INDY Week 9.6.17 by INDY

Raleigh 9|6|17

Now in year eight, a scrappy local festival has become one of Raleighâ€™s biggest attractions PAGE 13

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WHAT WE LEARNED THIS WEEK 6 “I think I defy a lot of stereotypes that people have about a union boss.”

VOL. 34, NO. 34

9 Thirty-three N.C. municipalities have district council members elected citywide. Durham is by far the largest. 10 Low-income residents were just forced out of Forest Hills Apartments in Garner. Others will soon be removed from two apartment complexes in Raleigh as well. 13 Some musicians at early iterations of Hopscotch have gone from small-venue acts to main-stage headliners. 14 Solange and Margo Price are stylistically diverse but find common ground in addressing life on the margins. 28 Durham’s new Ethiopian restaurant, Goorsha, takes its name from an Amharic term referring to feeding another person as an act of love. 30 The seeds of the ArtCurious podcast lie in an art history professor’s casual assertion that the Mona Lisa is a fake.

DEPARTMENTS 6 Triangulator 9 News 13 Hopscotch 28 Food 30 Arts & Culture 34 What to Do This Week 37 Music Calendar 41 Arts & Culture Calendar ON THE COVER: DESIGN BY SHAN STUMPF

Your dogs will love La Farm Bakery’s Carolina Golden Rice Loaf as much as you will (see p. 29). PHOTO BY ALEX BOERNER

INDYweek.com | 9.6.17 | 3

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf STAFF WRITERS Thomas Goldsmith,

Erica Hellerstein, Sarah Willets

MUSIC EDITOR Allison Hussey COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Alex Boerner CHIEF CONTRIBUTORS Drew Adamek, Elizabeth

Bracy, Timothy Bracy, Michaela Dwyer, Spencer Griffith, Corbie Hill, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Angela Perez, Hannah Pitstick, Noah Rawlings, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERN Maddy Sweitzer-Lammé

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers

CIRCULATION

CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, David Cameron,

Michael Griswold, JC Lacroix, Richard David Lee, Joseph Lizana, James Maness, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Marshall Wade, Gerald Weeks

ADVERTISING

ADVERTISING DIRECTOR Shannon Legge SENIOR ACCOUNT EXECUTIVES Lee Coggins,

Ele Roberts, Sarah Schmader

ACCOUNT EXECUTIVES Stephanie Miller,

Joshua Rowsey

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owe

backtalk No Magic Solution

We got a lot of impassioned feedback on Victoria Bouloubasis’s story last week about The Lakewood, an upscale Durham restaurant that opened in a working-class neighborhood. We’ll begin with Len Stanley, who writes: “I loved the article about The Lakewood. Having lived in Lakewood over beth nine years, it especially hit home. I was so Spencer delighted to see Bouloubasis use such an Sayaka is, Angela unorthodox—but very creatively appropriBryan C. ate—method of reviewing a restaurant: take avid Ford some local neighborhood people and see ck Wall what they think of it. My question becomes, why, with such an upscale customer base and such ms expensive food, does this restaurateur not locate on Ninth Street? Or why not downtown, amid the trendier, more upscale restaurants? Why displace the art Hispanic community even avid Lee, further from the homes and Nair, heart of Durham? I suspect , that [owner Phoebe Lawless] would not want to pay the prices of the places she has the luxury of affording. It’s not the cost of the food itself that I find objectionable. It’s that she has han a choice that the community she’s not accommodating does not have. And she’s 200 making them pay, not her.” “This is a great article,” adds Scott Harmon. “It does not shy away from the complexities of these dilemmas, for which there k.com are no easy answers. Every solution has eek.com certain costs and benefits, and this com1972 pels us to thoughtfully look at each situation and consider all of the consequences. This is a refreshing article to see in the e INDY because it doesn’t package the whole issue into a tidy, incendiary tomato to throw. Rather, the article is willing to leave us uncomfortable, realizing that no one has a single, magic solution that solves all of the needs of community, progress, economics, and fairness. And kudos to Phoebe, who’s willing to work on the issues she can, even if she can’t solve all of them. I suspect that’s how meaningful change and community

actually happens.” Commenter thisaft, meanwhile, takes issue with our characterizing the Lakewood neighborhood as “traditionally Hispanic”: “I fully acknowledge that our food-obsessed town is often tripping over itself in congratulations for opening new restaurants (and hotels) that many people, myself included, can rarely afford to visit or even feel especially comfortable visiting. That being said, I’m really interested in how people are defining gentrification and assigning ‘tradition’ to neighborhoods in the city. I think many are heavily influenced by the ‘newness’ of so much of the population in this town— especially those who come and work in the (or create) media. “They are defining tradition as anything that was here before them, and gentrification as anything new that happens after they moved here. It’s like everyone is living in their own microhistory and no one takes a moment to step back and look at the bigger picture and history of Durham. For instance: in the mid-1990s, people identifying as Hispanic made up only 1 percent of the population of the city, around two thousand people. So the idea that specific neighborhoods are ‘traditionally’ Hispanic is only accurate if ‘tradition’ began around twenty years ago.” “As a Lakewood resident and somebody who grew up in a segregated city in the South, I’m grateful to be able to walk to The Lakewood, Azteca Grill, the delicious Tiendita Dos, and a Food Lion,” writes Durhamfam. “Diversity, not just new great restaurants, is what makes Durham special. It’s a dangerous assumption to lay claim to any one neighborhood for any one group of people or any one kind of food.”

“They are defining tradition as anything that was here before them.”

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

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“I

triangulator THE BOSS

think I defy a lot of the stereotypes that people have about a union boss,” says MaryBe McMillan, the secretary-treasurer of the state AFL-CIO who, later this month, will run to become the state labor federation’s first woman president. She’s not wrong; her thin frame and stylish, close-cropped hair belie the image of unkempt rough-and-tumble types. But

INDY: Realistically, what things do you think the labor movement can pressure the Republican legislature to enact? McMillan: It’s hard to think realistically. I think that we can certainly continue to put pressure on this legislature to reinstate the earned income tax credit, raise the minimum wage, roll back the drastic cuts done to employment benefits that they made a several years ago—all of these things are popular with the people and citizens of North Carolina. I think that if we make some changes in 2018, we should be able to pass some concrete policies that will help working people instead of continuing to just give tax breaks to corporations and the wealthy. There’s been so much energy surrounding the resistance to the Trump administration. In what ways can the labor movement capitalize? One of the ways that we can really galvanize the energy that we see now is on a local level, urging people to get engaged in local elections, to really be engaged with the city council or the school board, in pushing the policies that will help working people in their communities. There’s also been a lot of conversation about white working-class workers in Rust Belt states voting for Trump. What do you make of that? We really need to talk to folks about what’s happening with the current administration and point out that policy after policy—all the things the Trump administration is doing that are hurting working people. I think we have to put the pressure on all political parties to speak up for working people and really focus on the economic issues that folks care about. I also think that we need to understand that it’s not Donald Trump or Bernie Sanders or Eliza6 | 9.6.17 | INDYweek.com

that doesn’t mean she’s not a fighter. McMillan got into organizing while she was a sociology graduate student at N.C. State, when she saw the university’s housekeepers being overworked and underpaid. As she got involved with the labor movement, she discovered how antagonistic North Carolina can be toward unions. Today, only about 3 percent of North Carolina

workers belong to a union. Yet she says she still sees an opportunity. To celebrate Labor Day, the INDY spoke with McMillan at length about her career, her ambitions, and why she thinks the labor movement is so important for workers. To read the full interview, go to http:// bit.ly/2gDS21E. Below are some highlights, edited for space and clarity.

beth Warren that’s going to save the middle class; it’s building a bigger, bolder working people’s movement. I think too often folks are looking for someone to fight for them or to fight for the working class, and we really need to stand up and fight for ourselves. One of the things you’ve focused on lately is the Fight for 15. What big initiatives are you eyeing for the next year? I think the Fight for 15 is a big fight. We have a coalition in North Carolina pushing our state to raise the minimum wage to fifteen dollars in five years. Again, the organizing at Duke [where adjunct faculty formed a union earlier this year] put pressure on the university to raise wages, and now they’re saying they are going to raise wages there to fifteen dollars an hour. I think we have the Fight for 15 and workers getting out into the streets to thank for Walmart, TJ Maxx, McDonald’s—everyone’s feeling the pressure to raise wages. And that would not have happened if working people had not joined together and taken action. To all the workers who feel like their employers are taking advantage of them, what would you say? Folks need to understand that unions are not some outside force. You are the union; it’s the workers in your workplace, by coming together you all get to have a voice at work, and you get to have a say in your working conditions, and in your hours, and in your leave policies. Union members are the folks that you sit next to in church, the parents at the Little League games, and they’re the folks that you interact with every day. We really need to do a lot to dispel stereotypes that people have of unions and union members.

External auditors hired by Wake County say that overrides or neglect by management could have been at fault as $2.3 million went missing from the Register of Deeds office between June 1, 2008, and March 31, 2017. The firm Elliott Davis Decosimo said in a report released Friday that it is Wake County’s responsibility to maintain internal controls over cash and other revenue taken in by the Register of Deeds office. The missing money has been the subject of a State Bureau of Investigation criminal probe announced in March by county manager Jim Hartmann and District Attorney Lorrin Freeman. Generally speaking, the auditors say, collusion or management flaws can lead to problems, including fraud. “Because of the inherent limitations in any internal control system, including collusion, management override of the control system, or neglect to follow established policies could result in errors, irregularities, or fraud occurring without being detected,” the auditors found. As an elected official, former Wake County Register of Deeds Laura Riddick, by tradition rather than law, had more control over her office then heads of other county departments. (Riddick retired in March, within a few days of the announcement of the SBI investigation, after more than twenty years in the office, citing poor health.) The law grants greater control to North Carolina sheriffs, but the situation regarding registers of deeds in North Carolina is less clear. In a 266-page insurance claim issued

PERIPHERAL VISIONS | V.C. ROGERS

earlier last week, director of internal audit John Stephenson said his department checked practices at several other Wake County departments during the period when cash was disappearing from the Register of Deeds office. “Beginning in December of 2014, Internal Audit performed a series of ten cash receipt reviews across the county, although none within the Register of Deeds office,” Stephenson wrote.

+BEHIND BARS, ON SCREEN The Durham County Detention Facility is implementing video visitation on October 15, the Sheriff ’s Office announced Friday. The pilot program has been in the works since 2013, when Durham County commissioners accepted a Justice Department grant to fund the program. The plan has been a source of concern for activists protesting conditions at the jail, who fear video will replace in-person visits and wouldn’t offer the same personal connection. “We’re still offering in-person visits,” Durham County Sheriff Mike Andrews said in a statement. “It’s also my responsibility to make sure the detention facility offers professional, modern, and courteous customer service. This technology offers detainees another way to connect with their families while they’re in custody.” Visitors who want to use the service will have to travel to the jail to use one of eight monitors in the lobby. The Sheriff ’s Office says it has no plans to assess a fee for using those monitors. According to the Sheriff ’s Office, detainees can currently schedule two twenty-

minute visits per week. They’ll be able to schedule a third using the video visitation system. Video visits will be available certain hours during the day Mondays through Thursdays, plus an hour-and-ahalf slot for in-person visits in the evenings. In-person visits are offered for four hours each on Saturdays and Sundays. A recent study by the Vera Institute found that detainees at Washington state prisons who received video visits saw an increase in in-person visits. But the report suggests that the benefits of video visitation hinge on whether the service is offered as an additional option to in-person visits and as an affordable, remote service that can be accessed from any computer. “Through all of these changes,” wrote researcher Léon Digard, “more needs to be done to ensure that technology is democratized in similar ways within custodial settings as it has been on the outside—available to everyone, unhampered by poor quality and high costs. At the same time, the right to in-person visits must not only be fiercely safeguarded, it should also be bolstered for the benefit of all people, both inside and outside of prison.” The Sheriff ’s Office says it “is considering whether to offer remote at-home visitation,” keeping the burden of potential fees in mind. “The Agency is sensitive to the financial demands placed on families. For this reason, the Sheriff ’s Office has not yet decided to offer at-home remote visits which could require a user fee.” triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Thomas Goldsmith, and Sarah Willets.

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WINSTON is our Pet of the Week! This super handsome young man has the largest eyes we’ve ever seen! They are captivating, and soften when he relaxes. He will need some TLC to show him he has nothing to be nervous about. His coat is gorgeous too. Will be SO worth the time to get to know each other! Winston is a shelter favorite, and we hope someone will find him just as adorable as we do soon. All cats and kittens are free to adopt this September! For more information: www.apsofdurham.org/cats/winston-2 If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 9.6.17 | 7

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True Wards

IS IT TIME TO CHANGE DURHAM’S UNUSUAL METHOD OF ELECTING SOME CITY COUNCIL MEMBERS? BY SARAH WILLETS Last week, residents of Durham’s McDougald Terrace took members of the influential People’s Alliance by surprise when they showed up at the PAC’s endorsement meeting and made an impassioned plea for Ward 2 city council candidate John Rooks Jr. Many expected that endorsement would go to Mark-Anthony Middleton; he’d already won endorsements from the city’s other two major political action committees and had earned the PA interview committee’s recommendation. But the residents of McDougald Terrace, the city’s largest public housing development, were able to sway PAC members in favor of the candidate they said represented their community’s interests. Jackie Wagstaff, the Durham County Democratic Party’s precinct 18 vice chairwoman and a former city council member, says that kind of campaign wouldn’t have been necessary if not for the city of Durham’s unusual and unintuitive method of electing ward representatives. “There has been a domination of the political scene in Durham based on this system,” says Wagstaff. “As long as this system is in place, candidates running for ward seats, even if they’re not popular in their ward, they can still get elected. … The residents had to come out and basically say, ‘We don’t want who y’all are choosing. We want our representation.’” Currently, Durham’s city council includes three at-large members and three members who represent a ward. The ward members must live in the district they represent, but, like the at-large members, they’re elected citywide. This setup ensures that council members aren’t all from the same part of town, but with about sixty thousand voters each, wards are broad in terms of geography and ideology. In April, Wagstaff introduced a resolution during the Durham Democrats’ annual convention in support of a true ward system for Durham, in which ward representatives are only elected by residents

“If you oppose gerrymandering, then you have to be against this for a town like Durham.” ILLUSTRATION BY SHAN STUMPF

of that district. The measure failed, but it was by no means a shutout, and as municipal candidates campaign on promises of equity, accountability, and reversing entrenched power structures, it’s worth considering whether the current system gives all residents equal influence and oversight of the council. The history of Durham’s ward system is one made more complicated by fading memories, legalese, and pre-digital records. But it seems ward representatives in Durham were elected this way nearly one hundred years ago. As early as 1921, Durham had at-large and ward members who were elected citywide, writes historian Jean Anderson— “a racist provision to prevent blacks from electing one of their number to the council” at a time when there were far fewer black voters. The same arrangement is codified in a 1924 version of Durham’s charter, and clarified in a 1975 version that was amended in 2001 to reduce the council from twelve seats to its current six. Today, wards with more black registered voters—1 and 2—are represented by black council members.

According to the UNC School of Government, thirty-two other municipalities in North Carolina have some council configuration that includes district members elected by the entire city or town, but none comes anywhere close to Durham’s size (the next largest is Hickory, with about forty thousand people). Major cities— including Charlotte and Raleigh—have representatives elected by the residents of their district. Wagstaff says the current system makes it difficult for “grassroots” and AfricanAmerican candidates to win a seat on the council and protects status quo incumbents who are able to appeal to “powers that be” outside of their ward. “It was set up so that there would never be a chance that an average everyday person could win a council seat,” she says. For proponents of the true ward system, it’s also an accountability issue. A candidate elected by a community to represent that community is beholden to those voters, and they can kick him or her out if they aren’t satisfied. Under the modified ward system, they need people across the city to agree. Wagstaff proposes adding a fourth

ward and another at-large seat to make each district smaller. Tom Miller, the Durham Democratic Party’s precinct 3 chairman and a PA PAC coordinator, argues that a true ward system doesn’t make sense for a city like Durham, where the electorate is diverse but generally unified in its values. Miller spoke against Wagstaff’s resolution in April. Having one council member wholly accountable to the residents of a ward is a “lousy trade-off” for having three ward representatives who need voters citywide to stay on the council, Miller says. As diverse as Durham is, he says, it’s a “fallacy” that wards could be drawn to reflect a particular group, neighborhood, or interest. “You might have a council member who would be more responsive, but you would create two or more wards who would be totally indifferent to the needs of people in a different geographic area,” he says. Furthermore, he says, a true ward system would be more vulnerable to political manipulation, rather than preventing outside money and influence from flowing in. “If you oppose gerrymandering, and if you oppose elected officials choosing their constituents rather than constituents choosing their elected officials, then you have to be against this for a town like Durham,” Miller says. The city could implement a true ward system through a charter amendment, which can be initiated by either a citizen petition or by the city council (and affirmed by a referendum, depending on the process). Wagstaff believes that change could be possible with the current slate of municipal candidates. “When those real progressive folks are sworn in, I think this conversation will be best suited for them,” she says. “They want to be inclusive. That’s what they talk about— equity. Are we being inclusive? Are we being equitable in how this system is set up? I think that’s when we’ll have that change.” swillets@indyweek.com INDYweek.com | 9.6.17 | 9

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Helter Shelter

THE SAGA OF FOREST HILLS APARTMENTS ENDED LAST WEEK. WAKE COUNTY’S AFFORDABLE HOUSING STRUGGLE CONTINUES. BY THOMAS GOLDSMITH

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Your week. Every Wednesday. News • Music • Arts • Food

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The residents of Forest Hills Apartments in Garner, no longer neighbors, left the complex for good Thursday and headed to new addresses throughout the Triangle and beyond. But their story—of being run out of their longtime, subsidized homes—has left a mark on the public debate about affordable housing in booming Raleigh and Wake County. City, county, and federal agencies are involved in the effort to make housing available to low-income people, but the hundreds of units coming online annually can’t match the thousands of people who need help. Even with the combined efforts of government and the private sector, some residents who left Forest Hills as its owner prepared to renovate it couldn’t find landlords who would accept their federal Section 8. The complex, under the new name Flats on 7th, was already advertising leases Thursday at monthly prices hundreds of dollars above what the subsidized residents had been paying. “We are losing more stock than we are creating,” says Wake County commissioner Jessica Holmes, who’s experienced homelessness and who is now leading the Board of Commissioners’ affordable housing efforts. Community activist Octavia Rainey, who first brought the residents’ situation to the attention of the county commission, was at the complex Thursday, when tensions between the soon-to-be-former tenants and landlord Eller Capital Properties came to a boil, presumably for the last time. The last handful of residents complained of having bleach spray fall on them as they

packed to leave, having a tow truck called on a resident who parked on the grass behind an apartment, and being subject to a nondisclosure agreement that kept them from talking to media. (In an email, landlord Daniel Eller said that the bleach washing was routine maintenance and that no one had been forced to sign a nondisclosure agreement.) “It’s been nasty from day one,” Rainey says. “I didn’t expect it to end pretty either.” It was March 20 when Rainey brought a dozen or so residents to appear before commissioners with their account of being given only days to move out, when some had lived in the complex for thirty years. Within days, Wake commissioners, school board members, and county human services officials met in a Garner church and started working on solutions. “I think the fact that they were so engaged meant they put a face on a problem that some commissioners had only ever encountered in theory,” Holmes says. “It really made us do a double take.” Officials sought to ensure that most Forest Hills residents could move into permanent housing, which often meant navigating complex regulations. The county commission set aside $25,000 so that residents could be put up in motels if housing arrangements weren’t ready by the time they had to leave, and Holmes promised residents that no one would wind up on the street. “There are eight families that are in motels,” Holmes says. "They also could use that money for storage units and U-Haul trucks. I feel good in that I kept my promise—no one is sleeping in a car tonight; no one is sleeping outside.”

