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Americans want to pretend racism is a relic of the past.

UNC-Chapel Hill alum Nikole Hannah-Jones, who envisioned The New York Times Magazine ‘s groundbreaking 1619 Project, says it’s time to stop hiding from our sins.

By Thomasi McDonald, p. 10

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED CLOSURE AND GRADE SEPARATION OF TRINITY ROAD AT-GRADE CROSSING

STIP P-5734 Trinity Road Crossing (630657S) in Wake County AT THE JOSEPH M. BRYAN, JR., THEATER IN THE MUSEUM PARK

SAT U R DAY, SEPT EMB ER 14

SNARKY PUPPY P RES EN T ED W I T H C AT ’ S C RA D L E

W ED N ES DAY, SEPTEMB ER 25

R HIAN NON GI DDENS with

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P RES EN T ED W I T H C AT ’ S C RA D L E In partnership with COME HEAR NORTH CAROLINA #ComeHearNC

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presenting sponsor

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2110 Blue Ridge Road, Raleigh 2 | 8.28.19 | INDYweek.com

The N.C. Department of Transportation will hold a public meeting to present information on the proposed closure of the Trinity Road at-grade crossing of the North Carolina Railroad (NCRR) and the replacement of the closed crossing with a grade separation.

The meeting will be held on Monday, September 9 at the Kingswood Elementary School cafeteria located at 200 East Johnston Street, in Cary from 5 p.m. to 7 p.m. The public may attend at any time during the meeting hours.

Please note that no formal presentation will be made.

At the meeting there will be information as well as project team members who will be available to answer questions and receive feedback. The opportunity to submit written comments will be provided at the meeting or can be done via phone, email, online or mail no later than October 9, 2019.

Project information and materials can be viewed as they become available at the NCDOT Public Meeting Webpage: https://www.ncdot.gov/news/public-meetings For additional information, contact NCDOT Project Manager, Anamika Laad, by phone at (919) 707-4705 or by email at alaad@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Lauren Putnam via email at lnputnam1@ncdot.gov or by phone at (919) 707-6072 as early as possible, so that arrangements can be made.

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

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

WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 36 NO. 33

DEPARTMENTS

6 Raleigh invested $30,000 in a pilot program to make downtown smell better. It died after a “regrettable error.”

6 News

8 Duke University Press’s catalog includes 220 titles listed under LGBTQ studies, 150 under queer theory, and 51 under trans studies. A queer editor says she was bullied there.

17 Food 18 Music 19 Arts & Culture 26 What to Do This Week

10 Four hundred years ago this month, the first American colonists purchased kidnapped Africans. More than twelve million more would follow.

29 Music Calendar 33 Arts & Culture Calendar

17 The average North Carolina farmer is sixty years old.

18 Little Brother’s comeback album positions the legendary Durham hip-hop duo as precedents for the post-woke comedy of Donald Glover and Paul Beatty.

19 Whether he’s acting in beloved sitcoms like The Office, trading lines with Eddie Murphy, or voicing a pubic hair on Big Mouth, Craig Robinson is putting in work.

22 Though many filmmakers fled Iran after the 1979 revolution, Abbas Kiarostami made films there until his death in 2016.

HOPSCOTCH M us ic Fe s tival G uide BERKELEY CAFÉ

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BERKELEY CAM DEEP FIVE FLETCHER THE HIVE KINGS CAFÉ RALEIGH 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 KINGS LINCOLN @ BUSY BARCADE THEATRE | INDYweek.com 16 | BEE 9.4.19

DOLDRUMS

CHELSEA CROWELL

9:00 PM 8:30

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11:00 PM

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DESIGN BY RUDI PETRY

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Issue date: September 4th Reserve by August 29th

On the cover

Sara Leone, pictured here with her mother, filed a grievance against Duke University Press alleging that she was marginalized (see page 8). PHOTO BY JADE WILSON

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≠

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backtalk

INDY VOICES

The Baby Advice Industrial Complex

Required Reading

Last week, Leigh Tauss dug into the divide on growth and density issues among Raleigh’s self-identified progressives.

Mack Paul, an attorney involved in local development issues, responds: “You gave voice to a variety of perspectives. Concluding it with Richard Florida was perfect. It has been frustrating to watch (and participate) in development discussions, especially over affordable housing. The NIMBY/YIMBY dichotomy needs to give way to something more productive.”

Joe Whitehouse, the VP of Kisco Senior Living, says the story “touched on so many of the issues that many of us are speaking about these days.” He points out that when the city passed its unified development ordinance, it changed “the ability to build senior housing in many neighborhood zoning districts. A text amendment was taken before the council to rescind this change, and it was sad, but there was a large opposition to it. The final text amendment was able to get some of this back, but not all. It was amazing to hear all the complaints about how a senior housing project would be detrimental to a neighborhood, including—and unbelievably—‘ambulance sirens’ that would disturb the neighbors.”

On Twitter, @wayfarer1635 calls the story “required reading for all affordable housing advocates …. Seriously, this is excellent journalism. The article acknowledges the easy categories these types of stories try to lump folks into and then pivots to paint a nuanced and detailed picture that informs voters ahead of a critical municipal election.”

“Getting rid of single-family zoning can accomplish only so much,” argues @ccengct. “Most of the city’s suburbs have restrictive covenants that the city cannot undo.”

“Things are rarely either/or,” tweets @stephlormand.

“I can appreciate the need for South Park and College Park to protect their neighborhood’s character while simultaneously being annoyed by North Raleigh’s NIMBYism.”

“While NIMBY vs. YIMBY may be reductive, so is categorizing these efforts as only progressive vs. conservative,” writes @JHillVA. “Zainab Baloch is a prime example of someone that doesn’t even understand what type of people do or don’t support these efforts. Regardless, the people there now need to be replaced.”

Want to see your name in bold?

Comment: indyweek.com Email: backtalk@indyweek.com Facebook: @IndependentWeekly Twitter: @indyweek

STOP TRYING SO HARD AND GET A LIFE

BY CHIKA GUJARATHI

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

NEXT WEEK: JONATHAN WEILER, a teaching professor in global studies at UNC-Chapel Hill and co-author of Prius or Pickup? How the Answers to Four Simple Questions Explain America’s Great Divide and Authoritarianism and Polarization in American Politics.

M

y dad once told me to be careful what you choose to get good at.

I never really understood his point until years later. Turns out, I’m really good at giving parenting advice— and this, my friend, is not what I’d set out to do. Over the last six years, since my first child was born, I’ve lost track of the number of essays, how-tos, and lists I’ve written about being a better parent.

And while they’ve all come from an honest place, they’ve also come with a twinge of guilt for perpetuating and enabling the Baby Advice Industrial Complex. See, I’ve thrived even as I’ve ignored most of what the baby-advice industry has to say.

If you’re a new parent, the pressure to be perfect starts as soon as it’s time to put together your baby registry. I spent hours reading websites to figure out the best crib, stroller, car seat, bottles, pacifiers, shoes, bibs, and so on. I was so overwhelmed by the abundance of options, each taunting my commitment to motherhood even before there was a baby to mother.

The truth is, no amount of gadgets will stop a baby from crying, pooping, being gassy, and making you want to cry from time to time, too. In my experience, babies love free things— kisses, hugs, walks, and snuggles. The rest exists to make parents feel better about themselves.

Once the baby is here and growing, however, it doesn’t take long to realize that perfection isn’t the real goal.

The real goal is getting through the day with your sanity intact.

Unsurprisingly, this is where the juiciest of baby advice comes into play.

How to get a baby to sleep, how to get them to eat, how to talk, how not to talk, what to buy, what to avoid buying. We reach for this stuff in our most desperate hour, sleep-deprived, spirits dampened, hoping that someone out there has figured out a way to do this better.

Good news: Someone has. Bad news: It won’t work for your kid.

The other day, I asked my almostninety-year-old grandma how she dealt with parenting anxiety while raising her five children. She looked at me like I was unhinged. So then I asked my mother how she came to be the world’s best mom, and her look was even more evidence of how pathetic my question was.

Wouldn’t it be funny if parenting columns were written by people who have completely forgotten how they managed to raise happy and well-adjusted adults?

It would be the first column where the advice never changes no matter the question: Stop trying so hard and get a life.

The truth is that no matter how much we read and prepare, we’re all destined to be good parents and the worst parents at one point or another.

In his classic A Moveable Feast, Ernest Hemingway wrote this about overcoming writer’s block: “All you have to do is write one true sentence. Write the truest sentence that you know.”

At some point in my parenting journey, I realized that this advice works just as well for fending off parenting blues. My truest sentence goes something like this: I have three children who eat up all my time and money, who are always there (even when I have to pee), and whom I need more than they need me.

I know that I’ve become a kinder and better human since I had children. Even during my worst parenting hour, I have no doubt that they love me, and I them. I’ve resisted the urge to constantly fix the way things are. I’ve learned that things work themselves out on their own more often than not, and that a little bit of chaos is good.

And I’ve discovered that, when making decisions, it’s better to trust my gut than a website. This is the best parenting advice I can offer. 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 | 8.28.19 | 5

indynews

Dumpster Fire

RALEIGH DUMPED SIX MASSIVE UNDERGROUND TRASH BINS NEAR A BRANCH OF NORTH CAROLINA’S ONLY BLACK-OWNED BANK. IT DIDN’T TELL THE BANK FIRST. BY LEIGH TAUSS

S

taffers for the city of Raleigh considered several factors when evaluating where to put six massive underground trash bins as part of a $30,000 pilot program to reduce waste downtown. None, however, involved the owners and customers of the downtown branch of the erstwhile Mechanics and Farmers Bank, now M&F Bank, the only black-owned bank in North Carolina.

Its parking lot sits adjacent to where the city decided to locate the so-called Moloks, at the corner of Wilmington and Hargett Streets, with only a sidewalk between them.

But the city never reached out to the bank.

When the Moloks started filling up this summer, some of the bank’s customers and supporters complained, and the city quickly halted the program.

“This is a regrettable error, and the city has apologized,” Michael Moore, the city’s transportation director, told the INDY in an email. “The city strives to engage all affected stakeholders on all of our projects, big or small. Unfortunately, that engagement fell short on this project.”

But critics see something more at play.

“We weren’t invited to the table,” says Kimberly Muktarian, an activist and president of Save Our Sons of Raleigh, which advocates for racial justice in the court system. “It’s the only black bank that we have, so while we are losing so much of our property and our dignity and respect, Mechanics and Farmers is one of the last places in the city in the downtown district, and for us to be singling them out like that, it’s insensitive—and, to me, it’s deliberate as well.”

The pilot program was birthed from a 2018 survey that identified the rows of ninety-five-gallon trash bins as downtown residents’ top cleanliness concern. The city formed a task force to create a better pedestrian and outdoor dining experience and “make downtown Raleigh smell better,” then partnered with Molok, a company from Finland that specializes in waste storage alternatives.

Each of the company’s eight-foot-deep bins can hold the equivalent of twenty standard trash bins of garbage.

They’re partially buried and emptied three times a week with a crane. Staffers hoped the project would make downtown trash collection more efficient—which it did.

While the program was running, the city saw a nearly 90 percent decrease in idling time and fuel usage for its dump trucks, according to an August 12 memo.

The city chose Hargett and Wilmington, according to the memo, because the site was close to bars and restaurants, it wouldn’t disrupt underground utilities or affect emergency vehicle turning requirements, didn’t abut the entry to any 6 | 8.28.19 | INDYweek.com

The Moloks in downtown Raleigh

PHOTO BY JADE WILSON

building, and it was accessible to the crane the city needed to empty the Moloks.

The city began installation in May, and the pilot program launched this summer. While the city and the Downtown Raleigh Alliance did some outreach beforehand, those discussions never included M&F. The city received several complaints about the project on August 8. Four days later, it abruptly canceled the program, citing “unanticipated negative impacts,” wrote Moore and Stan Joseph, the director of the Solid Waste Department, in the memo.

“Unfortunately, the team did not recognize the potential for negative impacts and perceptions of other businesses in the area, most significantly a bank branch on Hargett, whose parking lot directly abuts the pilot project site,” they wrote. “Given the error in the city’s process and the nature of the concerns, we do not believe that the city can adequately address the concerns through the pilot project.”

The city ceased using the Moloks Sunday and is now looking for alternative locations. Moore says there’s no timeline for relaunching the program.

“Given all the factors, the city made the right decision,” M&F Bank CEO Jim Sills told the INDY. “I really appreciate city officials and the city manager listening to our customers’ concerns.”

But this apparent knee-jerk decision upset other business owners who were excited about the project, especially House of Swank’s John Pugh, who showed up at the city council meeting last week with “Save the Moloks” written on a cardboard sign.

“The total lack of transparency is just appalling,” Pugh says.

His business, which printed a “Keep Raleigh Trashy” T-shirt, sits about a half block away from where the city located the Moloks. Pugh has circulated a petition to bring them back. It’s garnered about twenty-three hundred signatures.

“The smell was cut down to basically nothing, the flies were cut down,” he says. “I thought the location, being close to where the trash is generated, is a win.”

While Pugh acknowledged the city “dropped the ball” by not communicating with the bank earlier, he hoped the city could find a way to make the program work in that location.

The city’s intentions may have been good, but this episode is emblematic of a larger problem, says Danny Coleman, who chairs the South Central CAC. Too often, projects are greenlit without input from those affected.

“This was an equity issue for the bank, whether they should have been brought in for the process,” Coleman says.

“The bank had not been a party to the decision-making process, which really goes to a lot of other issues that are going on with the city, and the staff is making decisions and they are doing it thinking they know all the points of interest in the matter.”

In much of the planning happening downtown, says Diana Powell, the executive director of Justice Served NC, the city’s African American community is left behind.

“They say they are community-engaged, but that’s not a reality to us,” Powell says. “You look at downtown and how so much development is going in, it’s not at all inclusive.” ltauss@indyweek.com

news

Quarry Priorities

DAVID COX, RDU QUARRY CRITIC, SKIPPED A CLOSEDDOOR MEETING FOR A BACKSTREET BOYS CONCERT

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas!

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

BY LEIGH TAUSS

T

he Raleigh City Council held a closed-session discussion on the Raleigh-Durham Airport on Tuesday, but David Cox—whose reelection bid has focused on fighting the airport’s lease with Wake Stone for a quarry—wasn’t there.

He skipped the meeting to attend a Backstreet Boys concert at PNC Arena, Cox confirmed Saturday. (As The News & Observer has previously reported, Backstreet Boy Nick Carter is Cox’s third cousin.)

Cox has posted repeatedly on social media about the quarry and discussed the issue at length during his campaign events. A few hours before the council’s closed-door session, Cox and his allies—Stef Mendell, Kay Crowder, and Russ Stephenson—pushed city attorney Robin Tatum Currin on the question of whether the city had legal standing to intervene in an ongoing lawsuit over the quarry deal.

