INDY Week 7.19.17

raleigh

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2 | 7.19.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK| RALEIGH VOL. 34, NO. 26 9 With the right incentives, U.S. Representative David Price says, Big Pork could learn to love environmentally sustainable technologies.

DEPARTMENTS 6 Triangulator 8 News

10 The Glovers have lived in a one-story house on Churchill Road for fifty-eight years. Then a developer built a twenty-eight-foot wall next door.

16 Music 17 Food 18 Arts & Culture

14 Those who are unfamiliar with beach music need to learn that shagging has nothing to do with Austin Powers.

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

16 DISHOOM, the popular Bollywood-inspired dance party, is named for a 1970s movie sound effect that approximates the sound of a punch.

17 The owners of Pizzeria Faulisi imported their seven-hundred-plus-degree, wood-burning oven from Naples.

On the Cover:

18 In the early 1960s, Lucinda Childs witnessed a shift in modern dance, from a narrative base to an aesthetic that emphasized the dance itself.

PHOTO BY ALEX BOERNER

Zach Faulisi puts a pizza into a wood-burning oven at Pizzeria Faulisi in Cary (see page 17).

PHOTO BY BEN MCKEOWN

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INDYweek.com | 7.19.17 | 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,

Your week. Every Wednesday.

News • Music • Arts • Food

indyweek.com 4 | 7.19.17 | INDYweek.com

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Marshall Wade, Gerald Weeks Now, ADVERTISING comment ADVERTISING DIRECTOR Shannon Legge final ins SENIOR ACCOUNT EXECUTIVES Ele Roberts, Hogwash Sarah Schmader Brandt W ACCOUNT EXECUTIVES Lee Coggins, Hillary Jackson, Joshua Rowsey corporati CLASSIFIEDS ACCOUNT EXECUTIVE Mike Callahan fight. The farms stin WWW.INDYWEEK.COM parlors’ o P.O. Box 1772 • Durham, N.C. 27702 outside. I DURHAM 320 East Chapel Hill Street, Suite 200 Durham, N.C. 27701 | 919-286-1972 Shotwell RALEIGH 227 Fayetteville Street, Suite 105 another o Raleigh, N.C. 27601 | 919-832-8774 right by th EMAIL ADDRESSES ing throu first initial[no space]last name@indyweek.com Ellen C DISPLAY ADVERTISING SALES advertising@indyweek.com the anima RALEIGH 919-832-8774 DURHAM 919-286-1972 whole sh CLASSIFIEDS ADVERTISING 919-286-6642 they eat, i CONTENTS COPYRIGHT 2017 INDY WEEK All rights reserved. Material may not be Amani reproduced without permission. people, yo care, you Last w Comedy w in the w er Zach W this is a t

backtalk

Smoked Out We’ll begin with Jim Prah, who objects to our advertising policies. Specifically, we accepted and published an ad last week from a cigarette manufacturer, but per company policy we declined to run a classified ad he wanted to take out advertising guns he wanted to sell.

Prah believes this policy is hypocritical.

Cigarettes, he writes, are “a product that when used as directed will addict one and kill you. In this country, over 480,000 (1,300 per day) people die annually from using this product, and worldwide over six million, and yet you persist. You are complicit in these deaths. I asked [a classified rep] if I could sell guns there, and she gave me a flat-out no.

In this country 13,286 people were killed by guns. So my question is, why do you permit large ads for a product that kills on a large scale, but not one that kills only one-thirty-sixth of that number? Please understand that I am against gun violence and the concealedcarry, stand-your-ground laws, and I understand the ‘optics’ of not wanting to advertise guns. But why are cigarettes acceptable to you?”

Now, some Facebook comments on the third and final installment of our Hogwashed series. Betty Brandt Williamson: “Big corporations are hard to fight. These corporate hog farms stink more than the independent ‘pig parlors’ of my youth, where pigs would be outside. I remember two such places in the Shotwell area—one on Smithfield Road and another off Poole Road. The smell driving right by those was nothing compared to driving through Duplin County on I-40.”

Ellen Canavan: “These ‘farms’ are hell for the animals as well. Living indoors for their whole short life, forced to defecate where they eat, it’s just wrong.”

Amani Upendo: When you care about the people, you do something. When you don’t care, you do nothing.”

Last week, we broke the news that DSI Comedy will be closing at the end of August, in the wake of allegations against founder Zach Ward. Commenter MavisDaily says this is a tragedy. “This is sad. No other way

to put it. Foremost, it’s sad because Ward’s behavior prevented some people from having a great experience within a challenging, liberating, and potentially life-changing art form. People prepared to open themselves up to new experiences were hurt by his actions, and that’s tragic.

“It’s sad because a lot of innocent, hardworking, and hilarious improvisers have now lost their community hub and performance space. It had to happen, but that doesn’t make it any less devastating to these people, who are now confused, hurt, and questioning their self-worth in light of these revelations.

It’s sad because a lot of people outside DSI seem to be as concerned if not more concerned with gloating in Ward’s downfall and patting themselves on the back as they are with comforting and sympathizing with the many, many victims. So, yeah. Sad.” On our reporting about Wake County staffers deciding not to divert an extra $3 million in property tax collections to the schools, commenter Prescott writes, “Commissioner [Greg] Ford is right to question the threshold for budgetary discretion made by staff. Where are the boundaries? Voters elect the commissioners to make these decisions, not staff. And after weeks of public comments and pleas being made on behalf of the school board and the commissioners deciding they don’t have the funds for education, this is extremely disappointing.”

Finally, a clarification: in last week’s Hogwashed story, we said Governor Cooper had vetoed the state budget in part because there wasn’t funding for voluntary buyouts of hog farms in the Neuse River floodplain. Spokesman Ford Porter says it was because the governor thought there wasn’t enough money in the budget for the Clean Water Management Trust Fund, which allocates funds for the buyout.

“When you don’t care, you do nothing.”

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.

INDYweek.com | 7.19.17 | 5

triangulator 5 THINGS YOU NEED TO KNOW ABOUT THE SENATE’S HEALTH CARE HAIL MARY O

n Monday night, senators Jerry Moran of Kansas and Mike Lee of Utah announced that they would not support the Better Care Reconciliation Act, the Senate’s attempt to replace the Affordable Care Act. Without their votes, Senate Majority Leader Mitch McConnell is shy of the fifty he needs. So instead, McConnell—with President Trump’s encouragement on Twitter—announced a new play: the Senate will now take up the bill the House passed in May (the one Trump called “mean”) and amend it to instead be a repeal of Obamacare that will take effect in two years, “to provide for a stable transition period.”

This is the same bill the Senate passed in 2015 and President Obama vetoed; in essence,

McConnell is daring Republicans to vote against something they previously supported now that it counts.

But they probably will anyway. Repealing the ACA without a replacement would immediately destabilize the health care market, which would be suicidal for their election prospects next year. After all, insurers have seen the GOP try and fail to develop an alternative to Obamacare for seven years. Why would they bet that another two years would do the trick?

But if this gambit did somehow work, what would the effects be? The Congressional Budget Office has an answer. In a word: disaster.

Here are five things you need to know from the CBO’s January analysis.

1.

THIS ISN’T A FULL OBAMACARE REPEAL. The ACA’s regulations on things like essential health benefits and preexisting conditions would stay intact, because changing those would require an unattainble sixty votes in the Senate.

Instead, this would eliminate subsidies and taxes and erase funding for Medicaid expansion.

2.

EIGHTEEN MILLION PEOPLE WOULD LOSE INSURANCE IN THE FIRST YEAR. After the Medicaid expansion went away, that number would increase to twenty-seven million. By 2026, thirty-two million additional Americans would be without health insurance. (The number of uninsured people would actually be lower if the insurance reforms passed as part of the ACA were also repealed.)

3. HEALTH CARE WOULD QUICKLY BECOME UNAFFORDABLE ANYWAY.

Premiums in the marketplace will increase 20–25 percent in the first year, relative to the ACA. After Medicaid expansion ended, they would shoot up by 50 percent. By 2026, they would nearly double.

4.

INSURERS WOULD FLEE THE INDIVIDUAL MARKETPLACE. According to the CBO, “the factors exerting upward pressure on premiums and downward pressure on enrollment in the [individual] market would lead to substantially reduced participation by insurers and enrollees in many areas. … About half of the nation’s population lives in areas that would have no insurer participating in the [individual] market in the first year after the repeal of the marketplace subsidies took effect, and that share would continue to increase, extending to about threequarters of the population by 2026.”

5.

SOME CONSERVATIVE SENATORS HAVE SAID REPEALING THE ACA WITHOUT A REPLACEMENT IS A TERRIBLE IDEA. In January, Senator Tom Cotton of Arkansas said that “when we repeal Obamacare, we need to have the solution in place. … I do not think we can just repeal Obamacare and say we’ll give the answer two years from now.” Rand Paul: “If Congress fails to vote on a replacement at the same time as repeal, the repealers risk assuming the blame for the continued unraveling of Obamacare.” Bob Corker: “[It] would be best for our country to go ahead and replace it with something that works and repeal at the same time.”

6 | 7.19.17 | INDYweek.com

+IN T

A study gender-b ees in Wa gaps than The Wa ers receiv ber task f 2016 Wak study on w “We en ing figure Wake Cou sioner Ca The ne in Wake C County, M Texas. “T than in ou folk,” the largest wa at all educ In mor even mor high scho age of $2 education 40.86 pe percent. I Wake m or profess $82,654, at the sa cent. Trav employee and Bosto Closer showed t County al

PERIPHERA

+IN THE GAP

A study released Monday shows major gender-based wage gaps among employees in Wake County, in many cases larger gaps than those seen in Boston and Austin.

The Wake County Board of Commissioners received a report from a sixteen-member task force, a panel that resulted from a 2016 Wake County Commission for Women study on women’s employment issues.

“We ended up with some really disturbing figures for the wage gap for women in Wake County,” said former county commissioner Caroline Sullivan.

The new study compared wage equity in Wake County with the levels in Suffolk County, Massachusetts, and Travis County, Texas. “The gender gap is higher in Wake than in our peer counties of Travis and Suffolk,” the study says. “Wake County has the largest wage gap between men and women at all educational levels.”

In more specific terms, the contrast is even more striking. Men with less than a high school degree in Wake make an average of $21,513, while women at the same education level make $12,723, a gap of 40.86 percent. In Austin, that gap is 33.74 percent. In Boston, it’s 21.2 percent.

Wake male respondents with graduate or professional degrees make an average of $82,654, compared to $50,093 for women at the same level. The gap is 39.39 percent. Travis County’s gap for that group of employees is a little lower, at 38.67 percent, and Boston is much lower, at 21.43 percent.

Closer to home, Sullivan said, a survey showed that women who work for Wake County also experience a wage gap. Wake’s

female employees make about $15,000 less than men at top levels, and about $3,000 less at the lower end.

+DRINKING PROBLEMS

A majority of Wake County commissioners followed the example of their Raleigh City Council compadres Monday and voted for expanding areas of the county—unincorporated areas and RDU International Airport—in which alcohol could legally be served at ten a.m. Sundays.

However, Commissioner James West suggested that the panel not rush into signing off on the earlier drinking hours. West’s vote meant that a second vote is necessary, likely at the first meeting in August. So, for now, airport imbibers will still have to put off their first Bloody Mary until noon on Sundays.

+GODSPEED, UMAR

Umar Muhammad, who fought to help the formerly incarcerated have a second chance at life, died in a motorcycle accident Monday afternoon. According to the Durham Police Department, Muhammad was driving his motorcycle south on Alston Avenue just before noon when it collided with a Cadillac Seville.

Muhammad, thirty, raised twin boys and had recently become the father of a baby girl.

He worked as a community organizer for the Southern Coalition for Social Justice.

“He was so, so hungry for knowledge. He was so earnest, so eager, so passionate,” says Omisade Burney-Scott, who began working with Muhammad through SpiritHouse about five years ago.

Burney-Scott says Muhammad never judged others for their past. After being released from prison in 2012, he quickly grew into an organizer who spoke at national conferences. “I felt like he was making up for lost time,” Burney-Scott says.

Muhammad was a local leader of All of Us or None, an organization that fights discrimination against people who have been incarcerated, and the Clean Slate Project, an expungement clinic. He was also an advocate for the “ban the box” movement.

“He was all about the liberation of his community, and he was one hundred percent committed to never leaving anybody behind,” Burney-Scott says. “I think that if people want to figure out a way to continue his legacy, think about how they support this work. What does it look like for you to liberate people who have been left behind?”

“It is such a loss to have someone that humble and that dedicated to the struggle be taken away from us like that, especially in such a tragic manner,” says Desmera Gatewood, a fellow community organizer. “There will never be another Umar. He was definitely someone an activist and an organizer should be. He used his lived experience to inform his practice, not to discourage him from wanting to fight alongside people.”

Police charged the driver of the Cadillac, Rodney McLaurin, with misdemeanor death by vehicle, failure to yield right of way, and driving while his license was revoked.

SpiritHouse plans to organize a community memorial in the next few weeks. triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Thomas Goldsmith, and Sarah Willets.

PERIPHERAL VISIONS | V.C. ROGERS

Your Week.

Every Wednesday. indyweek.com INDYweek.com | 7.19.17 | 7

indynews

A Walk for Lauren

A SMALL-TOWN N.C. PASTOR IS WALKING TO WASHINGTON TO DELIVER A MESSAGE: CUTTING MEDICAID WILL DEVASTATE HIS FAMILY

BY ERICA HELLERSTEIN On an otherwise uneventful Sunday in early July, fifty-one-year-old pastor James Brigman was preaching about Abraham and Isaac when he says God delivered to him a simple message: practice what you preach.

Brigman has a daughter with special medical needs, and he’d been thinking about the Senate’s health care proposal, which could have made drastic cuts to the Medicaid-funded program his family relies on. And so, less than a week after his epiphany and without any preparation, Brigman laced up his shoes and decided to walk the 356 miles to Washington, D.C., from his home in Rockingham, where he is pastor of St. Paul United Methodist Church.

His objective was simple. His nineyear-old daughter, Lauren Faith, has a rare medical condition that requires full-time attention. She is nonverbal, confined to a wheelchair, and fed through a tube. To care for Lauren, the family relies on Medicaid— the state- and federally funded health-insurance program for millions of low-income and disabled Americans. She is one of about twenty-three hundred children in North Carolina enrolled in the Community Alternatives Program, or CAP, which uses Medicaid funds to provide services for children and adults with disabilities and extra needs.

For Brigman and his wife, the program has been nothing short of a game-changer. It has allowed the two of them to work—Brigman, two jobs—while two nurses care for Lauren sixteen hours a day.

“If we didn’t have the CAP for my daughter, we would have had to sell our business and I wouldn’t be able to work,” he says.

“Because my daughter is a twenty-fourhour-care child, she has to have a person awake watching her twenty-four hours a day. So, in order for her to live.”

When he started walking, Brigman was worried about the CAP’s fate should the Senate’s effort to repeal and replace Obam8 | 7.19.17 | INDYweek.com

James Brigman being interviewed in Richmond PHOTO COURTESY OF A VOICE FOR LAUREN FAITH BRIGMAN AND ALL MEDICALLY FRAGILE CHILDREN/ADULTS FACEBOOK PAGE

acare, known as the Better Care Reconciliation Act, become law. The BCRA, which died Monday night when two more Republican senators announced that they wouldn’t support it, sought to slash funds for Medicaid by $772 billion over the next decade. That would’ve had a significant impact on the children of North Carolina; about one million of them are on Medicaid, and they comprise about two-thirds of all Medicaid enrollees in the state.

“These are children, many of whom are from low-income families, others have disabilities, and some have really unique special health care needs,” says Rob Thompson, senior policy and communications adviser for the advocacy organization NC Child. “And for these kids, Medicaid is their source of health insurance. It’s the thing that does everything from providing them with basic checkups to ensuring that

they have the lifesaving equipment at their homes that keeps them out of institutions.

So when we talk about drastic cuts to Medicaid, it’s no different than talking about drastic cuts to children’s health care.”

