INDY Week 8.21.19

Food as storytelling P. 15 Spoon’s nine lives P. 17 Music hall madness P. 20 RALEIGH August 21, 2019

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Pro-neighborhood vs . Pr

BYs vs.

RALEIGH’S REAL PROGRESSIVES?

Th e

BY LEIGH TAUSS, P. 7

re. f Mo il o

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WHO ARE

Almost everyone running for office in Raleigh claims to be a progressive.

But they define that word differently.

WHICH VERSION WINS WILL SHAPE THE CITY’S FUTURE.

Council of No vs. The Cou nc

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CAROLINA PERFORMING ARTS SEPTEMBER 6

MISTY COPELAND IN CONVERSATION TRAILBLAZING ARTIST IN CONVERSATION

SEPTEMBER 7–29

SEPTEMBER 13

1971 CRAIG WALSH

TIERRA WHACK A TRUE HIP-HOP ORIGINAL

FREE OUTDOOR INSTALLATION

August 29, 2019 – January 12, 2020

nasher.duke.edu/voices SEPTEMBER 27–29

OCTOBER 2

CURRENT TAKEOVER MARTHA GRAHAM DANCE COMPANY

INTUITION: SONGS FROM THE MINDS OF WOMEN ALICIA OLATUJA

IMMERSIVE ARTIST TAKEOVER

A SOULFUL CELEBRATION

 CAROLINAPERFORMINGARTS.ORG 2 | 8.21.19 | INDYweek.com

Radiant Tushka (detail), 2018. Repurposed quilt, assorted glass, plastic and stone beads, printed chiffon, nylon ribbon, canvas, acrylic paint, nylon fringe, copper, and artificial sinew; 95 ½ x 64 x 2 ½ inches (242.57 x 162.56 x 6.35 cm). Courtesy of the artist and Kavi Gupta, Chicago. Photo by Peter Mauney. Art for a New Understanding: Native Voices, 1950s to Now is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas. The exhibition is co-curated by independent curator Candice Hopkins (Tlingit, citizen of Carcross/Tagish First Nation in the Canadian territory, Yukon), Mindy Besaw, curator of American art at Crystal Bridges, and Manuela Well-Off-Man, chief curator of the Museum of Contemporary Native Arts at the Institute of American Indian Arts in Santa Fe, New Mexico. Support for this exhibition and its national tour is provided by the National Endowment for the Humanities, the National Endowment for the Arts, and the Sotheby’s Prize. This project is supported in part by an award from the National Endowment for the Arts. This exhibition has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor. At the Nasher Museum, this exhibition is made possible by the William R. Kenan, Jr. Charitable Trust, with additional support from The Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions. This project was supported by the N.C. Arts Council, a division of the Department of Natural & Cultural Resources.

WHAT WE LEARNED THIS WEEK RALEIGH VOL. 36 NO. 32

DEPARTMENTS

6 In the first six months of 2019, the Durham Housing Authority filed three times as many evictions as it did in the same period in 2016.

6 News 15 Food

8 Raleigh has twenty conservation districts that freeze neighborhoods in time. Durham has two.

16 Music 19 Arts & Culture

13 To find his voice as Joyero, Durham’s Andy Stack first had to travel to Marfa, Texas.

22 What to Do This Week 25 Music Calendar

15 Snap Pea Catering has hosted pop-up dinners everywhere from a bridge on the Haw River to the Morehead Planetarium.

29 Arts & Culture Calendar

16 “I’m a fan of people doing whatever the hell they want to do,” country artist Rissi Palmer says about Lil Nas X. 17 “One of our most loved songs isn’t due to placements or radio hype. People just dig it,” says Spoon’s Britt Daniel.

19 So much of acting is in glances and gestures. For audio drama The Master Builder, Tamara Kissane had to make it all audible.

A Snap Pea Catering pop-up dinner at St. Augustine’s University (see page 15).

On the cover DESIGN BY ANNIE MAYNARD

PHOTO BY KEN TROUSDELL

RALEIGH

AUG 24-25

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Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

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2110 Blue Ridge Road, Raleigh

backtalk

INDY VOICES

The Living Room

A Dog’s Life

In our Pets Issue earlier this month, editor Jeffrey Billman told you about his dog Belle, who is battling an aggressive form of cancer.

“I just wanted you to know I read your beautiful piece on Belle,” writes Anna Yount. “It brought tears to my eyes. Belle and [her brother] Sebastian are sure lucky to have you. Please know we are thinking and praying for years together. She is beautiful. Stay strong, Belle!”

Ashley Ayscue adds: “Thank you for sharing this beautifully written story. I share a very similar one— same Dr. Arthur [of Triangle Veterinary Referral Hospital], same Palladia, different cancer, same realization that every day is a gift. You expressed all the words I wouldn’t have been able to.”

“I read your story about Belle,” writes Michael Barnes. “I am so sorry. It is so unrelentingly hard.

It brought tears to my eyes. Again. We had a beagle, Django. We adopted him on January 14, 2014. On April 26, 2016, he started to intermittently lose his appetite. Over the next couple of weeks, he somewhat regained his appetite, but then other symptoms started to appear. On May 25, we took him to Veterinary Specialty Hospital in Cary. Ultrasound, blood tests, etc. On May 27, his vet did exploratory surgery. The cancer was widespread. We had to let him go. He was eight years old.

“He had walked in the door of the vet’s office that last morning wagging his tail and greeting everybody the way he always did, though we could tell he was in some discomfort. Our vet told us that pack animals will hide their symptoms as much as they can, but, given the state of his organs, she said he was certainly in a lot of pain. That’s maybe the hardest part. I had no idea. Neither did his vet.

“But there was a bright spot. We mentioned to the vet tech on duty the day we took him for his ultrasound that we had adopted him from the vet tech program at Central Carolina Community College in 2014. She said she had graduated from there in 2013. I said, ‘Oh, then you might have met this dog. His name before we adopted him was Lennon.’ Her jaw dropped, and when she recovered, she said, ‘In the program, each student is assigned one dog and one cat for the second year.

Lennon was my dog when I was in school.’ So they had a chance to get reacquainted before he left us.

I treasure that moment.”

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.

WHAT WOULD IT MEAN FOR DOWNTOWN TO REALLY EMBRACE THE ENTIRE DURHAM COMMUNITY?

BY ALEXIS PAULINE GUMBS

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.

NEXT WEEK: CHIKA GUJARATHI, a Raleigh-based writer and author of the Hello Namaste! children’s books, whose work can be found on her blog The Antibland Chronicles.

I

Master planners think about livn 2007, when I created an all-ages ing rooms, too, at least as a metaphor. community school called Eternal The most recent (2017) version of the Summer of the Black Feminist Downtown Durham Master Plan uses Mind, I used the meeting space I had at the term “living room” three times in hand: my living room. Over a decade of programming, night schools, potlucks, three ways. The first is as a premise: and ancestral birthday parties took “Downtown is the living room of the entire Durham community.” place in the five homes I’ve rented in Later, the report notes that downDurham. Using my living room in this town’s living-room status may be under way transformed the way I lived.

When I think about a “motherplan” threat, suggesting the need for “a broad range of economic, housing, and culfor Durham, which I proposed last tural investments that promote downmonth in this space as an alternative town’s inclusivity.” And then there’s to the “master plans” for Durham’s the living room within the living room. growth, I think of what grows out of If downtown is the city’s living room, our living rooms.

By using my living room as a micro- “public spaces serve as the living room for downtown by creating common community institutional space, I followed in the tradition of under- spaces that are accessible to anyone.”

But when racially biased policing conresourced and passionate visionaries.

Anna Julia Cooper, born a child in slav- tinues to shape how residents of color relate to downtown’s supposedly equally ery in Raleigh, created a night school for adults in her living room in Washington, accessible spaces, can they truly provide a living room for the whole community?

D.C. Janice “Jaye” Vaughn, founder of As the emerging historian Dannette Cedar Chest (an organization for Black Sharpley writes in an essay examining the lesbians that met in her living room in racial context of her own Durham living the 1990s) told me that the duplex in room: “In 1930, the year in which Durham the Burch Avenue neighborhood where I lived had been used for Black femi- experienced a massive boom in population and development including the construcnist gatherings before my time. After I tion of my own house, they began redlinmoved out, writer Zelda Lockhart used ing neighborhoods and undercutting the that same living room for her Women’s value of African American wealth.”

Writing Intensives. Ed Swan, founder The strength of Black Wall Street and of the L-Room B&B, used a living room on Geer Street to host a range of events, the cultural, financial, and educational success of Hayti were destroyed by polincluding an intimate conversation with icies including the construction of the Erica Garner about police violence. But Durham Freeway and bank practices as Geer Street became trendy, The that decided that homes in Black neighL Room moved farther from downtown. borhoods were inherently less valuable Those of us using our living rooms than homes in white neighborhoods. as community centers are addressing The question of whose life is valugaps in municipal funding. But amid able is crucial again in the midst of Durgentrification, even having a living ham’s current population boom. room to share is less common.

In her book Living Room, architect and Black feminist poet June Jordan confronts the systemic racial violence that stands in the way of living rooms for communities of color around the world. When I read her words, I think of the work of Durham Beyond Policing: I need to speak about living room/ where my children will grow without horror/ I need to speak about living room where the men/ of my family between the ages of six and sixty-five are not/ marched into a roundup that leads to the grave.

If June Jordan were alive and living in Durham, I think she would love to be part of a motherplanning session. She believed in “the determining relationship between architectural reality and physical well being.” In her architectural plans and correspondence with colleague Buckminster Fuller in the 1960s, she imagined architecture as “reparations for the ravaged peoples of Harlem,” drawing plans for interconnected skyrise housing that included workshops to develop the creativity of all residents to “demonstrate the feasibility of beautiful and low-cost shelter integral to a comprehensively conceived new community for human beings.”

Could we imagine that in Durham— abundant living room for all of us? That is my hope. More soon. 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 | 8.21.19 | 5

indynews Get Out

THIS YEAR, THE DHA HAS FILED 30 TIMES MORE EVICTION CASES THAN ITS RALEIGH COUNTERPART. NOW IT’S PROMISING REFORM. BY THOMASI MCDONALD

O

n Monday, following revelations last week that the Durham Housing Authority had filed 540 eviction cases in the first six months of 2019—compared to eighteen filed in the same timeframe by its Raleigh counterpart, according to a Legal Aid attorney—the agency promised reforms.

“For the first six months of this year, the DHA filing rate has been triple that of 2016 and thirty times higher than the Raleigh Housing Authority’s filing rate for the same six-month period,” Peter Gilbert, supervising attorney of Durham’s Eviction Diversion Program, wrote in a July 10 letter to Dan Hudgins, who chairs the DHA’s board of commissioners.

Of those 540 proceedings, 20 percent have been for nonpayment of the DHA’s $50 minimum monthly rent, says Sarah D’Amato, an attorney with Legal Aid of North Carolina’s Durham office. And most of those facing eviction are single black women, Gilbert says.

That stands to reason. A majority of the families who rely on the DHA for housing are headed by single black women. The average DHA tenant makes about $13,000 a year, Hudgins says, and more than 90 percent are black. Eighty-two percent are families, most led by single women.

Hudgins says board members raised the eviction issue with Anthony Scott, the DHA’s CEO, on July 10. While only a “small number” of public housing residents facing eviction were actually removed from their homes, Hudgins says, Scott agreed that changes need to be made.

Among the reforms the agency announced this week: having the DHA’s general counsel review the tenant’s case before filing for eviction; partnering with the city’s Eviction Diversion Program to help at-risk families; creating hardship exemptions and alternative means for tenants to pay their rent; and training DHA staffers to guide tenants facing eviction to 6 | 8.21.19 | INDYweek.com

Lutrenda Sumpter isn’t optimistic about the DHA’s promised reforms.

PHOTO BY JADE WILSON

resources offered by county social services.

Scott, who said in a press release that the “comprehensive changes” were made after “meeting with our tenants and community housing advocates,” could not be reached for comment.

The reforms took effect on August 12.

Already, the DHA appears to be slowing the rate at which it seeks eviction. Of the forty-seven eviction cases filed in Durham County this month, only one came from the DHA. In that case, a resident at McDougald Terrace has been ordered to leave because her juvenile son was charged with shooting another child in the eye with a BB pistol.

Still, Lutrenda Sumpter is not impressed.

For the last seven years, Sumpter, a disabled African American woman, has paid

$214 a month to live in DHA apartments.

But in February, the DHA filed to evict her, claiming that Sumpter only made partial payments toward her monthly rent of $679 for December and January.

The problem is that the DHA has not recertified Sumpter’s housing voucher, which covers the gap between her income and a property’s fair market value. Without that certification, Sumpter was on the hook for the whole $679, though she kept paying $214.

D’Amato, Sumpter’s attorney, says the DHA delayed her voucher recertification because the authority said Sumpter did not present “up-to-date bank statements.”

Multiple DHA officials did not respond to requests for comment about her case.

In February, a court threw out the DHA’s case. According to D’Amato, the authority failed to notify Sumpter that her voucher hadn’t been recertified.

She knows now. But on D’Amato’s advice, she’s still paying $214 a month. She can’t afford to pay more, she says.