Mayor Nancy McFarlane insisted this matter was better suited to the closed session. “This is about governing, not politics,” McFarlane said.

Cox interjected: “This is about governing transparently in front of the people of the city.”

A lawsuit filed in Wake County Superior Court by the Umstead Coalition and Triangle Off-Road Cyclists, which is expected to be heard next month, claims the city and the other local governments that own the airport—Wake County, the city of Durham, and Durham County—should have a say in the deal, which will allow Wake Stone to mine a 105-acre parcel for the next thirty years in exchange for up to $24 million in royalties. None of the other local governments has formally opposed the agreement. Jessica Holmes, who chairs the Wake County Board of Commissioners, told the INDY earlier this month that the county “does not have a vote on whether the land lease moves forward.”

Historically, matters pertaining to potential litigation are always discussed in closed session, McFarlane told her colleagues last week. Eventually, Mendell made a motion to

add to the meeting agenda an item requesting that the city join the lawsuit against RDU. It failed in a 4–4 vote.

After the motion deadlocked, Crowder asked Currin to clarify whether the city would have standing if it wanted to get in on the legal action. While not wanting to discuss anything “covered by attorney-client privilege,” Currin said, she believed the city has the right to ask the court to be heard.

The council went into closed session at about 5:00 p.m. The session adjourned at about 6:15 p.m. The Backstreet Boys show was scheduled to begin at 8:00 p.m. By car, it takes about fifteen minutes to get from City Hall to the arena, according to Google Maps.

Cox told the INDY he had personal matters to attend to before the show. Cox says that, while he wasn’t “physically in the room, I was available by phone.”

McFarlane says that’s not her recollection: “Nobody mentioned that David was available by phone if we needed him.”

In a now-deleted Facebook post on Saturday, Cox chided Brian Fitzsimmons, his challenger in the District B race, over the quarry issue: “So many have thanked me for fighting the quarry. I wonder how many have thanked my opponent for NOT fighting the quarry?”

The black-and-white framing of the issue is misleading, McFarlane says. While it’s easy to oppose the quarry, the legal ramifications of the city joining the Umstead Coalition’s lawsuit are more complex.

“I don’t want people to misunderstand and think that I support a quarry,” McFarlane says, “because I would much rather the land not be developed or at least not be done into a quarry. But they’ve already made that decision and signed the contract, so there are legal issues of interfering with a contract, and it’s not as simple. We don’t have the legal authority, as far as I know, to, quote, ‘stop’ the quarry, but that’s how it is being portrayed.” ltauss@indyweek.com

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Othered

A DUKE UNIVERSITY PRESS EDITOR SAYS SHE’S BEEN BULLIED BECAUSE OF HER GENDER IDENTITY

BY THOMASI MCDONALD

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or seven years, Sara Leone has edited books for Duke University Press. She says she was attracted to the position—and, in fact, relocated to the Triangle from Connecticut—because of the nearly century-old publisher’s deep catalog of LGBTQ theory and queer and transgender-related titles.

But on August 2, Leone filed a grievance with the university, alleging that she’s been marginalized and unfairly treated by her superiors because she is genderqueer. In an email last week, Leone told the INDY she’s been “silenced and bullied” and “subjected to a nonstop, hostile barrage of unethical work practices and verbiage.”

Leone has not returned to work since August 10. Duke declined to comment on her complaint.

Founded in 1921, DUP publishes about 120 new books a year, along with more than 50 journals and digital collections. Its catalog includes 230 titles listed under LGBTQ studies, 150 under queer theory, and 51 under trans studies, according to its website.

“Oh, the irony, since Duke University Press is known worldwide for its LGBTQ list,” Leone says.

Now fifty-six, Leone earned her master’s degree at Brown University in 2000 and worked with the university’s graduate and medical students’ LGBTQ association until 2010, when she moved back home to Connecticut to help her mother care for her gravely ill father.

By 2012, with her father in a rest home—he passed away in 2014—Leone was wondering what to do with her life. At Brown, she’d noticed that a lot of the books that arrived at the university came from DUP. She went online and found that the press was “incredibly forward-thinking. It had developed a platform for LGBTQ authors, including a quarterly journal devoted to transgender studies.”

She applied for a position in late 2012 and was hired two months later.

“It was the first place I looked, and the only job I applied for,” she says.

Leone says she thought she was going to work in a “paradise of diversity.” But red flags appeared almost immediately. There were no people of color working for DUP, she says.

It was a “very vanilla and very provincial workplace.” Her coworkers made unsettling remarks—not directed at her— about women’s supposedly “lesbian” appearances. At first, she confronted them, but that made her feel like an outsider, so she learned to keep quiet.

Over the last two years, she says, she began noticing disparities in how she and two of her heterosexual women 8 | 8.28.19 | INDYweek.com

Sara Leone and her mother

PHOTO JADE WILSON

colleagues were treated. It came to a head after her mother was diagnosed with stage IV lung cancer in February. Her colleagues were allowed to work remotely—one from Colorado, another from England—to be closer to their families. But Leone says that when she asked to work remotely so she could better care for her mother, who had moved to Durham, her supervisor said no.

“She stated that eldercare was not the same thing as childcare because children are helpless,” Leone says. “I thought of my mother, lying on the couch, wearing a diaper, unable to eat.”

Then, in June, she asked to work remotely from New Haven, as her mother was seeking care from a lung specialist at Yale. Her request was immediately rejected. When Leone pointed out that she was being treated differently than her heterosexual coworkers, she says, her supervisor

and human resources director told her that “what other people [do] is none of [your] business.”

“I am going to be fifty-seven years old, and I have never been so silenced and marginalized in my life,” she says.

“And now they privilege heterosexual conjugal visits over an LGBTQ person trying to save their mother’s life—and during Pride Month, no less. This is Duke Press. Henry VIII would feel at home.”

Leone burned through her vacation and sick time to be with her mother. She says when she complained about the amount of unpaid leave she was taking, the HR director told her to sell her house in Raleigh, which she’d purchased two years ago—the first home she’d owned.

In July, she applied for time off through the Family Medical Leave Act. With her application pending, she kept coming to work. But then, in early August, her mother became “violently ill” in the middle of the night. Leone took her to the emergency room. She emailed her supervisors to ask them to ask if she could work from home, given the circumstances. The next morning, August 10, she received an email telling her she was needed at a meeting.

“Something snapped in me,” Leone says, “and I haven’t been back to work since. I don’t care if I lose everything that I own.”

Fortuitously, her FMLA application was approved on August 9, and she’s relying on it for health care. She’s doing freelance jobs from home to cover expenses, though she’s not making enough to pay her mortgage.

Terri Frazier, who worked with Leone until 2017, describes an environment at DUP fraught with employee turnover, overworked staffers, and out-of-touch managers who made arbitrary decisions based on whether employees had “crossed” human resources.

A married mother of three, Frazier says she was aware of Leone’s difficulties with her supervisors, but she wasn’t sure if those were because of her gender identity.

“It would not surprise me at all if it was because of her status,” she says. “It’s heartbreaking because she’s trying to save her mother’s life, and she may lose her house because she’s on unpaid leave. It’s not as if she’s was asking for time off. She’s asking to work from home. They are not giving her any leeway at all, and they let other people do that.”

“I’ve truly devoted my life to creating dialogue about oppression,” Leone says. “And now, after being so blessed to have these chances throughout my life, I’ve been stripped of my voice, othered, and silenced into invisibility.” tmcdonald@indyweek.com

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Legacy of Ashes

FEW AMERICANS HAVE BEEN MORE DESTRUCTIVE THAN DAVID KOCH, WHOSE GREED WILL BE FELT BY GENERATIONS TO COME BY JEFFREY C. BILLMAN

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he maxim that we’re not to speak ill of the dead is complicated by the death of people like David Koch.

To be sure, there’s a ghoulish quality to gloating about the demise of one’s ideological adversaries. And any polemic about Koch’s decades of funding the far right is likely to draw a two-dimensional caricature, eliding his philanthropy as well as his forward-thinking on immigration and criminal justice reform, which, truth be told, was well ahead of many progressives.

(In 1980, for instance, as a vice-presidential candidate on the Libertarian ticket, Koch supported open borders.)

But any fair analysis of the world David Koch leaves behind can’t help but speak ill of his legacy. The fact is, few Americans in the postwar era have been more destructive than David Koch and his older brother Charles, who survives him. Through the untold millions they lavished on conservative political networks and organizations— founding the Cato Institute, bankrolling the Heritage Foundation, establishing the anti-regulation Mercatus Center at George Mason University and similar centers at Florida State University and Utah State University, creating the Americans for Prosperity Foundation, and funding all manner of anti-union efforts—the Kochs fundamentally reconfigured American conservatism and, in the process, American democracy, and not for the better.

The end result is the Republican Party we see now: beholden to the wealthy and enslaved to a theology that believes tax cuts are the panacea to whatever ails us, stalwart in its opposition to any and all environmental and labor regulations, and embarrassingly resistant to the climate science that the rest of the world long ago accepted.

In particular, Americans for Prosperity— David Koch’s baby—mobilized the tea party, a movement aroused in reaction to the election of the country’s first black president.

As Sarah Jones wrote in New York Magazine last week: “The id they unleashed— the naked white nationalism, the anti–big government hysteria, all those conspiracy theories—helped seed the ground for Donald Trump.”

There’s some irony in that, considering that the Koch brothers were never enthusiastic about Trump, especially his trade wars and harsh immigration tactics. They never donated to him, and earlier this year, AFP indicated that it was open to supporting Democrats, so long as those Democrats were the kind that would keep the party from going in the direction of the Green New Deal.

But in the pursuit of their own interests—in service to their own greed—they’d created a Frankenstein’s monster they couldn’t control.

They’d grown Koch Industries, a company they’d inherited from their father—an original member of the John Birch Society who admired Benito Mussolini and thought the civil rights movement was a communist plot—into the second-largest privately owned business in the country, with oil refineries in Alaska, Texas, and Minnesota, more than four thousand miles of pipeline, and ownership of products ranging from Brawny paper towels to Stainmaster carpet, as The New Yorker’s Jane Mayer reported in her definitive 2010 profile. And they wanted to keep the government out of their way.

“The Kochs,” Mayer wrote, “are longtime libertarians who believe in drastically lower personal and corporate taxes, minimal social services for the needy, and much less oversight of industry—especially environmental regulation. These views dovetail with the brothers’ corporate interests.”

The Kochs were one of the top air polluters in the country, according to a 2010 University of Massachusetts at Amherst study. More important, perhaps, they were the biggest funder of climate change denial, surpassing even ExxonMobil.

For decades, Koch-funded groups like the Cato Institute and the Heritage Foundation have tried to pour cold water on the consensus that the world is dangerously warming and humans are to blame. With the Kochs’ fortune behind them, these organizations fostered skepticism about scientists involved in climate research, claimed that the science is inconclusive, and—as David Koch told Mayer in 2010—argued that even if the planet is getting hotter, it will ultimately be beneficial.

This was avarice dressed up as ideology, of course—regardless of whether David Koch ever admitted that to himself.

Accepting the reality of anthropomorphic climate change and its destructive consequences would mean weaning ourselves off fossil fuels, which would make the Kochs’ oil empire less profitable.

The last full month David Koch lived to see, July 2019, was the hottest ever recorded on earth. The day he died, the Amazon rainforest was burning at an unprecedented rate, as the right-wing Brazilian government allowed loggers, farmers, and cattle barons to slash and burn a region that produces 20 percent of the planet’s oxygen and is vital to absorbing carbon. Three days after he died, the U.S. president he inadvertently helped install skipped a meeting of world leaders on climate change at the G7 summit and dismissed renewable energy as unprofitable “dreams and windmills.”

And three decades after David Koch died, experts warn, 55 percent of the global population could live in areas that experience more than twenty days of lethal heat a year, one billion people may be displaced from their homes, two billion people may lack access to water, and droughts and severe flooding will likely become the norm.

When he passed away at age seventy-nine, David Koch was worth a reported $42.4 billion. jbillman@indyweek.com

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I

n August 1619, colonists in Jamestown, Virginia, purchased between twenty and thirty enslaved Africans— who had been stolen from a Portuguese slave ship after being kidnapped from what is now Angola—from English pirates. They were the first of 12.5 million Africans who would be kidnapped, forced into chattel slavery, and shipped to the New World to make white men rich. At least two million would die along the Middle Passage.

For the next twenty-three decades, enslaved Africans worked the fields of white plantation owners—deprived of rights, abused, raped, and murdered, regarded as property—providing the labor the fueled the rise of the American economy. At its peak, in 1860, approximately 3.9 million human beings were enslaved in the U.S. The Civil War that ostensibly gave them their freedom in reality led to a century’s worth of another form of oppression, especially in the South, where white-run authoritarian governments used violence and intimidation to keep black Americans subjugated and often impoverished. The civil rights movement of the mid-twentieth century led to the Civil Rights Act, the Voting Rights Act, and the Fair Housing Act, but by this point the institutions of white supremacy were well entrenched.

And as we’ve learned over the last decade—to borrow from Faulkner—the past isn’t dead, it isn’t even past. The election of the first black president in 2008 produced a backlash that gave rise to both a revanchist tea party movement and a rise in white nationalism that culminated in the election of Donald Trump in 2016.

On August 14, 2019, four hundred years after the first American colonists purchased human beings as slaves, The New York Times Magazine unveiled The 1619 Project, an ambitious exploration of the lingering legacy of slavery, utilizing historical analyses, news features, photos, essays, and even fiction and poetry.

10 | 8.28.19 | INDYweek.com

A SLAVE Americans want to pretend racism is a relic of the past. UNC-Chapel Hill alum Nikole Hannah-Jones, who envisioned The New York Times Magazine‘s groundbreaking 1619 Project, says it’s time to stop hiding from our sins.

By Thomasi McDonald There’s a piece on how slavery shaped modern capitalism, an essay connecting the efforts to preserve slavery in the nineteenth century to right-wing nullification movements that still persist today, a story on our schools’ failure to properly teach kids about slavery, and even a history lesson on how racism made Atlanta traffic a nightmare.

“The United States is a nation founded on both an ideal and a lie,” The New York Times Magazine staff writer Nikole Hannah-Jones writes in an essay introducing the issue. “Our Declaration of Independence, approved on July 4, 1776, proclaims that ‘all men are created equal’ and ‘endowed by their Creator with certain unalienable rights.’ But the white men who drafted those words did not believe them to be true for the hundreds of thousands of black people in their midst. ‘Life, Liberty, and the pursuit of Happiness’ did not apply to fully one-fifth of the country. Yet despite

being violently denied the freedom and justice promised to all, black Americans believed fervently in the American creed.

Through centuries of black resistance and protest, we have helped the country live up to its founding ideals. And not only for ourselves—black rights struggles paved the way for every other rights struggle, including women’s and gay rights, and immigrant and disability rights.

“Without the idealistic, strenuous and patriotic efforts of black Americans, our democracy today would most likely look very different—it might not be a democracy at all.”