The Senate’s proposal would have overhauled Medicaid in two important ways. It would have undone Obamacare’s Medicaid expansion—which nineteen states, including North Carolina, declined to take part in. And it would have changed the way the government provides states with funding. Currently, the government matches a percentage of states’ Medicaid funding. Under the Senate’s plan, the government would have provided states with a fixed amount of money per Medicaid enrollee. It’s an approach many experts say would shift the burden onto the states, whose budgets are already spread thin.

A recent analysis by the Brookings Institute found that, had the proposed cap

been implemented in the 2000s, “the Senate’s proposed per capita cap would have reduced federal funding to state Medicaid programs by $27 billion in 2011.”

“I’ve heard about them capping, putting caps on the amount that each child or person is allowed to have,” Brigman says. “How do you put limits on a person’s life? You know, how do you sit there and say that a dollar bill is worth more than a family’s livelihood?”

Even though Senate leaders have pulled the BCRA, Medicaid cuts remain a real possibility. The U.S. House budget unveiled Tuesday morning proposes cutting $1.5 trillion from Medicaid over the next decade, double the cuts the BCRA sought. The House also wants to turn Medicaid into a block-grant program, which has long been a conservative goal.

The CAP hasn’t been specifically identified as a target, but any cuts to Medicaid would mean that state lawmakers could decide to reduce funding and services for the program.

“I would like to know what they’re going to do with her and me if they do [cut the program] because I wouldn’t be able to work and pay taxes,” Brigman says. “I’ve got a lot of people I’ve talked to that wouldn’t be able to work and pay their taxes either. Because as far as me just letting my daughter die because she can’t get the services and the care she needs, that’s not an option.”

When he finally makes it to Washington—he’s currently in Richmond—Brigman plans to meet with the staff of Senator Thom Tillis, whom he says he would like to invite into his home.

“I would love for some of these lawmakers to just come in and sit down with my daughter, or anyone’s daughter or son that’s in this situation, and get to know the facts, get to know that these children are human beings,” he says. “Just because she doesn’t speak and she can’t walk doesn’t mean she doesn’t deserve the same as everyone else.” ehellerstein@indyweek.com

CREATIVE METALSMITHS

“Disaster Waiting to Happen” CONGRESSMAN PRICE WANTS THE FEDS TO REGULATE BIG PORK

BY ERICA HELLERSTEIN Last week, the INDY published the final installment of an investigative series into North Carolina’s hog-farming industry.

Among the series’ takeaways was the conclusion that, despite decades of research, little has been done legislatively to rein in the industry’s lagoon-to-spray-field waste-management system, which operates by storing the hogs’ waste in open-air lagoons and spraying the excess waste onto nearby fields.

U.S. Representative David Price, a Democrat who represents Wake and Orange counties, is trying to change that.

In late May, Price introduced legislation to improve environmental standards for North Carolina’s hog industry. The aptly titled SWINE Act aims to encourage the “development, certification, and adoption” of environmentally sustainable waste-management technologies—a move Price and others say is a critical next step for the environment and the people who live near the hog farms.

“All these lagoons all over eastern North Carolina are a disaster waiting to happen,” Price says. “And it’s not a matter of if, it’s a matter of when there’s some kind of major disaster that spreads that waste all over the landscape and gives us a real crisis to deal with.”

Price’s bill would take a number of steps to encourage the development of superior technology, with the eventual goal of phasing out the state’s thirty-three hundred lagoons altogether. Under the bill, all environmentally sustainable waste-management systems would have to be certified by the U.S. Secretary of Agriculture.

In order to receive the certification, they would have to comply with six standards: eliminate discharge into surface waters and groundwater; substantially eliminate ammonia emissions; substantially eliminate odor emissions; substantially eliminate the release of “disease-transmitting vectors

and airborne pathogens from swine waste”; substantially eliminate nutrient and heavy metal contamination; and be cost-effective.

According to the N.C. Department of Environmental Quality, only two farms in the state currently meet all of those criteria (with the possible exception of being cost-effective).

The bill would also establish a program to support research into environmentally sustainable technologies and create tax incentives for new technologies, including a 20 percent credit over five years to install environmentally superior technology and a credit of $100 per one thousand pounds of hog waste disposed of using the certified technologies.

These technologies have not already been implemented on a wider scale in North Carolina because they’re expensive, particularly for existing farms. But Price hopes the tax credits will help incentivize producers to implement better tech in an economically feasible way.

“It’s never going to be free,” he says.

“It’s never going to be as cheap as pumping everything into a lagoon. I think we’re at the point where we could, with proper incentives, have a large-scale conversion of lagoon technology to these much sounder and safer techniques. It’s not like we don’t know how to do this.”

Price’s focus on the industry’s wastemanagement issues dates back many years, he says, but he was compelled to introduce what he believes is perhaps Congress’s first “comprehensive environmental protection bill” related to the swine industry after recognizing that a slower, piecemeal approach just wasn’t working.

He concedes that it’s a difficult political environment, both in Raleigh and Washington, but he says he’s hopeful about the bill’s potential, as “these problems don’t have partisan boundaries, really.” (On June 16, the bill was referred to the Agriculture Committee’s Subcommittee on Conservation of Forestry.)

And the alternative to not introducing the technology, Price and other industry reform advocates say, is dire. Another severe weather event—think Hurricane Matthew—could cause lagoons to overflow or flood into surrounding waterways.

“It’s a problem our state has a huge stake in,” he says. “It’s a matter of finding the political will to get ahead of the curve here.

Because if we don’t do something like this, if we don’t get these farms onto a sounder waste-disposal system, we’re going to live to regret it. I firmly believe that.” ehellerstein@indyweek.com

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news

The Wall

IN A MID-CENTURY RALEIGH NEIGHBORHOOD, NEW MANSIONS ARE BUILT SO HIGH THEY BLOCK THE SUN

BY THOMAS GOLDSMITH

M

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

INDYWEEK.COM 10 | 7.19.17 | INDYweek.com

embers of the Glover family have lived for more than fifty-eight years in a one-story house on Raleigh’s Churchill Road, where they have often enjoyed afternoons filled with bright western sunlight.

That was true, according to a court filing, until a developer proceeded with construction on a thirty-two-hundred-square-foot house on the 0.23-acre lot next door. Less than six feet from the property line, one of the new house’s eastern walls rises nearly twenty-eight feet above grade, right between the family and the sun. Other walls reach twenty-eight feet as well.

“Our home used to be full of sunshine,” says Jane Simpson, who lives in the smaller house with her ninety-one-year-old mother, Jo Ann Glover. “It used to be so bright in here, you used to have to wear sunglasses. Now it’s kind of dreary in here in the afternoon.”

To mitigate the effects that large infill houses may have on adjacent homes, the city’s unified development ordinance, or UDO, limits the height of new construction close to a home of more than twenty years’ existence, in this case to twenty-two feet.

This stretch of Churchill had been quintessential mid-century Raleigh, Simpson says, home to a bunch of N.C. State faculty families and even to Phyllis Peacock, the famed Broughton High English teacher whose students included novelists Anne Tyler and Reynolds Price. But as prices have risen for Inside the Beltline lots, all that’s changed. Nearby Nottingham Road has seen a number of modest duplexes scraped off to make room for houses selling for between $699,999 and $1.1 million.

Last week, Simpson, who holds her mother’s power of attorney, petitioned the Wake County Superior Court on behalf of her mother to reverse a decision by the Raleigh Board of Adjustment to allow an after-thefact variance of the ordinance concerning wall height. Meanwhile, work has continued

The Glovers have lived in the same one-story house on Churchill Road for more than fifty years. PHOTO BY ALEX BOERNER on the new house, referred to as “the Property” in the filing.

“The excessive height of the home on the Property will directly impact and specially damage the Glover Home and Ms. Glover in various ways, including increased water runoff and stormwater complications, the near elimination of natural light into the Glover Home and various secondary adverse affects, including adverse impacts on the valuation of the Glover Home,” the petitioners’ filing says.

A spokesman for the city of Raleigh and Tobias Coleman, a lawyer for Glover, both declined comment Friday. Tom Worth, the attorney for defendant Northstar Capital Group LLC, the developer of the property, did not return a call for comment.

However, the story of the way the house was initially permitted, and of the bureaucratic fallout that followed, emerges in the minutes of a May 8 meeting of the Board of Adjustment. That quasi-judicial body “acts on appeals for variances, special exceptions and interpretations in the zoning regula-

tions,” according to a city website.

One of the meeting’s many May 8 agenda items was a request from Northstar for a variance allowing a twenty-seven-foot, eleven-inch height for a wall located 5.8 feet from the property line, a twenty-eight-foot height for an east-facing rear section of the house, and another twenty-eight-foot wall height for a “projecting second-floor box bay located seven-point-five feet from the side property line.”

According to the Board of Adjustment minutes, “Mr. Worth asserted he has never had to deal with a situation such as this.”

The attorney representing Northstar laid out a timeline that included three city plan reviews, with final approval on February 6; city inspection beginning February 8; a new interpretation of relevant codes dated March 7 but not posted until May 1; a stopwork order for the side wall issued April 13; and official notification of a new interpretation of the code on April 17.

As the chain of official actions rolled out,

Glover was emotionally affected by the construction of the high wall next to the family’s home of more than fifty years, says Simpson.

“That’s why I’m doing what I’m doing,” Simpson says. “She’s cried tears.”

Neighbors at the Board of Adjustment hearing objected to the new house’s design on a variety of grounds, including incompatibility with the long-established area and persistent stormwater problems originating at the construction site. Worth maintained that the developer had acted in good faith, had attempted to comply with the UDO, and would suffer hardship if the waiver were denied.

On a 4–1 vote, the Board of Adjustment agreed to the variance requested by Northstar, referred to as the Applicant.

8 agenda star for a foot, elevd 5.8 feet eight-foot ion of the -foot wall or box bay m the side

djustment has never h as this.” hstar laid city plan February uary 8; a des dated 1; a stopd April 13; nterpreta-

rolled out,

“Strict compliance with the provisions of the ordinance would deprive Applicant from the reasonable use of the property,” the board wrote as part of a long list of findings of fact.

“Applicant’s hardship is related to the unique circumstances of the property, namely the fact that the lot has an unusual topography, and substantial work has been completed following the issuance of a building permit.”

In their filing, Simpson and Glover say, “Northstar did not offer any evidence that it could not secure a reasonable return or make reasonable use of the Property if it were required to comply with the UDO’s twenty-two-foot maximum height limit.”

The city has until August 12 to respond to the filing. tgoldsmith@indyweek.com

NEWS BRIEF

LOSE BY WINNING

If Roy Cooper wins his lawsuit over the legislature’s overhaul of the State Board of Elections, Wake Dems may lose

BY SHELDON KOPPENHOFER AND SAMMY HANF On Thursday, Gerry Cohen, a former special counsel for the General Assembly, made an interesting observation on Facebook: both the Wake Democratic and Republican parties missed the deadline to nominate candidates for the county Board of Elections. And that, he wrote, means that if Governor Cooper is successful in his effort to overturn a law passed last year that reconfigured the structure of election boards, the Wake board will consist of “two Libertarians and an unaffiliated voter.” (The courts have so far rejected Cooper’s challenge, but he is appealing.)

Here’s why: the old state law allows each party chair to nominate up to three registered voters for each county board. The state board, controlled by the governor’s party, then selects the members of each county board from the nominees presented by the parties but cannot appoint more than two members of the same party to the three-person board. The law also sets a deadline; this year, June 12. The Wake GOP submitted its nominations on June 19; the Democrats on July 10.

This sluggishness would be unimportant if it weren’t for two key factors: the ongoing legal battle between the governor and the legislature, and the fact that, for the first time in history, the Wake County Libertarian Party submitted nominations for the Wake County Board of Elections—and managed to do it a month early.

Cohen says he’d been following this

closely because he was hoping to earn a spot on the board and was surprised that the Dems missed the deadline. And since the Libertarian nominees are the only candidates who fulfill all the requirements of the old law, they might be the only candidates available for consideration.

The Libertarians, thinking ahead, also nominated an unaffiliated voter, Jon Byers, for the third spot.

If Governor Cooper’s legal challenge fails, the county board would consist of two members of the political party with the most registered voters and two members of the party with the secondmost registered voters—i.e., Democrats and Republicans. This would render the candidates put forward by the Libertarian party ineligible.

Brian Irving, chairman of the state Libertarian Party, wrote in an email that the structure put forward by the legislature would really just shut out third parties and independents more than they already are. Byers, the Libertarians’ unaffiliated candidate, says he feels the representation of independent voters, who make up a third of all registered voters in Wake County, is an important step toward a democracy that reaches beyond party politics.

The state and Wake County Democratic Party offices did not respond to requests for comment, nor did the governor’s office. The Wake GOP referred the INDY’s request for comment to the state party, which did not respond. backtalk@indyweek.com

PET of the WEEK

My name is LADY BELL. I know what you are thinking “How is such a STUNNINGLY GORGEOUS girl still available?” To understand this I need to explain a little about my past.

I came into the shelter as a young gal, with lots of energy, who had never been taught any manners. Luckily, that’s where I met my now foster mom. She’s the best and has taught me so much. She has even taken me to an etiquette class! Here are some things I am looking for in a forever home: • I would love to have another fun loving, active male dog to play with. I get lonely and don’t like being an only pup.

• I need a home with no small children or feisty cats. I’m too bouncy and curious for them. I’m pretty good with the laid back, dog savvy, chill kitties though!

• I would prefer a home with a fenced in back yard. I love to run and play fetch. Due to my staggeringly amazing leaping ability, it needs to be at least 6’ tall and not easily climbable like chain link.

• An active person or family who likes outdoorsy things like long walks or jogging or hiking.

I’m a VERY smart girl who learns incredibly quickly. I am fully house trained and completely crate trained. Are you looking for some new adventure in your life? I know I am.

Please contact my foster mom at wcacfoster@outlook.com to find out!

INDYweek.com | 7.19.17 | 11

THE HOUSE WHERE NOBODY LIVES Durham County has an eviction crisis.

Can a new diversion program help?

BY SARAH WILLETS

Tyron Green, Laticia Singleton’s nephew, carries items out of her apartment.

L

aticia Singleton is standing in her living room, directing her nephew and two oldest sons as they pack and move the contents of the apartment: sneakers, a laundry basket brimming with clothes, a leaky air-conditioner.

In less than an hour, they’re supposed to be out.

Singleton isn’t exactly attached to this apartment, which sits at the rear of three units on Liberty Street. Some of its windows have been broken since her mother 12 | 7.19.17 | INDYweek.com

PHOTO BY ALEX BOERNER

lived here about six years ago. Bullet holes, left by some calamity before she moved in, pock the front door and her bedroom wall.

But at least it’s a place she and her four sons can call home.

“I really don’t have feelings about it because I don’t have time,” she says, dabbing her eyes with a white washcloth.

On June 8, a magistrate ordered Singleton removed from the apartment. On July 6, she came home to find it padlocked. From outside the door, she could see a bright orange notice leaning against the window above her kitchen sink, saying she had seven days to vacate the property. She had two outfits and her pocketbook with her.

The Singletons’ story is not uncommon. According to the Administrative Office of the Courts, one eviction case was filed for every twenty-eight Durham County residents in the 2015–16 fiscal year, an average of 887 filings per month and the highest rate among North Carolina’s ten largest counties.

While a landlord has the right to evict a tenant for breaking the terms of a lease, criminal activity, or overstaying a lease, most cases—like the Singletons’—come down to money.

“Both Raleigh and Durham are really popular areas for growth, and with growth, people see opportunities to increase prices,” says Jesse McCoy, a supervising attorney with Duke Law School’s Civil Justice Clinic.

“As more development comes to the area, it’s an issue that needs to be addressed.”

The Civil Justice Clinic is helping to launch an eviction diversion program with Legal Aid of North Carolina and the Durham County Department of Social Services. Modeled after a program in Michigan, this is a first-of-its-kind effort in North Carolina that aims to provide those facing eviction with the resources they need to stay in their homes and keep an eviction judgment off their rental histories.

The issue cuts right to the heart of two of Durham’s goals: providing affordable

housing and eliminating homelessness.