“We are in an affordable housing desert.”

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Affordable housing advocates note that low-income residents will also soon be removed from the downtown Sir Walter Raleigh Hotel and from the Wintershaven Apartments on East Hargett Street. Sixty people live in one-bedroom apartments at Wintershaven, where assisted living units for older people cost $515 a month. With downtown Raleigh and nearby neighborhoods becoming more attractive to young professionals, low-income people have little chance of finding new housing in the neighborhoods where many of them grew up, Holmes says. Down the street from the Wintershaven Apartments, the Lincoln Apartments

advertise units from $1,218 to $2,202, while not far away on South Blount Street, digs at the SkyHouse can set renters back from $1,227 to $3,914 a month. Older people, like those being evicted from Wintershaven, will likely find that their Section 8 vouchers won’t go far anywhere close to where they’ve lived. Landlords are becoming ever more reluctant to deal with the relatively low payouts and extensive paperwork of Section 8, Rainey says. “We are in an affordable housing desert,” she says. “People are being priced out, forced out, and shut out.” tgoldsmith@indyweek.com

NEWS BRIEF

BACK IN THE SHADOWS With DACA on the block, local recipients are on edge On Tuesday, Attorney General Jeff Sessions announced that the Trump administration would end Deferred Action for Childhood Arrivals—the Obama administration initiative that protected some undocumented immigrants who arrived here as children from deportation and provided them with work permits—in six months. Ostensibly, this gives Congress time to codify the policy into law, but there’s no guarantee that will happen. Instead, the country’s eight hundred thousand DACA recipients remain in a sort of limbo. The INDY spoke with some local DACA recipients about what this program has meant to them and what they’re thinking now. Here’s some of what they told us. Reyna Gutierrez, a Raleigh high school junior: “I feel safer with DACA. Without DACA, I had a weight on my shoulder. I felt like, How am I going to be able to go to college and help my parents out? With DACA, I feel like I have a superpower that’s going to help me go through all of this and motivate me and help me show my parents that all they’ve done for me, they’ve done for a reason. … Right now, I’m just waiting to see what our president has to say about this. And either way he goes, if he stops it or if he does anything to it, I’m still going to be out there fighting for it no matter what his decision is.”

Wednesdays Aug. 2 - Oct. 25 • 5 pm - 6:30 pm Market Plaza between Wilmington & Fayetteville Street

Viviana Mateo, a senior at Wake Early College of Health and Sciences: “Me and my grandma would cry about how I would never go to college, because that’s what I had learned—that it was going to be hard for me because of my status, because we’re not rich. I would always cry to her, and she was like, ‘Don’t worry, God will open doors.” When I got the [DACA] letter, I started crying. It was a big accomplishment, a big relief that I was going to get something. I got in and I started going, and it honestly changed my life. … I’m tired of fighting. I know I’m not going to stop fighting. I feel like I’ve gotten my foot in the door. DACA has given me the chance to go to school. It gave me hope that I can work to pay for college, even if it has to be out-of-state tuition. Now that they could take this away, it’s like, I can’t go to school, I can’t work, what is supposed to become of me?” Diana Zeleta, a student at Durham Tech: “I just have one year left to finish [her associate’s degree]. Without DACA, I would be stuck. Knowing that you’re making all these plans to create a better future for yourself, and to be in a world where you have no control over what can basically destroy those plans. Students like me are working as hard as we can to get our degrees, get certified, not knowing if we’ll be able to finish that or pursue their career.” —Victoria Bouloubasis and Erica Hellerstein

Wednesday September 13th:

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POSTPONED

NCDOT PUBLIC MEETING REGARDING THE PROPOSED WIDENING OF I-40 AND THE PROPOSED IMPROVEMENTS AT I-40 AND N.C. 42 INTERCHANGE STIP Project Nos: I-5111 & I-4739 The N.C. Department of Transportation has postponed the public meeting regarding two projects to make improvements to Interstate 40 in Wake and Johnston Counties. The meeting will be rescheduled at a later date in October.

12 | 9.6.17 | INDYweek.com

HOPSCOTCH

GROWS UP W

e’ve now arrived at year eight of the Hopscotch Music Festival, and by now it’s become an esteemed local institution rather than a scrappy three-day throwdown. It feels like a family reunion weekend for local music nerds, and, on an even larger scale, it feels like North Carolina’s official end-of-summer blowout. Even within the past year, Hopscotch has made some significant changes. Greg Lowenhagen, who cofounded the festival with former INDY music editor Grayson Haver Currin, stepped down from his position as director last year. In his place, longtime local music fixture Nathan Price took the helm. Price has overseen the recent expansion of Hopscotch on multiple levels. This year, Saturday’s bill at Red Hat Amphitheater begins at 2:15 p.m. with a set from ZenSoFly, which means almost an extra half-day of programming. And, for the first time, there’s a full day of Hopscotch-official music on Sunday, too, rather than a hangover day-party or two. You can take in a full eight hours of No One Mind, Mount Moriah, Cass McCombs, and more at Red Hat. There’s also a new venue on the books, The Basement, a nicer name for a reconfigured exhibit hall on the lower level of the Raleigh Convention Center. The festival has also stretched on long enough that some of the smaller names on the bills have risen to become its biggest headliners. A solo Angel Olsen filled the 600-seat Fletcher Opera Theater in 2013, just a few months before releasing her earth-shattering LP Burn Your Fire For No Witness. This year, she tops the bill on Sunday at the Red Hat Amphitheater, which has a capacity of nearly six thousand. And then, there’s Future Islands, a semilocal favorite that has grown from packing the small, sweaty Berkeley Cafe to headlining the main stage at City Plaza Friday night. You don’t have to squint to see that this year’s Hopscotch is bigger and, quite possibly, better than ever. We eagerly hope it follows through on every front. —Allison Hussey

INDYweek.com | 9.6.17 | 13

HOPSCOTCH

S E PTE M B E R

WE 6 TANK – SAVAGE TOUR 7P TH 7- HOPSCOTCH SA 9 MUSIC FESTIVAL SA 16 JOHNNY FOLSOM 4 (TRIB TO JOHNNY CASH) W/ PINTO 7:30P

TU 19 RALEIGH DAY WE 20 JOHN MARK MCMILLIAN 6:30P TH 21 BATTLE OF THE BROKER BANDS 5P FR 22 THE BREAKFAST CLUB W/

SHOOT TO THRILL (AC/DC TRIBUTE) 8P

SU 24 MIKE GORDON

W/HUDSON MOORE 7:30P

TU 26 TH 28 FR 29 CHRIS ROBINSON NTWO IGHTS! SA 30 BROTHERHOOD

IBMA RAMBLE O C TO B E R

SU 1 HARD WORKING AMERICANS TU 3 MASTODON @ THE RITZ W/ EAGLES OF DEATH METAL

WE 4 THE FLOOZIES W/BOOMBOX TH 5 CHRIS KNIGHT 7P SA 7 HORSESHOES & HAND GRENADES / KITCHEN DWELLERS SU 8 TROYBOI TH 12 TRICKY W/ IN THE VALLEY BELOW FR 13 PANCAKES & BOOZE ART SHOW TH 19 COREY SMITH 7P FR 20 TURKUAZ W/ CON BRIO SA 21 CHICANO BATMAN/ KHRUANGBIN WE 25 LINCOLN PRESENTS GREENSKY BLUEGRASS AT THE MILLENIUM CENTER IN WINSTON-SALEM

FR 27 RUNAWAY GIN SA 28 QDR’S HOWL-O-WEEK HARVEST BALL W/

GARY ALLAN, CANAAN SMITH & LANCO

SU 29 LETTUCE @ THE RITZ

CO M I N G S O O N

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THE DEAD PHISH PANIC DJ KID CAPRI OTEIL & FRIENDS DEADPHISH ORCHESTRA GOBLIN SISTER HAZEL THE MAINE HOODIE ALLEN EKALI W/JOSH PAN/Y2K DOPAPOD & THE MOTET MIPSO W/LIL SMOKIES BROTHERS COMATOSE

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SOLANGE PHOTO BY TORE SÆTRE, MARGO PRICE PHOTO BY ANGELINA CASTILLO

FARM TO TABLE

TWO OF HOPSCOTCH’S HEADLINERS—SOLANGE AND MARGO PRICE—SHARE UNEXPECTED COMMON GROUND

opscotch isn’t short on bands that wear their politics on their sleeves. There’s Hurray for the Riff Raff, a New Orleans folk-rock act who’s been peddling T-shirts bearing the phrase “No Human Is Illegal,” Run the Jewels’ protest-heavy hip-hop, and Museum Mouth, which donated a recent cut of its Bandcamp sales to the Transgender Law Center, to name a few. But two of this year’s headliners—Solange, who performs at Red Hat Amphitheater on Saturday, and Margo Price, who tops the bill at City Plaza on Thursday—offer unexpected but complementary perspectives on marginalization. Released almost a year ago, Solange’s A Seat at the Table immediately gained high critical acclaim and topped Billboard charts. The soulful album is a study in

BY KAT HARDING what it is to be a black woman in America today. In a review for The Guardian, Emily Mackay called the record “an intensely personal testament to black experience and culture; the likes of ‘F.U.B.U.,’ ‘Mad,’ ‘Don’t Touch My Hair,’ and interludes in which her parents talk about their encounters with racism go deep.” The record is an essential, evergreen document of the experiences of black Americans, and in the immediate cultural moment—white supremacy and the fight against it at a fever pitch, Confederate statues coming down by edict or by force, A Seat at the Table feels even more vital than it did a year ago. On “Don’t Touch My Hair,” Solange laments, “They don’t understand/what it means to me/where we chose to go/ where we’ve been to know.” And she’s

right: A Seat at the Table is not “for” white listeners who don’t understand the generational or daily trauma inflicted on black Americans. She addresses the notion of who her record is for most directly on “F.U.B.U.”—“This shit is for us/Don’t try to come for us,” she sings. At the same time, the album offers cathartic comfort. “Mad,” with its gentle refrain of “Be mad, be mad,” is a soothing affirmation of righteous anger, and, of course, the record’s biggest single, “Cranes in the Sky,” tenderly reflects on trying to escape intense pain. The record serves as both a guidebook for navigating a hostile world and bold public testimony about life as a black American. Thursday night’s headliner, Margo Price, has made waves as an independent country artist, and doesn’t seem to

HOPSCOTCH have much in common with Solange. Her insight is just as thoughtful, though, as she demonstrated with last spring’s Midwest Farmer’s Daughter. It’s a study of heartbroken, downtrodden Middle America and the South—the rural “flyover country” that often gets left out of national discourse. In “Hands of Time,” Price describes tough times growing up, her father losing their family’s farm, and trying to bounce back. She sings, “All I want to do is make a little cash/Cause I worked all the bad jobs bustin’ my ass/I want to buy back the farm,” iterating the American ideal of “pulling yourself up by your bootstraps.” The poverty that Price so frankly addresses is a significant issue in America, one that is often overlooked or downplayed in the midst of other sociological problems. Like race, class affects everything and colors the everyday experience: access to health care, food, education, and other opportunities is drastically different from even slightly more developed areas. Price’s new EP, Weakness, released in late July, continues in the

trend of its predecessor. “Just Like Love” explores the general malaise and anxiety that enveloped Americans in the wake of the 2016 presidential election. Discussing the track for NPR’s All Songs Considered, Price said the song “came from definitely a darker place, just questioning what’s going on in the world and what goes on with humans and their inner turmoil that they face—‘Why are we here, no one knows.’” Both women offer glimpses into demographics that are often overlooked, misunderstood, or discriminated against. Solange unpacks everyday microaggressions, outright racism, and the seemingly permanent exhaustion that results from both. Price digs into the cycle of poverty and those clamoring for the idealistic and increasingly unattainable American Dream. Neither offers specific answers on how to right the ship, but they don’t have to. Instead, they offer opportunities to listen and learn, reflect and restore, and, hopefully, inspire growth and positive change. music@indyweek.com

HIP-HOPSCOTCH PHOTO BY ALEX BOERNER

the night caps off with Solange. To make the most of Hopscotch’s hiphop on Saturday, you’ll have to do a bit more running around to bounce to ILOVEMAKONNEN and Big Boi at City Plaza and end the night at CAM with Brassious Monk. Which is all to say: if you’re a staunch hip-hop fan who’s been a bit disappointed by Hopscotch, consider this year’s lineup a sincere apology. —Charles Morse

Pat Jr.

Hip-hop and Hopscotch have sort of a spotty history, but this year it looks like the meager hip-hop bills of previous iterations have been solved. The festival has always done its best to blend local and well-known artsts but has been plagued by scheduling challenges that make it hard for hiphop loyalists to stay engaged the entire weekend, or make it worth their while to buy a wristband. This year, the festival’s hip-hop lineups are more carefully curated, and local and national level acts are spaced out in a way that prevents the stars from overshadowing newcomers. Lincoln Theatre on Thursday is the move if you want to find out about some music you haven’t heard before, with performances by P.A.T. Junior, G Yamazawa, Oddissee, and NONAME. On Friday, get your fix at the Red Hat Amphitheater, which features a lineup worth arriving early for: Busdriver, Rapsody, and the powerhouse rapper/ rapping producer combo of Run the Jewels, who are sure to stir up a mosh pit. Keeping the ball rolling into Saturday, Red Hat opens at 2:15 p.m. with a performance by Zensofly before

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HOPSCOTCH

PHOTO BY STEPHEN APICELLA-HITCHOCK

MARY TIMONY, TRIUMPHANT Sunday, 4:15 p.m., Red Hat Amphitheater Most tours that focus on the music of a band that broke up a long time ago tend to be some combination of cash grab, nostalgia trip, and victory lap. Those labels only apply tangentially to Mary Timony, who will “play Helium” at Hopscotch Sunday afternoon. Oh, there will be some nostalgia among the folks who knew the band the first time around, but while most such enterprises involve bands whose greatness is loudly proclaimed by many, Timony’s performances offer a chance for many to discover one of the era’s most undervalued indie bands. In the twenty years since Helium disbanded, the band’s reputation has risen in inverse proportion to the scarcity of its long out-of-print records. Matador rectified that in May with reissues of 1995’s The Dirt of Luck and 1997’s The Magic Kingdom, along with a fascinating odds-and-ends collection. Helium shared elements with Liz Phair, Pavement, Guided By Voices, and other Matador labelmates— guitar dissonance, a taste for prog, deadpan vocal delivery—but Helium’s concoction was somehow less immediately graspable. Additionally, 16 | 9.6.17 | INDYweek.com

the trio followed the promptings of its heart more than the path of commercial success. Despite touring with Phair and Sonic Youth, the band’s biggest pop-cultural moment was being parodied on Beavis and Butthead. Its disbanding coincided with the end of the romance between Timony and bassist Ash Bowie. (Bowie declined to take part in the tour; Timony will be backed by Brian Bettencourt and David Christian of the Brooklyn band Hospitality.) In her post-Helium years, between solo work and recordings with Wild Flag and Ex Hex, Timony has amassed a catalog that dwarfs that of Helium, but it’s Helium for which she is best known and most acclaimed. Helium’s discography charts a shocking evolution from the aggro tones of Pirate Prude EP to the “cartoon and monster movie music” of The Dirt of Luck to the baroque wanderings of The Magic Kingdom, on which Timony finally gave up trying to hide her classical training and mythological bent. Hearing these songs, informed by Timony’s years of growth and exploration, will provide a rare opportunity for something old to sound new again. —David Klein

HOPSCOTCH

EERIE VOICES

MOUNT EERIE’S PHIL ELVERUM REFLECTS ON RECENT GRIEF, RELATIVE SUCCESS, AND THE POWER OF COSMIC FORCES BY DAVID FORD SMITH

hil Elverum has to take a moment to pause our interview. “I have to put on Pee-wee’s Playhouse, give me a second,” he says as he attempts to distract his young daughter. The thirtynine-year-old musician is calling from his home in Anacortes, Washington, and, parental duties aside, he sounds in good spirits. We talk about our shared love for the Canadian singer Julie Doiron and he cracks witticisms about the lack of humor in his recent career. His music has received a massive amount of attention this year, though not for reasons anyone would want. As the creative force behind The Microphones and Mount Eerie, he has released primordial folk music for two decades, including several modern indie-folk classics like 2001’s The Glow Pt 2. Last year, Elverum’s life changed when his wife, the artist Geneviève Castrée, was unexpectedly diagnosed with Stage 4 pancreatic cancer. Despite a worldwide outpouring of emotional and financial support, she died after a short battle. To cope, Elverum released A Crow Looked at Me in January, a stark, heartbreaking examination of his loss. Ahead of his Thursday night performance at Fletcher Opera Theater, we talked about the recent eclipse and how his grieving process has evolved. INDY: What did you think of the eclipse? PHIL ELVERUM: I could talk for probably half an hour about my feelings on the subject. I was actually taking a ferry during the peak. I have a bunch of friends who drove out to Oregon and did the whole thing. I think we were at eightyfive percent eclipse here in Anacortes. I was surprised to discover that I didn’t care. It seems like the sort of thing I would be into. [laughs] I think the universe is incredible. I think the sun coming up every day is so crazy. It’s an idealistic stance to take, but

still grieving, but the way I’m grieving is changing. I have a lot of new songs, maybe near an album’s worth, some of which I’m playing. I wanted the songs on Crow to be pretty, though. I wanted them to be beautiful sounding. But also direct and honest. I didn’t think of them as artwork in the same way I’ve looked at records for the past twenty years. I also don’t always make records with such a limited instrument palette. Arise Therefore by Will Oldham’s Palace project was an inspiration in that regard.

Phil Elverum PHOTO COURTESY OF THE ARTIST I think there is this thing that happens where people start to obsess about freak events in nature, like an albino tree or a white deer. They look at it as a way of appreciating nature, but in reality, it is a way of separating yourself from the vastness of nature. I think there is value in the ability to stand in your yard at night and look at the stars. To look at the quote unquote boring version of the universe, and realize, Oh wait, that’s actual infinite space, and really internalize that. Without an eclipse.

I try not to think about it too much. I’m just going with it. It’s nice that it is connecting with people even though it’s fucked up. It’s a fucked up thing I made. I’m not engaged with the roller coaster of attention. It sounds like a cliché that a music person would say, but it’s very true. I know some things are popular and some aren’t. But for me, it is always whatever I’m working on at that very moment that is the best thing in the entire universe. I think it’s best to push out those thoughts about how it will be heard.

You achieved relative indie success in the early 2000s with The Glow Pt 2 and released a lot of records over the next fifteen years that were successful on a small independent level. How does it feel to be back in the spotlight, and do you worry that people are paying attention to the attention and not the music?