The DHA hasn’t tried to evict her again, but it also hasn’t settled the certification problem. On May 9, it sent her a letter informing her that she had fourteen days to vacate the premises. Two days before the deadline, she received a notice telling her she had an outstanding balance of more than $3,800. Three months later, the balance is now more than $5,000.

Sumpter says a previous DHA apartment on Glasson Street was infested with black mold; while living there, she was diagnosed with a weakened heart complicated by breathing problems. She also says that DHA maintenance workers didn’t unclog her bathroom sink and tub, and she had to wear mud boots to stand in the shower.

“I didn’t get sick until I moved in that building,” Sumpter says. “You got people drinking mold, eating mold, and you are charging them rent.”

“They’re just sitting on that balance, and it’s looming over her head, not knowing what they’re going to do,” D’Amato says.

“If they try to evict her, we will bring up these issues.”

While her client isn’t optimistic that the DHA’s reforms will amount to much, D’Amato calls them a “step in the right direction.”

Other housing advocates agree.

Charles Holton, the director of the Civil Justice Clinic at the Duke School of Law, helped establish a pilot eviction diversion program at the university in 2017.

“We look forward to working with [the DHA] to reduce the number of evictions,” he says, “which are a blight on our entire community.” tmcdonald@indyweek.com

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Pro-neighborhood vs . Pr

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WHO ARE

RALEIGH’S REAL PROGRESSIVES?

Th e

BY LEIGH TAUSS, P. 7

Council of No vs. The Cou nc

BYs vs . YI MB Ys .

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re. f Mo il o

Almost everyone running for office in Raleigh claims to be a progressive.

But they define that word differently.

WHICH VERSION WINS WILL SHAPE THE CITY’S FUTURE.

O

n July 2, at the Raleigh City Council’s last meeting before its summer break, a handful of residents stepped forward to oppose a rezoning request that might eventually allow developer John Kane to build downtown’s tallest skyscraper, on a site on Peace Street currently zoned for twelve stories.

Their complaints boiled down to the idea that the project was too much. Too tall. Too intense. Too many “transient” renters, as one put it. Most important, too much traffic.

One woman with cropped white hair and thick-rimmed glasses called a plan to add a bike lane to the project “almost offensive.”

(She didn’t elaborate.) Bob Geary, who cast the sole vote against the rezoning as a member of the city’s planning commission, told the council that Kane’s building—in a thriving part of town abutting the nightlife district—would do nothing to alleviate gentrification or benefit the city’s poor, so it should be rejected.

If you ask him, Geary—a former INDY writer—will tell you he’s the most progres-

sive person he knows. Most of the people who objected to Kane’s development would call themselves progressives, too. In their eyes, they’re standing up to an avaricious developer who is remaking the character of downtown, clogging its streets, and turning it into a playground for the elite.

Kane’s offer to put $1 million into the city’s affordable housing trust fund is woefully insufficient, they say, considering that he hasn’t committed to reserving units in his building for lower-income people. If they had their way—and if state law didn’t

prohibit it—they’d require developers to include affordable housing in their projects, especially as a condition for higherintensity zoning.

But many other people who also call themselves progressives think Kane’s project is a good thing, and the council should stay out of the way. They want downtown to get taller and busier, rather than having development sprawl toward the suburbs. They want more bikes (and bike lanes) and fewer cars (and even electric scooters).

INDYweek.com | 8.21.19 | 7

“

Your Week.

Every Wednesday.

8 | 8.21.19 | INDYweek.com

Urban progressives understand that a city is a changing, morphing entity, and it’s our job to define what kind of city we want to be. Urban conservatives don’t want anything to change.

In short, they want Raleigh to embrace the Big City it could become rather than pine for the Sleepy Town it used to be.

And they believe the way to address the city’s affordability crisis isn’t by going to war with developers but by asking them to build more—a lot more. They want the neighborhoods surrounding the city’s core to become denser, by adding duplexes, triplexes, and accessory dwelling units where city rules currently allow only single-family homes. That’s how you build a greener city centered more on mass transit and less on cars, they say.

But these types of changes are anathema to the first camp, whose proponents can be protective of the character of their single-family neighborhoods, annoyed by the prospect of slow-going commutes, and see the second camp as selling out to monied development interests.

These dueling perspectives are often labeled NIMBY and YIMBY, though that’s probably reductive. You could also point to a generational divide at work, with younger residents less fearful of urban development, though this characterization likewise runs the risk of being overly simplistic.

Each group believes it is espousing smart-growth principles that will prevent Raleigh from repeating the mistakes made by other fast-growing cities, such as Austin and Seattle. And each group also believes that its positions are truly progressive— more progressive—than the other’s.

Broadly speaking, defining yourself as a progressive in terms of national politics is easy: You’re for equality, social justice, universal health care, a robust safety net, and initiatives to combat climate change. You’re also unlikely to own a MAGA hat.

Locally, things aren’t so cut-and-dried.

Almost everyone running for Raleigh mayor and city council is a Democrat.

Almost all identify as progressive. But on the thorniest issues facing the city—growth, development, affordability—the council’s current majority and those seeking to oust them stake out starkly different territory.

On the one side are the pro-neighborhood incumbents—the Council of No, as their

detractors call them: David Cox, Stef Mendell, Russ Stephenson, and Kay Crowder.

They’re skeptical not only of developers and density but of Airbnb and e-scooters.

They’re also all white, all over sixty, and all homeowners; three of the four are retired.

Nicole Stewart—who, at thirty-eight, is the council’s youngest member—defines progressive the other way. She sees growth as inevitable and urban infill as a positive force. Corey Branch, the forty-one-year-old mayor pro tem and the council’s only African American, usually leans in that direction, too.

This October, they’ll be joined on the ballot by more than a dozen challengers seeking to oust the pro-neighborhood incumbents, many of whom are like-minded, development-friendly millennials who also call themselves progressives.

The question facing Raleigh voters isn’t whether they want a progressive government. It’s what kind of progressive government they prefer.

Their answer will shape the city’s future.

H

ere’s how the dictionary defines progressive: “a person advocating or implementing social reform or new, liberal ideas.”

Here’s how Mayor Nancy McFarlane defines it: “Urban progressives understand that a city is a changing, morphing entity, and it’s our job to put all those things in place that define what kind of city we want to be,” says McFarlane, who announced in March that she isn’t seeking reelection.

“Urban conservatives are people that don’t want anything to change.”

Case-in-point: When former council member Mary-Ann Baldwin, the vice president of marketing at a construction company who is decidedly in the build more camp, announced a bid to succeed McFarlane, she said she was doing so to advance a bold progressive vision for the city. Her critics scoffed: How could she claim to be a progressive when she’s so close to builders?

Nowhere have the battle lines over development been more sharply drawn than in

the rich enclaves of the reliably liberal California, where a lack of housing supply has driven the price of even modest homes into the stratosphere.

In 2018, California lawmakers introduced legislation to encourage density along mass transit corridors by reducing local zoning authority. Under resistance from coalitions of homeowners, who called the bill a handout to developers and said it threatened neighborhoods’ character, however, the bill died.

“The larger issue is that too many Democrats have taken a misguided, knee-jerk defense of the restrictive zoning policies that have perpetuated the urban housing crisis,” New York columnist Jonathan Chait responded. (Worth noting: Chait’s critics often deride him as an insufficiently progressive neoliberal.)

These kinds of zoning policies exist in Raleigh, too, and are legacies of segregation, as housing policy expert Richard Rothstein explains in his 2017 book The Color of Law. Nearly a century ago, the city’s school system located the black schools into Southeast Raleigh—near a quarry and a landfill—which quickly concentrated the city’s black population there. After World War II, as whites were lured to the suburbs, government policies blocked many black families from obtaining mortgages.

“

North Raleigh is traditionally where the white families were buying and settling in and moving out from the city. Most of the black families were compartmentalized down in the south.

In Raleigh, home-buying trends exacerbated economic and racial segregation in neighborhoods, says Asa Fleming, president of the N.C. Association of Realtors.

North Hills and Five Points flourished with investments in new single-family homes, while the areas around traditionally black Shaw and St. Augustine’s Universities deteriorated. Compounding the disparity, white families were more likely to sell their homes every ten years, accumulating wealth and driving up prices in their neighborhoods, while black owners stayed put.

North Raleigh is “traditionally where the white families were buying and settling in and moving out from the city,” Fleming says. “Most of the black families were compartmentalized down in the south.”

Their urban neighborhoods were left to languish, often at the mercy of negligent landlords.

In the last two decades, the script has flipped—and so have a lot of houses in these once “undesirable” neighborhoods. Downtowns, including in Raleigh, have become hip again, and developers began turning their attention to the long-overlooked neighborhoods nearby. Formerly affordable bungalows were torn down and replaced with bigger, gaudier houses that fill up an entire lot and start at a half-million bucks; the families once forced to live there are now being elbowed out.

Progressives generally agree that gentrification is bad. In Raleigh, the development-skeptical cohort tends to think that

preserving these existing neighborhoods— as well as existing neighborhoods throughout the city—should be the city’s goal. But preservation has a convenient side effect: The wealthier single-family neighborhoods in West Raleigh, the ones with political clout, stay the same, too, which means no apartment complexes or townhomes dilute the inflating values of their split-levels.

It’s supply and demand: Each year, about twenty-four thousand people move to Wake County, but only about ten to twelve thousand new housing units get built. That drives up home prices.

The build more group says the answer is to work with developers, not against them.

They point out that increased housing supply has led to stabilized or even falling market-rate rents in Nashville, Portland, Seattle, and Washington, D.C. But this will mean changing the city’s rules to encourage denser forms of housing: duplexes, triplexes, quads, backyard cottages, tiny homes, cottage courts, and so on.

The pro-neighborhood camp, which has controlled the council since 2017, hasn’t been keen on this idea. Instead, it often seems more intent on micromanaging development, including what people can build on their own property. In February, it passed an ordinance requiring homeowners who want

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to build an accessory dwelling unit to first get their neighbors’ permission.

Even more restrictive are neighborhood conservation overlay districts, which aim “to preserve and enhance the general quality and appearance of established neighborhoods by regulating built environmental characteristics such as lot size and frontage, building setback, and building height.”

The city has twenty NCODs, with two more pending review—for comparison, Durham has two—each freezing its slice of Raleigh in time. Raleigh’s latest NCOD application is for Cameron Village, where modest homes are already priced at more than $450,000. (The council was set to hear an update on Cameron Village’s application as well as consider an NCOD request from Willow South Run on Tuesday, after the INDY goes to press.)

The message these districts broadcast is clear: If the city must grow, it shouldn’t be here.

I

n 1970, Joni Mitchell famously sang about paving paradise and putting up a parking lot. A half-century later, that sentiment—that development is destructive—still resonates among Boomer liberals. They’ve seen greed wreak havoc on the environment.

A year before “Big Yellow Taxi” was released, the Cuyahoga River in Cleveland caught fire. Into the nineties, major U.S. cities were choked by smog. Humans punched a hole in the ozone layer and may yet eradicate ourselves through climate change.

All the while, developers have clear-cut forests and filled in wetlands to make way for endless stretches of tract homes in the hinterlands—housing projects often named for the trees they felled, fed by massive arteries of pavement.

Literally, paving paradise.

If development stands in opposition to the environment, being a true progressive means being skeptical of developers. And if growth requires more development, then it’s something to be skeptical of, too.

As council member David Cox writes on his website: “Raleigh is a rapidly growing city. The big question is what will the city be like in ten or twenty years? Will it continue to offer the same high quality of life that we take for granted today?”

Cox, who did not respond to the INDY’s requests for an interview, got his start in local politics by opposing a proposed supermarket in North Raleigh in 2014. His implication is that unchecked growth will inexorably make residents’ lives miserable. During his four years in office, he’s made clear that he sees his job as ensuring that doesn’t happen.

That makes him a real progressive, says Donna Bailey, who chairs the Hillsborough-Wake Citizens Advisory Council. For too long, she says, developers have been too powerful. The council’s majority—Cox, along with Mendell, Stephenson, Crowder, and the retiring Dickie Thompson— are all that’s keeping them at bay and maintaining a balance between growth and neighborhoods.

“I’m a very liberal, definitely a progressive Democrat,” she says. “But I also know that doesn’t mean you just throw away the neighborhoods.”

The pro-neighborhood cotillion talks about balance, but its arguments are frequently framed in black-and-white terms: Paradise or parking lots. Neighborhoods or development. But things aren’t that simple. People are coming. The city’s housing crisis is getting worse.

10 | 8.21.19 | INDYweek.com

David Cox has been a leading skeptic of development on the city council.

Where should they all go?

“All over,” Bailey says. “There’s room to be developed.”

That’s as specific as she gets.

Asked the same question, Bob Geary points to the “failing” strip malls lining Capital Boulevard and Wake Forest Road, north of downtown. “We have many opportunities to redevelop those old shopping centers as dense housing, and they are on major [transit] corridors,” says Geary, who lives in Cameron Park.

Better there, he continues, than in the city’s core: “Raleigh’s success as a city is predicated on strong neighborhoods—and especially strong neighborhoods inside the Beltline. It won’t really do to grow in a way that undermines the stability and the desirability of neighborhoods that are well-established.”

This idea hits upon practical limitations. The city can’t force the property owners to redevelop their land. And if it made economic sense to turn them into housing complexes, someone would have done it—which means, if there’s no market for housing, the city would likely have to buy the land or subsidize any housing built there.