For those most vulnerable to rising rents and gentrification, eviction creates a cycle of debt, poor credit, and instability.

Other counties saw more eviction filings, but they were spread out among larger populations. Wake County had about five thousand more eviction filings than Durham’s 10,646 in fiscal year 2015, but it has more than triple the population. Mecklenburg County saw the most filings that year, 28,471 cases among one million residents.

How many of those cases actually end with someone leaving his or her home is hard to measure. The numbers include cases that may later be dismissed, and, as in the case of the Singletons, multiple filings can be made against one tenant. But the total doesn’t include tenants who move out as soon as they get a late rent notice, in order to avoid an eviction judgment, or illegal evictions, in which a landlord forces a tenant out without going through the court process. Matthew Desmond, a sociol-

ogist who undertook one of the most comprehensive studies on eviction in the U.S., found that formal evictions made up just 24 percent of the cases his team reviewed during two years in Milwaukee.

The national picture isn’t much clearer. Evictions aren’t tracked at the national level, although the U.S. Census Bureau and the U.S. Department of Housing and Urban Development planned to begin doing so this year. Using eviction records from nineteen states to project national figures, realty group Redfin estimated that 2.7 million Americans faced eviction in 2015.

In Durham, about half of the eviction complaints filed in 2015–16 were granted by a judge, though that ruling is not the final step in carrying out an eviction. But at that point, damage has likely already been done to a tenant’s credit and rental history, which can make it difficult to get another lease or qualify for public assistance.

“Even if someone doesn’t become homeless, each court filing is a problem because it’s preventing someone from access to quality, affordable homes in the future,” says Peter Gilbert, a Legal Aid attorney.

F

or Singleton, the trouble started about two months after she moved in to her Liberty Street apartment.

According to Singleton, the family had an arrangement with Rick Soles Property Management to pay rent on the twentysixth of each month instead of the first.

But this isn’t stipulated in their lease, and, when she didn’t pay at the start of March, April, and May, the property management company filed eviction complaints in court.

The first two times, they made payments toward what they owed and the cases were dismissed, but that didn’t work a third time.

The property management company now says the family owes $1,428.44 in past-due rent, late fees, and court fees, although the June 8 judgment against them is for one month’s rent—$525.

While Singleton looks for a new place, she is staying with her cousin and one of her sons. The other three are split up among friends and family.

“Hopefully it won’t be long until we have another place,” she says.

Between her disability income and her son’s wages from working at Burt’s Bees, Singleton puts about 30 percent of her household income toward rent each month.

According to the N.C. Housing Coalition, this is the case for a third of Durham County households. Usually, an eviction is the result of the loss of income, unexpected expenses, or an increase in rent.

Katie Guion faced all three.

Guion receives rental assistance via a

A

Aarona Ramsey

PHOTO BY ALEX BOERNER

housing choice voucher from the Durham Housing Authority. After Guion moved into her apartment near Research Triangle Park in August 2015, her elderly uncle moved in with her, and the added income from his Social Security payments made her rent go up. She fell behind. She cut back her hours working customer service at a car dealership in order to take care of him. Her rent wasn’t immediately adjusted, and she fell behind again.

“I just keep playing catch-up,” she says.

In April, her landlord filed a third summary ejectment complaint against her, and she was ordered removed from the apartment on May 3. Three weeks later, the oldest of Guion’s four children was shot and killed in New Bern. On July 3, she got in a car accident. The prospect of catching up again seemed more and more distant.

Like Singleton, she has spent money that could have gone toward an application fee or deposit at her next home, paying off pastdue rent, late fees, and court costs.

She has until August 14 to leave her apartment, but so far she hasn’t been able to find a place she can afford or that will accept her.

“We all struggle at some point, especially people living paycheck to paycheck,” she says.

A

s evictions force Durham residents from low-cost apartments, they can also drive up the price of housing.

“When you have higher costs, the expense of owning the property goes up, and that’s what determines the rent of that unit,” says Jacob Rogers, director of government affairs for the Triangle Apartment Association. While a landlord pays to have a tenant evicted, he or she may be receiving no rental income for the unit.

Charles Holton, director of Duke’s Civil

Justice Clinic, hopes landlords will see a financial incentive to refer tenants to the eviction diversion program rather than taking action in court.

“Something we appreciate is that some of those smaller landlords are also borderline financially as well,” Holton says.

From start to finish, the eviction process costs a landlord $181 to file court papers and have them served on a tenant. This doesn’t include attorney fees or the potential loss of income until a new tenant moves in.

Under the diversion program, tenants who receive a summons to appear in court for an eviction case would also receive a brochure advising them to call the DSS if they’ve missed a rent payment and need financial assistance. The DSS would then connect the tenant to various emergency financial assistance and refer the case to Legal Aid to be resolved.

Catherine Williamson-Hardy, the department’s interim director, doesn’t anticipate the need for any additional staff to administer the program, although employees are being trained in the intake program. DSS staff see clients “every day” facing housing insecurity, she says.

Legal Aid is hiring a second housing attorney. Gilbert says it’s “impossible to predict at this point” how the program will affect the caseload at the organization, which just received a $1.4 million blow to its budget, courtesy of the General Assembly.

Under the program, students in Duke’s Civil Justice Center will help represent tenants in court.

“This program is designed to at least have somebody who knows something about the tenant’s side of things take a look and see if there is anything else going on here besides simply an inability to pay the rent,” Holton says.

s a smile slowly spreads across his face, revealing perfectly straight, white teeth, you wouldn’t know that Ronald Miller, seventy-one, was in and out of homeless shelters for the past ten years.

“During that time, you lose sight of who you are because you are marching to the tune of someone else’s drum,” he says.

Miller has been evicted three times and stayed in shelters while he looked for a place to live that would accept his housing voucher and rental history. He’s been out for about a year and a half and now works with the Community Empowerment Fund helping others facing a similar search.

“Had I not been a senior citizen, I might still be looking,” he says.

Life after an eviction is particularly hard for the elderly and those with medical needs, Miller says. Shelter staff may not be able to provide as much care as needed, and many people don’t want to impose on friends and family.

“In my experience, it’s very common for people to stay with family for a short period of time,” says Gilbert. “That is more often true for people who are able to work and contribute to the family and is frankly less true for the disabled and the elderly, and for most of my clients who are disabled or elderly, the immediate next step is homelessness.”

About twelve hundred people enter the county’s homeless housing system each year, suggesting many who go through evictions aren’t in shelters.

For Aarona Ramsey, being in a shelter connected her to the resources she needed to recover from her most recent eviction.

After ten months of working to build up her credit, apply for housing assistance, and secure a job as a certified nursing assistant, she and her two children have a home again. The twenty-five-year-old was evicted in November 2015 after falling behind on her bills between paychecks and was homeless until September 2016. It was the third time she experienced an eviction.

A study by Desmond and other researchers of mothers and children who have been evicted found higher rates of depression, stress, poor health outcomes, and difficulty getting necessities like food, clothing, and medicine.

Through a partnership between Families Moving Forward and Housing for New Hope, Ramsey last month was able to find a home that would accept her housing choice voucher. Ramsey beams when she talks about her new house, which is near her family and her son’s school.

“I want my son to learn an address,” she says. swillets@indyweek.com INDYweek.com | 7.19.17 | 13

S A H N A N G A ?

W

BEACH MUSIC ISN’T JUST EASY LISTENING— IT’S A SUNNY SLICE OF CAROLINA HISTORY

PHOTOS BY ALEX BOERNER

BY ALLISON HUSSEY

I

f you’re of a certain age or non-Southern origin, you might be confused about the term “beach music.” Maybe you’ve been baffled by the omnipresence of the song “Carolina Girls” at your office’s summer cookout, or perhaps you’ve giggled at a decal on a car window that declares that the driver loves to shag. But like an ice cold Cheerwine or a burger covered with chili, mustard, and coleslaw, beach music is another regional specialty that shines best during the summer.

Beach music, as it’s known in North and South Carolina, has a loose but vital history. Those who know the music best generally agree that its roots stem from doo-wop, soul, and rhythm and blues of the fifties and sixties. White teens and young adults, who often didn’t have access to what was considered “race” music in their conservative Southern hometowns, fell in love with it at parties and on vacations at Myrtle Beach. A different kind of niche began to develop through bands that played at house parties to these crowds. Local acts, sensing a way to further endear themselves to new fans, began to tailor their songs to have a more specific, regional appeal.

14 | 7.19.17 | INDYweek.com

“You had groups like The Tams and stuff that did great up-tempo songs. It was such a high-energy group,” recalls Chris Beachley, a lifetime beach music fan who runs The Wax Museum record shop in Charlotte. He got his start collecting records by chasing coveted beach music singles.

“Whether it be the beach groups or even a frat band like Doug Clark and the Hot Nuts, they were monsters for the high school and college kids,” he adds.

One of the biggest beach music boosters over the past half-century is Ed Weiss, who lives in Hillsborough and has worked as a d.j. for nearly fifty-five years. He’s better known over the airwaves as Charlie Brown, a handle that dates back to his earliest days as a d.j. in Norfolk, Virginia.

Since 2003, he’s worked with Beachley on his syndicated program, On the Beach with Charlie Brown—Weiss sets up the music and records his talk sets, and Beachley gets it radio-ready before it broadcasts on stations in the South and a few others in Virginia, Ohio, Kentucky, and even Rhode Island. Though Weiss is an expert on a subject, he recognizes that navigating the finer points of beach music can be tricky to a newcomer.

“What I do when I try to explain it to somebody is to talk about stuff they are familiar with, like Motown. Wilson Pickett, Solomon Burke, Sam and Dave—that’s beach music,” he says. “And then there are local bands that have been around for forty or fifty years, like The Embers and The Band of Oz. You put that all together, and that’s what it is.”

The most important characteristic of beach music, Weiss says, isn’t necessarily the artist or any particular instrumentation. The feeling—laid back and happy—is what matters most.

“Beach music is a lifestyle more than it is a definition of some kind of music,” he says, adding that some more catholic beach music believers consider Justin Timberlake’s “Can’t Stop the Feeling!” an appropriate contemporary cut.

Beach music boomed in the fifties and sixties, and though it slowed down in the seventies and eighties, it never entirely dissipated. In fact, some of the best-known beach music tunes came from those later years. General Johnson & the Chairmen of the Board released the nowinescapable “Carolina Girls” in 1980. The Embers released

their on-the-nose “I Love Beach Music” in 1979, and the song features plenty of nods to earlier beach hits, like Billy Ward and the Dominoes’ “Sixty Minute Man,” The Tymes’ “Ms. Grace,” and several others.

Despite some of its hazy definitions, Carolina beach music is distinct from the broader category of what non-Carolinians might consider beach music, like the feetin-the-sand, margarita-in-hand songs of Jimmy Buffett. But, as Bruce Wagoner explains, there’s a big difference between Buffett’s work and Carolina beach music.

Wagoner grew up in North Carolina listening to beach music and is a graduate of East Carolina University. More recently, he directed Parrot Heads, a documentary about Buffett devotees around the country that’s streaming on Netflix. Buffett’s strain of beach-inspired music is actually “trop rock,” he says, short for tropical rock.

“Beach music is contingent on moving your feet. The beats really have to drive what’s happening there, because it’s meant for people to dance,” he says.

“Jimmy’s style of music is storytelling and shared experiences.”

Subject matter and sense of place vary between the genres, too. Buffett and the legion of trop rock bands that developed in his wake tend to write escapist songs, where the beach is the idyllic place to get away from it all. But with Carolina beach music, the beach is where it all happens.

Take The Drifters’ “Under the Boardwalk,” for example: though the band hailed from New York, the song succinctly captures the feel-good core central to beach music.

“It’s primarily music about love, and not even that much about love that went bad, like a lot of other songs are,” Beachley says.

Because it sprang up out of parties, beach music is inherently social. Thus, another important part of the world of

beach music is a specific kind of dance: shagging (and no, not like Austin Powers).

The dance is formally called the Carolina Shag, and in 2005, it became the official state popular dance of North Carolina.

(South Carolina beat its northern sibling to the punch in 1984.) You can even get a vanity plate bearing a pair of loafers—the preferred shagging footwear—surrounded by the phrase, “I’d Rather Be SHAGGIN’.”

There’s a competitive circuit where dancers show off their moves at breakneck speeds to fast music, but beginners need not be intimidated. The pacing of most beach music is moderate, with steps done to counts of six (one-and-two, three-andfour, five-six). Easygoing shag dancers will also find it easy to keep a drink in one hand while stepping and spinning with their partners with the other.

Though its overall popularity may have waned over the decades, beach music isn’t hard to find on stages or over the airwaves.

North Hills in Raleigh features a free, weekly beach music concert series that concludes with The Embers on August 17. Sirius-XM satellite radio is running a temporary beach music station, called Carolina Shag, on channel 13 through the summer. Weiss’s On the Beach with Charlie Brown airs every Saturday from 5–8 p.m. on 850 AM, 93.3 FM, and 104.7 FM. Weiss has another weekly radio appearance, the more eclectic Charlie Brown Show, on Hillsborough’s WHUP every Tuesday from 1–3 p.m. Those sets are also available to stream online, too.

So next time you’re lamenting a workweek grind or chilly weather, just look to the likes of The Embers, The Catalinas, and The Fantastic Shakers to pick you back up. The beach is never too far away. music@indyweek.com

RECYCLE THIS PAPER

INDYweek.com | 7.19.17 | 15

indymusic

Friday, July 21, 9 p.m., $10 Motorco Music Hall, Durham www.motormusic.com

Bull City Bhangra

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DISHOOM

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DISHOOM CELEBRATES FOUR YEARS OF BRINGING BOLLYWOOD-INSPIRED MUSIC TO DURHAM DANCE FLOORS

BY VICTORIA BOULOUBASIS

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 16 | 7.19.17 | INDYweek.com

D

J Rang, or Rang Rajaram, has been rocking the decks long before the DISHOOM dance party series started in Durham four years ago. But after twelve years of deejaying and hosting parties, Rajaram’s bhangra-Bollywood mashup is giving the local dance-party scene a different kind of boost.

In Bollywood movies from the seventies, “dishoom” is the sound effect of landing a punch. It’s the marker of a playful and dramatic plot twist, what entire scenes before it have built up to. It’s an apt name for a dance party that’s landed quite a punch during its tenure. Unlike other dance parties that focus on one specific genre or style, DISHOOM gives its audiences a delightfully confusing mish-mash.

Parties happen about four times per year, and the dance floor is a place without inhibitions. Bhangra lessons by choreographers (and comedic tag team) Aditi Sundaresan and Ameer Ghodke begin at nine p.m. before each party officially kicks off. By last call, Motorco fills to its 450-person capacity with dancers.

The DISHOOM crew in action PHOTO COURTESY OF RANG RAJARAM Rajaram sees his job behind the decks as akin to “filling in the blanks.” Aside from nuggets of inspiration—like his recent obsessions: nineties Tamil pop jams and “Despacito” without Justin Bieber—Rajaram works on the fly to read the crowd at each installment. Combined with remixed visuals by KidEthnic (Saleem Reshamwala) and live dhol drumming by G2 (Jatinderjit “Jeetu” Singh), the entire party is a creative circus. Singh may be banging the dhol to a few seconds of trap music mixed into the massively popular “Chaiyya Chaiyya”; meanwhile, Reshamwala splices archival Bollywood footage and syncs it into staccato clips on the television screens, giving Rajaram’s rhythm and Singh’s beats a psychedelic visual choreography.

“It feels like a ridiculous jam session up there,” Reshamwala says.

“That’s a perfect way to describe it,” Rajaram concurs. “We don’t practice at all together.”

“But you can put us in a room together at any given time and be like, ‘OK guys, go dishoom!’ and we’d jam,” says Reshamwala.

Rajaram says DISHOOM is meant to “show off Indian culture, but at the same time, mix a little Durham in there.”

Rajaram and Reshamwala still joke about Reshamwala’s first night with DISHOOM, when he was surprised that the audience was a diverse mix of partygoers. Rajaram, who frequently deejays Indian weddings all over the South, was just as excited that the crowd was split evenly among ethnicities.