What did you aim for with the songwriting on Crow? Do you feel differently about the songs than you did in January when the record came out? Some of them I can’t play anymore because they are too raw. I’m not in that same state anymore that I was when I wrote them. Time has passed and I’m

Have you noticed a new audience of fans who relate and talk to you because they have suffered tragedy in their own lives? Since January, it happens at almost every show. It’s really intense. I also get a lot of letters and emails with people’s horrible stories and difficult situations. I’ve become this magnet for that, which is… very hard. But yeah, I asked for it. I don’t want to be inauthentic and shallow. It’s all such legitimately heavy stuff. That’s what’s crazy about this. When Geneviève got cancer and died, it felt like this was the only time this had ever happened in the universe. And of course, that wasn’t true. Death is universal but no one really talks about it very much. Now that I’ve started talking about it, it’s like this flood of stories. Because death is everywhere, it’s just beneath a veil. What other creative projects are you working on right now? I’m working on a lot of publishing projects involving my wife’s artwork. She has three poetry books and at least three art books. I’m going through her archives. Every time I can get someone to watch my daughter, I run to my recording room and work on whatever I’m doing. music@indyweek.com INDYweek.com | 9.6.17 | 17

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HOPSCOTCH

BLANCK MASS’S BRASH AGGRESSION Thursday, 11:30 p.m., Kings

BIGGER AND BETTER

HOPSCOTCH ADDED A DAY AND A HALF OF EXTRA PROGRAMMING—BUT DOES IT AFFECT THE DAY PARTIES?

PHOTO COURTESY OF SACRED BONES RECORDS

As for conflicts with the free, independent day parties that have long been a hallmark of Hopscotch, Price—who has been involved in planning one of those gigs each year as cofounder of Triangle label Diggup Tapes—calls them “indestructible” and has never thought they’d be threatened by the increase in Saturday’s schedule. “I feel like they could be announced the day before the festival starts and they’d all still be packed,” he laughs. “They’re a good way for people who might not know much about Hopscotch to check it out, and they also add a big chunk of the festival vibe to the weekend that we don’t even have to coordinate.” In fact, it was the consistent strength of the day parties that helped motivate Price to step up Hopscotch’s daytime offerings from the parties it has sponsored in the past. Price hesitates to suggest that Hopscotch could evolve into a full-fledged four-day affair with another night of multi-venue bookings. Even so, he thinks this year’s extension is more ambitious than just dipping a toe in to test the waters while keeping the core values of the festival intact. “I don’t really think people are just going to stay at Red Hat the whole time,” he says, reaffirming the commitment to Hoscotch’s free-flow model. “People are still going to be bouncing around. We’re just trying to add even more people into downtown for the festival in the first place.” music@indyweek.com

PHOTO BY BEN MCKEOWN

opscotch Music Festival has—as its name suggests—always fostered a “choose-yourown-adventure” approach for attendees. Faced with both a limited number of suitable spaces within its downtown Raleigh footprint and the desire to not overwhelm festival-goers with too many conflicting sets, festival organizers have found it challenging to maintain that come-andgo atmosphere while increasing the event’s scale. Last year’s addition of Red Hat Amphitheater as a second main stage followed the growth of City Plaza’s big-name shows from two to three nights, which has proven successful since Thursday night headliners were tacked on in 2014. This year, though, Hopscotch takes perhaps its boldest leap forward by expanding its programming at Red Hat with a full slate of Saturday afternoon performances shaped by Solange’s hybrid pop and R & B and an eclectic seven-act, full-day bill on Sunday capped off by Asheville’s Angel Olsen. “We tried to do more venues at night and keep it at three days, but it just gets really hard because there are too many conflicts,” said executive director Nathan Price, who took over the position after festival cofounder Greg Lowenhagen resigned last year. Price says he feels optimistic about this year's festivities and believes that pushing the festival into another day—and starting earlier on Saturday—will allow for an increase in acts without spreading crowds too thin or pulling them in too many directions by competing choices.

Above: Boulevards at Memorial Auditorium in 2016

BY SPENCER GRIFFITH

On the sleeve of the vinyl release of World Eater, the new LP from Edinburgh’s Blanck Mass, a sliver of writing advises the listener to “PLAY THIS AT MAXIMUM VOLUME.” Sure, plenty of “loud” records make this halfhearted request in liner notes. But World Eater demands it, and might actually damage your speaker setup if you get too brave. A convoluted, gorgeous mishmash of violent noise, weirdo trance, and speed-cut vocal shards over an accessible synth-pop underbelly, World Eater sits among the best industrial records of this decade. Every track is a writhing, menacing mass of repetition. The effect is deeply hypnotic and can squish the album’s run time into a fast-moving blur. “Rhesus Negative” is a stunning nine-minute piece of collage that chops up R & B, black metal, and choral vocal shreds into an exhilarating grind. With no warning, field recordings ooze in and out of the record to provide some relief, cutting through the chaos with disorienting countryside excursions. The aesthetic is strange, but it should come as no great surprise to attentive fans. After all, the project is the solo alias of musician Benjamin John Power, half of the iconoclastic skree-noise/drone duo Fuck Buttons. That band pushed harsh music to its disintegrating limits over several memorable records, like 2009’s ecstatic, masterful Tarot Sport. Longtime devotees will feel right at home in the extreme, accessible dissonance that Power carries to his solo material. Call it “counterintuitively danceable.” The tastemaking NYC label Sacred Bones released the last two Blanck Mass records, which feels like a thematic bull's-eye, given the label’s reputation for brooding synth music. In standard Sacred Bones fashion, Power’s secret positive outlook is tucked away in the liner notes, where listeners are advised, “support your local LGBT and animal rights organizations.” —David Ford Smith

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HOPSCOTCH

DAY TRIPPERS

HOPSCOTCH’S FREE DAY PARTIES ARE ALMOST AS BELOVED AS THE FESTIVAL ITSELF. HERE ARE OUR FAVORITES.

ven without forking over for a festival wristband, fans can get in on plenty of Hopscotch action this weekend thanks to yet another stellar slate of free day party action, a beloved tradition as anticipated by some as the official lineup reveal itself. With more than thirty day parties scattered around downtown, the daytime choices are almost as overwhelming as the main lineup, too. As usual, pickings are relatively slim on Thursday and Sunday, but Slim’s offers solid options for both days with PotLuck’s Rock ’N’ Roll Pizza Party and its annual Hangover finale, respectively. Keeping in mind the inevitable delayed sets, surprise additions, and last-minute substitutions that demand flexibility—and an eye on Facebook event pages—when planning daytime itineraries. Here are our five can’t-miss parties for 2017.

CHURCHKEY RECORDS AND THE LAYABOUT’S ¡QUE VIVA!

Friday, Slim’s The defending champion of day parties, ¡Que Viva! is a more than worthy reason to sneak out of work early, with barely a break between its indoor and outdoor stages. It hardly seems like Hopscotch without getting sweaty with a raucous set from Triangle bar band kingpins Spider Bags, who pull double duty this year by backing powerhouse belter Reese McHenry—with whom they teamed on this year’s tremendous Bad Girl LP—before closing out the party with a set of their own. (Disclosure: Spider Bags bassist Steve Oliva is the INDY’s graphic and editorial designer.) Catch Bat Fangs’ hooky garage rock, the disheveled power pop charms of Drag Sounds, or a bludgeon-

BY SPENCER GRIFFITH ing from Durham’s recently revived sludge punks Tooth. SLIME and Kate’s Bush offer more heaviness.

THREE LOBED RECORDINGS AND WXDU

Friday, Kings The Jamestown record label and Durham radio station once again offer up a slew of one-off and first-time collaborations on a bill of experimental performances filled with familiar names from previous Hopscotch posters. Tashi Dorji and Wooden Wand’s James Toth make their debut as a duo, while multi-instrumentalist Nathan Bowles of Pelt and Black Twig Pickers appears for the first time with a new trio. Ending with the inaugural set from Repressed—the super-pairing of Superchunk’s Mac McCaughan and Lambchop’s Kurt Wagner—means the bar will likely be at capacity for much of the afternoon; fortunately, WXDU simulcasts a live feed for those stuck in line or at home. Both Long Hots and Rosali perform for the first time in North Carolina, while Purling Hiss, Chuck Johnson, and House and Land join.

BIG ED’S BLOODY BRUNCH

Saturday, The Pour House Thanks to Big Ed’s, you can treat yourself to a free breakfast and a little hair of the dog with a Bloody Mary and mimosa bar while generously giving back with donations to Urban Ministries of Wake County. Oh, and you can catch a nearly nonstop rock block, too. Highlights include Echo Courts’ hazy hooks, ET Anderson’s R & B-infused retro jangles, Wailin Storms’ metallic menace, Reese

McHenry & The Fox’s bluesy bluster, and wild-and-woolly bouts of psych from both Albert Adams and Zack Mexico. Plus Cosmic Punk, Mistresses, and Vacant Company.

THE DINWIDDIES

Saturday, Person Street Bar Local weed worshippers The Dinwiddies briefly took their minds off their bongs to assemble a day party bill that serves as a benefit for the U.S. Committee for Refugees and Immigrants of N.C. Lonnie Walker is back with new material that’s as skewed and nervy as ever, while Happy Abandon delivers ambitious, arena-size rock anthems and Wayleaves settles into comfortable rootsy twang. Drag Sounds and Dim Delights also appear.

CAROLINA WAVES, K97.5, AVL BATTLEGROUNDS, AND WOLFTRAX

Friday, The Pour House With many of the day parties relying heavily on rock, this Pour House party is among the best of the rest, stacked with short sets of local hip-hop from the likes of Wake Forest’s slick spitting backpacker Nance and Chapel Hill’s soul-inflected live crew (J)Rowdy & the Nightshift. (Disclosure: Josh Rowsey, aka (J) Rowdy, is an INDY advertising account executive.) M8alla’s self-described “tribal trap” folds worldly influence into stylish R & B, while Durham’s Danny Blaze blurs rap’s regional boundaries with his bars and beats. Jooselord Magnus, 3AM, The Deeepend, Imani Pressley, and Freedom Infinite round out the lineup. music@indyweek.com INDYweek.com | 9.6.17 | 21

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ISSUE DATE:

SEPTEMBER 27

A TALE OF TWO SIDE FESTS If you’re like nine out of ten people I talk to, your first question when I mention the Hopscotch Design Festival will be, “What’s that?” When I reply that it’s a daytime tech and design festival that’s been running in the leadup to the Hopscotch Music Festival since 2014, you’ll stare blankly, as if the words don’t quite track. Though spread through multiple venues and branded like the music festival, Hopscotch Design is ticketed separately. It draws a few hundred people each year, compared to the music festival’s twenty-thousand-plus. This year, it runs Sep. 7 and 8 and costs $225, an astonishing price to me, but not, presumably, to people drawn to speakers like Google design manager Jonathan Lee. It’s no head-scratcher that an elite design conference has a limited audience and is hard to assimilate into the music festival’s populist, punky brand. But meanwhile, a much smaller component of Hopscotch has grown immensely. Since year one, the Hopscotch Music Festival has had a component for the display and sale of band posters known as Posterscotch. (Disclosure: current and former INDY staffers, including Christopher Williams, Steve Oliva, and Skillet Gilmore, are participants.) For years it focused on the wares of local artists, but it expanded last year to include national ones, too, by melding with Flatstock, an international series of the American Poster Institute that also appears at places like the Pitchfork Music Festival in Chicago and SXSW in Austin. The shift lends an imprimatur of authority to a grassroots local effort, but Flatstock remains free to everyone in the lobby of the Raleigh Convention Center, regardless of whether they have Hopscotch tickets. Its growth tracks with the music festival’s, from local ambition to national standby. Now that’s good design. —Brian Howe

Hopscotch 2017 poster COURTESY OF CHRISTOPHER WILLIAMS

THE BRILLIANCE OF BIG THIEF Thursday, 7 p.m., City Plaza

It’s a bold claim to assert that one band holds any kind of title over its colleagues, but Big Thief’s careful dedication to its craft and unimpeachable songwriting make it one of the best active rock bands of the moment. The Brooklyn ensemble is one of those acts with a rich but not necessarily straightforward sound, making it somewhat difficult to fence it in to one genre. It’s not just an indie rock band, but nor are its folk influences obvious

enough to qualify it as a folk-rock band. The band’s core, frontwoman Adrianne Lenker and Buck Meek, churned out more directly folk-sounding songs shortly before forming Big Thief, but those styles still linger in their current project. “Pretty Things,” the opening track on the band’s stunning June LP, Capacity, is strippeddown and coy; “Coma,” with its acoustic strums and lo-fi vocals, feels like a hushed, bedroom demo. Other songs are unabashed rock numbers—look no further than

Meek’s jagged, harried guitar work that opens “Shark Smile.” Big Thief’s melodies manage to be intoxicating, too. The oscillating “Objects” recalls a playground chant, and Capacity’s closer, “Black Diamonds,” rolls along with cool confidence. Lenker also boasts incredible chops as a songwriter, striking a balance between intimate specifics and purposeful ambiguity. “I have an older brother I don’t know/He could be anywhere,” she sings on “Mythological Beauty,” a song about her mother. Lenker hits a high-water mark with “Mary,” an intricate, tumbling number that weaves together nostalgia, childlike wonder, and striking imagery as it unfolds over five and a half minutes. It’s a dense and verbose tune that’s utterly unforgettable. Big Thief takes the stage at City Plaza at 7 p.m., as the sun begins its descent in one of the first cooler weeks of the season. It’s hard to imagine any better way to see them. —Allison Hussey

PHOTO COURTESY OF GROUND CONTROL TOURING

QueerISSue+Guide to nCPride

HOPSCOTCH

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HOPSCOTCH SCHEDULE

CITY PLAZA MARGO PRICE 8:15PM

DOORS 5:15PM BIG THIEF 7:00PM SKYLAR GUDASZ 5:50PM

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HOPSCOTCH SCHEDULE

CITY PLAZA FUTURE ISLANDS 9:00PM

DOORS 5:15PM THE MAKE-UP 7:15PM BIRDS OF AVALON 5:50PM

RED HAT AMPHITHEATER RUN THE JEWELS 8:00PM

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RAPSODY 6:30PM

DOORS 5:00PM BUSDRIVER 5:20PM

HOPSCOTCH SCHEDULE

CITY PLAZA BIG BOI 8:15PM

SATURDAY: SOLANGE 9:00PM

DOORS 5:00PM ILOVEMAKONNEN 6:30PM BODY GAMES 5:20PM

RED HAT AMPHITHEATER TEI SHI 7:30PM

ARROW BENJAMIN 5:15PM

DOORS 2:00PM SIR THE BAPTIST 4:15PM

FLOCK OF DIMES 3:15PM

ZENSOFLY 2:15PM

SUNDAY: DOORS 12:30 PM ANGEL OLSEN 8:00PM MARY TIMONY PLAYS HELIUM 4:15PM

CASS MCCOMBS BAND 6:30PM MOUNT MORIAH 5:20PM CLOUD NOTHINGS 3:00PM JENNY BESETZT 2:00PM NO ONE MIND 1:15PM

INDYweek.com | 9.6.17 | 25

HOPSCOTCH DAY PARTY SCHEDULE THURSDAY SEPTEMBER 7TH

BOXCAR ARCADE + BAR • Sore Thumb Series Vol. 2 – Day 1: Vilai Harrington, H3R0, Florida Man, ET Anderson DEEP SOUTH THE BAR • Ultra Psychic Mega Monolith Presents: “TELEP▲THY Hopscotch Party" : Yyen, XTALS, Tymellord, Electrobro, Regular Cat Crew, Animalweapon, Janxx, Zensofly KINGS • Diggup Tapes, Kings, Friends Records Present: “Orientation in Space VIII”: HNDCLW, Spaceface, Natural Velvet, Konvoi NEPTUNE’S PARLOUR • Diggup Tapes, Kings, Friends Records Present: “Orientation in Space VIII": Surf Harp, Blacksage, Spirit Cooker, Ryan Trauley + Tim Matthews POUR HOUSE MUSIC HALL • Primitive Ways Presents: Car Crash Star, Gein, Year of the Ox, Darth Kannabyss, Aleph Naught, Jerkagram, Datura RUBY DELUXE • New Body Tapes Presents: Blursome, BODYKIT, Chucha, Faster Detail, Kendall Cahan, Mall Prowler, Reflex Arc, Repeat Offender, Sponge Bath, Secret Boyfriend, Gar-ud. SCHOOLKID’S RECORDS • M is We, Dr. Mudd and The Alamo, Almost People SLIM’S DOWNTOWN • PotLuck Presents: “4th Annual Rock n’ Roll Pizza Party”: Lacy Jags, Stray Owls, Good Graces, Le Weekend, Erie Choir, North Elementary, Organos, Wild Fur, Nathan Oliver, Joshua Carpenter

26 | 9.6.17 | INDYweek.com

FRIDAY SEPTEMBER 8TH

BOXCAR ARCADE + BAr • Sore Thumb Series Vol. 2 – Day 2: Elonzo Wesley, Seabreeze Diner, MyBrother MySister, The Affectionates, Zack Mexico CRANK ARM BREWING • Roost Frequency Recording Presents: Map the Skies, Magma Opus DEEP SOUTH THE BAR • Cardigan Records Presents: Basement Life), Promm, Bruxes, propersleep, Youth League, Psycho Sonic Cindi KINGS • Three Lobed Records + WXDU Present: Nathan Bowles Trio, Long Hots, Tashi Dorji / James Toth Duo, House and Land, Purling Hiss, Chuck Johnson, Rosali + Band, Repressed [Mac McCaughan + Kurt Wagner] LEGENDS NIGHTCLUB • WKNC + WXYC Present: Oxidant, Chucha, Jock Gang, Ami Dang, Das Drip, The Muslims NEPTUNE’S PARLOUR • No Poetry Comedy Presents Neptunes Comedy Open Mic: Hopscotch Edition and Neptunes Comedy Day Party: ft. Drew Robertson, Sam Mazanay, Johnny Gray, Micah Hanner, Tank Smith, Steve Brady, Joe Perrow, Maddie Wiener, Mike Mello POUR HOUSE MUSIC HALL • Carolina Waves x K97.5 x Wolftrax Music Group Present: Freedom Infinite, Nance, Imani Pressley, Danny Blaze,

Mballa, J. Rowdy & the Nightshift, AVL Rap Battle: Checka Fred vs. Silhouette, The Deeepend, Jooselord Magnus // Hosted by Mir.I.am and AVL Battlegrounds RUBY DELUXE • The Pinhook Presents: MOOVFEST with The Drop Ins ft. Phil Cook + Friends, Bat Fangs, Mount Moriah, Loamlands, Solar Halos SCHOOLKID’S RECORDS • Fluoresence, Happy Abandon, Six String Drag SLIM’S DOWNTOWN • Churchkey & The Layabout present “¡Que Viva! 2017”: SLIME , Kate’s Bush, Reese McHenry w/ Spider Bags, Drag Sounds, Bat Fangs, Tooth, Spider Bags

SATURDAY SEPTEMBER 9TH BERKELEY CAFÉ • The 7th Annual Guitartown Hopscotch Day Party Sponsored by Carolina Brewing Company : Bigdumbhick, The Good Graces, Pinto, Horsehead, Maldora, Charles Latham & the Borrowed Band CRANK ARM BREWING • Roost Frequency Recording Presents: Fatmouth, Lemon Sparks, The Sammies DEEP SOUTH THE BAR • To Be Heard Booking Presents: Justin Lacy Band, Al Riggs, Konvoi, Lacy Jags, Wild Fur, The Veldt KINGS • Orange County Social Club & Merge Records Present: The Paul Swest, Skylar Gudasz, H.C. McEntire, Escape-ism ,