Cox, meanwhile, has argued that, because neighborhoods suffer from poor development decisions, residents should have a say in what happens in their neighborhoods— a veto, like he and his neighborhoods exercised with that supermarket.

The problem with this theory is twofold: One, this kind of hyperlocal decision-making can be provincial, with the desires of the few being prioritized over the needs of the many. Two, not every resident can always participate— young families with kids, for instance, can’t always make it to CAC meetings, which means attendance may not be representative of the neighborhood.

The result is a series of decisions based on loud but not necessarily widespread neighborhood opposition to projects.

Take the Oxford Road sidewalk, which the city spent five years and more than $20,000 planning before Stef Mendell

PHOTO BY ALEX BOERNER

spiked it earlier this year after hearing from a few upset residents and assuming the whole neighborhood thought the same way. But that wasn’t the case, and Mendell eventually reversed course. (Her opponent, David Knight, says frustration over that episode drove him into the race.)

A similar thing happened in February when Cox tried to redirect $2 million in funds from River Bend Park to another park project. He, too, had listened to a few and thought they spoke for the many. When families who wanted that money to go to River Bend Park pushed back, he relented, admitting, “I, frankly, screwed up this time.”

Brian Fitzsimmons says that screw-up was the straw that broke the camel’s back—the reason he decided to challenge Cox. “It’s not about all neighborhoods. It’s about a specific set of neighborhoods,” Fitzsimmons says. “There are far too many neighborhoods across Raleigh that have gotten slighted and forgotten.”

“I

f our priority is protecting our neighborhoods,” says Nicole Stewart, “then what that means right now is protecting a way of life for those who are there already. If our priority is making sure our people have the housing they need, then it means that our neighborhoods are going to change. And that’s not a bad thing.”

This is the mantra you hear from pro-growth progressives: Walkable neighborhoods. Downtown density. Alternative transportation options.

They want to bike to work. They want to walk to an urban park. They don’t mind tall buildings that bring more people and commerce downtown. And they realize that, without changing the city’s zoning template, a lot of that can’t happen.

“If you are not pro-density, then you aren’t an urban progressive,” says Trophy Brewing co-owner David Meeker. (Meeker’s uncle, Richard Meeker, owns the INDY.)

“

If our priority is protecting our neighborhoods, that means protecting a way of life for those who are there already. If our priority is making sure people have the housing they need, those neighborhoods are going to change.

“Some of these conversations are hard.

The green way to grow is up, and there’s going to be density coming up on these older neighborhoods. It is what it is.”

Just as Donna Bailey believes the council’s true progressives are the ones fighting developers, the wave of pro-density challengers say the pro-neighborhood clique doesn’t deserve that title.

“I feel that progressiveness in Raleigh, it’s not real,” says mayoral candidate Zainab Baloch. “We think it’s real. We think we’re progressive. But in reality, we are a very conservative city. Our policies are very conservative. We’re not doing anything innovative. We’re not taking any risks. We’re just doing the bare minimum. What’s the difference between having this council in office and a bunch of Republicans?”

Even Corey Branch, who tends to stay out of these fights, admits, “I think, as a city, we’re not [progressive]. When it comes to their neighborhood, [people] are nervous.

They’re scared. I think that’s the reason we have so many [NCODs] that come up.

That’s why we have pushed back on housing heights and things of that nature.”

Mary-Ann Baldwin says she wants to diversify the city’s housing stock and add density. Council candidates like Saige Martin and Brittany Bryan, who are challenging Kay Crowder in District D, say the city may need to disrupt some neighborhoods to make room for newcomers.

Baloch goes further. She wants to get rid of single-family zoning—which she says was “created to segregate cities”—as Minneapolis and the state of Oregon have done in the last year. Their laws allow duplexes or triplexes in neighborhoods that before allowed only single-family houses in an effort to combat rising housing costs and the racial wealth gap.

“Minneapolis has long been a progressive city,” says Richard Florida, an economic and professor of urban studies at the University of Toronto. “It’s a city that has long taken inequality seriously.”

While eliminating single-family is a “YIMBY posture, it’s not a single thrust,” he

adds. “It’s knitted together with a broader focus on inequality.”

Minneapolis’s plan, adopted in December, also addresses access to employment, quality of life, walkability, public transportation, and public safety. In addition, it will require developers to set aside at least 10 percent of large projects for low-income residents, a process known as inclusionary zoning.

Building more housing is a “necessary but insufficient condition,” Florida says.

In other words, cities have to build more— NIMBYs miss the mark by focusing on restricting development, he argues—but that alone won’t be a panacea to the housing crisis. They also need to build dedicated affordable housing. (While Raleigh council members have spoken about the urgency of the city’s affordability crisis, they declined to put a housing bond on the ballot this year, as Durham did; they’ll likely do so in 2020 instead.)

Florida suggests following New York City’s model, which requires developers to includes affordability components in their projects or pay a fee. But such inclusionary zoning is prohibited by North Carolina law.

He also says cities need to take a more holistic approach: They need to focus on creating better jobs and raising the minimum wage so that more people who work in the city can afford to live there. Here again, raising the minimum wage is also prohibited by North Carolina law.

But Wake County did pass a $2.3 billion referendum in 2016 to improve its mass transit system, which Florida says is another key piece of the puzzle.

Ultimately, however, there is no onesize-fits-all approach.

“My hunch is every city will do it differently,” Florida says. “Every city will tailor it to its own needs. Some will do more wage improvement, some will build more housing, some will do it more market-based, and some will do it more public-based. But out of this, we’re going to learn how to do it.” ltauss@indyweek.com

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Joyero ODE TO

The other half of Wye Oak finds his voice in solitude

BY NICK WILLIAMS

A

s we careen toward a dystopian world of crowds and noise, there are few better places to be alone with one’s own brain than Marfa. The tiny West Texas town has become an unlikely haven for artists, musicians, and abstract thinkers, not only because of its desolate natural beauty, but also because of its almost supernatural isolation from pretty much anywhere else. American urban hubs are increasingly augmented by bucolic townships, perfect for quick little bouts of creating before returning to city life.

But in Marfa, there’s no city to go back to. You are really fucking far away from everyone—just you and the cleansing enormity of desert and sky.

For Andy Stack—composer, working drummer, musical polymath, and dream-team band mate—Marfa was not just a place to live and work, but a liminal slice of spacetime in which to be alone and finally make his own record: Release the Dogs, recorded under the name Joyero, which Merge Records will release on August 23.

“It’s just totally this island,” Stack says of Marfa. “I was pretty isolated. That’s kind of what this record came out of.”

Like the meticulous drummer he is, Stack was precisely on time for our coffee meeting on an absurdly hot day in Durham, his home for last eighteen months. You likely know Stack as half of Wye Oak, but he’s also the touring drummer for the indie supergroup EL VY and the beloved Merge band Lambchop, and he brings precision and skill to an ever-expanding roster of musicians, including Helado Negro and Thor Harris.

When accused of being a serial collaborator, Slack reflects on his experience as a semi-recent arrival to Durham. In comparison to a Baltimore scene driven by art-school mystique, the Triangle feels like an open, welcoming exercise in mutual inspiration and admiration.

“It’s been a really positive experience moving here and being exposed to the community, which is extremely unpretentious, very earnest, and dedicated to musicianship and craft in a way that is really refreshing,” he says. “I’m play-

JOYERO Thursday, Aug. 22, free, 6:30 p.m.

Bull City Records, Durham www.bullcityrecords.com

Andy Stack PHOTO BY JADE WILSON ing with people who I feel elevate me, making adventurous music. But it’s not my music, so I can relinquish the anxiety of, ‘How are people going to receive this?’”

When he’s not helping his peers process their musical instincts, Stack composes music for television and film— a more solitary enterprise, but one that’s nonetheless beholden to something beyond his own vision.

“It’s still a creative application,” Stack says. “But you have to work at it from a much more logical and less egocentric place. It’s a weird thing, because you’re a technician that’s in service to the emotional pull of the piece that you’re doing.”

But there’s no one else to fall back on in the deserts of West Texas. Without a squadron of colleagues and collaborators, Stack had to rely on his own ideas and instincts to create projects that felt vital to him, one of which was Joyero.

“I think the isolation and the solitude made me get in touch with some versions of my musicianship and my creative self that I could have continued to brush off,” he

says. “It’s kind of ironic that somebody in a two-person band would want to trim down even more. But I think it’s really nice to be able to be on my own.”

That “two-person band” would of course be Wye Oak, one of the most nimble and imaginative groups around. If you’ve seen the Baltimore-bred, Durham-based duo, you know Stack’s calm, confident presence, drumming with one hand, triggering a multiverse of tweezed and processed sonic wonder with the other, creating a finely layered space inhabited by Jenn Wasner’s potent, inimitable voice and guitar.

Even behind the incandescent Wasner, Stack is fascinating to watch, constantly multitasking, coolly in control of his gear. The pair has developed an almost psychic ability to communicate, which Wasner calls “musical shorthand.”

“He’s the ideal collaborator,” Wasner says. “Versatile and egoless. He can play pretty much anything he can get his hands on, and he’s willing to take notes and work together to find the part that’s right for the song.”

INDYweek.com | 8.21.19 | 13

T

his precision is all over Release the Dogs, as are all the mutable colors of Stack’s playing. On “Alight”, the opener, it takes Stack just under ninety seconds to do the following: introduce an insistent, dubby drum-and-bass pattern, tweak its tempo, add an organ’s ebullient hum, crank up the delay, push the whole thing toward oblivion, gently pull it back from the brink, and introduce us to his voice with the lilting couplet, “I told you I wanted / To be part of it.”

If this sounds like a frantic beginning, somehow, it’s not. It’s exhilarating but controlled, even when the only thing keeping it from slipping into chaos is Stack’s softly commanding voice, the quietest aspect of Release the Dogs, but arguably the most captivating.

“I had lost this fledgling version of myself as a singer,” Stack says. “Making this record was a process of discovery for the emotional connection to singing and the pure physicality of singing.”

That process leads to some haunting places. Lyrically, the record is contemplative, with moments of ache and sadness. On first single, “Dogs,” the chorus paints a picture of lonesome aimlessness: “While you’re away / I wait outside the house / Lift an ear to every sound / I sleep all day like a dog whose master’s out / I don’t know up from down.”

To be both intimate and expansive at the same time is a tough one.

But it can definitely be done.

“

Talking to Stack, I struggle to find an appropriate word for his lyrics, so he does it for me, breezily describing some of the album’s thematic material as “dark.” But sonically, it’s marked by moments of ferocious, effervescent joy.

On “Steepest Stairs,” a warbling keyboard suddenly erupts into arcs of melody that seem to ascend endlessly. The energy is thrilling, woozy, and romantic, cut through again by Stack’s voice, gently assertive, steadily intoning, “And the hours will pass / With your breath on the glass / Looking in on the last / Of the old dream.” The layers drop out suddenly for the swooning chorus, which only makes their prismatic return more triumphant.

Durham musician Jay Hammond, aka Trippers & Askers, is Stack’s former Berklee School of Music classmate. They reconnected in Durham and started improvising together, picking up a musical relationship they had left off ten years before. Even after

”

playing with Stack, Hammond was struck by the complexity of Joyero, amazed that it was the work of one person.

“But the thing that’s not surprising to me is just that it’s very beautiful,” Hammond says. “It’s very tender, very sincere music.”

“To be both intimate and expansive at the same time is a tough one,” Stack says.

“But it can definitely be done.” For him, the record’s lyrical and musical juxtapositions are about capturing feelings of ambivalence. “Ambivalent” might seem like an odd way to describe such a vivid record, but it makes more sense the more you listen to it.