“I came home and said to my wife, ‘The crowd was half Indian!’,” Reshamwala recalls. “Rang’s been rocking Indian crowds forever, so it’s dope for him to get a half non-Indian crowd. But for me, I’m a half-Indian barely, if that, and I’m rocking on stage with an Indian crowd. There’s this thing happening at DISHOOM where we can do some weird stuff because everybody assumes that the weird stuff maybe belongs to some group that’s there that they don’t quite get,” he adds.

DISHOOM’s musical melting pot makes for an unforced, natural representation of what Durham looks and feels like on the dance floor—onomatopoeic dance moves and all. vbouloubasis@indyweek.com

indyfood

PIZZERIA FAULISI

215 East Chatham Street, Cary www.pizzeriafaulisi.com

Family Style

PIZZERIA FAULISI HARKENS TO HOMEMADE ITALIAN PIZZA TRADITIONS WITH INVENTIVE CULINARY SKILL

BY EMMA LAPERRUQUE

I

feel bad for the Little Caesars next to Pizzeria Faulisi. Same product, same claims—like making dough in-house. Yet minivans still compete for Caesars’ parking spots, only to scurry in the other direction, toward charred pies and pillowy gnocchi and radish martinis.

But who’s surprised?

This has been a long time coming, anyway.

In the past five years, the Triangle has welcomed a wave of independent pizzerias. It feels great, like the ocean in July. In 2012, we welcomed Pizzeria Toro. One year later, Trophy Brewing Company. One year after that, Pompieri Pizza. In 2016, Pizzeria Mercato and Pie Pushers. And, in March, Pizzeria Faulisi.

Some spots, like Toro and Mercato, champion old-school Italian cuisine with bilingual menus boasting ingredients like fior di latte and prosciutto di parma. Others, like Trophy and Pie Pushers, embrace a more American approach, with a slew of chooseyour-own toppings and house specialties, like Trophy’s “Daredevil” pizza with ghost pepper salami, jalapeños, and sriracha.

Playful names aside, both approaches take themselves seriously—and they’ve made us take pizza seriously, too. If competition breeds excellence, it also breeds higher expectations.

By the time Pizzeria Faulisi opened in downtown Cary, the owners were well aware of this.

The restaurant’s owners are the husbandand-wife team Zach and Amber Faulisi. Collectively, they have worked in the restaurant industry—from New York City to Miami— for three decades. Amber, notably, served as sous chef for Andrew Carmellini at Locanda Verde, and Zach, most recently, was the executive chef at Andrea Reusing’s latest venture, The Durham.

Which is to say, they know what they’re doing.

And they know what they’re not doing. In an interview with The News & Observer last summer, Zach noted, “After working for dif-

ferent sized operations, big operations, we just want to keep it simple.”

Where have I heard that before? Right: the Instagram account of New York’s Lilia Ristorante (or, should I say, @lilianewyork).

Most of the posts, from rigatoni with red sauce to linguine with clams, read “#keepit

Pizzeria Faulisi doesn’t worry about hiding.

From the moment you walk in, you can see every table and chair, the “La Famiglia” neon sign and family photos on the wall, the bar and open kitchen, with two flour-dusted cooks slinging pizza dough and, behind them, the glowing, 700-plus-

Bianco e verde pizza at Pizzeria Faulisi simple,” which is exactly the approach that earned owner and chef Missy Robbins three stars in The New York Times.

Keep it simple is the foundation of Italian food and, ironically, one of the trickiest styles to pull off. Because the more you know, the more you want to show.

Imagine a writer who consistently utilizes bombastic diction and pleonastic prose. It’s not so much impressive as it is exhausting. The catch (of course there’s a catch) is that the less you show, the less room there is to hide.

PHOTO BY BEN MCKEOWN

degree wood-burning oven, imported from Naples.

If you are wondering what to order at Faulisi, try anything that comes out of this oven. The petite menu includes a few antipasti, some pizzas, and two desserts. Save room for the tiramisu. Or don’t save room and eat it anyway.

The antipasti of the moment are giardiniera, salad, and gnocchi. The last are “limited quantity,” so opt for an earlier dinner and snag some while you can. These little dumplings nestle in bubbly tomato sauce

topped with salty pecorino and fresh herbs, arriving in a flame-blackened baking dish.

The pizza also shows off some bruises and burns, and this char is crucial. It emboldens the already distinct, deeply flavored crust, made with Caputo flour from Italy and locally milled flour from Boulted Bread. It is Neapolitan in nature, about a foot in diameter, thin in the center, with a puffy, airy crust.

Less than ten house combinations are available with add-ons. Most are simple, like soppressata, tomato, mozzarella, and Asiago, or shiitakes, red onions, mozzarella, and mascarpone (my favorite). If you want to get wild, go with the “Red, White, and Blue” with sour cherries, mozzarella, and blue cheese. It tastes as funky-good as it sounds, with cherry bomb peppers to keep the richness in check.

If anything, the pizzas arrive at the table too hot, which is, I suppose, a testament to the kitchen and a challenge to one’s self control. Tear off a slice too soon and it will wilt like basil in a heat wave, dripping onto your plate, arm, or dress. Try to pace yourself with some red wine and you’ll be better off.

Or pace yourself with a calzone, one of those football-sized things that inevitably wanders past you once or twice during your meal. Think “fajita effect” in full force.

Filled with ricotta and lemony kale, it faints at the touch of a knife, falling from round to flat, and into a giant grilled cheese.

On Sundays, Faulisi runs brunch specials, like a “Green Eggs and Ham” pizza, with prosciutto and kale and, of all things, pistachio pancakes. It sounds out of place for a top-notch pizzeria, until you remember that neon “La Famiglia” sign and your own Sundays with parents at the stove and pancakes in the skillet. Then it all starts to make sense. I remember my mom used to flip matzo brei, high, almost to the ceiling.

It was a badass skill. But mostly she just wanted to make me laugh. This familial space, between craft and comfort, is where the Faulisis have found a way to stand out. food@indyweek.com INDYweek.com | 7.19.17 | 17

indystage

FOOTPRINTS

Tuesday, July 25–Wednesday, July 26, 8 p.m., $37.75 Reynolds Industries Theater, Durham www.americandancefestival.org

Dance Deconstructed

IF MINIMALISM DID NOT EXIST, IT WOULD BE NECESSARY TO INVENT IT. SO ADF SCRIPPS AWARD WINNER LUCINDA CHILDS AND HER COLLEAGUES DID.

BY BYRON WOODS

O

I found it refreshing. It gave us the freedom to explore, the freedom not to worry about expressing any kind of emotion, just worry about the dance. At the Judson Church theater, we were encouraged to apply Cage’s theories to our compositions: wherever the dancers face is front, for example, a very disorienting concept at the time. Instead of dancing to the music, the dancers coexisted with the music. Cunningham’s dancers sometimes wouldn’t hear Cage’s scores until the performance.

It was a very unusual period, and Judson Church was something of a laboratory. I was very lucky to be there.

ne of the founders of minimalism, choreographer Lucinda Childs is most popularly known for having choreographed—and played the title role in—the breakout postmodern opera Einstein on the Beach with avant-garde director Robert Wilson and composer Philip Glass. In 1979, she collaborated with Glass on Dance, a five-part manifesto of minimalism in movement and music. Both works have been revived in recent years. American audiences are still catching up with the choreographer, who has mostly worked with European companies since the 1990s.

On Tuesday, Childs receives the Samuel H. Scripps/ American Dance Festival Award for Lifetime Achievement, which she’ll accept along with a $50,000 check before advanced ADF students reconstruct two of her works during the festival’s Footprints concert. Before accepting the honor, the INDY caught up with her about her life’s work, and how she continues to challenge audiences with her choreography.

There’s always a lightness and a buoyancy to your movement, but your work has also struck me as disciplined and overtly investigative in approaching themes and variations. What questions interested you most in your early work, and what interests you now?

The most obvious ones were included in our work: exploring material outside the traditional vocabulary of dance, pedestrian movement, found movement, and the manipulation of objects. [Childs used household kitchen and bathroom appliances in early pieces like Screen and Carnation.]

Philip Glass and I think very similarly in terms of theme and variation. That’s why we’ve continued to work together. In a very calculated way, we take on simple structures and find they become more and more complex as we unfold them. I’ve moved into other territories with other composers, but I’ve done it in a way to bring my aesthetic into styles that are not contemporary.

INDY: For most of our readers, minimalism has always been a part of their cultural landscape. It’s had a fundamental influence on visual art, architecture, music, dance, and design for the last half-century. But when you were starting out as an ADF student in 1961 and with the seminal Judson Dance Theatre in 1963, it basically didn’t exist. What did it take to “go first,” to set out so radically from the work that had been done in dance up to that point?

LUCINDA CHILDS: It was rather an amazing time. At the [Merce] Cunningham studio you’d run into people like John Cage, Jasper Johns, and Robert Rauschenberg; it was the first time I was aware of painters like Jackson Pollock. It was a new and exciting movement, and I was very impressed and thrilled by their work.

But the contemporary art world at the time was wholly unlike the modern dance scene. Up to then, modern dance was dominated by the notion of the narrative, Martha Graham in particular.

But Cunningham thought the dance was important, in and of itself. To him, it didn’t need a narrative base.

He was interested in abstract work and abstract expression, and his aesthetic and technical work fit in with what was going on in the visual art world and music.

With Glass and other composers, you set about examining an extended series of minute mathematical changes in themes in your works. If that was a challenge to 1970s audiences, given our supposedly dwindling attention spans in the U.S., is it more of one today?

My work is certainly demanding in a sense. It requires attentiveness to the material itself and what’s happening to it. If you don’t have that, you’re just going to think it’s the same thing happening over and over, and it isn’t.

My audiences never see the material presented in the same way; it’s always repeated differently. If you don’t get caught up in that, you can’t enter into the dialogue. bwoods@indyweek.com Lucinda Childs PHOTO BY CAMERON WITTIG

18 | 7.19.17 | INDYweek.com

stage

STAGE BRIEF

COMPANY: NO. 19/MODULATIONS

Wednesday, July 19 & Friday, July 21, 8 p.m., free | CCB Plaza, Durham Sunday, July 23 & Monday, July 24, 8 p.m., choose your price | 21c Museum Hotel, Durham www.justintornow.com

AFTER ECHO, JUSTIN TORNOW AND HEATHER GORDON REUNITE WITH MORE MULTIMEDIA DANCE INNOVATIONS AT 21C MUSEUM HOTEL IN NO. 19/MODULATIONS

BY AMANDA ABRAMS

C

Justin Tornow and COMPANY PHOTO COURTESY OF JUSTIN TORNOW

Tornow and Gordon recently worked together on another piece, “Echo,” and several of the concepts from that show—like how people reflect one another and the mutability and flow of water—recur in this one. As it developed, Tornow had to figure out its location and overall structure. Originally, she hoped it would run at the Durham Fruit and Produce Company, but that venue was being renovated, so she decided to use a couple of sites: 21c Museum Hotel and the downtown plaza with the statue of Major the Bull.

“I wanted it to be super accessible,” says Tornow. “If I put it outside, I’d hopefully remove some of the trappings that modern dance has,” which tend to keep novices away.

The result is a show in two parts. On the first two nights of Modulations, live-streamed video of COMPANY performing the piece will be projected on the hotel’s outer wall by the plaza. At ADF’s indoor studios, videographer Alex Maness will be filming the dancers in real time; the audience’s experience will depend on how he chooses to shoot. That

HHH½

Through Sunday, July 23 Sonorous Road Theatre, Raleigh www.sonorousroadtheatre.com

Good Company

ollaboration is a lauded concept among artists, but it’s a lot trickier to pull off than to talk about. In essence, it requires a deep level of confidence in others and in one’s own ability to roll with whatever arises. But that comes naturally to Durham choreographer Justin Tornow, who leads the dance group COMPANY. “I have a tendency to be super free,” she says. “I trust my collaborators so much.”

Tornow’s openness and faith in others will be fully on display in her latest work, No. 19/Modulations, which premieres this week both inside and outside of 21c Museum Hotel Durham, closing the DIDA season.

The performance incorporates the work of almost ten other artists, including videographers, musicians, and a visual artist. Even the structure of the piece contains a measure of uncertainty that could only be created by someone willing to relinquish control. Tornow says she’s never collaborated with so many people at once, but she’s not worried.

“I’m working with super pros—that’s how I can have so much trust,” she says.

Tornow’s core partner in the piece is Heather Gordon, a visual artist who makes maps and geometric designs based on personal data. The two have been working together for three years and agree that they share a deep connection that informs their creations.

“We are entwined when it comes to the work,” says Gordon. “We come across concepts independently and find that we’re both interested in them.”

In the case of Modulations, they began with an open-ended sense of investigation.

“She gave me five maps sometime last fall and said, ‘See what you think,’” says Tornow.

Those works of art, titled “Dynamics of a Binary System” and “My Flow in 160 Iterations,” became source material that Tornow used to inform the piece’s spatial patterns and the dancers’ encounters.

LICKED CUPCAKE

showing will be accompanied with a live performance by musician Del Ward.

Modulations’ second half will be performed more traditionally, inside the hotel, but the audience will be invited to move around and take in the piece from different angles. For the July 23 show, previous Tornow collaborators Matthew McClure and Lee Weisert will play a sound score; on July 24, DJ PlayPlay will perform an experimental synthesizer set.

Exactly what the show will look and feel like is unclear. After all, Tornow and the other artists have had only one meeting with everyone in attendance, which means the end result will be a bit of a game of chance.

But that’s kind of the point, says Gordon, who likens collaboration to alchemy.

“We can put [our individual creations] together into this big idea, something that’s not achievable by any of us independently,” she says. “It has its own life because so many people are touching it, moving it forward. It’s like a balloon that’s buoyant, taking its own course.” arts@indyweek.com

In a week in which women in the local improv comedy scene spoke out against sexual harassment, the comic drama Licked Cupcake has a far too timely message: it’s already hard enough for women to come of age before sexual harassment or assault is added to the mix. A sensitive, savvy script devised by the actors, Cori Vella, and director Johanna Maynard Edwards plunges us into a women’s support group— one with better production values than most, thanks to the lighting and audio cues conveniently provided by its leader, Magic Monica (Monica McNamara).

Though the text gently mocks support-group conventions, the ten women repeatedly hit pay dirt in frank, funny, and confessional narratives in which sex and spirituality, for better and worse, go hand in hand. Vella’s character, Molly, recalls her disenchantment with the sex education she was subjected to as a Mormon preparing to receive her faith’s “patriarchal blessing.” Kristin Dewey’s character relives her Catholic guilt, and Evie (Katy Werlin) is frustrated when remembering repeatedly foiled attempts at a bat mitzvah. A lesbian high schooler, Eli (Emily Tomasik), and a take-no-prisoners eighth grader, Briar Rose (Reaghan Paynter), add vivid stories to the set.

—Byron Woods

ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 7.19.17 | 19

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JEFF VANDERMEER: BORNE Saturday, July 22, 5 p.m., free Flyleaf Books, Chapel Hill www.flyleafbooks.com

The Wild Side

LOVE AND BIOTECH IN JEFF VANDERMEER'S BORNE

BY SAMUEL MONTGOMERY-BLINN

I

n the phantasmagorical fiction of Tallahassee-based novelist Jeff VanderMeer, people are often rendered as both occupier and occupied, both parasite and host. While alienation, infection, and corruption have long been his themes, it was the surreal, fungal world of 2009’s Finch that first fully blended weird, commercial, and literary fiction. VanderMeer combined word-by-word craft with a “two dead bodies” noir mystery in a city under brutal occupation. Released during wars in Darfur, Iraq, Somalia, and Afghanistan, it was as topical as his work had ever been.

Next, engaging with themes of climate change and environmental catastrophe in his New York Times-best-selling Southern Reach Trilogy, VanderMeer did not offer much hope for the ongoing ravages of the Anthropocene. But he exerted considerable imagination in illuminating our world’s precarious balances and the folly of failing to see the connections between political, economic, and environmental systems.