Solar Halos, Bat Fangs LEGEND’S NIGHTCLUB • Revival Recordings Day Party: August is Ours, Keys and Corridors, AVOID, Atlantic Lungs, June Divided, Little Volcanoes, MLC, Alteras, Shatterproof LUMP GALLERY • Aint, Harriet Hoover, desert secretary, Joy Meyer NEPTUNE’S PARLOUR • Chunklet Presents: Jock Gang, Coke Dares, DiCaprio, Material Girls, All the Saints PERSON STREET BAR • The Dinwiddies Present: Happy Abandon, Wayleaves, Drag Sounds, Dim Delights, The Dinwiddies, Lonnie Walker POUR HOUSE MUSIC HALL • The Pour House Presents: “Big Ed’s Bloody Brunch + Day Party”: Echo Courts, Mistresses, Vacant Company, Cosmic Punk, Wailin Storms, Albert Adams, ET Anderson, Reese McHenry & The Fox, Zack Mexico RALEIGH TIMES • Raleigh Times Day Party: Autumn Nicholas and Roger Maudlin , Ryan Johnson RALEIGH RAW • Raleigh Raw Recovery Party: DJ Mickey Slicks RALEIGH SLABS • Atomic Buzz, Zephyranthes, Nathan Arizona & The New Mexicans, RedIsBlueIs RUBY DELUXE • RUBYMANIA WRESTLING: Gouge Wrestling Presents matches featuring:

Otto Schwanz vs. Moose Czerwinski; Jakob Hammermier w/ Grog vs. Seymour Snott; GOUGE Ladies Title Match: Roni Nicole vs. Jinx Hunter North Carolina Title Match: Mickey Gambino vs. Jimmy Jack Funk SCHOOLKID’S RECORDS • Porch Light Apothecary, Miracles, Sneaker Awards, Richard Lloyd (of Television) SLIM’S DOWNTOWN • “Spazzscotch 2017” Presented by Spazz Presents and Jack the Radio: Real Dad, Steven Fiore, Brian David Corum, Kate Rhudy, Laser Background, Jack the Radio, Jock Gang, The Backsliders TACTILE WORKSHOP • Tactile Workshop x Good Times Assurance Co. Present: “The Hopscotch Oasis” ft. Cool Party, Zensofly, Trandle and more

SUNDAY SEPTEMBER 10TH

POUR HOUSE MUSIC HALL • CLTure Hopscotch Showcase: Babe Club, Erick Lottary, Dirty Art Club, Shadowgraphs, Young Mister, Oak City Slums, Midnight Snack, Junior Astronomers SLIMS DOWNTOWN • Slim’s Presents Hopscotch Hangover 8 AND More Hangover: Natural Causes, Essex // Muro, DE()T

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indyfood

GOORSHA

910 West Main Street, Durham www.goorshadurham.com

Helping Hands

GOORSHA GRACES DOWNTOWN DURHAM WITH THE COMMUNAL, LOVING SPIRIT OF ETHIOPIAN FAMILY FARE BY KATIE JANE FERNELIUS When cousins Fasil Tesfaye and Zewditu Zewdie fly home to America from their native Ethiopia, they bring back large suitcases packed with spices: berbere, mit’ten shiro, bulla, besso. “I don’t think anybody leaves with anything but spices in their luggage,” says Tesfaye, who immigrated to America when he was seventeen years old. Tesfaye and Zewdie are the owners of Goorsha, a new Ethiopian restaurant on Main Street at the edge of downtown Durham. “Part of what we want our customers to experience is the experience of our own homes,” Tesfaye says. “So, thank our moms for the menu!” Fundamental to the Goorsha experience is communal eating, or family-style. Zewdie explains that in Ethiopia families share food from the same plate. “So eating by yourself is like being selfish.” In Amharic, goorsha means the act of feeding another person as an expression of love, “like a hug between friends,” as the menu explains. Tesfaye and Zewdie immigrated to the States on their own as teenagers, zig-zagging between the east and west coasts for school or jobs. They tossed around the idea of opening a restaurant for a while. But Zewdie had spent almost twenty years working at Verizon, based in Virginia, and Tesfaye was running a smoothie business here in the Triangle. The restaurant was more a fun joke to bring up during the holidays than a serious business venture. Then two things happened: Zewdie left her job and moved to Durham, and Tesfaye noticed a vacant building on Main Street. Tesfaye drove by the building every day for months, hoping to see a phone number of a realtor or landlord taped to the door. It wasn’t until he noticed a friend walking into the vacated building that he parked his car in the middle of Main Street and ran right in. Tesfaye’s friend connected him with the owner, which led to the former Rainbow 28 | 9.6.17 | INDYweek.com

more than fifteen spices Chinese takeout joint translike chili pepper, ginger, forming into a completely upcardamom, and garlic. fitted Ethiopian restaurant. Pinched between an enveMastering the injera reclope of injera, the chicken ipe was the next step. Injera can be pulled right off the is made from a fermented bone. mix of teff, a grain native The red lentil dish, to Ethiopia, and water. The yemisir kik, uses a simibarely viscous batter is lar blend of spices. Much poured onto a flat hot surof Ethiopian cuisine face and covered, quickis vegetarian. Zewdie ly “baking” into a thin, herself is a vegan. “The soft disc: one side velvety vegan food is our everysmooth, the other porous. day food,” she said. “It’s Tibs (strips of meat), wats my everyday food.” (curry-like stews), gomen Metin shiro (ground (collard greens), and assortchickpea stew) and kik ed salads are served in abunalecha (yellow split pea dant heaps on the porous stew) are two tantalizside like paints on a palette. ing, comforting staTo eat, you rip off pieces of ples. Fosolia, a mix of the injera from the outer green beans and carrots perimeter to scoop up the in a tomato sauce, is a various foods on top. The briny compliment to the meal isn’t considered finstewed legumes. ished until everything has Tesfaye thanks his combeen eaten, including the munity for the evolution injera base. of Goorsha. He acknowlIt is notoriously difficult Goorsha owners Fasil Tesfaye and Zewditu Zewdie PHOTO BY ALEX BOERNER edges construction workto get injera right in Amerers, neighbors, and local ica. Whether it’s the differEthiopian restaurant owners who offer ent altitude or water, conditions aren’t text. Jalapeños take the place of hwentia, work, advice, and goodwill. He notes a large conducive to fermentation—it tastes too a versatile pepper common to many Afriextended family and the broader Ethiopian bitter, without enough structural supcan cuisines. In their vegan dishes, oil is community, too. One friend curated the artport to grab the various tibs and wats. used instead of niter kibbeh, a clarified work, another visited from out of town to Many Ethiopian restaurants in the D.C. butter. They take special care to locally work a shift, and his sister supervised the area source it directly from Addis Ababa source many of their ingredients, and kitchen for the first week to make sure flaaboard a daily Ethiopian Airlines flight. their bar offers a full line of Fullsteam vors were right. It took Tesfaye and Zewdie over six brews on tap. “We all come from a big family, so we each months to perfect the recipe. Their secret? A standout dish is the kashka appetizer: have a village in our house!” Tesfaye jokes. They mix their teff flour with a bit of rice a warm cornbread topped with gomen and “That’s just how the Ethiopian commuflour to balance the acrid taste and add zilbo (beef short ribs). The subtle vinegar nity is,” Zewdie continues. “[Everyone] some hold to the batter. (And yes, it’s all glumuskiness of the gomen works perfectly takes the ties off from their nine-to-five ten-free.) Goorsha’s injera has the tanginess with the sweet, crumbling cornbread and job and mops up the restaurant at night. of sourdough bread with the consistency of spicy, tender zilbo. Whatever it is that needs to be done, they a spongy crêpe. Classics include doro wat, a chicken leg come and do it.” To develop the menu, they translated and a whole boiled egg in a pool of maroon food@indyweek.com Ethiopian food into an American congravy flavored with berbere—a blend of

food

[ EAT THIS]

LA FARM BAKERY

4248 Northwest Cary Parkway, Cary www.lafarmbakery.com

Best Bread Ever

LA FARM’S CAROLINA GOLD RICE BREAD SHARES GEMS OF THE PAST

VALID ANYTIME

BY DEBBIE MATTHEWS Carolina Gold Rice sourdough at La Farm Bakery PHOTO BY ALEX BOERNER

I have just enough clear-eyed self-awareness to know that I would have become the crankiest of serial killers. One summer when I was little, my mom decided to lose some weight. It worked; she went down six full dress sizes. But the diet that worked so well for my uber-disciplined mother would have been a no-fail recipe for disaster for me. She ruthlessly eliminated all white food. Nope, nope, nope. Dairy would have been tough enough; no cheese and ice cream make me extremely grouchy. Excluding pasta, rice, and potatoes would have put even more potentially dangerous pressures upon me. But no bread? Yeah, that’s gonna end in a bloodbath with my neighbors and the folks I went to school with being interviewed by correspondents from Inside Edition. Last fall I had my first bite of the bread that has become not only my favorite, but the yeasty benchmark against which all others will be judged. It comes from the heart and mind of my

favorite baker, chef Lionel Vatinet, owner of La Farm Bakery in Cary. Chef Lionel holds the title of Master Baker and the respect of people like Jacques Pepin. In 1999, Vatinet opened La Farm with his sweet wife, Missy. They and their business have become institutions in the area, as well as boosters and supporters of Southern producers and farmers. In 2016 Vatinet decided to make a bread that would pay homage to Southern food history. In the colonial era, getting one’s hands on fancy hard flour (high-gluten flour) was about as easy as George Washington getting good phone reception at Valley Forge. So bakers made do, using cereals and grains that were available. Anson Mills is a South Carolina producer and mill of rescued heirloom rice, corn, and wheat. Its founder, Glenn Roberts, began the business with a commitment to revive the ubiquitous starch in antebellum cuisine: Carolina Gold Rice. The mad scientists at La Farm make a porridge from Carolina Gold and mix it

into a sourdough bread dough. They then speckle the top with rice kernels. The result is the best bread ever: Carolina Gold Rice sourdough. The inside is moist and tender and the outside is chewy, crusty, and crackles when you slice it. It’s amazing on sandwiches and makes toast that excites the spirit. Now when was the last time you had exciting toast? Have you ever had exciting toast? Unfortunately, this paragon of bread is seasonal. But they start making it in August and always have plenty on hand at the State Fair. So, do like me and stock up, freeze it, then ration it to keep getting your toast on till August rolls around again. The creations of master baker Vatinet and La Farm are textbook examples of the technique and history of French baking. But it’s filtered through the lens of Southern culture. To that intoxicating hybrid, I say, merci y’all. food@indyweek.com

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Reserve by Sept. 22

Queer ISSue

+ nC Pride Guide to

ISSUE DATE:

SEPTEMBER 27

Queer ISSue + Guide to nC Pride ISSUE DATE:

SEPTEMBER 27

Exhibition opens Sept. 14 at 7pm with a reception and talk by the featured artist. 30 | 9.6.17 | INDYweek.com

indyart

Off the Wall NCMA CURATOR JENNIFER DASAL BRINGS ART HISTORY TO LIFE THROUGH ITS WILDEST STORIES IN HER ARTCURIOUS PODCAST BY BRIAN HOWE

ennifer Dasal is an associate curator of contemporary art at NCMA, but her interest first took root in the historical canon and the stories behind it. In particular, a shocking aside from one of her art professors in college—that the Mona Lisa hanging in the Louvre is a fake—stuck with her for years. The August before last, she delved into that story in the debut episode of ArtCurious, which reaches its twenty-fourth episode on Monday. While the first season dealt with mysteries and oddities in art history, this season explores the connections between art and World War II, from combat artists and visual propaganda to a certain famous story about Hitler. ArtCurious is an art podcast suitable for specialists but especially tailored to ignite the interest of people who think art is boring; either species can find their fix at www.artcuriouspodcast.com. INDY: Do you remember the first art-history mystery that ever fascinated you? JENNIFER DASAL: Yeah, it’s what I talk about in the pilot episode. I had a professor in college who I thought was very wise, smart, and down-to-Earth, and she was talking about the Mona Lisa. She was like, “You can go to the Louvre, you can see her, you can get close.” Then she paused and kind of brusquely said, “Well, you know, it’s been stolen a couple times, and it was gone for so long that they probably were able to reproduce it, so the one that’s on view isn’t real.” Then she moved on without talking about it much more, and I thought that seemed like such a weird conspiracy theory. It stuck with me and, years later, when I went on a business trip to Paris, I went to the Louvre. That story came back to me and I wanted to know more, and that’s really the impetus for this podcast.

Is it a widely accepted theory or is it regarded as a conspiracy theory? I definitely think it’s a conspiracy theory. It’s something I’ve seen mostly on Reddit feeds and things that weren’t necessarily historically credible research sites. I think it was something my professor really believed off the record. I understand that if something is truly priceless, you may want to keep it safe and have some falsified version to protect the real one, but the fact that you have so much protection at the Louvre around it today—not just cameras, but two guards who are there all the time, bulletproof glass—I don’t think you’d go to such extremes if it wasn’t the real deal. But I can’t ever quite say for sure. Is a lot of what you explore open-ended? Are you more interested in the mystery itself or finding the solution? I think I’m more interested in just sharing stories. If an episode is about a mystery, then for sure I like to give you my perspective, but I also want people to be able to come up with their own. I don’t have many mysteries in this second season; it’s all about the connection between art and World War II. But mostly, I’m interested in slightly off-the-wall topics in art history because so many people in my past said they thought art was pretty boring, not like dance or music or a movie—something that was static. But you just have to dig into the weird stories behind it. If there’s a cool mystery or something kind of sexy, that really helps. Why did a podcast seem like the right way to share these stories? This is my first time podcasting, and I jumped into it a little bit blindly. I listen to them every day, they’re the audio backdrop of my life. I always thought about it as story

SCREEN BRIEF

PHOTO COURTESY OF AMAZON STUDIOS

CROWN HEIGHTS

HH ½ Opening Friday, Sep. 8

PHOTO COURTESY OF JENNIFER DASAL

time for grownups. It’s a lot more work than it’s made to appear, from writing the episodes to producing and editing and promoting. But I think it’s an easy, free, accessible, democratic way for people to get information. Tell us more about the format change for Season two. The first season, the first twenty episodes, were mostly one-offs. I’m linking everything by theme or time period from here on out. This season is about World War II, and I think for the next season I’m going to talk about art rivalries. The first episode was an overview of how war and art have been connected throughout history, and then I did an episode about Hitler as a failed artist. The

episode I just released is about combat artists, people who were asked by the military to document what they saw on the battlefields. The next episode is on visual propaganda. Was there any particular reason you were drawn to World War II right now? There are so many stories you can talk about with World War II, and some are really famous. A lot of people know about The Monuments Men, but not necessarily about the “Ghost Army,” which was all about the Allies using art and design and engineering to create fake armies and fool the Axis. The fact that there was so much art looting in World War II is something I’ll be digging into as well.

The story about Hitler being a failed artist isn’t an art mystery, but you might almost call it an art legend. Is that a thread in the show, debunking or deepening truisms in art? Definitely. I do that in the second episode of the first season, for example, talking about a book that came out a few years ago that said maybe Van Gogh was murdered instead of committing suicide. I go through and talk about what my theory is, which things seem more or less credible. And I just did a Creative Mornings talk about Van Gogh as a tortured genius, trying to say whether that term is appropriate for him. He was tortured—was he a genius? Let’s talk about that. bhowe@indyweek.com

Crown Heights, Matt Ruskin’s biopic of Colin Warner, solemnly and ably exposes the outrages of a flawed criminal justice system. But outside of a few interesting wrinkles, it’s an unremarkable exercise in a cinematic trope, the “wrong man” story, which dates back at least to Hitchcock’s The Wrong Man. Warner (Lakeith Stanfield) was an eighteen-year-old Trinidadian immigrant and two-bit car thief in the Brooklyn neighborhood of the title. In 1980, he was arrested and later convicted for his involvement with a murder he didn’t commit. Ruskin first learned about the story from This American Life, and he places Warner’s Kafkaesque odyssey through the legal system against the political backdrop of the time, from presidential crackdown-on-crime efforts to New York governor George Pataki’s call to end parole for all felons. Much of the film’s first half is given to a common refrain of bad cops, bad prosecutors, and bad prisons. Then the focus shifts to Warner’s best friend, Carl “KC” King (former NFL star Nnamdi Asomugha), and his dogged two-decade pursuit to prove Warner’s innocence. King’s dedication is inspiring, but Ruskin’s presentation is a plodding procedural. Narrative detours like Warner’s romance with Antoinette (Natalie Paul), an old friend from the neighborhood, aren’t fleshed out; we know little about these characters beyond their functions in the plot. Crown Heights’ sharpest critique is saved for the system itself. There are eye-opening explanations of the pleabargain process and the urgent need for competent representation. After Warner’s well-meaning trial lawyer proves ineffective in the face of complex litigation, Warner’s friends spend years saving money to retain a slicktalking appellate attorney, only to see thousands of dollars evaporate in a single ill-prepared hearing. But most of the earnest exegesis feels like plowed ground. —Neil Morris INDYweek.com | 9.6.17 | 31

indystage STAGE BRIEF SHAKESBEER

HHH ½ Through Monday, Sep. 11 Imurj, Raleigh/Mystery Brewing, Hillsborough www.baretheatre.org

The cast of The Adventure of Capercaillie Bridge (left), Cori Vella in Licked Cupcake (right) PHOTOS BY PATRICK BRENNEMAN

Silver Linings

DESPITE THE IMPLOSION OF MISS LULU BETT, THE WOMEN’S THEATRE FESTIVAL MADE MAJOR GAINS IN ITS SECOND YEAR BY BYRON WOODS There’s a delicate, dangerous moment in artists’ development when they can see only the mistakes in their creations. Women’s Theatre Festival artistic director Ashley Popio is brooding over brunch, shortly after the close of the festival’s second summer season. She founded North Carolina’s first women’s theater festival last year, organizing hundreds of volunteers to produce an audacious series of plays, readings, workshops, and panels. Then she started making good on a promise, after the first season, to learn from its inevitable mistakes. In this year’s season, which ran June 30 to August 20, Popio, managing director Bronwen Mischel, and the company’s board made encouraging improvements. Shrinking the festival’s footprint from five cities to two and halving the number of fully staged productions eased logistical stress and gave more resources to each show. Further opening the festival to nonlocal playwrights and giving its artistic director more say in programming benefitted curation and pro32 | 9.6.17 | INDYweek.com

duction values in the Occupy the Stage mini-festival and on the main stage. No one expected the festival to clear $5,000 in profits in its first year or to at least double those profits in the second year (the receipts are still coming in), but that’s what happened. This will enable it to begin paying staff and artists at least a token sum next year. Despite these successes, Popio clearly feels the weight of responsibility for the cancellation of season closer Miss Lulu Bett. While the production’s top liaisons with the festival were out of town and Mischel was giving birth to her first child, a series of mishaps, including the departure of a cast member for medical reasons, marred the final days of rehearsal. Director NaTasha Thompson quit the production on opening day, demanding that it never open. Though the festival could have gone on without her, Popio didn’t think it should. “When a woman says stop, should a women’s festival go ahead?” she asks rhetorically. The board agreed to cancel.

