.com

POUR HOUSE Local Band Local Beer: The Kids Downtown, Shame, Danny Blaze, Mosca Flux; $5. 9 p.m.

ST. MATTHEW’S EPISCOPAL CHURCH Robin & Linda Williams; $20. 7:30 p.m.

WALNUT CREEK AMPHITHEATRE

Brad Paisley [$32+, 7:30 P.M.] Brad Paisley has always had that rare gift of managing to be all things to all people.

He can reel off a blistering instrumental to display his guitar-hero chops, pump out a country-pride anthem for those who want it, and deliver riotously funny tunes. And when you catch him live, he’s likely to shift back and forth between all of his modes without breaking a sweat.

—Jim Allen

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Truth Club performs at Kings on Friday, August 16. PHOTO COURTESY OF THE ARTISTS

FRI, AUG 16

CAT’S CRADLE BACK ROOM Sidney Gish, Lunar Vacation; $10-$12. 8 p.m.

with sporadic bursts of distortion and unexpected song structures. Why Bonnie and Camp Howard open.

—Sam Haw

THE CAVE Didi, Katie Alina; $5 suggested. 9 p.m.

LINCOLN THEATRE The Quadrivium Project; $7-$17. 8 p.m.

KINGS

LOCAL 506 Tyler Cassidy; $15+. 9 p.m.

[$10, 10:30 P.M.]

MOTORCO Tessa Violet, Daysormay; $15. 9 p.m.

Truth Club Raleigh’s Truth Club bridges nostalgia and contemporary stylings on their debut Not an Exit. While Travis Harrington’s nonchalant vocals and effect-heavy guitar tones are analogous to ‘90s indie rock groups like Sonic Youth, it’s his subjective point-of-view that sets him apart—his lyrics tend to be meditations on locations and his relationships with them. Dozy guitars and idiosyncratic drums interweave

NIGHTLIGHT Josh Cheon; $10. 10 p.m.

THE NIGHT RIDER Morning Bells EP Release; $5 suggested. 8 p.m.

THE PINHOOK The Conjure; $10. 9 p.m.

POUR HOUSE The Shakedown Pays Tribute To Aretha Franklin; $20. 9 p.m.

SHARP NINE GALLERY Andrew Berinson Quartet; $20. 8 p.m.

THE STATION Rollin Dynamite; 8 p.m.

SAT, AUG 17 BLUE NOTE GRILL The Gravy Boys; $10. 8 p.m.

THE CARY THEATER Michael Reno Harrell, Doug MacLeod; $20$25. 8 p.m.

CAT’S CRADLE BACK ROOM Dead Elvis Day with TCB, Dex Romweber, Phatlynx; $10. 9 p.m.

$

4

TITOS DRINKS

GAMES

THE CAVE North Elementary, Delicate Boys, Fuckery; $5 suggested.

9 p.m.

2 0 1 9

THE KRAKEN WCOM Benefit Concert; 8 p.m.

LINCOLN THEATRE 12th PLANET; $15-$21. 9 p.m.

LOCAL 506 Austin Lucas; $10$12. 8 p.m.

SAT. AUG. 17

THE MAYWOOD Attracting the Fall, Cultus Black, Through All This Time, Nova Mortis; $8. 8:30 p.m.

MOORE SQUARE PARK Play Moore Music Festival; 3 p.m.

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NC MUSEUM OF ART Lisa Simone; $35-$45. 8 p.m.

NIGHTLIGHT Dove Legs, Object Hours, Dreamless; $8. 9 p.m.

ODD COMPANY The Hill Country Cosmpolitans; 8 p.m.

THE PINHOOK Florist; $12. 9 p.m.

POUR HOUSE The Bleeding Hearts, Loose Jets, MSRP; $6-$10.

9 p.m.

THE RITZ Bad Romance: A Tribute to Lady Gaga; $33. 7:30 p.m.

CAT’S CRADLE BACK ROOM Ben Dickey; $12. 8 p.m.

RED HAT AMPHITHEATER Flogging Molly, Social Distortion; $30+. 5:30 p.m.

THE STATION Doug Guild, Tim Smith, Pete Pawsey; 7:30 p.m.

THE FRUIT Lynn Grissett Sextet: 60th Anniversary Celebration of Miles Davis’ Kind of Blue; $20. 7 p.m.

WALNUT CREEK Breaking Benjamin, Chevelle, Three Days Grace, Dorothy, Diamante; $30+. 5:30 p.m.