For any student of history, the project’s thesis was undeniable: The stain of slavery has not only not been erased, but America has never truly grappled with it. But it nonetheless provoked an intense backlash among conservatives, those who saw it as an affront to American exceptionalism.

Former House Speaker Newt Gingrich

called it “propaganda” and “brainwashing.”

Conservative commentator Erick Erickson said the Times was “keeping racial tension aflame as much as Trump does.” Ilya Shapiro of the libertarian Cato Institute called it “grievance-mongering” intended to “delegitimize mankind’s grandest experiment in human liberty.”

For Hannah-Jones, who first conceived The 1619 Project, these complaints miss the point: “It is time to stop hiding from our sins and confront them,” she said at a launch event for the project. “And then in confronting them, it is time to make them right.”

Over the last decade, Hannah-Jones has emerged as one of the nation’s most celebrated journalists, winning just about every major journalism award, as well as a MacArthur Foundation “Genius” Grant, and perhaps soon a Pulitzer.

While she grew up in Iowa, she has strong ties to the Triangle, as a 2003 graduate of UNC-Chapel Hill’s School of Media and Journalism and a former reporter for The News & Observer, where she covered education, especially issues related to school segregation in Durham and the No Child Left Behind Act. She went on to explore educational inequality all over the country—at The Oregonian in Portland, then at ProPublica, now at The New York Times Magazine—and is today a foremost authority on the academic achievement gap.

This past week, Hannah-Jones has been a near-constant presence on national news programs talking about The 1619 Project.

On Monday, she spoke with the INDY both about it and the Ida B. Wells Society for Investigative Reporting, an organization she co-founded in 2016 to promote investigative reporting by journalists of color, which announced last week that it will be housed at her UNC. This interview has been edited and condensed for clarity.

Nikole HannahJones COURTESY OF

UNC-CHAPEL HILL’S SCHOOL OF MEDIA AND JOURNALISM

INDY: How has your earlier work as a journalist here in Durham informed your journalism over the years?

NIKOLE HANNAH-JONES: My very first job was covering segregation in high-poverty schools. Durham Public Schools had adopted No Child Left Behind, and poor black schools were expected to perform as well as poor white schools. Students could leave, principals could be removed, and teachers could be removed if the school was deemed a failure by the federal government. So the stakes were very high. No Child Left Behind didn’t give those schools additional money, just additional requirements. I was a new reporter trying to figure out how this makes sense, and it didn’t.

Durham has been a school district that has always had a wide range of types of schools, with curriculum choice, and I just watched the futility of the principal of a school where 95 percent of the students are poor, and schools where 20 percent of the students are poor, and they were expected to get the same test scores.

Tell us about your first cover story for The New York Times Magazine.

It was called “Choosing a School for My

Daughter in a Segregated City.” There was a black girl on the front cover with two Afro puffs, and wearing Air Jordans.

What was the takeaway?

How racism is not only the purview of racist white Southerners but that whites, no matter where they live, work to maintain school segregation and inequality. It was a piece at once about individual and systematic racism, but also, how does an individual parent navigate that system and make a choice for the benefit of the common good?

It’s been said that you “envisioned” The 1619 Project. What’s particularly impressive are the number of stories that delineate how the legacy of slavery has real-time implications today. I read that you first pitched the project idea in January, during a news meeting with your fellow staffers at the magazine. Can you take us before that moment: When did you first start thinking about the importance of 1619, and its possibilities as a news project?

I have been thinking about 1619 since high school, when I came across the book Before The Mayflower by Lerone Bennett Jr. I was struck by the fact that no one had ever

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taught me that we got here before the pilgrims, that we were that foundational—and I understood that was intentional.

Moving forward, the last year and a half, I had been thinking about the four hundredth anniversary [of the first enslaved people arriving] approaching, and I’m thinking it’s one of the most pivotal dates in American history, because of the introduction of slavery, and how it affected almost everything that came after.

But most Americans don’t even know that date, and most Americans were going to let that date pass without acknowledging it. But I wanted to show that the legacy of slavery still impacts almost everything you see across American life, and we’re still dealing with those effects.

How has the project been received by the public?

[The issue] sold out all across the country. There are people literally selling it on eBay for $100. We’ve done two additional printings and sold out of those. The first printing was seven thousand, I think. The second was twenty thousand.

We have a waiting list.

The Pulitzer Center has designed an entire curriculum [based on it]. You can download it from their website. Educators are already teaching The 1619 Project, and we have raised money to print an additional two hundred thousand copies that we are going to distribute in cities across the United States for free to people who typically don’t subscribe to the Times. We were particularly concerned that those most

impacted by the legacy of slavery would be able to get access to the project. That’s low-income black Americans.

Some of the most poignant and arresting writing for The 1619 Project occurs in the poetry and fiction section. Why was it important to include creative voices in the project?

For so much of the history, we don’t have good documentation because many of us were not allowed to be literate, and the only people telling the stories were white people.

So, we wanted to allow the descendants of those who had been enslaved to remember various points in our history.

What prompted your co-founding of the Ida B. Wells Society, and naming the organization after the most celebrated black journalist of her time?

The answer is in your question. It was just important to pay homage to the legacy of black investigative reporting.

There are so few of us, but there’s a long tradition of doing this type of reporting, and sending a message that black people have been doing this type of reporting for a long time.

Even though there seems to be so few of us who are able to do investigative reporting, we have a very long tradition.

Why do you think there are so few black investigative journalists in mainstream newsrooms?

That’s easy. Because newsrooms operate in the same racial hierarchy as the rest of American society does.

With the Ida B. Wells Society relocating to Chapel Hill, will you be spending more time in the area?

Yeah, for sure. We hope to engage the program there and at N.C. Central. The co-founders [Hannah-Jones, Topher Sanders of ProPublica, and Ron Nixon of the Associated Press] will speak to classes and work with the students when we can.

Are you seeing a dearth of black journalism students preparing to work in the print industry?

There are black journalism students, but they are leaning toward broadcasting because that’s where they see black journalists. I hope when they see the type of work done by our founders, they will see the type of work that’s possible for themselves.

So, I have to ask, what was your immediate response when you found out you were selected for a MacArthur “Genius” Grant in 2017?

I believe my exact words were “holy shit!” That was followed by an apology because the person who calls you has you on speakerphone. There’s a group of people in the room.

They like the feeling that comes from giving that good news.

I hadn’t heard of the MacArthur Grant until [Atlantic writer Ta-Nehisi Coates] won it two years before. I was completely surprised when I won it. It was a pretty amazing call to get. tmcdonald@indyweek.com

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N.C. STATE/HILLSBOROUGH STREET

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.C. State is at a turning point. After starting small, it ’s expanded into two campuses connected by restaurants, bars, apartments, theaters, a park with a hundred-year old Dentzel carousel, and museums .

Development in Cameron Village, the State Fairgrounds, an evergrowing North Carolina Museum of Art, and the neighborhoods in between continue to redefine the area and its demographics. And thanks to the design, tech, science, and agriculture backgrounds of professors and students, it ’s becoming all the more dynamic. —Jedidiah Gant

EAT

AJISAI JAPANESE FUSION 427 WOODBURN ROAD 919-831-9907, AJISAI3.COM

An expansive menu of sushi, Japanese noodle dishes, and a variety of specialty seafood dishes have made Ajisai one of Cameron Village’s busiest restaurants. The lush interior complements a large and often crowded outdoor seating area.

BAJA BURRITO

2109 AVENT FERRY ROAD, #108 919-834-3431, BAJABURRITO.NET A strip-center burrito joint serving fully packed burritos with delicious filling options like shredded beef, mole chicken, and vegetarian options.

BEANSPROUT CHINESE RESTAURANT

3721 HILLSBOROUGH STREET 919-755-0554, BEANSPROUTCHINESE.COM An unassuming standalone building with neon signage hosts one of Raleigh’s most popular takeout Chinese restaurants.

Vegetarians and carnivores alike swear by it.

THE TRIANGLE’S MEDITERRANEAN FOR OVER 40 YEARS

CANTINA 18

433 DANIELS STREET 919-835-9911, 18RESTAURANTGROUP.COM/ CANTINA-18-RALEIGH Chef Jason Smith has assembled a collection of Southwestern cuisine with a Southern drawl in this Cameron Village favorite. North Carolina ingredients go into making a variety of tacos, enchiladas, and burritos. The pineapple jalapeño margarita is best enjoyed on the second-floor outdoor patio.

COCO BONGO

2400 HILLSBOROUGH STREET 984-242-0809; COCOBONGORALEIGH.COM California-style burritos, street tacos, and fajitas are served at this affordable Mexican spot.

GOODBERRY’S

2042 CLARK AVENUE 919-833-9998, GOODBERRYS.COM Fresh frozen custard is a rarity in Raleigh, and Goodberry’s has the market cornered on this delicious niche. Grab a concrete with your desired toppings and watch as they swirl and flip it. No drip.

KABOB AND CURRY

2418 HILLSBOROUGH STREET 919-703-0107, KABABANDCURRYNC.COM An all-you-can-eat Indian and Nepalese lunch buffet during the week for under $10 that offers a variety of chaat, a long vegetarian menu, and kids tikka options.

Fresh Offerings | Quick Service Fresh Complimentary Pita Bread Patio Seating | Dine-in | Online Ordering Catering/Full Service | Tuesday Family Nights (919) 828-1628 www.neomonde.com 3817 Beryl Rd, Raleigh 10am-9pm, Monday-Sunday FOLLOW US ON SOCIAL MEDIA

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THE VILLAGE DELI AND GRILL

500 DANIELS STREET 919-828-1428, VILLAGEDELI.NET At this popular fast-casual grill, which serves breakfast, lunch, and dinner sandwiches, salads, and grill options on checkerboard tablecloths, quick service leads to a short wait for your name to be called over the loudspeaker.

DRINK

CAMERON BAR AND GRILL

TAZZA KITCHEN PHOTO BY JEREMY M. LANGE

MITCH’S TAVERN

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3100 HILLSBOROUGH STREET 919-828-9665, CUPAJOE.COM The line of coffee drinkers chilling by the curbside reading classic novels, an assemblage of mismatched furniture, and a classic arcade game cabinet give Cup of Joe that eightiesJohn-Waters-film feeling. Drive by Starbucks and yell “Corporate Espresso Still Sucks!” on your way in, and they’ll give you 10 percent off.

NEOMONDE

THE HIVE @ TUPELO HONEY

3817 BERYL ROAD 919-828-1628, NEOMONDE.COM A Mediterranean grocery store and buffet with a variety of meat and veggie options, where you can grab a veggie lasagna, chicken kabob entrée, or four-side platter with a mix of cilantro jalapeño hummus, couscous, mjadarah, and chicken salad—then wrap them all up into a pita sandwich.

105 OBERLIN ROAD 919-755-9589, PLAYERSRETREAT.NET A Raleigh classic since 1951, this restaurant and bar is a local favorite. The burger and wings are some of the best in the city, and the outdoor patio is a sea of red during Wolfpack games. Inside, there’s a pool table, a bar that single-malt scotch selection to get you screaming for the Pack.

TAZZA KITCHEN THE TRIANGLE’S MOST RELIABLE DOG WALKERS www.PeakCityPuppy.com 919-FOR-PETS (367-7387)

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2426 HILLSBOROUGH STREET 919-821-7771, MITCHSTAVERN.COM Known for its appearance in Bull Durham, Mitch’s has become a Raleigh institution. A cup of gumbo or Mexican chili paired with a hero sandwich and draft beer while watching sports is the exact perfect way to experience this university and Old Raleigh favorite.

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2018 CLARK AVENUE 919-775-2231, CAMERONBARANDGRILL.COM Vintage photos of Cameron Village in its fifties heyday hang in this intimate bar, which, incidentally, has a delicious brunch that serves local beers, craft cocktails, and wine.

432 WOODBURN ROAD 919-835-9463, TAZZAKITCHEN.COM A rustic wood-fired kitchen and wine bar serving locally sourced, inventive cuisine.

Sausage and pepper honey pizza, cast-iron goat cheese, and brick-oven crab cakes are a small sampling of the flavorful varieties cooked up by Tazza’s chefs.

425 OBERLIN ROAD, 919-723-9353, TUPELOHONEYCAFE.COM Tupelo is a small Southern chain serving a twist on Southern cuisine. The bar has its own culture, fusing Tupelo’s branded honey into cocktails with a honeycomb-themed backdrop.

JUBALA COFFEE

2100 HILLSBOROUGH STREET 919-792-1767, JUBALACOFFEE.COM College professors, students, and hip Raleigh residents alike love Jubala as a perch for meetings, hanging with friends, and enjoying Counter Culture coffee-brewed drinks. The modern interior and outside patio invite a sense of community that’s at the heart of owner Andrew Cash’s intentions for the shop.

RALEIGH BREWING COMPANY 3709 NEIL STREET 919-400-9086, RALEIGHBREWINGCOMPANY.COM Kristie Nystedt, the first woman to own a brewery in North Carolina, has curated a collection of beers and a culture at RBC that speak volumes to her commitment to the city she calls home. Darts, murals, and yoga events inside the taproom mix with food trucks and a huge covered patio outside, creating an experience that is authentically Raleigh.

SHOP

CHESHIRE CAT ANTIQUES GALLERY

2060 CLARK AVENUE 919-834-7250, FACEBOOK.COM/ ANTIQUESEMPORIUM A world of wonder awaits you at the bottom of the steps to this basement antique aquarium.

Spend a full day looking through modern and antique furniture, comic books, vinyl records, china, jewelry, porcelains, and a bunch of other items you didn’t know you needed.

NICE PRICE BOOKS AND RECORDS

3106 HILLSBOROUGH STREET 919-829-0230, NICEPRICEBOOKSANDRECORDS.COM Owners Brian Shaw and Enoch Marchant have curated one of the Triangle’s best neighborhood hangouts and shops to buy used books, cassettes, movies, and vinyl records (both new and used). In-house band performances and their music-focused podcast expand on their vast knowledge of pop culture.

RALEIGH FLEA MARKET

1025 BLUE RIDGE ROAD 919-899-FLEA, RALEIGHFLEAMARKET.NET Every Saturday and Sunday since 1971, vendors from across the state have descended on the State Fairgrounds to sell collectible coins, therapeutic oils, guitars, hammocks, loose-leaf tea, rugs, and pretty much anything else you can imagine. Thousands of visitors come each weekend, and the tradition shows no sign of slowing down.

READER’S CORNER

3201 HILLSBOROUGH STREET 919-828-7024 A funky treasure trove of knowledge and fun awaits inside. Shelves are stocked with used books, vinyl, and comics. If you can’t find it, the friendly owners probably can. Pick up a handful of the books on the outside and leave some cash in the door slot; proceeds go to NPR.