The festival is making restitution to the Durham venue, Walltown Children’s Theatre, and giving the Miss Lulu Bett cast a chance to show its work in two staged reading benefits. In December, the festival will produce its annual holiday production of Little Women at Walltown and Sonorous Road Theatre, as part of an initiative to expand its regional presence year-round. Next season, the company will consult an entertainment lawyer on individual contracts. Popio resolutely lists other necessary changes in the works, including main-stage productions by women of color and more support and supervision for devised works like Licked Cupcake, which may tour in 2018. Coming this fall is the release of the localtheater gender-equity study the festival commissioned from researchers at Duke and N.C. State. The agenda is daunting. But as she glances at figures proving the festival is growing despite its difficulties, a momentary smile suggests Popio is glimpsing more than just the mistakes. bwoods@indyweek.com

There are a dozen local dives where Bare Theatre’s tribute to Shakespearean dipsomania would not go over, and not all of them are accessorized in chicken wire or early Harley-Davidson. Last Tuesday, I wondered if Fullsteam Brewery might be one of them. A beery birthday party in the cavernous room remained oblivious and loud as a plucky Tara Nicole Williams launched a down-home take on Macbeth’s drunken porter. But Williams and the cast soldiered on, occasionally directing pointed lines toward the clueless—until director Dustin Britt stopped the show, gathered the troupe offstage, and asked us to relocate to a back corner. Thankfully, a focused restart took off in spite of the room. The takeaway? A bar is not a black box, the neutral space itinerant groups often seek. A community has already given it a vibe; the performance there has already started. Chuck Keith’s deftly written segues were witty for this classic collection of sots, even though I question the omission of The Tempest’s Trinculo, Stephano, and Caliban. Britt has clearly empowered his actors to take major, often rewarding chances. At times, this young group’s comic timing is locked in; at others, it’s still gelling. ShakesBEER will likely develop further as they continue together. In quick-change characters, J. Robert Raines segues from a fusty Lord Chief Justice to a Lugosi bit in Othello. A similarly nimble Kyle Mears plays a haggard Mistress Quickly, and newcomer Natalie Sherwood evinces a figurehead on an Illyrian ship and a Venetian brawler. The ability to read and adjust to a crowd is crucial to commedia, street, and site-specific theater. Do it right and you have a show. Get it wrong, and you’re likely to learn what the chicken wire’s for. —Byron Woods

stage

YES TO NOTHING |HHH ½

Through Sep. 16 Slim’s, Raleigh/Nightlight, Chapel Hill/ The Pinhook, Durham www.littlegreenpig.com

No Filter

THE RADICAL POWER OF IMPOLITE WOMEN IN YES TO NOTHING BY MICHAELA DWYER times drags on too long. These characters The morning after I saw Little Green Pig are full-speed-ahead, scathingly self-aware Theatrical Concern’s lively punk play, Yes to movers and shakers; the script could more Nothing, at Slim’s, I opened the Sunday New tightly channel their verve. York Times to find a roundtable discussion Director Caitlin Wells manages tempoon being a woman in the music industry. The ral transitions well. We see 1982 blur into musicians’ comments are well worth reading, but I got hung up on the Times’ framing: “We have consistently marveled at how much outstanding rock music is being made by female and non-binary performers.” In 2017, why should we marvel that women can be talented musicians? I wished I could hear a response from Pamela, Jo, Bobbi, and Karen, who make up Durham playwright Mara Thomas’s fictional Midwestern punk band, The Rags, based on first-wave British punk The Rags PHOTO BY KIM BLACK band The Slits. We first meet The Rags as teenagers on their first tour 2002 as the elder Rags wend through the in 1982. Onstage at Slim’s, the four women crowd, brushing shoulders with their youngtune up, tease one another, discuss pubic er selves as they set up for a twenty-year lice, heckle the sound guy, down beer, and reunion concert. The older actors’ lines give dump on dopey men. In one scene, they trade a better sense of the characters’ multiplicistories of their earliest unwanted sexual ties. Dana Marks excels as fortysomething encounters. There’s no “if.” These instances Pamela, anxious to regain her rocker’s conare understood as a hateful rite of passage for fidence despite her husband’s jabs at her all women. I have no evidence to the contrary. career choices. Reuniting with her bandKaren (Alice Rose Turner) fixes her bass mates strengthens her, especially in gravwhile coolly recounting an incident in which er moments, as when Pamela performs an a physician masturbated while she stood, onstage breast check on the self-assured Jo undressed, in the examination room. (Drina Dunlap). The Slits’ Ari Up died from The Times’ mild surprise typifies the doubreast cancer in 2010. ble standard women in music—or any proA smart theatrical conceit connects the fession—endure. Yes to Nothing exposes how timelines. Instead of a “check-one-two” or these standards persist in cultural expeclyrical snippet, the musicians’ mic checks tations regarding women’s propriety. Some become electrifying monologues, filling the might bristle at the brashness of these teenspeakers with perverted nursery rhymes agers’ excessive banter and the frank way and existential meditations on their changthey talk and sing about their bodies. But if ing bodies. Sound checks are normally audiThe Rags were teenage boys, would we think ence-free routines, but, of course, we’re there. to question, let alone police, their behavThe actors stare us down beneath the stage ior? As Karen explains to a deliciously onelights’ eerie greens and purples, demanding dimensional male music journalist—Steven we behold them. They remind us how alarmG. Cooper plays all the “assorted dudes”— ing it is that it’s still so alarming, for some, to The Rags’ artistic project is partly to disturb see women unapologetically take power. audiences’ comfort. arts@indyweek.com Even so, the younger Rags’ dialogue someINDYweek.com | 9.6.17 | 33

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BY KYLE ERICKSEN

SATURDAY, SEPTEMBER 9

MIKE BIRBIGLIA

Don’t Think Twice, in which a great ensemble of sketch and improv comics fictionalize their lives and careers to give us piercing glimpses into an arcane world, was an unexpected minor gem of 2016. Keegan-Michael Key, of Key & Peele, plays an indie improv troupe’s attention-seeking star, tugged away from dowdy theaters and toward TV. By contrast, Mike Birbiglia, the film’s writer and director, plays the troupe’s leader, the neutral comedy journeyman who holds everything together. The deep character work in Birbiglia’s films is reflected in his solo comedy, whether live or on his Netflix specials and Comedy Central Records albums. As much storyteller as stand-up, he brings long, poignant emotional arcs and a sense of existential searching to his confessions and complaints, which are self-lacerating but eschew cheap shocks. Birbiglia comes to the Carolina on his “The New One” tour on Saturday; the show sold out quickly but the dedicated few can likely snag a last-minute ticket on the day of the show. —Brian Howe CAROLINA THEATRE, DURHAM | 7 p.m., $40, www.carolinatheatre.org

FRIDAY, SEPTEMBER 8

TASHI DORJI

Perhaps Hopscotch is too mainstream for your liking, or perhaps you didn’t get a sufficiently thorough dose of far-out fare at the Three Lobed Recordings/WXDU day party. Either way, this early evening show with Asheville guitarist Tashi Dorji should satisfy. Dorji’s approach to his instrument is expansive, invigorating, and improvisational; you won’t hear any delicately strummed little ditties here. Rather, Dorji follows unexpected but thrilling paths of notes, sometimes warping his guitar’s sound with other elements, like chopsticks. His stop at The Pinhook is an easy opportunity to watch an expert craftsman at work. The occasion also marks the release of Manas III, a new collection of curiosities that features Asheville drummer Thom Nguyen lending Dorji torrential bouts of percussion. Elysse Thebner Miller and Jenks Miller open with a rare duo performance, and proceeds from the show benefit Alerta Migratoria, a Durham nonprofit that aids undocumented immigrants. —Allison Hussey THE PINHOOK, DURHAM | 7 p.m., $10, www.thepinhook.com

WHAT TO DO THIS WEEK Beasts of the Southern Wild PHOTO

COURTESY OF DUKE PERFORMANCES

THURSDAY, SEPTEMBER 7– SUNDAY, SEPTEMBER 10

OPEN DOORS

Playwrights know how hard it is to get a new work’s first production in front of an audience. It’s gotten even harder around here since the ArtsCenter shuttered its 10 by 10 in the Triangle festival of new ten-minute plays this summer, ending a run of fifteen years. But last year, Sonorous Road launched a new initiative solely dedicated to local playwrights. This weekend, the second Open Doors festival features nine short plays, including what’s being billed as the most daring work to date from Allan Maule (EverScape) and Libby Heily’s new relationship drama, Meant to Be. The rest look like lighter fare, including Ann Chenoweth-Carr’s silly medieval soaper, Meanwhile; Mac McCord’s left-handed tribute to technology, The Trouble with Siri; and Gus Allen’s knowing theater-insider farce, Staged Reading. As with the weather in the Triangle, if you don’t like what you’re seeing, wait ten minutes. —Byron Woods SONOROUS ROAD THEATRE, RALEIGH Various times, $14–$18, www.sonorousroad.com

FRIDAY, SEPTEMBER 8 & SATURDAY, SEPTEMBER 9

BEASTS OF THE SOUTHERN WILD LIVE SCORE

Immediately upon its release in the summer of 2012, Beasts of the Southern Wild captured American hearts and imaginations as a story of survival and loss. The film follows Hushpuppy, a brave and ferocious six-year-old who also narrates the story, and her ailing, mercurial father, Wink. The two live in The Bathtub, a tightknit, ramshackle community washed away by a terrible flood; from there, Hushpuppy and Wink have to figure out how to grapple with the end of their world as they know it. The film’s score captures the delight, disquiet, and almost magical surrealism that Hushpuppy encounters as she navigates joy and tragedy. It gets the live treatment at Duke courtesy of members of the North Carolina Symphony and the Lost Bayou Ramblers, who handle the more distinctly Deep South elements of the score (see p. 37). Beasts holds up as a gorgeous modern masterpiece, and this two-night occasion is the larger-than-life showcase it deserves. —Allison Hussey DUKE’S REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $10–$38, www.dukeperformances.duke.edu

TUESDAY, SEPTEMBER 12

PETER WILLIAMS

“In [Peter Williams’s] figurative paintings, where imaginary creatures populate a flat, abstract realm, viewers are apt to feel that they are privy to the artist’s dreams—or are they nightmares?” John Yau wrote in Hyperallergic four years ago, on the occasion of the then-sixty-year-old painter’s overdue first solo show in New York. “[His world] is a vulnerable one where everything has either gone haywire or is about to.” In an interview with Artslant, Williams spelled out some of the context behind the sense of peril in his surreal but not too oblique tableaux: “We look for redemption for an act we never seem to escape, our ‘negritude’ and/or ‘otherness.’ My vision is of the history of art being able to tell the appalling story of humankind and the evils it perpetuates,” he said. Coinciding with his current exhibit at the Allcott Gallery, Dark Humor, which runs through September 28, Williams comes to Chapel Hill in the Hanes Visiting Artist Lecture Series to unfold the meanings behind his unnerving yet beautifully colored symbolism on Tuesday, followed by a reception. —Brian Howe UNC’S HANES ART CENTER, CHAPEL HILL 6 p.m., free, www.art.unc.edu

WHAT ELSE SHOULD I DO?

JOJO ABOT AT UNC’S MEMORIAL HALL (P.39), ANDREA DONNELLY AT NCMA (P. 41), FILL THE VOID AT THE LEVIN JEWISH COMMUNITY CENTER (P. 44), CHARLES FRAZIER & ERIC MITCHKO AT QUAIL RIDGE BOOKS (P. 44), HOPSCOTCH MUSIC FESTIVAL IN DOWNTOWN RALEIGH (P. 13), KING LEAR AT PEACE UNIVERSITY (P. 42), LOST BAYOU RAMBLERS AT THE PINHOOK (P. 37), SHAKESBEER AT MYSTERY BREWING PUBLIC HOUSE (P. 32), YES TO NOTHING AT NIGHTLIGHT (P. 33) INDYweek.com | 9.6.17 | 35

on stands now!

indy week’s guide to everything you need to know to start your semester right

s u p m a C Guide 36 | 9.6.17 | INDYweek.com

TH 9/14

TU 9/12 @MOTORCO

SWERVEDRIVER BLACK JOE LEWIS 9/8 LAST PODCAST ON SOLD THE LEFT OUT 9/10 TANK AND THE SO BANGAS LD W/ SWEET CRUDE OUT 9/12 POP UP CHORUS (CELEBRATING SGT. PEPPER’S LONELY HEARTS CLUB BAND)

& THE HONEYBEARS

11/11 SAINT MOTEL ($22/$25) 11/12 LUNA W/ ELEANOR FRIEDBERGER ($20/$23) 11/14 COUSIN STIZZ W/SWOOSH, BIG LEANO ($15/$18)

9/14 SWERVEDRIVER ($20)

11/16 YELAWOLF ($25/$28)

9/16 ACLU BENEFIT: THE WHISKEY HONEYS, TOO MUCH FUN, CYRIL LANCE BAND, THE ALLEN BOYS, BUTCHER AND THE TIN MAN

11/18 CULTS ($19/$21)

9/21 QUICKSAND W/NO JOY ($20/$24) 9/22 UGLY GOD ($25/$28) 9/23 LIARS ($17/$19) 9/24 CARRBORO MUSIC FESTIVAL (FREE SHOW! 2 PM- 11 PM) 9/26 BONE THUGS N HARMONY ($27/$30) 9/27 PSYCHEDELIC FURS LD W/ BASH & POP SO OUT 9/29 PINBACK AUTUMN OF THE SERAPHS 10TH ANNIVERSARY TOUR W/ MESSTHETICS ($20) 9/30 TIMEFLIES: TOO MUCH TO DREAM TOUR W/ DAWIN, LOOTE ($25/$28) 10/2 RAC W/LPX ($22/$25) 10/4 CAMERON ESPOSITO AND RHEA BUTCHER: BACK TO BACK $32.50 (SEATED SHOW) 10/5 LIQUID STRANGER AND MANIC FOCUS ($17/$20) 10/6: WXYC 2000'S DANCE ($5 STUDENTS /$8 GP) 10/7 LANY THE LANY TOUR PART 2 LD W/ DAGNY SO OUT 10/9 BERMUDA TRIANGLE W/ MUSIC BAND ($20)

11/30 CUT COPY 12/17 HORTON’S HOLIDAY HAYRIDE STARRING REVEREND HORTON HEAT, WITH THE BLASTERS, JUNIOR BROWN, BIG SANDY ($25/ $28)SANDY ($25/$28) TWO

1/22 AND 1/23/18 SHOWS! SAY ANYTHING ($22/$27; $40 FOR 2-NIGHT PASS) 1/27/18: TENNIS 5/25 PETER HOOK & THE LIGHT ($28/$31) CAT'S CRADLE BACK ROOM 9/7 MILLIE MCGUIRE W/ MADDIE WEINER ($6/$8) 9/8 THE OBLATIONS CD RELEASE SHOW W/ DARK WATER RISING 9/9 RIPE W/ JUNIOR ASTRONOMERS ($10/$12) 9/13 FRANKIE ROSE W/ SUBURBAN LIVING, WILLIAM HINSON ($10/$12) 9/14 JESS KLEIN AND DAVID WIMBISH ($10/$12) 9/15 VIOLET BELL LP RELEASE SHOW W/ ROBINSON EARLE & CRAICDOWN 9/16 CRANK IT LOUD PRESENTS: JASON RICHARDSON W/ THE REIGN OF KINDO, STOLAS ($13/$15) 9/17 CAAMP W/ DOC ROBINSON ($10/$12)

SA 9/9 @CAT’S CRADLE BACK ROOM

RIPE

SA 9/30

TIMEFLIES 10/13 WITT LOWRY W/ BO RANSOM 10/14 MATT POND PA W/ WILD PINK ($15/$17) 10/15 ZENSOFLY, JOOSELORD MAGNUS, BRASSIOUS MONK, J ROWDY & THE NIGHTSHIFT 10/16 THE NATIONAL PARKS W/ RIVVRS

10/22 PICKWICK W/ THE ELWINS ($12/$15) 10/23 TREVOR SENSOR ($10/$12) 10/24 JESSICA LEA MAYFIELD W/ BLANK RANGE ($15) 10/25 THE ALTERNATE ROUTES W/ NICK FRADIANI 10/27 THE MOVIELIFE W/IRON CHIC 10/31 RATBOYS W/ DAGS (ON SALE 9/8) 11/2 LARRY KEEL EXPERIENCE W/ JON STICKLEY TRIO ($!6/$20) 11/3 ALL THEM WITCHES W/ KING BUFFALO 11/4 THE HOTELIER W/ OSO OSO, ALEX NAPPING ($13/$15) 11/5 TERA MELOS W/ SPEEDY ORTIZ 11/7 THE WORLD IS A BEAUTIFUL PLACE AND I AM NO LONGER AFRAID TO DIE W/ ROZWELL KID, ADJY ($15) 11/11 ARKELLS W/ IRONTOM ($15) 11/12 OVERCOATS ($10/$12)

10/10 MURA MASA W/ JOEY PURP ($17/$20)

9/18 BANDITS ON THE RUN, MAGNOLIA PROJECT, HONEY MAGPIE ($10)

10/12 TURNOVER W/ ELVIS DEPRESSEDLY, EMMA RUTH RUNDLE ($17/$20)

9/19 ARTISANALS, NORTH ELEMENTARY, THE RATTLE & SHAKES ($8)

11/15 MO LOWDA & THE HUMBLE

10/13 CHELSEA WOLFE** W/ YOUTH CODE ($20/$23)

9/20: SAVING SPACE SHOWCASE #13 GOWN - SPEED STICK - BANGZZ. NONPROFIT BENEFICIARY: THE RECYCLERY

11/30 THE WEATHER STATION W/ JAMES ELKINGTON

10/14 RIVER WHYLESS W/ THE GRAND SHELL GAME ($14/$16) 10/16 KALI UCHIS W/ PHONY PPL ($15/$18) 10/20 YEP ROC 20 -- NICK LOWE, JOSH ROUSE, LOS STRAITJACKETS, ELI PAPERBOY REED, SPECIAL GUEST TBA 10/21 YEP ROC 20 -- DAVE ALVIN AND PHIL ALVIN WITH THE GUILTY ONES, CHUCK PROPHET WITH THE MISSION EXPRESS, JEREMY & THE HARLEQUINS, DRESSY BESSY, THE FLESHTONES 10/24 TED LEO AND THE PHARMACISTS ($16/$18) 10/25 JOSH RITTER & THE ROYAL CITY BAND W/GOOD OLD WAR ($27.50; INCLUDES ALBUM DOWNLOAD) 10/26 SAN FERMIN W/ GRACIE AND RACHEL ($15) 10/27 AMINE W/ TOWKIO ($22/$25)

AND 9/21 COLTER WALLSO LD TYLER CHILDERS OUT 9/22 STOP LIGHT OBSERVATIONS W/SONDORBLUE, C2 ($10/$12) 9/23 CMF KICKOFF EVENT URBAN SOIL W/ CHRISTIANE (FREE) 9/24 CARRBORO MUSIC FESTIVAL HIP HOP/ VARIETY SHOWCASE (FREE) 9/25 THE CRIBS W/ PAWS ($18/$20) 9/27 TOGETHER PANGEA W/ DADDY ISSUES, LALA LALA ($12/$14) 9/28 DRIFTWOOD ($12/$14) 9/29 LAIRS, ARSON DAILY, NOISE LIGHTS ($7/$8) 9/30 SWEET SPIRIT W/ TINNAROSE, ERIC SLICK (FROM DR DOG) 10/1 ELECTRIC SIX W/ GROVES ($13/$15) 10/4 TROUT STEAK REVIVAL W/ DEAD HORSES ($12/ $15)

10/28 COSMIC CHARLIE

10/5 GREAT PEACOCK W/ THE HIGH DIVERS ($10)

10/29 GRYFFIN W/ AUTOGRAF (DJ SET), AYOKAY ($17/$20)

OCT 6: MAGNOLIA COLLECTIVE, REESE MCHENRY & THE FOX, AMIGO

10/31 JR JR W/ CHAD VALLEY ($16/$18)

10/7 MAX FROST W/ NAWAS ($12)

11/1 CRANK IT LOUD PRESENTS: CITIZEN W/SORORITY NOISE, GREAT GRANDPA

10/8 JESSICA HERNANDEZ & THE DELTAS

11/3 JD MCPHERSON W/ NICOLE ATKINS ($16/$18) 11/4 KNUCKLE PUCK W/ MOVEMENTS WITH CONFIDENCE, HOMESAFE 11/6 WAX TAILOR: SOLO SET & GUESTS W/ DIRTY ART CLUB ($20/$23) 11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25)

10/10 BANDITOS W/CALEB CAUDLE 10/11 NOW, NOW W/DEM YUUT ($13/$15) 10/12 HOLLY BOWLING ($15/$17)

11/13 DAVID BAZAN W/ MICHAEL NAU ($15) 11/16 CITY OF THE SUN ($10/$12; ON SALE 9/8)

12/1 ALLAN RAYMAN ($18/$20) 12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE ($15/$17) CAROLINA THEATRE (DUR) 12/6 THE MOUNTAIN GOATS MOTORCO (DUR) 9/12 BLACK JOE LEWIS & THE HONEYBEARS W/ LIGHTNIN MALCOLM ($15/$17) 10/13 GUIDED BY VOICES ($26/$30) 11/4 BORIS W/MUTOID MAN, ENDON ($18/$20) 11/30 THE DISTRICTS ($15/$17) DPAC (DUR) TWO 11/13 AND 11/14 SH OWS! BON IVER W/ AERO FLYNN 11/25 ST. VINCENT THE RITZ (RAL) 10/26 PORTUGAL.THE MAN W/LIDO RED HAT AMPH (RAL) 10/2 THE HEAD AND THE HEART W/ THE SHELTERS HAW RIVER BALLROOM 10/13 JULIEN BAKER W/ HALF WAIF ($16/$18) 10/20 EMILY SALIERS TWO

11/30 AND 12/1 SHOWS! HISS GOLDEN MESSENGER SHAKORI HILLS COMM. CTR. 9/30 SYLVAN ESSO W/ TUNE-YARDS, WYE OAK, HELADO NEGRO, THE DEAD TONGUES & MORE

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

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

music HOPSCOTCH MUSIC FESTIVAL 9.7–9.10 See our coverage, schedule, and picks beginning on page 13. Solange & Margo Price 14

9.6 – 9.13

WED, SEP 6 THE ARTSCENTER: Big Band Night with the Triangle Jazz Orchestra; 7:30 p.m., $5 donation. • LINCOLN THEATRE: Tank; Sammie; Dante, Dontay, Duntea; 8 p.m., $25–$40. • LOCAL 506: Spaceface, Crystal Bright and the Silver Hands; 8-11 p.m., $8. • MOTORCO: GBH, The Casualties, Skemata; 7:30 p.m., $20–$25. • NIGHTLIGHT: Chuck Johnson, Readings from Local Writers, Simple Machines; 7:30 p.m., $12. • POUR HOUSE: Roots of Creation, Crane, Oogee Wawa; 9 p.m.