On Saturday at Flyleaf Books, VanderMeer will discuss his new novel with award-winning anthologist and editor Ann VanderMeer, to whom he is married. Borne is a moving story told through the eyes of Rachel, a refugee eking out a living scavenging for biotech in a nameless, ruined city, laid to waste by a giant, flying, firebreathing bear.

The emotional center is the strange connection Rachel develops with a sentient plant-pet-thing she salvages from the bear’s fur. There are kaiju-film-size battles and explosions, sacrifices, love, and, perhaps, a slice of hope. Along the way is beautifully observed writing about the human and nonhuman, meaning and purpose.

INDY: “The City” in Borne is a living, breathing, changing place, one with a mostly hidden history. But you're going to let us explore a bit more of that history in your novella The Strange Bird, coming August 1 from FSG. Can you tell me about editor

Sean McDonald’s support of the Southern Reach Trilogy and Borne?

JEFF VANDERMEER: I think the city’s history is all too familiar, unfortunately. It’s a place ravaged by climate change, but also the predations of what amounts to a multinational corporation, which creates biotech and then sends it to places where consumers are well off enough to buy it. There may be fantastical flourishes and flying bears, but the economic situation is depressingly common.

As for Sean McDonald, he’s an incredibly astute guy, also a nice guy, and probably not a guy I would ever play poker with. He, like everyone at Farrar, Straus and Giroux, not only loves books and publishing but he also likes finding innovative ways to bring fiction to readers. When FSG bought Borne, the structure for creating additional short fiction and releasing it quickly was already in place. I didn’t know it would be a novella, though—I’d mentioned writing a couple of short stories. But when the idea came to me, it was in the form of a long adventure that boils down to the titular character trying to find her place in the world and to make sense of her existence. Sean was very supportive of this unexpected novella and loved it, and has found a great way to publish it.

Thematically, I see strong connections between the Southern Reach Trilogy and Borne. Not just how, in this Anthropocene era, we have to learn to adapt to, not exploit, the world we live in, but also the labyrinthine bureaucracies in both books, with obscure subprojects off in a room somewhere, concocting who knows what for who knows why. Is there a connection between our maladapted relationships with the environment and with each other?

It’s all connected, and we delink these situations, issues, and networks at our peril, because the solutions exist in understanding the connections and coming to complex solutions, because we live in a complex world. When I think about this in fictional terms, I have to incorporate some element

Jeff VanderMeer PHOTO BY KYLE CASSIDY

of that complexity. In the Southern Reach Trilogy I focused on the governmental aspects, and in Borne it’s corporate aspects, in both cases tied to environmental concerns. This is because you often cannot have every element you want to explore in one novel. So the Area X books kind of put some corporate elements into a governmental setting, because otherwise I’d be juggling too much. But I always meant to comment on corporations at some point, and Borne allowed me to. The Strange Bird allows me to in a different way.

Like the Southern Reach Trilogy, Borne is also under a film option from Paramount. I know you had the opportunity to visit the set during filming of Annihilation. What's the latest on the state of both productions?

Annihilation is done and ready, I believe, and they’re just deciding on a release date, probably in the first quarter of 2018. Borne is in the early stages of development, but I hope key

players may be attached to the project sometime this year. I think Borne would make a fantastic movie, with the right balance of the epic and the personal. An exciting movie, but firmly anchored in characters.

Why do books, films, and art really matter when we're faced with the government we have at a time of global climate crisis? What can readers like me do with the feelings of estrangement, disconnection, and reconnection that your books inspire?

Hopefully fiction can move readers to take further direct action on a local and national level about related issues they care about, or make someone see an issue from a slightly different vantage, or move outside of a particular social media bubble to have empathy in an unexpected way. It’s a difficult question, but I do think in the end striving to tell better and more truthful stories, and not just reinforcing the status quo, can be of some use. arts@indyweek.com INDYweek.com | 7.19.17 | 21

7.19–7.26

WHAT TO DO THIS WEEK

Mandolin Orange PHOTO BY SCOTT MCCORMICK MONDAY, JULY 24

SATURDAY, JULY 22

MANDOLIN ORANGE

In early May 2010, Chapel Hill’s Mandolin Orange took the stage at a packed Local 506 to celebrate the release of its first full-length record, Quiet Little Room. How far the band has come since then: this weekend, it headlines at the North Carolina Museum of Art, hitting yet another major local benchmark in support of last fall’s strong Blindfaller. The band has developed significantly from a sweet, straightforward folk duo into a graceful full band that deftly handles instrumental and emotional nuance. It’s sure to be another sweltering July evening, but Mandolin Orange’s tender tunes will feel like a cool breeze across the art museum’s lawn. Singersongwriter Joe Pug opens. —Allison Hussey NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $18–$30, www.ncartmuseum.org

22 | 7.19.17 | INDYweek.com

PALM

“The first Velvet Underground album only sold ten thousand copies, but everyone who bought it formed a band.” Well-worn as this old Brian Eno quote is, the underlying idea of an outsider band that speaks to a tiny but influential crowd aptly describes Philly art-rock mavens Palm.

The band’s asymmetrical and downright strange guitar pop has spawned a sizable cult of freaks in the current DIY landscape. More than a few journalists have tried to box Palm in with nineties guitar experimentalists like Polvo, but the band’s music is far too off-kilter to draw straight influence lines. On the new Shadow Expert, Palm tinges its freak tendencies with a near-lounge sensibility that suggests midnineties Stereolab. Where will it go next?

Opener Palberta is a perfect pairing of kindred weirdo guitar pop. Plus Naked Naps.

—David Ford Smith THE PINHOOK, DURHAM 9 p.m., $10, www.thepinhook.com

WEDNESDAY, JULY 19– SUNDAY, JULY 30

TUESDAY, JULY 25– SUNDAY, JULY 30

LOMBARDI

BEAUTY AND THE BEAST

After legendary football coach Vince Lombardi built the Green Bay Packers from Western Conference nonentities into national champions in 1961 and ’62, the team came in third in each of the following two years. In Lombardi, it’s November 1965, a high-stress time, as the Packers are poised for another championship run. A greenhorn reporter from Look magazine is a not entirely welcome guest in the coach’s home, working on a piece about what makes Lombardi win. In Eric Simonson’s biographical drama, the writer gets a story— but not the one he expected. Charlie Brady directs David Henderson in this Theatre Raleigh production. —Byron Woods KENNEDY THEATRE, RALEIGH Various times, $28–$30, www.theatreraleigh.com

Disney’s first Broadway musical set the standard for those that followed: unwavering fidelity to the original, family-friendly (if often formulaic) scripting, crisp performances and direction, and innovative designs that literalize beloved animated worlds. But the spectacle of it all remains the main draw: ingeniously costumed, all-dancing, all-singing household furnishings bring to life an Academy Awardwinning score in an enchanted mansion with a library I still dream of. There is darkness in this world, as love is genuinely threatened by appearances, malice, and xenophobia. We still know how it ends. In this North Carolina Theatre production, guest director Sam Scalamoni leads a cast including Catherine Charlebois and Ben Michael in the title roles.

—Byron Woods MEMORIAL AUDITORIUM, RALEIGH 7:30 nightly/2 p.m. Sat. & Sun., $26–$95, www.nctheatre.com

SERVICES GUIDE A GUIDE FOR READERS AS THEY PREPARE FOR SPRING HOME IMPROVEMENT PROJECTS

Marnie Blum’s “Dogma” is on view in Truth to Power 5. PHOTO COURTESY OF PLEIADES GALLERY FRIDAY, JULY 21

TRUTH TO POWER 5 For the fifth year in a row, the artists of Durham’s Pleiades Galley are banding together to bring attention to issues of social justice in Truth to Power 5. The exhibit’s title was inspired by a 1955 Quaker pamphlet, titled “Speak Truth to Power,” which promoted alternatives to violence. Local artists working in flat and three-dimensional mediums were invited to submit pieces to curator Pedro Lasch, a Duke professor, artist, author, and art juror, who selected several dozen. “Dogma,” a mixed-

media piece by Marnie Blum, brings focus to religious tolerance; Malcolm Goff’s digital drawing “The More Things Change…” adds a historic twist to an infamous image taken at a Baton Rouge protest. After this Third Friday reception—which is held in conjunction with an open mic, hosted by Kai Soulfire, across the street in Five Points Plaza—the exhibit runs through August 6. —Xernay Aniwar

ISSUE DATE: JULY 26 RESERVE BY JULY 21 CONTACT YOUR AD REP OR SLEGGE@INDYWEEK.COM

PLEIADES GALLERY, DURHAM 6–9 p.m., free, www.pleiadesartdurham.com

WHAT ELSE SHOULD I DO?

BRAZIL AT NCMA (P. 32), JENNIFER DASAL AT QUAIL RIDGE BOOKS (P. 31), DISHOOM DANCE PARTY AT MOTORCO (P. 16), GO PLAY AT SPECTRE ARTS (P. 29), HARDWORKER AT CAT’S CRADLE BACK ROOM (P. 25), HONOUR AT WARD THEATRE (P. 30), LICKED CUPCAKE AT SONOROUS ROAD (P. 19), MARK MORRIS DANCE GROUP AT DPAC (P. 30), NO. 19/MODULATIONS AT 21C MUSEUM HOTEL (P. 19), JEFF VANDERMEER AT FLYLEAF BOOKS (P. 21), VERSES AND VERSUS AT BEYÙ CAFFÈ (P. 31) INDYweek.com | 7.19.17 | 23

SA 7/22

CROWN THE EMPIRE

WE 8/9

THE MELVINS

SOLD

7/19 JOHN MORELAND OUT W/ TRAVIS LINVILLE SEATED SHOW 7/22 CROWN THE EMPIRE W/ I SEE STARS, PALAYE ROYALE, OUT CAME THE WOLVES ($18/$20) 8/4 TOWN MOUNTAIN W/ BLUE CACTUS ($12/$15) 8/9 THE MELVINS W/ SPOTLIGHTS ($20/$22) 8/25 BE LOUD! '17 DRIVIN' N CRYIN', THE BACKSLIDERS, BOOM UNIT BRASS BAND ($25) 8/26 BE

LOUD! '17

'SPRESSIALS - SPONSORED BY THE

PRESSURE BOYS' HEGE V, BILLY WARDEN AND THE FLOATING CHILDREN ($20) 9/1 ROKY ERICKSON W/ DEATH VALLEY GIRLS ($25/$28) 9/2 ELLIS DYSON & THE SHAMBLES ALBUM RELEASE PARTY

SA 8/12 @NC MUSEUM OF ART

SUPERCHUNK 9/13 FRANKIE ROSE W/ SPLASHH ($10/$12) 9/16 CRANK IT LOUD PRESENTS:

WE 7/26 @CAT’S CRADLE BACK ROOM

CYMBALS EAT GUITARS CAT'S CRADLE BACK ROOM 7/20 THICK MODINE, THE DICK RICHARDS, HANK AND BRENDAN ($6) 7/21 HARDWORKER ALBUM RELEASE PARTY W/ ANNE-CLAIRE, RUN COME SEE 7/22 SHELLES, SUNNY SLOPES, SERVER

JASON RICHARDSON

W/THE REIGN OF KINDO, STOLAS ($13/$15) 9/17 CAAMP ($10/$12) 9/25 THE CRIBS ($18/$20) 9/27 TOGETHER PANGEA W/DADDY ISSUES, LALA LALA ($12/$14) 10/1 ELECTRIC SIX ($13/$15; ON SALE 7/21) 10/4 TROUT STEAK REVIVAL ($12/$15) 10/7 MAX FROST ($12) 10/10 BANDITOS ($10/$12)

W/ KATHARINE WHALEN'S SWEDISH WOOD PATROL, YEAUX KATZ, PLUS BULLTOWN STRUTTERS AND IMAGINE CIRCUS ($10)

($5/$7)

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

7/23 CURTIS STITH AND THE

10/22 PICKWICK ($12/$15)

9/8 LAST PODCAST ON THE LEFT ($25/$28)

W/ GABRIEL DAVID, MAGGIE WALTON

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

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

7/26 CYMBALS EAT GUITARS W/ ACTIVE BIRD COMMUNITY

9/14 SWERVEDRIVER ($20)

7/28 AMY O, LOVE & VALOR,

12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE ($15/$17) CAROLINA THEATRE (DUR)

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

12/6 THE MOUNTAIN GOATS DPAC (DUR)

9/21 QUICKSAND ($20/$24) 9/23 LIARS ($17/$19) 9/27 PSYCHEDELIC FURS W/ BASH & POP ($28/$30) 9/29 PINBACK AUTUMN OF THE SERAPHS 10TH ANNIVERSARY TOUR 9/30 TIMEFLIES: TOO MUCH TO DREAM TOUR W/ DAWIN, LOOTE ($25/$28) 10/2 RAC ($22/$25) 10/4 CAMERON ESPOSITO AND

RHEA BUTCHER: BACK2BACK

$32.50 (SEATED SHOW/ ON SALE 7/20, NOON)

SILVER LINING

THOUSAND ARROWS

7/30 ROZWELL KID W/ VUNDABAR, GREAT GRANDPA, HAMMER NO MORE THE FINGERS 8/3: TRIANGLE MEETS TRIAD:

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

10/7 LANY THE LANY TOUR PART 2 W/ DAGNY ($20/$23)

8/8 LAETITIA SADIER SOURCE

10/10 MURA MASA ($17/$20)

W/ ART FEYNMAN

10/12 TURNOVER ($17/$20)

8/9 SLAUGHTER BEACH, DOG W/ SHANNEN MOSER ($10/$12) 8/10 WYATT EASTERLING (LP RELEASE PARTY) W/ ROD ABERNETHY ($15)

10/13 CHELSEA WOLFE**($20/$23) 10/14 RIVER WHYLESS ($14/$16) 10/16 KALI UCHIS W/ PHONY PPL ($15/$18) 10/20-21 YEP ROC 20 YEAR CELEBRATION ($14/$16) 10/24 TED LEO AND THE PHARMACISTS ($16/$18) 10/25 JOSH RITTER & THE ROYAL

CITY BAND

($27.50; INCLUDES DOWNLOAD OF JOSH'S FORTHCOMING ALBUM, GATHERING) 10/26 SAN FERMIN $15 10/27 AMINE ($22/$25 ON SALE 7/20) 10/31 JR JR ($16/$18) 11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25) 11/11 SAINT MOTEL ($22/$25) 11/18 CULTS ($19/$21) 5/25 PETER HOOK & THE LIGHT ($28/$31; ON SALE 7/21)

24 | 7.19.17 | INDYweek.com

ENSEMBLE

8/11 THE SECOND AFTER CD RELEASE PARTY 8/18 BRICK + MORTAR W/ THE MOMS ($10/$12) 8/19 THE ROOSEVELTS 8/22 DURAND JONES & THE INDICATIONS ($10/$12) 8/25 ALL GET OUT W/ RATBOYS, WILD PINK ($10/$12) 8/28 SHABAZZ PALACES W/ PORTER RAY ($17/$19) 9/2 MCCAFFERTY AND REMO DRIVE ($10/$12)

11/13 DAVID BAZAN ($15)

11/25 ST. VINCENT MOTORCO (DUR) 9/12 BLACK JOE LEWIS & THE HONEYBEARS ($15/$17) 11/4 BORIS “DEAR/25TH ANNIVERSARY TOUR” W/ MUTOID MAN, ENDON ($18/$20) RED HAT AMPH. (RAL) 10/2 THE HEAD AND THE HEART W/ THE SHELTERS LINCOLN THEATRE (RAL) 8./26 DELTA RAE W/ THE CHURCH SITTERS NC MUSEUM OF ART (RAL) 7/22 MANDOLINSO ORANGE LD W/ JOE PUG OUT 7/31 BELLE AND SEBASTIAN SOLD AND ANDREW BIRD OUT 8/1 AMERICAN ACOUSTIC TOUR W/ PUNCH BROTHERS AND

I’M WITH HER

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

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9/30 W/ TUNE-YARDS, WYE OAK, HELADO NEGRO & MORE HAW RIVER BALLROOM 10/13 JULIEN BAKER ($16/$18; ON SALE 7/21)

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music WED, JUL 19

2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: John Hammond, Tad Walters; 7:30 p.m., $30–$35. The Herded Cats; 8 p.m. • C GRACE: Gary Brunotte solo; 9 p.m. • CAT’S CRADLE: John Moreland, Travis Linville; 8 p.m., $13–$15. • THE CAVE: July Residency: Natural Causes; 8 p.m. • DUKE GARDENS: Music in the Gardens: River Whyless; 7 p.m., $5–$10. • EMPRESS ROOM: Court Stewart Duo; 7:30-10 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m. • LOCAL 506: The Steel Woods, Americanize; 9 p.m., $12. • THE PINHOOK: King Draft, Reuben Vincent, MBALLA, DJShawnandSoul; 9 p.m., $10. • POUR HOUSE: Indiobravo, Arctic Blonde, The Pre-Raphaelites; 8 p.m. • RED HAT AMPHITHEATER: Idina Menzel; 8 p.m. • RUBY DELUXE: Cosmic Liberation Front with DJ Mike D and Sponge Bath; 10 p.m. • THE STATION: Lacy Jags, Fruit & Flowers; 7:30 p.m., $7. • WAVERLY PLACE: Wind Down Wednesday Concerts; 6-9 p.m., free.