SCHOOLKIDS RECORDS

2237 AVENT FERRY ROAD 919-821-7766, SCHOOLKIDSRECORDS.COM Once an employee, Stephen Judge bought this Raleigh staple and has shaped it into his own vision. Formerly located across from State’s main campus on Hillsborough Street, the shop is now near the Centennial campus and has more space for inventory, in-store performances, parking, and beer taps. Grab a beer and peruse the constantly rotating stock of used and new CDs and vinyl.

6-9pm | 230 S. Wilmington St., Raleigh

First Friday SEPTEMBER 6

PLAY

COMEDYWORX

3801 HILLSBOROUGH STREET 919-829-0822, COMEDYWORX.COM Fast-paced improv comedy shows and classes featuring local comedians. Open mics, interactive shows, and improv mixers all make for a fun night out.

FEATURED ART

FRIENDLY LUNCHEON

by critter & Mollie Earls

PARTNERS MUSIC BY

Discontoño & Friends REFRESHMENTS BY

NICE PRICE BOOKS PHOTO BY JUSTIN COOK

Larger Than Lemons, Pizza La Stella AND Trophy Brewing Co.

DISCOTOÑO & FRIENDS

8.28.19 • SPECIAL ADVERTISING SECTION • 15

GREGG MUSEUM OF ART & DESIGN

the

GREGG

MUSEUM of ART & DESIGN

ARTS NC STATE

1903 HILLSBOROUGH STREET 919-515-3503, GREGG.ARTS.NCSU.EDU This free public art museum is home to over thirty-five thousand objects ranging from architectural drawings to antique North Carolina quilts. Cultural programming includes curator talks, sketching-in-thegallery events, and film screenings.

JC RAULSTON ARBORETUM A joint exhibition with Duke’s Power Plant Gallery THE LARGEST EXHIBITION OF PHOTOGRAPHS OF THE SOUTH YET CREATED.

OPENING RECEPTION THURS SEPT 5, 6pm

4415 BERYL ROAD 919-515-3132, JCRA.NCSU.EDU An all-white garden, Japanese maple trees, a rock garden, and a desert landscape are only a few of the beautifully cultivated spaces on this ten-acre arboretum, which is perfect for a couples walk or a scavenger hunt with kids.

MISSION VALLEY CINEMA

2109 AVENT FERRY ROAD, #124 919-834-2233; AMBASSADORCINEMAS.COM This intimate and independently owned five screen theater, which shows indie and blockbuster flicks, opened in the 1970s and serves local beers, ICEEs, and the typical movie snacks. There are also classic arcade games and (look down!) popcorn carpet in the lobby.

NORTH CAROLINA MUSEUM OF ART

John Lusk Hathaway, Lakeshore Marina, 2011

COMING OCT 17: IN THE AGE OF BIOTECHNOLOGY Are scientists/engineers in charge of the future, or do artists have a role?

Details: go.ncsu.edu/artswork 1903 Hillsborough St., Raleigh Tues-Sat 10-5, Thurs till 9, Sun 1-5 | 10-7, First Fridays INFO: gregg.arts.ncsu.edu Admission FREE 16 • SPECIAL ADVERTISING SECTION • 8.28.19

2110 BLUE RIDGE ROAD 919-839-6262, NCARTMUSEUM.COM NCMA has expanded Raleigh’s culture into an explosion of art, nature, and people that includes a 164-acre museum park with monumental sculptures, a performance amphitheater, and a connection to Raleigh’s greenway. Outside events blend seamlessly with a beautifully designed museum home to more than four thousand pieces in the permanent collection and yearly exhibitions showcasing artists such as Georgia O’Keeffe and M.C. Escher, as well as classic Art Deco automobiles and fifty years of Ebony magazine fashion.

THE NORTH CAROLINA STATE FAIR

1025 BLUE RIDGE ROAD 919-821-7400, NCSTATEFAIR.ORG “Nothing Could Be Finer!” is the motto the fair has adopted, showcasing North Carolina agriculture, culture, and a curated musician series featuring bands from across the Tar Heel State. A newly installed cross-grounds chairlift can take you from the demolition derby to the pig races high above the neon lights, feet dangling, smoked turkey leg in hand. Last year, for the first time, there was even a beer tent.

PULLEN PARK

408 ASHE AVENUE 919-831-6052, RALEIGHNC.GOV/PARKS One of Raleigh’s premier parks features a large lake with pedal boats, a hundred-year-old Dentzel carousel, a cafe, picnic tables, and a miniature cross-park train. It’s a perfect outing for a family day on the playground, a dip in the indoor pool, or a pottery class in the art center.

RALEIGH LITTLE THEATRE

301 POGUE STREET 919-821-4579, RALEIGHLITTLETHEATRE.ORG A hidden gem in a quiet neighborhood, this black-box community theater puts on local renditions of famous plays. Outside, there’s a large entertainment amphitheater and rose garden, one of only three accredited in North Carolina.

MORE FROM OUR ADVERTISERS GREGG MUSEUM OF ART & DESIGN

1903 HILLSBOROUGH STREET; 919-515-3503; GREGG.ARTS.NCSU.EDU SOUTHBOUND—Photographs of and about the New South September 5–December 29 The largest exhibition of photographs about the South ever presented, Southbound presents visions of the region from the first two decades of the twenty-first century. NC State’s Gregg Museum and Duke’s Power Plant Gallery present simultaneous installations, locally curated by author and NC native Randall Kenan.

PEAK CITY PUPPY

919-367-7387; PEAKCITYPUPPY.COM Peak City Puppy is the Triangle’s most reliable dog walking service and has been for over 10 years. Using GPS-enabled visit check-ins and a live manager on duty 7 days a week, mid-day visits offer total peace of mind to dog, puppy and cat owners.

Whether you’re stuck late at the office, running short on time or have a new puppy on your hands, Peak City Puppy is happy to help. Dog walk visits start at $15/ day and pricing is all-inclusive. For more information to sign up as a client go to: PeakCityPuppy.com

RUSH BOWLS

2811 HILLSBOROUGH STREET, SUITE 105; 919-703-0006; RUSHBOWLS.COM A Rush Bowl blends the finest all-natural fruit to a thick and creamy consistency.

We top things off with crumbles of crunchy granola & a drizzle of the most delicious honey you’ve ever tasted. It is a complete meal-in-a-bowl designed to fuel your rush, whatever that might be.

COMING SEPTEMBER 18, 2019

DURHAM COUNTY/ SOUTH DURHAM

CONTACT YOUR REP OR ADVERTISING@INDYWEEK.COM

indyfood

The Future of Farming

FARMLAND IS VANISHING, AND OLD AGRICULTURE PRACTICES ARE NO LONGER VIABLE. LOCAL INNOVATORS ARE LOOKING FOR SOLUTIONS. BY MELISSA MCGOVERN AND ANDREA RICE

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aleigh native Rob Meyer says he took inspiration from the local food supply chains he observed in Ecuador while working with the Peace Corps when he founded the online delivery service Papa Spuds in 2008. Ecuadorian families support each other’s businesses, he says, selling food and homemade goods at community markets. He wanted to build a similar model in the Triangle.

With Papa Spuds, which delivers more than two hundred products to households throughout the region, customers can select fruits, vegetables, meats, and other locally sourced foods—even custom-ordering recipe kits the way you might with a meal-planning service like Blue Apron.

This is a form of community-supported agriculture, or CSA, an emerging model designed to create a direct line between farmers and consumers. Based on what’s in season or abundance, most CSAs offer boxes of pre-selected produce for consumers to pick up weekly or biweekly at a designated location (some, like Papa Spuds, deliver).

There are about twenty-five hundred CSAs around the country, including about a hundred in North Carolina— among them Infinity Hundred Urban Farms in Raleigh, Maple Spring Gardens in Cedar Grove, In Good Heart Farm in Pittsboro, and Transplanting Traditions Community Farm in Chapel Hill.

Their goal is to create a more localized—and thus sustainable—food system that works for farmers, consumers, and the environment.

“People need to start caring more about the local land,” says Vera Fabian, a co-owner of Ten Mothers Farm in Cedar Grove, who previously ran the CSA program at Transplanting Traditions.

The old system is no longer viable. Farmland is vanishing. During a twenty-year period from 1992–2012, the American Farmland Trust documented some thirty-one million acres of farmland lost to urban and rural development. In North Carolina, the average farmer is sixty years old, according to a 2017 agricultural census; nationally, there are six times as many farmers over age sixty-five as there are under thirty-five. In the near future, many of today’s farmers will fund their retirements by selling their land to developers. Their large legacy farms, which have in some cases raised livestock and commodity crops for generations, will vanish.

There are lots of factors at play, but the bottom line is that, for new farmers, margins are tighter than they used to be.

Land costs are rising, and unpredictable weather patterns associated with climate change are reducing crop yields.

Vera Fabian, a co-owner of Ten Mothers Farm in Cedar Grove CSAs allow farmers to reduce packaging and transportation costs, which puts more money back in their pockets.

Fabian says she’s seen a trend of younger farmers developing smaller operations with less overhead and less risk, much like the one-acre farm she and Gordon Jenkins started in 2015. CSA programs enable them to leverage support from their communities in ways bigger farms can’t.

This, she says, may be the future of farming.

But a sustainable supply chain will also require us to throw away less food away. Nearly a third of all food produced around the world, and half produced in the U.S., ends up in a landfill.

Farms account for some of this waste—less than 20 percent— but the bulk comes at the consumer level, from households to restaurants to grocery stores that toss “defective” produce.

Here again, innovators are tackling this problem in creative ways.

In June, the five-year-old Baltimore-based company Hungry Harvest—a recipient of a $100,000 prize on the TV show Shark Tank—which repurposes food that would have

PHOTO BY JADE WILSON

otherwise been discarded, merged with the Durham-based produce-delivery service Ungraded Produce. The company, which has locations in Raleigh, Detroit, New York City, Miami, and other big cities, encourages farmers and growers to embrace the idea that a bruised peach or apple is still valuable—and edible—and delivers these imperfect products to consumers.

Most grocery store chains don’t accept suboptimal produce, so farmers don’t bother harvesting these fruits and vegetables but instead till them back into the soil to recycle their nutrients. For many farmers, the so-called ugly produce movement might seem like a fad; for their livelihoods, it’s far less consequential than rising land costs and declining crop yields.

Still, these things go together: Reducing farm waste and stimulating the local food economy is one small step in rethinking how we produce what we eat and decrease the carbon footprint it leaves behind. And in the process, we might just make farming a viable enterprise again. food@indyweek.com INDYweek.com | 8.28.19 | 17

indymusic

Brother’s Keeper

LITTLE BROTHER’S COMEBACK ALBUM IS BOTH COMFORTING AND RADICAL BY BRANDON SODERBERG LITTLE BROTHER: MAY THE LORD WATCH 

[Aug. 20; Imagine Nation Music/For Members Only/EMPIRE]

YOUR WEEK. EVERY WEDNESDAY. FOOD • NEWS • ARTS • MUSIC

INDYWEEK.COM 18 | 8.28.19 | INDYweek.com

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lmost right after the release of Little Brother’s May the Lord Watch, someone—surprise, surprise—said something super dumb about it on Twitter: that Phonte sounded like Drake. Of course, it’s the other way around. The Durham duo of Phonte and Big Pooh, which is reuniting—still sans original producer 9th Wonder—at Raleigh’s Hopscotch Music Festival in September, has a wide-enough influence that many people already knew that. (From pre-fascist Kanye to sturdy J. Cole, it’s tough to imagine today’s self-effacing, self-righteous rap without Little Brother.) Still, Phonte was typically amused by the ill-informed young gun.

“Lol. Kids say the darndest things,” he tweeted. So yeah, May the Lord Watch, released last week after a nine-year album gap, is for the fans that already know.

Gooey boom-bap meets exuberant, reasonable R&B on busy beats from producers Focus, Khrysis, Nottz, and other people who aren’t 9th. They soundtrack relationship rhymes about being grown, appreciative, and still confused a lot of the time.

May the Lord Watch also resurrects 2005 classic The Minstrel Show’s “UBN” concept, satirizing corporations cashing in on blackness. While this is comfort food for LB obsessives, it also recasts the group’s pointed comedy as a precedent for post-woke absurdism (think Paul Beatty’s The Sellout or Donald Glover’s Atlanta).

In-jokes and meta-commentary abound, evoking the casual charm and camaraderie of debut The Listening, which makes this “comeback” feel more like a proper sendoff than 2010’s defiant, unsentimental “retirement” record, Leftback. May the Lord Watch is for those who are growing

Little Brother: May the Lord Watch up, trying to be mindful, and making do— so, most of us.

Pooh is a model of scrappy vulnerability, rapping about driving Uber for extra cash, cooking breakfast for his girl, and how he’s still a little giddy to have a cult rap career.

And Phonte, whose joy in rapping permeates every artful or tossed-off rhyme, is melancholy or impervious, depending on the winding couplet. Here are a few lines about a friend who is fucking around: “He admitted, ‘My sex drive is fuckin’ me’ / Man’s in recovery / But relapse into a pair of double D’s / Somewhere inside a fuckin’ DoubleTree / Right outside Montgomery.”

Phonte is a chronicler of aging—“Sittin’ Alone” is a whole song about how most things, but especially the internet, are exasperating—and a chronicler of the age.

On “Black Magic (Make It Better),” he and Pooh celebrate the little things (watching ESPN, eating lemon-pepper wings) while unspooling a long history of escaping exploitation, going independent, getting free and well, and doing the work. Like the rest of May the Lord Watch, it’s both comforting and radical, the latest paradoxical commandment from a funny, hard-rapping institution few thought we’d see return. music@indyweek.com

indystage

CRAIG ROBINSON

Friday, Aug. 30–Sunday, Sep. 1, various times, $32–$82 Raleigh Improv, Cary www.improv.com/raleigh

Practical Joker

WHETHER HE’S FILMING WITH EDDIE MURPHY OR VOICING A PUBIC HAIR, FOR CRAIG ROBINSON, WORK IS WORK

BY ERIC TULLIS

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“There’s definitely a buzz among comedians and everyone. It’s Eddie Murphy, bruh.”

here will be plenty of familiar faces in director Craig Brewer’s upcoming Netflix film, Dolemite Is My Name, which depicts the life of outlandish musician, comedian, filmmaker, and actor Rudy Ray Moore (Eddie Murphy) on his quest to turn his equally raunchy stage character, Dolemite, into a blaxploitation film star.

One of the actors in the film’s star-studded lineup is Chicago comedian, actor, and musician Craig Robinson, who stars as Ben Taylor, a member of Dolemite’s entourage.

While fondly remembered for his recurring role as the Dunder Mifflin warehouse foreman Darryl Philbin on the hugely successful television show The Office, and as the car-thieving Doug Judy (aka “The Pontiac Bandit”) on a later hit show, Brooklyn Nine-Nine, Robinson’s breakout moment was in the 2007 comedy Knocked Up, where he played the sensitive club doorman who delivered the unforgettable line, “I can’t let you in ‘cause you old as fuck. For this club—not, you know, for the Earth.”