POUR HOUSE Swimdown, Stranded Bandits, Lunchbox Hero; $5-$10. 9 p.m.

MON, AUG 19

TUE, AUG 20 CAT’S CRADLE The Bird and the Bee, Samantha Sidley, Alex Lilly; $15-$18. 8 p.m.

CAT’S CRADLE

SLIM’S Spaced Angel, Moon Unit, The Rock River Nightmare Band; $5. 9 p.m.

Pedro The Lion

SUN, AUG 18

Almost more than a decade in dormancy, David Bazan revived his Pedro the Lion handle, bringing power-trio muscle to the reflective songwriting common throughout his solo efforts and various other projects. Phoenix, this year’s wistful “reunion” album, largely leaves behind the questions of faith that riddled his earlier efforts under the Pedro moniker, though opener mewithoutYou does plenty of soul searching and existential musing over a whirlwind of urgent and visceral rock.

—Spencer Griffith

ACKLAND ART MUSEUM Brian and Mary Lewis; 2 p.m.

CAT’S CRADLE BACK ROOM Dead Rider, Enemy Waves, 300 Dog Night; $10. 8:30 p.m.

KOKA BOOTH AMPHITHEATRE Big Head Todd & the Monsters, Toad the Wet Sprocket; $20+. 7 p.m.

THE MAYWOOD Athame, Xeukatre, Everwraith; $10. 8 p.m.

THE NIGHT RIDER TGTG, Teenage Flophouse, Andrew Kelly; Donations. 8 p.m.

[$25–$27, 8 P.M.]

Announcing the 2019 Arts and Lecture Series with Ann Patchett, Karl Marlantes w/ Wiley Cash, and Sarah Rose Etter w/ Jeff Jackson.

VIP subscriptions available. Please see our website for more details!

8.14 8.16 8.17 8.18 8.20 8.21

Brad Schwartz Scarface and the Untouchable: Al Capone, Eliot Ness, and the Battle for Chicago 7pm William McKeever, Emperors of the Deep: Sharks 7pm In Conversation: Heather Webb and Kristy Woodson Harvey 3pm Quail Ridge Presents: A Year of Reading James Baldwin with Jaki Shelton Green 2pm Minrose Gwin The Accidentals 7pm Karl Marlantes in conversation w/ Wiley Cash Deep River 7pm—A 2019 ARTS & LECTURE SERIES EVENT www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR PODCAST: BOOKIN’ w/Jason Jefferies

WED, AUG 21

CAT’S CRADLE BACK ROOM Couple Thousand Summers: 4ortyThoux, Lil Bobby, CLIP, Fend!, D1G; $10. 8 p.m.

THE CAVE Alberta, Danny Knicely and Aimee Curl; $5 suggested. 9 p.m.

DURHAM PERFORMING ARTS CENTER Gladys Knight; $41+. 7:30 p.m.

LINCOLN THEATRE Beres Hammond; $30-$45. 9 p.m.

THE PINHOOK

Paisley Fields [$10, 8 P.M.] Queer honky-tonk group Paisley Fields recently released its debut LP, titled Glitter and Sawdust. It’s a piano-heavy, earnest record that draw as much inspiration from swaggering ‘90s radio country as it does the mournful ballads of Gram Parsons (there’s even

a well-placed cover of “Hot Burrito #1”). Al Riggs and Empty Disco also perform.

—Jospehine McRobbie POUR HOUSE Steady Flow, Voodoo Visionary; $8-$10. 9 p.m.

RUBY DELUXE Alex Treyz, Homepatients, Donovan Moran; $5. 8 p.m.

THE CAVE Ramonda Hammer, Charlie Paso, Henbrain; $5 suggested.

9 p.m.

PNC ARENA Backstreet Boys, Baylee Littrell; $93+. 7 p.m.

POUR HOUSE Vintage Pistol, Hustle Souls; $6-$10. 9 p.m.

SHARP NINE GALLERY Kate McGarry, Keith Ganz Quartet; $25. 6 p.m. & 8 p.m.