7.19–7.26 THU, JUL 20 Airpark POP After NashvillePARTY based indie Americana act The Apache Relay dropped the baton, a few members put their efforts toward a new project: Airpark. The current sound is upbeat, glistening pop, with more synthetic sounds and smoother production than The Apache Relay’s folksier music. Apache Relay fans will still enjoy Airpark’s heartfelt and earnest lyrics, but should get ready for a pop dance party instead of an Americana sing-along. Fluorescence opens.

—KH [THE PINHOOK, $8/9 P.M.]

Jidenna NOT The dandy rapper CLASSIC might have a cosign from Janelle Monáe, but Jidenna’s work has been tremendously underwhelming given his cohorts. “Classic Man,” his most significant single to

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CONTRIBUTORS: Elizabeth Bracy (TB), Timothy Bracy (TB), Charlie Burnett (CB), Kat Harding (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), Dan Ruccia (DR), David Ford Smith (DS) date, is a braggadocious track that sounds like an anthem for the kind of Nice Guy who takes you out to dinner and then complains when you don’t put out. Lines like, “Your needs get met by the street elegant old-fashioned man” don’t help his case. —AH [LINCOLN THEATRE, $17/8 P.M.]

Slayer THRASH Formed in 1981 in KINGS Huntington Park, California, these thrash metal titans made an indelible mark with Reign in Blood, the 1986 Rick Rubin-produced platter that Rolling Stone lists as the sixth-greatest metal album of all time. The band’s breakneck tempos, bellowed vocals, and interest in human atrocity remain highly influential, and while it has weathered the loss of original guitarist Jeff Hanneman, Slayer remains an explosive live act whose face-melting intensity never wavers. Lamb of God opens. —DK [RED HAT AMPHITHEATER, $28–$123/6:30 P.M.]

ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • 4020 LOUNGE: African Rhythms; 10 p.m., $5. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • C GRACE: Mark Wells and the Hang; 9 p.m., $5. • CAT’S CRADLE (BACK ROOM): Thick Modine, The Dick Richards, Hank and Brendan; 8:30 p.m., $6. • DEEP SOUTH: Suppressive Fire; 10:30 p.m. • EMPRESS ROOM: Fred Westbrook; 7:30-10 p.m. • IRREGARDLESS: 15-501 Music; 6-9 p.m. • POUR HOUSE: Local Band Local Beer: Voidward, The Asound, Witchtit; 9:30 p.m., $5. • RUBY DELUXE: Music Video Night; 10 p.m.

• SLIM’S: FK MT.; 9 p.m., $5. • THE STATION: The Paul Swest Residency with Ash Bowie and Special Guests; 8:30 p.m., $6.

FRI, JUL 21 AJR, Hey Violet TOP 40 Headliners on a POP double bill of ascendant moppets, New York’s three-piece AJR features a

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high-energy mash-up of electro-pop and doo-wop that’s either an irresistible gimmick or the final evidence of a world in incontrovertible decline, depending on one’s perspective.

And from the high-fashion quotient of frontwoman Rena Lovelis to the hook-heavy tunefulness of its angsty teen-pop, opener Hey Violet boasts all of the hallmarks of future breakout stars of the Warped Tour circuit and beyond.

—EB [THE RITZ, $22.50/8 P.M.]

Boogie Reverie GUITAR This zoner gig lashes BLISS several subterranean explorers together in the appropriately intimate confines of The Cave. Billowing worlds emanate from the guitar of Boogie Reverie, who blends post rock, space rock, and ambient sounds into a gauzy stew. Vishnu Basement offers similar freaked-out charms, with a math rock twist. With Tundrastomper and Cranes Are Flying. —DS [THE CAVE, $5/9 P.M.]

Florida Georgia Line MAKE IT There are many STOP blasé bro-country offenders on the charts these days, but few have done as much work in making that music a widespread feature as Florida Georgia Line. “God, Your Mama, And Me,” which features The Backstreet Boys (because, why not?), is an overwrought, gag-inducing sentimental number with the fellas boasting, “No one’s gonna love you more than God, your mama, and me.”

Barf. Nelly—yes, of “Hot in Herre,” “Country Grammar,” and “Air Force Ones” fame—inexplicably opens. Chris Lane and Morgan Wallen take the stage first. —AH [COASTAL CREDIT UNION MUSIC PAVILION AT WALNUT CREEK, $31.25–$80.50/7 P.M.]

Jeanne Jolly COUNTRY Not fitting into any SOUL one genre is essential to Jeanne Jolly. She’s a classically trained vocalist who’s collaborated with a slew of

FRIDAY, JULY 21

HARDWORKER

ing Hardworker

PHOTO COURTESY OF THE ARTIST

Folk music has long been a haven for strong, political women. The folk revival of the 1960s took place during a time of political turmoil and protest, and it feels as though we’re living in another era marked by the same spirit. Durham folk-rock group Hardworker is acutely aware of society’s current ills and has put them into song on its debut LP, Go Alone.

Sus Long and Mike Conner began as a duo, performing quiet acoustic sets and eventually added Danny Nowell on guitar and vocalist Alex Treyz to achieve a bigger sound. The album, engineered at the Fidelitorium in Kernersville by Mitch Easter and produced by Look Homeward’s Alex Bingham, is an upbeat mix of folk, rock, and Americana, bolstered by an unrelenting feminist edge.

“Woman’s Weapon” is a tongue-in-cheek exploration of the danger of falling in love: “A woman in love is a woman in trouble,” Long sings, and on “Look More Like a Girl” she inveighs against gender stereotypes.

Long’s songwriting is quick-witted and sharp. Her passionate, forceful voice

oscillates between a pleading roughness and a more polished, melodic delivery.

Listening to these steady instrumentals, one can almost forget that Hardworker’s lyrics amount to fighting words in this tense political climate. The radical indie folk band has progressed immensely from its earlier work, filling out its songs and getting much, much louder.

But Long also shows off her softer side as she sings about the desire for human connection in “Lost Time.” “Another time and place would be easier, but it would be ours,” she laments. “I like you, I like you, I like you so far,” she sings, conjuring the beginning of a relationship, before it becomes clear that it won’t work out. “Dothan,” too, reminisces on past partnerships and how she lost her mind, “not all at once, but a little at a time,” as one does when a relationship is a sinking ship (or now, when every next action from our government rapidly chips away at the nation’s sanity). —Kat Harding CAT’S CRADLE BACK ROOM, CARRBORO 9 p.m., $8–$10, www.catscradle.com INDYweek.com | 7.19.17 | 25

Grammy-nominated artists, but her big, soulful voice pulls from blues, gospel, and country in service of her rich, stirring brand of Americana. Whether she’s belting out a song or subtly wafting a melody, the Raleigh native captivates audiences. Kate Rhudy and Molly Stevens open.

—DK [DEEP SOUTH, $15–$20/8 P.M.]

Rhythmicity SUMMER As all of the city’s FUN marketing materials are happy to tell you, Durham is full of creative types, with talents ranging from visual art to fashion design to music and more.

There’s a new business on Chapel Hill Street, The Artisan Market at 305, which celebrates these local talents even more.

The shop opened in mid-May, and on Friday it hosts a family-friendly summer fest in CCB Plaza. Rhythmicity, a West African percussion ensemble, will provide music, and artists will be around promoting their wares.

The event also promises refreshments, henna, and face painting, which should translate to a fun weekend kickoff. —AH [CCB PLAZA, FREE/6:15 P.M.]

WE 7/19 TH 7/20 FR 7/21 SA 7/22 SU 7/23 TU 7/25

ALSO ON FRIDAY 2ND WIND: Skinny Bag of Sugar. • BEYÙ CAFFÈ: Tre King Band; 7 & 9 p.m., $13. • BLUE NOTE GRILL: Cajammers; 9 p.m. Duke Street Dogs; 6-8 p.m., free. • BYNUM FRONT PORCH: Bobby Gales & New Direction; 7-9 p.m. • C GRACE: Gregg Gelb; 9 p.m., $5. • CAT’S CRADLE (BACK ROOM): Hardworker; 9 p.m., $8–$10. See box, page 25. • DURHAM CENTRAL PARK: Caique Vidal & Batuque; 6-8:30 p.m. • EMPRESS ROOM: Frank Longino with Angela Bingham; 9 p.m. • IMURJ: Reviving Raleigh Concert; 7-11:45 p.m., $1. • IRREGARDLESS: Small House; 6:30-10 p.m. • KINGS: Julia.; 10 p.m., $5. • LINCOLN THEATRE: GlowRage Dimension of Color Ultimate Paint Party Tour; 9 p.m. • LOCAL 506: Youth League, Pictures of Vernon, Cuzco, Basement Life; 8 p.m., $8–$10. • THE MAYWOOD: Driver; 9 p.m., $10. • MYSTERY BREWING PUBLIC HOUSE: Curtis Eller with Charles Latham; 8-11:30 p.m., free. Curtis Eller with Charles Latham; 8 p.m., free. • THE PINHOOK: Y2K Dance Party 4.0; 10 p.m., $5. • POUR HOUSE: Dre Z: Tribute to the Music of Dr. Dre and Jay Z; 9 p.m., $10–$15. • RUBY DELUXE: Magician’s Hand Practice, Reflex Arc; 9 p.m. DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Greg Hyslop, Jason Foureman Duo; 8 p.m., $10–$20.

BLUE WED: JOHN HAMMOND JR/ TAD WALTERS CAROLINA LIGHTNING DUKE STREET DOGS CAJAMMERS MEL MELTON & THE WICKED MOJOS SATCHMO BABCOCK TUESDAY BLUES JAM

7:30PM $35 SEATED $30 STANDING 7:30PM 6-8PM 9PM 8PM $10 5-7PM

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SAT, JUL 22 Crown the Empire EXPLONow a quartet after SIVO parting ways with its original singer, Crown the Empire continues on the path originated by the redoubtable Linkin Park with an aggressive, explosive brand of pop-metal built around cathartic vocals and huge, arena-ready choruses. The overall effect is intense in the time-tested metal tradition, yet the band’s youth and fashion sense suggest something lighter on its feet. Tonight’s bill also features Out Comes the Wolves, Palaye Royale, and I See Stars.

—DK [CAT’S CRADLE, $18–$20/7 P.M.]

GOTHIC Southern gothic GOOD group Look Homeward hosts a benefit for

the Center for Death Penalty Litigation, pairing its creepy, dark songs with raising awareness about a dark side of American justice that’s begging for reform.

Ruthless banjo under determined wailing, gentle harmonica, and ferocious fiddle combine for rocking Southern tunes. Stay for the ballads, though, and feel the desperation of the band’s longing for peace, both for itself and the world at large. Joseph Terrell of Mipso opens. —KH [THE PINHOOK, $10/9 P.M.]

Laura Reed NEOThis Nashville SOUL transplant with Triangle roots gained notice as the frontwoman for the reggae-leaning jam band Deep Pocket. As a solo singer-songwriter, she weds an affinity for traditional blues and gospel to a dynamic neo-soul approach evoking everything from the stylized new-millennium blues of Amy Winehouse to the slow-burning, socially conscious R & B of Erykah Badu to the light funk of late-period Stevie Wonder. Zoocrü and SPCLGST open. —EB [POUR HOUSE, $10–$12/9 P.M.]

Shelles ‘ROUND & Pitched someplace ‘ROUND between the beguilingly fretful groove of Neil Young’s doom trilogy and the reverb-soaked recriminations of The Gun Club, Chapel Hill’s Shelles proves remarkably adept at conjuring an atmosphere of compelling gloom. On last year’s Carousel, tracks like the glacial dirge “Wild and Butchered” occasionally threaten to push the already dark aura into irretrievable bleakness, but there’s respite in cheerfully druggy chamberrock turns like “Bend to the Light”. Sunny Slopes and Server open. —TB [CAT’S CRADLE BACK ROOM, $5–$7/9:30 P.M.]

Telepathy Dance Party: Brassious Monk DANCE IT For all their other OUT talents, it seems as though many underground rappers struggle with conveying a feeling of having fun in their music—so much emphasis is put on either being cerebral or lyrical that the dance floor gets overlooked. Raleigh’s Brassious

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DEEP Comprising jam vets FRIED Todd Nance (formerly of Widespread Panic), Jerry Joseph, and Daniel Hutchens (of Bloodkin), along with Sam Holt, Jon Mills, and former Drive-By Trucker John Neff, The Interstellar Boys stop

by Raleigh for an evening of solid Southern rock tunes bolstered by decades of friendship and playing music together. —CB [LINCOLN THEATRE. $17–$55/9 P.M.]

WISE Jokester rock ’n’ GUYS rollers Dr. Mudd and the Alamo bring ripping guitar

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riffs and hilarious lyrics to Raleigh’s Schoolkids for a free early-evening set. With hits like “Get Off My Property Lady in a Kia,” the band rewards close listeners with chuckles, while more distant listeners still reap the rewards of crashing drums, metal-influenced guitar work, and howling vocals. Five Mile Radius opens. —KH [SCHOOLKIDS RALEIGH, FREE/7 P.M.]

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SLIM’S: Army of Dog, Dylan Marcone & Drew Smith, Blackbird Barn; 9 p.m., $5. • THE STATION: Le Weekend, The BQs; 8 p.m., $7.

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Monk does all three with ease, executing a playful flow and spacey self-production. With Drozy, 9192, and Away Msg. —CM [KINGS, $5/10:30 P.M.]

This Wild Life OH SO This Wild Life’s EMO recent single, “Break Me,” exemplifies all of the worst parts of mid-aughts emo.

Cringe-worthy lyrics with lazy rhymes that read like scraps from various teenage diaries are sung with forced melodrama over a bed of leftover Dashboard Confessional chords and swelling strings. With Dryjacket and A Will Away. —CB [LOCAL 506. $15–$17/7:30 PM] ALSO ON SATURDAY BEYÙ CAFFÈ: Heather Victoria; 7 & 9 p.m., $15. • BLUE NOTE GRILL: Mel Melton & The Wicked Mojos; 8 p.m., $10. • C GRACE: Al Strong Quartet; 9 p.m. • THE CAVE: Volk, Thirsty Curses, Unlucky Sevens; 9 p.m., $5. • CHAPEL OF THE CROSS: Alright Alright; 6:30-9 p.m., Donation.

• DEEP SOUTH: Sound System Seven; 10:30 p.m. • EMPRESS ROOM: Court Stewart Duo; 9 p.m. • IMURJ: #LyricsStillMatter Showcase; 8 p.m., $10–$12. • IRREGARDLESS: Court Stewart Duo; 6-9 p.m. Jo Gore; 9 p.m. • MOTORCO: Girls Rock NC Showcase; 1 p.m., $10 donation.