That deadpan charisma and comedic timing has landed him many TV and film roles since then, including various voiceover work in animated projects such as The Cleveland Show, Shrek Forever After, Sausage Party, and, more recently, the bizarre Netflix series Big Mouth, a cult classic in the making, in which Robinson voices one of the main character’s pubic hairs. This weekend, Raleigh Improv offers multiple opportunities to see the Hot Tub Time Machine traveler’s comedy in raw stand-up form, and he made time for a chat with the INDY before his arrival.

INDY: OK man, so, did you ever think that you would make it to a place in your career where you could play the voice of a pubic hair?

CRAIG ROBINSON: [Laughs] I can’t say I envisioned that one. But there were a couple of moments in my mind where I thought that anything was possible and that I could be doing something that falls under that category.

Your acting career has been peppered with a good amount of voiceover work. Why do you think that comedians gravitate toward and do so well as voiceover actors?

I don’t know anything about gravitation, but I do know that everybody is looking to get a job. As comedians, we got that timing, man. There are regular actors that are just as good.

But, in my mind, you have to start from a serious place, and then let the comedy take over. I think that people are looking for comedians to do that. People need to laugh.

In Dolemite Is My Name, your character’s name is Ben Taylor. Who was he to Dolemite?

He sang the theme songs to his movies, and he was in Dolemite’s inner circle.

What were your experiences like with Eddie Murphy before and during the filming of Dolemite Is My Name?

I’m a massive fan. I met him when I played a character in Shrek Forever After called Cookie the Ogre. During Dolemite, he was just very engaging with everyone. I could have never dreamt that I would be doing this with him.

It’s been reported that Eddie Murphy may sign a $70 million deal with Netflix for a stand-up comedy special. Have you gotten a sense of how the comedy community feels about a comeback like this? And what advice would you give to someone making a comeback on this grand of a scale?

I only know just what you said. There’s definitely a buzz among comedians and everyone. It’s Eddie Murphy, bruh. I think that he could just go out and talk, really. You know what he should do? He should just have people in the crowd throw out names, because he knows and has a story about everybody. Prince.

Luther. Everybody. I’m going to tell him that. It’s a great idea.

Craig Robinson

PHOTO COURTESY OF THE ARTIST

Was it ever intimidating or challenging at first?

It all falls under “work.” Before I got into doing voiceovers, I would hear the term “mailbox money” a lot, meaning that you show up for work, you don’t work too hard or too long, and the checks just come. That definitely interested me. But the work excited me. It’s not why I got into the business, but it is a fun part.

Jay and Silent Bob Reboot is coming out—how does it feel to be a part of two films coming out around the same time that are both cult classics in their own right?

I didn’t even know that that was coming out soon. I didn’t do much in the movie. I was only there for like a day.

Dolemite seems to be one of the few times that you’ve been a part of an all-black cast. Is that refreshing to someone like you, who, some would say, has been typecasted throughout his career as the lone funny black guy?

Yeah, I loved it. It was great. But I haven’t been typecasted. I think people get me for my comedy and for my talent.

Typecast?

In addition to touring as a standup comedian, you and your band, The Nasty Delicious, also hit the road from time to time. Where would rank yourself among comedians who are also musicians?

Dead last, probably. Donald Glover would probably be number one. arts@indyweek.com INDYweek.com | 8.28.19 | 19

indyscreen

VHSTIVAL

Thursday, Aug. 29–Sunday, Sep. 1, $5 per screening Alamo Drafthouse, Raleigh www.drafthouse.com

CINEMA OVERDRIVE: TRAILERPALOOZA STRIKES BACK! Wednesday, Aug. 28, 7 p.m., $7 The Carolina Theatre, Durham www.carolinatheatre.org

Obsolete Elite

TWO LOCAL FESTIVALS TAP INTO RETRO OBSESSIONS WITH VHS TAPES AND CULT-CLASSIC TRAILERS

BY ZACK SMITH

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his week, the Triangle becomes a destination for gore, explosions, and all that is gratuitous upon the silver screen with two events forged in loyalty to obsolete media: Alamo Drafthouse’s VHStival and The Carolina Theatre’s Cinema Overdrive program “Trailerpalooza Strikes Back!”

Any real history of film must encompass video, as anyone who grew up in the eighties and nineties will tell you.

For many, a love of movies was forged not in the multiplex or art house, but in Blockbuster Video (or, if you lived in the Triangle, local concerns like Video Bar, North American Video, and VisArt Video). New releases, employee recommendations, and random picks forged pizza-and-soda-fueled memories in front of the family VCR—along with less-fond memories of fees for late returns and forgetting to rewind.

Josh Schafer, the manager of the Video Vortex at Raleigh’s Alamo Drafthouse, knows this love as well as anyone.

“VHS really changed the game in filmmaking and distribution,” he says. “It brought films into people’s homes for the first time ever. It’s a medium for art; it contains so much culture, so many types of films. It really is a window into another time.”

Schafer’s obsession feeds into his VHS-centric publication Lunchmeat, his curation of the seventy-five thousand VHS tapes in Alamo Drafthouse’s Video Vortex rental archive, and his oversight of the annual VHStival, a celebration of VHS and VHS culture.

Now in its second year, running August 29–September 1, the festival features screenings of films whose fates were inextricably entwined with the home-video format. There are films that were released in theaters but popularized through rentals, such as restored versions of the “evil twin in a box” cult classic Basket Case and the violent superhero parody The Toxic Avenger. There are underground favorites that were traded around on tapes, such as the hilarious concert-crowd documentary Heavy Metal Parking Lot and the found-footage classic Girls at the Carnival. There are straight-to-video oddities, including the first-ever theatrical screening of Linnea Quigley’s Horror Workout, which features the scream queen teaching aerobics, and will be augmented by an aerobics class in the theater lobby. There are modern VHS movies by the Delaware art collective Trashmonger Video. There will even be an appearance by legendary cult-movie critic Joe Bob Briggs.

There’s also sub-programming like the Found Footage Film Festival and a plethora of events, including a tape 20 | 8.28.19 | INDYweek.com

VHStival

PHOTO COURTESY OF ALAMO DRAFTHOUSE

swap for people looking to unload or augment their old collections and a “Sink the Titanic” game where people can toss VHS copies of James Cameron’s hit at an inflatable ship. (Cameron’s film had a massive push on tape just a few years before DVDs came out, resulting in a massive surplus in video stores well into the 2000s.)

Why, when so many movies from so many eras are available to stream, are people still fascinated with the videotapes of decades past? Schafer believes it extends beyond mere nostalgia.

“There are thousands of things on VHS, not just movies, but local television archives, home video, and so much more, that are just waiting to be discovered,” he says. VHStival is a chance to not only see the movies, but also to “just hang out, meet other people who remember these things, and discover something new and amazing.”

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t’s been a long, strange trip for Adam Hulin, who curates the cult-film mini-festival Cinema Overdrive at The Carolina—a trip spanning multiple North Carolina cities, venues, and theater closings. Now, as Cinema

Overdrive celebrates its tenth anniversary, it’s coming back to where it began with “Trailerpalooza Strikes Back!” on August 28.

The program features 155 TV spots and trailers, drawing from every film Cinema Overdrive has played, an eclectic list mixing exploitation, martial arts, horror, thriller, and, occasionally, even things that might be considered highbrow. The trailers are not only a nostalgic look back, but also a tremendous source of entertainment in themselves, with campy taglines, tons of action and violence, and a lot of the best parts of the films they represent. (An odd rule of thumb for low-budget fare is that the weaker the film, the better the trailer.)

The event celebrates ten years of official monthly screenings, though Hulin has been running the series sporadically since 2002, when he and Matt Pennachi cofounded it as a spinoff of the other “Retro” film programs at The Carolina.

“We started pooling our resources to find thirty-five-millimeter prints of older movies,” Hulin says. “The people who owned the rights to these movies could give you permission to screen them, but they didn’t necessarily own a copy themselves, so you’d have to track them down.”

Eventually, they gained access to a variety of films beyond the horror flicks that were the backbone of the initial Retro programming, bringing in a variety of international films, from the sublime (Death Race 2000) to the ridiculous (the no-budget sci-fi film Lady Terminator) to buried treasure (a recent screening featured the never-released-on-video Joan Didion adaptation Play It as It Lays, long acclaimed by film critics, including Roger Ebert and Pauline Kael). In coming months, we’ll see Jane Fonda’s Oscar-winning turn in Klute and Chuck Norris saving America from a Communist takeover with roundhouse kicks in Invasion U.S.A. The series has had its ups and downs. Hulin moved to Texas for a few years to run a drive-in theater before selling it and launching the monthly version of Cinema Overdrive at Raleigh’s Colony Theater in 2009. When that closed, the series bounced around to multiple venues, including The Cary Theater and Raleigh’s Mission Valley Cinema.

Most recently, it’s been at the Alamo Drafthouse, alternating screenings with The Carolina.

“It’s been the longest route back to where [Carolina Theatre director] Jim Carl says we should have been in the first place,” Hulin says. arts@indyweek.com

screen

The Straight Dope

ADAM POLARIZES THE LGBTQ COMMUNITY—PLUS, JULIANNE MOORE IS A MENACE IN AFTER THE WEDDING

BY JAMES MICHAEL NICHOLS & GLENN MCDONALD ADAM 

Opening Friday, Aug. 30

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s a portrayal of queer romance, Adam, the polarizing directorial debut of Rhys Ernst, is both charming and deeply uncomfortable. The film follows the titular straight male protagonist (Nicholas Alexander) as he spends a summer in New York City living with his sister, a college student heavily involved in the city’s queer alternative underground. Through her circle of friends, most of whom seem to identify as lesbian or trans-masculine, Adam meets Gillian (Bobbi Salvör Menuez), a lesbian who likes his shy demeanor. They become involved in a romantic and sexual relationship, but under a false assumption

by Gillian that Adam is a transgender man, due to his somewhat androgynous features.

Instead of correcting the situation, Adam plays along, literally appropriating transgender identity in order to pursue his relationship with Gillian. As you might imagine, this premise is generating significant debate in the LGBTQ community (the film has four stars from Rotten Tomatoes critics and one star from hundreds of IMDB users), to the point that Ernst has started addressing the controversy in outlets from The Advocate to The Economist.

Adam is set in 2006, and some of its more squeamish moments make sense for a time period that was very different for many LGBTQ folks than 2019. But its premise is still unsettling; it’s both jarring and comedic to watch Adam try to grasp and perform elements of trans personhood that hold lifeand-death consequences for people who navigate the world as trans, nonbinary, or gender-nonconforming. There is a particularly cringe-worthy scene where he fumbles through using a strap-on to have sex with Gillian.

But that discomfort is certainly intentional on the part of the director, a former

Bobbi Salvör Menuez and Nicholas Alexander in Adam Transparent producer who grew up in Chapel Hill. Adam is most successful when Ernst tries to facilitate nuanced conversations that will feel familiar to those who navigate queer spaces and communities today: Does a trans person need to “out” themselves to every sexual partner? How do we stop the media from misgendering and dead-naming trans folks when they’re murdered?

The film feels a bit forced when trying to portray more dated conversations, like whether the fight for same-sex marriage was an assimilationist political tactic, but it deserves recognition for bringing difficult, complex conversations in the LGBTQ community to the big screen in a way that straight people will likely find non-alienating and insightful. It leaves the viewer wanting more accountability for a deeply disturbing set of choices on Adam’s part—and, as is later revealed, on Gillian’s. But overall, Ernst’s film is timely and vital, as storytellers wrestle with how to portray the layers of nuance in trans experience through an accessible lens.

—James Michael Nichols

PHOTO COURTESY OF WOLFE RELEASING

AFTER THE WEDDING 

Opening Friday, Aug. 30

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here’s a moment in After the Wedding, a gender-flipped remake of the 2006 Danish drama, when Julianne Moore unleashes all of her firepower as a screen performer, and I swear my heart actually stopped for a beat. I can’t be certain without an EKG, but I’m convinced she managed to biologically interrupt my circulatory system. I’m totally serious. When Moore in on point, she’s a public-safety hazard.

It’s one of several powerful performances in the film, which follows the intertwined fates of three people: Moore as a high-wattage media mogul, Billy Crudup as her artist husband, and Michelle Williams as an American expat running an orphanage in India.

The orphanage needs money, and the mogul has it to give, but the husband’s past is generating some serious present-tense drama.

The story’s hard twists and turns require

industrial-strength suspension of disbelief, but the performers drill down to the tricky emotions beneath the artifice.

This is one of those films where the actors simply outshine the script. Writer-director Bart Freundlich (The Myth of Fingerprints) makes a bold choice by gender-swapping the three principal roles from the original film. But the structural changes introduce complications regarding plausibility that put too much force to the story’s central twist.

The upside is that we get to see Moore and Williams at work, doing what they do best. Each takes a different approach to the high-wire character work required.

Moore’s frenetic energy caroms off of Williams’s deep stillness, yet they both find a way into the pulse of each beat, each scene, each revelation. Crudup and Abby Quinn expertly fill the spaces in between. After the Wedding is more successful as a showcase than a story, but what a show. Bring your meds, just in case. —Glenn McDonald arts@indyweek.com INDYweek.com | 8.28.19 | 21

screen

ABBAS KIAROSTAMI: A RETROSPECTIVE Friday, Aug. 30–Thursday, Sep. 5 The Carolina Theatre, Durham www.carolinatheatre.org

The Last Giant

UNPRECEDENTED ACCESS TO THE GREAT IRANIAN FILMMAKER ABBAS KIAROSTAMI, THE SUBJECT OF A RETROSPECTIVE AT THE CAROLINA THEATRE, ELEVATES GODFREY CHESHIRE’S NEW BOOK BY LAURA JARAMILLO

T

his week, The Carolina Theatre offers a rare, expansive retrospective of the Iranian filmmaker Abbas Kiarostami. We reached the New Yorkbased, North Carolina-bred film critic Godfrey Cheshire by phone to talk about his new book about the filmmaker, Conversations with Kiarostami. Released this year

by Woodville Press, the book collects three decades’ worth of Cheshire’s interviews with the filmmaker.

Born in Tehran in 1940, Kiarostami started making films in the 1970s and, by the 1990s, became world-renowned for his highly poetic cinematic style, which often used documentary techniques to narrate the fictional dramas of children and socially outcast figures; these small dramas open out onto existential meditations. Shot in northern rural Iran, the Koker trilogy— Where Is the Friend’s Home? (1987), And Life Goes On (1992), and Through the Olive Trees (1994)—is widely considered by critics to be the pinnacle of the director’s artistic achievement.

Though many filmmakers fled Iran after the 1979 revolution, Kiarostami felt his life’s work was deeply rooted in the country; he made films there until his death in 2016. With unprecedented access to both Kiarostami and Iran, Cheshire provides a look into the director’s filmography that is both sweeping and intimate. In talking, the INDY learned more about Kiarostami’s films, his significance to world cinema, and some surprising local film history.