Spinning “Steepest Stairs” for the tenth time during the heat-induced psychedelia of a run through Durham’s backstreets, I could hear what Stack meant. It’s an ambivalence born not of apathy, but of experience—the calm that comes when you find yourself in the desert with no one to record

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BLACK TUSK

ODONIS 10:00 ODONIS PM

VATTNET VISKAR

HEADS ON STICKS 9:00

BEAT REPORT

THE WEATHER STATION

9:30 PM

PM

THE HOT AT NIGHTS

8:30 PM

MAKE

CHEATER MOUNTAIN NICK ACAB DAN SLICKS WHITE GOATS CATCHDUBS SHOVELS LAMBCHOP CLASS DEACON HILLS ACTRESS 11:30 HUNDRED& ROPE CO LA THE VALIENT SISTER PMSUTEKH WATERS DANNY CARLOS LAUREL DB’S THORR CRAYON GIFFONI HALO 11:00HEXEN PAPA M/ BROWN GUINEA JACKIE CORROSION WORMS POP. PM DAVID PAJO CHAIN STARLINGS, TN SILVER OF CONFORMITY 1280 SWANS 10:30 WOWSER DOPE HISS GOLDEN AZURE AND YO LA BOWSER ROOMRUNNER MIDTOWN PM BODYMIREL MESSENGER YOUNG NOBUNNY BAOBAB NERVES TENGO DICKENS INRAY THE WAY WAGNER JUNIOR 10:00 BIG PAINT BEAT PALLBEARER FUMES PIPE CHELSEA AMEN PM TROUBLES REPORT CROWELL

9:30 DEAD IN TOW3RS PMFIELD REPORT THE DIRT 9:00 WYLIE HUNTER GLENN PM & THE CAZADORES JONES

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THE BRONZED HUBBLENAKED CHORUS GODS

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KENNY 8:30ROBY GROHG PM

DUNES

SECRET SHARK QUEST MOUNTAINS THE WEATHER THE HOT STATION AT NIGHTS THE

THE FUTURE KINGS OF NOWHERE

12:30 AM

14 | 8.21.19 | INDYweek.com

NAILS

FLOSSTRADAMUS

SUTEKH HEXEN

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YOUNG AND IN THE WAY

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12:00 AM 11:30 PM

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GROHG

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WORK CLOTHES

THE BEAST

NA NOG

COLLAR CRIME

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MY BEST FIEND

THE SPITS BIRDS OF AVALON

ZEUS

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MINOR STARS

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FRUSTRATIONS

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MUSIC HALL

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CAMhopscotch DEEP FIVE FLETCHER music festival RALEIGH SOUTH STAR OPERA THE BAR THEATER LONG VIEW MEMORIAL POUR SLIM’S TIR WHITE 12:30 NAILSHOUSEFLOSSTRADAMUS AUDITORIUM CENTER NA DOLDRUMS COLLAR AM MUSIC HALL NOG CRIME

WYE OAK

WHITE COLLAR CRIME

JOINT D≠

BERKELEY CAFÉ

the triangle’s weekly

JACASZEK

NESTS SHARK QUEST

wednesday, september 5, 2012

ARNOLD DREYBLATT & MEGAFAUN LAUREL HALO

LINCOLN THEATRE

GROHG

WYE OAK

SILVER SWANS

22

DAY PARTY LISTINGS

VALIENT THORR DOLDRUMS ONEIDA MY BEST FIEND CORROSION POP. OF CONFORMITY 1280 LAMBCHOP CLASS COLIN SHOVELS THE & ROPE SPITS ACTRESS STETSON YO LA ROOMRUNNER DANNY TENGO CARLOS BIRDS ZEUS BROWN GIFFONI PALLBEARER OF AVALON PIPE STARLINGS,FRUSTRATIONS TN SILVER JANE JANE POLLOCK SWANS NAKED NOBUNNY BAOBAB THE BAND MIREL CALICO GODS IN HEAVENWAGNER HAUNTS GLENN BLACK LAZY THE AMEN JONESCHELSEA BURGLAR SKIES JANES BEAST CROWELL FUCKER DUNES THE FUTURE TOW3RS CANTWELL, MINOR HUBBLE LITTLE KINGS OF NOGOMEZ STARS HOLLOW WHERE & JORDAN CHRIS JOINT D≠ THE CORSANOMARK HOLLAND TODDLERS BRAINS

LINCOLN LONG VIEW MEMORIAL POUR SLIM’S hopscotch music festival the triangle’s weekly AUDITORIUM THEATRE CENTER HOUSE

CLASS ACTRESS

MY BEST FIEND

COLINSTARLINGS, TN THE STETSON SPITS

JOINT D≠

FIELD YOUNG ANDKEVIN REPORT DRUMM IN THE WAY

SLIM’S

• escort 6:55 • shirle e & the dynamite brothers 5:45

CAM RALEIGH

SECRET YOUNG AND OREN NOBUNNY 10:30 AMBARCHI PMCITIES IN THE WAY

AMEN DUNES

TUSK MAC MCCAUGHAN

DEEP FIVE FLETCHER THE HIVE KINGS SOUTH STAR OPERA @ BUSY BEE 22BARCADE THE BAR THEATER LONG VIEW MEMORIAL POUR SLIM’S TIR WHITE AUDITORIUM CENTER NAILS HOUSE COLLAR 12:30 FLOSSTRADAMUS DOLDRUMS NA BALAM MUSIC HALL NOG CRIME AM ACAB

11:30DREYBLATTSUTEKH ARNOLD &PM MEGAFAUN HEXEN

CLASS ACTRESS

CARLOS GIFFONI

MARK HOLLAND GROHG

THE HIVE

@ BUSY BARCADE THEATRE | INDYweek.com 16 | BEE 9.4.19

DOLDRUMS

CHELSEA CROWELL

9:00 PM 8:30

FLETCHER OPERA THEATER

STARLINGS, TN

10:00 PM 9:30 PM

FIVE STAR

SHOVELS & ROPE

11:00 PM

TIR WHITE NA COLLAR LONG VIEW MEMORIAL POUR SLIM’S WHITE NOG MUSIC HALL TIR CRIME AUDITORIUM CENTER HOUSE NA COLLAR CAM DEEP FIVE NOGFLETCHER KINGS MUSIC HALL KILLER BERKELEY DAN WHITE CRIMETHE HIVE CAFÉ RALEIGH SOUTH STAR OPERA @ BUSY BEE BARCADE MIKE DEACON HILLS THEATER SUNN O))) NO BS!THE BARWHATEVER

8:30 PM

hopscotch music festival

the triangle’s weekly

BERKELEY CAFÉ

DEEP SOUTH THE BAR

OAK

CHRIS CORSANO

THE PSYCHIC PARAMOUNT

22

CAM RALEIGH

LONG VIEW MEMORIAL AUDITORIUM CENTER

DAY PARTY LISTINGS

city plaza the r ts 8:30 • escort 6:55 • shirle e & the dynamite brothers 5:45 BERKELEY CAFÉ

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12:30 AM

with, making peace with the fact that you’re just going to have to do it yourself.

Joyero is about to go on the road, an enterprise that naturally has been informed

by Stack’s penchant for collaboration. On a recent tour with multi-instrumentalist Thor Harris’s group, Thor & Friends, Stack ended up sitting in on saxophone with his tour mates.

“I just totally fell back in love with saxophone, which I played in school and then didn’t touch for like ten years,” he says. He pauses as I grapple with the fact that he also plays the saxophone alongside the six hundred other things he seems to have mastered.

“I’m not like the guy who’s gonna rip some jazz licks,” he says with a laugh. “But I’ve really enjoyed playing it.” He’s incorporated the instrument into Joyero’s live set, where it meets an electronic-processing engine— what Stack affectionately calls “the meat grinder”—and ends up “creating these synthetic textures out of organic materials.”

That place where the digital meets the acoustic, and where creating alone melds into creating with others, is at the crux of where we find Andy Stack on Joyero, and where he finds himself.

“It’s a work in progress,” he tells me, with playful solemnity. “On many levels.” music@indyweek.com

THE BEAST

22

WHITE COLLAR CRIME

MY BEST FIEND

BIRDS OF AVALON

ZEUS

THE BAND IN HEAVEN

CALICO HAUNTS

MINOR STARS

LITTLE HOLLOW

FRUSTRATIONS

BURGLAR FUCKER

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

indyfood

Eating Words

IN THE WORLD OF IMMERSIVE UNDERGROUND DINING, FOOD BECOMES STORYTELLING

BY ANDREA RICE

U

nderground pop-up dining has become ubiquitous in global food culture. The former Starry Kitchen, which began in the tiny apartment of Nguyen and Thi Tran in Los Angeles, led to global recognition and a cookbook deal.

In Buenos Aires, the low-risk restaurants operated out of chefs’ homes called puertas cerradas—Spanish for “closed doors”—are one of Argentina’s best-kept secrets. Some underground pop-ups begin as hobbies, accepting only donations. Some are born out of necessity in a struggling economy.

Many also come at a high price, catering one-of-a-kind experiences for the elite.

Underground dining might be inextricably linked with the allure of being part of a secret society, but it’s also about the pleasure of coming together with strangers to share a good meal—and a good story.

“Going out to eat—and as good as the food can be—can oftentimes feel like a shallow experience,” says Jacob Boehm, executive chef and owner of Snap Pea Catering in Chapel Hill, which has offered conceptual popup dinners for five years at secret locations around the Triangle. Over nine to twelve courses, Boehm creates each dish to drive the narrative of the food and the location, which is revealed thirty-six hours before the event.

There was last summer’s Saturninspired course at Morehead Planetarium and Science Center in Chapel Hill and the “Banquet” dinner at The Fruit in Durham, an immersive theatrical feast accompanied by a performance of Macbeth—kind of like Sleep No More, but with food you ate with your hands. There was a dinner at the butterfly house at Durham’s Museum of Life and Science and one on the Old Bynum Bridge above the Haw River.

“It’s so crazy to see one hundred twenty-four people breaking bread together at a single table,” Boehm says. Every detail, from each locally sourced seasonal ingredient to the wine, flowers, table settings, and other décor, is tailored to the theme of each

A Snap Pea Catering event at the former St. Agnes hospital on the campus of St. Augustine’s University in Raleigh PHOTO BY TIM LYTVINENKO dinner’s story. Sometimes a dish will make a pun; other times, a key ingredient ties in a historical reference. Boehm says his events not only teach guests about where the food came from, but also connect them to a larger story about where they’re eating it.

At Raleigh Denim, guests learned about the process of making a pair of jeans, from growing cotton to manufacturing to shop display. In the former St. Agnes Hospital, which was the only fully equipped African American hospital in the South in the 1920s, Boehm crafted individual Pommes Anna by layering local heirloom potatoes dug up from within twenty-five miles of St. Agnes, as was the stone it’s built from.

Snap Pea’s events are wildly popular. Its fifty-seventh pop-up, which is currently running for three weekends, is called “The Affair of the Stjålne Mesterværk.” The event—a murder mystery co-produced with Clay Thomas, a writer in Chattanooga— sold out in ninety seconds at around $200 a head. Each guest has been assigned a character and asked to arrive in full costume.

In addition to other homegrown popups that have come and gone, such as The Blind Pig—formerly of Asheville, will begin operations in the Triangle this fall— and Raleigh’s ChickenWire, the area also sometimes attracts them from other places. Underground Kitchen is a Richmondbased, traveling, experiential fine-dining company featuring award-winning chefs like New York City’s Giovanna Delli Compagni and J. Ponder of Food Network’s Chopped and Cutthroat Kitchen. It returns to Raleigh this weekend at a soon-to-bedisclosed location for $150 a ticket.

Underground Kitchen has hosted a dozen of these dinners in Raleigh— “Unearthed” in 2016 at the now-defunct Cave 1912 and “Luxury: Ruffled by Truffles” in 2018 at City Market—and it also held a recent dinner at the James Beard Foundation. Much like Snap Pea Catering, Underground Kitchen emphasizes storytelling, diving into the origins of the food and exploring where it’s farmed, who’s doing the farming, and whether those

practices are sustainable. Each ingredient is as locally sourced to the surrounding region as it can be.

Underground Kitchen has traveled all along the Eastern corridor and recently expanded to the Northeast. Its current tour, “The New Americana,” showcases not just the food, farmers, and artisans, but also the personal stories of the up-andcoming chefs on board, such as Raleigh’s Caribbean-born Lemar Farrington, who will cook this weekend. Founder and CEO Michael Sparks says that since the very beginning, Underground Kitchen has stayed within its margins to keep the business financially sustainable.

“We make sure it’s worth it to go into each market,” Sparks says. “Things need to travel well and be cost-efficient—it’s like a restaurant on wheels.”

Sparks, a former fashion designer from New York, started Underground Kitchen in his Richmond home with his partner, Benjamin Brown, as a way to connect with their community.

“As an interracial gay couple, we were sort of shunned by the neighborhood, like any gay New Yorkers would have been,” he says. “So we started throwing dinner parties and brought neighbors together who had never met each other before.”

Sparks said that in today’s divided political climate, sitting down at a table of strangers and being able to leave with twenty new friends is more important than ever. Since he started Underground Kitchen he’s observed an openmindedness among guests seated at the community table. That community, Sparks says, consists of over thirty thousand ticket sales in the Southeast—and counting— thus far.

“You’re coming together with this group of twenty to sixty likeminded people might not have the same views—but everyone is on the same page,” he says. arice@indyweek.com INDYweek.com | 8.21.19 | 15

indymusic

RISSI PALMER

Thursday, Aug. 22, 8 p.m., $15 The ArtsCenter, Carrboro www.artscenterlive.org

Southern Soul

THE COUNTRY MUSIC OF RISSI PALMER ILLUMINATES HER WORLD AND OURS

BY KYESHA JENNINGS

F

rom playing in coffee shops to the White House, Rissi Palmer has had to build her career from the ground up with just a small team and network of musicians to guide her along the way. In 2007, she made her debut with “Country Girl,” which made her the first Black woman on Billboard’s Hot Country Songs chart since 1987. Since then, she’s released two more albums; this year, she’s gearing up to release another, Revival.

Recorded in Durham, it’s the first album she’s made outside of Nashville. It features a host of Triangle artists, including Al Strong, Violet Bell, and Shana Tucker.

Palmer’s artistry is ever-evolving, and this project maximizes both political themes and deep, soulful melodies.

On August 22 at The ArtsCenter, Palmer will perform Revival with special guests from the album; Carrboro’s XOXO opens. The INDY spoke with her about country music, Toni Morrison, and of course, Lil Nas X.

country song? No, absolutely not. But do I think that it’s just as country as some of what is called country on country radio?

Yeah, there definitely is an argument to be made there. I think it’s funny that that was the hill that they decided to die on.

INDY: How did you get your start in country music?

RISSI PALMER: I’ve always loved country music. Saturday mornings in my house meant records playing and cleaning the house. In addition to R&B and jazz and gospel, my mom loved country. One of her favorite singers is Patsy Cline. So country music was always a part of our listening experience, and I was attracted to the songwriting aspect of it. Like, I just absolutely love stories. I’m a big reader, and I used to like to write poems and stories when I was a kid.