OUR 2019-2020 PERFORMANCE SEASON IS HERE! TH 8/15

INOCENTE FREE DOCUMENTARY SCREENING

TH RISSI PALMER 8/22 W/ XOXOK SA 8/31 NO SHAME THEATRE – CARRBORO TH 9/5 RICHARD SMITH SAT ALICE GERRARD, ALLISON DE GROOT AND 9/21 TATIANA HARGREAVES SUN 9/22 KIM SO RA: A SIGN OF RAIN SUN 10/13

BOMBINO AND VIEUX FARKA TOURÉ: SONS OF THE SAHARA

Get tickets at artscenterlive.org

Follow us: @artscenterlive • 300-G East Main St., Carrboro, NC

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Paisley Fields performs at The Pinhook on Wednesday, August 21. PHOTO COURTESY OF THE ARTIST

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8.14–8.21

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OPENING Dymph de Wild & Corinne Diop: Evoking Spirits Collages and mixed media. Aug 15-Sep 15. UNC’s Hanes Art Center, Chapel Hill. art.unc.edu.

Peace, Love & Respect: The Art of Baba Chuck Puppets, photos, & more. Fri, Aug 16, 6 p.m.

NorthStar Church of the Arts, Durham. northstardurham.com.

Eric Raddatz Aug 16-Sep 14.

Through This Lens, Durham.

ONGOING 150 Faces of Durham Photos.

Thru Sep 3. Museum of Durham History, Durham.

Tony Alderman: Waterline Paintings. Thru Aug 24.

Craven Allen Gallery, Durham. cravenallengallery.com.

Ancestry of Necessity Group show. Curator, April Childers. Thru Aug 24. Reed Bldg, Durham.

FRIDAY, AUGUST 16

PSYCHOFLAUGE: COLLAGES FROM THE LACUNAE Since the idea was minted, minimalism in art has never fully gone out of vogue—there’s just something compelling about doing more with less. But there’s also something vital about doing more with more, and that’s where the local artist known as Psychoflauge steps in. Collages from the Lacunae, his new exhibit at The Carrack, is a hyper-colored sensory overload of imagery that represents both the history of psychedelic art and the cut-and-paste sensibility of modernity. Indeed, this is a show that comes with a content warning for photosensitive visitors—a show that pushes through the cerebral and into the visceral. Though the exhibit runs through August 18, this August 16 reception is the time to go, with an artist talk at 7:00 p.m. followed by equally kinetic music from Oak City Slums from 8:00–10:00 p.m. (There’s also live music the following night from hip-hop/soul group TerraBANG.) —Brian Howe

THE CARRACK MODERN ART, DURHAM 7–10 p.m., free, www.thecarrack.org

Art by Psychoflauge PHOTO COURTESY OF THE CARRACK

Katherine Armacost, Nikki Blair, Natalie Boorman, Peg Gignoux, Linda Prager & Carol Retsch-Bogart Group show.

Thru Oct 5. FRANK Gallery, Chapel Hill.

Jimmie Banks Retrospective Thru Sep 9. Rubenstein Art Center Gallery 235, Durham. artscenter.duke.edu.

Maria Britton: Soft Storage Fabrics. Thru Aug 31. Attic 506, Chapel Hill. mariabritton.com.

Cary Gallery of Artists: A Few of Our Favorite Things Group show. Thru Aug 27.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

Marsha Cottrell: Black and Light Works on paper. Thru Sep 8. CAM Raleigh, Raleigh.

Kristen DeGree Screenprints.

Thru Sep 9. Durham Arts Council, Durham.

Empirical Evidence Group show. Thru Sep 30. Carrboro Town Hall, Carrboro.

Golden Expressions Golden Belt resident artists show.

Thru Aug 25. Grand Gallery at the Golden Belt Campus, Durham. goldenbeltarts.com.

Krystal Hart: Pieces Paintings.

Thru Aug 31. Reception: Aug 16, 6-9 p.m. Golden Belt, Durham. krystalhart.com.

HERENCIA2019 Juried art exhibit featuring Hispanic and Latinx artists. Thru Aug 31. The ArtsCenter, Carrboro. artscenterlive.org.

Clarence Heyward: Conundrum Thru Aug 31. Triangle Cultural Art Gallery, Raleigh. triangleculturalart.com.

John James Audubon: The Birds of America Ornithological engravings. Thru Dec 31.

NC Museum of Art, Raleigh. ncartmuseum.org.

Jim Kellough: Vine Paintings Thru Oct 10. Durham Convention Center, Durham. durhamarts.org.

Michael Klauke: In So Many Words Paintings, work on paper, and video. Thru Aug 18.

CAM Raleigh, Raleigh.

Lloyd Konneker: Solar Mobiles Mobiles. Thru Aug 30. VAE Raleigh, Raleigh. vaeraleigh.org.

Rachel Kosbab: Possibility Paintings. Thru Aug 22. Durham Arts Council, Durham.

Justin LeBlanc: Probable Normal Hearing Thru Aug 18.