INDY: Your new book reflects not only an exhaustive knowledge of Kiarostami’s films, but also a deep friendship. How did you become friends with the director?

GODFREY CHESHIRE: I started writing about Iranian cinema when Film Comment asked me to write about the first festival of post-revolutionary films that was held in New York in 1992. I was very enthusiastic that I had the chance to meet Kiarostami in 22 | 8.28.19 | INDYweek.com

Abbas Kiarostami

PHOTO COURTESY OF THE CAROLINA THEATRE

New York with Through the Olive Trees in 1994. The film authorities in Iran liked what I was writing about Iranian cinema, so they started inviting me to come to their annual film festival, the Fajr Festival.

The first time I went there, I met Kiarostami and went to his home. He was very friendly to the “foreign guests,” as they’re called at the festival. I went back to Iran [in 1997] and spent the summer there to study Iranian cinema. I think our friendship really increased during that time, due in part to his generosity.

I wanted to interview him about all of his films, one by one, and I think I may be the only one who’s ever done this. He gave me a lot of time, and then, when he had to go off to the Locarno Film Festival, I realized we didn’t have time to finish at the pace we were

going, so he invited me to ride up to the village of Koker with him, and we would talk all the way there and back. It was about a fivehour drive through Iran. Our friendship was really sealed then. I would see him regularly after that, in places around the world and in Iran as well, and he was always generous with me, very warm. The book, in addition to being a document of the progression of his career, is also a record of our friendship.

What do you see as the importance of the upcoming Kiarostami retrospective at The Carolina Theatre?

I see his work as dividing roughly into three periods of fifteen years each. The first period I call the Kanoon period, because this is when he was working there, and almost all

of his films were done for Kanoon [Institute for the Intellectual Development of Children and Young Adults], and most of them focused on children. The second period is what I call the “masterworks period,” which begins with Where Is the Friend’s Home?, the first film in the Koker trilogy, which was the first film to really gain him international attention. From then on, there was steady and mounting international attention.

The third period starts with ABC Africa in 2001, which premiered at The Carolina Theatre in Durham. It was the only time Kiarostami ever premiered a film in the United States. [It was] at my invitation at the DoubleTake Documentary Film Festival, which later became Full Frame. It’s

great that these films are coming to the Carolina for the retrospective after that event, the only time he ever visited the American South, and the only time his films ever had their international premiere in the United States.

This selection that’s going to be at The Carolina is a very good representation of the masterworks period, the peak of his work.

It’s a good introduction to those who have not seen them, and for those who have, it’s a welcome chance to return to them. One of the great things about this series is that it’s the first occasion people have had to see the Koker trilogy together. Up until now, different companies have owned the rights, and they’ve very rarely been shown together. I think the trilogy is one of his most impressive and enjoyable achievements.

For Western audiences who may have never seen a Kiarostami film, what would you say we could learn about cinema and about Iran from seeing these films for the first time?

It’s a way into one of the most remarkable film cultures that people have very little access to [in the U.S.], but certainly one of the world’s great film cultures, one of the world’s great national cinemas. But also, it’s a way into one of the great creative artists of cinema and its whole history.

When I was in New Orleans, I was talking to this art curator, and he said to me, “The importance of Kiarostami is that he is one of the last giants to come along. In the art world, Warhol was the last giant. In the film world, Kiarostami is the last giant.” I thought that was a very interesting way of putting it. He really is someone who represents the peak of a certain kind of art filmmaking.

People in the West have a lot to learn about Iran and the Middle East through looking at Iranian cinema. I think it’s a great way of understanding a culture that most people here grow up knowing so little about in school, and about the incredible richness of Persian culture. At the same time, we have this geopolitical situation that is very volatile and depends on a lot of ignorance on the part of Americans as to what that part of the world is all about. Iran has had very serious conflicts with the United States, but has also been demonized by our government in certain administrations and the media for way too long. The picture that we get from the films is of a culture that is humanistic, philosophical, ancient, and very artistic in ways that illuminate our lives in the United States, as well as in Iran. arts@indyweek.com

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News • Music • Arts • Food

indyweek.com INDYweek.com | 8.28.19 | 23

24 | 8.28.19 | INDYweek.com

INDYweek.com | 8.28.19 | 25

8.28–9.04

WHAT TO DO THIS WEEK

The Raconteurs

TUESDAY, SEPTEMBER 3

THE RACONTEURS

PHOTO COURTESY OF THIRD MAN RECORDS

THURSDAY, AUGUST 29

ST. PAUL AND THE BROKEN BONES In June, St. Paul and the Broken Bones were set to headline Band Together, a benefit concert at Red Hat Amphitheater.

Days before, lead singer Paul Janeway underwent an emergency appendectomy and was advised to rest his voice on the night of the show. The seven other members of the Birmingham, Alabama octet performed an abridged set, but also chose to reschedule the full performance for August 29, which honors all original tickets. The Broken Bones made waves in the early 2010s with their self-released EP, Greetings from St. Paul and the Broken Bones, which mixed modern production with blues and soul influences, much like The Black Keys or Alabama Shakes. Janeway’s vehement vocals and passionate stage presence, matched by the group’s remarkable horn section, makes for one of the most sincere live acts of the last decade. Proceeds from the concert will go towards Inter-Faith Food Shuttle’s new facility in Durham. Raleigh’s The Connells will open, as will Terminator X, the former DJ of Public Enemy. —Sam Haw RED HAT AMPHITHEATER, RALEIGH 6 p.m., $20+, www.redhatamphitheater.com 26 | 8.28.19 | INDYweek.com

FRIDAY, AUGUST 30–SATURDAY, SEPTEMBER 21

THE CARRACK’S FINAL COMMUNITY SHOW The Carrack Modern Art’s annual community show is usually one of the most joyful times of the year in the Durham visual-art scene. But this year, it’s bittersweet, as it’s the final exhibit at the eight-year-old downtown-art lightning rod before it closes amid financial struggles in a city of skyrocketing expenses. The Carrack, always a welcoming home for local artists of all stripes and accomplishment levels, never feels more like a living room for Durham than during the community shows, which feature contributions from as many local artists as possible. Imagine the walls of the gallery all but completely covered by works that speak to our city as it sees itself. Imagine each of those many artists, from diverse social worlds, bringing their friends and family to congregate, particularly at the opening reception on September 6 and the closing reception on September 20. Then, imagine all that gone—but not yet. Now is a time to celebrate The Carrack’s ineradicable contribution to Durham before we all try to figure out what comes next. —Brian Howe THE CARRACK MODERN ART, DURHAM Various times, free, www.thecarrack.org

Releasing their first album in eleven years—and playing their first run of shows in nearly as long—The Raconteurs still bear all the hallmarks of Jack White’s signature brand of raw rock and roll. Whereas his recent solo records have strayed into more adventurous (if unfocused) territory, playing in The Raconteurs seems to sharpen White’s bluesy bluster. Co-founding singer Brendan Benson’s nose for knockout power-pop hooks bolsters the songwriting teamwork, with searing solos and a muscular rhythm section borrowed from The Greenhornes. Since connecting with Third Man Records nearly a decade ago, opener Olivia Jean has spent time fronting gothy garage outfit The Black Belles and backing the likes of White, Wanda Jackson, and Stephen Colbert. Her newly released second album follows the trend of her eclectic and poppy solo work, expanding on The Belles’ rock with girl group vocals, surf riffs, and psychedelic fuzz.

—Spencer Griffith RED HAT AMPHITHEATER, RALEIGH 7 p.m., $35, www.redhatamphitheater.com

THURSDAY, AUGUST 29

CHAKA KHAN Chaka Khan’s half-century-long career of commanding and penetrating vocal distinction has spawned generations of soul, funk, and R&B disciples, from Whitney Houston to Erykah Badu and Janelle Monáe. But mostly, we love the Chicago-raised former Black Panther—who would later become the leading lady of the majority-white band, Rufus—for the lively musicality and range she brought forth during her reign in the 1980s, in which she released nearly one album per year and won five Grammy Awards. From those years, we got the anthemic “I’m Every Woman,” the cautionary “What Cha’ Gonna Do For Me,” and the jazz-stretched “Be Bop Medley,” to name only a fraction of her megahits. Personally, the first concert I ever attended was Chaka Khan’s 1983 performance at an ampitheater in Austin, Texas, where, perched on my Uncle Bubble’s shoulders, I was introduced to the magnificence of a musical queen whose name meant “woman of fire.” She’s been aflame ever since. —Eric Tullis NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $50–$75, www.ncartmuseum.org

Chaka Khan PHOTO COURTESY OF THE NORTH CAROLINA MUSEUM OF ART

WHAT ELSE SHOULD I DO? ART FOR A NEW UNDERSTANDING: NATIVE VOICES AT THE NASHER (P. 33), ABBAS KIAROSTAMI: A RETROSPECTIVE AT THE CAROLINA THEATRE (P. 22), CINEMA OVERDRIVE AT THE CAROLINA THEATRE (P. 20), HIGH LIFE AT THE RUBY (P. 36), HUSH HUSH AT OKAY ALRIGHT (P. 35), MIPSO AT NCMA (P. 29), TOMMY ORANGE AT THE DURHAM ARTS COUNCIL (P. 34), CRAIG ROBINSON AT RALEIGH IMPROV (P. 19), VHSTIVAL AT ALAMO DRAFTHOUSE (P. 20)

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM INDYweek.com | 8.28.19 | 27

SA 8/31 MIPSO W/ ROBERT ELLIS

Chocolate Lounge & Juice Bar

Regina Gale Sat 8/31 Jud Hair Fri 9/6 Kim Lane Ryan Bonner Sat 9/7 Fri 8/30

CD Launch Party

FTU 9/10 BLACK PUMAS ($15/$17 TH 9/12: WUNC MUSIC PRESENTS: HC MCENTIRE, ALICE GERRARD, JOHN HOWIE JR, TATIANA HARGREAVES. PREVIEWING KEN BURNS’ NEW DOCUMENTARY SERIES “COUNTRY MUSIC" R 9/13 WHO’S BAD - THE ULTIMATE MICHAEL JACKSON TRIBUTE BAND

Tokyo Rosenthal

SU 9/15 PENNY & SPARROW

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

MO 9/16 CAT POWER

Fri 9/13

W/ CAROLINE SPENCE

WANDERER TOUR 2019”

SA 8/31 @ NORTH CAROLINA MUSEUM OF ART

MIPSO

W/ ROBERT ELLIS WE 11/27: LA DISPUTE,

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

TOUCHE AMORE, EMPATH

TH 9/19 SNOW THA PRODUCT

FR 12/6 OUR LAST NIGHT

FR 9/20: THE FAB FOUR AT 55: ACROSS THE UNIVERSE ($10)

TH 12/12 TWIN PEAKS

W/ LALA LALA AND OHMME

SA 9/21 WHITNEY W/ HAND HABITS

SA 12/14 HORTON'S HOLIDAY

TH 9/26 THE MOTET W/ MELLOW SWELLS

HAYRIDE: THE REVEREND HORTON HEAT, VOODOO GLOW

FR 9/27 RIDE

W/ THE SPIRIT OF THE BEEHIVE SA0 9/28 ABBEY ROAD LIVE! ( 50TH ANNIVERSARY OF "ABBEY ROAD" )

RECENTLY ANNOUNCED: Fleetmac Wood WED

8/28 THU

8/29 SAT

8/31 MON

9/2

THU

9/5

KINDO Sirintip / Adrian Bellue / Rocco of The Snow

Road to Shakori with ASHLEY HEATH & HER HEATHENS

Emily Musolino / Chris Frisina

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

4th Annual Motorco’s 4th Annual Motorco’s Labor Day Shrimp Boil! Labor Day

SHRIMP BOIL!

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

FRI

9/6

THE 4TH ANNUAL SOPHOMORE SLUMP FEST 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: SAT

9/7

SUN

9/8

TUE

9/10 THU

9/12 FRI

9/13 SAT

9/14

THE 4TH ANNUAL SOPHOMORE SLUMP FEST Madball, Silent Planet, Chamber, Vatican, Shame Spiral, Green Fiend, 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

BoDeans / Andrew Winter Duke Science & Society presents

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

featuring Little German Band SUN Cat’s Cradle presents 9/15 BLEACHED / The Paranoyds / Hey Champ!

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

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

28 | 8.28.19 | INDYweek.com

TU 10/1 MT JOY W/ SUSTO SA 10/5 ELECTRIC SIX

TH 8/29 SONG TRAVELER’S WRITER’S NIGHT JOE NEWBERRY, JESS KLEIN AND WYATT EASTERLING (HOST) FR 8/30: PROGDAY FRIDAY PRESHOW: DEVIL'S STAIRCASE, BRUTEUS

TH 8/29 @ NORTH CAROLINA MUSEUM OF ART

CHAKA KHAN

WE 10/16 THE CACTUS BLOSSOMS W/ ESTHER ROSE ($15) SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS WE 10/23 CITY OF THE SUN W/ OLD SEA BRIGADE TH 10/24: SWERVEDRIVER FR 10/25 HOVVDY, KEVIN KRAUTER, AND CAROLINE SAYS ( $12/$14) SA 10/26 CAT CLYDE ($12/$15)

SU 10/6 BUILT TO SPILL- KEEP IT LIKE A SECRET TOUR ($28/$32)

SA 8/31 ONE HIT WONDERS

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

MO 10/7 LUNA PERFORMING PENTHOUSE W/ OLDEN YOLK

TU 9/3 THE GODDAMN GALLOWS/ BRIDGE CITY SINNERS

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

TH 10/10 WITT LOWRY ($16/$18)

TU 9/5 LIZ COOPER & THE STAMPEDE W/ HARPOONER

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

FR 9/6 BENJAMIN FRANCIS LEFTWICH ($15/$18)

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

SU 9/8 QUINN CHRISTOPHERSON W/ ANGELICA GARCIA

WE 10/16 MELVINS AND REDD KROSS

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

MO 9/9 THE NATIONAL PARKS AND WILD

WE 11/20 KING BUFFALO ($10)

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

TU 9/10 LULA WILES W/ MK RODENBOUGH ($10)

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

TH 9/12 DR BACON W/ EMLY MUSOLINO

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

SOLD OUT

SU 10/20 THE BAND CAMINO

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

W/ VALLEY

SU 9/15 SERATONES

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

TU 9/17 SHOOK TWINS

WE 10/23 OH SEES W/PRETTIEST

TH 9/19 KOLARS // THE SH-BOOMS

EYES, NO WHAMMY

FR 9/20 DESTROY BOYS

TH 10/24 KISHI BASHI

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

FR 10/25 STIFF LITTLE FINGERS

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

W/ THE AVENGERS

SA 10/26 KNOCKED LOOSE

W/ ROTTING OUT, CANDY, SEEYOUSPACECOWBOY

TH 9/26: PALM PALM (J RODDY WALSTON'S NEW BAND)