What are you most excited about regarding Revival?

The album is filled with stories from my life and the news, references to my marriage, my daughters. I talk about a miscarriage I had. All the marches and protests over the past five years inspired “Speak on It.” The Parkland children and their outspokenness inspired “Breathe in, Breathe Out.” I wrote “Seeds” in 2014, right after Michael Brown was murdered. It was directly inspired by Ferguson. In the video, there’s a police shooting, and there’s a young Mexican girl in a cage. I received so many nasty messages and unfollows. The comments are still on YouTube. You can see what the temperature was and still is. [But] it was like, “If this bothers you, then you probably shouldn’t be a fan of me, because you wouldn’t like me in real life.” But I always love when people come up after the show and they say, “I lost a baby, or I lost a family member, and that song really touched me.” I like touching people’s hearts. I don’t want to just entertain.

Who is the artist Rissi Palmer?

I’m striving to be someone that has something to say— someone who uses their art and their platform to say things that matter. That’s the focus that I’ve taken on my new record. Especially now that I have children, words matter.

When I was younger and signed to a label, I had to conform to whatever the label has packaged me as. Now, being an independent artist, my music is reflective of me. I grew up listening to country, gospel, R&B, and soul. My music is all of that. I think of myself more as Southern soul.

Is Southern soul the same thing as a countrified soul singer, or are they different?

I think they’re different. On Revival, Al Strong plays horns, and then we have a track with a second-line kind of vibe.

There’s also a Donnie Hathaway/Roberta Flack-inspired song that I wrote and sang with my friend Brian Owens. So it still has the storytelling element of country music, but it’s not like my previous work—and it’s definitely not like you would hear those two songs played on country radio.

16 | 8.21.19 | INDYweek.com

Do you feel as if your identity as a Black woman who sings country music interfered with your visibility?

No, I don’t think so. I had more visibility in comparison to those who came out at the same time as me. Because I was Black, it was like, “Oh my god, let’s interview her.” Do I think that [my race] ultimately led to me not reaching what I wanted to reach? Yes and no. There were instances where people I worked with were told that the program director would not play my music because I was Black, and they didn’t believe that I was authentic or sincere. But for the most part, I was given an opportunity just like everyone else. Were there racial incidents, though? Oh, yes!

Rissi Palmer

PHOTO COURTESY OF THE ARTSCENTER

Lil Nas X has been charting—not on the country Billboard charts, but on Billboard’s Hot 100. Are you a fan?

I’m a fan of people doing whatever the hell they want to do, so I will 100 percent support Lil Nas X in his endeavors. I’m here for all of the remixes, too. I just read that Dolly Parton might be on another remix of the song, and I’m like, yes, do it! I think that removing him [from the country music charts] is really funny, considering that country music is all over the board. I mean, Florida Georgia Line had a huge summer song with Nelly. How is “Old Town Road” different than “Cruise”? How is it different than Sam Hunt?

Their response was that while “Old Town Road” references cowboy imagery, it does not embrace enough elements of today's country music to chart.

You can make an argument all day about what’s authentic country. Do I think that “Old Town Road” is an authentically

I saw your Toni Morrison tribute. How did she inspire you?

Toni Morrison has been my favorite author since I was thirteen. I was able to see different facets of myself as a Black woman that you don’t always see in mainstream books.

The biggest thing that I took away from Toni Morrison is to really find your identity. However you get your truth across, stick to that—master that. I’m inspired by Phoebe Snow, Patsy Cline, Patty Griffin, Chaka Khan, Aretha Franklin, and James Taylor: people with big voices and great storytelling skills. That’s what I strive to be. music@indyweek.com

music

SPOON WITH BECK & CAGE THE ELEPHANT Saturday, Aug. 24, 6 p.m., $30+ Walnut Creek Amphitheatre, Raleigh www.walnutcreekamphitheatre.com

Nine Lives

SPOON SEEKS THE PERFECT STEREO IMAGE IN TWO DECADES' WORTH OF STYLISH ROCK HITS

BY HOWARD HARDEE

S

ince dropping debut studio album Telephono in 1996, Spoon has churned out one stylish, solid rock record after another. The Austin, Texasbased band’s remarkable run of success has carried it from Merge Records to ANTI- to Matador Records, always buoyed equally by the sharp songwriting of front man Britt Daniel and the tones and textures he achieves with drummer, producer, and fellow founding member Jim Eno. Daniel is the kind of bandleader who likes to get deep into the technical aspects of, say, capturing the perfect kick drum sound. Those speaker-busting beats, thick bass lines, and exquisite stabs of distorted guitar? Chalk them up to his and Eno’s attention to detail. Their dedication to craft stands out more than ever while listening to Spoon’s new, career-spanning compilation album, Everything Hits at Once: The Best of Spoon. From the buoyant, brassy “The Underdog” and the minimalist indiepop standard “I Turn My Camera On” to the lighters-out anthem “Inside Out,” there’s a clear emphasis on top-shelf sounds.

Ahead of Spoon’s Saturday night show in Raleigh with Beck and Cage the Elephant, we caught up with Daniel by phone to discuss why this was the right time for a “best of” collection, how his own perspective on songwriting has changed over the years, and the hunt for the perfect “stereo image.”

INDY: In the early years of Spoon, did you ever imagine that the band would release a greatest-hits compilation?

BRITT DANIEL: I don’t remember it ever crossing my mind, honestly. The first time I remember this coming up as a real idea was after the fourth album, and I thought at the time that it was just too early. It didn’t make sense yet. But it kept coming back up every now and again; somebody in the band or somebody we work with would bring it up, but it never made sense because we just had too much going on. This time, after we

“Personally, I think it’s pretty cool that one of our most loved songs isn’t due to placements or radio hype.

People just dig it.” everyone was going out. That was it: What sort of songs go over well in a very small, contained, and loud environment?

Spoon PHOTO BY OLIVER HALFIN got done touring Hot Thoughts, we thought, “Well, maybe this makes sense. We have nine records.”

A somewhat surprising addition to the track list is “Inside Out” from They Want My Soul. That wasn’t a big single in the traditional sense.

I think it was briefly worked to radio, and I say briefly because it wasn’t a hit. It didn’t take in that world, but for some reason it still connected with people. I think if you look on Spotify, it’s the most streamed song we’ve got. I don’t know what happened; I guess it’s just a good song. Personally, I think it’s pretty cool that one of our most loved songs isn’t due to placements or radio hype. People just dig it.

What makes a greatest-hits record worthwhile in the streaming age, when anybody can put together their own playlist of Spoon songs?

If I just made a playlist, I wouldn’t get to talk to you. I hear your point, but there are a lot of reasons. I don’t want this to make this too much of a marketing-focused call, but

the fact that it’s a physical product that people own and pick up is a whole other deal.

It’s a totally different type of collection than something that just exists on the internet.

You listened to Spoon’s whole catalog to put this record together. Did you learn anything about yourself through that process?

I remember what I was going for on those early records, but I feel like I don’t relate as much to the guy who wrote Telephono as the guy who wrote even the next record. We had different goals back then. There’s also a record called Girls Can Tell. I had forgotten the emotional impact of that record. I hadn’t listened to it all the way through in a long time, and it brought me back to where I was in that moment.

What were you trying to accomplish with Spoon in those early days?

It was all about going over well in a rock bar.

There was a place called the Hole in the Wall that held about sixty people, and that was a big gig. My goal was to write songs that would go over so gangbusters on Monday night that we’d get invited to play on the weekend, when

You’ve grown tremendously as a songwriter in the intervening years. What do you think the goal is now?

When I write songs, I’m always thinking about how it will come across as a stereo image. All this work you put into doing overdubs, guitar parts, drum sounds, lyrics and chord changes and all of that—all it’s really going to produce is a left stereo image and a right stereo image. What do you hear coming out of that? What is going to give you some emotion and give you some spirit? I’m thinking about the end result.

Did you gain insight or energy for new music through this process of looking back at your career?

I noticed a lot of really cool drum sounds we haven’t gone for in a while. Girls Can Tell was the most homemade record we’d made at that point, this ragged thing we had put together. You listen to that record and it doesn’t sound perfected in any way, and maybe that’s part of why it’s great. So I think about that moving forward: Maybe we need to home in on more rough ideas that carry some emotional weight. music@indyweek.com INDYweek.com | 8.21.19 | 17

18 | 8.21.19 | INDYweek.com

indystage

The Sound of Silence

SO MUCH OF ACTING IS IN GLANCES AND GESTURES. FOR AUDIO DRAMA THE MASTER BUILDER, TAMARA KISSANE HAD TO MAKE IT ALL AUDIBLE. BY BRIAN HOWE

I

f you wanted to see Tamara Kissane’s adaptation of Henrik Ibsen’s The Master Builder when Little Green Pig premiered it, a lot of stars had to align.

You had to have childcare or time off work or sufficient wellbeing—whatever your impediment is—on one of nine nights in early 2018. You had to have transportation to Hillsborough, where the play ran at the now-defunct Mystery Brewing Company, and you had to have the money to cover the modest ticket price. To even hear about the production, you had to be in the know about the world of local independent theater, and you had to be comfortable entering a hard-to-find, nontraditional performance space where everyone seemed to know everyone else already.

But now, if you want to experience The Master Builder, all that has to align is your cursor and the play button of an online audio player, any time you want, at no cost.

That’s just one of the reasons why Kissane turned her script into an audio drama, released in July on her podcast Artist Soapbox. But in an area where independent artists are strapped for money, time, and space—and in a culture where arts access has risen to the top of the discourse—it might be the most important reason.

“One thing I’ve learned as a podcaster is how percussive people are,” Kissane says, minding the recording device on a table in the Lakewood Cocoa Cinnamon. “They hit everything—their bodies, the table. I tell them, ‘You can do whatever you want, just don’t touch anything.’”

Kissane graduated from Duke with a theater degree in 1995. With a few gaps of time away, she’s been working as a playwright, actor, director, and producer in Durham ever since. She produced original work with Cheryl Chamblee in Both Hands Theatre Company, performing in downtown-Durham storefronts and warehouses before that was a thing. One of their final shows was at the Liberty Arts warehouse

Dana Marks and Tamara Kissane (right) in The Master Builder before the roof literally fell in, which would come to seem like a metaphor for independent art’s development-driven challenges that no playwright would dare to contrive.

As such, Kissane was ideally positioned to be a crossroads for the conversation about the state of local art in her podcast, which she started almost two years ago.

Each episode is a long talk with local art makers and producers in all mediums.

“Selfishly, it was about how I can’t be at all these [events], and my solution was to have people come to me,” Kissane says.

“And I was having all these conversations that were the same—everybody was recreating the wheel, but nobody was sharing information or resources across different types of artistic expression. The dancers were doing cool things, but the theater people weren’t learning from that. I wanted to expand my network and share information.”

Perhaps introducing audio drama to the podcast was inevitable: Kissane is a longtime audiobook fan, and she says she’s been into podcasts since before they were such a commonplace obsession.

“I like to listen,” she says. “It’s my preferred way of getting information; I’m not really a visual person.” She also, as some-

PHOTO BY ERIN BELL

one concerned with access to making and participating in art, wanted more people to have the chance to experience the work.

“I can’t show up like I could before I had kids,” she says. “I can’t participate in the same rehearsal and performance schedule.

There are a lot of people who can’t get to the arts for a lot of reasons. This is one way to do it. The deadline is my own—I can expand and experiment until I release the thing.

Locally, we’re not always able to enjoy each other’s work because we’re making work or seeing a million other things, and I’m also interested in making the talent we have accessible to a nonlocal audience.”

As precedents, Kissane cites UK audio dramas like Wooden Overcoats and local productions such as Howard Craft’s Jade City Chronicles on WUNC. As a theater artist, Kissane quickly discovered that there was much more to transitioning into audio than reading the script in a studio. Accustomed to scanning actors for expressions and body language, she found she had to close her eyes while producing the scenes.

“It is a different medium, because you have to build in so much of what you’re used to seeing,” Kissane says. “I really like silence on stage, but you can’t have too

much silence in audio because people think there’s something wrong. The listener has to hear something, even if it’s a breath or a sigh. I realized I had a lot more sight gags in The Master Builder than I thought I did.”

Kissane’s play, which gender-flips the leads from Ibsen’s original, is an absurdist dramedy that revolves around Sully (played

by Dana Marks), a star architect who designs homes for the wealthy but can’t seem to make one for herself.

“In the stage version, Dana is washing up and changing clothes while she’s talking,” Kissane says. “I can’t do that in audio. So we have things like the sounds of the washing and hangers, but she also says ‘pants or skirt?’ so you know she’s changing.”

The Master Builder was recorded at Shadowbox Studio in two days; production took several months, editing together the best takes and adding Foley effects, music, and diegetic sounds. It includes most of the original cast, with sound designer Edith Snow, composer Wendy Spitzer, audio engineer Alex Maness, and production assistant Amanda Hahn.

“It’s very much like film because things are recorded out of order,” Kissane says.

“But the actors are in same room. We did at least three takes of every scene, and we also recorded sound separately. There’s a moment when a tightrope is wheeled in, and it’s actually a wind-up toy. Meredith and I exchanged seventy pages of notes in almost three months of post-production. I would have liked to maybe double that.”