CAM Raleigh, Raleigh.

Hunter C. Levinsohn: Boats and Coats of the Times Thru Aug 18. Skylight Gallery, Hillsborough.

Local Color Group show.

Thru Aug 25. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Shawhan Lynch: Light Fusion Glass. Thru Aug 24. Craven Allen Gallery, Durham.

Christian Marclay: Surround Sounds Synchronized silent video installation. Thru Sep 8. Nasher Museum of Art, Durham. nasher.duke.edu.

INDYweek.com | 8.14.19 | 29

arts CONT’D

page

Casey McGuire Installation art.

Thru Aug 31. Artspace, Raleigh.

Jim McQuaid: Detroit Thru Aug 10. Through This Lens, Durham. throughthislens.com.

Charlene Newsom, Kathy Daywalt, & Lee Mims Thru Sep 3. Gallery C, Raleigh. galleryc.net.

Our Bull City: S.E. Rochelle Community curated exhibit.

Thru Sep 2. Museum of Durham History, Durham. museumofdurhamhistory.org.

Outsider Art in the Visitors Center Group show. Works for sale. Thru Aug 30. Alexander Dickson House, Hillsborough.

Portraying Power and Identity: A Global Perspective Thru Jan 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Nicole Simpkins: Giving What Takes Drawing and printmaking. Thru Sep 28.

Artspace, Raleigh.

THURSDAY, AUGUST 15

ADAM O’FALLON PRICE The maxim “write what you know” is always especially true for first novels, which tend to draw on their authors’ personal experience more directly than the books that follow. Chapel Hill novelist Adam O’Fallon Price didn’t set his first novel, The Grand Tour (Doubleday, 2016), in the ‘90s Chapel Hill indie-rock scene, where he led the buzzy band The Mayflies USA. But he did set it in the familiar context of a tour, though it was an author tour instead of a band tour. For his new book, The Hotel Neversink, he ventures into uncharted territory: a murder mystery that’s also a comi-tragic, multi-vocal, three-generation family saga, all unfolding in a hotel in The Catskill Mountains. “Not since Stephen King’s Overlook has a hotel hiding a secret been brought to such vivid life,” says author Lydia Kiesling. In this event, presented by The Regulator Bookshop at The Durham Hotel, O’Fallon Price is joined in conversation by renowned Chapel Hill author Daniel Wallace, with borscht-belt snacks, midcentury cocktails, and Charles Chace’s jazz guitar to set the tone. —Brian Howe

THE DURHAM HOTEL, DURHAM 6–8 p.m., free with RSVP, www.thedurham.com

Southern Oracle: We Will Tear the Roof Off Interactive sculptures. Thru Oct 31. NC Museum of Art, Raleigh. ncartmuseum.org.

Adam O’Fallon Price

Tilden Stone: Southern Surreal Furniture. Thru Sep 8.

Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

READINGS & SIGNINGS

Dennis Szerszen: Unstill Waters Photos. Thru Aug 27. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s Photos. Thru Mar 31. UNC’s Wilson Special Collections Library, Chapel Hill.

Way Out West: Celebrating the Gift of the Hugh A. McAllister Jr. Collection Thru Aug 25. Ackland Art Museum, Chapel Hill. ackland.org.

Waterways Thru Aug 31. V L Rees Gallery, Raleigh. vlrees.com.

Marthanna Yater: Growing Together Photos.

Thru Aug 18. Horace Williams House, Chapel Hill. preservationchapelhill.org.

30 | 8.14.19 | INDYweek.com

PHOTO COURTESY OF THE AUTHOR

Dasan Ahanu Poetry reading.

Sun, Aug 18, 11 a.m. NorthStar Church of the Arts. Durham. northstardurham.com.

Steve Cavanagh Thirteen.

Sat, Aug 17, 2 p.m.

McIntyre’s Books. Pittsboro. mcintyresbooks.com.

Casey Cep Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee. Thu, Aug 15, 7 p.m. Flyleaf Books. Chapel Hill. flyleafbooks.com.

Minrose Gwin The Accidentals. Tue, Aug 20, 7 p.m. Quail Ridge Books.

Raleigh. quailridgebooks. com. — Wed, Aug 21, 7 p.m.

Flyleaf Books. Chapel Hill. flyleafbooks.com.

Lisa Howorth Novel Summerlings. Thu, Aug 15, 6 p.m. McIntyre’s Books.

Pittsboro. mcintyresbooks.com.