Dishoom 4th Anniversary Party; 10 p.m., $10. See page 16. • MYSTERY BREWING PUBLIC HOUSE: Andy Ferrell; 8-11:30 p.m. • NC MUSEUM OF ART: Mandolin Orange, Joe Pug; 8 p.m., $18–$30. See page 22. • NIGHTLIGHT: Dog Days Dance Party; 10 p.m. • RED HAT AMPHITHEATER: Rebelution, Nahko and Medicine for the People, Collie Buddz, Hirie, DJ Mackle; 6:20 p.m. • THE RITZ: NYE, DJ Printz, Jabari; 8 p.m. • RUBY DELUXE: Kevin Greenspon, TesconPol, J Hamilton Isaacs; 9 p.m. • SLIM’S: Lacy Jags, Super Blonde, Harbor Lights; 9 p.m., $5. • THE STATION: Tropico Disco: Cumbia Dance Party with Selector B Steady; 10 p.m. Jazz Saturdays; 2 p.m., free. • STEEL STRING BREWERY: Hal Engler Quartet; 5-7 p.m., free. • THE SHED JAZZ CLUB: JUA + Trio; 8-11 p.m., $10–$15.

SUN, JUL 23 Chastity Brown MPLS ROOTS

Minneapolis-based singer-songwriter

Chastity Brown’s take on roots-rock leans heavily on her smoky alto and sturdy arrangements, suggesting everything from the woodsy folk-rock rush of Van Morrison circa Tupelo Honey to the lush, lived-in country-soul of Lucinda Williams. While it’s fun to hear her rip it in a stripped-down setting, Brown’s brightest moments occur when backed by her crackerjack band, as on the lovely John Hiatt-like “Drive Slow.” —EB [THE PINHOOK, $10/8 P.M.]

Kurt Deemer Band PLAY The songs of this HOOKY Baltimore outfit would sound just right issuing from an alternateuniverse alt-rock station at the end of the nineties, tucked between Counting Crows’ “Mr. Jones” and Goo Goo Dolls’ “Iris.” On last year’s Gaslight, Deemer’s husky, wounded vocals evoke the angst of the spurned or lethally smitten lover, but the reassuring choruses are designed to be sung along to on a first listen. With River Otters and Breadfoot. —DK [THE CAVE, $5/9 P.M.]

The Steel Wheels GRASSY & The Steel Wheels’ GOOD rhythmic bluegrass songs are built of driving bass lines, melodic fiddle, and deep, blending harmonies, showcasing the instrumental and vocal skill of each member of the band.

Mesmerizing lyrics meander through the Blue Ridge bluegrass tunes, evoking a longing for family, community, and faith.

—KH [MOTORCO, $12–$15/8 P.M.]

Deep Sleeper JUST Tim Lemuel is DANCE probably best known as the proprietor of one of Raleigh’s absolute best bars, the rainbow-lit Ruby Deluxe.

With his psych-pop project Deep Sleeper, Lemuel creates compelling, textured songs, anchored by strobing synths, out-there guitar lines, and beats made for dancing. The project sometimes recalls the dark electro of Matthew Dear, while the sublime, pulsating “The candy is chocolate (so we

assume you will)” sounds like one of the greatest songs Prince never wrote. With Brutal Junior.

—CB [NEPTUNES PARLOUR. $5/10 P.M.]

Curtis Stith and the Silver Lining SHINY A Pittsboro-based SONGS singer-songwriter and multi-instrumentalist, Curtis Stith makes well-honed folk and pop ditties that demonstrate a burgeoning talent with a flair for compelling melodies and expert arrangements. It would be nice to hear a little Zevon mixed in with Stith’s Billy Joel vibe, but this gifted young man has nothing but time. Gabriel David and Maggie Walton open. —TB [CAT’S CRADLE BACK ROOM, $6/7:30 P.M.]

Tap Fest 2017 UP TO For a band that ELEVEN never really existed, Spinal Tap has shown remarkable staying power. Decades after the world first met the charmingly witless David St. Hubbins, Nigel Tufnel, and company in Christopher Guests’s rockumentary, the band’s deadpan idiocy and songs like “Sex Farm” and “Big Bottom” remain objects of deep reverence. Tonight’s bill features Motorbilly, The Hell No, KIFF, and other bands churning out Spinal Tap classics to benefit Wake County Animal Shelter.

—DK [POUR HOUSE, $5/6 P.M.]

Trap vs. Boom Bap BARS & North Carolina rap BATTLES music has a bit of an identity crisis. With an influx of New York transplants mixed with native Carolinians, local sounds are at odds with the classic drum loops of the North and synth-driven trap rap made famous in the South.

The Trap vs. Boom Bap concert series, organized by Selma rapper Freedom Infinite, was designed to put artists from both camps together in the spirit of competition and collaboration. —CM [DEEP SOUTH, $10/9 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: Satchmo Babcock; 5-7 p.m., free. • IRREGARDLESS: Zach Wiley; 6p.m.

ILLUSTRATION BY CHRISTOPHER WILLIAMS

MONDAY, JULY 24

VERSES AND VERSUS Beyù Caffè is known for its live jazz performances, electrifying Durham’s Main Street with instrumentation from some of the most talented musicians in the area and around the world. The eatery and music venue has hosted a plethora of innovative events incorporating the Durham community, and last Monday marked the return of its summer d.j. series. This year’s effort is dubbed “Verses and Versus,” a weekly soiree where local d.j.s pit two popular forms of music against each other and solicit votes for favorites from the audience.

Last Monday, Outkast squared off against A Tribe Called Quest, heavy hitters representing Atlanta and New York hip-hop and arguably two of the most influential groups of the genre. The night began with DJ Rem.e spinning to just the staff at 6 p.m. But by 6:45, Beyù Caffè was standing-room-only with the crowds energetically rapping the verses by two of their all-time favorite acts. DJ Rem.e noted the intricacies involved

with meshing two of the greats with very different styles and tempos, resisting the urge to play too much of one or the other.

But after three hours of consistent spins, jams, and crowd participation, the night was a clear success.

Beyù doesn’t plan on stopping the momentum of the series. In this week’s iteration, samples vie against original songs, and future versions include Neo Soul vs. Trap Soul, Jay Z vs. Kanye, and Epic Records vs. Jive Records. And d.j.s are in charge for every set, leaving room for spontaneity that will keep the room jumping from beginning to end.

The series runs through August 28 and is free and open to the public. If the first night is any indication of how this summer will go at Beyù, Durham will be bopping every Monday as some of the most skilled d.j.s give unique angles on some amazing frontiers of music. —Kevin Joshua Rowsey II BEYÙ CAFFÈ, DURHAM 6 p.m., free, www.beyucaffe.com

INDYweek.com | 7.19.17 | 27

LOCAL 506: But You Can Call Me John, St. Anthony and the Mystery Train, Brother Galen; 9 p.m., $7.

• WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

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MON, JUL 24 BEYÙ CAFFÈ: Verses and Versus DJ Series; 6-9 p.m. See box, this page.

THE CAVE: Cave of Swimmers; 9 p.m., $6–$8. • EMPRESS ROOM: Gary Brunotte plays and sings from The Great American Songbook; 8-10 p.m.

• IMBIBE: Grewen and Griffin; 7-10 p.m., free. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, JUL 25 Dialectical Imagination

Your week.

Every Wednesday.

JAZZ Dialectical SPACE Imagination, the duo of New York’s Eli Wallace on piano and San Francisco’s Rob Pumpelly on drums, likes to sculpt spaces. Nothing is rushed, like an ECM album without the reverb. Wallace lingers on a pitch, a phrase, or an area of the piano long enough for it to sing just so as Pumpelly adds cymbal washes or flashes of color on the drums.

When everything kicks in, they unleash a joyful rumble and thrum. —DR [THE SHED, $5–$12/8:30 P.M.]

J20 Benefit: Institute AGITThese Austin PROP post-punkers head up this benefit for J20 protest arrestees, an unlucky group of people facing several decades in prison for protesting Donald Trump’s inauguration on January 20. Thankfully, this show’s lineup is on point for the cause. On the recent single “Exhibitionism,” Institute’s singer, Moses Brown, fires out scattershot blasts of invective against America’s broken educational system. With Drug Charge and Decoy. —DS [NIGHTLIGHT, $5–$10/9 P.M.]

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decades since acrimoniously parting company with lead singer Steve Perry. So just to be completely clear: Steve Perry will not be performing with Journey. Asia opens. —TB [COASTAL CREDIT UNION MUSIC PAVILION AT WALNUT CREEK, $19–$157/7:30 P.M.]

David Nance WARPED Talented Omaha, ROCK Nebraska, lo-fi merchant David Nance renders his sardonic, tough-minded tales of Raymond Chandler-esque middle-class anxiety and future-shock blues with wit, hooks, and brevity, suggesting something like a more menacing East River Pipe or Loudon Wainwright III trying to operate a broken Tascam. —TB [KINGS, $5/10 P.M.]

The Nightowls HOOTS & Armed with a Stax HOLLERS Records fetish and a pretty good set of tunes, Austin, Texas’s Nightowls play a reverential throwback soul abetted by almost aggressive stagecraft and showmanship.

Despite employing the likes of Muscle Shoals heavyweights Spooner Oldham and David Hood, the ensemble has yet to capture the manic energy of its live shows on record, or to conjure the live-wire danger of antecedents like Wilson Pickett and Sam & Dave. The Savants of Soul open. —EB [POUR HOUSE, $8-$10/8:30 P.M.] ALSO ON TUESDAY IMURJ: The Mysti Mayhem Blues Trio; 8:30-10:30 p.m., $2.

• IRREGARDLESS: Marilyn Wienand; 6:30 p.m. • THE PINHOOK: Palm, Palberta, Naked Naps; 9 p.m., $10–$12. See page 22.

• RUBY DELUXE: Experimental Tuesday: Sand Pact; 11 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20. • SLIM’S: Echonest, Silent Piece, Jay Manley; 9 p.m., $5.

WED, JUL 26

Journey

Caleb Caudle

CLASSIC These legendary ROCK seventies and eighties hitmakers, responsible for many of the best-known staples of classic rock radio, are now going on three

SMOOTH Seven albums into BARI his career, Winston-Salem’s Caleb Caudle is finally earning national acclaim and being mentioned in the same breath as Americana stars of the

moment like Jason Isbell and John Moreland. With his rough but agile vocals bedecked with peals of pedal steel, Caudle fits squarely into American country traditions while infusing his songs with the urgency of the moment. —DK [DUKE GARDENS, $5–$10, 12 AND UNDER FREE/7 P.M.]

Cymbals Eat Guitars UNDER Cymbals Eat RATED Guitars wring stadium-size pathos out of little moments. Over the last four albums and ten years, frontman Joseph D’Agostino has borrowed the basic building blocks of the Replacements and Bruce Springsteen and blown them out to cosmic, roaring, near-psychedelic zones. The band’s most recent record, 2016’s Pretty Years, is one of the strongest rock records available from a band still playing small clubs. Active Bird Community opens. —DS [CAT’S CRADLE BACK ROOM, $10–$12/8:30 P.M.]

Fraternal Twin, Stolen Jars OTHER Fraternal Twin and ANGLES Stolen Jars both explore spare, ramshackle indie rock, albeit from slightly different angles. The former combines the classic guitar-bass-drums combo with the weary vocals of Tom Christie. The latter adds a somewhat Sufjan Stevens-esque flare for orchestration with male and female vocals. Both are compelling. With Truth Club and Sinai Vessel. —CB [LOCAL 506. $7/9 P.M.] ALSO ON WEDNESDAY 2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • C GRACE: New Music to Us: La Coustic; 9 p.m. • THE CAVE: July Residency: Natural Causes; 8 p.m. • EMPRESS ROOM: The Lounge Doctors; 7:30-10 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: String Peddlers; 6:30 p.m. • NEPTUNES PARLOUR: Miles Nielsen & The Rusted Hearts; 10 p.m., $8. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 8:30 p.m., $10. • RUBY DELUXE: New Wave Night with DJ Rock Lobster; 10 p.m. • SLIM’S: Some Kind of Nightmare, Midnite Sun, Yea(h); 9 p.m., $5. • WAVERLY PLACE: Wind Down Wednesday Concerts; 6-9 p.m., free.

art

7.19– 7.26

Poster from Go Play PHOTO COURTESY OF MIKE RICHISON FRIDAY, JULY 21

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

—Chris Vitiello

SPECTRE ARTS, DURHAM | 6–9 p.m., free, www.spectrearts.org

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

OPENING SPECIAL Around the Blue EVENT Ridge: Photography

by The Focus group. Jul 21-Aug 30. Reception: Fri, Jul 21, 6-8 p.m. Seaboard Wine & Tasting Bar, Raleigh. www. seaboardwine.com.

SPECIAL At Home in the EVENT World/ Mudlarking in London: Paintings by Rachel Campbell, metalwork by Madelyn Smoak. Reception: Sat, Jul 22, 5-7 p.m. Craven Allen Gallery, Durham. www. cravenallengallery.com.

SPECIAL A Cat-like Whimsy: EVENT Mixed media drawings on repurposed material by Rio Aubry Taylor. Jul 21-Aug 12. Reception: Fri, Jul 21, 6-9 p.m. The Scrap Exchange, Durham. www. scrapexchange.org.

Panel Discussion on Contemporary Diaspora Art: A conversation on the relationship between African art and the global art community. The panel includes Nigerian-born artist Victor Ekpuk and other artists of African descent, and the moderator is Richard J. Powell. Thu, Jul 20, 7 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

SPECIAL Thirty Paintings in EVENT Thirty Days: Paintings by Chieko Murasugi.

Jul 21-Sep 18. Reception: Fri, Jul 21, 5-7 p.m. Durham Arts Council, Durham. www. durhamarts.org.

SPECIAL Threading Colors: EVENT Works by Nora Phillips. Jul 21-Sep 18.

Reception: Fri, Jul 21, 5-7 p.m.

Durham Arts Council, Durham. www.durhamarts.org.

ONGOING Abstract Vision: Paintings

by Sam Ezell. Thru Aug 25.

Whitted Building, Hillsborough.

SPECIAL Annual Consignor EVENT Invitational: Ceramics by Carmen Elliott and Cathy Kiffney; textiles from Elaine O’Neil; paintings by Henryk Fantazos, Anne Gregory, and Rosie Thompson; jewelry by Rebecca Neigher. Thru Aug 5.

Artist talk: Thu, Jul 20, 6-8 p.m. FRANK Gallery, Chapel Hill. www.frankisart.com.

submit! Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent.

DEADLINE: Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

Barely Civilized: Folk art by Cher Shaffer. Thru Aug 24. Alexander Dickson House, Hillsborough. www.historichillsborough.org.

Beyond the Front Porch 2017: Exhibition of work by twelve senior undergraduates. Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Cedar Creek Gallery National Teapot Show X: Thru Sep 5.

Cedar Creek Gallery, Creedmoor. www.cedarcreekgallery.com.

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

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

LAST Crossing the Blue CHANCE Hour: Photography

by Peter Frncis Barnett and mixed-media sculptures and paintings by Shane C. Smith.

Thru Jul 21. Guest Room Project Space, Carrboro.

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

LAST Egg in Nest: CHANCE Students of Jenny Eggleston. Thru Jul 21. Halle Cultural Arts Center, Apex. www.thehalle.org.

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

Focus on the Peck Collection: Seventeenth-century Dutch and Flemish master drawings. Thru Aug 6. Ackland Art Museum, Chapel Hill. www.ackland.org.

LAST From Here to CHANCE Eternity: Quilted tapestries by Ann Harwell. Thru Jul 25. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com.

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

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

Gun Show: Sculptures by David Hess. Thru Aug 6. CAM Raleigh, Raleigh. camraleigh.org.

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

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

The Masks of a Movement: Puppets by the Paperhand Puppet Intervention. Thru Aug 1.

The ArtsCenter, Carrboro. www. artscenterlive.org.

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.

Nature’s Way: Watermedia paintings by Nancy L. Smith.

Thru Jul 31. Joyful Jewel, Pittsboro. www.joyfuljewel.com.

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

North Carolina’s Natural Beauty: Artwork by Linda Jones.

Thru Jul 30. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

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

SPECIAL The Elegant Line: EVENT Abstract mixed media by Sudie Rakusin and clay forms by Susan Filley.