WE 10/30 WIZARD FEST

FR 9/27 LESLIE STEVENS

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

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

W/ HARMONY WOODS

FR 11/8 THE DIP ($15/ $18) SA 11/9 INFAMOUS STRINGDUSTERS W/ KITCHEN DWELLERS TU 11/12 CURSIVE / CLOUD NOTHINGS / THE APPLESEED CAST WE 11/13 KIKAGAKU MOYO W/ MINAMI DEUTSCH ($15/$17) TH 11/14: TURNOVER

/ MEN I TRUST

FR 11/15 ALLAH-LAS W/ TIM HILL ($17/$20) SA 11/16 GAELIC STORM SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20) MO 11/25 NEW FOUND GLORY

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

SU 9/29: CARRBORO MUSIC FESTIVAL HIP HOP STAGE MO 9/30 JONAH TOLCHIN TUE 10/1 THAT 1 GUY WE 10/2 B BOYS TH10/3 BLANCO WHITE SA 10/5 TYRONE WELLS W/ DAN RODRIGUEZ ($17/$20)

FR 11/15 BLACK MIDI ($13)

LD SO TH 12/5 JUMP LITTLE CHILDREN OUT

ARTSCENTER (CARRBORO) TU 9/24 BOB MOULD (SOLO) W/ WILL JOHNSON WE 9/25 HOLLY BOWLING FR 10/25 JONATHAN WILSON ($20/$22 ) TH 11/14 ROBYN HITCHCOCK (SOLO) WE 11/20 SAN FERMIN ($18/$20) KOKA BOOTH AMPHITHEATRE (CARY) SA 9/21 MANDOLIN ORANGE W/MOUNTAIN MAN WE 10/16 WILCO CAROLINA THEATRE (DUR) TH 9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES MOTORCO (DUR) SU 9/15 BLEACHED W/ THE PARANOYDS AND HEY CHAMP! ($15/$17) SU 9/29 THE REGRETTES ($15) MO 9/30 GENERATIONALS W/ NEIGHBOR LADY TU 11/12 TR/ST NORTH CAROLINA MUSEUM OF ART TH 8/29 CHAKA KHAN SA 8/31 MIPSO W/ ROBERT ELLIS SA 9/14 SNARKY PUPPY WE 9/25 RHIANNON GIDDENS AND FRANCESCO TURRISI THE RITZ (RAL) (PRESENTED IN ASSOCIATION W/ LIVENATION)

WE 10/9 ELDER ISLAND

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

FR 10/11 HANK, PATTIE & THE CURRENT SA 10/12 O'BROTHER W/ THE END OF THE OCEAN AND HOLY FAWN ($14/$16) TU 10/15 MIKE WATT & THE MISSINGMEN ($15)

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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.

THU, AUG 29 RED HAT AMPHITHEATER St. Paul and the Broken Bones; $20+.

6 p.m.

CAT’S CRADLE BACK ROOM Joe Newberry, Jess Klein, Wyatt Easterling; $20. 7 p.m.

THE CAVE Zealotrous, Ghost of Saturday Night, Orphan Riot; $5 suggested. 9 p.m.

LINCOLN THEATRE

Stunna 4 Vegas [$23–$35, 8 P.M.] Fresh off of a Carolina Music award win, Stunna 4 Vegas

Mipso

SATURDAY, AUGUST 31

MIPSO

headlines Lincoln Theatre.

The Interscope artist is most often associated with Charlotte frontrunner Da Baby, but the two have equally contributed to the hip-hop Renaissance that’s currently happening in the Carolinas. Within less than a year, the twenty-threeyear-old Stunna has achieved enormous success and fame, consistently dropping wellreceived tracks. With Blacc Zacc. —Kyesha Jennings

Local Americana band Mipso seems born to play such splendidly sylvan settings as the North Carolina Museum of Art’s amphitheater.

On the string band’s fourth album, last year’s Edges Run, bright harmonies and textured arrangments mingle with intimate, engaging songwriting. Despite a string of stellar studio releases, the band is still best experienced live. Without proof of studio wizardry, their live sets captivate with warmth and charm. Robert Ellis sweetens the bill with an opening set that’s likely to draw heavily from his latest record, Texas Piano Man. A career-redefining release inspired by Liberace’s spirit and Bill Evans’s playing, the album marries a wry sense of humor to the troubadour’s bold melodies. It’s also Ellis’s best yet: Fun, lively pop romps thrive alongside his incisive songcraft. —Spencer Griffith THE NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $22–$35, www.ncartmuseum.org

LOCAL 506 Marbin; $10-$12. 8 p.m.

MOTORCO Ashley Heath and Her Heathens, Emily Musolino, Chris Frisina; $8. 8:30 p.m.

PHOTO COURTESY OF THE ARTIST

INDYweek.com | 8.28.19 | 29

Stunna 4 Vegas performs at Lincoln Theatre on Thursday, August 29.

NC MUSEUM OF ART Chaka Khan; $55-$75. 8 p.m.

NEPTUNES PARLOUR SE Ward, Minor Moon, JPHONO1; $10. 10 p.m.

NIGHTLIGHT Governance, SWIM, Cevra; $7. 9:30 p.m.

THE PINHOOK Southern Fried Queer Pride Hawt Sauce; $7. 10 p.m.

POUR HOUSE Local Band Local Beer: 11 Echoes, Clever Measures, Dead Casual; $5. 9 p.m.

THE RITZ Stunna 4 Vegas, Blacc Zacc; $28+. 8 p.m.

FRI, AUG 30 ARCANA Andrew Ryan; 9 p.m.

BLUE NOTE GRILL 8-Track Minds; $8. 9 p.m.

Your Week.

Every Wednesday. indyweek.com 30 | 8.28.19 | INDYweek.com

CAT’S CRADLE BACK ROOM The Devil’s Staircase, Bruteus; $10-$12. 8:30 p.m.

THE CAVE Pacific, A.C. Lee; $5 suggested. 9 p.m.

PHOTO COURTESY OF INTERSCOPE RECORDS

THE KRAKEN Mystery Hillbillies; 9 p.m.

CAT’S CRADLE BACK ROOM One Hit Wonders; $8. 8 p.m.

LINCOLN THEATRE War Within A Breath, Applied Science, Flies In The Vasoline; $12. 9 p.m.

THE CAVE Whatever Whatever, Black Horse Run, Andrew Ryan; $5 suggested. 9 p.m.

LOCAL 506 Get Sad Y’all; $10. 8 p.m.

KINGS

Gray Young [$10, 9 P.M.] Gray Young, one of the Triangle’s most underappreciated acts, celebrates the release of Wake, the band’s first LP in six years. On that album, the atmospheric riffs and slowly built tension common in post-rock epics is boiled down into bite-size, briskly paced songs that turn on a dime. Tracks like “Dark Heart Alarms” are charged with a welcome dose of aggression as the veteran trio races to an explosive climax. Lacy Jags and Youth League round out a terrific bill of dynamic, risk-taking rockers. —Spencer Griffith

THE PINHOOK Sucka Free; $10. 10 p.m.

POUR HOUSE Little Stranger, Apples & Airplanes, Skyblew; $5-$10. 9 p.m.

SHARP NINE GALLERY Jim Ketch Swingtet; $20. 8 p.m.

SLIM’S Steve Hartsoe & The Beacon Souls, Featherpocket, The Yardarm; $5. 9 p.m.

THE STATION Rod Abernethy, Darby Wilcox; $5 suggested. 8 p.m.

SAT, AUG 31 ARCANA Lynn Grissett & Friends, Akili; $7 suggested. 9 p.m.

BLUE NOTE GRILL Willie Painter Band; $8. 9 p.m.

STORYBOOK FARM

ProgDay

[$80–$155, VARIOUS TIMES] We can’t attest to everything that long-haired men with arcanely tuned electric guitars and a command of modal harmonies are doing in fields, but after operating continuously since 1995, the annual ProgDay festival has a serious claim to being the longestrunning prog-rock festival in the world. For two days at Chapel Hill’s Storybook Farm, it’s like—well, we were about to say it’s like the seventies never ended, but that’s not fair, as ProgDay admits plenty of modern post-rock and other

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music strains into its time capsule of the heyday of bands like King Crimson and Yes and Rush. This year’s acts include the symphonic IZZ, Italy’s jazz-influenced Accordo Dei Contrari, the former Frank Zappa guitarist Mike Keneally, and the metally fusion of France’s MÖRGLBL. —Brian Howe SATURDAYS IN SAXAPAHAW Chatham Rabbits; free. 6 p.m.

KINGS No Borders, No Masters: WVRM, Needle Vacant Company, Huffer, Control Group; $10. 8:30 p.m.

MOTORCO Valleys, Discoveries, Infirma, Seeking Solace; $8. 7:30 p.m.

NC MUSEUM OF ART Mipso, Robert Ellis; $25-$35. 8 p.m.

THE PINHOOK Severed Fingers, Cold Cream, No Whammy; $8. 9 p.m.

THE PINHOOK

Severed Fingers [$8, 9 P.M.] “You can describe it however you like. I’ll keep playing songs for you to describe,” writes Durham band Severed Fingers on its Facebook page.

We’d describe it as workingclass outlaw country with a smoldering seam of fire and brimstone, in the lineage of

Townes Van Zandt and Waylon Jennings, but filtered through a contemporary punk idiom.

Narrative and sloganeering, the songs are light-footedly anthemic and energetically rollicking. On this bill, Severed Fingers is joined by localstar-studded punk band Cold Cream, which features members of Flesh Wounds and Pipe’s Ron Liberti, as well No Whammy!, a “surf/ spazz” instrumental band from Winston-Salem. —Brian Howe POUR HOUSE Abby & The Echoes, 49 Winchester; $5-$10. 9 p.m.

THE RITZ Intocable; $35. 8 p.m.

SLIM’S Corgi, Will Orchard, Max Gowan, To Julian; $7. 8 p.m.

MON, SEP 2 NEPTUNES PARLOUR The Future Generations, Foxture; $10-$12.

8:30 p.m.

POUR HOUSE Frank Giovetti; $6-$8. 8:30 p.m.

RALEIGH LITTLE THEATRE Raleigh Symphony Orchestra; $14$19. 3 p.m.

TUE, SEP 3

CAT’S CRADLE BACK ROOM The Goddamn Gallows, Bridge City Sinners; $12-$15. 8 p.m.

RED HAT AMPHITHEATER The Raconteurs, Olivia Jean; $35+.

7 p.m.

SLIM’S Catbamboo, Echonest; $5. 9 p.m.

THE STATION Fenwick, Velvet Sky; $5 suggested. 8 p.m.

WED, SEP 4

SUN, SEP 1

THE CAVE Hollywood Horses, Bodyshots, Puddle Cuddle; $5 suggested. 9 p.m.

KOKA BOOTH AMPHITHEATRE New Reveille, Andrew Duhon; $5. 5:45 p.m.

Arcana Brightleaf, Infielder; 8 p.m.

LINCOLN THEATRE NIKE vs.

Adidas Party; $15-$30. 10 p.m.

THE PINHOOK Nebula, Sasquatch; $10. 9 p.m.

POUR HOUSE Katie Henry Band; $5. 2 p.m.

STORYBOOK FARM ProgDay; $80–$155. Various times .

THE RITZ In This Moment, New Years Day, HellzaPoppin Sideshow Circus, Ded; $35. 6:30 p.m.

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

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

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

Join the INDY Press Club at KeepItINDY.com.

Us, Today performs at ProgDay on Sunday, August 31.

PHOTO COURTESY OF THE ARTISTS

INDYweek.com | 8.28.19 | 31

9.3 9.4 9.5 9.6

David Mizejewski Attracting Birds, Butterflies, and Other Backyard Wildlife 7pm James Dean Pete the Cat and the Perfect Pizza Party 6:30pm SOLD OUT Mary Doria Russell The Women of Copper Country 7pm AN ARTS & LECTURE SERIES EVENT: Sarah Rose Etter w/ Jeff Jackson The Book of X 7pm JUST ANNOUNCED:

9.7

Felicia Day Embrace Your Weird 7pm at NCSU’s Hunt Library TICKETS REQUIRED 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! SA 8/31 TH 9/5 SAT 9/21 SUN 9/22 TH 9/26 10/ 3, 4, 6 SUN 10/13

NO SHAME THEATRE – CARRBORO RICHARD SMITH ALICE GERRARD, ALLISON DE GROOT AND TATIANA HARGREAVES KIM SO RA: A SIGN OF RAIN POPUP CHORUS (ELTON JOHN) MANHATTAN SHORT FILM FESTIVAL BOMBINO AND VIEUX FARKA TOURÉ: SONS OF THE SAHARA

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THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS

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32 | 8.28.19 | INDYweek.com

August 29, 2019 – January 12, 2020

nasher.duke.edu/voices 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.

art

8.28–9.04

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

THURSDAY, AUGUST 29

ART FOR A NEW UNDERSTANDING: NATIVE VOICES, 1950S TO NOW

“There is no one way to be a Native artist,” writes Kathleen Ash-Milby, an associate curator at the Smithsonian National Museum of the American Indian. Consciousness about representation underscores the Nasher’s new exhibit, which charts the evolution of indigenous American art during the past seventy years. Made up of approximately sixty pieces, this sweeping survey begins mid-century, with the rise of Native American modernism, and features the works of George Morrison and Daphne Odjig, among others. It continues through the civil rights movement and the American Indian Movement, with works by James Luna, Edgar Heap of Birds, and Jolene Rickard. And it proceeds to contemporary artists like Jeffrey Gibson, Andrea Carslon, and Brian Jungen, the latter of whom came up with exhibit’s titular language. The exhibit was developed by the Crystal Bridges Museum of American Art in Bentonville, Arkansas; at the opening reception on August 29, curator Mindy Besaw, who co-organized the exhibit, will lead a talk at the Nasher. The exhibit runs through January 12. —Sarah Edwards

THE NASHER MUSEUM OF ART, DURHAM 5:30–9 p.m., free, www.nasher.duke.edu

OPENING

ONGOING

The Carrack’s Final Community Show Aug 30-Sep 21.

Reception: Sep 6, 6-9 p.m.

The Carrack Modern Art, Durham. thecarrack.org.

150 Faces of Durham Photos.

Thru Sep 3. Museum of Durham History, Durham.

Cary Gallery of Artists: All Creatures Great and Small Aug 30-Sep 24. Reception: Aug 30, 6-8 p.m. Cary Gallery of Artists, Cary. carygalleryofartists.org.

Raymond Goodman: Burlap Photography. Sep 3-Oct-3.

Reception: Sep 5, 5-8 p.m.

Smelt Art Gallery, Pittsboro.

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.

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

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

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

José Manuel Cruz: COLORICAN Various media.

Thru Oct 11. NCCU Art Museum, Durham.