— With William Ferris: Wed, Aug 14, 7 p.m. Flyleaf Books.

Chapel Hill. flyleafbooks.com.

food & drink Durham VegFest Speakers, cooking demonstrations, live entertainment, and more.

Aug 17: Durham Arts Council.

Aug 18: Durham Armory. trianglevegfest.com.

Hops & Blues Festival Music, food trucks, and unlimited IPA sampling. $40. Sat, Aug 17, 4 p.m. The Glass Jug, Durham.

Karl Marlantes Deep River. With author Wiley Cash. Wed, Aug 21, 7 p.m.

Quail Ridge Books. Raleigh. quailridgebooks.com.

William McKeever Emperors of the Deep: Sharks. Fri, Aug 16, 7 p.m. Quail Ridge Books.

Raleigh. quailridgebooks.com.

Adam O’Fallon Price The Hotel Neversink. Sat, Aug 17, 11 a.m.

McIntyre’s Books. Pittsboro. mcintyresbooks.com. — With Daniel Wallace: Thu, Aug 15, 6 p.m. The Durham Hotel.

Durham. thedurham.com.

Woody’s Sweet 16 Birthday Bash Live entertainment, local vendors, games, and more.

Sat, Aug 17, noon. Woody’s, Raleigh.

Timothy Reinhardt Jesus’s Brother James. Sun, Aug 18, 2 p.m. McIntyre’s Books.

Pittsboro. mcintyresbooks.com.

Brad Schwartz Scarface and the Untouchable: Al Capone, Eliot Ness, and the Battle for Chicago. Wed, Aug 14, 7 p.m.

Quail Ridge Books. Raleigh. quailridgebooks.com.

Heather Webb & Kristy Woodson Harvey Authors in conversation. Sat, Aug 17, 3 p.m. Quail Ridge Books.

Raleigh. quailridgebooks.com.

LECTURES, ETC. A Year of Reading James Baldwin With NC Poet Laureate Jaki Shelton Green. Sun, Aug 18, 2 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

stage OPENING

ONGOING

Blast Faith-based spoken word. Fri, Aug 16, 7 p.m.

Mount Zion Christian Church, Durham.

The Bridges of Madison County Thru Aug 18.

Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com.

Ali Clayton & Calvin Evans Comedy. $15-$23. Wed, Aug 14, 8 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Dangling Loafer Comedy. $7. Aug 16, 8 p.m. Kings, Raleigh. kingsraleigh.com.

Game Grumps Live gaming show. $24+. Sun, Aug 18, 7 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

John Henton Comedy. $15.

Aug 15-17. Thu: 8 p.m. Fri: 7:30 p.m. & 9:45 p.m. Sat: 7 p.m. & 9:30 p.m. Raleigh Improv, Raleigh. improv.com/raleigh.

Life as We Know It Plays, sketches, and music. Aug 15-17.

Fri: 7 p.m. Seymour Senior Center, Chapel Hill. — Sat: 8 p.m. Sun: 4 p.m. Carrboro Century Center, Carrboro.

Marcie Maier Comedy. $5.

Mon, Aug 19, 6:30 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

Mixed Bag Drag Drag. $5.

Sat, Aug 17, 10 p.m. Ruby Deluxe, Raleigh. rubydeluxeraleigh.com.

No Fear and Blues Long Gone: Nina Simone Play. World premiere. $35+. Aug 21-25.

UNC’s Paul Green Theatre, Chapel Hill. playmakersrep.org.

Paperhand Puppet Intervention: We Are Here Puppetry. $20 suggested.

Aug 16-17, 7 p.m. UNC’s Forest Theatre, Chapel Hill. paperhand.org.

Guy Torry Comedy. $21$29. Aug 16-17, 7:30 p.m. & 10 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com .

Six Pack Standup Show $5.

Wed, Aug 21, 7:45 p.m. North Street Beer Station, Raleigh. northstreetbeerstation.com.