Thru Aug 5. Artist talk: Thu, Jul 20, 6-8 p.m. FRANK Gallery, Chapel Hill. www. frankisart.com.

Porcelain Jewelry: Jewelry

by Mimi Logothetis. Thru Jul 30. Melissa Designer Jewelry, Hillsborough. www. melissadesignerjewelry.com.

LAST Precarious Edifices: CHANCE Selected works from Ashlynn Browning and Chieko Murasugi. Thru Jul 21. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts. See story at indyweek.com.

Pleasant Places: Digital paintings by Quayola. Thru Aug 13. NC Museum of Art, Raleigh. www.ncartmuseum.org.

Show Off: Two curators showcase exhibitions: Anthony Hamilton (Digiscapes!) & Conner Calhoun (Waves to Live By). Thru Jul 29. Lump, Raleigh. www.teamlump.org.

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

by Margie Stewart. Thru Oct 23.

Reception: Fri, Jul 21, 6-8 p.m.

Durham Arts Council, Durham. www.durhamarts.org.

LAST Synergy Two CHANCE Methods—Two Mediums: Fused glass and fiber work from Trudy Thomson.

Thru Jul 22. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

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

Truth to Power: Juried by Pedro Lasch of Duke University. Thru Aug 6. Reception: Fri, Jul 21, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

See p. 23.

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

LAST Up Close: Paintings CHANCE by Linda Carmel, textiles by Alice Levinson, sculpture by Lynn Wartski. Thru Jul 23. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

LAST Visual CHANCE Conversations: A Two Woman Art Show: Oil paintings by Aimee Cuthrell and Angela Tommaso Hellman.

Thru Jul 22. Page-Walker Arts & History Center, Cary. www. friendsofpagewalker.org.

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

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

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

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

INDYweek.com | 7.19.17 | 29

stage

OPENING Beauty & the Beast: Musical. $25. Jul 25-30, 7:30 p.m. & Jul 29-30, 2 p.m. Memorial Auditorium, Raleigh. www. dukeenergycenterraleigh.com.

Bye Bye Birdie: Musical. $10–$15. Wed, Jul 19-Sun, Jul 30. UNC Campus: Paul Green Theatre, Chapel Hill. www. playmakersrep.org.

DuomuZi’s Antony & Cleopatra: Play. Wed, Jul 26, 7 p.m. Imurj, Raleigh. www.imurj.com.

Footprints: Three ADFcommissioned world premieres and two reconstructions performed by ADF students. $38. Tue, Jul 25 & Wed, Jul 26, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham.

George Lopez: Stand-up Comedy. Tue, Jul 25, 7:15 & 9:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Glorious! The True Story of Florence Foster Jenkins, the Worst Singer in the World: Comedy. $18–$24. Jul 21-Aug 6. Theatre In The Park, Raleigh. www.theatreinthepark.com.

Ecsteriority4 (Part 2): Performed by Kimberly Bartosik/daela and Jennifer Nugent/Paul Matteson. $17. Sat, Jul 22 & Sun, Jul 23, 7 & 9 p.m.

Durham School of the Arts, Durham. www.dsa.dpsnc.net.

Lombardi: Drama. Wed, Jul 19-Sun, Jul 30. Kennedy Theater, Raleigh. www. dukeenergycenterraleigh.com.

See p. 22.

Mark Morris Dance Group is our ADF pick of the week.

PHOTO BY ELAINE MAYSON

ADF PICK Gloria: The schism between what we see and hear is almost total at the start of Gloria, as a man drags himself across the ground

ONGOING while an angelic chorus repeats Vivaldi’s one-word title. But Mark Morris’s unconventional dance adaptation ultimately explores humility and humor in the sacred and the human. The Durham Symphony and N.C. Master Chorale provide accompaniment in this ADF presentation. $25+. Fri, Jul 21, 8 p.m. & Sat, Jul 22, 1 & 7 p.m.

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

—Byron Woods Marvel vs. D.C. Comics Burlesque: Burlesque. $10–$20.

Sat, Jul 22, 9:30 p.m. The Maywood, Raleigh. www. themaywoodraleigh.com.

Modulations: Live dance film by Alex Maness. Live music by Del Ward. Wed, Jul 19 & Fri, Jul 21, 8 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. See p. 19.

Modulations Live: Dance accompanied by DJ Play Play. Sun, Jul 23, 8 p.m. & Mon, Jul 24, 8 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. See p. 19.

The Monti StorySlam: Travels: Storytelling. $12. Thu, Jul 20, 7:30 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

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

The Dangling Loafer: $5. Third Fridays, 8 p.m. Kings, Raleigh. www.kingsraleigh.com.

Dogfight, the Musical: In this musical adaptation of the 1991 film starring River Phoenix and Lili Taylor, it’s 1963, and three marines are in San Francisco, just out of basic training and about to ship out to Vietnam.

It’s their last day stateside, and they’ve decided to spend it in the cruelest way possible—in a game called Dogfight. The rules are simple. The guys ante up fifty bucks each to play; the pot goes to the one who brings the ugliest date to the party that night.

Yes, it’s a degrading, humiliating experience for the women, and yes, someone’s going to get hurt. But all bets are off when one of the marines decides he isn’t playing anymore. Timothy E. Locklear directs. $12–$20.

Thru Jul 30. North Raleigh Arts & Creative Theatre, Raleigh. www. nract.org. —Byron Woods Funny Business Live: Pro comedy series. $5-8. Third Fridays, 9 p.m. The Thrill at Hector’s, Chapel Hill.

Andrew Santino: Stand-up comedy. Thu, Jul 20-Sat, Jul 22. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

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

Fridays & Saturdays, 10 p.m.

ComedyWorx Theatre, Raleigh. www.comedyworx.com.

The Tempest: Teens on Stage/ Teens Backstage Program, featuring musicians from Kidznotes. Jul 21-30. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

Hot Comedy with Brian Burns: Stand-up presented by No Poetry Comedy. Free. Thu, Jul 20, 8 p.m. The Cave Tavern, Chapel Hill. www. caverntavern.com.

SATURDAY, JULY 22–SATURDAY, AUGUST 12

HONOUR

It’s an ancient warning: be not unequally yoked. But it comes a little late for George, a newspaper columnist, and Honor, who was an award-winning poet. The couple has been married for thirty-two years when George leaves Honor for a beautiful, driven young journalist who’s about the same age as their daughter, Sophia. In this Australian script (hence the spelling of the title), four characters grill one another about the meaning—or

lack thereof—of their loves, allegiances, and personal achievements. But who will they all be once the break-up forces them to reinvent themselves? Director Wendy Ward should have a field day with this close-up psychological drama. —Byron Woods

WARD THEATRE COMPANY, DURHAM Various times, $25, www.wardtheatrecompany.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

30 | 7.19.17 | INDYweek.com

page

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

Jennifer Dasal

PHOTO BY BETH MANN/COURTESY OF ARTSNOWNC

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com

TUESDAY, JULY 25

JENNIFER DASAL Did Van Gogh really commit suicide? Was Jack the Ripper actually a British painter? What do Warhol and Weegee have in common? And why do Michelangelo’s pictures of women look so, well, manly? Such are “the unexpected, the slightly odd, and the strangely wonderful” corners of art history explored in narrative form in ArtCurious, the biweekly podcast by North Carolina Museum of Art contemporary curator Jennifer Dasal. Highly informed but still suitable for curious laypeople who aren’t interested in academic criticism, the program has gained enough traction with listeners that

Dasal is planning to transition, at the end of this month, to a seasonal format with a new set of episodes dealing with art making during World War II. In the lead-up, she visits Quail Ridge Books on Tuesday to give a talk based on a previous episode, “Thieves, Forgers, and the Smiling Woman: The Mona Lisa and the Greatest Crime in Art,” which asks whether the most famous portrait in the Louvre might actually be a forgery. —Brian Howe

QUAIL RIDGE BOOKS, RALEIGH

7 p.m., free, www.quailridgebooks.com

READINGS & SIGNINGS Alan Gratz: Refugee. Wed, Jul 26, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Monica Hesse: American Fire: Love, Arson, and Life in a Vanishing Land. Thu, Jul 20, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

July NCPS Reading Series: North Carolina Poetry Society reading with Ricky Garni, Guiseppe Getto, and

LITERARY R E L AT E D Tina Barr. Sun, Jul 23, 2 p.m.

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

Odie Lindsey: We Come to Our Senses: Stories. Wed, Jul 26, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Jeanette Stokes: Just Keep Going: Advice on Writing and Life. Tue, Jul 25, 7 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Beat Generation Writers: Poetry and discussion. Sat, Jul 22, 3 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Curryblossom Conversations: Sacrificial Poets host an open mic event for music, poetry or anything in between. Third Thursdays, 6-8 p.m. Vimala’s Curryblossom Cafe, Chapel Hill. www.curryblossom.com.

Spelling Bee: Hosted by Claire Hester and Mark Connor. $3-$5.

Sat, Jul 22, 7:30 p.m. Kings, Raleigh. www.kingsraleigh.com.

T

er

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com INDYweek.com | 7.19.17 | 31

screen SPECIAL SHOWINGS

Scienstars Red Carpet Premiere Event: Sat, Jul 22, 5 p.m. Varsity Theatre, Chapel Hill. www. varsityonfranklin.com.

Sing: Movies by Moonlight. $5.

Fri, Jul 21, 8:30 p.m. Koka Booth Amphitheatre, Cary. www. boothamphitheatre.com.

Sing-A-Long Grease: $7–$20.

Sat, Jul 22, 8 p.m. Koka Booth Amphitheatre, Cary. www. boothamphitheatre.com.

food soldiers from Dunkirk, France.

Rated PG-13.

Maudie—Sally Hawkins and Ethan Hawke costar in this romantic biopic about Canadia folk artist Maud Lewis. Rated PG-13.

Valerian and the City of a Thousand Planets—Special operative Valerian protects an alien-laden metropolis in Luc Besson’s sci-fi film. Rated PG-13.

A L S O P L AY I N G

wealthy clients) is the kind of character we need to see more often. Rated R.  The Beguiled— Psychological subtleties make Sofia Coppola’s Civil War dream a challenging film, but some storytelling vigor would have made it a better one.

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

OPENING

The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.

Girls Trip—Four friends (including Jada Pinkett Smith and Queen Latifah) take a wild trip to a music festival in New Orleans. Rated R.

½ All Eyez on Me—This biopic claims to be Tupac’s untold story, but most of it could be cobbled together from YouTube clips. Rated R.

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

Rated G.

Dunkirk—Light on dialogue, Christopher Nolan’s World War II film builds suspense with multiple perspectives on the evacuation of Allied

 Beatriz at Dinner— The lonely, curious, empathic, and traumatized Beatriz (Salma Hayek, as a massage therapist squaring off with her

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

Rated PG.

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

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

Rated PG-13.  Megan Leavey—The film lavishes love on the bond of a marine and her bombsniffing dog but undersells everything else. Rated PG-13. ½ The Mummy—Tom Cruise’s increasing creepiness is the biggest impediment to

a serviceable creature feature.

Rated PG-13. ½ Pirates of the Caribbean: Dead Men Tell No Tales—An improvement over its dire predecessor, this sequel still features Jack Sparrow literally jumping a shark. Rated PG-13.  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. ½ Wonder Woman— This origin story doesn’t shrink from its hero’s beauty or brawn. Gal Gadot strikes the right balance as an idealist who relishes the battle but not the war. Rated PG-13.

Food Truck Rodeo: Food trucks and crafts. Sun, Jul 23, noon-4 p.m. Wake Forest Renaissance Center, Wake Forest. www.wakeforestnc/ renaissance-centre.aspx.

Guardian Ad Litem Fundraiser: City BBQ will donate 25 percent of its proceeds from anyone who identifies themselves as supporting the Friends of the Guardian Ad Litem nonprofit. Thu, Jul 20, 10:30 a.m.-10 p.m.

City Barbeque, Raleigh.

Wine Tasting: With Fearrington sommeliers and the occasional guest. Saturdays, 3-5 p.m. Thru Jul 30. The Goat, Pittsboro. www. fearrington.com/ eateries/the-goat. www.fearrington.com/ eateries/the-goat.

FRIDAY, JULY 21

BRAZIL

We are living in the golden age of dystopian fiction, but in 1985, when Terry Gilliam’s Brazil hit theaters after initially being held back by Universal, dystopian dramas were by no means commonplace. The film is now not only recognized as a classic, replete with Criterion Collection status, but its vision of a soul-crushing world whose screen-addicted, food-obsessed, plastic surgery-fixated inhabitants lead lives of quiet desperation amid the constant threat of terrorism has been called prophetic. Gilliam has said the future he depicted was already extant in the era of Reagan and Thatcher, and that Brazil was “as much a documentary as it was a dystopia.” Indeed, Gilliam drew on numerous personal experiences in conceiving it, including his work on a Chevrolet assembly line, getting caught in a police riot in 1967, and his vertiginous first impressions of New York skyscrapers. Even with a talented cast, including a memorably comic performance from Robert DeNiro, Gilliam’s vision is the real star. —David Klein

NORTH CAROLINA MUSEUM OF ART, RALEIGH

9 p.m., $6, www.ncartmuseum.org ILLUSTRATION BY STEVE OLIVA

32 | 7.19.17 | INDYweek.com

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

at indyweek dot com

Campus Guide indy week’s

claSSy @indyweek .com everything you need to know to get your semester started right

on stands august 9

music

Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates.

To donate, please contact Amanda at director@unchaindogs.net.

EMAIL MIKE FOR ADS CLASSY AT INDYWEEK DOT COM

MALE ATHLETES WANTED

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INDYweek.com | 7.19.17 | 33

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HIGHLIGHT! ★★★★★★★

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Who:

News Voices: North Carolina 3

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What:

News Voices: North Carolina 1 2 4 forges stronger connections be- 5 tween residents and the newsrooms that serve 8 them. We host small gatherings, 9 1 trainings and public conversations to foster responsive and sustain- 7

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able news cover2 Support 4 News age.

Voices by donating 1 3 to Free Press, a nonpartisan 7 5non-2 profit that fights for your rights to3 connect and com4 municate.

6 1

MEDIUM # 82 Give: act.freepress.net/donate/single_news_voices/?source=indyweek

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

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

this week’s puzzle level:

© Puzzles by Pappocom

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

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

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

5 9

8 1 9 3

8 1

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42

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# 83

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4 5 8 1 6 9 2 3 7 9 6 3 2 4 7 1 8 5 7 1 2 8 3 5 4 9 6 5 3 7 9 8 1 6 2 4 2 8 9 6 7 4 5 1 3 1 4 6 3 5 2 9 7 8 3 9 5 7 2 6 8 4 1 8 2 4 5 1 3 7 6 9 6 7 1 4 9 8 3 5 2 solution to last week’s puzzle

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

6 5 2 7 3 8 9 4 1 Best of luck, 3 and 2 1 have 4 8 9fun!

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

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EMAIL MIKE FOR ADS CLASSY AT INDYWEEK DOT COM Book your ad • CALL Sarah at 919-286-6642 • EMAIL

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COLLEGE FOOTBALL & BASKETBALL JOBS

Now Hiring Ushers, Ticket Takers and Security

COMEDYWORX INTRO TO IMPROV

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

advertise on this page!

reserve this space for $100!

contact mike for ads

classy at indyweek dot com last week's puzzle

classy@indyweek.com Pathways for People, Inc.

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

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

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

is looking for energetic individuals who are interested in gaining experience while making a difference! Positions available are:

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

No phone inquiries please.

Adult male with Moderate Intellectual Disability and Down’s syndrome in Raleigh. Monday-Friday from 8:00am6:00pm and occasional weekends. Transportation needed to and from community based activities and the Day Program in Cary (2 days a week). Behavioral experience preferred. Call and ask for Rebecca.

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

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

Experience with Autism preferred. Call and ask for Michele.

For a list of other open positions please go to:

www.pathwaysforpeople.org

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

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

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

claSSy@indyweek.com

INDYweek.com | 7.19.17 | 35

indy week’s

s u p Cam e d i u G everything you need to know to get your semester started right

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august 9

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