Kristen DeGree Screenprints.

Thru Sep 9. Durham Arts Council, Durham.

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

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.

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

Casey McGuire Installation art.

Thru Aug 31. Artspace, Raleigh.

“The Storyteller: The Artist and His Grandfather” by Norval Morrisseau PHOTO COURTESY OF THE NASHER MUSEUM OF ART

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arts

CO NT’D

page

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

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

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

FRIDAY, AUGUST 30

THE ETHICS OF NOW: TOMMY ORANGE

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

Tommy Orange arrived like a firebrand last year with his debut novel There There, a sprawling, ambitious opus on identity and experience.

The book begins with an opening essay that Orange describes as a “prayer from hell,” and then goes on to closely follow twelve Native American characters, Faulkner-style, as they travel to the Big Oakland Powwow. Orange is an enrolled member of the Cheyenne and Arapaho Tribes of Oklahoma who attended the MFA program at the Institute of American Indian Arts; he writes that the Pulitzer-nominated book was written with an intention to “counter to the way the American narrative has been told.” He kicks off the Kenan Institute for Ethics’ annual “Ethics of Now” series with a conversation with Duke’s Adriane LentzSmith. —Sarah Edwards

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.

DURHAM ARTS COUNCIL, DURHAM 7 p.m., free, www.kenan.ethics.duke.edu

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

READINGS & SIGNINGS

Tilden Stone: Southern Surreal Furniture. Thru Sep 8.

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

Betty Bell Brown Pretty Much: A Memoir. Sun, Sep 1, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

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

James Dean Pete the Cat and the Perfect Pizza Party.

Wed, Sep 4, 6:30 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

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.

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

Tommy Orange PHOTO BY ELENA SEIBERT

David Mizejewski Attracting Birds, Butterflies, and Other Backyard Wildlife. Tue, Sep 3, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Matt Stansberry Rust Belt Arcana. Readings and tarot.

Thu, Aug 29, 8 p.m. Arcana, Durham. arcanadurham.com.

LECTURES, ETC. Deondra Rose & Lydia Lavelle Author Deondra Rose in conversation with Carrboro mayor Lydia Lavelle. Wed, Sep 4, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e

SEPARATION AGREEMENTS Mu s i c Bu s i n eDIVORCE ss Law UNCONTESTED In c o r p oBUSINESS r a t i o n / LLAW LC / MUSIC Pa r t n e r s h i p INCORPORATION/LLC Wi lls WILLS

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stage

FRIDAY, AUGUST 30

HUSH HUSH

“When I was fifteen, pop lyrics about ‘going all night’ made me think sex lasted about eight hours. I didn’t learn otherwise until I was in college.”

“My parents owned a crematorium, and I know they disposed of bodies for the mob.” “I’m not ready to turn forty.” Everybody’s got a secret, but Mettlesome’s improv comedy series Hush Hush lets us get them off our chests—anonymously—and get some comedic distance on them, to boot.

After audience members write their deepest secrets on slips of paper and put them in the Bucket of Truth, a rotating cast of eight selects them at random to make on-the-spot improvised sketches. “A lot of the time, people keep secrets they’re ashamed of,” says producer Jack Reitz. “One of the group’s goals is to remove the shame, show people they’re not alone, and celebrate the differences we have.” Reitz notes the experience can be cathartic: “It allows us permission to see a secret part of someone else’s life, and laugh while doing so.” —Byron Woods

OKAY ALRIGHT, DURHAM 9 p.m., free, www.thisismettlesome.com

Hush Hush

OPENING Craig Robinson Comedy. $32.

Aug 30-Sep 1. Fri: 7:30 p.m. & 9:45 p.m Sat: 7 p.m. & 9:30 p.m. Sun: 7 p.m. Raleigh Improv, Raleigh. improv.com/raleigh.

Rod Man Comedy. Aug 30-Sep 1. Fri-Sat: 7:30 p.m. & 10 p.m. Sun: 7 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

The Scottsboro Boys Theatre Raleigh. Musical.

Sep 4-15. Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com.

Last Thursday Spoken word. $10. Thu, Aug 29, 7 p.m. The Fruit, Durham.

ONGOING Comedy in a Cave Comedy. $5 suggested. Wed, Aug 28, 8 p.m. The Cave Tavern, Chapel Hill. caverntavern.com A Gentleman’s Guide to Love & Murder Thru Sep 1. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

PHOTO COURTESY OF METTLESOME

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 8.28.19 | 35

screen SPECIAL SHOWINGS The Big Lebowski Sat, Aug 10.

Party: 6 p.m. Film: 8:30 p.m.

NC Museum of Art, Raleigh. ncartmuseum.org.

Abbas Kiarostami: A Retrospective Full schedule online. Aug 30-31.

Carolina Theatre, Durham. carolinatheatre.org.

Creepshow Tue, Sep 3, 2 p.m. & 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Grease Wed, Sep 4, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

High Life Screen/Society.

Free. Thu, Aug 29, 7 p.m.

Rubenstein Arts Center, Durham. ami.duke.edu.

Long Day’s Journey Into Night Screen/Society. Free. Fri, Aug 30, 7 p.m. Rubenstein Arts Center, Durham. ami.duke.edu.

The Proposal Full Frame Road Show. Thu, Aug 29, 7 p.m. Full Frame Theater Durham Rear Window Tue, Sep 3, 5 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Running Man Wed, Sep 4, 4 p.m. & 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Stand By Me Mon, Sep 2, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

A Star is Born $5. Fri, Aug 30, 8:15 p.m. Koka Booth Amphitheatre Cary boothamphitheatre.com.

Trailerpalooza Strikes Back Wed, Aug 28, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

THURSDAY, AUGUST 29

HIGH LIFE

French auteur Claire Denis’s first Englishlanguage film pulls no punches. Robert Pattinson and Juliette Binoche join a motley crew of death row inmates on an interstellar suicide mission to extract energy from a black hole. Though Denis has distanced herself from political interpretations of the film, its bleak portrayal of the struggle to survive with no home and no future is an unmistakeable response to our apocalpytic times. The oblique style of narration can make the details of the sci-fi plot hard to follow, and the claustrophobic ugliness of the prisoner’s ship (designed by artist Olafur Eliasson), coupled with harsh sound design (a baby crying felt like shards of glass in my ear canal), creates a singularly unpleasant experience. Yet a profound empathy for the film’s damned protagonists permeates every frame. High Life will undoubtedly traumatize you, but there is no more vital viewing for a world on the brink. —Ryan Vu

RUBENSTEIN ARTS CENTER, DURHAM 7 p.m., free, www.artscenter.duke.edu

High Life PHOTO COURTESY OF A24 David Crosby: Remember my Name—The Byrds singer gets his due in this rock-doc about his tumultuous road to rehabilitation and beyond. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Unstarred films have not been reviewed by our writers.

VHStival Film screenings, special guests, VHS swaps, and more. Aug 29-Sep 2.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

½ Angel Has Fallen—In the third installment of the Fallen franchise, secret agent Mike Banning is framed for the president’s murder. Rated R.

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

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

OPENING  Adam—Reviewed on page 21. Rated PG-13.  After the Wedding— Reviewed on page 21. Rated PG-13.

36 | 8.28.19 | INDYweek.com

Blinded by the Light—Bruce Springsteen’s lyrics hold the meaning of life for a PakistaniBritish 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. —Neil Morris  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 ½Good Boys—The evolution of coming-of-age comedies is that the subjects keep getting younger. In this Superbad for tweens, a trio of sixth-grade BFFs have misadventures as they try to find the cool-kids party. The profuse profanity is cut by the kids’ infectious charm. 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 Luce—A young man from Eritrea, adopted by an American couple, is the star of his school until a teacher makes a discovery in his locker that leads to a charged exploration of race.

Rated R. Maiden—The first all-female sailing crew admitted to the elite Whitbread race around the world is the subject of this inspiring biopic. Rated PG.  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

½ Ready or Not—Samara Weaver plays a new bride drawn into a brutal game of hide-and-seek with her husband’s wealthy family in this class-ragey, genreblurring horror-comedythriller. Rated R.

 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

Spider-Man: Far from Home— It’s a bedrock truism that a superhero story is only as good as its villain. Everyone knows this, except, evidently, the screenwriters of Far From Home. Mysterio’s motivations are entirely and conspicuously dumb. Rated PG-13.

 The Peanut Butter Falcon—This heartwarming Tom-and-Huck tale features a breakout performance by Zack Gottsagen, who has Down Syndrome, and a soulful Shia LaBeouf. Rated PG-13. —GM

 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.

indyclassifieds NOTICES

BODY • MIND • SPIRIT

NOTICE OF CITY OF DURHAM MUNICIPAL PRIMARY AND CITY OF RALEIGH MUNICIPAL ELECTION

re-register. Registered voters who have moved or changed other information since the last election should notify the Board of Elections of that change by Sept. 13, 2019.

Tuesday, October 8, 2019. The Primary Election for Durham City Council will be held in Durham County, NC on Tuesday October 8th. City of Durham Mayor will not be on the primary ballot. All City of Durham precincts will be open from 6:30 am until 7:30 pm.

Precinct 26 – Rougemont will not be open because no city area lies within this precinct. 17-year old City of Durham voters who are registered and will be 18 years old on or before Nov. 5, 2019 may vote in Durham’s Primary. The following contests will be on the City of Durham ballot: Durham City Council At-Large (3)

SAME DAY REGISTRATION: Voters are allowed to register and vote during early voting. It is quicker and easier to register in advance, but if you have not registered you can do so during One Stop voting with proper identification. This same day registration is not allowed at polling places on Election Day.

The following contests will be on the City of Raleigh ballot: City of Raleigh Mayor Raleigh City Council – At-Large (2) Raleigh City Council – District E ABSENTEE ONE-STOP (EARLY VOTING) LOCATIONS South Regional Library North Regional Library Criminal Justice Resource Center NCCU Law School, 4505 S. Alston, Ave., Durham 221 Milton Rd., Durham 326 E Main St., Durham 640 Nelson St., Durham. Early voting schedule: Wednesday, Sept. 18th through Friday, Oct. 4, 2019.

Hours are consistent at all four early voting sites.

Weekdays: 8:30 a.m. to 6:00 p.m.

Saturdays: 8:30 a.m. to 1:00 p.m.

Sundays: Noon to 4:00 p.m.

ELECTION DAY POLLING PLACE LOCATION CHANGE Precinct 16, previously located at Holy Infant Catholic Church has moved to Jordan High School, located at 6806 Garrett Rd., Durham.

Precinct 19, previously located at the American Legion Post # 7 has moved to Merrick-Moore Elementary School, located at 2325 Cheek Rd., Durham.

Precinct 48, previously located at Christ the King Church has moved to Woodcroft Club, located at 1203 W Woodcroft Pkwy., Durham.

Precinct 53-2, previously located at Triangle Church has moved to Barbee Chapel Baptist Church, located at 5916 Barbee Chapel Road, Chapel Hill.

VOTER REGISTRATION DEADLINE: The voter registration deadline for the October 8, 2019 Primary Election is Friday, September 13, 2019 (25 days prior). Voters that miss the registration deadline may register and vote during the Absentee One-Stop Voting Period (Early Voting). Voters who are currently registered need not

Information regarding registration, polling locations, absentee voting, or other election matters may be obtained by contacting the Board of Elections.

Website: www.dcovotes.com Email: elections@dconc.gov Phone: 919-560-0700 Fax: 919560-0688 PAID FOR BY DURHAM COUNTY BOARD OF ELECTIONS

NOTICE OF DISSOLUTION

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.

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.

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www.harmonygate.com holistic health TAI CHI

Traditional art of meditative movement for health, energy, relaxation, self-defense. Classes/workshops throughout the Triangle. Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-360-6419 or www.magictortoise.com

EMPLOYMENT PROCESS DEV ENGINEER NEEDED - DURHAM

Process Development Engineer (Durham, NC): Research, evaluate & dvlp materials for LED mfg using knowl of solid- state physics, materials science, & chemistry. Perform experiments & studies, incl selecting materials & chemicals to achieve optimum component performance.

Analyze & interpret data & present results. Perform failure analysis of substandard or failed parts, incl chemical make-up analysis through the use of FTIR, DSC, SEM, & EDS techniques. Bach’s in Materials or Chemical Engg or related reqd.

Resumes: Cree, Inc. Attn: Allyson Van Gorder, 4600 Silicon Dr., Durham, NC 27703, Ref. #6715.

FTCC ACCEPTING INSTRUCTOR APPLICATIONS

Fayetteville Technical Community College is now accepting applications for the following positions: Gunsmithing Instructor - Music Instructor -Network Management: Microsoft & Cisco Instructor. 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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FOR SALE auctions AUCTION - COMMERCIAL PROPERTY

Receivership Auction of Commercial Lots, Acreage & Shopping Center in Avery & Caldwell Counties, NC, Begins Closing 9/10 at 2pm, See website for Bid Center Location, ironhorseauction. com, 800.997.2248, NCAL 3936

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

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METAL ON METAL HIP PATIENTS

Did you receive a metal-on-metal hip replacement? Have you had a recent revision surgery, or need one soon? Do you have questions about your legal rights? For a free, confidential consultation, call: Egerton Law, Greensboro, NC 800-800--4529. Ask for Attorney Lawrence Egerton or Attorney Emily Beeson www.EgertonLaw.com

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming September 18:

DURHAM COUNTY/SOUTH DURHAM For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 8.28.19 | 37

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

38 | 8.28.19 | INDYweek.com

8.28.19

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

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

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

INDYweek.com | 8.28.19 | 39

IMPROVE THE SOUND OF YOUR VOICE www.laureceweststudios.com

919-286-1916 @hunkydorydurham We buy records.

Now serving dank beer.

DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

LEARN TAI CHI THIS FALL!

Improve balance, flexibility, strength. New classes start in Sept and Oct throughout the Triangle.

Visit www.taoisttaichi.org for details. 919-787-9600

MOVE YOUR BUSINESS AHEAD™ www.easilycreative.com

WHAT IS THIS?

Well, it’s not an ad, but you’re still reading it! Contact Amanda at classy@indyweek.com to place YOUR ad

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

HISTORY TRIVIA: •On August 29, 1969, the first issue of the “Mini Page” was published in the News and Observer.

Created by UNC graduate Betty Debnam, the fourpage weekly feature engaged young readers through fun and educational activities.

•On September 3, 1585, English voyager Ralph Lane described the Virginia Colony, which included present day NC, as “the goodliest soile under the cope of Heaven.”

Courtesy of the Museum of Durham History

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UPCOMING SPECIAL ISSUES Sep 4

Hopscotch

Oct 23

Trick & Treats Issue

Sep 11

Fall Arts Preview

Oct 23

FINDER: Newcomers Guide

Sep 25

Pride

Nov 6

Fall Style

Oct 9

Business Spotlight: Local brands

Nov 20 Deep Dive: Wake County

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