FRIDAY, AUGUST 16—SUNDAY, SEPTEMBER 1

A GENTLEMAN’S GUIDE TO LOVE AND MURDER In Roy Horniman’s acerbic 1907 novel, Israel Rank: The Autobiography of a Criminal, the son of a woman disinherited by a family of stuffy British bluebloods gleefully exacts revenge by offing the six surviving members standing between himself and the family’s earldom. But when that challenge seemed insufficient for its subsequent film adaptation, Sir Alec Guinness was tasked with playing nine fatuous, doomed aristocrats—in nine separate roles—for the famous 1947 black comedy, Kind Hearts and Coronets. An even harder test awaits noted local actor Brian Westbrook in Raleigh Little Theatre’s production of the Tony awardwinning 2014 Broadway stage adaptation, A Gentleman’s Guide to Love and Murder. The nine dotty homicide victims—male and female members of the ill-starred D’Ysquith family—are still there to be played. But since it’s a musical, they’re all singing and dancing to boot. Artistic director Patrick Torres celebrates his fifth anniversary with RLT in this production, directing a cast including Lauren Knott, Lauren Bamford, and Tyler Graeper as Monty—the one what does ‘em all in. —Byron Woods

RALEIGH LITTLE THEATRE, RALEIGH 8 p.m. Thu.–Sat. & 3 p.m. Sun., $14–$27 www.raleighlittletheatre.org

A Gentleman’s Guide to Love and Murder PHOTO COURTESY OF RALEIGH LITTLE THEATRE

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INDYweek.com | 8.14.19 | 31

screen SPECIAL SHOWINGS 10 Things I Hate About You Sun, Aug 18. Movie starts at sundown. Moore Square Park, Raleigh.

2019 Sundance Shorts Seven short films. $3-$6. Thu, Aug 15, 9:30 p.m. The Cary Theater, Cary. thecarytheater.com.

Black Panther $5. Fri, Aug 16, 8:30 p.m. Koka Booth Amphitheatre, Cary. boothamphitheatre.com.

Blade Mon, Aug 19, 9 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Bull Durham Sat, Aug 17, 6 p.m.

Durham Central Park, Durham. dprplaymore.org.

Cyborg Wed, Aug 21, 9 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

FRIDAY, AUGUST 16

SINGLES AND DOUBLES

Dance and Documentary Fri, Aug 16, 7 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

Tom Whiteside has always had a taste for films off the beaten path: For almost three decades, now, the UNC-Chapel Hill grad has been mining archives in order to curate his experimental film program, Durham Cinematheque. This week, Whiteside’s “Singles and Doubles” program showcases single-shot films from the nineteenth and twentieth century, including turn-of-the-century films by pioneers like the Lumière brothers, who revolutioned filmmaking with the invention of the cinematograph. There are only ten seats, so make sure to RSVP on the event Facebook page if you want to snag one—although the program notes do make sure to note that there will be air conditioning during the screening (vintage nineteenth century material is good, but twenty-first century A/C is even better). At the same location, Whiteside’s Analog Museum currently boasts Bruguiere 3D images on glass which will “give you a glimpse into how “rich folks lived in France in the early 1800’s.” —Sarah Edwards

Dr. Caligari Wed, Aug 14, 2 p.m. & 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Easy Rider $5. Mon, Aug 19, 7 p.m. Rialto Theatre, Raleigh.

First Man $7. Tue, Aug 20, 8:30 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

DURHAM CINEMATHEQUE, DURHAM 9 p.m., $5

Hell’s Half Acre Movie Loft. Thu, Aug 15, 8 p.m.

Shadowbox Studio, Durham. shadowboxstudio.org.

Photo still from Tom Whiteside’s film, Star Away From Home

Inocente Panel discussion to follow. Free. Thu, Aug 15, 4 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

The Wizard of Oz Sat, Aug 17, 11 a.m. & 2 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Ninja Scroll Sun, Aug 18, 5 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Odd Squad Sat, Aug 17, 10 a.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Raft Full Frame Road Show. Aug 21, 7 p.m. Full Frame Theater, Durham.

Shaun of the Dead & Frightnight Aug 16, 8 p.m. The Maywood, Raleigh.

Shocker Tue, Aug 20, 9 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Suffragette $3-$6. Sun, Aug 18, 2 p.m. The Cary Theater, Cary. thecarytheater.com.

32 | 8.14.19 | INDYweek.com

OPENING The Angry Birds Movie 2— Jason Sudekis leads a surprisingly decent film about an iPhone game.

Rated PG. Rated PG. Blinded by the Light—Bruce Springsteen’s lyrics hold the meaning of life for a Pakistani-British teen growing up in the 1980s.

Rated PG-13.

Good Boys—Three nerdy boys must navigate the horrors of their first teenage party.

Rated R. Where’d You Go, Bernadette— When Cate Blanchett’s titular character goes missing, it’s up to her family to unravel the mysteries of her past. Rated PG-13.

PHOTO COURTESY OF THE ARTIST

fashions pitch-black comedy in which the extremes of modern masculinity are rendered so risible that any metaphorical value is leached away. Rated R. —Neil Morris

The INDY uses a five-star rating scale.