THU, SEP 7

Hip-Hop at Hopscotch 15

Birdtalker

Helium Highs 16 Q&A with Mount Eerie 17 Brash Blanck Mass 19 New Programming 19 Our Day Party Picks 21 Big Thief’s Brilliance 22 Hopscotch Schedule 23

FOLK POP If you took Andrew Bird’s Armchair Apocrypha and added a heavy dose of twee, you’d get Birdtalker. When Zack and Dani Green married, they started writing songs together. Eventually the collaborative spirit they

enjoyed so much as a duo led to adding three more members and adopting a name. In a manic pixie dream girl kind of way, it works. Becca Mancari opens. —AD [MOTORCO, $13–$15/8 P.M.]

Millie McGuire WUNDER Chapel Hill’s KIND Millie McGuire is a seventeenyear-old wunderkind whose shimmering alto radiates a lived-in depth belying her tender age. Whether she ultimately elects to go the route of traditional jazz or contemporary pop, McGuire has all the necessary chops to make a splash on the big stage. Maddie Weiner opens. —EB [CAT’S CRADLE, $6–$8/8 P.M.] ALSO ON THURSDAY THE BASEMENT: Hopscotch Music Festival: The Brian Jonestown Massacre, Oh

THURSDAY, SEPTEMBER 7

LOST BAYOU RAMBLERS

PHOTO COURTESY OF THE ARTIST

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM Sees, Nest Egg, All the Saints, Spaceface; 8 p.m., $85–$349. • CAM RALEIGH: Hopscotch Music Festival: Metz, Torche, Pallbearer, Kayo Dot, Bask; 8:30 p.m., $85–$349. • THE CAVE: Youth League, Taking Meds, California Cousins, Extrovert; 9 p.m., $5. • DEEP SOUTH: Hopscotch Day Party: Zensofly, Janxx, Animalweapon, Regular Cat Crew, Electrobro, Tymellord, XTALS, Yyen; 12-5 p.m. Hopscotch Music Festival: Okey Dokey, Cones, Shepherds, Dim Delights; 8 p.m., $85–$349. • FLETCHER OPERA THEATER: Hopscotch Music Festival: Mount Eerie, Shane Parish, John Saturley; 8:30 p.m., $85–$349. • IRREGARDLESS: Angela Bingham Duo; 6-9 p.m. • KINGS: Hopscotch Day Party: Konvoi, Natural Velvet, Spaceface, HNDCLW; 12-5 p.m. Hopscotch Music Festival: Blanck Mass, Boy Harsher, Floor Model; 9:30 p.m., $85–$349. • LINCOLN THEATRE: Hopscotch Music Festival: Noname, Oddisee & Good Company, G Yamazawa, P.A.T. Junior; 9:30 p.m., $85–$349. • LOVE HOUSE AND

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Zoe Camp (ZC), Annalise Domenighini (AD), David Klein (DK), Charles Morse (CM), Dan Ruccia (DR), Patrick Wall (PW)

HUTCHINS FORUM: Music on the Porch: Kamara Thomas; 5:30-7 p.m., free. • NEPTUNES PARLOUR: Hopscotch Day Party: Ryan Trauley + Tim Matthews, Spirit Cooker, Blacksage, Surf Harp; 12-5 p.m. Hopscotch Music Festival: Gobbinjr, Beverly Tender, Moon Racer, Reflex Arc; 9 p.m., $85–$349. • THE PINHOOK: Lost Bayou Ramblers, Shamu Garcon; 8 p.m., $10. See box, this page. • POUR HOUSE: Hopscotch Day Party: Datura, Jerkagram, Aleph Naught, Darth Kannabyss, Year of the Ox, Gein, Car Crash Star; 1-5 p.m. Hopscotch Day Party: Dark Kannabyss, Year of the Ox, Car Crash Star, Datura; 1 p.m. Hopscotch Music Festival: Sunflower Bean, Ne-Hi, The Tills, Totally Slow, Happy Abandon; 8:30 p.m., $85–$349. • RALEIGH CITY PLAZA: Hopscotch Music Festival: Margo Price, Big Thief, Skylar Gudasz; 5:50 p.m., $85–$349. • RUBY DELUXE: Hopscotch Day Party: Gar-ud, Secret Boyfriend, Sponge Bath, Repeat Offender, Reflex Arc, Mall Prowler, Kendall Cahan, Faster Detail, Chucha BODYKIT, Blursome;

You can pinpoint where the Lost Bayou Ramblers came from, but where they’re going is uncharted territory. You sure won’t find your way with your ears. Cajun roots were tangled enough before the Ramblers started stirring them up, but the band’s meandering route through multi-ethnic, genre-busting backchannels confounds even the most intrepid explorer. Brothers Louis (fiddle and lead vocals) and Andre Michot (accordion and lap steel) grew up in Lafayette, Louisiana. They played in Los Freres Michot, founded in the eighties by their father and his brothers. After striking out with their own band in 1999, the Ramblers picked up a Grammy nomination for 2007’s Live a la Blue Moon. Their song “The Bathtub,” featured in the 2012 movie Beasts of the Southern Wild, got them global attention. Bands like Steve Riley and the Mamou Playboys have been advancing traditional Cajun music for decades, incorporating rock and blues, but nobody takes it as far as the Ramblers, with an unholy gumbo of metal, electronica, funk, and hard rock filtered through pedal steel, fiddle, and heavy-handed percussion, topped off with high and lonesome warbling in French. The ensemble’s forthcoming record, Kalenda, takes the Ramblers on a cross-cultural journey that starts in the West Indies and ends up in Hawaii. Cajun forefathers the Acadians fled from Nova Scotia to relocate in Louisiana

12-5 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Hopscotch Day Party: Almost People, Dr. Mudd and The Alamo, M is We; 2-5 p.m. • SLIM’S: Hopscotch Day Party: Joshua Carpenter, Nathan Oliver, Wild Fur, Organos, North Elementary, Shelles, Le Weekend, Good Graces, Stray Owls, Lacy Jags; 12-5 p.m. Hopscotch Music Festival: Cayetana, Late Bloomer, Mybrother Mysister, Severed Fingers; 9 p.m., $85–$349. • UNC’S MEMORIAL HALL: Jojo Abot; 7:30 p.m., $10. See box, page 39.

FRI, SEP 8 Jason Aldean NEW One of the COUNTRY major commercial juggernauts in contemporary country music, Georgia-born Jason Aldean has ridden his Good Time Charlie persona and knack for aggravatingly indelible hooks into an impressively lengthy winning

streak, abetted by a special flair for horndog anthems like “Burnin’ It Down” and “Tonight Looks Good On You.” Chris Young, Kane Brown, and Dee Jay Silver open. —EB [COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK, $31–$163/7:30 P.M.]

Family Sircle SUITS A Durham MATCH institution since 1985, Family Sircle does R & B the right way, mixing the tight choreography and matching suits of sixties Motown groups with the smooth grooves and silky melodies of the eighties and nineties. The group’s four vocalists—Stanley Saunders, Andy Peterson, Pierce McKoy, and Jerome Saunders— all have long histories within the Durham soul scene, and they know how to layer their harmonies to make a song really soar. —DR [BEYÙ CAFFÈ, $12/7 & 9 P.M.]

in the late 1700s, some by way of a stop in the West Indies first. The record’s title cut highlights that part of Cajun culture, which sounds heavily Hatian, too. Louis Michot’s fiddle mimicks sinister screeching, accented by guest Jimmy Horn from King James and the Special Men hitting a garden hoe with a screwdriver, adding a cheese grater and a small bell for effect. Kalenda has multiple interpretations, from a Trinidadian war dance to a courting dance in eighteenthcentury New Orleans performed by enslaved people in Congo Square to a two-step Cajun waltz immortalized in the Cajun classic “Allons Danser Colinda.” The Ramblers paddle into the rapids with the industrial metal clank and grunge of “Freetown Crawl Fightin’ville Brawl,” while “Si J’aurais Des Ailles” sounds like it marched right off a Scottish battlefield with its squealing bagpipes. “Nezpique” sounds like a rowdy night in an Irish pub, and closing track “Aloha Golden Meadow” replicates Hawaiian slack-key technique on lap steel. Navigating these sorts of musical waters requires a special GPS, which only the Ramblers seem to have. Punch it up, sit back, and enjoy the ride. —Grant Britt THE PINHOOK, DURHAM 8 p.m., $10–$14, www.dukeperformances.duke.edu INDYweek.com | 9.6.17 | 37

FR 9/8

WELL RESPECTED MEN: KINKS TRIBUTE 7PM, $7, 21+

JAZZ SATURDAY

W/ GARY BRUNOTTE & RAMON ORTIZ

SA 9/9

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W/ GOOD ROCKING SAM & SCOTT SAWYER 6:30PM, $6/$8*

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The Oblations FUNK & This gifted duo is BLUES equally versed in blues, funk and Southern boogie, evoking the long shadows of Lowell George and the Allman Brothers while managing to put an idiosyncratic spin on those towering legacies. Featuring a deft rhythmic touch and a merciful absence of bombast, guitarist Daniel Fields and drummer/keyboardist Joe MacPhail weave their sundry roots influences into a vital, dynamic tapestry, virtually free of the clichéd exertions that plague so many contemporary roots-based acts. Dark Water Rising opens. —EB [CAT’S CRADLE BACK ROOM, $8–$10/8:30 P.M.]

Sidecar Social Club BIG BAND Channeling Billie Holiday belting out “Stagger Lee” and “Blueberry Hill,” Sidecar Social Club’s Lisa Veronica Wood also tackles Chuck Berry’s “You Never Can Tell” and re-creates Patsy Cline’s “Walkin’ After Midnight” as well as the usual jazz standards. She applies a shiny, big-band patina to everything that crosses her path. —GB [BLUE NOTE GRILL, $8/9 P.M.]

Slaves

WE 9/6

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w/ Crystal Bright and the Silver Hands

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w/ Becca Mancari

TH 9/7 FR 9/8

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COMING SOON: WOVEHAND, JAKE CLEMONS, PAUL CAUTHE, VERITE, JAY SOM, WILSEN

www.LOCAL506.com 38 | 9.6.17 | INDYweek.com

ANGST Jonny Craig—forANTHEM merly of Emarosa and Dance Gavin Dance, two of the biggest bands to emerge from the pop-leaning post-hardcore boom in the late aughts—formed this Sacramento outfit in 2014, on the following melodramatic principle: “Every man is a slave to what we love— whether it be women, drugs, music or sports—through art we are all equals.” Naturally, the band’s third album, this year’s Beautiful Death, gestures to a punkish populism rooted in unbridled angst with anthems for the outcasts. Secrets, Out Came the Wolves, Picturesque, and Within Echoes open. —ZC [LOCAL 506, $13–$15/6:30 P.M.]

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FRESH Whether because PICKED of its strict rules of style or those who hand them down to others,

bluegrass styles have changed relatively little in the seventy-plus years the style has been popularly written and recorded. In a genre that at times feels too tightly tied to the past, Molly Tuttle shines with her modern-yettraditional approach to the genre. Jeremy Squires opens. —AD [MOTORCO, $10–$12/9 P.M.]

Velvet Hammer DEEP Velvet Hammer CUTS isn’t your usual cover band. The Raleigh outfit, which features members of local favorites Far Too Jones and Dune Dogs, specializes in jam-flavored reinterpretations on B-sides from the seventies and nineties. No genre or artist is off-limits; from metal to funk, pop to country, Velvet Hammer does it all. —ZC [THE MAYWOOD, $5/8:30 P.M.] ALSO ON FRIDAY THE BASEMENT: Hopscotch Music Festival: Kaytranada, Lee Fields & The Expressions, Har Mar Superstar; 10 p.m., $99–$349. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • CAM RALEIGH: Hopscotch Music Festival: Protomartyr, Mourn, Konvoi, Bodykit; 9 p.m., $99–$349. • THE CAVE: Minor Poet, Mature Fantasy, Cosmic Punk; 9 p.m., $5. • CRANK ARM BREWING CO: Hopscotch Day Party: Magma Opus, Map the Skies; 12-5 p.m. • DEEP SOUTH: Hopscotch Day Party: Psycho Sonic Cindi, Youth League, propersleep, Bruxes, Promm, Basement Life; 12-5 p.m. Hopscotch Music Festival: The Veldt, Hoops, Jock Gang, The Kneads; 9:30 p.m., $99–$349. • DUKE’S NELSON MUSIC ROOM: Fred Raimi; 8 p.m., free. • FLETCHER OPERA THEATER: Hopscotch Music Festival: Songs: Molina, Monk Parker, Dylan Earl, WNC String Ensemble; 9 p.m., $99–$349. • KINGS: Hopscotch Day Party: Repressed, Rosali + Band, Chuck Johnson, Purling Hiss, House and Land, Tashi Dorji/James Toth Duo, Long Hots, Nathan Bowles Trio; 12-5:30 p.m. Hopscotch Music Festival: Yves Tumor, Marie Davidson, Sand Pact, Iggy Cosky; 9 p.m., $99–$349. • LEGENDS: Hopscotch Day Party: The Muslims, Das Drip, Ami Dang, Jock Gang, Chucha, Oxidant; 12-5:30 p.m. • LINCOLN THEATRE: Hopscotch Music Festival: The Afghan Whigs, Preoccupations, Museum Mouth, Acid Chaperone; 9:30 p.m., $99–$349. • NASH HALL: Hopscotch Music Festival: Madame Gandhi, H.O.W., Arone Dyer’s Drone Choir, Albert Adams; 8:30 p.m., $99–$349.

NEPTUNES PARLOUR: Hopscotch Music Festival: O, Snail Mail, Bellows, Aunt Sis; 9:30 p.m., $99–$349. • THE PINHOOK: Tashi Dorji, Elysse Thebner Miller and Jenks Miller; 7 p.m., $10. See page 34. • POUR HOUSE: Hopscotch Day Party: Jooselord Magnus, The Deeepend, Checka Fred vs. Silhouette, J. Rowdy & the Nightshift, Mballa, Danny Blaze, Imani Pressley, Nance, Freedom Infinite; 12-5:30 p.m. Hopscotch Music Festival: Whores, Thou, King Woman, Mourning Cloak; 9 p.m., $99–$349. • RALEIGH CITY PLAZA: Hopscotch Music Festival: Future Islands, The Make-Up, Birds of Avalon; 5:50 p.m., $65–$349. • RED HAT AMPHITHEATER: Hopscotch Music Festival: Run the Jewels, Rapsody, Busdriver; 5:20 p.m., $65–$349. • RUBY DELUXE: Hopscotch Day Party: Local All-Stars; 12-3:30 p.m. DJ DNLTMS; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Hopscotch Day Party: Six String Drag, Happy Abandon, Fluorescence; 2-5 p.m. • SHARP NINE GALLERY: Ladybirds, NCCU Female Jazz Students; 8 p.m., $10–$15. • SLIM’S: Hopscotch Day Party: Spider Bags, Tooth, Bat Fangs, Drag Sounds, Reese McHenry w/ Spider Bags, Kate’s Bush, SLIME; 12-5:30 p.m. Hopscotch Music Festival: The Notekillers, Ahleuchatistas, Melkbelly, Essex Muro; 9:30 p.m., $99–$349. • THE STATION: Well Respected Men: Kinks Tribute; 7:30 p.m., $7.

SAT, SEP 9 Good Rocking Sam BLUES There’s no use in ROCK looking for Sam in this Durham quintet. Mike, Chuck, and three Davids whip up a mess of original Chicago and Texas blues from the so-called golden era of the fifties. Soul also gets a shout-out with songs like the Booker T and the MGs-inspired “Soul Crusher.” With Scott Sawyer. —GB [THE STATION, $6–$7/8 P.M.]

Pröwess DON’T Everything you FIX IT need to know about this newly formed Raleigh rock outfit can be gleaned from “No Survivors,” the band’s rowdy debut single. “You’ll hear us coming way before you see us,” warns wild-eyed frontman Plucky Bowes on the chorus. As if to prove his point, his bandmates answers with a churning, AC/ DC-esque boogie, fuel for Pröwess’s whiskey-fueled flame. Is it original?

Not really. Does it rock? Hell yes—and hey, if it ain’t broke... —ZC [THE MAYWOOD, $10/9 P.M.]

THURSDAY, SEPTEMBER 7

JOJO ABOT

PHOTO COURTESY OF CAROLINA PERFORMING ARTS

Ripe

Fresh off a performance at AfroPunk Fest in Brooklyn, experimental artist Jojo Abot kicks off Carolina Performing Arts’ current season with a bang—and a block party—at UNCChapel Hill’s Memorial Hall. Abot is proudly Ghanaian, but it may be more appropriate to label her an Afropolitan artist, a term coined by Nigerian-Ghanaian writer and photographer Taiye Selasi to describe an emerging group of urban Africans creating in conversation with one another and the continent at large. Notable Afropolitans like Blitz the Ambassador, Nneka, and Jojo Abot are not just at the forefront of bringing West African culture to global audiences; they are also are major voices redefining what it means to create work by, for, and about Africa. Abot’s work is largely concerned with what identity is in a globalized world: what are our roots, and what do they say about where we came from and where we are going? Abot works across different cities—New York, Accra, Stockholm, to name a few—but she also works across media platforms as a photographer, filmmaker, performance artist, poet, and musician. Her music blends Afrobeat bounce, incisive raps, jazzy innovation, and soulful flourishes.