She’ll get the chance to try, as she’s working on an adaptation of her prior play, The New Colossus (based on Chekhov’s The Seagull).

She’s also writing an original episodic drama specifically for audio, which will be abetted by a grant from the Manbites Dog Theater Fund.

“It’s really a fun puzzle, how to say it without saying it,” Kissane says. “Because how much is too much to say about a thing?

What is just enough?” bhowe@indyweek.com INDYweek.com | 8.21.19 | 19

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INDYWEEK.COM

The show is framed as the jailhouse confession of Monty Navaro (a convincing Tyler Graeper in his first leading role on  regional stages), reliving his sordid life of Through Sunday, Sep. 8, $14–$27 crime on the night before he hangs. After Raleigh Little Theatre, Raleigh learning through a family friend (a funny www.raleighlittletheatre.org Leanne Bernard) that his impoverished aleigh Little Theatre’s often-spar- mother was disinherited by the wealthy kling production of A Gentleman’s noble D’Ysquiths (pronounced “diesGuide to Love and Murder escorts kwith”) for marrying a foreigner, Monty us into the history of British musical the- vows revenge and starts climbing through ater. It’s not the only recent Broadway show the family tree to claim the earldom, murto have done so. The Mystery of Edwin dering all that stand in his way.

That plot device contains the only major Drood, which won five Tony Awards and a successful 2012 revival before Theatre wrinkle in an otherwise marvelous evening Raleigh produced a rewarding new chamber of comedy. Eight people stand between version in 2016, ushered us into a slightly Monty and the family’s riches, and Freedman unwisely seedy London music chooses to bump off hall in the 1870s for seven of them dura kinetic take on ing a long first act.

Dickens’s unfinished Despite that, whodunit. artistic director A Gentleman’s Patrick Torres and Guide situates us musical director several decades later Mark L. Hopper on the London stage: achieve a number of 1909, to be exact, shining moments. in the somewhat Lauren Knott is more sedate era of in fine voice as Edwardian musical comedy. Some of the A Gentlemen's Guide to Love and Murder at Monty’s can’t-domusic hall’s friskier Raleigh Little Theatre PHOTO BY ELLY MCCLANAHAN right romantic foil, Sibella, and soarelements, including boozy sing-alongs and raucous audience ing soprano Lauren Bamford takes the in-love-with-love Phoebe D’Ysquith to give-and-take, have gone by the wayside.

But playwright Robert L. Freedman and rewarding heights. Brian Westbrook plays composer Steven Lutvak’s take on Roy ten different D’Ysquiths with élan; his Horniman’s comically subversive 1907 focused vocal and physical acting placnovel, Israel Rank: The Autobiography of es the acidic Lord Adalbert (in a snooty a Criminal, retains many of the earlier “I Don’t Understand the Poor”) in sharp genre’s trappings. Broad comedy, judicious- contrast to milquetoast minister Ezekial, ly seasoned with drag, veers into a mur- abashed Asquith Sr., and sporting Henry— derous, moralizing melodrama—more thud not to mention six others.

Meanwhile, Monty’s irresistible rise and blunder than blood and thunder—while serviceable showtunes are punctuated (and proves that crime pays, although some may sometimes, amusingly hijacked) by operat- wish it did so a little sooner here. arts@indyweek.com ic pretensions. (Cultcha, don’t you know.)

R

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HEART-WARMER THE PEANUT BUTTER FALCON REMINDS US WHY HOT MESS SHIA LABEOUF HAS A CAREER TO TANK

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Zack Gottsagen and Shia LaBeouf in The Peanut Butter Falcon PHOTO BY SETH JOHNSON

THE PEANUT BUTTER FALCON 

Opening Friday, Aug. 23

S

hia LaBeouf has almost become more famous for his offscreen adventures—the drunk and disorderliness, the plagiarism scandals, the airport-terminal confrontation with a Fox News correspondent—than for his acting.

But onscreen, he’s a natural, gifted with that strange charisma that top-tier movie stars possess. When LaBeouf is locked in, he’s a genuinely soulful presence on the big screen, and you’re drawn to him.

That quality powers the best scenes in The Peanut Butter Falcon, a down-the-river adventure in the key of Mark Twain that features colorful characters, picturesque Southern scenery, and a breakout performance from LaBeouf’s costar, Zack Gottsagen.

Gottsagen has Down Syndrome, as does his character, Zak, a ward of the state who is assigned to live in a nursing home in Richmond, Virginia. Zak, however, has Big Plans. He wants to escape his confinement and head south to meet the Saltwater Redneck, a pro wrestler who runs a training facility in Florida.

Escape he does, and en route, he joins with Tyler (LaBeouf ), a crab fisherman on the lam who has his own reasons for

heading south in a hurry. The two form a Huck-and-Tom partnership, poling their makeshift raft through the rivers and estuaries of North Carolina. Zak and Tyler form an instinctive bond, and you get the sense that LaBeouf and Gottsagen did as well.

The two performers share scenes of such spontaneous tenderness it feels like a documentary in spots.

That’s the good stuff in The Peanut Butter Falcon, and you’ll want to hold onto it dearly during the less-successful sequences. Subtlety is not this movie’s strong suit; it’s as predictable as the tides. You're likely to see each heartwarming plot point coming a few seconds before it arrives. But that’s OK. Suspend your thinky-thinky critical voice and just go with the flow.

Writer/directors Tyler Nilson and Michael Schwartz conceived of the film when they met Gottsagen at an organization for people with disabilities, and the casting never feels like a gimmick. Gottsagen has created a real character here, and he’s got some pretty ace comic timing, too.

In the end, though, it was LaBeouf’s character that stayed with me. He's an easy guy to dislike if you read celebrity news stories.

The Peanut Butter Falcon is a reminder of why he’s got a career to tank in the first place. Let’s hope he can hang in there. arts@indyweek.com

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8.21–8.28

WHAT TO DO THIS WEEK

THURSDAY, AUGUST 22

THE MUSLIMS

SUMMA BUMMA

As you likely know, September is music-festival season in the Triangle, with Hopscotch, Art of Cool, Wide Open Bluegrass, and more, all clustered together on the calendar. (Thank god Moogfest and Dreamville have staked out spring.) Summa Bumma, a new, one-night mini-fest at The Fruit, is wisely sliding in ahead of the glut for its first outing, which has a great mix of North Carolina artists and a strong focus on electronic music, hip-hop, and soul.

We’ll get DJ sets by the likes of Raund Haus hotshot Trandle and Party Illegal mainstay Treee City; hip-hop from Raleigh up-and-comer Ace Henderson; vocal stylings by the always-entrancing A.yoni Jeffries; live-band music from Zoocrü guitarist Russell Favret and bassist Darion Alexander, and more. The night is hosted by Ashia Skye, a K97.5 radio personality and the host of the YouTube series #TheComeUp. It’s a tasty appetizer for the festival feast heading our way this fall. —Brian Howe

Durham punk band The Muslims formed in 2016 to create a “rageful, tender, fun outlet” for the trio, all Muslim queer folks, to express their emotions and experiences. 2019’s white-supremacy takedown Mayo Supreme explores ecosystems of oppression on tracks like “Fuck The Cistem” (sample lyrics: “I say me too and it’s fuckin sad / I’ve gotta prove that shit to you / Though I’m sure you had a clue / There are predators in your crew”). The Muslims share a different side of their activist artistry in inspired music videos like the fantastic “Muslims at the Mall”, which features a figure in a flashy Lilly Pulitzer burqa strolling nonchalantly through Southpoint Mall while shoppers gawk. And they’re a tender bunch indeed, grinning big while performing, and clearly stoked to have nurtured a micro-community of musical agitators. Samurai Shotgun and Jooselord Magnus also perform.

—Josephine McRobbie

THE FRUIT, DURHAM 9 p.m.–2 a.m., $20, www.summabumma.com

KINGS, RALEIGH 9 p.m., $11, www.kingsraleigh.com

The Muslims PHOTO COURTESY OF KINGS

SATURDAY, AUGUST 24

22 | 8.21.19 | INDYweek.com

FRIDAY, AUGUST 23

THE TEMPTATIONS AND THE FOUR TOPS

Over the course of its sixty-five-year career, classic soul quintet The Temptations has employed twenty-four different members. But most of our nostalgia was born from the collective vocal brilliance of the Detroit group’s most vital lineup, the “Classic Five” (David Ruffin, Melvin Franklin, Paul Williams, Otis Williams, and Eddie Kendricks), and their renditions of “My Girl,” “Don’t Look Back,” “Just My Imagination,” and “Since I Lost My Baby,” among many other soul anthems. The group’s story was finally told in the eponymous 1998 miniseries, but most people had already revisited the beloved Motown outfit through the imagination of director Robert Townsend in his 1991 cult classic The Five Heartbeats. Now, the only remaining original Temptation, Otis Williams, has taken the reins as de facto leader, and even though he was never known for his lead singing, his new, talented, and dedicated recruits have been following him across stages like DPAC’s for quite some time now. With classic Motown outfit The Four Tops. —Eric Tullis

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

DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 p.m., $45, www.dpacnc.com

FREE TO TELL THE TRUTH. TO CELEBRATE AND CRITICIZE. TO ADVOCATE FOR THE MARGINALIZED. The Temptations and The Four Tops PHOTO COURTESY OF THE DURHAM PERFORMING ARTS CENTER SATURDAY, AUGUST 24

SLEAZE TEASE

Sleazefest would be primed for an oral history if anyone who was there could remember it. From the mid-nineties to the mid-aughties (an era with a big fat garage-rock revival in the middle, you might recall), Local 506’s annual garage-rock festival brought together Southeastern boozers and bruisers to cut loose with bands like The Woggles and The Swingin’ Neckbreakers. People didn’t go to Sleazefest, they survived Sleazefest. My only clear memory of it is of former Local 506 co-owner and master of sleazemonies Dave Robertson holding court in a pith helmet. The floor was 90 percent beer, the air was 90 percent Parliament smoke, and the vibe was 90 percent shenanigans. That debauchery is unlikely to be recaptured at the modern 506, but you can get a taste of the old stuff in Sleaze Tease, albeit for a sad reason. It’s a tribute to Woggles member Jeff Walls, who passed away due to multiple health issues; proceeds will help his family pay his medical bills. The headliner is a reunited Jimmy & the Teasers, with Bad Spell and Paint Fumes. If it goes well, it’ll be a night to remember. If it goes really well, it’ll be one to forget. —Brian Howe LOCAL 506, CHAPEL HILL 9 p.m., $10, www.local506.com

WHAT ELSE SHOULD I DO? DERRICK BARNES AT NORTHSTAR CHURCH OF THE ARTS (P. 30), BE LOUD ‘19 AT CAT’S CRADLE (P. 25), FIRST AFRICAN AMERICANS ON THE NORTH CAROLINA BENCH AT THE CITY OF RALEIGH MUSEUM (P. 29), A GENTLEMAN’S GUIDE TO LOVE AND MURDER AT RALEIGH LITTLE THEATRE (P. 20), MIKE WALLACE IS HERE AT THE CAROLINA THEATRE (P. 32), NO FEAR AND BLUES LONG GONE: NINA SIMONE AT KENAN THEATRE (P. 31), RISSI PALMER AT THE ARTSCENTER (P. 16), SPOON AT WALNUT CREEK AMPHITHEATRE (P. 17)

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Chocolate Lounge & Juice Bar

Wed 8/21 Free Wine Tasting 5–7 Thu 8/22 Poetry Open Mic at 7:30

Ken Denny Sat 8/24 Ceil and Dan Fri 8/30 Regina Gale Sat 8/31 Jud Hair Fri 8/23

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

8.21

Karl Marlantes in conversation w/ Wiley Cash Deep River 7pm—A 2019 ARTS & LECTURE SERIES EVENT

8.22

Tupelo Hassman gods with a little g 7pm

8.24

Jonathan Voss Imagine That: A Hoot & Olive Story 2pm

8.26

BOOK CLUB BASH evening edition 7pm

8.27

BOOK CLUB BASH morning edition 10am Martin Clark, The Substitution Order 7pm www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR PODCAST: BOOKIN’ w/Jason Jefferies

OUR 2019-2020 PERFORMANCE SEASON IS HERE! 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 TH 9/26 POPUP CHORUS (ELTON JOHN)

RECENTLY ANNOUNCED: GRIFFIN HOUSE THU

8/22 FRI

8/23

SAT

8/24

THE MONTI STORYSLAM: Unpopular Opinions JUNIOR BROWN Blue Cactus

JUNIOR BROWN

Blue Cactus

MACSABBATH SABBATH / MAC / OKILLY DOKILLY OKILLY DOKILLY Playboy Manbaby OSO OSO / The Sidekicks / Future TeensOSO / Downhaul OSO

WED

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

8/28 THU

8/29

Crank It Loud presents VALLEYS / Discoveries / Infirma / Seeking Solace

MON

Motorco’s 4th Annual Labor Day Shrimp Boil!