 Fast & Furious Presents: Hobbs & Shaw—The testosterone-driven repartee between Dwayne Johnson and Jason Statham is the only reason to endure this cartoonish, logically and temporally challenged CGI fest. Rated PG-13. —NM

 The Art of SelfDefense—A nebbish gets entangled in a dark dojo, and writer-director Riley Stearns

½ John Wick: Chapter 3 – Parabellum— A bloody, Buster Keatonesque ballet meets Sam Peckinpah. Rated R. —NM

N OW P L AY I N G

½ The Lion King—Jon Favreau’s photorealistic palette is the boon and bane of Disney’s “live-action” computer rendering of an animated classic. The scenery is grand until the animals start talking and singing. Rated PG. —NM  Men in Black: International—What if Men in Black, but Morocco and Chris Hemsworth’s torso? Rated PG-13. —Glenn McDonald  Midsommar—Horror upstart Ari Aster’s latest isn’t quite as scary as his unforgettable Hereditary, but his tale of feckless American students and Swedish cultists is likewise brilliant in its treatment of trauma; it’s also a lot weirder and funnier.

Rated R. —Brian Howe

 Once Upon a Time In Hollywood—Quentin Tarantino portrays the late-sixties Hollywood film industry and vaguely mumbles something about the Manson family in this tedious, irrelevant exercise in bland nostalgia for a bygone era of unaccountable hypermasculinity. Rated R. — Marta Núñez Pouzols  Toy Story 4—A spork’s severe ontological distress ballasts a half-daring, halfpredictable extension of a beloved animated franchise.

Rated G. —NM

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BODY • MIND • SPIRIT

CHILDCARE GIVER/ NANNY NEEDED

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INTERNATIONAL SALES MANAGER NEEDED - CARY

International Sales Manager (Cary, NC) Direct, coord, & review sales activities. 24 months exp as a Sales Manager or Director. Proficient in MS Excel, Word, PPT. Excellent interpersonal skill & public relation skills. Strong customer service orientation. Work effectively w/ all levels of the organization. Resume to Ameridge Industries, Inc. 409 Waverly Hills Dr, Cary, NC 27519.

ACCOUNTANT NEEDED - CARY

Accountant (Cary, NC) Prep acctg & fin’l analysis in support of mgmt decision. Bachelor in Economics, Acctg or other closely related field, equiv foreign deg acceptable; 12 months’ exp as Accountant; High proficiency in QuickBooks, Excel, Oracle & SAP; Familiar w/ the int’l fin’l reporting standard; Excellent communication, interpersonal & analytical skills. Apply to Ameridge Industries Inc., 409 Waverly Hills Dr. Cary, NC 27519.

OPERATIONS RESEARCH ANALYST NEEDED – MORRISVILLE

Operations Research Analyst, F/T, (Morrisville, NC) Perform data research, analysis, modeling, & planning of all aspects of production to merchandising operation end-toend. Min. req: MA in Business Admin (special graduate level coursework & 2-yr Internal Accountant exp reqd).

Mail resume to Vendors Depot.Com LLC, Ketki Patel, President, 300 RDU Center Dr, Ste 102, Morrisville, NC 27560. EOE. No calls/walk-ins.

FTCC – EXECUTIVE DIRECTOR NEEDED

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from Physicians Mutual Insurance Company. NOT just a discount plan, REAL coverage for 350 procedures.

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NOTICE OF SERVICE OF PROCESS

BY PUBLICATION STATE OF NORTH CAROLINA WAKE COUNTY In the Wake County Court, Complaint for Absolute Divorce to Julio Fraiz: Take notice that a pleading seeking relief against you has been filed in the aboveentitled action. The nature of the relief being sought is as follows: COMPLAINT FOR ABSOLUTE DIVORCE. You are required to make defense to such pleading not later than OCTOBER 28, 2019, and upon your failure to do so the party seeking service against you will apply to the court for the relief sought.

This, the 31st day of July, 2019. Luisa M. Lamos, 100 Stratford Lakes Dr. Unit 225, Durham, NC 27713.

PUBLIC NOTICE

Cellco Partnership and its controlled affiliates doing business as Verizon Wireless (Verizon Wireless) proposes to build a 30-foot Street Light Pole.

Anticipated lighting application is medium intensity dual red/white strobes.