Her latest EP, NGIWUNKULUNKULU, was inspired by a trip to South Africa that threw her racial identity into relief. She was used to the provocations of being black in America, but the relics of a recent apartheid past in South Africa enraged her in unexpected ways. Explaining the record on her website, she wrote, “To constantly experience my body as a political tool started out intimidating but in this experience I have discovered it a strength. […] NGIWUNKULUNKULU, which means I AM GOD [in Zulu], serves as a reminder of our identity as Godly beings with supernatural potential.” The resulting EP somersaults between fury and joy as it dialogues with both God and a broader black identity. In her combination music video for “Gods Among Men” and “Marching,” Abot first floats like a specter through Johannesburg, sacralizing the city with her florid body as she moves ritualistically through the streets. As the piece progresses into the latter segment, she struts and stomps on a rooftop, flitting between laundry lines and skylines. It’s as if she’s dancing between the city and the sky, between the sacred and the profane. —Katie Fernelius UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $10, www.carolinaperformingarts.org

FOR THE Boston’s highPICKING energy soul and R & B outfit Ripe features an infectious energy and a formidable pile of hooks to tunes like the horn-driven power pop gem “Talk to the Moon” and the Stevie Wonder-circa Innervisions romp of “Brother Sky.” Less successful are digressions into bro-funk like “Goon Squad,” but even Ripe’s weaker material tends to be redeemed by the powerful pipes of the band’s strangely alluring frontman, Robbie Wulfsohn. —TB [CAT’S CRADLE BACK ROOM, $10–$12/9 P.M.].

Zoocrü WILD Since forming FUSION under the fruitful auspices of the N.C. Central music department five years ago, Christian Sharp and his cohorts have fused soul, hip-hop, and jazz into an elegant hybrid they’re happy to call black American music. The group brings not only scarily good chops but a brash outlook that doesn’t shy from addressing divisive issues. The dozen-strong, Brooklyn-based Shareef Keyes & the Groove have shared a bill with the likes of soul jazz giant Roy Ayers. —DK [THE PINHOOK, $7/9 P.M.] ALSO ON SATURDAY THE BASEMENT: Hopscotch Music Festival: Machinedrum, Jlin, Alessandro Cortini, Blursome; 9 p.m., $99–$349. • BERKELEY CAFÉ: Hopscotch Day Party: Charles Latham & The Borrowed Band, Maldora, Horsehead, Pinto, The Good Graces, Bigdumbhick; 12-6 p.m. • BEYÙ CAFFÈ: Autumn Nicholas; 7 & 9 p.m., $15.• BLUE NOTE GRILL: Handsome Al and the Lookers ft. Emma Davis and the Fairlanes; 9 p.m., $8. • CAM RALEIGH: Hopscotch Music Festival: Branchez, Lunice, Blacksage, Jooselord Magnus, Brassious Monk; 8:30 p.m., $99–$349. • THE CAVE: Bellflower, Simone Finally, Tea Cup Gin; 9 p.m., $5. • CRANK ARM BREWING CO: Hopscotch Day Party: The Sammies, Lemon Sparks, Fatmouth; 12-5 p.m. • DEEP SOUTH: Hopscotch Day Party: The Veldt, Wild Fur, Lacy Jags, Konvoi,

Al Riggs, Justin Lacy Band; 12-5 p.m. Hopscotch Music Festival: Eztv, Beverly, Lazer Background, Absent Lovers; 9 p.m., $99–$349. • FLETCHER OPERA THEATER: Hopscotch Music Festival: Buke & Gase, Rafio Bhatia, Sound of Ceres, Acid Reign; 9 p.m., $99–$349. • IMURJ: Hopscotch Day Party: N’Kogniito, Zoocru, Ignite Mindz, TreAlise; 12-7 p.m. • KINGS: Hopscotch Day Party: Bat Fangs, Solar Halos, Escape-ism, H.C. McEntire, Skylar Gudasz, The Paul Swest; 12:30-5 p.m. Hopscotch Music Festival: Kevin Morby, Susto, Cory Hanson, Blois; 9 p.m., $99–$349. • LEGENDS: Hopscotch Day Party: Shatterproof, Alteras, MLC, Little Volcanos, June Divided, Atlantic Lungs, AVOID, Keys and Corridors, August is Ours; 12-5 p.m. • LINCOLN THEATRE: Hopscotch Music Festival: Hurray for the Riff Raff, Loamlands, Dear Nora, Advance Base, Naked Naps; 8:30 p.m., $99–$349. • NASH HALL: Hopscotch Music Festival: Serpentwithfeet, Aldous Harding, Ami Dang, Hand Habits; 9 p.m., $99–$349. • NEPTUNES PARLOUR: Hopscotch Day Party: All the Saints, Material Girls, DiCaprio, Coke Dares, Jock Gang; 12-5 p.m. Hopscotch Music Festival: Japanese Breakfast, Cende, Truth Club, Faye; 9:30 p.m., $99–$349. • PERSON STREET BAR: Hopscotch Day Party: Lonnie Walker, The Dinwiddies, Dim Delights, Drag Sounds, Wayleaves, Happy Abandon; 12:15-5 p.m. • POUR HOUSE: Hopscotch Day Party: Zack Mexico, Reese McHenry & the Fox, ET Anderson, Albert Adams, Wailin Storms, Cosmic Punk, Vacant Company, Mistresses, Echo Courts; 11:30 a.m.-5 p.m. Hopscotch Music Festival: Cherry Glazerr, Richard Lloyd, The Coke Dares, Pie Face Girls; 9 p.m., $99–$349. • RALEIGH CITY PLAZA: Hopscotch Music Festival: Big Boi, ILOVEMAKONNEN, Body Games; 5:20 p.m., $65–$349. • RALEIGH RAW: Hopscotch Day Party: DJ Mickey Slicks; 11 a.m.-3:30 p.m. • RED HAT AMPHITHEATER: Hopscotch Music Festival: Solange, Tei Shi, Arrow Benjamin, Sir the Baptist, Flock of Dimes, Zensofly; 2:15 p.m., $65–$349. • SCHOOLKIDS RECORDS (RALEIGH): Hopscotch Day Party: Richard Lloyd, Sneaker Awards, Miracles, Porch Light Apothecary; 1-5 p.m. • SHARP NINE GALLERY: Donovan Cheatham Quartet; 8 p.m., $10–$15. • SLIM’S: Hopscotch Day Party: The Backsliders, Jock Gang, Jack The Radio, Laser Background, Kate Rhudy, Brian David Corum, Steven Fiore, Real Dad; 12-6 p.m. Hopscotch Music Festival: Mannequin Pussy, Peaer, Natural Velvet, Mineral Girls; 9:30 p.m., $99–$349. • TACTILE WORKSHOP: Hopscotch Day Party: Cool Party, Zensofly, Trandle, more; 12-5 p.m. • THE OUTPOST: Hopscotch Day Party: Thirsty Curses, Nevernauts, 90 Proof Therapist, Smoke From All the Friction; 3-7 p.m.

SUN, SEP 10 Randy Johnston SMOOTH His steadiest gig JAZZ was a seventeenyear stint with the Lou Donaldson Quartet, but guitarist Randy Johnston found time to tour and record with jazz kingpins Lionel Hampton and Lonnie Smith. In addition to his guitar prowess, Johnston can also tear down the house with his Ray Charles soundalike vocals. —GB [BLUE NOTE GRILL, FREE/5 P.M.]

Real Dad ELECTRO Durham’s Real POP Dad traffics in a dark and disorienting electronic pop whose surfeit of atmosphere generally compensates for a hazy songcraft. There’s talent and promise to spare, however, as evidenced by tracks like the homespun “Moods,” whose searing slow burn and endearingly rickety drum machines could help it pass for an outtake from the Magnetic Fields lo-fi masterpiece Get Lost. —TB [THE PINHOOK, $5/9 P.M.]

Tank and the Bangas FUNK Featuring a HYBRID formidable cross-pollination of funk, soul, and hip-hop influences, New Orleans’s Tank and the Bangas have recently generated commercial waves and critical acclaim, culminating with a high-profile appearance on NPR’s Tiny Desk Concert. On tracks like the hard-charging “Quick,” inimitable frontwoman Tarriona “Tank” Ball employs her commanding vocal presence in the service of reflections on the charms and travails of Crescent City life. Sweet Crude opens. —EB [CAT’S CRADLE, $15/8:30 P.M.]

THePETEBOX HUMAN A leading light in BEATBOX the micro-genre of human beat-boxing, Nottingham, England’s THePETEBOX generates a fairly astonishing array of sounds employing only his voice and a pedal board. As acts go, it lands someplace INDYweek.com | 9.6.17 | 39

between performance art and parlor trick, but whatever the case, it’s pretty cool. —TB [LOCAL 506, $8/9 P.M.] ALSO ON SUNDAY THE CAVE: Shark Jackson, Smoke from All the Friction, Disqo Volante; 9 p.m., $5. • IMURJ: Revival Recordings Day Party; 12-4 p.m. • POUR HOUSE: Hopscotch Day Party: Junior Astronomers, Midnight Snack, Oak City Slums, Young Mister, Shadowgraphs, Dirty Art Club, Erick Lottary, Babe Club; 2-10 p.m. • RED HAT AMPHITHEATER: Hopscotch Music Festival: Angel Olsen, Cass McCombs Band, Mount Moriah, Mary Timony Plays Helium, Cloud Nothings, Jenny Besetzt, No One Mind; 1:15 p.m., $45–$349. • RUBY DELUXE: The No Dudes Pwr Hr with DJ D/X and Dj Thunder Thighs; 10 p.m. • SLIM’S: Hopscotch Day Party: Hopscotch Hangover 8; 12-11:30 p.m. Slim’s Super Hangover and Over Again: Natural Causes, Essex//Muro, No Love, De() t; 9 p.m.

MON, SEP 11 Dark Tranquility MELODIC Roughly twenty METAL years ago,

WE 9/6 TH 9/7 FR 9/8 SA 9/9 SU 9/10 TU 9/12

Sweden’s Dark Tranquility pioneered its own scene in Gothenburg, mixing thrash and death metal. The band continues to push the boundaries of its musical field today, and seems to have no difficulty finding what’s necessary to stay relevant. Warbringer, Striker, Datura, Kairos, and The Day of Night open. —AD [MOTORCO, $20–$23/6:25 P.M.] ALSO ON MONDAY NEPTUNES PARLOUR: The Atomic Rhythm All Stars September Residency; 8:30 p.m., $5. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m.

TUE, SEP 12 Jon Bellion HIT Having cowritten MAKER hit songs for Rhianna and Jason Derulo, Long Island rapper and record producer Bellion recently emerged as a commercial commodity in his own right following the success of his debut full-length, Human Condition. Approachably

BLUE WED: THE SPOONBENDERS NASH STREET RAMBLERS DUKE STREET DOGS THE SIDECAR SOCIAL CLUB HANDSOME AL & THE LOOKERS WITH EMMA DAVIS / THE FAIRLANES RANDY JOHNSTON TUESDAY BLUES JAM

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angsty and unfailingly catholic in his embrace of hip-hop, EDM, and pop idioms, Bellion’s material is largely tedious but canny in its capacity to mark every top 40 box. —EB [THE RITZ, $34/8 P.M.]

Black Joe Lewis & the Honeybears BOOTY Hailing from SHAKE Austin, Texas, Black Joe Lewis is a sevenpiece ensemble that combines raw soul vocals and punchy horns with a brash attack wrought from blues and infused with the raucous energy of garage rock. The group has shifted its musical and sartorial approach over the years, from a matchingsuits Motown look to a casual indie vibe, all the while refining its electrifying live act. Holly Springs bluesman Lightnin’ Malcolm opens. —DK [MOTORCO, $15–$17/8 P.M.]

Steady Flow FUTURE FUNK

Formed a few years ago by funk

phenom Tanner Brown and his bass-playing older brother, this six-piece crew deals in grooves that make dancing an imperative, not a choice. But the crunch of rock plays its part, too, such as on the recent “Do You Like That,” whose lean, spacious groove is jolted with well deployed shred metal accents. —DK [POUR HOUSE, $7–$10/9 P.M.] ALSO ON TUESDAY RUBY DELUXE: Experimental Tuesday: Yada Yada; 11 p.m.

WED, SEP 13 Will Hoge HEART & This Nashville SOUL songwriter has experienced the highs, lows, and mediums of life as working musician. He’s toured relentlessly, seen his records tank, made a lot of money, and got burnt out. When that happened, he hit the road and played small solo shows. Last month he issued Anchors, a collection that ranges from stately, bittersweet folk-rock

narratives like the stirring opener, “The Reckoning” and chugging Seger-esque rock. It’s a strong showcase for his sharp tunes and soulful, grit-flecked singing. —DK [MOTORCO, $15–$19/8 P.M.]

Frankie Rose ROSY Following stints in INDIE POP bands like Crystal Stilts and the Vivian Girls, Frankie Rose struck out on her own with 2010’s Frankie Rose and the Outs, immediately establishing herself as a songwriting and instrumental talent. Tending toward noir-ish, evocative melodies that skate the line between cinematic dreamy pop and synthy prog, Rose possesses an Eno-esque talent for making tricky musical formulations feel intuitive and immediate. —TB [CAT’S CRADLE BACK ROOM, $12–$14/8 P.M.]

Underground System AFROWhen one thinks BEAT of the future of America, what it looks like,

what it sounds like, it resembles Underground System. The Brooklyn band blends Afrobeat stylings with new wave and chip tune, bridging the gap between an old world and a new one in its own way. —AD [POUR HOUSE, $10–$12/8 P.M.]

Varsity INDIE POP In the tradition of at-first-blush unassuming heavy hitters like Tiger Trap and Belle and Sebastian, Chicago’s young and talented Varsity plays cleverly arranged, charmingly verbose jangle pop. The band’s winsome surface belies a seriousness of intent and a real flair for toughminded, memorable turns of phrase. Cosmic Punk opens. —TB [LOCAL 506, $8–$10/9 P.M.] ALSO ON WEDNESDAY THE CAVE: Essex//Muro Residency; 9 p.m., $5. • KOKA BOOTH AMPHITHEATRE: Grass Cats; 5:45 p.m., $5. • THE RITZ: 2 Chainz; 8 p.m. • THE STATION: Jphono1 (solo), Bleeder, Knurr & Spell Lite, St. Boogens Music; 8:30 p.m., $6.

BIG BAND NIGHT

WITH THE TRIANGLE JAZZ ORCHESTRA

THE MONTI TRANSACTORS IMPROV: FOR FAMILIES! BILL FRISELL: HARMONY FT. PETRA HADEN, HANK ROBERTS & LUKE BERGMAN

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OPENING Endless Summer Craft Fair: Handmade crafts, art, clothing, candles, jewelry, and more. Sun, Sep 10, 10 a.m.-5 p.m. Kaboom Art Gallery, Garner. SPECIAL Gina Boyle: Mixed EVENT media. Reception: Fri, Sep 8, 6-9 p.m. Womancraft Fine Handcrafted Gifts, Carrboro. www. womancraftgifts.com. SPECIAL More than a Pretty EVENT Face: Experiments in Letterpress Printing: Lady Pilot Letterpress. Reception: Fri, Sep 8, 6-9 p.m. Liberty Arts, Durham. libertyartsnc.org. SPECIAL Nevertheless She EVENT Persisted: Silkscreen prints by Kelly Bodie. Sep 8-Oct 31. Reception: Fri, Sep 8, 6-8 p.m. Perch Studios, Carrboro. www.perchstudios.net. SPECIAL Patterns: EVENT Monoprints on paper and fabric by Ely Urbanski. Sep 9-30. Reception: Sat, Sep 9, 6-9 p.m. Pittsboro Center for the Arts, Pittsboro. SPECIAL Places: Paintings by EVENT Marvin Saltzman. Sep 7-Oct 7. Reception: Thu, Sep 7, 6-8 p.m. The Mahler Fine Art, Raleigh. www. themahlerfineart.com. SPECIAL Portraits by Vera EVENT Reed: Sep 8-30. Reception: Fri, Sep 8, 6-8 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

it ound yn band lings with tune, ween an one in its

FRIDAY, SEPTEMBER 8

ANDREA DONNELLY: WE’VE MET BEFORE Hand-woven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded by the necessities of form. North Carolina-raised artist Andrea Donnelly holds this contrast in tension in We’ve Met Before, her new show at the North Carolina Museum of Art. “Cloth, in its infinite variety and varied significance, is deeply linked to our histories and emotions through the body,” she writes in her artist statement. “Whether it’s woven to hang on the wall

or to grace the neck and shoulders, I make cloth that creates connection.” The images on these large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory. Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making” as well as an open range of interpretive play for viewers. This reception is preceded by an artist talk and luncheon at eleven a.m. —Brian Howe NORTH CAROLINA MUSEUM OF ART, RALEIGH 6 p.m., free, www.ncartmuseum.org

Untitled Youth: One-night group reception. Photography by Demondrie Rodgers and Landon White. Paintings by Sarahlaine Calva, Alex Figueroa, Franklin Alamanzar, Alex BTM. $5 donation. Fri, Sep 8, 5-11 p.m. Imurj, Raleigh. imurj.com.

ONGOING

The Life and Times of Ordinary Things: Paintings and illustrations by Emma Skurnick. Sat, Sep 9, 9 a.m.-2 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Transformation & Contrast: Jewelry by Linda Azar. Thru Sep 24. Melissa Designer Jewelry, Hillsborough. www. melissadesigherjewelry.com Before the War: Virtual reality is the next frontier for artists, and Tyler Jackson is scouting it. The abstract storyline in his VR exhibit needed five people to bring it to virtual life: Fabian Marquez, Alisha Hawkins, Doug Kinnison, Derick Childress, and Alex Davis. You don VR goggles, grip a haptic-feedback wand, and find yourself immersed in a shadowy, seemingly cavernous space, standing before a table. Touching various objects it holds allows you to enter different scenes, adumbrating if not spelling out a story about life and death as seen from some liminal place. When you lean out of a window and see the woods spreading into your peripheral vision, or you look down and see a rope ladder dangling vertiginously into streaming clouds beneath your feet, the sense of having entered another world is profound. Thru Sep 16. Lump, Raleigh. www. teamlump.org. —Brian Howe Beyond the Front Porch 2017: Exhibition by twelve senior undergraduates. Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. Carefully Cut: Tin can collage by Thomas Graham. Thru Nov 2. Alexander Dickson House, Hillsborough. www. historichillsborough.org. Clay for the Wall: Sculpture by Shannon Bueker. Thru Oct 1. Joyful Jewel, Pittsboro. www. joyfuljewel.com. Coastscapes: Paintings by Nancy Hughes Miller. Thru Oct 28. Artspace, Raleigh. www. artspacenc.org. Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

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of pedestrians’ lives through November. Thru Nov 30. Chapel Hill Street, Durham. —Brian Howe

The Fabric of Raleigh/The Fabric of Durham: “You were just a face in the crowd,” Tom Petty once sang. “Out in the street, walking around.” If Petty captured the alchemy of a face among many turning specific and significant, photographer Christer Berg, who moved to Raleigh from Sweden in 1995, does it dozens of times in his new photo book, The Fabric of Raleigh/The Fabric of Durham. Firefighters and preachers, cobblers and baristas, dancers and construction workers—all leap out of the daily pedestrian flow before Berg’s energetic lens. “I wanted to skip the planning, styling, and scheduling that’s common with portrait projects, instead capturing people in the moment, going about what they do in an unscripted and authentic way,” Berg says, and the result is also captured in a 120-page hardcover from Horse & Buggy Press. Thru Oct 1. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. — Brian Howe

Fluid: Paintings by MyLoan Dinh. Thru Oct 15. Durham Convention Center, Durham. www. durhamconventioncenter.com.