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

9/2 THU

9/5

Get tickets at artscenterlive.org

The Sidekicks / Future Teens / Downhaul

SAT

8/31

BOMBINO AND VIEUX FARKA TOURÉ: SONS OF THE SAHARA

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

Playboy Manbaby

TUE

8/27

SUN 10/13

FBT Entertainment Presents: FRI

THE 4TH ANNUAL SOPHOMORE SLUMP FEST

9/6 Grayscale, Belmont, Scowl Brow, Bearings, Unturned, bloom., Nominee, Paperback, Rich People, Boys of Fall, Young Culture, Paperback, City Mouth, Harm, Rarity, propersleep, I the Victor, World War Me

FBT Entertainment Presents:

THE 4TH ANNUAL SOPHOMORE SLUMP FEST

SAT Silent Planet, Chamber, Vatican, Shame Spiral, Green Fiend, 9/7 The Worst of Us, Violent Life Violent Death, Avoid, Keep Flying, Circle Back, INSVRGENCE, Dissent, S’efforcer, Never I, Feverwar, Deadland, Fever Strike, Paid In Full SUN

BoDeans / Andrew Winter

TUE

Duke Science & Society presents

9/8 9/10

Periodic Tables: The Arc of the Heart with Haider Warraich THU 9/12 SUBHUMANS / FEA / Drugcharge / No Love FRI COMING SOON: Sinkane,/ Bleached, Flash CarThe Midnight Hour with Ali Shaheed 9/13 SINKANE Muhammad (A Tribe Called Quest) and Adrian Younge, Tameca Jones, flor, Harsher, This Wild Life, River Whyless, Art of Cool Fest, ANNUAL DURHAM OKTOBERFEST SAT Boy8TH

The Regrettes, Generationals, The Way Down Wanderers, Sheer Mag, 9/14 LittleDresch, GermanWhite BandDenim, Blackalicious, Warbringer, Kero Kerofeaturing Bonito, Team Daye, Sonata Artica, (Sandy) Alex G, Russian Circles, Cat’s Cradle presents SUNLucky Superchunk, Nile, TR/ST, Chastity Belt, With Confidence, Fruit Bats, 9/15 BLEACHED / The Paranoyds 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)

24 | 8.21.19 | INDYweek.com

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8.21–8.28

music

FRIDAY, AUGUST 23 & SATURDAY, AUGUST 24

BE LOUD ‘19

“Be loud / And move with grace / Explode with light / Have no fear.” Taking inspiration from the Avett Brothers’ tune “Color Show,” Sophie Steiner wrote those words—part of her poem “Be Loud”—in September 2012, a couple of months before her cancer diagnosis. Sophie died less than a year later, giving rise to the foundation that now bears her name and her words. Appropriately, Sophie’s foundation raises funds to support the needs of young cancer patients partially through benefit concerts like this weekend’s sixth-anniversary event. Friday is headlined by Chatham County Line’s masterful songwriting and marvelous strings and The Old Ceremony’s cinematic chamber pop. The Tan and Sober Gentlemen add wild, raucous rides through Appalachian and Celtic roots, while spirited upstarts Alive at 27 open with offbeat alt-rock. On Saturday, members of The Pressure Boys, Ben Folds Five, and DAG cover early Joe Jackson cuts as Preeesh! while Greg Humphreys Electric Trio brings soulful funk. PopUp Chorus leads a singalong of Tom Petty’s “American Girl,” with young indie rockers Pajama Day rounding out the bill.

—Spencer Griffith

WED, AUG 21

CAT’S CRADLE, CHAPEL HILL 7:30 p.m., $25–$40, www.catscradle.com

THE PINHOOK Al Riggs, Paisley Fields, Empty Disco; 8 p.m.

Chatham County Line performs on August 23 at Be Loud ‘19.

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

THE CAVE Ramonda Hammer, Charlie Paso, Henbrain; $5 suggested. 9 p.m.

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

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

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

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

THU, AUG 22 THE ARTSCENTER Rissi Palmer, XOXOK; $15. 8 p.m.

BLUE NOTE GRILL My 3 Sons Trio; $10. 7 p.m.

THE CAVE Coyote -vs- Acme, Kitty Box and the Johnnys, Pete Pawsey; $5 suggested. 9 p.m.

NEPTUNES PARLOUR Party For One: Carly Rae Jepsen Dance Party; $5+. 10 p.m.

PHOTO COURTESY OF THE ARTISTS

INDYweek.com | 8.21.19 | 25

THE RITZ Nevermind, Sugar; $12. 7 p.m.

SHARP NINE GALLERY Jim Crew Quartet; $20. 8 p.m.

SLIM’S Asthma Castle, Bedowyn, Purple Skies; $7 suggested. 9 p.m.

WALNUT CREEK AMPHITHEATRE Chris Young, Chris Janson, Jimmie Allen; $29+. 7:30 p.m.

SAT, AUG 24 POUR HOUSE School Of Rock Cary Showcase; $7. 12 p.m.

BLUE NOTE GRILL Marcia Ball Band; $35 -$30. 8 p.m.

CAROLINA THEATRE Robert Cray; $40-$50. 8 p.m.

CAT’S CRADLE Be Loud! ’19: The Jackson 4, Greg Humphreys Electric Trio, PopUp Chorus, Pajama Day; $25. 7:30 p.m.

CAT’S CRADLE BACK ROOM Sunny Slopes, Speed Stick, Barb; $7. 9 p.m.

THE CAVE Lester Coalbanks & The Seven Sorrows, Brandon Lee Adams; $5 suggested. 9 p.m.

ENO RIVER UNITARIAN UNIV. FELLOWSHIP Jazz Vespers: A Collaborative Worship Service; Free. 4 p.m.

Ben Harper performs at Red Hat on Saturday, August 24. PHOTO BY MATHIEU BITTON

26 | 8.21.19 | INDYweek.com

KINGS Brooks Hubbard Band, Hardworker; $10-$12. 9 p.m.

POUR HOUSE Local Band Local Beer: Blue Footed Boobies, Raptor Taxi, Goodbye Shivers; $5. 9 p.m.

CAT’S CRADLE BACK ROOM Shark Quest, The Shoaldiggers, Mystery Ranch; $8. 9 p.m.

THE PINHOOK Elaquent, B0nds, Kyōju, Saint James, Murad; $10-$12. 9 p.m.

LINCOLN THEATRE The Magnificent DJ Jazzy Jeff; $25-$40. 10:30 p.m.

THE RITZ Aaron Lewis, Ben Danaher; $38. 8 p.m.

THE CAVE Sex Negative, Invaders from the Deep; $5 suggested. 9 p.m.

THE PINHOOK

LOCAL 506 Sleaze Tease: Jimmy & the Teasers, Bad Spell, Paint Fumes; $10. 9 p.m.

SLIM’S Dotwav Media, Sanctuary Of Sound, Hermit The Fog; $5. 9 p.m.

DURHAM CENTRAL PARK &More, Niito; Free. 7 p.m.

DURHAM PERFORMING ARTS CENTER The Temptations & The Four Tops; $45+. 7:30 p.m.

MOTORCO Mac Sabbath, Okilly Dokilly, Playboy Manbaby; $17-$25. 9 p.m.

Elaquent

ARCANA Mac McLaughlin Group; 9 p.m.

THE ARTSCENTER Steve Forbert; $20-$25. 8 p.m.

BLUE NOTE GRILL Five Easy Pieces; $8. 9 p.m.

BYNUM FRONT PORCH MSG Acoustic Blues Trio; 7 p.m.

KINGS Porch Light Apothecary, AZULZ, The Antique Hearts; $8-$10. 9 p.m.

LOCAL 506 Drunken Prayer, Dane Page, Reese McHenry; $8. 9 p.m.

[$10-$12, 9 P.M.] Durham beat-music collective Raund Haus scores its first international booking with Canada’s Elaquent, whose soulful, introspective instrumental hip-hop suggests J Dilla refracted through Boards of Canada. His latest album, Blessing in Disguise, has a refreshingly breezy, optimistic sound—a balm for stressful times. Local heads b0nds, Kyōju, Saint James, and Murad open.

—Brian Howe

CAROLINA THEATRE Richard Marx; $50-$75. 8 p.m.

THE MAYWOOD Motorbilly, Eyeball, Bruteus; $8. 9 p.m.

POUR HOUSE The Fritz, Cosmic Superheroes; $10-$13. 9 p.m.

CAT’S CRADLE Be Loud! ’19: Chatham County Line, The Old Ceremony, The Tan & Sober Gentlemen, Alive at 27; $25. 7:30 p.m.

MOTORCO Junior Brown, Blue Cactus; $20-$25. 9 p.m.

RED HAT AMPHITHEATER Judah & the Lion; $21+. 7:30 p.m.

NIGHTLIGHT Simply Paradise with La Casa Tropical; $10. 10 p.m.

RHYTHMS LIVE Soule and the Superband; $14. 8 p.m.

FRI, AUG 23

Your Week.

Every Wednesday. indyweek.com

THE FRUIT Summa Bumma; $7-$50. 9 p.m.

LINCOLN THEATRE Jive Mother Mary, Biggins, Sixteen Penny, Legendary Lane; $14. 8:30 p.m.

NC MUSEUM OF ART Old Crow Medicine Show; $37-$50. 8 p.m.

NC STATE UNIVERSITY

Packapalooza [FREE, 2 P.M.]

If you’re headed to this annual welcoming of the Wolfpack to show your support to the Durham-bred Delta Rae, well then, good for you.

But don’t forget that there’s water slides, various vittles, raps from NANCE and J. Gunn, and a diverse musical lineup on three stages, including Jacob Dixon, WhoIAre, and Lowderstill. —Eric Tullis

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

NIGHTLIGHT Easter Island, Wake Moody, Alo Ver; $8. 9 p.m.

THE NIGHT RIDER Accidental Caps, Stranded Bandits; 8 p.m.

THE PINHOOK Dreaming of the 90s; $5. 10 p.m.

POUR HOUSE Maj Deeka Album Release Party; $5-$10. 9 p.m.

RED HAT AMPHITHEATER

Ben Harper [$28+, 7 P.M.]

A scintillating slide guitarist and soulful vocalist, Ben Harper is captivating whether solo or, as on this tour, with the fun and funky backing of the Innocent Criminals.

Expect Harper and company to pull from across their extensive catalog, stretching out on jammy blues-rock. New Orleans icon Trombone Shorty crosses the sounds of his hometown with retro R&B and funk. —Spencer Griffith SHARP NINE GALLERY Brian Horton Quintet; $20. 8 p.m.

SLIM’S Billy Sugarfix, Noah Cross; $5. 9 p.m.

THE STATION Rainbow Cabbage & the Kings; 8:30 p.m.

WALNUT CREEK AMPHITHEATRE Beck, Cage the Elephant, Spoon, Sunflower Bean; $30+. 6 p.m.

TUE, AUG 27

SUN, AUG 25

CAT’S CRADLE Electric Hot Tuna, Rob Ickes & Trey Hensley; $45-$50. 8 p.m.

ARCANA Rebecca Newton & Bob Vaslie, Lisa R & the Lucky Stars; 7 p.m.

IMURJ Stickup Kid, Sundressed, Intervention; $10-$13. 7:30 p.m.

POUR HOUSE School Of Rock Cary Showcase; $7. 12 p.m.

THE WICKED WITCH Crystal Bright, Curtis Eller’s American Circus; 7 p.m.

MON, AUG 26 CAT’S CRADLE WHY?, Barrie; $17-$20. 8 p.m.

THE CAVE Dexter Romweber; $5 suggested. 9 p.m.

POUR HOUSE J. Holiday; $30$55. 9 p.m.

SLIM’S Let’s Get Invisible, Inanimus, Bull Dirtys; $5. 9 p.m.

ARCANA Jeff Kujan, Joe’s Cousin, Stephen Munoz; 9 p.m.

LOCAL 506 The Dwarves, The Queers, Zodiac Panthers; $18$20. 8:30 p.m.

MOTORCO Oso Oso, The Side Kicks, Future Teens, Downhaul; $13.

8 p.m.

THE PINHOOK Black Taffy, Metavari, Nite Beast; $10. 8 p.m.

POUR HOUSE Les Tireux D’roches; $15-$20. 8 p.m.

SHARP NINE GALLERY NC Jazz Repertory Orchestra; $20. 8 p.m.

SLIM’S Autospkr, Secret Nudist Friends, Hoofprint; $7. 9 p.m.

WED, AUG 28 LOCAL 506 Horse Head, Cold Hart, Fish Narc & Yawns; $18-$75. 7 p.m.

THE MAYWOOD ASM, Bog Body, Suppressive Fire; $10. 9 p.m.

MOTORCO Kindo, Sirintip, Adrian Bellue, Rocco of the Snow; $12-$15. 8 p.m.

POUR HOUSE Deltaphonic, Buddhagraph Spaceship; $5-$10. 9 p.m.