The Site location is 6426 Nowell Point Drive, Raleigh, Wake County, NC 27607 (35-47-31.13 N, 78-44-4.29 W). The Federal Communications Commission (FCC) Antenna Structure Registration (ASR, Form 854) filing number is A1140014. ENVIRONMENTAL EFFECTS – Interested persons may review the application (www.fcc. gov/asr/applications) by entering the filing number. Environmental concerns may be raised by filing a Request for Environmental Review (www.fcc.gov/ asr/environmentalrequest) and online filings are strongly encouraged. The mailing address to file a paper copy is: FCC Requests for Environmental Review, Attn: Ramon Williams, 445 12th Street SW, Washington, DC 20554.

NOTICE OF DISSOLUTION

Get Fresh Start or Forgiveness. Call 1-855-399-2890. Monday through Friday 7AM-5PM PST (AAN CAN)

Notice is hereby given that NORTHERN MICRODESIGN, INC., a Minnesota Subchapter-S corporation, is in the process of being dissolved and that this intention to dissolve was filed with the Minnesota Secretary of State on AUGUST 8, 2019. Notice is also hereby given that any creditor having a claim against NORTHERN MICRODESIGN, INC., must exhibit the same in writing to the undersigned on or before NOVEMBER 20, 2019 or this notice will be pleaded in bar of recovery. This FOURTEENTH day of AUGUST, 2019, WILLIAM BLACK, 211 LONGWOOD DR., CHAPEL HILL, NC 27514. Indy Week: 8/14, 8/21, 8/28, 9/4.

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medical services

misc.

Fayetteville Technical Community College is now accepting applications for the following positions: Executive Director for Marketing & Public Relations. For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin.com/ Human Resources Office Phone: (910) 6787342 Internet: http://www.faytechcc. edu . An Equal Opportunity Employer

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming August 28:

NC STATE/HILLSBOROUGH ST.

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 8.14.19 | 33

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

4 9 1

8 3 4

3 6 5 8

7 9

4

6

4 7 3 5

# 62

su | do | ku

this week’s puzzle level:

© Puzzles by Pappocom

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.

2 1 9

7

4 3 2

7

8

4

2

8 7

6 9

6

1

5 3 4

# 64

1 9 6 4 7 8 2 3 5

5 4 7 9 2 3 1 6 8

# 64

6 2 8 7 5 3 9 4 1

4 3 9 1 6 8 7 5 2

5 7 1 4 9 2 3 8 6

2 8 6 3 4 7 1 9 5

1 4 7 9 2 5 8 6 3

9 5 3 8 1 6 2 7 4

7 6 5 2 3 9 4 1 8

3 9 4 6 8 1 5 2 7

8 1 2 5 7 4 6 3 9

solution to last week’s puzzle

If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzle pages.”

Best of luck, and have fun! www.sudoku.com

30/10/2005

34 | 8.14.19 | INDYweek.com

8.14.19

CLASSY AT INDYWEEK DOT COM Book your ad • Email amanda: classy@indywEEk.com

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back page CONTACT AMANDA: CLASSY@INDYWEEK.COM LAST WEEK’S PUZZLE

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INDYweek.com | 8.14.19 | 35

IMPROVE THE SOUND OF YOUR VOICE www.laureceweststudios.com

919-286-1916 @hunkydorydurham We buy records.

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DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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KOL HASKALAH’S ANNUAL OPEN HOUSE

"Sunday, August 25th, 10am until noon, Murphey Hall UNC Chapel Hill. Come visit our Sunday School program (K - B'nai Mitzvah) and learn more about Humanistic Judaism. Open to all. For more information: kolhaskalah.org or email khaskalah@gmail.com

MOVE YOUR BUSINESS AHEAD™ www.easilycreative.com

FINDER INDY'S GUIDE TO THE TRIANGLE • ON STANDS OCTOBER 23 • RESERVE BY SEPTEMBER 16 THE INDY’S EDITORIAL GUIDE ON WHERE TO EAT WHERE TO DRINK - WHERE TO SHOP - WHAT TO DO PLUS A COMPLETE GUIDE TO CULTURE AND THE BASICS OF LIVING IN THE TRIANGLE

HISTORY TRIVIA: • The Durham Colored Library, the second library for African Americans in NC, opened to the public on August 14, 1916. Hattie B. Wooten was the first librarian.

• Former NC governor, U.S. senator and Duke University president Terry Sanford was born on August 20, 1917. Sanford graduated from UNCChapel Hill in 1939 and later earned a law degree from UNC School of Law. Courtesy of the Museum of Durham History

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