Fabric of Space and Time: Ann Harwell. Thru Sep 24. N.C. Museum of Natural Sciences, Raleigh. www. naturalsciences.org. SPECIAL Faculty and Staff EVENT Art Exhibition: Thru Oct 1. Reception: Thu, Sep 7, 4:30-6:30 p.m. Meredith College: GaddyHamrick Art Center, Raleigh. www.meredith.edu. The Fence: Durham is one of seven cities across the nation— the smallest, compared with the likes of Brooklyn, Boston, and Houston—to host this touring, public photography exhibit, curated from submissions from around the world and based on themes such as “home,” “nature,” and “food.” While Lori Vrba is the only local artist among the fifty included in the touring exhibit, nine area photographers, including Bryce Lankard, Leah Sobsey, Gesche Würfel, and Warren Hicks, are featured in a regional showcase. The exhibit wraps the block around the Chapel Hill Street parking garage in a temporary fence and banner of photos, where it will be a part 42 | 9.6.17 | INDYweek.com

Hearsay: Various artists. Thru Sep 21. Visual Art Exchange, Raleigh. www. visualartexchange.org. Homebound: Brenda Brokke, Leatha Koefler, Amy Friend. Thru Nov 25. Artspace, Raleigh. www.artspacenc.org. Hyperactive: Found materials by Leigh Suggs and Garry Noland. Thru Oct 27. Artspace, Raleigh. www.artspacenc.org. Dark Humor: Paintings by Peter Williams. Thru Sep 28. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. See p. 35. Juxtaposition: Married couple Donald Martiny and Celia Johnson create a profound visual language in this exhibit. Martiny’s works are nonrepresentational, heavily textured three-dimensional shapes that he creates on the floor. It’s a physically taxing process. He uses brushes, brooms, mops, and his hands to push paint into abstract swoops. The power of pure paint, combined with simple but strong, emotive strokes, is a dazzling convergence that immediately connects with viewers, unbound and unrestricted by the shape of a canvas. And Johnson has long been intrigued by moving around shapes and colors to create puzzles. Her well-organized geometric compositions blend modern sophistication with clarity and economy. Her brightly colored encaustic works reflect the minimalist images of the sixties. Thru Oct 27. Artspace, Raleigh. www.artspacenc.org. —Linda Kramer A Kiss of the Earth: Apt for a work about a season of fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere. It’s the inspiration for this experiment by UNCChapel Hill associate art professor Sabine Gruffat, whose interactive three-channel video projection remixes the story of

a pagan tribe’s maiden sacrifice with stochastic elements: real-time weather data from Paris affects the weather in the animation, and viewers can text to a number on the wall to further alter the proceedings. When you consider the contemporary implications, in a world of virtual warfare, of deciding someone’s fate with a command on a screen, you start to scratch the larger issues Gruffat is probing. Thru Jan 28. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe LAST The Long CHANCE Goodbye...: Sitespecific installation by Eric Yahnker. Thru Sep 10. CAM Raleigh, Raleigh. camraleigh.org. Marks of Clarity: Drawings and paintings by Kiki Farish and Erin Oliver. Thru Sep 15. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts. More than One Story | Mas de una historia: Photography. Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib. unc.edu/davis. A Morir: Video installation by Miguel Angel Rios. Thru Sep 17. Ackland Art Museum, Chapel Hill. www.ackland.org. One is a Crowd: Collaborative self portraits by Ursula Gullow. Thru Sep 30. Artspace, Raleigh. www.artspacenc.org. LAST One of Many: Prints. CHANCE Thru Sep 10. Ackland Art Museum, Chapel Hill. www.ackland.org. LAST Seed to Soil to Seed: CHANCE Ad Infinitum: The Dispersion of Seeds, Henry David Thoreau’s final research project, dealing with the natural selection of plants through a Darwinian lens, was brought out for the first time in the 1990s. The 150-year-old seeds Thoreau dispersed continue to blow around and find fertile soil, now sprouting in an installation in the Scrap Exchange’s Cameron Gallery. Taking inspiration from Thoreau’s treatment of “flyaway seeds,” installation artist Sara Good, of Memphis, Tennessee, festoons the gallery with botanical, found, and handmade matter to illustrate the intersecting loops and lines along which biological life elegantly destroys and creates itself. Thru Sep 9. The Scrap Exchange, Durham. www. scrapexchange.org. —Brian Howe

SPECIAL Seen Not Heard: EVENT Photography by Heather Evans Smith. Thru Sep 24. Reception: Sun, Sep 10, 2-4 p.m. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com. Small to Large: Delight in the Practice of Painting: Paintings by Margie Stewart. Thru Oct 23. Durham Arts Council, Durham. www.durhamarts.org. Some Assembly Required: Can You Build It?: 3-D paintings and sculpture. Thru Oct 10. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. Studio and Porch Paintings: Joan Vandermeer. Thru Oct 27. Mad Hatter Bakeshop & Cafe, Durham. www. madhatterbakeshop.com. LAST Teens, Inspired: CHANCE Juried exhibition by N.C. high school students. Thru Sep 10. NC Museum of Art, Raleigh. www.ncartmuseum. org. Thirty Paintings in Thirty Days: Paintings by Chieko Murasugi. Thru Sep 18. Durham Arts Council, Durham. www. durhamarts.org. Threading Colors: Works by Nora Phillips. Thru Sep 18. Durham Arts Council, Durham. www.durhamarts.org. Three Perspectives: Paintings by Lolette Guthrie, photography by Eric Saunders, blown glass by Pringle Teetor. Thru Sep 24. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com. Two by Two: Watercolors by Amy Beshgetoorian. Thru Sep 30. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

food

Chocolate and Wine/Cider Pairing: Pairing local artisan producers Videri Chocolate and Escazu Chocolate of Raleigh and Matthews Chocolate of Hillsborough with chef/ cidermaker Kether Smith. Pairing pastry chef Deric McGuffey with Botanist & Barrel. $20. Sat, Sep 9, 5-7 p.m. Cedar Grove Blueberry Farm, Cedar Grove. www. cedargroveblueberry.com.

stage

Simon Kaplan as King Lear PHOTO BY BOBBI VINSON OF FROLIC & CO.

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

FRIDAY, SEPTEMBER 8–SUNDAY, SEPTEMBER 24

KING LEAR

When do you need an exit strategy? After you’ve reached and then exceeded the zenith of your powers. When your remaining days are much fewer than those already gone. When you’ve destabilized your country. When the only direction left is down. All this is true when an aging king decides to split his people, his lands, his soldiers, and his power among those who claim they love him best. Why has it been more than a decade since anyone around here has attempted Shakespeare’s most demanding drama? The title character has long been considered the Everest of roles, a challenging capstone only the most seasoned actors and directors should seriously contemplate. Simon Kaplan is among the few local artists capable of making a plausible bid on the monarch of ultimate loss. Noted guest director Jeremy Fiebig will be his guide in this coproduction from Honest Pint Theatre and Fayetteville’s Sweet Tea Shakespeare. —Byron Woods

PEACE UNIVERSITY’S LEGGETT THEATRE, RALEIGH 7:30 p.m. Fri. & Sat./2 p.m. Sun., $8–$15, www.honestpinttheatre.org

OPENING

ArtsCenter, Carrboro. www. artscenterlive.org.

Mike Birbiglia: $40+. Sat, Sep 9, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre. org. See p. 34.

Neptunes Comedy (Hopscotch Day Party): Stand-up comedy and open mic. Fri, Sep 8, 2-5:30 p.m. Neptunes Parlour, Raleigh. www.neptunesparlour.com.

The Cake: Play. $15+. Wed, Sep 13-Sun, Oct 1. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org. An Evening with Last Podcast on the Left: Live podcast. $28. Fri, Sep 8, 8 p.m. Cat’s Cradle, Carrboro. www.catscradle.com. The Monti: Season Opener: $20-$22. Fri, Sep 8, 8 p.m. The

Piff the Magic Dragon: Stand-up comedy. Thu, Sep 7-Sun, Sep 10. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Rock of Ages: $10-$33. Sep 7-10, 8 p.m. Koka Booth Amphitheatre, Cary. www. boothamphitheatre.com.

Rubymania Wrestling (Hopscotch Day Party): Sat, Sep 9, noon-5 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh. The Suicide Journals: Play. $15$20. Sun, Sep 10, 3 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org. Transactors Improv: Improv comedy. $6-$10. Sat, Sep 9, 6 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

ONGOING Anything Goes Late Show: Comedy. Sat, Sep 9, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. LAST ½ Crowns: CHANCE You can tell when an audience isn’t just enjoying a show, but is in communion with it. Every night in a theater isn’t like this, and that’s what makes shows like Crowns so special. Director Terra Hodge and a septet of actors breathe life into Regina Taylor’s gospel musical adapting a book of photo ethnography on the “hat queens” of the AfricanAmerican church. Clearly, many in the audience saw their own lives and beliefs reflected in the collected wisdom of a quintet of women from the rural South, as they worked to impart their folkways and faith to the musical’s resistant central character, Yolanda (Chelsey

Moore), a teenager forcibly transplanted to South Carolina after her brother was killed by a gang in Brooklyn. Solid performances convey the stern but loving small-town faith community with integrity. Church can happen in the strangest places, like this theatrical revival at Raleigh Little Theatre. $15-$28. Thru Sep 17. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org. — Byron Woods Eyes Up Here Comedy: Standup comedy by women. $5. Wed, Sep 13, 8 p.m. The Pinhook, Durham. www.thepinhook.com. The Harry Show: Ages 18+. Improv host leads late-night revelers through potentially risque games with audience participation. $10. Fri, Sep 8 & Sat, Sep 9, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx.com. Horrible People: Dark and Comical Confessional: Comic storytelling. $12. Wed, Sep 13, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Jibber Jabber: Stand-up comedy. $12-$31. Sat, Sep 9, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com. Late Night Dip: Bucket-style comedy open mic. Fri, Sep 8, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

page READINGS & SIGNINGS Betty Adcock: Rough Fugue. Sun, Sep 10, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Sonia Belasco: Speak of Me as I Am. Fri, Sep 8, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Boozy Poetry Night: Local poets read their work. Second Mon, Sep 11, 8:30 p.m. The Stag’s Head, Raleigh. Drew Daywalt and Mike Myers: Star Wars: BB-8 on the Run. Sat, Sep 9, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

RuPaul’s Drag Race Viewing and Open Amateur Drag Stage: Fri, Sep 8, 8 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh. LAST ShakesBEER: Sir CHANCE John Falstaff walks into a bar. So do Andrew Aguecheek, Sir Toby Belch, and a certain inebriated porter employed by Lord and Lady Macbeth, among others. No, it isn’t the setup for a gag in a stand-up routine; it’s the production concept of the latest itinerant show from Bare Theatre. Adaptor Chuck Keith rounds up six of Shakespeare’s most beloved drunkards and sets them loose in an offbeat series of Monday-throughWednesday shows at various venues. Director Dustin Britt insists he’s in full fidelity with the original scripts: “There is no fabrication. Every single one of them was shit-faced in Shakespeare’s texts.” But wait— did we say full fidelity? Then why’s the Twelfth Night scene being played by boozy pirates? And is that really Peter Lorre in Othello? Hmm. This could take more than one round to figure out. Bartender? Free (donations accepted). Mon, Sep 11. Mystery Brewing Public House, Hillsborough.mysterybrewing.com. —Byron Woods ½ Yes to Nothing: Reviewed on p. 33. Thu, Sep 7-Sat, Sep 9. Nightlight, Chapel Hill. www.nightlightclub.com.

Story of Trial and Redemption. Tue, Sep 12, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. M Dressler: The Last to See Me: A Novel. Wed, Sep 13, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Michael S. Erwin: Lead Yourself First. Tue, Sep 12, 5:45 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Eleanor Henderson: The Twelve Mile Straight. Wed, Sep 13, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Alan Gratz and John Claude Bemis: Refugee and Lord of Monsters. Thu, Sep 7, 6 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Benjamin Rachlin: Ghost of the Innocent Man: A True

Scott Reintgen: Nyxia. Wed, Sep 13, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Barak Richman: Stateless Commerce: The Diamond Network and the Persistence of Relational Exchange. Thu, Sep 7, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Sarah J. Maas: Tower of Dawn. Thu, Sep 7, 6 p.m. Carroll Middle School, Raleigh. www. wcpss.net/carrollms. Noah Strote: Lions and Lambs: Conflict in Weimar and the Creation of Post-Nazi Germany. Mon, Sep 11, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

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Andre Vann: African Americans of Durham County. Sat, Sep 9, 3 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Jenny Zervakia: The Complete Strange Growths, 1991-1997. Fri, Sep 8, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Manoush Zomorodi: Bored and Brilliant. Tue, Sep 12, 7 p.m. James B. Hunt Jr. Library, Raleigh.

LECTURES ETC. The Limits of Presidential Power in Deconstructing the Administrative State: Professor Tim Duane. Room 4004. Tue, Sep 12, noon-1 p.m. UNC School of Law, Chapel Hill.

screen

The Neo-Confederates Don’t Know Their History: Lecture by Frank Hyman. Sat, Sep 9, 2 p.m. North Regional Library, Durham. PHOTO COURTESY OF SONY PICTURES CLASSICS

Catherynne Valente: The Glass Town Game. Tue, Sep 12, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

The Old-Time Herold: A Reminiscence: With Alice Gerrard, Gail Gillespie, and Sarah Bryan. Tue, Sep 12, 7 p.m. Stanford L Warren Branch Library, Durham. www. durhamcountylibrary.org.

THURSDAY, SEPTEMBER 7

FILL THE VOID

Jewish culture as reflected in the work of Jewish filmmakers, screenwriters, and actors is the sprawling focus of a film series taking place monthly at the Levin Jewish Community Center. This week, Fill the Void is an award-winning 2013 film set among the Hasidic community of Israel. Shira, played by Hadas Yaron, is an unformed eighteen-year-old who is forced to make life-altering choices when her sister dies unexpectedly, leaving behind an infant and a widower whom her parents want her to marry. The film offers an intimate look at the lives of men and women in a hermetic, patriarchal culture that nonetheless nurtures the bonds of family. The series will continue in November with Once in a Lifetime, a fact-based film about working-class high school students in Paris, many of them Muslim, who are forced to confront the Holocaust by an inspired teacher. —David Klein

LEVIN JEWISH COMMUNITY CENTER, DURHAM 7 p.m., $3, www.levinjcc.org

SPECIAL SHOWINGS THURSDAY, SEPTEMBER 7

CHARLES FRAZIER WITH ERIC MITCHKO Pop-culturally speaking, 1997 was the year of Titanic, the death of Diana, and Cold Mountain, Charles Frazier’s Civil War-era best-seller, which won a National Book Award that year and dominated the top 10 for months on end. The novel, Frazier’s first, charted the odyssey of a Confederate soldier—a topic of evident new interest and charge right now—who escapes from a military hospital and is pursued as he makes his way through rugged terrain toward the western N.C. peak of the title. It served as the basis for an Oscar-winning film in 2003, with Romania’s Carpathian Mountains standing in for the Blue Ridge, as well as a celebrated opera with music by Pulitzer Prize-winning composer Jennifer Higdon that premiered last year in Santa Fe and Philadelphia and comes later this month to the N.C. Opera Company. Eric Mitchko, the company’s director, will discuss the creative adaptation of Cold Mountain and related topics with Charles Frazier himself. —David Klein

QUAIL RIDGE BOOKS, RALEIGH

7 p.m., free, www.qualridgebooks.com 44 | 9.6.17 | INDYweek.com

A/V Geeks Present: Women Make Educational Films: $5. Tue, Sep 12, 7:30 p.m. Kings, Raleigh. www. kingsraleigh.com. Beasts of the Southern Wild with Wordless Music: Film screening with the North Carolina Symphony and the Lost Bayou Rambers. Fri, Sep 8 & Sat, Sep 9, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham. See p. 35. Boston: The Documentary: Thu, Sep 7, 7:30 p.m. AMC Southpoint 17, Durham.

OPENING ½ Crown Heights— Reviewed on p. 31. Rated R. Home Again—Reese Witherspoon stars in firsttime director Hallie MeyersShyer’s romantic comedy. Rated PG-13.

It—Still scared of clowns because of the 1990 miniseries of Steven King’s horror classic, It? Then steer clear of this by-all-accounts terrifying feature film. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ Annabelle: Creation—The new Conjuring film is an adequate scary movie if you’re in a theater packed with people yelling advice at the screen, but genre connoisseurs might be bored. Rated R.  Atomic Blonde— Despite flourishes of ferocity, this Cold War thriller by John Wick codirector David Leitch often seems to coast on its own glib, quirky coolness. Rated R. ½ The Big Sick— Married screenwriters

Kumail Nanjiani and Emily V. Gordon’s autobiographical romcom truthfully portrays the shifting cultural and romantic landscape of the U.S. Rated R. ½ Despicable Me 3— This franchise feels just about washed up, but your kids won’t care, because Minions! Rated PG. ½ Dunkirk— Christopher Nolan’s WWII picture is very British and, for better and worse, very Terrence Malick—epic, meditative, and portentous. Rated PG-13.  Good Time—This crime caper by the up-andcoming Safdie brothers is a high-voltage power play that leaves a neon ache behind your eyes. Rated R. ½ Maudie—This biopic of the Canadian folk artist Maud Lewis doesn’t go too deep but shines with

the light of creativity. Rated PG-13. ½ The Mummy— Tom Cruise’s increasing creepiness is the biggest impediment to a serviceable creature feature. Rated PG-13. ½ Patti Cake$—Danielle Macdonald is terrific and likeable, but writer-direcctor Geremy Jasper chooses twee indie quirks over basic authenticity at every turn in his tale of an unlikely aspiring rapper. Rated R.  Spider-Man: Homecoming—Getting back to basics, a fifty-five-yearold superhero feels like a kid again. Rated PG-13.  War for the Planet of the Apes— A conspicuous phrase scrawled on a tunnel wall beneath the Colonel’s compound says it all: this is basically “Ape-pocalypse Now.” Rated PG-13.

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FTCC FAYETTEVILLE TECHNICAL COMMUNITY COLLEGE is now accepting applications for the following positions: Assistant Director of Financial Aid Operations, Communication Instructor, Criminal Justice Technology Instructor, Cyber Security/ COMPTIA Certified Instructor, Health & Physical Education Instructor, Paramedic Instructor, Spanish Instructor (10-month contract), 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

NC WARN seeks full-time Youth Climate Justice Organizer in the Triangle. We encourage women, people of color, LGBTQ to apply. ncwarn. org/jobs

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body • mind • spirit services holistic health TAOIST TAI CHI Learn Taoist Tai Chi for improved relaxation, health and energy. Classes offered in Raleigh, Cary, Durham and Chapel Hill. Call 919-787-9600 or visit northcarolina.usa.taoist.orgOn the Back PageTaoist Tai ChiRaleigh, Cary, Durham and Chapel Hill email: northcarolina@taoist.org 919 787-9600 web: northcarolina.usa. taoist.org

classes & instruction 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, 919-9683936 or www.magictortoise. com

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