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3210 Yonkers Rd | 919.250.9826 | MensClubRaleigh.com Elaquent performs at the Pinhook on Friday, August 23. PHOTO BY PATRICIA GODINA INDYweek.com | 8.21.19 | 27

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28 | 8.21.19 | INDYweek.com

art

8.21–8.28

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

indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

QUESTIONS? cvillena@indyweek.com

THROUGH MONDAY, AUGUST 26

FIRST AFRICAN AMERICANS ON THE NORTH CAROLINA BENCH Earlier this year, North Carolina Supreme Court Associate Justice Cheri Beasley was sworn in as the state’s chief justice, making her the first African-American woman to hold that title. A current exhibit at the City of Raleigh Museum honors the lives of eight judges who paved the way before her, beginning with the appointment of Elreta Alexander-Ralston, a pioneering attorney who was raised as the daughter of a small-town Baptist minister and went on to become both the first AfricanAmerican woman to practice law in North Carolina and, in 1968, the first African American to be on the bench in North Carolina. “Every case to me was a civil rights case,” Alexander-Ralston said in a 1977 interview. This exhibit honors her and seven other civil-rights trailblazers who pushed up against the status quo, breaking barriers that continue into 2019. The pop-up exhibit is a collaboration between the City of Raleigh Museum and Campbell University’s Law School and was curated using archival research. After August 26, it will tour the state. —Sarah Edwards

CITY OF RALEIGH MUSEUM, RALEIGH Various times, free, www.cityofraleighmuseum.org

OPENING Lolette Guthrie, Alice Levinson, & Pringle Teetor: Speaking in Colors Group show.

Aug 28-Sep 22. Reception: Aug 30, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough.

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

Thru Oct 5. FRANK Gallery, Chapel Hill.

ONGOING

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

150 Faces of Durham Photos.

Thru Sep 3. Museum of Durham History, Durham.

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

Tony Alderman: Waterline Paintings. Thru Aug 24.

Craven Allen Gallery, Durham. cravenallengallery.com.

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

Cary Gallery of Artists, Cary. carygalleryofartists.org.

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

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

Judge Elreta Alexander-Ralston PHOTO COURTESY OF CAMPBELL LAW SCHOOL INDYweek.com | 8.21.19 | 29

arts

page

CONT’D

José Manuel Cruz: COLORICAN Various media.

Thru Oct 11. NCCU Art Museum, Durham.

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

Kristen DeGree Screenprints.

Thru Sep 9. Durham Arts Council, Durham.

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

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

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. 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.

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

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

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.

SATURDAY, AUGUST 24

DERRICK BARNES Derrick Barnes’s books for children and young adults highlight classic themes like first love and new experiences, but from a perspective that is both uniquely African American and universal, all at the same time. His 2017 picture book Crown: An Ode to the Fresh Cut, a poetic take on a boy’s barbershop experience, received a plethora of the top awards for children’s books, including a Newbery and a Caldecott Medal, the Coretta Scott King Book Award, and the Ezra Jack Keats Award. His newest book, The King of Kindergarten, an upbeat look at a kid’s mother pumping him up for his first day of school, is already earning acclaim for its humorous-but-empowering message. Books will be available for purchase both at the event or pre-ordered through the local children’s bookstore Liberation Station, which is presenting the event. —Zack Smith

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.

Eric Raddatz Thru Sep 14.

Through This Lens, Durham.

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

Artspace, Raleigh.

NORTHSTAR CHURCH OF THE ARTS, DURHAM 10:30 a.m., free, www.northstardurham.com

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

READINGS & SIGNINGS Derrick Barnes Sat, Aug 24, 10:30 a.m. NorthStar Church of the Arts, Durham. northstardurham.com.

Tilden Stone: Southern Surreal Furniture. Thru Sep 8.

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

Martin Clark Novel The Substitution Order. Tue, Aug 27, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

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

Rufus Edmisten That’s Rufus: A Memoir of Tar Heel Politics, Watergate and Public Life. Wed, Aug 28, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

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

Minrose Gwin Historical novel The Accidentals. Wed, Aug 21, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

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

Tupelo Hassman gods with a little g. Thu, Aug 22, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Karl Marlantes Deep River.

With author Wiley Cash.

Wed, Aug 21, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

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

Casey McGuire Installation art.

Thru Aug 31. Artspace, Raleigh.

Derrick Barnes PHOTO COURTESY OF THE AUTHOR

30 | 8.21.19 | INDYweek.com

Jonathan D. Voss Imagine That: A Hoot & Olive Story. Sat, Aug 24, 2 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

stage OPENING An R-Rated Magic Show Magic. $28+. Sat, Aug 24, 8 p.m. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Appetites & Desires Audio Under the Stars. Fri, Aug 23, 8 p.m. Duke’s Center for Documentary Studies, Durham. cdsporch.org.

DeRay Davis Comedy. $30.

Aug 23-24. Fri: 7:30 p.m. & 9:45 p.m. Sat: 7 p.m. & 9:30 p.m. Raleigh Improv, Raleigh. improv.com.

Tim Dillon Comedy. Aug 22-24. Thu: 8 p.m. Fri-Sat: 7:30 p.m. & 10 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Doug Loves Movies Live podcast recording. Sat, Aug 24, 4:20 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

East Africa Meets West Chapel Hill Poetry and dance. $10. Fri, Aug 23, 8 p.m.

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

WEDNESDAY, AUGUST 21—SUNDAY, AUGUST 25

NO FEAR AND BLUES LONG GONE: NINA SIMONE

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

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

Andy Forrester Comedy. Thu, Aug 22, 7 p.m. Raleigh Improv, Raleigh. improv.com.

ONGOING

A Gentleman’s Guide to Love & Murder Thru Sep 1.

Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Between2Clouds Comedy Night Comedy. $5. Fri, Aug 23, 7 p.m. The Cotton Company, Wake Forest. thecottoncompany.net.

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

Aug 23-35, 7 p.m. UNC’s Forest Theatre, Chapel Hill. paperhand.org.

Comedy in a Cave Comedy. $5 suggested. Wed, Aug 28, 8 p.m.

The Cave Tavern, Chapel Hill. caverntavern.com.

Six Pack Standup Show $5.

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

Singer, songwriter, and civil-rights activist Nina Simone is back—and she is dissatisfied. Raleigh playwright Howard L. Craft’s off-Broadway production of Freight: The Five Incarnations of Abel Green garnered a New York Times critics pick in 2017. But five years before that, a commission for a brief stage work first made Craft wonder what the outspoken vocalist, whose protest songs, including “Mississippi Goddam,” moved H. Rap Brown to call her “the singer of the Black Revolution” decades before her 2003 death, would say—and sing—about the world as it is now. Nina Simone: No Fear and Blues Long Gone, expands Craft’s early take into an evening-length work. In it, Simone is back for a strictly limited engagement: one night only, with a hot live trio and nothing to lose. Craft calls the work “a musical journey that touches on seminal moments in her life” in which the High Priestess of Soul weighs-in on current events. Noted regional actor and jazz singer Yolanda Rabun plays Simone; Kathryn Hunter-Williams directs this one-week production, the seasonopener for PlayMakers Rep’s PRC2 second-stage series. —Byron Woods

KENAN THEATRE, CHAPEL HILL 7:30 p.m. Wed.–Fri./2 & 7:30 p.m. Sat. & Sun., $15–$50 www.playmakersrep.org

Yolanda Rabun in No Fear and Blues Long Gone: Nina Simone PHOTO COURTESY OF PLAYMAKERS REPERTORY COMPANY

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 8.21.19 | 31

screen SPECIAL SHOWINGS (500) Days of Summer Sun, Aug 25, 11:25 a.m. & 4:40 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

2010: The Year We Make Contact & Looker Fri, Aug 23, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

400 Feet Down Documentary. $5. Sun, Aug 25, 6:30 p.m.

Rialto Theatre, Raleigh.

Hot Rod Fri, Aug 23, 7 p.m. & 9:45 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Iron Giant Sat, Aug 24, 12 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Luce Fri, Aug 23, 2 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Mamma Mia! Sun, Aug 25.

Movie starts at sundown.

Moore Square Park, Raleigh.

Mike Wallace is Here Fri, Aug 23, 2:10 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

One Sings, the Other Doesn’t Mon, Aug 26, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Ozone Fri, Aug 23, 10 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Pet Sematary Tue, Aug 27, 2 p.m. & 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Princess Mononoke Dubbed.

Sat, Aug 24, 5 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Saved Sun, Aug 25, 2 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Sharktopus Thu, Aug 22, 7:30 p.m. Gregg Museum of Art & Design, Raleigh.

Soundgarden: Live from the Artists Den Thu, Aug 22, 7 p.m. Wells Fargo IMAX Theatre at Marbles Kids Museum, Raleigh marbleskidsmuseum.org

32 | 8.21.19 | INDYweek.com

FRIDAY, AUGUST 23

MIKE WALLACE IS HERE

Eleanor Roosevelt, Vladimir Putin, Salvador Dali, Henry Kissinger: The interview Rolodex of famed journalist Mike Wallace was staggering by any measure. What made him famous, though, was not his access to politicians and celebrities, but the fact that he pulled no punches with anyone who sat down at his desk, pioneering an aggressive interview style that made him widely feared.

(The Israeli filmmaker Alvi Belkin is reported to have said, “‘Mike Wallace is here’ are the four most-dreaded words in the English language.”) The film, titled after that quote, takes a closer look at a man whose chain-smoking charisma elevated the role of newsman to celebrity. Wallace died in 2012, leaving behind a wealth of archival tape that makes for a compelling portrait of a brilliant, emotionally unavailable man who once said that “the press is the yardstick of a nation’s health.” How exactly Wallace would measure our own wobbly news age is hard to say, and the film makes no great effort to speculate: Like Wallace, it is far more content to bring difficult questions out into the open then it is to answer them. —Sarah Edwards

THE CAROLINA THEATRE, DURHAM 2:10 p.m., $8, www.carolinatheatre.org

Mike Wallace is Here PHOTO COURTESY OF THE CAROLINA THEATRE Trailerpalooza Strikes Back Wed, Aug 28, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Weekend at Bernie’s Wed, Aug 28, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

OPENING Angel Has Fallen—In the third installment of the Fallen franchise, secret agent Mike Banning is framed for the president’s murder. Rated R.  The Peanut Butter Falcon—Reviewed on page 21.

Rated PG-13.

Ready or Not—Samara Weaving plays a new bride drawn into an unusual game of hide-and-seek with her husband’s wealthy family in this genre-blurring horrorcomedy-thriller. Rated R.

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

The Angry Birds Movie 2— Jason Sudekis leads a surprisingly decent film about an iPhone game. 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.  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 Farewell—A family travels to China to say goodbye to the family matriarch, who is dying of cancer. The twist? They feel that it’s more benevolent to not tell her she’s dying.

Rated PG. —Sarah Edwards Good Boys—Three boys must navigate their first kissing party. Rated R. ½ John Wick: Chapter 3 – Parabellum— A bloody, Buster Keatonesque ballet meets Sam Peckinpah. Rated R. —NM

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. 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 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.

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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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EMPLOYMENT CHILDCARE GIVER/ NANNY NEEDED

In need of an experienced Childcare giver/Nanny to start work immediately. I can offer $19 per hour, he/she would be working for up to 5 hours daily Mon-Fri. Please email Jennifer.ruizz@outlook.com.

FTCC ACCEPTING APPLICATIONS

Fayetteville Technical Community College is now accepting applications for the following positions: Associate Degree Nursing Instructor Program Coordinator, Ford Maintenance & Light Repair Military/ Veterans Services Specialist. For detailed information and to apply, please visit our employment portal at: https://faytechcc.peopleadmin. com/ Human Resources Office Phone: (910) 678-7342 Internet: http://www.faytechcc.edu . An Equal Opportunity Employer

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Effective with the 2019 Municipal Elections, the Durham County Board of Elections unanimously approved the following polling place changes. · Precinct 16, previously located at Holy Infant Catholic Church has moved to Jordan High School, located at 6806 Garrett Rd., Durham, NC 27707. This change is pending State Board of Elections approval. · Precinct 19, previously located at the American Legion Post # 7 has moved to Merrick-Moore Elementary School, located at 2325 Cheek Rd., Durham, NC 27704. · Precinct 48, previously located at Christ the King Church has moved to Woodcroft Club, located at 1203 W Woodcroft Pkwy., Durham, NC 27713. · Precinct 53-2, previously located at Triangle Church has moved to Barbee Chapel Baptist Church, located at 5916 Barbee Chapel Road, Chapel Hill, NC 27517.

Questions regarding polling place changes can be directed to the Durham County Board of Elections by phone at 919-560-0700 or via email at elections@dconc.gov.

For information on the upcoming municipal elections, please visit the Board of Elections website at www.dcovotes.com.

NOTICE TO CREDITORS HONEYCUTT

ALL PERSONS, firms and corporations having claims against ELMA JOYCE HONEYCUTT, deceased, of Wake County, NC, are notified to exhibit the same to the undersigned on or before November 18, 2019, or this notice will be pleaded in bar of recovery. Debtors of the decedent are asked to make immediate payment. This 21st day of August 2019. Joanne H. Gibson, Executor, 8241 Allyns Landing Way, Raleigh, NC 27615. INDY Week: 8/21, 8/25, 9/4, 9/11, 9/16, 2019.

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 | 8.21.19 | 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.

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.

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 solution to last week’s puzzle

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INDYweek.com | 8.21.19 | 35

IMPROVE THE SOUND OF YOUR VOICE www.laureceweststudios.com

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KOL HASKALAH’S ANNUAL OPEN HOUSE

HISTORY TRIVIA: • Pioneering NC nurse Mary L. Wyche died on August 22, 1936. She led a group of nurses that founded the North Carolina Nurses Association (NCNA) in 1902. As president of NCNA, Wyche persuaded the legislature to pass the Nursing Practice Act. • President of UNC and former NC governor David Lowry Swain died on August 27, 1868. Swain was instrumental in keeping UNC open during the Civil War.

"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

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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

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